Impact of Carnatic Raga-S on the Milk Yield of Cows
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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. -
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". -
A North Indian Raga Recognition Using Ensemble Classifier
International Journal of Electrical Engineering and Technology (IJEET) Volume 12, Issue 6, June 2021, pp. 251-258, Article ID: IJEET_12_06_024 Available online at https://iaeme.com/Home/issue/IJEET?Volume=12&Issue=6 ISSN Print: 0976-6545 and ISSN Online: 0976-6553 DOI: 10.34218/IJEET.12.6.2021.024 © IAEME Publication Scopus Indexed A NORTH INDIAN RAGA RECOGNITION USING ENSEMBLE CLASSIFIER Anagha A. Bidkar Research Scholar, Department of Electronics and Telecommunication, Vishwakarma Institute of Information Technology, And Pune Institute of Computer Technology, SPPU- Savitribai Phule Pune University, Pune, Maharashtra, India Rajkumar S. Deshpande Department of Electronics and Telecommunication, JSPM’s Imperial College of Engineering, SPPU- Savitribai Phule Pune University, Pune, Maharashtra, India Yogesh H. Dandawate Department of Electronics and Telecommunication, Vishwakarma Institute of Information Technology, SPPU- Savitribai Phule Pune University, Pune, Maharashtra, India ABSTRACT Indian classical music is an ancient art form. Western and Indian music differ in the sequence of musical notes that are present in the melodic segment. Raga recognition in Indian classical music has been an exciting area of music information retrieval system. This can be useful to create a music library, search raga related music, and music education system. Recognition of raga using machine learning algorithms is a very complex task. This paper aims to find a suitable classifier for a dataset of instrumental music of 12 ragas. The music database has audio files of 4 different musical instruments. For this dataset, the ensemble bagged tree classifier outperforms the raga recognition. This approach suits our dataset to gain accuracy of 96.32%. This paper compares the results with the ensemble subspace KNN model which gives an accuracy of 95.83%. -
Carnatic Music Vs. Western Music: a Comparison by Maya Anand
Carnatic Music vs. Western Music: A Comparison by Maya Anand Many music rasikas are familiar with the phrase “music is music” or “all music is the same”. However, as a student of both Western Classical music and Carnatic music, I am able to identify a few fundamental differences in the two styles of music. While it is true that all music is fundamentally similar to some extent, it is important, and quite frankly, interesting to take time to compare the striking contrasts between genres of music. This isn’t to say that Carnatic music and Western music don’t share anything in common. There are definitely similarities in pitch and rhythm, which are the first things that one must understand about any type of music. Pitch is an important aspect in any type of music, and this rings true in both Western and Carnatic music as well. There are many things similar about the basics of these two musical genres. Firstly, both of them have seven notes in their scale. In Western music, that scale is Do, Re, Mi, Fa, So, La, and Ti. In Carnatic music, the scale is Sa, Ri, Ga, Ma, Pa, Dha, and Ni. Already, it is evident that these solfa syllables resemble each other greatly, further demonstrating that all music probably derived from the same concepts. The similarity doesn’t end there. Not only are these differing styles of music similar in pitch, they are also similar in rhythm. In Western Classical music, there is something called a time signature. The time signature of a piece of music is similar to what we call tala in Carnatic music. -
University of Kerala Ba Music Faculty of Fine Arts Choice
UNIVERSITY OF KERALA COURSE STRUCTURE AND SYLLABUS FOR BACHELOR OF ARTS DEGREE IN MUSIC BA MUSIC UNDER FACULTY OF FINE ARTS CHOICE BASED-CREDIT-SYSTEM (CBCS) Outcome Based Teaching, Learning and Evaluation (2021 Admission onwards) 1 Revised Scheme & Syllabus – 2021 First Degree Programme in Music Scheme of the courses Sem Course No. Course title Inst. Hrs Credit Total Total per week hours credits I EN 1111 Language course I (English I) 5 4 25 17 1111 Language course II (Additional 4 3 Language I) 1121 Foundation course I (English) 4 2 MU 1141 Core course I (Theory I) 6 4 Introduction to Indian Music MU 1131 Complementary I 3 2 (Veena) SK 1131.3 Complementary course II 3 2 II EN 1211 Language course III 5 4 25 20 (English III) EN1212 Language course IV 4 3 (English III) 1211 Language course V 4 3 (Additional Language II) MU1241 Core course II (Practical I) 6 4 Abhyasaganam & Sabhaganam MU1231 Complementary III 3 3 (Veena) SK1231.3 Complementary course IV 3 3 III EN 1311 Language course VI 5 4 25 21 (English IV) 1311 Language course VII 5 4 (Additional language III ) MU1321 Foundation course II 4 3 MU1341 Core course III (Theory II) 2 2 Ragam MU1342 Core course IV (Practical II) 3 2 Varnams and Kritis I MU1331 Complementary course V 3 3 (Veena) SK1331.3 Complementary course VI 3 3 IV EN 1411 Language course VIII 5 4 25 21 (English V) 1411 Language course IX 5 4 (Additional language IV) MU1441 Core course V (Theory III) 5 3 Ragam, Talam and Vaggeyakaras 2 MU1442 Core course VI (Practical III) 4 4 Varnams and Kritis II MU1431 Complementary -
