Download The

Total Page:16

File Type:pdf, Size:1020Kb

Download The CROSS-CULTURAL PEDAGOGY IN NORTH INDIAN CLASSICAL MUSIC by Michael Hale Oppenheim B.A., Kenyon College, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2012 © Michael Hale Oppenheim, 2012 !!" Abstract This thesis is an investigation of pedagogy in North Indian classical music. Historical, cultural, and philosophical elements of pedagogy in the Hindustani musical tradition are addressed in an overview of music education in traditional Indian contexts, the twentieth century, and in cross-cultural contexts. Themes include orality in Indian culture, the traditional guru-shishya parampara, the role of nationalism in twentieth century educational reforms, and the impact of technology in the latter half of the twentieth century. Trends in music education in India are then compared and contrasted with the state of education in Indian music in cross-cultural contexts in the West. From this data a model of the essential elements of Indian pedagogy is synthesized. This model accounts for pedagogical devices utilized to impart musical information as well as methods of transmitting cultural and social values. This model is applied to the experiences of five North American students of Hindustani music interviewed during the research process for this thesis. !!!" Preface This thesis was completed in accordance with the mandates of The University of British Columbia Behavioural Research Ethics Board. The UBC BREB number for this research is H12-01430. !#" Table of Contents Abstract.............................................................................................................................. ii Preface............................................................................................................................... iii Table of Contents............................................................................................................. iv List of Tables .................................................................................................................. viii Acknowledgements .......................................................................................................... ix 1. Introduction....................................................................................................................1 1.1 Introduction........................................................................................................1 1.2 Motivation..........................................................................................................3 1.3 Methods .............................................................................................................5 1.3.1 Primary and Secondary Sources ...............................................................6 1.3.2 Observation and Informants......................................................................6 1.3.3 Self-Reflective Analysis ...........................................................................6 1.4 Defining Pedagogy ............................................................................................8 1.5 Structure of the Thesis .......................................................................................8 2. Historical Approaches to Indian Pedagogy...............................................................11 2.1 Music Transmission in North India .................................................................11 2.2 The Role of the Guru .......................................................................................13 2.3 The Role of the Shishya ...................................................................................17 2.4 The Role of the Guru-Shishya Parampara......................................................20 2.5 Gharana...........................................................................................................21 #" 2.6 The Nature of Talim.........................................................................................25 2.7 The Nature of Riyaz .........................................................................................28 2.8 Social Values in Indian Music .........................................................................30 3. Twentieth-Century Alternatives in Music Education ..............................................32 3.1 Changing Attitudes and Values .......................................................................32 3.2 The Status of Music in the Early Twentieth Century ......................................33 3.3 Nationalist Endeavors ......................................................................................35 3.4 Nationalizing and Modernizing Indian Classical Music..................................36 3.4.1 Notation ..................................................................................................37 3.4.2 Theory and Shastras ...............................................................................39 3.4.3 Bhatkhande’s Theory and Standardization of Raga Theory...................41 3.4.4 Mass Education and Institutionalized Training ......................................43 3.5 Music Schools in the Early Twentieth Century ...............................................44 3.5.1 The Marris College of Music..................................................................45 3.5.2 Gandharva Mahavidyalaya ....................................................................47 3.5.3 Shankar Gandharva Mahavidyalaya ......................................................50 3.6 Summary of the Early Twentieth Century.......................................................52 4. Contemporary Trends in Hindustani Musical Education .......................................53 4.1 Traditional Attitudes towards Musical Pedagogy............................................53 4.2 The Use of Modern Aids in Music Education .................................................55 4.3 Limitations of Modern Pedagogies..................................................................59 4.4 Attitudes towards Modern Pedagogy...............................................................63 4.5 Hindustani Music in the West..........................................................................65 #!" 