Department of Music and Creative Technology

15/08/2026

Raga Kedar — A Memory from 2011

A short excerpt from “Ragas from New York,” presented at the Lionel Wendt Theatre, Colombo, in 2011, following my return to Sri Lanka after two years as a Fulbright Fellow at Columbia University, New York.

This is Raga Kedar, Vilambit G*t in Teentaal, with the wonderful tabla artist Nitin Mitta.

Much of what you hear here emerged spontaneously on the concert stage—there was no rehearsal of these improvisations beforehand. That freedom to listen, respond and create in the moment is one of the beautiful qualities of Hindustani classical music.

Kedar has a particularly distinctive character, with its emphasis on Madhyam, the delicate interplay of the two Madhyams, and its graceful meend and curved melodic movement.

The excerpt has been shortened into three sections for this video, so there are a few unavoidable changes in continuity and tempo between the cuts.

The final passage is an example of Saath-Sang*t, a special aspect of instrumental interaction in the Maihar Gharanatradition, where the sitar and tabla move together in close rhythmic dialogue—responding to and complementing each other's spontaneous ideas.

*t *t

09/08/2026

Taking a short break during the Music Department's practical exams in Room D5 to test Manoj's fresh tuning. The piano feels absolutely wonderful and responsive! Here is a brief, improvised Avichar Alap in Raga Hamsadhwani—an auspicious, bright pentatonic scale representing "the cry of the swan. (In Sanskrit (Hamsa = swan, Dhvani = sound/voice). Shoutout to Gitika for unexpectedly capturing this moment at the keys.

02/08/2026

Practical examination days in Room D5 were long and exhausting, but a quick break gave us a moment to catch our breath.
Seeing a violin in the room, I picked it up and played it - and Gitika caught me completely by surprise with her camera!
Here is that raw, un-practiced, and impromptu attempt at Raga Desh, featuring a Vilambit G*t by Pandit V.G. Jog and a Drut G*t by Ustad Allaudin Khan. Accompanying on the Tabla is Isuru Perera

Music is all about exploring new boundaries!

29/07/2026

We are delighted to share a very rare video of Pandit V. G. Jog performing Raga Desh.

Pandit V. G. Jog's violin style was a beautiful blend of the Maihar, Gwalior, and Agra gharanas. His playing was known for its singing (gayaki) style, smooth meends, rich tone, excellent bow control, accurate swaras, and clear, expressive taans. He always maintained the purity of the raga while combining emotion with technical brilliance, creating a unique and highly respected violin style.

Among his distinguished disciples was Sri Lanka's legendary musician Pandit W. D. Amaradeva, who studied violin under Pandit V. G. Jog at the Bhatkhande Music Institute, Lucknow.

Listen & Sing Along to very melodious Song :

20/07/2026

Global Milestone: Bridging Classical Mastery & Physical Modeling Synthesis at Columbia University CMC

We are pleased to share a landmark moment in live electronic music history. This video showcases a groundbreaking research collaboration at the prestigious Computer Music Center (CMC) at Columbia University, New York—the oldest electronic music research center in the US.

While electronic experiments with traditional instruments have existed before, this project marked a global first: the successful integration of authentic, highly intricate classical sitar techniques into a live, interactive physical modeling system.

This historic performance was a live collaboration between CMC Director Professor Brad Garton (a pioneer of computer music and co-developer of the legendary RTcmix synthesis language), CMC Associate Director Professor Terry Pender on mandolin. Rather than using static backing tracks, this trio used the computer as an active, listening improviser. The precise ex*****on of authentic classical sitar nuances—like microtonal string bends (meends)—provided the complex acoustic data that pushed Columbia's cutting-edge algorithms to their absolute limits.

For students analyzing live performance DSP, the system used a hybrid Max/MSP and RTcmix software architecture. Instead of triggering pre-recorded samples, the system used Physical Modeling Synthesis via custom algorithms like SITAR and MANDOLIN to mathematically simulate the physical laws of the instruments (string tension, wood vibration, and bridge buzz).

As the live instruments played, the computer tracked their pitch and dynamics in real-time. It instantly fed these human nuances into the virtual models, creating a digital "electronic mirror" that dynamically responded and jammed along with the live players!

16/07/2026

Live Performance with World renowned Japanese Pianist Masiko Satoh at at EBS(Education Broadcasting Service) in Seoul, South Korea.

14/07/2026

Exploring Left-Hand Sitar Techniques: A Tribute to Pandit W.D. Amaradeva

This rendition is performed without the use of the mizrab (right-hand plectrum), relying entirely on advanced left-hand techniques such as hammer-ons, pull-offs (leg*to), meend (bending), krintan, and zamzama. The performance demonstrates how these techniques can produce expressive phrasing and ornamentation while preserving the beauty of the original melody.

*to

30/05/2026

My Vesak Offering 🙏- “Adawan Vu Denethin” by Pandit Amaradeva
Is played on the sitar just a little clip.
Composer Pandit Amaradeva
Music for this clip arranged by me. “Sitar recorded in one take" Use headphones for best sound quality.
song Bhakti Gee # Vesak 2026

27/05/2026

This is Raga Misra Peelu.
Drut g*t in tala Teental.
Vadya Nipun Peshala Manoj is playing the tabla and Tanpura is played by Sangeet Nipun Manjula Seneviratne.

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