DOCSLIB.ORG

Performing Arts (91 – 95)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Performing Arts (91 – 95) PERFORMING ARTS (91 – 95) Aims: 5. To develop a co-operative attitude through the organisation and participation associated with 1. To develop a perceptive, sensitive and critical music, dance and drama. response to music, dance and drama in its historical and cultural contexts. 6. To provide an appropriate body of knowledge with understanding, and to develop appropriate 2. To stimulate and develop an appreciation and skills as a basis for further study or leisure or enjoyment of music, dance and drama through both. active involvement. 3. To balance the demands of disciplined skills and One of the following five syllabuses may be offered: challenging standards in an environment of emotional, aesthetic, imaginative and creative Hindustani Music (91) development. Carnatic Music (92) 4. To develop performing skills, and so encourage Western Music (93) a participation in the wide range of performance activities likely to be found in the school and Indian Dance (94) community. Drama (95) HINDUSTANI MUSIC (91) CLASS IX There will be one paper of two hours carrying raga; Jati (Odava, Shadava, Sampoorna); Vadi, 100 marks and Internal Assessment of 100 marks. Samvadi, Anuvadi, Vivadi swaras; Varjya The syllabus is divided into three sections: swara; Graha, Ansha, Nyas swaras; Vakra swaras; Pakar; Poorvang; Uttarang; Section A - Vocal Music Poorva Raga, Uttara Raga; relation between Section B - Instrumental Music Vadi swara and the time of singing ragas; Section C - Tabla Swaramalika, Lakshangeet, Khyal, Dhrupad, Sthayi, Antara, Sanchari, Abhog; Tan, Alap; Candidates will be required to attempt five questions Laya (Vilambit, Madhya, Drut); Matra, Vibhag, in all, two questions from Section A and either three Tala, Avartan, Sam, Tali, Khali, Theka; Thah questions from Section B or three questions from (Barabari or Ekgun), Devigun (Dugun), Section C. Chaugun. PART 1: THEORY – 100 Marks 2. Description of the eight ragas mentioned under ‘practical’ – their That, Swaras, Aroha-Avaroha, SECTION A Pakar, Jati, Vadi-Samvadi, time and simple Swara-Vistara (alap). HINDUSTANI VOCAL MUSIC 3. Description of the five talas mentioned under ‘practical’; writing them in Thah and Dugun in THEORY Tala notation. 1. Elementary knowledge of the following: 4. Knowledge of musical notation system (swara Sangeet; two main systems of Indian Music; and Tala-lipi); writing easy Khyal songs (only Nad, Shruti, Sthan, Swara, Shuddha and Vikrit Sthayi and Antara) in musical notation. swars; Saptak; That or Mela; Varna; Alankara; 5. Identification of ragas with the help of given Raga, Janak That, Janya Ragas and Ashraya short swara-vistara. 177 PRACTICAL Pakar, Jati, Vadi-Samvadi, time and simple Swara-Vistara (alap). 1. Singing and identifying Shuddha and Vikrit Swaras, especially the Shuddha ones. 3. Writing in Tala-notation, in Thah and Dugun, the five Talas mentioned under ‘practical’. 2. Idea of Laya; Vilambit, Madhya and Drut layas; 4. Writing Sthayi and Antara of simple Gats in Speaking and singing alankaras in Dugun and musical notation. Chaugun layakaris. 5. Identification of ragas with the help of given 3. Singing of ten alankaras. short swara-vistara. 4. Singing of one Madhya laya khyal song in each 6. Names of different parts (components) of the of the following eight ragas: Alhaiya Bilawal, instrument with the help of its simple sketch. Yaman, Bhoopali, Khamaj, Kafi, Asavari, Bhairava, Bhairavi; one Dhrupad Geet in any PRACTICAL one raga; one song in Kaharwa Tala and one in 1. Handling of the instrument; correct posture and Dadra Tala (folk or action or devotional or fingering. patriotic song); national anthems, Jana Gana Mana and Vande Mataram; easy development 2. Playing of ten alankaras in single (Thah) and through alaps and tans in Madhya laya Khyals double measure (Dugun). and Dugun and Chaugun in Dhrupad. 