Peter Davidian is Byron Bay's foremost Indian & Middle Eastern musician/composer. He is also musical director for 'Ghaziya        &nbs p;   Bellydance' & 'Ba'zaar' - with Debi & Karen Gimbert & Sonia Davidian on vocals and dance. He also directs 'The Peter Davidian Ensemble', a 5 piece world/jazz/sitar/dance band and 'Rice' an Indonesian/Indian/Nth.African duo with Ardi Noersadi, playing groovy acoustic vibes with plenty of spice.

Peter was a founding member of groundbreaking 1990's band 'Curried Grooves' a hugely popular Goa Trance type experience. Since then he has formed 'ConchShambhu' a studio & live project, in collaboration with Paul Brewer & Jay Kruegner. They use the latest loopy technology with generous amounts of traditional eastern & jazz elements. There are also regular collaborations with leading arts personalities of Byron Bay area, including Tarshito, Chris James, Orlando 'tigereye' Allen & Steve Devas of 'templedance'.

The Eastbeat Music School provides group & private lessons for Sitar, Guitar, Indian Music Theory, Darabuka, Tabla(entry level), Modal Composition & Drumkit (hiphop to bebop & beyond). Currently, Peter is also the drum and world music teacher at The Shearwater Steiner School, Mullumbimby, NSW, and AUST. He is also a studio session musician for hire, and a Composer member of APRA, with university studies in composition, audio engineering, drumming and Indian music studies.

If you had a band with Ravi Shankar, Talvin Singh, Elvin Jones, John McLaughlin, Hossam Ramsy & Omar Faruk Tekbelek you could hear the vibes that make up Peter Davidian Music.

Nominated twice & won the world music category of 1998 NEIA awards for 'Curried Grooves'. Peter has an Armenian heritage, which has exposed him to Middle Eastern music from a young age and to playing of the darabuka. He has studied drumkit for over 30 years, guitar for 28 years and Sitar/Indian classical music for the last 15 years. He was able to study for 5 years in the traditional, intensive way under the guidance of the late Indian master, Pandit Ghulam Qadir Khan of the Jaipur & Karachi Styles and of Lucknow University, India. He has travelled widely, to experience all the beauty of the planet's music.

Peter has a recording catalogue that includes solo & group recordings and a classical suite in 8 movements, 'Glimpses of Paradise', for cello, wind, sitar and percussion to be recorded.

Peter is an advocate of Nada Yoga, the use of sound and music to unite with God….

Greg Sheehan  ---Master Percussionist based in Byron Bay

News

This year has seen recordings with Blue King Brown [currently high-rotation on TripleJ!] , Dan Roumor [Cruel Sea] , Coolangubra, Circle of Rhythm, also rising country star Lou Bradley .



Up and coming festivals include Joyfest, Woodford, Port Fairy and the National Folk Festival in Canberra next Easter... this is with various bands including Circle of Rhythm, Coolungubra, Greenlife, Skin and Blue King Brown.

In the pipeline is a project with the Cat Empire in March, a tour with Irish traditional legends Donal Lunny and Steve Cooney , a solo CD and a book about  the rhythms that l have been developing over the past years.

Also enjoying performing solo, developing my Toys show ... look out for Jimmy Willings Late Nite Cabaret show at Woodford this year, where l'll be performing a toys extravaganza!!

Music / percussion groups Greg performs with

CIRCLE OF RHYTHM
Featuring Ben Walsh on kit drums, bansuri & other world percussion, Greg Sheehan on percussion & tambourine, Bobby Singh on Tabla.

Recently performed at the Cockatoo Island Festival 05 with hopes to perform at the Woodford Folk Festival 05-06.

BRENDAN POWER TRIO
Featuring Gerry O'Connor- banjo, Steve Cooney, Gary Verberne, Chris Newman & Ian Carr- guitar, Andy Irvine-mandolin, Chris Haigh-fiddle, Geoff Castle-piano,  Declam Masterson-Pipes, Mick Kinsella-harmonica, Greg Sheehan-percussion.

