Music) As on 01/01/2020

Total Page:16

File Type:pdf, Size:1020Kb

Music) As on 01/01/2020 PRASAR BHARATI (INDIA‘S PUBLIC SERVICE BROADCASTER) ALL INDIA RADIO::MYSURU – 570 020 ANNUAL LIST OF CASUAL / STAFF ARTISTS (MUSIC) AS ON 01/01/2020 LAST DATE OF PERFORMANCE IN SL. NAME OF THE ARTIST DATE OF LAST A.S.S. / N.P.M. CONTACT TYPE OF MUSIC GRADE BASIC FEE REMARKS NO Shri. / Smt. / Miss. AUDITION IN RESPECT OF „A‟ NUMBER & TOP GRADE ARTISTES CLASSICAL – VOCAL: TOP GRADE : A.S.S. -- 2002 N.P.M. -- Nil 1. Dr. Sreelatha R.N. K.Cl.Vocal NOV.2012 Top PPGGG 09945124825 Trinity Concerts : Date : April - 2009 CLASSICAL – VOCAL: “A” GRADE Grade of H. S. Mahalakshmi has A.S.S. –- Nil been brought down Mahalakshmi H.S. to ‗A‘ from ‗Top‘ due 2. K.Cl.Vocal 10.09.2008 A SCGG N.P.M. – 08095446429 to death of duet 10.05.1997 partner Yadugiri H. S. as per AIR, Music audition rules Rtd. Staff A.S.S. –- 2008 3. Raghavendra.M. K.Cl.Vocal A SCGG Devotional -A, 09480150750 Light music B-High A.S.S. – Nil (Rtd Staff Tanpura 4. Sudha K. K.Cl.Vocal 15.01.2001 A SCGG 09901661085 N.P.M. – Nil Artist) CLASSICAL – VOCAL: “B” HIGH Grade of G. S. Rajalakshmi has been brought down to ‗B‘ High from ‗A‘ A.S.S. –- Nil 5. Rajalakshmi G S. K.Cl.Vocal 06.11.1987 B High RGGG due to death of her 0821-2485920 N.P.M. – Nil duet partner Kamala G.S. as per AIR, Music audition rules 6. Dr. Padma Murthy K.Cl.Vocal 24.02.1989 B High RGGG Old age Continued on page - 2 - ::2:: LAST DATE OF PERFORMANCE IN NAME OF THE ARTIST DATE OF LAST A.S.S. / N.P.M. IN Sl No TYPE OF MUSIC GRADE BASIC FEE REMARKS CONTACT NUMBER Shri. / Smt. / Miss. AUDITION RESPECT OF „A‟ & TOP GRADE ARTISTES 7. Geetha Y. Putty K.Cl.Vocal March-2008 B High RGGG 9482139109 8. L. Kala ( Koviladi R.) K.Cl.Vocal 14.11.1986 B High RGGG Rajalakshmi Rama Rao Old age, Not 9. K.Cl.Vocal 04.10.1973 B High RGGG performing Ganasaraswathi K. B-High Devotional 10. K.Cl.Vocal 20.02.1995 B High RGGG B-Lt. Music 11. Harini R. K.Cl.Vocal 29.10.2018 B High RGGG 9900850267 12. Jyothi M.A. K.Cl.Vocal 22.05.2006 B High RGGG 7829673695 Saraswathi.P Aged, Not 13. K.Cl.Vocal 04.10.1973 B High RGGG Performing 14. Shreeram Bhat.B K.Cl.Vocal March-2008 B High RGGG 8867635369 15. Sudha M.R. K.Cl.Vocal 07.07.2008 B High RGGG 9449834700 Sudhamani S. Murthy Graded ―C‘‘ Performance Not 16. K.Cl.Vocal 27.12.1993 B High RGGG upto the mark 17. Sumathi Murari MD K.Cl.Vocal 23.01.1997 B High RGGG 9986035375 Also B-High- Devaranama 18. Surabhi.P K.Cl.Vocal 30.10.2018 B High RGGG B-High- Bhavageethe, ―B‖ Grade - Veena 19. Usha .G. K.Cl.Vocal 01.03.1986 B High RGGG 20. Vidya Nataraj K.Cl.Vocal 15.05.1987 B High RGGG Continued on page - 3 - ::3:: LAST DATE OF PERFORMANCE IN SL. NAME OF THE ARTIST DATE OF LAST TYPE OF MUSIC GRADE BASIC FEE A.S.S. / N.P.M. IN REMARKS CONTACT NUMBER NO. Shri. / Smt. / Miss. AUDITION RESPECT OF „A‟ & TOP GRADE ARTISTES CLASSICAL – VOCAL: “B” GRADE : 21 Rao R. Sharath K.Cl.Vocal 30.10.2018 B PSGG 22 Shivkumar K.Cl.Vocal 13.11.2013 B PSGG Smt. Vijayashree 9448959885 Vaidyanathan & 23 K.Cl. Vocal 30.10.2018 B PSGG Saraswatula Srividya INSTRUMENTAL – VEENA: TOP RANK: 24 Prof. R. Vishweshwaran K.Cl. Veena 10.03.1995 Top PPGGG N.P.M. – 27.07.2019 9448476284 A.S.S. –- Nil 94480692310 25 Dr. S. Vijayaraghavan K.Cl. Veena 3.10.2013 Top PPGGG N.P.M.— 6 April- 0821-2343095 2008 INSTRUMENTAL – VEENA “A” GRADE A.S.S. – 2017 09972798861 26 Mysore S. Rajalakshmi K.Cl. Veena 12.05.1997 A Staff Artist N.P.M.-- April-2009 0821-2517527 A.S.S. -- 1998 0821-2331140 27 Padma .A .S K.Cl. Veena 28.06.1986 A SCGG Padmanabha .R .K 09880777127 28 K.Cl. Veena 11.2.2014 A SCGG Dr. Sahana .S .V 09880696931 29 K.Cl. Veena 19.6.2014 A SCGG VEENA “B” HIGH GRADE 30 Bharathi .N K.Cl. Veena 07.11.2001 B High RGGG 9480566270 31 Kishan. A .N K.Cl. Veena 08.11.2001 B High RGGG Raghavan.R.K K.Cl. Veena 03.07.1980 B High RGGG 32 Srilakshmi.H.S K.Cl.Veena 27.07.2007 B High RGGG 33 VEENA “B” GRADE Surabhi P K.Cl. Veena 31.10.2018 B PSGG 34 Continued on page - 4 - ::4:: LAST DATE OF PERFORMANCE IN SL. NAME OF THE ARTIST DATE OF LAST CONTACT TYPE OF MUSIC GRADE BASIC FEE A.S.S. / N.P.M. IN REMARKS NO. Shri. / Smt. / Miss. AUDITION NUMBER RESPECT OF „A‟ & TOP GRADE ARTISTES FLUTE : “A”GRADE A.S.S. -- 2007, 0821-2342199 Dr. C.A. Sridhar K.Cl. Flute 22.03.2005 A SCGG 35 09449703616 Hemantha K.S. & Herambha A.S.S -- 2018 K.Cl. Flute Duet March 2016 A SCGG 36 K.S. 9845450160 Smitha Srikiran K.Cl. Flute 30.10.2018 A SCGG 0821- 37 2343629 09448601999 Vamshidhar Venkatesha K.Cl. Flute May-2008 A SCGG N.P.M. – 38 9480443850 15.02.2020 FLUTE “B” HIGH GRADE 39 Sathyanarayana.N.V K.Cl. Flute 05.01.1999 B High RGGG Retired Staff 40 Upadhyaya.K.P K.Cl. Flute 19.01.1976 B High RGGG Gr-II Composer FLUTE “B” GRADE AIR music 8123061381 41 Keshava chandra K.Cl. Flute 04.10.2018 B PSGG competition 2018 0821- 1st prize winner 2342199 VIOLIN : TOP GRADE NPM – 2018 & 42 Bhaskar.H.N K.Cl. Violin July 2016 Top PPGGG Also Gr.-II Composer 09884779241 15.02.2020 A.S.S. -- N.P.M. -- mysoremmanjun 2003&2014 43 Dr. M. Manjunath K.Cl. Violin 2007 Top PPGGG [email protected] 09611840840 A.S.S. 01.12.2019 Rtd. Staff Artist 44 H.K. Narasimha Murthy K.Cl. Violin 07.10.2010 Top PPGGG 09884779241 A.S.S. -- 2004, National - Music 45 Mysore M. Nagaraj K.Cl. Violin 16.09.1998 Top Staff Artist N.P.M.