Music Under Graduation – 3 Year Programme
DRAFT TAMIL NADU STATE COUNCIL FOR HIGHER EDUCATION CHENNAI – 600 005. State Integrated Board of Studies Music Under Graduation – 3 Year Programme Tamilnadu State Council for Higher Education Index A Mandatory Areas I. Music Theory 1. Introduction to theory 2. Tamil Prosody and 3. Advanced Theory 4. History of Music II. Practical music 1. Foundation Exercises 2. Higher Level Musical Forms 3. Kirtanai-s 4. Advanced Musical Forms 5. Songs from Sangam and Bhakti Literature B Suggested Optional Areas 1. Subsidiary vocal / instrument 2. Music in Other Arts 3. Physics of Music 1 State Integrated Board of Studies – Music UG Mandatory Areas I. Music Theory 1. Introduction to Theory Greatness and Power of Music. Basic technical terms in music. Isai-Oli (Nada), Mandilam (Sthayi), Kovai (Svara), Kovai-nilai (Svarasthana), Alagu (Sruti), Inai, Kilai, Pagai, Natpu Names of Isai-kovai Distinctive features of South Indian Music. 72 mela scheme Classification of Raga-s - Pann (Sampurnam), Panniyam (Shadavam), Tiram (Audavam), Tirattiram (Svarantaram) Uriya- kovaippann(Upangam), Kalappu-Kovaipann(Bhashangam), Tara- irudippann (Nishadantya), Vilari-irudippann (Dhaivatantya), Ili- irudippann (Panchamantya) Kuraikkovaippann (Varja-raga-s) Pirazchikkovaippann (Vakra-raga-s) Pani (Tala), Technical terms – Mattirai (Matra), Ennikkai (Akshara), Ceykai (Kriya), Layam, Vattam (Avartha), Nadai (Gati), Eduppu (Graha), Seven Pani-s and Thirty-five Pani-s, Varieties of Saippu Pani, Aimmai alavu (Khanda-Capu), Ezumai alavu (Misra-Capu) Onpanmai-alavu (Sankirna-Capu), Desadi and Madhyadi tala-s Knowledge of the various Illakkanam-s underlying a Pann. Ilakkanam-s of the following Pann-s 1. Mohanam 2. Mayamalavagaula 3. Kalyani 4. Bilahari Method of writing Musical Notation. Nattupura Isai – Folk Music Nattupura Isai Karuvigal - Folk Instruments –Magudi, Ekthar, Tuntina, Nedunguzhal, Parai, Kombu, Tappu Palagai Classification of Musical Insturments 2 Tamilnadu State Council for Higher Education Knowledge of the construction and playing technique of 1. -
ANURADHA MAHESH Music Therapy for Wellness
Music Therapy for Wellness | ANURADHA MAHESH http://anuradhamahesh.wordpress.com/music-therapy/ ANURADHA MAHESH ’Music is a Discipline and a Mistress of Good Manners, she makes the people milder and gentler, more Moral and more Reasonable’’ – Martin Luther King. Music Therapy for Wellness #7-The Concept of Remedial Music (http://anuradhamahesh.wordpress.com/music-therapy /the-concept-of-remedial-music/) #6-Music and Stress Relief It is with great dedication and devotion I have composed this music for stress relief . This was done by me when a famous Ayurvedic group approached me and asked for a soothing music that could bring down the stress level. This particular music is played during their Panchakarma Chikitsa session which is done during the morning hours. When the Sun fades and all extroversion, entertainment, and distraction is denied to Man, the mind retreats into a state of meditative introversion we call sleep. Thoughts that are unfinished in the mind, during the day, continue throughout the night in the forms of dreams, striving towards their resolution, as part of the brain’s intrinsic mechanism to find order. In a sense then, sleep is Nature’s way of reuniting Man with him or herself, enabling that which lies dormant in the hidden recesses of the mind, to reveal and express itself in secure isolation from the world. 1 of 35 28-Jan-14 15:20 Music Therapy for Wellness | ANURADHA MAHESH http://anuradhamahesh.wordpress.com/music-therapy/ The dawn of a morning then, has tremendous significance. It is the first witness of the conscious mind to the revelations of the night. -
Paper - Iii Music
SF,T 2016 PAPER - III MUSIC Signature ofthe Invigilator Question. Booklet No . ..........27001................4 .......... 1. OMR Sheet No .. ................................ .... Subject Code [;;] ROLL No. Time Allowed : 150 Minutes Max. Marks: 150 l No. of pages in this Booklet : 16 No. of Questions: 75 INSTRUCTIONS FOR CANDIDATES 1. Write your Roll No. and the OMR Sheet No. in the spaces provided on top oft his page. 2. Fill in the necessary information in the spaces provided on the OMR response sheet. 3. This booklet consists of seventy five (7 5) compulsory questions each carrying 2 marks. 4. Examine the question booklet carefully and tally the number ofpages /questions in the booklet with the information printed above. Do not accept a damaged or open booklet. Damaged or faulty boo !