COOLUNGUBRA
With Cleis Pearce on violin, Greg Sheehan on percussion, and Steve Berry on guitar, Coolangubra is an acoustic instrumental trio that explores a style entirely their own.

As three of Australia's finest musicians however, Coolangubra represents expressive and sublime music - music that extols the heart, emotive power, and beauty of the landscapes and country from which these musicians take their inspiration.

Cleis is one of the country's finest melodic improvisers, and can keep an audience in raptures with her depth of expression, tone, and facility on the violin andviola. Greg Sheehan is a master of rhythm and percussive ingenuity. He can make a tamburine sound like a drum kit, and in Coolangubra uses an array of instruments, both familiar and unfamiliar, all of which keep audiences enthralled. Steve Berry is a powerful acoustic guitarist, with a rhythmic feel that draws on his award winning prowess in flat-picking bluegrass guitar.

Compositionally, Coolangubra draws on their extensive and varied influences from around the globe. With a love of music from diverse cultures including India, Africa and the Pacific, as well as western styles from Europe and the Americas, the band does have a lot to draw on.

SKIN
The revered five piece percussion group from Byron Bay. Greg Sheehan, Natalie Pa'apa'a, Carlo Santone, Matt Ledgar and special guest Matt Goodwin have managed to groove their way across the country building a reputation as the best percussion group in Australia.

Current music projects / CD's

ISHQ - Circle of Rhythm Album
Ben Walsh - Bobby Singh - Greg Sheehan An album of imaginative percussion blended with organic sound from the rhythm section of the acclaimed fusion group DHA. Exciting soundscapes woven on traditional Indian, African and Western instruments delight with playful and stimulating patterns. Using natural seed pods, a live strangler fig within the Wanganui forest, and the sound and rhythm of rain, a unique musical partnership is formed with the earth itself. This debut album from Ben, Bobby and Greg showcases their exemplorary talents in performance and composition.

WINIFRED'S WORLD - Childrens CD
Greg Sheehan has released a fantastic childrens CD. Made entirely with percussion voice and his unique percussive bass style with killer grooves for any age, this album is lots of fun and a great alternative to all the patronising childrens albums out there. Greg narrates a wonderful story and creates musical soundscapes through a collection of kid’s toys and percussion. It comes packaged with a booklet for the kids to read along to.

DRUM NATURE - DVD Film
Ben Walsh - Greg Sheehan
A film by Jesse & James Ricketson - Produced by aworldofmusic.com.au

Greg Sheehan and Ben Walsh have drummed their way around Australia and throughout the globe. For this new DVD they leave their instruments at home (not even taking a pair of drumsticks) and "go bush" together, making music out of anything they find within nature. In homage to the beauty of NSW coast of Australia, these two percussionists explore the sonic and rhythmic possibilities of their homeland in an unique and humourous musical adventure.

Greg and Ben will blow your mind as they create sounds and rhythms from within the depths of a cave, rock pools and boulders, twigs, leaves, logs, the tallest strangler fig in Australia, interspecies jamming, and even a natural bush bass that really has to be seen to be believed.

This DVD reveals the deep connection between rhythm and nature and showcases two of the finest rhythm artists in Australia.

Body percussion & drumming workshops

Greg will be doing percussion workshops at the Woodford Folk Festival. If you want Greg to come to your town to do workshops, email Greg Sheehan. More information will be added about Greg's percussion workshops shortly.

Extra info

Contact details for Greg Sheehan will be included on this site soon. Eventually there will be a whole range of goodies added such as sound bytes from various albums and drawings of rhythm circles done by Greg. The site will also be updated regularly with gig dates and album, workshop and project details. Currently many of these albums can be purchased through the GROOVELANDS website.
Go to www.groovelands.com

I love working with wood, I also love giving the tree a new life. I have been making drums for four years, and have learned much in their creation. I am proud of the drums that I make.

