2019/5/27

4/7 音樂瑜伽-北印古典旋律Raga Yaman工作坊









古老的北印度樂理Raga, Tala, Nada Yoga工作坊
2019/4月:Raga Yaman

Raga Yaman從Kalyan的父級音樂規模中脫穎而出。 被認為是印度斯坦傳統中最基本的拉格Raga之一,因此它通常是向學生傳授的第一個拉格,Raga Yaman,也被稱為Raga Kalyan。有人說它起源於波斯的“Ei'man”,自此出現了“Yaman”。其他人說它是是源自吠陀記載的Raga Yamuna,隨著時間的推移其發音被唸成Yaman。儘管如此,這種拉格經常被用來教北印度音樂的初學者。還有一種類似的Raga叫做Yaman Kalyan,它們的結構完全相同,只是在avaroha中多加一個madhyam(ma)。

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 Yaman
音階分類Thaat: Kalyan
上下行音數Jati: Shadav(6音)-Sampurna(7)
情感Rasa: 和平
時區Prahar: 6pm to 9pm
上行Aroha: 'Ni-Re-Ga-Ma-Dha-Ni-Sa'
下行Avaroha: Sa'-Ni-Dha-Pa-Ma-Ga-Re-Sa
個性的旋律Pakad: Ni-Re-Ga-ReGa-Pa (Ga) Re-GaRe-'NiReSa
重要音Vadi: Ga
次要音Samvadi: Ni

Yaman的Jati是Sampurna raga,在某些情況下是Shadav; 提升的Aaroha音階和avroha的降序風格包括八度音階中的所有七個音符(當它是Shadav時,Aroha像N一樣,RGmDNS',其中第五個音符被省略; Pa但是Avaroha是相同的完整八度音階)

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

#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/

Yaman (also known as Imaan,'Emann', 'Kalyani' in Carnatic classical music) is a heptatonic (Sampurna) Indian classical raga of Kalyan Thaat.

Yaman emerged from the parent musical scale of Kalyan. Considered to be one of the most fundamental ragas in Hindustani tradition, it is thus often one of the first ragas taught to students.

Yaman's Jati is a Sampurna raga and in some cases Shadav; the ascending Aaroha scale and the descending style of the avroha includes all seven notes in the octave ( When it is Shadav, the Aroha goes like N,RGmDNS' , where the fifth note is omitted; Pa but the Avaroha is the same complete octave). All the scale notes (called swaras) in the raga are Shuddha, the exception being Teevra Madhyam or prati madhyamam. The notes of the raga are considered analogous to the western Lydian mode, which was the predominant scale used in classical antiquity, before being usurped by those of the pre-Modern era.

Not to be mistaken, Raag Yaman is slightly different from Raag Yaman Kalyan. Both have almost the same base, but they are sung differently. The Aroha and Avaroha of Yaman Kalyan goes like this: SRGMDNS' S'NDPMGRS

"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).

#About Raga Yaman
Thaat: Kalyan
Jati: Shadav-Sampurna
Rasa: Shanta
Time of day: Prahar 6-6pm to 9pm
Aroha: 'Ni-Re-Ga-Ma-Dha-Ni-Sa'
Avaroha: Sa'-Ni-Dha-Pa-Ma-Ga-Re-Sa
Pakad: Ni-Re-Ga-ReGa-Pa (Ga) Re-GaRe-'NiReSa
Vadi: Ga
Samavadi: Ni

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

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