Advance Program Notes Zakir Hussain and Masters of Percussion Monday, March 31, 2014, 8 Pm
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RHYTHMUNITY ENSEMBLE Kalyan Patak Jean-Christophe Leroy Janet Cramer
RHYTHMUNITY ENSEMBLE Kalyan Patak Jean-Christophe Leroy Janet Cramer PREPARING YOUR SCHOOL FOR THE ENSEMBLE’S VISIT Program Description: The Rhythmunity Ensemble is a group of percussionists hailing from all over the world who present a musical world tour of traditional percussion music. Committed to education in the belief that knowledge of other cultures can break down barriers between cultures, the ensemble has performed for thousands of public school students, college students, teachers, and business people. The program interweaves music, folklore, history, and geography in a very entertaining, educational and accessible presentation. Some of the cultures represented in the program include Cuban, West African, Arab, Indian, and Brazilian. The ensemble members are all highly accomplished musicians who have lived, studied, and performed all over the globe. Terms • Percussion • Balaphone • Guinea • Malinke • India • Conga • Bata Toque • Middle East • Samba • Djembe Musical excerpts to be selected from the following: 1) Traditional rhythms of the Malinke people of Guinea, West Africa, including Zawouli, Kuku, Tiriba and Menjani. 2) Traditional Balaphone from West Africa 3) Traditional rhythms from North Africa and the Middle East. 4) Traditional tabla music from Northern India, and folkloric dhol drum. 5) Cuban rumba and Bata music. 6) The music of Capoeira from northern Brazil 7) Traditional samba batucata from Rio de Janeiro, Brazil. GUIDELINE QUESTIONS FOR FOLLOW-UP DISCUSSION: Q: What instruments were used in today’s program? A: Bells, shekere, djembe, djun-djun, balaphone, tar, Egyptian tabla, riq, tabla,dhol, dholak, bata, congas, clave, berimbau, pandiero, repinique, caxia, surdo, agogo bells Q: What makes a traditional samba band? A: About 400 drummers. -
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. -
1 Syllabus for MA (Previous) Hindustani Music Vocal/Instrumental
Syllabus for M.A. (Previous) Hindustani Music Vocal/Instrumental (Sitar, Sarod, Guitar, Violin, Santoor) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical and Theoretical Study of Ragas 70 Marks A. Historical Study of the following Ragas from the period of Sangeet Ratnakar onwards to modern times i) Gaul/Gaud iv) Kanhada ii) Bhairav v) Malhar iii) Bilawal vi) Todi B. Development of Raga Classification system in Ancient, Medieval and Modern times. C. Study of the following Ragangas in the modern context:- Sarang, Malhar, Kanhada, Bhairav, Bilawal, Kalyan, Todi. D. Detailed and comparative study of the Ragas prescribed in Appendix – I Internal Assessment 30 marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Music of the Asian Continent 70 Marks A. Study of the Music of the following - China, Arabia, Persia, South East Asia, with special reference to: i) Origin, development and historical background of Music ii) Musical scales iii) Important Musical Instruments B. A comparative study of the music systems mentioned above with Indian Music. Internal Assessment 30 marks Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of half an hour’s duration before an audience in Ragas selected from the list of Ragas prescribed in Appendix – I Candidate may plan his/her performance in the following manner:- Classical Vocal Music i) Khyal - Bada & chota Khyal with elaborations for Vocal Music. Tarana is optional. Classical Instrumental Music ii) Alap, Jor, Jhala, Masitkhani and Razakhani Gat with eleaborations Semi Classical Music iii) A short piece of classical music /Thumri / Bhajan/ Dhun /a gat in a tala other than teentaal may also be presented. -
35. Göttinger
35. göttinger 4.–11.11.12 Bild: Renate Bethmann Bild: Renate jazz_programm_2012End_.indd 1 08.08.12 17:19 Anlagelösungen mit individueller Ausstattung. Deka-Vermögenskonzept. Konfigurieren Sie Ihr Anlagemodell nach Ihren persönlichen Wünschen und genießen Sie exzellenten Service. Unser professionelles Vermögens- management sorgt für eine gute Fahrt. Jetzt in Ihrer DekaBank Deutsche Girozentrale, DekaBank Deutsche Girozentrale Luxembourg S.A. www.deka.de jazz_programm_2012End_.indd 2 08.08.12 17:19 Editorial ie Vielseitigkeit und Aktualität des Jazz präsentieren auch in die- sem Jahr über 200 internationale, nationale und lokale Musikerinnen Dund Musiker in 34 Einzelveranstaltungen und Konzerten an den sie- ben Tagen des 35. Göttinger Jazzfestivals. Das Programm bietet nicht nur eine Reihe von