Zero-G Spices of India CD Booklet
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Dr. Sandip Kumar Raut* Original Research Paper Music
Original Research Paper Volume - 10 | Issue - 8 | August - 2020 | PRINT ISSN No. 2249 - 555X | DOI : 10.36106/ijar Music THE ROLE OF TABLA IN INDIAN MUSIC Dr. Sandip Kumar Asst.Prof. in Dept.of Tabla, Utkal university of culture, Bhubaneswar. *Corresponding Raut* Author ABSTRACT Tabla is a most popular percussion instrument of India coming under membranophones category .Its versatility in all musical styles has enabled it to become most popular percussion instrument of India. It is used in almost all types of music like classical music, light classical music, light music, folk music, religious music, fusion music and western music. It consists of a pair of hand drums namely Tabla and Bayan comprising of contrasting sizes and Timbers. It has ten syllables which forms different types of rhythmic patterns. Its distinct sound and timber makes it as a main accompanying instrument of Indian music. It possesses a sophisticated tonal beauty which elevated the instrument to an unmatched status in the world of percussion. KEYWORDS : Rhythm, percussion, syllables, Tradition, Music, Veda, Tal Tabla is a most popular percussion instrument of North Indian music. It playing and many times the thickness is depending upon the diameter comes under membranophones category of percussion instrument. of Tabla . The instrument not only produces a wild range of sonorities pleasing to many tastes but also gives the performer a great scope to demonstrate Tabla is the main accompanying instrument of Hindustani music. It has his technical facility and speed. It is most developed tal keeping been used in classical, semi classical, light, folk, Bhajan etc. and also in instrument of Indian music which is used in traditional, classical, semi fusion music. -
GST Notifications (Rate) / Compensation Cess, Updated As On
Updated schedule of CGST rates on goods, as on 31.03.2021 For ease of reference only The GST rates on certain goods have under gone changes since the introduction of GST. The rate changes are given effect through amending notifications issued from time to time. Requests have been received for publishing a consolidated rate schedule incorporating all the changes. According, this document has been prepared indicating updated rate schedules prescribed vide notification No. 1/2017- Central Tax (Rate) dated 28th June, 2017, notification No.2/2017-Central Tax (Rate) dated 28th June, 2017 and notification No.1/2017- Compensation Cess (Rate) dated 28th June, 2017 as on 31.03.2021 This document is only for ease of reference and relevant notification will only have legal authority. 1. CGST rates on goods as on 31.3.2021 [notification No.1/2017-Central Tax (Rate), dated 28th June, 2017, as amended from time to time]. Schedule I – 2.5% S. Chapter / Description of Goods Rate No. Heading / Sub-heading / Tariff item (1) (2) (3) (4) 1. 0202, 0203, All goods [other than fresh or chilled] and put up in 2.5% 0204, 0205, unit container and,- 0206, 0207, (a) bearing a registered brand name; or 0208, 0209, (b) bearing a brand name on which an actionable claim or 0210 enforceable right in a court of law is available [other than those where any actionable claim or enforceable right in respect of such brand name has been foregone voluntarily], subject to the conditions as in the ANNEXURE] 2. 0303, 0304, All goods [other than fresh or chilled] and put up in 2.5% 0305, 0306, unit container and,- 0307, 0308 (a) bearing a registered brand name; or (b) bearing a brand name on which an actionable claim or enforceable right in a court of law is available [other than those where any actionable claim or enforceable right in respect of such brand name has been foregone voluntarily], subject to the conditions as in the ANNEXURE 3. -
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). -
JBH the Art of the Drum
