1 煦珈康的北印度音樂旅程世界之最. 印度瑰寶 : 煦珈康的北印度音樂旅程文呂心純 ( 中央研究院民族學研究所副研究員 ) 風靡葛萊美的印度西塔琴名家煦珈康 (Shujaat Khan), 被譽為當代最具影響力的印度古典樂手之一繼 2014 年台灣國際藝術節為台灣聽眾帶來南北古典印度音樂

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虎舒
5 years ago
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1 演出時間 2017年4月8日星期六 7:30PM 演出地點國家音樂廳演出者西塔琴煦珈康 Sitar / Shujaat Khan 主辦單位薩朗吉琴法爾兀克拉替夫康 Sarangi / Farooque Lateef Khan 指定住宿塔布拉鼓阿比滿高玄阿密德超貝 Tabla / Abhiman Kaushal Amit Choubey 演出長度約140分鐘含中場休息20分鐘 Approx. 140 minutes with an intermission of 20 minutes 主辦單位保有節目內容異動權 The program is subject to change

2 1 煦珈康的北印度音樂旅程世界之最. 印度瑰寶 : 煦珈康的北印度音樂旅程文呂心純 ( 中央研究院民族學研究所副研究員 ) 風靡葛萊美的印度西塔琴名家煦珈康 (Shujaat Khan), 被譽為當代最具影響力的印度古典樂手之一繼 2014 年台灣國際藝術節為台灣聽眾帶來南北古典印度音樂的交織天籟, 並掀起風潮之後,2017 年他將以嶄新的樂種組合, 引領我們進入另一趟帶有文化底蘊的感官之旅 : 從古典到半古典再從民間到伊斯蘭的蘇菲音樂, 為我們揭開北印度多元音樂的神祕面紗, 讓人一窺源自貴族娛樂民間日常以及宗教禮讚的繽紛音聲世界而西塔琴 (sitar) 深邃迷人的旋律, 加上塔布拉鼓 (tabla) 生動跳躍的鼓點, 將再次以時而狂放時而內斂的音樂脈動, 延續上次的感動同時, 這回也將帶來縱橫古典與民間的樂器薩朗吉琴 (sarangi), 以能深深牽動著聽眾情緒的低嗓音質, 伴隨大家一起沉浸在驚豔及狂喜之中北印度古典音樂印度古典音樂有北印度及南印度兩大系統之別, 前者又稱為印度斯塔尼 (Hindustani) 音樂, 後者則稱為卡納提克 (Carnatic) 這次音樂會聚焦於北印度古典音樂, 其源起於古老的吠陀吟唱 (Vedas); 之後隨著南亞大陸政治勢力版圖的擴張, 曾統治過部分印度區域的蒙兀兒 (Moghul) 及波斯兩大帝國, 各自透過交流, 豐盈了北印度音樂的音聲色彩, 並在宮廷嚴謹的樂派傳習下, 形成當今其特有的音樂旋律節奏及派別組織而有別於前者, 南印度古典音樂則是源自於印度教的廟堂音樂, 孕育發展出自己的獨特系統要了解北印度古典音樂, 拉格 (Raga) 及塔拉 (Tala) 為不可不知的兩個主要概念名詞拉格指的是旋律結構, 存在有數百種, 每個拉格具有其特定的上下行音階與音型組合, 通常由 5 到 12 個音構成塔拉則是指節奏架構, 同樣具有極大的廣度, 從 3 拍至 108 拍都有可能雖說如此, 但還是存在幾個固定常用的塔拉節奏形態, 比如說 16 拍的 Teental( ) 10 拍的 Jhaptal( ) 7 拍的 Rupaktal(3+2+2) 8 拍的 Keherwa (4+4) 及 14 拍的 Dhamar Tala( ) 這些形成規律性節拍的塔拉, 成為主奏者與伴奏者之間的指引, 更成為印度音樂愛好者聆賞時的觀察趣味之一十分耐人尋味的是, 主奏的音樂家會根據不同的時辰季節或演出當下的情緒與心境等, 選擇合適的拉格來演出, 因此通常在上台前, 不會告知伴奏的音樂家, 他將會選擇什麼拉格來演出此般高度即興的音樂特色, 也正是台灣觀眾培養印度音樂鑑賞能力的觀察重點北印度古典音樂, 即是透過不同拉格及塔拉的組合, 衍生出千變萬化的音樂特色, 並藉由承繼自不同樂派的音樂家, 以自身獨特的演繹風格, 進行音群之間的即興探索通常一首完整的北印度古典樂曲結構, 是由 alap jor jhala 與 gat 四個部分組成 : 一開始的 alap 可說是拉格的深沉探索, 旋律彈奏者根據他們的創造力, 思索選定拉格中每個音符的流動, 在節奏上十分自由 ; 接著進入 jor 樂段, 器樂家會接續先前 alap 彈奏的拉格, 在此樂段確立出節奏的模式 ; 其後的 jhala 樂段則採以逐漸加快並增強的演繹風格, 加入塔布拉鼓, 滑入 gat 的樂段 ; 在 gat 裡, 旋律彈奏者會在原先選定的拉格上, 定調旋律架構, 