DOCSLIB.ORG

Vocal Light Music (66) Std

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

192 Vocal Light Music (66) Std. XI Introduction 3. Describe the life sketches of well known Music plays a very significant role in Musicians, Instrumentalists & National and State Board’s Art Education Musicologists Curriculum. Since there is a lot of scope to 4. List the guidelines for appreciation of develop the creativity of the students in Art Music Education, The curriculum of music would 5. Classify Musical Instruments of India into definitely help in developing the hidden various categories. qualities of the students. 6. Modern Musical Form Human life gets enriched due to Art 7. The importance of Music in everyday and that’s why Art has been given significance in social life. the curriculum. While restructuring the 8. Place of Music in education curriculum the students have been given the 9. The use of Modern Musical Aids in Music opportunities as per their age and interest and 10. Recognize Musical Notes. due to that his ability to express & stage daring 11. The Sing/play different Ragas would increase surely. The student would take 12. Write and recite Theka bols of Talas with pleasure after the study of each unit. They demonstration would do introspection. In this way only they 13. Write notation of Song and Talas would become professionals like artists, 14. sing/play different forms with Gayaki Anga teachers, accompanists etc. 15. Live stage performance (Majlis) with It is also possible to make use of music accompaniment – similarly in co-curricular activities. Self-study has a 1. To help for self-employment great importance in music and thus the 2. For realisation of rich heritage of curriculum also aims to inculcate the value and music importance of ‘RIYAZ’ in the students. 3. To inculcate moral values like unity, Objectives : equality, brotherhood etc. After completing the syllabus in ‘Indian 4. To co-relate for the teaching of other Music’, the students will come to know – subjects. 1. History and Development of Indian Music 5. Application of Music for 2. Vocal Light Music advertisements, industries etc. 3. Vocal Classical Music 'Indian Music' consists of the following Four 4. Instrumental Music Subject : The student will be able to 1) History and Development of Indian Music. 1. Define technical terms in Indian Music. (Theory) - 65 2. Differentiate between the characteristics 2) Vocal Light Music (Practical) - 66 of main school of Khyal 3) Vocal classical Music (Practical) - 67 singing 4) Instrumental Music (Practical) - 68 193 Choice of Subject : 2 Alankar 2.1. Shuddha Swaras i) Each of the four subjects mentioned above 3 Theory of under. 'Indian Music' is considered for Ragas 3.1 Yaman. 100 marks. 3.2 Durga ii) 'History and Development of Indian 3.3 Bhoopali Music' (Theory) shall be compulsory for 3.4 Bihag all students offering 'Indian Music' i.e. - 3.5 Bhimpalas. Practical Subjects 4 Theory of 4.1 Trital iii) The theory paper called 'History and Talas with 4.2 Ektal. Development of Indian Music' can be demonstration 4.3 Kerva. chosen independently. 4.4 Dadra. iv) But while choosing the Practical Papers 4.5 Dhumali. i.e. Vocal Light Music OR Vocal Classical 5 Presentation 5.1 Natya Geet Music OR instrumental Music, it is (Any Two) compulsory to take the subject called in following Ragas. 'History and develop of Indian Music'. 5.1.1 Bhoopali. v) Student can choose any one practical 5.1.2 Yaman subject from Three Practical Subjects. 5.1.3 Bihag (Vocal Light Music-66, Vocal Classical 5.1.4 Durga Music-67 and Instrumental Music-68). 5.1.5 Bhimpalas 6 Specific forms 6.1 Abhang (Any 2) Implementation of the Music Practical presentation 6.2 Bhavgeet (Any 2) Subjects 6.3 Group-Song (Any 2) 1. For Teaching a Music Practical Subjects 6.4 Folk Song (Any 1) (Sub.No.66, 67, 68). The maximum 6.5 Environment Song. number of students in one batch should be (Any 1) Twenty only. 7 Definition 7.1 Tala Anga - 2. For Vocal Light & Vocal Classical Music Technical terms (66, 67) there should be separate batches Sam, Kal, Matra, for boys and girls, based on the Natural Khand, Tali, Laya, Vocal Limitations. Avartan. 3. There should be six periods in a week 7.2 Raga Anga-Sangeet, (one period – every day) for all music Swara, practical subjects per batch. (Shuddha&Vikrit) Thaat, Aroha, Curriculum Avaroh, Vadi, S.No. Unit Sub.Unit Samvadi, Saptak, 1 Swara 1.1 Shuddha Swara Jati, Gansamay. 