Free Rajasthani Music
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Allah Elohim | Shye Ben Tzur, Jonny Greenwood and The
15/11/2016 libri – PROGETTO MARTE | Cristina Bellon - ArcipelagoMilano Storia di Uomini e di Astronavi edizione italiana e prefazione a cura di Giovanni Bignami UNA INTRODUZIONE A C40 - IN Edizioni Dedalo, 2016 BICICLETTA IN CINQUE METROPOLI 2+1 Ideas Agency pag. 264, euro 17,50 C40 è una rete delle più importanti città del mondo impegnate nella sfida del cambiamento climatico. "Le città si Voglia di volare, voglia di esplorare. Anche se scambiano buone pratiche, il lander Schiaparelli si è schiantato su Marte informazioni e suggerimenti, si associano in piccole cordate per scrivere o, come dice scherzosamente Giovanni progetti e cercare nuovi finanziamenti. Si Bignami è stato abbattuto dai marziani, il aiutano a vicenda nei momenti di desiderio di scoprire Marte è diventato un empasse, condividono documenti e soluzioni efficaci". obiettivo realizzabile. Tanto che Obama, agli inizi di ottobre, ha dichiarato: “Gli Stati Uniti Leggi l'articolo di Stefania Amato invieranno uomini su Marte entro il decennio Milano un nodo al centro delle reti di che inizia nel 2030”. Somiglia molto città per la Food Policy sul numero di oggi all’annuncio che John Kennedy fece nel 1962: portare l’uomo sulla Luna entro dieci anni. Lui ci riuscì. ALLAH ELOHIM | SHYE BEN TZUR, JONNY GREENWOOD AND THE RAJASTHAN L’idea di mettere piede sul quarto pianeta del EXPRESS Sistema Solare e di andarci per davvero non è una novità. Alla fine degli anni Quaranta, lo scienziato tedesco Wernher von Braun – pioniere dei programmi spaziali tedeschi e americani – aveva ideato un viaggio umano di andata e ritorno su Marte con navi spaziali d’avanguardia. -
4-15 Novembre 2016
UN PROGETTO IN COLLABORAZIONE CON 1 FESTIVAL 320 ARTISTI 80 CONCERTI 25 EVENTI 1 CITTÀ 4-15 NOVEMBRE 2016 INFO BIGLIETTERIA SOCIAL www.jazzmi.it facebook: JAZZMIMILANO INFORMAZIONI [email protected] spotify: JAZZMI infoline 345 5170594 instagram: JAZZMIMILANO dalle 14 alle 18 dal lunedì al venerdi #myjazzmi2016 dalle 10 alle 20 nei giorni del festival INDIRIZZI TEATRO DELL’ARTE CONSERVATORIO DI MILANO BASE MILANO viale Alemagna 6 via Conservatorio 12 via Bergognone 34 T 02 72434258 TEATRO NAZIONALE SALUMERIA DELLA MUSICA BLUE NOTE MILANO via Giordano Rota 1 via Pasinetti 2 via Borsieri 37 T 02 69016888 SANTERIA SOCIAL CLUB ANGURERIA CHIARAVALLE viale Toscana 31 via San Bernardo 17 TEATRO DAL VERME via S. Giovanni sul Muro 2 CIRCOLO MAGNOLIA TEATRO MANZONI via Circ. Idroscalo 41, Segrate via Manzoni 42 CREDITI UN PROGETTO UFFICIO STAMPA IN COLLABORAZIONE CON Teatro dell’Arte Sara Mehrjoei L’Assessorato alla Cultura Ponderosa Music & Art Fabio Vergani del Comune di Milano IN COLLABORAZIONE CON Alessia Bianchi La Direzione e lo staff del Teatro dell’Arte Blue Note Milano (Casta Diva Group) e Triennale Milano DIREZIONE ARTISTICA Parole e Dintorni Lo staff di Blue Note Milano (Blue Note Milano) e Casta Diva Group Luciano Linzi Titti Santini SOCIAL & WEB Enrico Intra, Maurizio Franco, Stefano Fileti Sarah Volpi - Associazione Culturale RELAZIONI ESTERNE E PROGETTI ARTISTICI Musica Oggi e Civici Corsi di Jazz Monica Vanini PARTNER & SUPPORTER Lo staff della Civica Scuola di Musica DIREZIONE ORGANIZZATIVA Monica Vanini e Lorenzo Carni Claudio Abbado (Ponderosa Music & Art) Lorenzo Carni Lo staff del Touring Club Italiano Fulvio Rossi e Maurizio Gallo e i volontari di Aperti per Voi BOOKING (Casta Diva Group) Giuseppe Ponti Paolo Caiani DIREZIONE ARTISTICA BLUE NOTE GRAZIE Nick The Nightfly A tutti i partner coinvolti nella rete di PRODUZIONE questa prima edizione di JAZZMI. -
O G BAAJAA GAAJAA OPEN STAGE 1 – AAN Date: Feb 5, 2010 GAN Time Artiste Vocal/Instrument Genre/Notes 11 Am-11.30 Am Unmesh
