HDTenEightyP/NetNews huggingface dataset:
From: rsaigal@jade.tufts.edu (Ranjani Saigal)
Newsgroups: rec.music.indian.classical
Subject: Books on Classical Music
Date: 11 Dec 92 20:53:35 GMT
Organization: Tufts University - Medford, MA


	Since my earlier posting got messed up , here is a complete
list of all the suggestions I recd. I have a had a lot of mail requesting
this info and hence I am posting it.


	Raganidhi - B.Subbha Rao - Music Academy of Madras (Most recommended)
	
	Unknown Title - Dr.Bhagyalaxmi _has only carnatic ragas

	The Rags of North Indian Music -Jairazbhoy, N.A.

	The Rags of North India (and S.India) - Kaufman, Walter

	Thumri in Historical and Stylistic Perspective (mainly
	N. Rags, largely Thumri but still useful)


B. Subbha Rao's book seems to be the one to own..


BTW, folks does anyone know where I could find any of these books in the
Boston area? I am having a hard time.

				Ranjani Saigal
Newsgroups: rec.music.indian.classical
From: jvrajan@unix.amherst.edu (JAYANT VARADA RAJAN)
Subject: TEST
Organization: Amherst College
X-Newsreader: TIN [version 1.1 PL7]
Date: Tue, 15 Dec 1992 19:57:23 GMT

This is just a test to see if I am posting properly.

J. Rajan- Amherst College
From: sl9z5@cc.usu.edu
Newsgroups: rec.music.indian.classical
Subject: RAgam Identification.
Date: 11 Dec 92 23:35:00 MDT
Organization: Utah State University

Hai,
	Can anyone identify the rAgam of the song
	"Vedham Anuvil oru nAdham,
	NAn pAdum rAgangal nAdha vinodham"

	in the Tamil film "Salangai Oli" featuring KamalhAsan.
	It has a slight resemblance to VasanthA which it
	however is not.

	The other song in the movie
	"NAdha vinodhangal nadana sandhoshangal"
	however is set to SriRanjani and VasanthA.

Thanks,
Murali Seetharaman,
Utah State University.
Logan,
Utah - 84322.
Newsgroups: rec.music.indian.classical
From: kamraa@meena.cc.uregina.ca
Subject: Ravi Shankar's Auto-Biography
Date: 17 DEC 92 18:44:21 GMT
Organization: University of Regina, Regina, Sask., Canada


I am seriously looking for Ravi Shankar's book "My Music My Life" and have
been unable to find it. If you can help me find it, please contact me. I am a student at University of Regina, Saskatchewan, Canada.
Thank you,
Newsgroups: rec.music.indian.classical
From: kroy@twolf5.ee.washington.edu (Kalapi Roy)
Subject: Music books
Reply-To: kroy@twolf.ee.washington.edu
Organization: University of Washington
Date: Sat, 12 Dec 1992 01:40:55 GMT


>>3. Bhatkhande's contribution to music: Sobhana Nayar

If anybody knows any other details about this book, please let me know. 
I was wondering if it is a English translation of the original Bhatkhande's 
volumes or how exactly does it correlate to the original version.
 
thanks 
Kalapi Roy


Newsgroups: rec.music.indian.classical
From: mitra@oct17.dfe.dec.com (JoyDeep Mitra)
Subject: Re: Recommendations on *vocal* renditions of Raag Desh..
Organization: Digital Equipment Corporation - Santa Clara, CA
Date: Fri, 11 Dec 1992 22:16:16 GMT

One of the best instrumental renditions of Bilashkhani Todi is by Ustad Imrat Khan
available on a CD by Nimbus. The Miya ki Todi (surbahar) on that CD is also awesome.

--Joydeep Mitra
Newsgroups: rec.music.indian.classical
From: harsh@wam.umd.edu (R. P. Harshavardhan)
Subject: Jai Naik - Bilaskhani Todi
Organization: University of Maryland, College Park
Distribution: usa
Date: Sat, 12 Dec 1992 01:23:06 GMT


Jai Naik recommends "Nike Ghungariya" by Pt Paluskar
To the best of my knowledge :Nike Ghungariya " is Ustad Amirkhan's
unless Panditji has sung the same cheez.

