Gazzal Has Acquired a Respectable Niche in the Hearts of Indian
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1 SRUTI August 2011
1 z SRUTI August 2011 south indian classical music and dance magazine Issue 1 October 1983 Welcome to the brand new pages of SRUTI. In the tradition of a sutradhara, I have the pleasant task of telling you what lies in store for you. The lead group of articles on the phenomenon of Mandolin Srinivas shows that ours is a new kind of magazine. Not only do we bring you a fact-filled report on the musical prodigy (Are of Triumph: A Prodigy at Play, p.3) but we place his advent and achievement in perspective through three related articles: What Makes or Unmakes a Prodigy (p.4): The Twain Meet Again (p.7) and A Sextet of Sensations (p.12). Rounding out this lead group is a column by guest writer K.S. Mahadevan (p. 1 1) and a critique of Srinivas as a musician which appears elsewhere (p.42). In this inaugural issue, we also offer the first in a series of in-depth profiles of personalities of the world of South Indian classical music and dance – profiles of a kind you would not have encountered in any other magazine in India. The profile of D.K. Pattammal, under the caption Trailblazing Traditionalist (p.20) will be concluded in the November issue. Along with the profile . we offer this time a critical appreciation written by Contributing Editor K.S. Muthu- raman (p.36) and also an interview with Pattammal by another singer, Sita Rajan (On Pallavi Singing, p.38). Other music-related items are critiques with the unique SRUTI angle. -
Vocal Grade 4
VOCAL GRADE 4 Introduction Welcome to Grade 4 You are about to start the wonderful journey of learning to sing, a journey that is challenging, but rewarding and enjoyable! Whether you want to jam with a band or enjoy singing solo, this series of lessons will get you ready to perform with skill & confidence. What will you learn? Grade 4 covers the following topics : 1) Guruvandana and Saraswati vandana 2) Gharanas in Indian Classical Music 3) Pandit Vishnu Narayan Bhatkhande 4) Tanpura 5) Lakshan Geet 6) Music & Psychology 7) Raag Bhairav 8) Chartaal 9) Raag Bihag 10) Raag and Time Theory 11) Raag Kafi 12) Taal Ektaal 13) Bada Khyal 14) Guessing a Raag 15) Alankar 1 What You Need Harmonium /Synthesizer Electronic Tabla / TablaApp You can learn to sing without any of the above instruments also and by tapping your feet, however you will get a lot more out of this series if you have a basic harmonium and a digital Tabla to practice. How to Practice At Home Apart from this booklet for level 1, there will be video clippings shown to you for each topic in all the lessons. During practice at home, please follow the method shown in the clippings. Practice each lesson several times before meeting for the next lesson. A daily practice regime of a minimum of 15 minutes will suffice to start with. Practicing with the harmonium and the digital Tabla will certainly have an added advantage. DigitalTablamachinesorTablasoftware’sareeasilyavailableandideallyshould beusedfor daily practice. 2 Lesson 1 GURUVANDANA SARASWATI VANDANA & Guruvandana Importance of Guruvandana : The concept of Guru is as old as humanity itself. -
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 -
To Download the Advance Information Sheet
NEW TITLE AUGUST 2015 MUSIC ISBN: 978-93-83098-98-9 `595/£14.99/$20 PB Published by Fine publishing within reach D-78, Okhla Industrial Area, Phase-I, New Delhi-110 020, INDIA Tel: 91-11-26816301, 49327000; Fax: 91-11-26810483, 26813830 email: [email protected]; website: www.niyogibooksindia.com MUSIC `595/£14.99/$20 PB ISBN: 978-93-83098-98-9 Size:229 x 152mm, 324pp, 26 b/w photographs Interviewers Black and white, 80gsm bookprint Geeta Sahai & Shrinkhla Sahai Paperback Ever wondered how late Pandit Ravi Shankar went beyond cultural boundaries to Geeta Sahai is a writer, propagate Hindustani classical music and impact the global music scene? How did broadcaster and documentary Ustad Amjad Ali Khan fight emotional and financial setbacks to settle into