DOCSLIB.ORG

National Sanskrit University, Tirupati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
National Sanskrit University, Tirupati National Sanskrit University, Tirupati, (Central University) Department of performing arts Indian Classical Instrumental Music On-line Certificate Programme for Six month Subject- Sitar Programme Details: Name of the Programme : On-line Certificate Programme in Sitar Duration of the Programme : 6 Months (July to December) 2020 Level 1:- July - August. Level 2:- September - October. Level 3:- November - December. Time allocation : Indian Students: - 1 hour class for a day (3 days in a week.) Abroad students: - 1 hour class for a day (3 days in a week.) Mode of Examination : On-line No. of Papers : Two types of papers each Level . 1st Paper: Practical . 2nd Paper: Applied Viva *Including One Theory paper in 3rd level Total Marks : 300 marks For 3 Level. Each Level Carry 75 Marks. 1st Paper: Practical: 50 Marks . 2nd Paper: Applied Viva: 25 Marks *Applied Theory paper in 3rd level 75 Marks Programme Fee : Onetime payment for 1, 2, 3 Level For Indian Student: - INR – 3000/- For Abroad Student: - INR - 5000/- Eligibility : Age 12 to 50 Years Medium of Instruction : Hindi, English Number of Seats : 20 (Based on merit in audition test) Presets for Learning : Students are required to have sitar essentials. (Students can keep any mobile app for shruti, Rhythm metronome, Guitar tuners) Programme Coordinator : Dr. Hans Prabhakar Ravidas Assistant Professor Department of Performing Arts Instrumental Music (Sitar) National Sanskrit University, Tirupat, Andhra Pradesh, India Mobile- 8127759391, Mail- [email protected] More information can be found on the website of the university: www.nsktu.ac.in Registration: https://forms.gle/3cwDY1JCdC9UzfYr7 Level 1 Prescribed Syllabus 1. Introduction of sitar with structure. 2. Study of musical notes and symbols. 3. Preliminary right and left hand synchronization. Practicable of right hand bole Da, Ra, Dir and left hand fingering. 4. 5 General Alankars. 5. The detailed outline of prescribed ragas, their Thaat, aroh, avroh, jati, vadi, samvadi, nyas swar, pakad, time etc. 6. Study to play Madhyalaya Compostion/Razakhani Gat with sthai-antara, 5 tanas and Jhala in prescribe Raag. 7. Study of prescribed taals with matra, vibhag, tali, khali, bol etc. Prescribed Raga’s and Taals Study of Raag for Practical ,Viva & Applied Theory for 3rd level :- Raag Bilaval Study of taal for Practical ,Viva & Applied Theory for 3rd level :- Teental First Paper: Practical Marks: 50 Performance of the prescribed raga The performance will involve delineation of compositions with all their major performance components which includes ability to play Madhyalay Composition/Razakhani gat with sthai-antara, toda-tans and Jhala in prescribe raga. Second Paper: Applied Viva Marks:25 Viva based on the concepts of prescribe syllabus About Instrument, Musical Notes, Ragas, Talas with Tali khali, Level 2 Prescribed Syllabus 1. Practice and Knowledge of previous Level programme is essential. 2. Two bole alankars with right and left hand synchronization. 3. Use to be practice simple meend one, two notes span. 4. The detailed outline of prescribed ragas their thaat, aroh, avroh, jati, vadi, samvadi, nyas swar, pakad, time etc 5. Study of prescribed taals with matra, vibhag, tali, khali, bol etc. 6. Study of Madhyalaya Compostion/Rajakhani gat with sthai-antara, toda, taans, simple tihai and jhala at in the prescribe raag. 7. Study of following sitar technique : jamjama, krintan, ghasit, meed, murki, gamak, . Prescribed Raga’s and Taals Study of Raag for Practical & Viva :- Raag Khamaj Study of taals for Practical ,Viva & Applied Theory for 3rd level :- Teental , Rupak First Paper: Practical Marks: 50 Performance of the prescribed raga a. The performance will involve delineation of compositions with all their major performance components which includes ability to play Madhyalay/Razakhani composition with sthai-antara, toda-tans Tihai and Jhala in prescribe raga. b. Ability to play two bole alankars each in 16 matra talas with right and left hand synchronization. c. Ability to play following sitar technique : jamjama, krintan, ghasit, meed, murki, gamak, d. You should have ability to play the given raga of level 1. Second Paper: Applied Viva Marks: 25 a. Viva based on the concepts of prescribe syllabus- Sitar Technique (Jamjama Krintan Ghasit Meed Murki Gamak), b. Knowledge of prescribe Raag their thaat, aroh, avroh, jati, vadi, samvadi, nyas swara pakad, time etc. c. Knowledge of prescribed talas with matra, vibhag, tali, khali, bol etc. d. You should know about Viva based concepts of prescribe syllabus of level 1. Level 3 Prescribed Syllabus 1. Practice and Knowledge of all previous Level programme is essential 2. Two Alankars with more advanced technique with right and left hand synchronization. 