I shall also highly recommend Veena SAhasrabudhes " Itani Araj Suno More Sayaa"


Cheers

HArsh

Newsgroups: rec.music.indian.classical
From: jlauret@sbchem.sunysb.edu (Jerome LAURET)
Subject: Re: Raga identification
Reply-To: jlauret@sbchem.sunysb.edu (Jerome LAURET)
Organization: SUNYSB.EDU
Date: Thu, 17 Dec 1992 22:47:00 GMT


In article <q+h2dm@rpi.edu> divaka@isaac.its.rpi.edu (Ajay Divakaran) writes:
   |> Anyone out there know what raag the ghazal "Abke ham bichhde" by Mehdi Hassan
   |> is set to ? It is hauntingly beautiful, and on the surface looks like 
   |> Carnatic Bhoopaalam with R2 instead of R1:
   |> 
   |> 	S R2 G3 P D1 S
   |> 	S D1 P G3 R2 S



	I like to hear indian music. Basically, it's a part of my background (I'm from a French island where 30% of the population are Indian), and I would like to know more about the features of that classicals. I can see in this group some discussions about Raga identification etc.. but I don't know what's going on ..
	I'll be really glad if someone could explain more to me (note, and what that S D1 .. means ?).

		Thanks 
			J.L. 
Newsgroups: rec.music.indian.classical
From: lstacey@oregon.uoregon.edu (Stacey)
Newsgroups: rec.music.indian.classical
Subject: tabla soloist
Followup-To: rec.music.indian.classical
Date: 17 Dec 1992 22:05:10 GMT
Organization: University of Oregon
Distribution: world
NNTP-Posting-Host: fp1-ecology-12.uoregon.edu

I am an unemployed tabla soloist and would like to have the 
priviledge of playing my music for you.
Newsgroups: rec.music.indian.classical
From: boarjas@elof.iit.edu (Jason Boardman)
Subject: **QUICK SINEAD SURVEY PLEASE ANSWER**
Organization: Illinois Institute of Technology, Chicago
Date: Fri, 11 Dec 92 17:11:10 GMT


*****  SIMPLE SURVEY -- PLEASE READ *****

I have seen much talk about Sinead on the net lately, 
and was wondering what the general opinion of Sinead
was.  Please take the 20 seconds it takes to reply to
this question and answer it.  (A simple Y or N will do).
Please use your newsreader's reply option or regular
email to submit votes -- do not post your answer.

Question:
Do you still support (or have a general good opinon of)
Sinead O'Connor?

If you wish to send detailed replies as to why or why not,
please do, but they are not required.  Thanks in advance!

Jason Boardman
boarjas@elof.iit.edu
From: Krishna Kunchithapadam (krisna@cs.wisc.edu)
Newsgroups: rec.music.indian.classical
Subject: Re: Raga identification
Date: 12 Dec 92 20:36:25 GMT
Followup-To: rec.music.indian.classical
Organization: U of Wisconsin Madison - Computer Sciences

madhv-s@acsu.buffalo.edu (Sriganesh Madhvanath) writes:
:
:Anyone out there know what raag the ghazal "Abke ham bichhde" by Mehdi Hassan
:is set to ? It is hauntingly beautiful, and on the surface looks like 
:Carnatic Bhoopaalam with R2 instead of R1:
:
:	S R2 G3 P D1 S
:	S D1 P G3 R2 S
:
:I would like the names of both the Hindustani raag as well as 
:the Carnatic equivalent.
:

Someone else has some thoughts on the hendhusthAnE equivalent of
the above scale. However, if you are sure that the swaras are as
above, I would guess the rAga you want is: jana sammodhenE.

