Nanda Music Emporium

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+91-8048372497 Nanda Music Emporium https://www.indiamart.com/nandamusic-emporium/ Manufacturer of bayan tabla, sitar, kabakas, tanpura etc. About Us Nanda Music Emporium was established long way back in 1964 by Mr.Nandalal Khatua. At the beginning it was with a meager 80 sq.ft. Area at 6, Radha Bazar Lane, Kolkata-700 001 (behind Kolkata Police Head Quarter) the same location we have been operating till date. It is mainly due to our perseverance with maintaining good quality with reasonable and justified price range which not only satisfied customers in India but a sizeable number of overseas customers bestowed their trust on us. We also do honour our valued customers, retailers and with the kind patronage of everyone we could grow and now can boast to be the leading manufacturer/trader of Musical Instrument in eastern India. We have expanded our old setup to 300 sq.ft. showroom with 3-4 warehouses within the Lalbazar Musical Market, the biggest ever Musical Market in India and abroad. We have an expert team of artisan who take care of all our own manufactured musical items like Harmonium, Tabla, Tanpura, Sitar, Sarod, Esraj, Sarangee, Dilruba, Surmandal, Violin, Naal, Dholak, Shreekhole, (Pakhwaz / Mridangam), Flutes, Ghungroo etc. and our tradable items with all leading brands guitar, keyboard, octopad, amplifier, mixer, composer and the next generation and most popular Electronic Tanpura, Tabla, Nagma, Suramondal and many more. You can get everything musical under one roof. For more information, please visit https://www.indiamart.com/nandamusic-emporium/aboutus.html MUSIC INSTRUMENTS P r o d u c t s & S e r v i c e s Classical Sarod Esraj Musical Instrument Santoor Soap Surmandal INDIAN MUSICAL INSTRUMENTS P r o d u c t s & S e r v i c e s Coconut Mini Maracas Hammer Maracas Coconut Maracas Wooden Shakers MUSICAL INSTRUMENT PARTS P r o d u c t s & S e r v i c e s Dilruba Instrument Electronic Tanpura Musical Sitar Bayan Tabla OTHER PRODUCTS P r o d u c t s & S e r v i c e s Gramophone Tabla Guitar Musical Instruments P r o OTHER PRODUCTS: d u c t s & S e r v i c e s Dotara Wooden Bell Flute Wooden Maracas F a c t s h e e t Year of Establishment : 1964 Nature of Business : Manufacturer CONTACT US Nanda Music Emporium Contact Person: Madan Mohan Khatua Building No.6, Lalbazar Kolkata - 700001, West Bengal, India +91-8048372497 https://www.indiamart.com/nandamusic-emporium/.

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1 Syllabus for MA (Previous) Hindustani Music Vocal/Instrumental
Syllabus for M.A. (Previous) Hindustani Music Vocal/Instrumental (Sitar, Sarod, Guitar, Violin, Santoor) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical and Theoretical Study of Ragas 70 Marks A. Historical Study of the following Ragas from the period of Sangeet Ratnakar onwards to modern times i) Gaul/Gaud iv) Kanhada ii) Bhairav v) Malhar iii) Bilawal vi) Todi B. Development of Raga Classification system in Ancient, Medieval and Modern times. C. Study of the following Ragangas in the modern context:- Sarang, Malhar, Kanhada, Bhairav, Bilawal, Kalyan, Todi. D. Detailed and comparative study of the Ragas prescribed in Appendix – I Internal Assessment 30 marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Music of the Asian Continent 70 Marks A. Study of the Music of the following - China, Arabia, Persia, South East Asia, with special reference to: i) Origin, development and historical background of Music ii) Musical scales iii) Important Musical Instruments B. A comparative study of the music systems mentioned above with Indian Music. Internal Assessment 30 marks Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of half an hour’s duration before an audience in Ragas selected from the list of Ragas prescribed in Appendix – I Candidate may plan his/her performance in the following manner:- Classical Vocal Music i) Khyal - Bada & chota Khyal with elaborations for Vocal Music. Tarana is optional. Classical Instrumental Music ii) Alap, Jor, Jhala, Masitkhani and Razakhani Gat with eleaborations Semi Classical Music iii) A short piece of classical music /Thumri / Bhajan/ Dhun /a gat in a tala other than teentaal may also be presented.
