DOCSLIB.ORG

KIRANA CENTER for INDIAN CLASSICAL MUSIC 275 Church Street, New York, NY 10013 212-925-8270

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
KIRANA CENTER for INDIAN CLASSICAL MUSIC 275 Church Street, New York, NY 10013 212-925-8270 KIRANA CENTER FOR INDIAN CLASSICAL MUSIC 275 Church Street, New York, NY 10013 212-925-8270 In 1970, Pandit Pran Nath established his first school, the Kirana Center for Indian Classical Music, in New York City. Under the direction of his disciples, La Monte Young and Marian Zazeela, the Center provides a unique opportunity for musicians and students of both Eastern and Western music to study singing and the art of raga according to the method of Pandit Pran Nath. Pandit Pran Nath was the foremost disciple of Ustad Abdul Wahid Khan Sahib, acknowledged master of the Kirana gharana, which descends from the legendary Gopal Nayak (c. 1300) of the Dhrupad Govarhari gharana, also known as the style of Krishna. Vocal music training differs from instrumental training in that the singer’s own body becomes his or her instrument. For this reason, all instruction takes place on an individual basis; each student is taught according to the structure of his own body and its capabilities. The nature of the teaching is entirely practical—the student learns by imitating phrases sung by the teacher. From the first lessons, the student sings with the accompaniment of the tambura. This ancient instrument, literally worshipped in our tradition, provides the harmonically rich drone tones which are the basis for intonation development. In this method, all elements of the work—voice production, breath control, ear training, pitch recognition, intonation, rhythm, and special vocal techniques such as ornaments (gamaks)—are woven together and taught concomitantly with the knowledge and differentiation of raga. When the student begins to learn compositions, Marian Zazeela provides tabla accompaniment. In addition to voice and raga, Marian Zazeela teaches khayal style tabla, which she learned directly from Pandit Pran Nath and his first tabliya in the U.S., K. Paramjyoti, specializing in the serene vilampits and madhyalayas. For instrumentalists, one of the best ways to study raga is first to learn the intricate sargam patterns of the alap of each raga with the voice, and then to apply this knowledge to their instrument. After the student becomes familiar with the basic alap patterns, the lessons can continue on the instrument, if the student’s instrumental technique is sufficiently advanced. The teaching is open to students at all levels, beginners through advanced, amateurs and professionals. This approach, with its emphasis on perfect intonation, profound musical feeling, and the historically spiritual orientation of the Kirana style, can be of great benefit to those who want to improve their musicianship, as well as those who want to pursue this particular branch of musical knowledge. As the first western disciples of Pandit Pran Nath, La Monte Young and Marian Zazeela have performed and taught the Kirana style of Indian classical music since 1970. They accompanied Pandit Pran Nath in hundreds of concerts throughout the world. In June 2002, La Monte Young was conferred the title of Khan Sahib by Ustad Hafizullah Khan Sahib, the Khalifa of the Kirana Gharana and son of Pandit Pran Nath’s teacher, Ustad Abdul Wahid Khan Sahib. Individual Lessons with La Monte Young and Marian Zazeela Fees: $100 per hour, with a two-hour minimum If you are interested in studying, you may fill out the form below and return or mail to: Kirana Center for Indian Classical Music, 275 Church Street, New York, NY 10013 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Name _____________________________________________ Telephone _________________________ Address ______________________________________________________________________________ City, State & Zip Code ___________________________________________________________________ Email ________________________________________________________________________________ If you would like to give a brief description of your background and musical experience, please use the back of this form, or send a resume by mail or by email to [email protected]. KIRANA CENTER FOR INDIAN CLASSICAL MUSIC 275 Church Street, New York, NY 10013 212-925-8270 In 2002, after the passing of her guru, Khalifa Ustad Hafizullah Khan, Rose Okada, became