ML161638
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Subject 1: (Interview). Subtitle: Ravi Shankar. Timecode In: 00:08:12. Timecode out: 00:42:10. Notes: Ravi Shankar's life; Ravi Shankar Institute for Music and Performing Arts; General Conversation. Subject 2: (Interview). Subtitle: Jessie Charnow. Timecode In: 01:34:34. Timecode out: 01:39:45. Notes: Ravi Shankar; Music; Drumming. Equipment Notes: Split Track Stereo; Spaced Omnis. Show: Ravi Shankar, Susan Stamberg DAT #: 8 Engineer: William McQuay Date: December 8, 2004 R = Ravi Shankar SUK = Sukanya Rajan JC = Jessie Charnow S = Susan Stamberg Jes = Jessica Goldstein Bill = Bill McQuay (summary: Interview, shopping, brief pg 12 with Jessie C.) 1:41 interview room (salon) BILL: channels will be flipped the same as they were in the other interview- Susan appear right but will be left. [Raga and times of day] 3:13 Susan shows record jackets and ragas and morning, afternoon and evening. 3:40 (AMBI paper flipping 4:35) This is a very effective song called prabuti- means oh lord And it's a morning song No it's a general meditation, morning and ¿ (Susan clarifies) R-these are all prayers and chanting But this is very effective, and if you have the original cd the words and all are explained here. S- is there a morning raga here? AMBI 5:25 pages flipping) R-no S- or afternoon or evening? r- evening yeah s- good show me 5:40 5:50 R- this is an evening raga s- oh good, it says it¿ and also this is it, s- here's an evening raga r- raga ka mang (he explains pronunciation) I would prefer this¿ s- I give it the two Shankar stars. 6:14 S- Okay lets look for a morning raga now, any idea AMBI pages flipping 7:12 R- there is one morning raga here¿ 7:22 is that all you have? s- we have more, it is all I brought r- if you have some better one ¿ 7:44 r- do you have any list? Jes- I will talk to her via email¿no worry 8:13 s- there is a raga for every time of the day what is the difference r- there are a lot of scientific but very technical explanation, you know a combination of the minor second and the minor sixth has some special time effect of different part of the day or you know different timings. Or the combination of the minor third and the minor seventh, things like that, but those are really very complicated and really technical. But there has been definition of why this raga is of this time in the olden days they have had this explanation. But for us it has become more of an association of idea. 9:15 R-We cannot forget that. Especially in the north Indian Hindustani style. We observe still today very much of this playing I mean we would never play a morning raga in the evening or visa-versa, but in the south, kitanaka (?) system they also had this but since about I believe 100 years or so they have done away with it. s- huh r- because they were very clever I think, they realized in the future, the programs would be held only in a limited time. And maybe between four and 10 in the evening so you cannot cut away hundreds of thousands of ragas s- right (over lap on Shankar) r- which are not of that time s- does a morning raga try to reflect the sounds of nature the day? r- (overlap on stamberg) all that is explained in the old scriptures, but were really don't , we are so used to it, that we cannot think of it. To us, it is both together, the moment you hear ragalalit, you think of sun going to rise, you know its all day, daylight before it still dark but you know the whole feeling of tying to meditate at that time or there is afternoon where the sun is at the top, absolutely, or evening when it is dusk things like that, the association is so strong for us. It is more that we follow with our instinct. 1058 s- yeah r- and prefixed ideas that this raga is for this time this time s- but maybe this is a foolish question, these are... (Notes truncated)
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