Introduction
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Master of Performing Arts (Vocal & Instrumental)
MASTER OF PERFORMING ARTS (VOCAL & INSTRUMENTAL) I SEMESTER Course - 101 (Applied Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To critically appreciate a music concert. 2. To understand and compare the ragas and talas prescribed for practical’s. 3. To write compositions in the prescribed notation system. 4. To introduce students to staff notation. Course Content:- I. Theoretical study of Ragas and Talas prescribed for practical and their comparative study wherever possible. II. Reading and writing of Notations of compositions Alap, Taan etc. in the Ragas and Talas with prescribed Laykraries. III. Elementary Knowledge of Staff Notation. IV. Critical appreciation of Music concert. Bibliographies:- a. Dr. Bahulkar, S. Kalashastra Visharad (Vol. 1 - 4 ). Mumbai:: Sanskar Prakashan. b. Dr. Sharma, M. Music India. A. B. H. Publishing Hoouse. c. Dr. Vasant. Sangeet Visharad. Hatras:: Sangeet Karyalaya. d. Rajopadhyay, V. Sangeet Shastra. Akhil Bhartiya Gandharva Vidhyalaya e. Rathod, B. Thumri. Jaipur:: University Book House Pvt. Ltd. f. Shivpuji, G. Lay Shastra. Bhopal: Madhya Pradesh Hindi Granth. Course - 102 (General Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To study Aesthetics in Music. 2. To appreciate the aesthetic aspects of different forms of music. Course Content:- I. Definition of Aesthetics and its Application in Music. II. Aesthetical principles of Different Haran’s. III. Aesthetical aspects of different forms of Music. a. Dhrupad, Dhamar, Khayal, Thumri, Tappa etc. IV. Merits and demerits of vocalist. Bibliographies:- a. Bosanquet, B. (2001). The concept of Aesthetics. New Delhi: Sethi Publishing Company. b. Dr. Bahulkar, S. Kalashastra Visharad (Vol. -
The Rich Heritage of Dhrupad Sangeet in Pushtimarg On
Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda ||Shree DwaDwarrrrkeshokesho Jayati|| || Shree Vallabhadhish Vijayate || The Rich Heritage Of Dhrupad Sangeet in Pushtimarg on www.vallabhkankroli.org Reference : 8th Year Text Book of Pushtimargiya Patrachaar by Shree Vakpati Foundation - Baroda Inspiration: PPG 108 Shree Vrajeshkumar Maharajshri - Kankroli PPG 108 Shree Vagishkumar Bawashri - Kankroli Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda Contents Meaning of Sangeet ........................................................................................................................... 4 Naad, Shruti and Swar ....................................................................................................................... 4 Definition of Raga.............................................................................................................................. 5 Rules for Defining Ragas................................................................................................................... 6 The Defining Elements in the Raga................................................................................................... 7 Vadi, Samvadi, Anuvadi, Vivadi [ Sonant, Consonant, Assonant, Dissonant] ................................ 8 Aroha, avaroha [Ascending, Descending] ......................................................................................... 8 Twelve Swaras of the Octave ........................................................................................................... -
Where Are the Women? the Representation of Gender in the Bhai Bala Janamsakhi Tradition and the Women's Oral Janamsakhi Tradition
