Jvf Activity Report April 2014 – March 2015
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Tesi Di Laurea Floriana Frida Asperti
UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà di Studi Umanistici Corso di Laurea Magistrale in Musicologia SUONO E PAROLA: L’EQUILIBRIO PERFETTO L’ESPERIENZA DI SAHAJ PRESSO LA COMUNITÀ SIKH DI LISBONA Relatore: Chiar.mo Prof. Nicola Scaldaferri 2° Relatore: Chiar.mo Prof. Filippo Bonini Baraldi Correlatore: Chiar.mo Prof. Emilio Sala 2° Correlatore: Chiar.mo Prof. Giovanni Cospito Tesi di Laurea di: Floriana Frida Asperti Matr. n. 826824 Anno Accademico 2016/2017 1 A Viola, alle corde dell’oceano. 2 INDICE INDICE DELLE IMMAGINI 5 RINGRAZIAMENTI 8 NOTE PER LA TRASLITTERAZIONE E LE TRADUZIONI 9 INTRODUZIONE 10 CAPITOLO 1 La sottigliezza del linguaggio 21 1.1 Sikhismo o Sikhismo: l’importanza delle parole 21 1.2 !r" Gur# Granth S$hib: la parola scritta 25 1.3 Sahaj: l’equilibrio perfetto 32 CAPITOLO 2: !abad k"rtan, la performance musicale 43 2.1 Poesia e musica: i versi cantati nella tradizione sikh 43 2.2 !abad k"rtan /Gurb#n" k"rtan e Gurmat sang"t/Gurb#n" sang"t: ancora una questione di termini 45 2.3 Repertorio poetico: $abad, inni 46 2.4 Repertorio musicale: r#ga-t#la, strutture melodiche-cicli ritmici 49 2.5 Le performances di !abad K"rtan 58 2.6 Sunia-gavia, ascoltare-cantare 64 2.7 L’esperienza estetica di Amrit rasa 69 CAPITOLO 3: Seva, il servizio disinteressato 75 3.1 Il binomio io-l’altro 75 3.2 La vita al gurdw$r$: l’individuo e la comunità una simbiosi attiva 76 3.3 Azioni cantate 80 3.4 Analisi di wahegur% 81 3.4.1 Analisi testuale 82 3 3.4.2 Analisi musicale 83 3.4.3 Analisi acustica 85 3.4.4 Analisi gestuale 85 3.5 Il ruolo -
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). -
Small Parties Could Be Kingmakers in U.K
EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE DELHI THE HINDU 14 WORLD FRIDAY, DECEMBER 13, 2019 EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE Small parties could be kingmakers in U.K. Gotabaya promises media Lib Dems, DUP, SNP or Brexit Party could play a decisive role if leading parties fail to win majority freedom under his govt. Agence France-Presse 10 Scots voted to stay in the London EU — to breathe life into its Uphold country’s reputation, President tells media houses If British Prime Minister Bo campaign. ris Johnson fails to win an ab Led by energetic First Mi Meera Srinivasan fence establishment, Mr. Go solute majority in Parlia nister Nicola Sturgeon, 49, COLOMBO tabaya, a former Defence Se ment on Thursday, smaller the party has campaigned Sri Lankan President Gota cretary, squarely denied the parties may find themselves under the slogan “Stop Brex baya Rajapaksa on Thursday -
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 -
Index of Fieldwork in India 1986 Peter Cooke These Recordings Were
Index of Fieldwork in India 1986 Peter Cooke These recordings were made in 1986 during a visit funded by the Indian High Commission through the auspices of the then functioning Inter University Circuit for Indian Classical Music. The first part of the visit was spent visiting various teaching institutions in India and meeting with highly regarded classical musicians. When this tour finished I remained in India since I was interested in researching the use of the bagpipe in India: this included the Scottish Highland bagpipe which over two centuries was diffusing throughout India and which was played in many Indian army, police and school bands, but also in the indigenous bagpipe which had received rare mention in the scholarly press. After Delhi my visit took me to the foothills of the Himalayas (Almora district) and to Rajasthan where I had arranged to meet with Komal Kothari, the late director of the Rajasthani Folk Music Insitute. We first met at a camp at Dungargarh in the Rajasthan desert where he had assembled a small team of musicians in connection with the filming of a folk drama but then we returned to his home in Jodhpur where numerous musicians came to visit and we enjoyed long hours recording and discussing music together. This latter part included the recording of long epic tales played on the indigenous bagpipe by Bhopa musicians who sang and narrated as they played. The recordings were made on a stellavox stereo reel-to-reel machine with (usually) a crossed-pair of Sennheiser microphones. On return I discovered that a fault in the wiring of one of the microphones had resulted in the stereo recordings being 180 degrees out of phase. -
Folk Instruments of Punjab
