A Real-Time Synthesis Oriented Tanpura Model
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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]. -
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 -
Transcription and Analysis of Ravi Shankar's Morning Love For
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura Bethany Padgett Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Padgett, Bethany, "Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura" (2013). LSU Doctoral Dissertations. 511. https://digitalcommons.lsu.edu/gradschool_dissertations/511 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TRANSCRIPTION AND ANALYSIS OF RAVI SHANKAR’S MORNING LOVE FOR WESTERN FLUTE, SITAR, TABLA AND TANPURA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bethany Padgett B.M., Western Michigan University, 2007 M.M., Illinois State University, 2010 August 2013 ACKNOWLEDGEMENTS I am entirely indebted to many individuals who have encouraged my musical endeavors and research and made this project and my degree possible. I would first and foremost like to thank Dr. Katherine Kemler, professor of flute at Louisiana State University. She has been more than I could have ever hoped for in an advisor and mentor for the past three years. -
Classification of Indian Musical Instruments with the General
Classification of Indian Musical Instruments With the general background and perspective of the entire field of Indian Instrumental Music as explained in previous chapters, this study will now proceed towards a brief description of Indian Musical Instruments. Musical Instruments of all kinds and categories were invented by the exponents of the different times and places, but for the technical purposes a systematic-classification of these instruments was deemed necessary from the ancient time. The classification prevalent those days was formulated in India at least two thousands years ago. The first reference is in the Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya Vadya’ for musical instruments. The term Atodhya is explained earlier than in Amarkosa and Bharata might have adopted it. References: Some references with respect to classification of Indian Musical Instruments are listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’. Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata, Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas, whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have classified the musical instruments under four heads: 1 Fundamentals of Indian Music, Dr. Swatantra Sharma , p-86 53 i. Tata (String Instruments) ii. Avanaddha (Instruments covered with membrane) iii. Sushira (Wind Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck against one another, such as Cymbals). -
North India English
OPERATION MANUAL 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 document 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. All product and company names are ™ or ® trademarks of their respective owners. Operation Manual written by Nicki Marinic Version: 1.0 (04/2009) Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Germany Native Instruments GmbH Schlesische Str. 28 D-10997 Berlin Germany [email protected] www.native-instruments.de USA Native Instruments North America, Inc. 5631 Hollywood Boulevard Los Angeles, CA 90028 USA [email protected] www.native-instruments.com MASSIVE was designed and developed entirely by Native Instruments GmbH. Solely the name Massive is a registered trademark of Massive Audio Inc, USA. © Native Instruments GmbH, 2009. All rights reserved. 1. Welcome to NORTH INDIA! Thank you for purchasing NORTH INDIA. On behalf of the entire Native Instruments team, we hope that this KORE SOUNDPACK will truly inspire you. NORTH INDIA adds 30 new sounds to your collection of instantly usable KORE SOUNDS®. These KORE SOUNDS have been designed to integrate seamlessly into your KORE SOUND database. Also, like the KORE 2/KORE PLAYER factory content, all KORE SOUNDPACKS utilize the KORE 2/KORE PLAYER’s Integrated Engines: You only need KORE 2 or KORE PLAYER to make full use of their sonic capabilities. -
Syllabus of B.A. (Hons.) Percussion Music (Tabla/ Pakhawaj) Submitted to University Grants Commission New Delhi Under Choice Based Credit System
