DOCSLIB.ORG

Semiosis in Hindustani Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Semiosis in Hindustani Music Semiosis in Hindustani Music JOSE LUIZ MARTINEZ MOTILAL BANARSIDASS PUBLISHERS PRIVATE LIMITED • DELHI Contents Foreword by Prof. Lewis Rowell xi Preface xiii Acknowledgements xvii Abbreviations xix The Signification of Indian Music 1 I On Musicology, Ethnomusicology, Musical Semiotics and Epistemology 1.1 (Ethno)Musicology and Musical Meaning 7 1.2Some Theories of Musical Semiotics 20 1.3 The Place of Music in Peirce's Classification of the Sciences ....40 II A Peircean Semiotic Theory of Music, as Applied to Hindustani Classical Music 2.1 Music and Peirce's Phaneroscopy 55 2.2 The Concept of Musical Sign and Semiosis 65 2.3Fields of Musical Semiotic Inquiry 80 2.3.1 Intrinsic Musical Semiosis in Hindustani Music 2.3.1.1 Musical qualities 84 2.3.1.2 Musical existents and replicas 88 2.3.1.3 Musical legisigns 91 2.3.2 Musical Reference 106 2.3.2.1 Icons and iconic signs in music 108 2.3.2.2 Index and indexical reference 135 2.3.2.3 Symbols in Music 140 2.3.3 Musical Interpretation 148 2.3.3.1 Perception 151 2.3.3.2 Performance 164 2.3.3.3 Musical Intelligence 174 2.3.3.4 Composition 181 vi Contents III Hindustani Classical Music and the Rasa Theory: A Semiotic Interpretation 3.1 The Rasa Theory..., 195 3.2 The Development of Rasa Theory .209 3.3 Rasa in Hindustani Music 3.3.1 The Jati System and Rasa 228 3.3.2 Grämarägas and Rasa 245 3.3.3 Desfrägas and Rasa 261 3.3.4 The Räga-rägfm Systems and Rasa 271 3.3.5 Räga and Rasa in Contemporary Music 302 3.4 Aesthetic Rapture: A Semiotic Analysis 332 Conclusion 369 Bibliography 377 Index 39i Musical Examples 2.3.1 1 - Structure of cäutäl and ektal 2. A cakkradar tihäl in tmtal QA 3. Anagat tihar in trma 4. Am tihar in trmal 95 5. Räga mälkauhs accordingto Bhätkhande 7. 8- A calan composed by Vedi for räga 2.3.2 10. Images ofbirdsong(cuckoo) 114 13. Chayäs in marü bihäg 124 15. J.S. Bach, Bourree, from the Lute 132 Contents vii 2.3.3 18. Räga darbän känhdä mukhya ang 163 19. Räga miyärfi kT malhär mukhya arig 163 20. Masitkhänl gat in räga mälkauns 183 21. RazäkhänT gat in räga khammäj 183 22. Tagore's 190 3.3.1 23. Jätis representing srftgära (amsa M- P) 236 24. Jätis representing karuna (arhsa G- N) ..236 3.3.2 25. The seven primary grämarägas 246 26. Rägas derived from pancama and their meanings (BD) 254 27. Rägas derived from kaisika and their meanings (BD) 255 3.3.4 28. Räga suddhabhairava, rägioTs andputräs 274 29. RäginT sauräs^i (RV 4.41) 290 30. Rägim bhüpälT (RV 4.36) 291 31. RäginT mälasrT (RV 4.30) 291 32. RäginT dhanäsn (RV 4.31) 292 33. RäginT varätT (RV 3.46) 293 34. RäginT patamanjan (SD 2.79) 293 35. RäginT saindhavT (RV 4.33) 294 36. Rägini rämakrti (RV 4.20) 295 37. Räga kalyäna (RV 4.33) 297 38. Räga chayanata (RV 4.44) 297 39. Räga näta (RV 4.45) 298 40. Räga sn (RV 430) 298 41. Räga hammTrä (RV 4.25) 299 42. Räga mälava(RV 4.15) 299 43. Räga hindola(RV 4.14) 300 44. Räga addana (RV 4.42) 300 45. Räga lalita(RV 4.28) 301 3.3.5 46. Gambhir rägas 318 47.Räga bhairavi 319 48. Raga sri 320 49. Taral or cancal ragas 321 50. Räga miyäm ki todi ....325 51. Rägas komal re asavari and pilu 326 viii Contents 52. Rägas khamäj, chäyänat, desi, käfi 326 53. Rägas suddh re äsävarf (jaunpun), bägesn, bihäg, gaud malhär, rämkälr, and vasant 327 54. Ragas jogiyä and gurjan todi 328 55. Rä"ga hindol and bhinnasadja ....328 3.4 56. Räga hirujola (BD, SR) 337 57. Räga hincjola (SR) .337 58. Räga hirujola (Puncjanka Vitthäla) 337 59. Räga himjola (RV) 338 60. Räga hindola, composition (RV) 338 61. Räga hindola (SD) 338 62. Räga hindola (Ahobala-pandita) 338 63. Räga hindola (Hindustani contemporary) 339 64. Räga hindola (KPM, RVJ, SA) ......339 65. The relations between early and contemporary hincjola ...343 66. Semitonal shift in hindola 344 67. Räga hindola, dhamär, Syämä Moso Khelona Hon (RVJ) .346 68. Räginl todr (SR) !..... 