WHERE ARE THE WOMEN? THE REPRESENTATION OF GENDER IN THE BHAI BALA JANAMSAKHI TRADITION AND THE WOMEN'S ORAL JANAMSAKHI TRADITION by Ranbir Kaur Johal B.A., The University of British Columbia, 1997 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Asian Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 2001 © Ranbir Kaur Johal, 2001 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Asia" SJ-ndUS The University of British Columbia Vancouver, Canada DE-6 (2/88) Abstract: The janamsakhis are a Sikh literary tradition, which consist of hagiographies concerning Guru Nanak's life and teachings. Although the janamsakhis are not reliable historical sources concerning the life of Guru Nanak, they are beneficial in imparting knowledge upon the time period in which they developed. The representation of women within these sakhis can give us an indication of the general views of women of the time. A lack of representation of women within the janamsakhi supports the argument that women have traditionally been assigned a subordinate role within patriarchal society. -
Harish Ji Mata Sahib Kaur Girls Hostel
MATASAHIBKAUR TheMotherOfTheKhaisa Mata Sahib Kaur Girls' Hostel 2019-20 A large number of girl students from outside Delhi even from smaller towns aspire to have access to education in the capital and Delhi University is replete with examples of young and enterprising women who have made a mark in the society. Seeing this, Sri Guru Gobind Singh College of Commerce has decided to develop hostel facilities for the girl students in the name of Mata Sahib Kaur Ji. The hostel is located inside the college campus. With 42 rooms, it can accommodate the 126 undergraduate girl students of the college. Mata Sahib Kaur is wife of Guru Gobind Singh Ji. She is proclaimed to be the Mother of the Khalsa. The Khalsa was declared to be the sons and daughters of Guru Gobind Singh and Mata Sahib Kaur. She was epitome of qualities of humility and sacrifice having a complete faith in Almighty. She mixed sugary balls into Amrit that was been administered to the Sangat signifying that strength must be mingled with accompanying sweetness. After the battle of Anandpur Sahib when the entire family of Guru Gobind Singh was separated, Mata Sahib Kaur accompanied Guru Gobind Singh to Delhi and thereafter to Nanded. When Guru Gobind Singh realized that the time has come when He was to leave for the heavenly abode, Mata Sahib Kaur was told by him to leave the place and join Mata Sundari in Delhi. Guru Gobind Singh handed to Mata Sahib Kaur five weapons and his Insignia through which 9 Hukamnamas (Letter of Command) was issued for the Khalsa. -
Guru Tegh Bahadur
Second Edition: Revised and updated with Gurbani of Guru Tegh Bahadur. GURU TEGH BAHADUR (1621-1675) The True Story Gurmukh Singh OBE (UK) Published by: Author’s note: This Digital Edition is available to Gurdwaras and Sikh organisations for publication with own cover design and introductory messages. Contact author for permission: Gurmukh Singh OBE E-mail: [email protected] Second edition © 2021 Gurmukh Singh © 2021 Gurmukh Singh All rights reserved by the author. Except for quotations with acknowledgement, no part of this publication may be reproduced in any form or medium without the specific written permission of the author or his legal representatives. The account which follows is that of Guru Tegh Bahadur, Nanak IX. His martyrdom was a momentous and unique event. Never in the annals of human history had the leader of one religion given his life for the religious freedom of others. Tegh Bahadur’s deed [martyrdom] was unique (Guru Gobind Singh, Bachittar Natak.) A martyrdom to stabilize the world (Bhai Gurdas Singh (II) Vaar 41 Pauri 23) ***** First edition: April 2017 Second edition: May 2021 Revised and updated with interpretation of the main themes of Guru Tegh Bahadur’s Gurbani. References to other religions in this book: Sikhi (Sikhism) respects all religious paths to the One Creator Being of all. Guru Nanak used the same lens of Truthful Conduct and egalitarian human values to judge all religions as practised while showing the right way to all in a spirit of Sarbatt da Bhala (wellbeing of all). His teachings were accepted by most good followers of the main religions of his time who understood the essence of religion, while others opposed. -
