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Und Audiovisuellen Archive As
International Association of Sound and Audiovisual Archives Internationale Vereinigung der Schall- und audiovisuellen Archive Association Internationale d'Archives Sonores et Audiovisuelles (I,_ '._ • e e_ • D iasa journal • Journal of the International Association of Sound and Audiovisual Archives IASA • Organie de I' Association Internationale d'Archives Sonores et Audiovisuelle IASA • Zeitschchrift der Internationalen Vereinigung der Schall- und Audiovisuellen Archive IASA Editor: Chris Clark,The British Library National Sound Archive, 96 Euston Road, London NW I 2DB, UK. Fax 44 (0)20 7412 7413, e-mail [email protected] The IASA Journal is published twice a year and is sent to all members of IASA. Applications for membership of IASA should be sent to the Secretary General (see list of officers below). The annual dues are 25GBP for individual members and IOOGBP for institutional members. Back copies of the IASA Journal from 1971 are available on application. Subscriptions to the current year's issues of the IASA Journal are also available to non-members at a cost of 35GBP I 57Euros. Le IASA Journal est publie deux fois I'an etdistribue a tous les membres. Veuillez envoyer vos demandes d'adhesion au secretaire dont vous trouverez I'adresse ci-dessous. Les cotisations annuelles sont en ce moment de 25GBP pour les membres individuels et 100GBP pour les membres institutionels. Les numeros precedentes (a partir de 1971) du IASA Journal sont disponibles sur demande. Ceux qui ne sont pas membres de I'Association peuvent obtenir un abonnement du IASA Journal pour I'annee courante au coOt de 35GBP I 57 Euro. -
Artifacts and Representations of North Indian Art Music [*Ecompanion At
Oral Tradition, 20/1 (2005): 130-157 Shellac, Bakelite, Vinyl, and Paper: Artifacts and Representations of North Indian Art Music [*eCompanion at www.oraltradition.org] Lalita du Perron and Nicolas Magriel Introduction Short songs in dialects of Hindi are the basis for improvisation in all the genres of North Indian classical vocal music. These songs, bandiśes, constitute a central pillar of North Indian culture, spreading well beyond the geographic frontiers of Hindi itself. Songs are significant as being the only aspect of North Indian music that is “fixed” and handed down via oral tradition relatively intact. They are regarded as the core of Indian art music because they encapsulate the melodic structures upon which improvisation is based. In this paper we aim to look at some issues raised by the idiosyncrasies of written representations of songs as they has occurred within the Indian cultural milieu, and then at issues that have emerged in the course of our own ongoing efforts to represent khyāl songs from the perspectives of somewhat “insidish outsiders.” Khyāl, the focus of our current research, has been the prevalent genre of vocal music in North India for some 200 years. Khyāl songs are not defined by written representations, but are transmitted orally, committed to memory, and re-created through performance. A large component of our current project1 has been the transcription of 430 songs on the basis of detailed listening to commercial recordings that were produced during the period 1903-75, aspiring to a high degree of faithfulness to the details of specific performance instances. The shellac, bakelite, and vinyl records with 1 An AHRB-funded (Arts and Humanities Research Board) project, “Songs of North Indian Art Music” (SNIAM), carried out by the two authors in the Department of Music at the School of Oriental and African Studies (SOAS). -
Bachelor of Performing Arts (Vocal/Instrumental) I Semester
