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Famous Indian Classical Musicians and Vocalists Free Static GK E-Book
oliveboard FREE eBooks FAMOUS INDIAN CLASSICAL MUSICIANS & VOCALISTS For All Banking and Government Exams Famous Indian Classical Musicians and Vocalists Free static GK e-book Current Affairs and General Awareness section is one of the most important and high scoring sections of any competitive exam like SBI PO, SSC-CGL, IBPS Clerk, IBPS SO, etc. Therefore, we regularly provide you with Free Static GK and Current Affairs related E-books for your preparation. In this section, questions related to Famous Indian Classical Musicians and Vocalists have been asked. Hence it becomes very important for all the candidates to be aware about all the Famous Indian Classical Musicians and Vocalists. In all the Bank and Government exams, every mark counts and even 1 mark can be the difference between success and failure. Therefore, to help you get these important marks we have created a Free E-book on Famous Indian Classical Musicians and Vocalists. The list of all the Famous Indian Classical Musicians and Vocalists is given in the following pages of this Free E-book on Famous Indian Classical Musicians and Vocalists. Sample Questions - Q. Ustad Allah Rakha played which of the following Musical Instrument? (a) Sitar (b) Sarod (c) Surbahar (d) Tabla Answer: Option D – Tabla Q. L. Subramaniam is famous for playing _________. (a) Saxophone (b) Violin (c) Mridangam (d) Flute Answer: Option B – Violin Famous Indian Classical Musicians and Vocalists Free static GK e-book Famous Indian Classical Musicians and Vocalists. Name Instrument Music Style Hindustani -
The Sixth String of Vilayat Khan
Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration. -
B.A./B.Sc. (12+3 SYSTEM of EDUCATION) (Semester–VI)
SYLLABUS FOR B.A./B.Sc. (12+3 SYSTEM OF EDUCATION) (Semester–VI) Examinations: 2019–20 GURU NANAK DEV UNIVERSITY AMRITSAR Note: (i) Copy rights are reserved. Nobody is allowed to print it in any form. Defaulters will be prosecuted. (ii) Subject to change in the syllabi at any time. Please visit the University website time to time. 1 B.A./B.Sc. (Semester System) (12+3 System of Education) (Semester–VI) (Session 2019-20) INDEX OF SEMESTER–VI Sr.No. Subject Page No. FACULTY OF ARTS & SOCIAL SCIENCES 1. Political Science 5-6 2. History 7 3. Journalism and Mass Communication (Vocational) 8 4. Mass Communication and Video Production (Vocational) 9-10 5. Sociology 11 6. Psychology 12-14 7. Women Empowerment 15 8. Defence and Strategic Studies 16-18 9. Geography 19-22 10. Public Administration 23 FACULTY OF ECONOMICS & BUSINESS 11. Office Management and Secretarial Practice (Vocational) 24-27 12. Travel and Tourism 28-30 13. Tourism and Hotel Management (Vocational) 31-32 14. Tax Procedure and Practices (Vocational) 33-37 15. Advertising Sales Promotion and Sales Management (Vocational) 38-39 16. Commerce 40 17. Tourism and Travel Management (Vocational) 41-42 18. Economics 43 19. Industrial Economics 44 20. Quantitative Techniques 45 21. Agricultural Economics and Marketing 46 22. Rural Development 47-48 2 B.A./B.Sc. (Semester System) (12+3 System of Education) (Semester–VI) (Session 2019-20) FACULTY OF SCIENCES 23. Mathematics 49-50 24. Statistics 51-53 25. Chemistry 54-59 26. Physics 60-62 27. Home Science 63-65 28. Cosmetology (Vocational) 66-67 29. -
CURRICULUM – VITAE [email protected]
