Podcasts about karnatic

Kala Ramnath is a world-renowned Indian violinist who performs in both the Hindustani classical tradition, and in collaborations that incorporate many styles with Ray Manzarek of The Doors, Bela Fleck and Edgar Meyer, Hilary Hahn, Kronos Quartet with Reena Esmail and veena player Jayanthi Kumaresh, and  leading orchestras such as my own National Arts Centre, to name but a few. You'll hear about her childhood, and how she became a disciple of the legendary vocalist Pandit Jasraj, leading her to revolutionize her approach to Hindustani violin technique. As a teacher she has put together an incredible resource with an extensive video library that she's created of Indian music, Indianclassicalmusic.com  When I recorded this interview with Kala, she had just the day before returned from the celebration of life for the legendary tabla master Zakir Hussain, who died this past December, and was one of the most important musicians in both Indian music and in bringing a global audience to Indian music. He had moved to San Francisco in the 1960s and was involved in too many projects to begin to list; in 2024 he was the first musician from India to receive 3 Grammys at one ceremony, including his collaboration with Bela Fleck and Edgar Meyer. Zakir Hussain was an incredibly important mentor of Kala, and you'll hear in her words about what his guidance and collaborations meant to her. Kala talked to me about some of her many cross-genre collaborations, including her fantastic albums with tabla master Bikram Ghosh  and her inventive trio with George Brooks and Gwyneth Wentink and you'll hear some of that music as well (albums linked below).  Like all my episodes, you can watch this on my YouTube channel or listen to the podcast on all the podcast platforms, and I've also linked the transcript : YouTube and TranscriptKala Ramnath Website Indianclassicalmusic.com Raag Ahir Bhairav  Paperboats album Elements trio albumOther episodes I've linked directly to this one, which I think may interest you: Karnatic violinist Suhadra VijaykumarSitar and tabla player Mohamed Assani Bansuri player Milind DateSarod player Avi KishnaIt's a joy to bring these inspiring episodes to you every week, and I do all the many jobs of research, production and publicity.  Please buy me a coffee? Or check out my merch store Sign up for my newsletter and get exclusive sneak peeks! Timestamps:(00:00) Intro(02:41)Zakir Hussain, Triveni with Jayanthi Kumaresh(10:53) Kala's childhood(15:17) Indianclassicalmusic.com resource(17:56) Kala Ramnath Collective world music (19:13) albums with Bikram Ghosh(20:28) A Better Place from Paperboats with Bikram Ghosh (26:30) Pandit Jasraj, changing her approach to the violin(34:46) Raag Ahir Bhairav (video linked in show notes) (46:16) Kala's Singing Violin style(48:12) other episodes you'll enjoy and different ways to support this series(49:05)Concerto for Hindustani Violin and Orchestra written with Reena Esmail(54:32) Ragas according to the time of day(57:43) Ray Manzarek of The Doors, ragas with other musical traditions(01:02:31) why Kala uses viola strings and tunes low(01:04:21) trio with George Brooks and Gwyneth Wentink(01:05:42) Better Than Coffee from Elements, George Brooks, Gwyneth Wentink (link in show notes)(01:10:15) Bela Fleck, Edgar Meyer, importance of consistent practice(01:13:54) Kalashree foundation(01:15:28) pandemic shutdowns, performing with Zakir Hussain 

Welcome to Musically Yours with JSV, Where Jaya Sai Vaishnavi's melodious voice is the sensation. An RJ, a singer, a voice-over artist she, goes on a journey to unveil the musical community.Join her as she seeks to understand, through truthful conversations with guests so grand. Sai Shivani Voleti: @singersaishivaniJSV on Instagram: @IamJSVKathanika on Instagram: @KathanikaMediaHosted by Jaya Sai VaishnaviProduced and Concept by Kathanika MediaMusic by UdayIf you would like to share any feedback, comments or suggestions to the host or to the producers, you can write to us at kathanikamedia@gmail.comFor business collabrations, write to hello@kathanika.inYou can listen to this show and other Kathanika show on Kathanika.in website or in any major podcast platformSpotify | Apple Podcasts | Google Podcasts | JioSaavn | Gaana | Amazon MusicTelugu Music Podcast