並且以固定節拍的鼓點作支撐, 隨之即興彈奏其中也會和鼓手交換各自的音樂片段, 相互映襯, 演繹時帶有令人興奮激動的情緒, 直至高潮收尾北印度民間音樂印度比台灣大上將近 91 倍, 可見其幅員之廣, 每個區域內部的種族及文化十分繁多, 造就出豐富華美的多樣民間音樂印度古典音樂家們為了製造較為輕鬆愉悅的音樂氛圍, 經常在音樂會的下半場加入自身熟悉的民間樂曲或歌曲, 以和上半場的古典嚴謹風格有所區隔以煦珈康來說, 他從成長的北印度地區汲取靈感, 進而利用西塔琴來詮釋當地流行的民間歌曲, 包括搖籃曲 Lajo Lajo 以及智者 Kabir Sahib 的詩歌, 都是他下半場經常演出的經典曲目前者 Lajo Lajo 更曾成為煦珈康專輯的主打作品, 其大受歡迎的程度, 使之一躍成為亞馬遜網站上的史上百張最偉大音樂專輯伴奏民間音樂和古典音樂不同之處, 在於前者通常使用多種主奏樂器來模擬民間音樂的臨場效果, 也因此這次煦珈康邀請一位薩朗吉琴名師與兩位塔布拉鼓手, 將帶給台灣觀眾一場不同於過去的精彩音樂饗宴蘇菲音樂北印度從 13 世紀開始, 便出現許多來自波斯的蘇菲神祕主義 (Sufism) 信仰者, 這支蘇菲教派為伊斯蘭教下的密契主義 (Mysticism) 信仰者為求精神層次的提升, 孕育出獨特的蘇菲吟讚曲, 用來歌頌伊斯蘭教的

3 2 煦珈康的北印度音樂旅程真主阿拉, 旨在追求和偉大真主合一的狂喜境界這樣的吟讚曲, 以樂種卡瓦力 (Qawwali) 最具代表性卡瓦力的特色之一, 在於它通常以領唱與合唱交替相應的問答 (call-and-response) 形式呈現, 而合唱往往以強而有力的節奏回應, 多由塔布拉鼓或多拉克鼓 (dholak) 來詮釋, 也常利用集體拍手來強化其迷眩的節奏色彩, 召喚身心最終進入入神的狀態煦珈康的蘇菲音樂完美地詮釋詩人 Kabir Sahib 及 Hazrat Amir Khusrau 的詩作, 從吟讚人聲與西塔琴的旋律中, 帶領聽眾進入對真主之愛的深層探索同時他也融合北印度古典音樂旋律, 細膩地描繪充滿虔敬降伏於神並達致與神合一的狂喜之情煦珈康的北印度音樂旅程外形奇麗且頗為壯觀的西塔琴, 為貫穿全場音樂會的亮點, 也是北印度音樂文化中最具代表性的旋律樂器它與台灣聽眾一般所認知的弦樂器相當不同, 在形制上, 用來彈撥旋律的主弦位於琴頸的上層, 通常有 6 或 7 條, 下層則有 11 條到 19 條弦, 用以映襯節奏力度或營造共鳴迴盪的聲響在彈奏技巧上, 主要以推弦上下琴格游移的方式, 製造出獨特的滑音特質在上半場, 煦珈康將呈現其承繼七代的古典西塔琴樂派風格, 也就是被稱作歌唱 (gayaki ang) 的演繹手法此手法相當獨特, 煦珈康會先以他充滿迂迴張力及幽韻動人的低嗓演唱, 並立即精妙入微地將每句歌樂模仿在西塔琴上這般人聲與琴聲相挨並行的特色, 也讓他因此享譽國際傳統上用來伴奏西塔琴的塔布拉鼓在這次音樂會中也沒有缺席它是由一組兩面大小材質相異的手鼓所組成, 左邊鼓身為金屬製成, 可彈奏出聲響厚沉具有特殊變化的高低滑音, 右邊鼓身則為木製, 能擊出帶有辨識度的清脆高音兩手以不同擊姿與節奏組合, 幻化出絢爛多彩的聲響光譜在這次演出中, 煦珈康為了加強節奏的厚度, 並在繁複拍點中創造出音響差異, 邀請了兩位塔布拉鼓大師一齊競奏究竟源自於不同樂派的兩位塔布拉鼓大師, 將會即興迸發出什麼樣的聲響花火, 十分令人期待在下半場, 外形同樣令台灣人驚奇的薩朗吉琴將會加入演奏, 用來映襯煦珈康的歌唱及西塔琴的音響美感這個經常被使用於印度古典及民間音樂的小型弦樂器, 其中有三條弦用來彈奏旋律, 而其他的和聲弦則以細膩的拉弓技巧交織出迷人聲響薩朗吉琴的另一個特點, 在於它是利用左手四根指頭 ( 除大拇指外 ) 指甲根部的角質層來按弦, 外人看來十分疼痛, 但卻能使之製造出最貼近人聲的音質不同於上半場純粹以北印度古典音樂為主, 下半場將演繹伊斯蘭教的蘇菲音樂與民間音樂, 並將其融入在北印度古典音樂的表演當中帶有強烈地方區域特色的印度民間音樂素材, 將引領觀眾一同感受音樂如何跨界融合, 碰撞出不一樣的熱情演出者簡介西塔琴 / 煦珈康煦珈康是當代最重要的北印度古典音樂家之一他承襲其曾祖父 Imdad Khan 所創立的西塔琴門派, 演奏形式因擅以西塔琴摹仿歌樂精妙入微, 而有 gayaki ang ( 歌唱 ) 之名由於家學淵源, 煦珈康一家七代以來, 每位成員均是名聞遐邇的印度古典西塔琴表演藝術家煦珈康是大師 Ustad Vilayat Khan 之子, 亦為其門徒, 而他的祖父 Ustad Inayat Khan 曾祖父 Ustad Imdad 高祖父 Ustad Sahebdad Khan, 都是引領風騷的音樂大師煦珈康三歲時就展現了他的音樂才能當時的他, 