DOCSLIB.ORG

Dr. Gagandeep Hothi • Designation: Assistant Professor

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dr. Gagandeep Hothi • Designation: Assistant Professor ACADEMIC PROFILE OF FACULTY MEMBER Name: Dr. Gagandeep Hothi Designation: Assistant Professor – D.S.B. Campus, Kumaun University, Nainital. Qualification: M.A.; M.Phil; UGC-NET (JRF & SRF); Ph.D. Area of Specialization/Research field: Indian Classical Music – Instrumental (Sitar) Awards/Recognitions: At the age of 10, was awarded the prestigious National Scholarship by the Ministry of Culture, Government of India, for "Sitarwadan". Amongst the winners of "All India Radio Competition, year 2003." Awarded the Scholarship for Merit in Senior Secondary Examination by the H.P. Board of School Education Dharamshala. Awarded the Scholarship for Cultural Activities and Merit by the Centre of Excellence, Govt. College Sanjauli for BA-1, BA-2 & BA-3. Awarded the Scholarship for Cultural Activities and Merit by the H.P. University, Shimla for Graduation, Post Graduation & M.Phil. On September 07, 2009; was conferred with the “Kshitij Kala Samman” by “Smt. Prabha Rau”, “Honorable Governor of Himachal Pradesh.” Awarded the UGC-NET-Junior Research Fellowship (JRF) & Senior Research Fellowship (SRF) – June 2009. Presented the “Himotkarsh Award of Honor” by “Prof. Prem Kumar Dhumal”, ”Honorable Chief Minister of Himachal Pradesh.” For five consecutive years (i.e. 2003,04,05,06 & 07), won the first prize in the H.P. University Youth Festival. Excelled academically and secured Gold Medals in Graduation, Post Graduation and M.Phil from the Himachal Pradesh University, Shimla. Awarded as an “A-Grade” artist of All India Radio (A.I.R.) and Doordarshan. On March 15, 2016; Gagandeep was conferred the “Yuva Pratibha Sammaan – 2015” by “Mohan Upreti Lok Sanskriti Kala Evam Vigyaan Shodh Samiti, Almora, Uttarakhand” for his contribution in the field of “Indian Classical Music – Sitar.” Publications: Research Articles published Gagandeep Hothi; An Interrogative Analysis of the Imdadkhani Gharana of Hindustani Classical Music; Indian Journal of Arts; 2013; 1(1); 10-12; ISSN : 2320-6659; EISSN : 2320-687X Gagandeep Hothi; An in depth analysis of Raga Gaavti with new compositions; Indian Journal of Arts; 2013; 1(1); 13-16; ISSN : 2320-6659; EISSN : 2320-687X Gagandeep Hothi; Music And Psychology – A Perspective Study; International Journal of Innovative Research & Studies (IJIRS); August, 2014; Vol3 Issue 8; 164-168. ISSN : 2319-9725 Gagandeep Hothi; Contribution of Buddhism to Music; International Journal of Applied Research and Studies (iJARS); Volume 3, Issue 8, August 2014; Manuscript ID: iJARS/940, 1-5; ISSN : 2278-9480 Gagandeep Hothi; Role of Music & Musicians In Preserving The Environment; Paripex – Indian Journal of Research; Volume 5; Issue 4; April 2016; ISSN:2250-1991; IF: 5.215; IC Value: 77.65; Page Nos: 131-132 Gagandeep Hothi; Raag Tukhari; “Sangeet” Magazine, Sangeet Karalaya, Hathras. ISSN : 0970-7824; March 2017; Page Nos 49-52 Academic/Administrative Positions Held: S.No Chairman/Member/Secretary Committee/Board Year . 1. Member BA-I Admission Committee 2013-14 2. Member BA-I Admission Committee 2014-15 3. Member BA-I Admission Committee 2015-16 4. Assistant Superintendent Morning Session (7-10 am) 2015-16 (Examinations) 5. Assistant Superintendent Afternoon Session (2-5 pm) 2015-16 (Examinations) 6. Assistant Superintendent Morning Session (7-10 am) 2016-17 (Examinations) 7. Assistant Superintendent Morning Session (7-10 am) 2017-18 (Examinations) 8. Campus Head February 2016 till (Department of Music) Present Membership to professional Organization/Associations: S.No. Name of the Association/Organizations Status of