Click Here for More Details

Total Page:16

File Type:pdf, Size:1020Kb

Click Here for More Details Click Here for more details https://kalakendra.com/yours-truly-margazhi/ 15-12-2020 Sozhavaram Venkatesan & R.Govindarajan - Nadhaswaram, Thavil - Adyar Tuesday D.senthil Kumar & R.jeevanandam Inaugural Function Vocal - Sandeep Narayan, Violin - Mysore Srikanth, Mridangam - Umayalpuram K Sivaraman 16-12-2020 Thiruppavai Wednesday Namasangeerthanam Vocal - ABHIRAM BHODE, Violin - Shyam Raghav, Mridangam - Indhalur Adharsh Devarajan Vocal - CHINMAYA SISTERS-UMA & RADHIKA, Violin - B.V Raghavendra Rao, Mridangam - Tanjavur K Murugabhoopathi, Ghatam - N Guruprasad Violin Duet -GANESH & KUMARESH, Mridangam - Anantha R Krishnan, Ghatam - Trichy Krishnaswamy 17-12-2020 Thiruppavai Thursday Namasangeerthanam Vocal - Chithra Moorthy, Violin - Haritha Narayanan, Mridangam - Rohith A THE CARNATIC QUARTET, Violin - Shreya Devnath, Mridangam - Praveen Sparsh, Nadhaswaram - Mylai Karthikeyan Thavil - R.Jeevanandam Vocal - TRICHUR BROTHERS - SRIKRISHNA MOHAN & RAMKUMAR MOHAN, Violin - Sayee Rakshith, Mridangam - Trichur Mohan, Kanjira - B.S Purushotham Click Here for more details https://kalakendra.com/yours-truly-margazhi/ 18-12-2020 Thiruppavai Friday Namasangeerthanam Vocal - CALCUTTA SHANKAR, Violin - V.L.V.Sudharsan, Mridangam - Manikkudi.S.Chandrasekaran Vocal - K.GAYATHRI, Violin - R. Hemalatha, Mridangam - Poongulam Subramaniam Violin Duet - A KANYAKUMARI & EMBAR S KANNAN, Mridangam - Mannargudi A Easwaran, Kanjira - B.S Purushotham 19-12-20 Thiruppavai Saturday Namasangeerthanam Vocal - SVARATHMIKA, Violin- C.S Chinmayi, Mridangam - Pazhani Balaji Vocal - GEETHA RAJA, Violin -V. V. Ravi, Mridangam - J.Vaidhyanathan, Ghatam - G Ravichandran Vocal - SIKKIL GURUCHARAN, Violin - V Sanjeev, Mridangam - K.V Prasad, Kanjira -Sunil kumar 20-12-2020 Thiruppavai Sunday Namasangeerthanam SBS CREATIONS PRESENT “ BHARATHI YAAR ? " - DRAMA Vocal - RITHVIK RAJA, Violin-R.K Shriramkumar, Mridangam- Sumesh Narayanan, Kanjira - Anirudh Athreya Click Here for more details https://kalakendra.com/yours-truly-margazhi/ Vocal - UNNIKRISHNAN, Violin - Parur MS Ananthakrishnan, Mridangam -Srimushnam V Raja Rao 21-12-2020 Thiruppavai Monday Namasangeerthanam Vocal - DEEPTHI SURESH, Violin - Tirucherai Karthik, Mridangam - Tirumaalam Sundaram Vocal - VISHNUDEV KS, Violin- M.A.Krishnaswam, Mridangam - Tanjavur K Murugaboopathi, Ghatam- P.S.V.Ramani Violin Duet - LALGUDI GJR KRISHNAN & VIJAYALAKSHMI, Mridangam - Sumesh Narayanan, Kanjira- Harihara Sharma 22-12-2020 Thiruppavai Tuesday Namasangeerthanam Vocal - SHREYAS MURALI, Violin- Akilesh Chandrasekar, Mridangam - Chidambaram Sai Shankar Saxophone - G RAMANATHAN, Violin - V.Suresh Babu, Thavil - Mylai S. Gajendran Vocal - S. SOWMYA, Violin - Embar S. Kannan, Mridangam - Neyveli R Narayanan, Ghatam - Chandrasekara Sharma 23-12-2020 Thiruppavai Wednesday Click Here for more details https://kalakendra.com/yours-truly-margazhi/ Namasangeerthanam Vocal - MADURAI SIVAGANESH, Violin - M.Vijay, Mridangam - B. Ganapathyraman Vocal - AMRITHA MURALI, Violin - Mysore Srikanth, Mridangam- N Manoj Siva Vocal - K BHARAT SUNDAR, Violin- Nagai R Sriram, Mridangam- Thiruvarur Bakthavathsalam, Ghatam- N Guruprasad 24-12-20 Thiruppavai Thursday Namasangeerthanam Vocal -VISHRUTHI GIRISH, Violin - Haritha Narayanan, Mridangam - Jayendra Kumar Vocal - VIGNESH ISHWAR, Violin - Sayee Rakshith, Mridangam - B.Sivaraman, Kanjira - Anirudh Athreya Vocal - SUDHA RAGUNATHAN, Violin - Vittal Rangan Mridangam - Patri Satish Kumar, Morsing - R Raman 25-12-20 Thiruppavai Friday Namasangeerthanam LEC DEM BY NEYVELI SANTHANAGOPALAN & THIRUVARUR GIRISH DUMMY'S DRAMA PRESENTS “KAANI NILAM" - DRAMA Vocal - SANJAY SUBRAHMANYAN, Violin - S. Varadarajan Mridangam - Neyveli B .Venkatesh Click Here for more details https://kalakendra.com/yours-truly-margazhi/ Veena- JAYANTHI KUMARESH, Mridangam - Bangalore Arjunkumar, Morsing / Tabla- Pramath Kiran 26-12-20 Thiruppavai Saturday Namasangeerthanam Vocal - VENKATA NAGARAJAN, Violin - M.Vijay, Mridangam - Puttur T Nikshith, Kanjira - K.R Sivaramakrishna Vocal - AKKARAI SISTERS - SUBHALAKSHMI & SORNALATHA, Violin - B.U Ganesh Prasad, Mridangam - Kulur Jayachandra Rao, Kanjira - Guruprasanna Vocal - ABHISHEK RAGHURAM, Violin - H.N Bhaskar, Mridangam - Delhi Sairam 27-12-2020 Thiruppavai Sunday Namasangeerthanam SHRADDHA PRESENTS " HOME MAKER " - DRAMA Vocal - SAKETHARAMAN, Violin - H.N Bhaskar, Mridangam - N.C.Bharadwaj, Kanjira - Anirudh Athreya Vocal - RANJANI & GAYATRI, Violin - L .Ramakrishnan, Mridangam - Delhi Sairam, Ghatam- S.Krishna 28-12-2020 Thiruppavai Monday Namasangeerthanam Vocal - VIGNESH KRISHNAMURTHY, Violin- Kedar Vignesh, Mridangam- Triichur K Sudev Vocal GAYATHRI GIRISH, Violin - M.A .Krishnaswami, Mridangam- Poongulam Subramanian, Ghatam- H Prasanna Click Here for more details https://kalakendra.com/yours-truly-margazhi/ Vocal - KUNNAKUDI M BALAMURALIKRISHNA, Violin - Akkarai S . Subhalakshmi, Mridangam - Tanjavur K.Murugaboopathi, Kanjira - B Shree Sundarkumar 29-12-2020 Thiruppavai Tuesday Namasangeerthanam Vocal - PREETHI SETHURAMAN, Violin - Subashree Shankar, Mridangam - Tirumaalam Sundaram Harikatha "NADHA SUDHA RASA " By DUSHYANTH SRIDHAR, Vocal Support - Anahita & Apoorva, Mridangam - Akshay Ananthapadmanabhan Vocal - RAMAKRISHNAN MURTHY, Violin - Delhi P Sunderrajan, Mridangam - Karaikudi Mani, Ghatam - Giridhar Udupa 30-12-2020 Thiruppavai Wednesday Namasangeerthanam Vocal - MANASA HARIPRAKASH, Violin - C.S Chinmayi, Mridangam - Trichur K. Sudev Vocal - ASHWATH NARAYANAN, Violin - M.Shrikanth, Mridangam - N.C.Bharadwaj Vocal - N VIJAY SIVA, Violin - R.K Shriramkumar, Mridangam - J