-- 2003, 2014, 09902920920 Academy Awardee A.S.S. 01.12.2019 VIOLIN : “A”GRADE A.S.S.-29.08.2008 46 A.P. Srinivas K.Cl. Violin 07.01.2003 A SCGG & 24.09.2016 N.P.M.-2011 Continued on page - 5 - ::5:: LAST DATE OF PERFORMANCE IN A.S.S. / NAME OF THE ARTIST DATE OF LAST CONTACT TYPE OF MUSIC GRADE BASIC FEE N.P.M. IN REMARKS SL. Shri. / Smt. / Miss. AUDITION NUMBER RESPECT OF „A‟ NO. & TOP GRADE ARTISTES A.S.S.-2013 & 47 N. Karthik K.Cl. Violin March-2008 A SCGG 09945593007 24.09.2016 A.S.S. – 48 Adithi Krishnaprakash K.Cl. Violin 02.08.2011 A SCGG 24.09.2016 & 09448127820 09.12. 2019 044-24510307 49 Srikanth V. K.Cl. Violin 30.10.2018 A SCGG 0821-2511643 09444057911 VIOLIN : “B” HIGH GRADE 50 MahathiT.Bhargavapuri K.Cl. Violin 30.12.2014 B High RGGG 9611145715 51 Keshav M K.Cl. Violin 31.10.2018 B High RGGG Old aged Not 52 TirumalaiSrinivasamurthy K.Cl. Violin 24.09.1988 B High RGGG Performing 53 Veena Suresh K.Cl. Violin 05.02.2003 B High RGGG 09845213892 VIOLIN : “B” GRADE 9342593098, 54 Shruthi C.V. K.Cl. Violin 31.10.2018 B PSGG 08214260623 9343294153 55 Sumanth M K.Cl. Violin 02.11.2018 B PSGG 9108259120 SAROD: “TOP” GRADE: 09845641932 56 Dr.RajeevTaranath H.Cl. Sarod 29.07.2003 Top PPGGG 08212302932 MRIDANGAM : “TOP” GRADE A.S.S.- Oct 2007, N.P.M. -2003, A.S.S.-2013 Also B-Tabla lt 57 Ravishankar.B.Tumkur K.Cl. Mridanga 15.01.2001 Top STAFF N.P.M. 09448246230 music 01.04.2017, 27.07.2019 & 15.02.2020 Continued to page - 6 – ::6:: LAST DATE OF PERFORMANCE IN A.S.S. / SL. NAME OF THE ARTIST DATE OF LAST CONTACT TYPE OF MUSIC GRADE BASIC FEE N.P.M. IN REMARKS NO. Shri. / Smt. / Miss. AUDITION NUMBER RESPECT OF „A‟ & TOP GRADE ARTISTES MRIDANGAM : “A” GRADE N.P.M. -- 58 EshwarBhat.A K.Cl. Mridanga 03.02.2011 A SCGG 09448300814 2006 09900217171 59 Kumarswamy S. K.Cl. Mridanga 01.11.2018 A SCGG 9481039384 N.P.M. – 60 Radhesh.A K.Cl. Mridanga 25.04. 2016 A SCGG 09448051564 27.07.2019 N.P.M. – May, Also A in 61 Shashishankar.B K.Cl. Mridanga 02.08.2011 A SCGG 09448336883 2012 Ghatam Also BH in ShivashankaraSwamy. NPM- 62 K.Cl. Mridanga 22.02.2012 A STAFF Ghatam, 09448433988 H.L 2015 B in Light Tabla A.S.S.- - 2002 63 Sudarshan N K.Cl. Mridanga 23.01.1997 A SCGG & N.P.M.-2012 08867273806 MRIDANGAM “B” HIGH GRADE : 64 Jayaram M.S K.Cl. Mridanga 20.07.1991 B High RGGG 09902164110 65 Nataraj p. K.Cl. Mridanga 20.07.1991 B High RGGG 09845370488 Also BH 09448525725 66 Ramanujam G.S. K.Cl. Mridanga 06.11.1986 B High RGGG Ghatam 2485920 Also “A” in 67 Ramesh V.S. K.Cl. Mridanga 28.03.2003 B High RGGG 09449278223 Morching Also BH in 08232-223555 68 Sudarshan S K.Cl. Mridanga 18.05.1993 B High RGGG Khanjira 09448253058 69 Swamy .G.T K.Cl.