musical filmmaker. Her short stories harmony with destiny? How did Begum Akhtar’s soulful voice inspire a reluctant have won international awards percussionist to dedicate his life to vocal music and emerge as the legendary Pandit and have been included in Jasraj? How did late Dr Gangubai Hangal break away from the shackles of social an international anthology– ostracism to emerge as a legend of her times? Undiscovered Gems. She was associated with Worldspace Satellite Radio for nearly ten years Beyond Music – Maestros in Conversation delves into candid opinions on issues, as Programme Director - Radio Gandharv-24X7 revealing thoughts on music-making and emotional sagas of some of the most Hindustani Classical Music Station. She has made accomplished, revered classical musicians—Dr Prabha Atre, Pandit Vishwa Mohan many introspective documentary films. Currently, Bhatt, Dr N. -
The Song of My Life
The Song of My Life Enclosed within the shell of my mind, I keep on at my music, my meditation eternally; the struggles of a calcite inside an oyster; till I sublimate that note into a dazzling pearl! THE concert is over. Those who had come to meet me personally have also gradually dispersed. There is at the moment no one in the auditorium — the experience of a harmonious state of being with oneself. The body is craving for rest but the mind is still entangled in the mehfil. An indefinable pleasure starts sprouting all over in the mind side by side with a strange feeling of restlessness. All around it is still, very still. There is really no energy left to converse with those who are accompanying me on our way back. However, for some unknown reason, there is an irrepressible desire to sing. At such times, I hum to myself. The people who are with me keep quiet. The sound of the car no more reaches me. My singing continues even after I have laid myself into bed. When I sense the stirring of the dawn I close my eyes and lie peacefully. Like the fragrance of incense the appreciative response experienced during the mehfil envelopes the whole body and mind, and resting there, I fall asleep. Two small feet appear before me in my dream, the two feet going to school. There is a poem titled ‘kutir ka pushpa’ (the flower belonging to the cottage) by Jainendra Kumar. There is a crazy flower. The old man in the cottage had planted it. -
APL Details Unclaimed Unpaid Interim Dividend F.Y. 2019-2020
ALEMBIC PHARMACEUTICALS LIMITED STATEMENT OF UNCLAIMED/UNPAID INTERIM DIVIDEND FOR THE YEAR 2019‐20 AS ON 6TH APRIL, 2020 (I.E. DATE OF TRANSFER TO UNPAID DIVIDEND ACCOUNT) NAME ADDRESS AMOUNT OF UNPAID DIVIDEND (RS.) MUKESH SHUKLA LIC CBO‐3 KA SAMNE, DR. MAJAM GALI, BHAGAT 200.00 COLONEY, JABALPUR, 0 HAMEED A P . ALUMPARAMBIL HOUSE, P O KURANHIYOOR, VIA 900.00 CHAVAKKAD, TRICHUR, 0 RAJESH BHAGWATI JHAVERI 30 B AMITA 2ND FLOOR, JAYBHARAT SOCIETY 3RD ROAD, 750.00 KHAR WEST MUMBAI 400521, , 0 NALINI NATARAJAN FLAT NO‐1 ANANT APTS, 124/4B NEAR FILM INSTITUTE, 1000.00 ERANDAWANE PUNE 410004, , 0 ANURADHA SEN C K SEN ROAD, AGARPARA, 24 PGS (N) 743177, , 0 900.00 SWAPAN CHAKRABORTY M/S MODERN SALES AGENCY, 65A CENTRAL RD P O 900.00 NONACHANDANPUKUR, BANACKPUR 743102, , 0 PULAK KUMAR BHOWMICK 95 HARISHABHA ROAD, P O NONACHANDANPUKUR, 900.00 BARRACKPUR 743102, , 0 JOJI MATHEW SACHIN MEDICALS, I C O JUNCTION, PERUNNA P O, 1000.00 CHANGANACHERRY, KERALA, 100000 MAHESH KUMAR GUPTA 4902/88, DARYA GANJ, , NEW DELHI, 110002 250.00 M P SINGH UJJWAL LTD SHASHI BUILDING, 4/18 ASAF ALI ROAD, NEW 900.00 DELHI 110002, NEW DELHI, 110002 KOTA UMA SARMA D‐II/53 KAKA NAGAR, NEW DELHI INDIA 110003, , NEW 500.00 DELHI, 110003 MITHUN SECURITIES PVT LTD 1224/5 1ST FLOOR SUCHET CHAMBS, NAIWALA BANK 50.00 STREET, KAROL BAGH, NEW DELHI, 110005 ATUL GUPTA K‐2,GROUND FLOOR, MODEL TOWN, DELHI, DELHI, 1000.00 110009 BHAGRANI B‐521 SUDERSHAN PARK, MOTI NAGAR, NEW DELHI 1350.00 110015, NEW DELHI, 110015 VENIRAM J SHARMA G 15/1 NO 8 RAVI BROS, NR MOTHER DAIRY, MALVIYA 50.00 -
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. -
Dr. Kedar Naphade Accompanied by Dr
