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Imitating maestro’s style
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By MOHAN NADKARNI The Economic Times, May 21, 1989 Anant Terdal, a Belgaum-based vocalist, provided an utterly pleasant evening, at the NCPA’s Little Theatre, on May 15. By all accounts, it was his debut in the city. Undeterred by poor audience attendance – which, incidentally, has been an unnerving feature of most classical performances sponsored by NCPA at the mini-auditorium – the artiste got...

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New star on classical horizon
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By MOHAN NADKARNI The Economic Times, July 9, 1989 At a time when lighter forms like ghazal, geet and bhajan continue to carry popularity and glamour among the elige, and youngsters are driven by the temptation to meet “popular” demand, one also comes to witness a ray of hope amid the apparently bleak prospect on the classical music scene. Over the last five years,...

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“Lahari”—useful for classical music
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By MOHAN NADKARNI The Economic Times, October 2, 1988 The Music Department of Bombay University sponsored an interesting programme of lecture-demonstration before an eager audience last week. The programme was designed to show the working of yet one more electronic gadget, equipped with a wide variety of instrumental “laharas” usually employed in solo recitals of percussion instruments like tabla or pakhawaj and also for...

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New dimension to “Gharana” ideology
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By MOHAN NADKARNI The Economic Times, May 8, 1988 Last week’s presentation by Professor V. R. Athavale on “Gharanas in Hindustani Music” came like a breath of fresh air. It is just as well that the presentation drew a discerning audience which comprised a large proportion of performing artistes, researchers, scholars and critics. The presence of serious connoisseurs among the audience was a heart-warming...

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Glimpses of Aman Ali’s vocalism
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By MOHAN NADKARNI The Economic Times, January 8, 1989 The vocalism, known as the Bhendi Bazar gharana, was conceived and shaped by the late Indore maestro, Aman Ali Khan. The style is distinct and different from the several contemporary khayal styles in many respects. First, it is known for its high-degree rhythm play. Secondly, the voice production is marked by delicacy and bewitching inflections....

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Music without mike
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By MOHAN NADKARNI The Economic Times, June 5, 1988 The microphone has, for several decades now, become indispensable to music concerts and other varieties of stage entertainment. The listeners’ ears are now so inured to the ubiquitous gadget that music without mike is simply unthinkable. It was therefore to my great delight that I had an opportunity to savour two hours of mikeless music...

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