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A Novel Hybrid Approach for Retrieval of the Music Information
International Journal of Applied Engineering Research ISSN 0973-4562 Volume 12, Number 24 (2017) pp. 15011-15017 © Research India Publications. http://www.ripublication.com A Novel Hybrid Approach for Retrieval of the Music Information Varsha N. Degaonkar Research Scholar, Department of Electronics and Telecommunication, JSPM’s Rajarshi Shahu College of Engineering, Pune, Savitribai Phule Pune University, Maharashtra, India. Orcid Id: 0000-0002-7048-1626 Anju V. Kulkarni Professor, Department of Electronics and Telecommunication, Dr. D. Y. Patil Institute of Technology, Pimpri, Pune, Savitribai Phule Pune University, Maharashtra, India. Orcid Id: 0000-0002-3160-0450 Abstract like automatic music annotation, music analysis, music synthesis, etc. The performance of existing search engines for retrieval of images is facing challenges resulting in inappropriate noisy Most of the existing human computation systems operate data rather than accurate information searched for. The reason without any machine contribution. With the domain for this being data retrieval methodology is mostly based on knowledge, human computation can give best results if information in text form input by the user. In certain areas, machines are taken in a loop. In recent years, use of smart human computation can give better results than machines. In mobile devices is increased; there is a huge amount of the proposed work, two approaches are presented. In the first multimedia data generated and uploaded to the web every day. approach, Unassisted and Assisted Crowd Sourcing This data, such as music, field sounds, broadcast news, and techniques are implemented to extract attributes for the television shows, contain sounds from a wide variety of classical music, by involving users (players) in the activity. -
MUSIC MPA Syllabus Paper Code Course Category Credit Marks
MUSIC MPA Syllabus Paper Code Course Category Credit Marks Semester I 12 300 MUS-PG-T101 Aesthetics Theory 4 100 MUS-PG-P102 Analytical Study of Raga-I Practical 4 100 MUS-PG-P103 Analytical Study of Tala-I Practical 4 100 MUS-PG-P104 Raga Studies I Practical 4 100 MUS-PG-P105 Tala Studies I Practical 4 100 Semester II 16 400 MUS-PG-T201 Folk Music Theory 4 100 MUS-PG-P202 Analytical Study of Raga-II Practical 4 100 MUS-PG-P203 Analytical Study of Tala-II Practical 4 100 MUS-PG-P204 Raga Studies II Practical 4 100 MUS-PG-P205 Tala Studies II Practical 4 100 MUS-PG-T206 Music and Media Theory 4 100 Semester III 20 500 MUS-PG-T301 Modern Traditions of Indian Music Theory 4 100 MUS-PG-P302 Analytical Study of Tala-III Practical 4 100 MUS-PG-P303 Raga Studies III Practical 4 100 MUS-PG-P303 Tala Studies III Practical 4 100 MUS-PG-P304 Stage Performance I Practical 4 100 MUS-PG-T305 Music and Management Theory 4 100 Semester IV 16 400 MUS-PG-T401 Ethnomusicology Theory 4 100 MUS-PG-T402 Dissertation Theory 4 100 MUS-PG-P403 Raga Studies IV Practical 4 100 MUS-PG-P404 Tala Studies IV Practical 4 100 MUS-PG-P405 Stage Performance II Practical 4 100 1 Semester I MUS-PG-CT101:- Aesthetic Course Detail- The course will primarily provide an overview of music and allied issues like Aesthetics. The discussions will range from Rasa and its varieties [According to Bharat, Abhinavagupta, and others], thoughts of Rabindranath Tagore and Abanindranath Tagore on music to aesthetics and general comparative. -
University of Mauritius Mahatma Gandhi Institute
