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Safeguarding the Intangible Cultural Heritage and Diverse Cultural Traditions of India”
Scheme for “Safeguarding the Intangible Cultural Heritage and Diverse Cultural Traditions of India” Form for National Inventory Register of Intangible Cultural Heritage of India A. Name of the State WEST BENGAL B. Name of the Element/Cultural Tradition (in English) BENA B.1. Name of the element in the language and script of the community Concerned, if applicable 뇍যানা (Bengali) C. Name of the communities, groups or, if applicable, individuals concerned (Identify clearly either of these concerned with the practice of the said element/cultural tradition) The Bena is traditionally used by two communities - the Rajbongshis and the Meities of Manipur. The Rajbongshis are spread across North Bengal, western Assam, Meghalaya and eastern parts of Bihar and the neighbouring countries of Bangladesh and Nepal. The Meiteis of Manipur have a similar instrument which they call the Pena and it plays a very important role in their culture - accompanying many of their rituals and their folk music. It continues to play a much larger role in their lives than the Bena does among the Rajbongshis. D. Geographical location and range of the element/cultural tradition (Please write about the other states in which the said element/tradition is present ) The Bena is to be found in the northern districts of Cooch Behar and Jalpaiguri (which has recently been bifurcated into Jalpaiguri and Alipurduar districts) in West Bengal, Assam, Meghalaya, Bihar and also neighbouring countries like Bangladesh and Nepal. The Bena is traditionally an integral part of a Rajbongshi folk theatre called Kushan. However the Kushan tradition prevails only in North Bengal, Bangladesh and Assam. -
Categorization of Stringed Instruments with Multifractal Detrended Fluctuation Analysis
CATEGORIZATION OF STRINGED INSTRUMENTS WITH MULTIFRACTAL DETRENDED FLUCTUATION ANALYSIS Archi Banerjee*, Shankha Sanyal, Tarit Guhathakurata, Ranjan Sengupta and Dipak Ghosh Sir C.V. Raman Centre for Physics and Music Jadavpur University, Kolkata: 700032 *[email protected] * Corresponding Author ABSTRACT Categorization is crucial for content description in archiving of music signals. On many occasions, human brain fails to classify the instruments properly just by listening to their sounds which is evident from the human response data collected during our experiment. Some previous attempts to categorize several musical instruments using various linear analysis methods required a number of parameters to be determined. In this work, we attempted to categorize a number of string instruments according to their mode of playing using latest-state-of-the-art robust non-linear methods. For this, 30 second sound signals of 26 different string instruments from all over the world were analyzed with the help of non linear multifractal analysis (MFDFA) technique. The spectral width obtained from the MFDFA method gives an estimate of the complexity of the signal. From the variation of spectral width, we observed distinct clustering among the string instruments according to their mode of playing. Also there is an indication that similarity in the structural configuration of the instruments is playing a major role in the clustering of their spectral width. The observations and implications are discussed in detail. Keywords: String Instruments, Categorization, Fractal Analysis, MFDFA, Spectral Width INTRODUCTION Classification is one of the processes involved in audio content description. Audio signals can be classified according to miscellaneous criteria viz. speech, music, sound effects (or noises). -
Music from the Beginning
