DOCSLIB.ORG

History and Development of Indian Music (65) Std

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
History and Development of Indian Music (65) Std 188 History and Development of Indian Music (65) Std. XI Introduction 3. Describe the life sketches of well known Music plays a very significant role in Musicians, Instrumentalists & National and State Board’s Art Education Musicologists Curriculum. Since there is a lot of scope to 4. List the guidelines for appreciation of develop the creativity of the students in Art Music Education. The curriculum of music would 5. Classify Musical Instruments of India into definitely help in developing the hidden various categories. qualities of the students. 6. Modern Musical Form Human life gets enriched due to Art 7. The importance of Music in everyday and that’s why Art has been given significance in social life. the curriculum. While restructuring the 8. Place of Music in education curriculum the students have been given the 9. The use of Modern Musical Aids in Music opportunities as per their age and interest and 10. Recognize Musical Notes. due to that his ability to express & stage daring 11. The sing/play different Ragas would increase surely. The student would take 12. Write and recite Theka bols of Talas with pleasure after the study of each unit. They demonstration would do introspection. In this way they 13. Write notation of Song and Talas would become professionals like artists, 14. sing/play different forms with Gayaki Anga teachers, accompanists etc. 15. Live stage performance (Majlis) with It is also possible to make use of music accompaniment – similarly in co-curricular activities. Self-study has a 1. To help for self-employment great importance in music and thus the 2. For realisation of rich heritage of curriculum also aims to inculcate the value and music importance of ‘RIYAZ’ in the students. 3. To inculcate moral values like unity, Objectives equality, brotherhood etc. After completing the syllabus in ‘Indian 4. To co-relate for the teaching of other Music’, the students will come to know – subjects. 1. History and Development of Indian Music 5. Application of Music for 2. Vocal Light Music advertisements, industries etc. 3. Vocal Classical Music 'Indian Music' consists of the following Four 4. Instrumental Music Subject : The student will be able to 1) History and Development of Indian Music. 1. Define Technical Terms in Indian Music. (Theory) - 65 2. Differentiate between the characteristics 2) Vocal Light Music (Practical) - 66 of main school of Khyal singing 3) Vocal classical Music (Practical) - 67 4) Instrumental Music (Practical) - 68 189 Choice of Subject : 2 Gurukul Padhhati i) Each of the four subjects mentioned above 2.1 Nature under 'Indian Music' is considered for 2.2 Merit and Demerit 100 marks. 3 Gharana : Study in View of Khyal ii) 'History and Development of Indian Gayaki Music' (Theory) shall be compulsory for 3.1 Gwalieor Gharana all students offering 'Indian Music' i.e. - 3.2 Agra Gharana Practical Subjects 3.3 Jaipur Gharana iii) The theory paper called 'History and 3.4 Kirana Gharana Development of Indian Music' can be 4 Biographical Sketches chosen independently. 4.1 Pt.Balkrishnabuwa Ichalkaranijikar iv) But while choosing the Practical Papers 4.2 Ustad Faiyaz Khan i.e. Vocal Light Music OR Vocal Classical 4.3 Ustad Alladiya Khan Music OR instrumental Music, it is 4.4 Ganhira Hirabai Badodekar compulsory to take the subject called 5 Musical Forms 'History and Development of Indian 5.1 Bhavgeet Music'. 5.2 Folksong v) Student can choose any one practical 5.3 Bhajan subject from Three Practical Subjects. 5.4 Natya Geet (Vocal Light Music-66, Vocal Classical 6 Classification of Instruments Music-67 and Instrumental Music-68). 6.1 Four types of Instruments Implementation of the Practical 6.2 Detail information about Tanpura, 1. For Teaching a Music Practical Subjects Tabla, Harmonium (Sub.No.66, 67, 68). The maximum 7. Modern Forms number of students in one batch should be 7.1 Orchestra Twenty only. 7.2 Choral Music 2. For Vocal Light & Vocal Classical Music 7.3 Fusion (66, 67) there should be separate batches for boys and girls, based on the Natural Std.XII Vocal Limitatiions. 