3. Study of shudda rishab Thaats : bilaval, khamaj, kalyan. 4. Study of Madhyalaya Compostion/Rajakhani gat with sthai-antara, advanced technique toda, taans, tihai and jhala at in the prescribe raag. 5. The detailed outline of prescribed ragas, their thaat, aroh, avroh, jati, vadi, samvadi, nyas swar, pakad, time etc 6. Study of prescribed taals with matra, vibhag, tali, khali, bol etc. 7. Study of following sitar technique: jamjama, krintan, ghasit, meed, murki, gamak. Prescribed Raga’s and Taals Study of Raag for Practical & Viva :- Raag Yaman Study of taal for Practical ,Viva & Applied Theory for 3rd level :- Teental, Ektal First Paper: Practical Marks : 50 Performance of the prescribed raga a. The performance will involve delineation of compositions with all their major performance components which includes ability to play Madhyalay/Razakhani composition with sthai-antara, toda-tans Tihai and Jhala on prescribe raga. b. Ability to play madhyalaya alankars with more advanced technique with each in 16 matra talas with right and left hand synchronization, use of simple meend one, two note span. c. You should have ability to play the given raga of Level 1 and Level 2. Second Paper: Applied Viva Marks: 25 a. Viva based on the concepts of prescribe syllabus- Sitar Technique (Jamjama Krintan Ghasit Meed Murki Gamak). b. Knowledge of prescribe Raag their thaat, aroh, avroh, jati, vadi, samvadi, nyas swar, pakad, time etc c. Knowledge of prescribed talas with matra, vibhag, tali, khali, bol etc. d. You should know about Viva based concepts of prescribe syllabus of Level 1 and Level 2. Applied Theory Paper 75 Marks Under the written examination, there will be details of introduction of the raga, script of the composition, description of the Taals, pictorial description of sitar organs, etc. Some objective questions will also be asked from the base for all prescribe syllabus. Register here: https://forms.gle/3cwDY1JCdC9UzfYr7 .
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Fusion Without Confusion Raga Basics Indian
    Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap".
    [Show full text]
  • Master of Performing Arts (Vocal & Instrumental)
    MASTER OF PERFORMING ARTS (VOCAL & INSTRUMENTAL) I SEMESTER Course - 101 (Applied Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To critically appreciate a music concert. 2. To understand and compare the ragas and talas prescribed for practical’s. 3. To write compositions in the prescribed notation system. 4. To introduce students to staff notation. Course Content:- I. Theoretical study of Ragas and Talas prescribed for practical and their comparative study wherever possible. II. Reading and writing of Notations of compositions Alap, Taan etc. in the Ragas and Talas with prescribed Laykraries. III. Elementary Knowledge of Staff Notation. IV. Critical appreciation of Music concert. Bibliographies:- a. Dr. Bahulkar, S. Kalashastra Visharad (Vol. 1 - 4 ). Mumbai:: Sanskar Prakashan. b. Dr. Sharma, M. Music India. A. B. H. Publishing Hoouse. c. Dr. Vasant. Sangeet Visharad. Hatras:: Sangeet Karyalaya. d. Rajopadhyay, V. Sangeet Shastra. Akhil Bhartiya Gandharva Vidhyalaya e. Rathod, B. Thumri. Jaipur:: University Book House Pvt. Ltd. f. Shivpuji, G. Lay Shastra. Bhopal: Madhya Pradesh Hindi Granth. Course - 102 (General Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To study Aesthetics in Music. 2. To appreciate the aesthetic aspects of different forms of music. Course Content:- I. Definition of Aesthetics and its Application in Music. II. Aesthetical principles of Different Haran’s. III. Aesthetical aspects of different forms of Music. a. Dhrupad, Dhamar, Khayal, Thumri, Tappa etc. IV. Merits and demerits of vocalist. Bibliographies:- a. Bosanquet, B. (2001). The concept of Aesthetics. New Delhi: Sethi Publishing Company. b. Dr. Bahulkar, S. Kalashastra Visharad (Vol.
