K-4 Curriculum Guide
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Hindustani Percussion Syllabus Levels
Level 1 IndianRaga Hindustani Percussion Curriculum Practical Sample Question Set 1. Basic strokes: individual & combination 1. Play the basic 2. Basic phrases: at the discretion of the teacher phrases with Suggested: Thirakita, thirakitathaka, some variations – thirakitathaka tha gegethita, 3. Phrases with variations: at the discretion of the thirakitathaka etc teacher as advised by Suggested: Gege thita gege nana, dhadha thita teacher dhadha thina 2. Play teental theka Dha dha thirakita dha dha thina etc. in 3 speeds and 4. Teental basic pattern (Theka) in 3 speeds recite with beat 5. Basic Qaida, Rhela based patterns : at the 3. Play a small qaida discretion of the teacher 4. Tell us about the different parts of the tabla and Theory Requirements what they are 1. Building blocks of tala and counting made of 2. Recitation of all the above practical requirements Evaluation Adherence to Laya (proper tempo, rhythm), Posture, precision of strokes as well as proper recitation. Level 2 IndianRaga Hindustani Percussion Curriculum Practical & Theory Requirements Sample Questions set 1. Tala dadra, roopak, jhaptaal – recite and play in 1. Play thekas of 3 speeds Dadra, roopak 2. 3 finger tirkit (& more complex thirkit phrases) and Teental in 3 3. Further development of basic phrases from speeds level 1 2. Play some thirkit 4. 2 qaidas with 3 variations each – thi ta, thirakita based phrases based and more at the discretion of teacher 3. Play a qaida based 5. 3 thihais and 2 simple tukdas in Teental in thi ta with some variations 4. Play some thihais Evaluation in Teental Adherence to Laya (proper tempo, rhythm), Posture, 5. -
12 NI 6340 MASHKOOR ALI KHAN, Vocals ANINDO CHATTERJEE, Tabla KEDAR NAPHADE, Harmonium MICHAEL HARRISON & SHAMPA BHATTACHARYA, Tanpuras
From left to right: Pandit Anindo Chatterjee, Shampa Bhattacharya, Ustad Mashkoor Ali Khan, Michael Harrison, Kedar Naphade Photo credit: Ira Meistrich, edited by Tina Psoinos 12 NI 6340 MASHKOOR ALI KHAN, vocals ANINDO CHATTERJEE, tabla KEDAR NAPHADE, harmonium MICHAEL HARRISON & SHAMPA BHATTACHARYA, tanpuras TRANSCENDENCE Raga Desh: Man Rang Dani, drut bandish in Jhaptal – 9:45 Raga Shahana: Janeman Janeman, madhyalaya bandish in Teental – 14:17 Raga Jhinjhoti: Daata Tumhi Ho, madhyalaya bandish in Rupak tal, Aaj Man Basa Gayee, drut bandish in Teental – 25:01 Raga Bhupali: Deem Dara Dir Dir, tarana in Teental – 4:57 Raga Basant: Geli Geli Andi Andi Dole, drut bandish in Ektal – 9:05 Recorded on 29-30 May, 2015 at Academy of Arts and Letters, New York, NY Produced and Engineered by Adam Abeshouse Edited, Mixed and Mastered by Adam Abeshouse Co-produced by Shampa Bhattacharya, Michael Harrison and Peter Robles Sponsored by the American Academy of Indian Classical Music (AAICM) Photography, Cover Art and Design by Tina Psoinos 2 NI 6340 NI 6340 11 at Carnegie Hall, the Rubin Museum of Art and Raga Music Circle in New York, MITHAS in Boston, A True Master of Khayal; Recollections of a Disciple Raga Samay Festival in Philadelphia and many other venues. His awards are many, but include the Sangeet Natak Akademi Puraskar by the Sangeet Natak Aka- In 1999 I was invited to meet Ustad Mashkoor Ali Khan, or Khan Sahib as we respectfully call him, and to demi, New Delhi, 2015 and the Gandharva Award by the Hindusthan Art & Music Society, Kolkata, accompany him on tanpura at an Indian music festival in New Jersey. -
(Micro Tonal Intervals) and Their Application in Hindustani Music
On Mathematical Functions for Theoretical and Experimental Distributions for Shrutis (Micro Tonal Intervals) and Their Application in Hindustani Music Vishal Midya1 1Indian Statistical Institute, Delhi, India In this work, exact mathematical functions have been formulated for three important theoretical Shruti (micro tonal interval) distributions, i.e. for Western Compilation, Deval, and Nagoji Row in Hindustani music. A generalized mathematical function for Shrutis has also been formulated. This generalized function shows a very high order of conformity with the experimentally derived Shruti distribution, than those of the theoretical Shruti distributions. Keywords: Hindustani music, Shruti (micro tonal interval), Experimental and theoretical Shruti distributions, Mathematical functions for Shruti Distributions, Generalized Shruti function 1) Introduction The Indian Musical system is based on modal format, and here the relation between successive notes as well as, the relation between a fixed tonic and any note is of grave importance. Even in the absence of tonic, an isolated note can convey an expression, of course with respect to a memorized tonic or a previous note. Here each note leaves an impression in mind and the idea is revealed through the cumulative effect of successive notes. It should be kept in mind that, the tonic is not fixed, in terms of frequencies, rather can be specified at any position according to the performer. So, in the scale of Indian musical system, relation between successive notes has to be considered. The notion of Shruti or microtonal intervals has to be given importance. Musicological research on the existence of Shruti and their relevance to the performance or perception has been started long ago. -
