(ICM)[LP][24/96](mono) Ravi Shankar - Music of India - 1962, APE (image+.cue), lossless

 Статистика раздачи 
Размер: 401.69 МБ   |  Зарегистрирован: 18 сен 2011, 20:48   |   .torrent скачан: 0 раз
Сидеров: 0  [ 0 байт/сек ]     Личеров: 0  [ 0 байт/сек ]  
Аватара пользователя
Главный редактор
Главный редактор
Раздал: 90.01 ТБ
Скачал: 3.78 ТБ
Ратио: 24.248
Сообщения: 273621
Стаж: 9 лет 1 месяц 12 дней
Откуда: Санкт-Петербург

[LP][24/96]Ravi Shankar - Music of India 1962 (mono)
Жанр: ICM
Год выпуска диска: 1962
Производитель диска: India
Продолжительность: 45:24
Аудио кодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
accompanied on the Tabla by KANAI DUTT
and supported on the Tamboura by Nodu Mullick
1. RAGA HAMSADHWANI. A pentatonic Raga in a major scale which omits the "fourth" and "sixth"! It Is more popular in South India where the musicians usually begin a performance with this Raga. The main theme or the Gat that Ravi Shankar plays is his own composition and is in Rupak-TAl of seven beats.
2. DHUN KAFI. Kafi is a popular Raga of the Spring depicting principally the "mood picture'* of Lord Krishna, the Love God, malting merry with lovely gopinis (milkmaids) in the "Holi" season (the colour festival). The Dhun is a medium Tin-Tal (16) followed by a fast Gat also in Tin-Tal (16).
1. RAGA RAMKALI. A morning Raga depicting principally the moods of devotion. It uses the "minor second" And the "minor sixth" and often the "augmented fourth". This recorded piece is a shortened form of a concert performance that Ravi Shankar would normally give to an Indian audience lasting about two, hours, demonstrating all the movements of solo-playing, i.e. Alap, Jor, Jhala as well as slow, medium and fast-"Gats" accompanied by the Tabla. The "Gats" played here are in Tin-Tal (16).
RAVI SHANKAR. Born in 1920, at Benares, the seat of Hindu Culture, Ravi Shankar left his home soon, contrary to the orthodox ideals then prevailing, and joined his brother, Uday Shankar, for a long spell of activities abroad. It was in his brother's troupe that he began his career of music and dance.
In his travels he had the opportunity of hearing the West's great music. His consequent understanding and respect for Western music have greatly helped in his unique success in interpreting the highly emotional and complex gamut of Indian music to Western audiences.
On his return to India, his craving for classical music led him to Ustad Allauddin Khan, one of the greatest living musicians. After years of rigorous training in the technique of the sitar and music in general, he started anew as a classical soloist and soon established himself in the front rank of young musicians. Richer with the foundat ion of classical values, he started experiments in orchestrating Indian music on a hitherto una (tempted scale, and successfully founded, composed for, and conducted the National Orchestra at All India Radio. He was the first classical musician to set a pattern of creative compositions and orchestration, and also conducted his own works.
SITAR: The most popular it ringed instrument of India. It has existed there in its present form for approximately seven hundred years. Fashioned from seasoned gourds and teak wood, it has a track of twenty metal frets and six or seven main playing strings above them, and thirteen sympathetic resonating strings. The sympathetic strings are alio strummed upon occasion with the little finger of the right hand inserted in the main strings. The instrument fa tuned to the Raga being played and the main strings are plucked by a wire plectrum worn on the index finger of the right hand.
TABLA: The most popular two-piece drum of India. The right hand drum (the Tabla) fa tuned to the tonic, dominant or sub-dominant, and often might be retuned with the tuning hammer during a performance. The left hand drum (the Banya) acts as the bass drum and Is capable of many tones which can be varied by degree of pressure
from the base of the left palm.
TAMBOURA: A four or five stringed Instrument which gives an essential drone background to all Indian music It is also tuned to the Raga, and emphasizes the tonic and dominant or the sab-dominant.
RAGA. It is difficult to explain a Raga to the Western listener because it is neither a scale nor a mode. It is simultaneously a precise, subtle and aesthetic melodic form that has its development in three stages. The first stage is "Mela" or scale. Compared with the two scales of Western music, there are 72 Melas according to the traditional system which are known as skeletons or parent scales on which Ragas are based.
The second stage is the ascending and descending structure of the Riga, known as "Arohana" and "Avarohana". The emphasis on a particular note or the slide from one note to another and the use of microtones along with other subtleties leads to the final stage, the Raga. There are full octave, six-note and five-note Ragas. And by permutations and combinations of all these, thousands of Ragas have come into being with new ones still being created. Ail of them are associated with different times of day and night, seasons, and ceremonial occasions. They all have an individual and principal mood such as tranquillity, loneliness, eroticism, heroism, etc., and the performer is encouraged to give his own interpretation. DHUN. DHUN literally means a light air or melody in which the player reverts to the theme again and again after various impromptu portrayals of the shades of different Ragas, folk or regional tunes which may pass through the artiste's mind at the time.
ALAP: The first movement of the Raga* It Is a slow, serene movement acting as an invocation and gradually
develops the Raga.
JOR: Begins with the added clement of rhythm which, combining with the weaving of innumerable melodic
patterns, gradually gains In tempo and leads to the final movement.
JHXLA: The final movement and climax.
CAT: A fixed composition specially for instruments. A Gat can be in any Test and can be spread over from two
to sixteen of its rhythmic cycles in any tempo, slow, medium, or feet.
RUPAK-TAL: A rhythmic cycle of seven beats divided 3-2-2
TIN-TAL: A rhythmic cycle of sixteen beats divided 4*4-4*4
- Класс состояния винила: vg
- Устройство воспроизведения pro-ject
- Предварительный усилитель: tube phono pre-amp (handmade)
- АЦП m-audio firewire
- Программа-оцифровщик Sound forge 7.0
- Обработка НЕТ
- Формат записи (Bit/kHz) 24/96
- Формат раздачи (Bit/kHz) 24/96
Не забывайте говорить Спасибо. Не уходите с раздачи!   
Торрент: Зарегистрирован [18 сен 2011, 20:48]
.torrent скачан: 0 раз
Хэш: e503c49a0f2b8e160e4531de93f8eeb5694e2d51
Размер: 401.69 МБ (421 201 837 байт)
   Стать Автором раздачи

Вернуться в Фольклор, народная и этническая музыка (оцифровки)

Кто сейчас на конференции

Сейчас эту тему просматривают: нет зарегистрированных пользователей и гости: 1