DVD CD Catalogue Vocal Classical and Devotional.Pdf

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DVD CD Catalogue Vocal Classical and Devotional.Pdf

DVD/CD Catalogue Sr. Artists Type Album Cover Album Name Raga(s) Raga Time Length # (DVD/CD) VOCAL CLASSICAL AND DEVOTIONAL 38 Hemant Devotional Panwar Bhajans in Hindi The Creator 8 Bhajans Any Time CD 39 Kaushiki Devotional Chakrabarty Bhajans in Jag Do Din Ka Vijay Hindi MELA 8 Bhajans Any time Koparkar CD 40 Ustad Bade Vocal Akashwani Malkauns 12 – 3 a.m. 30 min Ghulam Ali Classical Sangeet Vol. 1 Khan Sahib Bhupali 9 pm–12 am 29 min CD 41 Ustad Bade Vocal Thumri in 9 pm–12 am 16 min Ghulam Ali Classical Mishra-Khamaj Khan Sahib Akashwani Thumri in 12 – 3 p.m. 13 min Sangeet Vol. 2 Mishra Pilu Dadra – Sainya Any Time 8 min CD Thumri in 6 – 9 a.m. 16 min Mishra- Bhairav Bhajan Any Time 8 min 42 Ustad Bade Vocal Ghulam Ali Classical Rageshri 9 pm–12 am 42 min Khan Sahib Akashwani Sangeet Vol. 3 Thumri in 6 – 9 p.m. 16 min Mishra Pahadi CD 43 Ustad Bade Vocal Khayal Tarana 9 pm–12 am 30 min Ghulam Ali Classical in Behag Khan Sahib Akashwani Sangeet Vol. 4 Thumri in 6 – 9 a.m. 14 min Bhairavi CD Thumri Pilu 12 – 3 p.m. 14 min 44 Ramneek Vocal Singh Classical IBADAT: Ahir Bhairav 8 – 10 a.m. 41 min The Parayer Ashis Sengupta Tabla Kalavati 12 – 3 a.m. 21 min Within Vinay Mishra Harmonium Shabad Any Time 6 min CD 45 Ramneek Vocal Singh Classical NAAD Yaman 6 – 9 p.m. 55 min Ashis Sengupta Tabla Hansadwani 6 – 9 p.m. 8 min Vinay Mishra Harmonium CD Shabad Any Time 8 min 46 Shri Sarathi Vocal Chatterjee Classical Ahir Bhairav 8 – 10 a.m. 33 min Sri Arun Harmonium SARATHI Puriya Kalyan 3 – 6 p.m. 40 min Chatterjee Shri Prasun Tabla CD Chatterjee 47 Pandit Vijay Vocal Koparkar Classical VOCAL Todi 9 pm–12 am 30 min Pandit CLASSICAL Ramdas Tabla Madhuvanti 4 – 8 p.m. 30 min Palsule CD Ajay Jogalekar Harmonium 48 Pandit Vijay Vocal Rageshri 9 pm–12 am 30 min Koparkar Classical VOCAL Pandit Tabla CLASSICAL Malkauns 12 – 3 a.m. 30 min Ramdas Harmonium Palsule CD Kafi-Sindura 3 – 6 p.m. 10 min Ajay Jogalekar 49 Pandit Vijay Vocal VIJAY Kirwani 12 – 3 a.m. 30 min Koparkar Classical KOPARKAR: Jansmohini 6 – 9 p.m. LIVE Jogkauns 9 p.m –12 30 min Pt. Ramdas Tabla CONCERT AT Dadra am Palsule DUBAI Natya Geet Any Time Bhairavi Any Time Tanmay Harmonium MP3 6 – 9 a.m. Devchake 50 Pandit Vijay Vocal Miyan Ki Todi 9 pm–12 am 48 min Koparkar Classical LIVE Vrindavani - 12 – 3 p.m. 23 min CONCERT Sarang DVD 1 Bhairavi 9 pm–12 am 11 min 51 Pandit Vijay Vocal Koparkar Classical Basant 9 am. – 12 46 min LIVE Bukhari pm 16 min CONCERT Triveni 6 – 9 a.m. 22 min Hindol Bahar 12 – 3 a.m. 17 min DVD 2 Shudh Sarang 9 am–12 pm .