The rAga is a creation of bAlamuralEkRShNa and a janya of the
25th maeLa rAga -- mAra ra~janE.


bAlamuralEkRShNa's rendition of the jayadhaeva aShtapadhE:
        rADhekA, kRShNa,
        thava verahae, kaeSava

is one of the best examples of jana sammodhenE. Also, there is a
rAga by the name of ``jana sammohene'' in hendhusthAnE music,
which is quite unrelated to the karNAtaka ``jana sammodhenE''.

Further, to my naive ears, ``veBAs'' sounds like ``malaya
mArutham'' and ``veBAvarE'' sounds like ``raevathE''. So, it is
unlikely that either of them is the hendhusthAnE equivalent of
``jana sammodhenE''.


-- kRShNa
Newsgroups: rec.music.indian.classical
From: jvrajan@unix.amherst.edu (Jayant Rajan)
Subject: Sur and emotions
Organization: Amherst College
X-Newsreader: TIN [version 1.1 PL7]
Date: Wed, 16 Dec 1992 19:12:51 GMT

You bring up an interesting subject, but what to me seems to be a controversial
one.  Would you argue that there is an a priori element to the emotions a 
certain sequence of notes conveys? I see this as a sort of problematic notion,
since it's all culturally defined anyway.  For that matter, aren't you talking
more about calan and rasa than sur?  I've always understood that the calan of
a rag is what defines its emotion, regardless of its aroh and avaroh.  I don't
think that I've read anything that says that in order for a rag to be "happy"
it can't have komal dhaivat in it, etc......- Surely some ethnomusicologist has
done a comparative study of rags......

Jayant Rajan- Amherst College

Newsgroups: rec.music.indian.classical
From: yendluri_rao@Tandem.com (Ramarao Yendluri)
Subject: Re: LYRICS FOR JNANAMU SAGARADA
Organization: Tandem Computers
Date: Fri, 18 Dec 1992 21:31:13 GMT



Hi
It should be "Jnanamosagara = Jnanamu Osagarada = "Please give me wisdom"
This is a composition of Saint Tyagaraya.

------------
In article <102588@netnews.upenn.edu>, sharma@sol1.lrsm.upenn.edu (Srivatsa M. Sharma ) writes:
> 
> Hi Netters,
> 	Could somebody please post or send me e-mail the lyrics for the above
>  mentioned song with the meaning. Also, additional
>  details like: composer, raaga, tala etc would
>  be appreciated.
> Thanks.
> -Sharma.
> -- 
> 	able was I ere I saw UPenn!!!
> 
> 	this signature is merely a test 
> 		 better one will follow later.
> 
> 
Organization: Doctoral student, Electrical and Computer Engineering, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.indian.classical
Date: Sat, 12 Dec 1992 18:41:22 -0500 
From: Srinivasan Gopalaswamy <sg2w+@andrew.cmu.edu>
Subject: words for "Vandeham" (Hamsadvani)


Hi,

Can somebody provide the words for the song "Vandeham Bhaja Vallabham" in
Hamsadvani? It's set to Kanda chapu thalam (seems to be the only
Hamsadvani song in this thalam). I  am not sure of the composer,
but this is not Mysore Vasudevachar's Vandeham in Adi talam.

Thanks.
Srini
Newsgroups: rec.music.indian.classical
From: js@lems1clems.brown.edu (Jayashree Subrahmonia)
Subject: Lyrics for a Marathi Abhang
Organization: Laboratory for Engineering Man/Machine Systems
Date: Sun, 13 Dec 1992 20:11:47 GMT

	I recently came accross a beautiful Marathi Abhang sung by Sudha
	Raghunathan. The first line of the Abhang goes somewhat like this - 
	"Amritahuni godhe nama tujhe deva"
	
	I'd really appreciate it if someone could post the lyrics and the
	meaning for this Abhang.

	-Jayashree 
	 (js@lems.brown.edu)
Newsgroups: rec.music.classical
From: smitra@bronze.ucs.indiana.edu (Sami Mitra)
Subject: Re: The BEST finale!
Organization: Indiana University
Date: Wed, 16 Dec 1992 16:27:11 GMT

In article <1gnii7INNibh@master.cs.rose-hulman.edu> stinerkt@NeXTwork.Rose-Hulman.Edu (Kevin T Stiner) writes:
>
>What is YOUR favorite ending or finale to a classical piece?

