DOCSLIB.ORG

Guru Nanak Community Services Foundation 25

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guru Nanak Community Services Foundation 25 GURU NANAK COMMUNITY SERVICES FOUNDATION 12 th INTERNATIONAL CLASSICAL KIRTAN COMPETITION 25th December 2016, Sunday Rexdale Gurdwara Sahib Sikh Spiritual Centre, 9 Carrier Drive, Toronto. M9V 4B2. ICKC-2016 - Rules Kirtan should be shabad-pardhaan, not sangeet-pardhaan. In other words, music should be used to enhance shabad-surat rather than to exhibit musical artistry. The focus of Kirtan should be on the bhaav (emotion) of the shabad. The words of the shabad should be clearly enunciated and should be comprehensible. The words should not be unduly stretched or sung too quickly or dominated by the music. String instruments shall be actually played not only held. Jatha referred hereunder means Team of participants. To be eligible for 1 st , 2 nd or 3 rd position, following Rules must be followed. # Rule A The maximum size of the jathas is 5. The minimum size of the jathas is 3. B The shabad in the assigned Raag must be from Sri Guru Granth Sahib or Guru Gobind Singh’s hymn (as stated in Sikh Rehat Maryada, Chapter V, Article VIc; reference - sgpc.net). C Shabad and Manglacharan shall be sung in the specific variation of the Raag as stated in the title of the shabad. A Shaloke from a different Raag shall not be sung in the assigned Raag as Manglacharan. D Shabad not specified as Partaal in the sirlekh shall be sung only in one Taal. E Jathas shall not sing musical syllables - sargam (Sa Re Ga -----). F Sharing members at Kirtan Competition: a. No person can participate in more than two jathaas. b. Jathas in Groups II & III can borrow up to 1 member from lower-age group Jathas. c. Jathas in Group I can borrow up to 1 member from another Group I jathaa. No jatha in Group I can have more than one participant in common with any other group I Jatha. G Only those members who have participated in the previous Kirtan Competition may participate at the international level. H At the international level - up to two members of the jatha may be replaced from a jatha of the same or younger age group as follows: • If the original jatha has three members - only one member may be replaced. • If the original jatha has 4 or 5 members - two members may be replaced. www.kirtancompetition.org GNCSF is not for profit community Organization [email protected] Kirtan Competition Rules (page 2 of 4) Rule Penalty 1 The Rahao lines of the shabad must be sung as sthaa-ee. In case there is no Rahao in 40 the composition, then any line of the selection can be sung as sthaa-ee. 2 An electronic box to support/enhance performance of any instrument (tabla, string or 20 otherwise) may not be used. 3 Each jatha may sing only one shabad without Parmaan(s) in the allotted time. 20 4 Singing should be preceded by a short explanation of the gist of the complete shabad. 10 Explanation must be in both Punjabi and English. Explanation regarding the Raag and instruments shall not be provided. Tabla player may explain the Taal (s) used in the Shabad to be recited. 5 The complete Shabad, including all the Padas (if applicable) shall be sung. If the time 10 allotted does not permit reciting the entire Shabad, then only one or more contiguous Padas may be sung but the gist of the entire Shabad shall be briefly explained. Note: For the list of Shabads, please refer to “qqkrw SbdW kw ” at the beginning of Sri Guru Granth Sahib. 6 Aalaap using the words of the shabad is encouraged. Its purpose is to enhance the 5 emotion of the 7 Akaar Aalaap shall not be sung. 5 8 Taan using the words of the shabad may be sung sparingly. 