3. There should be six periods in a week Introduction (one period – every day) for all music Music plays a very significant role in practical subjects per batch. National and State Board’s Art Education Curriculum. Since there is a lot of scope to XI - Sylabus develop the creativity of the students in Art 1. History of Indian Music Education. The curriculum of music would 1.1 Vedic Period definitely help in developing the hidden 1.2 Mogal Period qualities of the students. 190 Human life gets enriched due to Art 8. Place of Music in education that’s why Art has been given significance in 9. The use of Modern Musical Aids in Music the curriculum. While restructuring the 10. Recognize Musical Notes. curriculum the students have been given the 11. The sing/play different Ragas opportunities as per their age and interest and 12. Write and recite Theka bols of Talas with due to that his ability to express & stage daring demonstration would increase surely. The student would take 13. Write notation of Song and Talas pleasure after the study of each unit. They 14. sing/play different forms with Gayaki Anga would do introspection. In this way they 15. Live stage performance (Majlis) with would become professionals like artists, accompaniment – similarly teachers, accompanists etc. 1. To help for self-employment It is also possible to make use of music 2. For realisation of rich heritage of in co-curricular activities. Self-study has a music great importance in music and thus the 3. To inculcate moral values like unity, curriculum also aims to inculcate the value and equality, brotherhood etc. importance of ‘RIYAZ’ in the students. 4. To co-relate for the teaching of other Objectives subjects. After completing the syllabus in ‘Indian 5. Application of Music for Music’, the students will come to know – advertisements, industries etc. 1. History and Development of Indian Music 'Indian Music' consists of the following Four 2. Vocal Light Music Subject : 3. Vocal Classical Music 1) History and Development of Indian Music. 4. Instrumental Music (Theory) - 65 The student will be able to 2) Vocal Light Music (Practical) - 66 1. Define Technical Terms in Indian Music. 3) Vocal classical Music (Practical) - 67 2. Differentiate between the characteristics 4) Instrumental Music (Practical) - 68 of main school of Khyal Choice of Subject : singing i) Each of the four subjects mentioned above 3. Describe the life sketches of well known under 'Indian Music' is considered for Musicians, Instrumentalists & 100 marks. Musicologists ii) 'History and Development of Indian 4. List the guidelines for appreciation of Music' (Theory) shall be compulsory for Music all students offering 'Indian Music' i.e. - 5. Classify Musical Instruments of India into Practical Subjects various categories. iii) The theory paper called 'History and 6. Modern Musical Form Development of Indian Music' can be 7. The importance of Music in everyday and chosen independently. social life. iv) But while choosing the Practical Papers i.e. Vocal Light Music OR Vocal Classical 191 Music OR instrumental Music, it is 3. Musical Forms compulsory to take the subject called 3.1 Dhrupad 'History and development of Indian 3.2 Dhamar Music'. 3.3 Khayal v) Student can choose any one practical 3.4 Tarana subject from Three Practical Subjects. 3.5 Thumari (Vocal Light Music-66, Vocal Classical 4. Importance of Music in Daily life Music-67 and Instrumental Music-68). 5. Importance of Music in social life 6. Importance of Music in Education Units Sub-units 7. Use of Audio-Visual aids in the study 1. History of Indian Music of music 1.1 Pre-Independence and 7.1 Radio 1.2 post–independence period 7.2 tape-recorder 2. Biographical sketches 7.3 Television 2.1 Pt.Vishnu Digambar Paluskar 7.4 Computer 2.2 Pt.Vishnu Narayan Bhatkhande 8. Comparative study 2.3 Ustad Abdul Karim Khan 8.1 Vocal music – Instrumental music 2.4 Natsamrat Balgandharva 8.2 Solo singing – Group singing 2.5 Pt.Govindrao Tembe 8.3 Classical music – light music 2.6 Pt.Gajananbuwa Joshi 8.4 solo instrumental playing – 2.7 Pt.Ravi Shankar instruments for accompaniment 2.8 Ustad Aliakbar Khan 9. Stage Performance/Presentation 2.9 Ustad Bismilla Khan 9.1 Artists 2.10 Pt.Pannalal Ghosh 9.2 Accompaniment 2.11 Swarsamradni Lata Mangeshkar 9.3 Listeners 9.4 Organizers .
