Vinod Sharma & Sons

Total Page:16

File Type:pdf, Size:1020Kb

Vinod Sharma & Sons +91-9873242922 Vinod Sharma & Sons https://www.indiamart.com/vinodsharma-sons/ We are the trusted manufacturers, exporters, suppliers & dealers as well stockists of a wide range of musical instruments which are supplied to a large number of clients in the national as well as the international market. About Us This Musical company was < B> established in the year 1997 by Mr. Praveen , who is the founder of the company. We further have the support of Mr. Praveen Shrama , who has been actively working in building a goodwill of the company's name in market. We have acquired the experience of more than 40 years in the field of manufacturing musical instruments, which has been of great help in maintaining the quality of the products manufactured by us. We have been into the musical world since many years and now we want to share our experiences with the clients by delivering them the best instruments in the market. The efficient team members working hard to make the company number one in this field get most of the credit for making us what we are today. Apart from this, the immense trust of our clients on us motivated us to move ahead and become a leading company in the market. For more information, please visit https://www.indiamart.com/vinodsharma-sons/profile.html SURBAHAR P r o d u c t s & S e r v i c e s Sarangi Harmonium Santoor Surbahar NEW ITEMS P r o d u c t s & S e r v i c e s Dholak Drum Instrument Guitar Guitar OTHER PRODUCTS: P r o d u c t s & S e r v i c e s Dhol & Dholak Musical Figurine Dholak F a c t s h e e t Nature of Business :Manufacturer CONTACT US Vinod Sharma & Sons Contact Person: Praveen Sharma 3170-72, Lal Darwaza, Sita Ram Bazar New Delhi - 110006, Delhi, India +91-9873242922 https://www.indiamart.com/vinodsharma-sons/.
Recommended publications
  • The West Bengal College Service Commission State
    THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics.
    [Show full text]
  • Other String Instruments Catalogue
    . Product Catalogue for Other Strings Instruments Contents: 4 Strings Violin…………………………………………………………………………………...1 5 Strings Violin……………………...…………………………………………………………...2 Bulbul Tarang....…………………...…………………………………………………………...3 Classical Veena...…….………………………………………………………………………...4 Dilruba.…………………………………………………………………….…………………..5 Dotara……...……………………...…………………………………………………………..6 Egyptian Harp…………………...…………………………………………………………...7 Ektara..…………….………………………………………………………………………...8 Esraaj………………………………………………………………………………………10 Gents Tanpura..………………...…………………………………………………………11 Harp…………………...…………………………………………………………..............12 Kamanche……….……………………………………………………………………….13 Kamaicha……..…………………………………………………………………………14 Ladies Tanpura………………………………………………………………………...15 Lute……………………...……………………………………………………………..16 Mandolin…………………...…………………………………………………………17 Rabab……….………………………………………………………………………..18 Saarangi……………………………………………………………………………..22 Saraswati Veena………...………………………………………………………….23 Sarinda……………...………………………………………………………….......24 Sarod…….………………………………………………………………………...25 Santoor……………………………………………………………………………26 Soprano………………...………………………………………………………...27 Sor Duang……………………………………………………………………….28 Surbahar……………...…………………………………………………………29 Swarmandal……………….……………………………………………………30 Taus…………………………………………………………………………….31 Calcutta Musical Depot 28C, Shyama Prasad Mukherjee Road, Kolkata-700 025, West Bengal, India Ph:+91-33-2455-4184 (O) Mobile:+91-9830752310 (M) 24/7:+91-9830066661 (M) Email: [email protected] Web: www.calmusical.com /calmusical /calmusical 1 4 Strings Violin SKU: CMD/4SV/1600
    [Show full text]
  • 7376 Sitar and Surbahar
    (LYRCD 7376) SITAR AND SURBARHAR Indian Music for Meditation and Love Ustad Imrat Khan, Sitar and Surbahar Shafaat Miadaad Khan, Tabla In this, his first recording made in the United State, Imrat Khan demonstrates his consummate mastery of two instruments, the sitar and the surbahar, the bass sitar, which he introduced to the American concert stage in 1975. Both the sitar and surbahar have developed from the oldest stringed instrument of India, the bin or rudra vina, which consists of two large gourds of equal size joined symmetrically by a round wooden neck. The bin is characterized by its deep, rich voice. The sitar hardly needs introduction to western audiences, but it is worth noting in connection with this recording that there are two basic styles of stringing the instrument to approximate the sound of the bin. In the second style, popularized by Imrat Khan’s family, there are only six main strings with a range of three octaves, on the grounds that the deep tones of the surbahar recreate more effectively the bin’s lower register. The Surbahar was invented by Imrat Khan’s great-grandfather, Ustad Sahebdad Khan. The instrument was in danger of disappearing after the death of Enayet Khan, Imrat’s father; but thanks to the efforts of Imrat himself, the instrument has regained its place as one of the most important instruments of North Indian art music. The surbahar is, in effect, a bass sitar, with a practical range of over four octaves. It has a wider neck, thicker strings, and a gourd larger and flatter than that of the sitar.