THEORY FY Paper I - History of Music 70 MARKS (70 Marks External + 30 Marks Internal)
BPA MUSIC (Hindustani Vocal / Sitar/Tabla) THEORY FY Paper I - History of Music 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1. Origin of music 14 2. History and development of music from vedic period to present era. 14 3. Comparative study between Hindustani Karnataka Sangeet Paddhti 14 and taal paddhati 4. Brief life sketch & contribution of 14 a. Pt. Vishnu Narayan Bhatkhande b. Pt. Vishnu Digambar Paluskar c. Pt. Omkarnath Thakur 5. History of Gharana with [Basic Introduction]. 14 Paper II - Principles of Music 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1. Technical terms : Sanget, Saptak, Ashtak, Mandra, Madhya, Taar, Shuddh, Vikrut, Chal-Achal, Varna, Alankaar, Purvang, Uttarang, Sthayi, Antara. 14 Short Notes: Naad, Swar, Shruti, Raag, Raag-Jaati, Alaap, Taan, Vaadi, Samvaadi, Anuvaadi, Vivaadi, Varjit, That Alankar, Pakad, Aaron Avroh Gram-Murchhana, Taal, Sam, Matra, Khali, Bhari, Avartana, Laya, Theka, Principles of raag formation 2. Classification of musical instruments and introduction of parts. 14 3. Types of taanas 14 4. Description of ragas and taals under practical study and their comparative study wherever possible. 14 5. Reading and writing of notations of bandish and layakaris of prescribed taals (1/2, ¼) 14 BPA MUSIC, DANCE, DRAMA (COMMON) THEORY FY Paper III – Indian Culture 35 MARKS (35 Marks External + 15 Marks Internal) Unit-1 (1) Concept of culture and civilization. Ancient Indian culture and its evolution 7 (2) Indus valley civilization. Art as an important facet of Indian culture from Indian Valley up to the 21st century. 7 (3) Division of Vedas 7 (4) Buddhism and Jainism, Mauryan India, Gupta period, Medieval Mysticism 7 (5) Indian culture as reflected in Maha Kavyas 7 BPA MUSIC, DANCE, DRAMA (COMMON) THEORY FY Paper IV – English 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1. -
Know Your Heritage Introductory Essays on Primary Sources of Sikhism
KNOW YOUR HERIGAGE INTRODUCTORY ESSAYS ON PRIMARY SOURCES OF SIKHISM INSTITUTE OF S IKH S TUDIES , C HANDIGARH KNOW YOUR HERITAGE INTRODUCTORY ESSAYS ON PRIMARY SOURCES OF SIKHISM Dr Dharam Singh Prof Kulwant Singh INSTITUTE OF S IKH S TUDIES CHANDIGARH Know Your Heritage – Introductory Essays on Primary Sikh Sources by Prof Dharam Singh & Prof Kulwant Singh ISBN: 81-85815-39-9 All rights are reserved First Edition: 2017 Copies: 1100 Price: Rs. 400/- Published by Institute of Sikh Studies Gurdwara Singh Sabha, Kanthala, Indl Area Phase II Chandigarh -160 002 (India). Printed at Adarsh Publication, Sector 92, Mohali Contents Foreword – Dr Kirpal Singh 7 Introduction 9 Sri Guru Granth Sahib – Dr Dharam Singh 33 Vars and Kabit Swiyyas of Bhai Gurdas – Prof Kulwant Singh 72 Janamsakhis Literature – Prof Kulwant Singh 109 Sri Gur Sobha – Prof Kulwant Singh 138 Gurbilas Literature – Dr Dharam Singh 173 Bansavalinama Dasan Patshahian Ka – Dr Dharam Singh 209 Mehma Prakash – Dr Dharam Singh 233 Sri Gur Panth Parkash – Prof Kulwant Singh 257 Sri Gur Partap Suraj Granth – Prof Kulwant Singh 288 Rehatnamas – Dr Dharam Singh 305 Know your Heritage 6 Know your Heritage FOREWORD Despite the widespread sweep of globalization making the entire world a global village, its different constituent countries and nations continue to retain, follow and promote their respective religious, cultural and civilizational heritage. Each one of them endeavours to preserve their distinctive identity and take pains to imbibe and inculcate its religio- cultural attributes in their younger generations, so that they continue to remain firmly attached to their roots even while assimilating the modern technology’s influence and peripheral lifestyle mannerisms of the new age. -