Review Article iMedPub Journals 2015 Insights in Blood Pressure http://journals.imedpub.com Vol. 1 No. 1:2 ISSN 2471-9897 Music and its Effect on Body, Brain/Mind: Archi Banerjee, Shankha A Study on Indian Perspective by Neuro- Sanyal, Ranjan Sengupta, Dipak Ghosh physical Approach Sir CV Raman Centre for Physics and Music, Jadavpur University, Kolkata Keywords: Music Cognition, Music Therapy, Diabetes, Blood Pressure, Neurocognitive Benefits Corresponding author: Archi Banerjee Received: Sep 20, 2015, Accepted: Sep 22, 2015, Submitted:Sep 29, 2015 [email protected] Music from the Beginning Sir CV Raman Centre for Physics and Music, The singing of the birds, the sounds of the endless waves of the Jadavpur University, Kolkata 700032. sea, the magical sounds of drops of rain falling on a tin roof, the murmur of trees, songs, the beautiful sounds produced by Tel: +919038569341 strumming the strings of musical instruments–these are all music. Some are produced by nature while others are produced by man. Natural sounds existed before human beings appeared Citation: Banerjee A, Sanyal S, Sengupta R, on earth. Was it music then or was it just mere sounds? Without et al. Music and its Effect on Body, Brain/ an appreciative mind, these sounds are meaningless. So music Mind: A Study on Indian Perspective by has meaning and music needs a mind to appreciate it. Neuro-physical Approach. Insights Blood Press 2015, 1:1. Music therefore may be defined as a form of auditory communication between the producer and the receiver. There are other forms of auditory communication, like speech, but the past and Raman, Kar followed by Rossing and Sundberg later on, difference is that music is more universal and evokes emotion. -
Rikhi Ram Music Instrument Manufacturing Company
Rikhi Ram Music Instrument Manufacturing Company https://www.indiamart.com/rikhirammusicalinstruments/ Manufacturer of sarangi, dholak and teak wood sitar. About Us Indian instruments belong to a tradition dipped in antiquity. It dates back to the Veena of Saraswati, Bansuri of Krishna and Damru of Shiva, corresponding to modern classifications of musical instruments under string, wind & percussions respectively. The journey of 'Rikhi Ram Musical Instrument Mfg.Co' started with founder Late Pt. Rikhi Ram, who was a great musicians and one of the best known musical instrument maker. Pt. Rikhi Ram's father Pt. Gobind Ram was also a musician and had inclinations towards making musical instruments and so manufacturing of musical instruments started in the family 85 years ago. Pt. Rikhi Ram learnt sitar playing from eminent musician Abdul Harim Poonchwala. Late Pt. Bishan Dass followed in his father's footsteps and started learning sitar at a very tender age under the guidance and supervision of his father. Later, he became a disciple of world renowed sitar maestro Pt. Ravi Shankar. He also worked in the maintainance cell of A.I.R. During his tenor at A.I.R he got associated with great musicians like Ustad Allauddin Khan, Ustad Hafiz Ali Khan, Ustad Vilayat Khan, Pt.Ravi Shankar and many others. From these great Ustads Bishan learnt that the primal value of a good instrument was its tonal quality. They would often discuss these aspects of an instrument and give him useful hints. "This extra interest fired my imagination and aroused in me the urge to produce quality instruments for the maestros" says Late Pt. -
A History of Indian Music by the Same Author
68253 > OUP 880 5-8-74 10,000 . OSMANIA UNIVERSITY LIBRARY Call No.' poa U Accession No. Author'P OU H Title H; This bookok should bHeturned on or befoAbefoifc the marked * ^^k^t' below, nfro . ] A HISTORY OF INDIAN MUSIC BY THE SAME AUTHOR On Music : 1. Historical Development of Indian Music (Awarded the Rabindra Prize in 1960). 2. Bharatiya Sangiter Itihasa (Sanglta O Samskriti), Vols. I & II. (Awarded the Stisir Memorial Prize In 1958). 3. Raga O Rupa (Melody and Form), Vols. I & II. 4. Dhrupada-mala (with Notations). 5. Sangite Rabindranath. 6. Sangita-sarasamgraha by Ghanashyama Narahari (edited). 7. Historical Study of Indian Music ( ....in the press). On Philosophy : 1. Philosophy of Progress and Perfection. (A Comparative Study) 2. Philosophy of the World and the Absolute. 3. Abhedananda-darshana. 4. Tirtharenu. Other Books : 1. Mana O Manusha. 2. Sri Durga (An Iconographical Study). 3. Christ the Saviour. u PQ O o VM o Si < |o l "" c 13 o U 'ij 15 1 I "S S 4-> > >-J 3 'C (J o I A HISTORY OF INDIAN MUSIC' b SWAMI PRAJNANANANDA VOLUME ONE ( Ancient Period ) RAMAKRISHNA VEDANTA MATH CALCUTTA : INDIA. Published by Swaxni Adytaanda Ramakrishna Vedanta Math, Calcutta-6. First Published in May, 1963 All Rights Reserved by Ramakrishna Vedanta Math, Calcutta. Printed by Benoy Ratan Sinha at Bharati Printing Works, 141, Vivekananda Road, Calcutta-6. Plates printed by Messrs. Bengal Autotype Co. Private Ltd. Cornwallis Street, Calcutta. DEDICATED TO SWAMI VIVEKANANDA AND HIS SPIRITUAL BROTHER SWAMI ABHEDANANDA PREFACE Before attempting to write an elaborate history of Indian Music, I had a mind to write a concise one for the students. -