    [Show full text]
  • The Rich Heritage of Dhrupad Sangeet in Pushtimarg On
    Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda ||Shree DwaDwarrrrkeshokesho Jayati|| || Shree Vallabhadhish Vijayate || The Rich Heritage Of Dhrupad Sangeet in Pushtimarg on www.vallabhkankroli.org Reference : 8th Year Text Book of Pushtimargiya Patrachaar by Shree Vakpati Foundation - Baroda Inspiration: PPG 108 Shree Vrajeshkumar Maharajshri - Kankroli PPG 108 Shree Vagishkumar Bawashri - Kankroli Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda Contents Meaning of Sangeet ........................................................................................................................... 4 Naad, Shruti and Swar ....................................................................................................................... 4 Definition of Raga.............................................................................................................................. 5 Rules for Defining Ragas................................................................................................................... 6 The Defining Elements in the Raga................................................................................................... 7 Vadi, Samvadi, Anuvadi, Vivadi [ Sonant, Consonant, Assonant, Dissonant] ................................ 8 Aroha, avaroha [Ascending, Descending] ......................................................................................... 8 Twelve Swaras of the Octave ...........................................................................................................
    [Show full text]
  • Ragang Based Raga Identification System
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 16, Issue 3 (Sep. - Oct. 2013), PP 83-85 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.Iosrjournals.Org Ragang based Raga Identification system Awadhesh Pratap Singh Tomer Assistant Professor (Music-vocal), Department of Music Dr. H. S. G. Central University Sagar M.P. Gopal Sangeet Mahavidhyalaya Mahaveer Chowk Bina Distt. Sagar (M.P.) 470113 Abstract: The paper describes the importance of Ragang in the Raga classification system and its utility as being unique musical patterns; in raga identification. The idea behind the paper is to reinvestigate Ragang with a prospective to use it in digital classification and identification system. Previous works in this field are based on Swara sequence and patterns, Pakad and basic structure of Raga individually. To my best knowledge previous works doesn’t deal with the Ragang Patterns for identification and thus the paper approaches Raga identification with a Ragang (musical pattern group) base model. This work also reviews the Thaat-Raagang classification system. This describes scope in application for Automatic digital teaching of classical music by software program to analyze music (Classical vocal and instrumental). The Raag classification should be flawless and logically perfect for best ever results. Key words: Aadhar shadaj, Ati Komal Gandhar , Bahar, Bhairav, Dhanashri, Dhaivat, Gamak, Gandhar, Gitkarri, Graam, Jati Gayan, Kafi, Kanada, Kann, Komal Rishabh , Madhyam, Malhar, Meed, Nishad, Raga, Ragang, Ragini, Rishabh, Saarang, Saptak, Shruti, Shrutiantra, Swaras, Swar Prastar, Thaat, Tivra swar, UpRag, Vikrat Swar A Raga is a tonal frame work for composition and improvisation. It embodies a unique musical idea.(Balle and Joshi 2009, 1) Ragang is included in 10 point Raga classification of Saarang Dev, With Graam Raga, UpRaga and more.
