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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. -
Fusion Without Confusion Raga Basics Indian
Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap". -
108 Melodies
SRI SRI HARINAM SANKIRTAN - l08 MELODIES - INDEX CONTENTS PAGE CONTENTS PAGE Preface 1-2 Samant Sarang 37 Indian Classical Music Theory 3-13 Kurubh 38 Harinam Phylosphy & Development 14-15 Devagiri 39 FIRST PRAHAR RAGAS (6 A.M. to 9 A.M.) THIRD PRAHAR RAGAS (12 P.M. to 3 P.M.) Vairav 16 Gor Sarang 40 Bengal Valrav 17 Bhimpalasi 4 1 Ramkal~ 18 Piloo 42 B~bhas 19 Multani 43 Jog~a 20 Dhani 44 Tori 21 Triveni 45 Jaidev 22 Palasi 46 Morning Keertan 23 Hanskinkini 47 Prabhat Bhairav 24 FOURTH PKAHAR RAGAS (3 P.M. to 6 P.M.) Gunkali 25 Kalmgara 26 Traditional Keertan of Bengal 48-49 Dhanasari 50 SECOND PRAHAR RAGAS (9 A.M. to 12 P.M.) Manohar 5 1 Deva Gandhar 27 Ragasri 52 Bha~ravi 28 Puravi 53 M~shraBhairav~ 29 Malsri 54 Asavar~ 30 Malvi 55 JonPurl 3 1 Sr~tank 56 Durga (Bilawal That) 32 Hans Narayani 57 Gandhari 33 FIFTH PRAHAR RAGAS (6 P.M. to 9 P.M.) Mwa Bilawal 34 Bilawal 35 Yaman 58 Brindawani Sarang 36 Yaman Kalyan 59 Hem Kalyan 60 Purw Kalyan 61 Hindol Bahar 94 Bhupah 62 Arana Bahar 95 Pur~a 63 Kedar 64 SEVENTH PRAHAR RAGAS (12 A.M. to 3 A.M.) Jaldhar Kedar 65 Malgunj~ 96 Marwa 66 Darbar~Kanra 97 Chhaya 67 Basant Bahar 98 Khamaj 68 Deepak 99 Narayani 69 Basant 100 Durga (Khamaj Thhat) 70 Gaur~ 101 T~lakKarnod 71 Ch~traGaur~ 102 H~ndol 72 Shivaranjini 103 M~sraKhamaj 73 Ja~tsr~ 104 Nata 74 Dhawalsr~ 105 Ham~r 75 Paraj 106 Mall Gaura 107 SIXTH PRAHAR RAGAS (9Y.M. -
The Thaat-Ragas of North Indian Classical Music: the Basic Atempt to Perform Dr
The Thaat-Ragas of North Indian Classical Music: The Basic Atempt to Perform Dr. Sujata Roy Manna ABSTRACT Indian classical music is divided into two streams, Hindustani music and Carnatic music. Though the rules and regulations of the Indian Shastras provide both bindings and liberties for the musicians, one can use one’s innovations while performing. As the Indian music requires to be learnt under the guidance of Master or Guru, scriptural guidelines are never sufficient for a learner. Keywords: Raga, Thaat, Music, Performing, Alapa. There are two streams of Classical music of India – the Ragas are to be performed with the basic help the North Indian i.e., Hindustani music and the of their Thaats. Hence, we may compare the Thaats South Indian i.e., Carnatic music. The vast area of with the skeleton of creature, whereas the body Indian Classical music consists upon the foremost can be compared with the Raga. The names of the criterion – the origin of the Ragas, named the 10 (ten) Thaats of North Indian Classical Music Thaats. In the Carnatic system, there are 10 system i.e., Hindustani music are as follows: Thaats. Let us look upon the origin of the 10 Thaats Sl. Thaats Ragas as well as their Thaat-ragas (i.e., the Ragas named 01. Vilabal Vilabal, Alhaiya–Vilaval, Bihag, according to their origin). The Indian Shastras Durga, Deshkar, Shankara etc. 02. Kalyan Yaman, Bhupali, Hameer, Kedar, throw light on the rules and regulations, the nature Kamod etc. of Ragas, process of performing these, and the 03. Khamaj Khamaj, Desh, Tilakkamod, Tilang, liberty and bindings of the Ragas while Jayjayanti / Jayjayvanti etc. -
Mukherji-Handout-0056.Pdf
Rāga as Scale 42nd Annual Conference of the Society for Music Theory November 7, 2019 Columbus OH USA Sam Mukherji University of Michigan, Ann Arbor ([email protected]) 2 Example 1. Two theorists of North Indian classical music Vishnu Narayan Bhatkhande (1860–1936) Omkarnath Thakur (1897–1967) 3 phrases (1 and 3 performed by Amjad Ali Khan, 2 and 4 performed by Buddhadev Das Gupta) Ali2 and by Khan, (1 and Amjad 4 performed 3 performed phrases rāga Example 2. Four Example 2. Four 4 Example 3. Bhatkhande’s list of ten tḥāṭs, from his Hindustānī Sangīta Paddhatī (1909-32) Tḥāṭ Scale structure (centered on C) Western equivalent Pūrvī C Db Eb F# G Ab Bb C Mārvā C Db Eb F# G Ab Bb C Kalyān Lydian C Db Eb F# G Ab Bb C Bilāval Major, or Ionian C Db Eb F# G Ab Bb C Khamāj Mixolydian C Db Eb F# G Ab Bb C Kāfi Dorian C Db Eb F# G Ab Bb C Āsāvari Natural minor, or Aeolian C Db Eb F# G Ab Bb C Bhairavī Phrygian C Db Eb F# G Ab Bb C Bhairav C Db Eb F# G Ab Bb C Tōdī C Db Eb F# G Ab Bb C Example 4. Thakur’s list of six pedagogical rāgas, from his Sangītānjalī (1938-62) Name Rāga scale (centered on C) Forbidden scale degrees Bhoop C D E F G A B C 4 and 7 Hamsadhvanī C D E F G A B C 4 and 6 Durgā C D E F G A B C 3 and 7 Sārang C D E F G A B C 3 and 6 Tilang C D E F G A B C 2 and 6 Bhinna-shadạj C D E F G A B C 2 and 5 5 Example 5. -
