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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. -
French Secular Music in Saint-Domingue (1750-1795) Viewed As a Factor in America's Musical Growth. John G
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth. John G. Cale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cale, John G., "French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth." (1971). LSU Historical Dissertations and Theses. 2112. https://digitalcommons.lsu.edu/gradschool_disstheses/2112 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-17,750 CALE, John G., 1922- FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH. The Louisiana State University and Agricultural and Mechanical College;, Ph.D., 1971 Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH A Dissertation 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 Philosophy in The School of Music by John G. Cale B.M., Louisiana State University, 1943 M.A., University of Michigan, 1949 December, 1971 PLEASE NOTE: Some pages may have indistinct print. -
Estrella Morente Lead Guitarist: José Carbonell "Montoyita"
Dossier de prensa ESTRELLA MORENTE Vocalist: Estrella Morente Lead Guitarist: José Carbonell "Montoyita" Second Guitarist: José Carbonell "Monty" Palmas and Back Up Vocals: Antonio Carbonell, Ángel Gabarre, Enrique Morente Carbonell "Kiki" Percussion: Pedro Gabarre "Popo" Song MADRID TEATROS DEL CANAL – SALA ROJA THURSDAY, JUNE 9TH AT 20:30 MORENTE EN CONCIERTO After her recent appearance at the Palau de la Música in Barcelona following the death of Enrique Morente, Estrella is reappearing in Madrid with a concert that is even more laden with sensitivity if that is possible. She knows she is the worthy heir to her father’s art so now it is no longer Estrella Morente in concert but Morente in Concert. Her voice, difficult to classify, has the gift of deifying any musical register she proposes. Although strongly influenced by her father’s art, Estrella likes to include her own things: fados, coplas, sevillanas, blues, jazz… ESTRELLA can’t be described described with words. Looking at her, listening to her and feeling her is the only way to experience her art in an intimate way. Her voice vibrates between the ethereal and the earthly like a presence that mutates between reality and the beyond. All those who have the chance to spend a while in her company will never forget it for they know they have been part of an inexplicable phenomenon. Tonight she offers us the best of her art. From the subtle simplicity of the festive songs of her childhood to the depths of a yearned-for love. The full panorama of feelings, the entire range of sensations and colours – all the experiences of the woman of today, as well as the woman of long ago, are found in Estrella’s voice. -
Stephen M. Slawek Curriculum Vitae
Stephen M. Slawek Curriculum Vitae 10008 Sausalito Drive Butler School of Music Austin, TX 78759-6106 The University of Texas at Austin (512) 794-2981 Austin, TX. 78712-0435 (512) 471-0671 Education 1986 Ph.D. (Ethnomusicology) University of Illinois at Urbana-Champaign 1978 M.A. (Ethnomusicology) University of Hawaii at Manoa 1976 M. Mus. (Sitar) Banaras Hindu University 1974 B. Mus. (Sitar) Banaras Hindu University 1973 Diploma (Tabla) Banaras Hindu University 1971 B.A. (Biology) University of Pennsylvania Employment 1999-present Professor of Ethnomusicology, The University of Texas at Austin 2000 Visiting Professor, Rice University, Hanzsen and Lovett College 1989-1999 Associate Professor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1985-1989 Assistant Professor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1983-1985 Instructor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1983 Visiting Lecturer of Ethnomusicology, University of Illinois at Urbana- Champaign 1982 Graduate Assistant, School of Music, University of Illinois at Urbana- Champaign 1978-1980 Archivist, Archives of Ethnomusicology, School of Music, University of Illinois at Urbana-Champaign Scholarship and Creative Activities Books under contract The Classical Music of India: Going Global with Ravi Shankar. New York and London: Routledge Press. 1997 Musical Instruments of North India: Eighteenth Century Portraits by Baltazard Solvyns. Delhi: Manohar Publishers. Pp. i-vi and 1-153. (with Robert L. Hardgrave) SLAWEK- curriculum vitae 2 1987 Sitar Technique in Nibaddh Forms. New Delhi: Motilal Banarsidass, Indological Publishers and Booksellers. Pp. i-xix and 1-232. Articles in scholarly journals 1996 In Raga, in Tala, Out of Culture?: Problems and Prospects of a Hindustani Musical Transplant in Central Texas. -
New Trends in Hindustani Sitar Music in Malaysia
