DOCSLIB.ORG

Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bibliography BIBLIOGRAPHY Books and Publications Author's Name Year A Guide to Musical Acoustics H. Lowery English Published by Dobson Books Ltd. London A Historical Study of Indian Music Pragnanananda, English Munshiram Manoharlal Publishers Private Swami 1981 Ltd., 54 Rani Jhansi Road, New Delhi 110055 A Short historical survey of the Music of Pt. V. N. Bhatkhande English upper India. Tr. By 1985 Baroda, Indian Musicological Society Dr. Arun Kumar Sen A Text Book of Botany Dr. V. Singh English Rastogi Publication, Shivaji road, Meerut A Text Book of Sound R. L. Saihgal English S. Chand & co., Delhi, New Delhi, Jullundar, Lucknow, Bombay A Text Book of Sound D. R. Khanna & English Atma Ram and Sons, Kashmiri Gate, Delhi R. S. Bedi 1980 A Text Book of Sound M. N. Srinivasan English Himalaya Publishing House, Ramdoot Dr. 1991 Bhallerao Marg, Gorgaon, Bombay Acoustics Leo L. Beranek English McGraw-Hill Book Company, Inc. New York, 1954 Toronto, London, Acoustics for Music Students, Madras C. S. Ayyar English Published by C. S. Ayyar, 46, Edward Elliots 1959 Road, Madras - 4, (India) Acoustics of Buildings F. R. Watson English New York, John Wiley & Sons, Inc. 1948 London: Chapman & Hall. Ltd. Bibliography 419 Acoustics of Buildings including acoustics of Watson Floyd Rowe English auditoriums and sound proofing of room 1948 Acoustics of Music Wilmer T. English New York, Prentice-hall, Inc., 70,5th Avenue Bartholomew 1950 Acoustics Wave and Oscillations S. N. Sen English Willey Eastern Ltd. 4834/24, Ansari Road, 1990 Dariya Ganj, New Delhi -110002 Aine Akbari Abul Fazal ; English English Translated by Francis Gladwin, Tr. Francis Gladwin 1783 London , ;• ; An Introduction to Music David D, Boyden English Faber and Faber limited, 24 Russell Square, 1956 London An Objective Psychology of Music ; Robert W. Lundin English The Ronald Press Company, New York 1967 Anaddha Pt. Shankar Ghosh. Bengali Nath Brothers, 9B Shyamacharan Dey ; : ; ■ 2002 Street, Kolkata-700073 Aspects of Science, : Sir CV Raman English Nalanda publications, Bombai-1 Austachbap fee Vadya Yantra ■ Chunnilal : Hindi Akhil Bharatiya,Braja Sahitya Mandat, 1956 Mathura 1 Bastu Shilpache Dhani Sanyojan Pethe Gobinda Marathi Vishnu i : Bharat Ka Sangeet-Siddhant Kailaschandradev Hindi Prakashan Shakha, Suchana Vibhag, U.P. Brihaspati 1951 Bharatiya Sangeet Kaltihas BhagYatSharan Hindi Sangeet Karyalaya, Hathras - 204101 Sharma I 2001 Bharatiya Sangeet Ka ltihas Dr. ThakurJaydev Hindi Sangeet Research Akademy, 1 Netaji Singh 1994 Subhash Chandra Bose Road, Calcutta- 700040 ! : Bibliography 420 Bharatiya Sangeet Ka Itihas S.S. Paranjape Hindi Varansi, Chaukhamba 1969 Bharatiya Sangeet Ka Itihas Shri Umesh Joshi Hindi Mansarobar Prakashan Pratisthan, 1957 Firojabad, U.P. Bharatiya Sangeet Mein Taal Aur Rup- Dr. Subhadra Hindi Vidhan, Krishna Brothers, Mahatma Gandhi Chaudhry 1984 Road, Ajmer-305001 ; Bharatiya Sangeet Mein Vadyavrinda Vikramaditya Sinha Hindi Nigam Bharatiya Sangeet Shastrau Me Vadyoun j Dr.AnjanaBhargav Hindi Ka Chintan, Kaniska Publishers, Distributors, 