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The Asian Indian Classical Music Society Vishwa Mohan Bhatt
The Asian Indian Classical Music Society 52318 N Tally Ho Drive, South Bend, IN 46635 March 28 , 2013 Dear Friends, I am writing to inform you about our concerts for Spring 2013: Vishwa Mohan Bhatt (Mohan Veena or Guitar) with Subhen Chatterjee (Tabla) April 10th , 2013, Wedneday,7.00 PM, at the Hesburgh Center Auditorium Pandit Vishwa Mohan Bhatt is among the leading Indian classical instrumental musicians. He is the creator of the Mohan Veena, which has modified the Hawaiian slide guitar by adding fourteen additional strings to it, and allows him to exquisitely assimilate the techniques of the sitar, sarod and veena. He is one of the foremost disciples of Pandit Ravi Shankar. He has captivated audiences at numerous concerts in the US, Canada, Europe, the Middle East and, of course, India. Among numerous other awards, he is the recipient of the Grammy Award, 1994, with Ry Cooder, for the World Music album, A Meeting by the River. Shanmukha Priya and Hari Priya (Vocal) with M.A. Krishnaswamy (Violin) and Skandasubramanian (Mridangam), April 26th , 2013, Friday, 7.00PM, place: TBA Shanmukha Priya and Hari Priya, the renowned musical duo popularly known as the “Priya Sisters”, are among the leading exponents of the Carnatic or South Indian vocal music. After receiving their training from the renowned duo, Radha and Jayalakshmi, they are now under the guidance of Prof. T. R.Subramaniam. Since they began performing in 1989, the Priya Sisters have performed worldwide in more than two thousand concerts. Among other awards, the sisters have been the recipients of the 'Best Female Vocalists' awards from Music Academy, Sri Krishna Gana Sabha and the Indian Fine Arts Society, Chennai.
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A Real-Time Synthesis Oriented Tanpura Model
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Experimental Investigations of T¯Anpur¯A Acoustics
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Musical Instruments of North India 5.1 Do You Know
Musical instruments of North India 5.1 Do you know Description Image Source Sarangi is the only instrument which comes in closest proximity to the human voice and therefore it is very popular among the singers as an accompanying instrument in hindustani classical music. Pakhawaj is the only percussion instrument to accompany the dhrupad style of singing. Bansuri or flute is a simple bamboo tube of a uniform bore. The primary function of tabla is to mentain the metric cycle in which the compositions are set. Tanpura is an instrumenused in both north and south Indian classical music. 5.2 Glossary Staring Related Term Definition Character Term Membranophones, instruments in which sound is A Avanadha produced by a membrane, stretched over an opening. B Bansuri A bamboo transverse flute of north India. D Dand The finger board. G Ghan Idiophones; percussion Instruments. A stringed musical instrument with a fretted finger board Guitar played by plucking or strumming with the fingers or a plectrum. H Harmonium A free reed aero phone which has a keyboard. K Khunti Tuning pegs. P Pakhawaj A percussion instrument used as an accompaniment. A large plucked string instrument used in R RudraVeena HindustaniClassical music. Aero phones, wind instruments in which sound is S Sushir produced by the vibration of air. A plucked string instrument used in HindustaniClassical Sitar music. A stringed musical instrument used in Sarod HindustaniClassical music. A trapezoid shaped string musical instrument played with Santoor two wooden sticks. A bowing stringed instrument used in Sarangi HindustaniClassical music. A wind instrument particularly played on auspicious Shehnai occasions like weddings.
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MUSIC Hindustani
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Ethnomusicology a Very Short Introduction
ETHNOMUSICOLOGY A VERY SHORT INTRODUCTION Thimoty Rice Sumário Chapter 1 – Defining ethnomusicology...........................................................................................4 Ethnos..........................................................................................................................................5 Mousikē.......................................................................................................................................5 Logos...........................................................................................................................................7 Chapter 2 A bit of history.................................................................................................................9 Ancient and medieval precursors................................................................................................9 Exploration and enlightenment.................................................................................................10 Nationalism, musical folklore, and ethnology..........................................................................10 Early ethnomusicology.............................................................................................................13 “Mature” ethnomusicology.......................................................................................................15 Chapter 3........................................................................................................................................17 Conducting
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Somjit Dasgupta. 2020B
lnstitut fiir lndologie und Tibetologie, LMU Miinchen is pleased to invite you to the January program on classical music of India: Somjit Dasgupta (I ndia) A Journey on Strings: A Story of North Indian Music of the Last Four Centuries a presentation followed by a concert, and a lecture in English (1) Workshop and concert: Indian music in theory and practice Mittwoch, 15. Januar 2020, 18-20 Uhr, Raum Eo21 (Erdgeschoj3), Ludwigstr. 31, Munchen Wednesday, 15th January 2020, 6-8 pm, room Eo21 (ground floor), Ludwigstr. 31, Munich Somjit Dasgupta, a classical Indian musician, will present Indian music theory: the age old system of classical music in India, its evolution through ages, its basic devotional and spiritual aspects. He will demonstrate some technical points, such as the melodic-harmonic aspect in the form Raga and its rhythmic aspect in the form of Tiila. The talk will be followed by a concert on Surshringar (sursrngiir), a rare old classical fretless instrument. (2) Lecture: history and evolution of north Indian musical instruments Donnerstag, 16. Januar 2020, 16-18 Uhr, Raum 427 (4 . Geschoj3), Ludwigstr. 31, Munchen Thursday, 16th January 2020, 4-6 pm, room 427 (4th floor), Ludwigstr. 31 , Munich In his lecture, Somjit Dasgupta will take you on a journey through the history and evolution of north Indian musical instruments. A live heritage of the late maestro Radhika Mohan Maitra with about thirty two types of fretted, bowed, non-fretted and percussion instruments will be discussed with photos/slides and drawings. A note on SOMJIT DASGUPTA Somjit DasGupta represents the oldest traditional style of Classical Instrumental Music in India.