Recommended publications
  • 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.
    [Show full text]
  • Scheme of Examination for Session 2020-21 One Year Diploma in Tabla Programme Code- DPT1 Semester-I Paper Theory/ Practical
    Scheme of Examination for session 2020-21 One Year Diploma in Tabla Programme Code- DPT1 Semester-I Paper Theory/ Paper Nomenclature Maximum Internal Total Credits Practical Code of Paper Marks Assessment Marks I Theory 20CPT11C1 Basics of 80 20 100 4 Tabla II Theory 20CPT11C2 Historical & 80 20 100 4 Theoretical Study of Tabla III Practical 20CPT11C3 Stage 150 150 6 Performance IV Practical 20CPT11C4 Viva-Voce 150 150 6 Total 500 20 Paper Theory/ Paper Nomenclature Maximum Internal Total Credits Practical Code of Paper Marks Assessment Marks V Theory 20DPT12C1 History and 80 20 100 4 Basics of Tabla VI Theory 20DPT12C2 Applied 80 20 100 4 Theory of Tabla VII Practical 20DPT12C3 Stage 150 150 6 Performance VIII Practical 20DPT12C4 Viva-Voce 150 150 6 Total 500 20 The candidate has to answer five questions by selecting atleast one question from each Unit. Maximum Marks 80 Internal Assessment 20 marks Semester 1 Theory Paper - I Programme Name One Year Diploma Programme Code DPT1 in Tabla Course Name Basics of Tabla Course Code 20CPT11C1 Credits 4 No. of 4 Hours/Week Duration of End 3 Hours Max. Marks 100 term Examination Course Objectives:- 1. To impart Practical knowledge about Tabla. 2. To impart knowledge about theoretical aspects of Tabla in Indian Music. 3. To impart knowledge about Tabla and specifications of Taala 4. To impart knowledge about historical development of Tabal and it’s varnas(Bols) Course Outcomes 1. Students would able to know specifications of Tabla and Taalas 2. Students would gain knowledge about Historical development of Tabla 3.
    [Show full text]
  • The West Bengal College Service Commission State
    THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics.
    [Show full text]
  • THE STORY of the POT Prof
    CMANA a thriving institution and a continuing journey SANGEETHAM TNT # 26 THE STORY OF THE POT Prof. N. Govindarajan The Pot - Known as ‘Noot’ in Kashmir, ‘Mudki’ in rhythmic accompaniment. In the past it was Rajasthan and ‘Ghatam’ in Carnatic Music - is no employed as accompaniment for veena. ordinary clay pot! Methods of Playing : In North India this instrument is Origin : The Ghatam, like Mridanga and Veena is an played on a small round block with the mouth facing ancient Carnatic Music instrument. In a sloka in the upwards and is played on its round surface by the right Yuddha kanda of Ramayan, Valmiki refers to the hand and on its mouth by the left hand. Also the sound that emanates from the pot! There is an performer wears bras rings in his fingers. In South authoritative reference to it in ‘Krishna Ganam;’, a India, the performer places the instrument on his lap potential description of Lord Krishna’s flute recital. with the moutn hugging his belly. The performer The above two instances prove that Ghatam is an plays by using his fingers, wrists and even nails. instrument of ancient times in the cultural history of During accompaniment he keeps the instrument very India. close to his belly and then forces the ghatam outward Ghatam and the oridinary mud pot used for domestic which creates a peculiar bass sound. Occasionally the purposes are comparable only in that they are both performer keeps the instrument with the mouth facing made of clay and round in shape with the Ghatam the audience and plays on its neck.
