Study of Chishti- Sabiriyya Dargahs in Contemporary Doaba (Punjab): Continuities and Change
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Note Staff Symbol Carnatic Name Hindustani Name Chakra Sa C
The Indian Scale & Comparison with Western Staff Notations: The vowel 'a' is pronounced as 'a' in 'father', the vowel 'i' as 'ee' in 'feet', in the Sa-Ri-Ga Scale In this scale, a high note (swara) will be indicated by a dot over it and a note in the lower octave will be indicated by a dot under it. Hindustani Chakra Note Staff Symbol Carnatic Name Name MulAadhar Sa C - Natural Shadaj Shadaj (Base of spine) Shuddha Swadhishthan ri D - flat Komal ri Rishabh (Genitals) Chatushruti Ri D - Natural Shudhh Ri Rishabh Sadharana Manipur ga E - Flat Komal ga Gandhara (Navel & Solar Antara Plexus) Ga E - Natural Shudhh Ga Gandhara Shudhh Shudhh Anahat Ma F - Natural Madhyam Madhyam (Heart) Tivra ma F - Sharp Prati Madhyam Madhyam Vishudhh Pa G - Natural Panchama Panchama (Throat) Shuddha Ajna dha A - Flat Komal Dhaivat Dhaivata (Third eye) Chatushruti Shudhh Dha A - Natural Dhaivata Dhaivat ni B - Flat Kaisiki Nishada Komal Nishad Sahsaar Ni B - Natural Kakali Nishada Shudhh Nishad (Crown of head) Så C - Natural Shadaja Shadaj Property of www.SarodSitar.com Copyright © 2010 Not to be copied or shared without permission. Short description of Few Popular Raags :: Sanskrut (Sanskrit) pronunciation is Raag and NOT Raga (Alphabetical) Aroha Timing Name of Raag (Karnataki Details Avroha Resemblance) Mood Vadi, Samvadi (Main Swaras) It is a old raag obtained by the combination of two raags, Ahiri Sa ri Ga Ma Pa Ga Ma Dha ni Så Ahir Bhairav Morning & Bhairav. It belongs to the Bhairav Thaat. Its first part (poorvang) has the Bhairav ang and the second part has kafi or Så ni Dha Pa Ma Ga ri Sa (Chakravaka) serious, devotional harpriya ang. -
The Role of Radio in Promoting the Folk and Sufiana Music in the Kashmir Valley
Journal of Advances and Scholarly Researches in Allied Education Vol. XII, Issue No. 23, October-2016, ISSN 2230-7540 The Role of Radio in Promoting the Folk and Sufiana Music in the Kashmir Valley Afshana Shafi* Research Scholar, M.D.U., Rohtak, Haryana Abstract – In this Research work the Researcher reveals the role of All India Radio Srinagar in promoting the folk and sufiana music of Kashmir. Sufiana music is also known as the classical music of Kashmir. There was a time when the radio was considered to be a kind of entertainment only. At that sphere of time, All India Radio Kashmir was also touching the sky from its potential. Radio was widely heard among masses. Radio plays a significant role in the promoting of kashmiri music and the musicians of Kashmir. In this research work the researcher has written about role of Radio in Kashmiri music and in the success of kashmiri musicians. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - X - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - As you have heard very different stories about Kashmir evening, in this way Radio Kashmir has been a major yet, but apart from it, Kashmir is full of colors‘. So, let‘s contributor to promoting folk music of Kashmir. talk about those same colors of Kashmir. Kashmiri Music has created a name throughout the world, yes I As the people of Kashmir, living in remote areas, do am talking about sufiana music but before that we will not have access the other source of information and talk about the folk music of Kashmir. The chief source of entertainment, apart from the limited local traditional entertainment is only Music, and an important element activities, for the majority of the people,but as its said governing popularity or unpopularity of the service change is the law of nature but inspite of this radio ―points out H.R Luthra . -
Harmonic Progressions of Hindi Film Songs Based on North Indian Ragas
