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Categorization of Stringed Instruments with Multifractal Detrended Fluctuation Analysis
CATEGORIZATION OF STRINGED INSTRUMENTS WITH MULTIFRACTAL DETRENDED FLUCTUATION ANALYSIS Archi Banerjee*, Shankha Sanyal, Tarit Guhathakurata, Ranjan Sengupta and Dipak Ghosh Sir C.V. Raman Centre for Physics and Music Jadavpur University, Kolkata: 700032 *[email protected] * Corresponding Author ABSTRACT Categorization is crucial for content description in archiving of music signals. On many occasions, human brain fails to classify the instruments properly just by listening to their sounds which is evident from the human response data collected during our experiment. Some previous attempts to categorize several musical instruments using various linear analysis methods required a number of parameters to be determined. In this work, we attempted to categorize a number of string instruments according to their mode of playing using latest-state-of-the-art robust non-linear methods. For this, 30 second sound signals of 26 different string instruments from all over the world were analyzed with the help of non linear multifractal analysis (MFDFA) technique. The spectral width obtained from the MFDFA method gives an estimate of the complexity of the signal. From the variation of spectral width, we observed distinct clustering among the string instruments according to their mode of playing. Also there is an indication that similarity in the structural configuration of the instruments is playing a major role in the clustering of their spectral width. The observations and implications are discussed in detail. Keywords: String Instruments, Categorization, Fractal Analysis, MFDFA, Spectral Width INTRODUCTION Classification is one of the processes involved in audio content description. Audio signals can be classified according to miscellaneous criteria viz. speech, music, sound effects (or noises). -
A Real-Time Synthesis Oriented Tanpura Model
Proceedings of the 19th International Conference on Digital Audio Effects (DAFx-16), Brno, Czech Republic, September 5–9, 2016 A REAL-TIME SYNTHESIS ORIENTED TANPURA MODEL Maarten van Walstijn, Jamie Bridges, and Sandor Mehes Sonic Arts Research Centre School of Electronics, Electrical Engineering, and Computer Science Queen’s University Belfast, UK {m.vanwalstijn,jbridges05,smehes01}@qub.ac.uk cotton ABSTRACT thread finger Physics-based synthesis of tanpura drones requires accurate sim- tuning bridge nut ulation of stiff, lossy string vibrations while incorporating sus- bead tained contact with the bridge and a cotton thread. Several chal- lenges arise from this when seeking efficient and stable algorithms 0 xc xb → x xe L for real-time sound synthesis. The approach proposed here to address these combines modal expansion of the string dynamics Figure 1: Schematic depiction of the tanpura string geometry (with with strategic simplifications regarding the string-bridge and string- altered proportions for clarity). The string termination points of the thread contact, resulting in an efficient and provably stable time- model are indicated with the vertical dashed lines. stepping scheme with exact modal parameters. Attention is given also to the physical characterisation of the system, including string damping behaviour, body radiation characteristics, and determi- the reliance on iterative solvers and from the high sample rates nation of appropriate contact parameters. Simulation results are needed to alleviate numerical dispersion. presented exemplifying the key features of the model. This paper aims to formulate a leaner discrete-time tanpura string model requiring significantly reduced computational effort, but retaining much of the key sonic features of the instrument. -
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 -
Visva-Bharati, Sangit-Bhavana Department of Rabindra Sangit, Dance & Drama CURRICULUM for UNDERGRADUATE COURSE CHOICE BASED CREDIT SYSTEM