Vaidyanathan, Ghatam - S.Karthick 31-12-2020 Thiruppavai Thursday Namasangeerthanam Click Here for more details https://kalakendra.com/yours-truly-margazhi/ Vocal - AKSHAY PADMANABHAN, Violin - M Vijay, Mridangam- N.C Bharadwaj Vocal - GAYATHRI VENKATARAGHAVAN, Violin- Charumathi Raghuraman, Mridangam- N Manoj Siva, Kanjira - K.V.Gopalakrishnan MANDOLIN U RAJESH & VEENA RAJHESH VAIDHYA, Tabla - Praveen Narayanan, Mridangam - Bangalore V. Praveen, Morsing- - Bangalore Rajasekar 01-01-21 Thiruppavai Friday NAMASANKEERTHAN/ RADHA KALYANAM Vocal - SUNIL R GARGYAN, Violin M.Vijay, Mridangam -Trivandrum V Balaji, Ghatam - S.Krishna Flute - SHASHANK, Violin - Akkarai S. Sornalatha, Mridangam - Parupalli Phalgun Sangeetha Upanyasam "Bhakti Vaibhavam" by - VISHAKA HARI, Violin - B. Ananthakrishnan, Mridangam - S.J Arjun Ganesh, Ghatam - Trichy K. Murali 02-01-21 Thiruppavai Saturday LEC DEM BY GHATAM KARTHICK UAA PRESENTS " KASEDHAN KADAVULADA " DRAMA Shri HARIDWARAMANGALAM PALANIVEL Presents "SWARALAYA" Bharathanatyam By SHOBANA 03-01-21 Thiruppavai Click Here for more details https://kalakendra.com/yours-truly-margazhi/ Sunday LEC DEM BY ROJA KANNAN VIVEKA FINE ARTS CLUB PRESENTS "CHO'S MOHAMED BIN THUGLAK" - DRAMA Vocal - NISHA RAJAGOPAL, Violin - R . Hemalatha, Mridangam - Cherthalai R Ananthakrishnan, Kanjira- Nerkunam Shankar Bharathanatyam By PRIYADHARSHINI GOVIND 04-01-21 Thiruppavai Monday Vocal - MALAVIKA SUNDAR, Violin - Shraddha Ravindran, Mridangam - Akshay Ram, Moharsing - Sai subramaniam Vocal - PAPANASAM ASHOK RAMANI, Violin - M.A.Sundaresan, Mridangam - B. Ganapathyraman Morsing - A.S Krishnan "VAZHUVOOR BHAANI "Bharathanatyam By SRINIDHI CHIDAMBARAM 05-01-21 Thiruppavai Tuesday Vocal BHARATH NARAYAN, Violin - Indhalur Shyam Raghav, Mridangam - Pazhani Balaji Vocal PRIYA SISTERS - HARIPRIYA & SHANMUKHAPRIYA, Violin - M.A Krishnaswami, Mridangam - Sai Giridhar, Kanjira - B.S.Purushotham Bharathanatyam By URMILA SATHYANARAYANAN 06-01-21 Thiruppavai Wednesday Vocal - CHAITRA SAIRAM, Violin - Sayee Rakshith Mridangam - Sumesh Narayanan Vocal - PRASANNA VENKATARAMAN, Violin - M.R.Gopinath, Click Here for more details https://kalakendra.com/yours-truly-margazhi/ Mridangam - Vijay Natesan, Kanjira - C.S Venkataraman Bharathanatyam By MALAVIKA SARUKKAI 07-01-21 Thiruppavai Thursday Vocal SHRUTHI SHANKAR KUMAR, Violin-Shraddha Ravindran, Mridangam - Jayendra Kumar Flute - PRAPANCHAM BALACHANDRAN, Violin - V. V. Srinivasarao, Mridangam - Chidambaram S.Balashankar, Kanjira - Papanasam Sethuraman Vocal - PALGHAT R. RAMPRASAD, Violin - L Ramakrishnan, Mridangam - Tiruvarur Bakthavathsalam, Kanjira - B.S . Purushotham 08-01-21 Thiruppavai Friday Vocal - SRIVATHSAN.S, Violin - M.Shrikanth, Mridangam - N.C.Bharadwaj Vocal - VIDYA KALYANARAMAN, Violin - Sayee Rakshith, Mridangam - Kumbakonam Swaminathan, Kanjira - Sunil Kumar