PSR-I425 Owner's Manual
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Durham Research Online
Durham Research Online Deposited in DRO: 05 August 2016 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Leante, Laura (2009) 'Urban Myth : bhangra and the dhol craze in the UK.', in Music in motion : diversity and dialogue in Europe. Bielefeld: Transcript Verlag, pp. 191-207. Further information on publisher's website: http://www.transcript-verlag.de/978-3-8376-1074-1/ Publisher's copyright statement: This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk (revised version – November 2008) 1 “Urban myth”: bhangra and the dhol craze in the UK Bhangra is believed to have originated in western Punjab (in today’s Pakistan) as a rural male dance performed to the rhythm of the dhol, a large double-headed barrel drum, to celebrate the spring harvest. -
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". -
Hindustani Classic Music
HINDUSTANI CLASSIC MUSIC: Junior Grade or Prathamik : Syllabus : No theory exam in this grade Swarajnana Talajnana essential Ragajnana Practicals: 1. Beginning of swarabyasa - in three layas 2. 2 Swaramalikas 5 Lakshnageete Chotakyal Alap - 4 ragas Than - 4 Drupad - should be practiced 3. Bhajan - Vachana - Dasapadas 4. Theental, Dadara, Ektal (Dhruth), Chontal, Juptal, Kheruva Talu - Sam-Pet-Husi-Matras - should practice Tekav. 5. Swarajnana 6. Knowledge of the words - nada, shruthi, Aroha, Avaroha, Vadi - Samvedi, Komal - Theevra - Shuddha - Sasthak - Ganasamay - Thaat - Varjya. 7. Swaralipi - should be learnt. Senior Grade: (Madhyamik) Syllabus : Theory: 1. Paribhashika words 2. Sound & place of emergence of sound 3. The practice of different ragas out of “thaat” - based on Pandith Venkatamukhi Mela System 4. To practice ragalaskhanas of different ragas 5. Different Talas - 9 (Trital, Dadra, Jup, Kherva, Chantal, Tilawad, Roopak, Damar, Deepchandi) explanation of talas with Tekas. 6. Chotakhyal, Badakhyal, Bhajan, Tumari, Geethprakaras - Lakshanas. 7. Life history of Jayadev, Sarangdev, Surdas, Purandaradas, Tansen, Akkamahadevi, Sadarang, Kabeer, Meera, Haridas. 8. Knowledge of musical instrument Practicals: 1. Among 20 ragas - Chotakhyal in each 2. Badakhyal - for 10 ragas (Bhoopali, Yamani, Bheempalas, Bageshree, Malkonnse, Alhaiah Bilawal, Bahar, Kedar, Poorvi, Shankara. 3. Learn to sing one drupad in Tay, Dugun & Changun - one Damargeete. VIDHWAN PROFICIENCY Syllabus: Theory 1. Paribhashika Shabdas. 2. 7 types of Talas - their parts (angas) 3. Tabala bol - Tala Jnana, Vilambitha Ektal, Jumra, Adachontal, Savari, Panjabi, Tappa. 4. Raga lakshanas of Bhairav, Shuddha Sarang, Peelu, Multhani, Sindura, Adanna, Jogiya, Hamsadhwani, Gandamalhara, Ragashree, Darbari, Kannada, Basanthi, Ahirbhairav, Todi etc., Alap, Swaravisthara, Sama Prakruthi, Ragas criticism, Gana samay - should be known. -
MUSIC MPA Syllabus Paper Code Course Category Credit Marks
MUSIC MPA Syllabus Paper Code Course Category Credit Marks Semester I 12 300 MUS-PG-T101 Aesthetics Theory 4 100 MUS-PG-P102 Analytical Study of Raga-I Practical 4 100 MUS-PG-P103 Analytical Study of Tala-I Practical 4 100 MUS-PG-P104 Raga Studies I Practical 4 100 MUS-PG-P105 Tala Studies I Practical 4 100 Semester II 16 400 MUS-PG-T201 Folk Music Theory 4 100 MUS-PG-P202 Analytical Study of Raga-II Practical 4 100 MUS-PG-P203 Analytical Study of Tala-II Practical 4 100 MUS-PG-P204 Raga Studies II Practical 4 100 MUS-PG-P205 Tala Studies II Practical 4 100 MUS-PG-T206 Music and Media Theory 4 100 Semester III 20 500 MUS-PG-T301 Modern Traditions of Indian Music Theory 4 100 MUS-PG-P302 Analytical Study of Tala-III Practical 4 100 MUS-PG-P303 Raga Studies III Practical 4 100 