Non-Invasive Therapeutic Solution for Medical Disorder Using Music
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Hindustani Classic Music
HINDUSTANI CLASSIC MUSIC: Junior Grade or Prathamik : Syllabus : No theory exam in this grade Swarajnana Talajnana essential Ragajnana Practicals: 1. Beginning of swarabyasa - in three layas 2. 2 Swaramalikas 5 Lakshnageete Chotakyal Alap - 4 ragas Than - 4 Drupad - should be practiced 3. Bhajan - Vachana - Dasapadas 4. Theental, Dadara, Ektal (Dhruth), Chontal, Juptal, Kheruva Talu - Sam-Pet-Husi-Matras - should practice Tekav. 5. Swarajnana 6. Knowledge of the words - nada, shruthi, Aroha, Avaroha, Vadi - Samvedi, Komal - Theevra - Shuddha - Sasthak - Ganasamay - Thaat - Varjya. 7. Swaralipi - should be learnt. Senior Grade: (Madhyamik) Syllabus : Theory: 1. Paribhashika words 2. Sound & place of emergence of sound 3. The practice of different ragas out of “thaat” - based on Pandith Venkatamukhi Mela System 4. To practice ragalaskhanas of different ragas 5. Different Talas - 9 (Trital, Dadra, Jup, Kherva, Chantal, Tilawad, Roopak, Damar, Deepchandi) explanation of talas with Tekas. 6. Chotakhyal, Badakhyal, Bhajan, Tumari, Geethprakaras - Lakshanas. 7. Life history of Jayadev, Sarangdev, Surdas, Purandaradas, Tansen, Akkamahadevi, Sadarang, Kabeer, Meera, Haridas. 8. Knowledge of musical instrument Practicals: 1. Among 20 ragas - Chotakhyal in each 2. Badakhyal - for 10 ragas (Bhoopali, Yamani, Bheempalas, Bageshree, Malkonnse, Alhaiah Bilawal, Bahar, Kedar, Poorvi, Shankara. 3. Learn to sing one drupad in Tay, Dugun & Changun - one Damargeete. VIDHWAN PROFICIENCY Syllabus: Theory 1. Paribhashika Shabdas. 2. 7 types of Talas - their parts (angas) 3. Tabala bol - Tala Jnana, Vilambitha Ektal, Jumra, Adachontal, Savari, Panjabi, Tappa. 4. Raga lakshanas of Bhairav, Shuddha Sarang, Peelu, Multhani, Sindura, Adanna, Jogiya, Hamsadhwani, Gandamalhara, Ragashree, Darbari, Kannada, Basanthi, Ahirbhairav, Todi etc., Alap, Swaravisthara, Sama Prakruthi, Ragas criticism, Gana samay - should be known. -
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. -
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. -
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 -
The Thaat-Ragas of North Indian Classical Music: the Basic Atempt to Perform Dr
The Thaat-Ragas of North Indian Classical Music: The Basic Atempt to Perform Dr. Sujata Roy Manna ABSTRACT Indian classical music is divided into two streams, Hindustani music and Carnatic music. Though the rules and regulations of the Indian Shastras provide both bindings and liberties for the musicians, one can use one’s innovations while performing. As the Indian music requires to be learnt under the guidance of Master or Guru, scriptural guidelines are never sufficient for a learner. Keywords: Raga, Thaat, Music, Performing, Alapa. There are two streams of Classical music of India – the Ragas are to be performed with the basic help the North Indian i.e., Hindustani music and the of their Thaats. Hence, we may compare the Thaats South Indian i.e., Carnatic music. The vast area of with the skeleton of creature, whereas the body Indian Classical music consists upon the foremost can be compared with the Raga. The names of the criterion – the origin of the Ragas, named the 10 (ten) Thaats of North Indian Classical Music Thaats. In the Carnatic system, there are 10 system i.e., Hindustani music are as follows: Thaats. Let us look upon the origin of the 10 Thaats Sl. Thaats Ragas as well as their Thaat-ragas (i.e., the Ragas named 01. Vilabal Vilabal, Alhaiya–Vilaval, Bihag, according to their origin). The Indian Shastras Durga, Deshkar, Shankara etc. 02. Kalyan Yaman, Bhupali, Hameer, Kedar, throw light on the rules and regulations, the nature Kamod etc. of Ragas, process of performing these, and the 03. Khamaj Khamaj, Desh, Tilakkamod, Tilang, liberty and bindings of the Ragas while Jayjayanti / Jayjayvanti etc. -