1.2 Vikrit Shwara 8 Presentation 8.1 Sargam (Any two) 194 in prescribed Raga. 4. Instrumental Music 9 Notation Sargam (Any one) The student will be able to in prescribed Raga. 1. Define Technical Terms in Indian Music. 10 Practical 2. Differentiate between the characteristics (Record Book) of main school of Khyal singing Vocal Light Music - Std. XII 3. Describe the life sketches of well known Musicians, Instrumentalists & Introduction Musicologists Music plays a very significant role in 4. List the guidelines for appreciation of National and State Board’s Art Education Music Curriculum. Since there is a lot of scope to 5. Classify Musical Instruments of India into develop the creativity of the students in Art various categories. Education. The curriculum of music would 6. Modern Musical Form definitely help in developing the hidden 7. The importance of Music in everyday and qualities of the students. social life. Human life gets enriched due to Art 8. Place of Music in education that’s why Art has been given significance in 9. The use of Modern Musical Aids in Music the curriculum. While restructuring the 10. Recognize Musical Notes. curriculum the students have been given the 11. The sing/play different Ragas opportunities as per their age and interest and 12. Write and recite Theka bols of Talas with due to that his ability to express & stage daring demonstration would increase surely. The student would take 13. Write notation of Song and Talas pleasure after the study of each unit. They 14. sing/play different forms with Gayaki Anga would do introspection. In this way they 15. Live stage performance (Majlis) with would become professionals like artists, accompaniment – similarly teachers, accompanists etc. 1. To help for self-employment It is also possible to make use of music 2. For realisation of rich heritage of in co-curricular activities. Self-study has a music great importance in music and thus the 3. To inculcate moral values like unity, curriculum also aims to inculcate the value and equality, brotherhood etc. importance of ‘RIYAZ’ in the students. 4. To co-relate for the teaching of other Objectives subjects. After completing the syllabus in ‘Indian 5. Application of Music for Music’, the students will come to know – advertisements, industries etc. 1. History and Development of Indian Music 'Indian Music' consists of the following Four 2. Vocal Light Music Subject : 3. Vocal Classical Music 1) History and Development of Indian Music. (Theory) - 65 195 2) Vocal Light Music (Practical) - 66 4.2 Roopak. 3) Vocal classical Music (Practical) - 67 4.3 Kawwali. 4) Instrumental Music (Practical) - 68 4.4 Zaptal.. Choice of Subject : 5 Presentation 5.1 Natya Geet i) Each of the four subjects mentioned above (Natya Geet of under. 'Indian Music' is considered for one dramatist one 100 marks. from A and B ii) 'History and Development of Indian Group) Music' (Theory) shall be compulsory for 5.1.1-A– K.P.Khadilkar. all students offering 'Indian Music' i.e. - R.G.Gadkari. Practical Subjects G.B.Deval. iii) The theory paper called 'History and Annasaheb Development of Indian Music' can be Kirloskar chosen independently. 5.1.2 -B-Vidyadhar iv) But while choosing the Practical Papers Gokhale. i.e. Vocal Light Music OR Vocal Classical V.V.Shirwadkar. Music OR instrumental Music, it is Purushottam compulsory to take the subject called Darvekar. 'History and develop of Indian Music'. Vasant Kanetkar. v) Student can choose any one practical 5.2 Gayaki. subject from Three Practical Subjects. 6 Presentation 6.1 To sing Sargam (Vocal Light Music-66, Vocal Classical with Aroh- Music-67 and Instrumental Music-68). Avaroh in prescribed Raga. Sr.No. Unit Sub.Unit (Any two) 1 Swara 1.1 Shuddha Swara 7 Specific forms 7.1 Group-Song 1.2 Vikrit Shwara presentation (One) 2 Alankar 2.1. Shuddha Swaras 7.2 Folk Song (One) 3 Theory of 3.1 Pilu. 8 National 8.1 Jan-gan-man. Ragas 3.2 Des. Anthem 8.2 Vande mataram. 3.3 Pahadi. 9 Definition- 9.1 Tal Anga – Sam, 3.4 Mand. Technical turms. Kal, Matra, 3.5 Kafi. Khand, Tali, 3.6 Khamaj Avartan, Laya. 3.7 Tilang. 9.2 Raga Anga – 3.8 Bhairavi. Sangeet, Shuddha 4 Theory & 4.1 All talas and Vikrit demonstration prescribal for swara, Thaat, of Talas. Std.XI. 196 Jati, Vadi, 10 Notation 10.1 Sargam Notation Samvadi, writing any one Ragas. Gan samay 10.2 Natya Geet- write 9.3 Gayaki Anga – the notation of Alap, Taan, any one Meend, Kan, Natyageet in Murki. prescribed Raga. 11 Practical (Record Book).
Recommended publications
  • Note Staff Symbol Carnatic Name Hindustani Name Chakra Sa C

