Shruti Sangeet Academy

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Shruti Sangeet Academy https://www.indiamart.com/shruti-sangeet-academy/ We provide Hindustani Classical,Semi Classical,Light Compositions,Sanskrit Shlokas and Compositions etc. About Us The Shruti Sangeet Academy is blessed to have a very motivated, sincere and dedicated group of students. Current Students are enrolled at one of three levels; Beginers, Intermediate and Advanced, based on their experience and comfort with the art form. Students follow a curriculum based on that offered by the Gandharva Mahavidhalaya . Gandharva Mahavidyalaya is an institution established in 1939 to popularize Indian classical music and dance. The Mahavidyalaya (school) came into being to perpetuate the memory of Pandit Vishnu Digamber Paluskar, the great reviver of Hindustani classical music, and to keep up the ideals set down by him. The first Gandharva Mahavidyala was established by him on 5 May 1901 at Lahore. The institution was relocated to Mumbai after 1947 and has subsequently established its administrative office at Miraj, Sangli District, Maharashtra. Gandharva Mahavidyalaya, New Delhi was established in 1939 by Padma Shri Pt. Vinaychandra Maudgalaya, from the Gwalior gharana, today it is the oldest music school in Delhi and is headed by noted Hindustani classical singer, Madhup Mudgal. At the Shruti Sangeet Academy, students up on completion of their curriculum successfully, have the option of applying and testing for the following certifications; (1) Sangeet Praveshika, equivalent to matriculation (generally a... For more information, please visit https://www.indiamart.com/shruti-sangeet-academy/aboutus.html F a c t s h e e t Nature of Business :Service Provider CONTACT US Shruti Sangeet Academy Contact Person: Manager A1-602 Parsvnath Exotica Sector 53 Gurgaon - 122001, Haryana, India https://www.indiamart.com/shruti-sangeet-academy/.

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A Nonlinear Study on Time Evolution in Gharana
Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 15 April 2019 doi:10.20944/preprints201904.0157.v1 A NONLINEAR STUDY ON TIME EVOLUTION IN GHARANA TRADITION OF INDIAN CLASSICAL MUSIC Archi Banerjee1,2*, Shankha Sanyal1,2*, Ranjan Sengupta2 and Dipak Ghosh2 1 Department of Physics, Jadavpur University 2 Sir C.V. Raman Centre for Physics and Music Jadavpur University, Kolkata: 700032 India *[email protected] * Corresponding author Archi Banerjee: [email protected] Shankha Sanyal: [email protected]* Ranjan Sengupta: [email protected] Dipak Ghosh: [email protected] © 2019 by the author(s). Distributed under a Creative Commons CC BY license. Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 15 April 2019 doi:10.20944/preprints201904.0157.v1 A NONLINEAR STUDY ON TIME EVOLUTION IN GHARANA TRADITION OF INDIAN CLASSICAL MUSIC ABSTRACT Indian classical music is entirely based on the “Raga” structures. In Indian classical music, a “Gharana” or school refers to the adherence of a group of musicians to a particular musical style of performing a raga. The objective of this work was to find out if any characteristic acoustic cues exist which discriminates a particular gharana from the other. Another intriguing fact is if the artists of the same gharana keep their singing style unchanged over generations or evolution of music takes place like everything else in nature. In this work, we chose to study the similarities and differences in singing style of some artists from at least four consecutive generations representing four different gharanas using robust non-linear methods. For this, alap parts of a particular raga sung by all the artists were analyzed with the help of non linear multifractal analysis (MFDFA and MFDXA) technique.
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Bhimsen Joshi and the Kirana Gharana«
Bhimsen Joshi and the Kirana Gharana« CHETAN KARNAN! I. INTRODUCIlON he Kirana ghariinii laid emphasis on melody rather than rhythm. In our times, Bhimsen Joshi has become the most popular artist of this gharana Tbecause he combines melody with vinuosity. His teacherSawaiGandharva combined melody with the euphony of his voice. Sawai Gandharva's teacher. Abdul Karim Khan, was a pioneer and the founder of the Kiranagharana. He had arare gift for making melodic phrases in any raga he chose to sing. Abdul Karim Khan had another notable disciple in Roshan Ara Begam, but Sawai Gandharva was by far his most distinguished disciple. Sawai Gandharva's important disciples are Bhimsen Joshi, Gangubai Hangal and Firoz Dastur. In later sections of this chapter I have emphasized the rugged masculinityof GangubaiHangal's voice. I have also discussed the systematic elaboration of ragas presentedby Firoz Dastur. Just as the Gwalior gharana has two lines represented by Haddu Khan and Hassu Khan, the Kirana gharana has two lines represented by Abdul Karim Khan and Abdul Wahid Khan. Abdul Wahid Khan combined melody with systematic elaboration of raga. He laid emphasis on the placid flow of music and preferred tosing in Jhoomra tala offourteen beats. By elaboratinga raga in slow tempo, he showed a facet of melody distinct from Abdul Karim Khan. His most di stinguished disciples were Hirabai Barodekar and Pran Nath, who sang with euphony in slow tempo. It is sheer good luck that the pioneers of the Kirana gharana, Abdul Karim Khan and Abdul Wahid Khan, were saved from oblivion by the gramophone COmpanies.