Folk Instruments of Punjab By Inderpreet Kaur Folk Instruments of Punjab Algoza Gharha Bugchu Kato Chimta Sapp Dilruba Gagar Dhadd Ektara Dhol Tumbi Khartal Sarangi Alghoza is a pair of woodwind instruments adopted by Punjabi, Sindhi, Kutchi, Rajasthani and Baloch folk musicians. It is also called Mattiyan ,Jōrhi, Pāwā Jōrhī, Do Nālī, Donāl, Girāw, Satārā or Nagōze. Bugchu (Punjabi: ਬੁਘਚੂ) is a traditional musical instrument native to the Punjab region. It is used in various cultural activities like folk music and folk dances such as bhangra, Malwai Giddha etc. It is a simple but unique instrument made of wood. Its shape is much similar to damru, an Indian musical instrument. Chimta (Punjabi: ਚਚਮਟਾ This instrument is often used in popular Punjabi folk songs, Bhangra music and the Sikh religious music known as Gurbani Kirtan. Dilruba (Punjabi: ਚਿਲਰੱਬਾ; It is a relatively young instrument, being only about 300 years old. The Dilruba (translated as robber of the heart) is found in North India, primarily Punjab, where it is used in Gurmat Sangeet and Hindustani classical music and in West Bengal. Dhadd (Punjabi: ਢੱਡ), also spelled as Dhad or Dhadh is an hourglass-shaped traditional musical instrument native to Punjab that is mainly used by the Dhadi singers. It is also used by other folk singers of the region Dhol (Hindi: ढोल, Punjabi: ਢੋਲ, can refer to any one of a number of similar types of double-headed drum widely used, with regional variations, throughout the Indian subcontinent. Its range of distribution in India, Bangladesh and Pakistan primarily includes northern areas such as the Punjab, Haryana, Delhi, Kashmir, Sindh, Assam Valley Gagar (Punjabi: ਗਾਗਰ, pronounced: gāger), a metal pitcher used to store water in earlier days, is also used as a musical instrument in number of Punjabi folk songs and dances. -
Beehive L.2 the Sound of Music Learning Sheet Solutions – 3 Before You Read Name These Indian Musicians. Also Identify Which
Beehive L.2 The Sound Of Music Learning sheet Solutions – 3 Before you Read Name these Indian Musicians. Also identify which instruments they play. (Answers) Name Instrument 1. Amjad Ali Khan Sarod 2. Ustad Zakir Hussain Tabla 3. Pandit Hariprasad Chaurasia Bansuri/flute 4. Dr. M.S. Subbalakshmi Tanpura 5. Pandit Shivkumar Sharma Santoor 6. Ravi Shankar Chowdhury Sitar 7. Ustad Bismillah Khan Shehnai/clarinet Explain 1. Answer the questions in your jotter. (a) Why did the pungi become a generic name for “reeded noisemakers”? The pungi produced loud, unpleasant music. Because of this shrill music Aurangzeb banned it in the royal house. As it was made from a reed and produced noisy sounds, it became a generic name for “reeded noisemakers”. (b) How did ‘pungi’ transform to shehnai? ‘Pungi’ a musical instrument was banned because of its shrill and unpleasant sound. A nai (barber), who had access to the royal palace, improved the tonal quality of the pungi. He chose a pipe with a natural hollow stem that was longer and broader than the pungi and made seven holes on the body of the pipe. When he played on it, soft and melodious sounds were produced and everyone was impressed. As it was played in the Shah’s chambers for the first time by a nai, the instrument was named the ‘shehnai’. (c) Why was the shehnai played in temples and weddings? The music of the shehnai was melodious and soft. It came to be believed that it was auspicious. Therefore, in the holy temples and on the happy auspicious occasions of weddings, the shehnai was played. -
PSR-I400 Data List Voice List
DIGITAL KEYBOARD Data List Contents Voice List ..........................................................2 Drum Kit List.....................................................9 Style List .........................................................16 Riyaz List ........................................................17 Song List .........................................................18 Arpeggio List ..................................................19 Music Database List.......................................20 Effect Type List...............................................22 Harmony Types.............................................22 Reverb Types................................................22 Chorus Types................................................22 EN Voice List Maximum Polyphony The instrument has 48-note maximum polyphony. This means that it NOTE can play a maximum of up to 48 notes at once, regardless of what • The Voice List includes MIDI program change numbers functions are used. Auto accompaniment uses a number of the for each voice. Use these program change numbers available notes, so when auto accompaniment is used the total number when playing the instrument via MIDI from an external of available notes for playing on the keyboard is correspondingly device. reduced. The same applies to the Split Voice and Song functions. If the • Program change numbers are often specified as maximum polyphony is exceeded, earlier played notes will be cut off and numbers “0–127.” Since this list uses a “1–128” the most recent notes have -
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). -
THE GAZETTE of INDIA : EXTRAORDINARY [PART II—SEC. 3(I)] NOTIFICATION New Delhi, the 22Nd September, 2017 No.28/2017-Union