Karnatak Music Vocal/Instrumental (Veena/ Violin )
Syllabus for M.A. (Previous) Karnatak Music Vocal/Instrumental (Veena/ Violin ) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Study of Scales, Ragas and Forms 70 Marks 1. Detailed study of ragas Prescribed (List – A). 2. Comparative study of the basic scales of different systems of Music such as Karnatak, Hindustani, Ancient Tamil Music, western and Far Eastern. 3. Decorative angas figuring in kriti’s and other Musical forms. 4. Pallavi notation; Theory of Rettai Pallavi and Nadai Pallavi. 5. Different Mudras figuring in Musical compositions. 6 Evolution of Indian Musical scales. Internal Assessment 30 Marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical Study of the evolution of Ragas, Talas and Music Instruments 70 Marks 1. The different periods of Musical History and their distinctive features, Landmarks in the history of Indian Music. 2. Evolution of Ragas, Ragalakshana and system of Raga classification, Ragas which owe their origin to folk Music. 3. Classification of Musical Instruments. Important musical instruments adopted in traditional music. 4. Evolution of Musical forms with special reference to Prabandhas and their classifications; Gita Prabandha, Vadya Prabandha, Nritya Prabandha, and Misra Prabandha. 5. Concept of “Marga” and “Desi” in the spheres of Raga, Tala, Prabandha. 6. Knowledge about the formation of 175 and 108 systems of talas. Rare talas figure in Tiruppugazh. Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of one hour duration with accompaniments, before an audience, planned by the candidate within the Prescribed Ragas(List A& B). -
Yuva Bharati Senior Disciple of Padma Bhushans Sri
Samhita Kadiyala is under the tutelage of her Guru Smt. Suganda Sreenath, Director of Jayendra Kalakendra, she has performed her Arangetram in July 2014. She takes advance training from her Guru and from Dr. Anita Vallabh, a Yuva Bharati senior disciple of Padma Bhushans Sri. V.P. Dhananjayan and Smt. Shantha Presents Dhananjayan. Bharatnatyam Dance Ballet- Thyagaraja’s Nauka Charithram Orchestra By Sangita Vasudevan, Samyuktha Narayan, Vibhushitha Vocal by Subhapriya Krishnan Srivatsan began her music training under her Chandrasekaran, Navia Natarajan, Kavita Thirumalai and her parents Smt. Radha & Thiruvaiyaru Sri. S.R. Krishnan. She has performed Samhita Kadiyala widely for the past 25+ years in India (including All India Radio (AIR) and Doordharshan TV), Europe, and all over the USA as a solo vocalist and also as a trio along with her sisters Padmapriya and Harini, more popularly known as the May 9, 2015, 4:00 pm Krishnan Sisters. Subhapriya has also had the tutelege under Vairamangalalm Los Altos High School Eagle Theater Sri Lakshminarayanan and Sangeeta Kalanidhi Palghat Sri K.V. Narayanaswamy. www.yuvabharati.org Subhapriya is one of the core founder-volunteers of the bay area classical music organization SVLOTUS, founded in the year 2000. Saint Thyagaraja is well known for his Bhakthi or devotion which is etched in his compositions. One such creation is his opera “Nauka Charithram” which deals Flute by Ashwin Krishnakumar was trained in Carnatic classical flute by Sri A V with the subduing of the Gopikas’ pride and vanity by Bala Krishna. The power Prakash in Mysore and by Late Sri B N Suresh in Bangalore and recognized with of “Sharanagathi” or total surrender to the Lord is beautifully and poignantly a scholarship from the Central Govt. -
1465539437P14M1TEXT.Pdf