Load more

Recommended publications
  • Music) (Credit System)
    Bharati Vidyapeeth Deemed University School of Performing Arts, Pune Semester Wise Detailed Chart of Syllabus of B.A. (Music) (Credit System) B.A. 1st Year (Music) Credits (Vocal / Instrumental / Percussion) Sem – 1st Two Language Papers 01 Credit each Theory Paper 02 Stage Performance 14 Viva 07 Sr. Subject Paper Syllabus no 1 Language (English) L11 Biography of Pt. Sapan Chaudhari, Padma Subramaniam, Pt. Shivkumar Sharma, Pt. Jasraj 2 Language (Marathi) L12 Biography Pt. Vishnu Digambar Paluskar 3 Theory (Music) (Vocal & T11 1. Notation System Instrumental) a) Concept of Notation and use (Notation System) b) History of Notation c) Bhatkhande and Paluskar Notation System 2. Concept and Definitions of Terms: Raga, That, Nad, Swara, Shruti, Awartan, Aroha, Awaroha, Swaralankar, Shuddha Swara, Komal Swara, Teewra Swara, That etc. 3. Old Concepts: Gram, Murchna etc. 4 Theory (Music) T12 1) Notation system (Taal Paddhatee) (Percussion) a) In North Indian Classical Style (Notation System) Bhatkhande and Paluskar styles of notation b) Karnataki system. 2) Writing of different taals 3) Notation writing of intricacies of developing Taal : like Kayda, Tukda, Paran, Tihai etc 4) Definition of terms: Taal, Matra, Khanda, Sam, Kaal, Theka 5 Viva (Music) (Vocal & V11 Information on Practical Syllabus Sem I Instrumental) Note – 1. Presentation of other Raga from syllabus.( Except the Raga sung / Played in stage performance) 2. Information of the Ragas mentioned in syllabus i.e. Aaroh – Avaroh, Swar, Varjya Swar, Vadi, Samvadi, Anuvadi, Vivadi, Jaati, Time of Singing Raga etc. 3. Names of the Raga similar to the Raga mentioned in syllabus. 4. Definition – Sangeet, Raag, Taal.. 5. Information of Taal Teentaal – i.e.
    [Show full text]
  • 1. Could You Tell Us a Little Bit About Yourself? 2. Could You Tell Us a Little Bit About What You Do?
    1. Could you tell us a little bit about yourself? 2. Could you tell us a little bit about what you do? For both questions above, please check my website: www.shemeem.com 3. Has Sufi music and Qawwali been part of your childhood? Did the place you grew up in have an influence on your interest in Qawwali? Sufism and Qawwali has been a part of my childhood as well as of my life. My mother’s family belong to the Suhrawardy and Qadiriyya order of Sufis such as Hazrat Bahauddin Zakaria of Multan and Rukunuddin Shah Alam. We also have a connection with Hazrat Shams-e Tabriz, the great Sufi master who was mentor to Maulana Rumi of Konya. I’ve been exposed to musical traditions from my father’s side who was a connoisseur of classical music and played the tabla well. My father’s family trace descent from Ziya’al Din Barani (1285-1361). Barani’s history of the Delhi sultanate in the thirteenth and fourteenth centuries is a major source to study the Muslim ethnomusicology of the time, especially the study of Amir Khusrau, the founder of the qawwali tradition in India. As such the qaul, “mun kunto maula fa Ali un maula” with which traditional classical qawwali is initiated is attributed to Amir Khusrau. I grew up in East Pakistan in the early 1950s which at that time had a strong musical tradition because of its interfaith communities of Muslims, Hindus, Buddhists, Christians and other faiths, until it got taken over by orthodoxy and militarism.
