2019 reprint of the 2009 2nd. rev. ed.
Carnatic music from Southern India owes its name to the Sanskrit term Karnataka Sangitam which denotes “traditional” or “codified” music. The corresponding Tamil concept is known as Tamil Isai. The present concert format evolved during the 20th century. Depending on a performer’s background and outlook, a performance may be inspired by ancient scriptures, the great epics, mythology, philosophy, the customs and legends associated with a particular place of pilgrimage, lullabies or love poetry.
Whatever a musician’s background or outlook may be, the aim of a performance is undiluted aesthetic experience (rasa). This is achieved by means of three concepts: raga (tuneful rendition with minute intervals and rich in embellishments), tala (rhythmic order marked by mathematical precision), and bhava (genuine expressivity).
Yogeswaran is a disciple of “Padmabushan” “Sangitha Kalanidhi” Sri T V Gopalakrishnan. He performs worldwide from traditional forms to orchestras and musicals of Western contemporary music. His concerts are marked by a rear blend of creativity, imagination, virtuosity and high emotive quality. British press wrote he was the first ever Tamil voice in Hollywood. Yogeswaran’s music is steep in the Temple traditions of South India. This evening he will perform a Carnatic recital in the traditional set up, accompanied by violin, mirdangam, kanchira and tanoura played by a selected number of musicians based in London.
M Ratheeskumar : Violin
M Balachandar : Mirdangam
A Srinivasan : Kanchira
Mervin Mahendran : Mohrsing
After making and tuning this beautiful reed flute within about half an hour, Yves Rousguisto plays it to demonstrate its fingering.
More information about musician, musicologist, teacher and instrument maker Yves Rousguisto is found on his homepage and social media account:
Video taken in Vence on 15 June 2019 by Ludwig Pesch (recipient of this delightful instrument)
More about this instrument and similar flutes:
Le galoubet by Patrick le Provençal (Patrick ROUGEOT):
C’est un instrument que l’on retrouve dans de nombreux pays depuis le moyen âge (Espagne, Italie, Pays-Bas, Autriche, Allemagne, Irlande, …) mais le terme galoubet date de 1723. Le modèle le plus utilisé en Provence est celui en Si naturel appelé “ton de St Barnabé”.
Cette flûte à bec percée de trois trous (deux dessus et un dessous) permet le jeu de la seule main gauche tandis que la main droite peut frapper le tambourin. Malgré le nombre réduit de trous, le galoubet peut couvrir une douzième, c’est-à-dire un octave et demi. En faisant varier l’intensité du souffle, on peut obtenir plusieurs notes avec un même doigté. La longueur totale d’un galoubet dans le ton de St Barnabé est d’environ 36 cm.
Les bois les plus utilisés pour la fabrication des galoubets sont l’Ebène, le Buis, la Palissandre et l’Olivier.
Mahatma Gandhi * my idea of music
I would go so far as to say that Western music which has made immense strides should also blend with the Indian. Visva-Bharati is conceived as a world university […] I have a suspicion that perhaps there is more of music than warranted by life, or I will put the thought in another way. The music of life is in danger of being lost in the music of the voice. Why not the music of the walk, of the march, of every movement of ours, and of every activity? […] So far as I know, Gurudev [Rabindranath Tagore] stood for all this in his own person.
From a letter to Rathindranath Tagore (22 December 1945), quoted in: The Oxford India Gandhi: Essential Writings. Compiled and edited by Gopalkrishna Gandhi. New New Delhi, 2008 (p. 568)
Born on October 2, 1869, the father of the nation is known of his struggles for non-violence, equality and freedom. However, does anyone know how good Gandhi was as a student?
Mahatma Gandhi was born in Porbandar on October 2, 1869 and received primary education in the city. He was not a bright student and used to learn by writing with his finger in the dust. He was neither considered to be very gifted in the classroom nor in the playing field. However, a book ‘Mahatma on the Pitch: Gandhi & Cricket in India’ talks about how his fondness of cricket. – Read more in the Indian Express (9 October 2018) >>
“You must not lose faith in humanity. Humanity is like an ocean; if a few drops of the ocean are dirty, the ocean does not become dirty.” – Mahatma Gandhi quoted by H.E. Mrs. María Fernanda Espinosa Garcés, President of the 73rd Session of the UN General Assembly on the occasion of the International Day of Non-Violence at the United Nations >>
Wie kaum einem anderen deutsch-stämmigen Musiker ist es Ludwig Pesch gelungen, tief in das Wesen der südindischen „klassischen“ Musik einzutauchen. Der Autor lebt heute in Amsterdam und ist als freischaffender Musiker, Sachbuchautor und Dozent tätig. Seine Erfahrung befähigt ihn, die karnatische Musiktradition auch einem Laienpublikum verständlich nahe zu bringen.
Zum Artikel >>
Die Wintermonate sind für Reisen nach Indien am besten geeignet. Dieses Heft schildert waghalsige Abenteuer und weniger bekannte Reiseziele, die neugierig machen. Autoren teilen Erfahrungen, die sie als Leiter von Gruppenreisen oder in einem Arbeitsaufenthalt machten. Junge Inderinnen und Inder, die in Deutschland aufwuchsen und durch Indien reisen, erleben zwiespältige Heimatgefühle. Indien beschert immer wieder Überraschungen und Wunder.
