DOCSLIB.ORG

To Download the Advance Information Sheet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
To Download the Advance Information Sheet NEW TITLE AUGUST 2015 MUSIC ISBN: 978-93-83098-98-9 `595/£14.99/$20 PB Published by Fine publishing within reach D-78, Okhla Industrial Area, Phase-I, New Delhi-110 020, INDIA Tel: 91-11-26816301, 49327000; Fax: 91-11-26810483, 26813830 email: [email protected]; website: www.niyogibooksindia.com MUSIC `595/£14.99/$20 PB ISBN: 978-93-83098-98-9 Size:229 x 152mm, 324pp, 26 b/w photographs Interviewers Black and white, 80gsm bookprint Geeta Sahai & Shrinkhla Sahai Paperback Ever wondered how late Pandit Ravi Shankar went beyond cultural boundaries to Geeta Sahai is a writer, propagate Hindustani classical music and impact the global music scene? How did broadcaster and documentary Ustad Amjad Ali Khan fight emotional and financial setbacks to settle into musical filmmaker. Her short stories harmony with destiny? How did Begum Akhtar’s soulful voice inspire a reluctant have won international awards percussionist to dedicate his life to vocal music and emerge as the legendary Pandit and have been included in Jasraj? How did late Dr Gangubai Hangal break away from the shackles of social an international anthology– ostracism to emerge as a legend of her times? Undiscovered Gems. She was associated with Worldspace Satellite Radio for nearly ten years Beyond Music – Maestros in Conversation delves into candid opinions on issues, as Programme Director - Radio Gandharv-24X7 revealing thoughts on music-making and emotional sagas of some of the most Hindustani Classical Music Station. She has made accomplished, revered classical musicians—Dr Prabha Atre, Pandit Vishwa Mohan many introspective documentary films. Currently, Bhatt, Dr N. Rajam, Vidushi Shanno Khurana, Pandit Jasraj, Pandit Shiv Kumar she is working on a project on women maestros of Sharma, Pandit Hariprasad Chaurasia, to name a few. Hindustani classical music of early 20th century. Shrinkhla Sahai is currently This book is not just about music; it is an exciting journey into the minds of the pursuing her PhD in Theatre and musicians, bringing alive the fragrance of their musical thinking. A must read for Performance Studies at the School all Hindustani classical music connoisseurs. of Arts and Aesthetics, Jawaharlal Nehru University (JNU), New • The book contains interviews with 25 doyens in the arena of Delhi. She has presented papers Hindustani classical music– musicians of yesteryears and also on Hindustani classical music, dance, radio and those actively performing. sound at international conferences. She regularly writes articles on art and culture, is associated • The Volume has covered the whole gamut of Hindustani with Sruti magazine and is a Bharatanatyam classical music – the theory, the practice, the current dancer. Presently, she is a Visiting Faculty at discussions and debates on long held views and notions. various institutes conducting classes on media and arts and has established her own dance institute • It also gives the reader the insight into the researches and in Delhi-NCR. innovations that have happened in vocal and instrumental music fields..
Load more

Recommended publications
  • Famous Indian Classical Musicians and Vocalists Free Static GK E-Book
    oliveboard FREE eBooks FAMOUS INDIAN CLASSICAL MUSICIANS & VOCALISTS For All Banking and Government Exams Famous Indian Classical Musicians and Vocalists Free static GK e-book Current Affairs and General Awareness section is one of the most important and high scoring sections of any competitive exam like SBI PO, SSC-CGL, IBPS Clerk, IBPS SO, etc. Therefore, we regularly provide you with Free Static GK and Current Affairs related E-books for your preparation. In this section, questions related to Famous Indian Classical Musicians and Vocalists have been asked. Hence it becomes very important for all the candidates to be aware about all the Famous Indian Classical Musicians and Vocalists. In all the Bank and Government exams, every mark counts and even 1 mark can be the difference between success and failure. Therefore, to help you get these important marks we have created a Free E-book on Famous Indian Classical Musicians and Vocalists. The list of all the Famous Indian Classical Musicians and Vocalists is given in the following pages of this Free E-book on Famous Indian Classical Musicians and Vocalists. Sample Questions - Q. Ustad Allah Rakha played which of the following Musical Instrument? (a) Sitar (b) Sarod (c) Surbahar (d) Tabla Answer: Option D – Tabla Q. L. Subramaniam is famous for playing _________. (a) Saxophone (b) Violin (c) Mridangam (d) Flute Answer: Option B – Violin Famous Indian Classical Musicians and Vocalists Free static GK e-book Famous Indian Classical Musicians and Vocalists. Name Instrument Music Style Hindustani
    [Show full text]
  • Fusion Without Confusion Raga Basics Indian
    Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap".
