Documentation of Sagar Veena

Page 1 of 22

Sagar Veena
Documentation of a new string instrument

Raza Kazim and Noor Zehra Kazim during playing Sagar Veena (2001)

Lahore/Pakistan, October 2005

Documentation of Sagar Veena

Page 2 of 22

Content

1. Preface 2. Historical and Etymological Introduction 3. Details on Sagar Veena 4. The Technique 5. Future Impact 6. References 7. Epilog

3 6 10 16 18 20 21

Documentation of Sagar Veena

Page 3 of 22

``I felt the need for making a new musical instrument which could be a serious vehicle for communication and continuity. The guideline for its sounds was not the effect of vibration but resonance, just like the human voice operates.1

Raza Kazim working on the first prototype of Sagar Veena (1978)

1.

Preface

The story of the Sagar Veena2 is a story about people discovering the active role, which they can play in the creation of sound and in the development of vehicles and tools (instruments) to communicate nonverbally. Moreover, to comprehend sound and music instruments as actions, which evolve within the artists mind. Sagar Veena is a solo string instrument, which is intrinsically tied to the historical and etymological background of the vocal Indian Classical tradition, which uses specific expressions and terms. Anyway, those might not be sufficiently explained sometimes. The three present prototypes of Sagar Veenas are the product of a constant research and experimentation process since the early seventies carried out by Mr. Raza Kazim (*1930), director of the Sanjan Nagar

1 2

Quotation of the Interview with Raza Kazim, for details: see references. The term has Sanskrit roots: sagar originally means ocean/sea, veena is a general term to classify the family of string instruments.

Documentation of Sagar Veena

Page 4 of 22

Institute of Philosophy and Arts in Lahore, Pakistan3. Throughout this process he has been receiving the co-operation of two professional string instrument makers Mr. Mohammed Riaz and Mr. Fiaz with their team4 and his daughter Mrs. Noor Zehra Kazim (*1954), in practically testing the potential of the instruments from the standpoint of an artist. Mrs. Noor Zehra is a musician, who received her formal training in the North Indian Classical Music from the late Ustad Sharif Khan Poonchwale, the well known Sitar and Vichitra Veena Player of Pakistan. She has been formally performing, since 1983, when she did her first performance on the Sagar Veena on Pakistan Television. Apart from that she has been performing on radio, at the Alhamra Arts Council and in the All Pakistan Music Conferences held in Lahore. Between 2000 and 2003 she played concerts in Okinawa (Japan) and Oslo (Norway). Since the early eighties she did several recordings of Sagar Veena in the studio of Sanjan Nagar Institute.5

Noor Zehra Kazim playing Sagar Veena, Sanjan Nagar Institute (1985)

The Sanjan Nagar Institute of Philosophy and Arts in 13 Gulberg V, Lahore (Phone: 009242-5712193, email: sni@brain.net.pk) was formed by Raza Kazim in 1995. See more details on http://www.sanjannagar.org 4 Further information will be provided on http://www.sanjannagar.org/instrumentmaking/ 5 For further information check http://www.sanjannagar.org/post-production/
3

Documentation of Sagar Veena

Page 5 of 22

Re-designing and inventing instruments formally became a part of the work of Sanjan Nagar Institute in 1995. The aim behind the invention of the Sagar Veena and the redesigning of other classical string instruments like Sitar, Surbahar and Tanpura in the Instrument Making Department is not simple modification but a creation of instruments which will be closer to the characteristics of the human voice. The concept of re-designing based on the relationship between music and sound with reference to the specific origins of Indian classical music, with its predominating Vocal Music tradition. The objective is to provide the artists with a rich palette of sounds and timbres with different degrees of pleasure. So that while trying to express their operative and dynamic sensitivities for pleasure, they are not hampered by the limitations of the sounds an instrument can produce.6 Therefore, the work on the instruments is a means to experiment in relation to the primary inquiry into the effects evoked by musical sounds. Since today eleven different instruments have been built. Raza Kazim about the work of the instrument-building department at Sanjan Nagar Institute: The aim behind the invention of Sagar Veena and the redesigning of the Sitar, Surbahar and Tanpura is to come up with a tool for serious creative work in music. And our concept about the relationship between music and sound is with reference to the specific origins of Indian classical music, as discussed in our ideas in musicology. Therefore, our work on the instruments is a means to experiment in relation to our primary inquiry into the effects evoked by musical sounds.7