    [Show full text]
  • Classic Ssical Arts Society of Houston Ty
    Classicssical Arts Societyty of Houston Presenesents a Special Summer Concert! An Eveningg of Incomparable Music by the Violin Trio Padmabhushan PrProf. T.N. Krishnan, Smt. Viji Krishnashnan-Natarajan & Sri Sriram Krishnishnan with Sri T.S. Nandakumar on Mridangam Sri Chandhandrasekara Sharma on Ghatam At 4:300 PM on Sunday, June 12, 2016 Stafford Civic Center 1411415 Constitution Avenue Stafford, Texas About our Artists Prof T N Krishnan The foremost exponent of the Carnatic violin and the senior most living expnoent of this pristine tradition, T. N. Krishnan's art represents the purest expression of the Carnatic idiom. His emphasis on melodic clarity, spectral fidelity, and emotive finesse are unparalleled in his field. He is a living legend who has witnessed and assimilated the essence of the musical giants of the golden age of Carnatic Music. His music reflects the vigour, poignance and depth of the tradition as it should be practiced. Over the course of nearly eighty years, he has become synonymous with uncompromising classicism and continues to relentlessly pursue this passion. Smt. Viji Krishnan Natarajan Viji Krishnan, daughter of Sri T N Krishnan represents the seventh generation in a family of distinguished musicians who have contributed enormously to Indian music. Her initial training began at the age of three, under grandfather Sri A. Narayana Iyer and later from her illustrious father, the maestro Professor T. N. Krishnan. Viji turned out a child prodigy and gave her first performance at the age of seven when The Hindu reported her to be, "a chip off the old block". Viji is now an international performing artist.
    [Show full text]
  • Indian Music Instruments Sarangi Sitar Sitar Is of the Most Popular Music
    Indian Music Instruments Sarangi Sitar Sitar is of the most popular music instruments of North India. The Sitar has a long neck with twenty metal frets and six to seven main cords. Below the frets of Sitar are thirteen sympathetic strings which are tuned to the notes of the Raga. A gourd, which acts as a resonator for the strings is at the lower end of the neck of the Sitar. The frets are moved up and down to adjust the notes. Some famous Sitar players are Ustad Vilayat Khan, Pt. Ravishankar, Ustad Imrat Khan, Ustad Abdul Halim Zaffar Khan, Ustad Rais Khan and Pt Debu Chowdhury. Sarod Sarod has a small wooden body covered with skin and a fingerboard that is covered with steel. Sarod does not have a fret and has twenty-five strings of which fifteen are sympathetic strings. A metal gourd acts as a resonator. The strings are plucked with a triangular plectrum. Some notable exponents of Sarod are Ustad Ali Akbar Khan, Ustad Amjad Ali Khan, Pt. Buddhadev Das Gupta, Zarin Daruwalla and Brij Narayan. Sarangi Sarangi is one of the most popular and oldest bowed instruments in India. The body of Sarangi is hollow and made of teak wood adorned with ivory inlays. Sarangi has forty strings of which thirty seven are sympathetic. The Sarangi is held in a vertical position and played with a bow. To play the Sarangi one has to press the fingernails of the left hand against the strings. Famous Sarangi maestros are Rehman Bakhs, Pt Ram Narayan, Ghulam Sabir and Ustad Sultan Khan.
    [Show full text]
  • Ghatam SANKARA VEDIC CULTURE & ARTS INC SAVECA Canada/SAVECA Music Academy a Popular Disciple of Sangeetha Ramana Indrakumar Started His Training Kalanidhi Dr
    = ARVIND VENKATARAMAN - Mridangam RAMANA INDRAKUMAR - Ghatam SANKARA VEDIC CULTURE & ARTS INC SAVECA Canada/SAVECA Music Academy A popular disciple of Sangeetha Ramana Indrakumar started his training Kalanidhi Dr. Trichy Sri. Sankaran, in Mridangam at the age of 11 under (www.saveca.ca) Arvind has been under his tutelage for Vidwan Sri. Vasuthevan Rajalingam. A Not-for-profit organization the past 10 years, learning the Through his guru, Ramana has had intricacies and nuances of the advanced training from various percussive arts of the Pudukottai Laya mridangists such as Neyveli Sri. Bani. Arvind was initiated into Venkatesh, Sri. P. Satish Kumar, Carnatic Music by his mother at the Madipakkam Sri. Suresh and Poovalur Sri. age of 5 and underwent vocal training Sriji. Ramana pursued not just the mridangam, but also the for 10 years. He was then introduced to the art of secondary percussion instruments of ghatam and kanjira. A Mridangam playing in 1998 by Vidwan Pazhani. Sri. C. great feat by Ramana was the pursuit to learn the ghatam on Kumar and also had his initial training with Vidwan Sri. his own by watching great ghatam artists from today and Sriraam Subbaraman. yester years. His playing is appreciated for its rhythmical Arvind had his Arangetram on September 22nd, 2007 clarity and speed. Ramana has participated in various radio performing alongside his Guru, Sangeetha Kalanidhi Dr. and television recordings, and has performed in many Proudly Presents Trichy Sri. Sankaran in the concert of Padma Bhushan venues across North America. Sangeetha Kalanidhi Madurai Sri.T.N. Seshagopalan. The During the last 18 years, Ramana has performed alongside occasion marked the 52nd anniversary of his guru Prof.