3. Playing of Madhya laya (Gat) in each of the following eight ragas: Alhaiya Bilawal, Yaman, 5. Reciting the Thekas of the following five talas Bhoopali, Khamaj, Kafi, Asavari, Bhairava, with Tali, Khali shown on hands: Teen Tala, Bhairavi; Simple Alap in these ragas and a few Kaharwa, Dadra, Jhaptal and Chartal; their simple Tans or Toras in eight Gats; one simple Dugun also. tune (Dhun) each in Kaharwa and Dadra Tals; 6. Identification of ragas. playing of the national anthems, Jana Gana Mana and Vande Mataram. SECTION B 4. Reciting the Thekas of the following five talas with Tali, Khali shown on hands: Teen Tala, HINDUSTANI INSTRUMENTAL MUSIC Kaharwa, Dadra, Jhaptal and Chartal; their (EXCLUDING TABLA) Dugun also. THEORY 5. Identification of ragas. 1. Elementary knowledge of the following: 6. Playing of simple Bols like Da Ra Da Ra, Da Ra Sangeet; two main systems of Indian Music; Dir Dir, Da Dir, Da Ra, etc. Nad, Shruti, Sthan, Swara, Shuddha and Vikrit SECTION C swars; Saptak; That or Mela; Varna; Alankara; Raga, Janak That, Janya Ragas and Ashraya HINDUSTANI INSTRUMENTAL MUSIC raga; Jati (Odava, Shadava, Sampoorna); Vadi, (PERCUSSION, LIKE TABLA) Samvadi, Anuvadi, Vivadi swaras; Chal and Achal swaras; Chal and Achal That; Varjya THEORY swara; Graha, Ansha, Nyas swaras; Vakra 1. Elementary knowledge and explanation of the swaras; Pakar; Poorvang; Uttarang; Poorva following: Laya (Vilambit, Madhya and Drut), Raga, Uttara Raga; relation between Vadi swara Layakari – 2 matras in one matra (Dugun), 3 in and the time of playing ragas; Vilambit Gat, 1 (Tigun), 4 in 1 (Chaugun) etc.; Matra, Tala, Madhya Laya Gat and Drut Gat (Maseetkhani and Razakhani Gats); Laya, Matra, Vibhag, Vibhag; Sam; Tali, Khali, Avartan, Thah Tala, Sam, Tali, Khali, Theka; Thah (Barabari), (Barabari or Ekgun), Dugun; Chaugun, Theka Dugun, Chaugun; Avartan, Layakari. (Bol), Kayada, Palta, Tihai, Mohra, Mukhara, 2. Description of the eight ragas mentioned under Tukra, Kismen (varieties of Theka). ‘practical’ – their That, Swaras, Aroha-Avaroha, 178 2. Names of different parts (components) of Tabla 2. Technique of producing main syllables of Tabla and Bayan, with simple sketch or drawing of the and Bayan (Varnas) like Ta, Dha, Ge, Kaat, Tin, instrument. Dhin, Te Te (rs, Vs) etc. 3. Writing in Tala-notation of the six Talas 3. Playing of Thekas of the following six Tals on mentioned under ‘practical’; with their simple Tabla with simple development: Teental, development; writing of Thekas in Thah, Dugun Kaharwa, Dadra, Jhaptal, Chartal and Ektal. and Chaugun layakaris. Development suggested: in Teental – 4 Kayadas with 4 paltas in each, 2 Mohras, 2 Tihais and 2 4. Elementary knowledge of: Sangeet, Nad, Shruti, Tikras; in Jhaptal, Ektal and Chartal – 2 small Swara, Saptak, Shudha and Vikrit swaras, Achal Tikras; in Dadra and Kaharwa – some Kismen Swara. of their Thekas. PRACTICAL (FOR r - TA AND FOR V - TA) 4. Singing of the seven shudha swaras of the Saptak (this will enable students to tune Tabla 1. Knowledge and practice of Vilambit, Madhya later). and Drut layas as also of Thah, Dugun and Chaugun, with the help of Tali, Khali and matras 5. Reciting of the Thekas in Barabari and Dugun on hands while reciting Thekas of Talas and developments of Tals mentioned in (3), prescribed. showing Tali, Khali etc. on hands (Parhant). 179 CLASS X The syllabus is divided into three sections: 4. Singing of one Madhya-laya Khyal song in each Section A - Vocal Music of the following eight ragas, with self-made extempore Alaps and Tans also, besides some Section B - Instrumental Music sample fixed ones: Bihag, Desh, Tilak Kamod, Section C – Tabla. Bhimpalasi, Bageshri, Brindabani Sarang, Malkaus and Jaunpuri; two Dhrupad Geets in any SECTION A two of these ragas; with Dugun, Tigun and Chaugun; one song in Jhaptal and one in Roopak HINDUSTANI VOCAL MUSIC (action or folk or devotional or patriotic song); the national song Sare Jahan Se Achha. THEORY 5. Singing of Vilambit Khyals with very simple 1. Definition, explanation