4.6 Western Attitudes towards Hindustani Music .................................................66 4.7 Hindustani Music Education in the West ........................................................67 4.8 The Pedagogical Model: Western or Indian? ..................................................72 5. Representing Indian Pedagogy...................................................................................76 5.1 Introduction......................................................................................................76 5.2 Pedagogical Devices in Hindustani Music ......................................................76 5.2.1 Scalar Exercises ......................................................................................77 5.2.2 Oral Notations: Sargam and Bol.............................................................79 5.2.3 Compositions: Bandish, Cheej, and Gat.................................................80 5.2.4 Comparisons: Metaphor and Raga Tulna ...............................................82 5.2.5 Imitation and Memorization ...................................................................85 5.3 Uses of Pedagogical Devices in Self-Instruction Materials.............................87 5.4 Cultural Materials: The Experience.................................................................95 5.5 Representations of Hindustani Pedagogy ........................................................98 6. Personal Experiences.................................................................................................100 6.1 Introduction....................................................................................................100 6.2 Analysis of the Interviews .............................................................................101 6.3 Informant KT .................................................................................................102 6.4 Informant PE..................................................................................................104 6.5 Informant SH .................................................................................................106 6.6 Informant HT .................................................................................................109 6.7 Informant DA.................................................................................................112 6.8 Relationships to Hindustani Music................................................................114 #!!" 6.8.1 Group Lessons vs. Private Lessons.......................................................115 6.8.2 Oral/Aural vs. Notated Pedagogy .........................................................116 6.8.3 Intellectual vs. Practical Approaches to Music.....................................117 6.8.4 Imitative vs. Non-Imitative...................................................................119 6.8.5 Invented Practice vs. Prescribed Practice .............................................120 6.8.6 Cultural vs. Musical..............................................................................121 6.9 Relationships and Negotiations .....................................................................122 7. Conclusions.................................................................................................................126
Recommended publications
  • Famous Indian Classical Musicians and Vocalists Free Static GK E-Book
    oliveboard FREE eBooks FAMOUS INDIAN CLASSICAL MUSICIANS & VOCALISTS For All Banking and Government Exams Famous Indian Classical Musicians and Vocalists Free static GK e-book Current Affairs and General Awareness section is one of the most important and high scoring sections of any competitive exam like SBI PO, SSC-CGL, IBPS Clerk, IBPS SO, etc. Therefore, we regularly provide you with Free Static GK and Current Affairs related E-books for your preparation. In this section, questions related to Famous Indian Classical Musicians and Vocalists have been asked. Hence it becomes very important for all the candidates to be aware about all the Famous Indian Classical Musicians and Vocalists. In all the Bank and Government exams, every mark counts and even 1 mark can be the difference between success and failure. Therefore, to help you get these important marks we have created a Free E-book on Famous Indian Classical Musicians and Vocalists. The list of all the Famous Indian Classical Musicians and Vocalists is given in the following pages of this Free E-book on Famous Indian Classical Musicians and Vocalists. Sample Questions - Q. Ustad Allah Rakha played which of the following Musical Instrument? (a) Sitar (b) Sarod (c) Surbahar (d) Tabla Answer: Option D – Tabla Q. L. Subramaniam is famous for playing _________. (a) Saxophone (b) Violin (c) Mridangam (d) Flute Answer: Option B – Violin Famous Indian Classical Musicians and Vocalists Free static GK e-book Famous Indian Classical Musicians and Vocalists. Name Instrument Music Style Hindustani
    [Show full text]
  • Music) (Credit System)
    Bharati Vidyapeeth Deemed University School of Performing Arts, Pune Semester Wise Detailed Chart of Syllabus of B.A. (Music) (Credit System) B.A. 1st Year (Music) Credits (Vocal / Instrumental / Percussion) Sem – 1st Two Language Papers 01 Credit each Theory Paper 02 Stage Performance 14 Viva 07 Sr. Subject Paper Syllabus no 1 Language (English) L11 Biography of Pt. Sapan Chaudhari, Padma Subramaniam, Pt. Shivkumar Sharma, Pt. Jasraj 2 Language (Marathi) L12 Biography Pt. Vishnu Digambar Paluskar 3 Theory (Music) (Vocal & T11 1. Notation System Instrumental) a) Concept of Notation and use (Notation System) b) History of Notation c) Bhatkhande and Paluskar Notation System 2. Concept and Definitions of Terms: Raga, That, Nad, Swara, Shruti, Awartan, Aroha, Awaroha, Swaralankar, Shuddha Swara, Komal Swara, Teewra Swara, That etc. 3. Old Concepts: Gram, Murchna etc. 4 Theory (Music) T12 1) Notation system (Taal Paddhatee) (Percussion) a) In North Indian Classical Style (Notation System) Bhatkhande and Paluskar styles of notation b) Karnataki system. 2) Writing of different taals 3) Notation writing of intricacies of developing Taal : like Kayda, Tukda, Paran, Tihai etc 4) Definition of terms: Taal, Matra, Khanda, Sam, Kaal, Theka 5 Viva (Music) (Vocal & V11 Information on Practical Syllabus Sem I Instrumental) Note – 1. Presentation of other Raga from syllabus.( Except the Raga sung / Played in stage performance) 2. Information of the Ragas mentioned in syllabus i.e. Aaroh – Avaroh, Swar, Varjya Swar, Vadi, Samvadi, Anuvadi, Vivadi, Jaati, Time of Singing Raga etc. 3. Names of the Raga similar to the Raga mentioned in syllabus. 4. Definition – Sangeet, Raag, Taal.. 5. Information of Taal Teentaal – i.e.
