ZAKIR HUSSAIN, Tabla KUMARESH RAJAGOPALAN, Violin JAYANTHI KUMARESH, Veena in Autumn 2014, Zakir Hussain, Kumaresh Rajagopalan A

Total Page:16

File Type:pdf, Size:1020Kb

ZAKIR HUSSAIN, Tabla KUMARESH RAJAGOPALAN, Violin JAYANTHI KUMARESH, Veena in Autumn 2014, Zakir Hussain, Kumaresh Rajagopalan A ZAKIR HUSSAIN, Tabla KUMARESH RAJAGOPALAN, Violin JAYANTHI KUMARESH, Veena In Autumn 2014, Zakir Hussain, Kumaresh Rajagopalan and Jayanthi Kumaresh will tour North America offering concerts of Indian classical music. These three artists – each renowned for their own accomplishments – bring a unique contribution and influence to the collaboration. Hussain is of course a master tabla player known the world over for his dazzling and mesmerizing performances and collaborations with artists of all genres. Kumaresh R is known as one of India’s top Carnatic violinists known for his brilliant musical interpretations with numerous artists including the dynamic violin duo with his brother Ganesh. Jayanthi K is recognized as one of the world’s top performers on the veena, a plucked stringed instrument with origins to Pakistan. The veena is considered by many a celestial instrument with ties to ancient times. Goddess Saraswati, the goddess of the arts, is many times depicted playing a veena. The musical result of these three artists joining together on stage will be a brilliant virtuosic performance combining traditional Indian classical music with flavors of Carnatic music hailing specifically from southern India. ZAKIR HUSSAIN Zakir Hussain is considered one of the greatest musicians of our time. Along with his legendary father and teacher, Ustad Allarakha, he has elevated the status of his instrument, the tabla, both in India and around the world. A favorite accompanist for India’s leading classical musicians and dancers, Zakir is also widely recognized as a chief architect of the world music movement with his many historic collaborations, including Shakti, Remember Shakti, Diga, Planet Drum and his ever-changing musical feast, Masters of Percussion. In Summer 2012, Zakir was named Best Percussionist in the Downbeat Critics’ Poll. A child prodigy, Zakir began touring at the age of twelve, becoming the most acclaimed Indian musician of his generation and one of the world’s leading percussionists. He is the recipient of many honors, including a recent Grammy in the Best Contemporary World Music category for Global Drum Project with Mickey Hart, Giovanni Hidalgo and Sikiru Adepoju, Padma Bhushan from the government of India in 2002, and the 1999 National Heritage Fellowship, the United States’ most prestigious honor for a master in traditional arts. In 1992, Planet Drum, an album co-created and co-produced by Zakir, became the first recording to win a Grammy in the Best World Music category and also won the Downbeat Critics’ Poll for Best World Beat Album. Both Modern Drummer and Drum! magazines named him Best World Music Drummer and Best World Beat Percussionist, respectively, in 2007. In April, 2009, his music was showcased for four sold-out nights at Carnegie Hall’s Artist Perspective Series. Also in 2009, Zakir was named an Officer in the Order of Arts and Letters by France’s Ministry of Culture and Communication. In March 2011 the National Symphony Orchestra commissioned and presented his Concerto for Four Soloists at the Kennedy Center conducted by Christophe Eschenbach. He has contributed to innumerable recordings and has received widespread recognition as a composer for his many projects, scores and soundtracks including Little Buddha, In Custody, Vanaprastham, Mystic Masseur, Mr & Mrs. Iyer, YoYo Ma’s Silk Road Project and the acclaimed Concerto for Banjo, Bass and Tabla commissioned by the Nashville Symphony for their center’s opening gala in 2006 and co-composed with his constant colleagues, Edgar Meyer and Bela Fleck. In March, 2013, SF Jazz in San Francisco presented four nights featuring Zakir Hussain in different musical collaborations for their much-anticipated new center’s inaugural season. In Summer 2013 Zakir embarked on an extensive tour of South America with legendary Jazz pianist Herbie Hancock. Zakir will be bringing his Masters of Percussion back to the US in Spring 2014, including a performance at the world-famous Madison Square Garden. JAYANTHI KUMARESH Jayanthi has been enthralling audiences the world over with her graceful, emotive and expressive music for the last 25 years. The Statesman, a well acclaimed daily quotes that Jayanthi is “The best and most versatile Veena artiste we have today.” Born into a family where music has been the mainstay for the last seven generations, Jayanthi started playing the Veena when she was barely 3. Winning her way through several laurels and awards right from her childhood, Jayanthi was soon one of the youngest artistes in Veena to receive A-TOP grading from All India Radio (the highest grade offered by the only grading body in India). In recognition of her