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© ALLY ADNAN NATIONAL ACADEMY OF PERFORMING ARTS presents Talk by Ally Adnan Performance by Ghayoor-Moiz-Mustafa Qawwal July 09, 2017 © ALLY ADNAN qawwali Qawwali is a celebration of love. © ALLY ADNAN qawwali Qawwali has existed in various forms – samaa, zikr, Vedic chants and many others – for at least thirty-two (32) centuries. © ALLY ADNAN Vedic Chants The tradition of chanting Vedic mantars, the Srauta, is the oldest oral tradition in existence. Danda, Dhvaja, Ghana, Jata, Krama, Mala, Pada, Ratha, Rekha, Samhita, Sikha © ALLY ADNAN Vedic Chants a b c d e f g h i j k l m n o p q r s t u v w x y z Jata Paath ab ba ab - bc cb bc - cd dc cd - ………. Dhvaja Paath ab yz - bc wx - …………..... - wx bc - yz ab Ghana Paath ab ba - abc cba abc - bc cb - bcd cdb bcd © ALLY ADNAN Zikr Zikr is a devotional practice in which the believer recites divine names and attributes, repeatedly and in rhythm, to achieve the state of trance. © ALLY ADNAN Samaa The devotional practice of samaa involves singing, playing musical instruments, dancing, praying, recitation of poetry and several other rituals. It is used to achieve a higher spiritual state. © ALLY ADNAN The Sounds of Qawwali َﺳﺒﱢ ِﺢ ْاﺳ َﻢ َرﺑﱢ َﻚ ْاﻷَ ْﻋﻠَﻰ Glorify the name of thy Lord, the Most High ﺍ�� ﺑﺰﺭگ ﻭ ﺑﺎﻻ ّﺭﺏ ﮐﮯ ﻧﺎﻡ ﮐﺎ ہﺮ ﻋﯿﺐ ﺳﮯ ﭘﺎک ہﻮﻧﺎ ﺑﯿﺎﻥ ﮐﺮ Quran 87 - 2 © ALLY ADNAN The Sounds of Qawwali And everyone who calls on the name of the Lord will be saved. Joel 2:32 All who sincerely call upon my name will come to me after death, and I will take them to paradise. Buddhist Sutras, Vow of Amida Buddha, 18 In this age of quarrel and hypocrisy, the only means of deliverance is chanting the holy name of the Lord. There is no other way. There is no other way. There is no other way. Brahan-Naradiya Purana 3.8.126 © ALLY ADNAN © ALLY ADNAN Love Qawwali can be but is not always about God. © ALLY ADNAN Love Qawwali can be but is not always about God. It can be but is not always about religion. © ALLY ADNAN Love Qawwali can be but is not always about God. It can be but is not always about religion. It is, however, always about love. © ALLY ADNAN Love always © ALLY ADNAN © ALLY ADNAN qawwali The practice of qawwali, in its primeval form, gained popularity in South Asia as musicians, ascetics, clerics, mystics, philosophers, scholars, and Sufi saints moved to the region from Iran, Afghanistan, Turkey and other countries. © ALLY ADNAN The Varna System Brahmins Priests Kshatriyas Rulers, Administrators, Warriors Vaishyas Artisans, Merchants, Tradesmen, Farmers Shudras Laborers Dalit Untouchables © ALLY ADNAN The Varna System The Dalits were prohibited from reading and studying Hindu scriptures. Books, music, and the arts were off limits. © ALLY ADNAN Qawwali Qawwali was used extensively to attract non-Muslims to Islam. It was particularly popular with people who