12 March 2015
Day-1: 11:00 TO 12:30 PLENARY SESSION at Uday Shankar Hall
Remembering My Experiments with Tabla Solo Performances
Shankar Ghosh, Tabla maestro
Hindusthani music is a very interesting combination of its traditional continuity of musical expressions and at the same time immense scope for creative expressions. Tabla was mostly used and understood as an accompanying instrument. The solo performances were mostly limited to common talas. I tried to take up lesser-played talas and formatted the solo that opened up the scope for a long duration tabla solo recital like a solo ina 9 matras tala for three and a half hours. I tried to look deeper into different solo recital components and tried new formatting, sequencing and arrangements.
Key-words: tabla, solo, talas, lesser-played, formatting, creative expressions
Day-1: 11:00 TO 12:30 PLENARY SESSION at Uday Shankar Hall
The ITC Sangeet Research Academy
Ravi Mathur, Executive Director, ITC Sangeet Research Academy
A time honored method of imparting music instruction is the Guru (preceptor) – Shishya (pupil) tradition. The loss of patronage from royalty and the zamindars in our country led to a decline in this system. To help revive and nurture this tradition, the ITC Sangeet Research Academy was created in 1977 as an independent Public Charitable Trust with a mission of perpetuating and propagating Hindustani Classical Music.
The ITC Sangeet Research Academy attempts to create the essence of a Gurukul which provides the comfort of a home to both Gurus and Scholars. Its training system is essentially the Guru-Sishya Parampara with suitable contemporary inputs. Over the 38 years of its existence, ITC Sangeet Research Academy has been home to some of the greatest names in Hindustani Classical Music and has nurtured Scholars who form some of today’s pre-eminent performers and Gurus. We wish to add that we make no claim other than one in which the Academy seeks to continue to look at newer horizons of pedagogical excellence.
ITC Sangeet Research Academy is the embodiment of sustained corporate commitment to a priceless national heritage. A commitment which has remained consistent for 38 years towards what is the world’s first and only professionally managed modern Gurukul. Blending modern day research methods with the purity of the age old Guru-Shishya tradition. It is recognised as the finest repository of Hindustani Classical Music.
Key wrods: ITC Sangeet Research Academy, Guru, Shishya, patronage, gurukul, Hindusthani Classical Music, repository
Day-1: 1:00 p.m. to 2:30 p.m. : Uday Shankar Hall
Contributions of the Courtesans, Baijis and Tawaifs in Kolkata’s Music Scenario
Anindya Banerjee, Musician & Independent Researcher
In 1856, The Nawab of Oudh Wazid Ali Shah forced out of his beloved city of Lucknow and had to set up his second home in a dingy place called Metiaburuj in the outskirts of Kolkata. Wazid Ali Shah, patron of Dance and Music, came here with 300 baijis and cout performers including Pyara Sahib. In fact he brought with him traditions of Kathak and Thumri the two edifice that gave dimensions to Hindisthani Classical Music. With this the cities of Lucknow and Kolkata ties a pleasant bond of cultural heritage. Bai culture became an integral part of upper class Bengali life and formed the part of festivities of Durgapuja,marriage and Holi. Since the days of Nawab’s stay at Metiaburuj to the begining of 20th century a galaxy of Baijis descended upon Kolkata though all of them were described in Colonial literature just as Nautch Girls. Bais were in fact respected even in Court circles. They form the groups from which the court musicians came. Following the steps of the first generation of Kolkata Bais right upto fifties female artist came all over the country and settled in Kolkata. This paper will deal the contributions of these Bais in the classical music scenario in Kolkata discussing both Bengali and Non Bengali Baijis from begining of 19th Century to modern time through audio video clippings.