    [Show full text]
  • Cambridge University Press 978-1-107-19605-6 — Boundaries of Belonging Sarah Ansari , William Gould Index More Information
    Cambridge University Press 978-1-107-19605-6 — Boundaries of Belonging Sarah Ansari , William Gould Index More Information Index 18th Amendment, 280 All-India Muslim Ladies’ Conference, 183 All-India Radio, 159 Aam Aadmi (Ordinary Man) Party, 273 All-India Refugee Association, 87–88 abducted women, 1–2, 12, 202, 204, 206 All-India Refugee Conference, 88 abwab, 251 All-India Save the Children Committee, Acid Control and Acid Crime Prevention 200–201 Act, 2011, 279 All-India Scheduled Castes Federation, 241 Adityanath, Yogi, 281 All-India Women’s Conference, 183–185, adivasis, 9, 200, 239, 261, 263, 266–267, 190–191, 193–202 286 All-India Women’s Food Council, 128 Administration of Evacuee Property Act, All-Pakistan Barbers’ Association, 120 1950, 93 All-Pakistan Confederation of Labour, 256 Administration of Evacuee Property All-Pakistan Joint Refugees Council, 78 Amendment Bill, 1952, 93 All-Pakistan Minorities Alliance, 269 Administration of Evacuee Property Bill, All-Pakistan Women’s Association 1950, 230 (APWA), 121, 202–203, 208–210, administrative officers, 47, 49–50, 69, 101, 212, 214, 218, 276 122, 173, 176, 196, 237, 252 Alwa, Arshia, 215 suspicions surrounding, 99–101 Ambedkar, B.R., 159, 185, 198, 240, 246, affirmative action, 265 257, 262, 267 Aga Khan, 212 Anandpur Sahib, 1–2 Agra, 128, 187, 233 Andhra Pradesh, 161, 195 Ahmad, Iqbal, 233 Anjuman Muhajir Khawateen, 218 Ahmad, Maulana Bashir, 233 Anjuman-i Khawateen-i Islam, 183 Ahmadis, 210, 268 Anjuman-i Tahafuuz Huqooq-i Niswan, Ahmed, Begum Anwar Ghulam, 212–213, 216 215, 220
    [Show full text]
  • 1 SRUTI August 2011
    1 z SRUTI August 2011 south indian classical music and dance magazine Issue 1 October 1983 Welcome to the brand new pages of SRUTI. In the tradition of a sutradhara, I have the pleasant task of telling you what lies in store for you. The lead group of articles on the phenomenon of Mandolin Srinivas shows that ours is a new kind of magazine. Not only do we bring you a fact-filled report on the musical prodigy (Are of Triumph: A Prodigy at Play, p.3) but we place his advent and achievement in perspective through three related articles: What Makes or Unmakes a Prodigy (p.4): The Twain Meet Again (p.7) and A Sextet of Sensations (p.12). Rounding out this lead group is a column by guest writer K.S. Mahadevan (p. 1 1) and a critique of Srinivas as a musician which appears elsewhere (p.42). In this inaugural issue, we also offer the first in a series of in-depth profiles of personalities of the world of South Indian classical music and dance – profiles of a kind you would not have encountered in any other magazine in India. The profile of D.K. Pattammal, under the caption Trailblazing Traditionalist (p.20) will be concluded in the November issue. Along with the profile . we offer this time a critical appreciation written by Contributing Editor K.S. Muthu- raman (p.36) and also an interview with Pattammal by another singer, Sita Rajan (On Pallavi Singing, p.38). Other music-related items are critiques with the unique SRUTI angle.
