My Forays Into the World of the Tablä†
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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. -
Music Initiative Jka Peer - Reviewed Journal of Music
VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc. -
The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
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. -
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. -
Syllabus for Post Graduate Programme in Music
1 Appendix to U.O.No.Acad/C1/13058/2020, dated 10.12.2020 KANNUR UNIVERSITY SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: MA MUSIC DEPARTMENT OF MUSIC KANNUR UNIVERSITY SWAMI ANANDA THEERTHA CAMPUS EDAT PO, PAYYANUR PIN: 670327 2 SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: M A (MUSIC) ABOUT THE DEPARTMENT. The Department of Music, Kannur University was established in 2002. Department offers MA Music programme and PhD. So far 17 batches of students have passed out from this Department. This Department is the only institution offering PG programme in Music in Malabar area of Kerala. The Department is functioning at Swami Ananda Theertha Campus, Kannur University, Edat, Payyanur. The Department has a well-equipped library with more than 1800 books and subscription to over 10 Journals on Music. We have gooddigital collection of recordings of well-known musicians. The Department also possesses variety of musical instruments such as Tambura, Veena, Violin, Mridangam, Key board, Harmonium etc. The Department is active in the research of various facets of music. So far 7 scholars have been awarded Ph D and two Ph D thesis are under evaluation. Department of Music conducts Seminars, Lecture programmes and Music concerts. Department of Music has conducted seminars and workshops in collaboration with Indira Gandhi National Centre for the Arts-New Delhi, All India Radio, Zonal Cultural Centre under the Ministry of Culture, Government of India, and Folklore Academy, Kannur. -
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. -
Lord Buddha in the Cult of Lord Jagannath
June - 2014 Odisha Review Lord Buddha in the Cult of Lord Jagannath Abhimanyu Dash he Buddhist origin of Lord Jagannath was (4) At present an image of Buddha at Ellora Tfirst propounded by General A. Cunningham is called Jagannath which proves Jagannath and which was later on followed by a number of Buddha are identical. scholars like W.W.Hunter, W.J.Wilkins, (5) The Buddhist celebration of the Car R.L.Mitra, H.K. Mahatab, M. Mansingh, N. K. Festival which had its origin at Khotan is similar Sahu etc. Since Buddhism was a predominant with the famous Car Festival of the Jagannath cult. religion of Odisha from the time of Asoka after (6) Indrabhuti in his ‘Jnana Siddhi’ has the Kalinga War, it had its impact on the life, referred to Buddha as Jagannath. religion and literature of Odisha. Scholars have (7) There are similar traditions in Buddhism made attempt to show the similarity of Jagannath as well as in the Jagannath cult. Buddhism was cult with Buddhism on the basis of literary and first to discard caste distinctions. So also there is archaeological sources. They have put forth the no caste distinction in the Jagannath temple at the following arguments to justify the Buddhist origin time of taking Mahaprasad. This has come from of Lord Jagannath. the Buddhist tradition. (1) In their opinion the worship of three (8) On the basis of the legend mentioned in symbols of Buddhism, Tri-Ratna such as the the ‘Dathavamsa’ of Dharmakirtti of Singhala, Buddha, the Dhamma (Dharma) and the Sangha scholars say that a tooth of Buddha is kept in the body of Jagannath. -
Hindu Music from Various Authors, Pom.Pil.Ed and J^Ublished