Key words: Wazid Ali Shah, Metiaburuj, Hindisthani Classical Music, baiji, Bai culture, Kolkata, Bengali, court circles
Day-1: 1:00 p.m. to 2:30 p.m. : Uday Shankar Hall
Thumri Gayaki of Kolkata- an Analytical Study
Dr. Tapasi Ghosh, University of Calcutta & S.P. Nandi, Principal, TIGPS
Hindustani Classical Vocal Music unfolds the majestic beauty of the Raga through a logical and progressive development of notes except for Thumri. Thumri follows no well defined patterns of elaboration but, frequently blends multiple ragas and thus affecting the distinct identity of each of them. It can be said that Thumri unfolds the Bhava within a Raga maintaining the grammar of Raga and Tala like khyaal and exploits various complex style like murki, khatka, meend, zamzama, chhut taan etc. Thumri has mainly two styles- Purav ang and Pashchim ang gayaki and Purav ang has three different gayakies namely Lucknow, Banaras and Gaya gayaki. Now- a-days it is observed that Thumri singers of Kolkata dominate all the festivals and utsavs of Thumri in India and abroad. Though Thumri is originated in Lucknow and Varanasi but at present a number of Thumri singers are there in Kokata. It is likely that Pandita Girija Devi and Bidushi Purnima Choudhury trained a huge number of students in Kolkata. The present study is a qualitative research trying to analyze and find out the common features of the Thumri singers of Kolkata with the help of tools like books, journals, CDs, internet searching, interviews etc. It has been seen that the main part of Thumri ie .Bolbanao is not satisfactory because of lack of command over the language of bandish ie. Hindi, Brajabhasha, Bhojpuri, Maithili or Audhi. Moreover, lack of command over the raga it is difficult to sing proper Bolbanao. It has been seen that many disciples imitate their guru or prominent Thumri singers, even their gesture of performance. On analyzing the gayaki of different Kolkata based Thumri singers it is found that the style they use mostly resemble the Purav ang gayaki and there is no perceptible evidence of uniqueness in styles which can be termed as Kolkata style.
Keynote- Thumri, Kolkata, Purav ang, Bolbanao, style, gayaki, uniqueness
Day-1: 1:00 p.m. to 2:30 p.m. : Uday Shankar Hall
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Day-1: 1:00 p.m. to 2:30 p.m. : Bichitra Bhavan [Ground Floor]
Indian Classical Music Applications in Bengali Theater
Devajit Bandyopadhyay, Independent Researcher
True to the tradition of Indian Culture, in Bengal, eventually in Kolkata, music is all pervasive and has been so from time immemorial. Earthy and cerebral, material and spiritual, music is an effective medium of communication as well as a source of aesthetic fulfilment for human kind. It is music that co-ordinates all the elements of scenic presentation into a harmonious whole which is beyond our imagination. The manifestation of this development in Kolkata, in a term Bengal, moreover in India, was most visible in the theatrical activities since its maiden venture on 27 November 1795. From then on songs, enveloped into melodious and mellifluous classical music, have remained an integral part of Bengali theatre. It was through these songs that dramatic themes and grand conflicts were expressed and reconciled. Progressively, Bengali theatre changed with time. Its evolution was made possible through the contributions of many a profound mind. Its songs too responded to the change. In the process a rich genre of songs came into being — Mancha-Gaan or Theatre-Song, a different term of Natyasangit.
As the Mancha-Gaan is very much theatre specific the composition of music to fit the perceived demeanor resulted in a compound of classical pieces and popular tunes. In the nineteenth century and early twentieth, the composers kept themselves to be loyal to grammatical or musicological framework of the classical ragas they select. Having firm knowledge in classical music, the composers of the time exploited and experimented with the resources they could bank on. On the other hand these songs also helped to popularise classical music. The simple tunes shorn of lengthy expositions, captivated theatre-goers as well as music-lovers, creating an interest in raga music. The proposal for my lecture-demonstration is a tribute, from the perspective of Mancha-Gaan (Theatre-Song), to the thespians who charted the course of classical experimentations and lit up gray skies.