    [Show full text]
  • Bhakti Movement
    TELLINGS AND TEXTS Tellings and Texts Music, Literature and Performance in North India Edited by Francesca Orsini and Katherine Butler Schofield http://www.openbookpublishers.com © Francesca Orsini and Katherine Butler Schofield. Copyright of individual chapters is maintained by the chapters’ authors. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the author (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Orsini, Francesca and Butler Schofield, Katherine (eds.), Tellings and Texts: Music, Literature and Performance in North India. Cambridge, UK: Open Book Publishers, 2015. http://dx.doi.org/10.11647/OBP.0062 Further details about CC BY licenses are available at http://creativecommons.org/ licenses/by/4.0/ In order to access detailed and updated information on the license, please visit: http://www.openbookpublishers.com/isbn/9781783741021#copyright All external links were active on 22/09/2015 and archived via the Internet Archive Wayback Machine: https://archive.org/web/ Digital material and resources associated with this volume are available at http:// www.openbookpublishers.com/isbn/9781783741021#resources ISBN Paperback: 978-1-78374-102-1 ISBN Hardback: 978-1-78374-103-8 ISBN Digital (PDF): 978-1-78374-104-5 ISBN Digital ebook (epub): 978-1-78374-105-2 ISBN Digital ebook (mobi): 9978-1-78374-106-9 DOI: 10.11647/OBP.0062 King’s College London has generously contributed to the publication of this volume.
    [Show full text]
  • PROFILE Besides Saniya Has Been Showered with Blessings And
    PROFILE Born in the family of Music lovers, Saniya's talent was discovered by her parents at the tender age of 3, when she started playing songs on harmonium by herself. As an inborn Artist, since childhood, she had good understanding towards Swar and Laya. Her father is a violin player, mother is a good connoisseur of Music and brother, Sameep Kulkarni is disciple of Sitar Maestro Ustad Shahid Parvez. Education is also given utmost importance in her family and all family members are Merit rank holders. Saniya was fortunate to receive blessings from Ganasaraswati Kishoritai Amonkar at the age of 6 and she started learning classical music from Smt. Lilatai Gharpure (senior disciple of Smt. Hirabai Badodekar). Saniya's first debut was her performance in front of legendary Pt.Jitendra Abhisheki at the age of 12 and that time she created long lasting impression on the audience. Saniya had a privilege to learn under able guidance of renowned senior vocalist Dr.Ashwini Bhide- Deshpande of Jaipur-Atrauli Gharana. She was trained under Ashwiniji with a comprehensive gharana talim for 12 years and frequent Pune-Mumbai travels Saniya is a “Sangeet Visharad” with distinction and a gold medalist in M.COM. Further she also completed the intricate C.S. (Company Secretary) Course. Her hard work, perseverance, and love for music contributed to prove herself on both musical as well as academic fronts. Besides Saniya has been showered with blessings and appreciation by musicologists, music critics and stalwarts of Hindustani Classical Music like Pt. Bhimsen Joshi, Bharatratna LATA MANGESHKAR, Late Pt.
