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Performer: Paul Grant
Genre: Folk, World, & Country
Album: Raga-Radif
Released: 1988
Style: Indian Classical
MP3 version ZIP size: 1430 mb
FLAC version RAR size: 1756 mb
WMA version ZIP size: 1281 mb
Rating: 4.4
Votes: 915
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Paul Grant - Raga-Radif
MP3 version .RAR archive

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Paul Grant - Raga-Radif
FLAC version .RAR archive

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Paul Grant - Raga-Radif
WMA version .RAR archive

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Tracklist Hide Credits

Program 1: Raga
A1 Raga Kaushi Kananda
A2 Raga Kafi
Tabla – Marko Zonka
Program 2: Radif
Naghmeh-E-Shur
B1 Abu Ata
B2 Afchari
B3 Bayat-E-Torke

Companies, etc.

  • Copyright (c) – Aryaman Productions
  • Copyright (c) – Paul Grant

Credits

  • Dulcimer [Indian Santur] – Paul Grant (tracks: A1, A2)
  • Dulcimer [Persian Santur] – Paul Grant (tracks: B1 to B3)
  • Photography By – F. Lee Berensmeier
  • Producer, Liner Notes, Cover [Design], Graphics – Paul Grant
  • Recorded By – Shafi Hakim
  • Tabla – Marko Zonka

Notes

Recorded September 24th of 1987.

Subtitled 'vol. 1' on spine.

'Paul Grant is a musician, instrument maker and musicologist
with experience in a wide range of musical forms. Drawn to the
brilliant harmonics and bell-like tone of the santur, [sic] has pursued
the study of this beautiful instrument and its historic music for
fifteen years. Paul has traveled extensively, studying with
teachers in India, Europe and the U.S. Both of the instruments
used for this recording were designed and built by him.

SANTUR - The santur is a trapezium shaped instrument played
by striking its strings with delicate wooden mallets. Its name
both in Persian [santur] and Sanskrit [sata-tantri-veena] means
one hundred strings. It is related to an ancient family of harps
once found throughout Asia. The santur probably originated in
Persia or Kashmir between the 6th and the 9th centuries and in
these realms developed as an important instrument for the
classical music and poetry of Persia, Vedic Music and ritual of
India, traditional music of Kashmir [Sufiana Kalam] and Raga
music of North India.

The santur spread from Persia and Kashmir throughout much
of Asia eventually reaching Europe in the middle ages where it
became popular in the form of the hammered dulcimer or cim-
balom. The invention of the keyboard mechanism for plucking
and or striking the strings came next and with it the development
of the harpsichord or cembalo and finally the piano.

The evolution of the small and delicate santur into the grand
piano represents more than a thousand years of music history.

TABLA - The table are a pair of drums used to accompany the
classical music and dance of N. India. They derive their name
from the Persian or Arabic word tabi meaning drum. They are
played with the fingers and palms and are capable of producing
a variety of tones called bols. These bols can be spoken as well
as played and represent a highly evolved system of rhythmic
language that originated in India centuries ago.

RAGA - The raga music of India has its roots in acient [sic] vedic
culture. Raga means color, mood or feeling. It is a complex
musical and aesthetic form having evolved from the more
ancient forms called jatis. These jatis were a classification of
the ancient modes according to the various emotions they evok-
ed. Hence, each raga possesses a precise arrangement of notes
and expresses a particular ethos or mood based on time of day,
seasonal change and religious or historical events.

The Raga system of North India [Hindusthani] differs from that
of South India [Carnatic] although they contain essentially the
same three elements, namely melody [raga], rhythm [tala] and
tonic [drone]. It was the refined artistic influence of the Persians
and their instruments over a period of several centuries that
shaped the Hindusthani ragas of North India.

Raga music is a unique blend of science, religion and art
originating out of ancient culture closely linked with nature and
passed down in unbroken succession for centuries by means of
oral tradition.

RADIF - The radif is a noble and refined art music of Persia. Radif
means row and refers to an ancient body of musical knowledge
that is carefully memorized. It is essentially a non-written music
handed down through successive generations by means of Oral
Tradition. Individual pieces of the radif are called dastgah. Each
dastgah is made of smaller melodies called gusheh. Some of the
larger dastgah are divided into secondary pieces called
naghmeh. In the performance of the radif, the artist draws from a
rich store of memorized material including songs and verses of
poetry. This material is then improvised upon and the separate
ideas are spun into strands and woven together to form a
musical tapestry.'