Ravi Shankar, Polar Music Prize Laureate 1998 Ravi Shankar

Total Page:16

File Type:pdf, Size:1020Kb

Ravi Shankar, Polar Music Prize Laureate 1998 Ravi Shankar Ravi Shankar, Polar Music Prize Laureate 1998 Ravi Shankar – legendary sitar player, composer, teacher and, in recent years, far and away India’s most outstanding ambassador of music, is awarded the 1998 Polar Music Prize for nearly six decades of achievement as a brilliant performer and explorer of his country’s art music and at the same time a leading representative and communicator to western civilisation of the musical traditions of the Orient. In India itself, his position as a master of his instrument, the sitar, was long established when, in the 1950,s he embarked on the international career which was eventually to earn him a global reputation in music. Through innumerable concert tours, gramophone recordings and joint projects in large parts of the world, Ravi Shankar has done more than anybody else to build bridges of growing understanding and interest between Eastern and Western music. His innate curiosity and desire for exploration beyond the established boundaries – always in a process of mutual inspiration – have led him to establish friendships and fruitful contacts with eminent musicians in many different places and many different kinds of music, ranging from Yehudi Menuhin to Hosan Yamamoto and The Beatles. As regards his own musical language, the result has been an extensive amalgamation of Indian and various western elements, for example in both musicals and film music. For half a century now, a half-century characterised by pluralism and by a breath- taking global development of cultural interchange, Ravi Shankar, by virtue of his consummate musicianship and his unique efforts for the propagation of his country’s music, has stood out as one of the great musical personalities of our time. PO Box 55777, SE-114 83 Stockholm, Sweden. Phone: +468 629 53 00. Fax: +468 662 50 00. [email protected] | www.polarmusicprize.org .
Recommended publications
  • High Court for the State of Telangana
    COURT NO. 13 THE HONOURABLE SRI JUSTICE CHALLA KODANDA RAM To be Heard on Tuesday The 20th day of July 2021( AT 10:30 AM - VIRTUAL MODE ) (MOTION LIST) SNO CASE PETITIONER ADV. RESPONDENT ADV. DISTRICT FOR ADMISSION 1 CRP/1064/2021 U SHANTHI BHUSHAN RAO KARIMNAGAR IA 1/2021 2 CRP/1068/2021 M JANARDHAN RAO RANGA REDDY IA 1/2021 3 CRP/1069/2021 M JANARDHAN RAO KARIMNAGAR IA 1/2021 4 CRP/1070/2021 M JANARDHAN RAO KARIMNAGAR IA 1/2021 5 SA/130/2021 N ASHOK KUMAR NALGONDA IA 1/2021 6 TRCMP/124/2021 J SRI RAMA KRISHNA MAHABUBNAGAR INTERLOCUTORY 7 AS/161/2021 SHAIK MADAR KHAMMAM IA 1/2021 8 CCCA/63/2021 VEDULA CHITRALEKHA HYDERABAD IA 1/2021 D MADHAVA RAO R-1-DIED VIDE C.T.(PER LRS OF RR-2 TO 5) CAVEAT FILED BY M/S D.MADHAVA RAO(2620)FOR R-3 9 CCCA/64/2021 VEDULA CHITRALEKHA HYDERABAD IA 1/2021 D MADHAVA RAO R-1-DIED VIDE C.T.(PER LRS OF RR-2 TO 5) CAVEAT FILED BY M/S D.MADHAVA RAO(2620)FOR R-3 1 COURT NO. 13 THE HONOURABLE SRI JUSTICE CHALLA KODANDA RAM To be Heard on Tuesday The 20th day of July 2021( AFTER MOTION LIST - VIRTUAL MODE ) (DAILY LIST) SNO CASE PETITIONER ADV. RESPONDENT ADV. DISTRICT PART-HEARD 10 SA/173/2015 J V S H SASTRY SRINIVAS BOBBILI RANGA REDDY IA 3/2015(SAMP 2200/2015) C SUBBA RAO RAVI SHANKAR JANDHYALA IA 1/2016(SAMP 216/2016) S V RAMANA (P) Proof of payment Memo filed By Appellants Vide Usr No.4864 Dt 30/01/2021 ( HEARD-IN-PART ) INFRUCTUOUS MATTERS 11 CMA/971/2013 M SRIKANTH REDDY A TULSI RAJ GOKUL HYDERABAD IA 1/2015(CMAMP 541/2015) RR 1TO3 APP CRP/4686/2013 RR 4&7 UNSERVED RR 5,6&8 SERVED 12 CRP/4686/2013 A TULSI RAJ GOKUL M SRIKANTH REDDY HYDERABAD IA 1/2013(CRPMP 6376/2013) FOR JUDGMENT 13 CCCA/106/2006 THE ADVOCATE GENERAL (TG) A RAVINDER REDDY HYDERABAD IA 5/2006(CCCAMP S DWARAKANATH 6360/2006) ::Sri Raj Kumar Rudra,SC for TSHWCS for IA 1/2018 Appellant IA 1/2019 FOR APPEARANCE 14 CC/187/2021 KONDAPARTHY KIRAN KUMAR A P SURESH RAM NALGONDA RR 1TO 20 NOTICE SERVED.