the membership 1. “Sangeet” – Sangeet Karyalaya, Hathras 204101, (UP) Lifetime 2. “Amrit Kirtan” - Sector 15-A, Chandigarh, Punjab Lifetime Any other Information: Started initial training in sitar, at the age of 4, from his father Mr. R.K. Singh who is himself a sitar player and the disciple of world-renowned sitarist "Pt. Budhaditya Mukherjee" and his father "Pt. Bimlendu Mukherjee", a doyen of the "Imdadkhani Gharana" of Sitar. At the age of 10, impressed the invited audience at a concert organized by A.I.R. Shimla. This concert was broadcasted later on. Stood first for three consecutive years in the competition organized by the prestigious "Harballabh Sangeet Sammelan" held in Jalandhar (India). At the age of 10 and 11 won the first prize in the junior section in this very competition. At the age of 12, created history by coming first in the Senior Section, which comprised of an age group between 16 to 35 years. The winner of the Senior Group is invited for the next year as an artist to perform along with other High Grade artists where he won the applaud and appreciation of the audience and sought the blessings of eminent musicians and connoisseurs. From “November 2010” to “January 2011” toured the United Kingdom (U.K.) and played various successful concerts and conducted Workshops at Southall, Slough (Berkshire), Ilford, Woolwich & East Ham (Greater London) etc. Performed for three consecutive years in the highly esteemed "Summer Festival" of Shimla. Presented Concerts and Lecture Demonstrations for Refresher Courses held at Himachal Pradesh University, Shimla and at various other Universities & Colleges all over India. Took workshops for the students of “London Sitar Academy” during the United Kingdom tour from November 2010 to January 2011. At present, working as an Assistant Professor in the D.S.B. Campus of Kumaun University, Nainital and alongside learning music from “Pt Budhaditya Mukherjee” & “Pt. Bimalendu Mukherjee”, the doyens of the “Imdadkhani Gharana” of Sitar. July 2017 .
Load more

Recommended publications
  • Hindustani Percussion Syllabus Levels
    Level 1 IndianRaga Hindustani Percussion Curriculum Practical Sample Question Set 1. Basic strokes: individual & combination 1. Play the basic 2. Basic phrases: at the discretion of the teacher phrases with Suggested: Thirakita, thirakitathaka, some variations – thirakitathaka tha gegethita, 3. Phrases with variations: at the discretion of the thirakitathaka etc teacher as advised by Suggested: Gege thita gege nana, dhadha thita teacher dhadha thina 2. Play teental theka Dha dha thirakita dha dha thina etc. in 3 speeds and 4. Teental basic pattern (Theka) in 3 speeds recite with beat 5. Basic Qaida, Rhela based patterns : at the 3. Play a small qaida discretion of the teacher 4. Tell us about the different parts of the tabla and Theory Requirements what they are 1. Building blocks of tala and counting made of 2. Recitation of all the above practical requirements Evaluation Adherence to Laya (proper tempo, rhythm), Posture, precision of strokes as well as proper recitation. Level 2 IndianRaga Hindustani Percussion Curriculum Practical & Theory Requirements Sample Questions set 1. Tala dadra, roopak, jhaptaal – recite and play in 1. Play thekas of 3 speeds Dadra, roopak 2. 3 finger tirkit (& more complex thirkit phrases) and Teental in 3 3. Further development of basic phrases from speeds level 1 2. Play some thirkit 4. 2 qaidas with 3 variations each – thi ta, thirakita based phrases based and more at the discretion of teacher 3. Play a qaida based 5. 3 thihais and 2 simple tukdas in Teental in thi ta with some variations 4. Play some thihais Evaluation in Teental Adherence to Laya (proper tempo, rhythm), Posture, 5.
