DOCSLIB.ORG

Performing Arts (91 – 95)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Performing Arts (91 – 95) PERFORMING ARTS (91 – 95) Aims: 5. To develop a co-operative attitude through the organisation and participation associated with 1. To develop a perceptive, sensitive and critical music, dance and drama. response to music, dance and drama in its historical and cultural contexts. 6. To provide an appropriate body of knowledge with understanding, and to develop appropriate 2. To stimulate and develop an appreciation and skills as a basis for further study or leisure or enjoyment of music, dance and drama through both. active involvement. One of the following five syllabuses may be offered: 3. To balance the demands of disciplined skills and challenging standards in an environment of Hindustani Music (91) emotional, aesthetic, imaginative and creative Carnatic Music (92) development. Western Music (93) 4. To develop performing skills, and so encourage a participation in the wide range of performance Indian Dance (94) activities likely to be found in the school and Drama (95) community. HINDUSTANI MUSIC (91) CLASS IX There will be one paper of two hours carrying (b) Detailed topics: Swara (Shuddha and 100 marks and Internal Assessment of 100 marks. VikritSwars), Jati (Odava, Shadava, The syllabus is divided into three sections: Sampoorna), Laya (Vilambit, Madhya, Section A - Vocal Music Drut), Varna (Sthai, Arohi, Avarohi, Sanchari), Forms of Geet – Swaramalika, Section B - Instrumental Music Lakshangeet, Khayal (BadaKhayal and Section C - Tabla ChotaKhayal), Dhrupad. Candidates will be required to attempt five questions 2. Description of the five ragas mentioned under in all, two questions from Section A and either three ‘practical’ – their Thaat, Jati, Vadi-Samvadi, questions from Section B or three questions from Swaras (Varjit and Vikrit), Aroha-Avaroha, Section C. Pakad, time of raga and similar raga. 3. Description of the five taals mentioned under PART 1: THEORY – 100 Marks ‘practical’; writing them in Thah and DugunTaal SECTION A: HINDUSTANI VOCAL MUSIC notation. THEORY 4. Knowledge of musical notation system of Pt. V.N. Bhatkhande (Swara and Taal-lipi); writing 1. (a) Non-detail terms: Sangeet; two main ChotaKhayal, Swarmalika and Lakshangeet, systems of Indian Music; Naad, Saptak; Dhrupad (only Sthayi and Antara) in musical Thaat; Alankar; Raga, Janak-Janya Ragas notation. and Ashraya raga; Vadi, Samvadi, Anuvadi, 5. Identification of ragas with the help of given Vivadi; Aroha, Avaroha, Pakad; Chal and short Swara-vistar. AchalSwara. 6. Life and contribution in brief of Tansen and Pt. V.N. Bhatkhande. Sthayi, Antara; Taan, Alaap; Matra, Vibhag, Taal, Avartan, Sam, Tali, Khali, Theka; Thah (Barabar or Ekgun), Dugun, Chaugun. 168 PRACTICAL 2. Description of the five ragas mentioned under ‘practical’ – their Thaat, Jati, Vadi-Samvadi, 1. Singing and identifying Shuddha and Swaras (Varjit and Vikrit), Aroha-Avaroha, VikritSwaras. Pakad, time of raga and similar raga. 2. Idea of Laya; Vilambit, Madhya and Drutlayas. 3. Description of the five taals mentioned under 3. Singing of 10 alankars in Dugun and ‘practical’; writing them in Thah and Dugun in ChaugunLaya. Taal notation. 