CURRICULUM – VITAE [email protected] DR. PAMIL MODI A VERSATILE SINGER AND PERFORMER Assistant Professor Dept. of Music M.L.S. University, Udaipur Educational Qualifications Degrees Year Board/University SET 2015 RPSC, Ajmer Ph.D. 2009 Mohan Lal Sukhadia University, Udaipur M.A. Music (Vocal) 2004 Mohan Lal Sukhadia University, Udaipur Sangeet Alankar 2003 Surnanandan Bharti-Kolkotta M.A. Music (Alankar) 2001 Akhil Bhartiya Gandharv Mahavidhyalya Mandal-Mumbai B.A. 2002 Mohan Lal Sukhadia University, Udaipur (Music,Eng.Lit, Geog.) Teaching Experience Presently working in the Department of Music as Assistant Professor, MLSU, Udaipur. Teaching experience in the Department of Music as a Lecturer in Aishwarya College for 2 years, (2008 to 2010). Had been associated with Mohan Lal Sukhadia University as a Guest Faculty in Dept. of Music for past 12 years, (2006 – 2018). Training and Teaching to students in Hindustani Vocal Classical Music of various age groups under the Organisation, Maharana Kumbha Sangeet Parishad. Worked as a Resource Person for Vocal Music Training in PIE, Rajasthan Patrika, Udaipur, 2004. Awards / Appreciations Bhaskar Woman of The Year Award-2019 by Deputy Chief Minister Sachin Pilot Jaipur. Woman of Substance by Big FM 92.7 and Aravli Foundation in 2019, Udaipur. Excellency Certificate by Ghazal Academy, Udaipur and Maharana Kumbha Sangeet Parishad, Udaipur, towards Music, July 2018. Received Gold Medal from Governor for Standing First in order of Merit in Music, in 2005. Awarded on International Women's Day in “Chingari Utsav” for contribution in Indian Classical Music by Rotary Club, Udaipur, 2016. Awarded by His Highness Maharana Arvind Singh Ji Mewar of Udaipur for excellent performance of Indian Classical Vocal Music on Guru Purnima, 2004. -
MUSIC (Lkaxhr) 1. the Sound Used for Music Is Technically Known As (A) Anahat Nada (B) Rava (C) Ahat Nada (D) All of the Above
MUSIC (Lkaxhr) 1. The sound used for music is technically known as (a) Anahat nada (b) Rava (c) Ahat nada (d) All of the above 2. Experiment ‘Sarna Chatushtai’ was done to prove (a) Swara (b) Gram (c) Moorchhana (d) Shruti 3. How many Grams are mentioned by Bharat ? (a) Three (b) Two (c) Four (d) One 4. What are Udatt-Anudatt ? (a) Giti (b) Raga (c) Jati (d) Swara 5. Who defined the Raga for the first time ? (a) Bharat (b) Matang (c) Sharangdeva (d) Narad 6. For which ‘Jhumra Tala’ is used ? (a) Khyal (b) Tappa (c) Dhrupad (d) Thumri 7. Which pair of tala has similar number of Beats and Vibhagas ? (a) Jhaptala – Sultala (b) Adachartala – Deepchandi (c) Kaharva – Dadra (d) Teentala – Jattala 8. What layakari is made when one cycle of Jhaptala is played in to one cycle of Kaharva tala ? (a) Aad (b) Kuaad (c) Biaad (d) Tigun 9. How many leger lines are there in Staff notation ? (a) Five (b) Three (c) Seven (d) Six 10. How many beats are there in Dhruv Tala of Tisra Jati in Carnatak Tala System ? (a) Thirteen (b) Ten (c) Nine (d) Eleven 11. From which matra (beat) Maseetkhani Gat starts ? (a) Seventh (b) Ninth (c) Thirteenth (d) Twelfth Series-A 2 SPU-12 1. ? (a) (b) (c) (d) 2. ‘ ’ ? (a) (b) (c) (d) 3. ? (a) (b) (c) (d) 4. - ? (a) (b) (c) (d) 5. ? (a) (b) (c) (d) 6. ‘ ’ ? (a) (b) (c) (d) 7. ? (a) – (b) – (c) – (d) – 8. ? (a) (b) (c) (d) 9. ? (a) (b) (c) (d) 10. -
Transcription and Analysis of Ravi Shankar's Morning Love For
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura Bethany Padgett Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Padgett, Bethany, "Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura" (2013). LSU Doctoral Dissertations. 511. https://digitalcommons.lsu.edu/gradschool_dissertations/511 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TRANSCRIPTION AND ANALYSIS OF RAVI SHANKAR’S MORNING LOVE FOR WESTERN FLUTE, SITAR, TABLA AND TANPURA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bethany Padgett B.M., Western Michigan University, 2007 M.M., Illinois State University, 2010 August 2013 ACKNOWLEDGEMENTS I am entirely indebted to many individuals who have encouraged my musical endeavors and research and made this project and my degree possible. I would first and foremost like to thank Dr. Katherine Kemler, professor of flute at Louisiana State University. She has been more than I could have ever hoped for in an advisor and mentor for the past three years. -
DU MA Percussion Music
