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The Music Academy, Madras 115-E, Mowbray’S Road
Tyagaraja Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XXXIX 1968 Parts MV srri erarfa i “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada l ” EDITBD BY V. RAGHAVAN, M.A., p h .d . 1968 THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription—Inland Rs. 4. Foreign 8 sh. iI i & ADVERTISEMENT CHARGES ►j COVER PAGES: Full Page Half Page Back (outside) Rs. 25 Rs. 13 Front (inside) 20 11 Back (Do.) „ 30 „ 16 INSIDE PAGES: 1st page (after cover) „ 18 „ io Other pages (each) „ 15 „ 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special positions and special rates on application. e iX NOTICE All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal Of the Music Academy, Madras-14. « Articles on subjects of music and dance are accepted for mblication on the understanding that they are contributed solely o the Journal of the Music Academy. All manuscripts should be legibly written or preferably type written (double spaced—on one side of the paper only) and should >e signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan Editor. Pages. -
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. -
Syllabus for Post Graduate Programme in Music
1 Appendix to U.O.No.Acad/C1/13058/2020, dated 10.12.2020 KANNUR UNIVERSITY SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: MA MUSIC DEPARTMENT OF MUSIC KANNUR UNIVERSITY SWAMI ANANDA THEERTHA CAMPUS EDAT PO, PAYYANUR PIN: 670327 2 SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: M A (MUSIC) ABOUT THE DEPARTMENT. The Department of Music, Kannur University was established in 2002. Department offers MA Music programme and PhD. So far 17 batches of students have passed out from this Department. This Department is the only institution offering PG programme in Music in Malabar area of Kerala. The Department is functioning at Swami Ananda Theertha Campus, Kannur University, Edat, Payyanur. The Department has a well-equipped library with more than 1800 books and subscription to over 10 Journals on Music. We have gooddigital collection of recordings of well-known musicians. The Department also possesses variety of musical instruments such as Tambura, Veena, Violin, Mridangam, Key board, Harmonium etc. The Department is active in the research of various facets of music. So far 7 scholars have been awarded Ph D and two Ph D thesis are under evaluation. Department of Music conducts Seminars, Lecture programmes and Music concerts. Department of Music has conducted seminars and workshops in collaboration with Indira Gandhi National Centre for the Arts-New Delhi, All India Radio, Zonal Cultural Centre under the Ministry of Culture, Government of India, and Folklore Academy, Kannur. -
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. -
1 ; Mahatma Gandhi University B. A. Music Programme(Vocal
1 ; MAHATMA GANDHI UNIVERSITY B. A. MUSIC PROGRAMME(VOCAL) COURSE DETAILS Sem Course Title Hrs/ Cred Exam Hrs. Total Week it Practical 30 mts Credit Theory 3 hrs. Common Course – 1 5 4 3 Common Course – 2 4 3 3 I Common Course – 3 4 4 3 20 Core Course – 1 (Practical) 7 4 30 mts 1st Complementary – 1 (Instrument) 3 3 Practical 30 mts 2nd Complementary – 1 (Theory) 2 2 3 Common Course – 4 5 4 3 Common Course – 5 4 3 3 II Common Course – 6 4 4 3 20 Core Course – 2 (Practical) 7 4 30 mts 1st Complementary – 2 (Instrument) 3 3 Practical 30 mts 2nd Complementary – 2 (Theory) 2 2 3 Common Course – 7 5 4 3 Common Course – 8 5 4 3 III Core Course – 3 (Theory) 3 4 3 19 Core Course – 4 (Practical) 7 3 30 mts 1st Complementary – 3 (Instrument) 3 2 Practical 30 mts 2nd Complementary – 3 (Theory) 2 2 3 Common Course – 9 5 4 3 Common Course – 10 5 4 3 IV Core Course – 5 (Theory) 3 4 3 19 Core Course – 6 (Practical) 7 3 30 mts 1st Complementary – 4 (Instrument) 3 2 Practical 30 mts 2nd Complementary – 4 (Theory) 2 2 3 Core Course – 7 (Theory) 4 4 3 Core Course – 8 (Practical) 6 4 30 mts V Core Course – 9 (Practical) 5 4 30 mts 21 Core Course – 10 (Practical) 5 4 30 mts Open Course – 1 (Practical/Theory) 3 4 Practical 30 mts Theory 3 hrs Course Work/ Project Work – 1 2 1 Core Course – 11 (Theory) 4 4 3 Core Course – 12 (Practical) 6 4 30 mts VI Core Course – 13 (Practical) 5 4 30 mts 21 Core Course – 14 (Practical) 5 4 30 mts Elective (Practical/Theory) 3 4 Practical 30 mts Theory 3 hrs Course Work/ Project Work – 2 2 1 Total 150 120 120 Core & Complementary 104 hrs 82 credits Common Course 46 hrs 38 credits Practical examination will be conducted at the end of each semester 2 MAHATMA GANDHI UNIVERSITY B. -
