Hindustani Music with Kaustuv Kanti Ganguli

PHONOS CONCERTS 2015-2016
Hindustani Music
with
Kaustuv Kanti Ganguli
Disclaimer: The above figure is just a representation of the note names used in Hindustani music
for ease of mapping with Western scale
Raga
Tone Material
Description
Lalit
SrGmMdN
Raga Lalit is a dawn melody with a melancholic
and meditative mood
Desh
SRGmPDnN
Raga Desh is an evening raga with a happy mood,
generally associated with monsoon
Brindavani Sarang
SRmPnN
Raga Brindavani Sarang is a late-afternoon melody
with a cheerful mood
Khamaj
SRGmPDnN
Raga Khamaj is an evening melody, mostly used in
light classical forms
Pilu
SRgGmPDnN
Raga Pilu is mostly used in light classical music
compositions as Thumri, Dadra
Kalyan
SRGMPDN
Raga Kalyan is an evening melody with a calm and
devotional mood
Bhairavi
SrgmPdn
Raga Bhairavi is a morning melody, but Mishra
Bhairavi is usually sung to end a concert
Taḷa
Taḷa Structure
Description
Friday December 18th, 2015
19.30h
Sala Polivalent
UPF Poblenou
C/ Roc Boronat 138
Barcelona
Vocals:
Kaustuv Kanti Ganguli
Jhaptal
Jhaptal is a 10-beat rhythmic cycle with a 23-2-3 asymmetric sub-division
Tabla:
Ramon Rodríguez Gómez
Teental
Teental is a 16-beat rhythmic cycle with a 44-4-4 symmetric sub-division
Ektal
Ektal is a 12-beat rhythmic cycle with a 3-33-3 symmetric sub-division
Phonos concerts http://phonos.upf.edu/
Organised by:
With the support of:
Introduction
Concert Program:
Hindustani music is a great art music tradition from the northern part of the Indian subcontinent, popularized in the west by the likes of Ravi Shankar. Evolved through many centuries, the contemporary form is
1. Rein Ka Sapna
primarily improvisatory, based on a melodic framework called rāg and rhythmic framework called tāl.
Raga: Lalit, Taḷa: Ektal, Composer: Traditional, Form: Alap & Bada Khayal
There are various forms within Hindustani music such as dṛpad, khayāl, ṭumrī and bhajan that have diffe-
Bada khayal is a slow/medium tempo composition; this song describes a person reminiscing the uncer-
rent characteristics, varied musical complexities and serve different purposes. Predominantly an oral tradition, the performance nuances are influenced by music lineages called gharānās. The concert mainly
includes a lead performer, with a melodic accompaniment (a harmonium or a sārangī), a rhythmic accompaniment (a tabla or a pakhāvaj) and a tānpura, which acts as a drone throughout the concert.
This event is part of CompMusic project, a research project funded by the European Research Council
tainty of night’s dream.
2. Karam Kar Dije
Raga: Desh, Taḷa: Teental, Composer: Traditional, Form: Short Alap & Chota Khayal
Chota khayal is a medium tempo composition; this song describes a prayer to Khwaja Moinuddin.
and coordinated by Prof. Xavier Serra from the Music Technology Group of the Universitat Pompeu Fabra in Barcelona (Spain). It aims to advance in the automatic description of music by taking a culture
3. Jaaun Mein Tope Balihar
specific approach. It carries research within the field of information technologies but taking an interdisci-
Raga: Brindavani Sarang, Taḷa: Teental, Composer: Traditional, Form: Aaochar & Chota Khayal
plinary approach. The project focuses on five music traditions of the world: Hindustāni and Carnatic mu-
This chota khayal is a fast tempo composition; this song describes one’s surrender to the almighty.
sic of India, Makam music of Turkey, Beijing Opera, and Arab-Andalusian (Maghreb) music.
http://compmusic.upf.edu/
4. Chalo Man Ganga Jamuna Teer
Raga: Mishra Khamaj, Taḷa: Bhajni Keharwa, Composer: Traditional, Form: Bhajan
Artists Biographies
Bhajan is a devotional form of music with high priority on lyrics and sentiment; this song is a description of
Kaustuv Kanti Ganguli
the natural beauty of Lord Krishna’s birth place.
Kaustuv Kanti Ganguli is a professional vocalist, an engineer and a budding musicologist trained in Hindustani music tradition (North Indian Art Music). Hailing from the Patiala gharana (music-lineage), he is
proficient in Khayal, Dhrupad, Thumri-Dadra, Bhajan and other forms of Hindustani music. Initiated into
music at an age of 4 through his grandfather Late Phanindra Mohan Ganguli, he has continued his musical training since the age of 7 with vocal maestro Pt. Ajoy Chakrabarty, first at his institution Shrutinandan and later as a scholar at ITC Sangeet Research Academy, Kolkata.
5. Kate Na Biraha Ki Raat
Raga: Mishra Pilu, Taḷa: Jat, Composer: Bade Ghulam Ali Khan, Form: Thumri
Thumri is a form of light classical music where lyrics play the major role; this song describes the grief in
absence of one’s beloved.
Kaustuv has been actively performing in various cities of India since the age of 12 in prestigious concerts
such as the Dover Lane Music Conference and the Pt. Vasant Rao Deshpande Smruti Samaroha, to na-
6. Ami Rup-e Tomay
me a few. He has received the President's Award for winning the All India Radio National Competition
Raga: Kalyan, Taḷa: Non-metered, Composer: Rabindranath Tagore, Form: Tagore Song
(2011). He is also a recipient of the 'Scholarship to Young Artiste' from the Ministry of Culture, Govt. of
Tagore song is highly enriched with lyrical significance; this song describes one’s personality from the
India (2010) and scholarships from the National Center for the Performing Arts, Mumbai, India (2012)
perspective of his/her musical identity.
and the Indian Music Academy, Mumbai, India (2013).
Presently, Kaustuv is a part of CompMusic project (funded by the European Research Council) as a
7. Bhavani Dayani
Ph.D. student at the Indian Institute of Technology Bombay, Mumbai, India.
Raga: Mishra Bhairavi, Taḷa: Jhaptal, Composer: Traditional, Form: Bhajan
This is an example of Bhajan where the raga elaboration also finds its place; this song is a description of
Ramon Rodríguez Gómez
Ramon Rodríguez Gómez is a Tabla performer
trained in Italy, India and Spain. Graduated in
"Tradizioni musicali extrauropee ad indirizzo indologico" by Arrigo Pedrollo conservatory in Vicenza
(2014), he took tabla classes with Pandit Sankah Chatterjee, and singing classes with Sangeeta
Bandhyopadhay. He has studied Tabla and Hindustani music at Swami Shivananda Ramesh Music
School & Arts , and Kanjeera and Carnatic music at Sri Jaya Ganesh Tala Vadya Vidyalaya , in India.
He has participated in several musical projects, including own projects of oriental inspired and fusion
music, and collaborations as a performer with other artists.
Ramon also teaches tabla and percussion in different music schools (Igualada, Castelldefels, Barcelona...) and offers auditions of percussion instruments from around the world.
Goddess of power: ‘Maa Durga’.
8. Sloka
Raga: Miscellaneous, Source: The Veda, the Upanishada & others, Form: Chanting
Sanskrit slokas are chanted to create a meditative, calm and peaceful environment; this piece is a garland
of Sanskrit slokas composed spontaneously in different ragas.