Mridang Drum
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MODAL ANALYSIS and TRANSCRIPTION of STROKES of the MRIDANGAM USING NON-NEGATIVE MATRIX FACTORIZATION Akshay Anantapadmanabhan1, Ashwin Bellur2 and Hema a Murthy1 ∗
MODAL ANALYSIS AND TRANSCRIPTION OF STROKES OF THE MRIDANGAM USING NON-NEGATIVE MATRIX FACTORIZATION Akshay Anantapadmanabhan1, Ashwin Bellur2 and Hema A Murthy1 ∗ 1 Department of Computer Science and Engineering, 2 Department of Electrical Engineering, Indian Institute of Technology, Madras, India - 600 036 ABSTRACT The mridangam is quite different from the tabla in that, the mridangam is a single body instrument with two membranes In this paper we use a Non-negative Matrix Factorization (one producing treble sounds while the other producing bass (NMF) based approach to analyze the strokes of the mri- sounds) as opposed to the tabla, which consists of two inde- dangam, a South Indian hand drum, in terms of the normal pendent bodies. C.V. Raman, in his work on Indian musical modes of the instrument. Using NMF, a dictionary of spectral drums [1], discusses some of the unique traits of the mridan- basis vectors are first created for each of the modes of the gam as a harmonic percussive instrument. He describes some mridangam. The composition of the strokes are then studied of the structural similarities between the mridangam and tabla by projecting them along the direction of the modes using but at the same time highlights some of the major differences NMF. We then extend this knowledge of each stroke in terms in their acoustic properties. He also illustrates the modes of of its basic modes to transcribe audio recordings. Hidden the mridangam using sand figures to reveal the basic physical Markov Models are adopted to learn the modal activations for and acoustic characteristics of the instrument. -
The Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine). -
Maestro Plays Traditional Tabla
PERFORMAN CE Maestro plays traditional tabla By Arthur Dudney Hu s!ain wi ll be a visiting PlI.IH(:ETOHJAH STA" W RITER faculty member in the music departmen t next se mester, The instrument W: simple tt!aching a -e:ouue titled "in - a large drum and a small troduction to the Music of in drum. played with the fingers dia," which he designed with and palm. But Zaki r Hu ssain mathematics professor and plays the traditional Indian tabla enthusiast Manjul Bh ar instrument, the tabla, with gava. such subtlety that there see ms The appointment is funded to be more to it. by theCounci! of the Humani Nearly 300 community ties. members attended his recital Hussain brgan to study tab Thursday aft ernoon tohear th e la seriously .a t age sev('n with man internationally re nowned hi s father, and the two began for hi s fusion of classica l in touring together when Zakir dian and Western music. Su TABLA pagt4 )RINCETONIAN Friday APRIL 8, 200S Hussain discusses tabla history TABLA of his many appearances at the to work with hi s colleagues in Un iversity since 1974 - began the music department, espe Co nfinutd from pa,9t I with five minutes of virtuos cially those involved in elec ity demonstrating the instru tronic music. was 12. Hi s fa ther, Ali a Rakha, ment's range. He then intro "Princeton is a respected was wide ly considered one of duced himse lf: "My n.ame is education center and I'm look the greates t tabla players of all Zakir Hu ssain and 1 play this ing at this not as something to time. -
Virtual Musical Field Trip with Maestro Andrew Crust
YOUR PASSPORT TO A VIRTUAL MUSICAL FIELD TRIP WITH MAESTRO ANDREW CRUST Premier Education Partner Za The Conductor Today, you met Andrew Crust, the Vancouver Symphony Orchestra’s Assistant Conductor. He joined the VSO this season in September of 2019. He grew up in Kansas City, and his main instrument is the trumpet. He studied music education and conducting, and has worked with orchestras in Canada, the United States, Italy, Germany, the Czech Republic, Chile, and many other exotic places. The conductor keeps the orchestra in time and together. The conductor serves as a messenger for the composer. It is their responsibility to understand the music and convey it through movements so clearly that the musicians in the orchestra understand it perfectly. Those musicians can then send a unified vision of the music out to the audience. Conductors