(Iot) Architecture for Music Therapy
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University of Mauritius Mahatma Gandhi Institute
University of Mauritius Mahatma Gandhi Institute Regulations And Programme of Studies B. A (Hons) Performing Arts (Vocal Hindustani) (Review) - 1 - UNIVERSITY OF MAURITIUS MAHATMA GANDHI INSTITUTE PART I General Regulations for B.A (Hons) Performing Arts (Vocal Hindustani) 1. Programme title: B.A (Hons) Performing Arts (Vocal Hindustani) 2. Objectives To equip the student with further knowledge and skills in Vocal Hindustani Music and proficiency in the teaching of the subject. 3. General Entry Requirements In accordance with the University General Entry Requirements for admission to undergraduate degree programmes. 4. Programme Requirement A post A-Level MGI Diploma in Performing Arts (Vocal Hindustani) or an alternative qualification acceptable to the University of Mauritius. 5. Programme Duration Normal Maximum Degree (P/T): 2 years 4 years (4 semesters) (8 semesters) 6. Credit System 6.1 Introduction 6.1.1 The B.A (Hons) Performing Arts (Vocal Hindustani) programme is built up on a 3- year part time Diploma, which accounts for 60 credits. 6.1.2 The Programme is structured on the credit system and is run on a semester basis. 6.1.3 A semester is of a duration of 15 weeks (excluding examination period). - 2 - 6.1.4 A credit is a unit of measure, and the Programme is based on the following guidelines: 15 hours of lectures and / or tutorials: 1 credit 6.2 Programme Structure The B.A Programme is made up of a number of modules carrying 3 credits each, except the Dissertation which carries 9 credits. 6.3 Minimum Credits Required for the Award of the Degree: 6.3.1 The MGI Diploma already accounts for 60 credits. -
REPORTS N~Ldfelt, Mr
GENERAL PROGRAMING 7:00 am Morning man Chuck Reinsch plays music and reads 10:00 am repeats from the night before I :00 pm the afternoon show with Margaret Hoi lenback~ Gary Win gert and Herb Hannum playing music and FR I DAY MARCH 8 talk to thler taste 5:30-12:30 regular 2:00 the frIday afternoon Jazz show with Herb schedualed programs ••• on the weekends Herb hanum at the the wheel Sat. morn I ng The P. PI umb show 10:'00- I :00 Sun. mornIng Jeff Hewlngs and Mike Hanum at the wheel & pumplmg gas Ramey play music regular schedualed 5:30 AI I and Everything 634, Andy Andrews reads talk begins at 6:00 pm and goes Into 6:00 Gene Johnston does some on the spot report the early morning hours and music too ••• Ing at the local Induction Center, during Lorenzo Mil am rrore ofte.n than not shows a recent protest there. Febuary 15,1968 up during the week to play music from 6:30 FIFTEENTH CHILD OF A TAILOR, BORN IN PARIS 12:00 til I 2:00 In the afternoon. IN 1957. the two daughters of Louise xlv ••• **the schedual Master of the Chapel Royal, &c, &c - a concert *The KRAB officers f reserve the right of music by MIchel Richard de La lande: a to make at the last moment changes. suite of Symphonies pour Les Soupers du Roy Program guide listing #133 for the period Motet, "Usquequo Doml ne" Febuary 28 - March 12, 1968 ••• for the mere Second Fantas Ie sum of $6.00 students may recleve a copy Versai lies Trumpet Concerto of The Clemmings Report for 9 months 7:30 COMMENTARY: Dr. -
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. -