5 Notes: • Penalty points shall be deducted from each judge’s score for not following the respective Rule. • For distribution of marks amongst various elements of Kirtan, please refer to ‘Scoring Sheet’ available at the web-site. • Each judge should provide independent evaluation of each Jatha’s performance. Judges shall not discuss any Ja tha’s performance among themselves. If necessary, judge can note remarks on the score sheet. • Judges’ coordinator shall evaluate the remarks while compiling the results. Judges’ coordinator may consult judge(s) to finalize the results. www.kirtancompetition.org GNCSF is not for profit community Organization [email protected] Kirtan Competition Rules (page 3 of 4) Salutation to Vaheguru by the vocalists. Invocation for Divine Grace. Setting the mood for the shabad. Manglacharan Slow tempo. in the assigned Vadda taal (Vilambit Taal). All age groups Raag Taal for Manglacharan could be different than used for the Shabad. Manglacharan shall be • the sirlekh of the Shabad, or • moolmantar (Ik Onkaar -------------- Gur Parsaad), or • a Shaloke from the assigned Raag from Sri Guru Granth Sahib. Instrumental prelude to Kirtan. Shaan Salutation of raag and taal, by all the instruments & to the Bani. in the assigned Setting the mood for the shabad. All age groups Raag Medium tempo. Classical taal (not keherva, dadra or paurhi theka). the Sthaa-ee and all Antras shall be sung in different Taals. That is Shabads listed in Sri a Guru Granth Sahib Taal used for Sthaa-ee or any Antra shall not be repeated. For under the Sirlekh example- Partaal “Partaal” must be · Taal #1 - used for Sthaa-ee sung as specified · Taal #2 - used for Antra 1 here. Otherwise, the · Taal #3 - used for Antra 2 Jatthas would be · Taal #4 - used for Antra 3 disqualified. · And so on. www.kirtancompetition.org GNCSF is not for profit community Organization [email protected] Kirtan Competition Rules (page 4 of 4) Sikh Heritage String Instrument (SHSI). At-least one of the instruments played by a jatha shall be SHSI. SHSI Guru ji’s period Rabab Nanak Dev ji Saranda Guru Amar Dass ji, Guru Ram Dass ji, Guru Arjan Dev ji Israj Guru Arjan Dev ji Taus, Guru Hargobind ji Sarangi Tanpura Guru Gobind Singh ji Dilruba Smaller version of Taus Percussion Instruments: Jori, Pakhawaj & Mridang shall be encouraged. www.kirtancompetition.org GNCSF is not for profit community Organization [email protected] .
Load more

Recommended publications
  • Music & Dance Session 2020-21
    1 FACULTY OF PERFORMING & VISUAL ARTS SYLLABUS Of MUSIC VOCAL For B.A. (Semester- I to VI ) (UnderContinuous Evaluation System) (12+3 System of Education) Session: 2020-21 The Heritage Institution KANYA MAHA VIDYALAYA JALANDHAR (Autonomous) B.A. (Semester- I) 1 2 Scheme of Studies and Examination Music Vocal SemesterI Course Marks Examinati Course Name Program Name Course Code Type Ext. on time Total CA L P (in Hours) Music Vocal B.A BARM-1366 E 100 40 40 20 3 B.A. Semester-I (Session 2020-21) Music Vocal Course Code: BARM-1366 Theory & Practical Course Outcome Upon successful completion of this course student will be able to know the basic concepts of music , which are - CO1 . Proficiency in playing Alankar , which are helpful in further learning of ragas. CO2. To know the lives of great musician who are torch bearers of Indian classical music. CO3. To Know about Tanpura, its structure , its sound Producing system and tuning of the instrument. B.A. Semester-I (Session 2020-21) Music Vocal Course Code: BARM-1366 2 3 Theory Total Marks-100 Time-3Hours Theory: 40 Pr: 40 CA: 20 Instructions given to the examiners are as follows: The paper setter will set Eight questions of equal marks . Two in each of the four Sections (A- D). Questions of Sections A-D should be set from Units I-IV of the syllabus respectively. Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each section. The fifth question may be attempted from any Section.