    [Show full text]
  • Core Compulsory-2: Study of Ragas II Credit 3 Semester 2 Hours 45 Vocal / Sitar / Violin to Enhance Knowledge of Ragas Under Practical Study
    Department of Music (Vocal & Instrumental) Academic Faculty of Performing Arts Year2018-19 The Maharaja Sayajirao University of Baroda Bachelor of Performing Arts : Music (Vocal / Sitar / Violin) Graduate Programme Year 1 Core Compulsory-2: Study of Ragas II Credit 3 Semester 2 Hours 45 Vocal / Sitar / Violin To enhance knowledge of Ragas under practical study . OBJECTIVES To introduce comparative study of Ragas. To Knowledge of teaching method ( Guru shishya parampara and modern method) Unit-1 Writing notation of Cheezas (Gat for inst. Music) and Talas as Prescribed. 11 hours Detailed theoretical study of the Ragas prescribed for the practical. Detailed knowledge of the Talas under practical study with Dugun and Chaugun. Study of Talas Dadra, Keharwa, Trital, Ektal, Jhaptal, Chautal, Roopak. Comparative study of teaching method (Guru shishya parampara and modern method): Introduction of Guru shishya Parampara teaching method. Introduction of modern style of teaching method. Comparative study of both teaching method. Unit-2 Comparative study of the Rags, Sam-Akrutic and Sam-Prakrutic Ragas 11 hours studied. Comparative study : Basic Introduction of both instruments.Compare of Technical aspects of instruments. Comparative study of Compositions of instruments. Unit-3 Swaravistar, Alap, Tana and its different varieties, in the Ragas of the 11 hours practical study Notation of alap and Bolalap Composition: Introduction of Raga with reference to Alap. Unit-4 Writing notation of Cheezas (Gats for inst. Music) and Talas as prescribed 12 hours Detail study of “Riyaz”:Technical terms of Riyaz. Ancient method of riyaz system.Modern riyaz system with electronic equipments. Principles of Riyaz.Comparative study of both style of Riyaz system.Pattern of Riyaz in each Gharana.
    [Show full text]
  • In Indian Classical Music
    SYMBIOSIS INSTITUTE OF FOREIGN TRADE Export potential analysis of Indian Classical Music to U.K Submitted by: Naina Malhotra 9011 Div A ACKNOWLEDGEMENTS I would like to express my heartfelt gratitude for the invaluable help extended to me by Pt.Bhimsen Joshi,, in the completion of this report. I would like to extend my thanks to Mr. Haresh Bakshi of Sound Of India I would also like to thank Mr. Shrikant Bhojkar, Faculty – SIFT, without whose guidance & support this project would not have been possible. I would like to thank Mrs. Supriya Joshi, Librarian – SIFT & the entire staff for all their help. 1 CERTIFICATE This is to certify that Ms. Naina Malhotra, SA–1–9011, of Symbiosis Institute of Foreign Trade has submitted the following research report on the EXPORT POTENTIAL OF INDIAN CLASSICAL MUSIC TO UNITED KINGDOM in partial fulfillment of the Masters Programme in International Business (2000-02) course at SIFT, Pune 2 CONTENTS Introduction Indian classical music Various forms of I.C.Music Terms related to I.C.M. Guru shishya Parampara & Gharanas Some of the eminent Artists and maestros Organizations promoting classical music Commercial aspects Indian music industry SWOT of Indian classical music 3 Competition Export of Indian classical Music Target market: United Kingdom Cultural profile of UK Indicative Costing Marketing Strategy Promotions of Indian classical Music Future of Indian classical Music Bibliography People Contacted INTRODUCTION Indian classical music originated from the chanting of the Vedas, chanting based on Sama Veda. These could be compared with the Psalms in the Bible. Indian classical music is categorized under two genres.
    [Show full text]
  • An Overview of Hindustani Music in the Context of Computational Musicology
    AN OVERVIEW OF HINDUSTANI MUSIC IN THE CONTEXT OF COMPUTATIONAL MUSICOLOGY Suvarnalata Rao* and Preeti RaoŦ National Centre for the Performing Arts, Mumbai 400021, India * Department of Electrical Engineering, Indian Institute of Technology Bombay, IndiaŦ [email protected], [email protected] [This is an Author’s Original Manuscript of an Article whose final and definitive form, the Version of Record, has been published in the Journal of New Music Research, Volume 43, Issue 1, 31 Mar 2014, available online at: http://dx.doi.org/10.1080/09298215.2013.831109 [dx.doi.org]] ABSTRACT ludes any key changes, which are so characteristic of Western music. Indian film music is of course an excep- With its origin in the Samveda, composed between 1500 - tion to this norm as it freely uses Western instruments 900 BC, the art music of India has evolved through ages and techniques including harmonization, chords etc. and come to be regarded as one of the oldest surviving music systems in the world today. This paper aims to Art music (sometimes inappropriately described as clas- provide an overview of the fundamentals governing Hin- sical music) is one of the six categories of music that dustani music (also known as North Indian music) as have flourished side by side: primitive, folk, religious, practiced today. The deliberation will mainly focus on the art, popular and confluence. The patently aesthetic inten- melodic aspect of music making and will attempt to pro- tion of the art music sets it apart from other categories. It vide a musicological base for the main features associated is governed by two main elements: raga and tala.