    [Show full text]
  • K-4 Curriculum Guide
    India and its Music Classical North Indian music comes began thousands of years ago before the Christian Era in world history. Since this musical tradition is taught by an oral method (spoken or sung), instead of written, there were not reliable written records of the music except in very ancient books called the Vedas. These were books that recorded stories and hymns and prescriptions for how to behave according to the Hindu religion and were written 3,200 to 4,000 years ago. Some people believe they were written thousands of years earlier, and scholars debate this subject. India: Home to the World’s Great Religions In India many of the world’s great religions got their start. These would include Hinduism, Buddhism, Jainism, and the Sikh religion. Also there are Indian Christians, and Islam is an important religion in the north of India. For many centuries Islamic culture had a big influence on music and mingled with the original music of India that existed before the Moslems conquered India. The result is a music that took elements of Islamic music from Persia, Turkey and Afghanistan and blended with the original music of India to become Hindustani music – the classical music of north India. The Hindu religion’s legends and mythology have many gods and goddesses, and these gods and goddesses are thought to be aspects of the One God Vishnu. Saraswati, Goddess of art, music, and learning One important goddess to Indian artists, scholars and musicians is Saraswati who is the goddess of art, music and learning. Mohandas K.
    [Show full text]
  • Dynamics of Melodic Discourse in Indian Music: Budhaditya Mukherjee’S Ālāp in Rāg Pūriyā-Kalyān
    Dynamics of melodic discourse in Indian music: Budhaditya Mukherjee’s ālāp in rāg Pūriyā-Kalyān Richard Widdess 1. Introduction This chapter presents an analysis of a performance of ālāp, with reference to the compositional principles that it demonstrates. Following a long succession of ethnomusicological and musicological studies, including Nettl (1974), Lortat-Jacob (1987), Nettl and Russell (1998), Treitler (1974, 2003), Nooshin (2003) and many other contributions, it is clear that compositional principles are no less important in music that is unwritten and “improvised” than in music that is written and “composed”; and that indeed, one can no longer speak of “improvisation” and “composition” in any oppositional sense. It also seems clear that the importance of compositional principles in unwritten music, such as ālāp, is related both to the performer’s need to recall memorised material and invent new material that is grammatical, and at the same time to the listener’s need to engage with, comprehend, and be stimulated by an auditory experience that, for him, happens in real time, whether a written score exists or not, and whether he is listening to a live performance or a recording. In this essay I will consider primarily the listener’s perspective; how far the cognitive processes involved in performing and listening to ālāp are equivalent remains an open question, but that they are closely related seems likely. 1.1. Ālāp and rāga The Sanskrit word ālāpa signifies speaking to, addressing, hence speech, conversation, or communication (Monier-Williams 1899: 153); it overlaps in meaning with the English word discourse. Ālāp in Indian classical music is a process rather than a genre, but it typically occurs in the form of a non-metrical “improvised” prelude, often quite extended, preceding a composed metrical piece.