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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".
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RAHIMAT KHAN, DISCOGRAPHY, KHYAL SINGER | Bajakhana
bajakhana MICHAEL KINNEAR'S WEBSITE INTO EARLY SOUND RECORDINGS HOME RECORD LABELS DISCOGRAPHIES ARTICLES PUBLICATIONS CONTACT CHECKOUT ← Previous Next → RAHIMAT KHAN, DISCOGRAPHY, KHYAL SINGER Ustad RAHIMAT KHAN Sahib KHYAL SINGER, c. 1860 – 1922 A BIO – DISCOGRAPHY By Michael Kinnear Excerpt from “Sangeet Ratna – The Jewel of Music” Khan Sahib Abdul Karim Khan – A Bio Discography by Michael Kinnear, Published 2003 Rahimat Khan with Vishnupant Chhatre and his brother Vinayakra Chhatre Rahimat Khan at Dharwararkar https://bajakhana.com.au/wp- 00:00 00:00 content/uploads/2019/06/rahmatkhan_malkauns.mp3 Rahimat Khan – Malkauns https://bajakhana.com.au/wp-content/uploads/2019/06/rahmatkhan_yaman-1.mp3 RAHIMAT KHAN is one of the legendary figures of Hindustani music of the 19th centuryand a leading exponent of the Gwalior Gharana. Precise or factual information about his life is rather sketchy and for the most part appear to be anecdotal and the lineage of his family varies from one account to another. Rahimat Khan is believed to have been born at Gwalior in 1860 and was one of the sons of Haddu Khan, who along with his elder brother Hassu Khan had achieved fame as Khayal singers at the court of Gwalior. The ancestral home of this family was originally at Hussainpur, which later became known as Husanpur-Lohari, a twin village some twenty miles northwest of Muzaffarnagar in the district of the same name, and some twenty miles north of Kairana. This area north of Delhi is generally known as the ‘Bara-basti’. The area has produced a number of gifted families of musicians of Pathan origin, but it is notknown for certain if the generations of this particular family originally came from Husanpur Lohari, or had migrated there from Lucknow during the rulership of Nawab Saddat Ali Khan II (r.1797-1814).
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Annual Report-2004-2005
2004-2005 THIS IS THE 44th Annual Report of the India International Centre for the year commencing February 2004 up to 31 January 2005. It will be placed before the 49th Annual General Body Meeting of the Centre, to be held on the 28th of March 2005. The tenure of the existing elected representatives on the Executive Committee and the Board of Trustees, from both the Individual and Corporate membership segments, will come to an end on the 31st of March 2005. The Centre would like to place on record its gratitude to the two outgoing Trustees, Shri S.K. Singh and Dr Arun Nigavekar, and to Shri Inder Malhotra, Lt. Gen. (retd) A. S. Kalkat, Dr S. M. Dewan, Dr R. K. Pachauri, Shri M. H. Ansari and Prof. (Mrs.) Sneh Bhargava (members of the Executive Committee), for the interest they have taken and the valuable support they provided towards the Centre’s functioning. The process of filling up the vacancies for the ensuing two-year period, 1 April 2005 to March 2007, has been underway since December 2004. The results of the elections will be announced in the forthcoming Annual General Body Meeting of the Centre. In the year’s national honours list, twenty-five of the Centre’s distinguished Members were vested with Padma awards. Dr Karan Singh, Member of Parliament and a Life Trustee was awarded the Padma Vibhushan. Earlier, Dr Kapila Vatsyayan, also a Life Trustee, and a Fellow of the Lalit Kala Akademi, was conferred the ‘Lalit Kala Ratna Award’ by the Akademi on the occasion of its golden jubilee celebrations.