artistry, the Government of Tamilnadu has honoured her with the title of Kalaimamani. She has also been the recipient of prestigious awards like the Best Main Musician, Best Veena concert of the year, Sathyashree, Veena Nada Mani and the like. Jayanthi has been invited by prestigious organisations across the world like Theatre de la Ville in Paris, the UN and World Music Centre in New York, Music Guimet in Paris, Woodstock in the United States, Indo-German Societies, the Indian embassy at Sharjah and several such platforms to represent the National instrument of India – the Saraswathi Veena. Apart from solo performances, Jayanthi has performed several jugalbandhis and has also collaborated with musicians from other types of music in her own World music band called Indian Spice. As a composer, Jayanthi has scored music for a host of dance productions and musicals that have premiered in India and abroad, including Krishna Bhakthi, Abbakarani and Jagadguru Adi Shankaracharya. She has also composed for the National South Asian Youth orchestra of the UK. The Indian National Orchestra is Jayanthi’s brainchild – a first-of-its-kind organization that showcases the best musical talent from around the country, the INO strives to promote musical unity in cultural diversity, comprehensively represent India’s vast and varied musical heritage and bring together prominent musicians to perform in one voice and with one purpose. Jayanthi is the disciple of her maternal aunt Smt. Padmavathy Ananthagopalan and Veena Maestro Dr.S.Balachander. Her maternal uncle, the Violin Legend Lalgudi Sri. Jayaraman is a great influence and inspiration for her. Jayanthi has recorded several CDs for companies all over the world like Times Music, Music Today, Sense World, Earthsync, Navras, Home Records etc. She recently came out with an album called ‘Mysterious Duality’ in which for the first time one artiste and one instrument have created an orchestral effect. This album focuses on the multi-dimensional persona of the self. Mysterious duality is her tribute to the most majestic instrument that India has contributed to the world – the Veena. She has been a part of national and international music ensembles and jugalbandhis with musicians from India and abroad. Her boundless creativity finds expression in a multitude of ways. She has conceptualized, composed and produced the music for many dance ballets and musicals and is the Managing Director of a Bangalore based Music company called ‘Home Records’ that endeavours to encourage and spread ecological awareness through expressions of experiments in interpretations of the dynamic aspects of Indian music and its related performing arts. Jayanthi was awarded a Doctorate by the University of Mysore for her work on the subject “Analytical Study of Different Banis and Playing techniques of the Saraswathi Veena“. Jayanthi has evolved her own identity and style by making the Veena her voice in expressing many a new musical thought to the audiences across the globe. She has today made the Veena the focal point of musical essence and experience. .
Recommended publications
  • A Music Appreciation Course/Program
    स्तुति A Music appreciation Course/Program *Syllabus, course, content copyright of Veena Venu Art Foundation About The Course/Program: • The music Appreciation course: Students undergoing this course will get to learn the basics of Indian classical music, the fundamentals of Indian classical music by first understanding the swars ,raag and taal, ways of expressing music besides getting to learn different styles. Students shall learn the basic theory of Indian Classical Music. Little bit more understanding about raag, performance styles, and gharanas of music shall also be taught. Who Can Join? Anyone who wants to have understanding about Music, know music and appreciate Music. Where Can you Learn This? This course is both Offline/Online. For more details please contact us. Who will teach? Dr.Radhika Veenasadhika expert and first lady Vichitra Veena player and a maestro of music with 25+ Years of teaching experience. Both her and gurus of foundation shall be teaching. Duration of Course/Program: 3 Months. Mode: Workshop Mode Course. Overview • Basic understanding of swars, 6-8 raags ,taal, lay, rhythm • Introduction to different styles and gharanas of Indian classical music • Basic understanding of Aalap,taan,and compositions • Listening sessions to enhance, analyze, and understand gayan/vadan • Activities and projects Examination • We shall conduct an assessment to test and know how much student has understood. * If student does not pass the assessment they need to learn for extra 2 months …. Joining Process • Students need to pay fee • After payment students shall receive online registration form which has to be filled by them • And the class will get started About Veena Venu Art Foundation • Veena Venu Art Foundation is an initiative with vision to save and promote Indian art and culture.