The Sarangi Family
THE SARANGI FAMILY 1. 1 Classification In the prestigious New Grove Dictionary of Music and Musicians. the sarangi is described as follows : "A bowed chordophone occurring in a number of forms in the Indian subcontinent. It has a waisted body, a wide neck without frets and is usually carved from a single block of wood; in addition to its three or four strings it has one or two sets of sympathetic strings. The sarangi originated as a folk instrument but has been used increasingly in classical music." 1 Whereas this entry consists of only a few lines. the violin family extends to 72 pages. lea ding one to conclude that a comprehensive study of the sarangi has been sorely lacking for a long time. A cryptic description like the one above reveals next to nothing about this major Indian bowed instrument which probably originated at the same time as the violin. It also ignores the fact that the sarangi family comprises the largest number of Indian stringed instruments. What kind of sarangi did the authors visualize when they wrote these lines? Was it the large classical sarangi or one of the many folk types? In which musical context are these instruments used. and how important is the sarangi player? How does one play the sarangi? Who were the famous masters and what did they contribute? Many such questions arise when one talks about the sarangi. A person frnm Romhav-assuminq he is familiar with the sarangi-may have a different 2 picture in mind than someone from Jodhpur or Srinagar. -
Indian Music Instruments Sarangi Sitar Sitar Is of the Most Popular Music
Indian Music Instruments Sarangi Sitar Sitar is of the most popular music instruments of North India. The Sitar has a long neck with twenty metal frets and six to seven main cords. Below the frets of Sitar are thirteen sympathetic strings which are tuned to the notes of the Raga. A gourd, which acts as a resonator for the strings is at the lower end of the neck of the Sitar. The frets are moved up and down to adjust the notes. Some famous Sitar players are Ustad Vilayat Khan, Pt. Ravishankar, Ustad Imrat Khan, Ustad Abdul Halim Zaffar Khan, Ustad Rais Khan and Pt Debu Chowdhury. Sarod Sarod has a small wooden body covered with skin and a fingerboard that is covered with steel. Sarod does not have a fret and has twenty-five strings of which fifteen are sympathetic strings. A metal gourd acts as a resonator. The strings are plucked with a triangular plectrum. Some notable exponents of Sarod are Ustad Ali Akbar Khan, Ustad Amjad Ali Khan, Pt. Buddhadev Das Gupta, Zarin Daruwalla and Brij Narayan. Sarangi Sarangi is one of the most popular and oldest bowed instruments in India. The body of Sarangi is hollow and made of teak wood adorned with ivory inlays. Sarangi has forty strings of which thirty seven are sympathetic. The Sarangi is held in a vertical position and played with a bow. To play the Sarangi one has to press the fingernails of the left hand against the strings. Famous Sarangi maestros are Rehman Bakhs, Pt Ram Narayan, Ghulam Sabir and Ustad Sultan Khan. -
Folk Instruments of Punjab
