Alamkara-Gamaka: an Anthology
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MRIDANGA SYLLABUS for MA (CBCS) Effective from 2014-15
BANGALORE UNIVERSITY P.G. DEPARTMENT OF PERFORMING ARTS JNANABHARATHI, BANGALORE-560056 MRIDANGA SYLLABUS FOR M.A (CBCS) Effective from 2014-15 Dr. B.M. Jayashree. Professor of Music Chairperson, BOS (PG) M.A. MRIDANGA Semester scheme syllabus CBCS Scheme of Examination, continuous Evaluation and other Requirements: 1. ELIGIBILITY: A Degree music with Mridanga as one of the optional subject with at least 50% in the concerned optional subject an merit internal among these applicant Of A Graduate with minimum of 50% marks secured in the senior grade examination of Mridanga conducted by secondary education board of Karnataka OR a graduate with a minimum of 50% marks secured in PG Diploma or 2 years diploma or 4 year certificate course in Mridanga conducted either by any recognized Universities of any state out side Karnataka or central institution/Universities Any degree with: a) Any certificate course in Mridanga b) All India Radio/Doordarshan gradation c) Any diploma in Mridanga or five years of learning certificate by any veteran musician d) Entrance test (practical) is compulsory for admission. 2. M.A. Mridanga course consists of four semesters. 3. First semester will have three theory paper (core), three practical papers (core) and one practical paper (soft core). 4. Second semester will have three theory papers (core), three practical papers (core), one is project work/Dissertation practical paper and one is practical paper (soft core) 5. Third semester will have two theory papers (core), three practical papers (core) and one is open Elective Practical paper 6. Fourth semester will have two theory Papers (core) two practical papers (core), one project work and one is Elective paper. -
M.A-Music-Vocal-Syllabus.Pdf
BANGALORE UNIVERSITY NAAC ACCREDITED WITH ‘A’ GRADE P.G. DEPARTMENT OF PERFORMING ARTS JNANABHARATHI, BANGALORE-560056 MUSIC SYLLABUS – M.A KARNATAKA MUSIC VOCAL AND INSTRUMENTAL (VEENA, VIOLIN AND FLUTE) CBCS SYSTEM- 2014 Dr. B.M. Jayashree. Professor of Music Chairperson, BOS (PG) M.A. KARNATAKA MUSIC VOCAL AND INSTRUMENTAL (VEENA, VIOLIN AND FLUTE) Semester scheme syllabus CBCS Scheme of Examination, continuous Evaluation and other Requirements: 1. ELIGIBILITY: A Degree with music vocal/instrumental as one of the optional subject with at least 50% in the concerned optional subject an merit internal among these applicant Of A Graduate with minimum of 50% marks secured in the senior grade examination in music (vocal/instrumental) conducted by secondary education board of Karnataka OR a graduate with a minimum of 50% marks secured in PG Diploma or 2 years diploma or 4 year certificate course in vocal/instrumental music conducted either by any recognized Universities of any state out side Karnataka or central institution/Universities Any degree with: a) Any certificate course in music b) All India Radio/Doordarshan gradation c) Any diploma in music or five years of learning certificate by any veteran musician d) Entrance test (practical) is compulsory for admission. 2. M.A. MUSIC course consists of four semesters. 3. First semester will have three theory paper (core), three practical papers (core) and one practical paper (soft core). 4. Second semester will have three theory papers (core), two practical papers (core), one is project work/Dissertation practical paper and one is practical paper (soft core) 5. Third semester will have two theory papers (core), three practical papers (core) and one is open Elective Practical paper 6. -
Sreenivasarao's Blogs HOME ABOUT THIS WORDPRESS.COM SITE IS the BEE's KNEES
