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Music Initiative Jka Peer - Reviewed Journal of Music
VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc. -
Rabindra Bharati University
RABINDRA BHARATI UNIVERSITY 56A, B. T. ROAD, KOLKATA-700050 Guideline for submission of Video clippings of their performance for Phase-I of Admission Test i.e. Practical Test for admission to the different PG programmes under the Faculty of Fine Arts. This is for information of all concerned that the following instructions should be followed for submitting the video clippings of performance: I. Rabindra Sangeet i) Candidate has to send a simple Mobile Video recording of a Rabindra sangeet sung by him/her. ii).The recording should be sent with the tune of Manual Tanpura, Electronic Tanpura, Downloaded Mobile app Tanpura or by playing only Sa- Pa tune ( not full song) of Harmonium as per his/ her scale. iii) Those who have not any type of these Tanpura or Harmonium may sing the song in bare voice (without help of any instruments.) iv) Any type of studio recording or edited recording through microphone, mobile phone editing system will not be accepted for practical examination. v) Duration of performance should not be more than 5 minutes II. Vocal Music: 1. Dhrupad : In any one Raga and any one Tala along with different Layakari , Upege etc. 2. Kheyal : In any one Raga and in any Tala along with Vilambit and Drut tempo. 3. Kirtan :. Any one Mahajoni Padavali in Teot , Chhoto Daskoshi ,. Daspahira , Lofa etc. 4. Folk Song : Any one Traditional Folk Song in any Tala. 5. Bengali Song : Any one Najrul Geeti , Atulprasadi , Dwijendra Geeti , Rajanikant , Puratani in Jat , Addha , Tritala , Ektala , Dhamar , Teora and Jhamptala. Tanpura or Sur -Pancham and Tala Vadya ( Tabla / Pakhwaj / ShriKhol ) accompaniment is mandatory at the time of performance . -
Guitar Rig 5 Setup Guide Spanish
Guía de instalación Derechos de autor La información contenida en este documento está sujeta a cambios sin previo aviso y no representa compromiso alguno por parte de Native Instruments GmbH. El software descri- to en este documento está sujeto a un acuerdo de licencia y no puede ser copiado a otros medios. Ninguna parte de esta publicación puede ser copiada, reproducida, almacenada o transmitida de manera alguna ni por ningún medio y para ningún propósito sin el permiso escrito previo de Native Instruments GmbH, de aquí en más mencionado como Native Ins- truments. Todos los productos y nombres de compañías son marcas registradas de sus res- pectivos propietarios. Por lo demás, el hecho de que estés leyendo este texto significa que eres el propietario de una versión legal y no de una copia ilegal. Native Instruments GmbH puede seguir creando y desarrollando software de audio innovador sólo gracias a gente honesta y legal como tú. Muchas gracias en nombre de toda la empresa. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Ins- truments GmbH. Mac, Mac OS, GarageBand, Logic, iTunes and iPod are registered trademarks of Apple Inc., registered in the U.S. and other countries. Windows, Windows Vista and DirectSound are registered trademarks of Microsoft Corpora- tion in the United States and/or other countries. All other trade marks are the property of their respective owners and use of them does not imply any affiliation with or endorsement by them. Documento escrito por: Native Instruments GmbH Versión del documento: 1.0 (07/2011) Un agradecimiento especial par el Beta Test Team, cuya valiosa colaboración no solo estu- vo en rastrear errores, sino en hacer de éste un mejor producto. -
A Real-Time Synthesis Oriented Tanpura Model
Proceedings of the 19th International Conference on Digital Audio Effects (DAFx-16), Brno, Czech Republic, September 5–9, 2016 A REAL-TIME SYNTHESIS ORIENTED TANPURA MODEL Maarten van Walstijn, Jamie Bridges, and Sandor Mehes Sonic Arts Research Centre School of Electronics, Electrical Engineering, and Computer Science Queen’s University Belfast, UK {m.vanwalstijn,jbridges05,smehes01}@qub.ac.uk cotton ABSTRACT thread finger Physics-based synthesis of tanpura drones requires accurate sim- tuning bridge nut ulation of stiff, lossy string vibrations while incorporating sus- bead tained contact with the bridge and a cotton thread. Several chal- lenges arise from this when seeking efficient and stable algorithms 0 xc xb → x xe L for real-time sound synthesis. The approach proposed here to address these combines modal expansion of the string dynamics Figure 1: Schematic depiction of the tanpura string geometry (with with strategic simplifications regarding the string-bridge and string- altered proportions for clarity). The string termination points of the thread contact, resulting in an efficient and provably stable time- model are indicated with the vertical dashed lines. stepping scheme with exact modal parameters. Attention is given also to the physical characterisation of the system, including string damping behaviour, body radiation characteristics, and determi- the reliance on iterative solvers and from the high sample rates nation of appropriate contact parameters. Simulation results are needed to alleviate numerical dispersion. presented exemplifying the key features of the model. This paper aims to formulate a leaner discrete-time tanpura string model requiring significantly reduced computational effort, but retaining much of the key sonic features of the instrument. -