    [Show full text]
  • 12 NI 6340 MASHKOOR ALI KHAN, Vocals ANINDO CHATTERJEE, Tabla KEDAR NAPHADE, Harmonium MICHAEL HARRISON & SHAMPA BHATTACHARYA, Tanpuras
    From left to right: Pandit Anindo Chatterjee, Shampa Bhattacharya, Ustad Mashkoor Ali Khan, Michael Harrison, Kedar Naphade Photo credit: Ira Meistrich, edited by Tina Psoinos 12 NI 6340 MASHKOOR ALI KHAN, vocals ANINDO CHATTERJEE, tabla KEDAR NAPHADE, harmonium MICHAEL HARRISON & SHAMPA BHATTACHARYA, tanpuras TRANSCENDENCE Raga Desh: Man Rang Dani, drut bandish in Jhaptal – 9:45 Raga Shahana: Janeman Janeman, madhyalaya bandish in Teental – 14:17 Raga Jhinjhoti: Daata Tumhi Ho, madhyalaya bandish in Rupak tal, Aaj Man Basa Gayee, drut bandish in Teental – 25:01 Raga Bhupali: Deem Dara Dir Dir, tarana in Teental – 4:57 Raga Basant: Geli Geli Andi Andi Dole, drut bandish in Ektal – 9:05 Recorded on 29-30 May, 2015 at Academy of Arts and Letters, New York, NY Produced and Engineered by Adam Abeshouse Edited, Mixed and Mastered by Adam Abeshouse Co-produced by Shampa Bhattacharya, Michael Harrison and Peter Robles Sponsored by the American Academy of Indian Classical Music (AAICM) Photography, Cover Art and Design by Tina Psoinos 2 NI 6340 NI 6340 11 at Carnegie Hall, the Rubin Museum of Art and Raga Music Circle in New York, MITHAS in Boston, A True Master of Khayal; Recollections of a Disciple Raga Samay Festival in Philadelphia and many other venues. His awards are many, but include the Sangeet Natak Akademi Puraskar by the Sangeet Natak Aka- In 1999 I was invited to meet Ustad Mashkoor Ali Khan, or Khan Sahib as we respectfully call him, and to demi, New Delhi, 2015 and the Gandharva Award by the Hindusthan Art & Music Society, Kolkata, accompany him on tanpura at an Indian music festival in New Jersey.
    [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]
  • (Micro Tonal Intervals) and Their Application in Hindustani Music
    On Mathematical Functions for Theoretical and Experimental Distributions for Shrutis (Micro Tonal Intervals) and Their Application in Hindustani Music Vishal Midya1 1Indian Statistical Institute, Delhi, India In this work, exact mathematical functions have been formulated for three important theoretical Shruti (micro tonal interval) distributions, i.e. for Western Compilation, Deval, and Nagoji Row in Hindustani music. A generalized mathematical function for Shrutis has also been formulated. This generalized function shows a very high order of conformity with the experimentally derived Shruti distribution, than those of the theoretical Shruti distributions. Keywords: Hindustani music, Shruti (micro tonal interval), Experimental and theoretical Shruti distributions, Mathematical functions for Shruti Distributions, Generalized Shruti function 1) Introduction The Indian Musical system is based on modal format, and here the relation between successive notes as well as, the relation between a fixed tonic and any note is of grave importance. Even in the absence of tonic, an isolated note can convey an expression, of course with respect to a memorized tonic or a previous note. Here each note leaves an impression in mind and the idea is revealed through the cumulative effect of successive notes. It should be kept in mind that, the tonic is not fixed, in terms of frequencies, rather can be specified at any position according to the performer. So, in the scale of Indian musical system, relation between successive notes has to be considered. The notion of Shruti or microtonal intervals has to be given importance. Musicological research on the existence of Shruti and their relevance to the performance or perception has been started long ago.