    [Show full text]
  • New and Bestselling Titles Sociology 2016-2017
    New and Bestselling titles Sociology 2016-2017 www.sagepub.in Sociology | 2016-17 Seconds with Alice W Clark How is this book helpful for young women of Any memorable experience that you hadhadw whilehile rural areas with career aspirations? writing this book? Many rural families are now keeping their girls Becoming part of the Women’s Studies program in school longer, and this book encourages at Allahabad University; sharing in the colourful page 27A these families to see real benefit for themselves student and faculty life of SNDT University in supporting career development for their in Mumbai; living in Vadodara again after daughters. It contributes in this way by many years, enjoying friends and colleagues; identifying the individual roles that can be played reconnecting with friendships made in by supportive fathers and mothers, even those Bangalore. Being given entrée to lively students with very little education themselves. by professors who cared greatly about them. Being treated wonderfully by my interviewees. What facets of this book bring-in international Any particular advice that you would like to readership? share with young women aiming for a successful Views of women’s striving for self-identity career? through professionalism; the factors motivating For women not yet in college: Find supporters and encouraging them or setting barriers to their in your family to help argue your case to those accomplishments. who aren’t so supportive. Often it’s submissive Upward trends in women’s education, the and dutiful mothers who need a prompt from narrowing of the gender gap, and the effects a relative with a broader viewpoint.
    [Show full text]
  • This Article Has Been Made Available to SAWF by Dr. Veena Nayak. Dr. Nayak Has Translated It from the Original Marathi Article Written by Ramkrishna Baakre
    This article has been made available to SAWF by Dr. Veena Nayak. Dr. Nayak has translated it from the original Marathi article written by Ramkrishna Baakre. From: Veena Nayak Subject: Dr. Vasantrao Deshpande - Part Two (Long!) Newsgroups: rec.music.indian.classical, rec.music.indian.misc Date: 2000/03/12 Presenting the second in a three-part series on this vocalist par excellence. It has been translated from a Marathi article by Ramkrishna Baakre. Baakre is also the author of 'Buzurg', a compilation of sketches of some of the grand old masters of music. In Part One, we got a glimpse of Vasantrao's childhood years and his early musical training. The article below takes up from the point where the first one ended (although there is some overlap). It discusses his influences and associations, his musical career and more importantly, reveals the generous and graceful spirit that lay behind the talent. The original article is rather desultory. I have, therefore, taken editorial liberties in the translation and rearranged some parts to smoothen the flow of ideas. I am very grateful to Aruna Donde and Ajay Nerurkar for their invaluable suggestions and corrections. Veena THE MUSICAL 'BRAHMAKAMAL' - Ramkrishna Baakre (translated by Dr. Veena Nayak) It was 1941. Despite the onset of November, winter had not made even a passing visit to Pune. In fact, during the evenings, one got the impression of a lazy October still lingering around. Pune has been described in many ways by many people, but to me it is the city of people with the habit of going for strolls in the morning and evening.
    [Show full text]
  • Gangubai Hangal's Primary Guru in Music Was Sawai Gandharva. She Has Also Acknowledged the Inspiration and Influence of Her
    Gangubai Hangal's primary guru in music was Sawai Gandharva. She has also acknowledged the inspiration and influence of her mother Ambabai and Zohrabai Agrewali on her musical development. Her singing embodies an extraordinary grasp of the essence of raga, keen sensitivity of swara, and an acute feeling for aesthetic design. She lives in Hubli and ********* Excerpts of an interview from C.S. Lakshmi's The Singer and the Song - Conversations with Women Musicians Vol 1 (2000). On her Padma Bhushan award: Gangubai: It is normally announced to the D.C. (District Collector) here. Then they come to ask to check who the person is, whether they want to receive the award or not. "You have got it, do you want to accept it?" My uncle was sitting outside, I wasn't there. "What is it? If it is Padma Bhushan she will take it," he said. "If you come tomorrow she will be back." I came back. He said, "Look, you have got the Padma Bhushan." They came and took my signature from the Tehsildar's office. After they took it, I thought, 'These are announced on January 26th, maybe on the 25th night. I must listen to the radio before I sleep. Both of us must sit together before the radio, listen to the announcement and then sleep'. We sat for a long time. Nothing was announced. So I said, "Look, they asked me for my signature just like that. It's not there. Nothing has come." It did not occur to me that nobody's name was announced.