belonged to lower and untouchable castes according to the Varna system. © ALLY ADNAN Hazrat Amir Khusrao 1253-1325 AD Musician, Musicologist, Mystic, Nobleman, Philosopher, Poet, Politician, Scholar, Warrior, Writer © ALLY ADNAN Qawwali The form of qawwali that has been practiced since the thirteenth century was created by Hazrat Amir Khusrau. He defined the requirements and rules for the performance of qawwali and established a number of forms of qawwali. © ALLY ADNAN Hazrat Nizamuddin Auliya © ALLY ADNAN Allauddin Khilji 1250–1316 AD Second Ruler of the Khilji Dynasty Reigning from 1296 to 1316 © ALLY ADNAN The Question Chand Dooa Geet Govind Matha Prabhand Twenty-Eight Thousand (28) Lines of Verse © ALLY ADNAN & The Answer Gul Khayal Naqsh Qalbana Qaul Tarana Twenty-Eight (28) Lines of Verse © ALLY ADNAN Miyan Saamat Bin Ibrahim © ALLY ADNAN Qawwal Bachay In order to ensure the proper education, development and propagation of qawwali, Amir Khusrau trained a group of twelve young musicians in the art form. Miyan Saamat Bin Ibrahim was the leader of the group that came to be known as the Qawwal Bachay. © ALLY ADNAN Qawwal Bachay The school of music established and followed by the scions of the twelve musicians is known as Delhi Ke Qawwal Bachon Ka Gharana. Representatives of the gharana have carried the tradition of qawwali for more than seven hundred years. © ALLY ADNAN © ALLY ADNAN Hindustani Sangeet © ALLY ADNAN Basic Elements of Music Sur & Raag Lay & Taal © ALLY ADNAN Sur FREQUENCY SA RE GA MA PA DHA NI ﻧﯽ ﺩﻫﺎ ﭘﺎ ﻤﺎ ﮔﺎ ﺭے ﺳﺎ A Note of Music © ALLY ADNAN Sur NOTE INDIAN NAME PAKISTANI NAME WESTERN EQUIVALENT DO C ﮐﻬﺮ ﺝ SA Shadja षड् Kharaj RI D ِﺭﮐﻬﺐ RE Rishabh ऋषभ Rikhab MI E ﮔﻨﺪﻫﺎﺭ GA Gandhaar गान्ाा Gandhaar FA F ﻤﺪﻫﻢ MA Madhyam मध्म Madham SOL G ﭘﻨﭽﻢ PA Panchyam पञ्म Pancham LA A ﺩﻫﯿﻮﺕ DHA Dhaivat ्ैवत Dhaivat SI B ِﻧﮑﻬﺎﺩ NI Nishad �नषाद Nikhaad © ALLY ADNAN Sur FREQUENCY SA RE GA MA PA DHA NI FLAT NATURAL SHARP KOMAL SHUDH TEEVAR ُ ِﺗﯿﻮﺭ ﺷﺪھ ﮐﻮﻤﻞ Sa, Pa One Natural Frequency Re, Ga, Dha, Ni One Lower & One Natural Frequency Ma One Natural & One Higher Frequency © ALLY ADNAN Sur FREQUENCY r g M d n SSA RRE GGA MmA PPA DDHA NI ONE SAPTAK Sa, Pa One Natural Frequency Re, Ga, Dha, Ni One Lower & One Natural Frequency Ma One Natural & One Higher Frequency 1. Lower case letter denotes lower frequency variant of note © ALLY ADNAN 2. Upper case letter denotes upper frequency variant of note Raag A sequence of music notes upon which a melody is constructed, subject to certain rules. © ALLY ADNAN Raag ٓ ﺍﺭﻭہﯽ Aarohi Ascent ﺍﻤﺮﻭہﯽ Amrohi Descent ﭘﮑـﮍ Pakar Catch Phrases ﺟﺎﺗﯽ Jaati Class ﻭﻗﺖ Waqt Time َﺭﺱ Ras Emotion ﻭﺍﺩی Vaadi Sonant ﺳﻣﻮﺍﺩی Samvaadi Subsonant ُﺍﻧﻮﺍﺩی Anuvaadi Assonant ِﻭﻭﺍﺩی Vivadi Disonant َﮐﻦ ُﺳﺮ Kan Sur Grace Note © ALLY ADNAN Lay َ ﻠﮯ TEMPO BEATS PER MINUTE ﺍﺗﯽ ﺑﻟﻣﭙﺖ ATI BALAMPAT 20 ﺑﻟﻣﭙﺖ BALAMPAT 40 ﻤﺪﻩ MADH 80 ُﺩﺭﺕ DRUT 160 ُﺍﻧﻮﺩﺭﺕ ANU DRUT 320 Tempo in Music © ALLY ADNAN The Alphabet of Tabla MAJOR SYLLABLES NA TA DHA TIN DHIN TI DHI TU KA GA TIT DHIT TIRKIT ُ ِﺗ ِﺮﮐﭧ ِﺩﻫﭧ ِﺗﭧ گ ک ﺗﻮ ﺩﻫﯽ ﺗﯽ ِﺩﻫﻦ ِﺗﻦ ﺩﻫﺎ ﺗﺎ ﻧﺎ © ALLY ADNAN Taal Rhythmic Time Cycle © ALLY ADNAN Taal First Beat in the Rhytmic Cycle َﺳﻢ Sum Beat with Stress ﺗﺎﻠﯽ Taali Beat with Negation of Stress ﺧﺎﻠﯽ Khaali ٓ One Rhythmic Cycle ﺍﻭﺭﺩی Aavardi Division Within Aavardi ِﻭﺑﻬﺎگ Vibhag © ALLY ADNAN Teentaal Teentaal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Na Dhin Dhin Na Na Dhin Dhin Na Na Tin Tin Na Na Dhin Dhin Na ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺗﻦ ِﺗﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ SUM © ALLY ADNAN Teentaal Teentaal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Na Dhin Dhin Na Na Dhin Dhin Na Na Tin Tin Na Na Dhin Dhin Na ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺗﻦ ِﺗﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ TAALI TAALI TAALI © ALLY ADNAN Teentaal Teentaal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Na Dhin Dhin Na Na Dhin Dhin Na Na Tin Tin Na Na Dhin Dhin Na ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺗﻦ ِﺗﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ KHAALI © ALLY ADNAN Teentaal Teentaal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Na Dhin Dhin Na Na Dhin Dhin Na Na Tin Tin Na Na Dhin Dhin Na ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺗﻦ ِﺗﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ VIBHAG VIBHAG VIBHAG VIBHAG © ALLY ADNAN Teentaal Teentaal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Na Dhin Dhin Na Na Dhin Dhin Na Na Tin Tin Na Na Dhin Dhin Na ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺗﻦ ِﺗﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ AAVARDI © ALLY ADNAN Teentaal AAVARDI Teentaal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Na Dhin Dhin Na Na Dhin Dhin Na Na Tin Tin Na Na Dhin Dhin Na ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺗﻦ ِﺗﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ VIBHAG VIBHAG VIBHAG VIBHAG TAALI TAALI KHAALI TAALI SUM © ALLY ADNAN Raag & Taal in Qawwali Qawwali is always performed in adherence to the rules of raag and taal. It observes the tenets of Hindustani Sangeet. © ALLY ADNAN Raag & Taal in Qawwali Amir Khusrao defined the taal to be used in qawwali and invented several raags that are often used in qawwali. © ALLY ADNAN Khusravi Raag & Taal Aiman Mawafiq Asool-E-Fakhta Baghroo Mujeer Farodast Bahar Rangola Qawwali Farghana Saazgiri Farodast Sanam Ghaara Sarparda Ghanam Shahana Hijaaz Shehnaz Hussaini Ushaaq Jangla Zeelaf © ALLY ADNAN qawwali Taal QAWWALI TAAL 1 2 3 4 5 6 7 8 DHIN DHIN DHA DHA TIN TIN DHA DHA ﺩﻫﺎ ﺩﻫﺎ ِﺗﻦ ِﺗﻦ ﺩﻫﺎ ﺩﻫﺎ ِﺩﻫﻦ ِﺩﻫﻦ © ALLY ADNAN Kangana © ALLY ADNAN Malkauns Aarohi S g m d n S’ Amrohi S’ n d m g S Pakar 'n S g m g S 'n S 'd 'n 'd 'm 'd 'n S Vadi Sur Madham Sumvadi