- Weitere Beiträge zu Meine Welt von Ludwig Pesch (mit Hilfe des Suchfensters) >>
- Alle Artikel in Meine Welt Heft 4 Jahrgang 35 Winter 2018/19 >>
- Archiv >>
Online Ausgabe von Meine Welt & Archiv
Seit 1984 bildet die Zeitschrift MEINE WELT ein Forum des Austausches zwischen Migranten aus Indien und ihren deutschen Freunden. Sie erscheint dreimal im Jahr in einer Auflage von knapp 1000 Exemplaren – das größte Printmedium mit Indien-Bezug in der deutschsprachigen Presselandschaft!https://caritas.erzbistum-koeln.de/meine-welt/
Ein herausragendes Merkmal von MEINE WELT ist ihre enge Anbindung an die Leserschaft, die Hinweise, Themenvorschläge und komplette Artikel liefert. MEINE WELT ist kostenlos und werbefrei! Herausgeber ist der Diözesan-Caritasverband im Erzbistum Köln.
by Ludwig Pesch
Published by Shankar Ramchandran on behalf of Dhvani Ohio
Attribution-NonCommercial-ShareAlike 4.0 License
For this musicologist and author, there are good reasons to believe that Carnatic music matters, perhaps more than ever and almost anywhere in the world. So why not perform and teach it in the service of better education for all, for ecological awareness or in order to promote mutual respect in spite of all our differences? And in the process, get “invigorated and better equipped to tackle the larger issues at hand”.
The Sangita Kalanidhi is a happy validation of Sairam’s life and struggles, but “it also entails an important responsibility — to record, document, and share,” she points out.
This year’s Sangita Kalanidhi awardee says the freedom to create helped her channel her life into art | Read the full interview (The Hindu, 5 October 2018) >>
Markus Cslovjecsek, Madeleine Zulauf (eds.)
Integrated Music Education – Challenges of Teaching and Teacher Training
Peter Lang Publishers, Bern, 2018. 418 pp., 29 fig. b/w, 2 tables
MOUSIKÆ PAIDEIA Music and Education/Musik und Bildung/Musique et Pédagogie. Vol. 1 pb.
This book was presented during the 33rd ISME World Conference for Music Education (isme2018.org) on Wednesday 18 July 2018.
About this book
Schools are generally oriented towards discipline-based programmes and therefore students often accumulate fragmented knowledge, disconnected from real life concerns. The eighteen contributors to this work suggest that music offers a highway to developing a more appropriate integrated education. They present a range of views on Integrated Music Education rooted in various cultural traditions, based on several interdisciplinary models and integrated arts curricula, inspired by psychological concepts and referenced to recent teaching experiments as well as original research.
In this innovative book, the reader is invited to go beyond the dichotomy between ‘education in music’ and ‘education through music’, exploring the opportunities put forward by Integrated Music Education thanks to a constant movement from the theoretical roots through a precise description of teaching activities to the benefits for students in terms of integration of knowledge, personal development, and social and cultural belonging. Lastly, there are some new and interesting ideas for training teachers.
At the invitation of Christine Urand (Director, Rietberg Montessori School) Ludwig Pesch took the full assembly of teachers on a musical journey across South India: exploring a wealth of rhythmic and melodic motifs suitable for young learners while enabling parents, teachers and care-givers to enjoy music making themselves (even as “lay people”, musically speaking).
This event was also an occasion to explore and discuss the scope for actively participating in an intercultural dialogue, something the presenter has long been known for, while paying homage to Maria Montessori (*): be it as contributor to ISME World Conferences or in association with educational and cultural institutions across the entire spectrum: teacher training, kindergarten, schools, rehabilitation just as staff integration programmes; conservatoria and universities in several countries; and creative projects developed in association with the Goethe Institute and exhibition makers at internationally renowned museums.
Date: 1 March 2018. Events on similar lines have been developed in conjunction with Museum Rietberg (Zurich) on the occasion of exhibitions of rare Indian art (in collaboration with art education staff).
Deutsch: Eine musikalische Reise für alle >>
* From 1939 until 1947 Dr. Maria Montessori worked closely with Rukmini Devi, founder of Kalakshetra (est. in 1936 in Adyar/Madras, now part of Chennai), an institution established for the integration of India’s cultural heritage and learning. Kalakshetra stands for an integrated approach to education all realms education – social, economic, crafts and performing arts, being both inspired and guided by India’s first Nobel Laureate Rabindranath Tagore whose pioneering concept for informal learning was first tested and further developed at Santiniketan (“abode of peace”).
These pioneering efforts remain as relevant today as in the early 20th century when Maria Montessori and her associates realized that true education is more than a tool for succeeding in life as an individual or member of one’s own society: it is the very key to world peace and social justice (see, for example, her 1932 “Peace and Education” lecture published by the International Bureau of Education, Geneva).