Music Therapy Based on Individual's 'Biological Humor'
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Note Staff Symbol Carnatic Name Hindustani Name Chakra Sa C
The Indian Scale & Comparison with Western Staff Notations: The vowel 'a' is pronounced as 'a' in 'father', the vowel 'i' as 'ee' in 'feet', in the Sa-Ri-Ga Scale In this scale, a high note (swara) will be indicated by a dot over it and a note in the lower octave will be indicated by a dot under it. Hindustani Chakra Note Staff Symbol Carnatic Name Name MulAadhar Sa C - Natural Shadaj Shadaj (Base of spine) Shuddha Swadhishthan ri D - flat Komal ri Rishabh (Genitals) Chatushruti Ri D - Natural Shudhh Ri Rishabh Sadharana Manipur ga E - Flat Komal ga Gandhara (Navel & Solar Antara Plexus) Ga E - Natural Shudhh Ga Gandhara Shudhh Shudhh Anahat Ma F - Natural Madhyam Madhyam (Heart) Tivra ma F - Sharp Prati Madhyam Madhyam Vishudhh Pa G - Natural Panchama Panchama (Throat) Shuddha Ajna dha A - Flat Komal Dhaivat Dhaivata (Third eye) Chatushruti Shudhh Dha A - Natural Dhaivata Dhaivat ni B - Flat Kaisiki Nishada Komal Nishad Sahsaar Ni B - Natural Kakali Nishada Shudhh Nishad (Crown of head) Så C - Natural Shadaja Shadaj Property of www.SarodSitar.com Copyright © 2010 Not to be copied or shared without permission. Short description of Few Popular Raags :: Sanskrut (Sanskrit) pronunciation is Raag and NOT Raga (Alphabetical) Aroha Timing Name of Raag (Karnataki Details Avroha Resemblance) Mood Vadi, Samvadi (Main Swaras) It is a old raag obtained by the combination of two raags, Ahiri Sa ri Ga Ma Pa Ga Ma Dha ni Så Ahir Bhairav Morning & Bhairav. It belongs to the Bhairav Thaat. Its first part (poorvang) has the Bhairav ang and the second part has kafi or Så ni Dha Pa Ma Ga ri Sa (Chakravaka) serious, devotional harpriya ang. -
Guru Nanak Dev University Amritsar
FACULTY OF VISUAL ARTS & PERFORMING ARTS SYLLABUS FOR BACHELOR OF PERFORMING ARTS (Four Years Degree Course) (PART – IV) Examination: 2015 GURU NANAK DEV UNIVERSITY AMRITSAR Note: (i) Copy rights are reserved. Nobody is allowed to print it in any form. Defaulters will be prosecuted. (ii) Subject to change in the syllabi at any time. Please visit the University website time to time. 1 (FOUR YEARS DEGREE COURSE) BACHELOR OF PERFORMING ARTS IN MUSIC VOCAL FOURTH YEAR Sr. Course Theory/ External Internal Total Timings Total Time No. Practical 1 Applied Theory 100 - 100 3 hrs. 125 hrs. 2 General Theory Theory 100 - 100 3 hrs. 125 hrs. 3 Practical – - - 50 50 - 50 hrs. Internal Assessment (Studio) 4 Practical Practical 350 50 400 600 hrs. Paper A 100 - (Choice from Ragas) Paper B 50 - (other Gayan Shailies) Paper C 100 - (Talas on Tabla & hand) Paper D 100 - (Viva) Total: 350 550 100 650 900 hrs. Paper-IV: Practical (350+50) = 400 Marks 2 (FOUR YEARS DEGREE COURSE) Bachelor of Performing Arts (Music Vocal) Fourth Year Paper-I Applied Theory: 100 Marks Description of 12 selected ragas and talas and their comparative study when ever possible. Miya-Malhar, Darkari–Kanada, Basant, Madhuwanti, Ahir Bhairav, Bilaskhani, Todi, Lalit, Puria, Marva, Maaru Bihag, Shudsarang, Megha, Natt Bhairav. Reading and writing of notations- compositions-alaap, taan. etc. One, Dhrupad, One thumari, one Bhajan, one Ghazal, one Dadra. Reading and writing of Lyakaries of prescribed talas. Taals-Savari, Punjabi, Adha, Pashto, Chachar, Layakaries3/4,4/3. History of Music of Modern period from 1857 to present day. -
