Hindustani classical music

He is improvising on the melodic line, discovering the same cluster of notes and playing it differently, again and again, rediscovering how they sound on the way up and down, building his way back to the main melody.

That is how Carnatic and Hindustani rags are explored too, against a reliable drone, with percussion entering in metered sections, and each performance discovers the rag again.

I have listened to this rendition of My Favourite Things hundreds of times, maybe more, and I still find something I don't remember noticing before.

I still love the earlier Coltrane and his chord progressions.

Beside each of the six scales on Grubbs' copy is a time of day, and some carry a mood as well.

One is marked as a sad morning scale and another as a night scale of power and majesty.

Clements identifies the sad morning scale as Bhairavi, the Hindustani Bhairavi, not the Carnatic one, whose notation on grub's copy leaves pa out on the way up and restores it on the way down, and he reads this along with the labels of hour and mood as evidence that Coltrane understood a raag to be more than its scale.

Two more pages in Coltrane's own hand, reproduced in Cuthbert Simpkins' 1975 biography, list 18 scales from around the world under names like Arabian and Balinese and three of them have Indian names.

the song the singing like the video of or whatever it's i don't know

yeah there's such a beautiful um yearning quality to like songs from that time period, like whether they're in like Hindi or Tamil, like just the melodies were so, um, Oh my God.

Over the top

is such a like negative conversation.

We have Gurmat Kirtan, which is obviously the Sikh tradition, reading it from the Guru Granth Sahib.

The framework of the Kirtan is exactly, you know, very similar to Hindustani classical music.

and

it's a very very rich tradition yeah and which languages are sung it's it's very diverse so we have bridge basha we have um we have even persian we have um Urdu, we have, there's so many different languages.

Yeah, me too.

I just love how Juhi Bansal weaves together seemingly disparate influences, you know, like Hindustani music, Kulning, which is something I hadn't heard of before, but the Kulning vocal techniques, all while honoring the kinds of choral traditions that we are most familiar with, just the kind of global music fusion.

That we've been doing here in Enquirer in our previous seasons.

We are literally expanding our horizons with every new global music discovery.

And I realized what I really wanted to do was make somebody feel this image of what it feels like to start as something very small and become something massive by the end of it.

And that for me is where the two things kind of really came together.

So it starts with that kind of as you said, when we cycle back after you've heard the whole piece, you realize where the beginning came from, this like little opening that's drawing on this Hindustani style vocalization.

And by the end, the entire chorus is doing that with these soaring lines and these sounds of waves.

For me, I think culturally what is so dynamic about the coming together of these different cultures is essentially the clash, the clash of ideologies and styles.

So as you talked about in Bollywood, having music, uh, one of the things I think is really cool about the, about my film is the soundtrack, where we not only have a very cool, edgy synth, piano, cello kinda soundtrack, but we also included mridangam, veena, sitar, bansuri, and other, and Hindustani and Carnatic voices, making this new kind of mix that, uh- That I'd never heard before.

And I have to give huge props to my composer, Forrest Gray, for being able to navigate that cultural cohesion and to sing.

Yeah, I really-- I dig-- I don't, I don't know if he also did the music in the trailer.

He's the founder of a band called Dhun, which means, uh, the word tune, as well as the Clarksburg MD Music Group, which fortunate to be a member of as well, and is an avid follower of Indian music, both classical and non-classical.

Uh, is a Hindustani vocal student at the Shankar Mahadevan Academy for over a decade.

Grew up singing songs of his idol, Mohammed Rafi Saab.

And he, he is a very a- he's very active in the community arranging music programs, showcasing local artists and upcoming musical talent from both local as well as from out of state.

It's not immediate chaos first.

It's just Hindustani sitar music filtering into Moresby's awareness.

Which is brilliant because it's a direct auditory link to Dr. Seng and Una's beliefs.

Yeah.

And we are pulling from a fascinating 2004 study published in the Japanese Psychological Research Journal.

It's by researchers Laura Lee Balkwill, William Ford Thompson, and Ri Matsunaga, and it's titled Recognition of Emotion in Japanese, Western, and Hindustani Music by Japanese Listeners.

Yeah.

And the debate over whether we are, you know, hardwired to understand the emotion in music or if it is entirely a learned cultural language, it has occupied anthropologists and musicians for decades.

Exactly.

Something these listeners had absolutely zero cultural frame of reference for.

So they chose North Indian classical music, which is known as Hindustani music.

Okay, Hindustani music.