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East Meets West UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Krishna Meets Pan: Indian-Western Fusion in Two Works for Flute and Harp by Ravi Shankar and John Mayer A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2006 by Lori Ann Kesner B.M., Ithaca College, 1998 M.M., University of Cincinnati College-Conservatory of Music, 2000 Committee Chair: bruce d. mcclung, Ph.D. ABSTRACT With a career spanning over six decades, Ravi Shankar has been the seminal figure in the dissemination of Indian classical music to the West. His presentation of Indian music to Western audiences has heightened American interest in and appreciation for Indian music and has resulted in the exportation of thousands of sitars to Western countries. His extensive training in Indian music, coupled with his exposure to Western society, has led to a compositional style that embraces elements of both cultures. Shankar is not the only Indian musician, however, to explore Indian-Western fusion. A less well-known Indian musician who has contributed extensively to this genre is John Mayer, a composer and violinist from Calcutta. More than a decade before the partnership between Yehudi Menuhin and Ravi Shankar at the 1966 Bath Festival, Mayer began composing works that combined these two distinct musics. Shankar’s and Mayer’s careers have many parallels with regard to Indian classical training and exposure to Western society. Both also created their own musical languages for compositions that combine elements of Indian and Western music. However, differences in their biographies have led to divergent approaches to Indian-Western fusion. While learning to compose effectively in this new genre, both composers were drawn to the combination of the flute and harp as a medium for this expression: Shankar composed L’aube enchantée (The enchanted dawn) in 1976, and Mayer followed with Nava Rasa (Nine moods) in 2003. This document provides a comparative study of L’aube enchantée and Nava Rasa and thereby illustrates the composers’ diverse approaches to Indian-Western fusion. First Indian aspects are explored, followed by Western influences, and finally elements shared by both traditions. In addition, biographical information about Shankar and Mayer demonstrates how the ii degree to which they borrowed from each tradition reflects their differences in background and training. iii COPYRIGHT NOTICES AND PERMISSIONS L’AUBE ENCHANTÉE By Ravi Shankar Copyright © 1990 by Editions Henry Lemoine, Paris International Copyright Secured. All Rights Reserved. Used by permission of Theodore Presser Company. NAVA RASA By John Mayer Used by permission of Gillian Mayer. SARGAM FOR SOLO CLARINET By John Mayer Copyright © 1996 by N. Simrock, London In the public domain in the United States. MUSIC IN INDIA: THE CLASSICAL TRADITIONS By Bonnie C. Wade Copyright © 1979 by Prentice Hall, Englewood Cliffs, N.J. Used by permission of Pearson Education, Inc., Upper Saddle River, NJ and Bonnie C. Wade. iv ACKNOWLEDGEMENTS I would like to express my deepest gratitude to a number of people who have helped me along this journey: to my teacher and mentor Alberto Almarza for inspiring me with his passion for world music and flute, and to my doctoral flute teacher, Dr. Bradley A. Garner, for providing me with the tools to perform the music I love; to José-Luis, for his love, patience, wit, and encouraging words, and to my parents, Nina and Marvin, for their constant support and understanding; to my dear friends Shawn Fenton, Julie Schlafer, and James Jacobson, whose encouragement, humor, and guidance have proven invaluable; to Gillian Mayer, for her time, insight, and dedication to this endeavor; and finally, a special thanks to my advisor, Dr. bruce d. mcclung, whose strong commitment to excellence and dedication to this project have helped make it a reality. v CONTENTS LIST OF MUSICAL EXAMPLES................................................................................... 2 LIST OF ILLUSTRATIONS............................................................................................ 4 INTRODUCTION............................................................................................................ 6 Chapter 1. RAVI SHANKAR AND JOHN MAYER.................................................. 10 Family Background........................................................................ 10 Musical Beginnings........................................................................ 