使用一把特製的小西塔琴來練習到了六歲, 他被視為音樂神童, 隨即展開演奏生涯迄今, 煦珈康不但已在印度各地音樂節表演, 同時應邀至世界各地演出他在西塔琴演奏上所呈現的獨特風格及迷人樂音, 再加上其無雙的音律天賦, 均深深地打動全世界觀眾煦珈康也曾和不同音樂型態的演奏家合作例如 The Rain 這張專輯, 主打的是他和波斯音樂家的即興音樂融合他們的樂團命名為 Ghazal, 而這張專輯也榮獲 2004 年葛萊美獎最佳傳統世界音樂專輯提名在煦珈康所獲得的眾多獎項和榮譽中, 尤其特別的, 是他的專輯 Lost Songs of the Silk Road, 在 2009 年榮獲亞馬遜網站評選為史上百張最佳世界音樂專輯殊榮另外在 2010 年, 煦珈康和 Asha Bhosle 合作發行的專輯 Naina Lagai Ke, 不僅被 Songlines 雜誌評選為 Top 10 最佳新專輯, 之後也獲得 2011 年世界之最專輯的榮譽而他與 Katayoun Goudarzi 及阿比滿 (Abhiman Kaushal) 合作錄製的專輯 Shams Delbar 與

4 3 煦珈康的北印度音樂旅程 Saffron, 則分別榮獲及 2013 年的葛萊美獎世界音樂專輯 Top 30 煦珈康至今已為國際音樂公司錄製超過百張專輯, 還曾拍攝一部名為 Khandan 的紀錄片薩朗吉琴法爾兀克. 拉替夫康 1975 年, 法爾兀克. 拉替夫康生於印度博帕爾, 他是印度最具成就也最被看好的年輕一代的薩朗吉琴 (sarangi) 演奏者法爾兀克是印度中央邦瓜廖爾附近一帶地位顯赫的薩朗吉琴演奏世家的第五代傳人這個音樂世家的成員起自 Ustad Ghansi Khan 的父親 Ustad Fazal Khan, 後者以他在錯綜複雜的 Tappa 音樂形式的造詣而享盛譽 Ustad Ghansi Khan 親自傳授他的兒子 Ustad Uday Khan Ustad Chhuttu Khan 及 Ustad Haddu Khan 關於演奏的技巧, 他們分別是法爾兀克. 拉替夫康舉世聞名的父親 Ustad Abdul Lateef Khan 的父親及伯叔父, 也是他的老師法爾兀克. 拉替夫康自 12 歲那年, 就跟隨父親學習薩朗吉琴的演奏技巧, 每天早晚父親給予他的嚴厲培育訓練, 從他深思熟慮及嫻熟的演奏風格中明確地反映出來法爾兀克. 拉替夫康的演奏融合了父親 Ustad Abdul Lateef Khan 具有多種風貌的細膩風格, 以及父親從廿世紀前半的薩朗吉琴大師 Ustad Bade Ghulam Sabir 學到的獨特且令人歎為觀止的技法 1993 年於印度加爾岡的南中央區文化中心舉行首演之後, 法爾兀克. 拉替夫康繼續在許多知名的音樂節中演出令人難忘的音樂會他亦曾於邦加羅爾孟買博帕爾占西邁哈爾賈姆訥格爾阿哈麥達巴印多爾及瓜廖爾等地演出法爾兀克. 拉替夫康曾擔任首屈一指的印度音樂演唱者伴奏, 如 :Pandit Dinkar Kaikini Ustad Rashid Khan Vidushi Shubha Mudgal Vidushi Ashwini Bhide Deshpande Vidushi Aarti Anklikar Tikekar, 另外, 也為著名的塔布拉鼓演奏者伴奏, 如 :Pandit Swapan Choudhary Pandit Suresh Talwalkar Pandit Anindo Chatterjee Pandit Kumar Bose Pandit Vijay Ghate Pandit Bhawani Shankar 等他曾於國外如南非約翰尼斯堡肯亞奈洛比及法國巴黎等地的知名音樂節演出法爾兀克. 拉替夫康的錄音曾由包括音樂家公會等唱片公司發行塔布拉鼓 / 阿比滿. 高玄阿比滿從五歲起師承他的父親 R. B. Kaushal, 開始學習北印度塔布拉鼓, 接著與兩位頗富盛名的大師 Pt. Sheikh Dawood 與 Pt. B. Nandkumar 學習阿比滿被認為是當今 Farukkabad Lucknow 與 Ajrara 三個塔布拉鼓學派的代表音樂家之一, 在塔布拉鼓藝術美學上因清亮的音色及兼具傳統與現代的鼓點創作而得名阿比滿除專業演奏外, 現職為美國加州大學洛杉磯分校 (UCLA) 與河濱分校 (UCR) 兩校副教授, 開設塔布拉鼓彈奏與印度音樂理論等課程阿比滿在其藝術生涯中, 早期曾與享譽國際的印度西塔琴大師 Pt. Ravi Shankar 合作巡迴演出, 足跡遍及美洲亞洲以及歐洲大陸, 此外, 也共同錄製了三張專輯於 1993 年移居美國後, 他相繼與眾多世界頂尖的音樂家合作, 