    [Show full text]
  • Manufacture of Veena and Tambura in Bangalore – the Changing Scenario
    Manufacture of Veena and Tambura in Bangalore – The changing scenario. By N. Meena Research scholar Music Academy Research Centre Chennai 1 Manufacture of Veena and Tambura in Bangalore – The changing scenario This research will inquire into the changes which happened in manufacturing industry in Bangalore with respect to the musical instruments Veena and Tambura.This study also highlights why these changes have happened over the last fifteen to twenty years. To understand this we will look at the following aspects. 1. Different kinds of Veena and Tambura 2. Distinctive features of mysore Veena 3. Dimensions 4. Previous Manufacturers in Bangalore 5. Innovations made 6. Previous situation 7. Present day situation of the industry 8. Changes 9. Conclusion Different kinds of Veenas Tanjavur Mysore Yali mukam is colourful Yali mukam is carved Kudam has ivory like work embossed Has minimum ivory work Tanjavur Veena 2 Mysore Veena Tambura in Karnataka was previously made of red cedar, rosewood and later made of jack wood, neem tree, mango tree. 3 Mysore Veena was made previously of rosewood, now made of jackwood with rosewood top or only jack wood. 1. Distinctive feature of Mysore Veena We can understand the there are specific differences with respect to structure (external – visual), and also in the process of manufacture and also the mela setting The top of kudam is thinner which brings out a different sound as against Tanjore Veena. The width of the dandi widens from 2inches to 2.5 inches (in melam) The tuning of strings to the burude is different. (Tanjore – strings 1and 2 one side )(Mysore-string 1 and 3 on one side).
    [Show full text]
  • DIMENSI MUSIK DALAM ISLAM PEMIKIRAN HAZRAT INAYAT KHAN Skripsi Diajukan Untuk Memenuhi Persyaratan Memperoleh Gelar Sarjana Filsafat Islam (S.Fil.I)
    DIMENSI MUSIK DALAM ISLAM PEMIKIRAN HAZRAT INAYAT KHAN Skripsi Diajukan Untuk Memenuhi Persyaratan Memperoleh Gelar Sarjana Filsafat Islam (S.Fil.I) Oleh Ali Kemal NIM: 104033101046 PROGRAM AQIDAH FILSAFAT FAKULTAS USHULUDDIN DAN FILSAFAT UNIVERSITAS ISLAM NEGERI SYARIF HIDAYATULLAH JAKARTA 1431 H./2010 M. LEMBAR PERNYATAAN 1. Skripsi ini merupakan hasil karya asli saya yang diajukan untuk memenuhi salah satu persyaratan memperoleh gelar Strata 1 di Universitas Islam Negeri (UIN) Syarif Hidayatullah jakarta. 2. Semua sumber yang saya gunakan telah saya cantumkan sesuai dengan ketentuan yang berlaku di Universitas Islam Negeri (UIN) Syarif Hidayatullah Jakarta. 3. Jika di kemudian hari terbukti bahwa karya ini bukan hasil atau merupakan hasil jiplakan dari karya orang lain, maka saya bersedia menerim sanksi sesuai yang berlaku di Universitas Islam Negeri (UIN) Syarif Hidayatullah Jakarta. Ciputat, 21 Maret 2011 Ali kemal DIMENSI MUSIK DALAM ISLAM; STUDI PEMIKIRAN HAZRAT INAYAT KHAN SKRIPSI Diajukan kepada Fakultas Ushuluddin untuk Memenuhi Persyaratan Mencapai Gelar Sarjana Filsafat Islam (S.Fil.I) Oleh: ALI KEMAL NIM: 104033101046 Di bawah Bimbingan Dr. Syamsuri, MA. NIP. 19590405 198903 1003 JURUSAN AQIDAH FILSAFAT FAKULTAS USHULUDDIN UNIVERSITAS ISLAM NEGERI SYARIF HIDAYATULLAH JAKARTA 1431/2010 M PENGESAHAN PANITIA UJIAN Skripsi berjudul “Dimensi Musik dalam Islam; Pemikiran Hazrat Inayat Khan”. Telah diujikan dalam Sidang Munaqasyah Fakultas Ushuluddin dan Filsafat Universitas Islam Negeri (UIN) Syarif Hidayatullah Jakarta pada 14 Maret 2011. Skripsi ini telah diterima sebagai salah satu syarat memperoleh gelar Sarjana Filsafat Islam (S.Fil.I.) pada Program studi Aqidah Filsafat. Jakarta, 21 Maret 2011 Sidang Munaqasyah Ketua merangkap Anggota Sekretaris Merangkap Anggota Drs. Agus Darmaji, M,Fils.