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Music Initiative Jka Peer - Reviewed Journal of Music
VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc.
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January, 2017 Raga Koushikranjani (Kaishikranjani,Chandrahas,Bahaderkouns, Chandramukhitypeii) in This Month We Shall Study Raga Koushikranjani
Raga of the Month- January, 2017 Raga Koushikranjani (Kaishikranjani,Chandrahas,BahaderKouns, ChandramukhiTypeII) In this month we shall study Raga Koushikranjani. This raga was introduced by Late Pandit Chidanand Nagarkar*. The Raga is based on the platform of Raga Chandrakouns. Shuddha Rishabh is introduced in Arohi as well as Avarohi order and Pancham is varjya swara. The Scale of the Raga Koushikranjani is SRgMdN. The Raga is included in Asavari Thata and in Melakartha No. 21 Kirwani in Carnatic Music. Raga Nadasanjivi of Carnatic Music resembles Raga Koushikranjini closely. Although Chandrakouns effect is prominent in this raga, phrases SRg-Rs and SRgM (without stress or elongation of Komal Gandhar) hints Raga Abhogi. Phrase SRM, which is a characteristic phrase of Raga Chandraprabha, is avoided. Aroha: SRgMdNS’’; Avaroha: S’’ NdMgRS; Vadi - Madhyama; Samvadi- Shadja; Chalan- S, ‘N’d, ‘N, S; ‘g’M’d’NS; ‘NSR ‘NS‘d, ‘N-S; SRgRS, SRgM, gRgM, gMd, MgR, RgMS, ‘d’NS; gMdN, N, MdMN, dNS’’, NS’’ d-M, gRgM, gRS; SRgM, gMd, MdN, dNS’’, S’’R’’g’’M’’R’’S’’, NS’’R’’ NS’’ d, MgMd, MgR- gMRS. The Raga is documented in the book Abhinav Raga Darpan by Pandit K B Kunte and (as Raga Chandrahas) in Volume II of Raga-Darshana by Pandit Manikbua Thakurdas. (Raga Nadasanjivi- Ref. RagaPravaham-by Dr. M N Dhandapani and D Pattamal) * CHIDANAND DATTATREY NAGARKAR, was born in 1919 in Bangalore. Chidanand inherited all his musical talents from his father, who had a flair for singing Bhajans and stage acting (including Natya Sangeet). Chidanand received rigorous training under Acharya Pandit S.N.Ratanjankar and Ustad Agha Samshuddin Hyder for six years.
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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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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.
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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 .
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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".
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Modeling a Performance in Indian Classical Music: Multinomial
Archive of Cornell University e-library; arXiv:0809.3214v1[cs.SD][stat.AP]. http://arxiv.org/abs/0809.3214 A Statistical Approach to Modeling Indian Classical Music Performance 1Soubhik Chakraborty*, 2Sandeep Singh Solanki, 3Sayan Roy, 4Shivee Chauhan, 5Sanjaya Shankar Tripathy and 6Kartik Mahto 1Department of Applied Mathematics, BIT Mesra, Ranchi-835215, India 2, 3, 4, 5,6Department of Electronics and Communication Engineering, BIT Mesra, Ranchi-835215, India Email:[email protected](S.Chakraborty) [email protected] (S.S. Solanki) [email protected](S. Roy) [email protected](S. Chauhan) [email protected] (S.S.Tripathy) [email protected] *S. Chakraborty is the corresponding author (phone: +919835471223) Words make you think a thought. Music makes you feel a feeling. A song makes you feel a thought. -------- E. Y. Harburg (1898-1981) Abstract A raga is a melodic structure with fixed notes and a set of rules characterizing a certain mood endorsed through performance. By a vadi swar is meant that note which plays the most significant role in expressing the raga. A samvadi swar similarly is the second most significant note. However, the determination of their significance has an element of subjectivity and hence we are motivated to find some truths through an objective analysis. The paper proposes a probabilistic method of note detection and demonstrates how the relative frequency (relative number of occurrences of the pitch) of the more important notes stabilize far more quickly than that of others. In addition, a count for distinct transitory and similar looking non-transitory (fundamental) frequency movements (but possibly embedding distinct emotions!) between the notes is also taken depicting the varnalankars or musical ornaments decorating the notes and note sequences as rendered by the artist.
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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.
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Analyzing the Melodic Structure of a Raga-Based Song
Georgian Electronic Scientific Journal: Musicology and Cultural Science 2009 | No.2(4) A Statistical Analysis Of A Raga-Based Song Soubhik Chakraborty1*, Ripunjai Kumar Shukla2, Kolla Krishnapriya3, Loveleen4, Shivee Chauhan5, Mona Kumari6, Sandeep Singh Solanki7 1, 2Department of Applied Mathematics, BIT Mesra, Ranchi-835215, India 3-7Department of Electronics and Communication Engineering, BIT Mesra, Ranchi-835215, India * email: [email protected] Abstract The origins of Indian classical music lie in the cultural and spiritual values of India and go back to the Vedic Age. The art of music was, and still is, regarded as both holy and heavenly giving not only aesthetic pleasure but also inducing a joyful religious discipline. Emotion and devotion are the essential characteristics of Indian music from the aesthetic side. From the technical perspective, we talk about melody and rhythm. A raga, the nucleus of Indian classical music, may be defined as a melodic structure with fixed notes and a set of rules characterizing a certain mood conveyed by performance.. The strength of raga-based songs, although they generally do not quite maintain the raga correctly, in promoting Indian classical music among laymen cannot be thrown away. The present paper analyzes an old and popular playback song based on the raga Bhairavi using a statistical approach, thereby extending our previous work from pure classical music to a semi-classical paradigm. The analysis consists of forming melody groups of notes and measuring the significance of these groups and segments, analysis of lengths of melody groups, comparing melody groups over similarity etc. Finally, the paper raises the question “What % of a raga is contained in a song?” as an open research problem demanding an in-depth statistical investigation.
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Harmonic Progressions of Hindi Film Songs Based on North Indian Ragas
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MUSIC MPA Syllabus Paper Code Course Category Credit Marks
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Evaluation of the Effects of Music Therapy Using Todi Raga of Hindustani Classical Music on Blood Pressure, Pulse Rate and Respiratory Rate of Healthy Elderly Men
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