    [Show full text]
  • Other String Instruments Catalogue
    . Product Catalogue for Other Strings Instruments Contents: 4 Strings Violin…………………………………………………………………………………...1 5 Strings Violin……………………...…………………………………………………………...2 Bulbul Tarang....…………………...…………………………………………………………...3 Classical Veena...…….………………………………………………………………………...4 Dilruba.…………………………………………………………………….…………………..5 Dotara……...……………………...…………………………………………………………..6 Egyptian Harp…………………...…………………………………………………………...7 Ektara..…………….………………………………………………………………………...8 Esraaj………………………………………………………………………………………10 Gents Tanpura..………………...…………………………………………………………11 Harp…………………...…………………………………………………………..............12 Kamanche……….……………………………………………………………………….13 Kamaicha……..…………………………………………………………………………14 Ladies Tanpura………………………………………………………………………...15 Lute……………………...……………………………………………………………..16 Mandolin…………………...…………………………………………………………17 Rabab……….………………………………………………………………………..18 Saarangi……………………………………………………………………………..22 Saraswati Veena………...………………………………………………………….23 Sarinda……………...………………………………………………………….......24 Sarod…….………………………………………………………………………...25 Santoor……………………………………………………………………………26 Soprano………………...………………………………………………………...27 Sor Duang……………………………………………………………………….28 Surbahar……………...…………………………………………………………29 Swarmandal……………….……………………………………………………30 Taus…………………………………………………………………………….31 Calcutta Musical Depot 28C, Shyama Prasad Mukherjee Road, Kolkata-700 025, West Bengal, India Ph:+91-33-2455-4184 (O) Mobile:+91-9830752310 (M) 24/7:+91-9830066661 (M) Email: [email protected] Web: www.calmusical.com /calmusical /calmusical 1 4 Strings Violin SKU: CMD/4SV/1600
    [Show full text]
  • MUSIC (Lkaxhr) 1. the Sound Used for Music Is Technically Known As (A) Anahat Nada (B) Rava (C) Ahat Nada (D) All of the Above
    MUSIC (Lkaxhr) 1. The sound used for music is technically known as (a) Anahat nada (b) Rava (c) Ahat nada (d) All of the above 2. Experiment ‘Sarna Chatushtai’ was done to prove (a) Swara (b) Gram (c) Moorchhana (d) Shruti 3. How many Grams are mentioned by Bharat ? (a) Three (b) Two (c) Four (d) One 4. What are Udatt-Anudatt ? (a) Giti (b) Raga (c) Jati (d) Swara 5. Who defined the Raga for the first time ? (a) Bharat (b) Matang (c) Sharangdeva (d) Narad 6. For which ‘Jhumra Tala’ is used ? (a) Khyal (b) Tappa (c) Dhrupad (d) Thumri 7. Which pair of tala has similar number of Beats and Vibhagas ? (a) Jhaptala – Sultala (b) Adachartala – Deepchandi (c) Kaharva – Dadra (d) Teentala – Jattala 8. What layakari is made when one cycle of Jhaptala is played in to one cycle of Kaharva tala ? (a) Aad (b) Kuaad (c) Biaad (d) Tigun 9. How many leger lines are there in Staff notation ? (a) Five (b) Three (c) Seven (d) Six 10. How many beats are there in Dhruv Tala of Tisra Jati in Carnatak Tala System ? (a) Thirteen (b) Ten (c) Nine (d) Eleven 11. From which matra (beat) Maseetkhani Gat starts ? (a) Seventh (b) Ninth (c) Thirteenth (d) Twelfth Series-A 2 SPU-12 1. ? (a) (b) (c) (d) 2. ‘ ’ ? (a) (b) (c) (d) 3. ? (a) (b) (c) (d) 4. - ? (a) (b) (c) (d) 5. ? (a) (b) (c) (d) 6. ‘ ’ ? (a) (b) (c) (d) 7. ? (a) – (b) – (c) – (d) – 8. ? (a) (b) (c) (d) 9. ? (a) (b) (c) (d) 10.
    [Show full text]
  • 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.
    [Show full text]
  • Classification of Indian Musical Instruments with the General
    Classification of Indian Musical Instruments With the general background and perspective of the entire field of Indian Instrumental Music as explained in previous chapters, this study will now proceed towards a brief description of Indian Musical Instruments. Musical Instruments of all kinds and categories were invented by the exponents of the different times and places, but for the technical purposes a systematic-classification of these instruments was deemed necessary from the ancient time. The classification prevalent those days was formulated in India at least two thousands years ago. The first reference is in the Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya Vadya’ for musical instruments. The term Atodhya is explained earlier than in Amarkosa and Bharata might have adopted it. References: Some references with respect to classification of Indian Musical Instruments are listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’. Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata, Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas, whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have classified the musical instruments under four heads: 1 Fundamentals of Indian Music, Dr. Swatantra Sharma , p-86 53 i. Tata (String Instruments) ii. Avanaddha (Instruments covered with membrane) iii. Sushira (Wind Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck against one another, such as Cymbals).