348 69. Chäyätodr arid turuskatodr (SR) 348 70. Rägini (RV) . 348 71. The evolution of todi 349 72. Vilambit khayäl in todT, Ab More Räm-RSm (KPM) 350 Tables 1. Transliteration of the devanägan script „..xxi 2. Musical notation xxiii 3. Peirces scheme for the classification of the sciences 45 4. Peirce's basic trichotomies 69 5. The ten classes of signs ...71 6. Nava rasas and sthäyibhävas 206 7. Kinds of rasas 207 8. Sambhoga srngära 221 9. Bhoja's classification of srngära rasa 223 10. Additional rasas 225 11. Rasas and their musical structures aecording to Bharata .......231 12. Gramaragas and their meanings aecording to the BD 257 13. Cele&tial bodies and rägas 267 Contents ix 14. Three early räga-rägim Systems 275 15. Three schools of räga-räginf Systems according to the SD 277 16. Näyikäs 289 17.Näyakas 296 18. Terms in Hindi used as reference to musical meaning 312 19. Great rägas and their signification 313 20. Known rägas and their signification 322 21. Less known rägas and their signification 329 Figures 1. Seeger's unified field theory 17 2. Seeger's universe of value 19 3. Tarasti's three dimensional mode 26 4. Tarasti's model of musicological cognition 32 5. Hatten's model of growth in a musical style 36 6. Schaeffer's classification of sound characters 58 7. The logic of the categories 63 8. Sign diagrams 71 9. Levels of representation 72 10. The immediate interpretant 74 11. The determination of a dynamical interpretant 75 12. The final interpretant 79 13. Jäti System - a generative diagram .229 14. Grämaräga System - a generative diagram 246 15. Hintfola and its derived rägas 265 16. Suddhapancama and its derived rägas 266 17. Aesthetic rapture as the spiral of interpretants 366.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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".
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Machine Learning Approaches for Mood Identification in Raga: Survey
    International Journal of Innovations in Engineering and Technology (IJIET) Machine Learning Approaches for Mood Identification in Raga: Survey Priyanka Lokhande Department of Computer Engineering Maharashtra Institute of Technology, Pune, Maharashtra, India Bhavana S. Tiple Department of Computer Engineering Maharashtra Institute of Technology, Pune, Maharashtra, India Abstract- Music is a “language of emotion”, which defines the emotion or feeling through music. Music directly connects to the soul and induces emotion in mind and brains. In Hindustani Classical Music raga plays very important role. It defines characteristics that differentiate ragas uniquely. Hindustani Classical Music also has nine different swaras that specifically define the emotion. In this paper we surveyed different techniques for raga identification and differentiate them according to their work and accuracy. We give the rasa - bhava relationship and raga-rasa mapping that defines the emotion related to raga. Keywords – Indian Classical Music, Emotion, Raga- Rasa relation, Classifiers. I. INTRODUCTION Indian classical music: One of an ancient tradition is Indian classical music that is an art form that is continuously growing. It has its roots in Sam Veda. Indian classical music is divided into two branches: Carnatic (South Indian Classical Music) and Hindustani (North Indian Classical Music). Carnatic music is sharp and involves many rhythmic and tonal complexities. Hindustani is mellifluous and meant to be entertainment and pleasure oriented music. Indian classical music and Western music vary from each other with respect to their notes, timings and different characteristics associated with raga. Swaras of Indian classical music are similar to the note of western classical music. There are many characteristics of Hindustani classical music.