BAAJAA GAAJAA OPEN STAGE 1 – AANGAN Date: Feb 5, 2010 Time Artiste Vocal/Instrument Genre/Notes Unmesh Khaire(harmonium)+Abhim 11 am-11.30 am anyu Herlekar (tabla) Harmonium solo Hindustani Classica 11.30 am-12.15 pm Darpana Academy Various Folk music of Gujarat 12.15 pm- 12.30 pm Bajrang Vasudeo Vocal Folk music of Maharashtra 12.30 pm- 1 pm Prakash Shejwal Pakhawaj solo Hindustani Classica Vocal: Dhananjay Hegde, Anant Terdal, Suvarny Nayak, Shantheri Kamath Tabla: T. Ranga Pai Harmonium: Shankar Shenoy Sitar:Shruti Dasarapadagalu-Kannada religious and 2 pm-2.45 pm Kamath Vocal folk songs Snehasish Mozumdar (mandolin)+Partha Sarathi 2.45 pm-3.30 pm Mukherjee (tabla) Mandolin Hindustani Classica 3.30 pm-4.15 pm Shahir Rangrao Patil, Rashtriya Shahiri, Bhedik 4.15 pm-5 pm Shahir Mahadeo Budake Shahiri and Dhangari ov Folk music of Maharashtra Arnab Chakrabarty (sarod)+Partha Sarathi 5 pm-5.45 pm Mukherjee (tabla) Sarod Hindustani Classica Dnyani Bhajan Mandal - Mahadeobuwa Shahabadkar (Koli) and 5.45 pm – 6.30 pm ensemble Vocal Religious TOTAL OPEN STAGE 1 Date: Feb 6, 2010 Time Artiste Vocal/Instrumental Genre/Notes 11 am-11.30 am 11.30 am-12.15 pm Milind Date Instrumental Fusion Band Marathi Bhav Sangeet played by T. Ranga Pai (Violin) and Shruti Kamath (Sitar) Tabla: 12.15 pm- 1 pm Shantanu Kinjavdekar Violin and sitar Popular music Hiros Nakagawa (bansuri) + 2 pm-2.45 pm Prafull Athalye (tabla) Bansuri Hindustani Classical 2.45 pm-3.15 pm Child artiste- Rajasthan Various Folk music of Rajasthan S. -
Fusión De Rock Y Música Clásica De La India Juan David Orduz Samudio
Bhadrakālī – “Un Periplo de Emociones”: Fusión de Rock y Música Clásica de la India Juan David Orduz Samudio Pontificia Universidad Javeriana Facultad de Artes, Departamento de Música Composición Comercial Bogotá D.C. 2019 Bhadrakālī – “Un Periplo de Emociones”: Fusión de Rock y Música Clásica de la India Juan David Orduz Samudio Asesor: Juan Sebastián Monsalve Castaño Pontificia Universidad Javeriana Facultad de Artes, Departamento de Música Composición Comercial Bogotá D.C. 2019 2 Contenido: 1. Introducción……………………………………………………………………………....5 2. Objetivos…………………………………………………………………….…………....7 2.1. Objetivo general…………………………………...……………….…………....7 2.2. Objetivos específicos……………………………...……………….…………....7 3. Marco teórico……………………………………………………….…………………….8 3.1. Contexto histórico y conceptos básicos de la teoría de la música clásica de la India………...………………………………………………………………………...8 3.2. Artistas de la tradición………...……………………………………………….15 3.3. Artistas de la fusión………...……………………………………………..........16 4. Metodología………...……………………………………………...................................20 5. “Un Periplo de Emociones”: Análisis musical………………………………………..…24 5.1. Alap…………………………………………………………………………….24 5.2. Do Chehare……………………………………………………………………..25 5.3. Introspección…………………………………………………………………...30 5.4. Raga Espinal…………………………………………………………………....34 5.5. Verdadero Trance……………………………………………………………....38 5.6. Bhadrakālī……………………………………………………………………...44 5.7. 18……………………………………………………………………………….51 5.8. Vive Ahora……………………………………………………………………..55 6. Conclusiones…………………………………………………………………………….62 -
Indo-Caribbean "Local Classical Music"
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2000 The Construction of a Diasporic Tradition: Indo-Caribbean "Local Classical Music" Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/335 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] VOL. 44, NO. 1 ETHNOMUSICOLOGY WINTER 2000 The Construction of a Diasporic Tradition: Indo-Caribbean "Local Classical Music" PETER MANUEL / John Jay College and City University of New York Graduate Center You take a capsule from India leave it here for a hundred years, and this is what you get. Mangal Patasar n recent years the study of diaspora cultures, and of the role of music therein, has acquired a fresh salience, in accordance with the contem- porary intensification of mass migration and globalization in general. While current scholarship reflects a greater interest in hybridity and syncretism than in retentions, the study of neo-traditional arts in diasporic societies may still provide significant insights into the dynamics of cultural change. In this article I explore such dynamics as operant in a unique and sophisticated music genre of East Indians in the Caribbean.1 This genre, called "tan-sing- ing," has largely resisted syncretism and creolization, while at the same time coming to differ dramatically from its musical ancestors in India. Although idiosyncratically shaped by the specific circumstances of the Indo-Caribbean diaspora, tan-singing has evolved as an endogenous product of a particu- lar configuration of Indian cultural sources and influences. -