sreenivasarao's blogs HOME ABOUT THIS WORDPRESS.COM SITE IS THE BEE'S KNEES ← Music of India – a brief outline – Part fifteen Music of India – a brief outline – Part Seventeen → Music of India – a brief outline – Part sixteen Continued from Part Fifteen – Lakshana Granthas– Continued Part Sixteen (of 22 ) – Lakshana Granthas – Continued Pages 8. Sangita-ratnakara by Sarangadeva About Archives January 2016 October 2015 September 2015 August 2015 July 2015 June 2015 May 2015 April 2015 February 2015 January 2014 December 2013 Sarangadeva’s Sangita-ratnakara (first half of 13th century) is of particular importance, because it was written November 2013 just before influence of the Muslim conquest began to assert itself on Indian culture. The Music discussed in Sangita-ratnakara is free from Persian influence. Sangita-ratnakara therefore marks the stage at which the October 2013 ‘integrated’ Music of India was before it branched into North-South Music traditions. October 2012 It is clear that by the time of Sarangadeva, the Music of India had moved far away from Marga or Gandharva, as September 2012 also from the system based on Jatis (class of melodies) and two parent scales. By his time, many new August 2012 conventions had entered into the main stream; and the concept of Ragas that had taken firm roots was wielding considerable authority. Sarangadeva brought together various strands of the past music traditions, defined almost 267 Ragas, established a sound theoretical basis for music and provided a model for the later Categories musicology (Samgita Shastra). Abhinavagupta (3) Sarangadeva’s emphasis was on the ever changing nature of music, the expanding role of regional (Desi) Agama (6) influences on it, and the increasing complexity of musical material that needed to be systemised time and again. -
Raga (Melodic Mode) Raga This Article Is About Melodic Modes in Indian Music
FREE SAMPLES FREE VST RESOURCES EFFECTS BLOG VIRTUAL INSTRUMENTS Raga (Melodic Mode) Raga This article is about melodic modes in Indian music. For subgenre of reggae music, see Ragga. For similar terms, see Ragini (actress), Raga (disambiguation), and Ragam (disambiguation). A Raga performance at Collège des Bernardins, France Indian classical music Carnatic music · Hindustani music · Concepts Shruti · Svara · Alankara · Raga · Rasa · Tala · A Raga (IAST: rāga), Raag or Ragam, literally means "coloring, tingeing, dyeing".[1][2] The term also refers to a concept close to melodic mode in Indian classical music.[3] Raga is a remarkable and central feature of classical Indian music tradition, but has no direct translation to concepts in the classical European music tradition.[4][5] Each raga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "color the mind" and affect the emotions of the audience.[1][2][5] A raga consists of at least five notes, and each raga provides the musician with a musical framework.[3][6][7] The specific notes within a raga can be reordered and improvised by the musician, but a specific raga is either ascending or descending. Each raga has an emotional significance and symbolic associations such as with season, time and mood.[3] The raga is considered a means in Indian musical tradition to evoke certain feelings in an audience. Hundreds of raga are recognized in the classical Indian tradition, of which about 30 are common.[3][7] Each raga, state Dorothea -
The Journal the Music Academy
Golden Jubilee Special Number THE JOURNAL OF THE MUSIC ACADEMY MADRAS DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Voi. x lv iii 1977 31? TElfa TfM 3 I msife w*? ii ■“ I dwell not in Vaikuntha, nor in the hearts of Yogins nor in the Sun; (but) where my bhaktas sing, there be I, Narada! ” Edited by T, S. PARTHASARATHY 1980 The Music Academy Madras 306, Mowbray’s Road, Madras - 600 014 Annual Subscription - Rs, 12; Foreign $ 3.00 Golden Jubilee Special Number THE JOURNAL OF THE MUSIC ACADEMY MADRAS DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XLVIII 1977 TOlfil 51 ^ I to qprfo to fogifa urc? u ** I dwell not in Vaikuntha, nor in the hearts of Yogins nor in the Snn; (ftK| fheiV my bhaktas sirig, there fa I, NaradS f ** Edited by TiS. PARTHASARATHY 1980 The Musitf Academy