    [Show full text]
  • Lessons in Perseverance
    Articles by Prince Rama Varma Lessons in Perseverance We all know that India is a land of surprises. One may come across such treasures as original Raja Ravi Varma paintings hidden away in the lofts of ancient family homes in Kerala or Stradivarius violins made in the 1790s lying in an antique shop somewhere. One meets all kinds of amazing and unexpected people too. Many such treasures, be they people, places or things, sadly cannot be always shared with the public. However, there are some treasures which fortunately can be shared and here is one that I'd like to share with you. One of the most pristine, unspoilt and serene parts of India is North Karnataka or North Canara... places like Hubli and Dharwad. Rich tradition Despite being in South India, this belt has had a very rich tradition of North Indian classical music for several years and has produced some of the greatest maestros that our country has seen, like the Late Pandit Mallikarjun Mansur, Gangubai Hangal and others. One of the treasures hidden away in this part of the country is a little village called Hasanagi. To reach Hasanagi, one first has to take an overnight train to Hubli from Bengalooru [Bangalore]. Then an hour's journey by car would bring one to a little town called Yellapura.And Hasanagi is a short drive away from Yellapura. What makes Hasanagi, a little village that's hidden away in the hills and forests of North Karnataka, so special? This is where a miracle worker named Pandit Ganapathi Bhatt lives and works his miracles.
    [Show full text]
  • APARAJITO/THE UNVANQUISHED (1956) 110 Min
    3 October 2006 XIII:5 APARAJITO/THE UNVANQUISHED (1956) 110 min. Produced, written and directed by Satyajit Ray Based on the novel by Bibhutibhushan Bandyopadhyay Original Music by Ravi Shankar Cinematography by Subrata Mitra Film Editing by Dulal Dutta Kanu Bannerjee ... Harihar Ray Karuna Bannerjee ... Sarbojaya Ray Pinaki Sengupta ... Apu (young) Smaran Ghosal ... Apu (adolescent) Santi Gupta ... Ginnima Ramani Sengupta ... Bhabataran Ranibala ... Teliginni Sudipta Roy ... Nirupama Ajay Mitra ... Anil Charuprakash Ghosh ... Nanda Subodh Ganguli ... Headmaster Mani Srimani ... Inspector Hemanta Chatterjee ... Professor Kali Bannerjee ... Kathak Kalicharan Roy ... Akhil, press owner Kamala Adhikari ... Mokshada Lalchand Banerjee ... Lahiri K.S. Pandey ... Pandey Meenakshi Devi ... Pandey's wife Anil Mukherjee ... Abinash Harendrakumar Chakravarti ... Doctor Bhaganu Palwan ... Palwan SATYAJIT RAY (2 May 1921, Calcutta, West Bengal, British India—23 April 1992, Calcutta, West Bengal, India) directed 37 films. He is best known in the west for the Apu Trilogy— Apur Sansar/The World of Apu (1959), Aparajito/The Unvanquished (1957), and (his first film) Pather Panchali/Song of the Road (1955) and for Jalsaghar/The Music Room (1958). His last films were Agantuk (1991), Shakha Proshakha (1990), Ganashatru/An Enemy of the People (1989), Sukumar Ray (1987), Ghare-Baire/The Home and the World (1984) and Heerak Rajar Deshe/The Kingdom of Diamonds (1980). He was given an honorary Academy Award in 1992. SUBRATA MITRA (12 October 1930, Calcutta, West Bengal, India—7 December 2001) shot 17 films, 10 of them for Ray, including all three Apu films, Jalsaghar/The Music Room (1958) and Parash Pathar/The Philosopher’s Stone (1958). His last film was New Delhi Times (1986).