a disciple of Khan Sahib La Monte Young. Founding Director of Kirana West, Portland Oregon, Rose will be available at the Kirana Center for Indian Classical Music in New York City from time to time, for lessons in raga on the sarangi, vocal and beginning tabla. She also will teach violin (including fiddle style and improvising) as well as guitar (classical and folk). From March 21 - 28, 2003, Rose Okada will be in residence. Rose Okada c/o Kirana Center for Indian Classical Music 275 Church Street New York, NY 10013 Messages: 212-925-8270 or contact Rose at 971-506-0205 (cell) [email protected] Kirana West - Classical Music of North India Fir Grove School for Strings: Suzuki Method -Talent Education Private Lessons age 3 to adult, all levels offered in: North Indian Classical Music and Suzuki Method sarangi (instrument rental available) voice tabla (beginning) guitar violin Fees 30 minute private lesson - $20 45 minute lesson - $30 60 minute lesson - $40 Attendance At least 24 hours notice is required in advance of cancellation or full cost will be assessed. KIRANA CENTER FOR INDIAN CLASSICAL MUSIC 275 Church Street, New York, NY 10013 212-925-8270 Rose Okada, Statement of Purpose Through the Suzuki Method of Talent Education, my goal is to train students to reach the highest degree of musicianship, sensitivity and awareness, which can be applied to all areas of life. I use improvisation as well as the classical music literature to unfold the musical creativity that is inherent in everyone. I work with the student to develop self motivation and the discipline of progressive musical improvement. This encourages self confidence and the joy of sharing music. Kirana West in Portland Oregon was founded on the inspiration of vocal genius Pandit Pran Nath and sarangi master Khalifa Ustad Hafizullah Khan, son of Ustad Abdul Wahid Khan. Pran Nath was a leading interpreter of the Kirana gharana (school) of North Indian Raga singing. Kirana style can be traced back over 700 years ago to the legendary singer and saint, Gopal Nayak. He was a worshipper of Lord Krishna, and after coming to Delhi he also embraced Sufism, thus blending these two paths into a spiritual form preserved and expressed in the language of music. Kirana style is known for its refined sense of pitch and purity of raga. Kirana West was established to continue the work Pandit Pran Nath began through the teaching of his students. During three tours from 2000 to 2002, the late sarangi master Khalifa Ustad Hafizullah Khan performed and taught through the auspices of Kirana West. Professional Qualifications Studied violin and the Suzuki Method at Talent Education Institute in Matsumoto Japan, Summer 1986 with Dr. Shinichi Suzuki Classical Guitar study with Manuel Lopez Ramos of the Segovia style Bachelor of Music Degree, Major in Classical Guitar Performance, Wayne State University, Detroit Michigan Over twenty years teaching experience Performance and study of the Classical Music of North India (Kirana Gharana) 1994 – present: With sarangi master, Khalifa Ustad Hafizullah Khan (formerly of AIR New Delhi); Kirana vocal genius Pandit Pran Nath, and his disciples Khan Sahib La Monte Young, Marian Zazeela and Terry Riley; and with tabla maestro, Zakir Hussain Member of The Suzuki Association of the Americas, International Suzuki, The Portland Guitar Society, MELA Foundation, Kalakendra, Ragamala and Rasika (performing Arts of India) “All Human beings are born with great potentialities, and each individual has within himself the capacity for developing to a very high level. Talent Education has realized that all children in the world show their splendid capacities by speaking and understanding their mother tongue language, thus displaying the original power of the human mind. Is it not probable that this holds the key to human development? Talent Education has applied this method to the teaching of music. Children, taken without previous aptitude tests of any kind, have almost without exception made great progress. We should consider whether this method is the best way to develop all human talents.” -- Dr. Shinichi Suzuki “Music is harmony, it is harmony between sound and silence. Sound belongs to the earth, silence belongs to the beyond.” -- Osho “Music is the universal language that brings together the past, present and future, with the same notes on the whole globe and in all history.” -- Pandit Pran Nath.