Vocal - R.SURYAPRAKASH, Violin - M.R Gopinath, Mridangam - Srimushnam V Raja Rao 09-01-21 Thiruppavai Saturday LEC DEM BY SATYAJITH SANTH PRAVAH BY SAVITA SRIRAM & VASUDHA RAVI Flute - J.A JAYANTH, Violin - L Ramakrrishnan, Mridangam - Praveen Sparsh, Ghatam - S.Karthick Vocal - SRIRANJANI SANTHANAGOPALAN, Violin - B Ananthakrishnan, Mridangam - Delhi Sairam Click Here for more details https://kalakendra.com/yours-truly-margazhi/ 10-01-21 Thiruppavai Sunday LEC DEM BY ANJANA ANAND VIVEKA FINE ARTS CLUB PRESENTS "CHO'S NERMAI URANGUM NERAM" - DRAMA Vocal G RAVIKIRAN, Violin - Madan Mohan, Mridangam - Delhi Sairam Vocal - S. MAHATHI, Violin - Mysore Srikanth, Mridangam - Delhi Sairam 11-01-21 Thiruppavai Monday Vocal ABHISHEK RAVISHANKAR, Violin - Visvesh Chandrasekar, Mridangam - Rohtih A Vocal BHARATHI RAMASUBBAN, Violin - M . Narmada, Mridangam - B Sivaraman VITTAL RAMAMURTHY & VVS MURARI, Mridangam - Patri Satish Kumar, Ghatam - S.Krishna 12-01-21 Thiruppavai Tuesday Discourse "Krishna- The Lord with many secrets" By MALINI ARAVIND Vocal - NITHYASREE, Violin - B.V Raghavendra
Recommended publications
  • 1 Syllabus for MA (Previous) Hindustani Music Vocal/Instrumental
    Syllabus for M.A. (Previous) Hindustani Music Vocal/Instrumental (Sitar, Sarod, Guitar, Violin, Santoor) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical and Theoretical Study of Ragas 70 Marks A. Historical Study of the following Ragas from the period of Sangeet Ratnakar onwards to modern times i) Gaul/Gaud iv) Kanhada ii) Bhairav v) Malhar iii) Bilawal vi) Todi B. Development of Raga Classification system in Ancient, Medieval and Modern times. C. Study of the following Ragangas in the modern context:- Sarang, Malhar, Kanhada, Bhairav, Bilawal, Kalyan, Todi. D. Detailed and comparative study of the Ragas prescribed in Appendix – I Internal Assessment 30 marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Music of the Asian Continent 70 Marks A. Study of the Music of the following - China, Arabia, Persia, South East Asia, with special reference to: i) Origin, development and historical background of Music ii) Musical scales iii) Important Musical Instruments B. A comparative study of the music systems mentioned above with Indian Music. Internal Assessment 30 marks Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of half an hour’s duration before an audience in Ragas selected from the list of Ragas prescribed in Appendix – I Candidate may plan his/her performance in the following manner:- Classical Vocal Music i) Khyal - Bada & chota Khyal with elaborations for Vocal Music. Tarana is optional. Classical Instrumental Music ii) Alap, Jor, Jhala, Masitkhani and Razakhani Gat with eleaborations Semi Classical Music iii) A short piece of classical music /Thumri / Bhajan/ Dhun /a gat in a tala other than teentaal may also be presented.
