Nayan Ghosh

Nayan Ghosh, sitar and tabla

Nayan Ghosh studied tabla with his father, Padmabhushan Nikhil Ghosh, and Ud. Ahmedjan Thirakwa, and is also a noted sitar player. Over the years he has performed, lectured and taught extensively across the length and breadth of the Indian sub-continent and in capital cities of Europe, UK, USA, Canada, Australia, New Zealand and the Far East. He is director of the Sangit Mahabharati music academy in Mumbai, co-edited Oxford University Press’s Encyclopedia of Music in India, and is currently a visiting professor at IIT-Bombay, and has performed with many of the leading Hindustani musicians of the 20th century, including Ravi Shankar, Vilayat Khan, and Nikhil Banerjee. Official webpage
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Media


Nayan Ghosh (sitar)
Raga Yaman

Nayan Ghosh (tabla)
Raga Bhatiyali
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“Keeping Time: Ragas in Contemporary Settings”

Monday, April 8 at 5 pm
Room 200, College Hall
University of Pennsylvania
Hosted by the South Asia Center

Panelists

Allyn Miner (moderator)
University of Pennsylvania
Robert Browning
World Music Institute, New York
Samir Chatterjee
Chhandayan
Nayan Ghosh
Sangit Mahabharati Academy
and IIT-Bombay

Enayet Hossain
Aimrec and Sangeetpedia
Panelist Biographies

The Raga Samay Festival will conclude with an informal discussion reflecting on how the weekend’s concerts fit into the world of Indian classical music today. Panelists will include scholars, artists, concert organizers, and teachers who have worked in India, the US, and other countries and represent a variety of generational and geographical backgrounds.

In the past, Hindustani clasical music has been rooted in local traditions and patterns of daily and seasonal life. Most ragas are ideally performed at specific times of day or year, and gharanas — many named after the towns where their founders lived — were passed down by disciples receiving instruction within their gurus’ households. However, the last century has changed how people (and which people) learn, perform, and listen to music of all genres. Technological, social, political, and economic developments have all affected musical culture in South Asia, while migration and globalization have created a worldwide audience and concert circuit including expatriates, their children and grandchildren, and many people with no personal connection at all.

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