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The Rich Heritage of Dhrupad Sangeet in Pushtimarg On
Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda ||Shree DwaDwarrrrkeshokesho Jayati|| || Shree Vallabhadhish Vijayate || The Rich Heritage Of Dhrupad Sangeet in Pushtimarg on www.vallabhkankroli.org Reference : 8th Year Text Book of Pushtimargiya Patrachaar by Shree Vakpati Foundation - Baroda Inspiration: PPG 108 Shree Vrajeshkumar Maharajshri - Kankroli PPG 108 Shree Vagishkumar Bawashri - Kankroli Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda Contents Meaning of Sangeet ........................................................................................................................... 4 Naad, Shruti and Swar ....................................................................................................................... 4 Definition of Raga.............................................................................................................................. 5 Rules for Defining Ragas................................................................................................................... 6 The Defining Elements in the Raga................................................................................................... 7 Vadi, Samvadi, Anuvadi, Vivadi [ Sonant, Consonant, Assonant, Dissonant] ................................ 8 Aroha, avaroha [Ascending, Descending] ......................................................................................... 8 Twelve Swaras of the Octave ........................................................................................................... -
University of Kerala Ba Music Faculty of Fine Arts Choice
UNIVERSITY OF KERALA COURSE STRUCTURE AND SYLLABUS FOR BACHELOR OF ARTS DEGREE IN MUSIC BA MUSIC UNDER FACULTY OF FINE ARTS CHOICE BASED-CREDIT-SYSTEM (CBCS) Outcome Based Teaching, Learning and Evaluation (2021 Admission onwards) 1 Revised Scheme & Syllabus – 2021 First Degree Programme in Music Scheme of the courses Sem Course No. Course title Inst. Hrs Credit Total Total per week hours credits I EN 1111 Language course I (English I) 5 4 25 17 1111 Language course II (Additional 4 3 Language I) 1121 Foundation course I (English) 4 2 MU 1141 Core course I (Theory I) 6 4 Introduction to Indian Music MU 1131 Complementary I 3 2 (Veena) SK 1131.3 Complementary course II 3 2 II EN 1211 Language course III 5 4 25 20 (English III) EN1212 Language course IV 4 3 (English III) 1211 Language course V 4 3 (Additional Language II) MU1241 Core course II (Practical I) 6 4 Abhyasaganam & Sabhaganam MU1231 Complementary III 3 3 (Veena) SK1231.3 Complementary course IV 3 3 III EN 1311 Language course VI 5 4 25 21 (English IV) 1311 Language course VII 5 4 (Additional language III ) MU1321 Foundation course II 4 3 MU1341 Core course III (Theory II) 2 2 Ragam MU1342 Core course IV (Practical II) 3 2 Varnams and Kritis I MU1331 Complementary course V 3 3 (Veena) SK1331.3 Complementary course VI 3 3 IV EN 1411 Language course VIII 5 4 25 21 (English V) 1411 Language course IX 5 4 (Additional language IV) MU1441 Core course V (Theory III) 5 3 Ragam, Talam and Vaggeyakaras 2 MU1442 Core course VI (Practical III) 4 4 Varnams and Kritis II MU1431 Complementary -
Alankar: First Year Coursepack
LEVEL ONE WORKSHEETS The activities of the worksheet must be completed by the students. They may refer to class notes and online resources. Completed worksheets should be submitted as part of the online theory exam in the last week of February. Unfinished worksheets may be submitted with the theory exam of the following year. 1. Concepts Mangalacharan: This is the very first item a student of Odissi learns. This is an invocatory item in which one pays tribute to Mother Earth, Lord Jagannath and other Gods, also with stanzas to welcome the audience and to thank one's Gurus. "Mangala" means goodness, and "charan" mean wishing. Mangalacharan's rhythmic sequence of steps forming the Bhumi Pranam (salutation to Mother Earth) and Trikhandi