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Siddheshwari Devi Final Edit Rev 1
Siddheshwari Devi – The Queen of Thumri1 by Aditi Desai Kashi, Benares or Varanasi; the ancient spiritual centre of Hindustan, famous for its Ganga, its temples and ghats, pandits and pandas, had another more sensual side in its graceful yet throbbing sub-culture of music and dance. There was a time when for every devotee going to a temple to propitiate the gods there was another who, chewing his delicately flavoured paan, 1 Edited, updated and rewritten version based on: Original article written by Aditi Desai for The India Magazine, Aug. 1981, No. 9 would be strolling towards some singer’s or dancer’s house. In the Benares sunset, the sound of temple bells intermingled with the soul stirring sounds of a bhajan, a thumri, a kajri, a chaiti, a hori. And accompanying these were the melodious sounds of the sarangi or flute and the ghunghroos on the beat of the tabla that quickened the heartbeat. So great was the city’s preoccupation with music, that a distinctive style of classical music, rooted in the local folk culture, emerged and was embodied in the Benaras Gharana ( school or a distinctive style of music originating in a family tradition or lineage that can be traced to an instructor or region). A few miles from Benares, there is a village called Torvan, which appears to be like any other Thakur Brahmin village of that region. But there is a difference. This village had a few families belonging to the Gandharva Jati, a group whose traditional occupation was music and its allied arts. Amongst Gandharvas, it was the men who went out to perform while the women stayed behind. -
Music Initiative Jka Peer - Reviewed Journal of Music
VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc. -
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. -
The Melodic Power of Thumri by : INVC Team Published on : 16 Sep, 2018 05:32 AM IST
The melodic power of thumri By : INVC Team Published On : 16 Sep, 2018 05:32 AM IST INVC NEWS New Delhi , Delhi government’s Sahitya Kala Parishad kick started their eighth edition of Thumri Festival- a celebration of light classical music, on 14th September 2018 (Friday) at Kamani Auditorium. The 3 day musical event was inaugurated by the chief guest Sh. Rajendra Pal Gautam, Hon’ble Minister for Social Welfare, Govt. Of NCT of Delhi. The evening began with the performance of critically acclaimed Indian classical singer Padmaja Chakraborty, who sang Khamaj Thumri in Jat taal, Tappa in Raga Kafi and Kajri in Raag Mishra Pilu in Keherwa taal. The second performance was by the renowned vocalist and doyen of Kirana Gharana - Sri Jayateerth Mevundi. The classical singer, known for the ease and felicity of his singing style, mesmerized the audience with Raag Tilang Thumri, kafi Thumri, Jogiya Thumri, and Raag Pahadi in different raag and tal. The evening was culminated with a power packed performance by Shubha Mudgal who performed on Bol Banau Thumri and Bandish ki Thumri in which she sang rare types of Thumri for the audience. This musical fare is designed to showcase veteran Thumri singers along with the upcoming young talents who will share the space and light up the evening with their performances. About thumri : Thumri is a beautiful blend of Hindustani classical music with traits of folk literature. Thumri holds a history of over 500 years in Hindustani Classical music. Thumri used to be sung in the royal kingdoms and palaces and its background originates from Varanasi, Gwalior and Awadh were they used to be Thumri vocalists in the royal courts. -
Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music
Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music Chloe Zadeh PART I: IMPROVISATION, STRUCTURE AND FORMULAS IN NORTH INDIAN CLASSICAL MUSIC usicians, musicologists and teenage backpackers alike speak of “improvisation” in M modern-day Indian classical music.1 Musicians use the term to draw attention to differences between different portions of a performance, distinguishing between the “composition” of a particular performance (in vocal music, a short melody, setting a couple of lines of lyrics) and the rest of the performance, which involves musical material that is different in each performance and that musicians often claim to have made up on the spur of the moment.2 In their article “Improvisation in Iranian and Indian music,” Richard Widdess and Laudan Nooshin draw attention to modern-day Indian terminology which reflects a conceptual distinction between improvised and pre-composed sections of a performance (2006, 2–4). The concept of improvisation has also been central to Western imaginings of North Indian classical music in the twentieth century. John Napier has discussed the long history of Western descriptions of Indian music as “improvised” or “extemporized,” which he dates back to the work of Fox Strangways in 1914. He points out the importance the concept took on, for example, in the way in which Indian music was introduced to mainstream Western audiences in the 1960s; he notes that the belief that the performance of Indian music 1 I am very grateful to Richard Widdess and Peter Manuel for their comments on draft versions of this article. 