Chords for Raga from Each Mode of the Major Scale Using Mode Relations
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The Music Academy, Madras 115-E, Mowbray’S Road
Tyagaraja Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XXXIX 1968 Parts MV srri erarfa i “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada l ” EDITBD BY V. RAGHAVAN, M.A., p h .d . 1968 THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription—Inland Rs. 4. Foreign 8 sh. iI i & ADVERTISEMENT CHARGES ►j COVER PAGES: Full Page Half Page Back (outside) Rs. 25 Rs. 13 Front (inside) 20 11 Back (Do.) „ 30 „ 16 INSIDE PAGES: 1st page (after cover) „ 18 „ io Other pages (each) „ 15 „ 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special positions and special rates on application. e iX NOTICE All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal Of the Music Academy, Madras-14. « Articles on subjects of music and dance are accepted for mblication on the understanding that they are contributed solely o the Journal of the Music Academy. All manuscripts should be legibly written or preferably type written (double spaced—on one side of the paper only) and should >e signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan Editor. Pages. -
Note Staff Symbol Carnatic Name Hindustani Name Chakra Sa C
The Indian Scale & Comparison with Western Staff Notations: The vowel 'a' is pronounced as 'a' in 'father', the vowel 'i' as 'ee' in 'feet', in the Sa-Ri-Ga Scale In this scale, a high note (swara) will be indicated by a dot over it and a note in the lower octave will be indicated by a dot under it. Hindustani Chakra Note Staff Symbol Carnatic Name Name MulAadhar Sa C - Natural Shadaj Shadaj (Base of spine) Shuddha Swadhishthan ri D - flat Komal ri Rishabh (Genitals) Chatushruti Ri D - Natural Shudhh Ri Rishabh Sadharana Manipur ga E - Flat Komal ga Gandhara (Navel & Solar Antara Plexus) Ga E - Natural Shudhh Ga Gandhara Shudhh Shudhh Anahat Ma F - Natural Madhyam Madhyam (Heart) Tivra ma F - Sharp Prati Madhyam Madhyam Vishudhh Pa G - Natural Panchama Panchama (Throat) Shuddha Ajna dha A - Flat Komal Dhaivat Dhaivata (Third eye) Chatushruti Shudhh Dha A - Natural Dhaivata Dhaivat ni B - Flat Kaisiki Nishada Komal Nishad Sahsaar Ni B - Natural Kakali Nishada Shudhh Nishad (Crown of head) Så C - Natural Shadaja Shadaj Property of www.SarodSitar.com Copyright © 2010 Not to be copied or shared without permission. Short description of Few Popular Raags :: Sanskrut (Sanskrit) pronunciation is Raag and NOT Raga (Alphabetical) Aroha Timing Name of Raag (Karnataki Details Avroha Resemblance) Mood Vadi, Samvadi (Main Swaras) It is a old raag obtained by the combination of two raags, Ahiri Sa ri Ga Ma Pa Ga Ma Dha ni Så Ahir Bhairav Morning & Bhairav. It belongs to the Bhairav Thaat. Its first part (poorvang) has the Bhairav ang and the second part has kafi or Så ni Dha Pa Ma Ga ri Sa (Chakravaka) serious, devotional harpriya ang. -
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. -
Analyzing the Melodic Structure of a Raga-Based Song
Georgian Electronic Scientific Journal: Musicology and Cultural Science 2009 | No.2(4) A Statistical Analysis Of A Raga-Based Song Soubhik Chakraborty1*, Ripunjai Kumar Shukla2, Kolla Krishnapriya3, Loveleen4, Shivee Chauhan5, Mona Kumari6, Sandeep Singh Solanki7 1, 2Department of Applied Mathematics, BIT Mesra, Ranchi-835215, India 3-7Department of Electronics and Communication Engineering, BIT Mesra, Ranchi-835215, India * email: [email protected] Abstract The origins of Indian classical music lie in the cultural and spiritual values of India and go back to the Vedic Age. The art of music was, and still is, regarded as both holy and heavenly giving