DOCSLIB.ORG

Ramprapanna Bhattacharya

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ramprapanna Bhattacharya Ramprapanna Bhattacharya 15/2B, College Row, Kolkata – 700009 (Sitar Player) Phone:+91 33 22414151 Email: [email protected] Mobile: +91 9748008729 Webpage: http://www.ramprapanna.webs.com RAMPRAPANNA BHATTACHARYA SITAR PLAYER ---------------------------------------------------------------------------------------------------------------------------------- Ramprapanna Bhattacharya (born: 1982) is a Hindustani classical musician and Sitar player. Training and Background Ramprapanna Bhattacharya is the highly acclaimed Sitarist and a worthy representative of younger generation of the famous Imdadkhani-Etawah Gharana. He was born in a family with remarkable musical, cultural and spiritual heritage. His great grandfather Late Ramendu Bhattacharya was a noted clarinet player. His grandmother used to play sitar and has the family relation with great musicians like Timir Baran, Amiya Kanti Bhattacharya (Bhombal Babu). His father Sri Ram Udar Bhattacharya is also a Sitarist and is a disciple of Ustad Ali Ahmad Khan(Sitar), Ustad Mushtaq Ali Khan, Pt. Gokul Nag and Pt. Indranil Bhattacharya. Ramprapanna was first introduced to music by his mother. He took up the Sitar at the age of six under guidance of his father, Sri Ram Udar Bhattacharya . After receiving musical lessons from Sri Soumitra Lahiri of Vishnupur Gharana, he got privilege to have musical lessons from Pt. Kashinath Mukherjee (The senior disciple of Ustad Vilayat Khan and Ustad Amir Khan). Now, continuing the same musical tradition he is undergoing extensive guidance from Pt. Arvind Parikh (the world renowned Sitarist and senior most disciple of Ustad Vilayat Khan) in Mumbai. He received compositions from Late Pt. Bimal Mukherjee of Jaipur Gharana, Ustad Amjad Ali Khan, Ustad Shahid Parvez Khan in several workshops from 1995 to 2004. Ramprapanna is rarely fortunate to have affection and blessings from none other than Aftaab-E-Sitar Ustad Vilayat Khan Sahab. Performative Career Ramprapanna has been a regular performer on the concert circuit for two decades, performing all over the country and abroad. The prestigious venues he has performed include the followings: * Eastern Zonal Cultural Center (Performance with Pt. Bimal Mukherjee) * Sri Ramkrishna Mission Belur Math on birthday celebration of Swami Vivekananda * 76th Birth Anniversary of Ustad Vilayat Khan –Sunny Towers-Kolkata * Kolkata District Youth Festival * Alankar Music Circle * Sutanuti Parishad * Salt Lake Cultural Association Ramprapanna Bhattacharya 15/2B, College Row, Kolkata – 700009 (Sitar Player) Phone:+91 33 22414151 Email: [email protected] Mobile: +91 9748008729 Webpage: http://www.ramprapanna.webs.com * Ballygunge Maitrayee Music Circle (Radhika Mohan Maitra memorial concert) * Calcutta University Institute * Subhash Sanskriti Sangeet Parishad at Kala Mandir Basement Hall (Kalakunj) * Calcutta Club on the event of Annual Seminar of South Asian Association for Regional Cooperation (SAARC) * Rotary Club-Pune * Sri Ram Bharatiya Kalakendra-New Delhi * ITC Sangeet Research Academy-Kolkata * National Center of Performing Arts-NCPA(Mumbai) * Program organized by Rotary Club at Gorky Sadan-Kolkata * YV Chavan Hall-Mumbai * Sri Aurobindo Path Mandir-Kolkata * Tata Institute of Fundamental Research-TIFR (Mumbai) * Shivanand Swami Punyatithi Sangeet Mahotsav-Satara * Nazrul Mancha-Kolkata * Iscon Temple-Pune on Janmastami Mahotsav * Oberoi Grand Hotel - Kolkata * Bharat Bhawan - Bhopal (Shared stage with Pt. Ulhas Kashalkar, Pt. Suresh Talwalkar, Vidushi