CHSE, ODISHA VOCATIONAL COURSES, 2016-2018 PART – III Humanities, Home Science, Visual Arts & Performing Art Scheme Of
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Note Staff Symbol Carnatic Name Hindustani Name Chakra Sa C
The Indian Scale & Comparison with Western Staff Notations: The vowel 'a' is pronounced as 'a' in 'father', the vowel 'i' as 'ee' in 'feet', in the Sa-Ri-Ga Scale In this scale, a high note (swara) will be indicated by a dot over it and a note in the lower octave will be indicated by a dot under it. Hindustani Chakra Note Staff Symbol Carnatic Name Name MulAadhar Sa C - Natural Shadaj Shadaj (Base of spine) Shuddha Swadhishthan ri D - flat Komal ri Rishabh (Genitals) Chatushruti Ri D - Natural Shudhh Ri Rishabh Sadharana Manipur ga E - Flat Komal ga Gandhara (Navel & Solar Antara Plexus) Ga E - Natural Shudhh Ga Gandhara Shudhh Shudhh Anahat Ma F - Natural Madhyam Madhyam (Heart) Tivra ma F - Sharp Prati Madhyam Madhyam Vishudhh Pa G - Natural Panchama Panchama (Throat) Shuddha Ajna dha A - Flat Komal Dhaivat Dhaivata (Third eye) Chatushruti Shudhh Dha A - Natural Dhaivata Dhaivat ni B - Flat Kaisiki Nishada Komal Nishad Sahsaar Ni B - Natural Kakali Nishada Shudhh Nishad (Crown of head) Så C - Natural Shadaja Shadaj Property of www.SarodSitar.com Copyright © 2010 Not to be copied or shared without permission. Short description of Few Popular Raags :: Sanskrut (Sanskrit) pronunciation is Raag and NOT Raga (Alphabetical) Aroha Timing Name of Raag (Karnataki Details Avroha Resemblance) Mood Vadi, Samvadi (Main Swaras) It is a old raag obtained by the combination of two raags, Ahiri Sa ri Ga Ma Pa Ga Ma Dha ni Så Ahir Bhairav Morning & Bhairav. It belongs to the Bhairav Thaat. Its first part (poorvang) has the Bhairav ang and the second part has kafi or Så ni Dha Pa Ma Ga ri Sa (Chakravaka) serious, devotional harpriya ang. -
The Role of Radio in Promoting the Folk and Sufiana Music in the Kashmir Valley
Journal of Advances and Scholarly Researches in Allied Education Vol. XII, Issue No. 23, October-2016, ISSN 2230-7540 The Role of Radio in Promoting the Folk and Sufiana Music in the Kashmir Valley Afshana Shafi* Research Scholar, M.D.U., Rohtak, Haryana Abstract – In this Research work the Researcher reveals the role of All India Radio Srinagar in promoting the folk and sufiana music of Kashmir. Sufiana music is also known as the classical music of Kashmir. There was a time when the radio was considered to be a kind of entertainment only. At that sphere of time, All India Radio Kashmir was also touching the sky from its potential. Radio was widely heard among masses. Radio plays a significant role in the promoting of kashmiri music and the musicians of Kashmir. In this research work the researcher has written about role of Radio in Kashmiri music and in the success of kashmiri musicians. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - X - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - As you have heard very different stories about Kashmir evening, in this way Radio Kashmir has been a major yet, but apart from it, Kashmir is full of colors‘. So, let‘s contributor to promoting folk music of Kashmir. talk about those same colors of Kashmir. Kashmiri Music has created a name throughout the world, yes I As the people of Kashmir, living in remote areas, do am talking about sufiana music but before that we will not have access the other source of information and talk about the folk music of Kashmir. The chief source of entertainment, apart from the limited local traditional entertainment is only Music, and an important element activities, for the majority of the people,but as its said governing popularity or unpopularity of the service change is the law of nature but inspite of this radio ―points out H.R Luthra . -
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". -
The Rich Heritage of Dhrupad Sangeet in Pushtimarg On
Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda ||Shree DwaDwarrrrkeshokesho Jayati|| || Shree Vallabhadhish Vijayate || The Rich Heritage Of Dhrupad Sangeet in Pushtimarg on www.vallabhkankroli.org Reference : 8th Year Text Book of Pushtimargiya Patrachaar by Shree Vakpati Foundation - Baroda Inspiration: PPG 108 Shree Vrajeshkumar Maharajshri - Kankroli PPG 108 Shree Vagishkumar Bawashri - Kankroli Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda Contents Meaning of Sangeet ........................................................................................................................... 4 Naad, Shruti and Swar ....................................................................................................................... 4 Definition of Raga.............................................................................................................................. 5 Rules for Defining Ragas................................................................................................................... 6 The Defining Elements in the Raga................................................................................................... 7 Vadi, Samvadi, Anuvadi, Vivadi [ Sonant, Consonant, Assonant, Dissonant] ................................ 8 Aroha, avaroha [Ascending, Descending] ......................................................................................... 8 Twelve Swaras of the Octave ........................................................................................................... -
The Concept of Tala 1N Semi-Classical Music
The Concept of Tala 1n Semi-Classical Music Peter Manuel Writers on Indian music have generally had less difficulty defining tala than raga, which remains a somewhat abstract, intangible entity. Nevertheless, an examination of the concept of tala in Hindustani semi-classical music reveals that, in many cases, tala itself may be a more elusive and abstract construct than is commonly acknowledged, and, in particular, that just as a raga cannot be adequately characterized by a mere schematic of its ascending and descending scales, similarly, the number of matra-s in a tala may be a secondary or even irrelevant feature in the identification of a tala. The treatment of tala in thumri parallels that of raga in thumn; sharing thumri's characteristic folk affinities, regional variety, stress on sentimental expression rather than theoretical complexity, and a distinctively loose and free approach to theoretical structures. The liberal use of alternate notes and the casual approach to raga distinctions in thumri find parallels in the loose and inconsistent nomenclature of light-classical tala-s and the tendency to identify them not by their theoretical matra-count, but instead by less formal criteria like stress patterns. Just as most thumri raga-s have close affinities with and, in many cases, ongms in the diatonic folk modes of North India, so also the tala-s of thumri (viz ., Deepchandi-in its fourteen- and sixteen-beat varieties-Kaharva, Dadra, and Sitarkhani) appear to have derived from folk meters. Again, like the flexible, free thumri raga-s, the folk meters adopted in semi-classical music acquired some, but not all, of the theoretical and structural characteristics of their classical counterparts. -
A Critical Analysis of Narrative Art on Baranagar Temple Facades
Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935) Indexed by Web of Science, Scopus, DOAJ, ERIHPLUS Special Conference Issue (Vol. 12, No. 5, 2020. 1-18) from 1st Rupkatha International Open Conference on Recent Advances in Interdisciplinary Humanities (rioc.rupkatha.com) Full Text: http://rupkatha.com/V12/n5/rioc1s16n2.pdf DOI: https://dx.doi.org/10.21659/rupkatha.v12n5.rioc1s16n2 Unraveling the Social Position of Women in Late-Medieval Bengal: A Critical Analysis of Narrative Art on Baranagar Temple Facades Bikas Karmakar1 & Ila Gupta2 1Assistant Professor, Government College of Art & Craft Calcutta [email protected] 2Former Professor, Department of Architecture & Planning, IIT Roorkee [email protected] Abstract The genesis of the present study can be traced to an aspiration to work on the narratives of religious architecture. The Terracotta Temples of Baranagar in Murshidabad, West Bengal offer a very insightful vantage point in this regard. The elaborate works of terracotta on the facades of these temples patronized by Rani Bhabani during the mid-eighteenth century possess immense narrative potential to reconstruct the history of the area in the given time period. The portrayals on various facets of society, environment, culture, religion, mythology, and space and communication systems make these temples exemplary representatives for studying narrative art. While a significant portion of the temple facades depicts gods, goddesses, and mythological stories, the on-spot study also found a substantial number of plaques observed mainly on the base friezes representing the engagement of women in various mundane activities. This study explores the narrative intentions of such portrayals. The depictions incorporated are validated with various types of archival evidence facilitating cross-corroboration of the sources. -