4697/5-21A, Ansari Road, Dariyaganj, New Delhi-110002 j Bharatiya Sangeet Vadya Dr. Lalmani Mishra Hindi Bharatiya Jnanpith Prakashan, B/45-47, 1973 Connaught Place, New Delhi-110001 Bharatiya Sangeet Vaignanic Vishleshion Dr. Swatantra Hindi Pratibha Prakashan, 29/5 Shakti Nagar, Sharma 1996 Delhi-110007 Bharatiya Sangeeter Itihas Prajnanananda Bengali Vol-1,2&3, Shri Ramkrisna Vedanta Math] Swami 1987 19B Raja Rajkrisna Street, Kolkata-70006 - ' ' Bharatiya Soundarjyashastra Ka Tatvik Ramlakhan Shukla Hindi Vivechan 1978 National Publishing House 23, Dariyagunj, New Delhi -110002 Bharatiya Taalon Ka Shastriya Vivevhan Dr. Arun Kumar Sen Hindi Publisher: Madhya Prddesh Hindi Granth 1973/ Academy, Bhqpal 1989 Bharatiya Vadya Tr. M. K. Pardhi Hindi Bharatiya Vadyacha Itihas Tareikar G. Marathi Govind Yashawant Rane, G.Y. RAne 1973 Prakashan Tilak Road, Poona - 411030 \ ■ i Bibliography 421 C V Raman Memorial Lecture 1948- 3rd : IIS, Bangalore English March 78 Claassical Musical Instruments ; Dr. Suneera Kasliwal English Rupa 8c Co., 7/16 Ansari road, daryaganj, 2001 New Delhi -110002 Common Trees Dr. H. Santapau English National Book Trust, New Delhi, India 't Dhani Aur Sangeet Prof. Lalitkishor, Hindi Bharatiya Jnanpith Prakashan, B/45-47, Sinha Connaught Place, New Delhi-110001 Dhvani, Nature and Culture of Sound S. C. Malik, Edited English Papers, Indira Gandhi National Centre for 1999 the Arts, New Delhi Experimental Music, Composition with an Hiller Lejaren AJ English Electronic Computer 1959 t Hand Book of Horticulture Anonymous; ; English ICAR, New Delhi Handbuch der Physik, (English Translationst Sir CV Raman , English Verlag Von Julius Springer Ltd, Berlin 1927 ■i * 11 ! Heritage] of Musical Instruments Dr. Swarnakamal English The Department of Museums, Gujarat Bhowmik& Dr.! 1990 State, India MudrikaJani Hill's Economic Botany Lt. Dr. Albert F Hill English Tata McGraw-Hill Publishing Company 1996 Limited, New Delhi ; Hindu Music, S. M. Tagore 1 English The Chowkhamba Sanskrit Series Office, 1965 Gopal Mandir Lane, Varannasi -1 ■ i Hindustani Music- A Outline of its Physics G. H. Ranade English and Aesthetics, Publish by G. H. Ranade, at 1951 Shri Krishna Sadan,. 72/C, Narayan Peth, Poona-2 Bibliography 422 Historical Development of Indian music, Prajnanananda English 257B, Bipin Bihari Ganguli Street, kolkata Swami 1973 How to play on Tabla, j Ram Avter Vir English Pankaj Publications, New Delhi I Indian Classical Music j Prof. Sunil Bose English Vikas Publishing House Pvt. Ltd., 576 Masjicf 1990 road, Jangpura, New Delhi-110014 Indian Concept of Rhythm Arun Kumar Sen English Kanishka Publishers, Distributors, 9/2325, j ! 1994 Kailash Nagar, Delhi-110031 Indian Music B.C.Deva English Published by Secretary, Indian Council for 1974 Cultural Relations, Azad Bhavan, New Delhi Introduction to Musicology j Glen Haydon English Prentice-Hall, Inc. I 1954 j Journey into Light, Life and Science of C. V. G. Venka Taraman English Raman, Indian Academy of Sciences, •! Bangalore !• ' ’j : ' ■ 3 Kaida Aur Peshkar Satyanarayan j Hindi Sangeet Kariyalaya; Hathras-204101, U.P. Vashishtha 1991 i ; ‘ i. Kathak Nritya ; Laxmi Narayan Garg Hindi ! 