Syllabus of B.A. (Hons.) Percussion Music (Tabla/ Pakhawaj) Submitted to University Grants Commission New Delhi Under Choice Based Credit System CHOICE BASED CREDIT SYSTEM 2015 DEPARTMENT OF MUSIC FACULTY OF MUSIC & FINE ARTS UNIVERSITY OF DELHI DELHI-110007 1 CHOICE BASED CREDIT SYSTEM IN B.A. HONOURS PERCUSSION MUSIC (TABLA/ PAKHAWAJ) CORE COURSE (14) Ability Enhancement Skill Elective: Discipline Specific Elective: Generic SEMESTER Compulsory Course Enhancem DSE (4) (GE) (4) (AECC) (2) ent Course (SEC) (2) I C 1 Theory: (English/MIL GE-1 General Communication)/ Musicology Environmental C 2 Practical : Science Stage Performance & Viva-Voce II C 3Theory: Environmental GE-2 Biographies Science/(English/MI C 4 Practical : L Communication) Stage Performance & Viva-Voce III C 5 Theory: SEC-1 GE-3 Ancient and Medieval History of Avanaddha Vadya C 6 Practical : Stage Performance C 7 Practical : Viva Voce IV C 8 Theory : SEC-2 GE-4 History of Indian Tala System C 9 Practical : Stage Performance C 10 Practical : Viva Voce V C 11 Theory: *DSE-1 Gharana System Vocal/Instrumental/Karnat C 12 Practical : ak/Percussion Music: Stage Performance (Tabla/Pakhawaj) & Viva Voce *DSE-2 Vocal/Instrumental/Karnat ak/Percussion Music: (Tabla/Pakhawaj) VI C 13 Theory :Study *DSE-3 of Indian Tala Vocal/Instrumental/Karnat System & Present ak/Percussion Music: Musical Forms (Tabla/Pakhawaj) C 14 Practical : *DSE-4 Stage Performance Vocal/Instrumental/Karnat & Viva Voce ak/Percussion Music: (Tabla/Pakhawaj) 2 *These courses shall be offered to the students of -
Departmentof Music
DEPARTMENTOF MUSIC Pt. L.M.S. Govt. P.G. College Rishikesh, Dehradun Uttarakhand (An Autonomous College) (Affiliated to H.N.B.Garhwal University,Srinagar,Garhwal Syllabus Based on Choice Based Credit System For Undergraduate Courses BOS held on –19 th July 2018 Pt. L.M.S.Autonomous Govt.Post Graduate College Rishikesh Choice Based Credit System CHOICE BASED CREDIT SYSTEM WITH EFFECT FROM 2018-2019 DEPARTMENT OF MUSIC Pt. L.M.S. Govt. Post Graduate College(Autonomous) Rishikesh HINDUSTANI MUSIC(INSTRUMENTAL TABLA/ SITAR AND HINDUSTANI VOCAL) Semester CORE COURSE (12) Ability Enhancement Skill Elective: Discipline Elective: 6 credit each Compulsory Enhancement Specific DSE (6) Generic (GE) (2) Course(AECC) (2) Course(SEC)(4) 6 credit each 6 credit each 4 credit each 4 credit each I English/MIL-1 (English/MIL Communication)/ DSC-1A Theory of Environmental Science Indian Music: Unit-1 Practical: Unit-2 II English/MIL-2 Environmental Science/(English/MIL Theory of Indian Communication) Music General & Biographies Unit-I Practical : Unit-II III English/MIL-3 SEC-1 Value based & Theory: Unit-1 Ancient Practical Granthas & Orientedcourse Contribution of forHindustani musicologists Music Practical : Unit-2 (Vocal/Instrument al) Credits-4 IV English/MIL-4 SEC-2 Value based & Practical Orientedcourse Theory : Unit-1 forHindustaniMus Medieval Granthas & ic(Vocal/Instrume Contribution of ntal) Musicians Credits-4 Practical : Unit-2 V SEC-3 DSE-1A Generic Value based Theory:Vocal Elective-1 &PracticalPractic /Instrumental (Vocal/Instrume alOrientedcourse (Hindustani Music) ntalMusic) forHindustani Theory Music (Vocal/Instrument al) Credits-4 DSE-2A Practical:Vocal /Instrumental (Hindustani Music) VI SEC- 4 DSE-1B Generic Value based Theory:Vocal Elective-2 &PracticalOriente /Instrumental (Vocal/Instrume dcourse (Hindustani Music) ntalMusic)Pract forHindustaniMus ical ic DSE-2B (Vocal/Instrument Practical:Vocal al) Credits-4 /Instrumental (HindustaniMusic) 1 Choice Based Credit System Syllabus for B.A. -
Unit 3 Instruments
UNIT 3 INSTRUMENTS Structure 3.1 Introduction Objectives 3.2 Tanpura and Its Parts 3.3 Tabla and Its Parts 3.4 Summary 3.5 Self Assessment Questions 3.6 Answers 3.1 INTRODUCTION In the previous unit we mainly tried to learn about the music systems of our country. The information we learnt here will serve as the background for understanding other units which we will be studying in the next blocks.In North India, Hindustanirnusic prevails,so in this unit the focus is upon some musical instruments which will definitely help a student to know about the basics of these instruments. While singing we need some basic instruments to accompany also. In this way, this unit will be helpful to the learners. Objectives After reading this unit you will be able to: • understand the importance of musical instruments. • have the elementary knowledge of basic accompanying instruments. 