Edexcel Aos5: Anoushka Shankar's Breathing Under Water
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Music Initiative Jka Peer - Reviewed Journal of Music
VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc. -
1 Syllabus for MA (Previous) Hindustani Music Vocal/Instrumental
Syllabus for M.A. (Previous) Hindustani Music Vocal/Instrumental (Sitar, Sarod, Guitar, Violin, Santoor) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical and Theoretical Study of Ragas 70 Marks A. Historical Study of the following Ragas from the period of Sangeet Ratnakar onwards to modern times i) Gaul/Gaud iv) Kanhada ii) Bhairav v) Malhar iii) Bilawal vi) Todi B. Development of Raga Classification system in Ancient, Medieval and Modern times. C. Study of the following Ragangas in the modern context:- Sarang, Malhar, Kanhada, Bhairav, Bilawal, Kalyan, Todi. D. Detailed and comparative study of the Ragas prescribed in Appendix – I Internal Assessment 30 marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Music of the Asian Continent 70 Marks A. Study of the Music of the following - China, Arabia, Persia, South East Asia, with special reference to: i) Origin, development and historical background of Music ii) Musical scales iii) Important Musical Instruments B. A comparative study of the music systems mentioned above with Indian Music. Internal Assessment 30 marks Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of half an hour’s duration before an audience in Ragas selected from the list of Ragas prescribed in Appendix – I Candidate may plan his/her performance in the following manner:- Classical Vocal Music i) Khyal - Bada & chota Khyal with elaborations for Vocal Music. Tarana is optional. Classical Instrumental Music ii) Alap, Jor, Jhala, Masitkhani and Razakhani Gat with eleaborations Semi Classical Music iii) A short piece of classical music /Thumri / Bhajan/ Dhun /a gat in a tala other than teentaal may also be presented. -
Anoushka Shankar Thursday, May 2, 2019 at 8:00Pm This Is the 939Th Concert in Koerner Hall
Anoushka Shankar Thursday, May 2, 2019 at 8:00pm This is the 939th concert in Koerner Hall Anoushka Shankar, sitar Ojas Adhiya, tabla Pirashanna Thevarajah, mridangam Ravichandra Kulur, flute Danny Keane, cello & piano Kenji Ota, tanpura Anoushka Shankar Sitar player and composer Anoushka Shankar is a singular figure in the Indian classical and progressive world music scenes. Her dynamic and spiritual musicality has garnered several prestigious accolades, including six Grammy Award nominations, recognition as the youngest – and first female – recipient of a British House of Commons Shield, credit as an Asian Hero by TIME magazine, an Eastern Eye Award for Music, and a Songlines Best Artist Award. Most recently, she became one of the first five female composers to have been added to the UK A-level music syllabus. Deeply rooted in the Indian classical music tradition, Shankar studied exclusively from the age of nine under her father and guru, the late Ravi Shankar, and made her professional debut as a classical sitarist at the age of 13. By the age of 20, she had made three classical recordings for EMI/Angel and received her first Grammy nomination, thereby becoming the first Indian female and youngest-ever nominee in the world music category. She is also the first Indian artist to perform at the Grammy Awards. In addition to performing as a solo sitarist, her compositional work has led to cross-cultural collaborations with artists such as Sting, M.I.A., Herbie Hancock, Pepe Habichuela, Karsh Kale, Rodrigo y Gabriela, and Joshua Bell, demonstrating the versatility of the sitar across musical genres. -
Anoushka Shankar: Breathing Under Water – ‘Burn’, ‘Breathing Under Water’ and ‘Easy’ (For Component 3: Appraising)
Anoushka Shankar: Breathing Under Water – ‘Burn’, ‘Breathing Under Water’ and ‘Easy’ (For component 3: Appraising) Background information and performance circumstances The composer Anoushka Shankar was born in 1981, in London, and is the daughter of the famous sitar player Ravi Shankar. She was brought up in London, Delhi and California, where she attended high school. She studied sitar with her father from the age of 7, began playing tampura in his concerts at 10, and gave her first solo sitar performances at 13. She signed her first recording contract at 16 and her first three album releases were of Indian Classical performances. Her first cross-over/fusion album – Rise – was released in 2005 and was nominated for a Grammy, in the Contemporary World Music category. Her albums since Breathing Under Water have continued to explore the connections between Indian music and other styles. She has collaborated with some major artists – Sting, Nithin Sawhney, Joshua Bell and George Harrison, as well as with her father, Ravi Shankar, and her half-sister, Norah Jones. She has also performed around the world as a Classical sitar player – playing her father’s sitar concertos with major orchestras. The piece Breathing Under Water was Anoushka Shankar’s fifth album, and her second of original fusion music. Her main collaborator was Utkarsha (Karsh) Kale, an Indian musician and composer and co-founder of Tabla Beat Science – an Indian band exploring ambient, drum & bass and electronica in a Hindustani music setting. Kale contributes dance music textures and technical expertise, as well as playing tabla, drums and guitar on the album. -