    [Show full text]
  • 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.
    [Show full text]
  • Sixth Semester Bpa Degree Examination Vocal, Veena
    SIXTH SEMESTER BPA DEGREE EXAMINATION VOCAL, VEENA & VIOLIN VO/VE/VI 1671 Vocational Course IX-Theory Theoretical Perspectives - VI Time: 3 hours Total Marks 80 I Write Answers in one or two sentences (1x10=10) 1. The variety of madhyama used in the raga, Varali 2. Aksharakala of ‘Chempata’ tala 3. Another name for Tanam 4. Parent scale of the raga, Madhyamavati 5. Pratimadhyama mela of Todi 6. Write the Svara sthanas of Sankarabharanam 7. Write the name of three janya ragas derived from Mayamalavagaula 8. Name the corresponding tala of ‘Panchari’ in Carnatic music 9. The name which the introductory part of the raga alapana is known 10. Name the corresponding raga of ‘Erikkila kamodari’ in Carnatic music II. Answer any 8 from 12 of the following not exceeding one paragraph (8x2=16) 11. What are the two types of raga alapana? 12. Define Tanam 13. Explain the intervals of notes 14. Write about the srutis figuring in the raga, Todi 15. What is Kottipadi Seva? 16. Define Anuloma of Pallavi 17. What are the accompanying instruments used in Sopana Sangita? 18. Explain a theatre form which follows Sopana sangita 19. What is ‘Niraval’ 20. Expalin Shadja-Panchama bhava 21. Ragas used in Sopana sangita with no equals in Carnatic music 22. Explain Samvaditva III . Write short essay on any 6 from the 9 of the following (6x4=24) 23. Kalpana Svara 24. Srutis of Nishada and the ragas in which they figure 25. Distinguish the ragas Mohanam and Hamsadvani 26. Pallavi exposition 27. Sangraha Alapana 28. Significance of Sruti 29.
    [Show full text]
  • 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).
    [Show full text]
  • The Mathematics Behind Playing Hindustani Classical Stringed Musical Instruments
    International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2019): 7.583 The Mathematics behind Playing Hindustani Classical Stringed Musical Instruments Soham Dasgupta Ex. PGT Math Teacher at Kendriya Vidyalay Ordnance Factory Dum Dum (Kolkata), India The Hindustani classical stringed musical instruments are K = [ni,Sa]. Afterwards let's define a set Ω, generally in the not only melodious but also designed scientifically along language of Indian music this set is called 'Chalan' of a with its playing methods. Here we will study only the particular raga. Ω is nothing but the collection of all the mathematical significance of plying a particular raaga in basic nodes of the raga along with the unions of its basic any Indian classical stringed instrument like Veena, Sitar, Mirs. In this present case of raag Malkuns Sarod, Santoor, Violin (Indian style), Sarengi, Esraj etc. All these instruments are structurally different indeed but the Ω = X ∪ < I, J,K > ;where very fundamental way and technique of playing a particular < I, J,K > = {I,J,K,I∪J,J∪K,I∪K,I∪J∪K} raga in each of them are similar. So without losing any interest let's see what's inside. Without loss of generality Ω should also be an ordered set like X. We know that any Indian classical stringed instrument has just two very basic strokes and they are 'Da' and 'Ra'. Now any function f : {0,1} → Ω (Somebody says 'De' and 'Reh' also) is called 'play' or 'Baz'. Now the definition of playing a raga For example in Sarod or Sitar hitting a particular string by is nothing but the set of all such play functions that is ℒ = { 'Jawa' or 'Mizrab' from up to downwards is called 'Da' fᵢ ∣ fᵢ : {0,1} → Ω}.
