Vocalists Scholars of North India-2 5.1 Do You Know

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Vocalists Scholars of North India-2 5.1 Do you know Description Image Source Narayanrao Vyas was a vocalist of Gwalior Gharana who set up the Vyas SangeetVidyalaya in 1937 with his brother. Ram Chatur Malik was also known as "Dhrupad Samrat". Siddheshwari Devi earned the title of "Thumri Queen" and was a recipient of Padma Shri Award. Amir Khan sang film songs in ragas, in a purely classical style. Some of the known films were BaijuBawra, Shabab, JhanakJhanakPayalBaje. The Government of Karnataka has converted the birth place of GangubaiHangal into a museum. SumatiMutatkar was a vocalist, teacher and administrator. She was looked upon as a treasure of knowledge and information on matters related to music. D.V.Paluskar was a child prodigy. He was famous for an unforgettable duet with Amir Khan in the film BaijuBawara. Bhimsen Joshi's most memorable performance is the national integration song "Miley Sur MeraTumhara". Girija Devi is called the "Queen OfThumri". Dagar Brothers played a very important role in the revival of the Dhrupd traditions 5.2 Glossary Staring Related Term Definition Character Term A AtiVilambit Very slow tempo. A fixed melodic composition in hindustani vocal music. B Bandish It is set in a specific raga and is performed with a rhythmic and melodic accompaniment. C Child Prodigy A young person with exceptional qualities and abilities. It is a semi classical form of singing in hindustani Chaiti classical music. A semi classical style of hindustani classical music sung D Dadra in dadrataal. G Gayaki The manner or style of rendition. A semi classical form of singing which centers around H Hori spring season and holi festival. The eastern school(Varanasi) of singing thumris or tabla P PoorabAng playing. S Sargam Singing of notes instead of words of a composition. SangeetRatnakar A musical treatise of great value written by Sharang Dev. To play or sing greater number of notes in a short time, T Taan fast musical patterns of notes. A form of semi classical singing which originated from Tappa the folk songs of Punjab. Thumri A lyrical form of singing of semi or light classical genre. V Vilambit Slow tempo. 5.3 Web links Web links https://www.youtube.com/watch?v=U_C8y5DXlH0 https://www.youtube.com/watch?v=aMr0SM4HBAY https://www.youtube.com/watch?v=IoC_k8n_7jE https://www.youtube.com/watch?v=OXEGg1ldrvw https://www.youtube.com/watch?v=RQCfnohmqfk https://www.youtube.com/watch?v=BEFv9Sxa0jI https://www.youtube.com/watch?v=8sKNPYSPjPg https://www.youtube.com/watch?v=JaJeupmwBJQ https://www.youtube.com/watch?v=2UdDBL--pBY https://www.youtube.com/watch?v=GtXBm8tdusQ https://www.youtube.com/watch?v=b4FtWdacrJ0 https://www.youtube.com/watch?v=NHGQ1XfwLGg https://www.youtube.com/watch?v=Ew8LCXW9CQA https://www.youtube.com/watch?v=VylhIJF50sI https://www.youtube.com/watch?v=VybguKMsaAc 5.4 Bibliography Bibliography "Kavya"Singh Keerti Lavanya - Bhartiya Sangeetagya Gayak,Vadak Avm Nartako Key Shabda Chitra, Kanishk Publishers, Delhi Brihaspati.V.S - Great Masters Of Hindustani Music, Abhishek Publications,Chandigarh -17 Chaubey Kumar Susheel Dr. - Gharano Ki Charcha(Hindi), Uttar Pradesh,Hindi Sansthan,Lucknow Chaubey Kumar Susheel Dr. - Hindustani Sangeet Ke Ratna, Uttar Pradesh,Hindi Granth Academy,Lucknow Deodhar.R.B - Pillars Of Hindustani Music, Bombay Popular Prakashan Garg Laxminarayan - Humare Sangeet Ratna(Hindi), Sangeet Karyalay, Hathras Garg Laxminarayan Dr. - Bharat Key Sangeetkar (857 Sangeetkaron Ka Jeevan Chitra) Sangeet Karyalay, Hathras Jha Mohananand - Bharat Ke Mahan Sangeetagya, Gyan Ganga, Delhi Misra Sushil - Among Contemporary Musicians, Harman Publishing House, New Delhi Misra Sushil - Music Profiles, Pioneer Press,Lucknow Sharma Shantanu - Pratishthit Sitar Avam Sarod Vadakon Ki Sadhna Aur Sangharsh Kanishk Publishers, Delhi .

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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.
"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
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.
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When a Song Paid Fifty & Petrol Was Six Annas a Gallon

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Alaghband‐Zadeh, Chloë (2013) Analysing ţhumrī. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/16624 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Analysing ṭhumrī Chloë Alaghband-Zadeh Thesis submitted for the degree of Doctor of Philosophy 2013 Department of Music, SOAS, University of London 2 DECLARATION I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: ____________________________ Date: _________________ 3 ABSTRACT This thesis is a music-analytical study of the North Indian semi-classical vocal genre ṭhumrī.