Load more

Recommended publications
  • Kirtan Leelaarth Amrutdhaara
    KIRTAN LEELAARTH AMRUTDHAARA INSPIRERS Param Pujya Dharma Dhurandhar 1008 Acharya Shree Koshalendraprasadji Maharaj Ahmedabad Diocese Aksharnivasi Param Pujya Mahant Sadguru Purani Swami Hariswaroopdasji Shree Swaminarayan Mandir Bhuj (Kutch) Param Pujya Mahant Sadguru Purani Swami Dharmanandandasji Shree Swaminarayan Mandir Bhuj (Kutch) PUBLISHER Shree Kutch Satsang Swaminarayan Temple (Kenton-Harrow) (Affiliated to Shree Swaminarayan Mandir Bhuj – Kutch) PUBLISHED 4th May 2008 (Chaitra Vad 14, Samvat 2064) Produced by: Shree Kutch Satsang Swaminarayan Temple - Kenton Harrow All rights reserved. No part of this book may be used or reproduced in any form or by any means without written permission from the publisher. © Copyright 2008 Artwork designed by: SKSS Temple I.T. Centre © Copyright 2008 Shree Kutch Satsang Swaminarayan Temple - Kenton, Harrow Shree Kutch Satsang Swaminarayan Temple Westfield Lane, Kenton, Harrow Middlesex, HA3 9EA, UK Tel: 020 8909 9899 Fax: 020 8909 9897 www.sksst.org [email protected] Registered Charity Number: 271034 i ii Forword Jay Shree Swaminarayan, The Swaminarayan Sampraday (faith) is supported by its four pillars; Mandir (Temple), Shastra (Holy Books), Acharya (Guru) and Santos (Holy Saints & Devotees). The growth, strength and inter- supportiveness of these four pillars are key to spreading of the Swaminarayan Faith. Lord Shree Swaminarayan has acknowledged these pillars and laid down the key responsibilities for each of the pillars. He instructed his Nand-Santos to write Shastras which helped the devotees to perform devotion (Bhakti), acquire true knowledge (Gnan), practice righteous living (Dharma) and develop non- attachment to every thing material except Supreme God, Lord Shree Swaminarayan (Vairagya). There are nine types of bhakti, of which, Lord Shree Swaminarayan has singled out Kirtan Bhakti as one of the most important and fundamental in our devotion to God.
    [Show full text]
  • Smt. Kala Ramnath Concert
    presents in association with UC Worldfest 2009 ART at its best Internationally Renowned Hindustani Violinis Smt. Kala Ramnath accompanied by Shri Prithwiraj Bhattacharjee on Tabla Date: 25 th April, 2009 (Saturday) Venue: 4400 Aronoff (DAAP Auditorium) Time: 6 :00 pm Parking: Langsam Garage Artiste Biography Maestro KALA RAMNATH , the contemporary torch bearer of the Mewati Gharana, stands today Prithwiraj Bhattacharjee another young and amongst the most outstanding instrumental musicians in the North Indian classical genre. Born upcoming artist began his initial training under into a family of prodigious musical talent, which his guru Dhiranjan Chakraborty at the tender has given Indian music such violin legends as Prof. age of seven. In the year 1994 his life long T.N. Krishnan and Dr. N. Rajam, Kala's genius with the violin manifested itself from childhood. She ambition of learning under the tabla maestro began playing the violin at the tender age of three Ustad Alla Rakha and Ustad Zakir Hussain came under the strict tutelage of her grandfather true. Blessed with highly cultivated fingers, Vidwan. Narayan Aiyar. Simultaneously she received training from her aunt Dr. Smt. N. Rajam. absorbing all the aspects of his guru’s style For fifteen years she put herself under the training through vigorous riyaz under the ever watchful of Mewati vocal maestro, Sangeet Martand Pandit eyes of his guru have made him progress into a Jasraj. This has brought a rare vocal emotionalism to her art. Kala's violin playing is characterized by very promising upcoming tabla player. Prithwi an immaculate bowing and fingering technique, has performed in many solo concerts and command over all aspects of laya, richness and travelled extensively all over India and abroad clarity in sur.
