2019/1/15

1/13 古老的北印度樂理Raga, Tala, Nada Yoga工作坊 Raga Kedar










古老的北印度樂理Raga, Tala, Nada Yoga工作坊
Raga Kedar

Kedar,也被稱為Kedara,是印度斯坦古典旋律。以濕婆神(Lord Shiva)命名,這款Raga被放置在印度古典音樂領域的高台上。它的特點是有許多複雜的轉音,這些轉音非常好聽但很難用文字表達,你必須親身來體驗,為自己用至高的音樂注入濕婆強大&開心力量,2019年1月,我們以象徵濕婆Shiva力量,且輕快喜樂的旋律Raga Kedar工作坊來開始新的一年。

Raga是shaadava-sampurna性質,即在Arohana(上升旋律)中,僅使用六個音符,而在Avarohana(下降旋律)中,使用所有七個音符。一般來說,Raga的進展是高度非線性的,因此使用Arohana和Avarohana捕獲Raga本質是很高水準的音樂表現。

印度教傳統中的Raga被認為具有自然存在。藝術家不發明他們,他們只發現他們。根據印度教,音樂吸引人類,因為音樂是終極造物裡的隱藏和聲。一些古老的文本,如薩瑪吠陀Sama Veda(約公元前1000年),完全是為了旋律主題,它是Rigveda音樂組合的部份。印度教徒將Raga設想為神聖的表現形式,一個音符被象徵為具有多重身份與個性的神或女神。

在印度教的奉愛運動中,大約在公元1世紀中葉,Raga成為靈性的音樂追求的一個部分。Bhajan和Kirtan則由早期的南印度先驅者作曲及表演。一首Bhajan(拜讚歌)是基於優美悅耳的Raga為基礎,而做出自由風格的禮讚詞曲;而Kirtan則比較偏團體性的重覆附和的音樂表達,很類似親近的對話,它包含兩種以上的樂器並含蓋各種不同的Raga,譬如與印度Shiva神的Bhairava或Krishna的Hindola。

#關於Raga Kedar:
Arohana:SM~P,m PD n~DP,m PS'
Avarohana:S'NDP,m PDPM~,SRS
Pakad:SM,MP,m P m P,DPM,RS
最突出的(vadi)音符是m
第二突出(samvadi)音符是S.
情感:喜悅
時間:晚上

2019/1/6

<表演預告> 1/13 古老的北印度樂理Raga, Tala, Nada Yoga工作坊 Raga Kedar




古老的北印度樂理Raga, Tala, Nada Yoga工作坊
2019/1月:Raga Kedar

Kedar,也被稱為Kedara,是印度斯坦古典旋律。以濕婆神(Lord Shiva)命名,這款Raga被放置在印度古典音樂領域的高台上。它的特點是有許多複雜的轉音,這些轉音非常好聽但很難用文字表達,你必須親身來體驗,為自己用至高的音樂注入濕婆強大&開心力量,2019年1月,我們以象徵濕婆Shiva力量,且輕快喜樂的旋律Raga Kedar工作坊來開始新的一年。

Raga是shaadava-sampurna性質,即在Arohana(上升旋律)中,僅使用六個音符,而在Avarohana(下降旋律)中,使用所有七個音符。一般來說,Raga的進展是高度非線性的,因此使用Arohana和Avarohana捕獲Raga本質是很高水準的音樂表現。

印度教傳統中的Raga被認為具有自然存在。藝術家不發明他們,他們只發現他們。根據印度教,音樂吸引人類,因為音樂是終極造物裡的隱藏和聲。一些古老的文本,如薩瑪吠陀Sama Veda(約公元前1000年),完全是為了旋律主題,它是Rigveda音樂組合的部份。印度教徒將Raga設想為神聖的表現形式,一個音符被象徵為具有多重身份與個性的神或女神。

在印度教的奉愛運動中,大約在公元1世紀中葉,Raga成為靈性的音樂追求的一個部分。Bhajan和Kirtan則由早期的南印度先驅者作曲及表演。一首Bhajan(拜讚歌)是基於優美悅耳的Raga為基礎,而做出自由風格的禮讚詞曲;而Kirtan則比較偏團體性的重覆附和的音樂表達,很類似親近的對話,它包含兩種以上的樂器並含蓋各種不同的Raga,譬如與印度Shiva神的Bhairava或Krishna的Hindola。

