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Siddheshwari Devi Final Edit Rev 1
Siddheshwari Devi – The Queen of Thumri1 by Aditi Desai Kashi, Benares or Varanasi; the ancient spiritual centre of Hindustan, famous for its Ganga, its temples and ghats, pandits and pandas, had another more sensual side in its graceful yet throbbing sub-culture of music and dance. There was a time when for every devotee going to a temple to propitiate the gods there was another who, chewing his delicately flavoured paan, 1 Edited, updated and rewritten version based on: Original article written by Aditi Desai for The India Magazine, Aug. 1981, No. 9 would be strolling towards some singer’s or dancer’s house. In the Benares sunset, the sound of temple bells intermingled with the soul stirring sounds of a bhajan, a thumri, a kajri, a chaiti, a hori. And accompanying these were the melodious sounds of the sarangi or flute and the ghunghroos on the beat of the tabla that quickened the heartbeat. So great was the city’s preoccupation with music, that a distinctive style of classical music, rooted in the local folk culture, emerged and was embodied in the Benaras Gharana ( school or a distinctive style of music originating in a family tradition or lineage that can be traced to an instructor or region). A few miles from Benares, there is a village called Torvan, which appears to be like any other Thakur Brahmin village of that region. But there is a difference. This village had a few families belonging to the Gandharva Jati, a group whose traditional occupation was music and its allied arts. Amongst Gandharvas, it was the men who went out to perform while the women stayed behind. -
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. -
The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
Note Staff Symbol Carnatic Name Hindustani Name Chakra Sa C
The Indian Scale & Comparison with Western Staff Notations: The vowel 'a' is pronounced as 'a' in 'father', the vowel 'i' as 'ee' in 'feet', in the Sa-Ri-Ga Scale In this scale, a high note (swara) will be indicated by a dot over it and a note in the lower octave will be indicated by a dot under it. Hindustani Chakra Note Staff Symbol Carnatic Name Name MulAadhar Sa C - Natural Shadaj Shadaj (Base of spine) Shuddha Swadhishthan ri D - flat Komal ri Rishabh (Genitals) Chatushruti Ri D - Natural Shudhh Ri Rishabh Sadharana Manipur ga E - Flat Komal ga Gandhara (Navel & Solar Antara Plexus) Ga E - Natural Shudhh Ga Gandhara Shudhh Shudhh Anahat Ma F - Natural Madhyam Madhyam (Heart) Tivra ma F - Sharp Prati Madhyam Madhyam Vishudhh Pa G - Natural Panchama Panchama (Throat) Shuddha Ajna dha A - Flat Komal Dhaivat Dhaivata (Third eye) Chatushruti Shudhh Dha A - Natural Dhaivata Dhaivat ni B - Flat Kaisiki Nishada Komal Nishad Sahsaar Ni B - Natural Kakali Nishada Shudhh Nishad (Crown of head) Så C - Natural Shadaja Shadaj Property of www.SarodSitar.com Copyright © 2010 Not to be copied or shared without permission. Short description of Few Popular Raags :: Sanskrut (Sanskrit) pronunciation is Raag and NOT Raga (Alphabetical) Aroha Timing Name of Raag (Karnataki Details Avroha Resemblance) Mood Vadi, Samvadi (Main Swaras) It is a old raag obtained by the combination of two raags, Ahiri Sa ri Ga Ma Pa Ga Ma Dha ni Så Ahir Bhairav Morning & Bhairav. It belongs to the Bhairav Thaat. Its first part (poorvang) has the Bhairav ang and the second part has kafi or Så ni Dha Pa Ma Ga ri Sa (Chakravaka) serious, devotional harpriya ang. -
Durham Research Online
Durham Research Online Deposited in DRO: 05 August 2016 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Leante, Laura (2009) 'Urban Myth : bhangra and the dhol craze in the UK.', in Music in motion : diversity and dialogue in Europe. Bielefeld: Transcript Verlag, pp. 191-207. Further information on publisher's website: http://www.transcript-verlag.de/978-3-8376-1074-1/ Publisher's copyright statement: This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk (revised version – November 2008) 1 “Urban myth”: bhangra and the dhol craze in the UK Bhangra is believed to have originated in western Punjab (in today’s Pakistan) as a rural male dance performed to the rhythm of the dhol, a large double-headed barrel drum, to celebrate the spring harvest. -
A Novel Hybrid Approach for Retrieval of the Music Information