    [Show full text]
  • Drone Music from Wikipedia, the Free Encyclopedia
    Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice,
    [Show full text]
  • Experimental
    Experimental Discussão de alguns exemplos Earle Brown ● Earle Brown (December 26, 1926 – July 2, 2002) was an American composer who established his own formal and notational systems. Brown was the creator of open form,[1] a style of musical construction that has influenced many composers since—notably the downtown New York scene of the 1980s (see John Zorn) and generations of younger composers. ● ● Among his most famous works are December 1952, an entirely graphic score, and the open form pieces Available Forms I & II, Centering, and Cross Sections and Color Fields. He was awarded a Foundation for Contemporary Arts John Cage Award (1998). Terry Riley ● Terrence Mitchell "Terry" Riley (born June 24, 1935) is an American composer and performing musician associated with the minimalist school of Western classical music, of which he was a pioneer. His work is deeply influenced by both jazz and Indian classical music, and has utilized innovative tape music techniques and delay systems. He is best known for works such as his 1964 composition In C and 1969 album A Rainbow in Curved Air, both considered landmarks of minimalist music. La Monte Young ● La Monte Thornton Young (born October 14, 1935) is an American avant-garde composer, musician, and artist generally recognized as the first minimalist composer.[1][2][3] His works are cited as prominent examples of post-war experimental and contemporary music, and were tied to New York's downtown music and Fluxus art scenes.[4] Young is perhaps best known for his pioneering work in Western drone music (originally referred to as "dream music"), prominently explored in the 1960s with the experimental music collective the Theatre of Eternal Music.
    [Show full text]
  • May 2013 India Review Ambassador’S PAGE America Needs More High-Skilled Worker Visas a Generous Visa Policy for Highly Skilled Workers Would Help Everyone
    A Publication of the Embassy of India, Washington, D.C. May 1, 2013 I India RevieI w Vol. 9 Issue 5 www.indianembassy.org IMFC Finance Ministers and Bank Governors during a photo-op at the IMF Headquarters in Washington, D.C. on April 20. Overseas capital best protected in India — Finance Minister P. Chidambaram n India announces n scientist U.R. Rao n Pran honored incentives to boost inducted into with Dadasaheb exports Satellite Hall of Fame Phalke award Ambassador’s PAGE India is ready for U.S. natural gas There is ample evidence that the U.S. economy will benefit if LNG exports are increased he relationship between India and the United States is vibrant and growing. Near its T heart is the subject of energy — how to use and secure it in the cleanest, most efficient way possible. The India-U.S. Energy Dialogue, established in 2005, has allowed our two countries to engage on many issues. Yet as India’s energy needs con - tinue to rise and the U.S. looks to expand the marketplace for its vast cache of energy resources, our partner - ship stands to be strengthened even facilities and ports to distribute it macroeconomic scenarios, and under further. globally. every one of them the U.S. economy Despite the global economic slow - There is a significant potential for would experience a net benefit if LNG down, India’s economy has grown at a U.S. exports of LNG to grow expo - exports were increased. relatively brisk pace over the past five nentially. So far, however, while all ter - A boost in LNG exports would have years and India is now the world’s minals in the U.S.
    [Show full text]
  • Health Care Providers' Handbook on Hindu Patients
    Queensland Health Health care providers’ handbook on Hindu patients © State of Queensland (Queensland Health) 2011. This document is licensed under a Creative Commons Attribution, Non-Commercial, Share Alike 2.5 Australia licence. To view a copy of this licence, visit www.creativecommons.org/licenses/by-nc-sa/2.5/au/deed.en You are free to copy, communicate and adapt the work for non-commercial purposes, as long as you attribute Queensland Health and distribute the resulting work only under the same or similar license. For permissions beyond the scope of this licence contact: Intellectual Property Officer Queensland Health GPO Box 48 Brisbane Queensland 4001 Email: [email protected] Phone +61 7 3234 1479 For further information contact: Queensland Health Multicultural Services Division of the Chief Health Officer Queensland Health PO Box 2368 Fortitude Valley BC Queensland 4006 Email: [email protected] Suggested citation: Queensland Health. Health Care Providers’ Handbook on Hindu Patients. Division of the Chief Health Officer, Queensland Health. Brisbane 2011. Photography: Nadine Shaw of Nadine Shaw Photography Health care providers’ handbook on Hindu patients Table of contents Preface .................................................... 4 Introduction ................................................ 5 Section one: Guidelines for health services . 6 1 Communication issues .................................... 7 2 Interpreter services ....................................... 7 3 Patient rights ...........................................