Status of Application Received and Deficiency Found Under Scheme for Pension and Medical Aid to Artists from August 2018 Sr
Page 1 Status of application received and deficiency found under Scheme for Pension and Medical Aid to Artists from August 2018 Sr. No. Name Address State Date of Application Date of Birth Field Annual / Whether the Whether Remark of Receipit & Date Monthly applicant is Recommende SCZCC, Nagpur. Inward No. Income receipant of d by State State Govt. Pension. Andhra Pradesh 1 Repallichakrad Po-Kusarlapudi, SO- Andhra 507 15-06-2018 01-01-1956 Actor 25000/- Yes. Rs. Yes. - harao Rao S/o Narsipatnam, Mdl- Pradesh 07/08/2018 1500/- Venkayya Rolugunta, Dist- Visakhapatnam -531 118. 2 Velpula Vill/Po-Trulapadu, Mdl- Andhra 526 01-01-1956 Destitutu 42000/- Yes. Rs. Yes. - Nagamma W/o Chandralapadu, Dist- Pradesh 10/08/2018 Artists 1500/- Papa Rao Krishna- 521 183. 3 Meka H. No. Near Bandipalem- Andhra 527 01-01-1956 Destitutu 48000/- Yes. Rs. Yes. - Venkateswarlu Vill/Po, Mdl-Jaggayyapeta, Pradesh 10/08/2018 Artists 1500/- S/o Mamadasu Dist-Krishna- 521 178. 4 Yerapati S/o 13-430/A, Ambedkar Andhra 542 09-07-2018 11-12-1955 Destitutu 48000/- No Yes. Not Eligible. Not Apparao Nagar, Arilova, Pradesh 31/08/2018 Artists getting state govt. Chinagadilimandal Dist- pension. Visakhapatnam-530 040. 5 Kasa Surya 49-27-61/1, Madhura Andhra 543 09-07-2018 01-07-1950 Destitutu 48000/- No Yes. Not getting state Prakasa Rao Nagar, Visakhapatnam- Pradesh 31/08/2018 Artists govt. pension. S/o Lt. 530 016. Narasimhulu Page 2 6 Jalasutram 13-138, Gollapudi, Andhra 544 28-02-1957 Drama Artists 48000/- Yes. Rs. Yes - Vyshnavi W/o Karakatta, Pradesh 31/08/2018 1500/- J. -
Rajasthan Tour Itinerary V. 5
Exclusive Tour of the Music, Dance and Spiritual Worlds of Rajasthan, India 2016 With Yuval Ron & Sajida Ben-Tzur Take a journey full of rare musical encounters, exquisite dancing, sacred Sufi shrines, stunning landscapes, temples, desert tribal parties and the festive celebrations of Rajasthan 14 glorious days - February 14-27, 2016 The sights of India’s impressive landscapes are the glorious backdrop for a special excursion that enables an intimate, unique introduction to India through its tribal musical culture and the special inhabitants of the Rajasthan desert. Rajasthan (Raj – royal, sthan – land/state) is one of the most colorful states in India. It is a desert region abounding in classical and ancient traditions, where palaces, temples, fortresses and royalty exist alongside villages and tribes. Music in India, and especially in Rajasthan, is a principal part of religious rituals setting the tone for holidays and wedding ceremonies. This music, played for kings when they went off to battle, accompanies the Sufi festivities and provides entertainment for the high society. Bringing the various religions and classes together, the music of Rajasthan opens a door to the fascinating cultural worlds that are the focus and inspiration for this special journey. Sajida Ben-Tzur, our tour guide, is a dancer of Kathak classical Indian and the Rajasthani folk dance traditions, an Indian Chef and the daughter of a Sufi Sheikh from Rajasthan. Sajida (pronounced SAJ-DA) has met and worked with many of the most exceptional musicians in this region. This tour facilitates a personal connection with Rajasthan’s landscapes and people through the ears, the eyes and especially the heart! Feb 14-15, 2016 - Day 1-2: Flight to India Depart on a flight of your choice to Delhi, India. -
Festival Report