    [Show full text]
  • Towards Automatic Audio Segmentation of Indian Carnatic Music
    Friedrich-Alexander-Universit¨at Erlangen-Nurnberg¨ Master Thesis Towards Automatic Audio Segmentation of Indian Carnatic Music submitted by Venkatesh Kulkarni submitted July 29, 2014 Supervisor / Advisor Dr. Balaji Thoshkahna Prof. Dr. Meinard Muller¨ Reviewers Prof. Dr. Meinard Muller¨ International Audio Laboratories Erlangen A Joint Institution of the Friedrich-Alexander-Universit¨at Erlangen-N¨urnberg (FAU) and Fraunhofer Institute for Integrated Circuits IIS ERKLARUNG¨ Erkl¨arung Hiermit versichere ich an Eides statt, dass ich die vorliegende Arbeit selbstst¨andig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus anderen Quellen oder indirekt ubernommenen¨ Daten und Konzepte sind unter Angabe der Quelle gekennzeichnet. Die Arbeit wurde bisher weder im In- noch im Ausland in gleicher oder ¨ahnlicher Form in einem Verfahren zur Erlangung eines akademischen Grades vorgelegt. Erlangen, July 29, 2014 Venkatesh Kulkarni i Master Thesis, Venkatesh Kulkarni ACKNOWLEDGEMENTS Acknowledgements I would like to express my gratitude to my supervisor, Dr. Balaji Thoshkahna, whose expertise, understanding and patience added considerably to my learning experience. I appreciate his vast knowledge and skill in many areas (e.g., signal processing, Carnatic music, ethics and interaction with participants).He provided me with direction, technical support and became more of a friend, than a supervisor. A very special thanks goes out to my Prof. Dr. Meinard M¨uller,without whose motivation and encouragement, I would not have considered a graduate career in music signal analysis research. Prof. Dr. Meinard M¨ulleris the one professor/teacher who truly made a difference in my life. He was always there to give his valuable and inspiring ideas during my thesis which motivated me to think like a researcher.
    [Show full text]
  • Scheme of Examination for Session 2020-21 One Year Diploma in Tabla Programme Code- DPT1 Semester-I Paper Theory/ Practical
    Scheme of Examination for session 2020-21 One Year Diploma in Tabla Programme Code- DPT1 Semester-I Paper Theory/ Paper Nomenclature Maximum Internal Total Credits Practical Code of Paper Marks Assessment Marks I Theory 20CPT11C1 Basics of 80 20 100 4 Tabla II Theory 20CPT11C2 Historical & 80 20 100 4 Theoretical Study of Tabla III Practical 20CPT11C3 Stage 150 150 6 Performance IV Practical 20CPT11C4 Viva-Voce 150 150 6 Total 500 20 Paper Theory/ Paper Nomenclature Maximum Internal Total Credits Practical Code of Paper Marks Assessment Marks V Theory 20DPT12C1 History and 80 20 100 4 Basics of Tabla VI Theory 20DPT12C2 Applied 80 20 100 4 Theory of Tabla VII Practical 20DPT12C3 Stage 150 150 6 Performance VIII Practical 20DPT12C4 Viva-Voce 150 150 6 Total 500 20 The candidate has to answer five questions by selecting atleast one question from each Unit. Maximum Marks 80 Internal Assessment 20 marks Semester 1 Theory Paper - I Programme Name One Year Diploma Programme Code DPT1 in Tabla Course Name Basics of Tabla Course Code 20CPT11C1 Credits 4 No. of 4 Hours/Week Duration of End 3 Hours Max. Marks 100 term Examination Course Objectives:- 1. To impart Practical knowledge about Tabla. 2. To impart knowledge about theoretical aspects of Tabla in Indian Music. 3. To impart knowledge about Tabla and specifications of Taala 4. To impart knowledge about historical development of Tabal and it’s varnas(Bols) Course Outcomes 1. Students would able to know specifications of Tabla and Taalas 2. Students would gain knowledge about Historical development of Tabla 3.
    [Show full text]
  • The West Bengal College Service Commission State
    THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics.