2 The relationship between those parts of the performance that musicians label the “composition” and the rest of the performance is actually slightly more complicated than this; throughout, a performance of North Indian classical music is normally punctuated by a refrain, or mukhra, which is a part of the composition. -
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 -
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. -
Social Attitude Towards Theatre Actresses in 19 Century Bengal
www.ijird.com February, 2016 Vol 5 Issue 3 ISSN 2278 – 0211 (Online) Social Attitude towards Theatre Actresses in 19 th Century Bengal Dr. Sushmita Sengupta Assistant Professor, Department of History, Baruipur College, West Bengal, India Abstract: The 19 th century the ‘age of reasons and reform’ in Bengal saw the question of the theatre actress come to the forefront. With the gradual introduction of the female actress on the stage, they became the figure head on whom the ambivalences and contradictions of the age was manifested. The colonial government had set out to ‘civilize’ the ‘barbaric’ India. The performing artists who had a close association with the courtesan class became the target of the colonizers. Theatre activity was first undertaken by the newly educated Bengali middleclass, who shared the same view of their colonial masters regarding the theatre actresses. The first generation of Bengali actresses remained marginalized in the theatre space. Socially stigmatized and exploited on and off stage, these theatre actresses remained a pawn in the whole set of rules formed by the urban educated middleclass society. Keywords: Reason, reform, theatre, actress, colonial, government, intelligentsia, marginalized. Since time immemorial art and culture has been an inseparable aspect of human life. Art in all its forms has preserved the culture and social system of a particular period or era. The visual arts like “natya” have had a direct contact with the minds of the viewers and the impact of such media on the human mind has been like a photo imprint. So whatever the artist has visually created on the stage has influenced the mind and worked slowly and diligently to change the attitudes and habits of the society. -
Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema" (2011)
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1-1-2011 Performing Marginal Identities: Understanding the Cultural Significance of awaT 'if and Rudali Through the Language of the Body in South Asian Cinema Lise Danielle Hurlstone Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Hurlstone, Lise Danielle, "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema" (2011). Dissertations and Theses. Paper 154. https://doi.org/10.15760/etd.154 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Performing Marginal Identities: Understanding the Cultural Significance of Tawa‟if and Rudali Through the Language of the Body in South Asian Cinema by Lise Danielle Hurlstone A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Communication Thesis Committee: Priya Kapoor, Chair Charlotte Schell Clare Wilkinson-Weber Portland State University ©2011 Abstract This thesis examines the representation of the lives and performances of tawa‟if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. -
During the Lockdown and Beyond