Quotation is taken from the general brochure of Sanjan Nagar Institute of Philosophy and Arts, page 12, for details see references. 7 General brochure, page 12
6

Documentation of Sagar Veena

Page 6 of 22

Workshop of Mr. M. Riaz and Mr. M. Fiaz at Sanjan Nagar Institute

2.

Historical and Etymological Introduction

A glimpse into music history and its former and present importance and impact on the people of the Subcontinent, which is strongly tied to the development of language out of phonemes8: When there were phonemes, at that time music and word was one. When language starts a bifurcation takes place. In nature there was one mode of communication for living things. And that was sonic, sonic communication with phonemes. Mental perception begins with words because then you are able to abstract of take out aspects of the observed data, categorize and classify them and also retain them in the form of words. And grammar, which presupposes a process a process of prior abstraction and classification, was the systematization of this whole process of mental perception. It enabled man to handle a phenomenon in its complexity, details and precision. We find a parallel process, which takes place in music. Folk music is like folk language or language before grammar. Musical sounds at the level of folk are an objective reality. There is a built-in genetic program within the human mind in accordance with which certain sounds
8

A phoneme is the smallest contrastive unit in the sound system of a language, including facial expressions and mouthing. The whole paragraph is based on Tariq, see references.

Documentation of Sagar Veena

Page 7 of 22

are identified and then specific responses are generated. Actually this program is the foundation of all music and it is not manmade but a product of evolution. In Folk music this inherent capability present in every individual, derived from his specific genetic program of identifying and responding to certain musical sounds, is used by a Folk artist to identify and reproduce certain sounds creatively through the use of his Will. These sounds when they reach the audiences and trigger the listeners genetic program of identifying certain sounds and then very effectively generates specific dependable responses in the form of simple functional emotions and feelings. The Rishis9 did not produce developed emotional music. Their purpose of experimenting with musical sounds was to develop an inner communication. Their problem was of communicating successfully with themselves before communicating with others. They wanted a resolved direction in relation to life, a resolved direction for the application of their energies. They could experience the internal conflicts between their ideas and feelings and they wanted to resolve these conflicts so they could act more freely and productively in developing their internal capabilities and for acting upon the outside world. We must be clear that the Rishis were not inquiring for some inner harmony they were doers. They wanted to resolve conflicts for doing they were men of action.10 During this process of developing inner communication they found that through language they were only discovering half-truths, because with the evolving of words, abstraction, subjectivity, falsehood and misunderstanding comes in. Through language and grammar they were unable to resolve the inner conflicts between their ideas and feelings so they felt the need for another language beyond words for addressing these issues, which were not simple issues. Thus began their quest of trying to achieve a level of communication beyond grammatical words. They started looking for a more holistic
9 The term is used for the ancient philosophers of the Subcontinent, the originators of Indian Classical Music, spiritual and intellectual seekers of truth belonging to the Rigveda Period, approximately 3000/2500 BC, inhabitants of the Kangra Valley (lower Himalayan range, belonging to Himachal Pradesh Province, North India, with its district capital Dharamshala), were the earliest Vedic hymns were composed. The Rishis lived in a time and a society where a caste-based feudal social structure had not emerged as yet, and agriculture, with surplus produce as the basis of economy (specialization of labor, private land ownership, inheritance, trade and moreover dogmatic organization of religion) had not been discovered it was a simple pastoral society, living on the produce of cattle in a climatically advantaged region. The Rishis were genuine, sincere philosophers, equipped with the intellect, training and discipline to apply themselves to their comprehension of truth, of nature of human beings and their relationship with the larger operating universe. Consequently, they evolved a theory of non-verbal subjective communication forms like music, dance and drama. 10 Just as we find that all Hindu gods are doers: Shiva, the destroyer, Vishnu the preserver, Brahma, the creator etc.