    [Show full text]
  • Of ABBA 1 ABBA 1
    Music the best of ABBA 1 ABBA 1. Waterloo (2:45) 7. Knowing Me, Knowing You (4:04) 2. S.O.S. (3:24) 8. The Name Of The Game (4:01) 3. I Do, I Do, I Do, I Do, I Do (3:17) 9. Take A Chance On Me (4:06) 4. Mamma Mia (3:34) 10. Chiquitita (5:29) 5. Fernando (4:15) 11. The Winner Takes It All (4:54) 6. Dancing Queen (3:53) Ad Vielle Que Pourra 2 Ad Vielle Que Pourra 1. Schottische du Stoc… (4:22) 7. Suite de Gavottes E… (4:38) 13. La Malfaissante (4:29) 2. Malloz ar Barz Koz … (3:12) 8. Bourrée Dans le Jar… (5:38) 3. Chupad Melen / Ha… (3:16) 9. Polkas Ratées (3:14) 4. L'Agacante / Valse … (5:03) 10. Valse des Coquelic… (1:44) 5. La Pucelle d'Ussel (2:42) 11. Fillettes des Campa… (2:37) 6. Les Filles de France (5:58) 12. An Dro Pitaouer / A… (5:22) Saint Hubert 3 The Agnostic Mountain Gospel Choir 1. Saint Hubert (2:39) 7. They Can Make It Rain Bombs (4:36) 2. Cool Drink Of Water (4:59) 8. Heart’s Not In It (4:09) 3. Motherless Child (2:56) 9. One Sin (2:25) 4. Don’t We All (3:54) 10. Fourteen Faces (2:45) 5. Stop And Listen (3:28) 11. Rolling Home (3:13) 6. Neighbourhood Butcher (3:22) Onze Danses Pour Combattre La Migraine. 4 Aksak Maboul 1. Mecredi Matin (0:22) 7.
    [Show full text]
  • 13SUNDC COL 01R3.QXD (Page 1)
    œND‰‰†‰KœND‰‰†‰œND‰‰†‰MœND‰‰†‰C OF INDIA Today is Gurupurnima or Vyasa NEWNEW KIDSKIDS Purnima. The great scholar Vyasa, who THETHE wrote the divine epic Mahabharata ONON THETHE and codified the Vedas, was born on this day. It celebrates the might X-FILESX-FILES of the guru or teacher through BLOCKBLOCK respect and reverence. SPECIALSPECIAL REPORTREPORT ALL THAT MATTERS New Delhi July 13, 2003, Capital • 40 pages including Men & Women & Classifieds + 8 pages of Delhi Times Price Rs. 2.75 SNAPSHOTS I hit him AP Dollar India dreams bigger and bolder with bottle, Graphic: Neelabh By Priya Ranjan Dash going to the US for medical rise against the dollar is TIMES NEWS NETWORK treatment. not temporary.The debate is in- confesses The rupee has been on the stead over the point at New Delhi: The Sharmas to- rise against the greenback for which the rupee’s appreciation day have no regrets over the the past several months. On would rest. Exec’s wife fact that they had to postpone Friday, it ended at 46.12, a 33- Last month, market opera- TIMES NEWS NETWORK their summer travel to the US month high tors were predicting that by a couple of against the dollar. the rupee would breach the Chandigarh: Swapna, months. On Fri- And the benefits Rs 46 mark towards the end wife of Delhi-based sen- day, while buying are being felt all of the year. ior executive Mandiv dollars for the SUNDAY around. The rupee is already nearing Sapra who was found family’s upcom- Undergraduate that mark and poised to go murdered in a five-star ing trip, Mr Shar- SPECIAL study in a good US past it this week.
    [Show full text]
  • Indo-Caribbean "Local Classical Music"
    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2000 The Construction of a Diasporic Tradition: Indo-Caribbean "Local Classical Music" Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/335 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] VOL. 44, NO. 1 ETHNOMUSICOLOGY WINTER 2000 The Construction of a Diasporic Tradition: Indo-Caribbean "Local Classical Music" PETER MANUEL / John Jay College and City University of New York Graduate Center You take a capsule from India leave it here for a hundred years, and this is what you get. Mangal Patasar n recent years the study of diaspora cultures, and of the role of music therein, has acquired a fresh salience, in accordance with the contem- porary intensification of mass migration and globalization in general. While current scholarship reflects a greater interest in hybridity and syncretism than in retentions, the study of neo-traditional arts in diasporic societies may still provide significant insights into the dynamics of cultural change. In this article I explore such dynamics as operant in a unique and sophisticated music genre of East Indians in the Caribbean.1 This genre, called "tan-sing- ing," has largely resisted syncretism and creolization, while at the same time coming to differ dramatically from its musical ancestors in India. Although idiosyncratically shaped by the specific circumstances of the Indo-Caribbean diaspora, tan-singing has evolved as an endogenous product of a particu- lar configuration of Indian cultural sources and influences.