I have found that there is knowing in all people that without the drums there is no music, just as when there is no heart beat, there is no life. I tell people this when I hear "I have no rhythm" or, "I couldn't keep a beat if I had to".

Hammer Drums is becoming well known on the island of Oahu in Hawaii. I have been encouraging this tribal creativity in many people. I have made five drums that were purchased by drum instructors on the Island of Oahu. I have a good reputation for doing very good, innovative work. I have had two shows at The Art Plantation in the last four years. I have my pieces in four beautiful galleries on the Island of Oahu. I have also put drums in a large music store in Honolulu Hawaii.

I have been putting the official "Hammer Brand" on roughly 75% of the drums I've made. Many people have made the connection between my name and my work.

In the community that I live in, drums are sacred, they are the culture. When they are played here on Oahu, there is festivity and learning. There can be no dances without the drums, through the dances the history is told and remembered.

When I am out in public with my drums, it is most common for small children to be attracted to the drums, they know.

Then there are the mothers with very young children and they say "oh look drums" bringing their children right to them, they know.

Then I see everyone else; the middle-aged men that tap them with their thumbs, and the teenagers that watch from a distance, all people, are interested.

All people want to beat because they are already beating, it is the closest to our true nature. To beat effortlessly, without worry, to trust entirely, to live full and with love.

 

My shop, nestled between banana trees in our backyard. The log is Monkey Pod and weighs at least 250 pounds. There are probably only a handful of people making drums this way. I like doing this work.

SOOLABA is a collective of spiritually-inspired musicians who have created, with the sitar, tabla, synthesisers, flutes, Vedic chants, etc, healing and uplifting Indian-flavoured grooves.
From here in the Rainbow Region of eastcoast Australia, this
music is an offering to the Conscious Evolution of Humanity

SOOLABA DOYLE

Sitar

Vocals

Flute

Chime Box

Born in Australia, Soolaba started playing guitar at age 15, influenced by such guitar greats as Jimi Hendrix, Jimmy Page, Eric Clapton and Carlos Santana. Armed with a twelve-string and a busking hat, his first public performances were on the streets of Sydney in 1977. At age 19, Soolaba bought his first sitar being inspired by George Harrison, and his famous sitar-guru, Ravi Shankar. By studying Shankar's recordings and Indian music books, Soolaba developed his unique style of sitar playing.

Over the next 4 years he studied sound and video with ABC-TV, painted fine arts, and enjoyed the devotional life-style of the Krishna movement. It was in the Krishna temples of Australia, New Zealand and India that Soolaba learnt the traditional songs, instruments and raga music theory that form the core of his performances today. Over the last twelve years Soolaba has performed as a solo singer/sitarist, and in fusion bands with diverse instruments such as: didjeridoo, oboe, synthesisers, double bass, tabla drums, flutes, violins, electric guitars, African drums and drum kits. Venues for the music are equally diverse and have included restaurants, festivals, universities, yoga clubs, private functions, art exhibitions, dance party chill-zones, tropical resorts and hotels. In 1996 Soolaba was "unearthed" by Triple J in Cairns, where he performed original sitar compositions live on Australian National Radio JJJFM. In December 1999 he produced his first CD "INDIAN VALLEY" from selected live and studio recordings, and is presently distributing it independantly to various outlets in Brisbane, Northern NSW, Sydney, at the Soolaba website and at upcoming performances. email: mail@soolaba.com

SHEN FLINDELL - Tablas

Also born in Australia, Shen Flindell was introduced to the sound of the Tabla by The Beatles' late-sixties adventure into Indian music. Travelling to Varanasi, India, in his early twenties, Shen became a student of tabla master Kaviraj Asutosh Bhattacharya, a contempory of sitar master Ravi Shankar. Now in his eighth year of playing, Shen teaches tabla in Brisbane and has created an Indian-Arabic-African 'world fusion' ensemble called the 'EthnoSuperLounge'. He has performed with several Brisbane bands and can be heard on their CDs as well as 'Indian Valley' and 'EthnoSuprLounge' CDs. email: shen@musician.org