Music and Society in Late Colonial India: a Study of Esraj in Gaya LSE Research Online URL for This Paper: Version: Accepted Version
Music and society in late colonial India: a study of Esraj in Gaya LSE Research Online URL for this paper: http://eprints.lse.ac.uk/101477/ Version: Accepted Version Article: Roy, Tirthankar (2019) Music and society in late colonial India: a study of Esraj in Gaya. Journal of Asian Studies, 79 (1). pp. 25-49. ISSN 0021-9118 https://doi.org/10.1017/S0021911819000123 Reuse Items deposited in LSE Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the LSE Research Online record for the item. [email protected] https://eprints.lse.ac.uk/ Music and Society in Late Colonial India: A Study of Esraj in Gaya TIRTHANKAR ROY In the late nineteenth and early twentieth centuries, Indian classical music was in transition. Most readings of the transition stress the choices of the professional musicians, as these musicians and the institutions in which they functioned were caught up in political and economic movements such as nationalism and commercialization. This article studies a different type of transition: when a small-town professional group with a strong associational culture became musicians. This second process, standing in contrast to the received narratives, suggests novel lessons in the history of urban cultures during a time of change. Keywords: colonial India, esraj, Gaya, Gayawals, gharanas, harmonium, Indian classical music, nationalism, urban culture Tirthankar Roy ([email protected]) is Professor of Economic History at the London School of Economics and Political Science. -
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 -
Raga Scales Chart
SongMaven.com Raga Scales Chart © 2016 For Individual Visit songmaven.com for more information on Northern India Raga Scales Instructional Use Only! this chart and other instructional sheets Raga Name Thaat (Mode) Prahar (Time) Ascending Notes Descending Notes Ascending Pattern Descending Pattern Adana Asavari 12 am - 3 am 1 2 4 5 7 1 2 4 5 6 7 1 2 4 5 7 4 5 1 1 6 7 5 4 5 3 4 2 1 Ahir Bhairav Bhairav 6 am - 9 am 1 2 3 4 5 6 7 1 2 3 4 5 3 4 6 7 1 1 7 6 5 4 3 2 1 7 2 1 Asavari 9 am - 12 pm 1 2 4 5 6 1 2 3 4 5 6 7 1 2 4 5 6 1 1 7 6 5 4 3 2 1 Bageshri Kafi 12 am - 3 am 1 3 4 6 7 1 2 3 4 6 7 7 1 3 4 6 7 1 1 7 6 4 5 6 3 4 3 2 1 Bahar Kafi 12 am - 3 am 1 3 4 5 6 7 7 1 3 4 5 6 7 7 1 4 4 5 3 4 7 6 7 1 1 7 5 4 5 3 4 2 1 Bairagi Bhairav Bhairav 1 2 4 5 7 1 2 4 5 7 1 1 7 5 4 2 1 Basant Poorvi 3 am - 6 am 1 2 3 4 6 1 2 3 4 5 6 7 1 3 4 6 2 1 1 7 6 5 4 3 4 3 2 1 Basant Mukhari 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1 Bhairav Bhairav 6 am - 9 am 1 3 4 5 6 1 2 3 4 5 6 7 1 3 4 5 3 4 6 1 1 7 1 6 5 3 4 5 3 4 2 1 Bhairavi Bhairavi 6 am - 9 am 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1 Bhankar Bhairav 3 am - 6 am 1 2 3 4 5 6 7 1 2 3 4 4 5 6 7 7 2 1 3 4 5 3 4 6 4 3 4 6 1 7 2 1 1 2 7 6 4 4 3 4 3 2 1 Bhatiyar Bhairav 3 am - 6 am 1 2 3 4 4 5 6 1 2 3 4 5 6 7 1 2 1 1 4 5 3 4 6 1 1 2 7 6 5 6 5 4 5 3 2 1 Bhimpalasi Kafi 3 pm - 6 pm 1 3 4 5 7 1 3 4 5 6 7 7 1 3 4 5 7 1 1 7 6 5 4 3 2 1 Bhinna Shadja Khamaj 9 pm - 12 am 1 3 4 6 7 1 3 4 6 7 1 1 7 6 4 3 1 Bhoopal Todi Bhairavi 9 am - 12 pm 1 2 3 5 6 1 2 3 5 6 1 1 6 5 3 2 3 2 1 Bhoopali Kalyan 6 pm - 9 pm 1 2 3 5 -
Table-1 Raga Name Correction 1 Corrected Original Abhogi Kanhra
