Archives Available on Patrick Moutal's Site Sorted by Rag Name Audio =Mp3 Audio 20/05/2012 =Mp4 Video
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This Article Has Been Made Available to SAWF by Dr. Veena Nayak. Dr. Nayak Has Translated It from the Original Marathi Article Written by Ramkrishna Baakre
This article has been made available to SAWF by Dr. Veena Nayak. Dr. Nayak has translated it from the original Marathi article written by Ramkrishna Baakre. From: Veena Nayak Subject: Dr. Vasantrao Deshpande - Part Two (Long!) Newsgroups: rec.music.indian.classical, rec.music.indian.misc Date: 2000/03/12 Presenting the second in a three-part series on this vocalist par excellence. It has been translated from a Marathi article by Ramkrishna Baakre. Baakre is also the author of 'Buzurg', a compilation of sketches of some of the grand old masters of music. In Part One, we got a glimpse of Vasantrao's childhood years and his early musical training. The article below takes up from the point where the first one ended (although there is some overlap). It discusses his influences and associations, his musical career and more importantly, reveals the generous and graceful spirit that lay behind the talent. The original article is rather desultory. I have, therefore, taken editorial liberties in the translation and rearranged some parts to smoothen the flow of ideas. I am very grateful to Aruna Donde and Ajay Nerurkar for their invaluable suggestions and corrections. Veena THE MUSICAL 'BRAHMAKAMAL' - Ramkrishna Baakre (translated by Dr. Veena Nayak) It was 1941. Despite the onset of November, winter had not made even a passing visit to Pune. In fact, during the evenings, one got the impression of a lazy October still lingering around. Pune has been described in many ways by many people, but to me it is the city of people with the habit of going for strolls in the morning and evening. -
(Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl
MINISTRY OF HOME AFFAIRS (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl. Prefix First Name Last Name Award State Field Remarks 1954 1 Dr. Sarvapalli Radhakrishnan BR TN Public Affairs Expired 2 Shri Chakravarti Rajagopalachari BR TN Public Affairs Expired 3 Dr. Chandrasekhara Raman BR TN Science & Eng. Expired Venkata 4 Shri Nand Lal Bose PV WB Art Expired 5 Dr. Satyendra Nath Bose PV WB Litt. & Edu. 6 Dr. Zakir Hussain PV AP Public Affairs Expired 7 Shri B.G. Kher PV MAH Public Affairs Expired 8 Shri V.K. Krishna Menon PV KER Public Affairs Expired 9 Shri Jigme Dorji Wangchuk PV BHU Public Affairs 10 Dr. Homi Jehangir Bhabha PB MAH Science & Eng. Expired 11 Dr. Shanti Swarup Bhatnagar PB UP Science & Eng. Expired 12 Shri Mahadeva Iyer Ganapati PB OR Civil Service 13 Dr. J.C. Ghosh PB WB Science & Eng. Expired 14 Shri Maithilisharan Gupta PB UP Litt. & Edu. Expired 15 Shri Radha Krishan Gupta PB DEL Civil Service Expired 16 Shri R.R. Handa PB PUN Civil Service Expired 17 Shri Amar Nath Jha PB UP Litt. & Edu. Expired 18 Shri Malihabadi Josh PB DEL Litt. & Edu. 19 Dr. Ajudhia Nath Khosla PB DEL Science & Eng. Expired 20 Shri K.S. Krishnan PB TN Science & Eng. Expired 21 Shri Moulana Hussain Madni PB PUN Litt. & Edu. Ahmed 22 Shri V.L. Mehta PB GUJ Public Affairs Expired 23 Shri Vallathol Narayana Menon PB KER Litt. & Edu. Expired Wednesday, July 22, 2009 Page 1 of 133 Sl. Prefix First Name Last Name Award State Field Remarks 24 Dr. -
Secondary Indian Culture and Heritage
Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture. -
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. -
![Hirabai Barodekar: Akeli Mat ]Aiyyo Radhe ]Amuna Ke Teer.](https://docslib.b-cdn.net/cover/6044/hirabai-barodekar-akeli-mat-aiyyo-radhe-amuna-ke-teer-1136044.webp)
Hirabai Barodekar: Akeli Mat ]Aiyyo Radhe ]Amuna Ke Teer.