包括印度音樂家 Ustad Zakir Hussain Pt. Hari Prasad Chaurasia Ustad Shahid Parvez Ustad Shujaat Khan Smt. Lakshmi Shankar 等, 他更跨界與法國長笛大家 Jean-Pierre Rampal 墨西哥交響樂團印尼音樂大師 I Nyoman Wenten 的甘美朗樂團非洲知名爵士樂手 Cheick Tidiane Seck 拉丁爵士樂手 Tito Puente 等人合作, 奠基了其深厚且扎實的演出經歷另外, 也曾參與紐約大馬戲團演出 Ramayana 2K3 劇碼, 在美國各地巡演三個月, 深獲表演藝術界的好評近年來, 他與煦珈康及 Katayoun Goudarzi 合作錄製的專輯 Shams Delbar 與 Saffron, 則分別榮獲及 2013 年的葛萊美獎世界音樂專輯 Top 30 今年更以與 White Sun 團體合作的同名專輯 White Sun II, 榮獲 2016 年葛萊美獎新世紀專輯塔布拉鼓 / 阿密德. 超貝阿密德是位頗負盛名的新生代塔布拉鼓音樂家, 從七歲起就在大師 Pt. Karodilal Bhatt 的指導下開始學習塔布拉鼓, 目前正在孟買的 Ustad Allarakha Music Institute 精修鼓藝, 與世界聞名的大師 Padma Bhushan Ustad Zakir Hussain 與 Pt. Yogesh Samsi ji 學習阿密德成功匯合了嚴謹的傳統鼓藝與創新的當代擊鼓技法, 並因此得名他的卓越獨奏能力, 早在年讓他獲得全國音樂獎學金 2009 年獲得節奏音樂大獎, 更於 2011 年獲得區域性音樂大賽的塔布拉鼓金牌此外, 他純熟的伴奏技法更引領他巡迴全球, 和世界知名的印度聲樂家與器樂家合作, 足跡踏遍各大音樂節與音樂廳同時阿密德也跨足世界音樂界, 在印度的電影與音樂工業上嶄露頭角, 和多元類型的融合樂團合力錄製專輯其清晰快捷的擊樂聲響滿富創意的即興能力, 以及鼓樂技法的精確度, 皆讓這位新生代鼓手在世界音樂圈上站穩一席之地

5 4 煦珈康的北印度音樂旅程留白部位提供觀眾打洞收藏之用Introduction Origins Tasaw Hsin-chun LU (Associate Research Fellow, Institute of Ethnology, Academia Sinica) Indian Classical music is presented in two major forms which are HINDUSTANI or North Indian classical music and CARNATIC which is the South Indian Classical music system. The focus here is solely on North Indian classical music or Hindustani music and its branches such as folk and light classical music. The origins of Indian classical music dates back thousands of years (1500 BCE) during which period hymns from the Vedas (ancient religious scriptures) were chanted or sung in a certain format. The musical notes through which these hymns were recited formed the basis of the Raga system which is the melodic scale of Hindustani music. There is also a very definite rhythmic meter maintained while these hymns were sung or recited which formed the Tala system or the rhythmic cycles. Over the centuries, Hindustani music historically has also been influenced by Persian and Moghul era when they ruled parts of India in regards to the presentation or