University of Mauritius Mahatma Gandhi Institute Regulations And Programme of Studies B. A (Hons) Performing Arts (Vocal Hindustani) (Review) - 1 - UNIVERSITY OF MAURITIUS MAHATMA GANDHI INSTITUTE PART I General Regulations for B.A (Hons) Performing Arts (Vocal Hindustani) 1. Programme title: B.A (Hons) Performing Arts (Vocal Hindustani) 2. Objectives To equip the student with further knowledge and skills in Vocal Hindustani Music and proficiency in the teaching of the subject. 3. General Entry Requirements In accordance with the University General Entry Requirements for admission to undergraduate degree programmes. 4. Programme Requirement A post A-Level MGI Diploma in Performing Arts (Vocal Hindustani) or an alternative qualification acceptable to the University of Mauritius. 5. Programme Duration Normal Maximum Degree (P/T): 2 years 4 years (4 semesters) (8 semesters) 6. Credit System 6.1 Introduction 6.1.1 The B.A (Hons) Performing Arts (Vocal Hindustani) programme is built up on a 3- year part time Diploma, which accounts for 60 credits. 6.1.2 The Programme is structured on the credit system and is run on a semester basis. 6.1.3 A semester is of a duration of 15 weeks (excluding examination period). - 2 - 6.1.4 A credit is a unit of measure, and the Programme is based on the following guidelines: 15 hours of lectures and / or tutorials: 1 credit 6.2 Programme Structure The B.A Programme is made up of a number of modules carrying 3 credits each, except the Dissertation which carries 9 credits. 6.3 Minimum Credits Required for the Award of the Degree: 6.3.1 The MGI Diploma already accounts for 60 credits. -
Track Name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt
Track name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt. Bhimsen Joshi 3 HINDOLIKA Pt. Bhimsen Joshi 4 Thumri-Bhairavi Pt. Bhimsen Joshi 5 SHANKARA MANIK VERMA 6 NAT MALHAR MANIK VERMA 7 POORIYA MANIK VERMA 8 PILOO MANIK VERMA 9 BIHAGADA PANDIT JASRAJ 10 MULTANI PANDIT JASRAJ 11 NAYAKI KANADA PANDIT JASRAJ 12 DIN KI PURIYA PANDIT JASRAJ 13 BHOOPALI MALINI RAJURKAR 14 SHANKARA MALINI RAJURKAR 15 SOHONI MALINI RAJURKAR 16 CHHAYANAT MALINI RAJURKAR 17 HAMEER MALINI RAJURKAR 18 ADANA MALINI RAJURKAR 19 YAMAN MALINI RAJURKAR 20 DURGA MALINI RAJURKAR 21 KHAMAJ MALINI RAJURKAR 22 TILAK-KAMOD MALINI RAJURKAR 23 BHAIRAVI MALINI RAJURKAR 24 ANAND BHAIRAV PANDIT JITENDRA ABHISHEKI 25 RAAG MALA PANDIT JITENDRA ABHISHEKI 26 KABIR BHAJAN PANDIT JITENDRA ABHISHEKI 27 SHIVMAT BHAIRAV PANDIT JITENDRA ABHISHEKI 28 LALIT BEGUM PARVEEN SULTANA 29 JOG BEGUM PARVEEN SULTANA 30 GUJRI JODI BEGUM PARVEEN SULTANA 31 KOMAL BHAIRAV BEGUM PARVEEN SULTANA 32 MARUBIHAG PANDIT VASANTRAO DESHPANDE 33 THUMRI MISHRA KHAMAJ PANDIT VASANTRAO DESHPANDE 34 JEEVANPURI PANDIT KUMAR GANDHARVA 35 BAHAR PANDIT KUMAR GANDHARVA 36 DHANBASANTI PANDIT KUMAR GANDHARVA 37 DESHKAR PANDIT KUMAR GANDHARVA 38 GUNAKALI PANDIT KUMAR GANDHARVA 39 BILASKHANI-TODI PANDIT KUMAR GANDHARVA 40 KAMOD PANDIT KUMAR GANDHARVA 41 MIYA KI TODI USTAD RASHID KHAN 42 BHATIYAR USTAD RASHID KHAN 43 MIYA KI TODI USTAD RASHID KHAN 44 BHATIYAR USTAD RASHID KHAN 45 BIHAG ASHWINI BHIDE-DESHPANDE 46 BHINNA SHADAJ ASHWINI BHIDE-DESHPANDE 47 JHINJHOTI ASHWINI BHIDE-DESHPANDE 48 NAYAKI KANADA ASHWINI -
Emotions and Their Intensity in Hindustani Classical Music Using
EMOTIONS AND THEIR INTENSITY IN MUSIC 1 Emotions and Their Intensity in Hindustani Classical Music Using Two Rating Interfaces Junmoni Borgohain1, Raju Mullick2, Gouri Karambelkar2, Priyadarshi Patnaik1,3, Damodar Suar1 1Humanities and Social Sciences, Indian Institute of Technology Kharagpur, West Bengal 2Advanced Technology Development Centre, Indian Institute of Technology Kharagpur, West Bengal 3Rekhi Centre of Excellence for the Science of Happiness, Indian Institute of Technology Kharagpur, West Bengal EMOTIONS AND THEIR INTENSITY IN MUSIC 2 Abstract One of the very popular techniques of assessing music is using the dimensional model. Although it is used in numerous studies, the discrete model is of great importance in the Indian tradition. This study assesses two discrete interfaces for continuous rating of Hindustani classical music. The first interface, the Discrete emotion wheel (DEW) captures the range of eight aesthetic emotions relevant to Hindustani classical