Raag•Rang Presents A Lecture•Demonstation on the Indian Harmonium By Dr. Kedar Naphade Accompanied By Dr. Amod Dandawate on Tabla Dr. Kedar Naphade received preliminary training in Hindustani Classical Music from his grandfather, Shri Dadasaheb Naphade and from Shri Arvind Gajendragadkar. For over 15 years, he has been a leading disciple of Pt. Tulsidas Borkar, arguably the most acclaimed harmonium player in India today. Kedar has also had the privilege of training from Smt. Padmavati Shaligram•Gokhale, a veteran singer of the Atrauli•Jaipur gharana. She played a pivotal role in his musical development and sowed in him the seed that developed into a passionate love for the vocal art form. As such, like his guru, Kedar's music derives inspiration from the stylistic genius and dexterous wizardry of P. Madhukar as well as the character of the traditional hindustani vocal art form. In addition to classical music, Kedar also plays the semi•classical forms of Marathi Natyasangeet (Stage Music), Bhajans, Thumri, Dhun etc. Kedar has performed harmonium solo and has accompanied vocalists at numerous concerts in India, Europe and in the U.S. including prestigious festivals and venues such as the Alladiya Khan Smruti Samaroha, Dadar Matunga Cultural Center in Mumbai, The Lincoln Center in New York, The Smithsonian Institute in Washington D.C etc. He has also been featured on NPR. He has shared the stage with luminaries such as his guru Smt. Padmavati Shaligram•Gokhale, Pt. Jasraj, Smt. Veena Sahasrabuddhe, Pt. Ulhas Kashalkar, Smt. Prabha Atre, Smt. Laxmi Shankar, Pt. Phiroz Dastur etc. Kedar continues to train from Pt. -
Bhimsen Joshi and the Kirana Gharana«
Bhimsen Joshi and the Kirana Gharana« CHETAN KARNAN! I. INTRODUCIlON he Kirana ghariinii laid emphasis on melody rather than rhythm. In our times, Bhimsen Joshi has become the most popular artist of this gharana Tbecause he combines melody with vinuosity. His teacherSawaiGandharva combined melody with the euphony of his voice. Sawai Gandharva's teacher. Abdul Karim Khan, was a pioneer and the founder of the Kiranagharana. He had arare gift for making melodic phrases in any raga he chose to sing. Abdul Karim Khan had another notable disciple in Roshan Ara Begam, but Sawai Gandharva was by far his most distinguished disciple. Sawai Gandharva's important disciples are Bhimsen Joshi, Gangubai Hangal and Firoz Dastur. In later sections of this chapter I have emphasized the rugged masculinityof GangubaiHangal's voice. I have also discussed the systematic elaboration of ragas presentedby Firoz Dastur. Just as the Gwalior gharana has two lines represented by Haddu Khan and Hassu Khan, the Kirana gharana has two lines represented by Abdul Karim Khan and Abdul Wahid Khan. Abdul Wahid Khan combined melody with systematic elaboration of raga. He laid emphasis on the placid flow of music and preferred tosing in Jhoomra tala offourteen beats. By elaboratinga raga in slow tempo, he showed a facet of melody distinct from Abdul Karim Khan. His most di stinguished disciples were Hirabai Barodekar and Pran Nath, who sang with euphony in slow tempo. It is sheer good luck that the pioneers of the Kirana gharana, Abdul Karim Khan and Abdul Wahid Khan, were saved from oblivion by the gramophone COmpanies. -
A Tribute to Pandit Bhimsen Joshi Issue,By Pragya Date Mishra Thakur
Raag-Rang Newsletter Vol. 2 March, 2011 SOOR SANSKAR A Tribute To Pandit Bhimsen Joshi Issue,By Pragya Date Mishra Thakur This second Raag-Rang Pandit Bhimsen Joshi was so in the South Indian language. He newsletter would be incomplete passionate about music from an early would move in an out of styles and without a tribute to our revered age that he left home at the tender age language restrictions as if no such Pandit Bhimsen Joshi, who passed of 11 in a quest for a guru. He was artificial boundaries ever existed. This away on January 24th, 2011 in Pune, eventually found and brought back spirit of unity and oneness was so leaving behind a legion of bereft home but there was no stopping him clearly evident in his unforgettable music