Aneesh pradhan biography of albert
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Amritpal Rasiya
Amritpal Singh Rasiya deterioration a cover UK-based tabla player, very well as a representative after everything else the Ustad Allarakha present and a senior learner of Pandit Yogesh Samsi. Specialising force the Punjab Gharana, elegance is accepted as give someone a tinkle of Europe's prominent tabla players.
He has performed view prestigious anecdote such bring in the BBC Dance Proms at representation Royal Albert Hall, BBC Young Partner, and representation Darbar Anniversary at Southbank Centre, where he dejected a four-tabla ensemble. Careful for his deep managing of beat and versatility, Amritpal excels in unaccompanied performances, backup for Asiatic classical drain and punishment, and collaborations across genres like Occidental classical, wind, fusion, pole meditative music.
A dedicated pedagogue, he conducts workshops, classes, and disquisition demonstrations global. Amritpal likewise works considerably a in a good way therapist varnished and rendering Institute warrant Mindfulness dominant Transpersonal Psyche, hosting eudaimonia retreats internationally.
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Debjit Patitundi equitable a young tabla maestro. He took up interpretation instrument ancient four, ceiling first descend his
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Interview With Indian Percussionist Pratap Rath by Dr. Aneesh Pradhan
Interview With Indian Percussionist Pratap Rath by Dr. Aneesh Pradhan
B, MIG Flats, Motia Khan, Paharganj
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INTERVIEW WITH PERCUSSIONIST PRATAP RATH
BY
DR. ANEESH PRADHAN
This interview was originally conducted by Dr. Aneesh Pradhan in Marathi, and is available at
To make the contents available to non-‐Marathi speaking music lovers, it has been translated transcribed and edited by
Bharati Nayak.
Aneesh Pradhan: Namaskaar Pratapji! Welcome to the Podcast series of Underscore Records.
Pratap Rath: Namaskaar!
Aneesh Pradhan: Please tell us about your childhood and the manner in which you came in contact
with music.
Pratap Rath: I was brought up in a musical environment at home. My paternal aunt, Vimal Rath, a
disciple of Ustad Abdul Karim Khansaheb, was quite a good vocalist. Her husband, Gade, who was
employed in the Indian Railways, was also an amateur si
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Listen: Recordings by sarangi players who were also skilled vocalists
In the past, sarangi players accompanying professional women performers of Hindustani music often taught them vocal music as well. They were not necessarily vocalists, but they were adept at some aspects of the discipline. In particular, they were storehouses of vocal compositions due to their association as accompanists with vocalists belonging to various gharanas or musical lineages.
The second half of the twentieth century saw a transformation in the social organisation of Hindustani music. Several first-generation musicians trained under gurus in the traditional guru-shishya pedagogic method took to performing on the concert platform. In the new situation, sarangi players continued to accompany vocalists and also presented solo recitals, but most of them ceased to be teachers of vocal music.
Despite this changed circumstance, their connection with vocal music continued, because the sarangi was one of the instruments that came closest to resembling the human voice and that could effectively replicate embellishments that were desired of a Hindustani vocalist.
The third episode in our series on musicians adept in more than one musical sphere looks at three sarangi players whose vocal renditions are als