Amit Chowdhary was content to sing songs on his guitar until he heard Govind Prasad Jaipurwale and was impressed by his beautiful voice as he went through the bhajans and devotions his mother wanted to learn. “She was a great voice to listen to—the tone of her voice, and a dexterity that made you believe she could do with it anything she chose to do. She sang softly, without insistence, and almost never heard a single word.” did not sing the same phrase twice. His aim, achieved humbly, was to surprise and amaze,” Chaudhuri writes in his book, finding a chord, a memoir about music and relationships. Choudhury wanted to do what he was doing, and thus began a long journey in Indian classical music. Also, his writing career took off a strange and sublime address and many other fiction and non-fiction.
in search of pleasure
Chaudhary will soon listen to Bhimsen Joshi. As he began to “explore the notes of the thumri, in passionate detail,” Choudhury felt the urge to repeat what he heard, which seemed almost impossible. “Har Meeting – Kishori Amonkar; Bhimsen Joshi; Singer Balgandharva – was a jerk.” Years later he would ask Amonkar what she was looking for in her music. She said that she was looking for Anand (Anand or Ananda), and shared it with her listeners and everyone else. In his book, Choudhury traces the history of the khayal (Arabic for ‘imagination’ and ‘thought’, ‘thought’, ‘sad’ in Urdu) through the qawwali singers of the Sufi sect of King Jahangir. had entered the reign of the Mughal court; and how Khayal is the development of an older form called Dhrupad.
Namita Devidayal like Chaudhary music room On a personal note also begins how his mother dragged a reluctant 10-year-old to Bombay for music lessons with Dhondutai, who had trained with the famous Kesarbai Kerkar. In his first recitation, Dhondutai tells him to close his eyes and listen to the singer’s “loyal accompanist”, Tanpura. As the four notes were played repeatedly, Devidayal felt it produced a “continuous murmur of peace”. Her teacher sang her only one note, sa, foundation, first and last note, the point where the circle begins and ends, until the sound of her sa matched that of the tanpura. “Sa contains all the notes, just as pure white light contains all the colors of the rainbow,” said Dhondutai to the younger student.
Musicians lead a life devoted to their art, and one of the most cherished practitioners of the craft is MS Subbulakshmi. In his excellent biography, of brilliant voiceKeshav Desiraju writes in the preface that she was a classical musician of the highest order, and “it is such that her life’s work should be assessed.” Apart from portraying the genius of MS Subbulakshmi, Desiraju portrayed Carnatic music for its richness as well as the social and political environment prevailing during her long tenure. Devidayal Biography of Sitar player Vilayat Khan ( Vilayat Khan’s sixth episode) is a rich addition to the literature on Hindustani classical musicians.
music layer
In a country as diverse as India, the varieties of music are bound to be layered as well. As Desiraju writes, “It is common today for the Hindustani and Carnatic music systems to be regarded as the ‘classical’ music of North and South India; it cannot be denied that the two distinct traditions coexist. not evolved over a longer period, but derived from the same base material. For example, both are based on ragas, but ragas are “handled differently.”
Many more biographies or biographies need to be written on and by the greats of Indian music. For example in rock music, Bob Dylan set the bar high in the first part of his memoirs, history (2004), where he talks about his early years, his writing section (just before writing the album ‘Oh Mercy’) and its influences. A second book on the American musical tradition, philosophy of modern songTo be released this November.