Hirabai Barodekar: Akeli Mat ]aiyyo Radhe ]amuna ke Teer. .. PRABHAATRRE he Ganesh festival in Pune had a special significance for mein my childhood becauseof THirabai Barodekar' s concerts. For many years it was customary for her to sing near my high school in Rasia Peth before a huge and cclourfully decorated Ganesh idol. It was a unique and rare opportunity for one and all, since Hirabai had reached the pinnacle of her career at that time-she was the foremost female artistin North Indianclassicalmusic. Music lovers from every comer of Pune flooded the Rasta Peth square to hear her sing. Crowds of people filled the roads, doorsteps, windows, balconies and terraces. Even an ant would have found it hard to move in that congested square. Regardless of age. social standing. or occupation , men and children set aside differences and gladly huddled close to each other the whole night . With Hirabai's first note, 'Sa'.the multitude instantly fell silent, Slowly and tenderly her phrases pervaded the atmosphere and enchanted the audience. The headmaster of the school was my father, Naturally I got the choicest place to listen to Hirabai. At that time, I hardly understood anything about music. Neither on the paternal nor the maternal side ofmy family were there any musicians or connoisseurs. My own introduc tion to music was qu ite accidental. I thought of it as a hobby, and never dreamt that I would pursue it as a career someday and thereby come dose to Hirabai, At school, wheneve r I had to write an essay on what I wanted to be when I grew up. -
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. -
Artifacts and Representations of North Indian Art Music [*Ecompanion At
Oral Tradition, 20/1 (2005): 130-157 Shellac, Bakelite, Vinyl, and Paper: Artifacts and Representations of North Indian Art Music [*eCompanion at www.oraltradition.org] Lalita du Perron and Nicolas Magriel Introduction Short songs in dialects of Hindi are the basis for improvisation in all the genres of North Indian classical vocal music. These songs, bandiśes, constitute a central pillar of North Indian culture, spreading well beyond the geographic frontiers of Hindi itself. Songs are significant as being the only aspect of North Indian music that is “fixed” and handed down via oral tradition relatively intact. They are regarded as the core of Indian art music because they encapsulate the melodic structures upon which improvisation is based. In this paper we aim to look at some issues raised by the idiosyncrasies of written representations of songs as they has occurred within the Indian cultural milieu, and then at issues that have emerged in the course of our own ongoing efforts to represent khyāl songs from the perspectives of somewhat “insidish outsiders.” Khyāl, the focus of our current research, has been the prevalent genre of vocal music in North India for some 200 years. Khyāl songs are not defined by written representations, but are transmitted orally, committed to memory, and re-created through performance. A large component of our current project1 has been the transcription of 430 songs on the basis of detailed listening to commercial recordings that were produced during the period 1903-75, aspiring to a high degree of faithfulness to the details of specific performance instances. The shellac, bakelite, and vinyl records with 1 An AHRB-funded (Arts and Humanities Research Board) project, “Songs of North Indian Art Music” (SNIAM), carried out by the two authors in the Department of Music at the School of Oriental and African Studies (SOAS). -
Archives on Patrick Moutal's Site Sorted by Rag 03/01/2014