66 THE GAZETTE OF INDIA : EXTRAORDINARY [P ART II—SEC . 3(i)] 111. उडुकईi 112. चंडे 113. नागारा - केटलेG स कƙ जोड़ी 114. प बाई - दो बेलनाकार Gम कƙ इकाई 115. पैराित पु, हगी - sेम Gम दो िटϝस के साथ खेला 116. संबल 117. िटक डफ या िटक डफ - लाठी के साथ खेला जाने वाला टġड मĞ डेफ 118. तमक 119. ताशा - केटलेGम का Oकार 120. उƞम 121. जलातरंग िच पēा - पीतल के ƚजगल के साथ आग टĪग 122. चĞिगल - धातु िडक 123. इलाथलम 124. गेजर - Qास पोत 125. घटक और मटकाम (िमŝी के बरतन बतϕन Gम) 126. घुंघĐ 127. खारट या िच पला 128. मनजीरा या झंज या ताल 129. अखरोट - िमŝी के बतϕन 130. संकरजांग - िल थोफोन 131. थाली - धातु लेट 132. थाकुकाजामनाई 133. कंचारांग, कांच के एक Oकार 134. कथाततरंग, एक Oकार का जेलोफ़ोन [फा सं.354/117/2017-टीआरयू-भाग II] मोिहत ितवारी, अवर सिचव Ɨट पणी : Oधान अिधसूचना सं. 2/2017- संघ राϤ यϓेJ कर (दर), तारीख 28 जून, 2017, सा.का.िन. 711 (अ) तारीख 28 जून, 2018 ůारा भारत के राजपJ , असाधारण, भाग II, खंड 3, उपखंड (i) ůारा Oकािशत कƙ गई थी । NOTIFICATION New Delhi, the 22nd September, 2017 No.28/2017-Union Territory Tax (Rate) G.S.R.1196 (E).— In exercise of the powers conferred by sub-section (1) of section 8 of the Union Territory Goods and Services Tax Act, 2017 (14 of 2017), the Central Government, being satisfied that it is necessary in the public interest so to do, on the recommendations of the Council, hereby makes the following amendments in the notification of the Government of India in the Ministry of Finance (Department of Revenue), No.2/2017-Union territory Tax (Rate), dated the 28th June, 2017, published in the Gazette of India, Extraordinary, Part II, Section 3, Sub-section (i), vide number G.S.R. -
The Arunachal Pradesh Gazette EXTRAORDINARY PUBLISHED by AUTHORITY
The Arunachal Pradesh Gazette EXTRAORDINARY PUBLISHED BY AUTHORITY No. 411, Vol. XXIV, Naharlagun, Wednesday, October 4, 2017 Asvina 12, 1939 (Saka) GOVERNMENT OF ARUNACHAL PRADESH DEPARTMENT OF TAX & EXCISE ITANAGAR ————— Notification No. 28/2017-State Tax (Rate) The 26th September, 2017 No. GST/24/2017.— In exercise of the powers conferred by sub-section (1) of Section 11 of the Arunachal Pradesh Goods and Services Tax Act, 2017 (7 of 2017), the State Government, on the recommendations of the Council, hereby makes the following amendments in the notification of the Government of Arunachal Pradesh, Department of Tax & Excise, No.2/2017-State Tax (Rate), dated the 28th June, 2017, published in the Extra ordinary Gazette of Arunachal Pradesh, vide number 192, Vol XXIV, dated the 30th June, 2017, namely:- In the said notification,- (B) in the Schedule,- (i) against serial number 27, in column (3), for the words “other than put up in unit containers and bearing a registered brand name”, the words, brackets and letters “other than those put up in unit container and,- (a) bearing a registered brand name; or (b) bearing a brand name on which an actionable claim or enforceable right in a court of law is available [other than those where any actionable claim or enforceable right in respect of such brand name has been foregone voluntarily, subject to the conditions as in the ANNEXURE I]”, shall be substituted ; (jj) against serial numbers 29 and 45, in column (3), for the words “other than put up in unit container and bearing a registered brand -
Component-I (A) – Personal Details
Component-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. Prof. R Thiagarajan Presidency College, Chennai. Prof. Suneera Kasliwal Vyas Delhi University, New Delhi Prof. Anjali Mittal Delhi University, New Delhi. 1 Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Indian Aesthetics and Fine Arts Module Name/Title Musical Instruments of North India Module Id IC / IAFA / 22 Pre requisites An interest to know about the instruments used in Hindustani classical music Objectives To trace the origin and evolution of different musical instruments, differentiate the sound of various musical instruments, to draw the structure of enlisted musical instruments, to explain about the application of the musical instruments, to write about the important parts of the musical instruments, to state the name of renowned players of enlisted musical instruments, to briefly introduce the readers about the making of the instruments. Keywords Vadya, tata, avanaddha, ghana, sushir, rudra veena, sitar, sarod, santoor, sarangi, sarangi,tanpura,tabla, pakhawaj, bansuri,shehnai,harmonium,violin,guitar, dand,tumba,baj ka taar,khunti. E-text (Quadrant-I) Introduction A musical instrument is called “Vadya”, derived from the word “Vad”, which means “to speak”. The word “Vadan” literally means the act of making the musical instrument “speak” or to sound. In this lesson we shall learn about some prominent musical instruments of north Indian classical music. These are mainly used in the concerts. Classification Of Musical Instruments From the ancient texts on music and dance, we get to know that musical instruments can be classified into four main categories namely: Tata Vadya, Avanaddha Vadya, Ghana Vadya and Sushir Vadya.