#關於Raga Kedar:
Arohana:SM~P,m PD n~DP,m PS'
Avarohana:S'NDP,m PDPM~,SRS
Pakad:SM,MP,m P m P,DPM,RS
最突出的(vadi)音符是m
第二突出(samvadi)音符是S.
情感:喜悅
時間:晚上

#工作坊的內容:
Raga Kedar介紹
聆聽Raga Kedar及旋律冥想
唱Raga Kedar音階
唱Raga Kedar旋律所譜出的梵唱Kirtan

#開班人數:5人開班,若不足5人延期開班
#日期時間:1/13(日)上午10:30am-12:30pm
#費用:舊生$600,兩人同行每人$800,原價$1,000
#報名方式:請於活動頁按「參加」、預付訂金500或全額,匯付至永豐銀行807帳號121﹣004﹣0066785﹣2後,訊息告知匯款帳號後5碼,即完成報名,餘款現場繳清。

#帶領人:Waka老師(全名:若池敏弘Toshihiro Wakaike)

演奏印度塔布拉鼓Tabla已有三十年經驗。1987年起跟隨大師Shree Keshav Rao Nayak學習benares式的演奏風格,2001年後跟隨大師Shree Dilip Mukherjee學習Farkabad式的演奏風格。演出經驗豐富,曾參與多位活躍於歐美的音樂創作者之間的跨界作品演出,並於日本及印度舉辦過無數的個人演奏會,受邀於印度,孟加拉,日本,台灣,泰國,韓國,中國,加拿大等國際音樂藝術節演出。近年受邀來台演奏。2011年入圍金曲獎最佳演奏獎。為了綜合性地理解印度古典音樂,2008年開始跟Pt.Buddhadev Das大師學習印度旋律樂器Esraj,並向Pt.Devashish Dey大師學演唱的音樂Vocal,2013年開始跟Devashish Dey大師學習印度旋律理論Raga。

Waka老師一直積極將印度古典音樂形式帶到台灣,2011年他被授予台灣最佳表演獎的入圍作品。

https://www.facebook.com/wakamusic/

Kedar, also known as Kedara, is a Hindustani classical raga. Named after Lord Shiva, the raga is placed on a high pedestal in the realms of Indian classical music. It is characterised by a lot of complex turns, which are brilliantly melodious but difficult to express in words.

Raga Kedar represents of Shiva's shakti.

#About Raga Kedar:
Arohana: S M ~P, m P D n ~D P, m P S'
Avarohana: S' N D P, m P D P M~ , S R S
Pakad: S M, M P, m P m P, D P M, R S
Vadi:The most prominent (vadi) note is m
Samvadi:The second most prominent (samvadi) is S.
Sala:Mood is joyful.
Time: The raga is to be sung in the night. It is sung in the first prahar of night. Most Ragas with teevra ma(M) are sung at night (as per the time theory of Ragas)

"A Raga, meaning in Sanskrit "coloring, tingeling, dyeing", is a melody system from India. Many of Ragas in North India are played at a certain time of the day, according to a certain mood and often with a specific weather. Thus, many different ragas can be played along the day. Ragas follow different music scales, based on the Indian music system, and they focus on specific chakras.

Ragas, in the Hindu tradition, are believed to have a natural existence. Artists don't invent them, they only discover them. Music appeals to human beings, according to Hinduism, because they are hidden harmonies of the ultimate creation. Some of its ancient texts such as the Sama Veda (~1000 BCE) are structured entirely to melodic themes, it is sections of Rigveda set to music. The ragas were envisioned by the Hindus as manifestation of the divine, a musical note treated as god or goddess with complex personality.

During the Bhakti movement of Hinduism, dated to about the middle of 1st millennium CE, raga became an integral part of a musical pursuit of spirituality. Bhajan and Kirtan were composed and performed by the early South India pioneers. A Bhajan has a free form devotional composition based on melodic ragas. A Kirtan is a more structured team performance, typically with a call and response musical structure, similar to an intimate conversation. It includes two or more musical instruments,[ and incorporates various ragas such as those associated with Hindu gods Shiva (Bhairava) or Krishna (Hindola).

#Workshop Description:
-listen to Raga Kedar and Maditate
-learn about the Raga Kedar, its structure and rhythms
-sing along the Raga Kedar with Indian note and
-sing along to the kirtan composed under Raga Kedar

#Time: Sunday, Jan. 13, 10:30am-12:30pm
#Price:
-Old Student NT600
-Sign up with a friend NT$800/each
-Normal NT1,000

#SignUp: please transfer your deposit $500 to Bank Sinopac Code. 807, Account No. 121﹣004﹣0066785﹣2 and notify your account's last 5 digits. Pay remaining on site.