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. -
The Chandigarh Sangeet Natak
DEPARTMENT OF PUBLIC RELATIONS CHANDIGARH ADMINISTRATION Press Release Chandigarh, 15th Feb, 2016: The Chandigarh Sangeet Natak Akademi organized a Classical Vocal Music Concert by Eminent Agra Gharana Guru Pandit Yashpaul and virtuoso Kashish Mittal, a young bureaucrat under Guru Shishya tradition series as part of the on going CSNA Basant Utasav-2016 at the Tagore Theatre here today. Akademi Chairman Kamal Arora welcomed the Chief Guest Sh. Anurag Aggarwal, IAS, Secretary Home and Cultural Affairs, and Sh. Jitender Yadav IAS, Director Culture U.T, who honoured the artists. Amidst greetings by applause Pandit Yashpaul brilliantly supported by Sh. Kashish Mittal, IAS, opened up the concert with an elaborate alaap in non Tom format in an exposition of ‘Raga Puriya Kalyan’. The duo traversed in all there octaves with adroit mastery over voice culture. They presented a slow paced (Vilimbat) bandish ‘Par Karo Meri Naiyaa’ in ek taal before a captivating fast (Drut Laya) composition ‘Ghadiyaan Ginat Rahi’ The duo then presented two composition in Raag Kedar including The Madhya laya Punjabi bandish ‘Rehnda E Yaar Dill Vich’ and a Drut bandish ‘Kan Kunwar Albela’. Having established an instant rapport with the audience Pandit Yashpaul and Kashish Mittal presented another Punjabi Bandish ‘Tendri Yaad Satawae’ in Raga Kafi Kanra. ‘Kaliyaan Sang Kart Rang Raliyaan’ was a master piece by Pandit Ji and Kashish Mittal in Raag Bahar. The audience reciprocated the melodious presentation with claps. The duo reflected the fragrance of Basant Ritu in their next offering ‘Aai Basant Bahar’ in raga Basant Bahar. The concert melted into the fervor of the Basant with thrilling compositions ‘Fagva Bridge Dekhan Ko Chali’ and ‘Dolat Sab Naar’ in pure Raga basant. -
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 -
(Vocal & Instrumental) Faculty of Performing Arts the M. S
Implementation of Choice Based Credit System Department of Music (Vocal & Instrumental) Faculty of Performing Arts The M. S. University of Baroda (Appendix – A) A general framework for Master’s Program shall as follows. Level Semester – Wise credits Total Credits 1 2 3 4 Master’s program 24 24 24 24 96 The credit framework for the Core course shall be as follows. HOURS Course Credit % Marks Lecture + Practical Core Compulsory TheoryIPrinciples of Music I 03 03 + 00 30%+70% Core Compulsory Theory II Study of Ragas I 03 03 + 00 30%+70% Core Compulsory IIIHistory of Music I 03 03 + 00 30%+70% Core compulsory IV Dissertation I from Core Theory 02 02 + 00 30%+70% Prescribed Syllabus Core Compulsory Practical IIntensive Practical study of 05 02 + 05 30%+70% Ragas I Core Compulsory Practical IIPractical Tradition and 05 02 + 05 30%+70% composition of Ragas I Core Compulsory Practical III Stage Performance I 03 01 + 03 30%+70% Core Subject Total Credits 24 16 + 13 30%+70% 1 Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year 2018-19 The Maharaja Sayajirao University of Baroda Master of Performing Arts : Music (Vocal / Sitar / Violin) Post – Graduate Program Year 1 Core Compulsory-1 : Theory I Principle of Music I Credit 3 Semester 1 Section I Aesthetics of Music Hours 45 Section II Acoustics of Music Vocal / Sitar / Violin (Practical- 0 credit & Theory-3 credit= 3 credit) To introduce Concept of Shruti and its interpretations in ancient period OBJECTIVES To improve knowledge of student in Principles of Music To introduce of Indian & Western Music scales & Notation systems Unit-1 Section I Aesthetics of Music 12 hours The Ras – Sutra of Acharya Bharat Muni. -