    [Show full text]
  • 108 Melodies
    SRI SRI HARINAM SANKIRTAN - l08 MELODIES - INDEX CONTENTS PAGE CONTENTS PAGE Preface 1-2 Samant Sarang 37 Indian Classical Music Theory 3-13 Kurubh 38 Harinam Phylosphy & Development 14-15 Devagiri 39 FIRST PRAHAR RAGAS (6 A.M. to 9 A.M.) THIRD PRAHAR RAGAS (12 P.M. to 3 P.M.) Vairav 16 Gor Sarang 40 Bengal Valrav 17 Bhimpalasi 4 1 Ramkal~ 18 Piloo 42 B~bhas 19 Multani 43 Jog~a 20 Dhani 44 Tori 21 Triveni 45 Jaidev 22 Palasi 46 Morning Keertan 23 Hanskinkini 47 Prabhat Bhairav 24 FOURTH PKAHAR RAGAS (3 P.M. to 6 P.M.) Gunkali 25 Kalmgara 26 Traditional Keertan of Bengal 48-49 Dhanasari 50 SECOND PRAHAR RAGAS (9 A.M. to 12 P.M.) Manohar 5 1 Deva Gandhar 27 Ragasri 52 Bha~ravi 28 Puravi 53 M~shraBhairav~ 29 Malsri 54 Asavar~ 30 Malvi 55 JonPurl 3 1 Sr~tank 56 Durga (Bilawal That) 32 Hans Narayani 57 Gandhari 33 FIFTH PRAHAR RAGAS (6 P.M. to 9 P.M.) Mwa Bilawal 34 Bilawal 35 Yaman 58 Brindawani Sarang 36 Yaman Kalyan 59 Hem Kalyan 60 Purw Kalyan 61 Hindol Bahar 94 Bhupah 62 Arana Bahar 95 Pur~a 63 Kedar 64 SEVENTH PRAHAR RAGAS (12 A.M. to 3 A.M.) Jaldhar Kedar 65 Malgunj~ 96 Marwa 66 Darbar~Kanra 97 Chhaya 67 Basant Bahar 98 Khamaj 68 Deepak 99 Narayani 69 Basant 100 Durga (Khamaj Thhat) 70 Gaur~ 101 T~lakKarnod 71 Ch~traGaur~ 102 H~ndol 72 Shivaranjini 103 M~sraKhamaj 73 Ja~tsr~ 104 Nata 74 Dhawalsr~ 105 Ham~r 75 Paraj 106 Mall Gaura 107 SIXTH PRAHAR RAGAS (9Y.M.
    [Show full text]
  • Stephen M. Slawek Curriculum Vitae
    Stephen M. Slawek Curriculum Vitae 10008 Sausalito Drive Butler School of Music Austin, TX 78759-6106 The University of Texas at Austin (512) 794-2981 Austin, TX. 78712-0435 (512) 471-0671 Education 1986 Ph.D. (Ethnomusicology) University of Illinois at Urbana-Champaign 1978 M.A. (Ethnomusicology) University of Hawaii at Manoa 1976 M. Mus. (Sitar) Banaras Hindu University 1974 B. Mus. (Sitar) Banaras Hindu University 1973 Diploma (Tabla) Banaras Hindu University 1971 B.A. (Biology) University of Pennsylvania Employment 1999-present Professor of Ethnomusicology, The University of Texas at Austin 2000 Visiting Professor, Rice University, Hanzsen and Lovett College 1989-1999 Associate Professor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1985-1989 Assistant Professor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1983-1985 Instructor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1983 Visiting Lecturer of Ethnomusicology, University of Illinois at Urbana- Champaign 1982 Graduate Assistant, School of Music, University of Illinois at Urbana- Champaign 1978-1980 Archivist, Archives of Ethnomusicology, School of Music, University of Illinois at Urbana-Champaign Scholarship and Creative Activities Books under contract The Classical Music of India: Going Global with Ravi Shankar. New York and London: Routledge Press. 1997 Musical Instruments of North India: Eighteenth Century Portraits by Baltazard Solvyns. Delhi: Manohar Publishers. Pp. i-vi and 1-153. (with Robert L. Hardgrave) SLAWEK- curriculum vitae 2 1987 Sitar Technique in Nibaddh Forms. New Delhi: Motilal Banarsidass, Indological Publishers and Booksellers. Pp. i-xix and 1-232. Articles in scholarly journals 1996 In Raga, in Tala, Out of Culture?: Problems and Prospects of a Hindustani Musical Transplant in Central Texas.