not only aesthetic pleasure but also inducing a joyful religious discipline. Emotion and devotion are the essential characteristics of Indian music from the aesthetic side. From the technical perspective, we talk about melody and rhythm. A raga, the nucleus of Indian classical music, may be defined as a melodic structure with fixed notes and a set of rules characterizing a certain mood conveyed by performance.. The strength of raga-based songs, although they generally do not quite maintain the raga correctly, in promoting Indian classical music among laymen cannot be thrown away. The present paper analyzes an old and popular playback song based on the raga Bhairavi using a statistical approach, thereby extending our previous work from pure classical music to a semi-classical paradigm. The analysis consists of forming melody groups of notes and measuring the significance of these groups and segments, analysis of lengths of melody groups, comparing melody groups over similarity etc. Finally, the paper raises the question “What % of a raga is contained in a song?” as an open research problem demanding an in-depth statistical investigation. -
1 ; Mahatma Gandhi University B. A. Music Programme(Vocal
1 ; MAHATMA GANDHI UNIVERSITY B. A. MUSIC PROGRAMME(VOCAL) COURSE DETAILS Sem Course Title Hrs/ Cred Exam Hrs. Total Week it Practical 30 mts Credit Theory 3 hrs. Common Course – 1 5 4 3 Common Course – 2 4 3 3 I Common Course – 3 4 4 3 20 Core Course – 1 (Practical) 7 4 30 mts 1st Complementary – 1 (Instrument) 3 3 Practical 30 mts 2nd Complementary – 1 (Theory) 2 2 3 Common Course – 4 5 4 3 Common Course – 5 4 3 3 II Common Course – 6 4 4 3 20 Core Course – 2 (Practical) 7 4 30 mts 1st Complementary – 2 (Instrument) 3 3 Practical 30 mts 2nd Complementary – 2 (Theory) 2 2 3 Common Course – 7 5 4 3 Common Course – 8 5 4 3 III Core Course – 3 (Theory) 3 4 3 19 Core Course – 4 (Practical) 7 3 30 mts 1st Complementary – 3 (Instrument) 3 2 Practical 30 mts 2nd Complementary – 3 (Theory) 2 2 3 Common Course – 9 5 4 3 Common Course – 10 5 4 3 IV Core Course – 5 (Theory) 3 4 3 19 Core Course – 6 (Practical) 7 3 30 mts 1st Complementary – 4 (Instrument) 3 2 Practical 30 mts 2nd Complementary – 4 (Theory) 2 2 3 Core Course – 7 (Theory) 4 4 3 Core Course – 8 (Practical) 6 4 30 mts V Core Course – 9 (Practical) 5 4 30 mts 21 Core Course – 10 (Practical) 5 4 30 mts Open Course – 1 (Practical/Theory) 3 4 Practical 30 mts Theory 3 hrs Course Work/ Project Work – 1 2 1 Core Course – 11 (Theory) 4 4 3 Core Course – 12 (Practical) 6 4 30 mts VI Core Course – 13 (Practical) 5 4 30 mts 21 Core Course – 14 (Practical) 5 4 30 mts Elective (Practical/Theory) 3 4 Practical 30 mts Theory 3 hrs Course Work/ Project Work – 2 2 1 Total 150 120 120 Core & Complementary 104 hrs 82 credits Common Course 46 hrs 38 credits Practical examination will be conducted at the end of each semester 2 MAHATMA GANDHI UNIVERSITY B. -
Carnatic Music (Melodic Instrumental) (Code No
(B) CARNATIC MUSIC (MELODIC INSTRUMENTAL) (CODE NO. 032) CLASS–XI: (THEORY)(2019-20) One theory paper Total Marks: 100 2 Hours Marks : 30 Theory: A. History and Theory of Indian Music 1. (a) An outline knowledge of the following Lakshana Grandhas Silappadikaram, Natyasastra, Sangita Ratnakara and Chaturdandi Prakasika. (b) Short life sketch and contributions of the following:- Veena Dhanammal, flute Saraba Sastry, Rajamanikkam Pillai, Tirukkodi Kaval Krishna lyer (violin) Rajaratnam Pillai (Nagasvaram), Thyagaraja, Syamasastry, Muthuswamy Deekshitar, Veena Seshanna. (c) Brief study of the musical forms: Geetam and its varieties; Varnam – Padavarnam – Daruvarna Svarajati, Kriti/Kirtana and Padam 2. Definition and explanation of the following terms: Nada, Sruti, Svara, Vadi, Vivadi:, Samvadi, Anuvadi, Amsa & Nyasa, Jaati, Raga, Tala, Jati, Yati, Suladisapta talas, Nadai, Arohana, Avarohana. 