    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.
  • Music) (Credit System)

    Music) (Credit System)

    Bharati Vidyapeeth Deemed University School of Performing Arts, Pune Semester Wise Detailed Chart of Syllabus of B.A. (Music) (Credit System) B.A. 1st Year (Music) Credits (Vocal / Instrumental / Percussion) Sem – 1st Two Language Papers 01 Credit each Theory Paper 02 Stage Performance 14 Viva 07 Sr. Subject Paper Syllabus no 1 Language (English) L11 Biography of Pt. Sapan Chaudhari, Padma Subramaniam, Pt. Shivkumar Sharma, Pt. Jasraj 2 Language (Marathi) L12 Biography Pt. Vishnu Digambar Paluskar 3 Theory (Music) (Vocal & T11 1. Notation System Instrumental) a) Concept of Notation and use (Notation System) b) History of Notation c) Bhatkhande and Paluskar Notation System 2. Concept and Definitions of Terms: Raga, That, Nad, Swara, Shruti, Awartan, Aroha, Awaroha, Swaralankar, Shuddha Swara, Komal Swara, Teewra Swara, That etc. 3. Old Concepts: Gram, Murchna etc. 4 Theory (Music) T12 1) Notation system (Taal Paddhatee) (Percussion) a) In North Indian Classical Style (Notation System) Bhatkhande and Paluskar styles of notation b) Karnataki system. 2) Writing of different taals 3) Notation writing of intricacies of developing Taal : like Kayda, Tukda, Paran, Tihai etc 4) Definition of terms: Taal, Matra, Khanda, Sam, Kaal, Theka 5 Viva (Music) (Vocal & V11 Information on Practical Syllabus Sem I Instrumental) Note – 1. Presentation of other Raga from syllabus.( Except the Raga sung / Played in stage performance) 2. Information of the Ragas mentioned in syllabus i.e. Aaroh – Avaroh, Swar, Varjya Swar, Vadi, Samvadi, Anuvadi, Vivadi, Jaati, Time of Singing Raga etc. 3. Names of the Raga similar to the Raga mentioned in syllabus. 4. Definition – Sangeet, Raag, Taal.. 5. Information of Taal Teentaal – i.e.
  • Fusion Without Confusion Raga Basics Indian

    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".
  • Modeling a Performance in Indian Classical Music: Multinomial

    Modeling a Performance in Indian Classical Music: Multinomial

    Archive of Cornell University e-library; arXiv:0809.3214v1[cs.SD][stat.AP]. http://arxiv.org/abs/0809.3214 A Statistical Approach to Modeling Indian Classical Music Performance 1Soubhik Chakraborty*, 2Sandeep Singh Solanki, 3Sayan Roy, 4Shivee Chauhan, 5Sanjaya Shankar Tripathy and 6Kartik Mahto 1Department of Applied Mathematics, BIT Mesra, Ranchi-835215, India 2, 3, 4, 5,6Department of Electronics and Communication Engineering, BIT Mesra, Ranchi-835215, India Email:[email protected](S.Chakraborty) [email protected] (S.S. Solanki) [email protected](S. Roy) [email protected](S. Chauhan) [email protected] (S.S.Tripathy) [email protected] *S. Chakraborty is the corresponding author (phone: +919835471223) Words make you think a thought. Music makes you feel a feeling. A song makes you feel a thought. -------- E. Y. Harburg (1898-1981) Abstract A raga is a melodic structure with fixed notes and a set of rules characterizing a certain mood endorsed through performance. By a vadi swar is meant that note which plays the most significant role in expressing the raga. A samvadi swar similarly is the second most significant note. However, the determination of their significance has an element of subjectivity and hence we are motivated to find some truths through an objective analysis. The paper proposes a probabilistic method of note detection and demonstrates how the relative frequency (relative number of occurrences of the pitch) of the more important notes stabilize far more quickly than that of others. In addition, a count for distinct transitory and similar looking non-transitory (fundamental) frequency movements (but possibly embedding distinct emotions!) between the notes is also taken depicting the varnalankars or musical ornaments decorating the notes and note sequences as rendered by the artist.
  • Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan

    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
  • NEW ENGLISH SCHOOL JUNIOR COLLEGE - VASAI Std

    NEW ENGLISH SCHOOL JUNIOR COLLEGE - VASAI Std

    Barve Education Society's NEW ENGLISH SCHOOL JUNIOR COLLEGE - VASAI Std. 11th Admission Registration List Year: [2021-22] As on: 23/08/2021 till 08:00 PM This list is only your Std. 11th Admission Registration List, not final Admission list. ही फ啍त तुमची 11 ळीची प्रळेऴ नⴂदणी यादी आहे, अतं तम प्रळेऴ यादी नाही. 1st-Merit List will be displayed on 26/8/2021 at 5:00 pm on our website. पहहऱी गुणळ配ता यादी हदनांक 26/8/2021 रोजी सं鵍याकाली 5:00 ळाजता आम楍या ळेबसाइटळर प्रद셍ऴति के ऱी जाईऱ. S.N. ARTS COMMERCE SCIENCE 1 Aastkar Rushikesh Kishor Aadavde Ninad Santosh Agnel Philips Nazareth 2 Admane Payal Somnath Aarya Anju Suresh Ahire Komal Krishna 3 Ahire Pallavi Rajendra Abhang Ishwari Shankar Alam Mohd. Rizwan Mohd. Riyaz 4 Akerkar Prajwal Prabhakar Adak Amayeo Susanta Ali Fareen Musafir Khatoon 5 Ansari Rajina Ahmad Adit Aditi Sanjay Almeida Nash Norbert 6 Aptekar Piyusha Yogesh Adlikar Akshay Tulshidas Ambhore Swati Sunil 7 Avasarmol Savita Narayan Adsul Priyanka Daulat Andher Ankita Jethu 8 Bade Daksh Rupesh Agavane Chinmay Chandrashekhar Arote Samiksha Santosh 9 Bajya Vishal Ghanshyam Agrahari Rohan Sunil Ayush Kumar Dhananjay Kumar 10 Bankol Akshat Krushna Agre Suraj Sakharam Bagul Rushikesh Dhanraj 11 Bankol Harshad Prabhakar Ahir Dipesh Sanjay Bais Thakur Kajal Ratansingh 12 Baraf Bhumika Ahire Pankaj Vinayak Bamne Pranali Suryakant 13 Bhavar Neha Dinesh Ambavane Harsh Rahul Bangera Dhrithi Krishna 14 Bhoir Aachal Laxman Amberkar Vaidehi Ramchandra Baranwal Hariom Rakesh 15 Bhoir Jay Kishor Ansari Aarzooobano Shabbir Ahamad Baranwal Nancy
  • Indian Traditional Grade 5

    Indian Traditional Grade 5

    Foreword Welcome to the Musicea Arts and Culture Council Musicea Arts and Culture Council is a non-profit educational institution incorporated as a Section 8 Company of the Indian Companies Act, 2013. The primary objective of incorporation is to prepare curriculum, offer examinations, create career and jobs, recognise, award and honour achievements and promote young candidates in the field of music, dance, theatre, language, arts and sports. Musicea Arts and Culture Council is a college of national and international educators sharing the common dream of creating a world-class institution based in India to meet the requirements, demands and provide solutions to students and teachers. Musicea Arts and Culture Council have been formed to deliver an international standard grade-based music education system along with designing the national framework of music education in India. Several innovative and path-breaking measures implemented by the college council make it inclusive, holistic, and apt for 21st-century music education. The pioneering measures have already transformed the lives of thousands of educators and students and it is playing an active role in building a strong nation by assisting millions of aspiring students and teachers. Several initiatives are in place to protect, serve, and empower the teachers and students including a pension reward benefit. Musicea Arts and Culture Council have set benchmarks in creating international standard curriculum, offering examination, and performance, and by providing support, service, empowerment, inclusivity, decentralisation, growth, opportunity, career, finance, earnings, livelihood, award, reward and honour to thousands of teachers and students. Member teachers and students receive a series of direct benefits, honour and advantages from the Musicea Arts and Culture Council.
  • The Sixth String of Vilayat Khan