    [Show full text]
  • Click Here for More Details
    Click Here for more details https://kalakendra.com/yours-truly-margazhi/ 15-12-2020 Sozhavaram Venkatesan & R.Govindarajan - Nadhaswaram, Thavil - Adyar Tuesday D.senthil Kumar & R.jeevanandam Inaugural Function Vocal - Sandeep Narayan, Violin - Mysore Srikanth, Mridangam - Umayalpuram K Sivaraman 16-12-2020 Thiruppavai Wednesday Namasangeerthanam Vocal - ABHIRAM BHODE, Violin - Shyam Raghav, Mridangam - Indhalur Adharsh Devarajan Vocal - CHINMAYA SISTERS-UMA & RADHIKA, Violin - B.V Raghavendra Rao, Mridangam - Tanjavur K Murugabhoopathi, Ghatam - N Guruprasad Violin Duet -GANESH & KUMARESH, Mridangam - Anantha R Krishnan, Ghatam - Trichy Krishnaswamy 17-12-2020 Thiruppavai Thursday Namasangeerthanam Vocal - Chithra Moorthy, Violin - Haritha Narayanan, Mridangam - Rohith A THE CARNATIC QUARTET, Violin - Shreya Devnath, Mridangam - Praveen Sparsh, Nadhaswaram - Mylai Karthikeyan Thavil - R.Jeevanandam Vocal - TRICHUR BROTHERS - SRIKRISHNA MOHAN & RAMKUMAR MOHAN, Violin - Sayee Rakshith, Mridangam - Trichur Mohan, Kanjira - B.S Purushotham Click Here for more details https://kalakendra.com/yours-truly-margazhi/ 18-12-2020 Thiruppavai Friday Namasangeerthanam Vocal - CALCUTTA SHANKAR, Violin - V.L.V.Sudharsan, Mridangam - Manikkudi.S.Chandrasekaran Vocal - K.GAYATHRI, Violin - R. Hemalatha, Mridangam - Poongulam Subramaniam Violin Duet - A KANYAKUMARI & EMBAR S KANNAN, Mridangam - Mannargudi A Easwaran, Kanjira - B.S Purushotham 19-12-20 Thiruppavai Saturday Namasangeerthanam Vocal - SVARATHMIKA, Violin- C.S Chinmayi, Mridangam - Pazhani
    [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]
  • Role of Percussion Instruments in Indian Music
    Vol 6 Issue 7 April 2017 ISSN No : 2249-894X ORIGINAL ARTICLE Monthly Multidisciplinary Research Journal Review Of Research Journal Chief Editors Ashok Yakkaldevi Ecaterina Patrascu A R Burla College, India Spiru Haret University, Bucharest Kamani Perera Regional Centre For Strategic Studies, Sri Lanka Welcome to Review Of Research RNI MAHMUL/2011/38595 ISSN No.2249-894X Review Of Research Journal is a multidisciplinary research journal, published monthly in English, Hindi & Marathi Language. All research papers submitted to the journal will be double - blind peer reviewed referred by members of the editorial Board readers will include investigator in universities, research institutes government and industry with research interest in the general subjects. Regional Editor Dr. T. Manichander Advisory Board Kamani Perera Delia Serbescu Mabel Miao Regional Centre For Strategic Studies, Sri Spiru Haret University, Bucharest, Romania Center for China and Globalization, China Lanka Xiaohua Yang Ruth Wolf Ecaterina Patrascu University of San Francisco, San Francisco University Walla, Israel Spiru Haret University, Bucharest Karina Xavier Jie Hao Fabricio Moraes de AlmeidaFederal Massachusetts Institute of Technology (MIT), University of Sydney, Australia University of Rondonia, Brazil USA Pei-Shan Kao Andrea Anna Maria Constantinovici May Hongmei Gao University of Essex, United Kingdom AL. I. Cuza University, Romania Kennesaw State University, USA Romona Mihaila Marc Fetscherin Loredana Bosca Spiru Haret University, Romania Rollins College, USA Spiru Haret University, Romania Liu Chen Beijing Foreign Studies University, China Ilie Pintea Spiru Haret University, Romania Mahdi Moharrampour Nimita Khanna Govind P. Shinde Islamic Azad University buinzahra Director, Isara Institute of Management, New Bharati Vidyapeeth School of Distance Branch, Qazvin, Iran Delhi Education Center, Navi Mumbai Titus Pop Salve R.
