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RHYTHMUNITY ENSEMBLE Kalyan Patak Jean-Christophe Leroy Janet Cramer
RHYTHMUNITY ENSEMBLE Kalyan Patak Jean-Christophe Leroy Janet Cramer PREPARING YOUR SCHOOL FOR THE ENSEMBLE’S VISIT Program Description: The Rhythmunity Ensemble is a group of percussionists hailing from all over the world who present a musical world tour of traditional percussion music. Committed to education in the belief that knowledge of other cultures can break down barriers between cultures, the ensemble has performed for thousands of public school students, college students, teachers, and business people. The program interweaves music, folklore, history, and geography in a very entertaining, educational and accessible presentation. Some of the cultures represented in the program include Cuban, West African, Arab, Indian, and Brazilian. The ensemble members are all highly accomplished musicians who have lived, studied, and performed all over the globe. Terms • Percussion • Balaphone • Guinea • Malinke • India • Conga • Bata Toque • Middle East • Samba • Djembe Musical excerpts to be selected from the following: 1) Traditional rhythms of the Malinke people of Guinea, West Africa, including Zawouli, Kuku, Tiriba and Menjani. 2) Traditional Balaphone from West Africa 3) Traditional rhythms from North Africa and the Middle East. 4) Traditional tabla music from Northern India, and folkloric dhol drum. 5) Cuban rumba and Bata music. 6) The music of Capoeira from northern Brazil 7) Traditional samba batucata from Rio de Janeiro, Brazil. GUIDELINE QUESTIONS FOR FOLLOW-UP DISCUSSION: Q: What instruments were used in today’s program? A: Bells, shekere, djembe, djun-djun, balaphone, tar, Egyptian tabla, riq, tabla,dhol, dholak, bata, congas, clave, berimbau, pandiero, repinique, caxia, surdo, agogo bells Q: What makes a traditional samba band? A: About 400 drummers. -
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. -
Rabindra Sangeet
UNIVERSITY GRANTS COMMISSION NET BUREAU Subject: MUSIC Code No.: 16 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music www.careerindia.com -1- Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. www.careerindia.com -2- Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics. -
Jagdish Prasad Sunil Kumar
+91-9811192425 Jagdish Prasad Sunil Kumar https://www.indiamart.com/jpskmusicalstore/ Founded in 1965, Jagdish Prasad Sunil Kumar is the foremost manufacturer, wholesaler and supplier of Tabla Musical Instruments, Naal Drums and Shruti Box. About Us Founded in 1965, Jagdish Prasad Sunil Kumar is the foremost manufacturer, wholesaler and supplier of Tabla Musical Instruments, Harmonium Musical Instrument, Dhol Musical Instrument, Dholak Musical Instrument, Swarmandal Musical Instruments, Santur Musical Instruments, Tanpura Musical Instruments, Khanjari Musical Instruments, Electronic Banjos, Pakhawaj Drums, Djembe Drums, Khol Drums, Naal Drums and Shruti Box. Our products are extremely well-liked owing to their top features and nominal prices. These products are made by professional’s team employing the advanced techniques and best quality material, which is bought from trustworthy sellers of market. Professionals manufacture these products as per universal industry parameters. Being a customer’s centric organization, professionals also make these products according our client’s requirements and necessities. Due to huge distribution network, fair business polices and quality-centric approach, we have gained trust of our patrons. Apart from, we work under the leadership of our mentor Ashish Verma. Under his supervision our firm has attained heights of success. We also provide many facilities to the patrons to put their demands forward and get them solve timely and as per their requirements. For more information, please visit https://www.indiamart.com/jpskmusicalstore/profile.html -
Musical Explorers Is Made Available to a Nationwide Audience Through Carnegie Hall’S Weill Music Institute