#Note: the workshop will happen when minimum 5 person sign up. Should the workshop doest not open this time, we will notify accordingly. Please be invited to attend to the next session. (generally once in a month, unless teacher is travelling aboard)

#Facilitator:Waka has been studying North Indian music on the Tabla since 1987 from Keshav Nayak and Pt.Dilip Mukherjee. To give added depth to the understanding of Indian classical music, he has been additionally studying to play the melodious Esraj from master Pt.Buddhadev Das since 2008 and vocal from Pt.Devashish Dey.

2018/12/31

12/30 古老的北印度樂理Raga, Tala, Nada Yoga的工作坊 Bhairavi







Raga Bhairavi

Thaat: Bhairavi
Jati: Sampoorna-Sampoorna
Aroha: S r g m P d n Ṡ
Avaroha: Ṡ n d P m g r S
Vadi: Pa
Samavadi: Sa
Pakad: n S g M d, P g m, P g m r S
時間: 6am-9am
情感: Bhakti 信愛

12/23 樂動湧泉傳愛公益音樂會













12/16 西塔琴&塔布拉鼓演奏會 Dr. Hansraj and Waka @ Red Room 紅坊國際村















西塔琴:Hansraj Prabhakar
艾斯拉吉琴&塔布拉鼓:Waka

12/15 西塔琴&塔布拉鼓演奏會 Dr. Hansraj and Waka @ 沐暇自在空間













西塔琴:Hansraj Prabhakar
艾斯拉吉琴&塔布拉鼓:Waka
塔布拉鼓:Inglan Chang

Photo by Yijie Wu

2018/12/22

<表演預告> 12/30 古老的北印度樂理Raga, Tala, Nada Yoga的工作坊 Raga Bhairavi





https://www.facebook.com/events/378351209399290/

圖片截自網路
古老的北印度樂理Raga, Tala, Nada Yoga的工作坊

印度教傳統中的Raga被認為具有自然存在。藝術家不發明他們,他們只發現他們。根據印度教,音樂吸引人類,因為音樂是終極造物裡的隱藏和聲。一些古老的文本,如薩瑪吠陀Sama Veda(約公元前1000年),完全是為了旋律主題,它是Rigveda音樂組合的部份。印度教徒將Raga設想為神聖的表現形式,一個音符被象徵為具有多重身份與個性的神或女神。

在印度教的奉愛運動中,大約在公元1世紀中葉,Raga成為靈性的音樂追求的一個部分。Bhajan和Kirtan則由早期的南印度先驅者作曲及表演。一首Bhajan(拜讚歌)是基於優美悅耳的Raga為基礎,而做出自由風格的禮讚詞曲;而Kirtan則比較偏團體性的重覆附和的音樂表達,很類似親近的對話,它包含兩種以上的樂器並含蓋各種不同的Raga,譬如與印度Shiva神的Bhairava或Krishna的Hindola。

這次的工作坊希望注入古時候音樂裡的靈魂,以上午時段的古典旋律Raga Bhairav告訴旋律的原理背景及故事,讓音樂與身體自然相應,共振出最佳的生理及靈性

#關於Bhairavi
Thaat: Bhairavi
Jati: Sampoorna-Sampoorna
Aroha: S r g m P d n Ṡ
Avaroha: Ṡ n d P m g r S
Vadi: Pa
Samavadi: Sa
Pakad: n S g M d, P g m, P g m r S
時間: 6am-9am
情感: Bhakti 信愛

#工作坊的內容:
Raga Bhairav介紹
聆聽Raga Bhairav及旋律冥想
唱Raga Bhairav音階
唱Raga Bhairav旋律所譜出的梵唱Kirtan

#開班人數:5人開班,若不足5人延期開班
#日期時間:12/30(日)上午10:30am-12:30pm
#費用:舊生$600,12/24前享早鳥或兩人同行每人$800,原價$1,000
#報名方式:請於活動頁按「參加」、預付訂金500或全額,匯付至永豐銀行807帳號121﹣004﹣0066785﹣2後,訊息告知匯款帳號後5碼,即完成報名,餘款現場繳清。

#帶領人:Waka老師(全名:若池敏弘Toshihiro Wakaike)