832 Audio (mp3) Video (mp4) Archives on Patrick Moutal's Site Sorted by Rag http://www.moutal.eu 03/01/2014 A Tribute - P. Moutal - Diaporama 1 Vilayat Khan Sitar Video Adana 6 Amir Khan Vocal Audio Anjanibai Lolekar Vocal Audio Mirashibua Vocal Audio Roshan Ara Begum Vocal Audio Sawai Gandharva Vocal Audio Vinayak Rao Patwardhan Vocal Audio Ahir Bhairav 8 Balaram Pathak Sitar Alap, Vilambit & Shyamal Bose Audio Basavraj Rajguru Vocal Audio Gangubai Hangal Vocal Vilambit Ektal, Sheshgiri Hangal Audio Hirabai Barodekar Vocal Audio Kishori Amonkar Vocal Vilambit Balkrishna Iyer Audio Kumar Gandharva Vocal Madhya Laya Suresh Talwalkar Audio V. G. Jog Violin Audio Vilayat Khan Sitar Vilambit Teental Mohammad Ahmad Audio Ahir Bhairav Alap 1 Nicolas Delaigue Sitar Audio Ahir Bhairav Jod Jhala 1 Nicolas Delaigue Sitar Audio Ahir Lalit 1 Ravi Shankar Sitar Alla Rakha Audio Alhaiya Bilaval 8 Allaudin Khan Sarod Vilambit & Drut Audio Imrat Khan Surbahar Audio Kumar Gandharva Vocal Madhya Teental Audio Lalmani Misra Vichitra Veena Audio Mogubai Kurdikar Vocal Audio 1 832 Audio (mp3) Video (mp4) Archives on Patrick Moutal's Site Sorted by Rag http://www.moutal.eu 03/01/2014 Ram Narayan Sarangi Alap & Tans Video Shujaat Khan Sitar Alap Audio Vilayat Khan Sitar Vilambit, Drut Kishan Maharaj Audio Anand Bhairavi 1 Lalmani Misra Vichitra Veena Audio Asavari 2 D. V. Paluskar Vocal Audio Vilayat Hussain Khan Vocal Audio Ashtapati Durga 1 Mehbubjan Of Sholapur Vocal Audio Bageshree 13 Anjanibai Lolekar Vocal Audio Bade Ghulam Ali Khan Vocal Audio Bade Ghulam -
THE RECORD NEWS ======The Journal of the ‘Society of Indian Record Collectors’ ------ISSN 0971-7942 Volume: Annual - TRN 2011 ------S.I.R.C
THE RECORD NEWS ============================================================= The journal of the ‘Society of Indian Record Collectors’ ------------------------------------------------------------------------ ISSN 0971-7942 Volume: Annual - TRN 2011 ------------------------------------------------------------------------ S.I.R.C. Units: Mumbai, Pune, Solapur, Nanded and Amravati ============================================================= Feature Articles Music of Mughal-e-Azam. Bai, Begum, Dasi, Devi and Jan’s on gramophone records, Spiritual message of Gandhiji, Lyricist Gandhiji, Parlophon records in Sri Lanka, The First playback singer in Malayalam Films 1 ‘The Record News’ Annual magazine of ‘Society of Indian Record Collectors’ [SIRC] {Established: 1990} -------------------------------------------------------------------------------------------- President Narayan Mulani Hon. Secretary Suresh Chandvankar Hon. Treasurer Krishnaraj Merchant ==================================================== Patron Member: Mr. Michael S. Kinnear, Australia -------------------------------------------------------------------------------------------- Honorary Members V. A. K. Ranga Rao, Chennai Harmandir Singh Hamraz, Kanpur -------------------------------------------------------------------------------------------- Membership Fee: [Inclusive of the journal subscription] Annual Membership Rs. 1,000 Overseas US $ 100 Life Membership Rs. 10,000 Overseas US $ 1,000 Annual term: July to June Members joining anytime during the year [July-June] pay the full -
Stamps of India - Commemorative by Prem Pues Kumar [email protected] 9029057890
E-Book - 26. Checklist - Stamps of India - Commemorative By Prem Pues Kumar [email protected] 9029057890 For HOBBY PROMOTION E-BOOKS SERIES - 26. FREE DISTRIBUTION ONLY DO NOT ALTER ANY DATA ISBN - 1st Edition Year - 1st May 2020 [email protected] Prem Pues Kumar 9029057890 Page 1 of 76 Nos. YEAR PRICE NAME Mint FDC B. 1 2 3 1947 1 21-Nov-47 31/2a National Flag 2 15-Dec-47 11/2a Ashoka Lion Capital 3 15-Dec-47 12a Aircraft 1948 4 29-May-48 12a Air India International 5 15-Aug-48 11/2a Mahatma Gandhi 6 15-Aug-48 31/2a Mahatma Gandhi 7 15-Aug-48 12a Mahatma Gandhi 8 15-Aug-48 10r Mahatma Gandhi 1949 9 10-Oct-49 9 Pies 75th Anni. of Universal Postal Union 10 10-Oct-49 2a -do- 11 10-Oct-49 31/2a -do- 12 10-Oct-49 12a -do- 1950 13 26-Jan-50 2a Inauguration of Republic of India- Rejoicing crowds 14 26-Jan-50 31/2a Quill, Ink-well & Verse 15 26-Jan-50 4a Corn and plough 16 26-Jan-50 12a Charkha and cloth 1951 17 13-Jan-51 2a Geological Survey of India 18 04-Mar-51 2a First Asian Games 19 04-Mar-51 12a -do- 1952 20 01-Oct-52 9 Pies Saints and poets - Kabir 21 01-Oct-52 1a Saints and poets - Tulsidas 22 01-Oct-52 2a Saints and poets - MiraBai 23 01-Oct-52 4a Saints and poets - Surdas 24 01-Oct-52 41/2a Saints and poets - Mirza Galib 25 01-Oct-52 12a Saints and poets - Rabindranath Tagore 1953 26 16-Apr-53 2a Railway Centenary 27 02-Oct-53 2a Conquest of Everest 28 02-Oct-53 14a -do- 29 01-Nov-53 2a Telegraph Centenary 30 01-Nov-53 12a -do- 1954 31 01-Oct-54 1a Stamp Centenary - Runner, Camel and Bullock Cart 32 01-Oct-54 2a Stamp Centenary -