23 Towards Fusion: New Trends in Hindustani Sitar Music in Malaysia Pravina Manoharan Universiti Sains Malaysia Abstract While a classical Sitar recital in Malaysia still retains many of its original forms and practices, local sitarists are experimenting with new musical ideas to promote the Sitar and its music to a wider audience of mixed ethnicity. Musicians combine Hindustani musical elements such as Raag (melody) and Taal (rhythmic cycle) with different musical elements such as the Chinese pentatonic scale and Arabian Maqam as well as new genres to produce a musical blend broadly dubbed as ‘fusion music’. This article explores how the characteristics of the Hindustani elements of Raag and Taal are adopted to complement the structure and style of the new compositions. Different Sitar playing styles and techniques are employed in the performance of fusion compositions that use Blues or Bossa Nova genres. Keywords: Raag, Taal, fusion, Sitar music. 24 Wacana Seni Journal of Arts Discourse. Jil./Vol.7.2008 Introduction Malaysia is a multiracial and multicultural society that has a rich and diverse cultural and musical heritage. Indians represent the third largest population in the country. The classical music practiced by Malaysian Indians is based on the ancient traditional system that originated in India. Indian classical music refers to both the South Indian Carnatic and North Indian Hindustani systems. Hindustani and Carnatic music share a common ancient musical heritage, as both systems are built upon highly complex and elaborate melodic structures called Raag, and both employ a system of rhythm and meter that falls under the rubric of Taal (rhythmic cycle). -
National Sanskrit University, Tirupati
National Sanskrit University, Tirupati, (Central University) Department of performing arts Indian Classical Instrumental Music On-line Certificate Programme for Six month Subject- Sitar Programme Details: Name of the Programme : On-line Certificate Programme in Sitar Duration of the Programme : 6 Months (July to December) 2020 Level 1:- July - August. Level 2:- September - October. Level 3:- November - December. Time allocation : Indian Students: - 1 hour class for a day (3 days in a week.) Abroad students: - 1 hour class for a day (3 days in a week.) Mode of Examination : On-line No. of Papers : Two types of papers each Level . 1st Paper: Practical . 2nd Paper: Applied Viva *Including One Theory paper in 3rd level Total Marks : 300 marks For 3 Level. Each Level Carry 75 Marks. 1st Paper: Practical: 50 Marks . 2nd Paper: Applied Viva: 25 Marks *Applied Theory paper in 3rd level 75 Marks Programme Fee : Onetime payment for 1, 2, 3 Level For Indian Student: - INR – 3000/- For Abroad Student: - INR - 5000/- Eligibility : Age 12 to 50 Years Medium of Instruction : Hindi, English Number of Seats : 20 (Based on merit in audition test) Presets for Learning : Students are required to have sitar essentials. (Students can keep any mobile app for shruti, Rhythm metronome, Guitar tuners) Programme Coordinator : Dr. Hans Prabhakar Ravidas Assistant Professor Department of Performing Arts Instrumental Music (Sitar) National Sanskrit University, Tirupat, Andhra Pradesh, India Mobile- 8127759391, Mail- [email protected] More information can be found on the website of the university: www.nsktu.ac.in Registration: https://forms.gle/3cwDY1JCdC9UzfYr7 Level 1 Prescribed Syllabus 1. Introduction of sitar with structure. -
Dosier La Banda Morisca ENG.Pdf
la banda morisca La Banda Morisca celebrates 10 years of existence with the presentation of their third album: Gitana Mora. La Banda Morisca has always been a meeting point between flamenco, Mediterranean music, Andalusian rock and North African rhythms. All this can be seen in Gitana Mora, a project that recovers the memory of Andalusian women and makes visible all that immaterial legacy that these women left us and made us what we are today. From New York to Samarkand, from Paris to the desert of Merzouga, from Havana to Cesky Krumlov... they have been able to conquer and dazzle on many stages during all these years, becoming one of the groups in our country with the greatest projection in the field of world music. Between 2016 and 2019 they have been very successful with their Algarabya. Among the most important international stages are the SXSW in Austin twice, the Flamenco Festival in New York also twice, the Festival Arabe de Montrèal, the Small World music center in Toronto, New England Conservatory in Boston, the Old Town of Folk Music in Chicago, Miami Dade College and the Flamenco Festival in Miami, the Festival Flamenco de Chicago (Instituto Cervantes), the Havana World Music Festival (Cuba), the Merzouga International Festival (Morocco), l’Institut du Monde Arabe de Paris, the Festival des Musiques Métisses de Angoulême (France), the Spanish Pavilion at the Astana Expo 2017 - AECID (Kazakhstan), the Sharq Taronalari Festival in Samarkand (Uzbekistan), where they won the prize of the jury of the festival, WOMEX, being the group supported by Sounds from Spain in 2017, Katowice; the EuroRadio Folk representing RN3; the Fira Mediterrania; the Krems Festival (Austria) or the Sziget Festival in Budapest. -
Zakir Hussain & Masters of Percussion