    [Show full text]
  • Vocal Grade 4
    VOCAL GRADE 4 Introduction Welcome to Grade 4 You are about to start the wonderful journey of learning to sing, a journey that is challenging, but rewarding and enjoyable! Whether you want to jam with a band or enjoy singing solo, this series of lessons will get you ready to perform with skill & confidence. What will you learn? Grade 4 covers the following topics : 1) Guruvandana and Saraswati vandana 2) Gharanas in Indian Classical Music 3) Pandit Vishnu Narayan Bhatkhande 4) Tanpura 5) Lakshan Geet 6) Music & Psychology 7) Raag Bhairav 8) Chartaal 9) Raag Bihag 10) Raag and Time Theory 11) Raag Kafi 12) Taal Ektaal 13) Bada Khyal 14) Guessing a Raag 15) Alankar 1 What You Need Harmonium /Synthesizer Electronic Tabla / TablaApp You can learn to sing without any of the above instruments also and by tapping your feet, however you will get a lot more out of this series if you have a basic harmonium and a digital Tabla to practice. How to Practice At Home Apart from this booklet for level 1, there will be video clippings shown to you for each topic in all the lessons. During practice at home, please follow the method shown in the clippings. Practice each lesson several times before meeting for the next lesson. A daily practice regime of a minimum of 15 minutes will suffice to start with. Practicing with the harmonium and the digital Tabla will certainly have an added advantage. DigitalTablamachinesorTablasoftware’sareeasilyavailableandideallyshould beusedfor daily practice. 2 Lesson 1 GURUVANDANA SARASWATI VANDANA & Guruvandana Importance of Guruvandana : The concept of Guru is as old as humanity itself.
    [Show full text]
  • List of Empanelled Artist
    INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ
    [Show full text]
  • PRESS INFORMATION BUREAU GOVERNMENT of INDIA PRESS NOTE RESULT of the CIVIL SERVICES (PRELIMINARY) EXAMINATION, 2019 Dated: 12Th July, 2019
    PRESS INFORMATION BUREAU GOVERNMENT OF INDIA PRESS NOTE RESULT OF THE CIVIL SERVICES (PRELIMINARY) EXAMINATION, 2019 Dated: 12th July, 2019 On the basis of the result of the Civil Services (Preliminary) Examination, 2019 held on 02/06/2019, the candidates with the following Roll Numbers have qualified for admission to the Civil Services (Main) Examination, 2019. The candidature of these candidates is provisional. In accordance with the Rules of the Examination, all these candidates have to apply again in the Detailed Application Form-I (DAF-I) for the Civil Services (Main) Examination, 2019, which will be available on the website of the Union Public Service Commission (https://upsconline.nic.in) during the period from 01/08/2019 (Thursday) to 16/08/2019 (Friday) till 6:00 P.M. All the qualified candidates are advised to fill up the DAF-I ONLINE and submit the same ONLINE for admission to the Civil Services (Main) Examination, 2019 to be held from Friday, the 20/09/2019. Important instructions for filling up of the DAF-I and its submission will also be available on the website. The candidates who have been declared successful have to first get themselves registered on the relevant page of the above website before filling up the ONLINE DAF-I. The qualified candidates are further advised to refer to the Rules of the Civil Services Examination, 2019 published in the Gazette of India (Extraordinary) of Department of Personnel and Training Notification dated 19.02.2019. It may be noted that mere submission of DAF-I does not, ipso facto, confer upon the candidates any right for admission to the Civil Services (Main) Examination, 2019.