    [Show full text]
  • A Set of Performance Practice Instructions for a Western Flautist Presenting Japanese and Indian Inspired Works
    Edith Cowan University Research Online Theses : Honours Theses 2007 Blowing east : A set of performance practice instructions for a western flautist presenting Japanese and Indian inspired works Asha Henfry Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Practice Commons Recommended Citation Henfry, A. (2007). Blowing east : A set of performance practice instructions for a western flautist presenting Japanese and Indian inspired works. https://ro.ecu.edu.au/theses_hons/1301 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1301 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
    [Show full text]
  • Obituary: David Mcallester Attracting Attention As the First Female World Dance Alliance-Americas
    SEM Newsletter Published by the Society for Ethnomusicology Volume 40 Number 4 September 2006 Becoming Ethnomusi- Barbara Smith_ Hon- 2006 Charles Seeger cologists ored by UH Manoa Lecturer: Adrienne L. By Philip V. Bohlman, SEM President Music Department Kaeppler, Smithso- In this column (p.4-5), I turn from Saturday, April 29, 2006. Friends, nian Institution colleagues and supporters of the arts my concern with the issues forming the _ By Ricardo D. Trimillos, University of gathered at the UH Manoa Music De- _ context of ethnomusicology to its meth- Hawai‘i at Manoa ods. At first glance, that turn might partment as the Amphitheatre and Eth- seem like a shift from external to inter- nomusicology Wing of the complex is nal issues. We do, in fact, become dedicated in the name of Emeritus Pro- ethnomusicologists by studying it as a fessor Barbara B. Smith. discipline. Interdisciplinarity, however, Smith’s tenure as a faculty member is not so much a concept of internal and researcher has spanned virtually workings as it is of the bigger picture. It the entire life of the department—from poses questions about how we join her arrival in Hawai‘i in 1949, through together and how we recognize our her official “retirement” in 1982, and to differences before transcending them. the present day in which she remains an Interdisciplinarity, moreover, is a con- active contributor to the university and cept that ethnomusicologists hold as department as a mentor and through very precious. Many, if not most, of us fieldwork and advocacy research. feel it distinguishes our field from oth- “This is a wonderful opportunity to ers, which, so we believe, are narrower recognize the life’s work of an outstand- ing teacher, researcher and performer,” in scope and more limited in their claim _ on knowledge.
    [Show full text]
  • Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music
    Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music CURRICULUM FOR UNDERGRADUATE COURSE CHOICE BASED CREDIT SYSTEM S.No. COURSE SEMESTER CREDITS MARKS FULL MARKS Core Course 1 14 Courses I –VI 14X6=84 14X75 1050 08 Courses Practical 06 Courses Theoretical Discipline Specific Elective Course (DSE) 2 04 Courses V- VI 4X6=24 4X75 300 03Courses Practical 01 course Theoretical Generic Elective Course (GEC) 04 Courses I-IV 4X6=24 4X75 300 3 03 Courses Practical 01 Course Theoretical Skill Enhancement Compulsory Course (SECC) 4 III-IV 2X2=4 2X25 50 02 Courses Theoretical Ability Enhancement I-II 2X2=4 2X25 50 Compulsory Course (AECC) 5 02 Courses Theoretical 6 Foundation Course I-II 2X4=8 2X50 100 (Tagore Studies) 02 Courses Theoretical Total: 26+2=28 Courses - - - 1850 1 CHOICE BASED CREDIT SYSTEM B.MUS (HONS) IN HINDUSTHANI CLASSICAL MUSIC (VOCAL) COURSE AND MARKS DISTRIBUTION STRUCTURE Core course AECC SECC DSE GEC TS SEM Total Prac Theo Prac Theo Prac Theo Prac Theo Prac Theo Theo I 75 75 - 25 - - - - 75 - 50 300 II 75 75 - 25 - - - - 75 - 50 300 III 150 75 - - - 25 - - 75 - - 325 IV 150 75 - - - 25 - - - 75 - 325 V 75 75 - - - - 150 - - - - 300 VI 75 75 - - - - 75 75 - - - 300 Total 600 450 - 50 - 50 225 75 225 75 100 1850 2 Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music CURRICULUM FOR UNDERGRADUATE COURSE CHOICE BASED CREDIT SYSTEM B.MUS (HONS) IN HINDUSTHANI CLASSICAL MUSIC TABLE OF CONTENTS HINDUSTHANI CLASSICAL MUSIC (VOCAL) 4 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (SITAR) 21 HINDUSTHANI
