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Published in: on 30/12/2010 at 9:00 pm  Comments (2)  
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Seasons Greetings


We wish all our readers a very happy Christmas.

Published in: on 24/12/2010 at 5:51 pm  Comments (4)  

Mysticism: The drive to capture colours … and cultures


·RAGA ABHOGI
·
Note for WoP readers: Living in Lahore, Umair Ghani is a freelance photo-trekker and writer. Yesterday he sent me an audio/video file that I would like to share with you.
The readers who might not be knowing about Umair, here is a brief from his autobio.
[Am a trekker and writer. I enjoy freedom of the road and the joy and thrill of adventure. Stung by the wanderlust and a passion for everything beautiful, I began wandering in the Himalayas and the Karakurrums and quit teaching for photography and writing. For me, photography is an appreciation of beauty and expression of inner self, a mystique unto itself. I have strong faith in cultures and colors which guide me throughout. I also get Inspiration from others in the line and try to capture as much as I can. Would go on till my senses become senseless and eyes fail to catch!

Umair with Pagans [the beauties of Kafiristan]

I also love art, literature and world music. Currently am busy with my national and international photo assignments and collecting photographs/stories for my upcoming book].
Readers interested in his work can visit his website at the URL: www.voiceofthemystic.blogspot.com
Nayyar

Rāga (Sanskrit, lit. “colour” or “mood”) refers to melodic modes used in Indian classical music. It is a series of five or more musical notes upon which a melody is made. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rāga. Non-classical music such as popular Indian film songs or ghazals sometimes use rāgas in their compositions.

The word “raga” first occurs in the Brihaddeshi of Matanga (circa second century AD or 5th to 7th century), where he describes it as “a combination of tones which, with beautiful illuminating graces, pleases the people in general”. The term raga was defined by Joep Bor of the Rotterdam Conservatory of Music as “tonal framework for composition and improvisation.” Nazir Jairazbhoy, chairman of UCLA’s department of ethnomusicology, characterized ragas as separated by scale, line of ascent and descent, transilience, emphasized notes and register, and intonation and ornaments.

Source: Text: Wichaar video: Umair Ghani

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Published in: on 09/12/2010 at 6:30 pm  Comments (2)  
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