    [Show full text]
  • 3:3:6:3 Some Bandishes of Agra Gharana - Notations
    3:3:6:3 Some Bandishes of Agra Gharana - Notations RAGA: JOG DHRUPAD (CHAUTAAL) (Composer: Haji Sujan Khan 'Sujan') Sthayi: Pratham maana Allaah, jin rachyo noor paak, Nabi ji pe rakh imaana, e re 'Sujaan' │ Antara: Valiyan mana shaahe mardaan, Taahir mana saiyadaa, Imaan mana hasanain, Deen mana kalama, Kitaab mana Quraan ││ Sthayi x o 2 o 3 4 S S Ṇ Ṉ ̣ Ṉ ̣ P ̣ Ṇ S S - M - G̱ S G̱ S Pra tha ma maa - na - A - lla- - h Ṇ Ṉ Ṇ Ṇ S - S - S Ṉ ̣ Ṉ ̣ P̣ ̣ - P ̣ Ji na ra - chyo - noo - r paa - k Ṇ S G - M P P P MP - PM P Na bi ji - pe ra kha i maa - - na M P M G̱ PM PG MS G̱ Ṉ ̣ S P P M G̱ S G̱ S E - - - - - re - - Su jaa - - - - n x o 2 o 3 4 Antara G M P N N N Ṡ Ṡ Ṡ Ṡ - Ṡ Va li ya na ma na shaa he mar daa - na ̇̇ N Ṡ Ṡ Ġ Ġ Ṁ MĠ̠ Ġ̠ Ṡ Ṉ P P Taa he ra ma na sai - ya daa - - - MP PM MG G G M P MG M G̠ S G̠ S I maa - ma ma na ha sa - - nai - - na RAGA: JOG DHRUPAD (CHAUTAAL) contd.... Ṇ S G - M P P - N NṠ - Ṡ Dee na ma - na ka la - maa - - - ki Ṡ N̠ P M G MP P - M G̠ S G̠ S Taa - ba ma na Qu - raa - - - - - na x o 2 o 3 4 RAGA: DEEPAK KEDAR (VILAMBIT TRITAL) Sthayi: Sab jhootho bhekh pasaaro re...│ Antara: Bahut chunaaye mahalhu sare, jo makari no jalo re...││ Sthayi PDPḾP Ṡ - D P (M) SR S SR Ḿ - P - RḾPD,P (P) M sa - ba - jhu - tho - (bhe) - kh pasa - - ro - re - - - , - (- ) - x 2 o 3 Antara P P Ṡ Ṡ Ṡ Ṡ ṠD ṠṘ ṠDPM SR,S S M G P P PḾP RḾPD,P (P) M bahu ta chu na ye mahe lau sa - - - - , re jo maka ri no jalo re - - -, - ( - ) - x 2 o 3 RAGA : BAHAR (TAAL: DHAMAR) (Composer: 'Shyamrang') Sthayi: Aayi bahaar ritu alabeli, Saba bana phule saraso peelee
    [Show full text]
  • New Trends in Hindustani Sitar Music in Malaysia
    23 Towards Fusion: New Trends in Hindustani Sitar Music in Malaysia Pravina Manoharan Universiti Sains Malaysia Abstract While a classical Sitar recital in Malaysia still retains many of its original forms and practices, local sitarists are experimenting with new musical ideas to promote the Sitar and its music to a wider audience of mixed ethnicity. Musicians combine Hindustani musical elements such as Raag (melody) and Taal (rhythmic cycle) with different musical elements such as the Chinese pentatonic scale and Arabian Maqam as well as new genres to produce a musical blend broadly dubbed as ‘fusion music’. This article explores how the characteristics of the Hindustani elements of Raag and Taal are adopted to complement the structure and style of the new compositions. Different Sitar playing styles and techniques are employed in the performance of fusion compositions that use Blues or Bossa Nova genres. Keywords: Raag, Taal, fusion, Sitar music. 24 Wacana Seni Journal of Arts Discourse. Jil./Vol.7.2008 Introduction Malaysia is a multiracial and multicultural society that has a rich and diverse cultural and musical heritage. Indians represent the third largest population in the country. The classical music practiced by Malaysian Indians is based on the ancient traditional system that originated in India. Indian classical music refers to both the South Indian Carnatic and North Indian Hindustani systems. Hindustani and Carnatic music share a common ancient musical heritage, as both systems are built upon highly complex and elaborate melodic structures called Raag, and both employ a system of rhythm and meter that falls under the rubric of Taal (rhythmic cycle).