DU MA Percussion Music Topic:- DU_J19_MA_PM 1) Which of the following is not a Yati? इनमे से कौन यत नहं ह? [Question ID = 213] 1. Pipilika / पपीलका [Option ID = 850] 2. Mridanga / मदृ ंगा [Option ID = 849] 3. Anagat / अनागत [Option ID = 852] 4. Sama / समा [Option ID = 851] Correct Answer :- Mridanga / मदृ ंगा [Option ID = 849] 2) Which artist was famous for ‘Dance Accompaniment? नयृ के साथ संगत करने म कौन से कलाकार स थे? [Question ID = 186] 1. Pt. Pagal Das / पं. पागल दास [Option ID = 742] 2. Pt. Birju Maharaj / पं. बरज ू महाराज [Option ID = 743] 3. Pt. Kudau Singh / पं. कु दऊ सहं [Option ID = 744] 4. Pt. Kishan Maharaj / पं. कशन महाराज [Option ID = 741] Correct Answer :- Pt. Kishan Maharaj / पं. कशन महाराज [Option ID = 741] 3) Which gharana plays with variation of ‘Theka’ ? ‘ठेके ’ के वतार के साथ कस घराने का वादन होता है:- [Question ID = 215] 1. Delhi gharana / दल घराना [Option ID = 857] 2. Ajrada Gharana / अजराड़ा घराना [Option ID = 858] 3. Banaras Gharana / बनारस घराना [Option ID = 860] 4. Lucknow gharana / लखनऊ घराना [Option ID = 859] Correct Answer :- Delhi gharana / दल घराना [Option ID = 857] 4) Which Gharana is influenced by the compositions of Pakhawaj ? कौन सा घराना पखावज़ क बंदश से भावत है? [Question ID = 249] 1. Delhi / दल [Option ID = 993] 2. Ajrada / अजराड़ा [Option ID = 996] 3. -
Gharanas of Tabla
This article has been extracted from the Platinum Jubilee Souvenir of the Suburban Music Circle (Year 2012) Gharanas of Tabla By: Pt. Sadanand Naimpalli [Born in a family of music-lovers, Sadanand Naimpalli was motivated to take up some form of musical expression. Gifted as he was, with an uncanny sense of rhythm, made him take up a liking to a percussion instrument viz: "Tabla." He found an ideal perceptor in Pandit Taranathji who lent free rein to his inherent capabilities. It was not long before Sadanandji blossomed into an accomplished Tabla player and was rightly hailed as a "Child Prodigy." He won the President's award for standing first at the National A.I.R competitions in 1963, when barely sixteen years old. He also began participating in various music conferences alongside with recognised stalwarts. He holds a first class degree with distinction in Metallurgical Engineering and has successfully ran his Pt. own enterprise, manufacturing high quality Non Ferrous Castings, before reverting his energies to Sadanand Naimpalli his first love "Tabla". A "TOP" graded artist of A.I.R. (Akashvani) and T.V. (Doordarshan), Nadkarni Sadananji’s tabla solos are eagerly awaited and listened to by an ever growing fan following.] (Note: All alphabets with an apostrophe represent the Phonetic sound of that alphabet) Indian Music is tradition based. Printing Information Technology being a recent phenomenon, this Art has been preserved and propagated by person to person contact and teaching. This is what is called ‘Guru-mukhi Vidya’ i.e. knowledge through the mouth of a Guru or Ustad. -
STAGE PRESENCE Costume and Make-Up in Indian Classical Dance
May 2021 ® ON Stagevolume 10 • issue 10 STAGE PRESENCE Costume and make-up in Indian classical dance A RICHER SOUND A FINE STATE New members join the SOI Glimpses of Maharashtra Chairman’s Note here is a general impression that with the lockdown, the NCPA is not functioning as before. While it is true that there is nothing Twhich can substitute a face-to-face encounter and/or meeting to achieve the desired result, the next best course is to gird up our loins and innovate ways in which the NCPA would most benefit and the employees, musicians, technicians, etc. would occupy themselves meaningfully. Having laid out these objectives before our heads of divisions, I must say that a modicum of success has been achieved. The musicians in residence of the SOI have been furiously preparing new programmes and have already, in the last month, recorded four of them fully for the digital platform. These have been recorded in the theatre and with better sound than when the audience is present. Similarly, full- year plans, conditions permitting, have been presented by the Indian Music, International Music, Dance and Theatre genres. Preparations are, therefore, underway to put together a year’s programme of likely performances when the lockdown and other bans are lifted and otherwise, recording online for the presence of the NCPA to be noted by its members and the public alike. Methods of management are being put together and we realise that getting the finest advisors in areas where we need these inputs is the cheapest way of keeping up with technology and modern practices. -