Key words: Bengal. theatre, song, Indian Classical Music, raga, music
Day-1: 1:00 p.m. to 2:30 p.m. : Bichitra Bhavan [Ground Floor]
Identifying Sarod Players in the city Calcutta: 1856 to 1947
Troilee Dutta, Ph.D. Scholar, Department of Instrumental Music, Rabindra Bharati University
During the 2nd half of 19th century, the sarod and sarodiyas had spread over various places across the country. But the majority of sarod activity, in terms of the numbers of performers and performance opportunities, was focussed in the metropolises, out of which Calcutta was by far the most important for the number of sarodiyas it created. In this way, the first half of 20th century Calcutta became noted for a few Bengali sarod players who learnt this instrument from the hereditary and khandani musicians and started performing with immense virtuosity. Thus, a tradition of sarod playing in Calcutta has been increasingly developedby many outstanding Calcutta sarodiyas .They started performing in the prominent conferences of the country, All India Radio and other music circles sharing the same stage with the leading musicians of India and exalted the city as well as the country by representing Indian Classical Instrumental music in the global scenario. Many of the Calcutta sarodiyas of pre-Independent India are lost into oblivion though their contribution to promote sarod and advance the instrumental music in Calcutta will always remain undeniable.This work is an effort to find out the presence and position of Calcutta sarod players before Indian liberation with a brief comparative study of musical centers regarding the practice of sarod and concentration of sarodiyas.
Key words: sarod, Calcutta, sarodiyas, contribution, pre-Independent India, comparative study
Day-1: 1:00 p.m. to 2:30 p.m. : Bichitra Bhavan [Ground Floor]
Indian Classical Music and Bengali Cinema : Revisiting ‘Jalsaghar’ and ‘Devi’
Sookanya Sarker, Ph.D. Scholar, Department of Instrumental Music, Rabindra Bharati University
This presentation is an effort to revisit the musical journey of Satyajit Ray with two legendary figures of Indian Classical Music Ustad Vilayat Khan and Ustad. Ali Akbar Khan. These two music giants worked as Music Directors in Ray’s films Jalsaghar and Devi respectively. The film Jalsaghar was based on the popular short story of Tarashankar Bandyopadhyay. Ray eliminated some aspects of zamindar’s life from the original story and this made the film more austere. Jalsaghar portrays zamindar’s love and respect for Indian Classical Music. In this film Ray used undiluted classical music and Kathak dance, which was new for Indian and Bengali cinema. Jalsaghar used a long vocal rendering, a short alap in veena and a long Kathak piece. The cinema-music featured the famous music legends like Begum Akhtar, Roshan Kumari, and Wahed Khan. Satyajit Ray’s “Devi”(1960) had Ustad Ali Akbar Khan as Music Director. Here the used music style was different from the music of Jalsaghar. We can witness use of Indian Classical Music and mix of other music styles like Tagore’s music. This was a well-thought blend and a graceful match in context of the film. This presentation will discuss the music in context of the film sequences.
Key wrods: Satyajit Ray, film, Indian Classical Music, Vilayet Khan, Ali Akbar Khan, Jalsaghar, Devi, Tagore, zamindar, Kathak
Day-1: 3:30 p.m. to 5:00 p.m.: Uday Shankar Hall
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Day-1: 3:30 p.m. to 5:00 p.m.: Uday Shankar Hall
An Overview of the Changing Selection, Production and Distribution Systems of All India Radio: Working with Indian Classical Music
Debasish Mukherjee, Assistant Director of Programs, All India Radio, Kolkata
All India Radio played a very important role in dissemination of Indian Classical Music amongst the listening public. The AIR presented Indian Classical Music through different sets of programs with different coverage areas, e.g. the local broadcasts and nation-wide broadcasts. It has changed its selection policies through changing the policies of auditioning system. It introduced grading system of musicians. It has also changed its production and archiving system. AIR reviews its policies time to time. AIR also faced challenges to appropriately address the changing demands of time. This presentation will discuss the role and management policies of All India Radio that are directly connected to Indian Classical Music.