    The Sixth String of Vilayat Khan

    Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration.
  • Sonic Performativity: Analysing Gender in North Indian Classical Vocal Music

    Sonic Performativity: Analysing Gender in North Indian Classical Vocal Music

    The University of Manchester Research Sonic Performativity: Analysing Gender in North Indian Classical Vocal Music DOI: 10.1080/17411912.2015.1082925 Document Version Accepted author manuscript Link to publication record in Manchester Research Explorer Citation for published version (APA): Alaghband-Zadeh, C. (2015). Sonic Performativity: Analysing Gender in North Indian Classical Vocal Music. Ethnomusicology Forum, 24(3), 349-379. https://doi.org/10.1080/17411912.2015.1082925 Published in: Ethnomusicology Forum Citing this paper Please note that where the full-text provided on Manchester Research Explorer is the Author Accepted Manuscript or Proof version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version. General rights Copyright and moral rights for the publications made accessible in the Research Explorer are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Takedown policy If you believe that this document breaches copyright please refer to the University of Manchester’s Takedown Procedures [http://man.ac.uk/04Y6Bo] or contact [email protected] providing relevant details, so we can investigate your claim. Download date:04. Oct. 2021 Sonic performativity: analysing gender in North Indian classical vocal music This is an Accepted Manuscript of an article published by Taylor and Francis in Ethnomusicology Forum (volume 24, issue 3) on 23/10/2015, available online: https://doi.org/10.1080/17411912.2015.1082925 Abstract Many aspects of contemporary North Indian classical vocal music are gendered: genres, improvisational techniques and even certain ornaments evoke gendered connotations for musicians and listeners.
  • Year 2017-18

    Year 2017-18

    Rayat Shikshan Sanstha's Radhabai Kale Mahila Mahavidyalaya, Ahmednagar Admission List for Reserved Category 2017-18 List of S.C. Students F.Y.B.Sc. A Sr.No. Roll No. Name Of The Student Caste Category 1 4001 Abhang Rutuja Mahendra Chambhar SC 2 4039 Gaikwad Nilesha Madhukar Mahar SC 3 4047 Jadhav Asha Bhau` Mahar SC 4 4048 Jadhav Janki Dattu Mang SC 5 4055 Khamkar Snehal Ramdas Chambhar SC 6 4084 Pawar Akanksha Rajendra Mang SC 7 4110 Shirsath Sonal Prakash Mahar SC 8 4112 Sonawane Sapana Sampat Mahar SC F.Y.B.Sc. B 9 5001 Bhadakwad Madhuri Sukhdev Mahar SC 10 5006 Jogdanda Pooja Ashok Mahar SC 11 5030 Pawar Ashwini Satish Mang SC F.Y.B.Com. 12 3001 Alhat Pratiksha Anil Mahar SC 13 3002 Alhat Reshma Subhash Mahar SC 14 3008 Bachate Pallavi Babasaheb Mahar SC 15 3028 Dethe Jyoshna Kacharu Mahar SC 16 3032 Dusange Rupali Eknath Chambhar SC 17 3036 Gaikwad Kalyani Sudhakar Mahar SC 18 3040 Gaikwad Shakuntala Kamalakar Mahar SC 19 3041 Gaikwad Vaishali Anil Mahar SC 20 3079 Pagare Mansi Vilas Mahar SC 21 3096 Sabale Sonali Barku Mahar SC 22 3098 Sakat Pooja Sunil Mang SC 23 3105 Saude Muskan Raju Mehetar SC 24 3116 Sunore Pooja Dhansing Chambhar SC 25 3126 Walmik Simran Ramesh Bhangi SC F.Y.B.A 26 1002 Alhat Prajakta Rohidas Mahar SC 27 1010 Bansode Arti Hariman Mahar SC 28 1020 Bundele Ragini Chinnulal Mochi SC 29 1021 Chandane Kajal Babasaheb Mang SC 30 1022 Chandane Tejashwini Mang SC 31 1023 Chandele Kajal Ranjit Bhangi SC 32 1024 Chavan Nikita Sham Balmiki SC 33 1025 Chavare Sonali Sudesh Bhangi SC 34 1026 Chhajalane Ashwini Pravin
  • 1. Could You Tell Us a Little Bit About Yourself? 2. Could You Tell Us a Little Bit About What You Do?