3. Candidates should be able to write in notation the Varnam in the prescribed ragas. 4. Lakshanas of the ragas prescribed. 5. Talas Prescribed: Adi, Roopaka, Misra Chapu and Khanda Chapu. A brief study of Suladi Saptatalas. 6. A brief introduction to Manodhama Sangitam CLASS–XI (PRACTICAL) One Practical Paper Marks: 70 B. Practical Activities 1. Ragas Prescribed: Mayamalavagowla, Sankarabharana, Kharaharapriya, Kalyani, Kambhoji, Madhyamavati, Arabhi, Pantuvarali Kedaragaula, Vasanta, Anandabharavi, Kanada, Dhanyasi. 2. Varnams (atleast three) in Aditala in two degree of speed. 3. Kriti/Kirtana in each of the prescribed ragas, covering the main Talas Adi, Rupakam and Chapu. 4. Brief alapana of the ragas prescribed. 5. Technique of playing niraval and kalpana svaras in Adi, and Rupaka talas in two degrees of speed. 6. The candidate should be able to produce all the gamakas pertaining to the chosen instrument. -
Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan
Table of Contents From the Publications & Outreach Committee ..................................... Lakshmi Radhakrishnan ............ 1 From the President’s Desk ...................................................................... Balaji Raghothaman .................. 2 Connect with SRUTI ............................................................................................................................ 4 SRUTI at 30 – Some reflections…………………………………. ........... Mani, Dinakar, Uma & Balaji .. 5 A Mellifluous Ode to Devi by Sikkil Gurucharan & Anil Srinivasan… .. Kamakshi Mallikarjun ............. 11 Concert – Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan ..... 14 A Grand Violin Trio Concert ................................................................... Sneha Ramesh Mani ................ 16 What is in a raga’s identity – label or the notes?? ................................... P. Swaminathan ...................... 18 Saayujya by T.M.Krishna & Priyadarsini Govind ................................... Toni Shapiro-Phim .................. 20 And the Oscar goes to …… Kaapi – Bombay Jayashree Concert .......... P. Sivakumar ......................... 24 Saarangi – Harsh Narayan ...................................................................... Allyn Miner ........................... 26 Lec-Dem on Bharat Ratna MS Subbulakshmi by RK Shriramkumar .... Prabhakar Chitrapu ................ 28 Bala Bhavam – Bharatanatyam by Rumya Venkateshwaran ................. Roopa Nayak ......................... 33 Dr. M. Balamurali -
Pahi Rama Ramayanucu-Kharaharapriya
Transliteration–Telugu _______________________________________________________ Transliteration as per Modified Harvard-Kyoto (HK) Convention (including Telugu letters – Short e, Short o) - a A i I u U R RR lR lRR e E ai o O au M (H or :) (e – short | E – Long | o – short | O – Long) k kh g gh n/G c ch j jh n/J (jn – as in jnAna) T Th D Dh N t th d dh n p ph b bh m y r l L v S sh s h pAhi rAma rAmayanucu-kharaharapriya In the kRti ‘pAhi rAma rAmayanucu’ – rAga kharaharapriya, SrI tyAgarAja describes the compassion of the Lord towards his devotess and pleads for the same towards him too. P pAhi rAma rAma(y)anucu bhajana sEyavE C1 kanikarambu kalgi 1sItA kAntuni kanagA manasu ranjilla palkE madana janakuDu (pAhi) C2 2valvalu diddi saumitri valaci nilvagA kaluva rEkulanu kEru kanula jUcenu (pAhi) C3 bharatuD(A) vELa karagi karagi nilvagA karamu paTTi kaugilincE varaduD(a)ppuDu (pAhi) C4 3caNDa SatrughnuD(a)ppuD4(a)khaNDa vRttitOn- (u)NDa santasillE kOdaNDa rAmuDu (pAhi) C5 manasu telisi kalasi hanumantuD(u)NDagA canuvu mATal(A)Duc(u)NDE sArvabhaumuDu (pAhi) C6 5vIri karuNa kaligi(y)epuDu velasi(y)undunO sAramaina bhakticE san-nutintunO (pAhi) C7 6dharm(A)rtha kAma 7mOksha 8dAnam(E)lanE 9marmam(e)ruga lEni 10indra Sarmam(E)lanE (pAhi) C8 bAga karuNa jEsi(y)epuDu bhavyam(o)sagunO tyAgarAju 11cEyi paTTi dayanu brOcunO (pAhi) Gist Chant the names of Lord repeating ‘protect me, O Lord rAma, O Lord rAma’. 1. When sItA looked at her beloved with kindness, SrI rAma spoke to her to the exultation of her mind. -