    [Show full text]
  • Zakir Hussain & Masters of Percussion
    CAL PERFORMANCES PRESENTS Sunday, March 23, 2014, 7pm Zellerbach Hall Zakir Hussain & Masters of Percussion with Zakir Hussain tabla Selvaganesh Vinayakram kanjira & ghatam Steve Smith Western drums Niladri Kumar sitar Dilshad Khan sarangi Deepak Bhatt dhol Vijay Chavan dholki and special guest Antonia Minnecola Kathak dancer PROGRAM Tonight’s program will be announced from the stage. There will be one intermission. Cal Performances’ – season is sponsored by Wells Fargo. PLAYBILL ABOUT THE ARTISTS The foremost disciple of his father, the leg- endary Ustad Allarakha, Mr. Hussain was a child prodigy who began his professional career at the age of twelve and had toured internation- ally with great success by the age of 18. He has been the recipient of many awards, grants and honors, including Padma Bhushan (2002), Padma Shri (1988), the Sangeet Natak Akademi Award (1991), Kalidas Samman (2006), the 1999 National Heritage Fellowship Award, the Bay Area Isadora Duncan Award (1998–1999), and Grammy Awards in 1991 and 2009 for Best World Music Album for Planet Drum and Global Drum Project, both collaborations with Mickey Hart. His music and extraordinary con- tribution to the music world were honored in April 2009, with four widely heralded and sold- out concerts in Carnegie Hall’s “Perspectives” series. Also in 2009, Mr. Hussain was named a Susana Millman Susana Member in the Order of Arts and Letters by AKIR HUSSAIN (tabla) is today appreciated France’s Ministry of Culture and Commun - Zboth in the field of percussion and in the ication. Most recently, the National Symphony music world at large as an international phe- Orchestra with Christoph Eschenbach com- nomenon.
    [Show full text]
  • 7376 Sitar and Surbahar
    (LYRCD 7376) SITAR AND SURBARHAR Indian Music for Meditation and Love Ustad Imrat Khan, Sitar and Surbahar Shafaat Miadaad Khan, Tabla In this, his first recording made in the United State, Imrat Khan demonstrates his consummate mastery of two instruments, the sitar and the surbahar, the bass sitar, which he introduced to the American concert stage in 1975. Both the sitar and surbahar have developed from the oldest stringed instrument of India, the bin or rudra vina, which consists of two large gourds of equal size joined symmetrically by a round wooden neck. The bin is characterized by its deep, rich voice. The sitar hardly needs introduction to western audiences, but it is worth noting in connection with this recording that there are two basic styles of stringing the instrument to approximate the sound of the bin. In the second style, popularized by Imrat Khan’s family, there are only six main strings with a range of three octaves, on the grounds that the deep tones of the surbahar recreate more effectively the bin’s lower register. The Surbahar was invented by Imrat Khan’s great-grandfather, Ustad Sahebdad Khan. The instrument was in danger of disappearing after the death of Enayet Khan, Imrat’s father; but thanks to the efforts of Imrat himself, the instrument has regained its place as one of the most important instruments of North Indian art music. The surbahar is, in effect, a bass sitar, with a practical range of over four octaves. It has a wider neck, thicker strings, and a gourd larger and flatter than that of the sitar.
    [Show full text]