This video is related to thie article by Kelly Landerkin: “Modality and Ethos / Emotions – Intercultural Approaches Report on the Roundtable Discussion”, in: Moved by Sound: Emotions in Early Music, Basel 2025, 257-261 (BBHM 44)
Abstract: In this video Ken Zuckerman performs Raga Bhimpalashri (Bhimpalashree) on Sarod. He presents the three fundamental sections of the raga: alap (slow, unmeasured improvisatory introduction), jor (transitional section with rhythmic pulse), and jhalla (main section, very fast, rhythmic and virtuosic, with complex structures). This raga evokes peace and pathos. The omission of the second and sixth notes in ascending motion suggests longing and sadness, and when they appear in descending phrases, one must not linger or cadence on them. On the other hand, the fourth tone is very strong, nearly as important as the fifth, evoking a state of suspension, while the strong fifth tone brings positive energy and stability. The limited use of the second and sixth tones offers fleeting relief. According to Ken, “this raga should be played in the late afternoon when all the birds and animals are sad that the sun will soon set and the day will end”.
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