Odisha Review Dr
Orissa Review * Index-1948-2013 Index of Orissa Review (April-1948 to May -2013) Sl. Title of the Article Name of the Author Page No. No April - 1948 1. The Country Side : Its Needs, Drawbacks and Opportunities (Extracts from Speeches of H.E. Dr. K.N. Katju ) ... 1 2. Gur from Palm-Juice ... 5 3. Facilities and Amenities ... 6 4. Departmental Tit-Bits ... 8 5. In State Areas ... 12 6. Development Notes ... 13 7. Food News ... 17 8. The Draft Constitution of India ... 20 9. The Honourable Pandit Jawaharlal Nehru's Visit to Orissa ... 22 10. New Capital for Orissa ... 33 11. The Hirakud Project ... 34 12. Fuller Report of Speeches ... 37 May - 1948 1. Opportunities of United Development ... 43 2. Implication of the Union (Speeches of Hon'ble Prime Minister) ... 47 3. The Orissa State's Assembly ... 49 4. Policies and Decisions ... 50 5. Implications of a Secular State ... 52 6. Laws Passed or Proposed ... 54 7. Facilities & Amenities ... 61 8. Our Tourists' Corner ... 61 9. States the Area Budget, January to March, 1948 ... 63 10. Doings in Other Provinces ... 67 1 Orissa Review * Index-1948-2013 11. All India Affairs ... 68 12. Relief & Rehabilitation ... 69 13. Coming Events of Interests ... 70 14. Medical Notes ... 70 15. Gandhi Memorial Fund ... 72 16. Development Schemes in Orissa ... 73 17. Our Distinguished Visitors ... 75 18. Development Notes ... 77 19. Policies and Decisions ... 80 20. Food Notes ... 81 21. Our Tourists Corner ... 83 22. Notice and Announcement ... 91 23. In State Areas ... 91 24. Doings of Other Provinces ... 92 25. Separation of the Judiciary from the Executive .. -
List of Documentaries Produced by Sahitya Akademi
LIST OF DOCUMENTARIES PRODUCED BY SAHITYA AKADEMI S.No.AuthorDirected byDuration 1. Amrita Pritam (Punjabi) Basu Bhattacharya 60 minutes 2. Akhtar-ul-Iman (Urdu) Saeed Mirza 60 minutes 3. V.K. Gokak (Kannada) Prasanna 60 minutes 4. ThakazhiSivasankara Pillai (Malayalam) M.T. Vasudevan Nair 60 minutes 5. Gopala krishnaAdiga (Kannada) Girish Karnad 60 minutes 6. Vishnu Prabhakar (Hindi) Padma Sachdev 60 minutes 7. Balamani Amma (Malayalam) Madhusudanan 27 minutes 8. VindaKarandikar (Marathi) Nandan Kudhyadi 60 minutes 9. Annada Sankar Ray (Bengali) Budhadev Dasgupta 60 minutes 10. P.T. Narasimhachar (Kannada) Chandrasekhar Kambar 27 minutes 11. Baba Nagarjun (Hindi) Deepak Roy 27 minutes 12. Dharamvir Bharti (Hindi) Uday Prakash 27 minutes 13. D. Jayakanthan (Tamil) Sa. Kandasamy 27 minutes 14. Narayan Surve (Marathi) DilipChitre 27 minutes 15. BhishamSahni (Hindi) Nandan Kudhyadi 27 minutes 16. Subhash Mukhopadhyay (Bengali) Raja Sen 27 minutes 17. TarashankarBandhopadhyay(Bengali)Amiya Chattopadhyay 27 minutes 18. VijaydanDetha (Rajasthani) Uday Prakash 27 minutes 19. NavakantaBarua (Assamese) Gautam Bora 27 minutes 20. Mulk Raj Anand (English) Suresh Kohli 27 minutes 21. Gopal Chhotray (Oriya) Jugal Debata 27 minutes 22. QurratulainHyder (Urdu) Mazhar Q. Kamran 27 minutes 23. U.R. Anantha Murthy (Kannada) Krishna Masadi 27 minutes 24. V.M. Basheer (Malayalam) M.A. Rahman 27 minutes 25. Rajendra Shah (Gujarati) Paresh Naik 27 minutes 26. Ale Ahmed Suroor (Urdu) Anwar Jamal 27 minutes 27. Trilochan Shastri (Hindi) Satya Prakash 27 minutes 28. Rehman Rahi (Kashmiri) M.K. Raina 27 minutes 29. Subramaniam Bharati (Tamil) Soudhamini 27 minutes 30. O.V. Vijayan (Malayalam) K.M. Madhusudhanan 27 minutes 31. Syed Abdul Malik (Assamese) Dara Ahmed 27 minutes 32. -