useful exchanges and alterations of various music instruments. While certain forms such as dhrupad remained intact through time, other influences were made in vocal and instrumental music. Profiles Sitar / Shujaat Husain Khan Shujaat Husain Khan is one of the greatest North Indian classical musicians of his generation. He belongs to the Imdad Khan gharana of the sitar and his style of playing sitar, known as the gayaki ang, is imitative of the subtleties of the human voice. Shujaat Khan s musical pedigree extends seven generations. He is the son and disciple of the great sitarist Ustad Vilayat Khan, and his grandfather, Ustad Inayat Khan, his great-grandfather, Ustad Imdad Khan, and his great-great-grandfather, Ustad Sahebdad Khan, were all leading artists of their respective generations. Khan s musical career began at the age of three when he began practicing on a specially made small sitar. By the age of six, he was recognized as a child prodigy and began giving public performances. Shujaat Khan has performed at all the prestigious music festivals in India and has performed throughout Asia, Africa, North America, and Europe. Audiences around the world are captivated by his unique style of sitar playing, his exceptional voice, and his intuitive and spontaneous approach to rhythm. In 1999, Khan performed as a soloist with the Edmonton Symphony Orchestra and in 2007, he was the featured artist at musical concerts celebrating India s 50th anniversary of independence at Carnegie Hall in New York, Paramount Theatre in Seattle, and Meyers Symphony Theater in Dallas. Khan was also the sole artist representing India in a special performance at the United Nations General Assembly Hall in Geneva commemorating India s independence the same year. Alongside his many notable performances, Khan has been a regularly featured artist at prestigious concert halls including Royal Albert Hall in London, Royce Hall in Los Angeles, and Congress Hall in Berlin. Shujaat Khan has also collaborated