    [Show full text]
  • A Nonlinear Study on Time Evolution in Gharana
    Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 15 April 2019 doi:10.20944/preprints201904.0157.v1 A NONLINEAR STUDY ON TIME EVOLUTION IN GHARANA TRADITION OF INDIAN CLASSICAL MUSIC Archi Banerjee1,2*, Shankha Sanyal1,2*, Ranjan Sengupta2 and Dipak Ghosh2 1 Department of Physics, Jadavpur University 2 Sir C.V. Raman Centre for Physics and Music Jadavpur University, Kolkata: 700032 India *[email protected] * Corresponding author Archi Banerjee: [email protected] Shankha Sanyal: [email protected]* Ranjan Sengupta: [email protected] Dipak Ghosh: [email protected] © 2019 by the author(s). Distributed under a Creative Commons CC BY license. Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 15 April 2019 doi:10.20944/preprints201904.0157.v1 A NONLINEAR STUDY ON TIME EVOLUTION IN GHARANA TRADITION OF INDIAN CLASSICAL MUSIC ABSTRACT Indian classical music is entirely based on the “Raga” structures. In Indian classical music, a “Gharana” or school refers to the adherence of a group of musicians to a particular musical style of performing a raga. The objective of this work was to find out if any characteristic acoustic cues exist which discriminates a particular gharana from the other. Another intriguing fact is if the artists of the same gharana keep their singing style unchanged over generations or evolution of music takes place like everything else in nature. In this work, we chose to study the similarities and differences in singing style of some artists from at least four consecutive generations representing four different gharanas using robust non-linear methods. For this, alap parts of a particular raga sung by all the artists were analyzed with the help of non linear multifractal analysis (MFDFA and MFDXA) technique.
    [Show full text]
  • Raag-Mala Music Society of Toronto: Concert History*
    RAAG-MALA MUSIC SOCIETY OF TORONTO: CONCERT HISTORY* 2013 2012 2011 Praveen Sheolikar, Violin Ud. Shahid Parvez, Sitar Pt. Balmurli Krishna, Vocal Gurinder Singh, Tabla Subhajyoti Guha, Tabla Pt. Ronu Majumdar, Flute Arati Ankalikar Tikekar, Vocal Ud. Shujaat Khan, Sitar Kishore Kulkarni, Tabla Abhiman Kaushal, Tabla Ud. Shujaat Khan, Sitar Abhiman Kaushal, Tabla Anand Bhate, Vocal Vinayak Phatak, Vocal Bharat Kamat, Tabla Enakshi, Odissi Dance The Calcutta Quartet, Violin, Suyog Kundalka, Harmonium Tabla & Mridangam Milind Tulankar, Jaltrang Hidayat Husain Khan, Sitar Harvinder Sharma, Sitar Vineet Vyas, Tabla Ramdas Palsule, Tabla Warren Senders, Lecture- Raja Bhattacharya, Sarod Demonstration and Vocal Shawn Mativetsky, Tabla Raya Bidaye, Harmoium Ravi Naimpally, Tabla Gauri Guha, Vocal Ashok Dutta, Tabla Luna Guha, Harmonium Alam Khan, Sarod Hindole Majumdar, Tabla Sandipan Samajpati, Vocal Raya Bidaye, Harmonium Hindole Majumdar, Tabla Ruchira Panda, Vocal Pandit Samar Saha, Tabla Anirban Chakrabarty, Harmonium 2010 2009 2008 Smt. Ashwini Bhide Deshpande, Smt. Padma Talwalkar, Vocal Pt. Vishwa Mohan Bhatt, Mohan Vocal Rasika Vartak, Vocal Veena Vishwanath Shirodkar, Tabla Utpal Dutta, Tabla Subhen Chatterji, Tabla Smt. Seema Shirodkar, Suyog Kundalkar, Harmonium Heather Mulla, Tanpura Harmonium Anita Basu, Tanpura Milind Tulankar, Jaltarang Pt. Rajan Mishra, Vocal Sunit Avchat, Bansuri Pt. Sajan Mishra, Vocal Tejendra Majumdar, Sarod Ramdas Palsule, Tabla Subhen Chatterji, Tabla Abhijit Banerjee,Tabla Sanatan Goswami, Harmonium Kiran Morarji, Tanpura Irshad Khan, Sitar Manu Pal, Tanpura Subhojyoti Guha, Tabla Aparna Bhattacharji, Tanpura Aditya Verma, Sarod Ramneek Singh, Vocal Hindol Majumdar, Tabla Pt. Ronu Majumdar, Flute Won Joung Jin, Kathak Ramdas Palsule, Tabla Amaan Ali Khan, Sarod Rhythm Riders, Tabla Bharati, tanpura Ayaan Ali Khan, Sarod Vineet Vyas, Tabla 1 RAAG-MALA MUSIC SOCIETY OF TORONTO: CONCERT HISTORY* 2010 Cont.
