Ragmala: a Re-Appraisal in Context of Sri Guru Granth Sahib
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Master of Performing Arts (Vocal & Instrumental)
MASTER OF PERFORMING ARTS (VOCAL & INSTRUMENTAL) I SEMESTER Course - 101 (Applied Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To critically appreciate a music concert. 2. To understand and compare the ragas and talas prescribed for practical’s. 3. To write compositions in the prescribed notation system. 4. To introduce students to staff notation. Course Content:- I. Theoretical study of Ragas and Talas prescribed for practical and their comparative study wherever possible. II. Reading and writing of Notations of compositions Alap, Taan etc. in the Ragas and Talas with prescribed Laykraries. III. Elementary Knowledge of Staff Notation. IV. Critical appreciation of Music concert. Bibliographies:- a. Dr. Bahulkar, S. Kalashastra Visharad (Vol. 1 - 4 ). Mumbai:: Sanskar Prakashan. b. Dr. Sharma, M. Music India. A. B. H. Publishing Hoouse. c. Dr. Vasant. Sangeet Visharad. Hatras:: Sangeet Karyalaya. d. Rajopadhyay, V. Sangeet Shastra. Akhil Bhartiya Gandharva Vidhyalaya e. Rathod, B. Thumri. Jaipur:: University Book House Pvt. Ltd. f. Shivpuji, G. Lay Shastra. Bhopal: Madhya Pradesh Hindi Granth. Course - 102 (General Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To study Aesthetics in Music. 2. To appreciate the aesthetic aspects of different forms of music. Course Content:- I. Definition of Aesthetics and its Application in Music. II. Aesthetical principles of Different Haran’s. III. Aesthetical aspects of different forms of Music. a. Dhrupad, Dhamar, Khayal, Thumri, Tappa etc. IV. Merits and demerits of vocalist. Bibliographies:- a. Bosanquet, B. (2001). The concept of Aesthetics. New Delhi: Sethi Publishing Company. b. Dr. Bahulkar, S. Kalashastra Visharad (Vol. -
Ma Gurmat Sangeet
M.A. GURMAT SANGEET PART - II SEMESTER - III (2017-2018) Paper I HISTORICAL PERSPECTIVE OF GURMAT SANGEET Time: 3 hrs. Max. Marks : 75 Internal Assessment : 25 Marks Pass Marks : 35 % Assessment Test : 15 Total Teaching Hours : 75 Attendance : 10 INSTRUCTIONS FOR THE PAPER-SETTER AND THE CANDIDATES The question paper will consist of three sections A, B & C. Sections A & B will have 5 questions of 8 marks each from the respective sections of the syllabus and acandidates are required to attempt three questions from each section. Section C will consist of 9 short answer type questions of 3 marks each, which will cover the entire syllabus uniformly. Students are required to attempt all questionos of Section C. Section - A 1. Evolution and Development of Gurmat Sangeet during a) Guru Nanak period b) Guru Angad Dev to Guru Arjan Dev period c) Guru Hargobind to Guru Gobind Singh period 2. Taksaal tradition of Gurmat Sangeet with reference to a) Damdami taksaal b) Jawaddi Taksaal 3. Contribution of Rabaabi tradition in Gurmat Sangeet. Section – B 1. Historical development of Kirtan Chauki tradition a) Upto Guru Arjan Dev period. b) Tradition of Sri Harimandir Sahib 2. Analytical study of basic sources of Gurmat Sangeet with reference to a) Sri Guru Granth Sahib b) Panth Parkaash 3. Contribution of different scholars towards Gurmat Sangeet with special reference to the 19th century. BOOKS PRESCRIBED 1 Gurmat Sangeet : Vibhin Pripekh, Gurnam Singh (Dr.) (Editor), Punjabi University Patiala, 1995 2. Gurmat Sangeet : Prabandh te Pasaar Gurnam Singh (Dr.), Punjabi University, Patiala. 2012 3. Gurmat Sangeet da Sangeet Vigyan, Varinder Kaur (Dr.), Amarjit Sahit Parkashan, Patiala 2005 4. -
The Rich Heritage of Dhrupad Sangeet in Pushtimarg On
Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda ||Shree DwaDwarrrrkeshokesho Jayati|| || Shree Vallabhadhish Vijayate || The Rich Heritage Of Dhrupad Sangeet in Pushtimarg on www.vallabhkankroli.org Reference : 8th Year Text Book of Pushtimargiya Patrachaar by Shree Vakpati Foundation - Baroda Inspiration: PPG 108 Shree Vrajeshkumar Maharajshri - Kankroli PPG 108 Shree Vagishkumar Bawashri - Kankroli Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda Contents Meaning of Sangeet ........................................................................................................................... 4 Naad, Shruti and Swar ....................................................................................................................... 4 Definition of Raga.............................................................................................................................. 5 Rules for Defining Ragas................................................................................................................... 6 The Defining Elements in the Raga................................................................................................... 7 Vadi, Samvadi, Anuvadi, Vivadi [ Sonant, Consonant, Assonant, Dissonant] ................................ 8 Aroha, avaroha [Ascending, Descending] ......................................................................................... 8 Twelve Swaras of the Octave ........................................................................................................... -
THEORY FY Paper I - History of Music 70 MARKS (70 Marks External + 30 Marks Internal)
BPA MUSIC (Hindustani Vocal / Sitar/Tabla) THEORY FY Paper I - History of Music 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1. Origin of music 14 2. History and development of music from vedic period to present era. 14 3. Comparative study between Hindustani Karnataka Sangeet Paddhti 14 and taal paddhati 4. Brief life sketch & contribution of 14 a. Pt. Vishnu Narayan Bhatkhande b. Pt. Vishnu Digambar Paluskar c. Pt. Omkarnath Thakur 5. History of Gharana with [Basic Introduction]. 14 Paper II - Principles of Music 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1. Technical terms : Sanget, Saptak, Ashtak, Mandra, Madhya, Taar, Shuddh, Vikrut, Chal-Achal, Varna, Alankaar, Purvang, Uttarang, Sthayi, Antara. 14 Short Notes: Naad, Swar, Shruti, Raag, Raag-Jaati, Alaap, Taan, Vaadi, Samvaadi, Anuvaadi, Vivaadi, Varjit, That Alankar, Pakad, Aaron Avroh Gram-Murchhana, Taal, Sam, Matra, Khali, Bhari, Avartana, Laya, Theka, Principles of raag formation 2. Classification of musical instruments and introduction of parts. 14 3. Types of taanas 14 4. Description of ragas and taals under practical study and their comparative study wherever possible. 14 5. Reading and writing of notations of bandish and layakaris of prescribed taals (1/2, ¼) 14 BPA MUSIC, DANCE, DRAMA (COMMON) THEORY FY Paper III – Indian Culture 35 MARKS (35 Marks External + 15 Marks Internal) Unit-1 (1) Concept of culture and civilization. Ancient Indian culture and its evolution 7 (2) Indus valley civilization. Art as an important facet of Indian culture from Indian Valley up to the 21st century. 7 (3) Division of Vedas 7 (4) Buddhism and Jainism, Mauryan India, Gupta period, Medieval Mysticism 7 (5) Indian culture as reflected in Maha Kavyas 7 BPA MUSIC, DANCE, DRAMA (COMMON) THEORY FY Paper IV – English 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1. -
Know Your Heritage Introductory Essays on Primary Sources of Sikhism
KNOW YOUR HERIGAGE INTRODUCTORY ESSAYS ON PRIMARY SOURCES OF SIKHISM INSTITUTE OF S IKH S TUDIES , C HANDIGARH KNOW YOUR HERITAGE INTRODUCTORY ESSAYS ON PRIMARY SOURCES OF SIKHISM Dr Dharam Singh Prof Kulwant Singh INSTITUTE OF S IKH S TUDIES CHANDIGARH Know Your Heritage – Introductory Essays on Primary Sikh Sources by Prof Dharam Singh & Prof Kulwant Singh ISBN: 81-85815-39-9 All rights are reserved First Edition: 2017 Copies: 1100 Price: Rs. 400/- Published by Institute of Sikh Studies Gurdwara Singh Sabha, Kanthala, Indl Area Phase II Chandigarh -160 002 (India). Printed at Adarsh Publication, Sector 92, Mohali Contents Foreword – Dr Kirpal Singh 7 Introduction 9 Sri Guru Granth Sahib – Dr Dharam Singh 33 Vars and Kabit Swiyyas of Bhai Gurdas – Prof Kulwant Singh 72 Janamsakhis Literature – Prof Kulwant Singh 109 Sri Gur Sobha – Prof Kulwant Singh 138 Gurbilas Literature – Dr Dharam Singh 173 Bansavalinama Dasan Patshahian Ka – Dr Dharam Singh 209 Mehma Prakash – Dr Dharam Singh 233 Sri Gur Panth Parkash – Prof Kulwant