演奏印度塔布拉鼓Tabla已有三十年經驗。1987年起跟隨大師Shree Keshav Rao Nayak學習benares式的演奏風格,2001年後跟隨大師Shree Dilip Mukherjee學習Farkabad式的演奏風格。演出經驗豐富,曾參與多位活躍於歐美的音樂創作者之間的跨界作品演出,並於日本及印度舉辦過無數的個人演奏會,受邀於印度,孟加拉,日本,台灣,泰國,韓國,中國,加拿大等國際音樂藝術節演出。近年受邀來台演奏。2011年入圍金曲獎最佳演奏獎。為了綜合性地理解印度古典音樂,2008年開始跟Pt.Buddhadev Das大師學習印度旋律樂器Esraj,並向Pt.Devashish Dey大師學演唱的音樂Vocal,2013年開始跟Devashish Dey大師學習印度旋律理論Raga。

Waka老師一直積極將印度古典音樂形式帶到台灣,2011年他被授予台灣最佳表演獎的入圍作品。

https://www.facebook.com/wakamusic/ Raag Bhairavi is one of the oldest and most popular Raga in India. It is often played as a last piece of the concert. Raga Bhairavi is very suitable for the end of the year 2018. "A Raga, meaning in Sanskrit "coloring, tingeling, dyeing", is a melody system from India. Many of Ragas in North India are played at a certain time of the day, according to a certain mood and often with a specific weather. Thus, many different ragas can be played along the day. Ragas follow different music scales, based on the Indian music system, and they focus on specific chakras. Ragas, in the Hindu tradition, are believed to have a natural existence. Artists don't invent them, they only discover them. Music appeals to human beings, according to Hinduism, because they are hidden harmonies of the ultimate creation. Some of its ancient texts such as the Sama Veda (~1000 BCE) are structured entirely to melodic themes, it is sections of Rigveda set to music. The ragas were envisioned by the Hindus as manifestation of the divine, a musical note treated as god or goddess with complex personality. During the Bhakti movement of Hinduism, dated to about the middle of 1st millennium CE, raga became an integral part of a musical pursuit of spirituality. Bhajan and Kirtan were composed and performed by the early South India pioneers. A Bhajan has a free form devotional composition based on melodic ragas. A Kirtan is a more structured team performance, typically with a call and response musical structure, similar to an intimate conversation. It includes two or more musical instruments,[ and incorporates various ragas such as those associated with Hindu gods Shiva (Bhairava) or Krishna (Hindola). #Workshop Description: -listen to Raga Bhairav and Maditate -learn about the Raga Bhairav, its structure and rhythms -sing along the Raga Bhiairav with Indian note and -sing along to the kirtan composed under Raga Bhairav #Time: Sunday, Dec. 30th, 10:30-12:30 #Price: -Old Student NT600 -Early bird before 12/24 or Sign up with a friend NT$800/each -Normal NT1,000 #SignUp: please transfer your deposit $500 to Bank Sinopac Code. 807, Account No. 121﹣004﹣0066785﹣2 and notify your account's last 5 digits. #Note: the workshop will happen when minimum 5 person sign up. Should it not open this time, please be invited to attend to the next session. #Facilitator:Waka has been studying North Indian music on the Tabla since 1987 from Keshav Nayak and Pt.Dilip Mukherjee. To give added depth to the understanding of Indian classical music, he has been additionally studying to play the melodious Esraj from master Pt.Buddhadev Das since 2008 and vocal from Pt.Devashish Dey.

2018/12/11

<表演預告> 12/15-12/16 西塔琴&塔布拉鼓演奏會 Dr. Hansraj and Waka





西塔琴&塔布拉鼓演奏會 Dr. Hansraj and Waka

https://www.facebook.com/events/319008118952165/
12/15|星期六 20:00~22:00| 沐暇自在空間|台北市大安區泰順街60巷18弄6號2樓|
Saturday 12/15 |Moksha Studio | 20:00~22:00 2F No.6 Alley 18 Lane 60, Da-An District, Taipei

12/16|星期日 19:00~21:15| 紅坊國際村|台北市建國南路一段177號 |
Sunday 12/16 |Red Room | 20:00~22:00 177 Jiangguo S. Rd Sec. Taipei

____________________
【活動費用fee 】

這次的活動場地分為台中場及台北場,每一個場地費都有所不同,我們始終推廣『隨喜』,主要我們不希望您的參與是有金錢壓力而錯過的。
為了掌控現場人數維持工作坊品質,來參與的朋友 請先匯款一個人 $300~500元訂金預留位置,完成交易後告知匯出帳戶後五碼及聯絡人和電話,名額有限,謝謝配合。