erstklassigen Künstlern und Ensembles, sondern auch die Möglichkeit, verschiedene musikalische Ansätze im direkten Vergleich zu er- leben: Mit Kenny Garrett und Roy Hargrove stehen an zwei Abenden zwei große Amerikaner und einstige „Young Lions“ auf der Bühne, die sich sehr individuell mit der Hardbop-Jazztradition auseinandersetzen. Und mit den gleichermaßen ECHO-ausgezeichneten Gruppen Tingvall Trio und Michael Wollny’s [em] gelang es zwei junge, weg- weisende Piano-Trios mit ganz unter- schiedlicher Programmatik zu gewinnen. Wir danken Das Programm auf der Hauptbühne des allen mitwirkenden Deutschen Theaters wird abgerundet Musikerinnen und Musikern durch zwei grenzüberschreitende Acts: unseren Förderern und Sponsoren die Jazz-Metal-Band Panzerballett und die Stadt Göttingen, Norddeutscher portugiesische Ausnahmesängerin Maria Rundfunk – Musikförderung in João. Schon zuvor sind im Film der franzö- Niedersachsen, Landschaftsverband Südniedersachsen, Sparkasse sische Jazzpianist Michel Petrucciani, im Göttingen Gespräch der Jazzpublizist Karl Lippegaus unseren Kooperationspartnern und im Konzert die Jinling Dragon World Deutsches Theater, Lumière, Literarisches Zentrum, Musa, Basta Music Band aus Nanjing kennenzulernen. -
Tenor Saxophone Mouthpiece When
MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, -
Rabindra Sangeet
UNIVERSITY GRANTS COMMISSION NET BUREAU Subject: MUSIC Code No.: 16 SYLLABUS 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 www.careerindia.com -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. www.careerindia.com -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. -
Fusion Without Confusion Raga Basics Indian
Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap". -
Scheherazade Plan of Action
Alonzo King LINES Ballet presents an extraordinary new collaboration between three celebrated artists - choreographer Alonzo King, architect Christopher Haas, and percussionist Mickey Hart Alonzo King LINES Ballet Spring Season April 15-24, 2011 Novellus Theater at Yerba Buena Center for the Arts 700 Howard Street, San Francisco www.linesballet.org Michael Montgomery and Keelan Whitmore featured with one of Christopher Haas’ original sets, photo by RJ Muna SAN FRANCISCO, CA—February xx, 2011—Alonzo King LINES Ballet is pleased to present a groundbreaking new collaboration bringing together a trio of celebrated artists: choreographer Alonzo King, architect Christopher Haas, and percussionist Mickey Hart. This new work will have its world premiere during Alonzo King LINES Ballet’s 2011 Spring Home season, at the Novellus Theater at Yerba Buena Center for the Arts, April 15-24, 2011. King, Haas and Hart join together to create a new piece that explores our relationship with space – physical space and infinite space. The original soundscore by the Grammy-award winning Hart, is based on his recent collaborations with Nobel Laureate George Smoot, draws on the harmonics of the cosmos itself, gathering light waves from the vibrations of heavenly bodies and converting them into layers of sound. Architect Haas, formerly a collaborator with world-renown Swiss architects Herzog &de Meuron, and one of the lead architects of San Francisco’s MH deYoung Museum, has created an interactive built environment, partnering the dancers with transformable architectural surroundings crafted from inexpensive, ordinarily overlooked materials such as recycled cardboard and elastic chord, his sets strike an intriguing kinetic balance between linear and organic forms, and the extraordinary dancers of Alonzo King LINES Ballet grace the stage with incomparable physical artistry. -
Download 2018 Catalog
JUNE 23 Bing Concert Hall Joshua Redman Quartet presented by JUNE 22 – AUGUST 4 28 BRILLIANT CONCERTS STANFORDJAZZ.ORG presented by JUNE JULY FRI FRI FRI FRI SAT SAT SAT SAT SAT MON SUN SUN 22 23 SUN 24 29 30 1 6 7 7 13 14 15 16 Indian Jazz Journey JUNE 22 – AUGUST 4 with Jazz on 28 BRILLIANT CONCERTS George the Green: Brooks, Early Bird Miles STANFORDJAZZ.ORG Jazz featuring Jazz for Electric Ruth Davies’ Inside Out Mahesh Dick Kids: An Band, Kev Tommy Somethin’ Blues Night with Joshua Kale and Tiffany Christian Hyman Jim Nadel American Choice, Igoe and Else: A with Special Jim Nadel Redman Bickram Austin McBride’s and Ken and the Songbook Sidewalk the Art of Tribute to Guest Eric & Friends Quartet Ghosh Septet New Jawn Or Bareket Peplowski Zookeepers Celebration Chalk Jazz Cannonball Bibb JULY AUGUST FRI FRI SAT SAT SAT TUE WED THU THU SUN SUN WED WED MON 18 19 21 22 23 25 26 27 28 29 MON 30 31 1 3 4 SJW All-Star Jam Wycliffe Gordon, Melissa Aldana, Taylor Eigsti, Yosvany Terry, Charles McPherson, Jeb Patton, Tupac SJW CD Mantilla, Release Jazz Brazil: Dena Camila SJW CD Regina Party: Anat DeRose Jeb Patton Meza, Release Carter Caroline Cohen/ Terrence Trio with Trio and Yotam party: An & Xavier Davis’ Romero Brewer Anat Yosvany Tupac Silberstein, Debbie Evening Davis: Heart Tonic Lubambo/ Acoustic Cohen and Charles Terry Taylor Mantilla’s Mike Andrea Poryes/ with Duos and Bria and Jessica Vitor Remembering Jazz Jimmy McPherson Afro-Cuban Eigsti Trio Point of Rodriguez, Motis Sam Reider Victor Lin Quartet Skonberg Jones Gonçalves Ndugu Quartet Heath Quintet Sextet and Friends View and others. -