' ' : '.."-","' i / i : .: \ CORNELL UNIVERSITY LIBRARY MUSIC e VerSl,y Ubrary ML 338.fl2 i882 3 1924 022 411 650 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31 92402241 1 650 " HINDU MUSIC FROM VARIOUS AUTHORS, POM.PIL.ED AND J^UBLISHED RAJAH COMM. SOURINDRO MOHUN TAGORE, MUS. DOC.J F.R.S.L., M.U.A.S., Companion of the Order of the Indian Empire ; KNIGHT COMMANDER OF THE FIRST CLASS OF THE ORDER OF ALBERT, SAXONY ; OF THE ORDER OF LEOPOLD, BELGIUM ; FRANCIS OF THE MOST EXALTED ORDEE OF JOSEPH, AUSTRIA ; OF THE ROYAL ORDER OF THE CROWN OF ITALY ; OF THE MOST DISTINGUISHED ORDER OF DANNEBROG, DENMARK ; AND OF THE ROYAL ORDER OF MELTJSINE OF PRINCESS MARY OF LUSIGNAN ; FRANC CHEVALIER OF THE ORDER OF THE KNIGHTS OF THE MONT-REAL, JERUSALEM, RHODES HOLY SAVIOUR OF AND MALTA ; COMMANDEUR DE ORDRE RELIGIEOX ET MILITAIRE DE SAINT-SAUVEUR DE MONT-REAL, DE SAINT-JEAN DE JERUSALEM, TEMPLE, SAINT SEPULCRE, DE RHODES ET MALTE DU DU REFORME ; KNIGHT OF THE FIRST CLASS OF THE IMPERIAL ORDER OF THE " PAOU SING," OR PRECIOUS STAR, CHINA ; OF THE SECOND CLASS OF THE HIGH IMPERIAL ORDER OF THE LION AND SUN, PERSIA; OF THE SECOND CLASS OF THE IMPERIAL ORDER OF MEDJIDIE, TURKEY ; OF THE ROYAL MILITARY ORDER OF CHRIST, AND PORTUGAL ; KNIGHT THE OF BASABAMALA, OF ORDER SIAM ; AND OF THE GURKHA STAR, NEPAL ; " NAWAB SHAHZADA FROM THE SHAH OF PERSIA, &C, &C, &C. -
Sacred Space on Earth : (Spaces Built by Societal Facts)
International Journal of Humanities and Social Science Invention ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org ||Volume 4 Issue 8 || August. 2015 || PP.31-35 Sacred Space On Earth : (Spaces Built By Societal Facts) Dr Jhikmik Kar Rani Dhanya Kumari College, Jiaganj, Murshidabad. Kalyani University. ABSTRACT: To the Hindus the whole world is sacred as it is believed to spring from the very body of God. Hindus call these sacred spaces to be “tirthas” which is the doorway between heaven and earth. These tirthas(sacred spaces) highlights the great act of gods and goddesses as well as encompasses the mythic events surrounding them. It signifies a living sacred geographical space, a place where everything is blessed pure and auspicious. One of such sacred crossings is Shrikshetra Purosottam Shetra or Puri in Orissa.(one of the four abodes of lord Vishnu in the east). This avenue collects a vast array of numerous mythic events related to Lord Jagannatha, which over the centuries attracted numerous pilgrims from different corners of the world and stand in a place empowered by the whole of India’s sacred geography. This sacred tirtha created a sacred ceremonial/circumbulatory path with the main temple in the core and the secondary shrines on the periphery. The mythical/ritual traditions are explained by redefining separate ritual (sacred) spaces. The present study is an attempt to understand their various features of these ritual spaces and their manifestations in reality at modern Puri, a temple town in Orissa, Eastern India. KEYWORDS: sacred geography, space, Jagannatha Temple I. Introduction Puri is one of the most important and famous sacred spaces (TirthaKhetra) of the Hindus. -
A History of Indian Music by the Same Author
68253 > OUP 880 5-8-74 10,000 . OSMANIA UNIVERSITY LIBRARY Call No.' poa U Accession No. Author'P OU H Title H; This bookok should bHeturned on or befoAbefoifc the marked * ^^k^t' below, nfro . ] A HISTORY OF INDIAN MUSIC BY THE SAME AUTHOR On Music : 1. Historical Development of Indian Music (Awarded the Rabindra Prize in 1960). 2. Bharatiya Sangiter Itihasa (Sanglta O Samskriti), Vols. I & II. (Awarded the Stisir Memorial Prize In 1958). 3. Raga O Rupa (Melody and Form), Vols. I & II. 4. Dhrupada-mala (with Notations). 5. Sangite Rabindranath. 6. Sangita-sarasamgraha by Ghanashyama Narahari (edited). 7. Historical Study of Indian Music ( ....in the press). On Philosophy : 1. Philosophy of Progress and Perfection. (A Comparative Study) 2. Philosophy of the World and the Absolute. 3. Abhedananda-darshana. 4. Tirtharenu. Other Books : 1. Mana O Manusha. 2. Sri Durga (An Iconographical Study). 3. Christ the Saviour. u PQ O o VM o Si < |o l "" c 13 o U 'ij 15 1 I "S S 4-> > >-J 3 'C (J o I A HISTORY OF INDIAN MUSIC' b SWAMI PRAJNANANANDA VOLUME ONE ( Ancient Period ) RAMAKRISHNA VEDANTA MATH CALCUTTA : INDIA. Published by Swaxni Adytaanda Ramakrishna Vedanta Math, Calcutta-6. First Published in May, 1963 All Rights Reserved by Ramakrishna Vedanta Math, Calcutta. Printed by Benoy Ratan Sinha at Bharati Printing Works, 141, Vivekananda Road, Calcutta-6. Plates printed by Messrs. Bengal Autotype Co. Private Ltd. Cornwallis Street, Calcutta. DEDICATED TO SWAMI VIVEKANANDA AND HIS SPIRITUAL BROTHER SWAMI ABHEDANANDA PREFACE Before attempting to write an elaborate history of Indian Music, I had a mind to write a concise one for the students. -
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.