Documentation of Sagar Veena

Page 8 of 22

language to substitute grammatical language or go beyond it. A language, which would include the perceptual, emotional and intellectual processes and combine them for a more resolved, mature and directed application of these processes. They wanted to develop a communication process, which would in turn produce this holistic mental dynamic between their perceptual, emotional and intellectual processes. It was in this context that they experimented and explored with musical, mainly vocal sounds. The music of the Rishis was humanist music in which they developed the phoneme music with its machinery and program of producing and cognizing sound while using grammar and words/language. Consequently, they promoted intellectual processes. When these intellectual processes became so developed that they could become so focused, they rewrote their genetic programs, which can be summed up as consciousness. At a certain period the Pundits11 enhanced this concept of musical process of phonemes by using specific grammar and words, therefore it became Class Music, later retrospectively Classical Music. The music route of the Rishis is to become intelligent and conscious about the musical process. For several reasons behind its inception as a medium of expression, Indian classical music is immensely rich in its use of terminology and concepts. Because the Rishis based their music on the phonemes of evocations it could generate in the emotions of the producer and the listener. And then they gave those musical processes/sounds names with words borrowed from language. They did so in order to make their meaning tangible enough in terms of concepts that their listeners were already familiar with for emotional, perceptual and intellectual communication to take place.

11

Pundit has multiple meanings but a pundit or pandit, in the culture of India, is a master of traditional religious poetry and/or traditional music. The term pundit was used in the 19th century to denote native surveyors who explored regions to the north of India for the British Empire. Details on http://www.wikipedia.org

Documentation of Sagar Veena

Page 9 of 22

Veena player in a miniature painting, Mughal Period (1526-1857 AC) The excursion into the ancient history about the origins of Indian Classical Music should provide the background and frame to comprehend the concepts of instrument development, especially of string instruments. In addition it will also enable us to follow the history and concept of the new solo string instrument Sagar Veena. Veena is a generic term used for the whole string instrument family, just like the term Zither used in Western Musicology. Originally, Veenas were mainly used as accompanying instruments in Folk and Classical Music all over the Subcontinent. The former techniques and forms (some instruments were slung on the shoulder) enabled the musician even to walk and roam around while playing. Thus, the term Veena contains deeper layers: In the hierarchy of Hindu divinities, the Veena (or Vina) enjoys a special place. It is the instrument, which symbolizes the Indian ethos throughout the subcontinent. The instrument has sociological and cultural connotations and dimensions. Saraswati, the goddess of learning is visualized as holding a Veena in her hands and is always called Veenapani or Veenapustaka Dharini (compare the miniature painting of a Veena playing lady on page 6). In ancient India the term Veena was commonly used in a generic sense, intended to refer to any stringed instrument: monochord or polychord; bowed or plucked; fretted or non-fretted zither-, lute- or lyre-instruments. The basic principle of string instruments is that a length of gut, wire, silk or horses hair, held in tension between two points is made to vibrate when plucked either with fingers or by means of a plectrum or misrab [Sitarplectrum], emitting sound. This sound is hardly audible, so a sound box is provided to amplify it. [] Most of the string instruments are played as

Documentation of Sagar Veena

Page 10 of 22

accompaniments to vocal Folk and Classical Music or to mystic, devotional renderings. 12 In chronological order, the first Classical instruments, which are mostly relevant to the development of the Sagar Veena, are unfretted Veenas until the 6th century AC. After this time the Kinnari Veena, as first fretted Veena, the Ektantri or Ghoshvati Veena, the Saraswati Veena, the Rudra Veena or Been13 and Vichitra Veena14 and the Triveni Veena15 appeared. Unfortunately, most Veenas have disappeared in Pakistan and hardly any musician knows how to play them.

3.

Details of Sagar Veena

Front view of a Sagar Veena

Sagar Veena is an unfretted, composed string instrument with an innovation of structural separation of vibrating parts (strings, bridge with jowari, sounding board) and resonating chambers (resonating body: tumbas, made of two gourds and hollow wooden tube).