Nanaki: the Definition of Sister and Sisterhood in the Bala Janam Sakhi Recension
Nanaki: The Definition of Sister and Sisterhood in the Bala Janam Sakhi Recension by SUKHJIT K.AUR HOTHI B.Sc, The University of British Columbia, 1995 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of Asian Studies We accept this thesis as conforming to the reqj^ffed^andard THE UNIVERSITY OF BRITISH COLUMBIA September 1998 ©Sukhjit KaurHothi, 1998 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department The University of British Columbia Vancouver, Canada DE-6 (2/88) Abstract The objective of this thesis is to unfold the role of Nanaki, the older sister of Nanak, the founder of Sikhism in the Bala recension. In the Bala recension, Nanaki is presented as a powerful and assertive woman. Her status is shown to be much different than the women of contemporary Punjabi Sikh society. Revealing Nanaki's status will give us an understanding of the presentation of women in the early Sikh traditions. The Bala Janam Sakhi recension is very popular among the Punjabi Sikh community of the twentieth century. -
THE EVOLUTION of the ROLE of WOMEN in the SIKH RELIGION Chapter Page
UGC MINOR RESEARCH PROJECT FILE NO: 23-515/08 SPIRITUAL WARRIORS: THE EVOLUTION OF THE ROLE OF WOMEN IN THE SIKH RELIGION SUBMITTED BY DR. MEENAKSHI RAJAN DEPARTMENT OF HISTORY S.K SOMAIYA COLLEGE OF ARTS, SCIENCE AND COMMERCE, VIDYAVIHAR, MUMBAI 400077 MARCH 2010 SPIRITUAL WARRIORS: THE EVOLUTION OF THE ROLE OF WOMEN IN THE SIKH RELIGION Chapter Page Number 1 INTRODUCTION 1 2 ROLE OF WOMEN IN SIKH HISTORY 12 3 MATA TRIPTA 27 4 BIBI NANAKI 30 5 MATA KHIVI 36 6 BIBI BHANI 47 7 MATA SUNDARI 53 8 MAI BHAGO 57 9 SARDARNI SADA KAUR 65 10 CONCLUSION 69 BIBLIOGRAPHY 71 i Acknowledgement I acknowledge my obligation to the University Grants Commission for the financial assistance of this Minor Research Project on Spiritual Warriors: The Evolution of the Role of Women in the Sikh Religion. I extend my thanks to Principal K.Venkataramani and Prof. Parvathi Venkatesh for their constant encouragement. I am indebted to the college and library staff for their support. My endeavour could not have been realised without the love, support and encouragement from my husband, Mr.Murli Rajan and my daughter Radhika. I am grateful to my father, Dr. G.S Chauhan for sharing his deep knowledge of Sikhism and being my guiding light. ii 1 CHAPTER - 1 INTRODUCTION Sikhism is one of the youngest among world religions. It centers on the Guru –Sikh [teacher -disciple] relationship, which is considered to be sacred. The development of Sikhism is a remarkable story of a socio- religious movement which under the leadership of ten human Gurus’ developed into a well organized force in Punjab.1Conceived in northern India, this belief system preached and propagated values of universalism, liberalism, humanism and pluralism within the context of a “medieval age.” Its teachings were “revealed’ by Guru Nanak (1469-1539 AD) who was, in turn, succeeded by nine other Gurus’. -
Unity and Diversity in Grammaticalization Scenarios
Unity and diversity in grammaticalization scenarios Edited by Walter Bisang Andrej Malchukov language Studies in Diversity Linguistics 16 science press Studies in Diversity Linguistics Chief Editor: Martin Haspelmath In this series: 1. Handschuh, Corinna. A typology of marked-S languages. 2. Rießler, Michael. Adjective attribution. 3. Klamer, Marian (ed.). The Alor-Pantar languages: History and typology. 4. Berghäll, Liisa. A grammar of Mauwake (Papua New Guinea). 5. Wilbur, Joshua. A grammar of Pite Saami. 6. Dahl, Östen. Grammaticalization in the North: Noun phrase morphosyntax in Scandinavian vernaculars. 7. Schackow, Diana. A grammar of Yakkha. 8. Liljegren, Henrik. A grammar of Palula. 9. Shimelman, Aviva. A grammar of Yauyos Quechua. 10. Rudin, Catherine & Bryan James Gordon (eds.). Advances in the study of Siouan languages and linguistics. 