Key words: All India Radio, audition, policy, Indian Classical Music, broadcast, coverage, grading
Day-1: 3:30 p.m. to 5:00 p.m.: Uday Shankar Hall
Role of Doordarshan in propagation of Classical Music
Malini Mukhopadhyay, Assistant Director of Programmes, Doordarshan Kendra, Kolkata
With the disintegration of the Princely States, a need for proper support developed in order to encourage the great performers of the Indian Classical genre. This also became increasingly important for the preservation of this traditional art form. All India Radio (AIR) took the pioneering role in this field. With specific reference to the role of Doordarshan, I would like focus my talk on the sources of telecast content, the traditional constraints of dealing with Indian Classical Music on Doordarshan and finally I would like to throw light on the steps taken by Doordarshan for propagation of Classical Music.
Key words: Indian classical music, Doordarshan, All India Radio, preservation, role, propagation, traditional, telecast, content, constraints
Day-1: 3:30 p.m. to 5:00 p.m.: Bichitra Bhavan [Gr. floor]
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Day-1: 3:30 p.m. to 5:00 p.m.: Bichitra Bhavan [Gr. floor]
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Day-1: 3:30 p.m. to 5:00 p.m.: Bichitra Bhavan [Gr. floor]
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13 March, 2015
Day-2: 10:30 TO 12:00 PLENARY SESSION at Uday Shankar Hall
Classical Music in Kolkata in the early 20th century: Re-reading Amiyanath Sanyal
Amlan Dasgupta, Professor, Department of English Jadavpur University & Director, School of Cultural Texts and Records, Jadavpur University
The paper offers a reappraisal of the depiction of the musical culture of Kolkata in the early decades of the 20th century in Amiyanath Sanyal’s celebrated account Smritir Atale (In the Recesses of Memory).
Day-2: 10:30 TO 12:00 PLENARY SESSION at Uday Shankar Hall
The Kolkata Shoilee of Khayal
Dr. Asit Kumar De, Senior Professor & Head, Theory Division, Saha Institute of Nuclear Physics and Vocalist
The main subject of the presentation would be, how influences of major khayal and dhrupad gharanas and other factors including important personalities have shaped the current prevalent style of khayal-singing in and around Kolkata. The discussion will focus on the choice of ragas, talas, bandishes, tempo of the tala, different khayalangas including tana patterns, and ornamentations and embellishments that characterize the major stream of khayal singing in Kolkata. The current form of the popular Kolkata-style Khayal where an elaborate exposition of fast sargam and sapat-tankari immediately follow the bol-vistar in the so-called 48-matra vilambit Ektala will be compared with the traditional forms.
Keywords: Khayal, Raga, Tala, Bandish, Khayalangas, Kolkata
Day-2: 12:30 p.m. to 2:00 p.m. : Uday Shankar Hall
Music Criticism versus Value of Art with a Focus to Music Criticism in Kolkata
Goutam Ghosh, Associate Professor, Department of Instrumental Music, Rabindra Bharati University
Music criticism is nothing but an intellectual activity of applying appropriate analysis method to evaluate the quality of musical performance in live and recorded forms. The musicologist Winton Dean once said, “Music is probably the most difficult of the arts to criticize.” In my view, a critic helps to understand the music enthusiasts about the musicians’ creations through critical analysis. The critics comprehend and interpret the created art pieces. They require to have deep insight of the art-style. As an evaluator a critic is supposed to be able to judge between good, less good and the bad. They serve moral duties for the society by sifting the art carefully. Appropriate criticisms present useful pointers for artists to think ahead for more successful productions. In Kolkata Indian classical Music criticisms has its long standing. The critics opted for varying styles of criticisms to cater to the requirements of the art, the readers and the presentation media. My effort will be to objectively present the involved music-criticism practices in the city.