MUS-PG-P303 Tala Studies III Practical 4 100 MUS-PG-P304 Stage Performance I Practical 4 100 MUS-PG-T305 Music and Management Theory 4 100 Semester IV 16 400 MUS-PG-T401 Ethnomusicology Theory 4 100 MUS-PG-T402 Dissertation Theory 4 100 MUS-PG-P403 Raga Studies IV Practical 4 100 MUS-PG-P404 Tala Studies IV Practical 4 100 MUS-PG-P405 Stage Performance II Practical 4 100 1 Semester I MUS-PG-CT101:- Aesthetic Course Detail- The course will primarily provide an overview of music and allied issues like Aesthetics. The discussions will range from Rasa and its varieties [According to Bharat, Abhinavagupta, and others], thoughts of Rabindranath Tagore and Abanindranath Tagore on music to aesthetics and general comparative. -
Recreational Facilities Provided in Jails During the Year 2018
Additional Table – 63 Recreational facilities provided in jails during the year 2018 1. Andhra Pradesh Facilities like TV, Newspapers and Indoor games like Chess, Carrom, Shuttle, Tennikoit, etc., are provided in all the prisons in the State and telephone facility is provided to the prisoners confined in Central Prisons, District Prisons and Special Sub Jails. Yoga, Meditation, Legal Aid, Art of Living and Moral Lectures by NGOs. In addition to the above, Libraries are also available in larger prisons. Sports and Games Competitions, Literary Competitions, Cultural Activities, etc. are organized on National Holidays like Republic Day, Independence Day and Mahatma Gandhi Jayanti. 2. Arunachal Pradesh TV, Carrom Board, Chess, Ludo, Volley Ball, Badminton, etc. 3. Assam Indoor Games (Carrom, Chess, Ludo, Badminton, Playing Cards), Outdoor Games (Volley Ball, Cricket), T.V., Harmonium, Tabla, Dhole, Radio, Newspaper reading, Library, etc. 4. Bihar Television, Carrom Board, Ludo, Chess, Badminton, Kushti (Wrestling), Kabaddi, Khokho, Cricket, Football, Volleyball, Gym (Fitness Centre), Gymnasium, Yoga and Meditation. 2 Telephone booths are installed in the jails. Newspaper (Hindi, English, Urdu, Hindustan, Dainik Jagran, Prabhat Khabar, Times of India), Magazines and Library facility. Computer and Electronic type writer are provided in jail. Musical instruments like Electronic Tambura, Sitar, Banjo, Mouth Organ, Flute, Harmonium, Drum Set, Flute, Guitar, Tabla, Casio, Dholak, Jhal, Kartal, Yamaha Key Pad,Triput Set, etc. Musical programme on every Sunday. In order to upgrade recreational facilities, large size HD LED TV, Movie Projector and Projection Screen were installed in the Prisoners’ Community Hall. RSETI Rural Self Employment Training Institute Elementary Education and Adult Education In order to enrich prison library, large number of books concerning various topics such as comic stories, pictorial short stories with moral values, motivational books, stories and good books on other subjects were bought during the period. -
Ph.D. Entrance Examination Subject: Music
Ph.D. Entrance Examination Subject: Music Time : 2 Hrs. Max. M. 100 Mim. M. 50 u¨V % lÒh ç“u gy djsaA çR;sd ç“u 1 vad dk gSA çR;sd ç“u d¢ pkj fodYi gSa] lgh fodYi pqfu,A Note : Attempt all questions. Each question carries 1 mark. Each question has four opptions, Choose the correct option. 