FOLK SONG Notes a Garhwali
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Economic Impact of the Recorded Music Industry in India September 2019
Economic impact of the recorded music industry in India September 2019 Economic impact of the recorded music industry in India Contents Foreword by IMI 04 Foreword by Deloitte India 05 Glossary 06 Executive summary 08 Indian recorded music industry: Size and growth 11 Indian music’s place in the world: Punching below its weight 13 An introduction to economic impact: The amplification effect 14 Indian recorded music industry: First order impact 17 “Formal” partner industries: Powered by music 18 TV broadcasting 18 FM radio 20 Live events 21 Films 22 Audio streaming OTT 24 Summary of impact at formal partner industries 25 Informal usage of music: The invisible hand 26 A peek into brass bands 27 Typical brass band structure 28 Revenue model 28 A glimpse into the lives of band members 30 Challenges faced by brass bands 31 Deep connection with music 31 Impact beyond the numbers: Counts, but cannot be counted 32 Challenges faced by the industry: Hurdles to growth 35 Way forward: Laying the foundation for growth 40 Conclusive remarks: Unlocking the amplification effect of music 45 Acknowledgements 48 03 Economic impact of the recorded music industry in India Foreword by IMI CIRCA 2019: the story of the recorded Nusrat Fateh Ali-Khan, Noor Jehan, Abida “I know you may not music industry would be that of David Parveen, Runa Laila, and, of course, the powering Goliath. The supercharged INR iconic Radio Ceylon. Shifts in technology neglect me, but it may 1,068 crore recorded music industry in and outdated legislation have meant be too late by the time India provides high-octane: that the recorded music industries in a. -
Categorization of Stringed Instruments with Multifractal Detrended Fluctuation Analysis
CATEGORIZATION OF STRINGED INSTRUMENTS WITH MULTIFRACTAL DETRENDED FLUCTUATION ANALYSIS Archi Banerjee*, Shankha Sanyal, Tarit Guhathakurata, Ranjan Sengupta and Dipak Ghosh Sir C.V. Raman Centre for Physics and Music Jadavpur University, Kolkata: 700032 *[email protected] * Corresponding Author ABSTRACT Categorization is crucial for content description in archiving of music signals. On many occasions, human brain fails to classify the instruments properly just by listening to their sounds which is evident from the human response data collected during our experiment. Some previous attempts to categorize several musical instruments using various linear analysis methods required a number of parameters to be determined. In this work, we attempted to categorize a number of string instruments according to their mode of playing using latest-state-of-the-art robust non-linear methods. For this, 30 second sound signals of 26 different string instruments from all over the world were analyzed with the help of non linear multifractal analysis (MFDFA) technique. The spectral width obtained from the MFDFA method gives an estimate of the complexity of the signal. From the variation of spectral width, we observed distinct clustering among the string instruments according to their mode of playing. Also there is an indication that similarity in the structural configuration of the instruments is playing a major role in the clustering of their spectral width. The observations and implications are discussed in detail. Keywords: String Instruments, Categorization, Fractal Analysis, MFDFA, Spectral Width INTRODUCTION Classification is one of the processes involved in audio content description. Audio signals can be classified according to miscellaneous criteria viz. speech, music, sound effects (or noises). -
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. -
List of Empanelled Artist
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ -
Landscaping India: from Colony to Postcolony