    [Show full text]
  • Calcutta Music House, Jalandhar
    +91-9953357458 Calcutta Music House www.indiamart.com/calcutta-music-house We are the foremost Manufacturer, Retailer, Importer, Exporter and Supplier of finest quality Indian Musical Instruments. These have massive demand in the market due to their classy appearance, optimum wooden carvings and portable designs. A Member of A b o u t U s Incorporated in the year 1961, at Jalandhar, (Punjab, India), we, “Calcutta Music House”, are occupied in manufacturing, retailing, importing, exporting and supplying an excellent quality assortment of Indian Musical Instruments. These products are highly treasured and demanded in both domestic and international markets owing to their high quality sound, classy & attractive designs, traditional tunes, portability and modern looks. Our wide range of products comprises Musical Harmoniums, Tabla Spares, Strings Instruments, Dholak / Mridangam, Percussion Instruments, Wind Instruments, Musical Dhols, Bhangra Items and Electronic Musical Instruments. We also provide Maintenance & Repair Services of the same. Our professionals design the Indian Musical Instruments according to the global quality standards. These professionals are capable in professionally managing the installed machinery for manufacturing flawless product assortment. They also make sure that best quality material like stainless steel, brass, teak wood and pine wood are used in the fabrication procedure that are procured from the trustworthy vendors of the market. The entire product range is stringently tested on various parameters before their final dispatch. Under the supervision of our Proprietor & Mentor, “Mr. Tejwinder Singh ”, we have achieved the epitome of success. His comprehensive knowledge and sharp business acumen has helped us provide a supreme quality range of Indian Musical Instruments. A Member of s t MUSICAL HARMONIUMS c u We are one of the leading manufacturers, retailers, importers, exporters d and suppliers of Harmonium like Harmonium double bellow standard o model, Harmonium octave 7 stops bass male etc.
    [Show full text]
  • Post Graduate Department of Music
    POST GRADUATE DEPARTMENT OF MUSIC SYLLABUS B.A. MUSIC (VOCAL) SEMESTER I TO VI B.A. MUSIC (INSTRUMENTAL) SEMESTER I TO VI M.A. MUSIC (VOCAL) SEMESTER I TO IV SESSION 2021-22 KHALSA COLLEGE AMRITSAR (AN AUTONOMOUS COLLEGE) CONTENTS CLASS PAPER PAGE NO. B.A SEMESTER-1-VI/I-VI Music Vocal/ Music Instrumental 1-24 B.A. SEMESTER- I Music Vocal (Theory + Practical ) 1-2 B.A. SEMESTER- II Music Vocal (Theory + Practical ) 3-4 B.A. SEMESTER- III Music Vocal (Theory + Practical ) 5-6 B.A. SEMESTER-IV Music Vocal (Theory + Practical ) 7-8 B.A. SEMESTER-V Music Vocal (Theory + Practical ) 9-10 B.A. SEMESTER-VI Music Vocal (Theory + Practical ) 11-12 B.A. SEMESTER-I Music Instrumental (Theory + Practical) 13-14 B.A. SEMESTER-II Music Instrumental (Theory + Practical) 15-16 B.A. SEMESTER-III Music Instrumental (Theory + Practical) 17-18 B.A. SEMESTER-IV Music Instrumental (Theory + Practical) 19-20 B.A. SEMESTER-V Music Instrumental (Theory + Practical) 21-22 B.A. SEMESTER-VI Music Instrumental (Theory + Practical) 23-24 M.A. Music Vocal 25-41 M.A. SEMESTER-I Set of Subjects 25-28 M.A. SEMESTER-II Set of Subjects 29-32 M.A. SEMESTER-III Set of Subjects 33-36 M.A. SEMESTER-IV Set of Subjects 37-41 KHALSA COLLEGE, AMRITSAR B.A. SEMESTER- I Music M.M.100 Vocal/Instrumental Theory 35 Practical 40 Internal Assessment 25 B.A. SEMESTER- II M.M.100 Theory 35 Practical 40 Internal Assessment 25 B.A. SEMESTER- III M.M.100 Theory 35 Practical 40 Internal Assessment 25 B.A.