Yousef, Catalogue page 13 and 17 All are classical instruments. Their final shape evolved at the beginnings of the Mughal period (16th century) and they were adopted to the style of Dhrupad until the 19th century AC) 14 The Vichitra Veena resembles a Sitar in appearance and has an additional round sound box attached to the neck, emerged towards the beginning of the 20th century AC, invented by the former Sarangi Ustad Abdul Aziz Khan from Patiala, India; the shape is similar as Rudra Veena but the technique is different. 15 The Triveni Veena belongs to the lute family containing a fret board with added sympathetic strings and a second gourd resonator.
12 13

Documentation of Sagar Veena

Page 11 of 22

Vibrating parts: strings with tuning section, steel-wood frame and bridges (front view)

Resonating chambers: tumbas, made of gourd with sounding board (on top of the right tumba, the aluminum-ring is invisible) and a hollow wooden tube

The bridge, which usually transmits the vibration of a plucked chord to the resonating parts of the instrument, has enormous influence on the sound and timbre16 of an instrument, because every chord rests on it. There are two bridges (transmitters) in the Sagar Veena: the left one, close to the tuning section, which is made of bone and the right bridge, made of small rectangular silver pieces, fixed under each open chord. The angle, in which the surface got grinded, is referred as jowari, as well as it is a term for timbre or sound.

jowari Thus the angle might be different, depending on the vibration pattern of the string above the surface of the silver piece. The sound ranges from an open jowari: A very overtone rich sound with buzz-, whirr- or even purrtimbres, which gives the typical Sitar-sound, appreciated in the West. Or it creates a closed jowari, evolving from a small vibration pattern of the string above the surface, audible as less over tone rich timbres or as a
16

Timbre will be explained on page 13, footnote nr. 17

Documentation of Sagar Veena

Page 12 of 22

clear, concise and almost singing sound. Therefore, the Sagar Veena provides variety of different timbres and richness of overtones.

The strings with jowaries above the sounding board The sounding board serves two functions. It mainly performs the vibrating task. It is separated from the resonating chamber by an aluminum-ring, a link on top of the tumba, which lies beneath the silver pieces. Its diameter of the sounding board ranges from 78 to 80 inches. Its curvature varies from model to model. This leads to an autonomous operation of vibration and resonance for enabling a conscious control over creating sounds. Nine melody or open strings and two drone strings are fixed on a woodensteel frame and vibrate freely. They are covering a register of more than six octaves and stick to Relative Tuning, thats why I have chosen to explain the tuning in the context of and in relation to Indian Classical Music. Consequently, the chords are in the following disposition with different timbre qualities, depending on the jowari (as explained above): pa sa ma (bass section) sa re ga (middle range) ma pa pa (triple section) sa sa (drone: in the interval of an octave) The melodic line is generally played against a fixed, unchanging drone, which is based on the tonic or keynote (sa or vadi), its octave and its consonances, the fifths (pa) and fourths (ma). In the Sagar Veena the two drone strings are used as harmonic and rhythmic elements and form the basis for the interpretation of Indian Classical Music.

Documentation of Sagar Veena

Page 13 of 22

The classical Indian music system is modal, based upon the melodic and rhythmical concept of Raga. The foundation is based on scales of seven major notes. They are: Shadj, Rishabh, Gandhar, Madhyam, Dhaivat, and Nishad. Yet they are commonly abbreviated to Sa, Re (Ri), Ga, Ma, Pa, Dha, and Ni. Those notes can be put together in the form of a scale, which is called mode in English, thath in Urdu or Hindi and mela in the South Indian languages. In contemporary time ten thaths in the North Indian Music (Classical Hindustani Music) and 72 melas in the South Indian tradition (Carnatic Music) are in use. The interval between the notes, which is audible and measured, is called Shruti (from the Sanskrit word shuri, which means to hear). One octave contains 22 Shruti. Shruti as a form of the unique language and color of the modal Indian Classical Tradition contains ornamentation as well as emotional impact and timbre. The meaning of Shruti is the statement of one timbre17, which incorporates several factors: amplitude or volume, pitch range, time interval or rhythm and the sum total of involved resonance and overtones. The term Rag has no counterpart in Western musical theory. The concept of Rag is based on the idea that certain characteristic patterns of notes evoke a heightened state of emotion. The word is derived from the Sanskrit root ranj or raj, which means to colour or tinge with emotion. These patterns of notes are a fusion of scalar and melodic elements and each Rag can be described in terms of its ascending and descending lines (which may involve turns) as well as its characteristic melodic figures in which certain intervals are emphasized and attention is focused on particular notes. More than two hundred Ragas are extant and each is a melodic basis for composition and improvisation. Most of the Ragas have been in existence for several centuries and have evolved to their present form as a result of successive interpretations by generations of musicians.18