Syracuse University SURFACE English - Dissertations College of Arts and Sciences 8-2013 Landscaping India: From Colony to Postcolony Sandeep Banerjee Follow this and additional works at: https://surface.syr.edu/eng_etd Part of the English Language and Literature Commons, Geography Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Banerjee, Sandeep, "Landscaping India: From Colony to Postcolony" (2013). English - Dissertations. 65. https://surface.syr.edu/eng_etd/65 This Dissertation is brought to you for free and open access by the College of Arts and Sciences at SURFACE. It has been accepted for inclusion in English - Dissertations by an authorized administrator of SURFACE. For more information, please contact [email protected]. ABSTRACT Landscaping India investigates the use of landscapes in colonial and anti-colonial representations of India from the mid-nineteenth to the early-twentieth centuries. It examines literary and cultural texts in addition to, and along with, “non-literary” documents such as departmental and census reports published by the British Indian government, popular geography texts and text-books, travel guides, private journals, and newspaper reportage to develop a wider interpretative context for literary and cultural analysis of colonialism in South Asia. Drawing of materialist theorizations of “landscape” developed in the disciplines of geography, literary and cultural studies, and art history, Landscaping India examines the colonial landscape as a product of colonial hegemony, as well as a process of constructing, maintaining and challenging it. In so doing, it illuminates the conditions of possibility for, and the historico-geographical processes that structure, the production of the Indian nation. -
International Journal of Current Advan Urnal of Current Advanced Research
International Journal of Current Advanced Research ISSN: O: 2319-6475, ISSN: P: 2319-6505, Impact Factor: 6.614 Available Online at www.journalijcar.org Volume 8; Issue 11 (A); November 2019; Page No.20401-20402 DOI: http://dx.doi.org/10.24327/ijcar.2019.20402.3984 Research Article VARIATIONS IN TRANSLATIONS: VANDE MATARAM Debopam Raha Department English, Achhruram Memorial College, Jhalda, West Bengal, India ARTICLE INFO ABSTRACT Article History: Bengali novelist Bankim Chandra Chattopadhyay composed the song Vande Mataram Received 24th August, 2019 which was included in his famous novel Ananda Math. The song became inspiration for Received in revised form 19th generations of freedom fighters and the utterance “Vande Mataram” became a popular September, 2019 slogan and mantra among them. After independence the song was accepted as the National Accepted 25th October, 2019 Song. Different translators at different points of time have translated the song into English. Published online 28th November, 2019 Among these translations most common is by Aurobindo Ghosh or Sri Aurobindo, the freedom fighter turned spiritual leader. There is an anonymous translation which has later Key words: been incorporated by Basanta Koomar Roy in his translation of Ananda Math. More recently, Julius J. Lipner, a half-Czech and half-Indian Professor of Hinduism and the Aurobindo Ghosh, Basanta Koomar Roy, Julius Comparative Study of Religion, University of Cambridge, has translated the song as part of J. Lipner, Translation, Vande Mataram. his translation of the novel Ananda Math published last year from OUP. Done in different periods of political history, by translators of different identities and different objectives, these translations share similarities and differences. -
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 -
MUSIC Hindustani
The Maharaja Sayajirao University of Baroda, Vadodara Ph. D Entrance Tet (PET) SYLLABUS Subject: MUSIC PET ExamCode : 21 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 -1- 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. -2- 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. -
Seva Utsava 2017 ¸ÉêÁ Gvàìªà 2017 National High School Grounds, Basavanagudi December 31, 2016 to January 2, 2017 Seva Utsava 2017
C C ॥ सुजलाम् सुफलाम् मातरम् वंदॆ॥ Seva Utsava 2017 ¸ÉêÁ GvÀìªÀ 2017 National High School Grounds, Basavanagudi December 31, 2016 to January 2, 2017 Seva Utsava 2017 Highlights of Utsava Namaste ! Adamya Chetana Seva Utsava is back… bigger, greener and more ecofriendly Q ‘Kalaam-Salaam' an Exhibition showcasing missile man than ever. Celebrating the essence of learning, creativity, patriotism and knowledge. Dr. APJ Abdul Kalam's contribution in the fields of Welcoming the New Year like never before ! Full of zeal, zest and enthusiasm Defence, Space & Aeronautics. HAL, ISRO, BEL, NAL and all DRDO labs will participate in this with their ADAMYA CHETANA - A BRIEF INTRODUCTION models, charts and live demos Adamya Chetana is a charitable organization working in the field of education with Q Thousands will sing Vande Mataram on 1st January, 2017 Anna - Akshara - Arogya (Food - Education - Health) as its core intervention areas Q Under the patronage of Shri AnanthKumar, Honorable Member of Parliament [Bengaluru Sujalaam Suphalaam Mataram