Overtone Music Network

a common space for harmonic overtones

(Classical) Indian Music & Overtones

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(Classical) Indian Music & Overtones

For all who include classical (north-) indian music in their concerts or therapeutical settings

Members: 21
Latest Activity: Jan 7

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Erfahrungen mit Raag Bhupali 3 Replies

Seit über 20 Jahren versuche ich nun, das Phänomen der indischen Ragas zu ergründen. Immer wieder habe ich Pandits und Ustads mit meiner Frage gelöchert, welche Wirkung der eine oder andere Raga denn…Continue

Tags: music, indian, Raga

Started by Thomas Meisenheimer. Last reply by brigitte geuss Jun 24, 2011.

Die Wirkung von Raga Malkauns

Der pentatonische Mitternachts-Raga Malkauns ist für mich wie eine nächtliche Liebeserklärung.Er wird oft auch Malkosh genannt - darin steckt das Wort "Kaushika", das man mit "Leidenschaft"…Continue

Started by Thomas Meisenheimer Mar 16, 2011.

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Comment by Rollin Rachele on October 29, 2011 at 12:05pm
Happy to join this group and to share ideas and talents with everyone.
Comment by Skye Løfvander on August 17, 2011 at 1:17pm
The two performers are remarkable vocal artists. By moving to the source of the sounds they create sonic universes of enthralling beauty. Expect to be touched and make ready for an inner journey to the common source of speech, music, number, time and space. The two musical expressions merge in modal tonalities with deep meditative qualities.
Dhrupad singing is the oldest sacral singing tradition of the world. It has roots back to vedic India where it originally served as temple music. Later, under the patronage of the mughal rulers, it became court music and developed into a classical art form. It is characterized by a subtle mastery over sound, melody, intonation and rhythm.
Overtone singing has a focal point in the shamanic cultures of Central Asia, but in the last few decades western singers have taken up the challenge to create a singing style which takes advantage of the techniques from the east in a cross fertilization with Gregorian, Byzantine and other traditions, adding new dimensions to this fascinating vocal expression. Listeners will notice sequences where the singer moves in two apparently separate layers three octaves apart, the upper layer with an enchanting, flutelike quality.
Dhrupad singer Ashish Sankrityayan is based in Delhi and has studied Dhrupad - the ancient North Indian court and temple music genre for nearly twenty years from various singers associated with the Dagar style. Based on his studies with many traditional singers of the Dagar vani, and his own researches on Dhrupad, Ashish has developed his own syncretic and highly eclectic view of the Dagar style, combining influences from many maestros he has studied from or heard.
Skye Löfvander is based in Denmark and has studied overtone singing for a dozen of years, also involving himself in arranging concert, establishing associations and the pedagogy and philosophical aspects of the art form.
The two artist have performed together during six years giving numerous concerts.
 

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