Lecture demonstration in Pune on june 1, 2010 on raga experience. this 15 mt section shows the importance of Guru and the oral-aural tratdition and futility of books and recorded music in understanding raga. No recording available in the market brings out the Gaud Malhar aspect of Ramdasi Malhar. This is the most important aspect of the raga. Most artists have preferred to sing Miyan Malhar with the application of shuddha gandhar and termed it as Ramdasi Malhar. My guru who was the last performing disciple of Late Pundit Ramkrishnabua Vaze had told me clearly that the madhyam applied in Ramdasi Malhar is that of Gaud Malhar. I discovered from Rag Vigyan by Late Pundit Vinayakrao Patwardhan that this is also accompanied by the 'dh ni pa' (komal nishad) phrase to mark the Shahana ang in Ramdasi Malhar, which is also neglected by many artistes. The element of 'ni sa re ga ma' with komal nishad sounding like that of Bhim Palas this raga is not as simple that some pedagogic book tell us.
ALso this is the first attamept to show that experience of raga is different at different times and situations. Even the same raga will seldom give the same experience even if rendered by the same artiste at the same recommended time. This lead me to proposing for the first time that Quali is not the right method of understanding raga fully well. As such books and recordings do a disservice be limiting learners' capacity to imagine different acoustic, emotional, spiritual etc values of raga.
No comments:
Post a Comment