4. Yaman, Khamaj, Kafi, Bhairavi, Alhaiya 4. Knowledge of musical notation system of Pt. Bilawal - Singing of one Madhya laya khayal V.N. Bhatkhande (swara and Taal-lipi); writing song in any three ragas as mentioned above Razakhani Gat (with Bols). (with alaaps and taans). Lakshangeet and 5. Identification of ragas with the help of given Swarmalika in the other two ragas, One Dhrupad short swara-vistar. Geet in any one raga (Only sthai and antara); National Anthem - Jana Gana Mana and 6. Life and contribution in brief of Tansen and Pt. National Song - VandeMataram (notation is not V.N. Bhatkhande. required). 5. Padhant (Reciting) :Thekas of the following five PRACTICAL taals with Taali, Khali shown on hands: Teen 1. Handling of the instrument; correct posture and Taal, Keharwa, Dadra, Ektaal and Chartaal; their finger movement. Dugun also. 2. Playing of 10 alankars in Thah, Dugun and 6. Identification of ragas. Chaugun. SECTION B 3. Yaman, Khamaj, Kafi, Bhairavi, AlhaiyaBilawal HINDUSTANI INSTRUMENTAL MUSIC – Playing of one Razakhani Gat in all the ragas as mentioned above (with alaaps and todas). (EXCLUDING TABLA) Dhun in any raga mentioned above. National THEORY Anthem - Jana Gana Mana and National Song – 1. (a) Non-detail terms : Sangeet; two main Vande Mataram (notation is required). systems of Indian Music; Naad, Saptak; 4. Padhant (Reciting) - Thekas of the following Thaat; Alankar; Raga, Janak-Janya Ragas five taals with Taali, Khali shown on hands: and Ashraya raga; Vadi, Samvadi, Anuvadi, Teen Taal, Keharwa, Dadra, Ektaal and Vivadi; Aroha, Avaroha, Pakad;Chal and Chartaal; their Dugun also. AchalSwar. 5. Identification of ragas. Chal and AchalThaat, Toda, Alaap; Matra, 6. Playing of simple Bols like Da Ra Da Ra, Da Ra Vibhag, Taal, Avartan, Sam, Taali, Khali, Dir Dir, Da Dir, Da Ra, etc. Theka; Thah (Barabar or Ekgun), Dugun, Chaugun. (b) Detailed topics: Swara (Shuddha and VikritSwars), Jati (Odava, Shadava, Sampoorna), Laya (Vilambit, Madhya, Drut), Varna (Sthai, Arohi, Avarohi, Sanchari), Forms of Gat (Maseetkhani and Razakhani). 169 SECTION C PRACTICAL HINDUSTANI INSTRUMENTAL MUSIC 1. Knowledge and practice of Vilambit, Madhya and Drut layas as also of Thah, Dugun and (PERCUSSION - TABLA) Chaugun, with the help of Tali, Khali and matras THEORY on hands while reciting Thekas of Taals 1. (a) Non-detail terms: Matra, Taal,Vibhag; Sam; prescribed. Tali, Khali, Avartan, Theka, Kayada, Palta, 2. Technique of producing main syllables of Tabla Tihai, Mohra, Mukhada, Tukda, Kismen and Bayan (Varnas) like Ta, Dha, Ge, Kat, Tin, (varieties of Theka) and Peshkara. Dhin, Tita etc. (b) Detailed topic: Laya (Vilambit, Madhya and 3. Playing of Thekas of the following six Taals Drut), Layakari (Thah, Dugun, Tigun and with development: two kaayadas and its four Chaugun), Origin and development of paltas with tihai in Teentaal, One tukda in each Tabla. Jhaptaal and Ektaal, one paran in chaartaal, two kismen each in Dadra and KeharwaTaal. 2. Writing in Taal-notation of the six Taals mentioned under ‘practical’; with their simple 4. Accompaniment (Sangat) in Taals (Dadra and development; writing of Thekas in Thah, Dugun Keharwa). and Chaugun layakaris. 5. Padhant (Reciting) - Thekas in Thah and Dugun. 3. Basic knowledge of: Sangeet, Swara and Saptak, Simple developments of Taals mentioned in para (3), showing Taali, Khali etc. on hands. 