Festival of India FESTIVAL REPORT 1 From the desk of the HIGH COMMISSIONER I am delighted to have this opportunity to introduce organisations in both countries will serve us well in the year-long celebration of India-UK cultural ties. the years to come. The decision to organize the India-UK Year of Culture in 2017 was taken by the Prime Ministers of India I am grateful to Her Majesty The Queen for hosting and UK in November 2015 during the visit of Prime a grand reception at Birmingham Palace to launch Minister Narendra Modi to the UK, a commitment the Year of Culture in February 2017. I would that was reiterated during Prime Minister Theresa like to also thank the British government and May’s visit to India in November 2016. In April various organizations on both sides with whom we 2018, both Prime Ministers lauded the successful partnered to make this year truly successful. The completion of the India-UK Year of Culture. This India-UK Year of Culture was indeed a colourful year-long programme saw an unprecedented level and vibrant cultural extravaganza celebrating the of cultural exchanges, showcasing artistic, cultural rich and multi-faceted ties between India and the and literary traditions in both countries and was UK. a fitting celebration of the symbolic ties that bind India and the UK. Y.K. Sinha High Commissioner of India The Year of Culture assumed a special significance in light of the 70th Anniversary of India’s independence. These celebrations indeed offered to our two countries a unique opportunity of renewing and revitalizing our inextricable threads of cultural heritage and to enhance our engagement at a people to people level. -
Status of Application Received and Deficiency Found Under Scheme for Pension and Medical Aid to Artists from August 2018 Onwards
1 Status of application received and deficiency found under Scheme for Pension and Medical Aid to Artists from August 2018 onwards Sr. No. Name Address Date of Application Date of Birth Field Annual / Whether the Whether Remark of Receipit & Date Monthly applicant is Recommende SCZCC, Nagpur. Inward No. Income receipant of d by State State Govt. Pension. Andhra Pradesh 1 Repallichakrad Po-Kusarlapudi, 507 15-06-2018 01-01-1956 Actor 25000/- Yes. Rs. Yes. - harao Rao S/o SO-Narsipatnam, 07/08/2018 1500/- Venkayya Mdl-Rolugunta, Dist- Visakhapatnam - 531 118. 2 Velpula Vill/Po-Trulapadu, 526 01-01-1956 Destitutu 42000/- Yes. Rs. Yes. - Nagamma W/o Mdl- 10/08/2018 Artists 1500/- Papa Rao Chandralapadu, Dist-Krishna- 521 183. 3 Meka H. No. Near 527 01-01-1956 Destitutu 48000/- Yes. Rs. Yes. - Venkateswarlu Bandipalem- 10/08/2018 Artists 1500/- S/o Mamadasu Vill/Po, Mdl- Jaggayyapeta, Dist- Krishna- 521 178. 4 Yerapati S/o 13-430/A, 542 09-07-2018 11-12-1955 Destitutu 48000/- No Yes. Not Eligible. Not Apparao Ambedkar Nagar, 31/08/2018 Artists getting state govt. Arilova, pension. Chinagadilimandal Dist- Visakhapatnam- 530 040. 2 5 Kasa Surya 49-27-61/1, 543 09-07-2018 01-07-1950 Destitutu 48000/- No Yes. Not getting state Prakasa Rao Madhura Nagar, 31/08/2018 Artists govt. pension. S/o Lt. Visakhapatnam- Narasimhulu 530 016. 6 Jalasutram 13-138, Gollapudi, 544 28-02-1957 Drama Artists 48000/- Yes. Rs. Yes - Vyshnavi W/o Karakatta, 31/08/2018 1500/- J. Srinivasarao Dist-Krishna- 521 225 7 Tatineni Surya Near Mahalakshmi 549 15-06-2018 01-01-1944 Drama Artists 48000/- Yes. -
Ethnomusicology a Very Short Introduction
ETHNOMUSICOLOGY A VERY SHORT INTRODUCTION Thimoty Rice Sumário Chapter 1 – Defining ethnomusicology...........................................................................................4 Ethnos..........................................................................................................................................5 Mousikē.......................................................................................................................................5 Logos...........................................................................................................................................7 Chapter 2 A bit of history.................................................................................................................9 Ancient and medieval precursors................................................................................................9 Exploration and enlightenment.................................................................................................10 Nationalism, musical folklore, and ethnology..........................................................................10 Early ethnomusicology.............................................................................................................13 “Mature” ethnomusicology.......................................................................................................15 Chapter 3........................................................................................................................................17 Conducting -