Evaluation of the Effects of Music Therapy Using Todi Raga of Hindustani Classical Music on Blood Pressure, Pulse Rate and Respiratory Rate of Healthy Elderly Men
Volume 64, Issue 1, 2020 Journal of Scientific Research Institute of Science, Banaras Hindu University, Varanasi, India. Evaluation of the Effects of Music Therapy Using Todi Raga of Hindustani Classical Music on Blood Pressure, Pulse Rate and Respiratory Rate of Healthy Elderly Men Samarpita Chatterjee (Mukherjee) 1, and Roan Mukherjee2* 1 Department of Hindustani Classical Music (Vocal), Sangit-Bhavana, Visva-Bharati (A Central University), Santiniketan, Birbhum-731235,West Bengal, India 2 Department of Human Physiology, Hazaribag College of Dental Sciences and Hospital, Demotand, Hazaribag 825301, Jharkhand, India. [email protected] Abstract Several studies have indicated that music therapy may affect I. INTRODUCTION cardiovascular health; in particular, it may bring positive changes Music may be regarded as the projection of ideas as well as in blood pressure levels and heart rate, thereby improving the emotions through significant sounds produced by an instrument, overall quality of life. Hence, to regulate blood pressure, music voices, or both by taking into consideration different elements of therapy may be regarded as a significant complementary and alternative medicine (CAM). The respiratory rate, if maintained melody, rhythm, and harmony. Music plays an important role in within the normal range, may promote good cardiac health. The everyone’s life. Music has the power to make one experience aim of the present study was to evaluate the changes in blood harmony, emotional ecstasy, spiritual uplifting, positive pressure, pulse rate and respiratory rate in healthy and disease-free behavioral changes, and absolute tranquility. The annoyance in males (age 50-60 years), at the completion of 30 days of music life may increase in lack of melody and harmony. -
Carnatic Music Vs. Western Music: a Comparison by Maya Anand
Carnatic Music vs. Western Music: A Comparison by Maya Anand Many music rasikas are familiar with the phrase “music is music” or “all music is the same”. However, as a student of both Western Classical music and Carnatic music, I am able to identify a few fundamental differences in the two styles of music. While it is true that all music is fundamentally similar to some extent, it is important, and quite frankly, interesting to take time to compare the striking contrasts between genres of music. This isn’t to say that Carnatic music and Western music don’t share anything in common. There are definitely similarities in pitch and rhythm, which are the first things that one must understand about any type of music. Pitch is an important aspect in any type of music, and this rings true in both Western and Carnatic music as well. There are many things similar about the basics of these two musical genres. Firstly, both of them have seven notes in their scale. In Western music, that scale is Do, Re, Mi, Fa, So, La, and Ti. In Carnatic music, the scale is Sa, Ri, Ga, Ma, Pa, Dha, and Ni. Already, it is evident that these solfa syllables resemble each other greatly, further demonstrating that all music probably derived from the same concepts. The similarity doesn’t end there. Not only are these differing styles of music similar in pitch, they are also similar in rhythm. In Western Classical music, there is something called a time signature. The time signature of a piece of music is similar to what we call tala in Carnatic music. -