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Transcription and Analysis of Ravi Shankar's Morning Love For
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura Bethany Padgett Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Padgett, Bethany, "Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura" (2013). LSU Doctoral Dissertations. 511. https://digitalcommons.lsu.edu/gradschool_dissertations/511 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TRANSCRIPTION AND ANALYSIS OF RAVI SHANKAR’S MORNING LOVE FOR WESTERN FLUTE, SITAR, TABLA AND TANPURA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bethany Padgett B.M., Western Michigan University, 2007 M.M., Illinois State University, 2010 August 2013 ACKNOWLEDGEMENTS I am entirely indebted to many individuals who have encouraged my musical endeavors and research and made this project and my degree possible. I would first and foremost like to thank Dr. Katherine Kemler, professor of flute at Louisiana State University. She has been more than I could have ever hoped for in an advisor and mentor for the past three years.
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Music and Society in Late Colonial India: a Study of Esraj in Gaya LSE Research Online URL for This Paper: Version: Accepted Version
Music and society in late colonial India: a study of Esraj in Gaya LSE Research Online URL for this paper: http://eprints.lse.ac.uk/101477/ Version: Accepted Version Article: Roy, Tirthankar (2019) Music and society in late colonial India: a study of Esraj in Gaya. Journal of Asian Studies, 79 (1). pp. 25-49. ISSN 0021-9118 https://doi.org/10.1017/S0021911819000123 Reuse Items deposited in LSE Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the LSE Research Online record for the item. [email protected] https://eprints.lse.ac.uk/ Music and Society in Late Colonial India: A Study of Esraj in Gaya TIRTHANKAR ROY In the late nineteenth and early twentieth centuries, Indian classical music was in transition. Most readings of the transition stress the choices of the professional musicians, as these musicians and the institutions in which they functioned were caught up in political and economic movements such as nationalism and commercialization. This article studies a different type of transition: when a small-town professional group with a strong associational culture became musicians. This second process, standing in contrast to the received narratives, suggests novel lessons in the history of urban cultures during a time of change. Keywords: colonial India, esraj, Gaya, Gayawals, gharanas, harmonium, Indian classical music, nationalism, urban culture Tirthankar Roy ([email protected]) is Professor of Economic History at the London School of Economics and Political Science.
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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).
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A Non Linear Approach Towards Automated Emotion Analysis in Hindustani Music
A NON LINEAR APPROACH TOWARDS AUTOMATED EMOTION ANALYSIS IN HINDUSTANI MUSIC Shankha Sanyal*1,2, Archi Banerjee1,2, Tarit Guhathakurata1, Ranjan Sengupta1 and Dipak Ghosh1 1Sir C.V. Raman Centre for Physics and Music, 2Department of Physics Jadavpur University, Kolkata: 700032 *[email protected] ABSTRACT: In North Indian Classical Music, raga forms the basic structure over which individual improvisations is performed by an artist based on his/her creativity. The Alap is the opening section of a typical Hindustani Music (HM) performance, where the raga is introduced and the paths of its development are revealed using all the notes used in that particular raga and allowed transitions between them with proper distribution over time. In India, corresponding to each raga, several emotional flavors are listed, namely erotic love, pathetic, devotional, comic, horrific, repugnant, heroic, fantastic, furious, peaceful. The detection of emotional cues from Hindustani Classical music is a demanding task due to the inherent ambiguity present in the different ragas, which makes it difficult to identify any particular emotion from a certain raga. In this study we took the help of a high resolution mathematical microscope (MFDFA or Multifractal Detrended Fluctuation Analysis) to procure information about the inherent complexities and time series fluctuations that constitute an acoustic signal. With the help of this technique, 3 min alap portion of six conventional ragas of Hindustani classical music namely, Darbari Kanada, Yaman, Mian ki Malhar, Durga, Jay Jayanti and Hamswadhani played in three different musical instruments were analyzed. The results are discussed in detail. Keywords: Emotion Categorization, Hindustani Classical Music, Multifractal Analysis; Complexity INTRODUCTION: Musical instruments are often thought of as linear harmonic systems, and a first-order description of their operation can indeed be given on this basis.
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