    [Show full text]
  • List of Empanelled Artist
    INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ
    [Show full text]
  • The Journal the Music Academy
    ■ '■)''' ^ % fHr MUSIC AC/*.nrH« , * **’"•- **C ■■ f / v ’s •OVAPETT a h , M A 0R , THE JOURNAL OF THE MUSIC ACADEMY { | M A D R A S A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC ol. XXXI 1960 Parts I-IV 5frt srcrrfo lrf^% * i *Tr*rf?cT fts r f ir stt^ ii “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun ; where my Bhaktas sing, there be I, Narada ! ” E D IT E D BY V. RAGHAVAN, M .A ., p h . d . 1 9 6 0 PUBLISHED BY THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD, MADRAS-14. Annual Subscription—Inland Rs. 4. Foreign 8 sb. Post paid. n l u X-gfr*** ■»" '« Hi* '% 8" >«■ "«■ nMin { ADVERSTISEMENT CHARGES a | | COVER P A G E S : Full Page Half page | T Back (outside) Rs. 25 A Front (inside) „ 20 Rs. 11 a Back (Do.) „ 20 „ 11 * ♦ INSIDE PAGES: 1st page (after cover) „ 18 „ 10 Other pages (each) „ 15 „ 9 | Preference will be given to advertisers of musical I i instruments and books and other artistic wares. f * * I A Special position and special rates on application. o ^ T CONTENTS The XXXIIIrd Madras Music Conference, 1959, Official Report Gramas and Musical Intervals By S. Ramanathan The Historical development of Prabandha Giti By Swami Prajnanananda Significant use of Srutis in North Indian Ragas By Robindralal Roy Gamakas in Hindusthani Music By Pt. Ratanjankar New Trends in American Dancing By Clifford Jones Untempered Intonation in the West By H. Boatwright Three Dance Styles of Assam By Maheshwar Neog History of Indian Music as gleaned through Technical terms, Idioms and Usages By G.
    [Show full text]
  • Drum Kit List
    DRUM KIT LIST LISTE DES KITS DE BATTERIE LISTA DE CONJUNTOS DE BATERÍA DRUM KIT-LISTE Drum Kit List / Liste des kits de batterie/ Lista de conjuntos de batería / Drum Kit-Liste • Same as Standard Kit 1 • Comme pour Standard Kit 1 • No Sound • Absence de son • Each percussion voice uses one note. • Chaque sonorité de percussion utilise une note unique. Voice No. 117 118 119 120 121 122 Keyboard Standard Kit 1 Standard Kit 1 Indian Kit Arabic Kit SE Kit 1 SE Kit 2 Note# Note + Chinese Percussion C1 36 C 1 Seq Click H Baya ge Khaligi Clap 1 Cutting Noise 1 Phone Call C#1 37 C# 1Brush Tap Baya ke Arabic Zalgouta Open Cutting Noise 2 Door Squeak D1 38 D 1 Brush Swirl Baya ghe Khaligi Clap 2 Door Slam D#1 39 D# 1Brush Slap Baya ka Arabic Zalgouta Close String Slap Scratch Cut E1 40 E 1 Brush Tap Swirl Tabla na Arabic Hand Clap Scratch F1 41 F 1 Snare Roll Tabla tin Tabel Tak 1 Wind Chime F#1 42 F# 1Castanet Tablabaya dha Sagat 1 Telephone Ring G1 43 G 1 Snare Soft Dhol 1 Open Tabel Dom G#1 44 G# 1Sticks Dhol 1 Slap Sagat 2 A1 45 A 1 Bass Drum Soft Dhol 1 Mute Tabel Tak 2 A#1 46 A# 1 Open Rim Shot Dhol 1 Open Slap Sagat 3 B1 47 B 1 Bass Drum Hard Dhol 1 Roll Riq Tik 3 C2 48 C 2 Bass Drum Dandia Short Riq Tik 2 C#2 49 C# 2 Side Stick Dandia Long Riq Tik Hard 1 D2 50 D 2 Snare Chutki Riq Tik 1 D#2 51 D# 2 Hand Clap Chipri Riq Tik Hard 2 E2 52 E 2 Snare Tight Khanjira Open Riq Tik Hard 3 Flute Key Click Car Engine Ignition F2 53 F 2 Floor Tom L Khanjira Slap Riq Tish Car Tires Squeal F#2 54 F# 2 Hi-Hat Closed Khanjira Mute Riq Snouj 2 Car Passing
    [Show full text]
  • THE STORY of the POT Prof
    CMANA a thriving institution and a continuing journey SANGEETHAM TNT # 26 THE STORY OF THE POT Prof. N. Govindarajan The Pot - Known as ‘Noot’ in Kashmir, ‘Mudki’ in rhythmic accompaniment. In the past it was Rajasthan and ‘Ghatam’ in Carnatic Music - is no employed as accompaniment for veena. ordinary clay pot! Methods of Playing : In North India this instrument is Origin : The Ghatam, like Mridanga and Veena is an played on a small round block with the mouth facing ancient Carnatic Music instrument. In a sloka in the upwards and is played on its round surface by the right Yuddha kanda of Ramayan, Valmiki refers to the hand and on its mouth by the left hand. Also the sound that emanates from the pot! There is an performer wears bras rings in his fingers. In South authoritative reference to it in ‘Krishna Ganam;’, a India, the performer places the instrument on his lap potential description of Lord Krishna’s flute recital. with the moutn hugging his belly. The performer The above two instances prove that Ghatam is an plays by using his fingers, wrists and even nails. instrument of ancient times in the cultural history of During accompaniment he keeps the instrument very India. close to his belly and then forces the ghatam outward Ghatam and the oridinary mud pot used for domestic which creates a peculiar bass sound. Occasionally the purposes are comparable only in that they are both performer keeps the instrument with the mouth facing made of clay and round in shape with the Ghatam the audience and plays on its neck.