11. Kluge, Angela. A grammar of Papuan Malay. 12. Kieviet, Paulus. A grammar of Rapa Nui. 13. Michaud, Alexis. Tone in Yongning Na: Lexical tones and morphotonology. 14. Enfield, N. J (ed.). Dependencies in language: On the causal ontology of linguistic systems. 15. Gutman, Ariel. Attributive constructions in North-Eastern Neo-Aramaic. 16. Bisang, Walter & Andrej Malchukov (eds.). Unity and diversity in grammaticalization scenarios. ISSN: 2363-5568 Unity and diversity in grammaticalization scenarios Edited by Walter Bisang Andrej Malchukov language science press Walter Bisang & Andrej Malchukov (eds.). 2017. Unity and diversity in grammaticalization scenarios (Studies in Diversity Linguistics -
Translated from Mohsin Fani's Dabistan Mazahib)
NANAK PANTHIS OR THE SIKHS AND SIKHISM 17th CENTURY (translated from Mohsin Fani's Dabistan Mazahib) EDITED WITH NOTES £y GANDA SINGH Khalsa College Amritsbr N'Df O ***** N / ' (Jftrrr**** t, <4 fU Pn f Dr. Hiraam Sinsn ian I - In\ s >i « •» • I - ; i S .' • * / Reprinted from the Journal of Indian History, Volume XIX, Part 2. Nanak Panthis or The Sikh and Sikhism of the 17th Century (Translated from Muhsin Fani's Dubistan-i-Mazahib,) EDITED WITH NOTES BY GANDA SINGH, Khalsa College, Amritsar PRINTED AT THE G. S. PRESS, MADRAS ' . J INTRODUCTION THE Dahistan-i-Mazahib, from which I have culled and trans lated the account of the Nanak-panthis, the followers of Guru Nanak, is generally acknowledged to be the work of Shaikh Mohsin Fani. -• According to the Gal-i-Racna1 and the Miftah-ui-Twarikh2 he was a resident of Kashmir, but a closer examination of the Dabis- tan reveals that he was born somewhere on the shores of Persia, and that he was compelled by inconstant fortune and force of cir cumstances to spend most of his life in "the land of the believers in transmigration." Unlike most of the Muhammadan writers, Mohsin Fani has not anywhere in the text alluded to his parentage and the date of his birth. Out of over fifty dates that are connected with the various events of his life, referred to here and there is his work, the earliest is 1028 Hijri,3 corresponding to 1618 A.D. when his guardian Mobid Hushiar took him for blessing to Balak Nath, a leading member of the order of the Jogis in the seventeenth cen tury. -
Guru Granth Sahib
Guru Granth Sahib Guru Granth Sahib (Punjabi (Gurmukhi): ਗੁਰੂ ਗ੍ਰੰਥ 1 History ਸਾਹਿਬ ਜੀ (Gurū Gra°th Sāhib Jī), Punjabi pronunciation: [ɡʊɾu ɡɾəntʰ sɑhɪb], /ˈɡʊəruː ɡrɑːnθ səˈhɪb/) is the cen- tral religious scripture of Sikhism, regarded by Sikhs as During the guruship of Guru Nanak, collections of his the final, sovereign and eternal living Guru following the hymns were compiled and sent to distant Sikh communi- lineage of the ten human Gurus of the religion.[1] The Adi ties for use in morning and evening prayers.[16] His suc- Granth, the first rendition, was compiled by the fifth Sikh cessor, Guru Angad, began collecting his predecessor’s Guru, Guru Arjan (1563–1606). Guru Gobind Singh, the writings. This tradition was continued by the third and tenth Sikh Guru, did not add any of his own hymns; how- fifth gurus as well. ever, he added all 115 hymns of Guru Tegh Bahadur, the When the fifth guru, Guru Arjan, was collecting the writ- ninth Sikh Guru, to the Adi Granth and affirmed the text ings of his predecessor, he discovered that pretenders to [2] as his successor. This second rendition became known the guruship were releasing what he considered as forged [3] as Guru Granth Sahib. After Guru Gobind Singh died, anthologies of the previous guru’s writings and including Baba Deep Singh and Bhai Mani Singh prepared many their own writings alongside them.[17] In order to prevent [4] copies of the work for distribution. spurious scriptures from gaining legitimacy, Guru Arjan The text consists of 1430 Angs (pages) and 6,000 śabads began compiling a sacred book for the Sikh community.