    1. Could You Tell Us a Little Bit About Yourself? 2. Could You Tell Us a Little Bit About What You Do?

    1. Could you tell us a little bit about yourself? 2. Could you tell us a little bit about what you do? For both questions above, please check my website: www.shemeem.com 3. Has Sufi music and Qawwali been part of your childhood? Did the place you grew up in have an influence on your interest in Qawwali? Sufism and Qawwali has been a part of my childhood as well as of my life. My mother’s family belong to the Suhrawardy and Qadiriyya order of Sufis such as Hazrat Bahauddin Zakaria of Multan and Rukunuddin Shah Alam. We also have a connection with Hazrat Shams-e Tabriz, the great Sufi master who was mentor to Maulana Rumi of Konya. I’ve been exposed to musical traditions from my father’s side who was a connoisseur of classical music and played the tabla well. My father’s family trace descent from Ziya’al Din Barani (1285-1361). Barani’s history of the Delhi sultanate in the thirteenth and fourteenth centuries is a major source to study the Muslim ethnomusicology of the time, especially the study of Amir Khusrau, the founder of the qawwali tradition in India. As such the qaul, “mun kunto maula fa Ali un maula” with which traditional classical qawwali is initiated is attributed to Amir Khusrau. I grew up in East Pakistan in the early 1950s which at that time had a strong musical tradition because of its interfaith communities of Muslims, Hindus, Buddhists, Christians and other faiths, until it got taken over by orthodoxy and militarism.
  • NEW ENGLISH SCHOOL JUNIOR COLLEGE - VASAI Std

    NEW ENGLISH SCHOOL JUNIOR COLLEGE - VASAI Std

    Barve Education Society's NEW ENGLISH SCHOOL JUNIOR COLLEGE - VASAI Std. 11th Admission Registration List Year: [2021-22] As on: 20/08/2021 till 09:00 PM This list is only your Std. 11th Admission Registration List, not final Admission list. ही फ啍त तुमची 11 ळीची प्रळेऴ नⴂदणी यादी आहे, अतं तम प्रळेऴ यादी नाही. We will display Merit List and time table for admissions shortly on our website. आ륍ही ऱळकरच आम楍या ळेबसाइटळर प्रळेऴासाठी गुणळ配ता यादी आणण ळेलापत्रक प्रदर्ऴति क셂. S.N. ARTS COMMERCE SCIENCE 1 Admane Payal Somnath Aadavde Ninad Santosh Agnel Philips Nazareth 2 Ahire Pallavi Rajendra Aarya Anju Suresh Ahire Komal Krishna 3 Akerkar Prajwal Prabhakar Abhang Ishwari Shankar Alam Mohd. Rizwan Mohd. Riyaz 4 Ansari Rajina Ahmad Adak Amayeo Susanta Ali Fareen Musafir Khatoon 5 Aptekar Piyusha Yogesh Adit Aditi Sanjay Almeida Nash Norbert 6 Avasarmol Savita Narayan Adlikar Akshay Tulshidas Ambhore Swati Sunil 7 Bade Daksh Rupesh agavane Chinmay Chandrashekhar Andher Ankita Jethu 8 Bajya Vishal Ghanshyam Agrahari Rohan Sunil Arote Samiksha Santosh 9 Bankol Akshat Krushna Agre Suraj Sakharam Ayush Kumar Dhananjay Kumar 10 Bankol Harshad Prabhakar Ahir Dipesh Sanjay Bagul Rushikesh Dhanraj 11 Bhavar Neha Dinesh Ahire Pankaj Vinayak Bais Thakur Kajal Ratansingh 12 Bhoir Jay Kishor AMBAVANE HARSH RAHUL Bangera Dhrithi Krishna 13 Bhoir Aachal Laxman Amberkar Vaidehi Ramchandra Baranwal Hariom Rakesh 14 Bhoir Kalpana Dipak Ansari Aarzooobano Shabbir Ahamad Baranwal Nancy Satish 15 Bhoir Kunal Krushna Ansari Gulam Kamar Reja Baraskar Sayali Ajit 16