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The Music Academy, Madras 115-E, Mowbray’S Road
Tyagaraja Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XXXIX 1968 Parts MV srri erarfa i “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada l ” EDITBD BY V. RAGHAVAN, M.A., p h .d . 1968 THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription—Inland Rs. 4. Foreign 8 sh. iI i & ADVERTISEMENT CHARGES ►j COVER PAGES: Full Page Half Page Back (outside) Rs. 25 Rs. 13 Front (inside) 20 11 Back (Do.) „ 30 „ 16 INSIDE PAGES: 1st page (after cover) „ 18 „ io Other pages (each) „ 15 „ 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special positions and special rates on application. e iX NOTICE All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal Of the Music Academy, Madras-14. « Articles on subjects of music and dance are accepted for mblication on the understanding that they are contributed solely o the Journal of the Music Academy. All manuscripts should be legibly written or preferably type written (double spaced—on one side of the paper only) and should >e signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan Editor. Pages. -
Discographie
698 DISCOGRAPHIE Dans cette discographie, nous avons essayer de recenser, de manière aussi complète que possible, tous les enregistrements commerciaux réalisés jusqu'à ce jour par les musiciens que nous avons étudiés au cours de notre travail, ainsi que ceux de quelques autres artistes qui leur sont très directement affiliés (Karaikudi S. Subramaniam, Jayanthi R. Kiran (anciennement Jayanthi R. Krishnan), K.S. Narayanaswamy, Catherine Zalay & Anandi Roy, Muthulakshmi Ranganathan, Kalyani Lakshminarayana et Pappu Chandrasekhar). L'ordre adopté ici correspond à celui employé dans la première partie de cet ouvrage, procédant par écoles, b別-s et générations. Les disques de compilation, réalisés avec des enregistrements extraits d'albums de nombreux artistes différents, ne sont pas pris en compte. Cette liste a été constituée à partir des discographies rédigées par Alain Danielou, Elise B. Barnett et Michael S. Kinnear1, du catalogue de la collection privée de V.A.K. Ranga Rao à Madras, des catalogues des firmes H.M.V., Sangeetha, Vani, A.V.M. audio, et de nos propres recherches personnelles2. Les orthographes des titres des oeuvres figurant sur ces documents sonores, souvent approximatives sur les pochettes qui leur sont jointes, sont rectifiées dans la mesure du possible en suivant celles indiquées par l'Index of Songs in South Indian Music3, ou parfois en se référant à la partition originale. Certains renseignements que nous n'avons pu retrouver (date de parution, råga, tå¬a, compositeur) sont néanmoins absents dans quelques cas limités, et nous prions le lecteur de nous en excuser. 1 Cf. DANIELOU (Alain) : Catalogue de la musique Indienne classique et traditionnelle enregistrée, Paris, UNESCO, 1952, 236 p. -
The Journal Ie Music Academy
THE JOURNAL OF IE MUSIC ACADEMY MADRAS A QUARTERLY OTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC XIII 1962 Parts I-£V _ j 5tt i TOTftr 1 ®r?r <nr firerftr ii dwell not in Vaikuntha, nor in the hearts of Yogins, - the Sun; where my Bhaktas sing, there be I, ! ” EDITED BY V. RAGHAVAN, M.A., PH.D. 1 9 6 2 PUBLISHED BY HE MUSIC ACADEMY, MADRAS 115-E, M OW BRAY’S RO AD, M ADRAS-14. "iption—Inland Rs, 4. Foreign 8 sh. Post paid. i ADVERTISEMENT CHARGES I S COVER PAGES: if Back (outside) $ if Front (inside) i Back (D o.) if 0 if INSIDE PAGES: if 1st page (after cover) if if Ot^er pages (each) 1 £M E N i if k reference will be given to advertisers of if instruments and books and other artistic wares. if I Special position and special rate on application. Xif Xtx XK XK X&< i - XK... >&< >*< >*<. tG O^ & O +O +f >*< >•< >*« X NOTICE All correspondence should be addressed to Dr. V. R Editor, Journal of the Music Academy, Madras-14. Articles on subjects of music and dance are accep publication on the understanding that they are contribute) to the Journal of tlie Music Academy. All manuscripts should be legibly written or preferab written (double spaced—on one side of the paper only) and be signed by the writer (giving his address in full). The Editor of the Journal is not responsible for t1 expressed by individual contributors. All books, advertisement, moneys and cheque ♦ended for the Journal should be sent to D CONTENTS 'le X X X V th Madras Music Conference, 1961 : Official Report Alapa and Rasa-Bhava id wan C. -