    [Show full text]
  • The Sarangi Family
    THE SARANGI FAMILY 1. 1 Classification In the prestigious New Grove Dictionary of Music and Musicians. the sarangi is described as follows : "A bowed chordophone occurring in a number of forms in the Indian subcontinent. It has a waisted body, a wide neck without frets and is usually carved from a single block of wood; in addition to its three or four strings it has one or two sets of sympathetic strings. The sarangi originated as a folk instrument but has been used increasingly in classical music." 1 Whereas this entry consists of only a few lines. the violin family extends to 72 pages. lea ding one to conclude that a comprehensive study of the sarangi has been sorely lacking for a long time. A cryptic description like the one above reveals next to nothing about this major Indian bowed instrument which probably originated at the same time as the violin. It also ignores the fact that the sarangi family comprises the largest number of Indian stringed instruments. What kind of sarangi did the authors visualize when they wrote these lines? Was it the large classical sarangi or one of the many folk types? In which musical context are these instruments used. and how important is the sarangi player? How does one play the sarangi? Who were the famous masters and what did they contribute? Many such questions arise when one talks about the sarangi. A person frnm Romhav-assuminq he is familiar with the sarangi-may have a different 2 picture in mind than someone from Jodhpur or Srinagar.
    [Show full text]
  • Darbhanga Dhrupad Tradition Sumeet Anand Pandey
    Darbhanga Dhrupad Tradition Sumeet Anand Pandey Dhrupad Dhrupad is the oldest surviving genre of Hindustāni (North Indian) classical music, and has its initial origins in the ancient tradition of Vedic chanting1 (2000 BCE). By 1200 CE the styles of Vedic chanting called Chhanda and Prabandha had developed with the introduction of verse and metre. It is from these two styles that Dhrupad emerged. Practitioners of dhrupad, also referred to as Dhrupadiya, treat it as a contemplative and meditative form, sustained for centuries by traditions of classical and devotional music. While its soul remains unchanged, it is thought that dhrupad has adapted its character and temperament over the last fi ve to six centuries. This is possibly due to its vast travels from temples, to royal courts and fi nally into the public performance arena. Dhrupad recital typically begins with an extended alāp,2 sung with tānpura in four stages. It uses the syllables derived from the mantra ‘Om Anant Hari Nārāyana’ to sing its melody. 1 Vedic chanting: a form of religious chanting, where the vocalisation of hymns from the Vedas (ancient scriptures of Hinduism) are repeated in three notes - Udātt, Anudātt and Swarit. 2 Alāp: an introductory melodic improvisation that introduces and develops the rāga. There is no rhythm or percussion. A full alāp has three parts, anibaddha (slow, no meter), j odd or madhya laya (mid-tempo) and Jhāla or drut laya (fast tempo). 2 The Pakhāwaj is a double-headed, barrel-shaped drum used for accompanying the composition. The composition has four parts, namely sthāye, antara, sanchāri and ābhog.
    [Show full text]
  • TJARE Oct/Nov 2013 Press Release
    The Just Alap Raga Ensemble Pandit Pran Nath 95th Birthday Memorial Tribute Three Evening Concerts of Raga Darbari in the MELA Dream House Saturdays, October 26, November 2 and 9, 2013, 9 pm La Monte Young, voice Marian Zazeela, voice Jung Hee Choi, voice Naren Budhkar, tabla The Tamburas of Pandit Pran Nath from the Just Dreams CD MELA Foundation Dream House 275 Church Street, 3rd Floor, between Franklin & White Streets in Tribeca Admission $36. MELA Members, Seniors, Student ID, $28. Limited seating. Advance reservations recommended. Info and reservations: 212-219-3019; [email protected] Three Evening Concerts of Raga Darbari in the contemporary Kirana gharana (style) of North Indian Classical Music will be performed by La Monte Young and Marian Zazeela with The Just Alap Raga Ensemble in a memorial tribute in honor of Pandit Pran Nath's 95th birthday, Saturday Evenings, October 26, November 2 and 9, 2013, at 9 pm in the MELA Foundation Dream House light environment, 275 Church Street, 3rd Floor. PLEASE NOTE: To prepare for the scheduled concerts the Dream House will be closed after October 12; we will reopen on Thursday, November 14. La Monte Young, Marian Zazeela and Jung Hee Choi, voices; with Naren Budhkar, tabla; will be accompanied by The Tamburas of Pandit Pran Nath from the Just Dreams CD. The Just Alap Raga Ensemble will perform Pandit Pran Nath's special arrangement of "Hazrat Turkaman", a traditional vilampit khayal composition set in Raga Darbari. In 2009, with deep respect for Pandit Pran Nath’s arrangement of this great composition, Young composed two-part harmony for the‘sthayi and for the antara.