music and cited in Natyashastra, and the second interface, Intensity-rating emotion wheel (IEW) assesses the emotional arousal and identifies whether the additional cognitive load interferes with accurate rating. Forty-eight participants rated emotions expressed by five Western and six Hindustani classical clips. Results suggest that both the interfaces work effectively for both the music genres, and the intensity-rating emotion wheel was able to capture arousal in the clips where they show higher intensities in the dominant emotions. Implications of the tool for assessing the relation between musical structures, emotions and time are also discussed. Keywords Arousal, continuous response, discrete emotions, Hindustani classical music, interface Emotions and Their Intensity in Hindustani Classical Music Using Two Rating Interfaces Continuous assessment of music stimuli emerged as a tool in 1980s, a field dominated by self-report or post-performance ratings till then (Kallinen, Saari, Ravaja, & Laarni, 2005; EMOTIONS AND THEIR INTENSITY IN MUSIC 3 Schubert, 2001). -
Raga of the Month- March, 2018
Raga of the Month- March, 2018 BilawalBahar Raga BilawalBahar is a rare Raga. Listeners are familiar with many combinations of Bahar with other Ragas, such as, Adana, Bageshri, Basant, Bhairav, Hindol, Lalat, Malkouns, Shahana, Sindhura, etc. The recording of Ustad BunduKhan* is perhaps the only recording available of this Raga. From the name it might appear that it is a JodRaga, a combination of Ragas Bilawal and Bahar. It is true, to some extent, but, the two Ragas are blended so well that the musical piece appears to be a coherently bonded unique Raga. Scale of the Raga- SRgGMPDnN; Some Important Phrases- GPDMG, S’’ DnDPMG, (P)MGRS, S’’ DPMG, PGMRS, GMnDNS’’, S’’ nDMG, RGMPMG, GMRS, GMDNS’’, GMnP, S’’ NDND, S’’ DND, DNS’’G’’, GMnD, S’’ nDPMG. Please listen to the audio of the Raga played on Sarangi by Ustad Bundu Khan. In the audio, he has, at few places, also sung the Bandish. The recording has a great Archival value. Acknowledgement: Audio- M/s Saptak Org; Ahmedabad. :Life sketch- Wikipedia, Website Sarangi.info and a book by Ustad Vilayat Hussain Khan (1959) titled- Sangeetadnyonke Samsmaran Brief Life Sketch : *Ustad Bundu Khan (1880 – 1955) probably was the most outstanding sarangi player during the first half of the 20th century. Ustad Bundu Khan was born in Delhi in a family of musicians. He received his training in Sarangi from his father Ali Jan Khan starting at 8 years of age, and later from his uncle Mamman Khan, a veteran Sarangi Player. Bundu Khan played Sarangi from All India Radio, Delhi Station, when it first started broadcasting in 1935. -
Music & Dance Examinations
MUSIC & DANCE EXAMINATIONS I. THE AIMS AND OBJECTIVES OF THE FACULTY ARE 1. To encourage the study of Performing Arts as a vocation 2. To institute degree and Junior Diploma Courses in Performing Arts 3 To produce artists of high order and to train and prepare teachers well versed in theory, practice and history of Performing Arts; 4 To conduct research and to carry on auxiliary activities such as collection and publication of manuscripts; 5. To develop a high standard of education and knowledge of the Theory of Music and aesthetics, both ancient and modern, through the study of old and new literature in Sanskrit and other languages and give training in performing arts as a vocation 6. To make special arrangements by way of extension course for those who are not otherwise qualified to be admitted to the Faculty. 7. The Faculty while serving as a repository of all forms of Music including different schools of Music and regional styles, seeks to preserve the traditional methods of teaching and in doing so makes use of all modern techniques e.g. notation and Science of voice culture. In furthering the objectives laid down above, the Faculty arranges for lectures, concerts, demonstrations and excursion tours to important centers of Music in India. II. ADMISSION TO COLLEGES/FACULTIES OF THE UNIVERSITY 1. The last date for admission to all the constituent Colleges / Faculties of the University shall be fixed each year by the Academic Council. 2. Each College/ Faculty maintained by the University shall have a separate form of application which will be serially numbered and issued by the Principal/Dean of the College /Faculty concerned, on payment of the prescribed amount of application fee or by any other officer deputed by University. -