THE ART OF THE DRUM: THE RELIGIOUS AND SPIRITUAL DYNAMIC OF DRUMMING AND DRUM CRAFTING IN FIJI, JAPAN, INDIA, MOROCCO AND CUBA JESSE BROWNER-HAMLIN THE BRISTOL FELLOWSHIP HAMILTON COLLEGE WWW.THEARTOFTHEDRUM.BLOGSPOT.COM AUGUST 2007 – AUGUST 2008 2 In the original parameters of my Bristol Fellowship, I aspired to investigate the religious and spiritual dynamic of drumming and drum crafting in Fiji, Japan, India, Morocco, the Dominican Republic, and Trinidad and Tobago. As any academic will attest, field research tends to march to beat of its own drum, if you will. The beauty of my fellowship was that I could have conducted the research in just about any country in the world. Music is everywhere; and moreover, drums are the oldest instrument known to man. Along the way, I modestly altered the itinerary: in the end, I conducted research in Fiji, Japan, India, Western Europe, Morocco and Cuba. It truly was a remarkable experience to have full autonomy over my research: I am infinitely grateful that the Bristol Family and Hamilton College (represented by Ginny Dosch) gave me the freedom to modify my itinerary as I saw fit. To be successful while conducting field research, you need to be flexible. While several of my hypotheses from my proposal were examined and tested, I often found myself in unscripted situations. The daily unpredictability of the fellowship is what makes it such a profound and exciting experience, as every day is an adventure. With the blessing of technology, this fellowship was carried out in “real time.” Because I actively maintained a website, www.theartofthedrum.blogspot.com, my research and multimedia were posted almost instantaneously, and thus, my family and friends back in the States could read about my experiences, see my pictures and watch my videos. -
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. -
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. -
The Arunachal Pradesh Gazette EXTRAORDINARY PUBLISHED by AUTHORITY
The Arunachal Pradesh Gazette EXTRAORDINARY PUBLISHED BY AUTHORITY No. 411, Vol. XXIV, Naharlagun, Wednesday, October 4, 2017 Asvina 12, 1939 (Saka) GOVERNMENT OF ARUNACHAL PRADESH DEPARTMENT OF TAX & EXCISE ITANAGAR ————— Notification No. 28/2017-State Tax (Rate) The 26th September, 2017 No. GST/24/2017.— In exercise of the powers conferred by sub-section (1) of Section 11 of the Arunachal Pradesh Goods and Services Tax Act, 2017 (7 of 2017), the State Government, on the recommendations of the Council, hereby makes the following amendments in the notification of the Government of Arunachal Pradesh, Department of Tax & Excise, No.2/2017-State Tax (Rate), dated the 28th June, 2017, published in the Extra ordinary Gazette of Arunachal Pradesh, vide number 192, Vol XXIV, dated the 30th June, 2017, namely:- In the said notification,- (B) in the Schedule,- (i) against serial number 27, in column (3), for the words “other than put up in unit containers and bearing a registered brand name”, the words, brackets and letters “other than those put up in unit container and,- (a) bearing a registered brand name; or (b) bearing a brand name on which an actionable claim or enforceable right in a court of law is available [other than those where any actionable claim or enforceable right in respect of such brand name has been foregone voluntarily, subject to the conditions as in the ANNEXURE I]”, shall be substituted ; (jj) against serial numbers 29 and 45, in column (3), for the words “other than put up in unit container and bearing a registered brand -
Zero-G Vindaloops Audio CD Booklet
Zero-G VindaLoops Zero-GZero-G Here it is! Zero-G ‘Vindaloops’. A spicy concoction of Indian percussion loops, single shot hits and authentic Bhangra instrumentation and effects. We envisage these samples being used in the widest range of musical styles imaginable including Dance, Ambient and, of course, Bhangra. Some of the samples are mono, some stereo depending on age, sampler used and so on. Some are in mono because, quite frankly, we felt that they sounded better that way! In order to help make the rhythm cycle of each loop more comprehensible to western ears we have generally looped samples over 2 bars. Breaks, fills, rolls and hits are