1; Sangeet Kariyataya, Hathras-204101, U.P. 1960 Kathak Nritya Ke Sath Tabla Sangati Dr.Nageswar Lai Hindi Kaniska Publishers, 'Distributors, 4697/5- Karn 2001 21A, Ansari Road, Dtariyaganj, New Delhi- 110002 Khusro Tansen Tatha Anya Kalakar Achariya Brihaspati Hindi Rajkamal Prakashan Pvt. Ltd ' 1976 8, Netajee Subhash Marg, New Delhi, Kundarkam Shridharsharmqna Sanskrit Publisher Pandurang Jawaji 26-28, Kolbhat 1936 Lane, Bombay. Bibliography 423 Learn to Play on Bongos Congos with Bols I Ram Avtar Vir English of Tabla, Pankaj Publication, New Delhi Madnul Musiki \ Hakim Muhammad Urdu Hindustani Press, Lucknow Karam Imam 1925 Melody Music of India, How to learn it, Rao Bahadur English Sangeethashram Kadri Hill, Manglore-4 \ Adyanyhaya N. M. 1965 Mridang - Tabla Vadan Subodh Guruji Gobindarao Hindi Mridang Sagar Ghanshyam Hindi Shreenathdwara - Mevad Pakhawaji 1968 Mridang Tabla Vadan Paddhyati Dattatroy Vasudev Hindi Sangeet Natak Academy, New Delhi UrfGurudev Patvardhan Mridang Vadan - Nathduara Parampara Purusottam }■'Das , Hindi Sangeet Natak Academy, Ravindra Bhavan, 1983 New Delhi Mridangam, An Indian Classical Percussion Sreejayanthi Gopal , English ii: ■ • ■ Drum, B. R. Rhythms,,425, Nimri Colony, : 2004 Ashok Vihar, Phase-IV, Delhi-110052 Mridahg-Tabla Prabhakar, Vol-1 & 2 Bhagavan Dps1:., Hindi Sangeet Kariyalaya, Hathras, U.P. : 1976 . Mrudang - Tabla Vadan Paddhati, Lt. Datatraya ; English Sangeet Natak Academy, Ravindra Bhavan, Vasudev, 1982 Firojshah Road, Newpelhi-110001 ! ! . Murakkaya Dehli Dargah Kuli Khan Farsi Publisher Urdu Dept: Delhi University, Delhi 1981 Musalman Aur Bharatiya Sangeet Achariya Brihaspati Hindi Rajkamal Prakashan Pvt. Ltd., 8 Netaji 1974 Subhash Marg, DelhiL110006 ! ' , , Music: Intercultdral Aspects - A Collection Edited by English of Essays, Indian Musicological Society, S. A. K. Durga '■ Mumbai & Baroda Music and Sound LI. S. Lloyd, C.B., English Oxford University Press, Amen House, M.A. 1951 Bibliography 424 London E.C.4 Music as Speech, An EthnomusicolinguiStic Anoop Chandola English Study of India 1988 Navrang, New Delhi Music of the Nations \ Prajnanananda English Munshiram Manoharlal Publishers Pvt. Ltd. i Swami 1973 Music Through the Ages. ■ • Premlata Sharma English Sandeep Prakashan, C-2/9 Community 1985 Centre, Ashok Vihar, Phase-11, Delhi Music, Acoustics and Architecture Beranek Leo Leroy English John Wiley & Sons, Inc. New York, London ’ : 1962 Music, Physics and Engineering j Harry F. Olson English Dover Publications, Inc., New York ' ■: : Musical Acoustics \ Culver Charts A. English McGraw-Hill, New York, U.S.A. 1956 Musical Acoustics, An introduction Donald E Hall English Musical Engineering - An Engineering. ■ Harry F. Olson English Treatment of the Inter Related Subjects of E. E., Ph.D. 1952 Speech, McGraw-Hill Book Co, Inc., New York, Toronto, London i i ' « \ \ ! *' , 1 Musical Instrument of India, There History I B. Chaitanya Deva ; , English And Development; ; : ] i1987 Firma KLM Private Limited, 257B, B.B. Ganguly Street, Calcutta - 700012 i Musical Instruments : B. C. Deva English National Book Trust, A-5, Green Park, New 1993 Delhi-110016 Musical Instruments of India, S. Krishna Swami English Pub. Division, Ministry of Information & Broadcasting, Govt, of India Musical instruments of Tribal India. Dilip Bhattacharya