Malini Rajurkar) * Jawahar Kalakendra-Jaipur for Ustad Imamuddin Dagar Memorial Concert * Chhatu Babu-Latu babu's house-Kolkata * Sur Sagar Music Society-Kolkata * Aundh ITI hall-Pune * Kenilworth Banquet Hall - Kolkata on the International Seminar on Micro-biology organized by Bose Institute. * Congress Bhavan-Pune * Ravindra natya Mandir-Mumbai * Tata Consultancy Services Auditorium - Kolkata * Sri Sri Radha Krishna Mandir - Pune on Kojagari Purnima Mahotsav * P.L.Deshpande Sabhagruha-Mumbai * Nad brahma-Pune * Aspee (American Spring & Pressing Works Pvt Ltd) Auditorium-Mumbai * Karnatak Sangha Auditorium-Mumbai (Performance was with Sri Ramdas Palsule on tabla). * All India Music Festival * Khelat Ghosh Memorial Cultural Foundation – Pathuriya Ghata Khelat Ghosh Bhavan. His technical prowess and aesthetic brilliance have been acclaimed greatly by connoisseurs. His performances have been telecasted in popular Television Channels in Kolkata and Pune. His Sitar performance in United Kingdom was highly appreciated by audience and musicians. He received the Scholarship in Sitar by "Ministry of Culture" (Govt. of India). He stood first in Sitar in Kolkata District Youth Festival (Govt. of West Bengal), Inter Collegiate Music Competition, Sutanuti Parishad. He received "Sutanuti Sangeet Samman" offered by Sutanuti Parishad and awards offered by Dover Lane Music Conference, Salt Lake Cultural Association, Sri Aurobindo Institute of Culture. Ramprapanna Bhattacharya 15/2B, College Row, Kolkata – 700009 (Sitar Player) Phone:+91 33 22414151 Email: [email protected] Mobile: +91 9748008729 Webpage: http://www.ramprapanna.webs.com Besides having musical career, Ramprapanna has obtained Bachelors Degree in Electronics & Communication Engineering. ---------------------------------------------------------------------------------------------------------------------------- Musical Heritage: .
Load more

Recommended publications
  • Complete List of Books in Library Acc No Author Title of Book Subject Publisher Year R.No
    Complete List of Books in Library Acc No Author Title of book Subject Publisher Year R.No. 1 Satkari Mookerjee The Jaina Philosophy of PHIL Bharat Jaina Parisat 8/A1 Non-Absolutism 3 Swami Nikilananda Ramakrishna PER/BIO Rider & Co. 17/B2 4 Selwyn Gurney Champion Readings From World ECO `Watts & Co., London 14/B2 & Dorothy Short Religion 6 Bhupendra Datta Swami Vivekananda PER/BIO Nababharat Pub., 17/A3 Calcutta 7 H.D. Lewis The Principal Upanisads PHIL George Allen & Unwin 8/A1 14 Jawaherlal Nehru Buddhist Texts PHIL Bruno Cassirer 8/A1 15 Bhagwat Saran Women In Rgveda PHIL Nada Kishore & Bros., 8/A1 Benares. 15 Bhagwat Saran Upadhya Women in Rgveda LIT 9/B1 16 A.P. Karmarkar The Religions of India PHIL Mira Publishing Lonavla 8/A1 House 17 Shri Krishna Menon Atma-Darshan PHIL Sri Vidya Samiti 8/A1 Atmananda 20 Henri de Lubac S.J. Aspects of Budhism PHIL sheed & ward 8/A1 21 J.M. Sanyal The Shrimad Bhagabatam PHIL Dhirendra Nath Bose 8/A2 22 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam VolI 23 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vo.l III 24 J.M. Sanyal The Shrimad Bhagabatam PHIL Oriental Pub. 8/A2 25 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vol.V 26 Mahadev Desai The Gospel of Selfless G/REL Navijvan Press 14/B2 Action 28 Shankar Shankar's Children Art FIC/NOV Yamuna Shankar 2/A2 Number Volume 28 29 Nil The Adyar Library Bulletin LIT The Adyar Library and 9/B2 Research Centre 30 Fraser & Edwards Life And Teaching of PER/BIO Christian Literature 17/A3 Tukaram Society for India 40 Monier Williams Hinduism PHIL Susil Gupta (India) Ltd.