Pranam (three-fold salutation to God, the Guru, and the audience) will be completed. Bhumi Pranam: The lesson starts with an brief and respectful apology to the Earth, for we are about to spend the next hour stamping on her. Tribhanga: The dancer's body is divided into three bhangas along which deflections of the head, torso and hips can take place. The technique is built on the principle of an unequal division of weight and the shift of weight from one foot to the other. The movement of the head, the torso, the hips and the knees, are important. Hip deflection is the characteristic feature of this dance style. The tribhanga is one of the most typical poses of Odissi dancing. Chowka: In this stance, weight is equally distributed and altogether four right angles create a perfect geometrical motif. -
Rtisalmar13.Pdf
March 2013 +‐‐‐‐‐‐‐‐‐‐‐‐‐+‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐+‐‐‐‐‐‐‐‐‐‐‐+ |empcode |empname |gross | +‐‐‐‐‐‐‐‐‐‐‐‐‐+‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐+‐‐‐‐‐‐‐‐‐‐‐+ | 15017|S.N. SINGH | 141384.000| | 15018|SUHAIL AHMED | 153065.000| | 15027|V.S. BISARIA | 141384.000| | 15028|G.P. AGARWAL | 142184.000| | 15031|SAROJ MISHRA | 141384.000| | 15032|P.K. ROYCHOUDHURY | 125491.000| | 15033|SUNIL NATH | 131150.000| | 15034|ASHOK KUMAR SRIVASTAVA | 131150.000| | 15038|SUDHIR CHANDRA | 138804.000| | 15039|RAJENDAR BAHL | 141384.000| | 15040|B.S. PANWAR | 137445.000| | 15041|SHIBAN KISHEN KOUL | 142384.000| | 15045|SUNEET TULI | 125698.000| | 15051|OM PRAKASH SHARMA | 138804.000| | 15053|U.C. MOHANTY | 156384.000| | 15055|MAITHILI SHARAN | 156384.000| | 15057|PRAMILA GOEL | 134246.000| | 15059|R.C. RAGHAVA | 120866.000| | 15060|H.C. UPADHYAYA | 113502.000| | 15061|A.D. RAO | 141384.000| | 15062|POORNIMA AGARWAL | 120866.000| | 15064|NIVEDITA KARMAKAR GOHIL | 116186.000| | 15065|MANJU MOHAN | 134246.000| | 15076|SUSHIL KUMAR DASH | 141384.000| | 15080|SNEH ANAND | 141384.000| | 15081|ALOK RANJAN RAY | 141384.000| | 15083|HARPAL SINGH | 138477.000| | 15084|S.M.K. RAHMAN | 104533.000| | 15090|M.N. GUPTA | 141384.000| | 15091|A.K. SINGH | 165084.000| | 15095|P.S. PANDEY | 125594.000| | 15103|H.M. CHAWLA | 141384.000| | 15104|RAM NATH RAM | 129155.000| | 15105|T.S.BHATTI | 134246.000| | 15107|SRIRAM HEGDE | 116186.000| | 15127|SURINDRA PRASAD | 156384.000| | 15136|VINOD CHANDRA | 141384.000| | 15139|BASABI BHAUMIK | 141384.000| | 15142|G.S. VISWESWARAN | 141384.000| | 15144|UMESH KUMAR | 120866.000| | 15145|P.R. BIJWE | 141384.000| | 15146|V.K. JAIN | 142284.000| | 15148|DEVI CHADHA | 141384.000| | 15152|S.D. JOSHI | 141384.000| | 15153|GEETAM TEWARI | 137672.000| | 15154|BHIM SINGH | 141384.000| | 15167|V. -
Bhagavad Geeta – 13
|| ´ÉÏqɰaÉuɪÏiÉÉ || BHAGAVAD GEETA – 13 Yoga of the Field & Its Knower “THE SANDEEPANY EXPERIENCE” Reflections by TEXT SWAMI GURUBHAKTANANDA 28.13 Sandeepany’s Vedanta Course List of All the Course Texts in Chronological Sequence: Text TITLE OF TEXT Text TITLE OF TEXT No. No. 1 Sadhana Panchakam 24 Hanuman Chalisa 2 Tattwa Bodha 25 Vakya Vritti 3 Atma Bodha 26 Advaita Makaranda 4 Bhaja Govindam 27 Kaivalya Upanishad 5 Manisha Panchakam 28.13 Bhagavad Geeta (Discourse 13 ) 6 Forgive Me 29 Mundaka Upanishad 7 Upadesha Sara 30 Amritabindu Upanishad 8 Prashna Upanishad 31 Mukunda Mala (Bhakti Text) 9 Dhanyashtakam 32 Tapovan Shatkam 10 Bodha Sara 33 The Mahavakyas, Panchadasi 5 11 Viveka Choodamani 34 Aitareya Upanishad 12 Jnana Sara 35 Narada Bhakti Sutras 13 Drig-Drishya Viveka 36 Taittiriya Upanishad 14 “Tat Twam Asi” – Chand Up 6 37 Jivan Sutrani (Tips for Happy Living) 15 Dhyana Swaroopam 38 Kena Upanishad 16 “Bhoomaiva Sukham” Chand Up 7 39 Aparoksha Anubhuti (Meditation) 17 Manah Shodhanam 40 108 Names of Pujya Gurudev 18 “Nataka Deepa” – Panchadasi 10 41 Mandukya Upanishad 19 Isavasya Upanishad 42 Dakshinamurty Ashtakam 20 Katha Upanishad 43 Shad Darshanaah 21 “Sara Sangrah” – Yoga Vasishtha 44 Brahma Sootras 22 Vedanta Sara 45 Jivanmuktananda Lahari 23 Mahabharata + Geeta Dhyanam 46 Chinmaya Pledge A NOTE ABOUT SANDEEPANY Sandeepany Sadhanalaya is an institution run by the Chinmaya Mission in Powai, Mumbai, teaching a 2-year Vedanta Course. It has a very balanced daily programme of basic Samskrit, Vedic chanting, Vedanta study, Bhagavatam, Ramacharitmanas, Bhajans, meditation, sports and fitness exercises, team-building outings, games and drama, celebration of all Hindu festivals, weekly Gayatri Havan and Guru Paduka Pooja, and Karma Yoga activities. -