BACHELOR OF PERFORMING ARTS (VOCAL/INSTRUMENTAL) I SEMESTER Course - 101 (English (Spoken)) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To introduce students to the theory, fundamentals and tools of communication. 2. To develop vital communication skills for personal, social and professional interactions. 3. To effectively translate texts. 4. To understand and systematically present facts, idea and opinions. Course Content:- I. Introduction: Theory of Communication, Types and modes of Communication. II. Language of Communication: Verbal and Non-verbal (Spoken and Written) Personal, Social and Business, Barriers and Strategies Intra- personal, Inter-personal and Group communication. III. Speaking Skills: Monologue, Dialogue, Group Discussion, Effective Communication/ Mis-Communication, Interview, Public Speech. IV. Reading and Understanding: Close Reading, Comprehension, Summary, Paraphrasing, Analysis and Interpretation, Translation(from Indian language to English and Viva-versa), Literary/Knowledge Texts. V. Writing Skills: Documenting, Report Writing, Making notes, Letter writing Bibliographies: a. Fluency in English - Part II, Oxford University Press, 2006. b. Business English, Pearson, 2008. c. Language, Literature and Creativity, Orient Blackswan, 2013. d. Language through Literature (forthcoming) ed. Dr. Gauri Mishra, Dr Ranjana Kaul, Dr Brati Biswas Course - 102 (Hindi) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 मध्यकालीन एवं आधुननक ह ंदी काव्य तथा व्याकरण Course Objective:- 1. पाठ्क्रम में रखी गई कनवता䴂 का ग न अध्ययन करना, उनपर चचाा करना, उनका नववेचन करना, कनवता䴂 का भावाथा स्पष्ट करना, कनवता की भाषा की नवशेषता䴂 तथा अथा को समझाना। 2. पाठ्क्रम में रखी गई खण्ड काव्य का ग न अध्ययन कराना,काव्यका भावाथा स्पष्ट करना, काव्य की भाषा की नवशेषता䴂 तथा अथा को समझाना। 3. -
Odissi Dance) 2020 THREE YEAR FULL TIME PROGRAMME
Learning Outcome based Curriculum Framework (LOCF) For Undergraduate Programme B.P.A. (Odissi Dance) 2020 THREE YEAR FULL TIME PROGRAMME Syllabus and Scheme of Examination This shall be applicable for students seeking admission in B.P.A. Odissi Dance Programme in 2020-2021 DEPARTMENT OF PERFORMING ARTS Faculty of Indic Studies Sri Sri University DPA-B.P.A. (O.D.) Page 0 Introduction – The proposed programme shall be conducted and supervised by the Faculty of Indic Studies, Department of Performing Arts, Sri Sri University, Cuttack (Odisha). This programme has been designed on the Learning Outcomes Curriculum Framework (LOCF) under UGC guidelines, offers flexibility within the structure of the programme while ensuring the strong foundation and in-depth knowledge of the discipline. The learning outcome-based curriculum ensures its suitability in the present day needs of the student towards higher education and employment. The Department of Performing Arts at Sri Sri University is now offering bachelor degree program with specialization in Performing Arts (Odissi Dance and Hindustani Vocal Music) Vision – The Department of Performing Arts aims to impart holistic education to equip future artistes to achieve the highest levels of professional ability, in a learning atmosphere that fosters universal human values through the Performing Arts. To preserve, perpetuate and monumentalize through the Guru-Sishya Parampara (teacher-disciple tradition) the classical performing arts in their essence of beauty, harmony and spiritual evolution, giving scope for innovation and continuity with change to suit modern ethos. Mission : To be a center of excellence in performing arts by harnessing puritan skills from Vedic days to modern times and creating artistic expressions through learned human ingenuity of emerging times for furtherance of societal interest in the visual & performing arts. -
The Gwalior Gharana of Khayal
THE GWALIOR GHARANA OF KHAYAL SusheeJa Misra The different gharanas in Khayal-singing have not only helped to preserve and perpetuate the older traditions through an unbroken lineage of Guru shishya-paratnpara, but also added much colour and infinite variety to Hindustani Music. In an article on "A spects of Karnatic Music", the late Sri G.N. Balasubramaniam (a famous performing artiste and scholar) wrote almost longingly:- "Unlike the Karnatak system, the Hindustani system is more elastic and flexible and comparatively free from inhibitions and restrictions. For instance, in the North there are several Gharanas--each one handling one and the same raga differently. In the South everywhere, every raga is ren dered alike". It is this scope for variety, choice of suitable style, and flights of fancy that have maintained the popul arity of the Khayal up till now. The precursors of the Khayal also used to be rendered in different styles. In ancient granthas, we come across mention of different types of "Geetis" such as "Shudhdha", "Bhinna", "Goudi", "Vesari", and "Saadhaarant", When the golden age of the Dhrupad began (during the Middle Ages), Dhrupad-gayan also had developed four "Baants" (meaning styles, or schools) namely, :-"Goudi" or "Gobarhari", "Daggur", "Khandar", and "Nowhar". When the majestic and ponderous Dhrupad had to give place to the .classico-romantic Khayal-form, the latter was developed and perfected into various styles which came to be known as "Gharanas", These "gharanas" gave an attractive variety to Khayal-singing,-each "gharana" developing its own distinctive features, although all of them were deeply rooted in a common underlying tradition or "Susampradaaya". -