International Journal of Applied Engineering Research ISSN 0973-4562 Volume 12, Number 24 (2017) pp. 15011-15017 © Research India Publications. http://www.ripublication.com A Novel Hybrid Approach for Retrieval of the Music Information Varsha N. Degaonkar Research Scholar, Department of Electronics and Telecommunication, JSPM’s Rajarshi Shahu College of Engineering, Pune, Savitribai Phule Pune University, Maharashtra, India. Orcid Id: 0000-0002-7048-1626 Anju V. Kulkarni Professor, Department of Electronics and Telecommunication, Dr. D. Y. Patil Institute of Technology, Pimpri, Pune, Savitribai Phule Pune University, Maharashtra, India. Orcid Id: 0000-0002-3160-0450 Abstract like automatic music annotation, music analysis, music synthesis, etc. The performance of existing search engines for retrieval of images is facing challenges resulting in inappropriate noisy Most of the existing human computation systems operate data rather than accurate information searched for. The reason without any machine contribution. With the domain for this being data retrieval methodology is mostly based on knowledge, human computation can give best results if information in text form input by the user. In certain areas, machines are taken in a loop. In recent years, use of smart human computation can give better results than machines. In mobile devices is increased; there is a huge amount of the proposed work, two approaches are presented. In the first multimedia data generated and uploaded to the web every day. approach, Unassisted and Assisted Crowd Sourcing This data, such as music, field sounds, broadcast news, and techniques are implemented to extract attributes for the television shows, contain sounds from a wide variety of classical music, by involving users (players) in the activity. -
Master of Performing Arts (Vocal & Instrumental)
MASTER OF PERFORMING ARTS (VOCAL & INSTRUMENTAL) I SEMESTER Course - 101 (Applied Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To critically appreciate a music concert. 2. To understand and compare the ragas and talas prescribed for practical’s. 3. To write compositions in the prescribed notation system. 4. To introduce students to staff notation. Course Content:- I. Theoretical study of Ragas and Talas prescribed for practical and their comparative study wherever possible. II. Reading and writing of Notations of compositions Alap, Taan etc. in the Ragas and Talas with prescribed Laykraries. III. Elementary Knowledge of Staff Notation. IV. Critical appreciation of Music concert. Bibliographies:- a. Dr. Bahulkar, S. Kalashastra Visharad (Vol. 1 - 4 ). Mumbai:: Sanskar Prakashan. b. Dr. Sharma, M. Music India. A. B. H. Publishing Hoouse. c. Dr. Vasant. Sangeet Visharad. Hatras:: Sangeet Karyalaya. d. Rajopadhyay, V. Sangeet Shastra. Akhil Bhartiya Gandharva Vidhyalaya e. Rathod, B. Thumri. Jaipur:: University Book House Pvt. Ltd. f. Shivpuji, G. Lay Shastra. Bhopal: Madhya Pradesh Hindi Granth. Course - 102 (General Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To study Aesthetics in Music. 2. To appreciate the aesthetic aspects of different forms of music. Course Content:- I. Definition of Aesthetics and its Application in Music. II. Aesthetical principles of Different Haran’s. III. Aesthetical aspects of different forms of Music. a. Dhrupad, Dhamar, Khayal, Thumri, Tappa etc. IV. Merits and demerits of vocalist. Bibliographies:- a. Bosanquet, B. (2001). The concept of Aesthetics. New Delhi: Sethi Publishing Company. b. Dr. Bahulkar, S. Kalashastra Visharad (Vol. -
Chapter 6 SOME NEWLY CREATED MISHRA RAGA
Chapter 6 SOME NEWLY CREATED MISHRA RAGA SOME NEW CREATIONS : Raga Jogkauns : (A landmark of modem mishra raga) This is an excellent creation of late Pt. Jagannath Buva Purohit "Gunidas". It is a combination of Raga Jog, Chandrakauns (both old and newly created by Prof. Devdhar). Chalan: tit Pi <4 - ST Pt Wf, FlI'PI’ll m n *r n n P( \ w n *t \st, v 3tj\stv X{ *f nji # \*tst^*ftPtsi^sft srPr tft *r *t, v i\5 *nt h *t, *rr Here, (1) Phrase *tT *1 *1*1 is used for raga Jog (2) Phrase *tT *1 *1 *IJHT is also used for raga Jog (3) Phrase tfT Pt «(P[ tn is used for raga Chandrakaus (4) Phrase 4 tfT is also used for raga Chandrakaus (5) Phrase *1 *t ^ ’s also used for raga Chandrakaus (6) Phrase 4 st Pi^st 4 is used for od Chandrakaus While discussing this raga with Prof. N.V.Patwardhan on 18/12/88 he told us that he had a wide discussion with Buva and Buva has told him that while creating the raga Jogkaus the old Chandrakaus having komal Nishad was in his mind. So he had used phrase 4 % 4... which now an identical phrase of raga Jogkaus ( *t tt 4t^t 4 4^44 ) Also discussing this raga with Pt. Arvind Parikh a sitar mastreo and disciple of Sh. Ustad VilayatKhan; he also told that he believes only one newly created mishra raga which may be called as a land mark of mishra raga is only raga Jogkaus created by Pt. -
The Rich Heritage of Dhrupad Sangeet in Pushtimarg On
Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda ||Shree DwaDwarrrrkeshokesho Jayati|| || Shree Vallabhadhish Vijayate || The Rich Heritage Of Dhrupad Sangeet in Pushtimarg on www.vallabhkankroli.org Reference : 8th Year Text Book of Pushtimargiya Patrachaar by Shree Vakpati Foundation - Baroda Inspiration: PPG 108 Shree Vrajeshkumar Maharajshri - Kankroli PPG 108 Shree Vagishkumar Bawashri - Kankroli Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda Contents Meaning of Sangeet ........................................................................................................................... 4 Naad, Shruti and Swar ....................................................................................................................... 4 Definition of Raga.............................................................................................................................. 5 Rules for Defining Ragas................................................................................................................... 6 The Defining Elements in the Raga................................................................................................... 7 Vadi, Samvadi, Anuvadi, Vivadi [ Sonant, Consonant, Assonant, Dissonant] ................................ 8 Aroha, avaroha [Ascending, Descending] ......................................................................................... 8 Twelve Swaras of the Octave ........................................................................................................... -
THEORY FY Paper I - History of Music 70 MARKS (70 Marks External + 30 Marks Internal)
BPA MUSIC (Hindustani Vocal / Sitar/Tabla) THEORY FY Paper I - History of Music 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1. Origin of music 14 2. History and development of music from vedic period to present era. 14 3. Comparative study between Hindustani Karnataka Sangeet Paddhti 14 and taal paddhati 4. Brief life sketch & contribution of 14 a. Pt. Vishnu Narayan Bhatkhande b. Pt. Vishnu Digambar Paluskar c. Pt. Omkarnath Thakur 5. History of Gharana with [Basic Introduction]. 14 Paper II - Principles of Music 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1. Technical terms : Sanget, Saptak, Ashtak, Mandra, Madhya, Taar, Shuddh, Vikrut, Chal-Achal, Varna, Alankaar, Purvang, Uttarang, Sthayi, Antara. 14 Short Notes: Naad, Swar, Shruti, Raag, Raag-Jaati, Alaap, Taan, Vaadi, Samvaadi, Anuvaadi, Vivaadi, Varjit, That Alankar, Pakad, Aaron Avroh Gram-Murchhana, Taal, Sam, Matra, Khali, Bhari, Avartana, Laya, Theka, Principles of raag formation 2. Classification of musical instruments and introduction of parts. 14 3. Types of taanas 14 4. Description of ragas and taals under practical study and their comparative study wherever possible. 14 5. Reading and writing of notations of bandish and layakaris of prescribed taals (1/2, ¼) 14 BPA MUSIC, DANCE, DRAMA (COMMON) THEORY FY Paper III – Indian Culture 35 MARKS (35 Marks External + 15 Marks Internal) Unit-1 (1) Concept of culture and civilization. Ancient Indian culture and its evolution 7 (2) Indus valley civilization. Art as an important facet of Indian culture from Indian Valley up to the 21st century. 7 (3) Division of Vedas 7 (4) Buddhism and Jainism, Mauryan India, Gupta period, Medieval Mysticism 7 (5) Indian culture as reflected in Maha Kavyas 7 BPA MUSIC, DANCE, DRAMA (COMMON) THEORY FY Paper IV – English 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1. -
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. -
University of Mauritius Mahatma Gandhi Institute
University of Mauritius Mahatma Gandhi Institute Regulations And Programme of Studies B. A (Hons) Performing Arts (Vocal Hindustani) (Review) - 1 - UNIVERSITY OF MAURITIUS MAHATMA GANDHI INSTITUTE PART I General Regulations for B.A (Hons) Performing Arts (Vocal Hindustani) 1. Programme title: B.A (Hons) Performing Arts (Vocal Hindustani) 2. Objectives To equip the student with further knowledge and skills in Vocal Hindustani Music and proficiency in the teaching of the subject. 3. General Entry Requirements In accordance with the University General Entry Requirements for admission to undergraduate degree programmes. 4. Programme Requirement A post A-Level MGI Diploma in Performing Arts (Vocal Hindustani) or an alternative qualification acceptable to the University of Mauritius. 5. Programme Duration Normal Maximum Degree (P/T): 2 years 4 years (4 semesters) (8 semesters) 6. Credit System 6.1 Introduction 6.1.1 The B.A (Hons) Performing Arts (Vocal Hindustani) programme is built up on a 3- year part time Diploma, which accounts for 60 credits. 6.1.2 The Programme is structured on the credit system and is run on a semester basis. 6.1.3 A semester is of a duration of 15 weeks (excluding examination period). - 2 - 6.1.4 A credit is a unit of measure, and the Programme is based on the following guidelines: 15 hours of lectures and / or tutorials: 1 credit 6.2 Programme Structure The B.A Programme is made up of a number of modules carrying 3 credits each, except the Dissertation which carries 9 credits. 6.3 Minimum Credits Required for the Award of the Degree: 6.3.1 The MGI Diploma already accounts for 60 credits.