    [Show full text]
  • School of Cultural Texts and Records, Jadavpur University)
    4.2. SELF APPRAISAL REPORT ON DOCUMENTATION OF CULTURAL TEXTS (SCHOOL OF CULTURAL TEXTS AND RECORDS, JADAVPUR UNIVERSITY) 4.2.1 Contributing Faculty Members (PI/direct supervision of research projects) 1. PROFESSOR AMLAN DAS GUPTA, PROFESSOR OF ENGLISH Digitization of Cultural Material Digital Music Archiving Electronic Editing 2. DR ABHIJIT GUPTA, ASSOCIATE PROFESSOR OF ENGLISH Early Bengali Books Location Register Physical Culture in Bengal 3. SHRI RAJESWAR SINHA, ASST. PROFESSOR OF BENGALI Travel Literature in Bengal Database Advisory Faculty 1. PROFESSOR SUKANTA CHAUDHURI (PROFESSOR EMERITUS, JADAVPUR UNIVERSITY) 2. PROFESSOR SUPRIYA CHAUDHURI (PROFESSOR EMERITA, JADAVPUR UNIVERSITY) 3. PROFESSOR SWAPAN CHAKRAVORTY, PROFESSOR OF ENGLISH 4. PROFESSOR MOINAK BISWAS, PROFESSOR OF FILM STUDIES 5. PROFESSOR SAMANTAK DAS, ASSOCIATE PROFESSOR OF COMPARATIVE LITERATURE 6. DR RIMI B CHATTERJEE, ASSOCIATE PROFESSOR OF ENGLISH Project Staff under UPE ­ 2 as on 1 January 2014 1. Sri Subrata Sinha, Research Fellow 2. Dr Spandana Bhowmik, Research Fellow 3. Dr Debapriya Basu, Research Fellow 4. Dr Sudeshna Datta Chaudhuri Basu, Project Fellow 5. Ms Purbasha Auddy, Project Fellow 6. Dr Deeptanil Roy, Project Fellow 7. Sri Nikhilesh Bhattacharya, Project Fellow 8. Ms Moumita Haldar, Project Fellow 9. Ms Asmita Chaudhuri, Project Fellow 4.2.2 Relevant Projects in Last 10 years including the Ongoing Projects (MAJOR PROJECTS ONLY) Project Title Sponsoring Members Grant Value Duration Agency (Rs in Lakh) DOCUMENTATION OF UGC ‐ UPE 1 SUKANTA CHAUDHURI,
    [Show full text]
  • 85425 LCMS Newsletter
    Members’ Voices rarely miss.” My great-uncle’s reply hasn’t trip to Red Lion Square, a random selection of LCMS Strategy Planning survived, but it’s very likely that he did attend the miniature scores of well-known works in the back concerts during his years as editor of the Jewish of the car. The interior of Conway Hall would not I have been a trustee of LCMS for a Three Generations Chronicle in the early 1930s. In his very modest have changed very much since the late 1950s, and year. When I joined the Board I was childhood home in Stoke-on-Trent at the turn of in my adolescent mind its earnest, secular, 1920s asked to look strategically at how we the century music would only have come from the aesthetic became indissoluble from the experience photo: © John Sturrock photo: © John are set up and how we operate. I have wireless and occasional concerts, so it isn’t difficult of listening to chamber music – the distinctive CHAMBER MUSIC NOTES helped others in a similar exercise in to imagine the influence of the Sunday concerts in wood-panelling, the fringed lamp casting a circle of the past, and my way of doing this is the formation of a lifelong music-lover. light on the performers, and the large inscription of to take time, talk to as many people This makes me the third generation of my ‘To Thine Own Self Be True’ forming a constant as I can, and try to understand the family for whom the concerts have been part of our backdrop.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • University of Delhi