Singh 257 Sri Gur Partap Suraj Granth – Prof Kulwant Singh 288 Rehatnamas – Dr Dharam Singh 305 Know your Heritage 6 Know your Heritage FOREWORD Despite the widespread sweep of globalization making the entire world a global village, its different constituent countries and nations continue to retain, follow and promote their respective religious, cultural and civilizational heritage. Each one of them endeavours to preserve their distinctive identity and take pains to imbibe and inculcate its religio- cultural attributes in their younger generations, so that they continue to remain firmly attached to their roots even while assimilating the modern technology’s influence and peripheral lifestyle mannerisms of the new age. -
Essence of Rajasthani Miniature: Ragamala Painting
ISSN 2319-5339 IISUniv.J.A. Vol.3(1), 115-124 (2014) Essence of Rajasthani Miniature: Ragamala Painting Bhoomika Dwivedi and Madan Singh Rathore There is a connection between the various elements of nature and the human conscience which consequently leads to the creation of all phenomenal Arts. It is the similar approach and nature that creates accordance between the different streams of Arts. Through the common motif of expression of emotions and sentiments, all distinctive forms of arts result in ecstasy and blissfulness. Mysterious music and sounds are always present in nature, like the chirping of birds and the falling cascade. Similarly, we may consider rainbow as the most sublime form of painting noticed in the vicinity of nature. Music and painting have been the medium of worship and pleasure since the ancient times as both of them spring out of the deepest corner of the heart and soul. It is not just music which contains rhythm, it is also, metaphorically, an inherent aspect of painting. If music is a balanced mixture of tone and rhythm, painting contains a proportional harmony of color and lining to achieve an entirety. According to Vishnudharmottara Purana: fcuk rq u‘R; 'kkL=s fp=lw=e~ lqnqfoZne~ A To learn painting, one needs to have an understanding of music, and this was noticed in the 11th Century which emphasized on music education in order to learn painting. Painting also follows the belief of the 3 Lokas (Worlds) just like the art of dancing, which is reiterated in the Vishnudharmottara Purana again as: ;Fkk u‘Rrs rFkk fp=S =SYkksD;kuqd‘fr% Le‘rk%AA In India, it has been a tradition of Puranas to concretize an abstract form. -
Guru.Granth.Sahib.Speaks.Volume.06.Ego.By.Surinder.Singh.Kohli
~~ l./CJH ~~" ~ H': 'l, l/or 226) Wben the Ego is effaced, The highest spiritual state is attained. (Gauri M. 1, p. 226) CONTENTS • Foreword 7 • The Concept of Ego 9 • An Elucidation of the Hymn of Guru Nanak Dev on Ego in 'Asa Di Var' 14 • Ego and Self 24 • Fate of the Egoist 29 • Mythological Instances of Egoists 39 • The Position and Status of those with Ego and without Ego 58 • Two Opposites-Ego and Name 69 • Various Facets of Ego mentioned in Gum Granth Sahib 82 FOREWORD This is the Fifth Book in "GURU GRANTII SAHIB SPEAKS" series. The earlier four books already published in order are Death and After, Naam, Attributes ofGod (Hari Gun) and God's Will (Hukm). While writing this book on Ego, I experienced great difficulty in proceeding further because of the scanty material available on the subject. The titles of various chapters were chalked out on various quotations, hence some of the quotations had to be repeated keeping in view the significance of the subject-matter. However by the Grace of the Lord and True Guru, the work has been completed satisfactorily. I am confident that the Sikhs liVing abroad will make use of the books of the series, not only going through them themselves, but also encouraging their children to be benefitted by this series. It is the wish of the author that our next generation should have the required knowledge about our Scripture Le. Guru Granth Sahib. I take pleasure in expressing my gratitude to the publishers for fully co operating with me in bringing out the books in the series for the benefit of the community at a good speed. -
Diploma in Gurmat Sangeet