UNIVERSITI PUTRA MALAYSIA HARMONIC PROGRESSIONS OF HINDI FILM SONGS BASED ON NORTH INDIAN RAGAS WAJJAKKARA KANKANAMALAGE RUWIN RANGEETH DIAS FEM 2015 40 HARMONIC PROGRESSIONS OF HINDI FILM SONGS BASED ON NORTH INDIAN RAGAS UPM By WAJJAKKARA KANKANAMALAGE RUWIN RANGEETH DIAS COPYRIGHT Thesis Submitted to the School of Graduate Studies, Universiti Putra Malaysia, © in Fulfilment of the Requirements for the Degree of Doctor of Philosophy December 2015 All material contained within the thesis, including without limitation text, logos, icons, photographs and all other artwork, is copyright material of Universiti Putra Malaysia unless otherwise stated. Use may be made of any material contained within the thesis for non-commercial purposes from the copyright holder. Commercial use of material may only be made with the express, prior, written permission of Universiti Putra Malaysia. Copyright © Universiti Putra Malaysia UPM COPYRIGHT © Abstract of thesis presented of the Senate of Universiti Putra Malaysia in fulfilment of the requirements for the degree of Doctor of Philosophy HARMONIC PROGRESSIONS OF HINDI FILM SONGS BASED ON NORTH INDIAN RAGAS By WAJJAKKARA KANKANAMALAGE RUWIN RANGEETH DIAS December 2015 Chair: Gisa Jähnichen, PhD Faculty: Human Ecology UPM Hindi film music directors have been composing raga based Hindi film songs applying harmonic progressions as experienced through various contacts with western music. This beginning of hybridization reached different levels in the past nine decades in which Hindi films were produced. Early Hindi film music used mostly musical genres of urban theatre traditions due to the fact that many musicians and music directors came to the early film music industry from urban theatre companies. -
The Melodic Power of Thumri by : INVC Team Published on : 16 Sep, 2018 05:32 AM IST
The melodic power of thumri By : INVC Team Published On : 16 Sep, 2018 05:32 AM IST INVC NEWS New Delhi , Delhi government’s Sahitya Kala Parishad kick started their eighth edition of Thumri Festival- a celebration of light classical music, on 14th September 2018 (Friday) at Kamani Auditorium. The 3 day musical event was inaugurated by the chief guest Sh. Rajendra Pal Gautam, Hon’ble Minister for Social Welfare, Govt. Of NCT of Delhi. The evening began with the performance of critically acclaimed Indian classical singer Padmaja Chakraborty, who sang Khamaj Thumri in Jat taal, Tappa in Raga Kafi and Kajri in Raag Mishra Pilu in Keherwa taal. The second performance was by the renowned vocalist and doyen of Kirana Gharana - Sri Jayateerth Mevundi. The classical singer, known for the ease and felicity of his singing style, mesmerized the audience with Raag Tilang Thumri, kafi Thumri, Jogiya Thumri, and Raag Pahadi in different raag and tal. The evening was culminated with a power packed performance by Shubha Mudgal who performed on Bol Banau Thumri and Bandish ki Thumri in which she sang rare types of Thumri for the audience. This musical fare is designed to showcase veteran Thumri singers along with the upcoming young talents who will share the space and light up the evening with their performances. About thumri : Thumri is a beautiful blend of Hindustani classical music with traits of folk literature. Thumri holds a history of over 500 years in Hindustani Classical music. Thumri used to be sung in the royal kingdoms and palaces and its background originates from Varanasi, Gwalior and Awadh were they used to be Thumri vocalists in the royal courts. -
Muslim Saints of South Asia
MUSLIM SAINTS OF SOUTH ASIA This book studies the veneration practices and rituals of the Muslim saints. It outlines the principle trends of the main Sufi orders in India, the profiles and teachings of the famous and less well-known saints, and the development of pilgrimage to their tombs in India, Pakistan and Bangladesh. A detailed discussion of the interaction of the Hindu mystic tradition and Sufism shows the polarity between the rigidity of the orthodox and the flexibility of the popular Islam in South Asia. Treating the cult of saints as a universal and all pervading phenomenon embracing the life of the region in all its aspects, the analysis includes politics, social and