Hiff and Bafta New York to Honor Bevan and Fellner of Working Title Films With
THE HAMPTONS INTERNATIONAL FILM FESTIVAL IN PARTNERSHIP WITH THE BRITISH ACADEMY OF FILM AND TELEVISION ARTS, NEW YORK HONORS WORKING TITLE FILMS CO-CHAIRS - TIM BEVAN AND ERIC FELLNER WITH THE GOLDEN STARFISH AWARD FOR LIFETIME ACHIEVEMENT AS PART OF THE FESTIVAL’S “FOCUS ON UK FILM.” BAFTA and Academy® Award Winner Renée Zellweger Will Introduce the Honorees and be joined by Richard Curtis, Joe Wright and Edgar Wright to toast the Producers. East Hampton, NY (September 17, 2013) - The Hamptons International Film Festival (HIFF) and the British Academy of Film and Television Arts New York (BAFTA New York), announced today that they will present Tim Bevan and Eric Fellner, co-chairs of British production powerhouse Working Title Films, with this year’s Golden Starfish Award for Lifetime Achievement on October 12th during the festival. Actress, Renée Zellweger, who came to prominence as the star of Working Title Films’ Bridget Jones’ Diary movies, will introduce the event. Working Title Films has produced some of the most well known films from the UK including LES MISERABLES, ATONEMENT, FOUR WEDDINGS AND A FUNERAL, ELIZABETH, and BILLY ELLIOT to name just a few. Richard Curtis (ABOUT TIME, LOVE ACTUALLY), Edgar Wright (THE WORLD'S END, SHAUN OF THE DEAD) and Joe Wright (ANNA KARENINA, ATONEMENT), three directors and longtime collaborators responsible for some of Working Title Films most acclaimed titles, will join Renee Zellweger, Tim Bevan and Eric Fellner in conversation for an insider’s view of Working Title Films. “The Hamptons International Film Festival is pleased to recognize Working Title Films and its incredible body of work,” said Anne Chaisson, Executive Director of The Hamptons International Film Festival. -
Sukanya an Opera by Ravi Shankar
Sukanya an opera by Ravi Shankar Royal Opera House London Philharmonic Orchestra BBC Singers Ravi Shankar was one of the most influential musicians of all time. He inspired people from all walks of life and musicians from all genres of music. These included legendary names such as George Harrison, Yehudi Menuhin, John Coltrane and Philip Glass. Ravi Shankar’s music rapidly spread throughout the world, crossing all cultural and generational boundaries. Ravi Shankar envisaged Sukanya as a truly ground-breaking piece of musical theatre which will explore the common ground between the music, dance and theatrical traditions of India and the West. Ravi Shankar was in a unique position to visualise the common ground between East and West. He was steeped in the ancient musical and dramatic traditions of India through his guru Baba Allaudhin Khan and he also gained a deep knowledge of the music and drama of the west from a very young age. And yet he lived in an age where jet travel, radio, television and recorded music opened up the world and introduced him to musicians from across the globe that he could share and learn music with. As a young man Shankar experienced the reaction of Westerners to hearing Indian music for the first time: although many found it exciting he realised that it needed to be presented very carefully for the untrained Western ear to realise its depths. Thus, Ravi Shankar became the first Indian musician to explain these concepts to his audiences. Shankar had a vision for Sukanya that would break the mould of traditional opera: a truly ground-breaking work which will explore the common ground between the music, dance and theatrical traditions of India and the West. -
David Pontbriand and Brian Shankar Adler
music presents David Pontbriand and Brian Shankar Adler Saturday, March 20, 2021 Live-Streamed from the Olin Concert Hall 7:30 pm About the Concert Sitarist David Pontbriand and percussionist/composer Brian Shankar Adler perform an evening of pieces and songs connected (in one way or another) to India. Unusual settings of sitar with vibraphone, drum set, and bomba legüero, engage in textural dialogue with the more customary duo of sitar and tabla. The program includes improvisations, original compositions, and folk songs, as well as works by Ellington/Strayhorn and Lennon/McCartney. Program Introduction Drone (Adler) is inspired by the subtle, hypnotic hum of the tamboura, a plucked string instrument from India. In this piece, I am seeking to create a similarly meditative effect through