Noon Concert Noon Concert
The Department of Music presents The Department of Music presents UC Davis UC Davis Hindustani Vocal Ensemble Hindustani Vocal Ensemble Rita Sahai, director Rita Sahai, director
Program Program
Raga – Asawari Raga – Asawari
Raga – Madhuwanti Raga – Madhuwanti
Raga – Kafi (light classical) Raga – Kafi (light classical)
HINDUSTANI VOCAL ENSEMBLE HINDUSTANI VOCAL ENSEMBLE
Rita Sahai, vocals Rita Sahai, vocals Jerry Barr and Dan Eisenberg, tabla Jerry Barr and Dan Eisenberg, tabla Jennifer Newell, harmonium Jennifer Newell, harmonium
James Banks James Banks David Dennen David Dennen Ada Kan Ada Kan Molly Raney Molly Raney Lis Testa Lis Testa
The Hindustani Vocal Ensemble welcomes members regardless of previous musical experience. The Hindustani Vocal Ensemble welcomes members regardless of previous musical experience. Please consider joining us for spring term. Please consider joining us for spring term.
12:05 pm, Thursday, 26 February 2009 12:05 pm, Thursday, 26 February 2009 Room 115, Music Building Room 115, Music Building
This concert is being professionally recorded for the University archive. Please remain seated during the music, This concert is being professionally recorded for the University archive. Please remain seated during the music, remembering that distractions will be audible on the recording. Please deactivate cell phones, pagers, and remembering that distractions will be audible on the recording. Please deactivate cell phones, pagers, and wristwatches. Flash photography and audio and video recording are prohibited during the performance. wristwatches. Flash photography and audio and video recording are prohibited during the performance. ABOUT NORTH INDIAN CLASSICAL MUSIC ABOUT NORTH INDIAN CLASSICAL MUSIC
Indian classical music is generally divided into two broad categories: the North Indian Indian classical music is generally divided into two broad categories: the North Indian Hindustani tradition and the South Indian Karnatak tradition. Today’s performance Hindustani tradition and the South Indian Karnatak tradition. Today’s performance exemplifies the Hindustani tradition. exemplifies the Hindustani tradition.
Hindustani music is a highly developed and complex musical system that dates back more Hindustani music is a highly developed and complex musical system that dates back more than 3,000 years; it is based on raga (melody) and tala (rhythmic cycle). Raga, the melodic than 3,000 years; it is based on raga (melody) and tala (rhythmic cycle). Raga, the melodic framework of Indian music, embraces numerous aspects, such as scale, characteristic framework of Indian music, embraces numerous aspects, such as scale, characteristic melodic motives and ornaments, inclusion of microtones, and a reliance on certain tones melodic motives and ornaments, inclusion of microtones, and a reliance on certain tones over others (strong and weak tones)—all of these make the raga recognizable. Each musician over others (strong and weak tones)—all of these make the raga recognizable. Each musician tries to elaborate the raga while adhering to its rules. In addition, raga traditionally has tries to elaborate the raga while adhering to its rules. In addition, raga traditionally has extramusical associations, such as time of day, seasons, mood (rasa), and illustrations. Thus extramusical associations, such as time of day, seasons, mood (rasa), and illustrations. Thus raga resists easy definition, as it is a set of performance practices and spiritual attributes. raga resists easy definition, as it is a set of performance practices and spiritual attributes.
The tala is a metric cycle of a fixed number of beats (e.g., 6, 7, 10, 16).Tintal , with 16 beats, The tala is a metric cycle of a fixed number of beats (e.g., 6, 7, 10, 16).Tintal , with 16 beats, is the most common tala. It has four subdivisions of four beats each, which listeners and is the most common tala. It has four subdivisions of four beats each, which listeners and performers count with finger taps, claps, and hand waves (the patterns differ according to performers count with finger taps, claps, and hand waves (the patterns differ according to the tala). Many compositions begin in the middle of a metric cycle, and so it is difficult to the tala). Many compositions begin in the middle of a metric cycle, and so it is difficult to count tala without having studied it. count tala without having studied it.
ABOUT THE INSTRUMENTS ABOUT THE INSTRUMENTS
The tabla, with the sitar, is probably one of the most recognizable Hindustani instruments. The tabla, with the sitar, is probably one of the most recognizable Hindustani instruments. It consists of two drums: the left is called bayan (the larger and rounder of the two), and the It consists of two drums: the left is called bayan (the larger and rounder of the two), and the right, dahina. The right drum is tuned to sa (the Western do); the other drum is untuned. right, dahina. The right drum is tuned to sa (the Western do); the other drum is untuned. The role of the tabla is to play the theka (skeletal framework) of a tala. The tabla player will The role of the tabla is to play the theka (skeletal framework) of a tala. The tabla player will also elaborate on this and may perform his own improvisations. also elaborate on this and may perform his own improvisations.
The harmonium functions as an accompanying instrument that helps to enrich the sound of The harmonium functions as an accompanying instrument that helps to enrich the sound of the melody. It also plays a drone, which is fundamental to the texture of Hindustani music. the melody. It also plays a drone, which is fundamental to the texture of Hindustani music.
ABOUT THE DIRECTOR ABOUT THE DIRECTOR
Born in Allahabad, India, Rita Sahai was accepted at the age of 9 as a disciple of renowned Born in Allahabad, India, Rita Sahai was accepted at the age of 9 as a disciple of renowned vocalist Pandit Rama Shankar Mishra, who groomed her in the romantic Benares Gharana vocalist Pandit Rama Shankar Mishra, who groomed her in the romantic Benares Gharana style. After coming to the United States, Sahai continued her studies under the world-famous style. After coming to the United States, Sahai continued her studies under the world-famous sarod maestro Ustad Ali Akbar Kahn, training in the Seni Allaudin Gharana style known for sarod maestro Ustad Ali Akbar Kahn, training in the Seni Allaudin Gharana style known for its creativity and purity of ragas. Impressed by her talent and passion toward music, Khan its creativity and purity of ragas. Impressed by her talent and passion toward music, Khan Sahib has given her the title Gayan Alankar (Jewel of Music). Sahib has given her the title Gayan Alankar (Jewel of Music).
Sahai, an acclaimed composer and performer, tours extensively throughout the U.S., Canada, Sahai, an acclaimed composer and performer, tours extensively throughout the U.S., Canada, the U.K., and India. She is also in demand at recording studios at home and abroad, where the U.K., and India. She is also in demand at recording studios at home and abroad, where she graciously lends her voice to many diverse musical projects, including contributing vocal she graciously lends her voice to many diverse musical projects, including contributing vocal tracks for Grammy Award-winning artist Béla Fleck and performing on Alonzo King’s Sacred tracks for Grammy Award-winning artist Béla Fleck and performing on Alonzo King’s Sacred Texts, a CD of international music that won the Isadora Duncan Award for music excellence. Texts, a CD of international music that won the Isadora Duncan Award for music excellence. Sahai has produced several CDs of her own, including Rangamalika. Sahai has produced several CDs of her own, including Rangamalika.