The Course – Curriculum for Master of Performing Arts (Mpa) (Dance & Drama )
SCHOOL OF PERFORMING ARTS SAMBALPUR UNIVERSITY THE COURSE – CURRICULUM FOR MASTER OF PERFORMING ARTS (MPA) (DANCE & DRAMA ) 2018 – 2020 1 Courses Offered : Master of Performing Arts (Dance & Drama) Aim and Objective : The above courses aim at providing both theoretical and Practical aspects of dance/drama to students and facilitating them to take up career in performing art. Duration : Two years Pattern : Semester-cum-Course Credit System Total Mark : 2000 Credit Hours : 80 CH Seats : 16 + 16 Outline of the Course Curriculum for MPA Special Papers : 1) Dance: (A) ODISSI (B) SAMBALPURI 2) Drama: ACTING 2 THE COURSE CURRICULUM FOR MASTER OF PERFORMING ARTS (DANCE) Outline of Course Curriculum 1ST SEMESTER MPA (DNC) – 4.1.1 : History of Indian Dance & Drama (Ancient and Medieval) (4CH) MPA (DNC) – 4.1.2 : Natyashastra and Other Texts (4 CH) MPA (DNC) – 4.1.3 : Folk Dance and Folk Drama (Major) of Western Odisha (4CH) MPA (DNC) – 4.1.4 : Studio Course (Practical) -Yoga, Music & Theatre Games (4 CH) MPA (DNC) – 4.1.5 : Studio Course (Practical)-Multimedia & Computers (4CH) 2ND SEMESTER MPA (DNC) – 4.2.1 : Indian Dance: Pre and Post-Independence Scenario (4CH) MPA (DNC) – 4.2.2 : Dance Aesthetics (4 CH) MPA (DNC) – 4.2.3 : Popular Dances of the World (4CH) MPA (DNC) – 4.2.4 : Studio Course (Practical) Abhinaya Aspect of Classical (4 CH) MPA (DNC) – 4.2.5 : Studio Course (Practical) Rhythm(4 CH) 3RD SEMESTER (Special Papers) A) ODISSI DANCE MPA (DNC) 5.1.1 : Dance Research (4 CH) MPA (DNC) 5.1.2 : Theory of Odissi Dance (4 CH) MPA (DNC) 5.1.3 -
Study Materials for Six Months Special Training Programme On
Six month Special Training Progaramme on Elementary Education for Primary School Teachers having B.Ed/B.Ed Special Edn/D.Ed (Special Edn.) (ODL Mode) Art Education, Work Education, Health & Physical Education West Bengal Board of Primary Education, Acharya Prafulla Chandra Bhaban D.K. - 7/1, Sector - 2 Bidhannagar, Kolkata - 700091 i West Bengal Board of Primary Education First edition : March, 2015 Neither this book nor any keys, hints, comments, notes, meanings, connotations, annotations, answers and solutions by way of questions and answers or otherwise should be printed, published or sold without the prior approval in writing of the President, West Bengal Board of Primary Education. Publish by Prof. (Dr) Manik Bhattacharyya, President West Bengal Board of Primary Education Acharyya Prafulla Chandra Bhavan, D. K. - 7/1, Sector - 2 Bidhannagar, Kolkata - 700091 ii Forewords It gives me immense pleasure in presenting the materials of Art, Health, Physical Education & Work Education for Six Month Special Training Programme in Elementary Education for the elementary school teachers in West Bengal, having B. Ed. / B. Ed. (Special Education)/ D. Ed. (Special Education). The materials being presented have been developed on the basis of the guidelines and syllabus of the NCTE. Care has been taken to make the presentation flawless and in perfect conformity with the guidelines of the NCTE. Lesson-units and activities given here are not exhaustive. Trainee-teachers are at liberty to plan & develop their own knowledge and skills through self learning under the guidance of the counselors and use of their previously acquired knowledge and skill of teaching. This humble effort will be prized, if the materials, developed here in this Course-book, are used by the teachers in the real classroom situations for the development of the four skills – Listening, Speaking, Reading and Writing of the elementary school children . -
THE RECORD NEWS ======The Journal of the ‘Society of Indian Record Collectors’, Mumbai ------ISSN 0971-7942 Volume - Annual: TRN 2007 ------S.I.R.C