DIPLOMA IN GURMAT SANGEET ACADEMIC POLICY/ORDINANCES Objectives of the Course : An Online initiative by Gurmat Sangeet Chair - Department of Gurmat Sangeet, Punjabi University, Patiala to disseminate the message of Sikh Gurus through Gurmukhi, Gurmat Studies and Gurmat Sangeet at global level. Duration of the Course : Two Semester Eligibility : The candidate must have passed Certificate Course in Gurmat Sangeet in the same stream Medium of Instruction : English & Punjabi Medium of Examination : English & Punjabi Fees for the Course : On admission in the course a candidate shall have to pay Admission fees (including Examination Fee) as given below Admission Fee : 300US$ (15,000/- INR) upto 30th June st With Late Fee 350US$ (17,500/- INR) upto 31 July With Late Fee 450US$ (22,500/- INR) and with the st special permission of Vice Chancellor upto 31 August SCHEME OF THE COURSE FOR SPRING SEMESTER Compulsory/ Papers Paper Code Title of the Papers Elective Compulsory Paper I DGS 301 Historical Study of Sikhism Papers Paper III DGS 302 Gurbani Santhya DGS 303 Musicology of Gurmat Sangeet Vocal Tradition Elective Paper II DGS 304 Musicology of Gurmat Sangeet String Instrumental Tradition Papers DGS 305 Musicology of Gurmat Sangeet Percussion Instrumental Tradition (Jorhi/Tabla) DGS 306 Stage Performance of Shabad Keertan Elective Paper IV DGS 307 Stage Performance of String Instruments Papers DGS 308 Stage Performance of Percussion Instrumental (Jorhi/Tabla) 1 HISTORICAL STUDY OF SIKHISM (Paper I - DGS 301) 1. Contribution of Ten Guru in Propagation of Sikhism 2. Contributors of Bhai Mardana ji, Baaba Budha ji, Bhai Gurdas ji, and Bhai Nand lal ji in Sikh History. -
MUSIC (Lkaxhr) 1. the Sound Used for Music Is Technically Known As (A) Anahat Nada (B) Rava (C) Ahat Nada (D) All of the Above
MUSIC (Lkaxhr) 1. The sound used for music is technically known as (a) Anahat nada (b) Rava (c) Ahat nada (d) All of the above 2. Experiment ‘Sarna Chatushtai’ was done to prove (a) Swara (b) Gram (c) Moorchhana (d) Shruti 3. How many Grams are mentioned by Bharat ? (a) Three (b) Two (c) Four (d) One 4. What are Udatt-Anudatt ? (a) Giti (b) Raga (c) Jati (d) Swara 5. Who defined the Raga for the first time ? (a) Bharat (b) Matang (c) Sharangdeva (d) Narad 6. For which ‘Jhumra Tala’ is used ? (a) Khyal (b) Tappa (c) Dhrupad (d) Thumri 7. Which pair of tala has similar number of Beats and Vibhagas ? (a) Jhaptala – Sultala (b) Adachartala – Deepchandi (c) Kaharva – Dadra (d) Teentala – Jattala 8. What layakari is made when one cycle of Jhaptala is played in to one cycle of Kaharva tala ? (a) Aad (b) Kuaad (c) Biaad (d) Tigun 9. How many leger lines are there in Staff notation ? (a) Five (b) Three (c) Seven (d) Six 10. How many beats are there in Dhruv Tala of Tisra Jati in Carnatak Tala System ? (a) Thirteen (b) Ten (c) Nine (d) Eleven 11. From which matra (beat) Maseetkhani Gat starts ? (a) Seventh (b) Ninth (c) Thirteenth (d) Twelfth Series-A 2 SPU-12 1. ? (a) (b) (c) (d) 2. ‘ ’ ? (a) (b) (c) (d) 3. ? (a) (b) (c) (d) 4. - ? (a) (b) (c) (d) 5. ? (a) (b) (c) (d) 6. ‘ ’ ? (a) (b) (c) (d) 7. ? (a) – (b) – (c) – (d) – 8. ? (a) (b) (c) (d) 9. ? (a) (b) (c) (d) 10. -
Guru Granth Sahib
Guru Granth Sahib Guru Granth Sahib (Punjabi (Gurmukhi): ਗੁਰੂ ਗ੍ਰੰਥ 1 History ਸਾਹਿਬ ਜੀ (Gurū Gra°th Sāhib Jī), Punjabi pronunciation: [ɡʊɾu ɡɾəntʰ sɑhɪb], /ˈɡʊəruː ɡrɑːnθ səˈhɪb/) is the cen- tral religious scripture of Sikhism, regarded by Sikhs as During the guruship of Guru Nanak, collections of his the final, sovereign and eternal living Guru following the hymns were compiled and sent to distant Sikh communi- lineage of the ten human Gurus of the religion.[1] The Adi ties for use in morning and evening prayers.