170 CLASS X The syllabus is divided into three sections: PRACTICAL Section A - Vocal Music 1. Singing of three alankars in Teental, Jhaptaal and Dadra each. Section B - Instrumental Music 2. Bhairav, Bhopaali, Desh, Bageshwari, Malkauns - Section C – Tabla. Singing of Chotakhayal song in any three ragas as SECTION A mentioned above (with alaaps and taans). HINDUSTANI VOCAL MUSIC Lakshangeet and Swarmalika in the other two ragas, One Badakhayal in any one of the above THEORY mentioned ragas (Only sthai and antara); Tarana 1. (a) Non-detail terms: Sound (Dhwani), Meend, (notation of Tarana is not required). Kan (Sparsha swar), Gamak, Khatka, Tigun, 3. Padhant (Reciting)-Thekas of the following new Tappa, Thumri, Poorvang, Uttarang, Poorva taals as also those learnt in Class IX in Dugun and Raga and Uttar Raga. Chaugun, showing Tali, Khali and Matras on (b) Detailed topics: Nad, three qualities of Nad hands: Rupak,Jhaptaal, Tilwada, Dhamar and (volume, pitch, timbre); Shruti and placement Deepchandi (Chanchar). of 12 swaras; Dhrupad and Dhamar; 4. Identification of ragas learnt in Classes IX and X. relationship between Vadi Swar and time of singing raga. SECTION B 2. Description of the 10 ragas of Classes IX and X HINDUSTANI INSTRUMENTAL MUSIC mentioned under ‘practical’ – their Thaat, Jati, (EXCLUDING TABLA) Vadi-Samvadi, Swaras (Varjit and Vikrit), Aroha- THEORY Avaroha, Pakad, time of raga and similar raga. 1. (a) Non-detail terms: Sound (Dhwani); Kan; 3. Writing in the Taal notation, all the 10 Taals Meend, Soot; Zamzama; Gamak; Baj; Khatka; learnt in Classes IX and X, their Dugun; Tigun Jhala; Tigun. and Chaugun. (b) Detailed topics: Nad; three qualities of Nad 4. Knowledge of musical notation system of Pt. V.N. (volume, pitch, timbre); Shruti and placement Bhatkhande (swara and Taal-lipi); writing of 12 swaras; Maseetkhani and Razakhani ChotaKhayal, BadaKhayal, Swarmalika and Gat; Relationship between Vadi Swar and Lakshangeet. time of playing Raga. 5. Identification of Ragas of Classes IX and X (a few 2. Origin and the development of the instrument. note combinations given). Methods of handling instruments; tuning of the 6. Life and contribution in brief of Amir Khusro and instrument with a labelled diagram. Pt.Vishnu Digambar Paluskar. 3. Complete description of all the 10 ragas 7. A brief description of 4 eminent vocalists mentioned under ‘Practical’ in Classes IX and X. (present or recent past). 4. Writing in the Tal notation, all the 10 Taals learnt 8. Names of different parts (components) of the in Classes IX and X, their Dugun; Tigun and Tanpura with the help of a simple sketch. Tuning Chaugun. and handling of the instrument. 5. Writing in complete musical notation of the Maseetkhani and Razakhani Gats. 6. Identification of Ragas (a few note combinations given) of Classes IX and X. 171 7. Life and contribution in brief of Amir Khusro and PRACTICAL Pt. Vishnu DigambarPaluskar. 1. Technique of producing bols on Tabla like Tirkit, 8. Brief description of four eminent instrumentalists Kran, etc. (present or recent past). 2. Development of following Taals: Teental – 1 PRACTICAL uthan, 2 new kaydas and its 4 paltas with tihai, 1 Rela, 1 Chakardaar Tukda, 1 Damdar and Bedam 1. Playing of three alankars in Teental, Jhaptaal and Tihai, Roopak – 1 Tihai, Sooltaal – 1 Tihai, Dadra each. Teevra Taal – 1 Paran, Deepchandi Taal, Tilwada 2. Bhairav, Bhopaali, Desh, Bageshwari, Malkauns – Taal (only Theka). Playing of five Razakhani Gat in all the above 3. Padhant (Reciting)- Thekas of all Taals of Class five mentioned Ragas and one Maseetkhani Gat in IX and X with development mentioned in para any one of the five ragas as mentioned above (2), giving Tali, Khali etc.