Load more

Recommended publications
  • The Music Academy, Madras 115-E, Mowbray’S Road
    Tyagaraja Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XXXIX 1968 Parts MV srri erarfa i “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada l ” EDITBD BY V. RAGHAVAN, M.A., p h .d . 1968 THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription—Inland Rs. 4. Foreign 8 sh. iI i & ADVERTISEMENT CHARGES ►j COVER PAGES: Full Page Half Page Back (outside) Rs. 25 Rs. 13 Front (inside) 20 11 Back (Do.) „ 30 „ 16 INSIDE PAGES: 1st page (after cover) „ 18 „ io Other pages (each) „ 15 „ 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special positions and special rates on application. e iX NOTICE All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal Of the Music Academy, Madras-14. « Articles on subjects of music and dance are accepted for mblication on the understanding that they are contributed solely o the Journal of the Music Academy. All manuscripts should be legibly written or preferably type­ written (double spaced—on one side of the paper only) and should >e signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan Editor. Pages.
    [Show full text]
  • 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]
  • Cholland Masters Thesis Final Draft
    Copyright By Christopher Paul Holland 2010 The Thesis committee for Christopher Paul Holland Certifies that this is the approved version of the following thesis: Rethinking Qawwali: Perspectives of Sufism, Music, and Devotion in North India APPROVED BY SUPERVISING COMMITTEE: Supervisor: __________________________________ Syed Akbar Hyder ___________________________________ Gail Minault Rethinking Qawwali: Perspectives of Sufism, Music, and Devotion in North India by Christopher Paul Holland B.A. Thesis Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2010 Rethinking Qawwali: Perspectives of Sufism, Music, and Devotion in North India by Christopher Paul Holland, M.A. The University of Texas at Austin, 2010 SUPERVISOR: Syed Akbar Hyder Scholarship has tended to focus exclusively on connections of Qawwali, a north Indian devotional practice and musical genre, to religious practice. A focus on the religious degree of the occasion inadequately represents the participant’s active experience and has hindered the discussion of Qawwali in modern practice. Through the examples of Nusrat Fateh Ali Khan’s music and an insightful BBC radio article on gender inequality this thesis explores the fluid musical exchanges of information with other styles of Qawwali performances, and the unchanging nature of an oral tradition that maintains sociopolitical hierarchies and gender relations in Sufi shrine culture. Perceptions of history within shrine culture blend together with social and theological developments, long-standing interactions with society outside of the shrine environment, and an exclusion of the female body in rituals.