THE RECORD NEWS ============================================================= The journal of the ‘Society of Indian Record Collectors’, Mumbai ------------------------------------------------------------------------ ISSN 0971-7942 Volume - Annual: TRN 2007 ------------------------------------------------------------------------------------------------------------ S.I.R.C. Branches: Mumbai, Pune, Solapur, Nanded, Tuljapur, Baroda, Amravati ============================================================= Feature Article in this Issue: Gramophone Celebrities-II Other articles : Teheran Records, O. P. Nayyar. 1 ‘The Record News’ – Annual magazine of ‘Society of Indian Record Collectors’ [SIRC] {Established: 1990} -------------------------------------------------------------------------------------------- President Narayan Mulani Hon. Secretary Suresh Chandvankar Hon. Treasurer Krishnaraj Merchant ==================================================== Patron Member: Mr. Michael S. Kinnear, Australia -------------------------------------------------------------------------------------------- Honorary Members --------------------------- V. A. K. Ranga Rao, Chennai Harmandir Singh Hamraz, Kanpur -------------------------------------------------------------------------------------------- Membership Fee: [Inclusive of journal subscription] Annual Membership Rs. 1,000 Overseas US $ 100 Life Membership Rs. 10,000 Overseas US$ 1,000 Annual term: July to June Members joining anytime during the year [July-June] pay the full membership fee and get a copy -
The Phonograph in India
The Phonograph in India G. N. Joshi The Beginnings The history of the phonograph in India dates back to the beginning of the century. Though gramophones began to be exported to India since 1 898, the idea of commercially exploiting the phonograph on a large scale in the east was mooted in 1 900 and Messrs. The Mutoscope Biograph Co. of India was given the agency of selling horn-gramophones and records of European music imported from America. In 1 898, Mr. W. B. Owen had established in England the parent company of the Gramophone Co. Ltd. He was sent to England by the American inventor of disc recording, Mr. Emile Berliner, to sell, if possible, his European rights for the disc records which he had patented in the U.S.A. Since Mr. Owen did not succeed in selling Mr. Berliner's rights outright, the two formed The Gramophone Co. Ltd. in England. Mr. Berliner erected a record pressing factory at Hanover in the U.S.A . for supplying records and machines to the newly-formed company in England . At this point a· mechanic named Johnson invented a spring-wound motor for the phonograph machine. Until the time his invention was perfected, users (during the period when the record was being played) had to rotate, with the help of a handle, the turntable with the disc on it. The spring-motor Edison 'Home' Model A enabled the phonograph to be \Nound for a certain number of playings and hence the listener could sit at a distance \Nithout having to bother to crank the machine all the time. -
LOCF) for Undergraduate Programme BPA (Odissi Dance
Learning Outcome based Curriculum Framework (LOCF) For Undergraduate Programme B.P.A. (Odissi Dance) 2019 THREE YEAR FULL TIME PROGRAMME Syllabus and Scheme of Examination This shall be applicable for students seeking admission in B.P.A. Odissi Dance Programme in 2019-2020 DEPARTMENT OF PERFORMING ARTS Faculty of Indic Studies Sri Sri University DPA-B.P.A. (O.D.) Page 0 Introduction – The proposed programme shall be conducted and supervised by the Faculty of Indic Studies, Department of Performing Arts, Sri Sri University, Cuttack (Odisha). This programme has been designed on the Learning Outcomes Curriculum Framework (LOCF) under UGC guidelines, offers flexibility within the structure of the programme while ensuring the strong foundation and in-depth knowledge of the discipline. The learning outcome-based curriculum ensures its suitability in the present day needs of the student towards higher education and employment. The Department of Performing Arts at Sri Sri University is now offering bachelor degree program with specialization in Performing Arts (Odissi Dance and Hindustani Vocal Music) Vision – The