Jewels of India: Ramesh Chauhan
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And Joydeep Ghosh (Sarod)
The Asian Indian Classical Music Society 51491 Norwich Drive Granger, IN 46530 Concert Announcement Vidushi Mita Nag (sitar) Pandit Joydeep Ghosh (sarod) with Pandit Subhen Chatterjee (Tabla) April 26, 2016, Tuesday, 7.00PM At: the Andrews Auditorium, Geddes Hall University of Notre Dame Cosponsored with the Liu Institute of Asia and Asian Studies Tickets available at gate. General Admission: $10, AICMS Members and ND/SMC faculty: $5, Students: FREE Mita Nag, daughter of the veteran sitarist, Pandit Manilal Nag and granddaughter of Sangeet Acharya Gokul Nag, belongs to the Vishnupur Gharana of Bengal, a school of music that is nearly 300 years old and which is known for its dhrupad style of playing. She was initiated into music at the age of four, and studied with her mother, grandfather and father. She appeared for her debut performance at the age of ten, when she also won the Government of India’s Junior National Talent Search Award. She has given many concert performances, both alone and with her father, in cities in the US, Canada, Japan and Europe as well as in India. Joydeep Ghosh is hailed as one of India’s leading sarod, surshringar and Mohanveena artists. He started his sarod training at the age of five, and has studied with the great masters the late Sangeetacharya Anil Roychoudhury , late Sangeetacharya Radhika Mohan Moitra and Padmabhusan Acharya Buddhadev Dasgupta all of the Shahajahanpur Gharana. He has won numerous awards and fellowships, including those from the Government of India, the title of “Suramani” from the Sur Singar Samsad (Mumbai) and “Swarshree” from Swarankur (Mumbai). -
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". -
Featured Cocktails Glass $10 Electric Feel Dark Chocolate Liquor, Strawberry Puree and Vanilla Soda
LeMoNAdE glass: $9, pitcher: $32 Royal Tenenbaum Cucumber Purus Vodka, rosemary Gin, cucumber infused syrup, fresh cranberries, liqueur, fresh mint, ginger beer lemonade Rosemary Peach El Diablo Purus Organic Vodka, Milagro Tequila, creme rosemary syrup, peach de cassis, ginger beer, lemonade lemonade Cherry Limeade Strawberry Purus Organic Vodka, Basil cherry, lemonade, lime, Purus Organic Vodka, fresh lemon-lime soda basil, strawberry, lemonade Hawaiian Breeze Bourbon Basil Coconut rum, peach nectar, Old Forester, basil, iced tea, lemonade, cranberry juice lemonade Limoncello Ginger Peach Purus Organic Vodka, fresh Purus Organic Vodka, mint, famous house-made peach nectar, ginger beer, Limoncello lemonade Featured cocktails glass $10 Electric Feel Dark chocolate liquor, strawberry puree and vanilla soda. Delicious with a shocking mouthfeel. Spice Girl Spiced Rum, a bit of honey and ginger infused apple cider . Served Hot. FloAts & ShAkEs Lemon Squeezy $9 Banana Foster $9 Purus Organic Vodka, Dark rum, caramel, banana, Limoncello, lemon raspberry vanilla & salted caramel ice ice cream shake cream shake Horchata $9 Irish Coffee $9 Purus Organic Vodka, Irish whiskey, Irish cream, cinnamon ice cream shake espresso ice cream shake Dreamsicle $9 PB Vibes $9 Purus Organic Vodka, Peanut Butter whiskey, creme Fanta Orange, vanilla ice de cassis and chocolate ice cream float cream shake WINe Glass: $8, Bottle: $28 White Red Trapiche Chardonnay H3 Red Blend Mendoza, Argentina Columbia Valley, Washington Paparuda Pinot Grigio Terra Romana Pinot Noir Recas, Romania Prahova, Romania Beer 9 oz 16oz 2ND SHIFT Albino Pygmy Puma $4 $6 Smooth, citrus, New England-style Pale Ale with a few different hops. 2ND SHIFT Little Big Hop $4 $6 Hazy Session, Low ABV, Double IPA. -
Cloudwater and Vault City Beers in Your Shopping Trolley