A Nonlinear Study on Time Evolution in Gharana
Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 15 April 2019 doi:10.20944/preprints201904.0157.v1 A NONLINEAR STUDY ON TIME EVOLUTION IN GHARANA TRADITION OF INDIAN CLASSICAL MUSIC Archi Banerjee1,2*, Shankha Sanyal1,2*, Ranjan Sengupta2 and Dipak Ghosh2 1 Department of Physics, Jadavpur University 2 Sir C.V. Raman Centre for Physics and Music Jadavpur University, Kolkata: 700032 India *[email protected] * Corresponding author Archi Banerjee: [email protected] Shankha Sanyal: [email protected]* Ranjan Sengupta: [email protected] Dipak Ghosh: [email protected] © 2019 by the author(s). Distributed under a Creative Commons CC BY license. Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 15 April 2019 doi:10.20944/preprints201904.0157.v1 A NONLINEAR STUDY ON TIME EVOLUTION IN GHARANA TRADITION OF INDIAN CLASSICAL MUSIC ABSTRACT Indian classical music is entirely based on the “Raga” structures. In Indian classical music, a “Gharana” or school refers to the adherence of a group of musicians to a particular musical style of performing a raga. The objective of this work was to find out if any characteristic acoustic cues exist which discriminates a particular gharana from the other. Another intriguing fact is if the artists of the same gharana keep their singing style unchanged over generations or evolution of music takes place like everything else in nature. In this work, we chose to study the similarities and differences in singing style of some artists from at least four consecutive generations representing four different gharanas using robust non-linear methods. For this, alap parts of a particular raga sung by all the artists were analyzed with the help of non linear multifractal analysis (MFDFA and MFDXA) technique. -
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. -
Dr. Gagandeep Hothi • Designation: Assistant Professor
ACADEMIC PROFILE OF FACULTY MEMBER Name: Dr. Gagandeep Hothi Designation: Assistant Professor – D.S.B. Campus, Kumaun University, Nainital. Qualification: M.A.; M.Phil; UGC-NET (JRF & SRF); Ph.D. Area of Specialization/Research field: Indian Classical Music – Instrumental (Sitar) Awards/Recognitions: At the age of 10, was awarded the prestigious National Scholarship by the Ministry of Culture, Government of India, for "Sitarwadan". Amongst the winners of "All India Radio Competition, year 2003." Awarded the Scholarship for Merit in Senior Secondary Examination by the H.P. Board of School Education Dharamshala. Awarded the Scholarship for Cultural Activities and Merit by the Centre of Excellence, Govt. College Sanjauli for BA-1, BA-2 & BA-3. Awarded the Scholarship for Cultural Activities and Merit by the H.P. University, Shimla for Graduation, Post Graduation & M.Phil. On September 07, 2009; was conferred with the “Kshitij Kala Samman” by “Smt. Prabha Rau”, “Honorable Governor of Himachal Pradesh.” Awarded the UGC-NET-Junior Research Fellowship (JRF) & Senior Research Fellowship (SRF) – June 2009. Presented the “Himotkarsh Award of Honor” by “Prof. Prem Kumar Dhumal”, ”Honorable Chief Minister of Himachal Pradesh.” For five consecutive years (i.e. 2003,04,05,06 & 07), won the first prize in the H.P. University Youth Festival. Excelled academically and secured Gold Medals in Graduation, Post Graduation and M.Phil from the Himachal Pradesh University, Shimla. Awarded as an “A-Grade” artist of All India Radio (A.I.R.) and -
Dr. RANJANI RAMACHANDRAN Hindustani Classical Vocalist