I don't think I shall think and rethink, but just go ahead name the
first three that came to mind as I read the posting of Kevin.
a.	The last scene of Berg's WOZZECK. Here is this intense
and brooding work that has come to its gory conclusion, and then the
music takes on this different feel. It somehow looks to the future
and leaves you pessimistic about Wozzeck and Marie's child at the
same time.
b.	The conclusion of PETER GRIMES. The whole last act
essentially. More specifically the induced suicide of Grimes, and the
appropriate dying down of the music.
c. 	And, of course, the Liebestod and subsequent conclusion of
TRISTAN.

Oops, nothing instrumental!

				Sami Mitra
From: zorro@picasso.ocis.temple.edu (John Grabowski)
Newsgroups: rec.music.classical
Subject: Re: Greatest living conductors
Date: 20 Dec 92 00:10:10 GMT
Organization: Temple University
X-Newsreader: TIN [version 1.1 PL8]

You said John Williams was soon to be the ex-conductor of the Boston Pops.

This is news to me!

Where's he going, and who's replacing him?

John
zorro@picasso.ocis.temple.edu
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Newsgroups: rec.music.classical
From: tait@cs.columbia.edu (Carl Tait)
Subject: Re: Beroff's Prokofiev?
Organization: Columbia University Department of Computer Science
Date: Tue, 15 Dec 1992 03:34:32 GMT

In article <chomicki.724092596@antares.cis.ksu.edu.cis.ksu.edu>
chomicki@cis.ksu.edu (Jan Chomicki) writes:
>In the local CD store there is a very attractively priced 2-CD set
>of all Prokofiev's piano concertos played by Michel Beroff. 
>I'd appreciate any recommendations for or against getting it.
>How does it stack against a similar set by Ashkenazy?

I have the Beroff LP of Nos. 2 and 3.  While it is quite respectable,
it is no match for Ashkenazy/Previn (which is a mid-price set).

Newsgroups: rec.music.classical
From: marca@ncsa.uiuc.edu (Marc Andreessen)
Subject: Re: ?: Dvorak's use of PENTATONIC scale?
X-Md4-Signature: 7db70d853106a1ab2e8e847e834e4070
Organization: Nat'l Center for Supercomputing Applications
Date: Tue, 15 Dec 1992 06:34:06 GMT

In article <1992Dec15.003819.26858@news.cs.brandeis.edu>
jacob@max.cc.brandeis.edu ( ) writes:

   Can't talk in particular on this example but in general I've read that
   Dvorak was really fascinated with blues and in general African-American
   music... (much before any significant number of White Americans)

Let's put it this way -- the original name for the ``American''
quartet was not ``American'' but rather what is today considered to be
a fairly derogatory reference to African-Americans (and no, I don't
mean ``black'').

Marc

--
Marc Andreessen
Software Development Group
National Center for Supercomputing Applications
marca@ncsa.uiuc.edu
Newsgroups: rec.music.classical
From: al21146@uxa.cso.uiuc.edu (Richard Feynman Albert LiFeynman )
Subject: How to read orchestral scores?
Organization: University of Illinois at Urbana
Date: Tue, 15 Dec 1992 01:15:27 GMT
Keywords: scores, orchestra

  I have a few questions on how to read orchestral scores.
1.  How can a person read a whole page of notes at once and knows how it
  sounds? I can read a Bruckner symphony with relative ease due to its
  block structure. I need the music on and I can not read all the lines
  at once. I need to follow the melody. A complex Mahler symphony is too
  difficult to read for me.
2. Is it possible to self-train in score reading? Almost all my musical 
  knowledge I know I learned on my own, by reading books and trial and error.
  If this is so, what is the proper way to do?way 
3. In order to do serios musical criticism on interpretation we must learn to
  read orchestral scores. Is this true? This is the feeling I get from listening
to classical music for the past nine years.