    [Show full text]
  • Classical Music (Vocal) (Honours)
    Proposed Syllabus For Bachelor of Performing Arts (BPA) IN Hindustani Classical Music (Vocal) (Honours) Choice Based Credit System 2018 Department of Performing Arts Assam University, Silchar, Assam-7800 1 Details Course Structure Bachelor of Performing Arts (B.P.A) IN Hindustani Classical Music (Vocal) (Honours) Semester Core course Ability Skill Discipline Generic (14) Enhancement Enhancement Specific Elective Compulsory Course (SEC) Elective (DSE) (GE) (4) Course (AECC) (2) (4) (2) BPA-102, CC (Theory) BPA-101 BPA-104 SEM-I AECC-I GE-I BPA-103, CC (Practical) General (Practical) English/Mil BPA-202, CC (Theory) BPA-201 BPA-204 AE GE-II (Practical) SEM-II BPA-203, CC (Practical) CC-II Environmental Studies BPA-301, CC (Theory) BPA-305 BPA-304 SEM SEC-I GE-III III BPA-302, CC (Practical) (Practical) (Practical) BPA-303, CC (Theory) SEM BPA-401, CC (Theory) BPA-405 BPA-404 IV SEC-II GE-IV BPA-402, CC (Practical) (Practical) (Practical) BPA-403, CC (Theory) SEM BPA-501, CC (Theory) BPA-503 V DSE-I (Theory) BPA-502, CC (Practical) BPA-504 DSE-II (Practical) SEM BPA-601,CC (Theory) BPA-603 VI DSE-III (Theory) BPA-602,CC (Practical) BPA-604 DSE-IV (Practical) 2 Course Structure Semester Course Code Course Type Total External Internal Total Credit Marks Marks Marks I BPA-101,AECC-I English/MIL 2 70 30 100 BPA-102,CC Theory 6 70 30 100 BPA-103,CC Practical 6 70 30 100 BPA-104, GE-I Practical 6 70 30 100 II BPA-201,AECC-II Environmental Science 2 70 30 100 BPA-202, CC Theory 6 70 30 100 BPA-203, CC Practical 6 70 30 100 BPA-204, GE-II Theory
    [Show full text]
  • The Concept of Tala in Semi-Classical Music
    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 1983 The Concept of Tala in Semi-Classical Music Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/340 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Concept of Tala 1n Semi-Classical Music Peter Manuel Writers on Indian music have generally had less difficulty defining tala than raga, which remains a somewhat abstract, intangible entity. Nevertheless, an examination of the concept of tala in Hindustani semi-classical music reveals that, in many cases, tala itself may be a more elusive and abstract construct than is commonly acknowledged, and, in particular, that just as a raga cannot be adequately characterized by a mere schematic of its ascending and descending scales, similarly, the number of matra-s in a tala may be a secondary or even irrelevant feature in the identification of a tala. The treatment of tala in thumri parallels that of raga in thumn; sharing thumri's characteristic folk affinities, regional variety, stress on sentimental expression rather than theoretical complexity, and a distinctively loose and free approach to theoretical structures. The liberal use of alternate notes and the casual approach to raga distinctions in thumri find parallels in the loose and inconsistent nomenclature of light-classical tala-s and the tendency to identify them not by their theoretical matra-count, but instead by less formal criteria like stress patterns.