The West Bengal College Service Commission State
THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS 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 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. 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. -
124720 Aaron Read Lowres
Dead Hart Live Beat by Amy Brown Born in the war year of 1943 in New York, Mickey bearded guitar player who had a voice that finger touched your Hart's parents were drummers. soul and kissed your neck. Jerry stepped up when R & B genius Although he didn't stay around to enjoy Mickey's birth, Pigpen McKernan forgot there were closing times and his dad was a 'rudimental' drummer, a master of establishing checked out of the band and life too early. Bob Weir was there, tempo through percussion and acting as the backbone of an too, the cute one with an edge, who alternated vocals with ensemble. Mickey was raised by his mother, who was what Jerry, and Phil Lesh and hey…they all had their following, but Mickey calls an 'intramural' player, a musician with a true love for this article at least and a sense of Rock history, it is of rhythm and its many artistic expressions. impossible to ignore the impact that Mickey Hart has had on Whether it was in his blood or an imprint of early the world of rhythm and percussion beginning with his days memory, Hart embarked on a lifetime of exploration into the with “The Dead” and continuing with the groups he has either artistry and healing powers of drumming. In 1967, with the joined or founded since Jerry Garcia's challenged heart gave Summer of Love in full blossom, Mickey fell in with a group out in 1995. of musicians from Northern California. They were a free- “ My teacher took me aside when I was in spirited and experimental group of high school and asked, “Do you want to guys who would become his lifelong play drums for the rest of your life?” companions. -
ICICI Bank Organizes 'Spandan'- a Fusion Music Night
ICICI Bank Limited ICICI Towers Bandra Kurla Complex IIICC Bank Mumbai 400 051 Press Note August 3,2002 ICICI Bank organizes ‘Spandan’- a fusion music night. Exclusive music evening for its corporate clients ICICI Bank, India’s largest private sector bank, today organised ‘Spandan’, an exclusive evening of fusion music for its corporate clients in Mumbai. ‘Spandan’, which means Heartbeat in Sanskrit, was a melange of five different musical performances by well known artistes like Shankar Mahadevan as the vocalist, Anandan Sivamani on the drum, Niladri Kumar playing the sitar; Vikku Vinayakram on the Ghatam; V.Selvaganesh on the Kanjira; Fazal Qureshi on the Tabla and Bhawani Shankar on the Pakhawaj and Tabla. Together they promise to blend the world of music with the pulse beats of every individual present there. The programme started with the invocation prayer followed by an enticing Madhalaya performance. The tempo of the music slowly increased to a breathtaking percussion item followed by a Jam session. The highlight of the concert was the grand finale, a symphony of sound that left audience asking for more. The programme, organized in Mumbai, attracted a wide audience of industrialists and top executives of the corporate world and noted celebrities including Javed Akhtar, Bhupendra and Mitali, Roopkumar and Sonali Rathod, Raageshwari, and Dipti Naval. Said Mr. Nachiket Mor, Executive Director, ICICI Bank, “It was a pleasure to see so many of our clients enjoying the performance and having a relaxed time this evening. We are delighted to meet them outside the work purview and share some lighter moments together." For any further query please contact Madhvendra Das at (022) 6536124 or e-mail at [email protected] ******* Except for the historical information contained herein, statements in this News Release which contain words or phrases such as 'will', 'would', and similar expressions or variations of such expressions may constitute 'forward-looking statements'.