Learning the Heart Way! Samyuktha
Learning the Heart Way! Samyuktha Samyuktha’s live-wire book, Learning the Heart Way , may dramatically alter the way young people think about college or university education in future. Most youngsters would like to be free of the drudgery and boredom associated with college lectures, mouldy professors, sterile guides and endless examinations. Coming from an ordinary middle-class environment in Andhra, Samyuktha decided to opt out of the ‘rat race of learning’: the endless tests and scores; the straitjacket imposed by college disciplines which actually narrowed down the world of learning to mugging badly written texts of history, political science, economics, psychology, and yes, sociology; the endless chase after MBA degrees. Instead, she created her own ‘higher education’ curriculum, one that suited both her heart and mind. The result is a marvellous book on learning’ as if the heart mattered’. Other India Press and Multiversity are delighted to be associated with a publication that will be a source of inspiration and direction to many young people (and their parents) in these days of heartless learning and soulless education. About the Author Samyuktha was born in August 1978 in New Delhi and went to school at Kalakshetra, Chennai. She trained as a handloom weaver by working with weavers in Tamil Nadu and Andhra Pradesh, and subsequently learnt textile design at the National Institute of Fashion Technology. She is presently working with an enterprise of handloom weavers in Pochampalli cluster in Andhra Pradesh. She volunteers with social organizations and dreams of a world that is just and sustainable. Preface Samyuktha’s live-wire book, Learning the Heart Way, may dramatically alter the way young people think about college or university education in future. -
PMAY (Urban) Beneficary List
PMAY (Urban) Beneficary List S.no Town Name Father_Name Mobile_No Pres_Address_StreetName 1 Jalesar BABY YASH PAL SINGH 7451085904 MOHALLA AKBARPUR HAVELI, JALESAR ETHA, UTTAR PREDESH 2 Jalesar MOHAR SHRI DEVI HAKIM SINGH 8006820002 BHAAMPURI, JALESAR, ETHA, UTTAR PREDESH 3 Jalesar VIPIL KUMAR CHANDARPAL 7534009766 MOHALLA AKABRPUR HAWELI V.P.O JALESAR ETHA, UTTAR PREDESH 4 Jalesar GUDDO BEGUM LAL KHAN 9568203120 AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 5 Jalesar CHANDRVATI VIJAY SINGH AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 6 Jalesar POONAM BHARATI MIHALLA AKABARPUR 8869865536 AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 7 Jalesar SAROJ KUMARI KUWARPAL SINGH 9690823309 AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 8 Jalesar MOHAMMAD FAHIM MOHAMMAD SAHID 8272897234 MOHHALA KILA , JALESAR, ETHA, UTTAR PREDESH 9 Jalesar SHAJIYA BEGAM BABLU 9758125174 AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 10 Jalesar AMIT KUMAR DAU DAYAL BRAMANPURI, JALESAR ETHA UTTAR PREDESH 11 Jalesar KARAN SINGH LEELADHAR BRAMANPURI, JALESAR ETHA UTTAR PREDESH 12 Jalesar GUDDI NAHAR SINGH 9756578025 BRAMANPURI, JALESAR ETHA UTTAR PREDESH 13 Jalesar MADAN MOHAN PURAN SINGH AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 14 Jalesar KANTI MUKESH KUMAR 9027022124 MOHALLA BARHAMAN PURI JALESAR ETHA 15 Jalesar SOMATI DEVI BACHCHO SINGH 7906607313 AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 16 Jalesar ANITA DEVI SATYA PRAKESH AKBARPURI HAWELI, JALESAR, ETHA, UTTAR PREDESH 17 Jalesar VIRENDRA SINGH AMAR SINGH 7500511574 AKBARPURI HAWELI, JALESAR, ETHA, -
Seminar 641, January 2013