and illustration where alaps and tans in at least any four of the following necessary of the following: Sound (Dhwani), eight ragas: Alhaiya Bilawal, Yaman, Bhupali, Production of sound; vibration, frequency; Nad, Bihag, Bhimpalasi, Bageshri, Malkaus and three qualities of Nad (volume, pitch, timbre); Jaunpuri. Nad and Shruti; Forms of Geet (Barakhyal, 6. Reciting the Thekas of the following new tals as Chhota Khyal, Dhupad, Dhamar, Tappa, Thumri, also those learnt in Class IX in Dugun, Tigun and Lakshan Geet, Swaramalika – Sargan – detailed Chaugun, showing Tali, Khali and Matras on description not required); Meend, Kan (sparsha hands (Tigun only in simple Tals): Ektal, Rupak, swar), Tigun. Sooltal, Teevra and Deepchandi (Chanchar). 2. Complete description of all the sixteen ragas 7. Identification of ragas learnt in Classes IX and X. mentioned under ‘Practical’ in Classes IX and X. 8. Tuning of Tanpura – initial attempt; playing the 3. Writing in the Tal notation, all the ten Talas learnt four strings. in Classes IX and X, their Dugun; Tigun and Chaugun of easy talas. SECTION B 4. Writing in complete musical notation all the HINDUSTANI INSTRUMENTAL MUSIC Vilambit and Drut Khyals learnt with a few Tans (EXCLUDING TABLA) and Dhrupads with their Dugun, Tigun and Chaugun; writing the national anthem Jana Gana THEORY Mana in musical notation. 1. Definition, explanation and illustration where 5. Identification of Ragas (a few note combinations given) and Talas (a short portion given). necessary of the following: Sound (Dhwani), Production of sound; vibration, frequency; Nad, 6. Life and contribution in brief of Tansen, Vishnu three qualities of Nad (volume, pitch, timbre); Digambar Paluskar and Vishnu Narayan Nad and Shruti; Gat, Forms of Gat (Maseetkhani Bhatkhande. and Razakhani); Kan; Meend, Soot; Chal and 7. Names of 4 national vocalists (present or of recent Achal That; Zamzama; Jhala; Gamak, Baj, Tigun. past). 2. Methods of handling instruments; tuning of the PRACTICAL instrument. 1. Singing and identifying Shudha and Vikrit notes 3. Short history of the instrument. and combination of 2, 3, or 4 notes. 4. Complete description of all the sixteen ragas 2.
Load more

Recommended publications
  • MRIDANGA SYLLABUS for MA (CBCS) Effective from 2014-15
    BANGALORE UNIVERSITY P.G. DEPARTMENT OF PERFORMING ARTS JNANABHARATHI, BANGALORE-560056 MRIDANGA SYLLABUS FOR M.A (CBCS) Effective from 2014-15 Dr. B.M. Jayashree. Professor of Music Chairperson, BOS (PG) M.A. MRIDANGA Semester scheme syllabus CBCS Scheme of Examination, continuous Evaluation and other Requirements: 1. ELIGIBILITY: A Degree music with Mridanga as one of the optional subject with at least 50% in the concerned optional subject an merit internal among these applicant Of A Graduate with minimum of 50% marks secured in the senior grade examination of Mridanga conducted by secondary education board of Karnataka OR a graduate with a minimum of 50% marks secured in PG Diploma or 2 years diploma or 4 year certificate course in Mridanga conducted either by any recognized Universities of any state out side Karnataka or central institution/Universities Any degree with: a) Any certificate course in Mridanga b) All India Radio/Doordarshan gradation c) Any diploma in Mridanga or five years of learning certificate by any veteran musician d) Entrance test (practical) is compulsory for admission. 2. M.A. Mridanga course consists of four semesters. 3. First semester will have three theory paper (core), three practical papers (core) and one practical paper (soft core). 4. Second semester will have three theory papers (core), three practical papers (core), one is project work/Dissertation practical paper and one is practical paper (soft core) 5. Third semester will have two theory papers (core), three practical papers (core) and one is open Elective Practical paper 6. Fourth semester will have two theory Papers (core) two practical papers (core), one project work and one is Elective paper.