Load more

Recommended publications
  • Economic Impact of the Recorded Music Industry in India September 2019
    Economic impact of the recorded music industry in India September 2019 Economic impact of the recorded music industry in India Contents Foreword by IMI 04 Foreword by Deloitte India 05 Glossary 06 Executive summary 08 Indian recorded music industry: Size and growth 11 Indian music’s place in the world: Punching below its weight 13 An introduction to economic impact: The amplification effect 14 Indian recorded music industry: First order impact 17 “Formal” partner industries: Powered by music 18 TV broadcasting 18 FM radio 20 Live events 21 Films 22 Audio streaming OTT 24 Summary of impact at formal partner industries 25 Informal usage of music: The invisible hand 26 A peek into brass bands 27 Typical brass band structure 28 Revenue model 28 A glimpse into the lives of band members 30 Challenges faced by brass bands 31 Deep connection with music 31 Impact beyond the numbers: Counts, but cannot be counted 32 Challenges faced by the industry: Hurdles to growth 35 Way forward: Laying the foundation for growth 40 Conclusive remarks: Unlocking the amplification effect of music 45 Acknowledgements 48 03 Economic impact of the recorded music industry in India Foreword by IMI CIRCA 2019: the story of the recorded Nusrat Fateh Ali-Khan, Noor Jehan, Abida “I know you may not music industry would be that of David Parveen, Runa Laila, and, of course, the powering Goliath. The supercharged INR iconic Radio Ceylon. Shifts in technology neglect me, but it may 1,068 crore recorded music industry in and outdated legislation have meant be too late by the time India provides high-octane: that the recorded music industries in a.
    [Show full text]
  • Kothari International School Annual Academic Plan Subject-Hmv Grade-12 Session-2020-21 Weightage –Theory0-30 Marks
    KOTHARI INTERNATIONAL SCHOOL ANNUAL ACADEMIC PLAN SUBJECT-HMV GRADE-12 SESSION-2020-21 WEIGHTAGE –THEORY0-30 MARKS /PRACTICAL-70 MARKS MONTH TOPIC SUB TOPICS BLOCK PERIODS MARCH THEORY- TO UNDERSTAND SHORT NOTES - THE MEANING & ALANKARA,VARNA,KA USE OF THESE 8.5 BLOCKS N,MEEND,KHATKA NOTES IN SINGING. APRIL RAGA BAGESHRI HOW TO SING SHORT NOTES- RAGA BAGESHRI 6 BLOCKS MURKI ,GAMAK WITH DRUTH LAYA ` TALA-DHAMAR RENDERING OF TAL BY HAND BEATS MAY LIFE SKETCH TO WRITE LIFE SANGEET PARIJAT SKETCH OF ABDUL DEFINITIONS- SADRA, KARIM KHAN & FAIYAJ 4.5 BLOCKS DADRA KHAN GRAM ,MURCHHANA ENABLE STUDENTS TO ,ALAP ,TANA APPLY THESE TERMS RAGA MALKOSH WHILE SINGING DRUT KHAYAL. TALA –JHAP TALA & TO STUDY RUPAK &UNDERSTAND TEEN 4.5 BLOCKS TAAL JULY TIME THEORY TO OF RAGA UNDERSTAND TALA-TILWADA THE VALUE OF THAH AND TIME IN RAGAS DUGUN TILWADA ON HAND BEATS SHORT HOW TO SING NOTE,VILAMBIT VILAMBIT 6 BLOCKS KHAYAL RAGA KHAHYALWITH BHAIRAV SIMPLE ELABORATIONS TALA DHAAMAR TO ENABLE STUDENTS HOW 6.5 BLOCKS LIFE SKETCH TO WRITE BADE NOTATION GULAMALI KHAN & TALA- KRISHNARAO DUGUN & THAH SHANKAR PANDIT AUGUST SHUDDHA AND TO UNDERSTAND VIKRIT SWARAS ABOUT SWARAS 6.5 BLOCKS RAGA BHAIRAV TO DEVELOP FOLK SONG PRACTICE OF BOOK -SANGEET SINGING RAGA RATNAKAR AND LIGHT MUSIC BRIEF STUDY OF BOOK. DHRUTH KHAYAL WITH ELLABORTATIONS 6.5 BLOCKS OF ALLAP,TAAN SEPTEMBER TO DEVELOP SHORT NOTES – KHAYAL 6 BLOCKS ALAP,TANA,SADRA,DADRA, SINGING STYLE GRAM,MURCHANA TALA TILWADA TO KNOW HOW VARIOUS PARTS OF TO SING DADRA 6 BLOCKS TANPURA TALA JHAPTAL,DHAMAR THAH ,DUGUN AND EKTAL CHAWGUNLAYA PRE – BOARD EXAMS OCTOBER PRE – BOARD EXAM 1 NOVEMBER PRE – BOARD EXAM 2 DECEMBER PRE – BOARD EXAM 3 .
