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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. -
Mukherji-Handout-0056.Pdf
Rāga as Scale 42nd Annual Conference of the Society for Music Theory November 7, 2019 Columbus OH USA Sam Mukherji University of Michigan, Ann Arbor ([email protected]) 2 Example 1. Two theorists of North Indian classical music Vishnu Narayan Bhatkhande (1860–1936) Omkarnath Thakur (1897–1967) 3 phrases (1 and 3 performed by Amjad Ali Khan, 2 and 4 performed by Buddhadev Das Gupta) Ali2 and by Khan, (1 and Amjad 4 performed 3 performed phrases rāga Example 2. Four Example 2. Four 4 Example 3. Bhatkhande’s list of ten tḥāṭs, from his Hindustānī Sangīta Paddhatī (1909-32) Tḥāṭ Scale structure (centered on C) Western equivalent Pūrvī C Db Eb F# G Ab Bb C Mārvā C Db Eb F# G Ab Bb C Kalyān Lydian C Db Eb F# G Ab Bb C Bilāval Major, or Ionian C Db Eb F# G Ab Bb C Khamāj Mixolydian C Db Eb F# G Ab Bb C Kāfi Dorian C Db Eb F# G Ab Bb C Āsāvari Natural minor, or Aeolian C Db Eb F# G Ab Bb C Bhairavī Phrygian C Db Eb F# G Ab Bb C Bhairav C Db Eb F# G Ab Bb C Tōdī C Db Eb F# G Ab Bb C Example 4. Thakur’s list of six pedagogical rāgas, from his Sangītānjalī (1938-62) Name Rāga scale (centered on C) Forbidden scale degrees Bhoop C D E F G A B C 4 and 7 Hamsadhvanī C D E F G A B C 4 and 6 Durgā C D E F G A B C 3 and 7 Sārang C D E F G A B C 3 and 6 Tilang C D E F G A B C 2 and 6 Bhinna-shadạj C D E F G A B C 2 and 5 5 Example 5. -
Journal Paper Format
International Journal of Multimedia and Ubiquitous Engineering Vol.10, No.6 (2015), pp.99-112 http://dx.doi.org/10.14257/ijmue.2015.10.6.10 Automatic Instrumental Raaga – A Minute Observation to Find Out Discrete System for Carnatic Music B. Tarakeswara Rao1, Venkata Naresh Mandhala2, Debnath Bhattacharyya3 and Tai-hoon Kim4 1Department of Computer Science and Engineering, Kallam Haranadha Reddy Institute of Technology, Guntur, India [email protected] 2Department of Information Technology, VFSTR University, Vadlamudi-522213, Guntur, India [email protected] 3Department of Computer Science and Engineering, Vignan’s Institute of Information Technology, Visakhapatnam-530049, India [email protected] 4Department of Convergence Security, Sungshin Women's University, 249-1, Dongseon-dong 3-ga, Seoul, 136-742, Korea [email protected] Abstract The objective of this paper is to evolve a system, which automatically mines the raaga of an Indian Classical Music. In the first step Note transcription is applied on a given audio file in order to generate the sequence of notes which are used to play the song. In the next step, the features related to Arohana – Avarohana are extracted. The features of two/three songs are then selected in random and given as input to the training system. Totally songs of 72 melakartha raagas and 45 janya raagas are considered. Subsequently, work testing is done by extracting features of one or two songs of each raaga, which are given as inputs in the training part. The generated output indicates the identification of each raaga. Unique labeling has been done for each raaga, for the system to identify the set of trained raagas. -
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 -
Extracting Semantic Information from an Online Carnatic Music Forum
EXTRACTING SEMANTIC INFORMATION FROM AN ONLINE CARNATIC MUSIC FORUM Mohamed Sordo1, Joan Serra`2, Gopala K. Koduri1 and Xavier Serra1 1 Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain. 2 Artificial Intelligence Research Institute (IIIA-CSIC), Bellaterra, Barcelona, Spain. {mohamed.sordo,gopala.koduri,xavier.serra}@upf.edu, [email protected] ABSTRACT active community. The music lovers of Carnatic music are known as rasikas 1 , and their involvement in music related By mining user-generated text content we can obtain music- activities and events is fundamental for the preservation related information that could not otherwise be extracted and evolution of this music. Interestingly, the interactions from audio signals or symbolic score representations. In between artists and rasikas can influence the evolution of this paper we propose a methodology for extracting the music concepts in the tradition. For instance, raagas 2 , music-related semantic information from an online often described as collections of phrases, evolve over time discussion forum, rasikas.org, dedicated to the Carnatic (hence, it is often said that a given raaga today is not the music tradition. We first define a dictionary of relevant same as it was a hundred years ago). When a performer terms within categories such as raagas, taalas, performers, experiments with a new phrase, rasikas respond to show composers, and instruments, and create a complex network their appreciation if they believe that the phrase enriched representation by matching such dictionary against the fo- their experience of the raaga. rum posts. This network representation is used to iden- Websites and online forums have become very relevant tify popular terms within the forum, as well as relevant venues with which to support and sustain the Carnatic mu- co-occurrences and semantic relationships. -
Change Your Tune: a Systematic Exploration of Tonic Shift in Carnatic Music
CHANGE YOUR TUNE: A SYSTEMATIC EXPLORATION OF TONIC SHIFT IN CARNATIC MUSIC Vidya Rangasayee Department of Computer Science, San Jose State University, USA [email protected] ABSTRACT 2. BACKGROUND Carnatic Music, unlike the fixed Western notes, is pivoted In Carnatic (South Indian Classical) music, Ragas (sim- on adhara sruthi or tonic. The scale is then calculated as ilar to western scales) can be produced by a change of a system of ratios from the adhara sruthi. Based on the the Adhara Sruthi i.e., tonic, This can be performed on 12 sruthis (semitones) 1 and a set of rules governing what Melakartha ragas (full scales) as well as Janya or deriva- constitutes a Sampurna Raga (or full scale), a system of tive ragas. Complete tonic shifts is a well-known technique 72 Melakartha ragas are defined. Several Janya Raga (or employed by several musicians in order to bring a change partial scale) are generated out of the 72 Melakartha ra- in mood in a piece. This paper presents TonicTunes - a gas. Based on the adhara shadja, we can then proceed system that systematically explores all possible tonic shifts to identify the frequency of the notes in a scale. For ex, of a given scale. In addition it uses decision trees to iden- with a Adhara sruthi of C4, the notes C4, D4, E4, F4, G4, tify valid tonic shifts based on established rules of Carnatic A4, B4 form the raga Shankarabharanam which is the 29th Music. The system also allows users to enter any arbitrary Melakartha. By omitting F4 (M1), and A4 (D2), we ar- phrase in a given raga, to generate equivalent phrases in rive at Hamsadhwani which is a partial scale (janya) of other ragas that can be produced by a simple tonic shift. -
The Music Academy Madras
THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XLV 1 9 7 4 Parts I-IV ** I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada!” p'> *)+'! & \ r t:- t \ * *<■■** t . * ,».. .. «,• EDITED BY ' V. RAGHAVAN, M.A., Ph.D. 1976 •PM Ut amlj'M m i gaivig) istbw arfj bmsh: THE MUSIC ACADEMY, MADRAS U5-E, MOWBRAY’S ROAD, MADRAS-14. # 4 l - P C Annual Subscription—Inland Rs. ^ Foreign fetigQ advertisement c h a r g e s COVER PAGES: Half Page Back (outside) fc* Rs. 13 Front (inside) „ 11 Back (Do.) „ 16 INSIDE PAGES: 1st page (after cover) 18 „ 10 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. 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 publication on the understanding that they are contributed solely to the Journal of the Music Academy. All manuscripts should be legibly written or preferably type written (double spaced—one side of the paper only) and should be signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. J tj J All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. -