    [Show full text]
  • 1. Could You Tell Us a Little Bit About Yourself? 2. Could You Tell Us a Little Bit About What You Do?
    1. Could you tell us a little bit about yourself? 2. Could you tell us a little bit about what you do? For both questions above, please check my website: www.shemeem.com 3. Has Sufi music and Qawwali been part of your childhood? Did the place you grew up in have an influence on your interest in Qawwali? Sufism and Qawwali has been a part of my childhood as well as of my life. My mother’s family belong to the Suhrawardy and Qadiriyya order of Sufis such as Hazrat Bahauddin Zakaria of Multan and Rukunuddin Shah Alam. We also have a connection with Hazrat Shams-e Tabriz, the great Sufi master who was mentor to Maulana Rumi of Konya. I’ve been exposed to musical traditions from my father’s side who was a connoisseur of classical music and played the tabla well. My father’s family trace descent from Ziya’al Din Barani (1285-1361). Barani’s history of the Delhi sultanate in the thirteenth and fourteenth centuries is a major source to study the Muslim ethnomusicology of the time, especially the study of Amir Khusrau, the founder of the qawwali tradition in India. As such the qaul, “mun kunto maula fa Ali un maula” with which traditional classical qawwali is initiated is attributed to Amir Khusrau. I grew up in East Pakistan in the early 1950s which at that time had a strong musical tradition because of its interfaith communities of Muslims, Hindus, Buddhists, Christians and other faiths, until it got taken over by orthodoxy and militarism.
    [Show full text]
  • Track Name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt
    Track name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt. Bhimsen Joshi 3 HINDOLIKA Pt. Bhimsen Joshi 4 Thumri-Bhairavi Pt. Bhimsen Joshi 5 SHANKARA MANIK VERMA 6 NAT MALHAR MANIK VERMA 7 POORIYA MANIK VERMA 8 PILOO MANIK VERMA 9 BIHAGADA PANDIT JASRAJ 10 MULTANI PANDIT JASRAJ 11 NAYAKI KANADA PANDIT JASRAJ 12 DIN KI PURIYA PANDIT JASRAJ 13 BHOOPALI MALINI RAJURKAR 14 SHANKARA MALINI RAJURKAR 15 SOHONI MALINI RAJURKAR 16 CHHAYANAT MALINI RAJURKAR 17 HAMEER MALINI RAJURKAR 18 ADANA MALINI RAJURKAR 19 YAMAN MALINI RAJURKAR 20 DURGA MALINI RAJURKAR 21 KHAMAJ MALINI RAJURKAR 22 TILAK-KAMOD MALINI RAJURKAR 23 BHAIRAVI MALINI RAJURKAR 24 ANAND BHAIRAV PANDIT JITENDRA ABHISHEKI 25 RAAG MALA PANDIT JITENDRA ABHISHEKI 26 KABIR BHAJAN PANDIT JITENDRA ABHISHEKI 27 SHIVMAT BHAIRAV PANDIT JITENDRA ABHISHEKI 28 LALIT BEGUM PARVEEN SULTANA 29 JOG BEGUM PARVEEN SULTANA 30 GUJRI JODI BEGUM PARVEEN SULTANA 31 KOMAL BHAIRAV BEGUM PARVEEN SULTANA 32 MARUBIHAG PANDIT VASANTRAO DESHPANDE 33 THUMRI MISHRA KHAMAJ PANDIT VASANTRAO DESHPANDE 34 JEEVANPURI PANDIT KUMAR GANDHARVA 35 BAHAR PANDIT KUMAR GANDHARVA 36 DHANBASANTI PANDIT KUMAR GANDHARVA 37 DESHKAR PANDIT KUMAR GANDHARVA 38 GUNAKALI PANDIT KUMAR GANDHARVA 39 BILASKHANI-TODI PANDIT KUMAR GANDHARVA 40 KAMOD PANDIT KUMAR GANDHARVA 41 MIYA KI TODI USTAD RASHID KHAN 42 BHATIYAR USTAD RASHID KHAN 43 MIYA KI TODI USTAD RASHID KHAN 44 BHATIYAR USTAD RASHID KHAN 45 BIHAG ASHWINI BHIDE-DESHPANDE 46 BHINNA SHADAJ ASHWINI BHIDE-DESHPANDE 47 JHINJHOTI ASHWINI BHIDE-DESHPANDE 48 NAYAKI KANADA ASHWINI
    [Show full text]
  • Syllabus of Hindustani Music (Vocal)