distin- guished by being repeated twice with a small gap in between for you to hit the “sample” button. [IMPORTANT: A lot of these loops were originally played without a click track so b.p.m.s are given approximately - you should therefore be prepared to experiment with loop lengths and tempos to give the best feel for your particular groove.] Loops are grouped in homogeneous “kits” of similar sounds and tempos where possible, but there’s no reason why you shouldn’t mix and match as you please. The samples have been collected over a long period of time using a variety of samplers but currently we use a heavily upgraded Kurzweil K2000 as our main “Workhorse” (Respect to Darren Driscoll of Music Mart, London, Canada. Hope the little one is well!!), supplemented by our faithful Akai S1000. ‘Vindaloops’ samples were recorded and equalised using a Studiomaster P7 desk (many thanx K.M. -
An Inquiry Into Contextualized Christian Expression in North India
© 2011 M. J. Gracin ii ABSTRACT AN INQUIRY INTO CONTEXTUALIZED CHRISTIAN EXPRESSION IN NORTH INDIA M. J. Gracin Liberty University The riches of India’s ancient and diverse culture are proclaimed from the music that communicates the heart of Bharat Mata – Mother India. This sentiment resounds across the vast geographical area of India in songs from Hindus, Muslims, Sikhs, Buddhists, Christians and Bollywood composers. The question of how Christians might express their faith in light of societal, historical and religious amalgamations is the topic of discussion for this project. The inquiry will focus on the music culture of North India, specifically as it is expressed in the city of B_____, Uttar Pradesh. A six week field study was conducted in India to interview Hindu musicians and non-musicians. Audio and video recordings were made of the interviews, and photographs and recordings were made of various performances. The analysis endeavors to fill the gap concerning an understanding of the need for contextualized Christian expression and recommendations are presented for carrying out the task. iii CONTENTS CHAPTER I: INTRODUCTION ................................................................................................5 Project Significance ...............................................................................................................5 Definition of Purpose .............................................................................................................9 Intended Outcomes ............................................................................................................. -
Harmonic and Timbre Analysis of Tabla Strokes
HARMONIC AND TIMBRE ANALYSIS OF TABLA STROKES Anirban Patranabis1, Kaushik Banerjee1, Vishal Midya2, Sneha Chakraborty2, Shankha Sanyal1, Archi Banerjee1, Ranjan Sengupta1and Dipak Ghosh1 1Sir C V Raman Centre for Physics and Music, Jadavpur University, Kolkata 700032, India 2Indian Statistical Institute, Kolkata, India Abstract Indian twin drums mainly bayan and dayan (tabla) are the most important percussion instruments in India popularly used for keeping rhythm. It is a twin percussion/drum instrument of which the right hand drum is called dayan and the left hand drum is called bayan. Tabla strokes are commonly called as `bol', constitutes a series of syllables. In this study we have studied the timbre characteristics of nine strokes from each of five different tablas. Timbre parameters were calculated from LTAS of each stroke signals. Study of timbre characteristics is one of the most important deterministic approach for analyzing tabla and its stroke characteristics. Statistical correlations among timbre parameters were measured and also through factor analysis we get to know about the parameters of timbre analysis which are closely related. Tabla strokes have unique harmonic and timbral characteristics at mid frequency range and have no uniqueness at low frequency ranges. Introduction Among the percussion instruments, ‘tabla’ is one of the most important musical instruments in India. Tabla plays an important role in accompanying vocalists, instrumentalists and dancers in every style of music from classical to light in India, mainly used for keeping rhythm. The 'right hand' drum, called the dayan (also called the dahina, or the tabla) is a conical (almost cylindrical) drum shell carved out of a solid piece of hard wood. -