    [Show full text]
  • Saregama India Limited Music | Films | Web Series | Tv Serials
    SAREGAMA INDIA LIMITED MUSIC | FILMS | WEB SERIES | TV SERIALS ANNUAL REPORT 2020-21 B O A R D O F D I R E C T O R S Dr. Sanjiv Goenka Mr. Santanu Bhattacharya (DIN: 00074796) (DIN: 01794958) Chairman (Non-Executive) Non-Executive Independent Director Mrs. Preeti Goenka Mr. Arindam Sarkar (DIN: 05199069) (DIN: 06938957) Non-Executive Director Non-Executive Independent Director Mrs. Avarna Jain Mr. Noshir Naval Framjee (DIN: 02106305) (DIN: 01646640) Non-Executive Director Non-Executive Independent Director Mr. Vikram Mehra Mr. Umang Kanoria (DIN: 03556680) (DIN: 00081108) Managing Director Non-Executive Independent Director Ms. Suhana Murshed Ms. Kusum Dadoo (DIN: 08572394) (DIN: 06967827) Non-Executive Independent Director Non-Executive Independent Director (w.e.f March 23, 2021) (period June 5, 2020 - Feb 4, 2021) Registered Office - Kolkata Chief Financial Officer - Mr. Vineet Garg 33, Jessore Road, Dum Dum, Kolkata - 700028, West Bengal. Company Secretary - Ms. Kamana Goenka Phone: (033) 2551 2984, 2551 4773 e-mail: [email protected] Bankers CIN : L22213WB1946PLC014346 Punjab National Bank (erstwhile United Bank of India) Website : www.saregama.com State Bank of India ICICI Bank Limited Head Office - Mumbai 2nd Floor, Spencer Building, 30, Forjett Street, Statutory Auditor Grant Road (W), Mumbai – 400 036 BSR and Co. LLP, Chartered Accountants Phone: (022) 6688 6200 (ICAI Firm Registration Number - 101248W/W-100022) Regional Offices Internal Auditor Ernst and Young LLP Delhi Secretarial Auditor A-62, 1st Floor, FIEE Complex, Okhla Industrial Area, MR & Associates Phase – II, New Delhi – 110 020 Phone: (011) 4051 9759 Cost Auditor Shome and Banerjee Chennai rd Door No.
    [Show full text]
  • Women & Technology
    REFLECTIONS Women & Technology The Art of Living International Headquar- ters, 21st KM, Kanakapura Rd, Udayapura, Bangalore South - 560 082 Karnataka, India Tel:+91 9886660006 , +91 80 32976908, +91 80 67262637, +91 9379601116 For more information please visit: KWWSLZFDUWRÁLYLQJRUJ (PDLOLZF#DUWRÁLYLQJRUJ Like us on Facebook http://www.facebook.com/IWC2012 International WOmen’s Conference and Follow us on Twitter #YRLFHVRÀZF 3 - 5 February 2012 INTRODUCTION he 5th International Women’s Conference was organized by the International Association for Human Values, Ved Vignan Mahavidya Peeth, the Art of Living and Vista India. The Conference entitled “Women Tand Technology” was attended by 500 participants from 55 countries and was webcast to over 50 countries and watched by thousands of people. The Conference saw women leaders from various backgrounds and countries, and from different spheres of life come together to discuss and share experiences and concerns on the subject. Some of the diverse discussions included how to bring women to the forefront in technology, the connection between spirituality and technology, EDODQFLQJWKHUHDODQGYLUWXDOZRUOGVWHFKQRORJ\DQGHGXFDWLRQWKHHQYLURQPHQWDQGVRFLDOPHGLDUHGHÀQLQJ technology with an emphasis on the technology of managing spaces and the technology of time management amongst others. In the words of H.H. Sri Sri Ravi Shankar, “Spirituality is the Technology of the Consciousness.” The Source of all technology and creativity is the human mind. This inspired the delegates to develop ideas for empowerment of women focused on training in various state of the art technologies including training for rural women. The warm hospitality of the Conference fostered a strong bond among the participants. Commitment met celebrations as Dedicated to the Mother of renowned international artistes enthralled the audience with performances showcasing world culture.