family life, interpersonal relations, gender problems and national psyche. The author uses a multidimen- sional approach to the subject: a historical, religious and literary analysis of sources is combined with an anthropological study of the rites and rituals of the veneration of the shrines and the description of the architecture of the tombs. Anna Suvorova is Head of Department of Asian Literatures at the Institute of Oriental Studies, Russian Academy of Sciences, Moscow. A recognized scholar in the field of Indo-Islamic culture and liter- ature, she frequently lectures at universities all over the world. She is the author of several books in Russian and English including The Poetics of Urdu Dastaan; The Sources of the New Indian Drama; The Quest for Theatre: the twentieth century drama in India and Pakistan; Nostalgia for Lucknow and Masnawi: a study of Urdu romance. She has also translated several books on pre-modern Urdu prose into Russian. -
Religio-Political Movements in the Pashtun Belt-The Roshnites
Journal of Political Studies, Vol. 18, Issue - 2, 2011: 119-132 Religio-Political Movements in the Pashtun Belt-The Roshnites Zahid Shah∗ Abstract The Pashtun belt, encompassing chiefly Eastern Afghanistan and North Western Pakistan, has been, and continues to be, the center of religio-political activity. This article aims at examining these activities in its historical perspectives and has focused on one of the earliest known Movements that sprouted in the region. The first known indigenous religio-political movement of high magnitude started in the area was the Roshnite struggle against 16th century Mughal India. The Movement originated in Mehsud Waziristan (forming part of contemporary tribal areas of Pakistan) and spread into the whole Pashtun regions. Initially aimed at doctrinal reformation, the Movement finally assumed a political character. The leader proclaimed his followers as rightly guided and the non- conformist as outcasts. This resulted in a controversy of high order. The Pashtun society was rent apart and daggers drawn. Hostile Pashtun factions first engaged in acrimony and polemics and eventually began killing in battle-fields. The story of the feuds of this period spreads over more or less a century. The leader of the movement, a religious and mystical practitioner, had a great charm to attract and transform people, but the movement at present times has little tracing. Besides the leader, the chief proponents of the movement were men endowed with literary and intellectual acumen. The combined efforts of the leader and his followers and also the forceful counter-reactionary movement, have enriched Pashtun language and lore. The literature produced during this period presents an interesting reading of the Pashtun history of this time. -
Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan
Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan By Zainub Beg A Thesis Submitted to Saint Mary’s University, K’jipuktuk/Halifax, Nova Scotia in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Theology and Religious Studies. December 2020, Halifax, Nova Scotia Copyright Zainub Beg, 2020 Approved: Dr. Syed Adnan Hussain Supervisor Approved: Dr. Reem Meshal Examiner Approved: Dr. Sailaja Krishnamurti Reader Date: December 21, 2020 1 Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan by Zainub Beg Abstract Abida Parveen, often referred to as the Queen of Sufi music, is one of the only female qawwals in a male-dominated genre. This thesis will explore her performances for Coke Studio Pakistan through the lens of gender theory. I seek to examine Parveen’s blurring of gender, Sufism’s disruptive nature, and how Coke Studio plays into the two. I think through the categories of Islam, Sufism, Pakistan, and their relationship to each other to lead into my analysis on Parveen’s disruption in each category. I argue that Parveen holds a unique position in Pakistan and Sufism that cannot be explained in binary terms. December 21, 2020 2 Table of Contents Abstract ................................................................................................................... 1 Acknowledgements ................................................................................................ 3 Chapter One: Introduction .................................................................................. -