[16] His suc- Granth, the first rendition, was compiled by the fifth Sikh cessor, Guru Angad, began collecting his predecessor’s Guru, Guru Arjan (1563–1606). Guru Gobind Singh, the writings. This tradition was continued by the third and tenth Sikh Guru, did not add any of his own hymns; how- fifth gurus as well. ever, he added all 115 hymns of Guru Tegh Bahadur, the When the fifth guru, Guru Arjan, was collecting the writ- ninth Sikh Guru, to the Adi Granth and affirmed the text ings of his predecessor, he discovered that pretenders to [2] as his successor. This second rendition became known the guruship were releasing what he considered as forged [3] as Guru Granth Sahib. After Guru Gobind Singh died, anthologies of the previous guru’s writings and including Baba Deep Singh and Bhai Mani Singh prepared many their own writings alongside them.[17] In order to prevent [4] copies of the work for distribution. spurious scriptures from gaining legitimacy, Guru Arjan The text consists of 1430 Angs (pages) and 6,000 śabads began compiling a sacred book for the Sikh community. -
And Guru Gobind Singh (AD 1666-1708)
A Complete Introduction by Dr. H.S. Singha Former Chairman CBSE and Satwant Kaur A-78 Naralna Indl. Area^ Phase-1, New Delhi-110028 © Hemkunt Press 1994 First Published 1994 ISBN 81-7010-245-6 Hemkunt Books on Sikhism The Story of Guru Nanak The Story of Guru Goblnd Singh Biography of Guru Nanak The Story of Maharaja Ranjit Singh Being a Sikh Stories from the Sikh History Book I-VII Sikh Studies Stories about the Sikh Gurus I- Stories about the Sikh Heroes Sikhism-A Complete Introduction Japji Hymns from Guru Granth Sahib Hymns from the Dasam Granth Introduction to Sikhism Mini Encyclopaedia of Sikhism The Sikh Religion and the Sikh People Philosophy, Facts and Fundamentals of Sikh Religion PREFACE It is quite paradoxical but true that religions which should generate love many times become a cause of hatred; religions which should promote peace in the world have resulted in most of the killings and war in history; and religions which should unify society have ended up in dividing humanity. This curious riddle is because a particular religion is not clearly understood by the followers of other religions and is sometimes misinterpreted by its own followers. We believe that all religions are basically good and paths to the same ultimate goal. They must be clearly understood, appreciated and, more than anything else, tolerated, for a man has a right to go to “heaven" in his own way. We do not believe in the complete negation of religion. As Einstein has said even science without religion is lame. This book is aimed as a comprehensive introduction to Sikhism both for the Sikhs and non-Sikhs. -
Btfsbt It Is a Hlbtorloal Fact That Wiienerer Dharma Deos^B And
BTTRCDUOTTON IHK jmSTQSB m > PX.AH 0? THl! BTfSBt lRlZrod£C^,J.SSarla It is a hlBtorloal faCt that wiienerer dharma deos^B and adharma flourl8h«t» great leaders of thought and aCtion appear on the horizon In reeponce to the demande of time In order to re-establieh the rule of dharma* t India's oonfrontation with Islam began some time^ in the tenth Century. By the beginning of thirteenth century Islam started asserting itself as an aCtive soCio-religious creed baCked by politiCal authority and military forCe and by beginning of fifteenth century it had already made in-roads into Class struCtured and caste-ridden Hindu soCiety. The elenents which were foreign to Indian faith had node ingress into Hindus belonging to lower Castes* Conversion to Islam of indigenous population under Coercion and ruthless poliCies of the oonquerors was a normal feature. So muCh sot that they tTanted to administer all human affairs under the religious Codes and laws based on bigotry and prejudiCe. They sentenced qaints of the other persuation to death in the name of divine religious laws. They Came« not as Conquerors but enemies and the faCe of Indian history was narred (11) with theee euppreeslve forCesf for it wae not the pollCiee but the institution^ which were nathlesely oppreeeed, Man lived in a system without taking part in its deCisions and soCiety itself gave In because there was inner deCay, for reasons more than one* evidenCe being soCiety itself. Subjugation to invaders, deaoralisation owing to absence of soCial justiCe, praCtiCe of Inequality, disCrimination on grounds of religion, laCk of value for human difpiity and absence of reverence for human personality Created a deterior ated and divided soCiety.