    [Show full text]
  • HINDUSTANI MUSIC (Vocal)
    H$moS> Z§. Code No. 33 /C amob Z§. narjmWu H$moS >H$mo CÎma-nwpñVH$m Ho$ _wI-n¥ð Roll No. >na Adí` {bIo§ & Candidates must write the Code on the title page of the answer-book. ZmoQ> NOTE (I) H¥$n`m Om±M H$a b| {H$ Bg àíZ-nÌ _o§ _w{ÐV (I) Please check that this question n¥ð> 7 h¢ & paper contains 7 printed pages. (II) àíZ-nÌ _| Xm{hZo hmW H$s Amoa {XE JE H$moS (II) Code number given on the right >Zå~a H$mo N>mÌ CÎma-nwpñVH$m Ho$ _wI-n¥ð> na hand side of the question paper {bI| & should be written on the title page of the answer-book by the candidate. (III) H¥$n`m Om±M H$a b| {H$ Bg àíZ-nÌ _| (III) Please check that this question >5 àíZ h¢ & paper contains 5 questions. (IV) H¥$n`m àíZ H$m CÎma {bIZm ewê$ H$aZo go (IV) Please write down the Serial nhbo, CÎma-nwpñVH$m _| àíZ H$m H«$_m§H$ Number of the question in the Adí` {bI| & answer-book before attempting it. (V) Bg àíZ-nÌ H$mo n‹T>Zo Ho$ {bE 15 {_ZQ >H$m (V) 15 minute time has been allotted to g_` {X`m J`m h¡ & àíZ-nÌ H$m {dVaU read this question paper. The nydm©• _| 10.15 ~Oo {H$`m OmEJm & question paper will be distributed at 10.15 a.m. From 10.15 a.m.
    [Show full text]
  • MUSIC MPA Syllabus Paper Code Course Category Credit Marks
    MUSIC MPA Syllabus Paper Code Course Category Credit Marks Semester I 12 300 MUS-PG-T101 Aesthetics Theory 4 100 MUS-PG-P102 Analytical Study of Raga-I Practical 4 100 MUS-PG-P103 Analytical Study of Tala-I Practical 4 100 MUS-PG-P104 Raga Studies I Practical 4 100 MUS-PG-P105 Tala Studies I Practical 4 100 Semester II 16 400 MUS-PG-T201 Folk Music Theory 4 100 MUS-PG-P202 Analytical Study of Raga-II Practical 4 100 MUS-PG-P203 Analytical Study of Tala-II Practical 4 100 MUS-PG-P204 Raga Studies II Practical 4 100 MUS-PG-P205 Tala Studies II Practical 4 100 MUS-PG-T206 Music and Media Theory 4 100 Semester III 20 500 MUS-PG-T301 Modern Traditions of Indian Music Theory 4 100 MUS-PG-P302 Analytical Study of Tala-III Practical 4 100 MUS-PG-P303 Raga Studies III Practical 4 100 MUS-PG-P303 Tala Studies III Practical 4 100 MUS-PG-P304 Stage Performance I Practical 4 100 MUS-PG-T305 Music and Management Theory 4 100 Semester IV 16 400 MUS-PG-T401 Ethnomusicology Theory 4 100 MUS-PG-T402 Dissertation Theory 4 100 MUS-PG-P403 Raga Studies IV Practical 4 100 MUS-PG-P404 Tala Studies IV Practical 4 100 MUS-PG-P405 Stage Performance II Practical 4 100 1 Semester I MUS-PG-CT101:- Aesthetic Course Detail- The course will primarily provide an overview of music and allied issues like Aesthetics. The discussions will range from Rasa and its varieties [According to Bharat, Abhinavagupta, and others], thoughts of Rabindranath Tagore and Abanindranath Tagore on music to aesthetics and general comparative.