Visva-Bharati, Sangit-Bhavana Department of Rabindra Sangit, Dance & Drama CURRICULUM FOR UNDERGRADUATE COURSE CHOICE BASED CREDIT SYSTEM COURSE CODE: DURATION: 3 COURSE CODE SIX SEMESTER BMS YEARS NO: 41 Sl.No Course Semester Credit Marks Full Marks . 1. Core Course - CC 14 Courses I-IV 14X6=84 14X75 1050 08 Courses Practical 06 Courses Theoretical 2. Discipline Specific Elective - DSE 04 Courses V-VI 4X6=24 4X75 300 03 Courses Practical 01 Courses Theoretical 3. Generic Elective Course – GEC 04 Course I-IV 4X6=24 4X75 300 03 Courses Practical 01 Courses Theoretical 4. Skill Enhancement Compulsory Course – SECC III-IV 2X2=4 2X25 50 02 Courses Theoretical 5. Ability Enhancement Compulsory Course – AECC I-II 2X2=4 2X25 50 02 Courses Theoretical 6. Tagore Studies - TS (Foundation Course) I-II 4X2=8 2X50 100 02 Courses Theoretical Total Courses 28 Semester IV Credits 148 Marks 1850 Page 1 of 109 CHOICE BASED CREDIT SYSTEM B.MUS (HONS) COURSE AND MARKS DISTRIBUTION STRUCTURE CC DSE GEC SECC AEC TS SEM C TOTA PRA THE PRA THE PRA THE THE THE THE L C O C O C O O O O I 75 75 - - 75 - - 25 50 300 II 75 75 - - 75 - - 25 50 300 III 150 75 - - 75 - 25 - - 325 IV 150 75 - - - 75 25 - - 325 V 75 75 150 - - - - - - 300 VI 75 75 75 75 - - - - - 300 TOTA 600 450 225 75 225 75 50 50 100 1850 L Page 2 of 109 CHOICE BASED CREDIT SYSTEM B.MUS (HONS) OUTLINE OF THE COURSE STRUCTURE COURSE COURSE TYPE CREDITS MARKS HOURS PER CODE WEEK SEMESTER-I CC-1 PRACTICAL 6 75 12 CC-2 THEORETICAL 6 75 6 GEC-1 PRACTICAL 6 75 12 AECC-1 THEORETICAL 2 25 2 TS-1 THEORETICAL -
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. -
Music and Society in Late Colonial India: a Study of Esraj in Gaya LSE Research Online URL for This Paper: Version: Accepted Version
Music and society in late colonial India: a study of Esraj in Gaya LSE Research Online URL for this paper: http://eprints.lse.ac.uk/101477/ Version: Accepted Version Article: Roy, Tirthankar (2019) Music and society in late colonial India: a study of Esraj in Gaya. Journal of Asian Studies, 79 (1). pp. 25-49. ISSN 0021-9118 https://doi.org/10.1017/S0021911819000123 Reuse Items deposited in LSE Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the LSE Research Online record for the item. [email protected] https://eprints.lse.ac.uk/ Music and Society in Late Colonial India: A Study of Esraj in Gaya TIRTHANKAR ROY In the late nineteenth and early twentieth centuries, Indian classical music was in transition. Most readings of the transition stress the choices of the professional musicians, as these musicians and the institutions in which they functioned were caught up in political and economic movements such as nationalism and commercialization. This article studies a different type of transition: when a small-town professional group with a strong associational culture became musicians. This second process, standing in contrast to the received narratives, suggests novel lessons in the history of urban cultures during a time of change. Keywords: colonial India, esraj, Gaya, Gayawals, gharanas, harmonium, Indian classical music, nationalism, urban culture Tirthankar Roy ([email protected]) is Professor of Economic History at the London School of Economics and Political Science. -
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). -
Repor T Resumes
REPOR TRESUMES ED 017 908 48 AL 000 990 CHAPTERS IN INDIAN CIVILIZATION--A HANDBOOK OF READINGS TO ACCOMPANY THE CIVILIZATION OF INDIA SYLLABUS. VOLUME II, BRITISH AND MODERN INDIA. BY- ELDER, JOSEPH W., ED. WISCONSIN UNIV., MADISON, DEPT. OF INDIAN STUDIES REPORT NUMBER BR-6-2512 PUB DATE JUN 67 CONTRACT OEC-3-6-062512-1744 EDRS PRICE MF-$1.25 HC-$12.04 299P. DESCRIPTORS- *INDIANS, *CULTURE, *AREA STUDIES, MASS MEDIA, *LANGUAGE AND AREA CENTERS, LITERATURE, LANGUAGE CLASSIFICATION, INDO EUROPEAN LANGUAGES, DRAMA, MUSIC, SOCIOCULTURAL PATTERNS, INDIA, THIS VOLUME IS THE COMPANION TO "VOLUME II CLASSICAL AND MEDIEVAL INDIA," AND IS DESIGNED TO ACCOMPANY COURSES DEALING WITH INDIA, PARTICULARLY THOSE COURSES USING THE "CIVILIZATION OF INDIA SYLLABUS"(BY THE SAME AUTHOR AND PUBLISHERS, 1965). VOLUME II CONTAINS THE FOLLOWING SELECTIONS--(/) "INDIA AND WESTERN INTELLECTUALS," BY JOSEPH W. ELDER,(2) "DEVELOPMENT AND REACH OF MASS MEDIA," BY K.E. EAPEN, (3) "DANCE, DANCE-DRAMA, AND MUSIC," BY CLIFF R. JONES AND ROBERT E. BROWN,(4) "MODERN INDIAN LITERATURE," BY M.G. KRISHNAMURTHI, (5) "LANGUAGE IDENTITY--AN INTRODUCTION TO INDIA'S LANGUAGE PROBLEMS," BY WILLIAM C. MCCORMACK, (6) "THE STUDY OF CIVILIZATIONS," BY JOSEPH W. ELDER, AND(7) "THE PEOPLES OF INDIA," BY ROBERT J. AND BEATRICE D. MILLER. THESE MATERIALS ARE WRITTEN IN ENGLISH AND ARE PUBLISHED BY THE DEPARTMENT OF INDIAN STUDIES, UNIVERSITY OF WISCONSIN, MADISON, WISCONSIN 53706. (AMM) 11116ro., F Bk.--. G 2S12 Ye- CHAPTERS IN INDIAN CIVILIZATION JOSEPH W ELDER Editor VOLUME I I BRITISH AND MODERN PERIOD U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY. -
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.