    [Show full text]
  • Hindustani Classic Music
    HINDUSTANI CLASSIC MUSIC: Junior Grade or Prathamik : Syllabus : No theory exam in this grade Swarajnana Talajnana essential Ragajnana Practicals: 1. Beginning of swarabyasa - in three layas 2. 2 Swaramalikas 5 Lakshnageete Chotakyal Alap - 4 ragas Than - 4 Drupad - should be practiced 3. Bhajan - Vachana - Dasapadas 4. Theental, Dadara, Ektal (Dhruth), Chontal, Juptal, Kheruva Talu - Sam-Pet-Husi-Matras - should practice Tekav. 5. Swarajnana 6. Knowledge of the words - nada, shruthi, Aroha, Avaroha, Vadi - Samvedi, Komal - Theevra - Shuddha - Sasthak - Ganasamay - Thaat - Varjya. 7. Swaralipi - should be learnt. Senior Grade: (Madhyamik) Syllabus : Theory: 1. Paribhashika words 2. Sound & place of emergence of sound 3. The practice of different ragas out of “thaat” - based on Pandith Venkatamukhi Mela System 4. To practice ragalaskhanas of different ragas 5. Different Talas - 9 (Trital, Dadra, Jup, Kherva, Chantal, Tilawad, Roopak, Damar, Deepchandi) explanation of talas with Tekas. 6. Chotakhyal, Badakhyal, Bhajan, Tumari, Geethprakaras - Lakshanas. 7. Life history of Jayadev, Sarangdev, Surdas, Purandaradas, Tansen, Akkamahadevi, Sadarang, Kabeer, Meera, Haridas. 8. Knowledge of musical instrument Practicals: 1. Among 20 ragas - Chotakhyal in each 2. Badakhyal - for 10 ragas (Bhoopali, Yamani, Bheempalas, Bageshree, Malkonnse, Alhaiah Bilawal, Bahar, Kedar, Poorvi, Shankara. 3. Learn to sing one drupad in Tay, Dugun & Changun - one Damargeete. VIDHWAN PROFICIENCY Syllabus: Theory 1. Paribhashika Shabdas. 2. 7 types of Talas - their parts (angas) 3. Tabala bol - Tala Jnana, Vilambitha Ektal, Jumra, Adachontal, Savari, Panjabi, Tappa. 4. Raga lakshanas of Bhairav, Shuddha Sarang, Peelu, Multhani, Sindura, Adanna, Jogiya, Hamsadhwani, Gandamalhara, Ragashree, Darbari, Kannada, Basanthi, Ahirbhairav, Todi etc., Alap, Swaravisthara, Sama Prakruthi, Ragas criticism, Gana samay - should be known.
    [Show full text]
  • Performing Arts (91 – 95)
    PERFORMING ARTS (91 – 95) One of the following five syllabuses may be offered: Western Music (93) Hindustani Music (91) Indian Dance (94) Carnatic Music (92) Drama (95) HINDUSTANI MUSIC (91) CLASS X The syllabus is divided into three sections: PRACTICAL Section A - Vocal Music 1. Bhairav, Bhopaali and Malkauns - Singing of Section B - Instrumental Music Chotakhayal song in any one raga, as mentioned above (with alaaps and taans). Lakshangeet and Section C - Tabla. Swarmalika in the other two ragas. PART 1: THEORY – 100 Marks 2. Padhant (Reciting)-Thekas of the following new taals - Rupak, Jhaptaal and Deepchandi in Dugun SECTION A: HINDUSTANI VOCAL MUSIC and Chaugun, showing Tali, Khali and Matras on 1. (a) Non-detail terms: Sound (Dhwani), Meend, hands. Kan (Sparsha swar), Gamak, Tigun, Thumri, 3. Identification of ragas - Bhairav, Bhoopali and Poorvang, Uttarang, Poorva Raga and Uttar Malkauns. Raga. SECTION B (b) Detailed topics: Nad, three qualities of Nad (volume, pitch, timbre); Shruti and placement HINDUSTANI INSTRUMENTAL MUSIC of 12 swaras; Dhrupad and Dhamar. (EXCLUDING TABLA) 2. Description of the three ragas - Bhairav, Bhoopali THEORY and Malkauns, their Thaat, Jati, Vadi-Samvadi, Swaras (Varjit and Vikrit), Aroha-Avaroha, Pakad, 1. (a) Non-detail terms: Sound (Dhwani); Kan; time of raga and similar raga. Meend, Zamzama; Gamak; Baj; Jhala; Tigun. (b) Detailed topics: Nad; three qualities of Nad 3. Writing in the Taal notation, the three Taals - Rupak, Jhaptaal and Deepchandi (Chanchar), their (volume, pitch, timbre); Shruti and placement Dugun, Tigun and Chaugun. of 12 swaras; Maseetkhani and Razakhani 4. Knowledge of musical notation system of Pt. V.N.