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. -
MASCHINE 2 Manual
MASCHINE MIKRO MK3 MANUAL Disclaimer The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu- ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru- ments GmbH. ASIO, VST, HALion and Cubase are registered trademarks of Steinberg Media Technologies GmbH. All other product and company names are trademarks™ or registered® trademarks of their re- spective holders. Use of them does not imply any affiliation with or endorsement by them. Document authored by: David Gover and Nico Sidi. Software version: 2.7.8 (09/2018) Hardware version: MASCHINE MIKRO MK3 Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Contact NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc. Schlesische Str. 29-30 6725 Sunset Boulevard D-10997 Berlin 5th Floor Germany Los Angeles, CA 90028 www.native-instruments.de USA www.native-instruments.com NATIVE INSTRUMENTS K.K. NATIVE INSTRUMENTS UK Limited YO Building 3F 18 Phipp Street Jingumae 6-7-15, Shibuya-ku, London EC2A 4NU Tokyo 150-0001 UK Japan www.native-instruments.co.uk www.native-instruments.co.jp NATIVE INSTRUMENTS FRANCE SARL SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 113 Rue Saint-Maur 5F, Shenzhen Zimao Center 75011 Paris 111 Taizi Road, Nanshan District, Shenzhen, France Guangdong www.native-instruments.com China www.native-instruments.com © NATIVE INSTRUMENTS GmbH, 2018. -
AKHIL BHARTIYA SHASTRIYA SANGEET PRATIYOGITA Being Organized by VISHVAS SANGEET SAMITI (REGD.)
AKHIL BHARTIYA SHASTRIYA SANGEET PRATIYOGITA Being Organized by VISHVAS SANGEET SAMITI (REGD.) RULES AND REGULTIONS (1.) Age: Junior- 10 to 16 Yr. Senior- 16+ to 22 Yr. Super Senior- 22+ to 28Yr. (2.) Entry Fee: Juniors-Rs.300/- Seniors-Rs.400/-. Super Seniors-Rs.500/-. (3.) Music Competition will start at 10.00 AM everyday. (4.) Last date for receipt of applications - 5.02.2020 upto 5.00 P.M. (6.) NO LATE ENTRY WILL BE ENTERTAINED. For more information please contact: Ms.Indu Garg (Mob) 9896343325 Mr.Vimal Kashyap (Mob. 9896679861) Mr Jitendra Rai (Mob. 9255192056) GENERAL RULES FOR ANNUAL MUSIC COMPETITION: The Annual Music Competition will be held from 6th February To 8th February and Grand finale will be held on the 9th February followed by the Concert and the declaration of final Awards 1) There are Five Categories for the competition namely: Vocal – Khayal Gayan Or Dhrupad Gayan Light Vocal – Thumri, ghazal bhajan Geet Gayan Instrumental (Non-Percussion – Swar Vadya) Instrumental (Percussion – Taal Vadya) – Tabla and Pakhawaj Vadan Classical Dance – Kathak 2) There are Three Age Groups namely: Juniors (From 10+ to 16 years) Seniors (From 16+ to 22 years) Super Senior (From 22+ to 28 years) 3) There are Three Prizes in each category namely: Group/Prize Juinior Senior Super Senior First 2100 3100 5100 Second 1100 2100 3100 Third 750 1100 2100 In addition, the First Prize holders of all the categories and Second prize holders of senior and super senior categories will compete again for the Final Award of Rs.11000 in each category .The Award winners will be initiated as ‘Performing Artists’ during the next year's Vishvas Sangeet Mahotsav Sangeet Sammelan. -
Experimental Investigations of T¯Anpur¯A Acoustics
Experimental investigations of t¯anpur¯aacoustics Rahul Pisharody and Anurag Gupta Department of Mechanical Engineering, Indian Institute of Technology Kanpur, 208016, India. [email protected] 44 1 Summary shown in the bottom-most picture in the right side of Figure 1. The purpose of this brief note is to present 45 2 High-speed video camera recordings are used to ob- certain experimental results which elucidate the na- 46 3 serve dynamics of an actual t¯anpur¯astring. The tem- ture of t¯anpur¯asound while emphasizing the role of 47 4 poral evolution of the frequency spectrum is obtained j¯ıv¯a. 48 5 by measuring the nut force during the string vibra- We use high-speed video camera recordings of the 49 6 tion. The characteristic sonorous sound of t¯anpur¯ais vibration of a single t¯anpur¯astring to capture the 50 7 attributed to not only the presence of a large num- string motion close to the bridge and at the nut (see 51 8 ber of overtones but also to the dominance of certain the videos provided as supplementary material). The 52 9 harmonics over the fundamental, the latter manifest- latter is used to measure the nut force and to subse- 53 10 ing itself as a certain cascading effect. The nature of quently plot 3-dimensional spectrograms. The previ- 54 11 sound is shown to be strongly dependent on the ini- ous t¯anpur¯aexperimental measurements were based 55 12 tial plucking amplitude of the string. The stability either on the audio signals [7, 8] or the sensors placed 56 13 of the in-plane vertical motion of the string is also between the string and the nut [9]. -