1- fuEu esa ls d©u lk Loj vpy gSa\ ¼~v½ eè;e ¼c½ fj’kÒ ¼l½ xkaèkkj ¼n½ ‘kM~t Which Swaras is Achal of following? (a) Madhayam (b) Rishabh (c) Gandhar (d) Shadaj 2- Xokfy;j Äjkus d¢ tUenkrk d©u Fks\ ¼~v½ m- vCnqy djhe [k+k¡ ¼c½ m- uRFku ihjc[+“k ¼l½ m- vYykmíhu [kk¡ ¼n½ ia- oklqnso cqvk t¨“kh Who was the founder of Gwalior Gharana? (a) Ustad Abdul Karim Khan (b) Ustad Nathanpeer baksh (c) Ustad Allauddin Khan (d) Pt. Vasudev Bua Joshi 3- fuEu esa ls d©u lqçfl) fgUnqLrkuh “kkL=h; laxhr xk;d@xkf;dk gSa\ ¼~v½ ia- gfjçlkn p©jfl;k ¼c½ ia- fd“ku egkjkt ¼l½ Jherh ,u- jkte~ ¼n½ Jherh xaxwckà gaxy Who amongst the following is renowned in Hindustani classical vocal singer? (a) Pt. Hariprasad Chaurasiya (b) Pt. Kishan Maharaj (c) Smt. N. Rajam (d) Smt. Gangubai Hangal 4- ia- vu¨[ks yky fdl {ks= dh fo“ks’kK ekus x;s\ ¼~v½ flrkj ¼c½ rcyk ¼l½ xk;u ¼n½ y¨dlaxhr In which field has Pt. Anokhelal distinguished? (a) Sitar (b) Tabla (c) Vocal (d) Folk Music 5- Äjkus ls vki D;k le>rs gSa\ ¼~v½ “kkL=h; fgUnqLrkuh laxhr dh y¨dfç; “kSyh ¼c½ laxhr {ks= d¢ laxhrK¨a dk lewg ¼l½ xk;u dh ijEijkxr “kSyh ¼n½ laxhr dh ijEijk t¨ oa“k ,oa f“k’; J`a[kyk ls lEcfUèkr g¨rh gSA What do you mean by Gharana? (a) A popular musical form of Hindustani classical music (b) A group of musicians in -
Drum Kit List
DRUM KIT LIST LISTE DES KITS DE BATTERIE LISTA DE CONJUNTOS DE BATERÍA DRUM KIT-LISTE Drum Kit List / Liste des kits de batterie/ Lista de conjuntos de batería / Drum Kit-Liste • Same as Standard Kit 1 • Comme pour Standard Kit 1 • No Sound • Absence de son • Each percussion voice uses one note. • Chaque sonorité de percussion utilise une note unique. Voice No. 117 118 119 120 121 122 Keyboard Standard Kit 1 Standard Kit 1 Indian Kit Arabic Kit SE Kit 1 SE Kit 2 Note# Note + Chinese Percussion C1 36 C 1 Seq Click H Baya ge Khaligi Clap 1 Cutting Noise 1 Phone Call C#1 37 C# 1Brush Tap Baya ke Arabic Zalgouta Open Cutting Noise 2 Door Squeak D1 38 D 1 Brush Swirl Baya ghe Khaligi Clap 2 Door Slam D#1 39 D# 1Brush Slap Baya ka Arabic Zalgouta Close String Slap Scratch Cut E1 40 E 1 Brush Tap Swirl Tabla na Arabic Hand Clap Scratch F1 41 F 1 Snare Roll Tabla tin Tabel Tak 1 Wind Chime F#1 42 F# 1Castanet Tablabaya dha Sagat 1 Telephone Ring G1 43 G 1 Snare Soft Dhol 1 Open Tabel Dom G#1 44 G# 1Sticks Dhol 1 Slap Sagat 2 A1 45 A 1 Bass Drum Soft Dhol 1 Mute Tabel Tak 2 A#1 46 A# 1 Open Rim Shot Dhol 1 Open Slap Sagat 3 B1 47 B 1 Bass Drum Hard Dhol 1 Roll Riq Tik 3 C2 48 C 2 Bass Drum Dandia Short Riq Tik 2 C#2 49 C# 2 Side Stick Dandia Long Riq Tik Hard 1 D2 50 D 2 Snare Chutki Riq Tik 1 D#2 51 D# 2 Hand Clap Chipri Riq Tik Hard 2 E2 52 E 2 Snare Tight Khanjira Open Riq Tik Hard 3 Flute Key Click Car Engine Ignition F2 53 F 2 Floor Tom L Khanjira Slap Riq Tish Car Tires Squeal F#2 54 F# 2 Hi-Hat Closed Khanjira Mute Riq Snouj 2 Car Passing -
Sangeet Mela 2017
SANGEET MELA 2017 4th Annual Indian Classical Music & Dance Festival Saturday 2nd September Queensland Multicultural Centre Brisbane, Australia Programme From the Festival Organisers Festival Director Afternoon Session: 2:30pm to 4:00pm Shen Flindell (EthnoSuperLounge) Well here we are at the 4th annual Sangeet Mela in Brisbane. It is an pleasure to bring 1. SANGEET PREMI RISING STAR AWARD WINNERS: together this amazing variety of artists presenting the very best kind of music and dance: Indian classical! From Hindustani to Carnatic, dance, vocal, instrumental and percussion a) KATHAK DANCE – Ku Sheena Rinky Bala with live ensemble solo, the breadth and depth of this genre is just unmatched around the world. b) VOCAL (Carnatic) – Ku Madhuvanthi Muralidharan (Sydney) Every year Sangeet Mela presents young talent under 25 through the Sangeet Premi Rising Star Awards. Looking back at some of our past winners - Our inaugural winner in Hindustani vocal, Senjuti Maitra, is currently spending 2. TABLA SOLO – Sri Simranjit Singh (Golden Temple, Amritsar) most of the year in Kolkata learning from Pt Ajoy Chakraborty. And our first Kathak dance winner, Dr Helena Joshi, is fast becoming established as one of Australia’s premiere Kathak performers and teachers through her Infinity Kathak Dance Company. I’m very excited about her plans to bring her guru-ji Smt Prerana Deshpande to perform here in early November. Bringing people together in an event like Sangeet Mela creates a magical experience. Many thanks to this year’s platinum sponsor Yoga King who has not only given a generous financial ~ Interval: Tea ~ contribution but has assisted directly with staff for some of the graphic design and marketing work, as well as being a hands on volunteer at our programme launch event in May. -