04/04/2014 834 Audio (Mp3) Hindusta`Nº Ra`Ga San[G ºta Archives on Patrick Moutal's Site Records, Sorted by Ra`Ga 734 100 Vide
734 Audio (mp3) & 100 Video (mp4) Hindusta`nº Ra`ga San[gºta archives on Patrick Moutal's Site 834 records, sorted by Ra`ga http://www.moutal.eu 04/04/2014 A Tribute # 1 1 Vilayat Khan Sitar 0:03:1 Video http://www.moutal.eu/indian-music/video-archives/instrumental-video-archives/sitarsurbahar/499-vilayat-khan-1928-200434.html Adana Kanada # 6 2 Abdul Aziz Khan Vichitra 0:03:0 Audio http://www.moutal.eu/indian-music/audio-archives/instrumental/vichitra-veena/254-abdul-aziz-khan.html 3 Amir Khan Vocal 0:03:1 Audio http://www.moutal.eu/indian-music/audio-archives/vocal/a/259-amir-khan-1912-1974.html 4 Mirashi Bua Vocal 0:03:0 Audio http://www.moutal.eu/indian-music/audio-archives/vocal/h-m/285-mirashi-buwa.html 5 Roshan Ara Vocal 0:03:2 Audio http://www.moutal.eu/indian-music/audio-archives/vocal/n-r/303-roshan-ara-begum.html 6 Sawai Gandharva Vocal 0:03:5 Audio http://www.moutal.eu/indian-music/audio-archives/vocal/s-z/327-sawai-gandharva.html 7 Vinayak Rao Vocal 0:06:1 Audio http://www.moutal.eu/indian-music/audio-archives/vocal/s-z/317-vinayak-rao-patwardhan.html Adana Kanada (good Version) # 1 8 Anjanibai Lolekar Vocal 0:03:1 Audio http://www.moutal.eu/indian-music/audio-archives/vocal/a/260-anjanibai-lolekar.html Ahir Bhairav # 9 9 Balaram Pathak Sitar 0:21:4 alap, vilambit teental, drut Shyamal Bose Audio http://www.moutal.eu/indian-music/audio-archives/instrumental/sitarsurbahar/781-balaram-pathak,-rag-ahir-bhairav.html 10 Basavraj Rajguru Vocal 0:03:2 Audio http://www.moutal.eu/indian-music/audio-archives/vocal/b/270-basavraj-rajguru.html -
The Gwalior Gharana of Khayal
THE GWALIOR GHARANA OF KHAYAL SusheeJa Misra The different gharanas in Khayal-singing have not only helped to preserve and perpetuate the older traditions through an unbroken lineage of Guru shishya-paratnpara, but also added much colour and infinite variety to Hindustani Music. In an article on "A spects of Karnatic Music", the late Sri G.N. Balasubramaniam (a famous performing artiste and scholar) wrote almost longingly:- "Unlike the Karnatak system, the Hindustani system is more elastic and flexible and comparatively free from inhibitions and restrictions. For instance, in the North there are several Gharanas--each one handling one and the same raga differently. In the South everywhere, every raga is ren dered alike". It is this scope for variety, choice of suitable style, and flights of fancy that have maintained the popul arity of the Khayal up till now. The precursors of the Khayal also used to be rendered in different styles. In ancient granthas, we come across mention of different types of "Geetis" such as "Shudhdha", "Bhinna", "Goudi", "Vesari", and "Saadhaarant", When the golden age of the Dhrupad began (during the Middle Ages), Dhrupad-gayan also had developed four "Baants" (meaning styles, or schools) namely, :-"Goudi" or "Gobarhari", "Daggur", "Khandar", and "Nowhar". When the majestic and ponderous Dhrupad had to give place to the .classico-romantic Khayal-form, the latter was developed and perfected into various styles which came to be known as "Gharanas", These "gharanas" gave an attractive variety to Khayal-singing,-each "gharana" developing its own distinctive features, although all of them were deeply rooted in a common underlying tradition or "Susampradaaya".