Sur Kharaj Anuvadi Sur Gandhaar, Dhaivat, Nikhaad Vivadi Sur Pancham, Rikhab Jaati Audav Ras Veerta Waqt 12:00AM – 03:00AM Din Ka Saatvaan Paihar Film Songs Aik Thi Larki Love You Hamesha Akhiyan Sang Akhiyaan Laagi Aaj Bada Aadmi Man Tarpat Hari Darshan Ko Baiju Bawra Savan Ki Raat Kari Kari Meharbaan © ALLY ADNAN Zindagi Bhara Gam Judai Ka Miss Bombay Jhaptaal JHAPTAAL 1 2 3 4 5 6 7 8 9 10 DHIN NA DHIN DHIN NA TIN NA DHIN DHIN NA ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ِﺗﻦ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ِﺩﻫﻦ © ALLY ADNAN © ALLY ADNAN Genres of Hindustani Sangeet ﻗﻟﺒﺎﻧﮧ Qalbana ہﻮﺍ Hawa ﺍﺑﻬﻨﮓ Abhang ﻗﻮﻝ Qaul ہﻮﺭی Hori ﺑﺴﯿﺖ Baseet ّﻗﻮﺍﻠﯽ Qawwali ﺧﯿﺎﻝ Khayal ﺑﻬﺠﻦ Bhajan ِﻗ ّﺼﮧ Qissa ُﺟﻬﻮﻻ Jhoola ﭼﯿﺘﯽ Chaiti ﺳﺎﺩﺭە Saadara ﮐﺎﻓﯽ Kafi ُﭼﺘﺮﻧﮓ Chaturang ﺳﺎﻭﻥ Sawan ﮐﺠﺮی Kajri ﺩﺍﺩﺭﻩ Dadra ِﺳﻟﻮٹ Silwat ﺧﯿﺎﻝ Khayal ّﺩﻫﻣﺎﺭ Dhammar َ ﺳﮩﯿﻟﮧ Suhaila ِﮐﯿﺮﺗﻦ Kirtan ﺩ ُﻫﺮﻭﭘﺪ Dhrupad ﺳﻮﺯ Soz ﻤﺮﺛﯿﮧ Marsiya ﮔﯿﺖ Geet ّﭨﭙﮧ Tappa ﻤﻨﻘﺒﺖ Manqabat ﻏﺰﻝ Ghazal َ ﺗﺮﺍﻧﮧ Tarana ﻧﻌﺖ Naat ﮔﻮﺳﭙﻞ Gospel ُ ُ ﭨﻬﻣﺮی Thumri ﻧﻘﺶ Naqsh ﮔﻞ Gul ُ ِﺗﻼﻧﮧ Tillana ِﻧﮕﺎﺭ Nigar ﮔﺮﺑﺎﻧﯽ Gurbani ِﺗﺮﻭٹ Tirwat َﻧﻮﺣﮧ Nauha ﺣﻣﺪ Hamd © ALLY ADNAN Tarana The tarana is a genre of classical music invented by Amir Khusrau.
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    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2020 Devotional Literature of the Prophet Muhammad in South Asia Zahra F. Syed The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3785 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] DEVOTIONAL LITERATURE OF THE PROPHET MUHAMMAD IN SOUTH ASIA by ZAHRA SYED A master’s thesis submitted to the Graduate Faculty in [program] in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2020 © 2020 ZAHRA SYED All Rights Reserved ii Devotional Literature of the Prophet Muhammad in South Asia by Zahra Syed This manuscript has been read and accepted for the Graduate Faculty in Middle Eastern Studies in satisfaction of the thesis requirement for the degree of Master of Arts. _______________ _________________________________________________ Date Kristina Richardson Thesis Advisor ______________ ________________________________________________ Date Simon Davis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Devotional Literature of the Prophet Muhammad in South Asia by Zahra Syed Advisor: Kristina Richardson Many Sufi poets are known for their literary masterpieces that combine the tropes of love, religion, and the Prophet Muhammad (PBUH). In a thorough analysis of these works, readers find that not only were these prominent authors drawing from Sufi ideals to venerate the Prophet, but also outputting significant propositions and arguments that helped maintain the preservation of Islamic values, and rebuild Muslim culture in a South Asian subcontinent that had been in a state of colonization for centuries.
  • Ph.D. Entrance Examination Subject: Music