Books THE PRICE OF LAND: Acquisition, Conflict, tunity cost’ of transplanting paddy, harvesting sugar- Consequence by Sanjoy Chakravorty. Oxford Uni- cane or picking cotton.2 During the latest Eleventh versity Press, New Delhi, 2013. Five Year Plan period ended 2011-12, farm wages on an all-India basis rose by an average 17.5 per cent per OF the four main ‘factors of production’ that go into annum. Even after adjusting for inflation, they went determining the cost of any commodity – land, labour, up by an unprecedented 6.8 per cent in real terms.3 capital and energy – the last two have always been con- While the 2000s have, no doubt, been transforma- sidered scarce and expensive in India. This, notwith- tive for labour – leading to an increase in overall standing government policies to underprice electricity, ‘reservation wages’, below which workers aren’t pre- diesel, cooking fuels and urea, or provide subsidized pared to accept employment – they have been even bank credit to farmers and other select borrower cate- more so, though, for land. It is this process – wherein gories. Such measures to keep capital and energy costs land in India has metamorphosed from just being an below their ‘normal’ market determined levels, in any incidental ‘factor of production’ to something whose case, have not been extended to industrial or commer- cost ‘can no longer be written out of the production cial consumers. Indian firms, in general, pay much more function’ – that Sanjoy Chakravorty’s book captures for availing working capital or term loan finance than most lucidly. It is by far the best work on a phenom- their counterparts in competing economies. -
Todi and Tyagaraja
VEDAVALLI SPEAKS Sangita Kalanidhi R. Vedavalli is not only one of the most accomplished of our vocalists, she is also among the foremost thinkers of Carnatic music today with a mind as insightful and uncluttered as her music. Sruti is delighted to share her thoughts on a variety of topics with its readers. Todi and Tyagaraja (Edited excerpts from a lecture- singers of the Divya Prabandham, the demonstration for the Saraswati Vaishnava hymns. Vaggeyakara Trust held at the Narada RAJAM S. Such is the mystery that surrounds Gana Sabha on 21 December 2003). the origin of Todi. Nevertheless, for n Carnatic classical music, Todi centuries, Todi has captivated the is a major raga with ample scope souls and imagination of generations for elaboration and extensive of musicians and composers by its creativity. Though the exact period sheer ocean-like depth and vastness. I It has spawned more than 20 janya of its origin is not known, it can surely be said that through the last raga-s. In practice, no other raga three or four centuries it has grown yields itself so generously to so much and developed so much that today improvisation as Todi does. Every it is one of the most prominent and part of its progression allows endless scope for elaboration. It is a common important raga-s of Carnatic music. practice to elaborate Todi with The evolution and establishment varja prayoga-s (skipping of notes). of Todi as a magnificent raga was This is especially popular among largely enabled by great musicians nagaswara vidwans. and vaggeyakara-s. -
Glossary of Carnatic Terms
karnATik glossary http://www.karnatik.com Glossary Of Carnatic Music Brought to you by karnATik http://www.karnatik.com created by rani Copyright rani. All rights reserved. 1 of 1 karnATik glossary http://www.karnatik.com Glossary: A aadi - a common taaLa, which is catusra jaati tripuTa taaLa. It has 8 beats, with a catusra laghu (beat and 3 finger counts = 4) and then two drutams (beat and wave times 2 = 4). It may be also performed with double the beats per cycle, giving 16 beats. aaditya - the 12th and last cakra, with melakartas that have M2, R3, and G3, comprising numbers 67-72 aahatam - a gamaka or decoration of a note which takes the form of 2 consecutive notes, such as SR RG GM MP ... aalaapanai - one of the manOdharma sangeetam forms, same as raaga (2) aananta - meaning "peace" or "ultimate happiness," this is the word used in singing of taanam aandOLam - a gamaka or decoration of a note which takes the form of going upand down in sequence, as in SRSG, SRSM, SRSP ... aarati - a song or ritual performed with a flame and/or turmeric to drive away evil spirits. Aarati songs are usually in mangaLa raagas aarOha - the ascending scale of a raga (S R G ...), consisting of 4, 5, 6, or 7 notes. aatta varnam - another name for a pada varnam aavartana - one cycle through the rhythm or taaLa. For example, in aadi tala, one aavartanam is 8 beats. Two aavartanas are 16, etc. abhyaasa gaanam - a type of music which is often used in practice or musical exercise. -