Weill Music Institute Teacher Musical Guide Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 2016 | 2017 Weill Music Institute Teacher Musical Guide Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 2016 | 2017 WEILL MUSIC INSTITUTE Joanna Massey, Director, School Programs Amy Mereson, Assistant Director, Elementary School Programs Rigdzin Pema Collins, Coordinator, Elementary School Programs Tom Werring, Administrative Assistant, School Programs ADDITIONAL CONTRIBUTERS Michael Daves Qian Yi Alsarah Nahid Abunama-Elgadi Etienne Charles Teni Apelian Yeraz Markarian Anaïs Tekerian Reph Starr Patty Dukes Shanna Lesniak Savannah Music Festival PUBLISHING AND CREATIVE SERVICES Carol Ann Cheung, Senior Editor Eric Lubarsky, Senior Editor Raphael Davison, Senior Graphic Designer ILLUSTRATIONS Sophie Hogarth AUDIO PRODUCTION Jeff Cook Weill Music Institute at Carnegie Hall 881 Seventh Avenue | New York, NY 10019 Phone: 212-903-9670 | Fax: 212-903-0758 [email protected] carnegiehall.org/MusicalExplorers Musical Explorers is made available to a nationwide audience through Carnegie Hall’s Weill Music Institute. Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern. Major funding for Musical Explorers has been provided by the E.H.A. Foundation and The Walt Disney Company. © Additional support has been provided by the Ella Fitzgerald Charitable Foundation, The Lanie & Ethel Foundation, and -
1St PROGRESS REPORT Scheme : “Safeguarding the Intangible
1 1st PROGRESS REPORT Scheme : “Safeguarding the Intangible Cultural Heritage and Diverse Cultural Traditions of India. Title of the Project/Purpose: Prepared by: Shri Bipul Ojah “A study of various aspects of Khol: Village- Dalahati A Sattriya Musical Instrument” Barpeta-781301 Assam During the first reporting period I proceeded with my works as per my plan, and took up two tasks mentioned in the plan. One of them was to acquire knowledge of ‘Ga-Maan’, “Chok’, “Ghat” etc. of the main time division (taal) of Khol from the experienced masters and Sattriyas of the Satras belonging to the three main groups. The other task was to prepare the pattern of the time division in a scientific method by maintaining the characteristic features of the Sattriya Khol on the basis of the acquired knowledge. For these two tasks, I first chose Barpeta Satra and the Satras of the Kamalabari group of Majuli, and apart from doing field study there, I acquired knowledge of the Khol from the masters there. In this course I talked to Sri Basistha Dev Sarma, Burha Sattriya of Barpeta Satra, Sri Nabajit Das, Deka Sattriya of Barpeta Satra, Sri Jagannath Barbayan (92 years), the chief ‘Bayan’ of Barpeta Satra and Sri Akan Chandra Bayan, besides several distinguished Sattriya artists and writers such as Sri Nilkanta Sutradhar, Sri Gunindra Nath Ojah, Dr. Birinchi Kumar Das, Dr. Babul Chandra Das etc. Moreover, I studied various ‘Charit Books’ (biographies of the Vaishnavite saints), research books etc. and got various data on the Khol practiced in Barpeta Satra. After completing these works on the Khol of Barpeta Satra, I worked on the time division (taal) of the Khol practiced in the Satras of the Kamalabari group of Majuli. -
Final Senior Fellowship Report
FINAL SENIOR FELLOWSHIP REPORT NAME OF THE FIELD: DANCE AND DANCE MUSIC SUB FIELD: MANIPURI FILE NO : CCRT/SF – 3/106/2015 A COMPARATIVE STUDY OF TWO VAISHNAVISM INFLUENCED CLASSICAL DANCE FORM, SATRIYA AND MANIPURI, FROM THE NORTH EAST INDIA NAME : REKHA TALUKDAR KALITA VILL – SARPARA. PO – SARPARA. PS- PALASBARI (MIRZA) DIST – KAMRUP (ASSAM) PIN NO _ 781122 MOBILE NO – 9854491051 0 HISTORY OF SATRIYA AND MANIPURI DANCE Satrya Dance: To know the history of Satriya dance firstly we have to mention that it is a unique and completely self creation of the great Guru Mahapurusha Shri Shankardeva. Shri Shankardeva was a polymath, a saint, scholar, great poet, play Wright, social-religious reformer and a figure of importance in cultural and religious history of Assam and India. In the 15th and 16th century, the founder of Nava Vaishnavism Mahapurusha Shri Shankardeva created the beautiful dance form which is used in the act called the Ankiya Bhaona. 1 Today it is recognised as a prime Indian classical dance like the Bharatnatyam, Odishi, and Kathak etc. According to the Natya Shastra, and Abhinaya Darpan it is found that before Shankardeva's time i.e. in the 2nd century BC. Some traditional dances were performed in ancient Assam. Again in the Kalika Purana, which was written in the 11th century, we found that in that time also there were uses of songs, musical instruments and dance along with Mudras of 108 types. Those Mudras are used in the Ojha Pali dance and Satriya dance later as the “Nritya“ and “Nritya hasta”. Besides, we found proof that in the temples of ancient Assam, there were use of “Nati” and “Devadashi Nritya” to please God. -