Distinguishing Raga-Specific Intonation of Phrases with Audio Analysis
Journal of ITC Sangeet Research Academy — 58 DISTINGUISHING RAGA-SPECIFIC INTONATION OF PHRASES WITH AUDIO ANALYSIS Preeti Rao*, Joe Cheri RossŦ and Kaustuv Kanti Ganguli* Department of Electrical Engineering* Department of Computer Ŧ Science and Engineering Indian Institute of Technology Bombay, Mumbai 400076, India {prao, kaustuvkanti}@ee.iitb.ac.in* Ŧ [email protected] Abstract The identity of a raga in a performance is exposed through the occurrence of characteristic melodic phrases or “catch phrases” of the raga. While a phrase is represented as a simple sequence of notes in written notation, the interpretation of the notation by a performer invokes his knowledge of raga grammar and thus the characteristic continuous pitch movement that represents the particular phrase intonation. A performer's skill is closely linked with his ability to render creatively and unambiguously the distinctive aspects of a raga including its phrases or melodic motifs. Similarly, listeners identify the raga by the characteristic melodic shape of the phrase. We present a study to validate implicit musical knowledge that raga-characteristic phrases are relatively invariant across concerts and artistes by means of a time series similarity measure applied to melodic pitch contours extracted from audio recordings of Hindustani classical vocal concerts. The measure, which can discriminate phrases, even with the same svara sequence, corresponding to different ragas, has applications in music retrieval. Further, it has potential in the objective evaluation of raga phrases rendered by a music learner. 1.Introduction Along with the svaras that define the raga in Hindustani and Carnatic music, the identity of a raga in a performance is exposed through the occurrence of characteristic melodic phrases or pakads of the raga. -
The Thaat-Ragas of North Indian Classical Music: the Basic Atempt to Perform Dr
The Thaat-Ragas of North Indian Classical Music: The Basic Atempt to Perform Dr. Sujata Roy Manna ABSTRACT Indian classical music is divided into two streams, Hindustani music and Carnatic music. Though the rules and regulations of the Indian Shastras provide both bindings and liberties for the musicians, one can use one’s innovations while performing. As the Indian music requires to be learnt under the guidance of Master or Guru, scriptural guidelines are never sufficient for a learner. Keywords: Raga, Thaat, Music, Performing, Alapa. There are two streams of Classical music of India – the Ragas are to be performed with the basic help the North Indian i.e., Hindustani music and the of their Thaats. Hence, we may compare the Thaats South Indian i.e., Carnatic music. The vast area of with the skeleton of creature, whereas the body Indian Classical music consists upon the foremost can be compared with the Raga. The names of the criterion – the origin of the Ragas, named the 10 (ten) Thaats of North Indian Classical Music Thaats. In the Carnatic system, there are 10 system i.e., Hindustani music are as follows: Thaats. Let us look upon the origin of the 10 Thaats Sl. Thaats Ragas as well as their Thaat-ragas (i.e., the Ragas named 01. Vilabal Vilabal, Alhaiya–Vilaval, Bihag, according to their origin). The Indian Shastras Durga, Deshkar, Shankara etc. 02. Kalyan Yaman, Bhupali, Hameer, Kedar, throw light on the rules and regulations, the nature Kamod etc. of Ragas, process of performing these, and the 03. Khamaj Khamaj, Desh, Tilakkamod, Tilang, liberty and bindings of the Ragas while Jayjayanti / Jayjayvanti etc. -
Bayazid Ansari and Roushaniya Movement: a Conservative Cult Or a Nationalist Endeavor?