A Method for Quantifying Raga Similarity
INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH VOLUME 10, ISSUE 06, JUNE 2021 ISSN 2277-8616 Ragadist: A Method For Quantifying Raga Similarity Vinuraj Devaraj Abstract: Raga Similarity had been a topic of fascination among Karnatik music followers. Though the topic remains active and interesting, a lack of appropriate similarity quantification method leads to subjective interpretations which in turn can be ambiguous intermittently. In this paper, we propose a raga similarity method, RagaDist, that quantifies similarities between raga pairs, based on their semantic structure and classifies the similarity into a 4- scale measure. Similarities derived using RagaDist is compared with popular string similarity methods using clustering approaches – Hierarchical clustering and Partition Around Medoids (PAM) and Multi-Dimensional Scaling (MDS) methods to analyze emerging patterns and characteristics among Melakarta raga similarities. Empirical measurements were conducted using one-way ANOVA and post hoc analysis. We also determined that using RagaDist, a threshold of 0.79 may be used as a cut off to distinguish ragas based on similarity. Index Terms: Multi-Dimensional Scaling, Correlation Analysis, Clustering, Partition Around Medoids (PAM), Levenshtein distance, ANOVA, Karnatik Ragas. ———————————————————— 1 INTRODUCTION KARNATIK Music is an ancient, sophisticated yet refined art form of delivering mesmerizing music through a structured In its core, Karnatik ragas are based on sapta swaras or seven method. This form of art is predominantly practiced in South musical notes viz. ―Sa‖, ―Ri‖, ―Ga‖, ―Ma‖, ―Pa‖, ―Dha‖ and ―Ni‖. India and this form of music is still the foundation for various The figure 1 below represents solfeggio of Karnatik raga as musical compositions that are emerging in several forms of represented on a single octave of a piano. -
2013……….Dinakar Subramanian
Table of Contents From the President’s Desk……….Ravi Pillutla .................................................................................. 2 From the Publications & Outreach Committee……….Tyagarajan Suresh ....................................... 3 Roopa Mahadevan at Sruti’s composers’ day - September 7, 2013……….Dinakar Subramanian...... 4 Shujaat Khan – A Concert Review……….Allyn Miner ...................................................................... 4 Vijay Siva in concert – A Review……….Rajee Raman ........................................................................ 7 Sri Krishna Parijatham – A Review……….Anize Appel ..................................................................... 8 My Guru Shri R.K.Venkatarama Shastry - A humble tribute……….M.G.Chandramouli ................ 9 Shri Thiruvidaimarudur Rajagopalan (TR) Subramanian (1929-2013)…..Toronto Brothers ............. 14 Sangita-Kalanidhi Pinakapani Garu, M.D.(1913 - 2013)……….Prabhakar Chitrapu ........................ 17 Images from the 2013 season .............................................................................................................. 20 Images from the 2013 season .............................................................................................................. 21 Images from the 2013 season .............................................................................................................. 22 Images from the 2013 season ............................................................................................................. -