Library of Congress Medium of Performance Terms for Music
A clarinet (soprano) albogue anzhad USE clarinet BT double reed instrument USE imzad a-jaeng alghōzā Appalachian dulcimer USE ajaeng USE algōjā UF American dulcimer accordeon alg̲hozah Appalachian mountain dulcimer USE accordion USE algōjā dulcimer, American accordion algōjā dulcimer, Appalachian UF accordeon A pair of end-blown flutes played simultaneously, dulcimer, Kentucky garmon widespread in the Indian subcontinent. dulcimer, lap piano accordion UF alghōzā dulcimer, mountain BT free reed instrument alg̲hozah dulcimer, plucked NT button-key accordion algōzā Kentucky dulcimer lõõtspill bīnõn mountain dulcimer accordion band do nally lap dulcimer An ensemble consisting of two or more accordions, jorhi plucked dulcimer with or without percussion and other instruments. jorī BT plucked string instrument UF accordion orchestra ngoze zither BT instrumental ensemble pāvā Appalachian mountain dulcimer accordion orchestra pāwā USE Appalachian dulcimer USE accordion band satāra arame, viola da acoustic bass guitar BT duct flute USE viola d'arame UF bass guitar, acoustic algōzā arará folk bass guitar USE algōjā A drum constructed by the Arará people of Cuba. BT guitar alpenhorn BT drum acoustic guitar USE alphorn arched-top guitar USE guitar alphorn USE guitar acoustic guitar, electric UF alpenhorn archicembalo USE electric guitar alpine horn USE arcicembalo actor BT natural horn archiluth An actor in a non-singing role who is explicitly alpine horn USE archlute required for the performance of a musical USE alphorn composition that is not in a traditionally dramatic archiphone form. alto (singer) A microtonal electronic organ first built in 1970 in the Netherlands. BT performer USE alto voice adufo alto clarinet BT electronic organ An alto member of the clarinet family that is USE tambourine archlute associated with Western art music and is normally An extended-neck lute with two peg boxes that aenas pitched in E♭. -
Zakir Hussain & Masters of Percussion
CAL PERFORMANCES PRESENTS Sunday, March 23, 2014, 7pm Zellerbach Hall Zakir Hussain & Masters of Percussion with Zakir Hussain tabla Selvaganesh Vinayakram kanjira & ghatam Steve Smith Western drums Niladri Kumar sitar Dilshad Khan sarangi Deepak Bhatt dhol Vijay Chavan dholki and special guest Antonia Minnecola Kathak dancer PROGRAM Tonight’s program will be announced from the stage. There will be one intermission. Cal Performances’ – season is sponsored by Wells Fargo. PLAYBILL ABOUT THE ARTISTS The foremost disciple of his father, the leg- endary Ustad Allarakha, Mr. Hussain was a child prodigy who began his professional career at the age of twelve and had toured internation- ally with great success by the age of 18. He has been the recipient of many awards, grants and honors, including Padma Bhushan (2002), Padma Shri (1988), the Sangeet Natak Akademi Award (1991), Kalidas Samman (2006), the 1999 National Heritage Fellowship Award, the Bay Area Isadora Duncan Award (1998–1999), and Grammy Awards in 1991 and 2009 for Best World Music Album for Planet Drum and Global Drum Project, both collaborations with Mickey Hart. His music and extraordinary con- tribution to the music world were honored in April 2009, with four widely heralded and sold- out concerts in Carnegie Hall’s “Perspectives” series. Also in 2009, Mr. Hussain was named a Susana Millman Susana Member in the Order of Arts and Letters by AKIR HUSSAIN (tabla) is today appreciated France’s Ministry of Culture and Commun - Zboth in the field of percussion and in the ication. Most recently, the National Symphony music world at large as an international phe- Orchestra with Christoph Eschenbach com- nomenon. -
Transcription and Analysis of Ravi Shankar's Morning Love For