    [Show full text]
  • Ruchira Panda, Hindusthani Classical Vocalist and Composer
    Ruchira Panda, Hindusthani Classical Vocalist and Composer SUR-TAAL, 1310 Survey Park, Kolkata -700075, India. Contact by : Phone: +91 9883786999 (India), +1 3095177955 (USA) Email Website Facebook - Personal Email: [email protected] ​ ​ ​ ​ ​ Website: ruchirapanda.com Highlights: ❑ “A” grade artist of All India Radio. ​ ❑ Playback-singer - ‘Traditional development of Thumri’ , National TV Channel. India. ​ ❑ Discography : DVD (Live) “Diyaraa Main Waarungi” from Raga Music; CD Saanjh ( Questz World ); also on iTunes, ​ ​ ​ ​ Google Play Music , Amazon Music, Spotify ​ ​ ​ ​ ❑ Performed in almost all of the major Indian Classical Conferences (Tansen, Harivallabh, Dover Lane, Saptak, Gunijan, AACM, LearnQuest etc.) in different countries (India, USA, Canada, UK,Bangladesh, Uzbekistan, Tajikistan) ❑ Empaneled Artist of Hindustani Classical Music : ICCR (Indian Council for Cultural Relations, Government of ​ India), and SPICMACAY ❑ Fellow of The Ministry of Culture, Govt. Of India (2009) ​ ❑ JADUBHATTA AWARD, by Salt Lake Music Festival (2009) ; SANGEET SAMMAN, by Salt Lake Silver Music Festival (2011) ; SANGEET KALARATNA , by Matri Udbodhan Ashram, Patna Synopsis: Ruchira Panda, from Kolkata, India, is the current torch-bearer of the Kotali Gharana, a lineage of classical vocal masters originally hailing from Kotalipara in pre-partition Bengal. She is a solo vocalist and composer who performs across all the major Indian Classical festivals in India, USA, CANADA and Europe. Her signature voice has a deep timbre and high-octane power that also has mind-blowing flexibility to render superfast melodic patterns and intricate emotive glides across microtones. Her repertoire includes Khayal - the grand rendering of an Indian Raga, starting with improvisations at a very slow tempo where each beat cycle can take upwards of a minute, and gradually accelerating to an extremely fast tempo where improvised patterns are rendered at lightning speed .
    [Show full text]
  • Bestguru.Comcarnatic Music ‐ Vocal 1978 Maharajapuram V
    Name of the Artist Name of the Art / Field Awarded in Amba Sanyal (Costume Designing) Allied Theatre Arts 2008 Anant Gopal Shinde (Make‐up) Allied Theatre Arts 2003 Ashok Sagar Bhagat (Lighting) Allied Theatre Arts 2002 Ashok Srivastava (Make‐up) Allied Theatre Arts 1981 D. G. Godse (Scenic Design) Allied Theatre Arts 1988 Dolly Ahluwalia (Costume Design) Allied Theatre Arts 2001 G.N. Dasgupta (Lighting) Allied Theatre Arts 1989 Gautam Bhattacharya (Lighting) Allied Theatre Arts 2006 Goverdhan Panchal (Scenic Design) Allied Theatre Arts 1985 H. V. Sharma (Stagecraft) Allied Theatre Arts 2005 Kajal Ghosh (Theatre Music) ‐ Allied Theatre Arts 2000 Kamal Arora (Make‐up) Allied Theatre Arts 2009 Kamal Jain (Lighting) Allied Theatre Arts 2011 Kamal Tewari (Theatre Music) ‐ Allied Theatre Arts 2000 Kanishka Sen (Lighting) Allied Theatre Arts 1994 Khaled Choudhury (Scenic Design) Allied Theatre Arts 1986 Kuldeep Singh (Music for Theatre) Allied Theatre Arts 2009 M. S. Sathyu (Stagecraft) Allied Theatre Arts 1993 Mahendra Kumar (Scenic Design) Allied Theatre Arts 2007 Mansukh Joshi (Scenic & Light Design) Allied Theatre Arts 1997 N. Krishnamoorthy (Stagecraft) Allied Theatre Arts 1995 Nissar Allana (Stagecraft) Allied Theatre Arts 2002 R. K. Dhingra (Lighting) ‐ Allied Theatre Arts 2000 R. Paramashivan (Theatre Music) Allied Theatre Arts 2005 Robin Das (Scenic Design) ‐ Allied Theatre Arts 2000 Roshen Alkazi (Costume Design) Allied Theatre Arts 1990 Shakti Sen (Make‐up) ‐ Allied Theatre Arts 2000 Sreenivas G. Kappanna (Lighting & Stage Design) Allied Theatre Arts 2003 Suresh Bhardwaj (Lighting) Allied Theatre Arts 2005 Tapas Sen (Lighting) Allied Theatre Arts 1974 V. Ramamurthy (Lighting) Allied Theatre Arts 1977 Alathur S. Srinivasa Iyer Carnatic Music ‐ Vocal 1968 Ariyakudi Ramanuja Iyengar Carnatic Music ‐ Vocal 1952 B.
    [Show full text]
  • Transcription and Analysis of Ravi Shankar's Morning Love For
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura Bethany Padgett Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Padgett, Bethany, "Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura" (2013). LSU Doctoral Dissertations. 511. https://digitalcommons.lsu.edu/gradschool_dissertations/511 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TRANSCRIPTION AND ANALYSIS OF RAVI SHANKAR’S MORNING LOVE FOR WESTERN FLUTE, SITAR, TABLA AND TANPURA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bethany Padgett B.M., Western Michigan University, 2007 M.M., Illinois State University, 2010 August 2013 ACKNOWLEDGEMENTS I am entirely indebted to many individuals who have encouraged my musical endeavors and research and made this project and my degree possible. I would first and foremost like to thank Dr. Katherine Kemler, professor of flute at Louisiana State University. She has been more than I could have ever hoped for in an advisor and mentor for the past three years.
    [Show full text]
  • Dr. RANJANI RAMACHANDRAN Hindustani Classical Vocalist
    Dr. RANJANI RAMACHANDRAN Hindustani Classical Vocalist, Assistant Professor, Department of Hindusthani Classical Music, Sangit Bhavana, Visva Bharati, Santiniketan Email (Official): [email protected] Dr. Ranjani Ramachandran is a well known khayal vocalist of the Gwalior and Jaipur gharana having trained under eminent gurus including Padmashree Pandit Ulhas Kashalkar, Vidushi Veena Sahasrabuddhe and Pandit Kashinath Bodas. Ranjani also received guidance from Vidushi Girija Devi, acquiring a rich repertoire of Thumri, Dadra, Chaiti and Kajri. She has performed in prestigious platforms in India and abroad. Her research interests include music analysis, archiving and interdisciplinary studies. An ex- scholar of the prestigious ITC Sangeet Research Academy, she is a recipient of many awards including the Charles Wallace Research grant from the UK and has been a long time collaborator with ethnomusicologists at the Durham University in UK. She is currently working as an Assistant professor and teaches vocal music at the Department of Hindustani classical music in Sangit Bhavana at Visva Bharati University, Santiniketan, West Bengal. Ranjani is a Doctorate in vocal music. Her doctoral thesis focused on studying the stylistic diversity within the Gwalior Gharana through analysis of recordings of a few Gwalior Gharana vocalists from the 20th Century. Awards and accolades: • Charles Wallace Fellow,Charles Wallace India Trust (CWIT) Research Grant, UK, 2015 • Ramkrishnabua Vaze Yuva Gayak Puraskar 2013 • ‘Surmani’ Award, Sur
    [Show full text]