Navigation Menu+

Enlightenment classical music

Mirror of Enlightenment: Exotic new music and dance from India

India s True Prosperity

Appreciate joining us on the adventure, “Mirror of Enlightenment”, going through the intersection of Indian &lifier Western Classical Music with Modern, Jazz, and Experimental musical forms.

Within the last 24 months included in the John D. and Catherine T. MacArthur Foundation’s “International Connections Grant” we’ve delved the depths of both traditions and ridden the dramatic waves of discovery to produce fascinating ways that they resonate. In 2013 we produced several Core Development Artists (Alison Attar, harp Andy Baker, trombone Janice Misurell-Mitchell, flute Kalyan Pathak, tabla/percussion and Collins Trier, bass) to uncover in which the inspiring sounds, tempos, textures, harmonies, forms and structures of Indian &lifier Western Classical Music converge to produce the following portal to the way forward for these great artistic representations.

Param Vir challenged us using the vision: Imagine music around 3014. The job we hear is inspiring, however the reference is elusive there’s something about this that seems like Classical Indian music, but it's been changed by decades and centuries of artistic evolution.

Through a large number of training courses, rehearsals, concerts and jam sessions—both in Chicago and Birmingham, U.K.—these artists required this vision and went by using it, underneath the guidance of composer Param Vir, sarod soloist Soumik Datta, and artistic director Stephen Burns developing concepts, associations, content and structures that the composer came inspiration to produce the ultimate work—“Raga Fields.” Composer/flutist Janice Misurell-Mitchell introduced keen compositional experience and improvisational abilities towards the process in the Western musical perspective. Kalyan Pathak’s experience and leadership both in Eastern and Western traditions was type in bridging the cultural divide and leading improvisations in the tabla. Ironically, among the primary concepts to leave this developmental work was the change in this characteristic role in Indian Music to that particular from the chamber orchestra-as tabla within the final work. In Rageshri and Jazz Mata we could clearly appreciate Mr. Pathak’s contributions for this entire process.

Related Posts