    [Show full text]
  • THE GAZETTE of INDIA : EXTRAORDINARY [PART II—SEC. 3(I)] NOTIFICATION New Delhi, the 22Nd September, 2017 No.28/2017-Union
    66 THE GAZETTE OF INDIA : EXTRAORDINARY [P ART II—SEC . 3(i)] 111. उडुकईi 112. चंडे 113. नागारा - केटलेG स कƙ जोड़ी 114. प बाई - दो बेलनाकार Gम कƙ इकाई 115. पैराित पु, हगी - sेम Gम दो िटϝस के साथ खेला 116. संबल 117. िटक डफ या िटक डफ - लाठी के साथ खेला जाने वाला टġड मĞ डेफ 118. तमक 119. ताशा - केटलेGम का Oकार 120. उƞम 121. जलातरंग िच पēा - पीतल के ƚजगल के साथ आग टĪग 122. चĞिगल - धातु िडक 123. इलाथलम 124. गेजर - Qास पोत 125. घटक और मटकाम (िमŝी के बरतन बतϕन Gम) 126. घुंघĐ 127. खारट या िच पला 128. मनजीरा या झंज या ताल 129. अखरोट - िमŝी के बतϕन 130. संकरजांग - िल थोफोन 131. थाली - धातु लेट 132. थाकुकाजामनाई 133. कंचारांग, कांच के एक Oकार 134. कथाततरंग, एक Oकार का जेलोफ़ोन [फा सं.354/117/2017-टीआरयू-भाग II] मोिहत ितवारी, अवर सिचव Ɨट पणी : Oधान अिधसूचना सं. 2/2017- संघ राϤ यϓेJ कर (दर), तारीख 28 जून, 2017, सा.का.िन. 711 (अ) तारीख 28 जून, 2018 ůारा भारत के राजपJ , असाधारण, भाग II, खंड 3, उपखंड (i) ůारा Oकािशत कƙ गई थी । NOTIFICATION New Delhi, the 22nd September, 2017 No.28/2017-Union Territory Tax (Rate) G.S.R.1196 (E).— In exercise of the powers conferred by sub-section (1) of section 8 of the Union Territory Goods and Services Tax Act, 2017 (14 of 2017), the Central Government, being satisfied that it is necessary in the public interest so to do, on the recommendations of the Council, hereby makes the following amendments in the notification of the Government of India in the Ministry of Finance (Department of Revenue), No.2/2017-Union territory Tax (Rate), dated the 28th June, 2017, published in the Gazette of India, Extraordinary, Part II, Section 3, Sub-section (i), vide number G.S.R.
    [Show full text]
  • 2020-21 Keertan Rules
    ੴ ਸਿਤਗੁਰ ਪਸਾਿਦ S​ ri Hemkunt Foundation Inc. 107 Lipton Lane, Williston Park NY 11596 (516) 782-3257 ​ ​ ​ International Keertan Darbaar ​ ​ ​ 2020-21 Rules Use of Sikh Heritage String & Percussion​ Instruments​ should be encouraged. Keertan should be ​ shabad-pardhaan, not sangeet-pardhaan. In other words, music should be used to enhance ​ ​ ​ shabad-surat rather than to exhibit musical artistry. The focus of Keertan should be on the bhaav ​ ​ ​ ​ ​ ​ (emotion) of the shabad. The words of the shabad should be clearly enunciated and ​ ​ ​ ​ comprehensible. The words should not be unduly stretched or sung too quickly or dominate music. String instruments must be played, not simply held. 1 The maximum size of the jatthas is 5. The minimum size of the jatthas is 3. 2 The shabad in the assigned Raag must be from Sri Guru Granth Sahib or Guru Gobind Singh’s hymn (as stated in Sikh Rehat Maryada, Chapter V, Article VIc; reference – sgpc.net). ​ 3 Only Non-Partaal Shabads can be recited at the Keertan Darbaar. 4 A tanpura electronic box to support/enhance performance of string instruments may be used. Electronic tabla (or any other electronic instrument) shall not be used. 5 The Rahao lines of the shabad must be sung as sthaa-ee. In case there is no Rahao in ​ ​ ​ ​ ​ ​ the composition, then any line of the selection can be sung as sthaa-ee. 6 Each jattha may sing only one shabad without Parmaan(s) in the allotted time. ​ ​ 7a At least the following number of member(s) in a jattha shall play SHSI. Other members ​ may play non-SHSI.
    [Show full text]
  • A Complete Guide to Sikhism
    A Complete Guide to Sikhism <siqgur pRswid A Complete Guide to Sikhism Dr JAGRAJ SINGH Copyright Dr. Jagraj Singh 1 A Complete Guide to Sikhism < siqgur pRswid[[ “There is only one God, He is infinite, his existence cannot be denied, He is enlightener and gracious” (GGS, p1). “eyk ipqw eyks ky hMm bwrk qUM myrw gurhweI”[[ “He is our common father, we are all His children and he takes care of us all.” --Ibid, p. 611, Guru Nanak Deh shiva bar mohay ihay O, Lord these boons of thee I ask, Shub karman tay kabhoon na taroon I should never shun a righteous task, Na daroon arson jab jae laroon I should be fearless when I go to battle, Nischay kar apni jeet karoon Grant me conviction that victory will be mine with dead certainty, Ar Sikh haun apnay he mann ko As a Sikh may my mind be enshrined with your teachings, Ih laalach haun gun tau uchroon And my highest ambition should be to sing your praises, Jab av kee audh nidhan banay When the hour of reckoning comes At he ran mah tab joojh maroon I should die fighting for a righteous cause in the thick of battlefield. --Chandi Charitar, Guru Gobind Singh Copyright Dr. Jagraj Singh 2 A Complete Guide to Sikhism < siqgur pRswid A COMPLETE GUIDE TO SIKHISM Dr. JAGRAJ SINGH UNISTAR Copyright Dr. Jagraj Singh 3 A Complete Guide to Sikhism A COMPLETE GUIDE TO SIKHISM By Dr. Jagraj Singh Jagraj [email protected] 2011 Published by Unistar Books Pvt. Ltd. S.C.O.26-27, Sector 34A, Chandigarh-160022, India.