    [Show full text]
  • Pather Panchali
    February 19, 2002 (V:5) Conversations about great films with Diane Christian and Bruce Jackson SATYAJIT RAY (2 May 1921,Calcutta, West Bengal, India—23 April 1992, Calcutta) is one of the half-dozen universally P ATHER P ANCHALI acknowledged masters of world cinema. Perhaps the best starting place for information on him is the excellent UC Santa Cruz (1955, 115 min., 122 within web site, the “Satjiyat Ray Film and Study Collection” http://arts.ucsc.edu/rayFASC/. It's got lists of books by and about Ray, a Bengal) filmography, and much more, including an excellent biographical essay by Dilip Bausu ( Also Known As: The Lament of the http://arts.ucsc.edu/rayFASC/detail.html) from which the following notes are drawn: Path\The Saga of the Road\Song of the Road. Language: Bengali Ray was born in 1921 to a distinguished family of artists, litterateurs, musicians, scientists and physicians. His grand-father Upendrakishore was an innovator, a writer of children's story books, popular to this day, an illustrator and a musician. His Directed by Satyajit Ray father, Sukumar, trained as a printing technologist in England, was also Bengal's most beloved nonsense-rhyme writer, Written by Bibhutibhushan illustrator and cartoonist. He died young when Satyajit was two and a half years old. Bandyopadhyay (also novel) and ...As a youngster, Ray developed two very significant interests. The first was music, especially Western Classical music. Satyajit Ray He listened, hummed and whistled. He then learned to read music, began to collect albums, and started to attend concerts Original music by Ravi Shankar whenever he could.
    [Show full text]
  • APARAJITO/THE UNVANQUISHED (1956) 110 Min
    3 October 2006 XIII:5 APARAJITO/THE UNVANQUISHED (1956) 110 min. Produced, written and directed by Satyajit Ray Based on the novel by Bibhutibhushan Bandyopadhyay Original Music by Ravi Shankar Cinematography by Subrata Mitra Film Editing by Dulal Dutta Kanu Bannerjee ... Harihar Ray Karuna Bannerjee ... Sarbojaya Ray Pinaki Sengupta ... Apu (young) Smaran Ghosal ... Apu (adolescent) Santi Gupta ... Ginnima Ramani Sengupta ... Bhabataran Ranibala ... Teliginni Sudipta Roy ... Nirupama Ajay Mitra ... Anil Charuprakash Ghosh ... Nanda Subodh Ganguli ... Headmaster Mani Srimani ... Inspector Hemanta Chatterjee ... Professor Kali Bannerjee ... Kathak Kalicharan Roy ... Akhil, press owner Kamala Adhikari ... Mokshada Lalchand Banerjee ... Lahiri K.S. Pandey ... Pandey Meenakshi Devi ... Pandey's wife Anil Mukherjee ... Abinash Harendrakumar Chakravarti ... Doctor Bhaganu Palwan ... Palwan SATYAJIT RAY (2 May 1921, Calcutta, West Bengal, British India—23 April 1992, Calcutta, West Bengal, India) directed 37 films. He is best known in the west for the Apu Trilogy— Apur Sansar/The World of Apu (1959), Aparajito/The Unvanquished (1957), and (his first film) Pather Panchali/Song of the Road (1955) and for Jalsaghar/The Music Room (1958). His last films were Agantuk (1991), Shakha Proshakha (1990), Ganashatru/An Enemy of the People (1989), Sukumar Ray (1987), Ghare-Baire/The Home and the World (1984) and Heerak Rajar Deshe/The Kingdom of Diamonds (1980). He was given an honorary Academy Award in 1992. SUBRATA MITRA (12 October 1930, Calcutta, West Bengal, India—7 December 2001) shot 17 films, 10 of them for Ray, including all three Apu films, Jalsaghar/The Music Room (1958) and Parash Pathar/The Philosopher’s Stone (1958). His last film was New Delhi Times (1986).