    Choice Based Credit System (CBCS) UNIVERSITY OF DELHI DEPARTMENT OF MUSIC UNDERGRADUATE PROGRAMME (Courses effective from Academic Year 2015-16) SYLLABUS OF COURSES TO BE OFFERED Core Courses, Elective Courses & Ability Enhancement Courses Disclaimer: The CBCS syllabus is uploaded as given by the Faculty concerned to the Academic Council. The same has been approved as it is by the Academic Council on 13.7.2015 and Executive Council on 14.7.2015. Any query may kindly be addressed to the concerned Faculty. Undergraduate Programme Secretariat Preamble The University Grants Commission (UGC) has initiated several measures to bring equity, efficiency and excellence in the Higher Education System of country. The important measures taken to enhance academic standards and quality in higher education include innovation and improvements in curriculum, teaching-learning process, examination and evaluation systems, besides governance and other matters. The UGC has formulated various regulations and guidelines from time to time to improve the higher education system and maintain minimum standards and quality across the Higher Educational Institutions (HEIs) in India. The academic reforms recommended by the UGC in the recent past have led to overall improvement in the higher education system. However, due to lot of diversity in the system of higher education, there are multiple approaches followed by universities towards examination, evaluation and grading system. While the HEIs must have the flexibility and freedom in designing the examination and evaluation methods that best fits the curriculum, syllabi and teaching–learning methods, there is a need to devise a sensible system for awarding the grades based on the performance of students.
    [Show full text]
  • Classical Singers
    1. RAVI SHANKAR Ravi Shankar (7 April 1920 – 11 December 2012), often referred to by the title Pandit, was an Indian musician and composer who played thesitar, a plucked string instrument. He has been described as the best-known contemporary Indian musician. He spent his youth touring Europe and India with the dance group of his brother Uday Shankar. He gave up dancing in 1938 to study sitar playing under court musician Allauddin Khan. After finishing his studies in 1944, Shankar worked as a composer, creating the music for the Apu Trilogy by Satyajit Ray, and was music director of All India Radio, New Delhi, from 1949 to 1956. In 1956, he began to tour Europe and the Americas playing Indian classical music and increased its popularity there in the 1960s through teaching, performance, and his association with violinist Yehudi Menuhin and rock artist George Harrison of the Beatles. Shankar engaged Western music by writing concerti for sitar and orchestra and toured the world in the 1970s and 1980s. From 1986 to 1992 he served as a nominated member of Rajya Sabha, the upper chamber of the Parliament of India. Shankar was awarded India's highest civilian honour, the Bharat Ratna, in 1999, and received three Grammy Awards. He continued to perform in the 2000s, sometimes with his younger daughter, Anoushka. Career Shankar developed a style distinct from that of his contemporaries and incorporated influences from rhythm practices of Carnatic music. His performances begin with solo alap, jor, and jhala (introduction and performances with pulse and rapid pulse) influenced by the slow and serious dhrupad genre, followed by a section with tabla accompaniment featuring compositions associated with the prevalent khyal style.