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". -
Hindustani Classic Music
HINDUSTANI CLASSIC MUSIC: Junior Grade or Prathamik : Syllabus : No theory exam in this grade Swarajnana Talajnana essential Ragajnana Practicals: 1. Beginning of swarabyasa - in three layas 2. 2 Swaramalikas 5 Lakshnageete Chotakyal Alap - 4 ragas Than - 4 Drupad - should be practiced 3. Bhajan - Vachana - Dasapadas 4. Theental, Dadara, Ektal (Dhruth), Chontal, Juptal, Kheruva Talu - Sam-Pet-Husi-Matras - should practice Tekav. 5. Swarajnana 6. Knowledge of the words - nada, shruthi, Aroha, Avaroha, Vadi - Samvedi, Komal - Theevra - Shuddha - Sasthak - Ganasamay - Thaat - Varjya. 7. Swaralipi - should be learnt. Senior Grade: (Madhyamik) Syllabus : Theory: 1. Paribhashika words 2. Sound & place of emergence of sound 3. The practice of different ragas out of “thaat” - based on Pandith Venkatamukhi Mela System 4. To practice ragalaskhanas of different ragas 5. Different Talas - 9 (Trital, Dadra, Jup, Kherva, Chantal, Tilawad, Roopak, Damar, Deepchandi) explanation of talas with Tekas. 6. Chotakhyal, Badakhyal, Bhajan, Tumari, Geethprakaras - Lakshanas. 7. Life history of Jayadev, Sarangdev, Surdas, Purandaradas, Tansen, Akkamahadevi, Sadarang, Kabeer, Meera, Haridas. 8. Knowledge of musical instrument Practicals: 1. Among 20 ragas - Chotakhyal in each 2. Badakhyal - for 10 ragas (Bhoopali, Yamani, Bheempalas, Bageshree, Malkonnse, Alhaiah Bilawal, Bahar, Kedar, Poorvi, Shankara. 3. Learn to sing one drupad in Tay, Dugun & Changun - one Damargeete. VIDHWAN PROFICIENCY Syllabus: Theory 1. Paribhashika Shabdas. 2. 7 types of Talas - their parts (angas) 3. Tabala bol - Tala Jnana, Vilambitha Ektal, Jumra, Adachontal, Savari, Panjabi, Tappa. 4. Raga lakshanas of Bhairav, Shuddha Sarang, Peelu, Multhani, Sindura, Adanna, Jogiya, Hamsadhwani, Gandamalhara, Ragashree, Darbari, Kannada, Basanthi, Ahirbhairav, Todi etc., Alap, Swaravisthara, Sama Prakruthi, Ragas criticism, Gana samay - should be known. -
MUSIC MPA Syllabus Paper Code Course Category Credit Marks
MUSIC MPA Syllabus Paper Code Course Category Credit Marks Semester I 12 300 MUS-PG-T101 Aesthetics Theory 4 100 MUS-PG-P102 Analytical Study of Raga-I Practical 4 100 MUS-PG-P103 Analytical Study of Tala-I Practical 4 100 MUS-PG-P104 Raga Studies I Practical 4 100 MUS-PG-P105 Tala Studies I Practical 4 100 Semester II 16 400 MUS-PG-T201 Folk Music Theory 4 100 MUS-PG-P202 Analytical Study of Raga-II Practical 4 100 MUS-PG-P203 Analytical Study of Tala-II Practical 4 100 MUS-PG-P204 Raga Studies II Practical 4 100 MUS-PG-P205 Tala Studies II Practical 4 100 MUS-PG-T206 Music and Media Theory 4 100 Semester III 20 500 MUS-PG-T301 Modern Traditions of Indian Music Theory 4 100 MUS-PG-P302 Analytical Study of Tala-III Practical 4 100 MUS-PG-P303 Raga Studies III Practical 4 100 MUS-PG-P303 Tala Studies III Practical 4 100 MUS-PG-P304 Stage Performance I Practical 4 100 MUS-PG-T305 Music and Management Theory 4 100 Semester IV 16 400 MUS-PG-T401 Ethnomusicology Theory 4 100 MUS-PG-T402 Dissertation Theory 4 100 MUS-PG-P403 Raga Studies IV Practical 4 100 MUS-PG-P404 Tala Studies IV Practical 4 100 MUS-PG-P405 Stage Performance II Practical 4 100 1 Semester I MUS-PG-CT101:- Aesthetic Course Detail- The course will primarily provide an overview of music and allied issues like Aesthetics. The discussions will range from Rasa and its varieties [According to Bharat, Abhinavagupta, and others], thoughts of Rabindranath Tagore and Abanindranath Tagore on music to aesthetics and general comparative. -