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. -
The Brilliance of Oottukkadu Venkata Kavi
The Brilliance of Oottukkadu Venkata Kavi - Chitravina N Ravikiran In the galaxy of all time great vaggeyakaras of Carnatic Music, Oottukkadu Venkata Kavi is one of the brightest shining stars. He is said to have lived between the period of Purandara Dasa and Annamacharya and the Trinity and his date is placed roughly between 1700-1765. Venkata Kavi was a great personality, an innovator who contributed a lot to Carnatic Music but his works were hidden from the mainstream music field for almost 200 years. “The 20th century saw the emergence of the mostly hidden works of three major composers – Annamacharya, Oottukkadu Venkata Kavi and Swati Tirunal,” observed the late Shri T S Parthasarathy, a renowned musicologist and former secretary of The Madras Music Academy. Semmangudi Srinivasa Iyer had no hesitation in writing that “Venkata Kavi’s stature equals that of the revered Carnatic Trinity - Tyagaraja, Muttuswami Dikshitar and Shyama Shastri”. Decades earlier, GNB had written a whole article on Venkata Kavi’s greatness as a composer. However, the majority of Venkata Kavi’s brilliant works and original contributions are still unknown to mainstream performers, musicologists, music promoters, music lovers and the media. But this situation is changing fast with the emergence of many of his works. Consummate composer Today, around 400 compositions of his are available to us and these reveal that he was a complete master of the science and art of music in all senses of the term – melody, rhythm or lyrics and was fluent in Sanskrit and Tamil. He was proficient in a variety of musical forms such as the krti, tillana and kavadichindu. -
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. -
Carnatic Column
Carnatic Music- Thyagaraja Aradhana By Smitha K. Prasad Dear readers, I’d like to wish you a happy, peaceful, prosperous and musical New Year 2014! The ringing in of the New Year brings with it one of the most famous annual Carnatic music festivals viz. the “Thyagaraja Aradhana” held in Thiruvaiyaru, Tamil Nadu. The “Thyagaraja Aradhana” festival occurs sometime during the months of January or February, depending on when the “Pushya Bahula Panchami” day occurs each year, as this is the day that the great composer saint Sri. Thyagaraja attained Samadhi (passed on). Thyagaraja (1767-1847) was one of the greatest composers in Carnatic music. Along with Sri. Muthuswami Dikshitar and Sri. Shyama Shastri, they formed the Trinity of Carnatic music. Sri. Thyagaraja was an extremely prolific composer- of the 24,000 compositions attributed to him, only about 700-800 are available to us today. Among the many great compositions by Thyagaraja, perhaps none is more famous than the set of Pancharatna krithis, which literally translates to five (pancha) gems (ratna). These krithis are composed in the Ghana ragas - Nata, Gowlai, Arabhi, Varali and Sri. Each of these compositions has both swara passages and corresponding sahithya and beautifully brings out the essence of the raga in which it has been composed. The aradhana at Thiruvaiyaru was initially started by Thyagraja’s disciples to commemorate the day that he attained Samadhi. Over the course of time, disagreements set in and two rival factions emerged to organize the aradhana with musicians aligning themselves with either of the competing groups. Unfortunately, women were not allowed to perform at the aradhana.