NRSIMHA DASA - Tablas

Born in Sweeden, Nrshimha Dasa grew up in the holy village of Vrindavan, near Mathura, India. He studied Bhakti yoga and Vedic music at the Krsna-Balaram Gurukul , and later took up the study of tabla under the guidance of his guru in Puri, Orissa. Nrsimha Dasa (orYassim) toured Far North QLD Australia in 1998 with Soolaba and recorded two very nice pieces for the Indian Valley album. email: gopeshwara@rediffmail.com

RIGEL BEST - Double Bass

Rigel, born in England in 1957, has been playing the Double Bass for 25 years. His training and much of his musical experience was gained in culturally diverse Sydney, Australia. Rigel's eclectic musicianship developed by immersion into various Folk music such as Balkan, South American, Arabic, Indian, African, Spanish, and not least, modern western music such as Jazz, Blues, Funk, and Classical. During the last 5 years, Rigel has been composing and performing music for Post Modern dance and multimedia projects, promoting "World" music, recording, creating backing music for performance poetry, playing jazz, and working with various cultural fusion groups. email: rigelbass@hotmail.com

MAHACOSMIC - Synthesisers

Mahacosmic (aka Microcosmic), a veteren of the English free festival music scene of the 80s and pre-'sample' techno of the early 90s, toured extensively around UK and Europe with big name bands as a technician. A collector of vintage synthesisers, his aim is to raise human consciousness through music and sound vibration. To the 'Indian Valley' album, he has added his unique style of synthesiser workmanship, and was invaluable with his help in digital production. Mahacosmic also infuses his subliminal synth sounds with sitar & flute on his albums 'Cosmic Voyager' and 'Sacred Geometry' (co-written with Daevid Allen of Gong ) Follow links to: Cosmic Voyager Sacred Geometry

Listen to the samples of Soolaba Group

INDIAN VALLEY CD

Indian Valley is a journey through the soundscapes of the earth and the heavens, a collage of live sitar performances, intimate recordings, subliminal synthesisers and Indian village sounds. The pilgrim is initiated with the sacred syllable Om. Consciousness begins to rise with the magic rhythms and melodies of the sitar, flute and tabla. Soolaba's flying carpet traverses the Himalayas, the jungle, and the banks of the holy Ganges, till finally entering the mystic chill-zone of 'bamboo flute' and 'heaven bells' for a deep relaxation and healing.

Track list & MP3 Samples Click on track title to hear 20 second sample: 1. OMKARA 1:32 Chanting of the sacred Om accompanied by didjeridoo, tambora, and Tibetan gongs. 2.INDIAN VALLEY 5:55 Title track sung by Soolaba, about an Indian holyman who chants "Govinda Gopala".Sitar, tabla, double bass and keyboard accompaniment. 3. RAGA IN E7:11 Another up-tempo piece, an instrumental based on raga bhagesvari, using flute, sitar & tabla. 4/5. RAG VIBHASA14:14 A live duet of sitar and tabla, exploring the beautiful scale of the vibhasa morning raga. 6/7. JUNGLE DRUMS2:59 A lively piece of African drumming entwined with girgling synthesisers and Indian village sounds. 8.BAMBOO FLUTE 5:35 A truly magical recording of bamboo flute, tabla and synthesiser drones to soothe the soul. 9. GAURA5:34 Another mellow and mystical instrumental piece featuring sitar, tabla and drones based on sunset melodies of Gaurarati. 10. CELESTIAL BIRDS 5:54 An ambient meditation of bird calls, wind chimes, tambora and voice drones. 11. HEAVEN BELLS 8:29 Blissful relaxation. Heavenly acoustic chime-bells and sitar drones. Guaranteed to remove stress after a hard day.