the use of weaving rhythms that stretch and contract; a palindrome, with no fixed beginning or ending. –BSA Alaap is the name for the exploratory opening section of a raga performance, where the raga theme is gradually unfolded and developed, in free time. In the Indian classical tradition, ragas are melodic frameworks based on one or more modal scales, each with specific conventions of phrasing that suggest a distinct melodic shape, or flavor. Within this framework, the artist creates a unique spontaneous composition with each performance. My alaap is an original conception, for sitar solo, combining melodic elements from two different raga forms with elements of free improvisation, in a “stream of consciousness” series of episodic variations. The vibes provide an atmospheric envelope, gently framing and supporting the melodic variations. –DP Gat is a composition for sitar and tabla, where the themes developed in the alaap are further explored in a rhythmic framework called tala. -
A Level Music
A level Music Areas of Study – Other Perspectives NB: updates to this document were made in April 2021 and these are highlighted in yellow. © artwork: Mark Bolitho | Origami photography Pearson Education Ltd/Justin Hoffman Introduction This qualification features a Component entitled Appraising. The purpose of this component is for students to develop their listening and appraising skills through the study of music across a variety of styles and genres. The content is grouped into six areas of study, containing either two or three set works. This component gives students the opportunity to reflect on, analyse and evaluate music in aural and/or written form. To achieve this objective, students need to use their knowledge and understanding of musical elements, context and language to make critical judgements about the repertoire and context of music within the areas of study. Students should also study a range of pieces beyond these set works. The suggested other musical pieces for each area of study (see Appendix 4 of the specification) provide students with breadth, enabling them to place their knowledge of musical elements, context and language in a wider context, and apply their knowledge and understanding to more pieces of music. The suggested other music can help students to relate their learning to music in the set works, but their study is not compulsory. Teachers can identify and teach other pieces of music to support their students’ learning. The following music and musicians are examples of how each of the areas of study can be approached from a diverse range of other perspectives. The pieces have been chosen to encourage students to think beyond the mainstream and over-represented composers and styles of music, and instead to consider alternative and less well-known types and origins of music. -
Mood Music Programs
MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine -
Healing of Discernible Brackish from Municipal Drinking Water by Charcoal Filtration Method at Jijgiga, Ethiopia Udhaya Kumar
ISSN XXXX XXXX © 2019 IJESC Research Article Volume 9 Issue No.4 Healing of Discernible Brackish from Municipal Drinking Water by Charcoal Filtration Method at Jijgiga, Ethiopia Udhaya Kumar. K Lecturer Department of Water Resource and Irrigation Engineering University of Jijgiga, Ethiopia Abstract: Jijiga is a city in eastern region of Ethiopia country and the Jijiga is capital of Somali Region (Ethiopia). Located in the Jijiga Zone approximately 80 km (50 miles) east of Harar and 60 km (37 miles) west of the border with Somalia, this city has an elevation of 1,609 meters above the sea level. The population of this city was 185000 in the year 2015. The elevation of this city is 1609m from sea level. The natural water source for jijiga is limited, most of the time people getting limited quantity of water. The main source of this city is a small pond and one spring. The rainy season also not that much. The municipality supplying water to every house based upon intermittent system, the time limit is morning only (8am to 9am). The municipality water contains discernible brackish. The public using this water for drinking and cooking purpose, it wills danger for human health. My focus is planning to remove discernible brackish by distinct method. My research results indicate the removal of discernible brackish from drinking water by simple charcoal filtration method for low cost. Keywords: Discernible brackish, Human health, Filtration, Low cost, Main source, Municipality, Intermittent system, Distinct method. I. INTRODUCTION charcoal. Only the water is reached to the second layer. Then the filtered water is collected separately to another container The climate condition of Jijgiga city is not constant and also without discernible brackish. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
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.