Andhra University 1 Year Diploma in (Music) Syllabus
SCHOOL OF DISTANCE EDUCATIN – ANDHRA UNIVERSITY 1st YEAR DIPLOMA IN (MUSIC) SYLLABUS (BOS approved and modified syllabus to be implemented from the admitted Batch 2012-13) Theory 100 Marks Paper I : Technical aspects of South Indian Classical Music 1. Technical Terms: a) Nada b) Sruti c) Swaras d) Swarasthanas e) Sathayi 2. Tala System: Sapta Talas, 35 Talas, Tala Dasa Prans, Chapu Tala Varieties Desadi and Madhyadi Talas 3. Musical Forms and their Lakshnas: Gitam, Varnam, Kritis, Kirtana, Padam, Ragamalika, Jasti Swaram, Swarajati, Tillana and Javali. 4. Lakshanas and Sancharas of the following Ragas: A a) Todi, b) Mayamalavagoula, c) Bhairavi, d) Kambhoji, e) Sankarabharanam f) Kalyani, g) Kharaharapriya, h) Mohana, i) Madhyamavathi j) Bilahari B. a) Dhanyasi, b) Saveri e)Vasanta d) HIndola e) Ananda Bhairavi f) Mukhari g) Kanada h) Khamas i) Begada j) Poorikalyani Paper II : Theoretical Aspects of South Indian Classical Music 100 Marks 1. Raaga and raga Lakshanam: a) Definition and Classification of ragas. b) Study of 13 Lakshanas c) ragalapana Padhathi 2. Musical Instruments and their classification 3. Special study of Tambura, Veena, Violin, Flute, Nagaswaram and Mridangam. 4. Characteristics of a composer. 5. Short biographical sketches of the following: a) Jayadeva b) Annamayya, c) Purandhara Dasa d) Narayana Tirtha e) Ramadasa f) Kshetrayya. Practical (First year) 100 Marks Paper III (Practical I) Fundamentals of Classical Music 1. a. Saraliswaras 6 b. Janta swaras 8 c. Alankaras 7 2. Gitas - 7 (Two Pillari Gitas, Two Ghanaraga Gitas, one Dhruva and one Lakshana gitam) 3. One Swarapallavi and one Swarajati 4. Five Adi Tala Varnas. -
Rama Katha Ragam: Madhyamavati {22Nd Melakartha (Kharaharapriya
rAma kathA Ragam: madhyamAvati {22nd Melakartha (Kharaharapriya) Janyam} ARO: S R2 M1 P N2 S || AVA: S N2 P M1 R2 S || Talam: Adi (2 kalai) Composer: Tyagaraja Swami Version: T M Krishna Lyrics Courtesy: Lakshman Ragde Meanings Courtesy: V. Govindan, Tyagaraja Vaibhavam Site (http://thyagaraja-vaibhavam.blogspot.in/2009/03/tyagaraja-kritis-alphabetical-list.html ) Pallavi: rAma kathA sudhArasa pAnam oka rAjyamu cEsunE Anupallavi: bhAmAmaNi jAnaki saumitri bharatAdulatO bhUmi velayu sItA Charanam: dharmAddakhila phaladamE manasA dhairyAnanda saukhya nikEtanamE karma bandha jvalanAbdhi nAvamE kaliharamE tyAgarAja vinutuDagu Meaning: (Courtesy: V. Govindan, Tyagaraja Vaibhavam) Gist O My Mind! To drink the nectarine juice of story of SrI rAma - praised by this tyAgarAja- who shines on the Earth along with jAnaki, lakshmaNa, bharata and others, is equal to (ruling) a kingdom. (a) it indeed bestows the fruits of purushArtha; (b) it is the veritable abode of courage, bliss and comfort; (c) it indeed is the boat which enables one to cross the flaming ocean of Worldly Existence – bound by actions; (d) it indeed is the destroyer of the (evil effects of) kali yuga. Word-by-word Meaning P: To drink (pAnamu) the nectarine (sudhA) juice (rasa) of story (kathA) of SrI rAma is equal (jEsunE) to (ruling) a kingdom (rAjyamu). A: To drink the nectarine juice of story of SrI rAma, who shines (velayu) on the Earth (bhUmi) along with jAnaki - a jewel (maNi) of women (bhAmA), lakshmaNa - son of sumitrA (saumitri), bharata and others (AdulatO) (bharatAdulatO),