Madras 366, Mowbray’s Road, Madras - 600 014 Annual Subscription - Rs. 12; Foreign $ 3.00 From Vol. XLVII onwards, this Journal is being published as an Annual. All corresnojd?nc£ sh ^ l^ ^ addressed ^ri T. S. Partha- sarathy, Editor* journal of the Music Academy, Madras-600014. Articles on subjects o f music and dance are accepted for publioation on the understanding that they are contributed solely to *he |*Wf M&P' All manuscripts should be legibly written or preferably type written (double-spaced on one side o f the paper only) and should be |^gn|d by the y^iter (giving bis address jn fpll). The Editor of the Journal is not responsible for the views ^expressed by individual contributors. -
Copyright by Jeffrey Michael Grimes 2008
Copyright by Jeffrey Michael Grimes 2008 The Dissertation Committee for Jeffrey Michael Grimes certifies that this is the approved version of the following dissertation: The Geography of Hindustani Music: The Influence of Region and Regionalism on The North Indian Classical Tradition Committee: ____________________________________ Stephen M. Slawek, Supervisor ____________________________________ Veit Erlmann ____________________________________ Ward Keeler ____________________________________ Robin Moore ____________________________________ Shanti Kumar The Geography of Hindustani Music: The Influence of Region and Regionalism on The North Indian Classical Tradition by Jeffrey Michael Grimes, M.M., B.M. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2008 Acknowledgements I would like to briefly thank a few individuals for making this project possible. The first are my parents, Tom and Kay Grimes, who have supported me emotionally and, as necessary, financially through the dissertation writing process (and earlier, as well). Next, I would like to thank my mentor and dissertation supervisor Dr. Stephen M. Slawek. All that I know of Indian music (even the things he didn’t teach me directly) is due to him, both as my academic adviser and as my long-time sitar Guru. Especially crucial for the current project, though, has been his unwavering moral and intellectual support. Dr. Slawek encouraged me from day one to pursue the work I wanted to pursue, and I cannot be more grateful for this. All of his advisees that he has shepherded through the process of writing a report or dissertation, I am sure, would say the same. -
O'briendm Phd2014 Web.Pdf
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title The endless search for SA: spiritual ideology in Hindustāni music Author(s) O'Brien, Dara Publication date 2014 Original citation O'Brien, D. 2014. The endless search for SA: spiritual ideology in Hindustāni music. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2014, Dara O'Brien http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information No embargo required Item downloaded http://hdl.handle.net/10468/1864 from Downloaded on 2021-10-06T04:58:29Z Title The endless search for SA: spiritual ideology in Hindustāni music Author(s) O'Brien, Dara Publication date 2014 Original citation O'Brien, D. 2014. The endless search for SA: spiritual ideology in Hindustāni music. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2014, Dara O'Brien http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information No embargo required Item downloaded http://hdl.handle.net/10468/1864 from Downloaded on 2015-07-10T10:45:56Z THE ENDLESS SEARCH FOR SA: SPIRITUAL IDEOLOGY IN HINDUSTĀNI MUSIC DARA O’BRIEN Submitted to Dept. of Music, School of Music and Theatre, University College Cork In partial fulfilment of the requirements for the Degree of Doctor of Philosophy 2014 Supervisor: Dr. Mel Mercier Head of Department: Prof. Jonathan Stock © 2014 Dara O'Brien All Rights Reserved TABLE OF CONTENTS Abstract……………………………………………………………………...………iii Declaration………………………………………………… -
The Music of India