12 Early Career.................................................................................... 15 Later Career: Success and Its Complications................................. 19 2. L’AUBE ENCHANTÉE............................................................................... 35 3. NAVA RASA................................................................................................ 57 4. CONCLUSION........................................................................................... 83 SELECTED BIBLIOGRAPHY.......................................................................................... 99 1 MUSICAL EXAMPLES Example Page 1. Shankar, L’aube enchantée, 1.1………………………………………...… 37 2. Shankar, L’aube enchantée, Rehearsal No. 9, m. 7 (flute part only)….…. 38 3. Shankar, L’aube enchantée, Rehearsal No. 8, m. 6….…...……………..... 38 4. Shankar, L’aube enchantée, Rehearsal No. 24, mm. 5–7 (flute part only). 39 5. Shankar, L’aube enchantée, Rehearsal No. 25, mm. 9–11 (flute part only) 39 6a. Shankar, L’aube enchantée, 1.4 (flute part only)………………………… 40 6b. Shankar, L’aube enchantée, 2.1 (harp part only)………………………… 40 6c. Shankar, L’aube enchantée, Rehearsal No. 4, m. 4 (flute part only)…….. 40 6d. Shankar, L’aube enchantée, Rehearsal No. 12, m. 4 (flute part only)….... 40 6e. Shankar, L’aube enchantée, Rehearsal No. 8, m. 4 (flute part only)…….. 40 6f. Shankar, L’aube enchantée, Rehearsal No. 13, m. 12 (harp part only)….. 40 6g. Shankar, L’aube enchantée, Rehearsal No. 22, m. 8 (flute part only)…… 41 7. Shankar, L’aube enchantée, Rehearsal No. 8, m. 6………………………. 42 8. Shankar, L’aube enchantée, Rehearsal No. 7, mm. 8–10………………… 42 9. Shankar, L’aube enchantée, Rehearsal No. 8, m. 1 (harp part only)……... 44 10. Shankar, L’aube enchantée, Rehearsal No. 11, m. 7……………………... 45 11. Shankar, L’aube enchantée, Rehearsal No. 12, mm. 8–9………………… 45 12. Shankar, L’aube enchantée, Rehearsal No. 4, m. 1 (harp part only)…….. 46 13. Shankar, L’aube enchantée, Rehearsal No. 24, mm. 4–5 (harp part only) 46 14. Shankar, L’aube enchantée, Rehearsal No. 9, m. 1 (harp part only)…….. 46 15. Shankar, L’aube enchantée, Rehearsal No. 6, mm. 4–5 (harp part only).... 46 2 16a. Shankar, L’aube enchantée, 1.3 (harp part only)……..………………….. 47 16b. Shankar, L’aube enchantée, 3.1 (harp part only)……..………………….. 47 17. Shankar, L’aube enchantée, Rehearsal No. 4, m. 1 (harp part only)…….. 52 18. Shankar, L’aube enchantée, Rehearsal Nos. 19–20………………..…….. 52 19. Shankar, L’aube enchantée, Rehearsal No. 7, mm. 1–2………………..… 53 20. Shankar, L’aube enchantée, Rehearsal No. 11, mm. 4–5…………...….… 53 21. Shankar, L’aube enchantée, Rehearsal No. 14, mm. 9–12 (harp part only) 56 22. Mayer, Nava Rasa, I. Adbhuta, mm. 11–12 (flute part only)……..…........ 63 23. Mayer, Nava Rasa, VII. Karuna, mm. 1–6….........................................… 66 24. Mayer, Nava Rasa, II. Hasya, mm. 1–3 (harp part only)……..….............. 67 25. Mayer, Nava Rasa, IX. Rudra, mm. 1–3 (harp part only)……..……......... 67 26a. Mayer, Nava Rasa, I. Adbhuta, mm. 8–10 (flute part only)……................ 72 26b. Mayer, Nava Rasa, I. Adbhuta, mm. 13–15 (harp part only)……..…........ 72 27. Mayer, Nava Rasa, IV. Shanta, 10.1...................................................…… 73 28. Mayer, Nava Rasa, IX. Rudra, mm. 3–5…...........................................….. 74 29a. Mayer, Nava Rasa, III. Shringar, mm. 1–3 (harp part only)……..……… 77 29b. Mayer, Nava Rasa, III. Shringar, mm. 7–9 (harp part only)……............... 77 30. Mayer, Nava Rasa, VI. Vira, mm. 23–26…................................................ 78 31. Mayer, Nava Rasa, IX. Rudra, mm. 6–7 (flute part only)……..…............. 80 32. Mayer, Nava Rasa, IX. Rudra, mm. 1–3 (harp part only)……..……......... 81 33. Mayer, Sargam for solo clarinet, IX. Raga Nata, mm. 1–9….................... 93 34. Mayer, Nava Rasa, II. Hasya, mm. 1–12 (flute part only)……..……........ 94 3 ILLUSTRATIONS Figure Page 1. Wade, Music in India: The Classical Traditions, 51................................... 47 4 The harp and the flute, both in India and the West, often seem the most ethereal of instruments. In India, the god Krishna plays a flute, and Saraswati—goddess of the arts—plays the veena, India’s equivalent to the harp; in the West, we have Pan’s pipes, Apollo’s lyre, and the harps and trumpets of the angels. In all cultures, the flute and harp are two of the most ancient instruments, and the two most symbolic of art itself. William Radice, Art as a Bridge INTRODUCTION Combining elements of Indian and Western
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