Raga (Melodic Mode) Raga This Article Is About Melodic Modes in Indian Music
FREE SAMPLES FREE VST RESOURCES EFFECTS BLOG VIRTUAL INSTRUMENTS Raga (Melodic Mode) Raga This article is about melodic modes in Indian music. For subgenre of reggae music, see Ragga. For similar terms, see Ragini (actress), Raga (disambiguation), and Ragam (disambiguation). A Raga performance at Collège des Bernardins, France Indian classical music Carnatic music · Hindustani music · Concepts Shruti · Svara · Alankara · Raga · Rasa · Tala · A Raga (IAST: rāga), Raag or Ragam, literally means "coloring, tingeing, dyeing".[1][2] The term also refers to a concept close to melodic mode in Indian classical music.[3] Raga is a remarkable and central feature of classical Indian music tradition, but has no direct translation to concepts in the classical European music tradition.[4][5] Each raga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "color the mind" and affect the emotions of the audience.[1][2][5] A raga consists of at least five notes, and each raga provides the musician with a musical framework.[3][6][7] The specific notes within a raga can be reordered and improvised by the musician, but a specific raga is either ascending or descending. Each raga has an emotional significance and symbolic associations such as with season, time and mood.[3] The raga is considered a means in Indian musical tradition to evoke certain feelings in an audience. Hundreds of raga are recognized in the classical Indian tradition, of which about 30 are common.[3][7] Each raga, state Dorothea -
A Comparative Study of Carnatic and Hindustani Raga Systems by Neural Network Approach
International Journal of Neural Networks ISSN: 2249-2763 & E-ISSN: 2249-2771, Volume 2, Issue 1, 2012, pp.-35-38. Available online at http://www.bioinfopublication.org/jouarchive.php?opt=&jouid=BPJ0000238 A COMPARATIVE STUDY OF CARNATIC AND HINDUSTANI RAGA SYSTEMS BY NEURAL NETWORK APPROACH SRIMANI P.K.1 AND PARIMALA Y.G.2* 1Department of Computer Science and Maths, Bangalore-560 056, Karnataka, India. 2City Engineering College, VTU, Bangalore-560 062, Karnataka, India *Corresponding Author: Email- [email protected] Received: October 25, 2012; Accepted: November 06, 2012 Abstract- A unique Neural network approach has been used in the present investigations and a comparative study of the raga systems of Carnatic (CCM) and Hindustani classical music (HCM). The paper concerns a detailed study of the melakartha-janya raga system of CCM, Thaat-raaga system of HCM and cognitive studies of the same based on Artificial Neural networks (ANN). For CCM, studies were confined to the 72 melakartha ragas. For HCM 101 ragas were considered. Relative frequencies of notes in the scales were used as inputs. 100% accuracy was obtained for the melakartha system of CCM for several network topologies while highest accuracy was about 80% in case of HCM. Several networks, namely MLP, PCA, GFF, LR, RBF, TLRN were analyzed and consolidate report was generated. Keywords- Carnatic classical music, Hindustani classical music, thaats, melakartha ragas, cognition. Citation: Srimani P.K. and Parimala Y.G. (2012) A Comparative Study of Carnatic and Hindustani Raga Systems by Neural Network Ap- proach. International Journal of Neural Networks, ISSN: 2249-2763 & E-ISSN: 2249-2771, Volume 2, Issue 1, pp.-35-38. -
The Must Academy It D Ft^ Ra S ' ,/!• 1 ’ &( Fiv * % '■