Komplete 9 Ultimate Setup Guide
Setup Guide Disclaimer The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu- ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru- ments GmbH. Mac, Mac OS, GarageBand, Logic, iTunes and iPod are registered trademarks of Apple Inc., registered in the U.S. and other countries. Windows 7, Windows 8, and DirectSound are registered trademarks of Microsoft Corporation in the United States and/or other countries. All other trade marks are the property of their respective owners and use of them does not im- ply any affiliation with or endorsement by them. Document authored by: Native Instruments GmbH Software version: 9.0 (03/2013) Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Contact Germany Native Instruments GmbH Schlesische Str. 29-30 D-10997 Berlin Germany www.native-instruments.de USA Native Instruments North America, Inc. 6725 Sunset Boulevard 5th Floor Los Angeles, CA 90028 USA www.native-instruments.com Japan Native Instruments KK YO Building 3F Jingumae 6-7-15, Shibuya-ku, Tokyo 150-0001 Japan www.native-instruments.co.jp © Native Instruments GmbH, 2013. All rights reserved. -
Musical Instruments of North India 5.1 Do You Know
Musical instruments of North India 5.1 Do you know Description Image Source Sarangi is the only instrument which comes in closest proximity to the human voice and therefore it is very popular among the singers as an accompanying instrument in hindustani classical music. Pakhawaj is the only percussion instrument to accompany the dhrupad style of singing. Bansuri or flute is a simple bamboo tube of a uniform bore. The primary function of tabla is to mentain the metric cycle in which the compositions are set. Tanpura is an instrumenused in both north and south Indian classical music. 5.2 Glossary Staring Related Term Definition Character Term Membranophones, instruments in which sound is A Avanadha produced by a membrane, stretched over an opening. B Bansuri A bamboo transverse flute of north India. D Dand The finger board. G Ghan Idiophones; percussion Instruments. A stringed musical instrument with a fretted finger board Guitar played by plucking or strumming with the fingers or a plectrum. H Harmonium A free reed aero phone which has a keyboard. K Khunti Tuning pegs. P Pakhawaj A percussion instrument used as an accompaniment. A large plucked string instrument used in R RudraVeena HindustaniClassical music. Aero phones, wind instruments in which sound is S Sushir produced by the vibration of air. A plucked string instrument used in HindustaniClassical Sitar music. A stringed musical instrument used in Sarod HindustaniClassical music. A trapezoid shaped string musical instrument played with Santoor two wooden sticks. A bowing stringed instrument used in Sarangi HindustaniClassical music. A wind instrument particularly played on auspicious Shehnai occasions like weddings. -
MUSIC Hindustani
The Maharaja Sayajirao University of Baroda, Vadodara Ph. D Entrance Tet (PET) SYLLABUS Subject: MUSIC PET ExamCode : 21 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 -1- 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. -2- 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. -
Ethnomusicology a Very Short Introduction
ETHNOMUSICOLOGY A VERY SHORT INTRODUCTION Thimoty Rice Sumário Chapter 1 – Defining ethnomusicology...........................................................................................4 Ethnos..........................................................................................................................................5 Mousikē.......................................................................................................................................5 Logos...........................................................................................................................................7 Chapter 2 A bit of history.................................................................................................................9 Ancient and medieval precursors................................................................................................9 Exploration and enlightenment.................................................................................................10 Nationalism, musical folklore, and ethnology..........................................................................10 Early ethnomusicology.............................................................................................................13 “Mature” ethnomusicology.......................................................................................................15 Chapter 3........................................................................................................................................17 Conducting