    [Show full text]
  • Musical Explorers Is Made Available to a Nationwide Audience Through Carnegie Hall’S Weill Music Institute
    Weill Music Institute Teacher Musical Guide Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 2016 | 2017 Weill Music Institute Teacher Musical Guide Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 2016 | 2017 WEILL MUSIC INSTITUTE Joanna Massey, Director, School Programs Amy Mereson, Assistant Director, Elementary School Programs Rigdzin Pema Collins, Coordinator, Elementary School Programs Tom Werring, Administrative Assistant, School Programs ADDITIONAL CONTRIBUTERS Michael Daves Qian Yi Alsarah Nahid Abunama-Elgadi Etienne Charles Teni Apelian Yeraz Markarian Anaïs Tekerian Reph Starr Patty Dukes Shanna Lesniak Savannah Music Festival PUBLISHING AND CREATIVE SERVICES Carol Ann Cheung, Senior Editor Eric Lubarsky, Senior Editor Raphael Davison, Senior Graphic Designer ILLUSTRATIONS Sophie Hogarth AUDIO PRODUCTION Jeff Cook Weill Music Institute at Carnegie Hall 881 Seventh Avenue | New York, NY 10019 Phone: 212-903-9670 | Fax: 212-903-0758 [email protected] carnegiehall.org/MusicalExplorers Musical Explorers is made available to a nationwide audience through Carnegie Hall’s Weill Music Institute. Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern. Major funding for Musical Explorers has been provided by the E.H.A. Foundation and The Walt Disney Company. © Additional support has been provided by the Ella Fitzgerald Charitable Foundation, The Lanie & Ethel Foundation, and
    [Show full text]
  • Landscaping India: from Colony to Postcolony
    Syracuse University SURFACE English - Dissertations College of Arts and Sciences 8-2013 Landscaping India: From Colony to Postcolony Sandeep Banerjee Follow this and additional works at: https://surface.syr.edu/eng_etd Part of the English Language and Literature Commons, Geography Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Banerjee, Sandeep, "Landscaping India: From Colony to Postcolony" (2013). English - Dissertations. 65. https://surface.syr.edu/eng_etd/65 This Dissertation is brought to you for free and open access by the College of Arts and Sciences at SURFACE. It has been accepted for inclusion in English - Dissertations by an authorized administrator of SURFACE. For more information, please contact [email protected]. ABSTRACT Landscaping India investigates the use of landscapes in colonial and anti-colonial representations of India from the mid-nineteenth to the early-twentieth centuries. It examines literary and cultural texts in addition to, and along with, “non-literary” documents such as departmental and census reports published by the British Indian government, popular geography texts and text-books, travel guides, private journals, and newspaper reportage to develop a wider interpretative context for literary and cultural analysis of colonialism in South Asia. Drawing of materialist theorizations of “landscape” developed in the disciplines of geography, literary and cultural studies, and art history, Landscaping India examines the colonial landscape as a product of colonial hegemony, as well as a process of constructing, maintaining and challenging it. In so doing, it illuminates the conditions of possibility for, and the historico-geographical processes that structure, the production of the Indian nation.
    [Show full text]
  • "Improvised" Music
    The University of Manchester Research Formulas and the building blocks of humr style: a study in "improvised" music Document Version Final published version Link to publication record in Manchester Research Explorer Citation for published version (APA): Alaghband-Zadeh, C. (2012). Formulas and the building blocks of humr style: a study in "improvised" music. Analytical Approaches to World Music Journal, 2(1), 1-48. Published in: Analytical Approaches to World Music Journal Citing this paper Please note that where the full-text provided on Manchester Research Explorer is the Author Accepted Manuscript or Proof version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version. General rights Copyright and moral rights for the publications made accessible in the Research Explorer are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Takedown policy If you believe that this document breaches copyright please refer to the University of Manchester’s Takedown Procedures [http://man.ac.uk/04Y6Bo] or contact [email protected] providing relevant details, so we can investigate your claim. Download date:06. Oct. 2021 Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music Chloe Zadeh PART I: IMPROVISATION, STRUCTURE AND FORMULAS IN NORTH INDIAN CLASSICAL MUSIC usicians, musicologists and
    [Show full text]
  • 1St PROGRESS REPORT Scheme : “Safeguarding the Intangible