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. -
Trailing of Indian Instrumental Music
International Journal of Applied Research 2017; 3(7): 145-150 ISSN Print: 2394-7500 ISSN Online: 2394-5869 Trailing of Indian instrumental music: Performance Impact Factor: 5.2 IJAR 2017; 3(7): 145-150 outcomes & changes www.allresearchjournal.com Received: 18-05-2017 Accepted: 20-06-2017 Dr. Abhilasha Sharma Dr. Abhilasha Sharma Assistant Professor, Abstract Department of Music The art of playing musical instruments in India were traditionally carried on from generation to Instrument, Mata Harki Devi generation, from primitive phase for this modern era. As Music is a performing art, that has been College for Women, Odhan, creative, itself, and also can't be static, thus the easy innovations as well as experiments have often Haryana, India offered fresh concepts on the contemporary generation. The content is fully intended to examine the brand new advancements in Indian Instrumental Music in the kind of testing. Music is a performing art and in this particular research inter relationship of Instrumental Experimentation and Music happens to be analysed and effect of experimentation is noted. Although, currently there continues to be huge target on testing by a lot of contemporary famous musicians, though it wasn't feasible to add in every one of them as a result of different elements, the objective is highlighting the topic in an effort to concentrate on the contemporary testing in the Instrumental music of ours by restricting itself to performing aspect and producing aspect of Hindustani Classical Instrumental Music. The study additionally features a look on modern musical instruments, emerging bands as well as artists. Keywords: Music, instrumental, experiment 1. -
T>HE JOURNAL MUSIC ACADEMY
T>HE JOURNAL OF Y < r f . MUSIC ACADEMY MADRAS A QUARTERLY IrGHTED TO THE ADVANCEMENT OF THE SCIENCE ' AND ART OF MUSIC XXXVIII 1967 Part.' I-IV ir w > \ dwell not in Vaikuntha, nor in the hearts of Yogins, ^n- the Sun; (but) where my Bhaktas sing, there L ^ Narada ! ” ) EDITED BY v. RAGHAVAN, M.A., p h .d . 1967 PUBLISHED BY 1US1C ACADEMY, MADRAS a to to 115-E, MOWBRAY’S ROAD, MADRAS-14 bscription—Inland Rs. 4. Foreign 8 sh. X \ \ !• ADVERTISEMENT CHARGES \ COVER PAGES: Full Page Half Page i BaCk (outside) Rs. 25 Rs. 13 Front (inside) 99 20 .. 11. BaCk (Do.) 30 *# ” J6 INSIDE PAGES: i 1st page (after Cover) 99 18 io Other pages (eaCh) 99 15 .. 9 PreferenCe will be given (o advertisers of musiCal ® instruments and books and other artistic wares. V Special positions and speCial rates on appliCation. t NOTICE All correspondence should be addressed to Dr. V. Ragb Editor, Journal of the MusiC ACademy, Madras-14. Articles on subjects of musiC and dance are accepte publication on the understanding that they are Contributed to the Journal of the MusiC ACademy. f. AIT manuscripts should be legibly written or preferabl; written (double spaced—on one side of the paper only) and be sigoed by the writer (giving his address in full). I The Editor of the Journal is not responsible for tb expressed by individual contributors. AH books, advertisement moneys and cheques du> intended for the Journal should be sent to Dr. V, B Editor. CONTENTS Page T XLth Madras MusiC Conference, 1966 OffiCial Report ..