    [Show full text]
  • Yamaha PSR-I500 Owner's Manual
    DIGITAL KEYBOARD Setting Up Setting Owner’s Manual Quick Guide Reference Appendix Thank you for purchasing this Yamaha Digital Keyboard! The instrument is a portable keyboard with featuring a wide variety of sounds and functions. We recommend that you read this manual carefully so that you can fully take advantage of the advanced and convenient functions of the instrument. We also recommend that you keep this manual in a safe and handy place for future reference. Before using the instrument, be sure to read “PRECAUTIONS” on pages 5–7. EN For PSR-I500 SPECIAL MESSAGE SECTION This product utilizes batteries or an external power supply Battery Notice: (adapter). DO NOT connect this product to any power supply or This product MAY contain a small non-rechargeable battery adapter other than one described in the manual, on the name which (if applicable) is soldered in place. The average life span plate, or specifically recommended by Yamaha. of this type of battery is approximately five years. When replace- WARNING: Do not place this product in a position where any- ment becomes necessary, contact a qualified service represen- one could walk on, trip over, or roll anything over power or con- tative to perform the replacement. necting cords of any kind. The use of an extension cord is not This product may also use “household” type batteries. Some of recommended! If you must use an extension cord, the minimum these may be rechargeable. Make sure that the battery being wire size for a 25’ cord (or less ) is 18 AWG. NOTE: The smaller charged is a rechargeable type and that the charger is intended the AWG number, the larger the current handling capacity.
    [Show full text]
  • Download The
    CROSS-CULTURAL PEDAGOGY IN NORTH INDIAN CLASSICAL MUSIC by Michael Hale Oppenheim B.A., Kenyon College, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2012 © Michael Hale Oppenheim, 2012 !!" Abstract This thesis is an investigation of pedagogy in North Indian classical music. Historical, cultural, and philosophical elements of pedagogy in the Hindustani musical tradition are addressed in an overview of music education in traditional Indian contexts, the twentieth century, and in cross-cultural contexts. Themes include orality in Indian culture, the traditional guru-shishya parampara, the role of nationalism in twentieth century educational reforms, and the impact of technology in the latter half of the twentieth century. Trends in music education in India are then compared and contrasted with the state of education in Indian music in cross-cultural contexts in the West. From this data a model of the essential elements of Indian pedagogy is synthesized. This model accounts for pedagogical devices utilized to impart musical information as well as methods of transmitting cultural and social values. This model is applied to the experiences of five North American students of Hindustani music interviewed during the research process for this thesis. !!!" Preface This thesis was completed in accordance with the mandates of The University of British Columbia Behavioural Research Ethics Board. The
    [Show full text]
  • Priya Purushothaman: a Dedicated Disciple
    WHEN SOUTH MEETS NORTH Priya Purushothaman: A dedicated disciple Here is a rare instance of guru at New York and graduated from profiling (and celebrating) sishya. Columbia University, NY. Married Aditi Kaikini Upadhya, the author of to photo journalist Hari Adivarekar, this piece, is an established vocalist she now resides in Bengaluru). in the Agra gharana, and a teacher ADIVAREKAR HARI In those two months, she received a and musicologist based in Bengaluru. brief introduction to the style and my A daughter of the late Dinkar Kaikini, method of teaching. Realising she had a cerebral and renowned icon of her barely scratched the surface but very school of vocalism, and Shashikala keen to go deeper, Priya decided to Kaikini, vocalist and academician of take a year off after graduating from repute, Aditi Upadhya also trained in college dedicated to studying music dadra, thumri and hori with the late under my tutelage. Shobha Gurtu. She is much in demand In this year, she lived with me and my for her lecture demonstrations and family, immersed herself in the talim, workshops on Indian classical music. the culture of the art, interacted with She is a devoted guru as well. many artists who would visit our home, riya Purushothaman approached and was very fortunate to get time to me with a request to teach her spend with my father, Dinkar Kaikini. Hindustani vocal music in the Priya Purushothaman She visited him every few months and P spent time discussing musical matters summer of 2002, while she was visiting with him as well as taking lessons.