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 -
Raga Scales Chart
SongMaven.com Raga Scales Chart © 2016 For Individual Visit songmaven.com for more information on Northern India Raga Scales Instructional Use Only! this chart and other instructional sheets Raga Name Thaat (Mode) Prahar (Time) Ascending Notes Descending Notes Ascending Pattern Descending Pattern Adana Asavari 12 am - 3 am 1 2 4 5 7 1 2 4 5 6 7 1 2 4 5 7 4 5 1 1 6 7 5 4 5 3 4 2 1 Ahir Bhairav Bhairav 6 am - 9 am 1 2 3 4 5 6 7 1 2 3 4 5 3 4 6 7 1 1 7 6 5 4 3 2 1 7 2 1 Asavari 9 am - 12 pm 1 2 4 5 6 1 2 3 4 5 6 7 1 2 4 5 6 1 1 7 6 5 4 3 2 1 Bageshri Kafi 12 am - 3 am 1 3 4 6 7 1 2 3 4 6 7 7 1 3 4 6 7 1 1 7 6 4 5 6 3 4 3 2 1 Bahar Kafi 12 am - 3 am 1 3 4 5 6 7 7 1 3 4 5 6 7 7 1 4 4 5 3 4 7 6 7 1 1 7 5 4 5 3 4 2 1 Bairagi Bhairav Bhairav 1 2 4 5 7 1 2 4 5 7 1 1 7 5 4 2 1 Basant Poorvi 3 am - 6 am 1 2 3 4 6 1 2 3 4 5 6 7 1 3 4 6 2 1 1 7 6 5 4 3 4 3 2 1 Basant Mukhari 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1 Bhairav Bhairav 6 am - 9 am 1 3 4 5 6 1 2 3 4 5 6 7 1 3 4 5 3 4 6 1 1 7 1 6 5 3 4 5 3 4 2 1 Bhairavi Bhairavi 6 am - 9 am 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1 Bhankar Bhairav 3 am - 6 am 1 2 3 4 5 6 7 1 2 3 4 4 5 6 7 7 2 1 3 4 5 3 4 6 4 3 4 6 1 7 2 1 1 2 7 6 4 4 3 4 3 2 1 Bhatiyar Bhairav 3 am - 6 am 1 2 3 4 4 5 6 1 2 3 4 5 6 7 1 2 1 1 4 5 3 4 6 1 1 2 7 6 5 6 5 4 5 3 2 1 Bhimpalasi Kafi 3 pm - 6 pm 1 3 4 5 7 1 3 4 5 6 7 7 1 3 4 5 7 1 1 7 6 5 4 3 2 1 Bhinna Shadja Khamaj 9 pm - 12 am 1 3 4 6 7 1 3 4 6 7 1 1 7 6 4 3 1 Bhoopal Todi Bhairavi 9 am - 12 pm 1 2 3 5 6 1 2 3 5 6 1 1 6 5 3 2 3 2 1 Bhoopali Kalyan 6 pm - 9 pm 1 2 3 5 -
Different Frequencies of Tones with a Same Name and Their Practical Execution in a Selected North Indian Classical Music Context
DIFFERENT FREQUENCIES OF TONES WITH A SAME NAME AND THEIR PRACTICAL EXECUTION IN A SELECTED NORTH INDIAN CLASSICAL MUSIC CONTEXT E. A. A. Vishvanath Edirisinghe Abstract Two of the world’s five major music traditions are related to India. They are, north Indian and south Indian classical music. North Indian classical music is built upon the concept of raga which uses a monophonic structure giving importance to each and every individual musical tone in performing. Though the Indian music uses twelve musical tones similarly to the other music traditions such as western music, the tones in Indian classical music are positioned using a concept called shruti which has twenty-two intervals for an octave. According to this concept, instead of placing twelve tones on fixed frequencies, their frequency values vary depending on the mood of the raga, the fluency of the performer, the musical techniques used and on many other factors. In this research the above fact is studied focusing only on komal gandhar by analyzing voice recordings of nine ragas which would be taken from reputed university lectures. To measure the frequency of the taken recordings, Overtone analyzer 5.0.2 software has been used and Audio speed changer pro portable software has been used to change the pitch (when necessary) of the original recordings without affecting their speed. Keywords North Indian Classical Music, Frequencies, Measurments, Komal Gandhar, Raga Angas Introduction In this research, the practical execution and the pitch values of komal gandhar used in north Indian classical music studied. Even though the komal gandhar can be used in every musical form in the north Indian music repertoire, only the khayal1 music form will be considered in this research to study the pitch values and the practical execution of komal gandhar. -