    [Show full text]
  • MRIDANGA SYLLABUS for MA (CBCS) Effective from 2014-15
    BANGALORE UNIVERSITY P.G. DEPARTMENT OF PERFORMING ARTS JNANABHARATHI, BANGALORE-560056 MRIDANGA SYLLABUS FOR M.A (CBCS) Effective from 2014-15 Dr. B.M. Jayashree. Professor of Music Chairperson, BOS (PG) M.A. MRIDANGA Semester scheme syllabus CBCS Scheme of Examination, continuous Evaluation and other Requirements: 1. ELIGIBILITY: A Degree music with Mridanga as one of the optional subject with at least 50% in the concerned optional subject an merit internal among these applicant Of A Graduate with minimum of 50% marks secured in the senior grade examination of Mridanga conducted by secondary education board of Karnataka OR a graduate with a minimum of 50% marks secured in PG Diploma or 2 years diploma or 4 year certificate course in Mridanga conducted either by any recognized Universities of any state out side Karnataka or central institution/Universities Any degree with: a) Any certificate course in Mridanga b) All India Radio/Doordarshan gradation c) Any diploma in Mridanga or five years of learning certificate by any veteran musician d) Entrance test (practical) is compulsory for admission. 2. M.A. Mridanga course consists of four semesters. 3. First semester will have three theory paper (core), three practical papers (core) and one practical paper (soft core). 4. Second semester will have three theory papers (core), three practical papers (core), one is project work/Dissertation practical paper and one is practical paper (soft core) 5. Third semester will have two theory papers (core), three practical papers (core) and one is open Elective Practical paper 6. Fourth semester will have two theory Papers (core) two practical papers (core), one project work and one is Elective paper.
    [Show full text]
  • The West Bengal College Service Commission State
    THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics.
    [Show full text]
  • Sreenivasarao's Blogs HOME ABOUT THIS WORDPRESS.COM SITE IS the BEE's KNEES
    sreenivasarao's blogs HOME ABOUT THIS WORDPRESS.COM SITE IS THE BEE'S KNEES ← Music of India – a brief outline – Part fifteen Music of India – a brief outline – Part Seventeen → Music of India – a brief outline – Part sixteen Continued from Part Fifteen – Lakshana Granthas– Continued Part Sixteen (of 22 ) – Lakshana Granthas – Continued Pages 8. Sangita-ratnakara by Sarangadeva About Archives January 2016 October 2015 September 2015 August 2015 July 2015 June 2015 May 2015 April 2015 February 2015 January 2014 December 2013 Sarangadeva’s Sangita-ratnakara (first half of 13th century) is of particular importance, because it was written November 2013 just before influence of the Muslim conquest began to assert itself on Indian culture. The Music discussed in Sangita-ratnakara is free from Persian influence. Sangita-ratnakara therefore marks the stage at which the October 2013 ‘integrated’ Music of India was before it branched into North-South Music traditions. October 2012 It is clear that by the time of Sarangadeva, the Music of India had moved far away from Marga or Gandharva, as September 2012 also from the system based on Jatis (class of melodies) and two parent scales. By his time, many new August 2012 conventions had entered into the main stream; and the concept of Ragas that had taken firm roots was wielding considerable authority. Sarangadeva brought together various strands of the past music traditions, defined almost 267 Ragas, established a sound theoretical basis for music and provided a model for the later Categories musicology (Samgita Shastra). Abhinavagupta (3) Sarangadeva’s emphasis was on the ever changing nature of music, the expanding role of regional (Desi) Agama (6) influences on it, and the increasing complexity of musical material that needed to be systemised time and again.