Table-1 Raga name correction 1 Corrected Original Abhogi Kanhra Abhogi Kannada,Abhogi Kannda Ahir Bhairav Aihir Bhairav Ahir Lalit Ahiri Lalita Ahir Vibhas Ahir Bibhas Alhaiya Bilaval Alahiya Bilawal,Alhailya Bilawal,Alhaiya Bilawal Amrt Varsni Amritavarshini Anand Bhairav Ananda Bhairav Arun Kauns Arunkauns Asa Asha Asavari Asawari Bagesri Bageshri,Begeshri,Baheshri Bagesri Bahar Bageshri Bahar Bagesri Kanhra Bageshri Kannada Bairagi Bhairagi Bairagi Bhairav Bhairagi Bhairav,Bhairagi Bhatrau Bala Kauns Balakauns Barva Barawa,Barwa Basant Bansant,Bsant,Vasant Basant Bahar Bsant Bahar Bihad Bhairav Beehad Bhairav Bhairav Sadra Bhaira Bhairavi Bhatiyar Bhairaivi Bhatiyar Bihagda Des Bihagda Desh Bihari Bilhari Bilaval Bilawal Bilaval Bahar Bilawal Bahar Campakali Canpakali Candani Kedar Chandani Kedar,Chandni Kedar Candra Bhankar Chandrabhankar Candrakauns Chandra Kauns,Chandrakauns Candramadhu Chandramadhu Candranandan Chandranandan Carukesi Charukeshi Chaya Chhaya Chaya Nat Chyanat Dhani Kauns Dhanikauns Darbari Kanhra Darabari Kannada,Darbari Kannada,Darbari Kannda, Darbari Des Desh Des Malhar Desh Malhar Des Marva Desh Marwa Desi Deshi Desi Todi Deshi Todi Deskar Deshkar Dev Gandhar Devgandhar Table-1 Raga name correction 2 Corrected Original Devgiri Bilaval Devgiri Bilawal Dhana Basanti Dhanabasanti Dhanasri Dhanashri Dipavali Dipawali Gara Kanhra Gara Kannada Gauri Gaudi Gauri Basant Gaudi Basant Gauri Todi Gaudi Todi Gurjari Todi Gujari Todi, Gurjari Hamsdhvani Hamsadhwani Hansnarayani Hans Narayan Hari Kauns Harikauns Hem Bihag Hembihag -
List of Scholarship Holders for the Year 2014-15
List of Scholarship holders for the year 2014-15 NAME OF SCHOLARSHIP AUTHORISED S.NO SCHOLARSHIP FIELD OF SCHOLARSHIP ID PARENTS/GUARDIAN S NAME HOLDERS ’ SCHO/2014- HINDUSTANI MUSIC INSTRUMENT- 1. AMAR BHOLA SHRI CHETAN BHOLA 15/00187 FLUTE SCHO/2014-15/ SHREYA 2. SHRI SANTOSH KAPURIA KATHAK 00194 KAPURIA SCHO/2014- SETTIPALLI 3. SHRI .S.MADHAVA CARNATIC MUSIC VOCAL 15/00001 AAMUKTA SCHO/2014- 4. S MAHATHI SMT. P. GAYATHRI CARNATIC MUSIC VOCAL 15/00002 SCHO/2014- ANAGHA 5. SMT. VARANASI SRIDEVI CARNATIC MUSIC VOCAL 15/00003 CHALLA SCHO/2014- 6. T.SRIKEERTHAN SHRI T.RAMA MOHANA RAO CARNATIC MUSIC VOCAL 15/00004 SCHO/2014- KRISHNA 7. SHRI IVATURI SURESH CARNATIC MUSIC VOCAL 15/00005 SRUTHI IVATURI SCHO/2014- RAMA RAJU S S CARNATIC MUSIC INSTRUMENT- 8. SHRI R.PREM KUMAR 15/00008 G K SASANK FLUTE SCHO/2014- 9. SHIVANGI SINGH SHRI SANJAY KUMAR SINGH FOLK SONGS 15/00009 SCHO/2014- 10. AJIT KUMAR SHRI ASHOK KUMAR PASWAN MADHUBANI PAINTING 15/00011 SCHO/2014- 11. RAJAN KUMAR SHRI PAWAN PASWAN GODANA PAINTING 15/00012 SCHO/2014- 12. NIKITA KUMARI SHRI NIRMAL KUMAR VISHAL KATHAK 15/00014 SCHO/2014- VAISHNAVI 13. SMT. KUMARI SOMA SINHA BHARATNATAYAM 15/00015 SHREYA SCHO/2014- 14. VEDANTI JOSHI SHRI HEMANT KUMAR JOSHI KATHAK 15/00018 SCHO/2014- 15. AGNIVA MAITY SHRI AMITAVA MAITY PAINTING 15/00020 SCHO/2014- ADITTI 16. SMT. NEETA RAMSISARIA PAINTING 15/00024 RAMSISARIA SCHO/2014- ATHARV ARUN HINDUSTANI MUSIC INSTRUMENT- 17. SHRI ARUN RAM DESAI 15/00028 DESAI TABLA MRIDULA SCHO/2014- 18. SHAILESH NAIK SHRI SHAILESH M. NAIK ODISSI DANCE 15/00030 SCHO/2014- MUDAPAKA 19. -
Sample of Mcqs Question Bank