    [Show full text]
  • Classification of Indian Musical Instruments with the General
    Classification of Indian Musical Instruments With the general background and perspective of the entire field of Indian Instrumental Music as explained in previous chapters, this study will now proceed towards a brief description of Indian Musical Instruments. Musical Instruments of all kinds and categories were invented by the exponents of the different times and places, but for the technical purposes a systematic-classification of these instruments was deemed necessary from the ancient time. The classification prevalent those days was formulated in India at least two thousands years ago. The first reference is in the Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya Vadya’ for musical instruments. The term Atodhya is explained earlier than in Amarkosa and Bharata might have adopted it. References: Some references with respect to classification of Indian Musical Instruments are listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’. Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata, Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas, whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have classified the musical instruments under four heads: 1 Fundamentals of Indian Music, Dr. Swatantra Sharma , p-86 53 i. Tata (String Instruments) ii. Avanaddha (Instruments covered with membrane) iii. Sushira (Wind Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck against one another, such as Cymbals).
    [Show full text]
  • Role of Percussion Instruments in Indian Music
    Vol 6 Issue 7 April 2017 ISSN No : 2249-894X ORIGINAL ARTICLE Monthly Multidisciplinary Research Journal Review Of Research Journal Chief Editors Ashok Yakkaldevi Ecaterina Patrascu A R Burla College, India Spiru Haret University, Bucharest Kamani Perera Regional Centre For Strategic Studies, Sri Lanka Welcome to Review Of Research RNI MAHMUL/2011/38595 ISSN No.2249-894X Review Of Research Journal is a multidisciplinary research journal, published monthly in English, Hindi & Marathi Language. All research papers submitted to the journal will be double - blind peer reviewed referred by members of the editorial Board readers will include investigator in universities, research institutes government and industry with research interest in the general subjects. Regional Editor Dr. T. Manichander Advisory Board Kamani Perera Delia Serbescu Mabel Miao Regional Centre For Strategic Studies, Sri Spiru Haret University, Bucharest, Romania Center for China and Globalization, China Lanka Xiaohua Yang Ruth Wolf Ecaterina Patrascu University of San Francisco, San Francisco University Walla, Israel Spiru Haret University, Bucharest Karina Xavier Jie Hao Fabricio Moraes de AlmeidaFederal Massachusetts Institute of Technology (MIT), University of Sydney, Australia University of Rondonia, Brazil USA Pei-Shan Kao Andrea Anna Maria Constantinovici May Hongmei Gao University of Essex, United Kingdom AL. I. Cuza University, Romania Kennesaw State University, USA Romona Mihaila Marc Fetscherin Loredana Bosca Spiru Haret University, Romania Rollins College, USA Spiru Haret University, Romania Liu Chen Beijing Foreign Studies University, China Ilie Pintea Spiru Haret University, Romania Mahdi Moharrampour Nimita Khanna Govind P. Shinde Islamic Azad University buinzahra Director, Isara Institute of Management, New Bharati Vidyapeeth School of Distance Branch, Qazvin, Iran Delhi Education Center, Navi Mumbai Titus Pop Salve R.
    [Show full text]
  • B.A. (Hons.) Instrumental Music – Sitar
    B.A. (Hons.) Instrumental Music – Sitar Semester Wise Scheme of Papers I Semester Course Code Title Nature of Course Credits BHI-111 Analytical Study of Raagas & Core Theory Course 1 Taalas BHI-112 History and Theory Core Theory Course 1 BHI-113 Performance of choice Raaga and Core Activity Based 2 other Raagas of the prescribed Course course BHI-114 Practical and comparative study of Core Activity Based 2 component of prescribed Raagas & Course Taalas II Semester Course Code Title Nature of Course Credits BHI-121 Analytical Study of Raagas & Core Theory Course 1 Taalas BHI-122 History and Theory Core Theory Course 1 BHI-123 Performance of choice Raaga and Core Activity Based 2 other Raagas of the prescribed Course course BHI-124 Practical and comparative study of Core Activity Based 2 component of prescribed Raagas & Course Taalas B.A. (Hons.) Instrumental Music – Sitar Semester Wise Scheme of Course III Semester Course Code Title Nature of Course Credits BHI-211 Analytical Study of Raagas & Core Theory Course 1 Taalas BHI-212 History & Theory Core Theory Course 1 BHI-213 Performance of choice Raaga and Core Activity Based 2 other Raagas of the prescribed Course course BHI-214 Practical and comparative study of Core Activity Based 2 component of prescribed Raagas & Course Taalas IV Semester Course Code Title Nature of Course Credits BHI-221 Analytical Study of Raagas & Core Theory Course 1 Taalas BHI-222 History & Theory Core Theory Course 1 BHI-223 Performance of choice Raaga and Core Activity Based 2 other Raagas of the prescribed Course course BHI-224 Practical and comparative study of Core Activity Based 2 component of prescribed Raagas & Course Taalas B.A.
    [Show full text]
  • INDIA INTERNATIONAL CENTRE V O L U M E X X VI
    Price Re. 1/- INDIA INTERNATIONAL CENTRE v o l u m e X X VI. No. 2 March–April 2012 The Golden Gate, set in California, and portraying in Of Poetry and Sorrow piquant verse, the lives and times of a set of young Readings and a Conversation friends in the late eighties. by Vikram Seth with Chiki Sarkar, Written between 2006 and 2009, Seth’s latest book April 14 The Rivered Earth is, in a fashion, a collection of four libretti. Drawn from various worlds of inspiration, both literal and figurative (India, China, England), On a pleasant summer evening, Vikram Seth and crafted through translation and memory, history in conversation with Chiki Sarkar had a packed and dialogue, the book takes Seth’s art to an entirely audience captivated. Ms Sarkar began with a good- new level. Readings interposed the conversation as humoured reference to one of the recurrent motifs it ranged freely from democracy to prosody, from in his latest book The Rivered Earth: procrastination. loneliness to the unique company he has at Salisbury However, if the audience was curious on the subject House that is inhabited by Seth today: the spirit of of procrastination in the context of his much- George Herbert, the former occupant of the house, awaited jump-sequel to A Suitable Boy, they were waiting quietly outside the threshold of Seth’s writing disappointed; the evening belonged entirely to Seth room. Seth also shared favourites from his entire the poet. He makes no bones about the fact that it oeuvre. His mother’s favourite is probably the one is poetry which is his first impulse although it is his that, when read by the poet himself, left the deepest novels that have made him a household name; he impact on the audience: would probably describe himself as a poet with the bad habit of slipping into writing (enormously long) All you who sleep tonight/Far from the ones you love,/No novels every now and then.
    [Show full text]
  • Mohi Baha'ud-Din Dagar मोही बाहाउिदन डागर
    Mohi Baha'ud-din Dagar मोही बाहाउिदन डागर . Life & Training Born into the illustrious Dagar family of Dhrupad musicians in 1970, Mohi Baha'ud-din first began his foray into Indian Classical Music at the early age of seven, training on the Sitar under the expert tutelage of his mother, Smt. Pramila Dagar. Once he'd finished three years of initial training, he received brief instruction on the Surbahar and was later introduced to the Rudra Veena by his father, Ustad Zia Mohiuddin Dagar; a legendary Rudra Veena maestro and his uncle, Ustad Zia Fariduddin Dagar; a renowned Indian classical vocalist from whom he later also learnt vocal music. In 1990, Mohi Baha’ud-din received the Lakhanpal Foundation Fellowship for two years. He also received a two-year Fellowship in 1993 from the Ministry of Human Resource Development, India. At the early age of twenty, Mohi Baha’ud- din formally stepped onto the stage and made his mark in the industry as a classical performer. Mohi Baha'ud-din is a unique artist who has played for diverse and varied audiences in India and across the world. A cross-platform performer, he has made regular appearances on television and radio networks. His music has been recorded by Music Today (India), Makars (France), Ragini Sutra (India), Sense World (London), and India Music Archives (USA). Mohi Baha'ud-din has also been invited to serve under Nana Shirgaokar Research Professorship at the University Of Goa for three years from 2013 to 2015. Mohi Baha'ud-din continues to receive able guidance from the esteemed Pandit Pushpraj Koshti, a senior disciple of Ustad Zia Mohiuddin Dagar and Ustad Zia Fariduddin Dagar.
    [Show full text]
  • Sample of Mcqs Question Bank
    University of Mumbai Department of Music MCQ Demo Paper for B.Mus. III and M. Mus. II Paper/Subject Code --------- Paper Name - ------------- Total Marks - 50 Students Seat No. -------- Instructions Section I and Section II are Compulsory. All questions carries equal marks. Section I Choose the correct alternative 1. Which of the following Artists is not a 'Santoor Player'? A - Pt.Bhajan Sopori B - Pt.Tarun Bhattacharya C - Ustad Ali Akbar Khan D - Pt.Shivkumar Sharma 2.Which Instrument did 'Ustad Vilayat khansahab' play? A - Tabla B - Sarod C - Santoor D - Sitar 3. Who plays the instrument 'Mohanveena'? A - Ganesh Mohan B - Krishnamohan Bhatt C - Vishwamohan Bhatt D - Mohan Ratan Sharma 4. The Famous vocalist 'Kaushiki Chakravarty' belongs to which Gharana? A - Patiayala gharana B - Gwalior gharana C - Rampur gharana D - Agra gharana 5. Which Indian Classical vocalist has sung the Famous song 'Ab ke Saawan'? A - Meeta Pandit B - Shubha Mudgal C - Neela Bhagwat D - Shubha Joshi 6. Which Artist has been awarded the 'Bharat Ratna' by the Govt of India? A - Pt.Hariprasad Chaurasia B - Ustad Bismillah khan C - Ustad Amjad ali khan D - Begum Parveen Sultana 7. What is the name of Sitar players Niladri Kumar's Guru? A - Pt.Ajay Kumar B - Pt.Suresh Kumar C - Pt.Himalay kumar D - Pt.Kartick kumar 8. 'Sawai Gandharva Sangeet Sammelan' is organised in which City? A - Mumbai B - Pune C - Delhi D - Banaras 9. Which Vocalist is famous by the Pen name 'Pran Piya'? A - Ustad Vilayat Hussain Khan B - Ustad Imrat hussain khan C - Ustad Faiyaz khan D - Ustad Vajahat hussain Khan 10.
    [Show full text]
  • वाह-वाह a Program for Toddlers
    वाह-वाह A Program for toddlers *Syllabus, course, content copyright of Veena Venu Art Foundation About The Course/Program: • A Program for toddlers. Indian classical music is also known as “श्रवणी ववद्या” meaning an art which can be best learnt when listened to. This program is for Toddlers to hear music this also helps them. Such as whenever in future they learn music they shall have great grasping power, they shall be progressing very fast, will understand music clearly. Listening to Indian classical music shall also develop the brain, develop better memory skills. Indian classical music also inculcates a sense of structure & rhythm in one’s brain, facilitating such interesting new neural connections. Who Can join? Toddlers from the age of 2 to 5 years Where can you join? This course/program is both offline and online Duration of Course/program: 2 days in a week, 3 months Overview • With the help of parents we will develop the skill of sitting patiently and listening music. This shall increase and develop patience skills. • We shall introduce them to new instruments, new music styles and genres. • We shall teach them few small and sweet songs. • We shall provide parents music recordings for the different moods of the child at each time of the day, in this way we shall even give them music therapy , help parents , and help in the upbringing the child. Joining Process • Students need to pay fee • After payment students shall receive online registration form which has to be filled by them • And the class will get started • About Veena Venu Art Foundation • Veena Venu Art Foundation is an initiative with vision to save and promote Indian art and culture.
    [Show full text]
  • VAGEESHWARIVAGEESHWARIVAGEESHWARI March 2018
    Vol. XXXII Regd No. ISSN 0975-7872 VAGEESHWARIVAGEESHWARIVAGEESHWARI March 2018 DEPARTMENT OF MUSIC FACULTY OF MUSIC & FINE ARTS UNIVERSITY OF DELHI Prof. Tarun Kumar Das, Registrar, University of Delhi, and Chief Guest during the International seminar – Indian Classical Music: Teaching and Performing Abroad”, organized by the Department, in collaboration with the Indian Council for Cultural Relations (I.C.C.R.), at the Conference Centre, University of Delhi, on 27-28 February 2018. Seated on the dais are the Keynote Speaker – Prof. Joep Bor, Professor at the Academy of Creative and Performing Arts, Leiden University, The Netherlands, Ms. Padmaja, Dy. Director General, I.C.C.R., and Prof. Suneera Kasliwal, Dean & Head, Faculty of Music & Fine Arts, University of Delhi A Hungarian folk group – Kalaka – performing, in a collaboration between the Dept. of Music and the Dept. of Slavonic & Finno-Ugrian Studies, University of Delhi, in Dec. 2017 Vol. XXXII Regd. No. ISSN 0975-7872 VAGEESHWARI March 2018 Proceedings of a two-day International seminar on “Indian Classical Music: Teaching and Performing Abroad” Organized by The Department of Music, University of Delhi In collaboration with the Indian Council for Cultural Relations (I.C.C.R.) on 27-28 February, 2018 Editor Prof. Suneera Kasliwal Editorial Board Prof. Deepti Omchery Bhalla Prof. Shailendra Goswami Dr. Ananya Kumar Dey Dr. Jagbandhu Prasad Dr. Rajpal Singh Dr. Ajay Kumar Dr. Rishitosh Kumar Student Editors Ms. Aditi Sharma Mr. Rahul Prakash Ms. Rindana Rahasya Ms. Tara Sharma SUBSCRIPTION RATES Price India : Rs.200.00 Abroad : $ 5.00 per annum For enquiry, payment, book review, subscription etc please write to : The Editor, Vageeshwari, Journal of the Department of Music Faculty of Music and Fine Arts, University of Delhi Delhi-110007 All articles published in the Journal are the copyright of the Department of Music, Faculty of Music and Fine Arts, University of Delhi, Delhi and no part thereof may be reproduced without the prior permission of the Editor.
    [Show full text]
  • Bhartiya Tantuvadhya Kendra
    +91-8600496134 Bhartiya Tantuvadhya Kendra https://www.indiamart.com/bhartiya-tantuvadhmiraj/ Bhartiya Tantuvadhya Kendra was established in the year 1850. Bhartiya Tantuvadhya Kendra is the leading Manufacturer, Supplier of Indian Musical Instruments, Music Instruments and Sitar. Our organization is engaged in offering these instuments ... About Us Bhartiya Tantuvadhya Kendra was established in the year 1850. Bhartiya Tantuvadhya Kendra is the leading Manufacturer, Supplier of Indian Musical Instruments, Music Instruments and Sitar. Our organization is engaged in offering these instuments to all music lovers. The musical instruments offered by us is manufactured by the use of best grade material. Clients can avail from us an exceptional range of these products. These musical instruments are manufactured using qualitative raw material, which is sourced from established vendors. This percussion instrument is used for creating rhythm in Indian classical music and can be purchased from us at industry leading prices. For more information, please visit https://www.indiamart.com/bhartiya-tantuvadhmiraj/aboutus.html MUSICAL SITAR P r o d u c t s & S e r v i c e s Ravishankar Style Sitar Ustad Vilayat Khan Style Sitar Indian Sitar Indian Sitar INDIAN MUSICAL INSTRUMENTS P r o d u c t s & S e r v i c e s Simple Hemraj Tanpura Flat Tanpura Ustad Shahid Pervej Style Carving Sitar Sitar MUSIC INSTRUMENTS P r o d u c t s & S e r v i c e s Machined Flat Tanpura Decorative Tanpura Teak Wood Special Surbahar Dagar Style Tanpura MUSICAL INSTRUMENTS CASES
    [Show full text]