with different genres of music. The Rain, an album featuring Shujaat Khan and the Indo- Persian Ghazal ensemble, was nominated for a Grammy Award in 2004 for Best Traditional World Music Album. Additionally, among the numerous awards and international recognition he has received, Khan s Lost Songs of the Silk Road was honored on Amazon.com s The 100 Greatest World Music Albums of All Time list in August In 2010, Shujaat Khan worked with Asha Bhosle in releasing Naina Lagai Ke. The two performed in sell out concerts at Royal Festival Hall in London, and at concerts in Birmingham and Leicester. Their album was selected as a Top Ten Best New Album Release by the editor of Songlines Magazine and was featured in the magazine s exclusive Top of the World CD in And his albums Shams, Delbar, and Saffron (collaborated with Abhiman Kaushal and Katayoun Goudarzi) have been shortlisted as 2008, 2009, and 2013 s top 20 of the Grammy Award respectively. He has more than 100 CD releases on a variety of international labels, as well as a video called KHANDAN. Sarangi / Farooque Lateef Khan Farooque Lateef Khan, born in Bhopal in 1975, is one of the most accomplished and promising musicians of the younger generation of Sarangi players in India. Farooque represents the fifth generation of the musical heritage of distinguished Sarangi players from Gohad near Gwalior in Madhya Pardesh. This musical heritage includes Ustad Fazal Khan, the father of Ustad Ghansi Khan, famous for his mastery of the intricate Tappa style. Ustad Ghansi Khan taught his sons who included Ustad Uday khan, Ustad Chhuttu Khan and Ustad Haddu Khan who were the father and paternal uncles and the teachers of Ustad Abdul Lateef Khan, Farooque Lateef Khan s eminent father. Farooque Lateef Khan began learning Sarangi from his father at the age of twelve. The intense taleem which he received from Ustad Abdul Lateef Khan Sahab, every morning and evening, is clearly reflected in his thoughtful and virtuosic playing style.