    Ph.D. Entrance Examination Subject: Music

    Ph.D. Entrance Examination Subject: Music Time : 2 Hrs. Max. M. 100 Mim. M. 50 u¨V % lÒh ç“u gy djsaA çR;sd ç“u 1 vad dk gSA çR;sd ç“u d¢ pkj fodYi gSa] lgh fodYi pqfu,A Note : Attempt all questions. Each question carries 1 mark. Each question has four opptions, Choose the correct option. 1- fuEu esa ls d©u lk Loj vpy gSa\ ¼~v½ eè;e ¼c½ fj’kÒ ¼l½ xkaèkkj ¼n½ ‘kM~t Which Swaras is Achal of following? (a) Madhayam (b) Rishabh (c) Gandhar (d) Shadaj 2- Xokfy;j Äjkus d¢ tUenkrk d©u Fks\ ¼~v½ m- vCnqy djhe [k+k¡ ¼c½ m- uRFku ihjc[+“k ¼l½ m- vYykmíhu [kk¡ ¼n½ ia- oklqnso cqvk t¨“kh Who was the founder of Gwalior Gharana? (a) Ustad Abdul Karim Khan (b) Ustad Nathanpeer baksh (c) Ustad Allauddin Khan (d) Pt. Vasudev Bua Joshi 3- fuEu esa ls d©u lqçfl) fgUnqLrkuh “kkL=h; laxhr xk;d@xkf;dk gSa\ ¼~v½ ia- gfjçlkn p©jfl;k ¼c½ ia- fd“ku egkjkt ¼l½ Jherh ,u- jkte~ ¼n½ Jherh xaxwckà gaxy Who amongst the following is renowned in Hindustani classical vocal singer? (a) Pt. Hariprasad Chaurasiya (b) Pt. Kishan Maharaj (c) Smt. N. Rajam (d) Smt. Gangubai Hangal 4- ia- vu¨[ks yky fdl {ks= dh fo“ks’kK ekus x;s\ ¼~v½ flrkj ¼c½ rcyk ¼l½ xk;u ¼n½ y¨dlaxhr In which field has Pt. Anokhelal distinguished? (a) Sitar (b) Tabla (c) Vocal (d) Folk Music 5- Äjkus ls vki D;k le>rs gSa\ ¼~v½ “kkL=h; fgUnqLrkuh laxhr dh y¨dfç; “kSyh ¼c½ laxhr {ks= d¢ laxhrK¨a dk lewg ¼l½ xk;u dh ijEijkxr “kSyh ¼n½ laxhr dh ijEijk t¨ oa“k ,oa f“k’; J`a[kyk ls lEcfUèkr g¨rh gSA What do you mean by Gharana? (a) A popular musical form of Hindustani classical music (b) A group of musicians in
  • "Improvised" Music

    "Improvised" Music

    The University of Manchester Research Formulas and the building blocks of humr style: a study in "improvised" music Document Version Final published version Link to publication record in Manchester Research Explorer Citation for published version (APA): Alaghband-Zadeh, C. (2012). Formulas and the building blocks of humr style: a study in "improvised" music. Analytical Approaches to World Music Journal, 2(1), 1-48. Published in: Analytical Approaches to World Music Journal Citing this paper Please note that where the full-text provided on Manchester Research Explorer is the Author Accepted Manuscript or Proof version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version. General rights Copyright and moral rights for the publications made accessible in the Research Explorer are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Takedown policy If you believe that this document breaches copyright please refer to the University of Manchester’s Takedown Procedures [http://man.ac.uk/04Y6Bo] or contact [email protected] providing relevant details, so we can investigate your claim. Download date:06. Oct. 2021 Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music Chloe Zadeh PART I: IMPROVISATION, STRUCTURE AND FORMULAS IN NORTH INDIAN CLASSICAL MUSIC usicians, musicologists and
  • NEW ENGLISH SCHOOL JUNIOR COLLEGE - VASAI Std

    NEW ENGLISH SCHOOL JUNIOR COLLEGE - VASAI Std

    Barve Education Society's NEW ENGLISH SCHOOL JUNIOR COLLEGE - VASAI Std. 11th Admission Registration List Year: [2021-22] As on: 23/08/2021 till 08:00 PM This list is only your Std. 11th Admission Registration List, not final Admission list. ही फ啍त तुमची 11 ळीची प्रळेऴ नⴂदणी यादी आहे, अतं तम प्रळेऴ यादी नाही. 1st-Merit List will be displayed on 26/8/2021 at 5:00 pm on our website. पहहऱी गुणळ配ता यादी हदनांक 26/8/2021 रोजी सं鵍याकाली 5:00 ळाजता आम楍या ळेबसाइटळर प्रद셍ऴति के ऱी जाईऱ. S.N. ARTS COMMERCE SCIENCE 1 Aastkar Rushikesh Kishor Aadavde Ninad Santosh Agnel Philips Nazareth 2 Admane Payal Somnath Aarya Anju Suresh Ahire Komal Krishna 3 Ahire Pallavi Rajendra Abhang Ishwari Shankar Alam Mohd. Rizwan Mohd. Riyaz 4 Akerkar Prajwal Prabhakar Adak Amayeo Susanta Ali Fareen Musafir Khatoon 5 Ansari Rajina Ahmad Adit Aditi Sanjay Almeida Nash Norbert 6 Aptekar Piyusha Yogesh Adlikar Akshay Tulshidas Ambhore Swati Sunil 7 Avasarmol Savita Narayan Adsul Priyanka Daulat Andher Ankita Jethu 8 Bade Daksh Rupesh Agavane Chinmay Chandrashekhar Arote Samiksha Santosh 9 Bajya Vishal Ghanshyam Agrahari Rohan Sunil Ayush Kumar Dhananjay Kumar 10 Bankol Akshat Krushna Agre Suraj Sakharam Bagul Rushikesh Dhanraj 11 Bankol Harshad Prabhakar Ahir Dipesh Sanjay Bais Thakur Kajal Ratansingh 12 Baraf Bhumika Ahire Pankaj Vinayak Bamne Pranali Suryakant 13 Bhavar Neha Dinesh Ambavane Harsh Rahul Bangera Dhrithi Krishna 14 Bhoir Aachal Laxman Amberkar Vaidehi Ramchandra Baranwal Hariom Rakesh 15 Bhoir Jay Kishor Ansari Aarzooobano Shabbir Ahamad Baranwal Nancy
  • The Sixth String of Vilayat Khan