University of Mumbai Department of Music MCQ Demo Paper for B.Mus. III and M. Mus. II Paper/Subject Code --------- Paper Name - ------------- Total Marks - 50 Students Seat No. -------- Instructions Section I and Section II are Compulsory. All questions carries equal marks. Section I Choose the correct alternative 1. Which of the following Artists is not a 'Santoor Player'? A - Pt.Bhajan Sopori B - Pt.Tarun Bhattacharya C - Ustad Ali Akbar Khan D - Pt.Shivkumar Sharma 2.Which Instrument did 'Ustad Vilayat khansahab' play? A - Tabla B - Sarod C - Santoor D - Sitar 3. Who plays the instrument 'Mohanveena'? A - Ganesh Mohan B - Krishnamohan Bhatt C - Vishwamohan Bhatt D - Mohan Ratan Sharma 4. The Famous vocalist 'Kaushiki Chakravarty' belongs to which Gharana? A - Patiayala gharana B - Gwalior gharana C - Rampur gharana D - Agra gharana 5. Which Indian Classical vocalist has sung the Famous song 'Ab ke Saawan'? A - Meeta Pandit B - Shubha Mudgal C - Neela Bhagwat D - Shubha Joshi 6. Which Artist has been awarded the 'Bharat Ratna' by the Govt of India? A - Pt.Hariprasad Chaurasia B - Ustad Bismillah khan C - Ustad Amjad ali khan D - Begum Parveen Sultana 7. What is the name of Sitar players Niladri Kumar's Guru? A - Pt.Ajay Kumar B - Pt.Suresh Kumar C - Pt.Himalay kumar D - Pt.Kartick kumar 8. 'Sawai Gandharva Sangeet Sammelan' is organised in which City? A - Mumbai B - Pune C - Delhi D - Banaras 9. Which Vocalist is famous by the Pen name 'Pran Piya'? A - Ustad Vilayat Hussain Khan B - Ustad Imrat hussain khan C - Ustad Faiyaz khan D - Ustad Vajahat hussain Khan 10. -
40 an Effect of Raga Therapy on Our Human Body
International Journal of Humanities and Social Science Research ISSN: 2455-2070 www.socialresearchjournals.com Volume 1; Issue 1; November 2015; Page No. 40-43 An effect of Raga Therapy on our human body 1 Joyanta Sarkar, 2 Utpal Biswas 1 Department of Instrumental Music, RabindraBharati University 2 Assistant Professor, Department of Music, Tripura University Abstract Now a days, music assumes a vital part in each human life. Because of overwhelming work weight, people listen music to relax. Music increases the metabolic activities within the human body. It accelerates the respiration, influences the internal secretion, improves the muscular activities and as such affects the "Central Nervous System” and Circulatory System of the listener and the performer. A Raga is the sequence of selected notes (swaras) that lend appropriate ‘mood’ or emotion in a selective combination. It’s a yoga system through the medium of sonorous sounds. Depending on its nature, a raga could induce or intensify joy or sorrow, violence or peace, and it is this quality which forms the basis for musical application. Keywords: Raga Therapy, human body Introduction Music therapy as a means to identify with cultural and spiritual identity Music therapy to assist memory and imagination. Etc The goals of Raga therapy are dependent upon the purpose of music therapy for each individual case. Drug and alcohol centers and schools may use music therapy and behavior changing may be an important goal (Sairam, 2004a) [3]. Whereas, nursing homes may use music therapy in more of a support role or to relieve pain. Autism, a neurological disorder that affects normal brain functioning is usually noticed within 30 months of age. -
Bridging Chasms in Hindustani Music Retrieval