    [Show full text]
  • The Sixth String of Vilayat Khan
    Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration.
    [Show full text]
  • Conductor Zubin Mehta Leads the Israel Philharmonic Orchestra in Opening Concert of the 2015/16 Orchestras Series at Symphony Center
    For Immediate Release: Press Contacts: October 28, 2015 Eileen Chambers, 312-294-3092 Rachelle Roe, 312-294-3090 Photos Available By Request [email protected] CONDUCTOR ZUBIN MEHTA LEADS THE ISRAEL PHILHARMONIC ORCHESTRA IN OPENING CONCERT OF THE 2015/16 ORCHESTRAS SERIES AT SYMPHONY CENTER Program Includes Beethoven’s Eroica Symphony, Ravel’s La valse and a work by Josef Bardanashvili Sunday, November 15, at 7 p.m. CHICAGO—The first concert of the 2015/16 Symphony Center Presents (SCP) PowerShares QQQ Orchestras series features the Israel Philharmonic Orchestra (IPO) led by conductor Zubin Mehta, who is the orchestra’s Music Director for Life. The IPO, which is Israel’s premiere cultural ambassador, celebrates its 80th anniversary in the 2015/16 season. Mehta leads a diverse program of works by Beethoven, Ravel and contemporary Israeli composer Josef Bardanashvili on Sunday, November 15, at 7 p.m. at Symphony Center. The concert marks the IPO’s fifth Symphony Center appearance since 1996 with their most recent appearance led by Mehta taking place in 2014. Mehta, an acclaimed Beethoven interpreter, leads the IPO in the composer’s monumental Symphony No. 3 (Eroica) as the program’s centerpiece. The sweeping work opens with an intense and powerful first movement that leads to a brooding funeral march, which hints at Beethoven’s struggle with his increasing deafness, before it reaches a brilliant finale. The IPO program opens with the symphonic poem A Journey to the End of the Millennium based on the critically acclaimed opera of the same name by Georgian-born, Israeli composer Josef Bardanashvili (b.
    [Show full text]
  • Chapter 1 Uday Shankar and Locating Modernity
    CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead.
    [Show full text]
  • Beehive L.2 the Sound of Music Learning Sheet Solutions – 3 Before You Read Name These Indian Musicians. Also Identify Which
    Beehive L.2 The Sound Of Music Learning sheet Solutions – 3 Before you Read Name these Indian Musicians. Also identify which instruments they play. (Answers) Name Instrument 1. Amjad Ali Khan Sarod 2. Ustad Zakir Hussain Tabla 3. Pandit Hariprasad Chaurasia Bansuri/flute 4. Dr. M.S. Subbalakshmi Tanpura 5. Pandit Shivkumar Sharma Santoor 6. Ravi Shankar Chowdhury Sitar 7. Ustad Bismillah Khan Shehnai/clarinet Explain 1. Answer the questions in your jotter. (a) Why did the pungi become a generic name for “reeded noisemakers”? The pungi produced loud, unpleasant music. Because of this shrill music Aurangzeb banned it in the royal house. As it was made from a reed and produced noisy sounds, it became a generic name for “reeded noisemakers”. (b) How did ‘pungi’ transform to shehnai? ‘Pungi’ a musical instrument was banned because of its shrill and unpleasant sound. A nai (barber), who had access to the royal palace, improved the tonal quality of the pungi. He chose a pipe with a natural hollow stem that was longer and broader than the pungi and made seven holes on the body of the pipe. When he played on it, soft and melodious sounds were produced and everyone was impressed. As it was played in the Shah’s chambers for the first time by a nai, the instrument was named the ‘shehnai’. (c) Why was the shehnai played in temples and weddings? The music of the shehnai was melodious and soft. It came to be believed that it was auspicious. Therefore, in the holy temples and on the happy auspicious occasions of weddings, the shehnai was played.