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67 * $/ 8$ 9*1 &8$ 9*1 9 !&''!( !"#$% &!")$* 7 :7,7 7 ! " # ""#$!#% %#%#% 77 ; ,, < +50 , #&#%%# !) 0( = %$& 11*$/* ! "#$ #%&!%'&( ) R R " Q$R Q R hief Minister Naveen CPatnak on Monday rub- bished Congress president Rahul Gandhi’s allegation of a he Central Government is ‘secret understanding’ between Tyet to release a total pend- Patnaik and Prime Minister ing amount of 6,400 crore for Narendra Modi. Odisha with hardly one month On the sidelines of an offi- left for the current financial he ruling saffron alliance cial meeting in New Delhi, year to end, said Chief Minister Tpartners on Monday when reporters asked him Naveen Patnaik on Monday. !"### indulged in posturing over a about Gandhi’s allegation dur- After reviewing the pend- $ %&" '() possible tie-up between them !" # ing his recent visit to ing issues with the Government $ *" +## for the forthcoming Lok Sabha Bhubaneswar that Modi of India officers at the Odisha $ % , polls, with the Shiv Sena con- and 22 seats respectively in the but said, “We have not received remote-controls Patnaik, the Bhawan, Patnaik said more -)# $ &$%*% tending that it was a “big broth- State. The two parties had put any proposal from the BJP. Nor Chief Minister replied in Union Minister Dharmendra Asked about his sister Gita than 1,000 crore for housing, / * / er” in Maharashtra and the BJP up a spectacular performance has any BJP leader met Uddhav his style that the accusation Pradhan’s claim that Patnaik is Mehta declining the Padma over 375 crore for health, retaliating that it was not “help- in the polls by together winning Thackeray in this regard”. -
12 NI 6340 MASHKOOR ALI KHAN, Vocals ANINDO CHATTERJEE, Tabla KEDAR NAPHADE, Harmonium MICHAEL HARRISON & SHAMPA BHATTACHARYA, Tanpuras
From left to right: Pandit Anindo Chatterjee, Shampa Bhattacharya, Ustad Mashkoor Ali Khan, Michael Harrison, Kedar Naphade Photo credit: Ira Meistrich, edited by Tina Psoinos 12 NI 6340 MASHKOOR ALI KHAN, vocals ANINDO CHATTERJEE, tabla KEDAR NAPHADE, harmonium MICHAEL HARRISON & SHAMPA BHATTACHARYA, tanpuras TRANSCENDENCE Raga Desh: Man Rang Dani, drut bandish in Jhaptal – 9:45 Raga Shahana: Janeman Janeman, madhyalaya bandish in Teental – 14:17 Raga Jhinjhoti: Daata Tumhi Ho, madhyalaya bandish in Rupak tal, Aaj Man Basa Gayee, drut bandish in Teental – 25:01 Raga Bhupali: Deem Dara Dir Dir, tarana in Teental – 4:57 Raga Basant: Geli Geli Andi Andi Dole, drut bandish in Ektal – 9:05 Recorded on 29-30 May, 2015 at Academy of Arts and Letters, New York, NY Produced and Engineered by Adam Abeshouse Edited, Mixed and Mastered by Adam Abeshouse Co-produced by Shampa Bhattacharya, Michael Harrison and Peter Robles Sponsored by the American Academy of Indian Classical Music (AAICM) Photography, Cover Art and Design by Tina Psoinos 2 NI 6340 NI 6340 11 at Carnegie Hall, the Rubin Museum of Art and Raga Music Circle in New York, MITHAS in Boston, A True Master of Khayal; Recollections of a Disciple Raga Samay Festival in Philadelphia and many other venues. His awards are many, but include the Sangeet Natak Akademi Puraskar by the Sangeet Natak Aka- In 1999 I was invited to meet Ustad Mashkoor Ali Khan, or Khan Sahib as we respectfully call him, and to demi, New Delhi, 2015 and the Gandharva Award by the Hindusthan Art & Music Society, Kolkata, accompany him on tanpura at an Indian music festival in New Jersey. -
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. -
Full-Fledged Interview to Learn More About Platter of Delectable Fare Every Should Stand by Them
JULY 19 - JULY 25, 2020 HERE . NOW P 3,4 1 2 3 4 5 6 7 8 SUNDAY POST JULY 19 - JULY 25, 2020 MIXED BAG Solanki Bhowmick wears many hats: Actress, software engineer, model, travel vlogger and fitness enthusiast, to name but a few. But she has always been passionate about acting. The Premi Diwana actress who looks forward to her second release Mate Ishq Helare opens up on how she spends her non-working Sundays. FITNESS With mother FREAK I get up early every day and Sundays are no exceptions. Then I go for an hour of fitness CINEPHILE training that includes I love to watch a lot of Zumba, aerobics and films which also helps me other exercises. in my profession. These days I am addicted to web series. Currently I'm FAMILY TIME watching my favourite Come what may, I Sushmita Sen's Aarya reserve my Sundays for which is steaming online. my family. I am also a Apart from watching big time foodie and movies, I also love to play don’t miss to dine billiards and carom with together, in company of my family. my mom in particular who is my best friend. AVID VLOGGER On Sundays, I prefer to SHOPAHOLIC shoot my fashion I love shopping and blogging videos and Forever New, Zara and upload them on social H&M are my favourite media. I also learn a few brands. makeup hacks so that it helps me during the shoot. CHAITALI SHOME, OP WAR HEROES WELCOME ADDITION LETTERS Sir, Last week’s cover story ‘Real life superheroes’ is Sir, Poet Durga Prasad Panda on My Sunday a tribute to the frontline Covid warriors.