    [Show full text]
  • 6. ADDITIONAL SUBJECTS (A) MUSIC Any One of the Following Can Be Offered: (Hindustani Or Carnatic)
    6. ADDITIONAL SUBJECTS (A) MUSIC Any one of the following can be offered: (Hindustani or Carnatic) 1. Carnatic Music-Vocal 4. Hindustani Music-Vocal or or 2. Carnatic Music-Melodic Instruments 5. Hindustani Music Melodic Instruments or or 3. Carnatic Music-Percussion 6. Hindustani Music Percussion Instruments Instruments (i) CARNATIC MUSIC VOCAL THE WEIGHTAGE FOR FORMATIVE ASSESSMENT (F.A.) AND SUMMATIVE ASSESSMENT (S.A.) FOR TERM I & II SHALL BE AS FOLLOWS Term Type of Assessment Percentage of Termwise Total Weightage in Weightage Academic Session for both Terms First Term Summative 1 15% 15+35 50% (April - Theory Paper Sept.) Practicals 35% Second Summative 2 15% 15+35 50% Term Theory Paper (Oct.- Practicals 35% March) Total 100% Term-I Term-II Total Theory 15% + 15% = 30% Practical 35% + 35% = 70% Total 100% 163 Carnatic Music (Code No. 034) Any one of the following can be offered : (Hindustani or Carnatic) 1. Carnatic Music-Vocal 4. Hindustani Music-Vocal or or 2. Carnatic Music-Melodic Instruments 5. Hindustani Music Melodic Instruments or or 3. Carnatic Music-Percussion 6. Hindustani Music Percussion Instruments Instruments (i) CARNATIC MUSIC VOCAL THE WEIGHTAGE FOR FORMATIVE ASSESSMENT (F.A.) AND SUMMATIVE ASSESSMENT (S.A.) FOR TERM I & II SHALL BE AS FOLLOWS Term Type of Assessment Percentage of Termwise Total Weightage in Weightage Academic Session for both Terms First Term Summative 1 15% 15+35 50% (April - Theory Paper Sept.) Practicals 35% Second Summative 2 15% 15+35 50% Term Theory Paper (Oct.- Practicals 35% March) Total 100% Term-I Term-II Total Theory 15% + 15% = 30% Practical 35% + 35% = 70% Total 100% 164 SYLLABUS FOR SUMMATIVE ASSESSMENT FIRST TERM (APRIL 2016 - SEPTEMBER 2016) CARNATIC MUSIC (VOCAL) (CODE 031) CLASS IX TOPIC (A) Theory 15 Marks 1.
    [Show full text]
  • Sreenivasarao's Blogs HOME ABOUT THIS WORDPRESS.COM SITE IS the BEE's KNEES
    sreenivasarao's blogs HOME ABOUT THIS WORDPRESS.COM SITE IS THE BEE'S KNEES ← Music of India – a brief outline – Part fifteen Music of India – a brief outline – Part Seventeen → Music of India – a brief outline – Part sixteen Continued from Part Fifteen – Lakshana Granthas– Continued Part Sixteen (of 22 ) – Lakshana Granthas – Continued Pages 8. Sangita-ratnakara by Sarangadeva About Archives January 2016 October 2015 September 2015 August 2015 July 2015 June 2015 May 2015 April 2015 February 2015 January 2014 December 2013 Sarangadeva’s Sangita-ratnakara (first half of 13th century) is of particular importance, because it was written November 2013 just before influence of the Muslim conquest began to assert itself on Indian culture. The Music discussed in Sangita-ratnakara is free from Persian influence. Sangita-ratnakara therefore marks the stage at which the October 2013 ‘integrated’ Music of India was before it branched into North-South Music traditions. October 2012 It is clear that by the time of Sarangadeva, the Music of India had moved far away from Marga or Gandharva, as September 2012 also from the system based on Jatis (class of melodies) and two parent scales. By his time, many new August 2012 conventions had entered into the main stream; and the concept of Ragas that had taken firm roots was wielding considerable authority. Sarangadeva brought together various strands of the past music traditions, defined almost 267 Ragas, established a sound theoretical basis for music and provided a model for the later Categories musicology (Samgita Shastra). Abhinavagupta (3) Sarangadeva’s emphasis was on the ever changing nature of music, the expanding role of regional (Desi) Agama (6) influences on it, and the increasing complexity of musical material that needed to be systemised time and again.