    [Show full text]
  • Transcription and Analysis of Ravi Shankar's Morning Love For
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura Bethany Padgett Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Padgett, Bethany, "Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura" (2013). LSU Doctoral Dissertations. 511. https://digitalcommons.lsu.edu/gradschool_dissertations/511 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TRANSCRIPTION AND ANALYSIS OF RAVI SHANKAR’S MORNING LOVE FOR WESTERN FLUTE, SITAR, TABLA AND TANPURA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bethany Padgett B.M., Western Michigan University, 2007 M.M., Illinois State University, 2010 August 2013 ACKNOWLEDGEMENTS I am entirely indebted to many individuals who have encouraged my musical endeavors and research and made this project and my degree possible. I would first and foremost like to thank Dr. Katherine Kemler, professor of flute at Louisiana State University. She has been more than I could have ever hoped for in an advisor and mentor for the past three years.
    [Show full text]
  • [email protected] FORMER MUSIC DIRECTOR
    FOR IMMEDIATE RELEASE September 26, 2016 Contact: Katherine E. Johnson (212) 875-5718; [email protected] FORMER MUSIC DIRECTOR ZUBIN MEHTA TO RETURN TO NEW YORK PHILHARMONIC RAVI SHANKAR’s Rāgā-Mālā Concerto No. 2, for Sitar and Orchestra With ANOUSHKA SHANKAR as Soloist SCHUBERT’s Symphony in C major, Great November 3–5, 2016 Former Music Director Zubin Mehta will return to the New York Philharmonic to conduct Schubert’s Symphony in C major, Great, and Ravi Shankar’s Rāgā-Mālā Concerto No. 2, for Sitar and Orchestra, with soloist Anoushka Shankar, the composer’s daughter, in her Philharmonic debut. The program will take place Thursday, November 3, 2016, at 7:30 p.m.; Friday, November 4 at 8:00 p.m.; and Saturday, November 5 at 8:00 p.m. The Philharmonic commissioned and premiered Shankar’s Rāgā-Mālā Concerto No. 2, for Sitar and Orchestra, in April 1981, with the composer as soloist in his Philharmonic debut and led by then Music Director Zubin Mehta, to whom the work is dedicated. Rāgā-Mālā translates to “Garland of Ragas”; in Indian classical music, a raga is a mode, of which there are more than 300. Zubin Mehta and Ravi Shankar discussed the work in 1981 in Ovation magazine. Mr. Mehta said that although he had not previously believed that Western orchestras could play Indian music, “Ravi worked individually with our solo players in every section, to help him not only to know each musician but the characteristic of his instrument. … I feel at the moment that it will work.” Shankar said: “For many years I have been dreaming of playing with the Maestro from Bombay.
    [Show full text]
  • Ragamala World Music 2017 Program Book
    RAGAMALA 2017: WELCOME SCHEDULE Ragamala 2017 A CELEBRATION OF INDIAN CLASSICAL MUSIC + DANCE For the 5th year, spanning 15 hours and featuring dozens of performers, Ragamala offers a FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 Presented in collaboration with Kalapriya Foundation, Center for Indian Performing Arts jaw-dropping assortment of Indian classical music from some of its greatest and emerging Ragamala: A Celebration of Indian Classical Music + Dance A CELEBRATION OF INDIAN CLASSICAL MUSIC + DANCE practitioners. Ragamala functions as the perfect, immersive introduction to the classical music Chicago Cultural Center, Preston Bradley Hall FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 of India. Not only are both the music of the north (Hindustani) and the south (Carnatic) + Millennium Park, Great Lawn FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 - 6:30PM-10AM Chicago Cultural Center represented, but listeners will also get the rare chance to hear ragas performed at the time of 78 E. Washington Street, 3rd Floor Preston Bradley Hall, 3rd Floor day they were originally composed for—a facet of the tradition lost in the west. 6:30pm-10am 78 E Washington Street Presented in collaboration with Kalapriya Foundation, Center for Indian Performing Arts 6:30pm-6:30am The word “raga” has a Sanskrit origin, meaning "coloring or dyeing". The term also connotes an Evolution of Songs from Indian Films: 1930-2017 emotional state referring to a "feeling, affection, desire, interest, joy or delight", particularly 6:30-7:30pm SATURDAY, SEPTEMBER 9 related to passion, love, or sympathy for a subject or something. In the context of ancient Anjali Ray, vocals with Rishi Thakkar, tabla and Anis Chandnani, harmonium Yoga + Gong Meditation Indian music it is often devotional and used as a prayer.
    [Show full text]