Total playing time : 58 min Recorded in Australia (Byron Bay, Brisbane & Cairns) and India (Navadwip) All tracks composed, arranged and produced by S.M.Doyle (Soolaba) Cover graphics and web samples edited by Jack Doyle Sound Engineering By Tim Valkenburg, Mahacosmic, Soolaba, Martin Ridley, Nirmal Kumar, Deva Myler & Greg Hillcoat

Sitar Vocals Tabla Flute Synthesisers Double Bass Didjeridoo Percussion Tambora

Soolaba, Martin Ridley Soolaba, Francis Gilfedder, Molly Paff Shen Flindell, Nrsimha Das Soolaba, Mellisa Creed Mahacosmic, Deva Myler, Soolaba Rigel Best Francis Gilfedder B.J., Russel, Matt, Francis Gilfedder, Molly Paff, Madhumangala Das Martin Ridley, Elliott Orr, Koashal

There are innevitable parallels to be made between 1986's Mediterranean Concerto and John McLaughlin's new classical composition Thieves And Poets. They are both symphonic, each comprising 3 parts for guitar with symphony orchestra. They both span European and New World influences. They are both incredibly brilliant classics given the jazz oriented background of their composer. So why does John feel the need to reach out into these new directions when he could maintain a quite comfortable position in more familiar territory? For John it is the journey through musical lands that holds the key. Embracing the transience of his own creativity has enabled an unsurpassed opportunity for new collaboration and invention of musical style. The two are not necessarily mutually exclusive, and John knows it, You learn from everybody and you adopt the attitudes and techniques and make them your own. It's not for nothing the new CD is called "Thieves and Poets". We're all thieves. I'm the biggest thief of all, I've been stealing all my life. We call it being influenced, but it's basic appropriation. You can try to do it other people's way, but in the end, you can only do it your way. Every now and then you can say something of value. It doesn't happen every day, but it's the life's work, isn't it?" True, that it is no coincidence that individuals metamorphose in response to the playing of their peers, but it takes a maestro to maintain a sound all of their own at their core throughout such change. Apart from his fiery modal runs, even when McLaughlin turns his hand to something that at first seems as alien as classical composition, there are trademark signposts that reassure us that it is him. Both The Meditarranean and Thieves And Poets are riddled with soundbite clues. Mahavishnu blues pervaded The Meditarranean. Shakti's India features the first movement of Thieves And Poets, and Mingus' Goodbye Pork Pie Hat is quoted in the second, which also opens with an arrangement of Blues for LW. Similar to The Meditarranean, Thieves And Poets exudes an overall feel of Copland's grandeur and the theatrical drama of Bernstein. The tamboura-like drone lifts a gentle introduction into a fusion of Shaktiesque alap with Mediterranean flamenco decoration and Western military bugle call. The geographical dictionary is defined from which the musical vocabulary will be drawn. Motifs are set and echoed fugue-like across the arrangement, harmony and counterpoint is the composer's focus; scaling from delicate conversations between guitar and soloist, up to orchestra and guitar. The music emerges from the combinatorial interactions brought into play, usually found in a dynamic body such as a jazz quartet. Guitar and violin leap and glide together like star-crossed lovers. Blocky string sections explode to send the quieter background-bubbling string sections racing onto their next phrase. Sublime soliloquies nestle within the rich womb-warm arrangements. Open vistas are painted impressionist. Home fires are signalled by familiar passages creeping onto the corners of the enormous canvas. We stare star-ward into a limpid nightsky, dwarfed by the size of it all. Genius. Pure genius in the realm of great contemporary classicists, but also with the acetic energy and drama of Goldsmith's movie scores.  Weaknesses? Few. But the crass 'church organ' arrangement for the chord finale in Part 3 is an anticlimax, when a less pompous exeunt would have better matched the preceding tonal centre. Shame. The cover art cannot be ignored. A great design capturing the maestro relaxing at home with Skip in his den/library/studio. A wonderful glimpse of the private man matched by a personal interpretation of the music in the liner notes. Though, hard to believe that he would have misspelt Aranjuez as 'Aruanjez'.   The four standards that follow the symphony are performed with the Aighetta Quartet in the style of Time Remembered, and they are wonderful. Without the shimmering reverb of the previous album the sound is truly acoustic, warm and beautiful. Each is dedicated to a pianist who has had influence. Harmonic contrasts abound in the piece dedicated to Hancock, "Stella by Starlight", and the future of jazz is heralded by "The Dolphin" dedicated to rising star Gonzalo Rubalcaba. This is some of John's most passionate playing we have heard in a while.