    [Show full text]
  • Classic Ssical Arts Society of Houston Ty
    Classicssical Arts Societyty of Houston Presenesents a Special Summer Concert! An Eveningg of Incomparable Music by the Violin Trio Padmabhushan PrProf. T.N. Krishnan, Smt. Viji Krishnashnan-Natarajan & Sri Sriram Krishnishnan with Sri T.S. Nandakumar on Mridangam Sri Chandhandrasekara Sharma on Ghatam At 4:300 PM on Sunday, June 12, 2016 Stafford Civic Center 1411415 Constitution Avenue Stafford, Texas About our Artists Prof T N Krishnan The foremost exponent of the Carnatic violin and the senior most living expnoent of this pristine tradition, T. N. Krishnan's art represents the purest expression of the Carnatic idiom. His emphasis on melodic clarity, spectral fidelity, and emotive finesse are unparalleled in his field. He is a living legend who has witnessed and assimilated the essence of the musical giants of the golden age of Carnatic Music. His music reflects the vigour, poignance and depth of the tradition as it should be practiced. Over the course of nearly eighty years, he has become synonymous with uncompromising classicism and continues to relentlessly pursue this passion. Smt. Viji Krishnan Natarajan Viji Krishnan, daughter of Sri T N Krishnan represents the seventh generation in a family of distinguished musicians who have contributed enormously to Indian music. Her initial training began at the age of three, under grandfather Sri A. Narayana Iyer and later from her illustrious father, the maestro Professor T. N. Krishnan. Viji turned out a child prodigy and gave her first performance at the age of seven when The Hindu reported her to be, "a chip off the old block". Viji is now an international performing artist.
    [Show full text]
  • Indian Music Instruments Sarangi Sitar Sitar Is of the Most Popular Music
    Indian Music Instruments Sarangi Sitar Sitar is of the most popular music instruments of North India. The Sitar has a long neck with twenty metal frets and six to seven main cords. Below the frets of Sitar are thirteen sympathetic strings which are tuned to the notes of the Raga. A gourd, which acts as a resonator for the strings is at the lower end of the neck of the Sitar. The frets are moved up and down to adjust the notes. Some famous Sitar players are Ustad Vilayat Khan, Pt. Ravishankar, Ustad Imrat Khan, Ustad Abdul Halim Zaffar Khan, Ustad Rais Khan and Pt Debu Chowdhury. Sarod Sarod has a small wooden body covered with skin and a fingerboard that is covered with steel. Sarod does not have a fret and has twenty-five strings of which fifteen are sympathetic strings. A metal gourd acts as a resonator. The strings are plucked with a triangular plectrum. Some notable exponents of Sarod are Ustad Ali Akbar Khan, Ustad Amjad Ali Khan, Pt. Buddhadev Das Gupta, Zarin Daruwalla and Brij Narayan. Sarangi Sarangi is one of the most popular and oldest bowed instruments in India. The body of Sarangi is hollow and made of teak wood adorned with ivory inlays. Sarangi has forty strings of which thirty seven are sympathetic. The Sarangi is held in a vertical position and played with a bow. To play the Sarangi one has to press the fingernails of the left hand against the strings. Famous Sarangi maestros are Rehman Bakhs, Pt Ram Narayan, Ghulam Sabir and Ustad Sultan Khan.