Timbre also timber, (French, the first two syllables of tambourine) is the quality of a musical note or sound which distinguishes different types of sound characteristics, production or musical instruments. The physical characteristics of sound which are used in the determination of timbre are spectrum and envelope with psychoacoustics or human perception also determining the perceived quality of a sound. Timbre is what, with a little practice, people use to pick out the saxophone from the trumpet in a jazz group or the flute from the violin in an orchestra, even if they are playing notes at the same pitch and amplitude (or notes which are otherwise equal). Timbre has been called the psycho-acoustician's waste basket as it can denote so many apparently unrelated aspects of a sound.
17 18

Jairazbhoy, page 28

Documentation of Sagar Veena

Page 14 of 22

In Western Music tradition it is common to divide the octave in twelve tones. There are several ways to determine the intervals between those tones, which consequently create different tuning styles, sticking to different sound aesthetics and historical periods (like the Pythagorean, the Meantone, Weckmeister, Well Temperament and Equal Tuning a. m.). On principle, the intervals are measured in relation to a particular keynote (tonic) and since the end of the 19th century to a specific fixed frequency (e. g. a1=440 Hz), therefore Absolute Tuning became the practical implementation. The ancient and modern Indian scale is relatively tuned and sticks to a particular tone as a base for further tuning according to the ear. The tuning of the different Sagar Veenas slightly varies, depending on the chord lengths and on the measure of the frame. The lowest bass is approximately 1G#, in Absolute Tuning:

The basses are made of silver and brass alloy, developed at Sanjan Nagar Institute, while the strings of the middle and triple ranges are steel alloys produced in Bavaria, Germany. The major wooden parts (hollow tube, sounding board) are mostly made of Tun-wood, which is commonly appreciated among local instrument makers. The Tun belongs to the family of Neem-trees, a specific species of the Subcontinent a dry and light red wood.

Fabricated" tumba

Documentation of Sagar Veena

Page 15 of 22

The tumbas are lighter than in conventional Indian string instruments, which provide more resonance and produce clearer and purer sounds. The row material, the gourds grow in Maharashtra, India. The two fabricated tumbas, made and skillfully composed of dry gourd pieces, are completed at the workshop at Sanjan Nagar Institute. Different steps in the procedure of making a tumba:

The gourd pieces are first soaked in water to soften them, and then heated and fixed together on a wooden mould. It takes a long and laborious process of three months to manufacture one tumba. The internal geometry of the walls of the tumbas, thus constructed, resembles that of a geodesic structure and helps them to resonate much better than the ordinary ones. Moreover the pieces of gourd used in the tumbas are first scraped from the inside as well as from the outside and reduced to a thickness of about two and a half millimeters only, to make them as light as possible. Sophisticated inlay craftsmanship and varnishing/polishing techniques give the instrument its unique look.

Documentation of Sagar Veena

Page 16 of 22

4.

The Technique

The left hand operates in ergonomic sliding movements on one particular string while holding the entire weight of a piece of glass (in the shape of a thimble) with the thumb and the 3rd finger, while resting the 2nd one on top of it. The use of gravity is sufficient to enhance flexible and fast sliding. Actually, the ring finger plays a major role enabling you to actively control the position of your hand while resting or sliding on the plucked string. It has permanent contact to the stroked string and provides stability for the left hand. Moreover, it gives control over overtones. By conscious lifting it you can produce effects with muffled overtones. The small finger follows the ring finger on the neighboring string while easily resting on it.