PAPER 14 KIRTANAM and TILLANA MODULE 1 The Importance of KIRTANAM in Bharatanatyam repertoire KIRTANAM Singing The Praise of God Is Keertana / कीर्तन. Keertan Is a Sanskrit Word .It means telling the Glory of God. In Southern Part India Keertana, came to be known as Kirtanam / कीर्तनम Or Keertanai / ककर्तनै with a regional touch. The different names with Adjectives attributed to gods are known as Kirtanam. Keertan Singing is a common feature in the pan Indian Tradition. It Is Sung In Temples And Religious Congregations. This Musical Form Is Prevalent In The Regional Languages All Over India. Irrespective Of the Type of Music Whether Hindustani or Carnatic, Keertan Takes a Special Place in the Repertoire of Music, Dance, Harikatha / हररकथा and bhajan Concerts. The Recitation And Chanting Of Vedas By A Group Of Priests As Part Of The Rituals Can Be Considered As The Early Example Of Collective Singing Of Devotional Music. Devotion Is a Universal Feeling and the Supreme Prayer to Attain God’s Feet. There are Threefold Margas to approach The Infinite .They are Gyanamarga / ऻानमागत (Intellectual Path), Karma Marga / कमत मागत (way of action) and The Bakhtimarga / भक्तर्मागत (Devotional Path).The devotional path is considered the ideal and easiest to approach god. The attractive form of displaying devotion is by singing his praise. Hence kirtanas are the best musical form in the sphere of devotional music. Structure of the kirtanam Kirtanams are set in simple ragas (tunes) to make easy for everybody to sing. The talas set are also simple and rhythmic. -
Raga (Melodic Mode) Raga This Article Is About Melodic Modes in Indian Music
FREE SAMPLES FREE VST RESOURCES EFFECTS BLOG VIRTUAL INSTRUMENTS Raga (Melodic Mode) Raga This article is about melodic modes in Indian music. For subgenre of reggae music, see Ragga. For similar terms, see Ragini (actress), Raga (disambiguation), and Ragam (disambiguation). A Raga performance at Collège des Bernardins, France Indian classical music Carnatic music · Hindustani music · Concepts Shruti · Svara · Alankara · Raga · Rasa · Tala · A Raga (IAST: rāga), Raag or Ragam, literally means "coloring, tingeing, dyeing".[1][2] The term also refers to a concept close to melodic mode in Indian classical music.[3] Raga is a remarkable and central feature of classical Indian music tradition, but has no direct translation to concepts in the classical European music tradition.[4][5] Each raga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "color the mind" and affect the emotions of the audience.[1][2][5] A raga consists of at least five notes, and each raga provides the musician with a musical framework.[3][6][7] The specific notes within a raga can be reordered and improvised by the musician, but a specific raga is either ascending or descending. Each raga has an emotional significance and symbolic associations such as with season, time and mood.[3] The raga is considered a means in Indian musical tradition to evoke certain feelings in an audience. Hundreds of raga are recognized in the classical Indian tradition, of which about 30 are common.[3][7] Each raga, state Dorothea -
The Journal of the Music Academy Devoted to the Advancement of the Science and Art of Music
ISSN. 0970 -3101 THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LXVI 1995 »T5CtCT w qrafor w fagffa w * II "/ dwell not in Vaikuntha, nor in the hearts o f Yogins nor in the Sun; (but) where my bhaktas sing, there be I, NaradaV' Edited by T.S. PARTHASARATHY The Music Academy, Madras 306, T.T.K. Road, Madras - 600 014. Annual Subscript sign $ 3-00 THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LXVI 1995 t TOTfiT 1 V f t I *nr nurfer w ftgrfir h r * n "I dwell not in Vaikuntha, nor in the hearts o f Yogins nor in the Sun; (but) where my bhaktas sing, there be I, Narada!" Edited by T.S. PARTHASARATHY The Music Academy, Madras 306, T.T.K. Road, Madras - 600 014. Annual Subscription - Inland oreign $ 3-00 r OURSELVES This Journal is published as an Annual. All correspondence relating to the Journal should be sent to The Editor Journal of the Music Academy, 306, T.T.K. Road, Madras - 600 014. Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, typewritten (double -spaced and on one side of the paper only) and should be signed by the writer (giving his or her address in full). The Editor of the Journal is not responsible for the views expressed by contributors in their articles. -