Cornell University Library ML 338.P82 1921 The music of India 3 1924 022 492 551 (fJotttEU Mmuecattg Slihrary Jtlfaca, JJem ^atk BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1891 MUSIC LIBRARY Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022492551 THE MUSIC OF INDIA BY HERBERT A. POPLEY, B.A. National Council of Young Men's Christian Associations of India, Burma and Ceylon ASSOCIATION PRESS 5, RUSSELL STREET, CALCUTTA LONDON : OXFORD. UNIVERSITY PRESS NEW YORK, TORONTO, MELBOURNE, BOMBAY, CALCUTTA AND MADRAS J. CURWEN & SONS, Ltd., LONDON M/Sfc v^' THE MUSIC OF INDIA BY HERBERT A. POPLEY, B.A. National Council of Young Men's Christian Associations of India, Burma and Ceylon ASSOCIATION PRESS 5, RUSSELL STREET, CALCUTTA LONDON : OXFORD. UNIVERSITY PRESS NEW YORK, TORONTO, MELBOURNE, BOMBAY, CALCUTTA AND MADRAS J. CURWEN & SONS, Ltd., LONDON H Sf/Krr fin PRINTED AT THE S.P.C.K. PRESS, VEPERY, MADRAS 1921 INTRODUCTORY NOTE This book has been written at the request of the Editors of The Heritage of India Series ; and although it has grown beyond the possible limits of that Series and is now published by itself, it still remains, as it was originally planned, a brief introduction to a large and intricate subject. We believe that Indian Music possesses so much value for the life of the people of India that, in this great day of national aspiration and progress, it ought to be known and understood by every man and woman who has India's good at heart, so that it may become cultivated in every city and village throughout the land. -
THE DEVELOPMENT of Rsgalakgana with Reference To
THE DEVELOPMENT OF RSGALAKgANA With Reference to Other Modal Systems by Ruby K* Mangahas B.A., cum laude, University of the Philippines M.A., University of Michigan A thesis submitted to the University of London for the degree of Doctor of Philosophy (Music) June 1967 ProQuest Number: 10673019 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10673019 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This work traces the development of ragalak$a$a as prescribed and described in the Nafryasastra (jati- 1ak§a$a), Bphaddesi, Sangitaratnakara , Svaramelakala- nidhi, Ragavibodha, CaturdangLlprakasika , Bangita- parijata , Sangltasaramyta, and Samgrahacu&amani , The structural and functional aspects of thirteen ragalak^aija are analyzed, namely, graha, amsa and nyasa; tara and mandra; bahutva and alpatva; apanyasa, saipnyasa and vinyasa; antaramarga; §a<Java and au<Java, The analysis traces the growth and decline of the theory of these lak^apa between 500 A,D, and the 19th century. As comparisons of nominally and/or modally related ragas are made in terms of their lak$a$a, a new criterion for the proper identification of ragas emerges. -
17 Carnatic-Music-South-India.Pdf © Aesthetixms
ISSN 0975-2935 www.rupkatha.com Volume VII, Number 3, 2015 General Issue Indexing and abstracting Rupkatha Journal is an international journal recognized by a number of organizations and institutions. It is archived permanently by www.archive-it.org and indexed by EBSCO, Elsevier, MLA International Directory, Ulrichs Web, DOAJ, Google Scholar and other organizations and included in many university libraries. SNIP, IPP and SJR Factors Additional services and information can be found at: About Us: www.rupkatha.com/about.php Editorial Board: www.rupkatha.com/editorialboard.php Archive: www.rupkatha.com/archive.php Submission Guidelines: www.rupkatha.com/submissionguidelines.php Call for Papers: www.rupkatha.com/callforpapers.php This Open Access article is distributed freely online under the terms of the Creative Commons Attribution Non- Commercial License (http://creativecommons.org/licenses/by-nc/4.0/). This allows an individual user non- commercial re-use, distribution, sharing and reproduction in any medium, provided the original work is properly cited with links. For commercial re-use, please contact [email protected]. © AesthetixMS: Aesthetics Media Services Rhythmic Syllables: Introduction, Analysis and Conceptual Approach in Carnatic