    [Show full text]
  • Design and Development of an Indian Classical Vocal Training Tool
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Design and development of an Indian classical vocal training tool Sharma, Shraddha 2019 Sharma, S. (2019). Design and development of an Indian classical vocal training tool. Master's thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/136780 https://doi.org/10.32657/10356/136780 This work is licensed under a Creative Commons Attribution‑NonCommercial 4.0 International License (CC BY‑NC 4.0). Downloaded on 26 Sep 2021 16:16:09 SGT DESIGN AND DEVELOPMENT OF AN INDIAN CLASSICAL VOCAL TRAINING TOOL SHRADDHA SHARMA SCHOOL OF ELECTRICAL AND ELECTRONICS ENGINEERING 2019 DESIGN AND DEVELOPMENT OF AN INDIAN CLASSICAL VOCAL TRAINING TOOL SHRADDHA SHARMA School of Electrical and Electronics Engineering A thesis submitted to the Nanyang Technological University in partial fulfilment of the requirement for the degree of Master of Engineering 2019 Statement of Originality I hereby certify that the work embodied in this thesis is the result of original research, is free of plagiarised materials, and has not been submitted for a higher degree to any other University or Institution. 28/03/2019 . Date Shraddha Sharma Supervisor Declaration Statement I have reviewed the content and presentation style of this thesis and declare it is free of plagiarism and of sufficient grammatical clarity to be examined. To the best of my knowledge, the research and writing are those of the candidate except as acknowledged in the Author Attribution Statement. I confirm that the investigations were conducted in accord with the ethics policies and integrity standards of Nanyang Technological University and that the research data are presented honestly and without prejudice.
    [Show full text]
  • Download Tanpura
    Download tanpura LINK TO DOWNLOAD 01/06/ · Download Your Tanpura for free. Your Tanpura is an application designed for every lover of Carnatic music who owns a PC/5(73). 26/07/ · Tanpura is a long-necked plucked string instrument found in various forms in Indian music. This app is a digital version of traditional Tanpura. RiyazStudio's new Tanpura - install it alone or add it to your existing RiyazStudio - provides an unparalleled range of styles and tunings for accompanying Indian renuzap.podarokideal.ruegory: Music Software. Tanpura Droid is the software version of a Tanpura, this sitar-like instrument used in Indian classical music to play a drone sound throughout a musical performance. Includes real sounds. Whether you practice Indian music or just want a meditative background sound for relaxing, we hope you'll enjoy this little free app/5(19K). 26/10/ · Just download All tanpura sounds, music by clicking here & get rid of headache. The only disadvantage of this is lack of smoothness. As these are just an audio files and need to run from music player, it depends on each music player’s quality the time between the loops, how it performs. 12/03/ · Here is a essential male MP3 Tanpura files for free download. Kali (Black) 1,2,3,4,5 and Safed (White) 1,2,3,4,5,6,7 or C,C#,D,D#,E,F,F#,G,G#,A,A#,B. e tanpura tabla free download - Rhythm with Tabla & Tanpura, Rhythm with Tabla & Tanpura, iSangatLite Tabla & Tanpura, and many more programs. How to Install Tanpura Droid for PC or MAC: Download BlueStacks for PC considering the link presented within this site.
    [Show full text]