    [Show full text]
  • Track Name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt
    Track name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt. Bhimsen Joshi 3 HINDOLIKA Pt. Bhimsen Joshi 4 Thumri-Bhairavi Pt. Bhimsen Joshi 5 SHANKARA MANIK VERMA 6 NAT MALHAR MANIK VERMA 7 POORIYA MANIK VERMA 8 PILOO MANIK VERMA 9 BIHAGADA PANDIT JASRAJ 10 MULTANI PANDIT JASRAJ 11 NAYAKI KANADA PANDIT JASRAJ 12 DIN KI PURIYA PANDIT JASRAJ 13 BHOOPALI MALINI RAJURKAR 14 SHANKARA MALINI RAJURKAR 15 SOHONI MALINI RAJURKAR 16 CHHAYANAT MALINI RAJURKAR 17 HAMEER MALINI RAJURKAR 18 ADANA MALINI RAJURKAR 19 YAMAN MALINI RAJURKAR 20 DURGA MALINI RAJURKAR 21 KHAMAJ MALINI RAJURKAR 22 TILAK-KAMOD MALINI RAJURKAR 23 BHAIRAVI MALINI RAJURKAR 24 ANAND BHAIRAV PANDIT JITENDRA ABHISHEKI 25 RAAG MALA PANDIT JITENDRA ABHISHEKI 26 KABIR BHAJAN PANDIT JITENDRA ABHISHEKI 27 SHIVMAT BHAIRAV PANDIT JITENDRA ABHISHEKI 28 LALIT BEGUM PARVEEN SULTANA 29 JOG BEGUM PARVEEN SULTANA 30 GUJRI JODI BEGUM PARVEEN SULTANA 31 KOMAL BHAIRAV BEGUM PARVEEN SULTANA 32 MARUBIHAG PANDIT VASANTRAO DESHPANDE 33 THUMRI MISHRA KHAMAJ PANDIT VASANTRAO DESHPANDE 34 JEEVANPURI PANDIT KUMAR GANDHARVA 35 BAHAR PANDIT KUMAR GANDHARVA 36 DHANBASANTI PANDIT KUMAR GANDHARVA 37 DESHKAR PANDIT KUMAR GANDHARVA 38 GUNAKALI PANDIT KUMAR GANDHARVA 39 BILASKHANI-TODI PANDIT KUMAR GANDHARVA 40 KAMOD PANDIT KUMAR GANDHARVA 41 MIYA KI TODI USTAD RASHID KHAN 42 BHATIYAR USTAD RASHID KHAN 43 MIYA KI TODI USTAD RASHID KHAN 44 BHATIYAR USTAD RASHID KHAN 45 BIHAG ASHWINI BHIDE-DESHPANDE 46 BHINNA SHADAJ ASHWINI BHIDE-DESHPANDE 47 JHINJHOTI ASHWINI BHIDE-DESHPANDE 48 NAYAKI KANADA ASHWINI
    [Show full text]
  • Sanskrit Scholars of Orissa
    Orissa Review * April - 2006 Sanskrit Scholars of Orissa Jayanti Rath The contribution of Orissan scholars in the domain The famous drama 'Anargha Raghava' of Sanskrit literature is inormous. They have has been written by Murari Mishra. The drama shown their excellence in different branches of deals with the story of Ramayana. The earliest knowledge, i.e. Grammar, Politics, Dharma reference to car festival of Orissa is found in this Sastras, Kavyas, Poetics, Astrology, Astronomy, work. He describes about the assemblage of a Tantra, Dance, Music, Architecture, Arithmetic, large number of people near Tamila-Studde Geography, Trade Routes, Occult Practices, War Purusottama Kshetra, which is situated at the and War Preparation, Temple Rituals and so on. sea-sore. Murari Misra approximately belonged They have enriched it immensely. to 8th century A.D, because he was referred to Vishnu Sharma, the famous another of by Raja Sekhar of 9th century A.D. in his Kavya Pancha Tantra, is the earliest known Sanskrit Mimamsa. scholars of Orissa. He was the court poet and Satananda, a great astronomer of Orissa priest of Ananda Sakti Varman, the ruler of has left indelible mark in the field of Sanskrit study. Mathara dynasty. The Matharas were ruling over His work Bhasvati was once accepted as an Orissa in 4th and 5th Century A.D. Pancha authority on Astronomy and several Tantra is considered to be one of the most commentaries were written on this work by outstanding work of India of early period. But scholars of different parts of India which bear prior to this Upanishadas in Altharva Veda and testimony to its popularity.
    [Show full text]
  • Vol.74-76 2003-2005.Pdf
    ISSN. 0970-3101 THE JOURNAL Of THE MUSIC ACADEMY MADRAS Devoted to the Advancement of the Science and Art of Music Vol. LXXIV 2003 ^ JllilPd frTBrf^ ^TTT^ II “I dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun; (but) where my Bhaktas sing, there be /, N arada !” Narada Bhakti Sutra EDITORIAL BOARD Dr. V.V. Srivatsa (Editor) N. Murali, President (Ex. Officio) Dr. Malathi Rangaswami (Convenor) Sulochana Pattabhi Raman Lakshmi Viswanathan Dr. SA.K. Durga Dr. Pappu Venugopala Rao V. Sriram THE MUSIC ACADEMY MADRAS New No. 168 (Old No. 306), T.T.K. Road, Chennai 600 014. Email : [email protected] Website : www.musicacademymadras.in ANNUAL SUBSCRIPTION - INLAND Rs. 150 FOREIGN US $ 5 Statement about ownership and other particulars about newspaper “JOURNAL OF THE MUSIC ACADEMY MADRAS” Chennai as required to be published under Section 19-D sub-section (B) of the Press and Registration Books Act read with rule 8 of the Registration of Newspapers (Central Rules) 1956. FORM IV JOURNAL OF THE MUSIC ACADEMY MADRAS Place of Publication Chennai All Correspondence relating to the journal should be addressed Periodicity of Publication and all books etc., intended for it should be sent in duplicate to the Annual Editor, The journal o f the Music Academy Madras, New 168 (Old 306), Printer Mr. N Subramanian T.T.K. Road, Chennai 600 014. 14, Neelakanta Mehta Street Articles on music and dance are accepted for publication on the T Nagar, Chennai 600 017 recommendation of the Editor. The Editor reserves the right to accept Publisher Dr.