The fingers of the right hand are striking/plucking the chords with three or more Misrabs (plectrums of the Sitar, made of wire) or other plectrums. Different timbres and volumes, with more or less overtones can be produced, by striking the string in different angles and towards different directions (away from or towards the body, following gravity). The movement is close to the action of natural grasping. Until now two positions of the right hand seem useful: First, the 2nd and 3rd fingers are striking the plain strings while the small strikes the drone in opposite direction (away from the body). If strings from

Documentation of Sagar Veena

Page 17 of 22

the middle or triple section are played, the thumb can give support by resting on a small separate wooden platform, which is fixed on the steelwood frame. This technique is developed by Noor Zehra Kazim.

Second, the right hand is in a flat resting position, using the grasping movement to strike. The thumb operates the drone strings with an added plectrum (guitar equipment). Several strings can be played simultaneously by using all fingers and the natural range of the hand. This technique is adopted from playing the modern Zither (a harmonic solo string instrument, belonging to the simple zither instruments, developed in the 19th century AC in the Middle of Europe, with a fretted board with five melody chords and several open chords with basses, arranged in a sophisticated specific manner). It has no fixed point for support and might need more skill in the beginning, to strike ergonomically and flexibly (adopted from Brigitte Hochrainer). All techniques serve the principle of creating resonating music, which reflects the qualities of the human voice. The work on the Sagar Veena is near completion; its structural designs have almost been finalized, and the current work is mainly of coping with a further refinement and shaping of the jowari and the curve of the sounding board to enhance variety and clarity of the sounds during testing of the instruments by artists.

Documentation of Sagar Veena

Page 18 of 22

Noor Zehra Kazim and Brigitte Hochrainer during a lesson (2005)

5.

Future Impact

The range of different timbres, sound characters and the extension of the number of strings by adding lower frequencies (basses) enable and convey the abilities of the human voice and other string instruments, related to the sound aesthetics of South Asia. The development of Sagar Veena serves a conscious recovering of the powerful potential of vocal and instrumental music of the Subcontinent and music in general through exploring the world and variety of timbres in melody and its rich ornamentation. The potential is the emotional impact on the listeners mind and the power of the original source of arts, which is mainly an evocative and nonverbal communication and resonation of sounds. Raza Kazim on the importance of artistic work related to the general idea behind Sanjan Nagar Institute of Philosophy and Arts and its impact on future life and society: The focus of artists nowadays is to use art as a medium for emotional and intellectual expression, and as a tool for the refinement of mental processes responsible for it. We can never overemphasis how essential it is for any artist to consciously initiate and monitor an interaction between his/her emotions and thoughts. The purpose is to rediscover oneself and develop ones sensitivities accordingly in order to hone them for a corresponding artistic expression.19

19

General brochure, page 21

Documentation of Sagar Veena

Page 19 of 22

Our approach is identifying and setting the standards for living music which is strong enough to resonate with the sensitivities of todays human beings. It should be able to transform them emotionally. In other words, living music must be in terms of the realities and requirements of human life in the present. [] The music being produced by present-day artists is made up of mere technique and unproductive, sterile emotions. As opposed to this, during the richest period of the history of Indian classical music in ancient times, there used to be intense interaction between the intellect, feelings and technique.20

Noor Zehra Kazim (2005) The major objective can be summed up in a statement of Raza Kazim: A lasting change in society can only come about by making a fresh beginning. And at the core of this attempt should be an effort to discover a higher consciousness in human beings. An understanding of the mind as the vanguard process in an evolving Nature, coupled with a growing ability to put itself on the track of developing to an altogether higher plane. This understandingthe absence of which caused the failures of past movements against miseryhas been made possible by the increasing torrent of knowledge and ideas about the brain and the mind.21 Therefore its essential to get involved in this process of acquiring a more rational and contemporary understanding of ourselves, our society and Nature as a whole. [] The work of the Philosophy department [and all the other departments] of Sanjan Nagar Institute is primarily focused on the evaluation of the possible implications of this new addition to human knowledge-fund on contemporary human life. Moreover, to work out a practicable methodology for people to adopt and apply this knowledge as a means to re-examine and change themselves, both as individuals
20 21

General brochure, page 8f General brochure, page 1

Documentation of Sagar Veena

Page 20 of 22

and as society so that they can rid themselves of the misery and unhappiness in their lives. And move towards a more happy and prosperous future.22

6.