    1 1st PROGRESS REPORT Scheme : “Safeguarding the Intangible Cultural Heritage and Diverse Cultural Traditions of India. Title of the Project/Purpose: Prepared by: Shri Bipul Ojah “A study of various aspects of Khol: Village- Dalahati A Sattriya Musical Instrument” Barpeta-781301 Assam During the first reporting period I proceeded with my works as per my plan, and took up two tasks mentioned in the plan. One of them was to acquire knowledge of ‘Ga-Maan’, “Chok’, “Ghat” etc. of the main time division (taal) of Khol from the experienced masters and Sattriyas of the Satras belonging to the three main groups. The other task was to prepare the pattern of the time division in a scientific method by maintaining the characteristic features of the Sattriya Khol on the basis of the acquired knowledge. For these two tasks, I first chose Barpeta Satra and the Satras of the Kamalabari group of Majuli, and apart from doing field study there, I acquired knowledge of the Khol from the masters there. In this course I talked to Sri Basistha Dev Sarma, Burha Sattriya of Barpeta Satra, Sri Nabajit Das, Deka Sattriya of Barpeta Satra, Sri Jagannath Barbayan (92 years), the chief ‘Bayan’ of Barpeta Satra and Sri Akan Chandra Bayan, besides several distinguished Sattriya artists and writers such as Sri Nilkanta Sutradhar, Sri Gunindra Nath Ojah, Dr. Birinchi Kumar Das, Dr. Babul Chandra Das etc. Moreover, I studied various ‘Charit Books’ (biographies of the Vaishnavite saints), research books etc. and got various data on the Khol practiced in Barpeta Satra. After completing these works on the Khol of Barpeta Satra, I worked on the time division (taal) of the Khol practiced in the Satras of the Kamalabari group of Majuli.
    [Show full text]
  • Final Senior Fellowship Report
    FINAL SENIOR FELLOWSHIP REPORT NAME OF THE FIELD: DANCE AND DANCE MUSIC SUB FIELD: MANIPURI FILE NO : CCRT/SF – 3/106/2015 A COMPARATIVE STUDY OF TWO VAISHNAVISM INFLUENCED CLASSICAL DANCE FORM, SATRIYA AND MANIPURI, FROM THE NORTH EAST INDIA NAME : REKHA TALUKDAR KALITA VILL – SARPARA. PO – SARPARA. PS- PALASBARI (MIRZA) DIST – KAMRUP (ASSAM) PIN NO _ 781122 MOBILE NO – 9854491051 0 HISTORY OF SATRIYA AND MANIPURI DANCE Satrya Dance: To know the history of Satriya dance firstly we have to mention that it is a unique and completely self creation of the great Guru Mahapurusha Shri Shankardeva. Shri Shankardeva was a polymath, a saint, scholar, great poet, play Wright, social-religious reformer and a figure of importance in cultural and religious history of Assam and India. In the 15th and 16th century, the founder of Nava Vaishnavism Mahapurusha Shri Shankardeva created the beautiful dance form which is used in the act called the Ankiya Bhaona. 1 Today it is recognised as a prime Indian classical dance like the Bharatnatyam, Odishi, and Kathak etc. According to the Natya Shastra, and Abhinaya Darpan it is found that before Shankardeva's time i.e. in the 2nd century BC. Some traditional dances were performed in ancient Assam. Again in the Kalika Purana, which was written in the 11th century, we found that in that time also there were uses of songs, musical instruments and dance along with Mudras of 108 types. Those Mudras are used in the Ojha Pali dance and Satriya dance later as the “Nritya“ and “Nritya hasta”. Besides, we found proof that in the temples of ancient Assam, there were use of “Nati” and “Devadashi Nritya” to please God.
    [Show full text]
  • Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music
    Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music Chloe Zadeh PART I: IMPROVISATION, STRUCTURE AND FORMULAS IN NORTH INDIAN CLASSICAL MUSIC usicians, musicologists and teenage backpackers alike speak of “improvisation” in M modern-day Indian classical music.1 Musicians use the term to draw attention to differences between different portions of a performance, distinguishing between the “composition” of a particular performance (in vocal music, a short melody, setting a couple of lines of lyrics) and the rest of the performance, which involves musical material that is different in each performance and that musicians often claim to have made up on the spur of the moment.2 In their article “Improvisation in Iranian and Indian music,” Richard Widdess and Laudan Nooshin draw attention to modern-day Indian terminology which reflects a conceptual distinction between improvised and pre-composed sections of a performance (2006, 2–4). The concept of improvisation has also been central to Western imaginings of North Indian classical music in the twentieth century. John Napier has discussed the long history of Western descriptions of Indian music as “improvised” or “extemporized,” which he dates back to the work of Fox Strangways in 1914. He points out the importance the concept took on, for example, in the way in which Indian music was introduced to mainstream Western audiences in the 1960s; he notes that the belief that the performance of Indian music 1 I am very grateful to Richard Widdess and Peter Manuel for their comments on draft versions of this article. 2 The relationship between those parts of the performance that musicians label the “composition” and the rest of the performance is actually slightly more complicated than this; throughout, a performance of North Indian classical music is normally punctuated by a refrain, or mukhra, which is a part of the composition.