lovers. Pandit Bhimsen Joshi from pursuing his dream after that rendition of the song that became a was a recipient of the Bharat Ratna event. He went on to become the call for national integration and unity and many other awards during his recipient of every possible award an in India: Mile Sur Mera Tumhara. illustrious lifetime and was honor that a musician in India can Raag-Rang, now in its third accorded a state funeral receive, culminating with the highest year, through its efforts, hopes to accompanied by a 21 gun salute at honor, the Bharat Ratna. cultivate the same dedication and the the Vaikunth Crematorium of Pune, same passion in the young performers Maharashtra. Mourners gathered and musicians that we support and in large numbers to pay homage encourage. -
Gharana: the True Meaning - Gundecha Brothers
Gharana: The true meaning - Gundecha Brothers Our probe of the term ‘Gharana’ may be incomplete if we dwell only on the literal meaning of the term. Hence the in-depth examination is a must. It should be kept in mind that, musical ‘Gharana’ (or tradition, in a general sense) is born out of the genius of a master and his creative abilities. Even then, gharana imbibes the traits of some auxiliaries; which are not necessarily a gharana of their own. It can easily be seen to be a current of musical thoughts and the perpetuation of the tradition. Thus said, we should never attempt to fit an immobile frame. The only address of such a current will be a stream of creative thoughts. But, it has been a wrong practice to recognise and preach the term gharana as a fixed entity. The gharana itself is a product of such a stream. Also, it will be an injustice to perceive the stream of music with a fixed set of concepts. A contemplated study of a musical gharana will reveal us that it were the product of a master; his creative thoughts, his perceptions, his aesthetic thinking, his nature and even his limitations. After the master, his gharana propitiates such type of music only. A good study also tells about a gharana’s specialities like: the voice culture, tempi of singing, perception of ragas, compositions, the improvisation of text as well as rhythm etc. All such faculties compile and give rise to a gharana which has a flavour of its own. Amongst all, the voice culture maintains the highest importance in any gharana. -
The Great Musician SD Burman
JUNE 2018 www.Asia Times.US PAGE 1 www.Asia Times.US Globally Recognized Editor-in-Chief: Azeem A. Quadeer, M.S., P.E. JUNE 2018 Vol 9, Issue 6 Punjab govt backs agitating farmers, Sidhu slams Centre The Punjab government came out in support of the state’s agitating farmers as minister ises, the farmers would not have been in Navjot Singh Sidhu slammed the Centre for ignoring the agriculture sector. such a sorry state of affairs. Sidhu assured the protesting farmers that A 10-day long nationwide agitation against the alleged anti-farmer practices of the Union the Punjab government was sympathetic government began today and as part of the protest, the supply of vegetables, fruits, milk to their demands and stood shoulder to and other items to various parts of Punjab and Haryana was stopped. shoulder with them. The Punjab local bodies and tourism In his unique way, the cricketer-turned-politician visited village Patto along with Con- minister stressed that the Swamina- gress MLAs Kuljit Singh Nagra and Gurpreet Singh and bought milk and vegetables from than Commission report was not being farmers to highlight their significant contribution in the development of the nation. implemented and farmers were not getting adequate price for their crops, leading to “If the country is to be saved then saving farm sector ought to be a priority,” Sidhu said escalation in farmer suicides. adding that if the ruling NDA government at the Centre had fulfilled their pre-poll prom- Suggesting linkage of Minimum Support Price (MSP) of crops with oil prices, the min- ister went on to say that in the last 25 years, oil prices increased twelve fold whereas the MSP increased by only five per cent.