Evaluation of the Effects of Music Therapy Using Todi Raga of Hindustani Classical Music on Blood Pressure, Pulse Rate and Respiratory Rate of Healthy Elderly Men
Volume 64, Issue 1, 2020 Journal of Scientific Research Institute of Science, Banaras Hindu University, Varanasi, India. Evaluation of the Effects of Music Therapy Using Todi Raga of Hindustani Classical Music on Blood Pressure, Pulse Rate and Respiratory Rate of Healthy Elderly Men Samarpita Chatterjee (Mukherjee) 1, and Roan Mukherjee2* 1 Department of Hindustani Classical Music (Vocal), Sangit-Bhavana, Visva-Bharati (A Central University), Santiniketan, Birbhum-731235,West Bengal, India 2 Department of Human Physiology, Hazaribag College of Dental Sciences and Hospital, Demotand, Hazaribag 825301, Jharkhand, India. [email protected] Abstract Several studies have indicated that music therapy may affect I. INTRODUCTION cardiovascular health; in particular, it may bring positive changes Music may be regarded as the projection of ideas as well as in blood pressure levels and heart rate, thereby improving the emotions through significant sounds produced by an instrument, overall quality of life. Hence, to regulate blood pressure, music voices, or both by taking into consideration different elements of therapy may be regarded as a significant complementary and alternative medicine (CAM). The respiratory rate, if maintained melody, rhythm, and harmony. Music plays an important role in within the normal range, may promote good cardiac health. The everyone’s life. Music has the power to make one experience aim of the present study was to evaluate the changes in blood harmony, emotional ecstasy, spiritual uplifting, positive pressure, pulse rate and respiratory rate in healthy and disease-free behavioral changes, and absolute tranquility. The annoyance in males (age 50-60 years), at the completion of 30 days of music life may increase in lack of melody and harmony. -
Ragang Based Raga Identification System
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 16, Issue 3 (Sep. - Oct. 2013), PP 83-85 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.Iosrjournals.Org Ragang based Raga Identification system Awadhesh Pratap Singh Tomer Assistant Professor (Music-vocal), Department of Music Dr. H. S. G. Central University Sagar M.P. Gopal Sangeet Mahavidhyalaya Mahaveer Chowk Bina Distt. Sagar (M.P.) 470113 Abstract: The paper describes the importance of Ragang in the Raga classification system and its utility as being unique musical patterns; in raga identification. The idea behind the paper is to reinvestigate Ragang with a prospective to use it in digital classification and identification system. Previous works in this field are based on Swara sequence and patterns, Pakad and basic structure of Raga individually. To my best knowledge previous works doesn’t deal with the Ragang Patterns for identification and thus the paper approaches Raga identification with a Ragang (musical pattern group) base model. This work also reviews the Thaat-Raagang classification system. This describes scope in application for Automatic digital