Vande — Theme based South] and Union Cabinet Minister. Everyday around two lakh school-children are being Exhibition served midday meals everyday through five community kitchens established in Bengaluru, Q Exquisite cultural programmes by well-known artists Hubballi-Dharwad, Kalaburgi, Harihar and Jodhpur (Rajasthan). Through these centers, Q Adamya Chetana has the distinction of serving over 43 Crore Midday meals till date. The cultural feast on 31st will continue till 12.00 Adamya Chetana has been instrumental in initiating various projects such as midnight followed by Veda Ghosha and Oath for the new F Mid day meals project (hot and nutritious meals to around 2 lakh children everyday) year. -
Introduction to India and South Asia
Professor Benjamin R. Siegel Lecture, Fall 2018 History Department, Boston University T, Th, 12:30-1:45, CAS B20 [email protected] Office Hours: T: 11:00-12:15 Office: Room 205, 226 Bay State Road Th: 11:00-12:15, 2:00-3:15 & by appt. HI234: Introduction to India and South Asia Course Description It is easy to think of the Indian subcontinent, home of nearly 1.7 billion people, as a region only now moving into the global limelight, propelled by remarkable growth against a backdrop of enduring poverty, and dramatic contestations over civil society. Yet since antiquity, South Asia has been one of the world’s most dynamic crossroads, a place where cultures met and exchanged ideas, goods, and populations. The region was the site of the most prolonged and intensive colonial encounter in the form of Britain’s Indian empire, and Indian individuals and ideas entered into long conversations with counterparts in Europe, the Middle East, East and Southeast Asia, and elsewhere. Since India’s independence and partition into two countries in 1947, the region has struggled to overcome poverty, disease, ethnic strife and political conflict. Its three major countries – India, Pakistan, and Bangladesh – have undertaken three distinct experiments in democracy with three radically divergent outcomes. Those countries’ large, important diaspora populations and others have played important roles in these nation’s development, even as the larger world grows more aware of how important South Asia remains, and will become. 1 HI 234 – Course Essentials This BU Hub course is a survey of South Asian history from antiquity to the present, focusing on the ideas, encounters, and exchanges that have formed this dynamic region. -
Tagore, the Home and the World
Rabindranath Tagore’s Ghare Baire (Bengali, 1915) / The Home and the World (1919) EN123, Modern World Literatures Lecture: Week 1, Term 2 Dr. Divya Rao ([email protected]) Rabindranath Tagore (1861-1941) • Man of Letters, Nobel Prize (1913) • Modernist | Humanist | Internationalist • Viswa Bharati University (1921) – a radical experiment in education • Benevolent Paternalist: elite, upper-caste, upper-class Bengali family; landed gentry that combined traditional zamindari (‘landlordism’) with modern education and progressive ideals and politics • Renounced knighthood in the aftermath of the Jallianwala Bagh Massacre (1919) The Indian Empire in 1907. From Charles Joppen, Historical Atlas of India for the Use of High Schools, Colleges, & Private Students (London, Longmans, Green & Co., 1907), No. 26. [Source: Wikipedia] Partition of Bengal in 1905. The western part (Bengal) gained parts of Odisha, the eastern part (Eastern Bengal and Assam) regained Assam that had been made a separate province in 1874 Historical Context • 1905, Lord Curzon’s Partition of Bengal (‘divide and rule’) • The crystallisation of Hindu- Muslim communal division: which sets off a series of major historical repercussions thereafter (and felt even today) • 1905-1908: Swadeshi movement—sees both reformists and revolutionaries; moderates and extremists • Boycott of foreign goods; emphasis on economic self- reliance The Home and the World (‘Ghare Baire’) • 1915-1916: appears in the serialised form in avant- garde journal Sabuj Patra (‘Green Leaves’) • 1919: translated into English by Tagore’s nephew (in consultation with Tagore) Surendranath Tagore • Intersections of: Home | Nation | World with that of Tradition | Modernity • Colloquial Cholito-bhasha (‘running language’) preferred to Sanskritised Sadhu-bhasha (‘uptight language’) Influences on the Novel • Auguste Comte (1798-1857): French philosopher and social scientist; formulated the doctrine of positivism. -
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).