  Thank you for your messianic instruction!

Al
al21146@uxa.cso.uiuc.edu

Organization: Doctoral student, English, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.classical
Date: Fri, 11 Dec 1992 17:51:24 -0500 
From: Ken Zuroski <kz08+@andrew.cmu.edu>
Subject: interesting phenomenon


Hi:

I've been listening to quite a bit of modern classical music as of
late--the first time I ever really got into it in my life. One
interesting side effect of all this listening is that: more and more
when I'm just sitting doing some work and NOT listening to music, all of a
sudden I find the ambient sounds around me are somehow working together
and producing "music," which is almost as pleasurable an experience as
if I put some Bartok or Stravinsky on the CD player. I guess my brain
is becoming tuned to appreciate odd and--I don't have the correct
terminology to describe this--exotic tempos, syncopations etc., as well
as "atonal" (correct word?) pitches and so forth; a sudden
repetition of phrases is no longer a requirement for me to
consider a sound "music." For instance, just before I posted this--in
fact, what posted me to prompt--was that I was listening to a
combination of the whir of my computer's hard drive, which seemed to be
punctuated by the sounds of someone shoveling snow from outside my
house, with the sounds of water dripping in the bathroom also thrown in
there as another "voice."


Well, kind of an odd point and perhaps it should better be directed at 
sci.psychology, but I was interested if others experienced this when they
first began listening to modern music. 

