Recording session: Tarang

Today I conducted a recording session with four members of the Tarang ensemble - the UK’s National Ensemble for Indian Music. All members of the ensemble are early-career musicians performing Hindustani (North Indian) or Carnatic (South Indian) music.

I was particularly keen to work with the two vocalists of the ensemble -  Raaheel Husain and Yarlinie Thanabalasingham as a means of capturning the differences between Carnatic and Hindustani vocal styles and techniques. A wide range of pitches, motifs, scales and fragments from pieces were recorded along with Q&A sessions with each performer. 

I was also able to record two veena performers from the ensemble - Shyla Shanmugalingam and Mithila Sarma. I was particularly drawn to the dramatic note 'pulling' on this instruments and the finger pick playing technique. 
Many thanks to the all the performers I worked with today for their beautiful playing and contributions to the project. 

Top: Tarang ensemble at the Bridgewater Hall (20th Oct 2012), bottom left: Yarlinie Thanabalasingham, bottom centre: Raaheel Husain, bottom right: Shyla Shanmugalingam

 

For those who would like to know more about my collaborative research project with Milapfest, I have included some of my AHRC application details below:

 

My project will address the current ‘Translating Cultures’ highlight notice by establishing a framework for understanding processes of musical exchange across cultural boundaries. In this case, the culture in translation is Indian music culture, but in practice the framework I am developing will be applicable to a wider range of multicultural situations. My research will focus on how Indian cultural sound emblems signify and communicate within the context of electroacoustic music composition. I define cultural sound emblems as units of audio information extracted from a cultural tradition different to my own, and distinct from what are to me, as a composer of electroacoustic music of British/Colombian extraction, more culturally familiar and abundant sound sources. 

 

Within the practice of electroacoustic music composition (using technology to explore, create and perform sounds not limited to traditional instrumental sources), and especially acousmatic music (music for loudspeakers where sound materials are invisible to the listener) recorded sound often provides the starting point for creative work. The choice of source material is seemingly as “wide as the environment itself” (Emmerson, 1986), but what are the ethical considerations here? Should we as composers assume unrestricted access and proprietary rights over this substantial resource?

Further to this starting point of inquiry, the following research questions require consideration 

•  Is the ‘open’ sound world of electroacoustic music really as wide open as we think (ie. are certain sounds ‘off-limits’ with respect to issues of cultural or social sensitivity?)
• What does it mean to borrow cultural sound emblems ‘respectfully’?
• How do electroacoustic compositional processes foster or obstruct the communication of culture through sonic means?
• How does the inclusion of cultural sound emblems impact upon multi-cultural audiences and how are these sounds interpreted?
• Do relationships with cultural sound change over time (ie. when do sounds stop being unfamiliar and exotic)? 

 

Shiraz and Prince Khurram

Yesterday evening I attended the screening of 'Shiraz' - a silent film from 1929. This emotional and sometimes heartbreaking film was accompanied by live music scored by Sarvar Sabri and performed by the Sabri ensemble. The themes of romance all lead toward the making of the Taj Mahal in India. The music was sympathetic to the visuals and I particularly enjoyed the more 'sound design' moments of the scoring eg. the bell clattering in the opening scenes as the camels and horses walk across the rubble and the trumpet fanfares (sounded by sax notes) that signaled the wedding of Salima and Prince Khurram.