Indian Sufism in Israel: a Musically Orchestrated Interaction
Indian Sufism in Israel: A Musically Orchestrated Interaction by David Landau and Nina Rageth Abstract This paper explores Indian Sufi influences in Shye Ben Tzur’s music. Ben Tzur is a Jew- ish Israeli musician who composes Sufi poetry in Hebrew and plays it toqawwālī music, the traditional North Indian Sufi music. Ben Tzur’s songs are devotional and there are many Sufi references that invoke Islamic terminology. His music has been reviewed in numerous newspapers and his Jewish identity, coupled with Sufi themes, evokes questions regarding religious belonging. Even though Ben Tzur openly discusses Sufi influences, his music has remained uncontroversial. This article interprets this as a sign that the symbolic repertoire of Ben Tzur’s music evokes associations with India and not with Islam and more specifically with India as a spiritual rather than religious space. The image of India as a spiritual land manages to subsume references to Islam and render them part of the “mystical East” allowing Ben Tzur’s audience to consume Muslim themes outside Middle Eastern politics. Zusammenfassung Dieser Aufsatz fragt nach Einflüssen des indischen Sufismus auf die Musik von Shye Ben Tzur. Ben Tzur ist ein jüdischer Israeli, der auf Hebräisch sufistische Poesie schreibt, welche er zu qawwālī Musik, der traditionellen nordindischen Sufi-Musik spielt. Ben Tzurs Lieder haben devotionalen Charakter und spielen mit sufistischen Referenzen und islamischen Konzepten. Obschon die sufistischen Elemente in Ben Tzurs Musik deutlich sind, hat seine Musik zu keinen Kontroversen geführt. Dieser Aufsatz inter- pretiert diesen Umstand als ein Zeichen dafür, dass Ben Tzurs Musik nicht in erster Linie mit dem Islam, sondern mit Indien, und zwar mit Indien als einem spirituellen Land assoziiert wird. -
Indian Culture Terminal Competency After Completing This Programme, Participants Will Be Able To: Key Learning Outcomes Approx
1. Module Name Folk Music of Western Rajasthan 2. Sector Indian Culture 3. Entry Qualification 8th Pass 4. Minimum Age (in years) 15 5. Duration 185/1110 6. Provision of Tool kit No Terminal Competency After completing this programme, participants will be able to: Familiarize with importance of music. Recall history of folk music in India. Recall characteristics of folk music Recall characteristics of classical music. Explain and practice different Raag and Taal. Practice and play the given musical instruments. Sing the folk song with and without instrument. Approx. Approx. Key Learning Outcomes Theory Key Learning Outcomes Practical Hrs. Hrs. Registration, Inauguration, introduction and objectives of the 2 - course Psychology of music- Practice or prepare the following Relation of psychology witth music, – a. Raag b. Tall emotional integration through music, mind and music, taste in music, sensation and hearing in music, attention, role of interest in music, 35 160 feeling, emotions and appreciation of music, imagination and creative activity in music, learning music, importance of heredity and environment in music. Relation of folk music with religion. Defination of folk music. Practice of playing following Origin of folk music. musical instruments – History of folk music of india. Raag – Principle and / or basis of folk musick 118 - Harmonium 200 in general. - Flute Forms of folk music – Bhangra, - Saarangi lavani, dandia etc. - Shahnai 1 Approx. Approx. Key Learning Outcomes Theory Key Learning Outcomes Practical Hrs. Hrs. Influence of fold music on indian Taal- classic music, stylization of folk - Tabla melodies into ragas. - Dholak Analysis of the element of Hindustani folk music, Karnataka folk music or south indian folk music, and Rabnindra folk sangeet or folk music or Bengal, folk music of Rajasthan and the elements regarding their interrelationship.