Dr. Chandrakant Sardeshmukh- Leading sitar player in Japan (also often tours Australia)

Dr. Chandrakant Sardeshmukh is an accomplished sitar player, being a senior disciple of Pt. Ravishankar and Mrs. Annapurnadevi. He has performed many concerts in Germany, Australia, Japan and America. He is also director of the Sama Sangeet Sabha and Research Centre, Bharatiya Sanskriti Darshan Trust, Vagholi, Pune and in this role, actively promotes traditional Indian culture and art forms throughout the world.
Dr. Sardeshmukh is a scholar and researcher in the Samavedic music tradition. The University of Poona awarded him a Ph.D. in Sanskrit for the thesis entitled "Samavedic Basis of Indian Music." The essence of this research was published through the Indian national press in 1987.

His Holiness Jagadguru Shri Shankaracharya from Sringeri felicitated him as the Darbari Sitarvadak (royal sitarist) in 1981.

In 1976, Rajasthan University honored him with the title Sangeet Vibushan (sitar scholar) and in the same year, Soor Singar Sansad, Bombay, awarded him the title Soormani.

He was the First Master Fellow of the National Centre for Performing Arts in 1971-1976.

From 1963 to 1976 his talent flourished under the tutelage of Pandit Ravishankar and Mrs. Annapurnadevi Ravishankar. Dr. Sardeshmukh started playing the sitar at the age of four under the guidance of Ustad Shabuddin Khan and Khurshid Mirajkar.

Professional Appearances

Concert in the Adelaide Festival Fringe 2004 presented by Opus Performing Arts Community, Adelaide

Various concert in Japan during 2003 including the World Peace Event , Tokyo; a celebration of Diwali in Yokohama and in the Edo Festival hosted by Chiyoda City, Tokyo.

Concert in Melbourne presented by Surashree, 2003.

 Wesleyan University concert, Connecticut, 2002.

Performance at Jammin'...Making MusicTogether presented by the Queensland Conservatorium Griffith University, Brisbane, 2002

He was a featured artist for the Brihan Maharashtra Mandal of North America Convention '99, the biennial Indian (Maharashtrian) convention held in San Jose, 1999. During this visit to America, he also performed in Pittsburgh, Washington D.C. and San Francisco.

Dr. Sardeshmukh has given concerts throughout Japan since 1991, including those at Hiroshima, Kobe, Shizuoka, Chiryu and Tokyo. In 1992 he performed at the Okinawa International Music Festival and has made televised appearances on the Japanese national network. In concerts he has also featured Japanese drums and duet with shakuhachi (Japanese Flute). A series of performances in various Japanese schools during 1995 and 1996 was highly successful as children were provided with a comprehensive introduction to Indian music and culture.

He visited Australia in 1990 for concerts and in 1992, the Indian Council of Cultural Relations sponsored him to represent India at the Australian Festival of Asian Arts, Melbourne. He performed an Australian spring and autumn '98 concert series and was invited as visiting professor by the Helpmann Academy, South Australia to conduct a series of lectures and demonstrations for partner educational institutions.

In his first international concert tour Dr. Sardeshmukh played 34 concerts in Germany during 1982.

He has performed all over India in live concerts and his music has been broadcast on National Radio since 1979.

At the age of eight Dr. Sardeshmukh was a featured artist at the Sawai Gandharva Music Festival in 1963.

Music Composition and Direction

Dr. Sardeshmukh has released many audio cassettes and compact discs (audio and mp3 format) of traditional Indian sitar music, Vedic chanting and other compositions. They include Inspiration , Devotion , Pure Joy , Celebration , Koyo , Healing Chants , Divine Touch and Melodies from Within .