    [Show full text]
  • Journal Paper Format
    International Journal of Multimedia and Ubiquitous Engineering Vol.10, No.6 (2015), pp.99-112 http://dx.doi.org/10.14257/ijmue.2015.10.6.10 Automatic Instrumental Raaga – A Minute Observation to Find Out Discrete System for Carnatic Music B. Tarakeswara Rao1, Venkata Naresh Mandhala2, Debnath Bhattacharyya3 and Tai-hoon Kim4 1Department of Computer Science and Engineering, Kallam Haranadha Reddy Institute of Technology, Guntur, India [email protected] 2Department of Information Technology, VFSTR University, Vadlamudi-522213, Guntur, India [email protected] 3Department of Computer Science and Engineering, Vignan’s Institute of Information Technology, Visakhapatnam-530049, India [email protected] 4Department of Convergence Security, Sungshin Women's University, 249-1, Dongseon-dong 3-ga, Seoul, 136-742, Korea [email protected] Abstract The objective of this paper is to evolve a system, which automatically mines the raaga of an Indian Classical Music. In the first step Note transcription is applied on a given audio file in order to generate the sequence of notes which are used to play the song. In the next step, the features related to Arohana – Avarohana are extracted. The features of two/three songs are then selected in random and given as input to the training system. Totally songs of 72 melakartha raagas and 45 janya raagas are considered. Subsequently, work testing is done by extracting features of one or two songs of each raaga, which are given as inputs in the training part. The generated output indicates the identification of each raaga. Unique labeling has been done for each raaga, for the system to identify the set of trained raagas.
    [Show full text]
  • MPA (Master of Performing Arts-Music [Vocal]) Session: 2020
    Central University of Punjab Bathinda M.P.A. (Master of Performing Arts-Music [Vocal]) Session: 2020 - 2022 Department of Performing and Fine Arts . Course Structure SEMESTER-I Course Course Course Name L T P Cr Code Type Principles of Aesthetics and MPM506 Core 4 0 0 4 Critical Study of Ragas Historical Perspective of Indian MPM507 Core 4 0 0 4 Music Skill MPM508 Performance & VIVA-VOCE-I 0 0 12 6 based Skill MPM509 Stage Performance-I 0 0 12 6 based IDIDC (from other disciplines) IDC 2 0 0 2 MPA.511 Theatre and Dance forms of India IDC 2 0 0 2 Total Credits 10 0 24 22 SEMESTER-II Course Course Name Course L T P Cr Code Type MPM.521 Study of Indian Classical Core 4 0 0 4 Music Styles MPM.522 Study of Indian Classical Core 4 0 0 4 Music Instruments MPM.523 Research Methodology Core 4 0 0 4 MPM.524 Skill 0 0 12 6 Performance &Viva-Voce-II based MPM.525 Skill 0 0 12 6 Stage Performance-II based IDC (from other disciplines) IDC 2 0 0 2 MPA.511 Theatre and Dance forms of India IDC 2 0 0 2 Total Credits 10 0 24 26 1 SEMESTER-III Course Course Name Course Type L T P Cr Code MPM.551 Study of Indian Music Core 4 0 0 4 MPM.552 Theory of Raga and Tala Core 4 0 0 4 MPM.553 Legal Basics for Musicians Core 4 0 0 4 MPM.554 Performance & Viva-Voce-III Skill based 0 0 12 6 MPM.555 Stage Performance-III Skill based 0 0 12 6 Value Added Course VAC 0 0 0 1 MPD.504 Values in Dance Education VAC 1 0 0 1 Total Credits 13 0 24 25 SEMESTER-IV Course Paper Course Type L T P Cr Code MPM.571 Modern Trends in Music Core 4 0 0 4 MPM.572 Performance &Viva-Voce-IV
    [Show full text]