Dr. RANJANI RAMACHANDRAN Hindustani Classical Vocalist, Assistant Professor, Department of Hindusthani Classical Music, Sangit Bhavana, Visva Bharati, Santiniketan Email (Official): [email protected] Dr. Ranjani Ramachandran is a well known khayal vocalist of the Gwalior and Jaipur gharana having trained under eminent gurus including Padmashree Pandit Ulhas Kashalkar, Vidushi Veena Sahasrabuddhe and Pandit Kashinath Bodas. Ranjani also received guidance from Vidushi Girija Devi, acquiring a rich repertoire of Thumri, Dadra, Chaiti and Kajri. She has performed in prestigious platforms in India and abroad. Her research interests include music analysis, archiving and interdisciplinary studies. An ex- scholar of the prestigious ITC Sangeet Research Academy, she is a recipient of many awards including the Charles Wallace Research grant from the UK and has been a long time collaborator with ethnomusicologists at the Durham University in UK. She is currently working as an Assistant professor and teaches vocal music at the Department of Hindustani classical music in Sangit Bhavana at Visva Bharati University, Santiniketan, West Bengal. Ranjani is a Doctorate in vocal music. Her doctoral thesis focused on studying the stylistic diversity within the Gwalior Gharana through analysis of recordings of a few Gwalior Gharana vocalists from the 20th Century. Awards and accolades: • Charles Wallace Fellow,Charles Wallace India Trust (CWIT) Research Grant, UK, 2015 • Ramkrishnabua Vaze Yuva Gayak Puraskar 2013 • ‘Surmani’ Award, Sur -
What Is Khya/?-A Critique of Wade's Khyal: Creativity Within North India's Classical Music Tradition
What is Khya/?-A Critique of Wade's Khyal: Creativity Within North India's Classical Music Tradition Mukund Lath This book has all the trappings of an impressive production. It is published by a University with as great a tradition of scholarship as khyal has of creativity, a tradition w ith a history certainly older than that of khyal. The 350-odd pages that the book contains are beautifully printed with numerous impeccably drawn charts of sargam-s and gharana genealogies and well reproduced photographs of well know n musicians. Its appearance is sober but attractive, befitting the scholarly series of which it is a part. This appearance invites respect despite the fact that t he banner "ethnomusicology", under which it is published, has certain unsavoury suggestions and echoes of references to a comparatively " lower " art practised by traditionaL "third-world" communities, stagnant rather than creative. One would not write about Western classical music under this banner. 1 must hasten to add, however, that Bonnie C. Wade's attitude towards her subject has no ethnomusicological overtones in any pejorative sense. Quite the contrary, she has, in fact great admiration for khyal as an art-form. Maybe the meaning of the term "ethnomusicology" is changing, as many students of the subject claim. But then w hy not do away with the word? Is not " musicology" adequate? But no matter w hat the name of the series, a book from Cambridge is bound to arouse great expectations. A student w ill turn to the book hoping that here at last is something definitive on khyal. -
Gharana Festival of Indian Music (2009)
Gharana Festival of Indian Music (2009) About Gharana Festival 2009 The Gharana Festival of Indian Music a 3-day festival that takes place in Chennai celebrating and experiencing Hindustani Classical music. The festival intends to showcase this rich Indian classical genre with the goal of bringing something new to the music community of Chennai. This annual festival features stand-out performances by artists who are the true torchbearers of their respective fields, carrying forward the tradition of music. We at the Prakriti Foundation started the festival as a response to the success of the first edition in 2006, Dhrupad, which included distinguished and legendary musicians of this art form. The enthusiasm witnessed amongst the audience, in a city which is dominated by Carnatic classical music, made it possible to make Gharana an annual festival. The festival opens its doors to people all over the country and the world, inviting them to experience and get a taste of Hindustani classical music in Chennai. The best part being that it is non-ticketed and is open to all! Schedule Concert by Ut.Irshad khan Synopsis: performance by Ut.Irshad Khan accompanied by Rudra Narayan Kalyan on Tabla. Date: 23rd March 2009 Time: 7:00 pm Venue: The Museum Theatre, Egmore Concert by Pt. Krishna Ram Choudhary Synopsis: performance by Pt. Krishna Ram Choudhary accompanied by Hemant Raj Choudhary on Table, Vivek on Harmonium, Deepak on Swarpetti and Mangal Prasad on Dukkad. Date: 24th March 2009 Time: 7:00 pm Venue: The Museum Theatre, Egmore Concert by Ms. Shanno Khurana Synopsis: performance by Ms.shanno Khurana accompanied by Akhtar Hasan on Tabla, Bharat Bhushan Goswami on Sarangi and Maitreyi Majumdar on Swaramandal. -
SRUTI NOTES a Publication of SRUTI - the India Music & Dance Society