    [Show full text]
  • CARNATIC MUSIC (VOCAL) THEORY (Code No
    CARNATIC MUSIC (VOCAL) THEORY (Code No. 031) Syllabus for Class - IX Periods : 135 Marks : 25 I. Brief history of Carnatic Music with special reference to Saint Purandara dasa, Annamacharya, Bhadrachala Ramadasa, Saint Tyagaraja, Muthuswamy Dikshitar, Syama Shastry and Swati Tirunal. II. Definition of the following terms : Sangeetam, Nada, raga, laya, tala, dhatu, Mathu, Sruti, Alankara, Arohana, Avarohana, Graha (Sama, Atita, Anagata), Svara - Prakruti & Vikriti Svaras, Poorvanga & Uttaranga, Sthayi, vadi, Samvadi, Anuvadi & Vivadi Svara - Amsa, Nyasa and Jeeva. III. Brief raga lakshanas of Mohanam, Hamsadhvani, Malahari, Sankarabharanam, Mayamalavagoula, Bilahari, Khamas, Kharaharapriya, Kalyani, Abhogi & Hindolam. IV. Brief knowledge about the musical forms. Geetam, Svarajati, Svara Exercises, Alankaras, Varnam, Jatisvaram, Kirtana & Kriti. V. Description of following Talas : Adi - Single & Double Kalai, Roopakam, Chapu - Tisra, Misra & Khanda and Sooladi Sapta Talas. CARNATIC MUSIC (VOCAL) Theory (Code No. 031) Format of Written Examination for Class - IX 25 Marks 1. Long Answer (Essay) a. Biography 05 Marks b. Musical Forms 05 Marks Short Answers with Examples c. Writing of minimum three Raga-lakshana from prescribed list in the syllabus. 05 Marks d. Description of talas, illustrating with examples. 05 Marks e. Short notes of minimum 05 technical terms from the topic II. 05 Marks Note : Examiners should set atleas seven questions in total and the students should answer five questions from them, including two Essays, two short answer and short notes questions based on technical terms (topic-II) will be compulsory. Downloaded from: www.cbseportal.com Courtesy : CBSE 101 CARNATIC MUSIC (VOCAL) Practical (Code No. 031) Syllabus for Class - IX Periods : 405 Marks : 75 I. Vocal exercises - Svaravalis, Hechchu and Taggu Sthayi, Alankaras in three degrees of speed.
    [Show full text]
  • CARNATIC MUSIC (VOCAL) (Code No
    CARNATIC MUSIC (VOCAL) (code no. 031) Class IX (2020-21) Theory Marks: 30 Time: 2 Hours No. of periods I. Brief history of Carnatic Music with special reference to Saint 10 Purandara dasa, Annamacharya, Bhadrachala Ramadasa, Saint Tyagaraja, Muthuswamy Dikshitar, Syama Sastry and Swati Tirunal. II. Definition of the following terms: 12 Sangeetam, Nada, raga, laya, Tala, Dhatu, Mathu, Sruti, Alankara, Arohana, Avarohana, Graha (Sama, Atita, Anagata), Svara – Prakruti & Vikriti Svaras, Poorvanga & Uttaranga, Sthayi, vadi, Samvadi, Anuvadi & Vivadi Svara – Amsa, Nyasa and Jeeva. III. Brief raga lakshanas of Mohanam, Hamsadhvani, Malahari, 12 Sankarabharanam, Mayamalavagoula, Bilahari, khamas, Kharaharapriya, Kalyani, Abhogi & Hindolam. IV. Brief knowledge about the musical forms. 8 Geetam, Svarajati, Svara Exercises, Alankaras, Varnam, Jatisvaram, Kirtana & Kriti. V. Description of following Talas: 8 Adi – Single & Double Kalai, Roopakam, Chapu – Tisra, Misra & Khanda and Sooladi Sapta Talas. VI. Notation of Gitams in Roopaka and Triputa Tala 10 Total Periods 60 CARNATIC MUSIC (VOCAL) Format of written examination for class IX Theory Marks: 30 Time: 2 Hours 1 Section I Six MCQ based on all the above mentioned topic 6 Marks 2 Section II Notation of Gitams in above mentioned Tala 6 Marks Writing of minimum Two Raga-lakshana from prescribed list in 6 Marks the syllabus. 3 Section III 6 marks Biography Musical Forms 4 Section IV 6 marks Description of talas, illustrating with examples Short notes of minimum 05 technical terms from the topic II. Definition of any two from the following terms (Sangeetam, Nada, Raga,Sruti, Alankara, Svara) Total Marks 30 marks Note: - Examiners should set atleast seven questions in total and the students should answer five questions from them, including two Essays, two short answer and short notes questions based on technical terms will be compulsory.