Key notes: Winton Dean, critique, insight, music, art works, pointers, Kolkata
Day-2: 12:30 p.m. to 2:00 p.m. : Uday Shankar Hall
Music Criticism: The Educated Listener Matters
Arpita Chatterjee, Independent researcher
This presentation will take a bird’s eye-view of the changing styles of musical performance (19th century – present day) and how that has had an impact on the educated listener/music critic. It will also compare the different styles used to write about music performances, by citing examples and will attempt to explain the invaluable role of music criticism in the preservation of Indian classical music.
While critically examining the impact of changing attitudes, the presentation will also try to look at new ways in which the educated listener can contribute to ensuring that the Hindustani music tradition remains protected.
Key words: musical performance, music education, communication skills
Day-2: 12:30 p.m. to 2:00 p.m. : Uday Shankar Hall
In the Shadow of Reforms: New Listeners and Publicists in Bengal (1940-1970)
Sagnik Atarthi, PhD. Scholar, Centre for Studies in Social Sciences, Calcutta
Taking cue from recent historical scholarship this paper looks at the diffusion and reception of classical music (North Indian/Hindustani) in the Bengali context from a ‘public cultural’ perspective. It traces the emergence of a new constituency of listeners and the connoisseurship of classical music in Bengal in the wider background of public sphere transition and musical reforms in modern India. The paper will mainly focus on the developments in concert life of Calcutta around the mid-twentieth century considering the new relationship between listeners, critics and musicians in the altered context. The concluding section will briefly address the transformation of music and listening in the present and argue for the specificities of appreciation within an established regime of taste and connoisseurship.
Keywords: North Indian classical music,Bengal, publics, modernity, reform, democratization, listeners, sociality, appreciation, criticism, mediation, praxis
Day-2: 13 March 12:30p.m. to 2:30 p.m. | Aban Mancha]
Miscellaneous Music Applications in Kolkata
3:30 p.m. to 5:00 p.m.: Aban Mancha
Development of Solo Pakhawaj Playing Style in North Calcutta
Partha Pratim Choudhury, Guest Teacher, Department of Instrumental Music, Rabindra Bharati University
A pakhawaj gharana has been operating in the Thanthania and Baghbazar area of North-Calcutta for more than 200 years. This activity is the result of Lala Keval Kishan’s taking refuge in Calcutta. Lala Keval Kishan was a court musician of Ali Gauhar (1728-1806) widely known as Shah Alam-II. The zamindars of Thanthania, the two brothers, Nimai Chakraborty and Shriram Chakraborty offered hospitality to Keval Kishen, kept him in their house, and accepted him as their Guru. This was the starting point of a new gharana in north-Calcutta that was mainly centred to Baghbazar and Thanthania area. Mridangacharya Murari Gupta was the outcome of this noble gesture of the earlier mentioned Chakraborty brothers. He had the opportunity to learn with Nimai Chakraborty. Murari Gupta trained a number of students and made efforts to disseminate this pakhawaj playing style. Among his students the most prominent names are Durlabh Bhattacharjee and Lal Chand Baral. This new generation of pakhawaj players started teaching and this chain went on. As a result this produced a line of pakhawaj players with the passage of time. This gharana worked on pakhawaj and developed a style of solo performance when pakhawaj was mainly used as an accompanying instrument. My presentation will try to unfold the solo performance style of pakhawaj as developed in this gharana.
Key words: pakhawaj, north-Calcutta, Thanthania, Baghbazar, Keval Kishen, Durlabh Bhattacharjee, Lal Chand Baral, solo.
Day-2: 13 March 12:30p.m. to 2:30 p.m. | Aban Mancha]
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Day-2: 13 March 12:30p.m. to 2:30 p.m. | Aban Mancha]
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Day-2: 13 March 12:30p.m. to 2:30 p.m. | Aban Mancha]
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