Ustad Amir Khan, S
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IME Annual Report 2020-2021 Low Size
Supported by Annual Report 2020-2021 Only in the darkness can “ you see the stars. ― Martin Luther King “ Namaste We have collectively endured one of the defining experiences of our life and times. What started off as a pause in the hustle and bustle of daily life has now become a happening that will forever define the way we see the world. Many of us experienced loss – of loved ones, of time, of precious moments, and of a sense of normalcy. There were days when I questioned everything, and felt the meaninglessness of it all. At the same time, I realized that the future is built one day at a time, by the seemingly small actions we take each day; that, as Martin Luther King said, everything that is done in the world is done by hope. And so, we see ourselves looking back at a most strange year, but one that I am glad to report has been extremely productive for the Indian Music Experience Museum, in our mission to build community through music. The team at IME seamlessly adapted to the online world. We ensured the continuity of music education at the Learning Centre. We unveiled two new online exhibits through an important partnership with Google Art and Culture. Our work in preserving musical traditions achieved an important milestone through the creation of an online archive on the life and works of legendary violinist and composer, Mysore T. Chowdiah, in collaboration with the Shankar Mahadevan Academy. We presented a wide variety of talks, discussions, workshops, showcases, and exhibit walkthroughs online, growing our audience beyond the geographic limitations of in-person events. -
A Novel Hybrid Approach for Retrieval of the Music Information
International Journal of Applied Engineering Research ISSN 0973-4562 Volume 12, Number 24 (2017) pp. 15011-15017 © Research India Publications. http://www.ripublication.com A Novel Hybrid Approach for Retrieval of the Music Information Varsha N. Degaonkar Research Scholar, Department of Electronics and Telecommunication, JSPM’s Rajarshi Shahu College of Engineering, Pune, Savitribai Phule Pune University, Maharashtra, India. Orcid Id: 0000-0002-7048-1626 Anju V. Kulkarni Professor, Department of Electronics and Telecommunication, Dr. D. Y. Patil Institute of Technology, Pimpri, Pune, Savitribai Phule Pune University, Maharashtra, India. Orcid Id: 0000-0002-3160-0450 Abstract like automatic music annotation, music analysis, music synthesis, etc. The performance of existing search engines for retrieval of images is facing challenges resulting in inappropriate noisy Most of the existing human computation systems operate data rather than accurate information searched for. The reason without any machine contribution. With the domain for this being data retrieval methodology is mostly based on knowledge, human computation can give best results if information in text form input by the user. In certain areas, machines are taken in a loop. In recent years, use of smart human computation can give better results than machines. In mobile devices is increased; there is a huge amount of the proposed work, two approaches are presented. In the first multimedia data generated and uploaded to the web every day. approach, Unassisted and Assisted Crowd Sourcing This data, such as music, field sounds, broadcast news, and techniques are implemented to extract attributes for the television shows, contain sounds from a wide variety of classical music, by involving users (players) in the activity. -
Naushad Aan Mp3, Flac, Wma