    [Show full text]
  • TESIS551-140717.Pdf
    “Heavy drumming sound tends the entire creation to a charged atmosphere where one enters the world of imagination”1 (Bhattacharya 1999: 93) 1 “Fuertes sonidos de tambor conducen a toda la creación a una cargada atmósfera en la que uno entra en un mundo de fantasía”. Todas las traducciones del inglés al castellano que se encuentran a lo largo del presente trabajo son de mi autoría. INDICE GENERAL Agradecimientos 9 Listado de imágenes, cuadros y esquemas 13 Nota explicativa acerca de la lógica adoptada en la transcripción de términos autóctonos 19 Abstract (Resumen) 23 INTRODUCCIÓN 25 I. Justificación del tema elegido y motivación personal 27 II. Hipótesis, objetivos y marco teórico 31 III. Estado de la cuestión 36 IV. Metodología de la investigación 42 V. Estructura formal 53 PRIMERA PARTE: ESTUDIO DEL CONTEXTO SOCIO- RELIGIOSO DE PANCHAVADYAM 59 1. EL ESTADO DE KERALA DESDE UNA PERSPECTIVA HISTÓRICO- CULTURAL 63 1.1 Fisonomía de Kerala 63 1.2 Historia de la formación de Kerala como estado 65 1.3 Sociedad 72 1.3.1 Organización social: sistema de castas 74 1.3.1.1 Brahmanes 78 1.3.1.2 Kshatriyas y vaisyas 81 1.3.1.3 Sudras 81 1.3.1.3.1 Ambalavasis 82 1.3.1.3.2 Nayars 87 1.3.1.4 Avarnas 88 1.3.2 Marumakathayam: sistema matrilineal de herencia 91 2. EL HINDUISMO EN KERALA Y SU PRÁCTICA 94 2.1 Cultura dravídica y cultura aria 98 2.2 Principales deidades que conforman el panteón hindú en Kerala 101 3. EL TEMPLO HINDÚ EN KERALA (KSHETRAM) COMO ESPACIO RELIGIOSO, ARTÍSTICO Y SOCIAL 104 3.1 Modelo arquitectónico 106 3.2 Organización interna y administración 111 3.2.1 Sacerdotes 111 3.2.2 Devaswom Boards 112 3.3 Reformas socio/económicas en Kerala, y su repercusión en los templos 115 4.
    [Show full text]
  • Ghatam SANKARA VEDIC CULTURE & ARTS INC SAVECA Canada/SAVECA Music Academy a Popular Disciple of Sangeetha Ramana Indrakumar Started His Training Kalanidhi Dr
    = ARVIND VENKATARAMAN - Mridangam RAMANA INDRAKUMAR - Ghatam SANKARA VEDIC CULTURE & ARTS INC SAVECA Canada/SAVECA Music Academy A popular disciple of Sangeetha Ramana Indrakumar started his training Kalanidhi Dr. Trichy Sri. Sankaran, in Mridangam at the age of 11 under (www.saveca.ca) Arvind has been under his tutelage for Vidwan Sri. Vasuthevan Rajalingam. A Not-for-profit organization the past 10 years, learning the Through his guru, Ramana has had intricacies and nuances of the advanced training from various percussive arts of the Pudukottai Laya mridangists such as Neyveli Sri. Bani. Arvind was initiated into Venkatesh, Sri. P. Satish Kumar, Carnatic Music by his mother at the Madipakkam Sri. Suresh and Poovalur Sri. age of 5 and underwent vocal training Sriji. Ramana pursued not just the mridangam, but also the for 10 years. He was then introduced to the art of secondary percussion instruments of ghatam and kanjira. A Mridangam playing in 1998 by Vidwan Pazhani. Sri. C. great feat by Ramana was the pursuit to learn the ghatam on Kumar and also had his initial training with Vidwan Sri. his own by watching great ghatam artists from today and Sriraam Subbaraman. yester years. His playing is appreciated for its rhythmical Arvind had his Arangetram on September 22nd, 2007 clarity and speed. Ramana has participated in various radio performing alongside his Guru, Sangeetha Kalanidhi Dr. and television recordings, and has performed in many Proudly Presents Trichy Sri. Sankaran in the concert of Padma Bhushan venues across North America. Sangeetha Kalanidhi Madurai Sri.T.N. Seshagopalan. The During the last 18 years, Ramana has performed alongside occasion marked the 52nd anniversary of his guru Prof.
    [Show full text]