Ken
---
~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ken Zuroski
Department of English
Carnegie Mellon University
Pittsburgh, PA 15213 USA
kz08@cmu.edu
~~~~~~~~~~~~~~~~~~~~~~~~~~~
Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Re: Bruckner
Organization: Visual
Date: Fri, 18 Dec 92 17:50:10 GMT

Tony Brokenborough writes:

>> Bruckner ????? 
>>
>> Can any good thing come from him ?

To which Deryk Barker replies:

>Take off your coat and step outside.


Deryk, if the hired help prefers the Andre Pink and leaves the Dom
Perignon to us, who are we to complain?  

(We should ask him what he *likes*.  It would be infinitely more revealing,
and probably a real hoot besides.)  :-)

Rob



Newsgroups: rec.music.classical
From: hellerS@moravian.edu (sjh)
Subject: Re: NEWS: Pavarotti booed out of the SCALA
Distribution: na
Date: Fri, 11 Dec 92 13:49:01 EST

In <1992Dec11.162515.27597@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:


>It is quite rude, ill-mannered, swinish, idiotic, and puerile to boo a 
>performer for a slip-up. I wouldn't boo a dancer for falling, I wouldn't 
>boo a pianist for a mangled chord, and I wouldn't boo a singer either. 
>If I think the performance is poor, I don't applaud. If I really can't 
>stand it, I would get up and leave, but only at the next break. 

>People in the audience who disrupt a performance, no matter how bad it
>is, are low class imbeciles. It drives me bananas when anyone talks
>during a performance, or shuffles papers, or makes any noise. It shows
>complete disregard for others. If they can't sit quietly, they should
>be told to shutup or leave. If they shout and boo, they should be 
>summarily thrown out.

I wholeheartedly agree with you, being a recording technician having to
work in 'live' situations where ANY audience noise is a detriment to the
recording I'm making. The concept of booing a performer seems to be some
sort of holdover from the rather raucus audiences of ages past, as well as
from the vaudville stages ("Give 'im the HOOK!"). That audience's will go
to such extremes to lengths to prove their own insipid banality is a
testament to the low-grade mentality rampent in the supposedly
"sophisticated" world of classical music. Also, it seems far less common
for audiences to boo in America than it seems to be in Europe...why, I'm
not entirely sure, but I do believe Boulez got bood more than once when he
put on some of his avant-garde programs during his tenure with the NY
Philharmonic. Generally, my experience is that American audiences are more
polite, but there are an awful lot of folks who like to talk, and
especially unwrap celophane candies. My other pet peeve is people who bring
very young children (i.e. under 3-4 years old) to classical concerts and
who just sit there and let the child make as much noise as it wants to,
leaving only after screaming begins - I see far too much of this, too. And
nothing ruins a live recording more than a crying baby. Folks: LEAVE THE
KIDS WITH A SITTER!!! (at least until they can learn to sit quietly for an
hour or more, and hopefully enjoy the program)...
Newsgroups: rec.music.classical
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Subject: Re: Herrmann (was Dvorak's New World...)
Organization: MIND LINK! - British Columbia, Canada
Date: Sat, 12 Dec 1992 07:10:50 GMT

> Deryk Barker writes:
>
> smitra@bronze.ucs.indiana.edu (Sami Mitra) writes:
> : Is it just me or do others think too that John Williams
> : lifted the Jaws theme from the first few bars of the last
> : movement of this symphony!
>
> I thought he filched it from Bernar Herrman's theme to Psycho, which
> was - as BH admitted - nicked from Stravinsky.
>


Where did Herrmann admit this? I've never seen any such quote. The only place
I'm aware of that he did any "filching" for Psycho was from his 1935
Sinfonietta for Strings, recently available on a Koch International Classics
CD.
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.music.classical
Subject: Re: Lost Masterpieces was Re: Dresden was Re: One-work-composers
Date: 18 Dec 92 16:20:36 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

apter@fid.morgan.com (Steve Apter) wrote:
> New thread:  Presumably great works which were, or might have been, 
> lost or destroyed.

Almost everything by Ockeghem.  I don't suppose there's any chance of
those works still existing undiscovered anywhere: just too old.

Sophocles' music for his tragedies (if I remember right, he was more
valued in his day for the music than the words).

-- 
--  Jack Campin    room G092, Computing Science Department, Glasgow University,
17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
Newsgroups: rec.music.classical
From: atems@igor.physics.wayne.edu (Dale Atems)
Subject: Re: The BEST finale!
Organization: Wayne State University, Detroit, MI
Date: Sat, 19 Dec 1992 00:47:41 GMT

>In the "wacky and unique" category, I nominate the final movement of Carl
>Nielsen's Sixth Symphony:  a really strange (but fascinating) sequence of
>variations, for various combinations of instruments, ending with a "Bronx 
>cheer" from the bassoon.

Speaking of "Bronx cheers", I'm surprised no one has mentioned Ives's
2nd symphony. :-)

Anyway, a few of my fave endings, FWIW:

On the ff side:
	Mahler's 5th symphony
	Nielsen's 5th symphony
	Schoenberg's Chamber Symphony #1
	Vaughan Williams's 4th symphony

On the pp side:
	Mahler's 4th symphony
	Ives's 3rd symphony
	Bartok's 6th string quartet
	Carter's 1st string quartet

On the mf side:
	Sibelius's 4th symphony  :-)*

*I'm not sure if there *is* any other symphony that ends mf.

------
Dale Atems
Wayne State University, Detroit, MI
Department of Physics and Astronomy
atems@igor.physics.wayne.edu
From: mjharris@vax.oxford.ac.uk
Newsgroups: rec.music.classical
Subject: Re: The BEST finale!
Date: 17 Dec 92 18:30:53 GMT
Organization: Oxford University VAX 6620

In article <BzD3Lq.4n2@cmcl2.nyu.edu>, tony@cns.nyu.edu (Tony Movshon) writes:
> In article 1gnii7INNibh@master.cs.rose-hulman.edu, stinerkt@NeXTwork.Rose-Hulman.Edu (Kevin T Stiner) writes:
> 
>> What is YOUR favorite ending or finale to a classical piece?



Sorry to repeat what a few people have already said, but one of my favourite
finales/endings is the last movement of Mahler 3. However, just to suggest a
new one, how about the last movement and ending of Sibelius 5? Or the ending to
Dream of Gerontius, which never fails to send shivers down my back.


Mark Harris
Dept of Physics
Oxford University
UK