Machine Learning Approaches for Mood Identification in Raga: Survey
International Journal of Innovations in Engineering and Technology (IJIET) Machine Learning Approaches for Mood Identification in Raga: Survey Priyanka Lokhande Department of Computer Engineering Maharashtra Institute of Technology, Pune, Maharashtra, India Bhavana S. Tiple Department of Computer Engineering Maharashtra Institute of Technology, Pune, Maharashtra, India Abstract- Music is a “language of emotion”, which defines the emotion or feeling through music. Music directly connects to the soul and induces emotion in mind and brains. In Hindustani Classical Music raga plays very important role. It defines characteristics that differentiate ragas uniquely. Hindustani Classical Music also has nine different swaras that specifically define the emotion. In this paper we surveyed different techniques for raga identification and differentiate them according to their work and accuracy. We give the rasa - bhava relationship and raga-rasa mapping that defines the emotion related to raga. Keywords – Indian Classical Music, Emotion, Raga- Rasa relation, Classifiers. I. INTRODUCTION Indian classical music: One of an ancient tradition is Indian classical music that is an art form that is continuously growing. It has its roots in Sam Veda. Indian classical music is divided into two branches: Carnatic (South Indian Classical Music) and Hindustani (North Indian Classical Music). Carnatic music is sharp and involves many rhythmic and tonal complexities. Hindustani is mellifluous and meant to be entertainment and pleasure oriented music. Indian classical music and Western music vary from each other with respect to their notes, timings and different characteristics associated with raga. Swaras of Indian classical music are similar to the note of western classical music. There are many characteristics of Hindustani classical music. -
2 M Music Hcm.Pdf
Visva-Bharati, Sangit-Bhavana DEPARTMENT OF HINDUSTHANI CLASSICAL MUSIC CURRICULUM FOR POSTGRADUATE COURSE M.MUS IN HINDUSTHANI CLASSICAL MUSIC Sl.No Course Semester Credit Marks Full . Marks 1. 16 Courses I-IV 16X4=64 16X50 800 10 Courses Practical 06 Courses Theoretical Total Courses 16 Semester IV Credits 64 Marks 800 M.MUS IN HINDUSTHANI CLASSICAL MUSIC OUTLINE OF THE COURSE STRUCTURE 1st Semester 200 Marks Course Marks Credits Course-I (Practical) 40+10=50 4 Course-II (Practical) 40+10=50 4 Course-III (Practical) 40+10=50 4 Course-IV (Theoretical) 40+10=50 4 2nd Semester 200 Marks Course Marks Credits Course-V (Practical) 40+10=50 4 Course-VI (Practical) 40+10=50 4 Course-VII (Theoretical) 40+10=50 4 Course-VIII (Theoretical) 40+10=50 4 3rd Semester 200 Marks Course Marks Credits Course-IX (Practical) 40+10=50 4 Course-X (Practical) 40+10=50 4 Course-XI (Practical) 40+10=50 4 Course-XII (Theoretical) 40+10=50 4 4th Semester 200 Marks Course Marks Credits Course-XIII (Practical) 40+10=50 4 Course-XIV (Practical) 40+10=50 4 Course-XV (Theoretical) 40+10=50 4 Course-XVI (Theoretical) 40+10=50 4 1 Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music CURRICULUM FOR POST GRADUATE COURSE M.MUS IN HINDUSTHANI CLASSICAL MUSIC TABLE OF CONTENTS HINDUSTHANI CLASSICAL MUSIC (VOCAL)………………………………………………3 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (SITAR)…………………………14 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (ESRAJ)…………………………23 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (TABLA)………………………..32 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (PAKHAWAJ)………………….42 2 CURRICULUM FOR POSTGRADUATE COURSE DEPARTMENT OF HINDUSTHANI CLASSICAL MUSIC SUBJECT- HINDUSTHANI CLASSICAL MUSIC (VOCAL) Course Objectives: This is a Master’s degree course in Hindustani Classical vocal music with emphasis on teaching a nuanced interpretation of different ragas.