FRESH BEER Catch up on the latest UK Craft Beer releases. SUPERMARKET WARS Cloudwater and Vault City beers in your shopping trolley. TWICB BEER TOURS Check out our curated & hosted Craft Beer Tours. TWICB PODCAST Rob is joined by Ben from Rivington Brewing Co. 60 ISSUE SIXTY APRIL 19th 2021 ISSUE 60 - 19 APRIL 2021 Thankfully the sun shone for most of us last week which enabled thirsty punters to enjoy beers again in pub gardens and outside taproom areas. Long may it continue. Plenty of great new Craft Beer releases last week as breweries re- veal their newest wares to coincide with the loosening of lockdown. If you really fancy saying good riddance to lockdown, then join us on one of our new Grand Beer Tours commencing in the second half of 2021, (Covid permitting). TWICB Grand Tours are carefully curated, hosted, long-weekend tours for small groups of Craft Beer fans. Tours are jointly hosted by TWICB and a leading UK Brewery and the Brewery Owner/Head Brewer will join the tour and be company throughout. Tours includes either 3 or 4 B&B nights hotel accommodation, in-destination ground transportation, tutored tasting events and beer launch events. Tours to Copenhagen, Denmark and New England in the US are now available to book. Check out the promotional pages in this Newsletter for more details. CONTENTS Beer Releases Beer Tours Brewer’s Corner Festivals Page 3 Page 19 Page 22 Page 25 TWICB Podcast Online Beer Taproom Directory Podcast Directory Page 28 Page 29 Page 38 Page 46 A big thank you to our current patreon supporters: John Stevens Jamie Ramsey Peter Corrigan Sue Johnson Angela Peterson Alex Postles Nick Flynn Jazz Hundal Charlie Smith Phantom Brewing Co. -
Teachers Day Program Details 2018 V11
CMANA 4. Time: 12:00 PM to 12:20 PM in association with GCD 2017 Winner The Sringeri Vidya Bharati Foundation, USA Keshav Muralidharan 19th May 2018 from 10:30 AM Onwards (Vocal) Location The Auditorium, Sringeri Vidya Bharati Foundation, 327,Cays Road, Stroudsburg PA 18360 Break Time: 12:30 PM to 01:15 PM 1. Time: 10:30 AM to 10:50 AM GCD 2017 Winner 5. Time: 01:20 PM to 01:40 PM Neharika Murthy GCD 2016 Winner of Padma Srinivasan Prize (Vocal) Srinath Peraganur ((violin)) 2. Time: 11:00 AM to 11:20 AM Local Teacher Group Participation 6. Time: 01:50 PM to 02:10 PM Teacher Name: Teacher Name: Local Teacher Group Participation Bhavani Prakash Prakash Rao Teacher Name: Manjula Ramachandran Participants Participants Krishna Palya Ananth Rayar Sabarinath Manjula Ramachandran Hemant Gosukonda Ramachandran 3. Time: 11:30 AM to 11:50 AM (Veena) (Vocal) (Mridangam) Local Teacher Group Participation Teacher Name: 7. Time: 02:15 PM to 03:00 PM Srividhya Sairam CMANA HONY PATRON PADMA SRINIVASAN AWARD WINNER IN INSTRUMENTAL CATEGORY ( KRITI,ALAPANA AND SWARAM) IN 2017 Participants Vishal Sowmyan Sabari Ramachandran (Violin) (Mridangam) Sanjana Venkatesh Sowmya Venkatesh www.cmana.org 02 8. Time: 03:10 PM to 03:30 PM GCD 2017 Winner Shardul Krishnakumar T S Nandakumar Shri T.S. Nandakumar, an Top grade artist of the All India Radio, hails 9. Time: 03:40 PM to 04:00 PM from the family of the renowned Nadaswaram exponents, Ambalapuzha Brothers of Kerala. He underwent training in percussion Local Teacher Group Participation under Shri Kaithavana Madhavdas in the Gurukulam tradition. -
CASE 1-3Coke and Pepsi Learn to Compete in India
CASE 1-3 Coke and Pepsi Learn to Compete in India they had to finance their own R&D in order to find a substitute THE BEVERAGE BATTLEFIELD ingredient. Many failed and quickly withdrew from the industry. In 2007, the President and CEO of Coca-Cola asserted that Coke Competing with the segment of carbonated soft drinks is an- has had a rather rough run in India; but now it seems to be getting other beverage segment composed of noncarbonated fruit drinks. its positioning right. Similarly, PepsiCo’s Asia chief asserted that These are a growth industry because Indian consumers perceive India is the beverage battlefield for this decade and beyond. fruit drinks