SRUTI NOTES A Publication of SRUTI - The India Music & Dance Society www.sruti.org E-mail: [email protected] Volume 14, Issue 1, February 2011 Board of Directors Celebrating 25 years of excellence in President Uma Prabhakar Indian Classical Music and Dance President-Elect in the Delaware Valley Raji Venkatesan Treasurer Usha Balasubramaniam President’s Note Secretary Ravi Pillutla Greetings! I wish you all a very happy and prosperous New Year! Directors I consider it a unique privilege and honor for me to have this opportunity to lead SRUTI into her Ramaa Nathan 25th year, along with the competent and enthusiastic support of my fellow board members, who Gayathri Rao come with years of experience in planning, managing and executing such events of SRUTI. Six of Ramana Kanumalla them are from the previous board, with Raji Venkatesan as President-Elect, Usha Balasubramanian Raghunandan Parthasarathy as Treasurer, Ravi Pillutla as Secretary, Ramaa Nathan as Director of Resources and, Sunanda Sunanda Gandham Gandham as Director (2). We welcome our newly elected board members (who are not new to SRUTI by any means), Gayathri Rao as Director of Publications and Outreach, Ramana Kanumalla Committees as Director of Marketing & Publicity and, Raghunandan Parthasarathy as Director (1). Together, we Resources & Development look forward to presenting to you all carefully selected classical Indian music and dance programs Ramaa Nathan (Chair) throughout this year and making your 25th year SRUTI experience extra special and fun! Usha Balasubramanian The programming for 2011 season was initiated way back in the May/June time frame last year un- Rajee Padmanabhan Raghunandan Parthasarathy der the leadership of Mr. -
Indian Classical Music Is One of the Oldest Forms of Music in the World
AN INTRODUCTION TO THE CLASSICAL MUSIC OF INDIA Rangaraj M. Rangayyan Department of Electrical and Computer Engineering University of Calgary Calgary, Canada T2N 1N4. Phone: +1 (403) 220-6745 Fax: +1 (403) 282-6855 e-mail: [email protected] Web: http://www.enel.ucalgary.ca/People/Ranga 48 Scandia Hill N.W. Calgary, Alberta, CANADA T3L 1T8 Phone/fax: +1 (403) 239-7380 I. INTRODUCTION Indian classical music is one of the oldest forms of music in the world. It has its roots in diverse areas such as the ancient religious vedic hymns, tribal chants, devotional temple music, and folk music[2]. Indian music is melodic in nature, as opposed to Western music which is harmonic. The most important point to note is that movements in Indian classical music are on a one-note-at-a-time basis. This progression of sound patterns along time is the most significant contributor to the tune and rhythm of the presentation, and hence to the melody[2]. Although Indian music is now divided into the two major classes of Hindusthani (Northern Indian) and Karnatak or Carnatic (Southern Indian), the origins and fundamental concepts of both these types of music are the same. The form of presentation may however vary between the two systems, as well as from one gharana (family) to another in the former system. The fundamental concepts that have to be understood at the outset are those of swara (musical note), raga (a melodic concept, or scale of notes) and tala (beats of timing or rhythm). This paper begins with an introduction to these concepts. -
Dr. Mallika Banerjee Born in a Family Dedicated to Music Dr. Mallika
Dr. Mallika Banerjee Born in a family dedicated to music Dr. Mallika Banerjee was initiated to Hindustani vocal Classical music at an early age by her mother Smt. Parul Banerjee, a well-known vocalist. Later she became personal disciple of Prof. Krishna Bisht, the eminent exponent of Delhi Gharana. Apart from Khayal she is equally adept in light classical forms which she has learnt under the guidance of her mother. Academically she is a Doctorate in Music from the University of Delhi. Her area of research was ancient world music systems. She is a notable artiste in the field of Hindustani classical music and in recognition of her artistry she has been awarded by some very respected organizations – 1. Surmani - By Sur Singar Parishad, Mumbai 2. Nada Brahma Shiromani – By Lok kala Manch Delhi 3. Sangeet Bhushan – by Society for Action through Music 4. Gunijan Samman – By Swaranjali Delhi Prior to IGNOU she has experience of working in All India Radio as Programme Executive for 20 years. Mallika is now working in IGNOU as one of the Faculty member in music. She is an approved A Grade Classical Vocalist of AIR Delhi and an empanelled artiste of ICCR. Apart from of Classical and Light Classical music Mallika is also proficient in Bengali Ragpradhan and Nazrulgeeti. List of Publications- Book – Music in Ancient Civilizations – ISBN – 978-81-8457-763-1 Course Contents – Contributed a Unit in the course material for Post Graduate Programme in Gender Studies,(Constructing Gender through Arts and Media) on women and Indian Music through ages, with the topic “Construction of Tradition”(ISBN: 978-81-266-6329-9) Contributed units for the SLMs for programmes of Music run by NIOS.