    [Show full text]
  • Recitation of Sacred Buddhist Texts in the Trans-Himalayan Ladakh
    IGNCA INVENTORY ON THE INTANGIBLE CULTURAL HERITAGE Edited and Maintained by Prof. Molly Kaushal Janapada Sampada Division IGNCA Name of the Element: Veena and its Music Community/ies: The main communities and individuals upholding the Veena tradition in North India belong to Jaipur Beenkar School, Dagar School, Bande Ali Khan School, Abdul Aziz Khan School, Lalmani Mishra Style and also some other individual styles. In Southern Indian performing communities of Veena the Tanjaur School, Mysore School and Andhra School are prevalent. These schools have their sub-stylistic characteristics interspersed with individual aesthetic and creative expressions. Region: Veena playing is prevalent in the entire India from North to South and from East to West. Brief Description: The oldest musical instrument of India, the Veena, symbolizes the Indian ethos throughout the country and has sociological and cultural connotations. Saraswati, the Goddess of learning, is visualized as Veenapani, the wielder of a Veena. Veena, regarded as the precursor of all Indian string instruments, has been instrumental in standardizing many fundamental laws of music. Continuity of tradition is evident since the instruments like Sitar, Sarod, Guitar, Mandolin etc. have borrowed and imbibed various technical and physical aspects, from the Veena thereby enriching their instruments and repertoire. Veena, a generic term earlier, today denotes Rudra Veena, Tanjauri Veena, Vichitra Veena and Gottuvadyam. It has two distinct playing traditions namely Hindustani and Karnatic. Bifacial drums - Pakhawaj and Mridangam - are used in these traditions respectively. Art of crafting this instrument is equally important and duly discussed in ancient texts. Crafting is a challenging task needing experience and skill.
    [Show full text]
  • History of Indian Percussion Instruments
    DEPARTMENT OF MUSIC DR.HARISINGH GOUR VISHWAVIDYALAYA,SAGAR (M.P.) M.A. Hindustani Music- (Tabla) L T P C First Semester 4 1 - 5 Hours 75 MUT-CC-121 15 Hours per unit History of Indian Percussion Instruments Unit-1 i. A brief study of Percussion Instruments as mentioned in Natyashastra, Sangeet Ratnakar and other Granthas (fourth century onwards). Mridanga, Panava, Mardal, Patah, Muraj, Dundubhi, Kartaal, kansyataal, Damru, etc. ii. A brief study of playing style of ancient Ghan Vadyas as mentioned in various Granthas. Chimta, Jhanj, Manjeera,Tasha, Daf, Chipali, Ek tara, etc. Unit-2 i) Evolution and Historical developments of Tabla. ii) Evolution and Historical developments of Pakhawaj. Unit –3 Historical Development of Different Gharanas and Baaj of Tabla. Unit -4 A detailed knowledge of Karnataka Taal System. Unit -5 Comparative study of North Indian and Karnataka Taal System. Reference Books- 1. Pakhawaj aur table ke gharane evam paramparaye by Dr. Aban Mishtri Sangeet Sadan Allahabad. 2. Indian Concept of rhythm by dr.A.K.sen, kanishsk publication new delhi. 3. Pakhawaj aur tabla ke gharane evam parampara by dr.awan mishtri, sangeet sadan Allahabad 4. Sangeet me tal vadyon ki upyogita by dr.chitra gupta,radha publication delhi. 5. Tabla puran by pt.vijay Shankar mishra ,kanishsk publication new delhi 6. Tabla grunth by pt.chotelal mishra ,kanishsk publivation new delhi. 7. Table ki Paramparagat vadan shaili ka astitwa by Dr.Rahul Swarnkar,ND Publication(seminar Proceeding ) 8. Tabla ,Arvindra Moolgaonkar, Luminus Publication. DEPARTMENT OF MUSIC DR.HARISINGH GOUR VISHWAVIDYALAYA,SAGAR (M.P. ) T P C M.A.
    [Show full text]