The Must Academy iT D ft^ ra s ' ,/!• 1 ’ &( fiv * % '■ I <— •' Hi, > A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC V o l . XVII 1946 P a r t s M V EDITED BY T. V. SUBBA RAO, B.A., B.L., AND V. RAGHAVAN, M.A., PH.D. PUBLISHED BY ? THE MUSIC ACADEMY, MADRAS ‘KESARI KUTEERAM BUILDINGS* ROYAPETTAH, MADRAS Annual Subscription:—Inland Rs. 4; Foreign 8 shs. Post Paid. CONTENTS PAG! The XIX Madras Music Conference, 1945 : Official Report • •• ... ... ... I— 4C Music Phonography by J. Srinivasa Das, Venkatsgiri... 41 — 5C The Intonation of Karnataka Raga Melas by Vidwan Hulugur Krishnacharya ... ••• 51— 57 The Therapeutic Qualities of Music by Rao Bahadur N. M. Adyantayya ... ... 58— 65 Gopala Nayaka by K. V. Ramachandran... ... 66- 73 The Categories of intervals or Sruti-Jatis by Alain Danielou ... ... ••• 74— 79 Survival of the Useful and the Beautiful in the Realm of Music by Prof. P. Sambamoorty 80— 89 Music at the time of King SahaJi of TanJore— A. D. 1710—by K. Vasudeva Sastri ... ... 90— 96 Some leading Music Systems by C. S. Iyer ... 97—103 The Ragas of Saramrita by T. V. Subba Rao ••• 10-1—134 Sri Muthia Bhagavatar by T. V. Subba Rao ... 134—140 The Manner of “Applause” in Ancient Indian Stage by Prof. O. C. Gangooly ... ... ••• 141 —144 A Note on ‘Applause in Ancient India’ by Dr. V. Raghavan ... ... ••• 144 148 The Useni SvaraJati by Dr. V. Raghavan... ... 149 156 The Padas of Sri Svati Tirunal by S. Venkatasubramonia Iyer ... * r'7—169 In Memoriam .. -
A Gentle Introduction to South Indian Classical
A GENTLE INTRODUCTION TO SOUTH INDIAN CLASSICAL (KARNATIC) MUSIC PART II of IV BY MAHADEVAN RAMESH [email protected] LET US MAKE A TUNE! (THE CONCEPT OF A SCALE) We have learnt about the keyboard, labeled the various keys under the Eastern and Western schemes and even quarreled about whether it should have 12 keys or 22 to an octave. We now know that these keys are like the alphabets in creating music. How then do we compose music? Before we answer this question, let us see if we can say something about the structure of a 'tune' or the 'melody' itself. If we listen to any musical piece such as 'Jana gana mana' or 'Roop tera mastana', we notice that their second lines and subsequent lines are not just mindless imitation or repetition of the first lines. There is an elaboration of a theme as the song unfolds. You could listen to any line of 'Roop tera mastana' and feel that it is connected to the first line, in a musical sense. If someone played a musical phrase from the song at random, the odds are you would guess that it is from 'Roop tera mastana'. And it may sound trivial, but you also notice that 'Roop tera mastana' does not at all sound like 'Jana gana mana'. There is a character, a structure and an identity to the song, however vague the concept may sound. (note the pun on the word 'sound' !) If you have grasped this abstract concept, you have almost understood the concept of a 'Ragam' (or 'raga' or 'rag') because a Ragam is also an embodiment of a particular musical identity. -
Analysis of Emotions Due to Various Aspects of Carnatic and World Music
ANALYSIS OF EMOTIONS DUE TO VARIOUS ASPECTS OF CARNATIC AND WORLD MUSIC BY B.SAI VENKATESH ABSTRACT MUSIC AFFECTS EMOTIONS AND THIS IS A UNIVERSAL TRUTH. CARNATIC MUSIC HAS A WIDE REPERTOIRE OF RAGAS AND HENCE HOUSES A WIDE RANGE OF EMOTIONS. IN THIS DISSERTATION, THE EMOTIONS CAUSED BY THE SWARAS AND OTHER ASPECTS OF CARNATIC MUSIC SUCH AS RAGAS ARE ANALYSED, BOTH QUALITATIVELY AND QUANTITATIVELY, SUCH THAT THE EMOTIONAL EFFECT OF ANY RAGA CAN BE GIVEN AS A “PROFILE” CONSISTING OF PERCENTAGES OF VARIOUS EMOTIONS. THEN A NOTATION SCHEME CONVENIENT FOR EMOTIONAL ANALYSIS IS PROPOSED. THE MUSICAL SYSTEMS FROM DIFFERENT PARTS OF THE WORLD ARE THEN CONSIDERED. TECHNIQUES ARE THEN STATED TO APPLY CHORDS TO CARNATIC MUSIC TO ENHANCE THE EMOTIONAL CONTENT. A FOUR DIMENSIONAL THEORY OF MUSIC AND EMOTIONS IS THEN PROPOSED. FINALLY, A UNIVERSAL QUANTITATIVE AND QUALITATIVE EMOTIONAL ANALYSIS PROCEDURE IS SPECIFIED, WHICH CAN BE APPLIED TO ANY MUSICAL PIECE/SYSTEM FROM ANY PART OF THE WORLD. KEYWORDS MUSIC; CARNATIC; EMOTIONS; RAGA; RASA; SWARA; COLORS; NOTATION; CHORD; MELODY; HARMONY; KEY; TEMPO; LYRICS; RHYTHM TABLE OF CONTENTS abstract..........................................................................................................................................................................................................1 KEYWORDS..........................................................................................................................................................................................................1 -