usually beat time with their right hand. This leaves their left hand free to show the various instruments when they have entries (when they start playing) or to show them to play louder or softer. Most conductors have a stick called a “baton”. It makes it easier for people at the back of large orchestras or choirs to see the beat. Other conductors prefer not to use a baton. A conductor stands on a small platform called a “rostrum”. To be a good conductor is not easy. It is not just a question of giving a steady beat. A good conductor has to know the music extremely well so that they can hear any wrong notes. They need to be able to imagine exactly the sound they want the orchestra to make. -
Readying the Purnahutis, to Dressing of 11 Rudrams, Accompanied the Devi and Every Murthi Inside by Bilva Archana for 11 Shiva the Temple
Sri Chakra The Source of the Cosmos The Journal of the Sri Rajarajeswari Peetam, Rush, NY Blossom 13 Petal 1 March 2009 Om Nama Shivaya... MarchMarch NewsletterNewsletter Since the last issue... The beginning of December saw Aiya come up to Toronto to teach the kids’ class and Kitchener/ Waterloo to teach a class and make personal visits. He was back in Rochester for Karthikai Deepam on Dec. 11. The temple hosted large crowds later in the month when it Clockwise from top: Aiya was hosted a Rudra homam workshop honoured by Nemili Ezhilmani; on the 27th and the annual kids’ Annamalai temple and mountain; Aiya Matangi homam on the 28th. and Amma at the conference; Aiya The next big event after that was delivering his address on mantra, tantra and yantra; our gurus hanging Thiruvempavai for the first 10 days out with their gurus. of 2009. After Ardhra Dharshanam, Aiya and Amma briefly visited Delaware before embarking on a two-week trip to India. Satpurananda. They were in Kanchipuram and After the conference, Amma and Nemili on the 16th, where they Aiya flew to Visakapatnam to see received a wonderful welcome. Ammah and Guruji and also to Aiya’s rendition of Bala Kavacham visit Devipuram. After that, they was playing as they entered the went to kumbhakonam and later Nemili peetam. From there, Amma met Sri Shangaranarayanan to and Aiya went to Thiruvannamalai, discuss items needed for the SVTS and then Chidambaram. kumbhabhishekam in 2010. They then came back to Upon returning from India on Chennai, where they visited the evening of Jan. -
E/;Çns'k Yksd Lsok Vk;Ksx Jslhmsu Lh ,Fj;K Bunksj
1 e/;çns'k yksd lsok vk;ksx jslhMsUlh ,fj;k bUnkSj Øekad&% 102@69@2011@i&9 bUnkSj] fnukad 22-06-2018 vk;ksx ds foKkiu Øekad&07@2017 fnukad 12-12-2017 ds varxZr vk;ksftr lgk;d izk/;kid ijh{kk &2017 ds fo"k;& ouLifr 'kkL=] laxhr ,oa laLd`r lkfgR; ds iz'u i= dh ijh{kk fnukad&22-06-2018 ds oLrqfu"B izdkj ds iz'u i=ksa dh izkof/kd mRrj dqath ijh{kk ifj.kke cukus ds iwoZ vk;ksx dh osclkbZV ij izdkf'kr dh tk jgh gSA vH;FkhZ vk;ksx dh osclkbZV ij viuk jksy uacj ,oa izos'k i= ij fn;s x;s ikloMZ dh lgk;rk ls ykWx&bu dj viuh fjLikal 'khV dk voyksdu dj ldrs gaSA ;fn bl izkof/kd mRrj dqath ds laca/k esa fdlh ijh{kkfFkZ;ksa dks dksbZ vkifRr gks rks os vkWuykbZu vkifRr;kaa 07 fnol ds vUnj izLrqr dj ldrs gSaA bl gsrq vH;FkhZ iz'u Øekad] lanHkZ xzaFkksa dk uke ,oa nLrkost layXu djsaA izkof/kd mRrj daqth vk;ksx dh osclkbZV ij viyksM gksus dh frfFk ls 07 fnol dh le;kof/k ds Ik’pkr izkIr vkifRr;ksa ij fopkj ugha fd;k tk;sxkA ;g foKfIr vk;ksx dh osclkbZV www.mppsc.com & www.mppsc.nic.in, www.mppscdemo.in ij fnukad 22-06-2018 ls miyC/k gSA ¼MkW- ih-lh-;kno½ ijh{kk fu;a=d Assistant Professor Exam - 2017 (Model Answer Key) Music Q1 : What was ‘Pada’ called in Vedic Era? वैिदक काल म पदो ं को ा कहा जाता था ? Krusht A ु Richa B ऋचा Padam C पदम् Sama D साम Answer Key: B Q2 : Where was Gandharva Mahavidyalaya first established? गांघव महािवघालय की थापना सवथम कहाँ ई ? Bombay A बई Varanasi B वाराणसी Lucknow C लखनऊ Lahore D लाहौर Answer Key: D Q3 : On which shruti is ‘Pancham’ established in Madhyam Gram? मम ाम म पंचम िकस ुित पर थािपत होता है ? 16th A 16 वी ं ुित 17th B 17 वी ं ुित 15th C 15 वी ं ुित 18th D 18 वी ं ुित Answer Key: A Q4 : What is the other term used by Pt.Lochan for ‘mela’? पं. -
My Forays Into the World of the Tablä†