About the Music the Songs the Musicians Credits Artist Coalition
About the Music An Indo Latin Jazz Musical Experience The Songs The Musicians Credits Artist Coalition Label Listener Sponsored Music sam / khali Indo-beats (cycles & circles) tin “e perception of the cyclic nature of life is na tin reflected in Indian classical music through the 0 device of tala, a recurring time-measure or + rhythmic cycle that begins, develops and then About the Music 3 returns to sam, the first beat of the cycle, anchor dhin na e world fusion music movement has of all melody and rhythm and the leading beat to 2 spawned many intriguing new musical which all returns.” * na dhin hybrids. With this project I’ve been exploring the exciting sonic terrain e diagram represents the common rupak (7 beat) tala. e rhythm that blends Latin jazz, with its driving begins and ends on sam, going clockwise around the wheel. e syllables (tin rhythmic syncopations, and East tin na dhin na dhin na) represent the onomatopoetic syllables representing Indian musical elements. Indian drum sounds. As with many artistic developments, serendipity played a major role. I didn’t set out with the conscious intent of Latin-beats (polyrhythmic grooves) fusing these two musical genres, but Latin rhythms trace their roots back to Africa and Cuba where interlocking, found it occurring naturally through syncopated rhythmic grooves follow the clave’s movement of tension/release. the cross-fertilization of ideas shared e sample below is taken from a classic Latin groove called Son Montuno. with my talented musical colleagues. You can click on the notes below to hear how it sounds. -
Syllabus of B.P.A. SEM 5 and 6
SAURASHTRA UNIVERSITY RAJKOT SYLLABUS BACHELOR OF PERFORMING ARTS (B.P.A. Sem.-5 & Sem.-6) (Vocal / Tabla / Kathak) Based on Choice Base Credit System (In Force From June–2019) Page 1 VOCAL R.B.P.A. – 1/5 The following are the courses and credits prescribed for the study and examination of Semester–V of Bachelor of Performing Arts (BPA) VOCAL Programme. BPA VOCAL SEM -5 No. Course Code Course Title C IM EM TM GROUP-A CCT 1 19 13 01 01 01 05 00 00 English 3 30 70 100 2 19 13 02 01 01 05 00 00 Principles of Music Vocal 3 30 70 100 3 19 13 03 01 01 05 00 00 Study of Raga 3 30 70 100 4 19 13 04 01 01 05 00 00 History of Music 3 30 70 100 ECT (Any 2 out of 3) 5 19 13 05 01 01 05 00 01 Study of Vocal Gharana 3 30 70 100 6 19 13 06 01 01 05 00 02 Folk Music 3 30 70 100 7 19 13 07 01 01 05 00 03 Elements of Physics in Music 3 30 70 100 GROUP-B CCP 8 19 13 08 01 01 05 01 00 Practical Course No. 1 3 30 70 100 9 19 13 09 01 01 05 02 00 Practical Course No. 2 3 30 70 100 10 19 13 10 01 01 05 03 00 Practical Course No. 3 3 30 70 100 11 19 13 11 01 01 05 04 00 Practical Course No. -
Tabla, As a Way of Life
National Library Bibliothèque nationale 1+1 of ,nada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395, rue WeIIington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la fome de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. This dissertation is an ethnography about the men and women who take up the practice and performance of a Hindwtani (North Indian) dmcalled tabla, as a way of life. Learning tabla means that percwionists mut find a guru, a leamed master of the tradition who will guide them in their life long study of this instrument. The relationships formed between gums and disciples are distinctively different in kind fiom teacher-student relations in Western knowledge systems. The guru-disciple tradition is a very specific, culturally dependent mode of leaming originating fiom the Indian Brahmanicd tradition of religious study.