    [Show full text]
  • Kalanidhi Kalakosa Janapada Sampada Kaladarsana
    ANNUAL REPORT April 1, 2014-March 31, 2015 Contents Page No, Introduction 3 Organisation 4 Formation of the Trust 5 Highlights 5 KALANIDHI 7 Programme : Reference Library 8 : Reprography Unit 9 : Slide Unit 9 : Cultural Archives 9 Conservation Unit 12 Media Centre 13 Cultural Informatics Lab 14 KALAKOSA 17 Programme A : Kalatattvakosa 17 Programme B : Kalamulasastra 18 Programme C : Kalasamalocana 19 Area Studies 20 JANAPADA SAMPADA 25 Programme A : Ethnographic Collection 26 Programme B : Adi Drishya 27 Programme C : Lifestyle Studies 29 North East Study Programme 34 KALADARSANA 37 Exhibitions 38 Seminars/Conferences/Workshops 39 Public Lectures 42 Performances 43 Other Events 46 REGIONAL CENTRES 50 Eastern Regional Centre, Varanasi 50 Southern Regional Centre, Bengaluru 52 SUTRADHARA 57 ANNEXURES I: The Indira Gandhi National Centre for the Arts Board of Trustees 58 (as on March 31, 2015) II: The Indira Gandhi National Centre for the Arts Members of the 59 Executive Committee (as on March 31, 2015) III: List of Exhibitions held in IGNCA from April 1, 2014 to March 31, 2015 60 IV: List of Lectures and other programmes held in IGNCA 62 from April 1, 2014 to March 31, 2015 V: List of IGNCA Publications from April 1, 2014 to March 31, 2015 76 VI: List of officers of IGNCA, including Senior /Junior Research 77 Fellows/Consultants in the IGNCA (as on March 31, 2015) INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS Annual Report 2014-15 INTRODUCTION The Indira Gandhi National Centre for the Arts (IGNCA), established in the memory of Smt. Indira Gandhi in 1987, is visualised as an autonomous national institution encompassing the study and experience of all the arts - each form with its own integrity, yet within a dimension of mutual inter- dependence and inter-relatedness with nature, the social structure and cosmology.
    [Show full text]
  • Chapter 6 Instruments, Melodic and Rhythmic ______(1) 7-12, C/U Pages 65 the Indian Violin
    Chapter 6 Instruments, Melodic and Rhythmic ______________________________________________________________________ (1) 7-12, C/U Pages 65 The Indian Violin As have those in other nations and cultures, Indians have imported the violin from Europe and have used it with those instruments that are indigenous to the region. Explore with students the acculturation process by which the violin has become integral to Indian musical traditions, listening, observing, and discussing the distinctive manner in which Indians have fashioned (1) its tuning (a-d-a-d), (2) its playing position (at an oblique angle from under the chin to where the scroll rests on the foot), and (3) its timbre (played with a straight, non-vibrato tone). Invite students to play with these possibilities. Look to other journeys the violin has made--to Turkey, Indonesia, Mexico, eastern Canada, the Apache nation, and Bolivia, by searching keywords like "violin", "fiddle" and "lute, bowed", and compare the violin on the three facets which Indians have shaped to their liking and use. _____________________________________________________________________ (2) 7-12, C/U Pages 65-66 Instrumental Influences Challenge students to search for examples of Indian instruments in the musical styles of neighboring countries. What instruments exist in Burma, China, Iraq, Iran, and Nepal that resemble the Indian sāntur (hammered dulcimer), sitār, and tablā? (For illustrations of instruments, see Ruth Midgley et. al., editors, 1997, Musical Instruments of the World, New York: Sterling Publishers). ____________________________________________________________________ (3) AA Pages 66-68 The Drone Have students explore the function of the tānpura in providing a drone to create a fixed tonal center for a melodic performance by a singer or instrumentalist.
    [Show full text]