A Gentle Introduction to South Indian Classical
A GENTLE INTRODUCTION TO SOUTH INDIAN CLASSICAL (KARNATIC) MUSIC PART II of IV BY MAHADEVAN RAMESH [email protected] LET US MAKE A TUNE! (THE CONCEPT OF A SCALE) We have learnt about the keyboard, labeled the various keys under the Eastern and Western schemes and even quarreled about whether it should have 12 keys or 22 to an octave. We now know that these keys are like the alphabets in creating music. How then do we compose music? Before we answer this question, let us see if we can say something about the structure of a 'tune' or the 'melody' itself. If we listen to any musical piece such as 'Jana gana mana' or 'Roop tera mastana', we notice that their second lines and subsequent lines are not just mindless imitation or repetition of the first lines. There is an elaboration of a theme as the song unfolds. You could listen to any line of 'Roop tera mastana' and feel that it is connected to the first line, in a musical sense. If someone played a musical phrase from the song at random, the odds are you would guess that it is from 'Roop tera mastana'. And it may sound trivial, but you also notice that 'Roop tera mastana' does not at all sound like 'Jana gana mana'. There is a character, a structure and an identity to the song, however vague the concept may sound. (note the pun on the word 'sound' !) If you have grasped this abstract concept, you have almost understood the concept of a 'Ragam' (or 'raga' or 'rag') because a Ragam is also an embodiment of a particular musical identity. -
The Journal the Music Academy
ISSN «970—3101 THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LVIII 1 9 8 7 k TOTfa tf$ R ^ I “ I dwell not in Vaikontha, nor in tbe hearts of Yogins nor in the Son : (bat) where my bhaktas sing, there be I, Narada ! ” Edited by T. S. PARTHASARATHY The Music Academy Madras 306, T. T. K. Road, Madras-600 014 Annual Subscription - Inland - Rs. 20: Foreign $ 3.00 OURSELVES *■ This Journal is published as an Annual. All correspondence relating to the Journal should be addressed and all books etc., intended for it should be sent to The Editor, Journal of the Music Academy, 306, Mowbray’s Road, Madras-600 014. Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, type written (double-spaced and on one side of the paper only) and should be signed by the writer (giving his or her address in full). The Editor of the Journal is not responsible for the views ex pressed by contributors in their articles. The publication o f this issue was partly financed by the Sangeet Natak Akademi, Mew Delhi. CONTENTS PAGE The 60th Madras Music Conference—Official Report 1 Proceedings of the Experts Committee ... 43 The Sadas ... 54 Katya Sastra tradition in Tamilakam during Chola rule ... 70 V. Sivasamy, Jaffna Music in the Natya Sastra ... 91 Bharat Gupt v Maharashtrian Musicians pf Karnatic Music .« 110 Courtesy. -
The Melakarta Scales of South India
Melakarta Scales In south Indian classical music there are 72 basic scales called melakarta ragas. However, the melakarta ragas are not “ragas” but scales. Each melakarta scale (abbreviated mela) is built from two tetrachords: one of 12 bottom tetrachords and one of 6 top tetrachords. There are 72 melas. Each tetrachord has two stable pitches a fourth apart; the two other intervening tones can take six different positions. The fourth in the bottom tetrachord can be either perfect or augmented, while the top tetrachord only takes a perfect fourth. Here are the tetrachords where the tonic note sa is set to the pitch-class C. Each tetrachord has a number. bottom tetrachord numbers top tetrachord numbers 1 = C Db Ebb F 1 = G Ab Bbb C 2 = C Db Eb F 2 = G Ab Bb C 3 = C Db E F 3 = G Ab B C 4 = C D Eb F 4 = G A Bb C 5 = C D E F 5 = G A B C 6 = C D# E F 6 = G A# B C 7 = C Db Ebb F# 8 = C Db Eb F# 9 = C Db E F# 10 = C D Eb F# 11 = C D E F# 12 = C D# E F# Note that the bottom tetrachord numbers 1-6 convert to the other bottom tetrachord numbers; just sharp the F and add 6. The melas are numbered from 1 to 72. The first mela takes bottom tetrachord 1 and top tetrachord 1; mela 2 takes a bottom tetrachord 1 and top tetrachord 2; mela 3 takes bottom tetrachord 1 and top tetrachord 3; etc.; mela 6 takes bottom tetrachord 1 and top tetrachord 6; mela 7 takes bottom tetrachord 2 and top tetrachord 1; mela 8 takes bottom tetrachord 2 and top tetrachord 2; mela 9 takes bottom tetrachord 2 and top tetrachord 3; etc.; until we get to mela 72, which takes bottom tetrachord 12 and top tetrachord 6. -
