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And I worked on an album that I thought was my way of becoming a singer-songwriter. I asked my mother whether I could learn classical music.įor some time, different types of music lived alongside one another. I began to be receptive to the kind of Indian classical music that had always been there, but which I had shut out. I realized that while teaching her, he was doing tiny improvisations with his voice, which pointed to a different kind of imagination and training. And at this time, there was also this man, Govind Prasad Jaipurwale, who began teaching my mother Hindi devotionals. Vocal music seemed to be a little out of the way, arcane.īut then I heard Vishmadev Chatterjee - what an amazing voice. When we thought of Indian classical music, we basically thought of instrumental music: tabla players playing really exciting rhythmic patterns, getting applause at the end of their improvisatory spells, and of course the sitar and sarod. I also knew of people like Ravi Shankar, partly because of the Beatles. I was listening to Joni Mitchell, and I loved the fact that she could be melodious, kind of open-ended in her harmonic compositions, while at the same time quite complex. I had a teenage attraction to difficulty, and I was becoming more interested in complex tonalities. Yet at the same time I began to be drawn to Hindustani classical music for the first time. I also had a taste for the early Bee Gees, and of course the Beatles.Īt 12, I started to play the guitar, and by the time I was 16, I was composing songs in a kind of singer-songwriter mold. I think one of them was by the Who, which I liked a lot “I Can See for Miles” was one of my favorite songs. Then, when I was 7 or 8, my father bought a hi-fi record player, which came with a couple of complimentary records that I probably played a part in choosing without being informed in any way.
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Of course, there was also “The Sound of Music” and “My Fair Lady.” I spent a while infatuated with Julie Andrews. In an interview, Chaudhuri gave a brief introduction to the raga and described the evolution of his musical life, from childhood to “This Is Not Fusion.” These are edited excerpts from the conversation. It’s a simultaneity of notes, a constellation.” Elsewhere he adds that it is neither a melody nor a composition, neither a scale nor the sum total of its notes. Resisting the urge to find an analogue to Western tradition, he writes: “A raga is not a mode.
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In the book, Chaudhuri reflects on the raga, the framework of Indian classical music. That heritage remained supreme for him until an accident of what he calls “mishearing” made him conscious of the elements shared by ragas and Western sounds - a realization that led to his ongoing recording and performance project “This Is Not Fusion.” In it, Chaudhuri charts a personal journey that began with a Western-oriented love for the singer-songwriter tradition, followed by a headlong immersion into Indian classical music. Amit Chaudhuri, an author and vocalist, blends memoir and music appreciation in “Finding the Raga: An Improvisation on Indian Music,” out now from New York Review Books.