Bridging Chasms in Hindustani Music Retrieval A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Joe Cheri Ross (Roll No. 114050001) Under the guidance of Prof. Preeti Rao and Prof. Pushpak Bhattacharyya Department of Computer Science & Engineering, INDIAN INSTITUTE OF TECHNOLOGY BOMBAY December 2017 Declaration I declare that this written submission represents my ideas in my own words and where others ideas or words have been included I have adequately cited and referenced the original sources. I also declare that I have adhered to all principles of academic honesty and integrity and have not misrepresented or fabricated or falsified any idea/data/fact/source in my submission. I un- derstand that any violation of the above will be cause for disciplinary action by the Institute and can also evoke penal action from the sources which have thus not been properly cited or from whom proper permission has not been taken when needed. Joe Cheri Ross (Roll No: 114050001) Date: 22nd December 2017 Abstract Development of a music recommender system, one of the key applications of Music Informa- tion Retrieval (MIR), necessitates research into methods to represent and retrieve music infor- mation efficiently. Considering the specific characteristics of each music culture and the diverse requirements thereof, the methods must be culture-aware with many of the associated tasks be- ing culture-specific. This research is motivated by the importance of a music recommendation system for Hindustani music. The investigated tasks focus primarily on information extraction from melodic audio and text content, realizing the significance of information from multi-modal sources. -
Identifying Raga Similarity Through Embeddings Learned from Compositions’ Notation
IDENTIFYING RAGA SIMILARITY THROUGH EMBEDDINGS LEARNED FROM COMPOSITIONS’ NOTATION Joe Cheri Ross1 Abhijit Mishra3 Kaustuv Kanti Ganguli2 Pushpak Bhattacharyya1 Preeti Rao2 1 Dept. of Computer Science & Engineering, 2 Dept. of Electrical Engineering Indian Institute of Technology Bombay, India 3 IBM Research India [email protected] ABSTRACT by the raga framework. A raga is a melodic mode or tonal matrix providing the grammar for the notes and melodic Identifying similarities between ragas in Hindustani mu- phrases, but not limiting the improvisatory possibilities in sic impacts tasks like music recommendation, music in- a performance [25]. formation retrieval and automatic analysis of large-scale Raga being one of the most prominent categorization musical content. Quantifying raga similarity becomes ex- aspect of Hindustani music, identifying similarities be- tremely challenging as it demands assimilation of both in- tween them is of prime importance to many Hindustani trinsic (viz., notes, tempo) and extrinsic (viz. raga singing- music specific tasks like music information retrieval, mu- time, emotions conveyed) properties of ragas. This pa- sic recommendation, automatic analysis of large-scale mu- per introduces novel frameworks for quantifying similar- sical content etc. Generally similarity between ragas is ities between ragas based on their melodic attributes alone, inferred through attributes associated with the ragas. For available in the form of bandish (composition) notation. instance, in Hindustani music, classification of ragas based Based on the hypothesis that notes in a particular raga on the tonal material involved is termed as thaat. There are are characterized by the company they keep, we design 10 thaats in Hindustani music [8].