    [Show full text]
  • Ailkura Atiga Atigahara Agratalasaficara Agrapluta Aficita
    GLOSSARY OF SELECTED TECHNICAL TERMS A ailkura pantomiming through gestures atiga major limb, feature; a feature of degIllisya (q.v.) atigahara sequence of dance units; a feature of degillisya (q.v.) agratalasaficara a foot movement agrapluta a degI (q.v.) can (q.v.) aficita a neck movement; an arm movement; a foot movement; a karlll]a (q.v.); an utplutikarafia (q.v.) aficitabhramarI a whirling movement afijana a hand gesture a<;l~ a tlila (q.v.) a<;l<;litli a bhiimican (q.v.) a<;l~talaJl!1Ya a bandha (q.v.) dance adrutlilanrtya same as above anatiga a feature of degIllisya (q.v.) anibaddha loosely constructed in comparison to nibaddha (q.v.)(as applied to a song) anibandha freer composition in comparison to rigidly structured (as applied to a dance) anibandhanrtta a pure dance with scope for improvisation anibandhanrtya a mimetic dance with scope for improvisation anIld a feature of degIllisya (q.v.) anurnlina a feature of degillisya (q.v.) antarlilaga an utplutikarar:ta (q.v.) apasara exit; dance interludes in a play 261 262 GLOSSARY abbinaya acting, mimingj a feature of degiIasya (q.v.) ardhakuiicita a degi~\1ava (q.v.) ardhanikunaka a karatta or dance unit ardhacandra a single-hand gesture ardhasiici a karatta or dance unit aIarnkaragastra the manual on poetics alapallava a single-hand gesture alapadma a single-hand gesture avammasandhi a technical feature of drama avahittha a margasthina or a standing posture of traditional variety uvakrinta a margasthina or a standing posture of traditional variety alaga a leaping movement alita
    [Show full text]
  • Number of Ph.D.S Awarded Per Teacher During the Last Five Years
    Number of Ph.D.s awarded per teacher during the last five years Year of registratio Year of Name of the Name of the n of the award of PhD scholar Department Name of the guide/s Title of the thesis scholar PhD Prof. Suneera Himanchal pradesh ki sangeet jivi jatiyan itihaas vartaman istithi tatha bhavishya Om Sharma Music Kasliwal ek aadhyayan 2009 2013 Prof. Suneera Kolkata main Nirmit sarikayukta tantri vadyo ka vashistya evam vadya nirmatao Manish Mamgai Music Kasliwal ka yogdan 2009 2014 Prof. Suneera Ragdari Sangeet Main Prayukt hone vale panjab ke paramparagat Vadya va unke Pawan Kumar Music Kasliwal pramukh Kalakar Ek aadhyayan 2009 2013 Prof. Suneera Aadhyunik Yug main nirmit pramukh prayogatmak swar Vadya Uttar Bharatiya Jasbeer Music Kasliwal Shashtriya Sangeet ke Vishesh Sandarbh Main 2012 2016 Prof. Suneera Life and Works of Naushad a Study and use of His Classical music in hindi films Radha Tyagi Music Kasliwal 1937 2005 2011 2016 Prof. Suneera Shashtriya sangeet ke vikas main sameelano ki bhoomika Delhi prant ke vishesh Sukhpreet Singh Music Kasliwal sandarbh main 2011 2015 Prof. Suneera Aadhunik Yug Main Swarlipi paddhati ke badalte Swaroop ek Vishleshanatmak Neha Sharma Music Kasliwal Aadhyayan 2012 2016 Prof. Suneera Pandit Vishnu Digambar Paluskar Evam Sansthagat sangeet shikshan prampara ek Bharat Bhushan Music Kasliwal vishleshanatmak aadhyayan 2012 2016 Prof. Suneera Ragdari Sangeet Main Pandit Vishnu Digambar Paluskar Dwara Bhakti Rachnao ka Vineet Goswami Music Kasliwal Prayog Aadhyayan Evam Abhilekhan 2012 2016 Prof. Anupam Madhyakal se vartaman samay tak sitar vvadan ke paramparagat bolo main Anuja Jha Music Mahajan parivartan evam parivardhan 2011 2015 Prof.