6 5 煦珈康的北印度音樂旅程 His playing embodies the intricate delicacy of his father s style as well as rare and impressive techniques which his father learned from one of the most famous Sarangi player of the first half o this century, Ustad Bade Ghulam Sabir (Ambala Wale). Farooque Lateef Khan has participated in many prestigious music festivals and includes memorable performances. His solo debut was at the South Central Zone Cultrual Center (SCZCC) Jalgaon (1993). Other concerts includes the (1994), Sursingar Sansad s Kal Ka Kalakar Mumbai Bhopal (1998), Raja Chatrapati Sangeef Samaroh Jhansi (1998), Usald Allauddin Khan Samaroh Maihar (2000), Pandit Omkarnath Thakur Music Festivla organized by Sangeef Natak Academy Jamnagar (2000), SAPTAK Samaroh Indore (2002), Dadar Matunga Music Circle Mumbai (2006), Tansen Samaroh Gwahor (2007). He has provided accompaniment to eminent vocalists like Pandit Dinkar Kaikini, Ustad Rashid Khan, Vidushi Shubha Mudgal, Vidushi Ashwini Bhide Deshpande, Vidushi Aarti Ankhkar Tikekar and renowned Tabla Maestros like Pandit Swapan Choudhary, Pandit Suresh Talwalkar, Pandit Anindo Chatterjee, Pandit Kumar Bose, Pandit Vijay Ghate, and Pandit Bhawani Shankar. He has performed in prestigious music festivals abroad including Johannesburg (South Africa), Nairobi (Kenya), and Paris (France). He also has CD recordings released by leading music companies including Musicians Guild. Tabla / Abhiman Kaushal At a young age, Abhiman Kaushal was indoctrinated into the world of Tabla by his father, R.B. Kaushal, himself a disciple of the legendary Ustad Amir Hussain Khan. While living in the city of Hyderabad, India, Abhiman Kaushal furthered his studies with both Ustad Sheikh Dawood and Pandit B. Nandkumar. As a result of these studies, Abhiman Kaushal is today considered to be one of the leading proponents of the Farukkabad, Lucknow, and Ajrara schools of Tabla. Aesthetically speaking, Abhiman Kaushal is renowned for the vivid tone he elicits from the tabla, his articulate performances, and command of both traditional and progressive rhythmic compositions. His talents and achievements have led him to become Director of Tabla at UCLA s Ethnomusicology Department and UCR s Department of music, where he trains a large and diverse student body. Throughout the continued development of his accomplished career, Abhiman Kaushal has performed with a veritable who s who of leading Indian musicians, including Ustad Zakir Hussain, Pt. Hari Prasad Chaurasia, Pt Jasraj, Ustad Rais Khan, Ustad Shahid Parvez, Pt. Viswa Mohan Bhatt, Ustad Shujaat Khan, and Smt. Lakshmi Shankar. Of particular note is Kaushal s extended stint with Pt. Ravi Shankar. Kaushal recorded three albums with Pt. Ravi Shankar and toured extensively with the master throughout the Americas, Europe, and Asia. As he is open to diverse collaborations, Kaushal has also performed with French flautist Jean-Pierre Rampal, the Mexican Symphony Orchestra, gamelan maestro I Nyoman Wenten, Mali-jazzer Cheick Tidiane Seck, and the late bandleader/percussionist Tito Puente. In recent years, his albums Shams, Delbar, and Saffron (collaborated with Shujaat Khan and Katayoun Goudarzi) have been shortlisted as 2008, 2009, and 2013 s top 20 of the Grammy Award respectively. In 2016, his album White Sun II with the group White Sun has won a Grammy Award in the category of New Age. Tabla / Amit Choubey Amidst the new generation of Tabla players on the music scene today, Amit Choubey is a name apart. Groomed from the tender age of seven under the able guidance of Tabla Maestro Pt. Karodilal Bhatt in his home town Jabalpur M.P., at present he is taking advanced Tabla training from Ustad Allarakha Music Institute under the world renowned Tabla maestro Padma Bhushan, Ustad Zakir Hussain and Pt. Yogesh Samsi ji in Mumbai. Amit brings to music a mind alive to the movement and nuances of rhythm along with a superior tonal quality that has been cultivated through persistent practice and dedication. A keen student of world music, Amit has also performed with various fusion bands. He is one of the regular tablists of Indian film & music industry. He has played for many films and many classical, devotional, light music & fusion music albums. The Government of India, , has honored him with the prestigious National Music Scholarship. In 2009 Amit got Taal-mani Award from Sur Singar Sansad Mumbai. Notable among his achievements are his singular performances at various youth festivals and several prestigious concerts, which have fetched him great appreciation and applause. Clarity of sound, creativity of patterns, and correctness of technique have helped Amit carve a meaningful identity for himself in the world of music.

蔡氏族譜序 2

蔡氏族譜序 2 1 蔡氏族譜 Highlights with characters are Uncle Mike s corrections. Missing or corrected characters are found on pages 9, 19, 28, 34, 44. 蔡氏族譜序 2 3 福建仙遊赤湖蔡氏宗譜序蔡氏之先出自姬姓周文王第五子