    [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]
  • A Nonlinear Study on Time Evolution in Gharana
    Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 15 April 2019 doi:10.20944/preprints201904.0157.v1 A NONLINEAR STUDY ON TIME EVOLUTION IN GHARANA TRADITION OF INDIAN CLASSICAL MUSIC Archi Banerjee1,2*, Shankha Sanyal1,2*, Ranjan Sengupta2 and Dipak Ghosh2 1 Department of Physics, Jadavpur University 2 Sir C.V. Raman Centre for Physics and Music Jadavpur University, Kolkata: 700032 India *[email protected] * Corresponding author Archi Banerjee: [email protected] Shankha Sanyal: [email protected]* Ranjan Sengupta: [email protected] Dipak Ghosh: [email protected] © 2019 by the author(s). Distributed under a Creative Commons CC BY license. Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 15 April 2019 doi:10.20944/preprints201904.0157.v1 A NONLINEAR STUDY ON TIME EVOLUTION IN GHARANA TRADITION OF INDIAN CLASSICAL MUSIC ABSTRACT Indian classical music is entirely based on the “Raga” structures. In Indian classical music, a “Gharana” or school refers to the adherence of a group of musicians to a particular musical style of performing a raga. The objective of this work was to find out if any characteristic acoustic cues exist which discriminates a particular gharana from the other. Another intriguing fact is if the artists of the same gharana keep their singing style unchanged over generations or evolution of music takes place like everything else in nature. In this work, we chose to study the similarities and differences in singing style of some artists from at least four consecutive generations representing four different gharanas using robust non-linear methods. For this, alap parts of a particular raga sung by all the artists were analyzed with the help of non linear multifractal analysis (MFDFA and MFDXA) technique.
    [Show full text]
  • Folk Instruments of Punjab
    Folk Instruments of Punjab By Inderpreet Kaur Folk Instruments of Punjab Algoza Gharha Bugchu Kato Chimta Sapp Dilruba Gagar Dhadd Ektara Dhol Tumbi Khartal Sarangi Alghoza is a pair of woodwind instruments adopted by Punjabi, Sindhi, Kutchi, Rajasthani and Baloch folk musicians. It is also called Mattiyan ,Jōrhi, Pāwā Jōrhī, Do Nālī, Donāl, Girāw, Satārā or Nagōze. Bugchu (Punjabi: ਬੁਘਚੂ) is a traditional musical instrument native to the Punjab region. It is used in various cultural activities like folk music and folk dances such as bhangra, Malwai Giddha etc. It is a simple but unique instrument made of wood. Its shape is much similar to damru, an Indian musical instrument. Chimta (Punjabi: ਚਚਮਟਾ This instrument is often used in popular Punjabi folk songs, Bhangra music and the Sikh religious music known as Gurbani Kirtan. Dilruba (Punjabi: ਚਿਲਰੱਬਾ; It is a relatively young instrument, being only about 300 years old. The Dilruba (translated as robber of the heart) is found in North India, primarily Punjab, where it is used in Gurmat Sangeet and Hindustani classical music and in West Bengal. Dhadd (Punjabi: ਢੱਡ), also spelled as Dhad or Dhadh is an hourglass-shaped traditional musical instrument native to Punjab that is mainly used by the Dhadi singers. It is also used by other folk singers of the region Dhol (Hindi: ढोल, Punjabi: ਢੋਲ, can refer to any one of a number of similar types of double-headed drum widely used, with regional variations, throughout the Indian subcontinent. Its range of distribution in India, Bangladesh and Pakistan primarily includes northern areas such as the Punjab, Haryana, Delhi, Kashmir, Sindh, Assam Valley Gagar (Punjabi: ਗਾਗਰ, pronounced: gāger), a metal pitcher used to store water in earlier days, is also used as a musical instrument in number of Punjabi folk songs and dances.
    [Show full text]