He was also music director for the compact discs Temple Trees and East Light, produced in collaboration with Australian lyricist and composer Kelvin Brown, 1998-2000.

He composed and directed a cultural program of light classical vocal music in 1998 for guests of the Indian Embassy, Tokyo, created from his own compositions based on the poems of Indian diplomat, Mr. Dnyaneshwar Mulay.

He composed music for a feature film directed by Mr. Anand Madgulkar in 1997.

He composed the background music for the drama serial Vedkalin Striya based on Vedic literature, which was televised on the national TV network of India (DDI) in 1994.

In 1991, the film Aamukh produced by Film and Television Institute of India student Mr. Rajkumar with soundtrack music by Dr. Sardeshmukh won the President of India Award at the New Delhi Film Festival.

He was an organizer and the music director of Vishwa Shanti a play enacted at the Russian Festival in 1988 and the 75th Indian Science Congress in 1989. The theme was based on the evolution of the science of music from the primordial chaos at the beginning of time.

His innovative ideas in music direction have been presented nationally by the University Grant Commission sponsored program Country Wide Classroom in 150 films made by the Educational Media Research Centre, Pune during 1984-1988.

To his credit are several musical compositions including his own versions of "Vande Mataram" (the national anthem) and "Pune Vidyapeeth Geet" (the song of Poona University). As a Samavedic musician, he has also specialized in composing Sanskrit verses.

He has also directed and music-directed a number of dramas in Marathi, Sanskrit, Hindi and English.

Other accomplishments

Dr. Sardeshmukh has kept pace with the growing technical world by opening his websites/location at http://www.darshanam.com/ and www.mp3.com/darshanam in 1999.

In 1999, he conducted lecture-demonstrations, workshops and performances for a joint project involving dance, drama and music at the Centre for the Performing Arts, Adelaide Institute of Training and Further Education (TAFE SA); the Drama Centre, Flinders University; the Elder Conservatorium-School of Performing Arts, University of Adelaide and the Noarlunga Music Centre, Onkaparinga Institute of TAFE SA. The award of a grant for funding from the Helpmann Academy for the Visual and Performing Arts supported the project

He presented a seminar to composers of electronic music at the Faculty of Performing Arts, University of Adelaide, South Australia, 1998. An integral part of this work was the input of material performed on sitar by Dr. Sardeshmukh, which was realized as subsequent electronic compositions and issued as a compact disc. This opened a unique cross-cultural perspective on the use of technology in music.

Since 1991, he has given lectures and demonstrations about Indian music at various Japanese Universities including those in Gifu, Nagoya and Tokyo.

He conducted a series of lecture-demonstrations for South Australian colleges in 1990.

Dr. Sardeshmukh is visiting professor to the Instrumental Music Department of Shivaji University, Kolhapur and the University of Poona. He is also an ad hoc board member, 1990-2000 for Shivaji University, Kolhapur

It was Dr. Sardeshmukh's idea to establish the Lalit Kala Kendra (Centre for Performing Arts) on Pune University campus. He was a student founder, ad hoc board member and member of the advisory committee for this department from 1987-1990. He was also honorary joint coordinator of the Lalit Kala Kendra during the same period.

As a student at the University of Poona, Dr. Sardeshmukh applied his creativity, initiative and organizational talent which directly translated into a number of awards in various state and national level competitions for his alma mater during 1982 till 1990. He also took an initiative in forming MUDRA (Music and Drama Arts Circle) on campus.

Dr. Sardeshmukh co-authored the paper "Analytical and Computerized Music Composition with Reference to Samavedic Gana Text," published in the IEEE Transactions on Acoustic Speech and Signal Processing, New York, USA. This research was also presented at the World Sanskrit Conference held in Bangalore in 1987 where it was much appreciated by traditional Samavedic scholars from South India who were awed at his mastery in overcoming computer related difficulties in generating the chanting sound.

He has been a trustee of the Bharatiya Sanskriti Darshan Trust since 1979 and has held the office of executive trustee since 1996