CULTURE Haryana Is a Wonderland with a Vibrant and Rich Cultural Heritage That Gives Visitors the Feel of the Vedic Period
The name Haryana has been derived from the Sanskrit words Hari (the Hindu God Vishnu) and Ayana (home), meaning "the Abode of God". Haryana is located in Northern part of India. Chandigarh is the state capital, Faridabad in National Capital Region is the most populous city of the state, and Gurugram is a leading financial hub of the NCR. Haryana surrounds the country's capital Delhi on three sides (north, west and south) 1 Capital Chandigarh 2 Population 25,351,462 3 Literacy Rate 75.55% 4 Districts 22 5 Chief Minister Mr Manohar Lal 6 Language Hindi, Haryanvi CULTURE Haryana is a wonderland with a vibrant and rich cultural heritage that gives visitors the feel of the Vedic period. Haryana is a rich agriculture state and shares its borders with several states of India like Rajasthan, Delhi, Uttar Pradesh, Punjab, and Himachal Pradesh. The state is rich in folklore. The people of Haryana have their own traditions. The age-old customs of meditation, Yoga, and chanting of Vedic Mantras, are still observed. MUSIC & DANCE Haryana has a rich tradition of dances for various occasions (weddings, festivals, etc.) and seasons (harvest, sowing of seeds, monsoon, etc.). Some of the forms of Folk dances of Haryana are Khoria Dance, Saang Dance, Chhath Dance, Khoria Dance, Ghoomar Dance, Ras Leela, Jhumar Dance, and Loor dance. The folk music of Haryana has been spread by the Bhats, Saangis, and Jogis. Music is made using many traditional instruments like Sarangi, Harmonium, Chimta, Dhadd, Dholak, Manjeera, Khartal, Damaru, Duggi, Daf, Bansuri, Been, Ghungroo, Dhak, Gharha (by adding rubber cover on top of the pitcher), Thali (beaten with a stick to make music) and Shankha. -
CHSE, ODISHA VOCATIONAL COURSES, 2016-2018 PART – III Humanities, Home Science, Visual Arts & Performing Art Scheme Of
Vol. III, 2016 CHSE, ODISHA VOCATIONAL COURSES, 2016-2018 PART – III Humanities, Home Science, Visual Arts & Performing Art Scheme of Studies A. Common Compulsory Subjects 1. English MIL (Alternative English / Bengali / Hindi / Odia / Sanskrit / Telugu / Urdu) 2. Environment Education, Basic Computer Education, Yoga) B. Basic Foundation Course (BFC) Economics, History, Political Science C. Part III Trade Subjects (a) Humanities (i) Textile Designing (ii) Tourism and Travel Management (b) Home Science (i) Crech and Pre-School Management (ii) Catering and Restaurant Management (c) Visual Art (i) Painting (ii) Graphic Art (iii) Applied Art (iv) Modelling and Sculpture (v) Traditional Art and Craft (d) Performing Arts (i) Chhow Dance (ii) Drama (iii) Flute / Violin / Setar (FLUIS) (iv) Hindustani Vocal (v) Odissi Vocal (vi) Odissi Dance (vii) Odissi Pakhwaj (Mardal) (viii) Tabla 1 Vol. III, 2016 D. Pattern of Course, Marks Distribution Compulsory 1st Year 2nd Year 1. English 50 Marks 50 Marks 2. MIL 50 Marks 50 Marks 3. BFC – 300 Marks BFC-I Theory 70 70 (any three subjects from Practical 30 30 the list) (If the subject has no BFC-II Theory 70 70 practical Practical 30 30 Element, the total marks is BFC-III Theory 70 70 100) Practical 30 30 4. Trade Subject – 200 Marks Trade Theory 40 Trade (Any One subjects from Paper I Paper III the list) Theory 40 Practical 60 Practical 60 Trade Theory 40 Trade Paper II Paper IV Theory 40 Practical 60 Practical 60 Total 600 600 E. (i) Duration of the Examination & Periods required : Marks Duration Theory 100 marks 3.00 Hrs 70 Marks 3.00 Hrs 60 Marks 3.00 Hrs 50 Marks 2.30 Hrs 40 Marks 2.00 Hrs Practical 60 Marks 3.00 Hrs 30 Marks 3.00 Hrs (ii) Periods required for 100 marks 180 Periods minimum in a Session ATTENTION PLEASE : Suggestions in the context of above stated course –structure are invited from all concerned.