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Dr. RANJANI RAMACHANDRAN Hindustani Classical Vocalist
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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
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What Is Khya/?-A Critique of Wade's Khyal: Creativity Within North India's Classical Music Tradition
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Performing Modernity Musicophilia in Bombay/Mumbai
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Sawani Shende-Sathaye
SAWANI SHENDE-SATHAYE Footprints:- Sawani is born in a musically rich family. She was introduced to Indian Classical Music at a tender age of only six by her grandmother, Smt.Kusum Shende , herself a noted singer of the Kirana Gharana and an honoured artist of the Sangeet Natak Era. Sawani’s father, Dr.Sanjeev Shende, a disciple of Smt.Shobha Gurtu, has groomed her in semi classical genres like Thumri, Dadra, Kajri, etc. Quest for more and more knowledge in music brought Sawani to learn more music under the expert guidance of Dr. Smt.Veena Sahasrabuddhe, a noted classical vocalist from Gwalior Gharana. Debut:- Sawani made her first debut at the age of 10 to celebrate her grandmother’s 61st birthday. The journey of concerts started when Sawani was invited to perform at the prestigious Pt.Vishnu Digambar Jayanti Samaroh in Delhi when she was just 13. On the same day, in the evevning, Sawani was honoured when she performed for the then President of India, honourable,Mr.R.Venkatraman at the Rashtrapati Bhavan.Since then she has never looked back. Her Gurus:- Smt. Kusum Shende. Dr.Sanjeev Shende Dr.Veena Sahasrabuddhe. Her Music:- Sawani’s music is a beautiful soul searching combination of the Kirana and the Gwalior Gharana, where she mesmerizes audiences with enchanting melody and strength of both. Sawani’s confidence and mastery in Khayals, her crystal clear diction and overall sensitivity in presentation takes every performance to a very high aesthetic level. Her rendition of semi-classical genres highlights the emotive and expressive quality of Indian classical music and adds a very important dimension to her performance leaving audiences spellbound.
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Iv Copyright by Eriko Kobayashi 2003
Copyright By Eriko Kobayashi 2003 iv The Dissertation Committee for Eriko Kobayashi certifies that this is the approved version of the following dissertation: Hindustani Classical Music Reform Movement and the Writing of History, 1900s to 1940s Committee: Stephen Slawek, Supervisor Gerard Behague James Brow Veit Erlmann Gail Minault v Hindustani Classical Music Reform Movement and the Writing of History, 1900s to 1940s by Eriko Kobayashi, M.A., B.F.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2003 vi Acknowledgments Many people contributed to this dissertation, and it would not have been possible to write it without the assistance I received from them. I am grateful to all the musicians who agreed to talk to me and helped me during my stay in India in 1997-1998, without any reward on their part. In Delhi, I would like to thank Drs. Shanno Khurana and Sumati Mutatkar, whose articulateness and sober intelligence impressed me very much. In Mumbai, Mr. Ramdas Bhatkal gave me a warm reception and facilitated my meetings with Pt. S.C.R. Bhat, whose wonderful narratives are prominently featured in the dissertation. In Miraj, Mr. Sudhir Pote made my stay easy and enjoyable, and Mr. Balwant Joshi offered me valuable information both about his father and the Gandharva Mahavidyalayas. Ms. Uma Swami prepared copies of original documents for me and took me around in the town. The entire office of A.B.G.M.V.
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Indian Journal of Arts• PERSPECTIVES
PERSPECTIVESIndian Journal of Arts • PERSPECTIVES Indian Journal of Arts, Volume 3, Number 7, July 2013 r 687X Indian Journal of – 2320 EISSN Arts 6659 6659 – 2320 2320 ISSN Patterns and Signature of Gwalior Gharana in Indian Classical Music Deepak Kumar Mittal1☼, Santosh Purandare2, Neera Sharma3 1. Research Scholar, Dept. of Performing Arts, Raja Man Singh Tomar Music and Arts University, Gwalior, (M.P.), India 2. Assistant Professor, Dept. of Music, Madhav College, Gwalior, India 3. Professor, Dept. of Performing Arts,Vanasthali Vidyapeeth, Rajasthan, India ☼Correspondence to: Research Scholar, Raja Mansingh Tomar Music and Arts University, Gwalior, (M.P.), India, Email: [email protected] Mobile: (+91)9425771967 Received 11 May; accepted 19 June; published online 01 July; printed 16 July 2013 ABSTRACT In Medieval period of India, there was discipline of music called gharanas. The world gharana exactly means a family. So these families or guilds specialized in scrupulous styles or traditions of music. Gwalior gharana is regarded as the mother of all gharanas as it is the oldest, and one of the most enduring. Tansen, the famous musician, was the founder of this gharana and Raja Man Singh was one of the greatest patrons of Arts and Music. The aim of this study, Gwalior gharana is performed major patterns and signature of Indian classical music. Keywords: Gwalior, Khyal, Dhrupad, Tansen, Raja Mansingh Tomar. 1. INTRODUCTION Indian classical music is one of the oldest forms of music in the world. It has its roots in diverse areas such as the ancient religious Vedic hymns, tribal chants, devotional temple music, and folk music.
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