Folk Instruments of Punjab By Inderpreet Kaur Folk Instruments of Punjab Algoza Gharha Bugchu Kato Chimta Sapp Dilruba Gagar Dhadd Ektara Dhol Tumbi Khartal Sarangi Alghoza is a pair of woodwind instruments adopted by Punjabi, Sindhi, Kutchi, Rajasthani and Baloch folk musicians. It is also called Mattiyan ,Jōrhi, Pāwā Jōrhī, Do Nālī, Donāl, Girāw, Satārā or Nagōze. Bugchu (Punjabi: ਬੁਘਚੂ) is a traditional musical instrument native to the Punjab region. It is used in various cultural activities like folk music and folk dances such as bhangra, Malwai Giddha etc. It is a simple but unique instrument made of wood. Its shape is much similar to damru, an Indian musical instrument. Chimta (Punjabi: ਚਚਮਟਾ This instrument is often used in popular Punjabi folk songs, Bhangra music and the Sikh religious music known as Gurbani Kirtan. Dilruba (Punjabi: ਚਿਲਰੱਬਾ; It is a relatively young instrument, being only about 300 years old. The Dilruba (translated as robber of the heart) is found in North India, primarily Punjab, where it is used in Gurmat Sangeet and Hindustani classical music and in West Bengal. Dhadd (Punjabi: ਢੱਡ), also spelled as Dhad or Dhadh is an hourglass-shaped traditional musical instrument native to Punjab that is mainly used by the Dhadi singers. It is also used by other folk singers of the region Dhol (Hindi: ढोल, Punjabi: ਢੋਲ, can refer to any one of a number of similar types of double-headed drum widely used, with regional variations, throughout the Indian subcontinent. Its range of distribution in India, Bangladesh and Pakistan primarily includes northern areas such as the Punjab, Haryana, Delhi, Kashmir, Sindh, Assam Valley Gagar (Punjabi: ਗਾਗਰ, pronounced: gāger), a metal pitcher used to store water in earlier days, is also used as a musical instrument in number of Punjabi folk songs and dances. -
Musical Instruments of North India 5.1 Do You Know
Musical instruments of North India 5.1 Do you know Description Image Source Sarangi is the only instrument which comes in closest proximity to the human voice and therefore it is very popular among the singers as an accompanying instrument in hindustani classical music. Pakhawaj is the only percussion instrument to accompany the dhrupad style of singing. Bansuri or flute is a simple bamboo tube of a uniform bore. The primary function of tabla is to mentain the metric cycle in which the compositions are set. Tanpura is an instrumenused in both north and south Indian classical music. 5.2 Glossary Staring Related Term Definition Character Term Membranophones, instruments in which sound is A Avanadha produced by a membrane, stretched over an opening. B Bansuri A bamboo transverse flute of north India. D Dand The finger board. G Ghan Idiophones; percussion Instruments. A stringed musical instrument with a fretted finger board Guitar played by plucking or strumming with the fingers or a plectrum. H Harmonium A free reed aero phone which has a keyboard. K Khunti Tuning pegs. P Pakhawaj A percussion instrument used as an accompaniment. A large plucked string instrument used in R RudraVeena HindustaniClassical music. Aero phones, wind instruments in which sound is S Sushir produced by the vibration of air. A plucked string instrument used in HindustaniClassical Sitar music. A stringed musical instrument used in Sarod HindustaniClassical music. A trapezoid shaped string musical instrument played with Santoor two wooden sticks. A bowing stringed instrument used in Sarangi HindustaniClassical music. A wind instrument particularly played on auspicious Shehnai occasions like weddings. -
Music Theory
International Journal of English Learning and Teaching Skills; Vol. 1, No. 4; ISSN : 2639-7412 (Print) ISSN : 2638-5546 (Online) MUSIC THEORY Ananya Chakraborty B.Tech Second year, Department of CSE Hrithik Lall Sreyashi Biswas B.Tech Second year, Department of IT Institute of Engineering & Management, Kolkata Abstract : It is only on the higher level of abstraction and generalization that the two human branches of acoustic communication, speech and music are separated from each other. Speech is primarily adjusted to the conceptual-verbal symbols and representation of an objectified, static world. In the linguistic communication the main role is played by the elements of noise, the consonants. It has never been doubted that music is a kind of communication, the mediator of human relationships, but it has been a question what music wants to express. Since the Pythagoreans, some believe to find the key to interpreting its message in the common quantifiable nature of the musical medium and the cosmos. Another