References

Primary sources: Interview with Raza Kazim on the 12th of April 2005 at Sanjan Nagar Institute of Philosophy and Arts, held by Brigitte Hochrainer. Several meetings and interviews with Noor Zehra Kazim within April 2005 at Sanjan Nagar Institute of Philosophy and Arts, held by Brigitte Hochrainer. General brochure of Sanjan Nagar Institute of Philosophy and Arts, 2nd edition, Lahore 2003, mastered by Mrs. Iram Taqir, Philosophy Department. Former website of Sanjan Nagar Institute of Philosophy and Arts. Updated version under http://www.sanjannagar.org Jairazbhoy N. A., The Rags of North Indian Music Their Structure and Evolution, London 1971 Yousef Mahrukh, Catalogue of The Collection of Folk and Classical Musical Instruments of Pakistan in the Archives of Lok Virsa Museum, Museum Documentation Nr. 5-A., Lok Virsa Museum Section, Islamabad 1989 Tariq Sadia, An elaboration of the historical origins of Folk and Classical Music and the parallel development of phoneme based and grammatical communication, different lectures of Raza Kazim, Sanjan Nagar Institute of Philosophy and Arts, 1995-2005 All pictures are copyrights and they are either taken by Dr. Andreas Matt in April 2005 or they belong to the Institute. Websites: http://www.itcsra.org http://www.sanjannagar.org http://www.wikipedia.org http://www.India-instruments.de (in German)

22

General brochure, page 7 and 5

Documentation of Sagar Veena Secondary sources:

Page 21 of 22

Michels Ulrich, dtv-Atlas zur Musik, Band 1, 17. Auflage, Muenchen 1997 Danielou A., Northern Indian Music, Vol. 2, London 1954 Goswamy B. N., The Essence of Indian Art, Asian Art Museum of San Francisco 1986 Syed Farazeh, The Need for a New Musicology Our Approach and Objective, 5th draft of the Musicology Department of Sanjan Nagar Institute of Philosophy and Arts, Lahore 2001 Audio-Examples: The Sagar Veena audio-tracks in mp3-format (96kBper sec) content seven Hindustani Ragas and compositions. All have been played by Mrs. Noor Zehra Kazim, solo Sagar Veena, and were recorded at Sanjan Nagar Institute of Philosophy and Arts within the years 2002 to 2005, mastered by Mr. Mohammed Hanif, Post-Production Department. You can find the files on the servers: http://www.sanjannagar.org/library/sagar-veena http://www.fabula.tv/pakistan/bericht Following audio examples are available: Rag Bageshri Rag Bhairav Rag Darbari Rag Khamaj Rag Mishra Bilawal Rag Pilu Rag Puria

7.

Epilog

I was associated with Raza Kazim and the Sanjan Nagar Institute of Philosophy and Arts right from the beginning of my decision to do comparative music research in Pakistan, Lahore, which concretely started in October 2004. The endeavors to help me in any capacity and the resources, which were provided, were tremendous, including one of the unique and finest collections of audio-recordings in Indian Classical Music of the whole Subcontinent, as well as latest books, the possibility to think and work interdisciplinary and finally, to get all facilities to start playing

Documentation of Sagar Veena

Page 22 of 22

Sagar Veena, which enriches and will inspire my music and creative work in new dimensions. Thus, this documentation is dedicated to all members of Sanjan Nagar Institute, the place where truth seekers gather/life, as it originally means. It is a small contribution to articulate my respect for their work and my gratitude. Special thank to Ms. Sadia Tariq for her precious help in editing.
Brigitte Hochrainer, Lahore October 2005