    [Show full text]
  • Viranam India Private Limited
    +91-8046069470 Viranam India Private Limited https://www.indiamart.com/viranamindia/ We “Indian Cultura” are a leading Manufacturer of a wide range of Wooden Harmonium, Wooden Dhol, Wooden Tabla, Wooden Sarangi, etc. About Us Established as a Sole Proprietorship firm in the year 2017, we “Viranam India Private Limited” are a leading Manufacturer of a wide range of Wooden Harmonium, Wooden Dhol, Wooden Tabla, Wooden Sarangi, etc. Situated in Jaipur (Rajasthan, India), we have constructed a wide and well functional infrastructural unit that plays an important role in the growth of our company. We offer these products at reasonable rates and deliver these within the promised time-frame. Under the headship of “Mr. Krishan Soni” (Owner), we have gained a huge clientele across the nation. For more information, please visit https://www.indiamart.com/viranamindia/aboutus.html WOODEN HARMONIUM O u r P r o d u c t R a n g e 42 Keys Wooden Harmonium 37 Keys Wooden Harmonium 42 Keys 9 Stopper 39 Key 7 Stopper Harmonium Harmonium Double Bellow WOODEN DHOLAK O u r P r o d u c t R a n g e Wooden Dholak Wood Dholak Dholki Folk Musical Instrument Drum Nuts N Bolt Musical Rope Dholak Wooden Dholak Folk Musical Sheesham Wood Folk Instrument Drum Nuts N Bolt Traditional Musical Instrument With Cover PERCUSSION INSTRUMENTS O u r P r o d u c t R a n g e Thavil Percussion Instrument Beautiful Handcrafted Designer Damru Musical Instrument Wooden Rope Shiva Damru Classical Woodwind Musical Indian Musical Instrument Instruments Wedding Classical Wind Shehnai Processions
    [Show full text]
  • Ma Music Instrumental (Semester: I – Iv)
    FACULTY OF VISUAL & PERFORMING ARTS SYLLABUS FOR MA MUSIC INSTRUMENTAL (SEMESTER: I – IV) EXAMINATIONS: 2019-20 ______________________________________________________________________________________ GURU NANAK DEV UNIVERSITY AMRITSAR ______________________________________________________________________________________ Note: (i) Copy rights are reserved. Nobody is allowed to print it in any form. Defaulters will be prosecuted. (ii) Subject to change in the syllabi at any time. Please visit the University website time to time. 1 M.A. Music Instrumental (Semester System) SCHEME OF COURSE SEMESTER–I: PAPER–I: Theoretical Survey of Indian Music Marks: 100 (Theory) PAPER–II: Historical Study of Indian Music Marks: 100 (Theory) PAPER–III: Stage Performance–I (Practical) Marks: 100 PAPER–IV: Critical & Comparative Study of Ragas–I Viva– Marks: 100 Voce (Practical Based) 2 M.A. Music Instrumental (Semester – I) Paper – I: Theoretical Survey of Indian Music (Theory) Time: 3 Hrs Max. Marks: 100 Instructions for the Paper Setters:- Eight questions of equal marks (Specified in the syllabus) are to be set, two in each of the four Sections (A-D). Questions may be subdivided into parts (not exceeding four). Candidates are required to attempt five questions, selecting at least one question from each Section. The fifth question may be attempted from any Section. Section -A 1. Detailed knowledge of the following technical terms: Alap, Jod, Jhalla, Triobhava, Avirbhava, Alpattva, Bahutava, Meend, Krintan, Ghaseet, Soot, Jamjama. 2. Difference between Tantrakari and Gayaki Ang in Instrumental Music. 3. Importance of swarit (keynote) and swar samvad in music. Section -B 4. Detailed study of Naad and Sahayak Naad. 5. Comparative study of Uttari and Dakshini system of Music. 6. Classification of Indian Musical Instruments.
    [Show full text]