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura Bethany Padgett Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Padgett, Bethany, "Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura" (2013). LSU Doctoral Dissertations. 511. https://digitalcommons.lsu.edu/gradschool_dissertations/511 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TRANSCRIPTION AND ANALYSIS OF RAVI SHANKAR’S MORNING LOVE FOR WESTERN FLUTE, SITAR, TABLA AND TANPURA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bethany Padgett B.M., Western Michigan University, 2007 M.M., Illinois State University, 2010 August 2013 ACKNOWLEDGEMENTS I am entirely indebted to many individuals who have encouraged my musical endeavors and research and made this project and my degree possible. I would first and foremost like to thank Dr. Katherine Kemler, professor of flute at Louisiana State University. She has been more than I could have ever hoped for in an advisor and mentor for the past three years. -
Detecting T¯Ala Computationally in Polyphonic Context - a Novel Approach
Detecting t¯ala Computationally in Polyphonic Context - A Novel Approach Susmita Bhaduri1, Anirban Bhaduri2, Dipak Ghosh3 1;2;3Deepa Ghosh Research Foundation, Kolkata-700031,India [email protected] [email protected] [email protected] Abstract the left-tabl¯a strokes, which, after matching with the grammar of t¯ala-system, determines the t¯ala and tempo of the composition. A large number of In North-Indian-Music-System(NIMS),tabl¯a is polyphonic(vocal+tabl¯a+other-instruments) com- mostly used as percussive accompaniment for positions has been analyzed with the methodology vocal-music in polyphonic-compositions. The hu- and the result clearly reveals the effectiveness of man auditory system uses perceptual grouping of proposed techniques. musical-elements and easily filters the tabl¯a compo- Keywords:Left-tabl¯a drum , T¯ala detection, nent, thereby decoding prominent rhythmic features Tempo detection, Polyphonic composition, Cyclic like t¯ala, tempo from a polyphonic-composition. For pattern, North Indian Music System Western music, lots of work have been reported for automated drum analysis of polyphonic-composition. However, attempts at computational analysis of t¯ala 1 Introduction by separating the tabl¯a-signal from mixed sig- nal in NIMS have not been successful. Tabl¯a is Current research in Music-Information- played with two components - right and left. The Retrieval(MIR) is largely limited to Western right-hand component has frequency overlap with music cultures and it does not address the North- voice and other instruments. So, t¯ala analysis of Indian-Music-System hereafter NIMS, cultures in polyphonic-composition, by accurately separating general. -
Y8 South Asian Dance Bhangra: Lesson 3
09/07/2020 Y8 South Asian Dance Bhangra: Lesson 3 Y8 South Asian Dance Bhangra: Lesson 3 Read through the following information in regard to South Asian Dance and in particular for this week Kathak Dance. Once you have read the information please complete the quiz. All the answers to the questions are within the information below. *Required 1. Name and Class https://docs.google.com/forms/d/1mQCE2DiUnfhcw2v0hwMhMOxH4QaNrt2qFplFWBxW3O0/edit 1/7 09/07/2020 Y8 South Asian Dance Bhangra: Lesson 3 What is South Asian Dance? South Asian dance encompasses dance forms originating from the Indian subcontinent (India, Pakistan, Bangladesh and Sri Lanka) and varies between classical and non-classical dance. The classical dance forms often described as Indian Classical Dance include Bharatanatyam, Kathak, Odissi, Kuchipudi, Kathakali, Manipuri, Mohiniyattam and Sattriya. Other dance forms include Kalaripayattu or Kalari and Chhau which are influenced by martial art. The non-classical dance are Bollywood dance and folk dances such as Bhangra, Garba, Kalbelia and Bihu dance. (https://akademi.co.uk/) We are going to take a closer look at 3 of these Dance forms: Bollywood, Kathak and Bhangra. In Lesson 3 we will be looking at Bhangra Dance in more depth. Bhangra refers to several types of dance originating from the Punjab region of the Indian subcontinent and it is a celebratory folk dance which welcomes the coming of spring, or Vaisakhi, as it is known. Bhangra dance is based on music from a dhol, folk singing, and the chimta (tongs with bells). The accompanying songs are small couplets written in the Punjabi language called bolis.