    [Show full text]
  • Ragamala World Music 2017 Program Book
    RAGAMALA 2017: WELCOME SCHEDULE Ragamala 2017 A CELEBRATION OF INDIAN CLASSICAL MUSIC + DANCE For the 5th year, spanning 15 hours and featuring dozens of performers, Ragamala offers a FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 Presented in collaboration with Kalapriya Foundation, Center for Indian Performing Arts jaw-dropping assortment of Indian classical music from some of its greatest and emerging Ragamala: A Celebration of Indian Classical Music + Dance A CELEBRATION OF INDIAN CLASSICAL MUSIC + DANCE practitioners. Ragamala functions as the perfect, immersive introduction to the classical music Chicago Cultural Center, Preston Bradley Hall FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 of India. Not only are both the music of the north (Hindustani) and the south (Carnatic) + Millennium Park, Great Lawn FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 - 6:30PM-10AM Chicago Cultural Center represented, but listeners will also get the rare chance to hear ragas performed at the time of 78 E. Washington Street, 3rd Floor Preston Bradley Hall, 3rd Floor day they were originally composed for—a facet of the tradition lost in the west. 6:30pm-10am 78 E Washington Street Presented in collaboration with Kalapriya Foundation, Center for Indian Performing Arts 6:30pm-6:30am The word “raga” has a Sanskrit origin, meaning "coloring or dyeing". The term also connotes an Evolution of Songs from Indian Films: 1930-2017 emotional state referring to a "feeling, affection, desire, interest, joy or delight", particularly 6:30-7:30pm SATURDAY, SEPTEMBER 9 related to passion, love, or sympathy for a subject or something. In the context of ancient Anjali Ray, vocals with Rishi Thakkar, tabla and Anis Chandnani, harmonium Yoga + Gong Meditation Indian music it is often devotional and used as a prayer.
    [Show full text]
  • Raga Bhoopali
    Intermediate Bansuri Course: Level - I Raga Bhoopali Aaroha: s r g p qsuw ed su Avaroha: su d p g r,.qsw edl s Vadi: “Ga”, Samvadi: “Dha” , Varjita Swaras: “Ma & NI” Jati: Audav - Audav, Thaat: Kalyan, Time: 6 - 9 pm (1st quarter of the Night) " ! The Mystic Bamboo Raga Alankaras: 1.pldlsr gpdsu rugupugu rusudp grsdl pldls- 2 rsdlpl grsdl pgrs dpgr sudpg rusudp gurusud pugurusu dpgr - - - sdlpldl s 3 pldlsr grsdl,dlsrg pgrs,srgp dpgr,rgpd sudpg, gpdsu rusudp,pdsuru gurusud,dsurugu pugurusu,rusudp grs- The Mystic Bamboo The Mystic Bamboo - Study Material. Only For Personal Use © Himanshu Nanda - 2018, www.themysticbamboo.com Composition in Teen Taal x 2 0 3 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 DHA DHIN DHIN DHA DHA DHIN DHIN DHA DHA TIN TIN TA TA DHIN DHIN DHA su d @susu d p g r s r (2 Times) g - g r g p Thed Mystic- Bamboo su g p d su ru su d p (2 Times) g p d p g r s - Repeat Sthayi 1st Line: 2 Times Antara g g r g p - d p su (2 Times) su - su su ru dThe su Mystic- Bamboo p gu ru gu su ru d su (2 Times) g p d p g r s - Repeat Sthayi 1st Line: 2 Times + 2nd Line: 2 Times + 1st Line: 2 Times The Mystic Bamboo - Study Material. Only For Personal Use © Himanshu Nanda - 2018, www.themysticbamboo.com Sthayi Taans: 8 beats su d @susu d p g r s r @sr @gp @gp @gp @gp @dp @gr @s- su d @susu d p g r s r @sr @gp @dsu @dp @gp @dp @gr @s- su The Mystic d Bamboo @susu d p g r s r @rg @pd @sud @pg @rusu @dp @gr @s- su d @susu d p g r s r @sr @g- @rg @p- @gp @d- @pd @su- su d @susu d p g r s r @pldl @sr @gp @dsu @dp @gr @sdl @s- Repeat Sthayi 1st Line: 2 Times + Antara 1st Line 2 times Antara Taans: 8 beats The Mystic Bamboo g g r g p - d p @sr @gp @dsu @rugu @rusu @dp @gp @su- g g r g p - d p @gr @g- @dp @d- @guru @gu- @sud @su- The Mystic Bamboo - Study Material.
    [Show full text]