Naushad Aan mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop / Folk, World, & Country / Stage & Screen Album: Aan Country: India Released: 1983 Style: Hindustani, Bollywood, Soundtrack MP3 version RAR size: 1240 mb FLAC version RAR size: 1369 mb WMA version RAR size: 1829 mb Rating: 4.7 Votes: 380 Other Formats: ADX MMF MP3 VQF AIFF AUD MP4 Tracklist A1 –Mohd. Rafi* Man Mera Ehsan A2 –Shamshad Begum Aag Lagi Tanman Men A3 –Lata Mangeshkar Tujhe Kho Diya Hamne A4 –Mohd. Rafi* Mohabbat Choome Jinke Hath A5 –Shamshad Begum, Lata Mangeshkar, Mohd. Rafi* & Chorus* Gao Tarane Man Ke B1 –Mohd. Rafi* Dil Men Chhupa Ke B2 –Lata Mangeshkar & Chorus* Aaj Mere Man Men Sakhi B3 –Shamshad Begum Main Rani Hoon Raja Ki B4 –Mohd. Rafi* Takra Gaya Tumse B5 –Shamshad Begum, Lata Mangeshkar & Chorus* Khelo Rang Hamare Sang Companies, etc. Record Company – EMI Copyright (c) – The Gramophone Company Of India Ltd. Phonographic Copyright (p) – The Gramophone Company Of India Ltd. Manufactured By – The Gramophone Company Of India Ltd. Distributed By – The Gramophone Company Of India Ltd. Printed By – Printwell Credits Lyrics By – Shakeel Badayuni Music By – Naushad Notes From The Original Soundtrack Hindi movie - Aan Other versions Category Artist Title (Format) Label Category Country Year New Light , 10001, IND 6048-C Naushad Aan (LP) 10001, IND 6048-C 1955 New Light LKDA-350 Naushad Aan (LP) Odeon LKDA-350 Pakistan 1980 Related Music albums to Aan by Naushad Laxmikant Pyarelal - Farz / Jigri Dost Naushad - Baiju Bawra Shankar Jaikishan / S. D. Burman - Jab Pyar Kisi Se Hota Hai / Asli Naqli / Tere Ghar Ke Samne Salil Chowdhury, Shankar-Jaikishan - Maya / Love Marriage Roshan , Sahir - Barsat Ki Rat / Taj Mahal Mohd. -
MUSIC MPA Syllabus Paper Code Course Category Credit Marks
MUSIC MPA Syllabus Paper Code Course Category Credit Marks Semester I 12 300 MUS-PG-T101 Aesthetics Theory 4 100 MUS-PG-P102 Analytical Study of Raga-I Practical 4 100 MUS-PG-P103 Analytical Study of Tala-I Practical 4 100 MUS-PG-P104 Raga Studies I Practical 4 100 MUS-PG-P105 Tala Studies I Practical 4 100 Semester II 16 400 MUS-PG-T201 Folk Music Theory 4 100 MUS-PG-P202 Analytical Study of Raga-II Practical 4 100 MUS-PG-P203 Analytical Study of Tala-II Practical 4 100 MUS-PG-P204 Raga Studies II Practical 4 100 MUS-PG-P205 Tala Studies II Practical 4 100 MUS-PG-T206 Music and Media Theory 4 100 Semester III 20 500 MUS-PG-T301 Modern Traditions of Indian Music Theory 4 100 MUS-PG-P302 Analytical Study of Tala-III Practical 4 100 MUS-PG-P303 Raga Studies III Practical 4 100 MUS-PG-P303 Tala Studies III Practical 4 100 MUS-PG-P304 Stage Performance I Practical 4 100 MUS-PG-T305 Music and Management Theory 4 100 Semester IV 16 400 MUS-PG-T401 Ethnomusicology Theory 4 100 MUS-PG-T402 Dissertation Theory 4 100 MUS-PG-P403 Raga Studies IV Practical 4 100 MUS-PG-P404 Tala Studies IV Practical 4 100 MUS-PG-P405 Stage Performance II Practical 4 100 1 Semester I MUS-PG-CT101:- Aesthetic Course Detail- The course will primarily provide an overview of music and allied issues like Aesthetics. The discussions will range from Rasa and its varieties [According to Bharat, Abhinavagupta, and others], thoughts of Rabindranath Tagore and Abanindranath Tagore on music to aesthetics and general comparative. -
Clare M. Wilkinson-Weber
Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp. -
Vocal Grade 4
VOCAL GRADE 4 Introduction Welcome to Grade 4 You are about to start the wonderful journey of learning to sing, a journey that is challenging, but rewarding and enjoyable! Whether you want to jam with a band or enjoy singing solo, this series of lessons will get you ready to perform with skill & confidence. What will you learn? Grade 4 covers the following topics : 1) Guruvandana and Saraswati vandana 2) Gharanas in Indian Classical Music 3) Pandit Vishnu Narayan Bhatkhande 4) Tanpura 5) Lakshan Geet 6) Music & Psychology 7) Raag Bhairav 8) Chartaal 9) Raag Bihag 10) Raag and Time Theory 11) Raag Kafi 12) Taal Ektaal 13) Bada Khyal 14) Guessing a Raag 15) Alankar 1 What You Need Harmonium /Synthesizer Electronic Tabla / TablaApp You can learn to sing without any of the above instruments also and by tapping your feet, however you will get a lot more out of this series if you have a basic harmonium and a digital Tabla to practice. How to Practice At Home Apart from this booklet for level 1, there will be video clippings shown to you for each topic in all the lessons. During practice at home, please follow the method shown in the clippings. Practice each lesson several times before meeting for the next lesson. A daily practice regime of a minimum of 15 minutes will suffice to start with. Practicing with the harmonium and the digital Tabla will certainly have an added advantage. DigitalTablamachinesorTablasoftware’sareeasilyavailableandideallyshould beusedfor daily practice. 