Music of South India Mannarkoil J Balaji South Indian Rhythm with Sastra University, Tanjore Abstract This article explores the rhythmic alphabet of the Carnatic System along-with its analysis, concepts and its applications. A concept-based application has lesser chances of failures during a performance and offers immense scope for impromptu improvisations which form a major part of South Indian percussion artistry. Keywords: Carnatic Music, Classical Music, South India, Gathi, Arudi, Theermanams, Kuraippu, South Indian Percussion, mathematics, Talas, Korvai Introduction Carnatic Music is one of the foremost and ancient Musical systems of South India1 and it falls under the category of Classical Arts. -
Vol.87 2016.Pdf
Copyright © The Music Academy Madras December 2016 All Correspondence relating to the journal should be addressed and all books, etc., intended for it should be sent in duplicate to the Editor, The Journal of the Music Academy Madras, New 168, T.T.K. Road, Chennai 600 014. Articles on music and dance are accepted for publication on the recommendation of the Editor. The Editor reserves the right to accept or reject any articles without assigning reasons. Manuscripts / soft copies should be sent to the editor either by courier or by email to [email protected] The Editor of the Journal is not responsible for the views expressed by contributors in their articles. Price : ? 150/- US $ 15 Published by N. Murali on behalf The Music Academy Madras at New No. 168, TTK Road, Royapettah, Chennai 600 014. Typeset by Compuprint, Chennai 600 086 and Printed by N. Subramanian at Sudarsan Graphics Offset Press, 14, Neelakanta Mehta Street, T. Nagar, Chennai 600 014. Editor : Pappu Venugopala Rao. , , Statement about ownership and other particulars about newspaper "JOURNAL OF THE MUSIC ACADEMY MADRAS" to be published in the first issue every year after the last day of February Form IV (See Rule 8) 1. Place of Publication - New No. 168, T.T.K. Road Chennai 600 014 2. Periodicity of its publication Annual 3. Printer's Name Mr. N. Subramanian Nationality Indian (a) Whether a citizen of India ? Yes (b) If a foreigner, the country of origin. N /A Address Sudarsan Graphics Offset Press 14, Neelakanta Mehta Street T Nagar, Chennai 600 017 4. -
K. A. Nilakanta Sastri Books
A History of SOUTH INDIA from Prehistoric Times to the Fall of Vijayanagar K. A. NILAKANTA SASTRI, M.A. Professor of Indology, University of Mysore Geoffrey Cumberlege OXFORD UNIVERSITY PRESS First Published 1955 esr-4 S u \6 6Sg, DEDICATED BY HIS GRACIOUS PERMISSION TO HIS HIGHNESS SRI JAYACHAMARAJA WADIYAR BAHADUR MAHARAJA OF MYSORE PATRON CONTENTS I. SURVEY OF THE SOURCES . .1 II. THE LAND IN RELATION TO HISTORY . 34 III. THE EARLIEST PEOPLFS AND CULTURES . 49 IV. THE DAWN OF HISTORY: ARYANIZATION 64 V. THE AGE OF THE MAURYAN EMPIRE . "9 VI. THE SATAVAHANAS AND THEIR SUCCESSORS . 88 VII. THE AGE OF THE SANGAM AND AFTER .110 VIII. CONFLICT OF THREE EMPIRES . • 141 IX. THE BALANCE OF TWO EMPIRES . .165 X. THE AGE OF THE FOUR KINGDOMS . 202 XI. THE BAHMANIS AND THE RISE OF VIJAYANAGAR . 217 XII. THE EMPIRE OF VIJAYANAGAR . 253 XIII. SOCIAL AND ECONOMIC CONDITIONS . 301 XIV. LITERATURE . .327 XV. RELIGION AND PHILOSOPHY . • 404 XVI. ART AND ARCHITECTURE . 423 APPENDIX ..... 475 ERRATA . 477 INDEX ..... 479 ILLUSTRATIONS Frescoes from Tanjore Frontispiece Plates I—XXVIII between pages 432-3 I. Karle: Chaitya main hall II. Amaravatl: The Miracle of the Infuriated Elephant III. Ajanta: Cave 19 IV. Aihole: Durga temple from the SW. V. Pattadakal: Papanatha temple Virupaksha temple VI. Elephanta: Trimurti VII. Ellora: Dumarlena VIII. Ellora: Kailasa temple IX. Mamallapuram: The Descent of the Ganges X. Mamallapuram: General view of the Rathas Shore temple XI. Kanchipuram: Kailasanatha temple Vaikunthaperumal temple XII. Narttamalai: Vijayalaya temple XIII. Kodumbajur: Muvarkoil XIV. Tanjore: Great temple (general view) XV. Dancing Siva (X Century) XVI.