Contribution of Music Trinity
Contribution of Music Trinity (Proceedings of the National Seminar - 2018) Editor Dr. V Premalatha Central University of Tamil Nadu Thiruvarur 2020 ISBN: 978-93-5407-985-6 Contribution of Music Trinity (Proceedings of the National Seminar -2018) (A Collection of Peer reviewed papers presented at the National Seminar on Karnataka Music, in February 2018, organised by the Department of Music, Central University of Tamil Nadu, Thiruvarur). Edited by Dr. V Premalatha Head, Department of Music Dean, School of Performing Arts and Fine Arts Central University of Tamil Nadu, Thiruvarur. Published by Central University of Tamil Nadu, Thiruvarur. Editorial Board (Peer - Reviewers) 1. Dr. V Premalatha 2. Prof Ritha Rajan 3. Prof Mandapaka Sarada 4. Dr. R S Jayalakshmi 5. Dr. Arati N Rao First Edition - 2020 © Central University of Tamil Nadu Thiruvarur Contribution of Music Trinity (Proceedings of the National Seminar -2018) Edited by Dr. V Premalatha Head, Department of Music Dean, School of Performing Arts and Fine Arts Central University of Tamil Nadu, Thiruvarur Published by Central University of Tamil Nadu, Thiruvarur 2020 Dr. V Premalatha Dean, School of Performing Arts and Fine Arts Head, Department of Music Central University of Tamil Nadu Thiruvarur - 610005 Editorial Note Thiruvarur is known to be a holy land of Music and is the birth place of the Trinity of South Indian Classical Music. The Department of Music was established at the Central University of Tamil Nadu, Thiruvarur in the year 2016-17, which happened to be the 250th birth anniversary of Sri Tyagaraja, one of the Trinity of Music. A National seminar on the “Contribution of Trinity to Karnataka music” was organised in February 2018. -
Raga-Malika of Maha Vaidyanatha Sivan 127 Vidya Shankar Rare Forms in Bharata Natyam 140 Vyjayantimala Bali Sangita Raghavam Cf Rama Kavi 144 Gowri Kuppuswamy a M
ISSN 0970— 3101 THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LIX. 1988 m 5WT fwgtftr RTTT II “ I dwell notin Vaikuntha, nor in the hearts of Yogins nor in the Sun : (but) where my bhaktas sing, there be I, Narada!" Edited by : T. S. PARTHASARATHY The Music Academy Madras 306, T. T. K. Road, Madras-600014. Annual Subscription - Inland-Rs. 20 : Foreign $ 3*00 OURSELVES Tbit JqpRtai is as All correspondence relating to the Journal should be addressed and all books etc., intended for it should be sent to The Editor, Journal of the Music Academy, 306, Mowbray’s Road, Madras*#*) OK, t Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, type written (double-spaced and on one side of the paper only) and should be signed by the writer (giving his or her address in full). The Editor of tbe Journal is not responsible for the views ex pressed by contributors in their articles. The publicatioh of this issue was partly financed by the Sangeet Natak Akademi, New Delhi. CONTENTS PAGE The 61st Madras Music Conference—Official Report 1 Proceedings of the Experts Committee 34 The Sadas 51 Music in the Natya Sastra 60 Bharat Gupt Vina - Symbol of Indian Music S3 T. S. Parthasarathy Kathakali 90* Brinda Varadarajan Tyagaraja’s View of the Divine (Rama) 99 William Jackson The Parrot - Its Greatness and as a Messenger 120* Sudharani Raghupathy Mela-Raga-Malika of Maha Vaidyanatha Sivan 127 Vidya Shankar Rare Forms in Bharata Natyam 140 Vyjayantimala Bali Sangita Raghavam cf Rama Kavi 144 Gowri Kuppuswamy A M.