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2014 My Forays into the World of the Tablā Madeline Longacre SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Music Commons Recommended Citation Longacre, Madeline, "My Forays into the World of the Tablā" (2014). Independent Study Project (ISP) Collection. 1814. https://digitalcollections.sit.edu/isp_collection/1814 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. MY FORAYS INTO THE WORLD OF THE TABL Ā Madeline Longacre Dr. M. N. Storm Maria Stallone, Director, IES Abroad Delhi SIT: Study Abroad India National Identity and the Arts Program, New Delhi Spring 2014 TABL Ā OF CONTENTS ABSTRACT ………………………………………………………………………………………....3 ACKNOWLEDGEMENTS ……………………………………………………………………………..4 DEDICATION . ………………………………………………………………………………...….....5 INTRODUCTION ………………………………………………………………………………….....6 WHAT MAKES A TABL Ā……………………………………………………………………………7 HOW TO PLAY THE TABL Ā…………………………………………………………………………9 ONE CITY , THREE NAMES ………………………………………………………………………...11 A HISTORY OF VARANASI ………………………………………………………………………...12 VARANASI AS A MUSICAL CENTER ……………………………………………………………….14 THE ORIGINS OF THE TABL Ā……………………………………………………………………...15 -
List of Empanelled Artist
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
Musical Instruments of South Asian Origin Depicted on the Reliefs at Angkor, Cambodia
Musical instruments of South Asian origin depicted on the reliefs at Angkor, Cambodia EURASEAA, Bougon, 26th September, 2006 and subsequently revised for publication [DRAFT CIRCULATED FOR COMMENT] Roger Blench Mallam Dendo Ltd. 8, Guest Road Cambridge CB1 2AL United Kingdom Voice/ Fax. 0044-(0)1223-560687 Mobile worldwide (00-44)-(0)7967-696804 E-mail [email protected] http://www.rogerblench.info/RBOP.htm Cambridge, Monday, 02 July 2007 TABLE OF CONTENTS 1. INTRODUCTION: MUSICAL ICONOGRAPHY IN SE ASIA..................................................................1 2. MUSICAL ICONOGRAPHY AT ANGKOR ................................................................................................1 3. THE INSTRUMENTS......................................................................................................................................2 3.1 Idiophones.....................................................................................................................................................................2 3.2 Drums............................................................................................................................................................................3 3.3 Strings ...........................................................................................................................................................................4 3.4 Wind instruments.........................................................................................................................................................5 -
Basic Snare Drum Tuning
Basic Snare Drum Tuning by Tom Freer Please follow these simple and basic instructions for tuning and adjusting your Pearl snare drum. In order for you to get and maintain the best possible sound out of your instrument, it will be important to save this sheet so that you can "tune up" the drum as the heads become broken in, and replace heads when necessary. YOU WILL NEED THE FOLLOWING TOOLS TO PROCEED: 1. DRUM KEY 2. RULER STEP ONE: Loosen the top head completely. Place the drum on a flat surface and unscrew all the tension rods so that there is no tension on the top head. You don't need to take them out, just loosen them all the way. Next, begin to tighten down each rod just until they touch the counter hoop (or rim) WITHOUT PULLING IT DOWN. Just screw the tension rod down until it just touches. Go across the drum and do the same to the opposite tension rod and repeat, always working across the drum head in opposites, this keeps the head very even. When all the tension rods are seated and just touching the counter hoop, take your ruler and beginning with the tension rod directly beside the strainer, measure the distance from underneath the counter hoop to the top of the lug. Repeat this process with the lug directly across the drum and repeat until all measurements are the same. Remember we are not concerned with how tight the head is right now, just how even the tension is. Now that the head is evenly tensioned, bring the top head up to pitch. -
Secondary Indian Culture and Heritage
Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture.