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Syllabus for Post Graduate Programme in Music
1 Appendix to U.O.No.Acad/C1/13058/2020, dated 10.12.2020 KANNUR UNIVERSITY SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: MA MUSIC DEPARTMENT OF MUSIC KANNUR UNIVERSITY SWAMI ANANDA THEERTHA CAMPUS EDAT PO, PAYYANUR PIN: 670327 2 SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: M A (MUSIC) ABOUT THE DEPARTMENT. The Department of Music, Kannur University was established in 2002. Department offers MA Music programme and PhD. So far 17 batches of students have passed out from this Department. This Department is the only institution offering PG programme in Music in Malabar area of Kerala. The Department is functioning at Swami Ananda Theertha Campus, Kannur University, Edat, Payyanur. The Department has a well-equipped library with more than 1800 books and subscription to over 10 Journals on Music. We have gooddigital collection of recordings of well-known musicians. The Department also possesses variety of musical instruments such as Tambura, Veena, Violin, Mridangam, Key board, Harmonium etc. The Department is active in the research of various facets of music. So far 7 scholars have been awarded Ph D and two Ph D thesis are under evaluation. Department of Music conducts Seminars, Lecture programmes and Music concerts. Department of Music has conducted seminars and workshops in collaboration with Indira Gandhi National Centre for the Arts-New Delhi, All India Radio, Zonal Cultural Centre under the Ministry of Culture, Government of India, and Folklore Academy, Kannur. -
Jagdish Prasad Sunil Kumar
+91-9811192425 Jagdish Prasad Sunil Kumar https://www.indiamart.com/jpskmusicalstore/ Founded in 1965, Jagdish Prasad Sunil Kumar is the foremost manufacturer, wholesaler and supplier of Tabla Musical Instruments, Naal Drums and Shruti Box. About Us Founded in 1965, Jagdish Prasad Sunil Kumar is the foremost manufacturer, wholesaler and supplier of Tabla Musical Instruments, Harmonium Musical Instrument, Dhol Musical Instrument, Dholak Musical Instrument, Swarmandal Musical Instruments, Santur Musical Instruments, Tanpura Musical Instruments, Khanjari Musical Instruments, Electronic Banjos, Pakhawaj Drums, Djembe Drums, Khol Drums, Naal Drums and Shruti Box. Our products are extremely well-liked owing to their top features and nominal prices. These products are made by professional’s team employing the advanced techniques and best quality material, which is bought from trustworthy sellers of market. Professionals manufacture these products as per universal industry parameters. Being a customer’s centric organization, professionals also make these products according our client’s requirements and necessities. Due to huge distribution network, fair business polices and quality-centric approach, we have gained trust of our patrons. Apart from, we work under the leadership of our mentor Ashish Verma. Under his supervision our firm has attained heights of success. We also provide many facilities to the patrons to put their demands forward and get them solve timely and as per their requirements. For more information, please visit https://www.indiamart.com/jpskmusicalstore/profile.html -
Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan
Table of Contents From the Publications & Outreach Committee ..................................... Lakshmi Radhakrishnan ............ 1 From the President’s Desk ...................................................................... Balaji Raghothaman .................. 2 Connect with SRUTI ............................................................................................................................ 4 SRUTI at 30 – Some reflections…………………………………. ........... Mani, Dinakar, Uma & Balaji .. 5 A Mellifluous Ode to Devi by Sikkil Gurucharan & Anil Srinivasan… .. Kamakshi Mallikarjun ............. 11 Concert – Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan ..... 14 A Grand Violin Trio Concert ................................................................... Sneha Ramesh Mani ................ 16 What is in a raga’s identity – label or the notes?? ................................... P. Swaminathan ...................... 18 Saayujya by T.M.Krishna & Priyadarsini Govind ................................... Toni Shapiro-Phim .................. 20 And the Oscar goes to …… Kaapi – Bombay Jayashree Concert .......... P. Sivakumar ......................... 24 Saarangi – Harsh Narayan ...................................................................... Allyn Miner ........................... 26 Lec-Dem on Bharat Ratna MS Subbulakshmi by RK Shriramkumar .... Prabhakar Chitrapu ................ 28 Bala Bhavam – Bharatanatyam by Rumya Venkateshwaran ................. Roopa Nayak ......................... 33 Dr. M. Balamurali -
Hindu Music in Bangkok: the Om Uma Devi Shiva Band
Volume 22, 2021 – Journal of Urban Culture Research Hindu Music In Bangkok: The Om Uma Devi Shiva Band Kumkom Pornprasit+ (Thailand) Abstract This research focuses on the Om Uma Devi Shiva, a Hindu band in Bangkok, which was founded by a group of acquainted Hindu Indian musicians living in Thailand. The band of seven musicians earns a living by performing ritual music in Bangkok and other provinces. Ram Kumar acts as the band’s manager, instructor and song composer. The instruments utilized in the band are the dholak drum, tabla drum, harmonium and cymbals. The members of Om Uma Devi Shiva band learned their musical knowledge from their ancestors along with music gurus in India. In order to pass on this knowledge to future generations they have set up music courses for both Indian and Thai youths. The Om Uma Devi Shiva band is an example of how to maintain and present one’s original cultural identity in a new social context. Keywords: Hindu Music, Om Uma Devi Shiva Band, Hindu Indian, Bangkok Music + Kumkom Pornprasit, Professor, Faculty of Fine and Applied Arts, Chulalongkorn University, Thailand. email: [email protected]. Received 6/3/21 – Revised 6/5/21 – Accepted 6/6/21 Volume 22, 2021 – Journal of Urban Culture Research Hindu Music In Bangkok… | 218 Introduction Bangkok is a metropolitan area in which people of different ethnic groups live together, weaving together their diverse ways of life. Hindu Indians, considered an important ethnic minority in Bangkok, came to settle in Bangkok during the late 18 century A.D. to early 19 century A.D. -
The Journal of the Music Academy Madras Devoted to the Advancement of the Science and Art of Music
The Journal of Music Academy Madras ISSN. 0970-3101 Publication by THE MUSIC ACADEMY MADRAS Sangita Sampradaya Pradarsini of Subbarama Dikshitar (Tamil) Part I, II & III each 150.00 Part – IV 50.00 Part – V 180.00 The Journal Sangita Sampradaya Pradarsini of Subbarama Dikshitar of (English) Volume – I 750.00 Volume – II 900.00 The Music Academy Madras Volume – III 900.00 Devoted to the Advancement of the Science and Art of Music Volume – IV 650.00 Volume – V 750.00 Vol. 89 2018 Appendix (A & B) Veena Seshannavin Uruppadigal (in Tamil) 250.00 ŸÊ„¢U fl‚ÊÁ◊ flÒ∑ȧá∆U Ÿ ÿÊÁªNÔUŒÿ ⁄UflÊÒ– Ragas of Sangita Saramrta – T.V. Subba Rao & ◊jQÊ— ÿòÊ ªÊÿÁãà ÃòÊ ÁÃDÊÁ◊ ŸÊ⁄UŒH Dr. S.R. Janakiraman (in English) 50.00 “I dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun; Lakshana Gitas – Dr. S.R. Janakiraman 50.00 (but) where my Bhaktas sing, there be I, Narada !” Narada Bhakti Sutra The Chaturdandi Prakasika of Venkatamakhin 50.00 (Sanskrit Text with supplement) E Krishna Iyer Centenary Issue 25.00 Professor Sambamoorthy, the Visionary Musicologist 150.00 By Brahma EDITOR Sriram V. Raga Lakshanangal – Dr. S.R. Janakiraman (in Tamil) Volume – I, II & III each 150.00 VOL. 89 – 2018 VOL. COMPUPRINT • 2811 6768 Published by N. Murali on behalf The Music Academy Madras at New No. 168, TTK Road, Royapettah, Chennai 600 014 and Printed by N. Subramanian at Sudarsan Graphics Offset Press, 14, Neelakanta Metha Street, T. Nagar, Chennai 600 014. Editor : V. Sriram. THE MUSIC ACADEMY MADRAS ISSN. -
The Wrestler's Body: Identity and Ideology in North India
The Wrestler’s Body Identity and Ideology in North India Joseph S. Alter UNIVERSITY OF CALIFORNIA PRESS Berkeley · Los Angeles · Oxford © 1992 The Regents of the University of California For my parents Robert Copley Alter Mary Ellen Stewart Alter Preferred Citation: Alter, Joseph S. The Wrestler's Body: Identity and Ideology in North India. Berkeley: University of California Press, c1992 1992. http://ark.cdlib.org/ark:/13030/ft6n39p104/ 2 Contents • Note on Translation • Preface • 1. Search and Research • 2. The Akhara: Where Earth Is Turned Into Gold • 3. Gurus and Chelas: The Alchemy of Discipleship • 4. The Patron and the Wrestler • 5. The Discipline of the Wrestler’s Body • 6. Nag Panchami: Snakes, Sex, and Semen • 7. Wrestling Tournaments and the Body’s Recreation • 8. Hanuman: Shakti, Bhakti, and Brahmacharya • 9. The Sannyasi and the Wrestler • 10. Utopian Somatics and Nationalist Discourse • 11. The Individual Re-Formed • Plates • The Nature of Wrestling Nationalism • Glossary 3 Note on Translation I have made every effort to ensure that the translation of material from Hindi to English is as accurate as possible. All translations are my own. In citing classical Sanskrit texts I have referenced the chapter and verse of the original source and have also cited the secondary source of the translated material. All other citations are quoted verbatim even when the English usage is idiosyncratic and not consistent with the prose style or spelling conventions employed in the main text. A translation of single words or short phrases appears in the first instance of use and sometimes again if the same word or phrase is used subsequently much later in the text. -
Beyond Créolité and Coolitude, the Indian on the Plantation: Recreolization in the Transoceanic Frame
Middle Atlantic Review of Latin American Studies, 2020 Vol. 4, No. 2, 174-193 Beyond Créolité and Coolitude, the Indian on the Plantation: Recreolization in the Transoceanic Frame Ananya Jahanara Kabir Kings College London [email protected] This essay explores the ways in which Caribbean artists of Indian heritage memorialize the transformation of Caribbean history, demography, and lifeways through the arrival of their ancestors, and their transformation, in turn, by this new space. Identifying for this purpose an iconic figure that I term “the Indian on the Plantation,” I demonstrate how the influential theories of Caribbean identity-formation that serve as useful starting points for explicating the play of memory and identity that shapes Indo-Caribbean artistic praxis—coolitude (as coined by Mauritian author Khal Torabully) and créolité (as most influentially articulated by the Martinican trio of Jean Barnabé, Patrick Chamoiseau, and Raphaël Confiant)—are nevertheless constrained by certain discursive limitations. Unpacking these limitations, I offer instead evidence from curatorial and quotidian realms in Guadeloupe as a lens through which to assess an emergent artistic practice that cuts across Francophone and Anglophone constituencies to occupy the Caribbean Plantation while privileging signifiers of an Indic heritage. Reading these attempts as examples of decreolization that actually suggest an ongoing and unpredictable recreolization of culture, I situate this apparent paradox within a transoceanic heuristic frame that brings -
Facility Usage Application Form
Hindu Community and Cultural Center 1232 Arrowhead Ave, Livermore, CA 94551 A Non-Profit Organization since 1977 Tax ID# 94-2427126; Inc# D0821589 Shiva-Vishnu Temple Tel: 925-449-6255; Fax: 925-455-0404 Om Namah Shivaya Om Namo Narayanaya Web: http://www.livermoretemple.org FACILITY USAGE AGREEMENT Serial Number ________ User’s Name: _________________________________________________________ Address: _____________________________________________________________ Contact Phone and email id: _____________________________________________ Event Hall to be used*: __________________________________________________ Event Room to be used*: _________________________________________________ *see event hall and event rooms usage schedule (Page 2 of 4) Event date: ___________________ Event time: ___________________ Nature of event: ______________________________ Number of guests expected: _____ This agreement is executed at Livermore, CA on the ____________ day of _________________20____ between the Hindu Community & Cultural Center (hereafter referred to as HCCC), a California Non-Profit organization located at 1232 Arrowhead Avenue, Livermore, CA 94550-6963 and the User with contact address as noted above. IT IS UNDERSTOOD AND AGREED THAT NO RESERVATION, CONFIRMED OR OTHERWISE SHALL BE BINDING ON THE HCCC UNLESS THIS AGREEMENT FORM IS SIGNED BY HCCC AND USER AND THE AMOUNTS REQUIRED HEREIN ARE RECEIVED IN FULL. THE HCCC RESERVES THE RIGHT TO DECLINE THE USAGE OF ITS FACILITIES TO ANYONE. It is agreed between the parties hereto as follows: CONTRACTED USABLE AREA: The HCCC hereby provides the User the facility, per the terms and conditions mentioned hereunder. In consideration of the permission given to the User, the User agrees and undertakes to accept the use of the Event Hall/Kitchen/Event Room of HCCC which is situated at 1200-1232 Arrowhead Avenue, in the city of Livermore, County of Alameda, California. -
Bpa Music (Veena)
UNIVERSITY OF KERALA COURSE STRUCTURE AND SYLLABI FOR BACHELOR OF PERFORMING ARTS DEGREE IN MUSIC (VEENA) BPA MUSIC (VEENA) Career related First Degree Programme UNDER FACULTY OF FINE ARTS CHOICE BASED-CREDIT-SYSTEM (CBCS) As per Schedule 2(a) of the CBCS Regulations Outcome Based Teaching, Learning and Evaluation (2021 Admissions onwards) Programme Outcome The scheme and syllabus covered will lead the learner to the essence of the subject in graduate level and also help them to acquire knowledge with the up- to-date demands of the field of music. This curriculum ensures the continuous training in the practical as well as the theoretical aspects of music. It also aims a strong foundation of music to the learners which enable them to apply it in the advanced mode of learning. After transacting various modules of the programme, the learner will be able to- Identify the outcome-oriented approach in the curriculum Observe the theoretical as well as practical areas of music which were included in the curriculum Adapt multi-cultural competence Acquire disciplinary knowledge in music Interpret music and musicology Apply the theoretical aspect in practical music Identify the structure of the musical forms Demonstrate ragas, talas and musical forms Differentiate ragas and apply improvisation Perform music with accompaniments 2 General Structure for the Career related Degree Programme of Bachelor of Performing Arts in Music – BPA Music (VEENA) BPA Music-Work and Credit Distribution Sem Course title Instructional Credit Ety. Evaluation Total . No hours/week Exam (in Marks) credit duration Internal Uty. P L Marks exam EN:1111.3 Eng Lang –I 5 3 3 hours 20 80 SK:1111.3 Additional Language – I (Sanskrit) 5 3 3 hours 20 80 VE:1121 Foundation Course-I (Core) (Theory) 5 3 3 hours 20 80 16 I VE:1171 Vocational Course-I 1hr/Can 5 3 80 (Practical) d 20 MU:1131. -
Sruti Notes a Publication of SRUTI - the India Music & Dance Society E-Mail: [email protected] Volume 16, Issue 2
Sruti Notes A Publication of SRUTI - The India Music & Dance Society www.sruti.org E-mail: [email protected] Volume 16, Issue 2, Board of Directors President’s Note President Dear Indian Classical Music and Dance Rasikas: Ravi Pillutla Greetings! Hope you enjoyed an India-like summer in Philadelphia as the board is gearing President-Elect Sunanda Gandham up to present to you a very exciting lineup of concerts in the fall. This year, Indian classical music mourns the loss of music stalwarts Pt. Ravishankar, Sri Lalgudi Jayaraman, MS Go- Treasurer palakrishnan and Maha Guru Sri Pinakapani. We are going to miss them dearly, and their Venkat Kilambi contributions to the art will be cherished by generations to come. Secretary The 2013 spring season was a phenomenal success, starting with the Thyagaraja Ara- Madhavi Ratnagiri dhana in April, featuring an American born young musician in Ramakrishnan Murthy, fol- lowed by an exquisite dance performance featuring the contrasting styles of Odissi and Directors Kandyan by Nrithyagram and the Srilankan dancers. Sri Malladi Suribabu's workshop on Ramana Kanumalla manodhrama sangeetham, varnam and kritis in the Pinakapani style and a vocal concert Suresh Tyagarajan by the upcoming Kunnakudi Balamurali Krishna kept us busy in the remainder of April. In Nari Narayanan May and June, we had the fortune of presenting a lively performance of the Malladi broth- Uma Sivakumar ers with a memorable RTP in charukesi followed by a lilting performance by the Mandolin Sundar Arunapuram duo of Shrinivas & Rajesh to wrap up the spring season. We were overwhelmed by the number of families that came forward to sponsor the 2013 events. -
Cultural Programmes Held in Jails During the Year 2018
Additional Table – 64 Cultural Programmes held in jails during the year 2018 Andhra Pradesh On 26-01-2018 i.e. Republic Day all the prisons of the state celebrated the day in which sports and essay writing competition were conducted and distributed prizes to the participants. Conducted different cultural activities with the female prison inmates in Women Jails. Conducted Dance and Singing Competitions on the occasion of International Women’s Day on 08-03-2018 in which eminent members of the Community were invited. On 2nd October all the prisons of the state conducted different cultural programmes like dance programmes, singing competition, debates on different topics and conducted rangoli competitions and also skits programmes by the inmates was conducted. On 15-08-2018 i.e. Independence Day celebration conducted in all the prisons. Arunachal Pradesh Inspirational Songs/musical programme were conducted in the prisons of the state. Assam Bihu Holi, Durga Puja, Kali Puja, Eid, Bhagabat path, Kirton Path, Nam Kirton, X-mas, Bhaona, Evening prayer, Republic day, Independence Day, Assamese songs etc. were celebrated in all the prisons of the state. Bihar Cultural programme on the occasion of Independence Day & Republic day were organized in year 2018. Spiritual and Meditational programme were conducted by James institution and during cultural programme blankets were distributed among prisoners. Music Competition, Singing & Dancing programme by prisoners were organized on eve of Independence Day, Republic day, Holi and Dussehra. Bhajan, kirtan, dance and drama were held at the occasion of national festivals and other festive time. One music hall containing one keyboard, one Electronic pad with sound system, one ZOZ set, one Guitar, one Banjo, one Harmonium, one Table with Duggi, one Naal, Two Big Dholak, one Duffle, Ten Pairs of Jhall, one mouth organ, six jhika, one pair tabla etc. -
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).