2 M Music Hcm.Pdf
Visva-Bharati, Sangit-Bhavana DEPARTMENT OF HINDUSTHANI CLASSICAL MUSIC CURRICULUM FOR POSTGRADUATE COURSE M.MUS IN HINDUSTHANI CLASSICAL MUSIC Sl.No Course Semester Credit Marks Full . Marks 1. 16 Courses I-IV 16X4=64 16X50 800 10 Courses Practical 06 Courses Theoretical Total Courses 16 Semester IV Credits 64 Marks 800 M.MUS IN HINDUSTHANI CLASSICAL MUSIC OUTLINE OF THE COURSE STRUCTURE 1st Semester 200 Marks Course Marks Credits Course-I (Practical) 40+10=50 4 Course-II (Practical) 40+10=50 4 Course-III (Practical) 40+10=50 4 Course-IV (Theoretical) 40+10=50 4 2nd Semester 200 Marks Course Marks Credits Course-V (Practical) 40+10=50 4 Course-VI (Practical) 40+10=50 4 Course-VII (Theoretical) 40+10=50 4 Course-VIII (Theoretical) 40+10=50 4 3rd Semester 200 Marks Course Marks Credits Course-IX (Practical) 40+10=50 4 Course-X (Practical) 40+10=50 4 Course-XI (Practical) 40+10=50 4 Course-XII (Theoretical) 40+10=50 4 4th Semester 200 Marks Course Marks Credits Course-XIII (Practical) 40+10=50 4 Course-XIV (Practical) 40+10=50 4 Course-XV (Theoretical) 40+10=50 4 Course-XVI (Theoretical) 40+10=50 4 1 Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music CURRICULUM FOR POST GRADUATE COURSE M.MUS IN HINDUSTHANI CLASSICAL MUSIC TABLE OF CONTENTS HINDUSTHANI CLASSICAL MUSIC (VOCAL)………………………………………………3 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (SITAR)…………………………14 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (ESRAJ)…………………………23 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (TABLA)………………………..32 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (PAKHAWAJ)………………….42 2 CURRICULUM FOR POSTGRADUATE COURSE DEPARTMENT OF HINDUSTHANI CLASSICAL MUSIC SUBJECT- HINDUSTHANI CLASSICAL MUSIC (VOCAL) Course Objectives: This is a Master’s degree course in Hindustani Classical vocal music with emphasis on teaching a nuanced interpretation of different ragas. -
A Comparative Study of Selected Hindustani Raga-S Based on Contemporary Practice
A Comparative Study of Selected Hindustani Raga-s Based on Contemporary Practice Patrick Moutal M.A., M.Mus., D.Mus. (Banaras Hindu University) Prof. Indian Music (Conservatoire National Supérieur de Musique de Paris) Munshiram Manoharlal Publishers Pvt Ltd Contents Contents 5 List of illustrations. 17 Preface (original version) 21 Preface (revised and augmented version) 23 Acknowledgments (original version) 25 Transliteration 29 Transliteration Code 32 Music Notation System 34 A Name of the notes with their correspondences 34 B Help to the hand-writing of notos &. Bola-s 35 C Notation System 36 Comparative Chart : Music Notation System 41 Introduction 45 Part I: Raga-s of Kalyana Group 1 Rag Yaman 53 Calana 56 Bibliographical references 56 2 Rag Shuddh Kalyan 59 Catana 62 Bibliographical references 62 3 Rag Bhupali 85 Calana 67 Bibliographical references 67 4 Rag Jait Kalyan 69 Calana 70 Bibliographical references 70 5 Rag Chandrakant 73 Calana (V.N. Bhatkhande) 73 Bibliographical references 73 Comparative Chart: Suddha Katyäna, Bhüpalï, Desakâra, Jaita Kalyána, Candrakänta 75 6 Rag Puriya Kalyan 77 Calana 79 Bibliographical references 80 7 Rag Sawani Kalyan 81 Bibliographical references 82 8 Rag Malashree 85 Calana 85 Bibliographical references 86 9 Rag Dhavalashree 87 Dhavasri / Malasri comparison 87 Calana 87 Bibliographical references 88 Uncommon Varieties of the Kalyäna Group of Räga-s 91 10 Rag Hem-Kalyan 91 Calana (V.N. Bhatkhande ) 92 Bibliographical references 92 11 Rag Panch Kalyan 92 Calana (of R.N. Vaze) 93 Bibliographical references 93 12 Rag Samant Kalyan 93 Calana (of R.N. Vaze) 93 Bibliographical references 93 13 Rag Gaur Kalyan 94 Calana (R.N.