3.2 TANPURA An instrument to be used in Indian music in which people use basic swaras as the ground in singing and playing, is called tanpura. Any sargam or song is not played but it is used as a companion of swaras in singing and playing. Tanpura has four strings .The artist gets relief by having basic swaras in singing. Not only this, as a matter offact owing to subsidiary voices, all the seven swaras are mixed in tanpura. Thus it enriches singing. Hence, for the practice of swaras tanpura has been given much importance in mUSIC . • Tanpura 12 Parts: Instruments 1. Thmba: Round at the bottom and for a little flat size, tumbi is made of pumpkin or loki. -
UNIVERSITY of KOTA, KOTA MBS Road, Near Kabir Circle, Kota (Rajasthan)-324005
UNIVERSITY OF KOTA, KOTA MBS Road, Near Kabir Circle, Kota (Rajasthan)-324005 Syllabus for Ph.D. Entrance Examination Subject: Music Max. Marks: 50 UNIT-I: 1. General idea of the term of Vocal Music: Varna, Alankar, Gram, Moorchana, Prabhandh, Dhatu, Sthay, Ragaalap, Rupkaalap, Aalapti, Swasthan-Niyam, Geeti, Kaku, Gamak, Tan, Types of Tan, Mel/Thaat, Raga, Rag Jati, Rag-Lakshan, Vadi-Samvadi- Anuvadi- Vivadi, Aavirbhav– Tirobhav, Parmel Praveshak, Tala, Lay and different Laykari. 2. Kanth bhed (Shabd bhed), Kanth ke Gun-Dosh (Shabd ke Gun-Dosh), Types of Gayak, Gayakon ke Gun-Dosh, Vaggeyakar Lakshan according to Sangeet- Ratnakar. Nayak, Gayak, Kalawant, Atai & Dadhi. 3. Detail study of following- Sangeet, Nad, Shruti, Swar, Saptak & Swarsthan according to Ancient, Medieval and Modern scholars. UNIT-II: Vocal Music in Ancient Period- 1. General study of Music during Vedic Period with special reference of Saam- Gayan. 2. Study of Vocal Music in Yagvalkya Shiksha, Manduki Shiksha, Nardiya Shiksha, Ramayan, Mahabharat and Purana. 3. Study of Vocal Music with special reference in Natyashastra. UNIT-III: 1. Various Song forms of Karnatic Music- Kriti, Padam, Jaavli, Tillana, Varnam (Pad varnam & Tan Varnam), Ragam, Tanam, Pallavi, Swarjati etc. 2. Classification of 'That' according to Pt. Bhatkhande and Pt. Vyankatmakhi. Knowledge of Katpayadi system. Comparative study of Swar and Tal of Hindustani and Karnatic Music. 3. General Study of Rabindra Sangeet, Haveli Sangeet and Gurmati Sangeet. UNIT-IV: 1. Anatomy and Physiology of Human throat and ear, Human Voice and its technique, Voice culture, Voice production and Vrinda-Gaan. 2. Elementary theory of sound. Consonance – Dissonance, Harmonics, Musical intervals, Melody, Harmony. -
Component-I (A) – Personal Details
Component-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. Prof. R Thiagarajan Presidency College, Chennai. Prof. Suneera Kasliwal Vyas Delhi University, New Delhi Prof. Anjali Mittal Delhi University, New Delhi. 1 Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Indian Aesthetics and Fine Arts Module Name/Title Musical Instruments of North India Module Id IC / IAFA / 22 Pre requisites An interest to know about the instruments used in Hindustani classical music Objectives To trace the origin and evolution of different musical instruments, differentiate the sound of various musical instruments, to draw the structure of enlisted musical instruments, to explain about the application of the musical instruments, to write about the important parts of the musical instruments, to state the name of renowned players of enlisted musical instruments, to briefly introduce the readers about the making of the instruments. Keywords Vadya, tata, avanaddha, ghana, sushir, rudra veena, sitar, sarod, santoor, sarangi, sarangi,tanpura,tabla, pakhawaj, bansuri,shehnai,harmonium,violin,guitar, dand,tumba,baj ka taar,khunti. E-text (Quadrant-I) Introduction A musical instrument is called “Vadya”, derived from the word “Vad”, which means “to speak”. The word “Vadan” literally means the act of making the musical instrument “speak” or to sound. In this lesson we shall learn about some prominent musical instruments of north Indian classical music. These are mainly used in the concerts. Classification Of Musical Instruments From the ancient texts on music and dance, we get to know that musical instruments can be classified into four main categories namely: Tata Vadya, Avanaddha Vadya, Ghana Vadya and Sushir Vadya.