72-Melakarta Calendar S
72-melakarta calendar S. Rajam’s paintings The twelve chakra-s of music and the twelve months of the English calendar have been beautifully and artistically correlated by renowned artist-musicologist S. Rajam in a calendar brought out by Larsen & Toubro (L&T) to coincide with the Tamil New Year. L&T has further attempted to relate it to the “chakra-s of the mind, body and soul” by including descriptions of the chakra positions, as well as the colours and gems associated with them. In his work titled the Chaturdandi Prakasika, Venkatamakhi expounded the mela system of raga-s. He gave an interesting nomenclature for the 12 chakra-s of the melakarta scheme to enable easy recall of the chakra number through its mnemonics. (Much has been written on Venkatamakhi and the melakarta-s in earlier issues of Sruti). There are 12 months in a calendar year and the melakarta scheme too is divided into 12 chakra-s! In the calendar, each chakra is allotted one month. Each row of the week represents one raga of that chakra, and each day of the week is credited with one swara of that raga. Conveniently, both the number of days in a week and the number of swara-s in an octave are seven! The Venkatamakhi and Govindacharya mela systems have been given as a chart for the benefit of music lovers. First chakra The first chakra is called Indu’,‘ meaning the moon, to indicate the number one, as the earth has one moon. S. Rajam felt that the mere depiction of a moon in the sky would be inadequate and uninteresting as a visual in the calendar for an entire month. -
Abbreviations Used for the Swaras Risabha Gandhara Dhaivata Nisada 1
Abbreviations used for the Swaras Risabha Gandhara Dhaivata Nisada 1. SU = Suddha Risabha 1. SU = Suddha Gandhara 1. SU = Suddha Dhaivata 1. SU = Suddha Nisada 2. CA = Catusruti Risabha 2. SA = Sadharana Gandhara 2. CA = Catusruti Dhaivata 2. KAI = Kaisikhi Nisada 3. S = Satsruti Risabha 3. A = Antara Gandhara 3. S = Satsruti Dhaivata 3. KAK = Kakali Nisada Chakra Venkatamakhi Govindacharya Chakra Mela No. Mela No. Mela Venkatamakhi Govindacharya System System System System Suddha Madhyama Ragas Prati Madhyama Ragas Asampurna Sampurna RI Ga DHa NI Asampurna Sampurna I. Indu 1 Kanakambari Kanakangi Su Su Su SU 37 Saugandhini Salagam VII. Risi 2 Phenadyuti Ratnangi Su Su Su KAI 38 Jaganmohanam Jalarnavam 3 Ganasamavarali Ganamurti Su Su Su Kak 39 Dhalivarali Jhalavarali 4 Bhanumari Vanaspati Su Su CA KAI 40 Nabhomani Navanitam 5 Manoranjani Manavati Su Su Ca KAK 41 Kumbhini Pavani 6 Tanukirti Tanarupi Su Su S KAK 42 Ravikriya Raghupriya II. Netra 7 Senagrani Senavati SU SA SU SU 43 Girvani Gavambhodi VIII. Vasu 8 Jana Todi Hanumatodi Su Sa Su KAI 44 Bhavani Bhavapriya 9 Dhuni Bhinina Sadja Dhenuka Su Sa Su KAK 45 Sivapantuvarali Subhapantuvarali 10 Natabharanam Natakapriya Su Sa Ca KAI 46 Stavarajam Sadvidhamargini 11 Kokilaravam Kokilapriya Su Sa Ca KAK 47 Sauviram Suvarnangi 12 Rupavati Rupavati SU SA S Kak 48 Jivantika Divyamani III. Agni 13 Geyahejjajji Gayakapriya SU A SU SU 49 Dhavalangam Dhavalambari IX. Brahma 14 Vati Vasanta Bhairavi Vakulabharanam Su A Su KAI 50 Namadesi Namanarayani 15 Mayamalava Gaula * Mayamalavagaula * Su A Su KAK 51 Kasiramakriya Kamavardhani 16 Toyavegavahini Cakravaham Su A Ca KAI 52 Ramamanohari Ramapriya 17 Chhayavati Suryakantam Su A Ca KAK 53 Gamakakriya Gamanasrama 18 Jayasuddhamalavi Hatakambari SU A S KAK 54 Vamsavati Viswambari IV.