    [Show full text]
  • OAC Members Page 1 Name Profile Address Location Country School
    OAC Members Name Profile Address Location Country School/Organization/Current anthropological attachment Website Erik Cohen http://openanthcoop.ning.com/xn/detail/u_0q3436294e00n Bangkok Thailand Hebrew University of Jerusalem Israel (Emeritus) - Liviu Chelcea http://openanthcoop.ning.com/xn/detail/u_13fm1mp3j3ec0 Romania economic anth, kinship - Fiza Ishaq http://openanthcoop.ning.com/xn/detail/u_257csvwenh01d Bangalore, Karnataka India -- -- Budi Puspa Priadi http://openanthcoop.ning.com/xn/detail/u_2chvjykjv4cz8 Yogyakarta Indonesia Gadjah Mada University ---- E. Paul Durrenberger http://openanthcoop.ning.com/xn/detail/u_3l4ha53wqxfjt United States Penn State //www.personal.psu.edu/faculty/e/p/epd2/ Joe Long http://openanthcoop.ning.com/xn/detail/u_0b6vedfu8to4e Aberdeen United Kingdom University of Aberdeen /www.abdn.ac.uk/anthropology/postgrad/details.php?id=anp037 Louise de la Gorgendiere http://openanthcoop.ning.com/xn/detail/u_1w9frbg5i32ep Ottawa Canada Carleton University, Ottawa, Canada /www.carleton.ca/socanth/faculty/gorgendiere.html Sebnem Ugural http://openanthcoop.ning.com/xn/detail/u_0h8qc5txfeu01 london United Kingdom University of Essex /www.seb-nem.com/ millo mamung http://openanthcoop.ning.com/xn/detail/u_0cs1x9hd3jmlk arunachal pradesh India rajiv gandhi university @yahoo.com Mangi Lal Purohit http://openanthcoop.ning.com/xn/detail/u_0r5sad7imypae Rajasthan India Aakar Trust aakartrust.org Hakan Ergül http://openanthcoop.ning.com/xn/detail/u_2o9ookbjyxvcv Turkey Anadolu University academy.anadolu.edu.tr/xdisplayx.asp?kod=0&acc=hkergul
    [Show full text]
  • 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.
    [Show full text]
  • MUSIC Hindustani
    The Maharaja Sayajirao University of Baroda, Vadodara Ph. D Entrance Tet (PET) SYLLABUS Subject: MUSIC PET ExamCode : 21 Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music -1- Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. -2- Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics.
    [Show full text]
  • Sushira Vadya and the Development of Flute in Music
    IF : 4.547 | IC Value 80.26 VolumVOLeUME-6, : 3 | Issu ISSUE-7,e : 11 | N ovembJULY-2017er 2014 • ISSN • ISSN No N 2277o 2277 - 8160- 8179 Original Research Paper Arts SUSHIRA VADYA AND THE DEVELOPMENT OF FLUTE IN MUSIC Jabahar Mishra Lecturer In Flute Department, Utkal University Of Culture, Bhubaneswar, Odisha ABSTRACT Wind instruments exhibit great diversity in structure and sonority and have been prominent in the music of all cultures since prehistoric times. A system of classication of these instruments must reect and categorize the relationships and the differences between the many varieties. The conventional division of the symphony orchestra into sections has simplied the grouping of wind instruments into woodwinds and brasses, but this is an inaccurate classication that generally does not apply outside Western culture. The fact that some modern woodwinds, such as utes and saxophones, are made of metal whereas several ancestors of present-day brasses, such as the cornet and the serpent, were typically made of wood illustrates the unsuitability of a classica- tion according to material. The most ancient and widespread Sushira Vadya (wind instrument) is the ute. The oldest mention is in the Veda-s wherein it is called Venu and Nadi. KEYWORDS : SUSHIRA, VADYA, MUSIC, FLUTE, INSTRUMENT One very popular belief is that the creation of the rst Sushira Vadya the percussion instruments (Avanaddha Vadya). This mode of might have been suggested to man by the wind whistling through classication even survives today despite the introduction of newer holes in bamboos in the glades. This, while a common occurrence in musical instruments into the eld.
    [Show full text]