INDIA INTERNATIONAL CENTRE Volume XXVIII
diary Price Re.1/- INDIA INTERNATIONAL CENTRE volume XXVIII. No. 2 March – April 2014 composed Carnatic music in Hindustani ragas as well as Same Difference NottuSvarams inspired by British band music; in recent MUSIC APPRECIATION PROMOTION: The North–South years, Carnatic ragas such as Hamsadhwani and Convergence in Carnatic and Hindustani Music Charukeshi have been adopted enthusiastically by the Panelists: Subhadra Desai, Saraswati Rajagopalan north; Maharashtrian abhangs have become staples at and Suanshu Khurana Chair: Vidya Shah, March 21 Carnatic concerts; Indian classical music has shown a PERFORMANCE: A Celebration of Carnatic and willingness to naturalise Western imports such as the Hindustani Music violin, guitar, saxophone, mandolin and even the organ. Carnatic Vocal Recital by Sudha Raghunathan So what this really means is that you have two distinct Hindustani Vocal Recital by Meeta Pandit systems, with often disparate ideas about what constitutes Collaboration: Spirit of India, March 22 good music production, but tantalisingly similar lexicons and grammatical constructs that occasionally become the This was a thought-provoking discussion-demonstration basis for some interesting conversations. on the convergence between Carnatic and Hindustani music, two systems divided by a putatively common These insights kept coming to mind the next evening, musical language. The audience certainly converged; as to when the clamour of birdsong at the picturesque Rose the systems, it was largely a revelation of their divergences, Garden heralded performances by Meeta Pandit of the though a very interesting, and at times even amusing one. Gwalior gharana and then Sudha Raghunathan, the Madras Music Academy’s Sangeeta Kalanidhi for this Carnatic training begins with the raga Mayamalavagaula, year.
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