    The Sixth String of Vilayat Khan

    Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration.
  • Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music

    Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music

    Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music Chloe Zadeh PART I: IMPROVISATION, STRUCTURE AND FORMULAS IN NORTH INDIAN CLASSICAL MUSIC usicians, musicologists and teenage backpackers alike speak of “improvisation” in M modern-day Indian classical music.1 Musicians use the term to draw attention to differences between different portions of a performance, distinguishing between the “composition” of a particular performance (in vocal music, a short melody, setting a couple of lines of lyrics) and the rest of the performance, which involves musical material that is different in each performance and that musicians often claim to have made up on the spur of the moment.2 In their article “Improvisation in Iranian and Indian music,” Richard Widdess and Laudan Nooshin draw attention to modern-day Indian terminology which reflects a conceptual distinction between improvised and pre-composed sections of a performance (2006, 2–4). The concept of improvisation has also been central to Western imaginings of North Indian classical music in the twentieth century. John Napier has discussed the long history of Western descriptions of Indian music as “improvised” or “extemporized,” which he dates back to the work of Fox Strangways in 1914. He points out the importance the concept took on, for example, in the way in which Indian music was introduced to mainstream Western audiences in the 1960s; he notes that the belief that the performance of Indian music 1 I am very grateful to Richard Widdess and Peter Manuel for their comments on draft versions of this article. 2 The relationship between those parts of the performance that musicians label the “composition” and the rest of the performance is actually slightly more complicated than this; throughout, a performance of North Indian classical music is normally punctuated by a refrain, or mukhra, which is a part of the composition.
  • A) Indian Music (Hindustani) (872

    A) Indian Music (Hindustani) (872

    MUSIC Aims: One of the three following syllabuses may be offered: 1. To encourage creative expression in music. 2. To develop the powers of musical appreciation. (A) Indian Music (Hindustani) (872). (B) Indian Music (Carnatic) (873). (C) Western Music (874). (A) INDIAN MUSIC (HINDUSTANI) (872) (May not be taken with Western Music or Carnatic Music) CLASSES XI & XII The Syllabus is divided into three parts: PAPER 2: PRACTICAL (30 Marks) Part 1 (Vocal), The practical work is to be evaluated by the teacher and a Visiting Practical Examiner appointed locally Part 2 (Instrumental) and and approved by the Council. Part 3 (Tabla) EVALUATION: Candidates will be required to offer one of the parts Marks will be distributed as follows: of the syllabus. • Practical Examination: 20 Marks There will be two papers: • Evaluation by Visiting Practical 5 Marks Paper 1: Theory 3 hours ….. 70 marks Examiner: Paper 2: Practical ….. 30 marks. (General impression of total Candidates will be required to appear for both the performance in the Practical papers from one part only. Examination: accuracy of Shruti and Laya, confidence, posture, PAPER 1: THEORY (70 Marks) tonal quality and expression) In the Theory paper candidates will be required to • Evaluation by the Teacher: 5 Marks attempt five questions in all, two questions from Section A (General) and EITHER three questions (of work done by the candidate from Section B (Vocal or Instrumental) OR three during the year). questions from Section C (Tabla). NOTE: Evaluation of Practical Work for Class XI is to be done by the Internal Examiner. 266 CLASS XI PART 1: VOCAL MUSIC PAPER 1: THEORY (70 Marks) The above Ragas with special reference to their notes Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi, 1.