    [Show full text]
  • A) Indian Music (Hindustani) (872
    MUSIC Aims: One of the three following syllabuses may be offered: 1. To encourage creative expression in music. 2. To develop the powers of musical appreciation. (A) Indian Music (Hindustani) (872). (B) Indian Music (Carnatic) (873). (C) Western Music (874). (A) INDIAN MUSIC (HINDUSTANI) (872) (May not be taken with Western Music or Carnatic Music) CLASSES XI & XII The Syllabus is divided into three parts: PAPER 2: PRACTICAL (30 Marks) Part 1 (Vocal), The practical work is to be evaluated by the teacher and a Visiting Practical Examiner appointed locally Part 2 (Instrumental) and and approved by the Council. Part 3 (Tabla) EVALUATION: Candidates will be required to offer one of the parts Marks will be distributed as follows: of the syllabus. • Practical Examination: 20 Marks There will be two papers: • Evaluation by Visiting Practical 5 Marks Paper 1: Theory 3 hours ….. 70 marks Examiner: Paper 2: Practical ….. 30 marks. (General impression of total Candidates will be required to appear for both the performance in the Practical papers from one part only. Examination: accuracy of Shruti and Laya, confidence, posture, PAPER 1: THEORY (70 Marks) tonal quality and expression) In the Theory paper candidates will be required to • Evaluation by the Teacher: 5 Marks attempt five questions in all, two questions from Section A (General) and EITHER three questions (of work done by the candidate from Section B (Vocal or Instrumental) OR three during the year). questions from Section C (Tabla). NOTE: Evaluation of Practical Work for Class XI is to be done by the Internal Examiner. 266 CLASS XI PART 1: VOCAL MUSIC PAPER 1: THEORY (70 Marks) The above Ragas with special reference to their notes Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi, 1.
    [Show full text]
  • International Journal of Current Advan Urnal of Current Advanced Research
    International Journal of Current Advanced Research ISSN: O: 2319-6475, ISSN: P: 2319-6505, Impact Factor: 6.614 Available Online at www.journalijcar.org Volume 8; Issue 11 (A); November 2019; Page No.20401-20402 DOI: http://dx.doi.org/10.24327/ijcar.2019.20402.3984 Research Article VARIATIONS IN TRANSLATIONS: VANDE MATARAM Debopam Raha Department English, Achhruram Memorial College, Jhalda, West Bengal, India ARTICLE INFO ABSTRACT Article History: Bengali novelist Bankim Chandra Chattopadhyay composed the song Vande Mataram Received 24th August, 2019 which was included in his famous novel Ananda Math. The song became inspiration for Received in revised form 19th generations of freedom fighters and the utterance “Vande Mataram” became a popular September, 2019 slogan and mantra among them. After independence the song was accepted as the National Accepted 25th October, 2019 Song. Different translators at different points of time have translated the song into English. Published online 28th November, 2019 Among these translations most common is by Aurobindo Ghosh or Sri Aurobindo, the freedom fighter turned spiritual leader. There is an anonymous translation which has later Key words: been incorporated by Basanta Koomar Roy in his translation of Ananda Math. More recently, Julius J. Lipner, a half-Czech and half-Indian Professor of Hinduism and the Aurobindo Ghosh, Basanta Koomar Roy, Julius Comparative Study of Religion, University of Cambridge, has translated the song as part of J. Lipner, Translation, Vande Mataram. his translation of the novel Ananda Math published last year from OUP. Done in different periods of political history, by translators of different identities and different objectives, these translations share similarities and differences.
    [Show full text]