June 2020 ON Stagevolume 9 • issue 11 CULTURE AT ALL TIMES During the lockdown and beyond Chairman’s Note he NCPA team, now scattered around dierent locations in Mumbai, T France, the U.K., etc., are hard at work, exchanging ideas via the internet and through the marvels of communication open to us. The aim is to primarily keep all our associates safe, to evolve ever-changing strategies due to the uncertain future we are facing, and to nally encourage our ingenuity to emerge wiser and savvier than when we dealt with normal challenges. NCPA@home is proving popular, but we still have some distance to go to be of the standard we are striving for. Various ideas are being tested to make audiences inside, outside, and at distances experience as far as possible the “real thing”, and the solutions we hope to arrive at will make us a richer and wiser organisation. The plan to reach out to various parts of the city has been welcomed. Our ocial authorities have been helpful and encouraging us to use all means to bring our unique blend of oerings to the public once the right moment arrives. Sadly, our major productions like The Merry Widow are postponed and our income from various activities will be drastically reduced. Our colleagues and sta have risen to the occasion with remarkable co-operation, and we hope all of you will join us in a grand thank-you event at the appropriate time. In the meantime, dear members and our loyal public, do stand shoulder to shoulder with us. -
List of Selected Junior Candidates and Their Research Topic for the Year 2018-2019
List of Selected Junior Candidates and their Research Topic for the Year 2018-2019 S.No. Name & Address File no. Field Project Title Email Enrolment No Sub Field 1. Ms. Meghana Sardar Kenjale CCRT/JF- Classical The Fundamental concepts of 345, Shukrawar peth, Kenjale building 3rd floor 3/01/2020 Music Dhrupad in Dagarbani Maharashtra District Pune 411002 JF20195909 Hindustani Mobile-9822372468 (Vocal) [email protected] 2. Ms. Shikha Srivastav CCRT/JF- Classical Sangeet K Pramukh Pracheen Lalit Tewari, Sector-C, B-73 Mhanagar, Near 3/02/2020 Music Granthon Ka Adhdhyan Tatha Channilal Chouraha, Lucknow Uttar Pradesh- 226001 JF20196216 Hindustani Vartman Pariprekhsya Mein Mobile-8840824538 (Vocal) Upadeyta [email protected] 3. Ms.Krishna chaudhary CCRT/JF- Classical Research In Music E-1202, Express Zenith Society, Sector 77 3/03/2020 Music Gautam Buddha Nagar Uttar Pradesh – 201301 JF20196600 Hindustani Mobile-9953021995 (Vocal) [email protected] 4. Ms. Anuradha Raturi CCRT/JF- Classical Tantragama Philosophy Of C/O Mr. Ashish Kumar Jaiswal B 15/60 3/04/2020 Music Nada: Indian Classical Music faridpura Opposite Gouriya Math Sonarpura JF20197020 Hindustani Perspective Varanasi Uttar Pradesh 221001 (Vocal) Mobile-9045868756 [email protected] 5. Shri Sambuddha Chatterjee CCRT/JF- Classical Ime Theory Of Hindustani 19, Kali Temple Road, Nimta, Kolkata 24 3/05/2020 Music Raga Paraganas North Tehsil-Barrackpur-ll Village- JF20196844 Hindustani Muragachha(CT) West Bengal-700049 (Vocal) Mobile-8697069313 [email protected] 6. Shri Aranyakumar Munenni CCRT/JF- Classical Wolf Tone Management In C/o Hebsur Bldg 6th Cross, Kalyan Nagar 3/06/2020 Music Dilruba & Esraj Instruments Dharwad Karnataka, 580007 JF20195983 Hindustani Mobile-9911521311 (Instru.) [email protected] 7. -
Nautch’ to the Star-Status of Muslim Women of Hindustani Cinema
Imperial Journal of Interdisciplinary Research (IJIR) Vol-2, Issue-7, 2016 ISSN: 2454-1362, http://www.onlinejournal.in A Journey from the Colonial Stigma of ‘Nautch’ To the Star-Status of Muslim Women of Hindustani Cinema Ayesha Arfeen Research Scholar, CSSS/SSS, J.N.U, New Delhi Abstract : This paper tries to explore and indulge Pran Nevile maintains that while the Mughal India into the debate of how the yesteryears tawaifs were saw the advent of the nautch girl on the cultural reduced to mere prostitutes and hence the stigma landscape of the country and her rise to the pinnacle of glory, the annexation by the British of attached to them in the colonial period and how Awadh (1856) in the north and Tanjore (1855) in with the post-colonial period, the stigma is erased the south - the two dominant centres of Indian art by the rising to fame of Muslim actresses of and culture - foreshadowed her decline and fall. Hindustani film industry. This paper turns out to be Pran Nevile, who himself hails from India (British a comparative study of the ‘nautch’ girls as India) surprises me when he uses the term ‘nautch’ portrayed by the British and their downfall on one in the above statement, for the larger than life hand; and the Muslim doyens of Hindustani cinema ‘tawaifs’ of North India. as stars on the other. The tawaifs were professional women performing artists who functioned between the nineteenth and Keywords: Muslim Women, Star Status, Muslim early twentieth century in north India. The word Actresses, Stardom, Hindustani Cinema, Film ‘tawaif’ is believed to have come from the Persian Stars, Nautch, Tawaif tawaif of circumambulation of the kaaba and refers to her movement around the mehfil space, the circle INTRODUCTION.