Abrimos con los tres discos favoritos de Mundofonías en junio del 2023, con los heterodoxos bretones Castor et Pollux, el bardo turcomano Oghlan Bakhshi y las raíces carnáticas del sur de la India de Aditya Prakash. El resto del programa lo dedicamos a nuestras #Mundofonews, fijándonos especialmente en la escena internacional de conciertos y festivales. Hablamos del festival Globaltica de Polonia; de Archipiélago 2023, en Madrid; del Smithsonian Folklife Festival de Washington; del Africa Fête de Marsella, de la gira de conciertos Maracuyeah! y del European Folk Day, todo ello salpicado de ejemplos musicales de artistas involucrados en estas convocatorias. We open with Mundofonias' three favourite albums for June 2023, with the heterodox Bretons Castor et Pollux, the Turkmen bard Oghlan Bakhshi and the South Indian Carnatic roots of Aditya Prakash. We dedicate the rest of the program to some #Mundofonews, focusing especially on the international concert and festival scene. We talk about the Globaltica festival in Poland; Archipiélago 2023, in Madrid; the Smithsonian Folklife Festival in Washington; the Africa Fête in Marseille, the Maracuyeah! concert tour and the European Folk Day, all sprinkled with musical examples of artists involved in these events. Favoritos de junio / June favorites Castor et Pollux - 106 loud - Contrebandes Oghlan Bakhshi - Boy bibi - Journey across the steppes Aditya Prakash - Shifting sa - Karnatic roots #Mundofonews Septeto Santiaguero - El guaguancó es más sabroso - Para los bailadores: En directo desde Galapagar Tenores di Bitti Mialinu Pira - Milia vatu' sa trota Dom Flemons - Rabbit foot rag - Traveling wildfire Selma Uamusse - Hoyo hoyo - Liwoningo Les Frères Smith - Ekolo assiko - Mutation (Castor et Pollux - L'arrivée - Contrebandes)

This week, the #butterchickenboys sit down with a forceful Los Angeles team - singer and musician extraordinaire The Musical Doc, and producer, DJ, and engineer Peter Madana. We begin with @themusicaldoc telling @DJSharad and @DJJuicy about her music filled upbringing. Her parents are both classically trained Karnatic musicians, and her father is an #ethnomusicology PhD. The Doc sang in her gospel church choir growing up, and identified with music even before identifying with her own name. She finished medical school - we know, incredible - and then found her way back to her North Star: music. We then delve into the inspiring teamwork and respect between @petermadana and The Doc. Peter and the boys take a (some may say necessary) tangent into the philosophy of what makes a “foodie,” and then make their way back to the importance of trust, faith, and friendship within a team. The Musical Doc gives us a scintillating #acapella taste from her new record #MelaninandHoney, a project through which her anticolorism message shines through. She's asks, how do you talk about something as taboo, uncomfortable, and deep rooted as #colorism in an attractive way on a mainstream level? Well, she did it - and we highly recommend checking it out!

This week, the #butterchickenboys continue their Tamil tour with their Chennai-born brother Sid Sriram. @DJSharad and @DJJuicy learn about @sidsriram and his illustrious career - from growing up in a family of classically trained Karnatic musicians and his education at #Berkeley College of Music, to working closely with @arrahman and navigating his own path through multiple aspects of his identity. We learn about delectable Tamil cuisine (#SweetAndSpicy), the importance of holding on to your individuality, and the vulnerability and ultimate joy that comes with finding yourself. Catch Sid's album #Entropy, which released in February, and his illuminating melodies and lyrics. We were blown away by his knowledge, and are sure you will be too!

In this sizzling episode, the #butterchickenboys sit down with their Brooklyn-born, Sri Lankan-Tamil sister, @rolexrasathy. @DJSharad, @DJJuicy, and #RolexRasathy (which, as we learn through the episode originated from her dad's endearing texts calling her his rasathy, or queen) discuss different forms of adhering to culture in the diaspora. They speak of Rolex's background in #Jazz and #Karnatic classical, deep love for dancehall and @champagnepapi, and her own trials and tribulations of being a perfectionist. This episode is packed with details from Rolex's journey in the music industry (shoutout to @stevecliffmusic), and is empowering to many sects of society. Grab a napkin and dig in!

We’re kicking off Season 4 with an exclusive interview with Vidya Vox where we accidentally damage her eardrums by singing along with her. We’re the new Desi Spice Girls now and Vidya is leaving her job as a solo artist to join us. That’s once she repairs her eardrums, of course. We discuss her journey from the age of five when she started training in classical Karnatic music and wasn’t the biggest fan of it, to how she almost became a doctor but then ended up being a superstar instead - basically, Vidya is living Meenal’s alternate reality.