    [Show full text]
  • MUSIC Subject Code
    Roll No. (Write Roll Number from left side exactly as in the Admit Card) Signature of Invigilator Question Booklet Series X PAPER–II Question Booklet No. (Identical with OMR Subject Code : 28 Answer Sheet Number) MUSIC Time : 2 Hours Maximum Marks: 200 Instructions for the Candidates 1. Write your Roll Number in the space provided on the top of this page as well as on the OMR Sheet provided. 2. At the commencement of the examination, the question booklet will be given to you. In the first 5 minutes, you are requested to open the booklet and verify it: (i) To have access to the Question Booklet, tear off the paper seal on the edge of this cover page. (ii) Faulty booklet, if detected, should be got replaced immediately by a correct booklet from the invigilator within the period of 5 minutes. Afterwards, neither the Question Booklet will be replaced nor any extra time will be given. (iii) Verify whether the Question Booklet No. is identical with OMR Answer Sheet No.; if not, the full set is to be replaced. (iv) After this verification is over, the Question Booklet Series and Question Booklet Number should be entered on the OMR Sheet. 3. This paper consists of One hundred (100) multiple-choice type questions. All the questions are compulsory. Each question carries two marks. 4. Each Question has four alternative responses marked: A B C D . You have to darken the circle as indicated below on the correct response against each question. Example: A B C D , whereC is the correct response.
    [Show full text]
  • MUSIC Subject Code : 28
    Roll No. (Write Roll Number from left side exactly as in the Admit Card) Signature of Invigilator Question Booklet Series Y PAPER–II Question Booklet No. (Identical with OMR Subject Code : 28 Answer Sheet Number) MUSIC Time : 2 Hours Maximum Marks: 200 Instructions for the Candidates 1. Write your Roll Number in the space provided on the top of this page as well as on the OMR Sheet provided. 2. At the commencement of the examination, the question booklet will be given to you. In the first 5 minutes, you are requested to open the booklet and verify it: (i) To have access to the Question Booklet, tear off the paper seal on the edge of this cover page. (ii) Faulty booklet, if detected, should be got replaced immediately by a correct booklet from the invigilator within the period of 5 minutes. Afterwards, neither the Question Booklet will be replaced nor any extra time will be given. (iii) Verify whether the Question Booklet No. is identical with OMR Answer Sheet No.; if not, the full set is to be replaced. (iv) After this verification is over, the Question Booklet Series and Question Booklet Number should be entered on the OMR Sheet. 3. This paper consists of One hundred (100) multiple-choice type questions. All the questions are compulsory. Each question carries two marks. 4. Each Question has four alternative responses marked: A B C D . You have to darken the circle as indicated below on the correct response against each question. Example: A B C D , whereC is the correct response.
    [Show full text]
  • Shakir Khan Artist
    Shakir Khan Artist https://www.indiamart.com/shakir-khan-artist/ Shakir Khan is one of the most promising young exponents of the legendary Etawah Gharana, energetically following in the musical footsteps of his prodigious father and guru — the sitar maestro Ustad Shahid Parvez Khan. Indeed, ... About Us Shakir Khan is one of the most promising young exponents of the legendary Etawah Gharana, energetically following in the musical footsteps of his prodigious father and guru — the sitar maestro Ustad Shahid Parvez Khan. Indeed, Shakir represents the eighth generational link in an unbroken chain of musical talent and tradition poured exclusively into the sitar and surbahar. A chain that includes, besides Ustadji, the musical legacy of Ustad Aziz Khan (Shakir’s paternal grandfather), and that of the patriarchal surbaharist Ustad Wahid Khan (Shakir’s great grandfather). He is also a close blood relative of the great Ustad Vilayat Khan.As might be expected from such a pedigreed musician, his talent surfaced early in life, Shakir giving his first public performance at the age of eleven. Talent, however, is not enough to master the Indian classical tradition, and under the careful tutelage of his father, Shakir matured gradually through study, countless hours dedicated to practice (riyaaz) and frequent recitals. The work paid off, and in recent years Shakir has performed brilliantly for prestigious music conferences in India including the Dover Lane Music Conference (Kolkata), Sawai Gandharva music festival Pune. the Saptak Music Festival (Ahmedabad), Bombay Festival (Mumbai), the Tansen Music Festival (Gwalior), the Shankarlal Music Festival (Delhi) and many more. He has also performed extensively worldwide, bringing the joy and subtlety of..