活動當天費用將以紅包方式,您再決定要隨喜多少費用給這個表演。
(除了台北紅坊收現場門票費)

In order for us to find out about audience numbers beforehand and if you are keen to reserve a space, you are welcome to leave your information and a $300~500 NT deposit which will be returned to you on the performance day. Of course you are welcome to come on the day as usual!
Individual and group donations will be accepted after the performances.
_____________________
【Apply google Form 報名表單】

https://goo.gl/forms/wwOk76kTtDF1w7gv2
_____________________
【聯絡活動主辦方Contact】

幾何孟境-Geo -Wing 孟境
https://www.facebook.com/geowingchen/

中文 | Wing 小孟 0923 711745
English | Adam 0900 377147 | Balanceabyss@gmail.com

樂手 Musicians:

Dr. Hansraj Prabhakar / Sitar 西塔琴
普拉巴卡爾博士是北印度音樂與西塔琴的專業教授。
出生於印度的北部,據有恆河的「瓦拉納西」之稱;他在六歲時開始玩樂器,之後他的父親給予他第一把西塔琴。從那時起Hansraj累積大大小小的音樂演奏經歷,便在貝拿勒斯印度大學完成他博士學位。而論文提為“北印度弦樂器史及多種演奏風格”。

Dr. Prabhakar is a professor of North Indian Music with specialism in sitar.
Born in Varanassi, Northern India, he began playing when at six years old, was given a sitar by his father. Since then Hansraj has taken his studies through to earning his doctorate degree at Benares Hindu University. His resulting thesis is entitled ‘North Indian String Instruments and Their Comparative Playing Styles.

Waka (若池敏弘Toshihiro Wakaike) / Tabla 塔布拉鼓 & Esraj 艾斯拉吉琴
大學期間主修經濟學及藝術--迄今演奏印度 Tabla鼓已有二十年經驗。自1987年開始學習塔布拉鼓 、為了綜合性地理解印度古典音樂,2008年開始跟Buddhadev Das大師學習印度旋律樂器艾斯拉吉琴Esraj。-- 演出經驗豐富--曾參與多位活躍於歐美的音樂創作者之跨界作品演出。於印度及日本舉辦過無數的個人演奏會--受邀於印度、孟加拉、日本、台灣、泰国、韓國、中國、加拿大等國際音樂藝術節演出。近年受邀來台演奏--活躍於國內樂壇--並擔任國立台南藝術大學、台北藝術大學、台湾大學印度音樂工作坊導師及台湾塔布拉鼓愛好會會長。 2005年在[身聲演繹劇場]年度製作【光與聲的島嶼】中,擔任特別演出。2006年在音樂大師李泰祥的演奏會《夢土上》演出,2007年在台中爵士音樂節與吳書齊共同演出,2007年綠島人權國際藝術家創作營入選。 2007年在身聲演繹劇製作《流浪之音》演出。2007年12月第四屆洄瀾國際藝術家創作營入選。2010年受邀在第四十五屆廣播金鐘獎演出。2011年入圍金曲獎最佳演奏獎。
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Waka (full name: Toshihiro Wakaike) / Indian Tabla Waka has studied North Indian music on the Tabla since 1987 from Keshav Nayak and Dilip Mukherjee. During this time he has performed numerous concerts and and taught workshops in India, Bangladesh,Okinawa, Mainland Japan, Thailand,Korea, China, Canada and Taiwan. In the classical style of North Indian Hindustani music he has accompanied Indian vocalists and a variety of musicians playing the magical, moody and enchanting Indian Raga Instruments. To give added depth to the understanding of Indian classical music, he has been additionally studying to play the melodious Esraj from master Buddhadev Das since 2008 and vocal from Devashish Dey since 2013. Waka has been actively bringing Indian classical music form to Taiwan, In 2011 he was awarded as the Finalist in the Best Performance Awards, in Taiwan.

2018/12/10

12/2 印度百弦琴之響 台中場




















印度百弦琴之響 台中場

Waka Toshihiro on Esraj&Tabla
Setsuo Miyashita on Santoor
Willie Lo on Tabla
Improvised Dance by Rie Nobuso

12/1 印度百弦琴之響 台北場











印度百弦琴之響 台北場

Waka Toshihiro on Esraj&Tabla
Setsuo Miyashita on Santoor
Wei-Kai on Tabla
Kotomi Mizuhashi on Vocal and Hammer Dulcimer
Improvised Dance by Rie Nobuso

Photo by Mariko Kawamoto