2 Lesson 1 GURUVANDANA SARASWATI VANDANA & Guruvandana Importance of Guruvandana : The concept of Guru is as old as humanity itself. -
(Dr) Utpal K Banerjee
About the Book IGNCA is a treasure-trove of cultural artifacts including a rich repository of Video documentaries (published) and Audio and Video DVDs (unpublished). This book – based on the author’s two-year project -- envisions an on-line A-V cultural archive KALASAMPADA that consists of A-V materials stored at IGNCA for the categories of: Interviews; Ritual Documentation; Archaeological Sites and Walk-through; Events; Festivals; Performances (music-dance-theatre-puppetry-mime); Lectures; Seminars; and Workshops. In order to make such a wide variety of materials available on-line – initially on the Intranet, subsequently on a potential Extranet, and eventually (although very selectively) on the Internet – the following digitisation road-map is observed in the project: Conversion of primary A-V materials from analogue to digital format; Creation of data sheets for metadata tagging, following the international standard of Dublin Core Metadata Element Set (DCMES); Integration of metadata with primary A-V material in IGNCA’s Intranet; Access and retrieval by “simple search” with keywords for casual browsers and “advanced search” for users, researchers and scholars with reference to groups of keywords from the intranet. The objectives of the project of on-line A-V cultural archive are: to bring it into public domain; to make it inter-active for scholars; and to make it internationally compatible. Basic advantages of such a project are really five-fold. First, a digital A-V archive assures the near permanent durability of the A-V material. Secondly, it allows need-based quality enhancement. Thirdly, an archive of this kind makes room for highly economic storage of vulnerable Audio and Video files. -
Volume-1, Issue-2 . ISSN 2456-6187 December , 2017
Volume-1, Issue-2 . ISSN 2456-6187 December , 2017 CONTRIBUTION OF USTAD SHARAFAT HUSSAIN KHAN SAHEB: IN THE FIELD OF DEVELOPMENT OF SANGEET KALA IN THE BACK DROP OF GHARANA Page | 1 -Alok Acharjee Abstract From the very beginning of civilization art and music started walking on the course of gradual development. With the gradual advancement of civilization this art also kept and advancing keeping its own trend. In ancient India monotype of music was exercised. But this art experienced an amalgamation with foreign culture as a consequence of foreign attack (specially South Asian foreign force). As a result this mono music art got by individual form between North and South India .In spite of that , some contemporary music practitioners endeavoured to keep up the spirit of monotype music. Thus to protect the music art trend „music school „ or „Gharanas„ originated .Through these „Gharana s „ subtle creativity of music art is protected till date. In this regard Ustad Sharafat Hussain Khan of Agra Gharana is specially noteworthy. The strengthened and popularised Agra Gharana across the Country found a place In the posterity. According to Pt. Ajoy Chakrabarty “those who made Agra Gharana the best are Ustad Fiyaz Khan , Ustad Vilayet Hussain khan ,Ustad Sharafat Hussain Khan. In one word Saharafat Hussain Khan was the Torchbearer of this Gharana.”1 Thus Agra Gharana has become an eternal source of Music inspiration for music learners and lovers . Keyword : - Gharana, Gayaki , Rangile Style, Alapchari ,Bol Bant Introduction: From the very beginning of Sangeet Kala two different aspects in this regard into two different flow and transformed in different times and flowed in to the present day form. -
Secondary Indian Culture and Heritage
Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture. -
The Sixth String of Vilayat Khan
Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration. -
Routes 2 Roots Dreams of a Peaceful World Co-Existing with Diverse Cultures, Ruled by Harmony
Routes 2 Roots dreams of a peaceful world co-existing with diverse cultures, ruled by harmony. The world’s largest interactive digital program of teaching performing arts with global reach R-19 LGF, Hauz Khas, New Delhi - 16, Ph: +91 11 41646383 Fax: +91 11 41646384 Studio: Flat No. 5, 1st Floor, Sector - 6 Market, R. K. Puram, New Delhi - 110022, Ph: +91 11 26100114, 26185281 Web: www.routes2roots.com, www.r2rvirsa.in, Email: [email protected] An Initiative of Routes2Roots NGO Routes2Roots twitter.com/Routes2RootsNGO twitter.com/virsar2r virsabyroutes2roots.blogspot.in Board of Advisors & Contributing Maestros of Virsa ROUTES 2 ROOTS Routes 2 Roots is a Delhi based non-profit reputed NGO with a presence all over India. Since its inception in 2004 the NGO is constantly striving to disseminate culture, art and heritage to the common people and the children throughout the world. Ever since its inception in 2004 Routes 2 Roots has dedicated itself to promoting art, culture and heritage throughout the world with the prime objective of spreading the message of peace. We have hosted over 26 international events, 14 exhibitions and 110 concerts throughout the world and all of these programs have been on a non-commercial basis, i.e. no ticketing so that people en masse can come and enjoy a shared experience of each-others’ culture freely. Our organisation is known for quality cultural programs and we have to our credit numerous prestigious international programs such as celebration of 60 years of diplomatic ties between India and China, which was held in 4 cities of China, Celebration of 65 years of Indo-Russian diplomatic ties, which was held in 5 cities of Russia, Festival of India in South Africa covering 4 cities and many more. -
University of Mumbai Department of Music Sample of MCQ Question Paper for Students M.Mus Part 2 Paper -V Course Name – Music
University of Mumbai Department of Music Sample of MCQ Question Paper for Students M.mus part 2 paper -V Course Name – Music Education Paper/Subject Code_________ Student’s Seat No._____ Instrructions; 1. All the Questions are Compulsory Total Marks – 50 2. All Questions Carry Equal Marks 1. Name the artist from Kirana Gharana among the following a. Sangmeshwar Gurav b. Mallikarjun Mansoor c. Krishnarao Shankar Pandit d. Faiyyaz Khan 2. Name the student of Ustad Allauddin Khan a. Ust. Aliakbar Khan b. Kishore Kumar c. Gayatri Chitre d. MAnik Varma 3. Name disciple of Ust. Alladiya Khan among the following a. Kesarbai b. Hirabai c. Begam Akhtar d. Parveen Sultana 4. Where the Indira Kala Vishwavidyalay is Located? a. Pune b. Mumbai c. Khairagadh d. Nagpur 5. Among following who is awarded with Padmavibhushan? a. Pt. Rakesh Chaurasia b. Pt. Jasraj c. Pt. Mukund Lath d. Sumitra Guha 6. Who was the Guru of Kumar Gandharva? a. Saraswati Rane b. B.R. Deodhar c. Kagalkar buwa d. Bhaskarbuwa Bakhale 7. Who had written book on Aesthetics of Indian Music? a. Sudheer Nayak b. Manjiri Sinha c. Rama Deodhar d. Ashok D. Ranade 8. Among the following which is a performing art? a. Natya b. Pottery c. Poetry d. Sculpture 9. Who was titled as Swarbhaskar ? a. Prabhakar Karekar b. Vinay Mishra c. Rajan Sajan Mishra d. Bhimsen Joshi 10. Who was the only direct disciple of Kesarbai Kerkar? a. Dhondutai Kulkarni b. Parmeshwar Hegade c. Pahadi Sanyal d. Jaimala Shiledar 11. Name the famous stage actor-singer a. Saleel Choudhari b.