historical tradition considered music as the direct expression of human emotions. Representants of the doctrine of imitation derived music from the intonation of speech and the text seems for many to be a support to "understand" music. Music separated from the primary source of sound phenomena and their direct sensual effect constructed a specific communication system. It possesses an inestimable potential richness of discrete pitches and times, colours and sound intensity. The infinite potentials of successive and simultaneous combinations are suitable for erecting the audible, dynamic models of human relations and types of behavior, internal events and interactions, different situations. -
Evolution and Assessment of South Asian Folk Music: a Study of Social and Religious Perspective
British Journal of Arts and Humanities, 2(3), 60-72, 2020 Publisher homepage: www.universepg.com, ISSN: 2663-7782 (Online) & 2663-7774 (Print) https://doi.org/10.34104/bjah.020060072 British Journal of Arts and Humanities Journal homepage: www.universepg.com/journal/bjah Evolution and Assessment of South Asian Folk Music: A Study of Social and Religious Perspective Ruksana Karim* Department of Music, Faculty of Arts, Jagannath University, Dhaka, Bangladesh. *Correspondence: [email protected] (Ruksana Karim, Lecturer, Department of Music, Jagannath University, Dhaka, Bangladesh) ABSTRACT This paper describes how South Asian folk music figured out from the ancient era and people discovered its individual form after ages. South Asia has too many colorful nations and they owned different culture from the very beginning. Folk music is like a treasure of South Asian culture. According to history, South Asian people established themselves here as a nation (Arya) before five thousand years from today and started to live with native people. So a perfect mixture of two ancient nations and their culture produced a new South Asia. This paper explores the massive changes that happened to South Asian folk music which creates several ways to correspond to their root and how they are different from each other. After many natural disasters and political changes, South Asian people faced many socio-economic conditions but there was the only way to share their feelings. They articulated their sorrows, happiness, wishes, prayers, and love with music, celebrated social and religious festivals all the way through music. As a result, bunches of folk music are being created with different lyric and tune in every corner of South Asia. -
Orissa High Court Filing Report As on :20/12/2019
ORISSA HIGH COURT FILING REPORT AS ON :20/12/2019 SL FILING NO NAME OF PETNR./APPEL COUNSEL FOR PETNR./APPEL PS CASE/LOWER COURT CASE/DISTRICT 1 ARBA/0000038/2019 FORUM PROJECTS PVT. LTD. AMIT PRASAD BOSE / / VS VS () BERHAMPUR DEVELOPMENT AUTHORITY // 2 BLAPL/0011046/2019 DHANU @ DHANESWAR PURTY B.N.MAHAPATRA ROURKELA GRPS. /72 /2018 VS VS () STATE OF ODISHA // 3 BLAPL/0011047/2019 SAROJ KUMAR DASH ARIJEET MISHRA JEYPORE MAHILA /61 /2019 VS VS () STATE OF ODISHA // 4 BLAPL/0011048/2019 KASHINATH MAHANTA L.BHUYAN TELKOI /182 /2018 VS VS () STATE OF ODISHA // 5 BLAPL/0011049/2019 KORADA BALAJI KRISHNA @ K.BALAJI KRISHNAMANORANJAN PADHY NANDAPUR /76 /2016 VS VS () STATE OF ODISHA // 6 BLAPL/0011050/2019 BIBHUTI BHUSAN MALLICK S.C.ACHARYA KUJANGA /199 /2019 VS VS () STATE OF ODISHA // 7 BLAPL/0011051/2019 AFTAB ALAM KHAN SUBHASHIS MISHRA BHUBANESWAR VIGILANCE /64 /2019 VS VS () STATE OF ODISHA, VIG. // 8 BLAPL/0011052/2019 RUPENDRA BEHERA JYOTIRMAYA SAHOO / /0 VS VS () STATE OF ODISHA // 9 BLAPL/0011053/2019 GOPABANDHU SUNA SURYAKANTA DWIBEDI JHARBANDH /74 /2018 VS VS () STATE OF ODISHA // 10 BLAPL/0011054/2019 MD.INZEMAM @ ROCKY PARTHA SARATHI NAYAK COLLIERY /418 /2019 VS VS () STATE OF ODISHA // 11 BLAPL/0011055/2019 BELIA@ SUSANTA KUMAR MAJHI JITENDRA SAMANTARAY KHURDA P.S. /264 /2018 VS VS () STATE OF ODISHA // Page 1/63 ORISSA HIGH COURT FILING REPORT AS ON :20/12/2019 SL FILING NO NAME OF PETNR./APPEL COUNSEL FOR PETNR./APPEL PS CASE/LOWER COURT CASE/DISTRICT 12 BLAPL/0011056/2019 BIJAY KUMAR MALLIK AMULYA RATNA PANDA MANGALPUR /365