to be natural, healthy, and tasty. The leading brand has Even though the government had opened its doors wide to for- traditionally been Parle’s Frooti, a mango-flavored drink, which eign companies, the experience of the world’s two giant soft drinks was also exported to franchisees in the United States, Britain, Por- companies in India during the 1990s and the beginning of the new tugal, Spain, and Mauritius. millennium was not a happy one. Both companies experienced a range of unexpected problems and difficult situations that led them to recognize that competing in India requires special knowl- OPENING INDIAN MARKET edge, skills, and local expertise. In many ways, Coke and Pepsi In 1991, India experienced an economic crisis of exceptional sever- managers had to learn the hard way that “what works here” does ity, triggered by the rise in imported oil prices following the first Gulf not always “work there.” “The environment in India is challenging, War (after Iraq’s invasion of Kuwait). -
What They Say
WHAT THEY SAY What THEY SAY Mrs. Kishori Amonkar 27-02-1999 “It was great performing in the new reconstructed Shanmukhananda Hall. It has improved much from the old one, but still I’ve a few suggestions to improve which I’ll write to the authorities later” Pandit Jasraj 26-03-1999 “My first concert here after the renovation. Beautiful auditorium, excellent acoustics, great atmosphere - what more could I ask for a memorable concert here for me to be remembered for a long long time” Guru Kelucharan Mohapatra 26-03-1999 “It is a great privilege & honour to perform here at Shanmukhananda Auditorium. Seeing the surroundings here, an artiste feeling comes from inside which makes a performer to bring out his best for the art lovers & the audience.” Pandit Birju Maharaj 26-03-1999 “ yengle mece³e kesÀ yeeo Fme ceW efHeÀj DeekeÀj GmekeÀe ve³ee ©He osKekeÀj yengle Deevevo ngDee~ Deeies Yeer Deeles jnW ³en keÀecevee keÀjles ngS~ μegYe keÀecevee meefnle~” Ustad Vilayat Khan 31-03-1999 “It is indeed my pleasure and privilege to play in the beautiful, unique and extremely musical hall - which reconstructed - renovated is almost like a palace for musicians. I am so pleased to be able to play today before such an appreciative audience.” § 34 § Shanmukhananda culture redefined2A-Original.indd 34 02/05/19 9:02 AM Sant Morari Bapu 04-05-1999 “ cesjer ÒemeVelee Deewj ÒeYeg ÒeeLe&vee” Shri L. K. Advani 18-07-1999 “I have come to this Auditorium after 10 years, for the first time after it has been reconstructed. -
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
"Improvised" Music
The University of Manchester Research Formulas and the building blocks of humr style: a study in "improvised" music Document Version Final published version Link to publication record in Manchester Research Explorer Citation for published version (APA): Alaghband-Zadeh, C. (2012). Formulas and the building blocks of humr style: a study in "improvised" music. Analytical Approaches to World Music Journal, 2(1), 1-48. Published in: Analytical Approaches to World Music Journal Citing this paper Please note that where the full-text provided on Manchester Research Explorer is the Author Accepted Manuscript or Proof version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version. General rights Copyright and moral rights for the publications made accessible in the Research Explorer are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Takedown policy If you believe that this document breaches copyright please refer to the University of Manchester’s Takedown Procedures [http://man.ac.uk/04Y6Bo] or contact [email protected] providing relevant details, so we can investigate your claim. Download date:06. Oct. 2021 Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music Chloe Zadeh PART I: IMPROVISATION, STRUCTURE AND FORMULAS IN NORTH INDIAN CLASSICAL MUSIC usicians, musicologists and -