CAL PERFORMANCES PRESENTS Sunday, March 23, 2014, 7pm Zellerbach Hall Zakir Hussain & Masters of Percussion with Zakir Hussain tabla Selvaganesh Vinayakram kanjira & ghatam Steve Smith Western drums Niladri Kumar sitar Dilshad Khan sarangi Deepak Bhatt dhol Vijay Chavan dholki and special guest Antonia Minnecola Kathak dancer PROGRAM Tonight’s program will be announced from the stage. There will be one intermission. Cal Performances’ – season is sponsored by Wells Fargo. PLAYBILL ABOUT THE ARTISTS The foremost disciple of his father, the leg- endary Ustad Allarakha, Mr. Hussain was a child prodigy who began his professional career at the age of twelve and had toured internation- ally with great success by the age of 18. He has been the recipient of many awards, grants and honors, including Padma Bhushan (2002), Padma Shri (1988), the Sangeet Natak Akademi Award (1991), Kalidas Samman (2006), the 1999 National Heritage Fellowship Award, the Bay Area Isadora Duncan Award (1998–1999), and Grammy Awards in 1991 and 2009 for Best World Music Album for Planet Drum and Global Drum Project, both collaborations with Mickey Hart. His music and extraordinary con- tribution to the music world were honored in April 2009, with four widely heralded and sold- out concerts in Carnegie Hall’s “Perspectives” series. Also in 2009, Mr. Hussain was named a Susana Millman Susana Member in the Order of Arts and Letters by AKIR HUSSAIN (tabla) is today appreciated France’s Ministry of Culture and Commun - Zboth in the field of percussion and in the ication. Most recently, the National Symphony music world at large as an international phe- Orchestra with Christoph Eschenbach com- nomenon. -
7376 Sitar and Surbahar
(LYRCD 7376) SITAR AND SURBARHAR Indian Music for Meditation and Love Ustad Imrat Khan, Sitar and Surbahar Shafaat Miadaad Khan, Tabla In this, his first recording made in the United State, Imrat Khan demonstrates his consummate mastery of two instruments, the sitar and the surbahar, the bass sitar, which he introduced to the American concert stage in 1975. Both the sitar and surbahar have developed from the oldest stringed instrument of India, the bin or rudra vina, which consists of two large gourds of equal size joined symmetrically by a round wooden neck. The bin is characterized by its deep, rich voice. The sitar hardly needs introduction to western audiences, but it is worth noting in connection with this recording that there are two basic styles of stringing the instrument to approximate the sound of the bin. In the second style, popularized by Imrat Khan’s family, there are only six main strings with a range of three octaves, on the grounds that the deep tones of the surbahar recreate more effectively the bin’s lower register. The Surbahar was invented by Imrat Khan’s great-grandfather, Ustad Sahebdad Khan. The instrument was in danger of disappearing after the death of Enayet Khan, Imrat’s father; but thanks to the efforts of Imrat himself, the instrument has regained its place as one of the most important instruments of North Indian art music. The surbahar is, in effect, a bass sitar, with a practical range of over four octaves. It has a wider neck, thicker strings, and a gourd larger and flatter than that of the sitar. -
Music 2ºESO Bilingual 2012-13
IES AZ-ZAIT BILINGUAL MUSIC 2ºESO UNIT 1: MIDDLE AGES ACTIVITY 1: BASIC VOCABULARY Development: This activity takes place in October, in some classes of Unit 1. The students receive a copy of the trilingual basic vocabulary (Spanish, English and French) of the unit. The conversation assistant reads each word in English and the students repeat it. Then, the students turn over the basic vocabulary, the assistant reads the words in Spanish and asks them to (individually) translate them into English. The assistant checks and corrects the pronunciation of the students. BASIC VOCABULARY: English French English French Edad Media: Middle Ages Moyen âge Juglar: Jongleur Jongleur Medieval: Medieval Médieval Letra: Lyric Lyrique Canto Gregorian Chant grégorien Arpa: Harp Harpe gregoriano: chant Religioso: Religious Religieux Salterio: Psaltery Psaltérion Textura: Texture Texture Zanfoña: Hurdy gurdy Vielle Monofonía: Monophony Monophonie Rabel: Rabab Rebec Ritmo: Rhythm Rythme Tambor: Drum Tambour Escala: Scale Gamme Dulzaina: Dulzaina Dulzaina Latín: Latin Latin Flauta: Flute Flûte Notación: Notation Notation Gaita: Bagpipe Cornemuse Profano: Profane Profane Polifonía: Polyphony Polyhonie Trovador: Troubadour Troubadour Motete: Motet Motet ACTIVITY 2: HISTORY REVIEW Development: This activity takes place in October, at the beginning of Unit 1. The students answer some questions in Spanish about general information from the unit. Then the conversation 1 Antonio Luis Peñas Chamorro IES AZ-ZAIT BILINGUAL MUSIC 2ºESO assistant asks the same questions in English in a different order, asking the students to answer them in English too. QUESTIONS IN SPANISH: a. ¿Entre qué siglos se dio la Edad Media? Entre el V y el XV. b. ¿Cuáles eran los tres estamentos en la Edad Media? La nobleza, el clero y el pueblo llano. -
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).