    [Show full text]
  • The Lyrics of Thumn
    The Lyrics of Thumn: Hindi Poetry in a Musical Genre Lara Mirene (Lalita) du Perron A thesis submitted to the University of London for the degree of Doctor of Philosophy (PhD) Department of the Languages and Cultures of South Asia School of Oriental and African Studies January 2000 ProQuest Number: 10731628 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731628 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract Thumri is a vocal genre in North Indian (Hindustani) art music. It was traditionally used in songstress-courtesan performance, in the early nineteenth century as an accompaniment to interpretive dance, and later as a lyrical and emotive song form. TTiumri is now one of the most popular genres in contemporary art music. The lyrics of thumri have not been the subject of extensive academic enquiry. This dissertation examines thumri texts from two perspectives: linguistic and contextual. It is primarily based on song texts collected during field work in North India in 1996-97, as well as on material transcribed from commercial recordings and printed sources.
    [Show full text]
  • Given a Raga Recording, Can We Scientifically Verify Which School Of
    CORE Metadata, citation and similar papers at core.ac.uk Provided by KHALSA PUBLICATIONS Council for Innovative Research International Journal of Computers & Technology www.cirworld.com Volume 4 No. 2, March-April, 2013, ISSN 2277-3061 Given a raga recording, can we scientifically verify which school of Vadi- Samvadi selection is supported by the artist? 1Soubhik Chakraborty*, 2Rayalla Ranganayakulu, 3Shivee Chauhan, 4Sandeep Singh Solanki and 5Kartik Mahto 1Department of Applied Mathematics, BIT Mesra, Ranchi-835215, India 2, 3, 4, 5Department of Electronics and Communication Engineering, BIT Mesra, Ranchi-835215, India *Soubhik Chakraborty is the corresponding author; email: [email protected] Email addresses of other authors are as under:- [email protected] (R. Ranganayakulu) [email protected] (S. Chauhan) [email protected] (S. S. Solanki) [email protected] (K. Mahto) Abstract The notes which play the most important and second most important roles in expressing a raga are called Vadi and Samvadi swars respectively in (North) Indian Classical music. Like Bageshree, Bhairavi, Shankara, Hamir and Kalingra, Rageshree is another controversial raga so far as the choice of Vadi-Samvadi selection is concerned where there are two different opinions. Rather than ruling out any school of thought, the paper aims at identifying scientifically the particular school supported by a given recording. Thus the problem investigated here is one of classification in nature. In the present work, a two minute vocal recording of raga Rageshree is subjected to a careful statistical analysis. Our analysis is broken into three phases: first one minute, middle one minute and last one minute.
    [Show full text]
  • Ustad Amir Khan, S
    THE RECORD NEWS ============================================================= The journal of the ‘Society of Indian Record Collectors’, Mumbai ------------------------------------------------------------------------ ISSN 0971-7942 Volume - Annual: TRN 2006 ------------------------------------------------------------------------------------------------------------ S.I.R.C. Branches: Mumbai, Pune, Solapur, Nanded, Tuljapur, Baroda, Amravati ============================================================= Feature Article in this Issue: Gramophone Celebrities Master Ashraf Khan Gauhar Jan of Calcutta (C.1870-1930) Keshavrao Bhosle & Bal Gandharva Other articles: Ustad Amir Khan, S. D. Burman, Smt. Saraswati Rane 1 ‘The Record News’ - Annual magazine of ‘Society of Indian Record Collectors’ [SIRC] {Established: 1990} -------------------------------------------------------------------------------------------- President Narayan Mulani Hon. Secretary Suresh Chandvankar Hon. Treasurer Krishnaraj Merchant ==================================================== Patron Member: Mr. Michael S. Kinnear, Australia -------------------------------------------------------------------------------------------- Honorary Members V. A. K. Ranga Rao, Chennai Harmandir Singh Hamraz, Kanpur -------------------------------------------------------------------------------------------- Membership Fee: [Inclusive of the journal subscription] Annual Membership Rs. 1000 Overseas US $ 100 Life Membership Rs. 10000 Overseas US $ 1000 Annual term: July to June Members joining
    [Show full text]