Karnataka Kalashree Dr T S Sathyavati, multi award winner and a great exponent of Karnatic music as well as a Sanskrit scholar is touring Australia. In Sydney the incredible artiste presented the works of literary doyen late Pu Ti Na set to Karnatic music. - ಕರ್ನಾಟಕ ಕಲಾಶ್ರೀ ಡಾ. ಟಿ ಎಸ್ ಸತ್ಯವತಿಯವರು ತಮ್ಮ ಕಲಾ ಜೀವನದಲ್ಲಿ ಅಸಂಖ್ಯಾತ ಪ್ರಶಸ್ತಿಗಳನ್ನು ಪಡೆದಿರುವುದಲ್ಲದೇ, ಅವರು ಸಂಸ್ಕೃತ ವಿದ್ವಾಂಸರು ಕೂಡ. ಅವರು ಪ್ರಸ್ತುತದಲ್ಲಿ ಆಸ್ಟ್ರೇಲಿಯಾ ಪ್ರವಾಸ ಮಾಡುತ್ತಿದ್ದಾರೆ. ಸಿಡ್ನಿಯಲ್ಲಿ ಅವರು ಸಾಹಿತ್ಯ ದಿಗ್ಗಜ ದಿವಂಗತ ಪು ತಿ ನ ಅವರ ಕೃತಿಗಳನ್ನು ಕರ್ನಾಟಕ ಸಂಗೀತ ಶೈಲಿಯಲ್ಲಿ ಸಾದರಪಡಿಸಿದರು

In Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India (Duke University Press, 2006) ) Amanda Weidman (scroll down to see her profile) explores how the colonial encounter profoundly shifted the ways South Indian Karnatic music was performed, circulated, and talked about in the twentieth century. The violin became the standard accompanying instrument largely because of the way it could imitate the voice and was seen as modernizing the musical tradition. Karnatic music began to be performed in large concert halls where music reformers expected “pin drop silence” as one would find in European symphony orchestra halls. When musicians published various forms of notation to capture music that had been traditionally passed down orally, new ideas came into being about the composer having sole authorship of a composition. The performers of the music changed as well. Before the early decades of the twentieth century, the only women who could perform South Indian music in public were devadasis, women who came from a community of hereditary musicians and dancers whose repertoire included erotic songs. In the twentieth century various legal, societal, and musical reforms led to the stigmatization of devadasis and their repertoire, while it became acceptable for high-caste Brahmin women to sing in public. Meanwhile, debates about what should be included in the canon of Karnatic music were connected to the language politics of the time, leading to a movement to put Tamil-language compositions on par with the “classical” Telugu and Sanskrit compositions that had become central to the Karnatic music canon of the twentieth century. Amanda was kind enough to speak with me about Singing the Classical, Voicing the Modern. I hope you enjoy the interview. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India (Duke University Press, 2006) ) Amanda Weidman (scroll down to see her profile) explores how the colonial encounter profoundly shifted the ways South Indian Karnatic music was performed, circulated, and talked about in the twentieth century. The violin became the standard accompanying instrument largely because of the way it could imitate the voice and was seen as modernizing the musical tradition. Karnatic music began to be performed in large concert halls where music reformers expected “pin drop silence” as one would find in European symphony orchestra halls. When musicians published various forms of notation to capture music that had been traditionally passed down orally, new ideas came into being about the composer having sole authorship of a composition. The performers of the music changed as well. Before the early decades of the twentieth century, the only women who could perform South Indian music in public were devadasis, women who came from a community of hereditary musicians and dancers whose repertoire included erotic songs. In the twentieth century various legal, societal, and musical reforms led to the stigmatization of devadasis and their repertoire, while it became acceptable for high-caste Brahmin women to sing in public. Meanwhile, debates about what should be included in the canon of Karnatic music were connected to the language politics of the time, leading to a movement to put Tamil-language compositions on par with the “classical” Telugu and Sanskrit compositions that had become central to the Karnatic music canon of the twentieth century. Amanda was kind enough to speak with me about Singing the Classical, Voicing the Modern. I hope you enjoy the interview. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India (Duke University Press, 2006) ) Amanda Weidman (scroll down to see her profile) explores how the colonial encounter profoundly shifted the ways South Indian Karnatic music was performed, circulated, and talked about in the twentieth century. The violin became the standard accompanying instrument largely because of the way it could imitate the voice and was seen as modernizing the musical tradition. Karnatic music began to be performed in large concert halls where music reformers expected “pin drop silence” as one would find in European symphony orchestra halls. When musicians published various forms of notation to capture music that had been traditionally passed down orally, new ideas came into being about the composer having sole authorship of a composition. The performers of the music changed as well. Before the early decades of the twentieth century, the only women who could perform South Indian music in public were devadasis, women who came from a community of hereditary musicians and dancers whose repertoire included erotic songs. In the twentieth century various legal, societal, and musical reforms led to the stigmatization of devadasis and their repertoire, while it became acceptable for high-caste Brahmin women to sing in public. Meanwhile, debates about what should be included in the canon of Karnatic music were connected to the language politics of the time, leading to a movement to put Tamil-language compositions on par with the “classical” Telugu and Sanskrit compositions that had become central to the Karnatic music canon of the twentieth century. Amanda was kind enough to speak with me about Singing the Classical, Voicing the Modern. I hope you enjoy the interview. Learn more about your ad choices. Visit megaphone.fm/adchoices