Preamble 1.0 Bhakti the Intense Love Towards Adorable God Is Devotion
Preamble 1.0 Bhakti The intense love towards adorable God is devotion1 || Sa Paranuraktiriishware || The one that attracts the grace of God, the one that turns all the desires towards God. It means that the real meaning of Bhakti is intense love towards God. Devotion itself unveils its contents. The center of devotion is Lord God. When the devotee follows the path of devotion God incarnates. To have the vision of God we need not control our habits and senses. It means ignoring all knowledge based karmas (works), ignoring all desires and lust, forgetting the pleasure and pain of life, forgetting what is righteous and what is non-righteous, single minded affection towards God is bhakti. "Bhakti yoga is the only way by which God who is the very epitome of Satchitananda and is rasaswaroop (Whose form is very charming) could be attained".2 "By applying the collegium to the eyelashes, the collegium of 'bhava'. We can have the realization of God through all the senses".3 A yogi has the vision within himself and a devotee has a vision in the outer space. Moreover yogi has the vision of God in the form of illumined being within his heart and soul. On the other hand a devotee gets the vision of God in outerworld as a being perceived by the senses, "Bhava-sanskrut, Indriya gochar' God. “Along with the power of all the senses the quintessential 'bhava' of the mind is known as Bhakti"4. Therefore Bhakti could be called as the "ekantiki swamukhiwali" will power. The foremost aim of a human being is realization of Atma or Brahma, this Atma itself is Brahmaswaroop. -
Bharatanatyam Performed: a Typical Recital 'Bharatanatyam' Is the Contemporary Name for an Idiom of Dancing from Tamilnadu Or Madras State in Southern India
173 Bharatanatyam Performed: A Typical Recital 'Bharatanatyam' is the contemporary name for an idiom of dancing from Tamilnadu or Madras State in southern India. It is the most popular and well known of the classical dance forms performed in India today. Until the early nineteen-thirties it was referred to as Sadir Nac or Dasi Attam, the dance of the devadasis of the temples of Tanjore, a district lying to the south of the modern city of Madras. The devadasis (literally 'servants of god') were women who were dedicated to temple service who p~rfo~med dances_ as part of the many rituals connected with a temp~e, Their dedication incl_ud~d the perform~nc;e, pf_ a marriage ceremony with the deity of a particular temple and incorporation into temple society.1 Apart from their temple services, on special occasions such as weddiDgs they would be invited to perform at the houses of leading citizens. Some were also attached to the courts of rajas (hereditary rulers) and were expected to dance at the palaces for which they received salaries. To the British colonizersf many of whom were entertained by these dancers when they visited a local ruler, the name 'devadasi' became synonymous with 'dancing girl'. They disapproved of the custom, and in the nineteenth century an anti-nautch (anti-dance) movement was launched by a group of English social reformers who sought to prohibit the institution. A specific example of social reformers who sought to prohibit dancing was a "Miss Tenant, who came all the way from England to persuade cultured and highly placed Indians in Madras and elsewhere not to have anything to do with this art and collected signed promises from them to this effect" (Iyer, 1955:27).