    [Show full text]
  • Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music
    Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music CURRICULUM FOR UNDERGRADUATE COURSE CHOICE BASED CREDIT SYSTEM S.No. COURSE SEMESTER CREDITS MARKS FULL MARKS Core Course 1 14 Courses I –VI 14X6=84 14X75 1050 08 Courses Practical 06 Courses Theoretical Discipline Specific Elective Course (DSE) 2 04 Courses V- VI 4X6=24 4X75 300 03Courses Practical 01 course Theoretical Generic Elective Course (GEC) 04 Courses I-IV 4X6=24 4X75 300 3 03 Courses Practical 01 Course Theoretical Skill Enhancement Compulsory Course (SECC) 4 III-IV 2X2=4 2X25 50 02 Courses Theoretical Ability Enhancement I-II 2X2=4 2X25 50 Compulsory Course (AECC) 5 02 Courses Theoretical 6 Foundation Course I-II 2X4=8 2X50 100 (Tagore Studies) 02 Courses Theoretical Total: 26+2=28 Courses - - - 1850 1 CHOICE BASED CREDIT SYSTEM B.MUS (HONS) IN HINDUSTHANI CLASSICAL MUSIC (VOCAL) COURSE AND MARKS DISTRIBUTION STRUCTURE Core course AECC SECC DSE GEC TS SEM Total Prac Theo Prac Theo Prac Theo Prac Theo Prac Theo Theo I 75 75 - 25 - - - - 75 - 50 300 II 75 75 - 25 - - - - 75 - 50 300 III 150 75 - - - 25 - - 75 - - 325 IV 150 75 - - - 25 - - - 75 - 325 V 75 75 - - - - 150 - - - - 300 VI 75 75 - - - - 75 75 - - - 300 Total 600 450 - 50 - 50 225 75 225 75 100 1850 2 Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music CURRICULUM FOR UNDERGRADUATE COURSE CHOICE BASED CREDIT SYSTEM B.MUS (HONS) IN HINDUSTHANI CLASSICAL MUSIC TABLE OF CONTENTS HINDUSTHANI CLASSICAL MUSIC (VOCAL) 4 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (SITAR) 21 HINDUSTHANI
    [Show full text]
  • Copyright by Jeffrey Michael Grimes 2008
    Copyright by Jeffrey Michael Grimes 2008 The Dissertation Committee for Jeffrey Michael Grimes certifies that this is the approved version of the following dissertation: The Geography of Hindustani Music: The Influence of Region and Regionalism on The North Indian Classical Tradition Committee: ____________________________________ Stephen M. Slawek, Supervisor ____________________________________ Veit Erlmann ____________________________________ Ward Keeler ____________________________________ Robin Moore ____________________________________ Shanti Kumar The Geography of Hindustani Music: The Influence of Region and Regionalism on The North Indian Classical Tradition by Jeffrey Michael Grimes, M.M., B.M. Dissertation 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 Doctor of Philosophy The University of Texas at Austin December 2008 Acknowledgements I would like to briefly thank a few individuals for making this project possible. The first are my parents, Tom and Kay Grimes, who have supported me emotionally and, as necessary, financially through the dissertation writing process (and earlier, as well). Next, I would like to thank my mentor and dissertation supervisor Dr. Stephen M. Slawek. All that I know of Indian music (even the things he didn’t teach me directly) is due to him, both as my academic adviser and as my long-time sitar Guru. Especially crucial for the current project, though, has been his unwavering moral and intellectual support. Dr. Slawek encouraged me from day one to pursue the work I wanted to pursue, and I cannot be more grateful for this. All of his advisees that he has shepherded through the process of writing a report or dissertation, I am sure, would say the same.
    [Show full text]