teaching of classical music by software program to analyze music (Classical vocal and instrumental). The Raag classification should be flawless and logically perfect for best ever results. Key words: Aadhar shadaj, Ati Komal Gandhar , Bahar, Bhairav, Dhanashri, Dhaivat, Gamak, Gandhar, Gitkarri, Graam, Jati Gayan, Kafi, Kanada, Kann, Komal Rishabh , Madhyam, Malhar, Meed, Nishad, Raga, Ragang, Ragini, Rishabh, Saarang, Saptak, Shruti, Shrutiantra, Swaras, Swar Prastar, Thaat, Tivra swar, UpRag, Vikrat Swar A Raga is a tonal frame work for composition and improvisation. It embodies a unique musical idea.(Balle and Joshi 2009, 1) Ragang is included in 10 point Raga classification of Saarang Dev, With Graam Raga, UpRaga and more. -
1 Fundamentals of Music 000001 4 3 0 2 CC
SEMESTER I Category Course Name Code Credit T H CC – 1 Fundamentals of Music 000001 4 3 0 2 CC – 2 History of Music 000002 4 3 0 2 CC – 3 Technicalities of Ragas & 000003 4 3 0 2 Tala in Indian Music DSE –1 Writing and Transcribe 000004 4 2 0 2 Music GE – 1 Generic Elective ** 4 3 1 0 AECC –1 Communicative English 000005 2 2 0 0 SEC –1 Mentored Seminar – I 000011 1 1 0 0 USC –1 Foreign Language – II 000011/000012/00001 2 2 0 0 (German/ Spanish/ 3 Japanese) Total Credit 25 SEMESTER II CC – 4 Study of Ragas & Tala in 000021 4 3 0 2 Indian Music (Step ii) CC – 5 Laws of Acoustics 000022 4 3 0 2 CC – 6 Rudiments of Western 000023 4 3 0 2 Music DSE – 2 Voice production/Handling 000024 4 2 0 2 of Music Software & Recording tools GE – 2 Generic Elective ** 4 3 1 0 AECC –2 Environmental Science 00000 2 2 0 0 SEC – 2 Mentored Seminar – II 00000 1 1 0 0 USC – 2 Foreign Language – II 000021/000022/00002 2 2 0 0 (German/ Spanish/ 3 Japanese) Total Credit 25 SEMESTER III CC – 7 Introduction to 000001 4 4 0 4 Contemporary Music CC – 8 Study of the Compositions 000002 5 3 0 2 of Tagore and other composers CC – 9 Audio and Sheet Music 000003 2 0 0 2 Discussion & Review CC – 10 Study on Theater Arts 000004 3 0 0 2 CC – 11 Study on Dance Arts 000005 3 4 0 4 DSE – 3 Film Music Appreciation & 000006 3 2 1 0 Review GE – 3 Generic Elective ** 4 3 1 0 SEC – 3 Mentored Seminar – III 000001 1 1 0 0 Total Credit 25 SEMESTER IV CC – 12 Demonstration of Ragas & 000011 4 3 1 0 Tala in Indian Music (Step iii) CC – 13 Mathematics of Music 000012 4 3 1 0 CC – 14 Overview -
Track Name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt
Track name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt. Bhimsen Joshi 3 HINDOLIKA Pt. Bhimsen Joshi 4 Thumri-Bhairavi Pt. Bhimsen Joshi 5 SHANKARA MANIK VERMA 6 NAT MALHAR MANIK VERMA 7 POORIYA MANIK VERMA 8 PILOO MANIK VERMA 9 BIHAGADA PANDIT JASRAJ 10 MULTANI PANDIT JASRAJ 11 NAYAKI KANADA PANDIT JASRAJ 12 DIN KI PURIYA PANDIT JASRAJ 13 BHOOPALI MALINI RAJURKAR 14 SHANKARA MALINI RAJURKAR 15 SOHONI MALINI RAJURKAR 16 CHHAYANAT MALINI RAJURKAR 17 HAMEER MALINI RAJURKAR 18 ADANA MALINI RAJURKAR 19 YAMAN MALINI RAJURKAR 20 DURGA MALINI RAJURKAR 21 KHAMAJ MALINI RAJURKAR 22 TILAK-KAMOD MALINI RAJURKAR 23 BHAIRAVI MALINI RAJURKAR 24 ANAND BHAIRAV PANDIT JITENDRA ABHISHEKI 25 RAAG MALA PANDIT JITENDRA ABHISHEKI 26 KABIR BHAJAN PANDIT JITENDRA ABHISHEKI 27 SHIVMAT BHAIRAV PANDIT JITENDRA ABHISHEKI 28 LALIT BEGUM PARVEEN SULTANA 29 JOG BEGUM PARVEEN SULTANA 30 GUJRI JODI BEGUM PARVEEN SULTANA 31 KOMAL BHAIRAV BEGUM PARVEEN SULTANA 32 MARUBIHAG PANDIT VASANTRAO