Hindustani Music (Vocal/ Instrumental) Submitted to University Grants Commission New Delhi Under Choice Based Credit System
Appendix-XXXIII E.C. dated 03.07.2017/14-15.07.2017 (Page No. 353-393) Syllabus of B.A. (Prog.) Hindustani Music (Vocal/ Instrumental) Submitted to University Grants Commission New Delhi Under Choice Based Credit System CHOICE BASED CREDIT SYSTEM 2015 DEPARTMENT OF MUSIC FACULTY OF MUSIC & FINE ARTS UNIVERSITY OF DELHI DELHI-110007 1 353 Appendix-XXXIII CHOICE BASED CREDIT SYSTEM INE.C. B.A. dated PROGRAMME 03.07.2017/14-15.07.2017 HINDUSTANI MUSIC (VOCAL/INSTRUMENTAL)(Page No. 353-393) CORE COURSE Ability Skill Elective: Elective: Semester Enhancement Enhancement Discipline Generic (GE) Compulsory Course Course (SEC) Specific DSE (AECC) 1 English/MIL-1 (English/MIL Communication)/ Environmental DSC-1A Theory of Indian Science Music: Unit-1 Practical: Unit-2 II Theory of Indian Music General Environmental & Biographies Unit-I Science/(English/MI L Communication) Practical : Unit-II III Theory: Unit-1 Ancient SEC-1 Granthas & Contribution of musicologists Value based & Practical Practical : Unit-2 Oriented course for Hindustani Music (Vocal/Instrum ental) Credits-4 IV Theory : Unit-1 SEC-2 Medieval Granthas & Contribution of Musicians Value based & Practical Practical : Unit-2 Oriented course for Hindustani Music (Vocal/Instrum ental) Credits-4 V SEC-3 DSE-1A Theory: Generic Elective Value based & Vocal / -1 (Vocal/ Practical Instrumental Instrumental Oriented (Hindustani Music) course for Music) Credit-2 Credit-6 Hindustani Music DSE-2A (Vocal/Instrum Practical: ental) Vocal / Credits-4 Instrumental (Hindustani Music) Credit-4 VI SEC-4 DSE-1B Generic Elective Value based & Theory: -2 (Vocal/ Practical Vocal / Instrumental Oriented Instrumental Music) course for (Hindustani Credit-6 Hindustani Music) Credit-2 Music (Vocal/Instrum DSE-2B ental) Practical: Credits-4 Vocal / Instrumental (Hindustani Music) Credit-4 2 354 Appendix-XXXIII E.C. -
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. -
40 an Effect of Raga Therapy on Our Human Body
International Journal of Humanities and Social Science Research ISSN: 2455-2070 www.socialresearchjournals.com Volume 1; Issue 1; November 2015; Page No. 40-43 An effect of Raga Therapy on our human body 1 Joyanta Sarkar, 2 Utpal Biswas 1 Department of Instrumental Music, RabindraBharati University 2 Assistant Professor, Department of Music, Tripura University Abstract Now a days, music assumes a vital part in each human life. Because of overwhelming work weight, people listen music to relax. Music increases the metabolic activities within the human body. It accelerates the respiration, influences the internal secretion, improves the muscular activities and as such affects the "Central Nervous System” and Circulatory System of the listener and the performer. A Raga is the sequence of selected notes (swaras) that lend appropriate ‘mood’ or emotion in a selective combination. It’s a yoga system through the medium of sonorous sounds. Depending on its nature, a raga could induce or intensify joy or sorrow, violence or peace, and it is this quality which forms the basis for musical application. Keywords: Raga Therapy, human body Introduction Music therapy as a means to identify with cultural and spiritual identity Music therapy to assist memory and imagination. Etc The goals of Raga therapy are dependent upon the purpose of music therapy for each individual case. Drug and alcohol centers and schools may use music therapy and behavior changing may be an important goal (Sairam, 2004a) [3]. Whereas, nursing homes may use music therapy in more of a support role or to relieve pain. Autism, a neurological disorder that affects normal brain functioning is usually noticed within 30 months of age.