Himayatullah Yaqubi BAYAZID ANSARI AND ROUSHANIYA MOVEMENT: A CONSERVATIVE CULT OR A NATIONALIST ENDEAVOR? This paper deals with the emergence of Bayazid Ansari and his Roushaniya Movement in the middle of the 16th century in the north-western Pakhtun borderland. The purpose of the paper is to make comprehensive analyses of whether the movement was a militant cult or a struggle for the unification of all the Pakhtun tribes? The movement initially adopted an anti- Mughal stance but side by side it brought stratifications and divisions in the society. While taking a relatively progressive and nationalist stance, a number of historians often overlooked some of its conservative and militant aspects. Particularly the religious ideas of Bayazid Ansari are to be analyzed for ascertaining that whether the movement was nationalist in nature and contents or otherwise? The political and Sufi orientation of Bayazid was different from the established orders prevailing at that time among the Pakhtuns. An attempt would be made in the paper to ascertain as how much support he extracted from different tribes in the Pakhtun region. From the time of Mughal Emperor Babur down to Aurangzeb, the whole of the trans-Indus Frontier region, including the plain and the hilly tracts was beyond the effective control of the Mughal authority. The most these rulers, including Sher Shah, himself a Ghalji, did was no more than to secure the hilly passes for transportation. However, the Mughal rulers regarded the area not independent but subordinate to their imperial authority. In the geographical distribution, generally the area lay under the suzerainty of the Governor at Kabul, which was regarded a province of the Mughal Empire. -
The Real Face of Roshaniyya Movement
Fakhr-ul-Islam* Shahbaz Khan** The Real Face Of Roshaniyya Movement Abstract Bayazid Ansari, the founder of Roshaniyya Movement, was basically a mystic, who had some knowledge of Islam. He had originally initiated the Roshaniyya movement for spreading his teachings among the people, however, he almost everywhere faced resistance from the orthodox Ulama and saints. According to them Bayazid Ansari had deviated from the right path. As far as the term Roshaniyya is concerned it was due to the nickname of Bayazid Ansari as he was known by the name of Pir Roshan or Rokhan (the illuminated guide), As regard the true status of the Roshaniyya movement there exists difference of views, as to some people it was a religio-cum-Sufic movement while to others it was political in nature yet to another group of scholars Roshaniyya was a Pakhtun nationalist movement. This paper is an attempt to analyse the said issue in order to reach an understandable conclusion. Key Words: Bayazid Ansari, Roshaniyya Movement, Political, Nationalist, Sufi, Ulama Introduction Bayazid Ansari was born in the house of Abdullah, a religious scholar and a native of South Wazirista, in 1572.1 Although he had not received proper education yet he was a sharp minded and intelligent person.2 Bayazid, in childhood, witnessed problems including the Mughal invasion of India, separation between his parents and the ill-treatment of his step mother, which must have certainly affected his personality from the early childhood. As a child, he was in search of truth, who often asked questions like “The heavens and earth are here, but where is God,3 which indicates towards the fact that he was not an ordinary kid. -
The Role of the Beatles in Popularizing Indian Music and Culture in the West Rodrigo Guerrero Faculty Advisors: Dr
32 The Role of The Beatles in Popularizing Indian Music and Culture in the West Rodrigo Guerrero Faculty Advisors: Dr. Charles Brewer, Dr. Sarah Eyerly, and Dr. Douglass Seaton College of Music Abstract: The Beatles were responsible for several long-lasting innovations that shaped the history of pop music and Western culture in general. As a British rock band that dominated the popular music scene during the 1960s, they made one of their most significant, yet sometimes overlooked, contributions through the incorporation of elements from Indian culture in their music and lyrics. This essay discusses the role that the Beatles played in introducing and popularizing certain features of Indian culture, and specifically Indian music, in the Western hemisphere. I first describe their relationship with Indian culture. In this section, I bring forth questions, such as why they became interested in this culture, why they decided to go on a spiritual retreat to India, and how the trip influenced their thoughts about foreign culture. After that, this essay analyzes the influence of Indian culture and Indian music on the Beatles’ lyrics and music, respectively. Finally, I will illuminate the lasting effect that this cross- fertilization had in subsequent years. he 1960s was a decade of experimentation in popular music. The Beatles, the British rock band that dominated the popular music scene Tduring this decade, was responsible for long-lasting innovations that would shape the history and style of pop music and Western culture. One of their most significant, yet overlooked, contributions to Western culture was the incorporation of Indian musical elements into their songs.