DESHPANDE 33 THUMRI MISHRA KHAMAJ PANDIT VASANTRAO DESHPANDE 34 JEEVANPURI PANDIT KUMAR GANDHARVA 35 BAHAR PANDIT KUMAR GANDHARVA 36 DHANBASANTI PANDIT KUMAR GANDHARVA 37 DESHKAR PANDIT KUMAR GANDHARVA 38 GUNAKALI PANDIT KUMAR GANDHARVA 39 BILASKHANI-TODI PANDIT KUMAR GANDHARVA 40 KAMOD PANDIT KUMAR GANDHARVA 41 MIYA KI TODI USTAD RASHID KHAN 42 BHATIYAR USTAD RASHID KHAN 43 MIYA KI TODI USTAD RASHID KHAN 44 BHATIYAR USTAD RASHID KHAN 45 BIHAG ASHWINI BHIDE-DESHPANDE 46 BHINNA SHADAJ ASHWINI BHIDE-DESHPANDE 47 JHINJHOTI ASHWINI BHIDE-DESHPANDE 48 NAYAKI KANADA ASHWINI -
Transcription and Analysis of Ravi Shankar's Morning Love For
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura Bethany Padgett Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Padgett, Bethany, "Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura" (2013). LSU Doctoral Dissertations. 511. https://digitalcommons.lsu.edu/gradschool_dissertations/511 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TRANSCRIPTION AND ANALYSIS OF RAVI SHANKAR’S MORNING LOVE FOR WESTERN FLUTE, SITAR, TABLA AND TANPURA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bethany Padgett B.M., Western Michigan University, 2007 M.M., Illinois State University, 2010 August 2013 ACKNOWLEDGEMENTS I am entirely indebted to many individuals who have encouraged my musical endeavors and research and made this project and my degree possible. I would first and foremost like to thank Dr. Katherine Kemler, professor of flute at Louisiana State University. She has been more than I could have ever hoped for in an advisor and mentor for the past three years. -
Tonal Hierarchies in the Music of North India Mary A
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Crossref ri Journal of Experimental Psychology: General . „ u , C?Py 8ht 1984 by the 1984, Vol. 113, No. 3, 394-412 American Psychological Association, Inc. Tonal Hierarchies in the Music of North India Mary A. Castellano J. J. Bharucha Cornell University Dartmouth College Carol L. Krumhansl Cornell University SUMMARY Cross-culturally, most music is tonal in the sense that one particular tone, called the tonic, provides a focus around which the other tones are organized. The specific orga- nizational structures around the tonic show considerable diversity. Previous studies of the perceptual response to Western tonal music have shown that listeners familiar with this musical tradition have internalized a great deal about its underlying organization. Krumhansl and Shepard (1979) developed a probe tone method for quantifying the perceived hierarchy of stability of tones. When applied to Western tonal contexts, the measured hierarchies were found to be consistent with music-theoretic accounts. In the present study, the probe tone method was used to quantify the perceived hierarchy of tones of North Indian music. Indian music is tonal and has many features in common with Western music. One of the most significant differences is that the primary means of expressing tonality in Indian music is through melody, whereas in Western music it is through harmony (the use of chords). Indian music is based on a standard set of melodic forms (called rags), which are themselves built on a large set of scales (thats). The tones within a rag are thought to be organized in a hierarchy of importance. -
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