Department of Performing Arts aims to impart holistic education to equip future artistes to achieve the highest levels of professional ability, in a learning atmosphere that fosters universal human values through the Performing Arts. To preserve, perpetuate and monumentalize through the Guru-Sishya Parampara (teacher-disciple tradition) the classical performing arts in their essence of beauty, harmony and spiritual evolution, giving scope for innovation and continuity with change to suit modern ethos. Mission : To be a center of excellence in performing arts by harnessing puritan skills from Vedic days to modern times and creating artistic expressions through learned human ingenuity of emerging times for furtherance of societal interest in the visual & performing arts. -
Tesis Doctoral
UNIVERSIDAD REY JUAN CARLOS FACULTAD DE CIENCIAS JURÍDICAS Y SOCIALES DEPARTAMENTO DE CIENCIAS DE LA EDUCACIÓN, LENGUAJE, CULTURA Y ARTES, CIENCIAS HISTÓRICO-JURÍDICAS Y HUMANÍSTICAS Y LENGUAS MODERNAS ______________________________________ TRANCE, DEVOCIÓN Y SILENCIO EN LA DANZA ODISSI DE LA INDIA ________________________________________________ TESIS DOCTORAL _____________________________ POR UMA ANANDA DAGNINO GONZÁLEZ DIRECTOR: DR. D. CARLOS ROLDÁN LÓPEZ MADRID ______ 2017 INFORME TESIS DOCTORAL: UMA ANANDA DAGNINO GONZÁLEZ TÍTULO DE LA TESIS: TRANCE, DEVOCIÓN, Y SILENCIO EN LA DANZA ODISSI DE LA INDIA DIRECTOR DE LA TESIS DOCTORAL: DR. CARLOS ROLDÁN LÓPEZ La tesis doctoral de la Srta. Uma Dagnino viene a incidir en la importancia de tres conceptos en la naturaleza y práctica de una Danza ancestral de la India. Esta diversidad conceptual no implica una dispersión metodológica ni teorética, sino muy al contrario una deriva necesaria en el proceso de la investigación precisamente para poder entender de forma integral el conjunto de procesos que inciden en la temática estudiada. Las numerosas referencias místicas y conceptos provenientes del pensamiento oriental son consecuencia necesaria del propio objeto de investigación, en el que como leemos en la tesis la práctica danzaria misma es una forma de plegaria, cuando no directamente un proceso místico de Comunión con la Divinidad. El trabajo de campo que se incorpora junto a la descripción genealógica de la concurrencia de este concepto lleva a la investigación a una completud circular, puesto que la práctica misma y sus vivencias constituyen parte de la naturaleza y singularidad de esta práctica danzaria, no siendo incorrecto en este caso hablar de esencialidad. Este trabajo cumple con todos los requisitos de fondo y forma que se esperan de una investigación científica de tesis doctoral. -
INSIDE Aekalavya Awardees Lasyakala & Artists Guru Deba Prasad Nrutyadhara & Artists a Vista of Indian Art, Culture
1st Edition of A Vista of Indian Art, Culture and Dance INSIDE Aekalavya Awardees Lasyakala & Artists Guru Deba Prasad Nrutyadhara & Artists Channel Partners Transactions Per Month Employees Developer Clients Happy Customers Monthly Website Visitors Worth of Property Sold India Presence : Ahmedabad | Bengaluru | Chennai | Gurugram| Hyderabad | Jaipur Kolkata | Lucknow | Mumbai | Navi Mumbai | New Delhi | Noida | Pune | Thane | Vishakhapatnam | Vijayawada Global Presence : Abu Dhabi | Bahrain| Doha | Dubai | Hong Kong | Kuwait | Muscat | Melbourne | Sharjah Singapore | Sydney | Toronto WWW.SQUAREYARDS.COM SY Solutions PTE Limited, 1 Raffles Place, Level 19-61, One Raffles Place, Tower 2, Singapore - 048616 Message J P Jaiswal, Chairman & Managing Director, Peakmore International Pte Ltd Past Director, Singapore Indian Chamber of Commerce & Industry (2014-2018) Dear Friends, It gives me immense pleasure to congratulate Guru Deba Prasad Nrutyadhara, Singapore and the organizers for bringing the popular production Aekalavya Season 11. Congratulations to the esteemed team of Lasyakala for co-producing this beautiful act in classical dance form. It’s also a matter of joy that Padmabibhushan Shilpiguru Mr Raghunath Mohapatra shall grace the program as Chief Guest. I also congratulate to all Aekalavya Season-11 Awardees and extend my best wishes to all the performers. My heartfelt best wishes for a successful performance and wish a joyful evening to all audience. Finally, once again, I thank the organizers for all the effort