Recipes Your Best Pies 39 Focus on Texas Photo Contest: Swings 40 Around Texas List of Local Events 42 Hit the Road Taking in Tyler by Melissa Gaskill
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Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music
Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music Chloe Zadeh PART I: IMPROVISATION, STRUCTURE AND FORMULAS IN NORTH INDIAN CLASSICAL MUSIC usicians, musicologists and teenage backpackers alike speak of “improvisation” in M modern-day Indian classical music.1 Musicians use the term to draw attention to differences between different portions of a performance, distinguishing between the “composition” of a particular performance (in vocal music, a short melody, setting a couple of lines of lyrics) and the rest of the performance, which involves musical material that is different in each performance and that musicians often claim to have made up on the spur of the moment.2 In their article “Improvisation in Iranian and Indian music,” Richard Widdess and Laudan Nooshin draw attention to modern-day Indian terminology which reflects a conceptual distinction between improvised and pre-composed sections of a performance (2006, 2–4). The concept of improvisation has also been central to Western imaginings of North Indian classical music in the twentieth century. John Napier has discussed the long history of Western descriptions of Indian music as “improvised” or “extemporized,” which he dates back to the work of Fox Strangways in 1914. He points out the importance the concept took on, for example, in the way in which Indian music was introduced to mainstream Western audiences in the 1960s; he notes that the belief that the performance of Indian music 1 I am very grateful to Richard Widdess and Peter Manuel for their comments on draft versions of this article. 2 The relationship between those parts of the performance that musicians label the “composition” and the rest of the performance is actually slightly more complicated than this; throughout, a performance of North Indian classical music is normally punctuated by a refrain, or mukhra, which is a part of the composition. -
Classic Ssical Arts Society of Houston Ty
Classicssical Arts Societyty of Houston Presenesents a Special Summer Concert! An Eveningg of Incomparable Music by the Violin Trio Padmabhushan PrProf. T.N. Krishnan, Smt. Viji Krishnashnan-Natarajan & Sri Sriram Krishnishnan with Sri T.S. Nandakumar on Mridangam Sri Chandhandrasekara Sharma on Ghatam At 4:300 PM on Sunday, June 12, 2016 Stafford Civic Center 1411415 Constitution Avenue Stafford, Texas About our Artists Prof T N Krishnan The foremost exponent of the Carnatic violin and the senior most living expnoent of this pristine tradition, T. N. Krishnan's art represents the purest expression of the Carnatic idiom. His emphasis on melodic clarity, spectral fidelity, and emotive finesse are unparalleled in his field. He is a living legend who has witnessed and assimilated the essence of the musical giants of the golden age of Carnatic Music. His music reflects the vigour, poignance and depth of the tradition as it should be practiced. Over the course of nearly eighty years, he has become synonymous with uncompromising classicism and continues to relentlessly pursue this passion. Smt. Viji Krishnan Natarajan Viji Krishnan, daughter of Sri T N Krishnan represents the seventh generation in a family of distinguished musicians who have contributed enormously to Indian music. Her initial training began at the age of three, under grandfather Sri A. Narayana Iyer and later from her illustrious father, the maestro Professor T. N. Krishnan. Viji turned out a child prodigy and gave her first performance at the age of seven when The Hindu reported her to be, "a chip off the old block". Viji is now an international performing artist.