    SHRI DEV SUMAN UTTARAKHAND UNIVERSITY BADSHAHITHAUL TEHRI GARHWAL (UTTARAKHAND) FACULTY OF MUSIC BACHELOR OF ARTS 2018-2019 AN UNDER GRADUATE PROGRAMME 1 SHRI DEV SUMAN UTTARAKHAND UNIVERSITY BADSHAHITHAUL TIHARI GARHWAL (UTTARAKHAND) BACHELOR OF ARTS 2018 DEPARTMENT OF MUSIC SYLLABUS HINDUSTANI MUSIC (VOCAL) / STRING INSTRUMENTS OF HINDUSTANI MUSIC (SITAR) & PERCUSSION INSTRUMENTS OF HINDUSTANI MUSIC (TABLA/PAKHAWAJ) (WITH EFFECT FROM 2018-19) 2 SHRI DEV SUMAN UTTARAKHAND UNIVERSITY BADSHAHITHAUL TEHRI GARHWAL (UTTARAKHAND) UNDER GRADUATE 2018 DEPARTMENT OF MUSIC SYLLABUS OF HINDUSTANI MUSIC VOCAL /STRING INSTRUMENS (SITAR) (With Effect From 2018-19) 3 Admission Criteria For B.A. Hindustan Music Vocal/Instrumental (Sitar & Tabla) Only such applicant who might have passed the qualifying examination with Music as an elective subject or who might have passed the four year course/senior diploma/Madhyma from bhathkhande or prayag sangeet samiti shall be permitted to elect music as an elective subject at the under graduate level (B.A.). However, other talented applicants desirous of studying music as an elective subject at the under graduate level may be granted the permission on the basis of their performance in an audition before the head of the department of music. 4 SYLLABUS FOR B.A. (PROG.) HINDUSTANI MUSIC (VOCAL/ INSTRUMENTAL SITAR ) PAPER TOTAL MARKS IN EACH SEMESTER MARKS DIVISION SEMESTER-I 200 (FINAL EXAMS+ASSESMENTS=Total ) Paper - I Practical 60+15 = 75 Paper - II Practical 60+15 = 75 Paper - III Theory 40+10 = 50 SEMESTER-II
    [Show full text]
  • 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.
    [Show full text]
  • Adéla Jonášová
    Wikipedista:Alfi51 Žiji v Českém Těšíně. Aleš Havlíček Jsem důchodce a rád si hraji s počítačem. Články mnou založené Alannah Currie Aldeburgh Angie Dickinson Alexandre Francois Debain Alex Sadkin Andělín Grobelný Adéla Jonášová Anita Carter Axel Stordahl The Beatmen Beatles For Sale Bedřich Havlíček Berthold Bartosch Biela voda (přítok Teplice) Billy Vera Bob Chester Bobbi Kristina Brown Bobby Vee Bobby Vinton Carlene Carter Carl Perkins Chuck Jackson Dana Vrchovská Eydie Gormé Emil Vašek Festival Kino na hranici Flora Murrayová Frankie Avalon Frank P. Banta French press Aleš v roce 2008 George Dunning George Botsford Gene Greene Hal Základní informace David Hans Mrogala Harmonium Harry James Helen Carter Help! (album) Howard Deutch Ida Münzbergová Narození 21. dubna 1951 Ina Ray Hutton Ipeľská pahorkatina Ivana Ostrava, Česko Wojtylová Izabela Trojanowska Jakub Mátl James Scott Žánry pop, blues (hudebník) Jan Hasník Javorianska hornatina Jerzy Povolání hudební skladatel, počítačový Kronhold Jimmy Durante John Keeble José Feliciano Joseph Lamb Judy Clay June Hutton Jungle fanatik a wikipedista Funk Kateřina Kornová Koruna (hudba) Kunešovská Nástroje kytara hornatina Ladislav Báča Largo (Florida) LaVerne Sophia Aktivní roky dosud Andrews Les Brown (hudebník) Let It Be (album) Louis Manžel(ka) Dagmar Krzyžánková Prima Louisa Garrett Andersonová Madelyn Deutch Maggi Hambling Martha a Tena Maxene Angelyn Andrews Děti Aleš, Martin Mezinárodní divadelní festival Na hranici Millicent Garrett Rodiče Bedřich Havlíček, Fawcett Mira Kubasińska Mud
    [Show full text]