<Jet may be got replaced within the first 5 minutes. Afterwards, neither the Question Booklet will be replaced nor any extra エゥュセ@ given. 5. Each Question has four alternative responses marked (A), (B), (C) and (D) in the OMR sheet. You have to completely darken the circle indicating the most appropriate response against each item as in the illustration : 6. All entries in the OMR.response sheet are to be recorded in the original copy only. 7. Use only Blue/Black Ball point pen. l 8. Rough Work is to be done on the blank pages provided at the end of this booklet. 9. Ifyou write your Name, Roll Number, Phone Number or put any mark on any part of the OMR Sheet, except in the spaces allotted for the relevant entries, which may disclose your identity, or use abusive language or employ any other unfair means, you will render yourselfliable todisq ualification. -
Carnatic Music Primer
A KARNATIC MUSIC PRIMER P. Sriram PUBLISHED BY The Carnatic Music Association of North America, Inc. ABOUT THE AUTHOR Dr. Parthasarathy Sriram, is an aerospace engineer, with a bachelor’s degree from IIT, Madras (1982) and a Ph.D. from Georgia Institute of Technology where is currently a research engineer in the Dept. of Aerospace Engineering. The preface written by Dr. Sriram speaks of why he wrote this monograph. At present Dr. Sriram is looking after the affairs of the provisionally recognized South Eastern chapter of the Carnatic Music Association of North America in Atlanta, Georgia. CMANA is very privileged to publish this scientific approach to Carnatic Music written by a young student of music. © copyright by CMANA, 375 Ridgewood Ave, Paramus, New Jersey 1990 Price: $3.00 Table of Contents Preface...........................................................................................................................i Introduction .................................................................................................................1 Swaras and Swarasthanas..........................................................................................5 Ragas.............................................................................................................................10 The Melakarta Scheme ...............................................................................................12 Janya Ragas .................................................................................................................23 -
Carnatic Music Theory Year Ii
CARNATIC MUSIC THEORY YEAR II BASED ON THE SYLLABUS FOLLOWED BY GOVERNMENT MUSIC COLLEGES IN ANDHRA PRADESH AND TELANGANA FOR CERTIFICATE EXAMS HELD BY POTTI SRIRAMULU TELUGU UNIVERSITY ANANTH PATTABIRAMAN EDITION: 2.1 Latest edition can be downloaded from https://beautifulnote.com/theory Preface This text covers topics on Carnatic music required to clear the second year exams in Government music colleges in Andhra Pradesh and Telangana. Also, this is the second of four modules of theory as per Certificate in Music (Carnatic) examinations conducted by Potti Sriramulu Telugu University. So, if you are a music student from one of the above mentioned colleges, or preparing to appear for the university exam as a private candidate, you’ll find this useful. Though attempts are made to keep this text up-to-date with changes in the syllabus, students are strongly advised to consult the college or univer- sity and make sure all necessary topics are covered. This might also serve as an easy-to-follow introduction to Carnatic music for those who are generally interested in the system but not appearing for any particular examination. I’m grateful to my late guru, veteran violinist, Vidwan. Peri Srirama- murthy, for his guidance in preparing this document. Ananth Pattabiraman Editions First published in 2010, edition 2.0 in 2018, 2.1 in 2019. Latest edition available at https://beautifulnote.com/theory Copyright This work is copyrighted and is distributed under Creative Commons BY-NC-ND 4.0 license. You can make copies and share freely. Not for commercial use. Read https://creativecommons.org/licenses/by-nc-nd/4.0/ About the author Ananth Pattabiraman is a musician. -
The Journal Ie Music Academy
THE JOURNAL OF IE MUSIC ACADEMY MADRAS A QUARTERLY OTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC XIII 1962 Parts I-£V _ j 5tt i TOTftr 1 ®r?r <nr firerftr ii dwell not in Vaikuntha, nor in the hearts of Yogins, - the Sun; where my Bhaktas sing, there be I, ! ” EDITED BY V. RAGHAVAN, M.A., PH.D. 1 9 6 2 PUBLISHED BY HE MUSIC ACADEMY, MADRAS 115-E, M OW BRAY’S RO AD, M ADRAS-14. "iption—Inland Rs, 4. Foreign 8 sh. Post paid. i ADVERTISEMENT CHARGES I S COVER PAGES: if Back (outside) $ if Front (inside) i Back (D o.) if 0 if INSIDE PAGES: if 1st page (after cover) if if Ot^er pages (each) 1 £M E N i if k reference will be given to advertisers of if instruments and books and other artistic wares. if I Special position and special rate on application. Xif Xtx XK XK X&< i - XK... >&< >*< >*<. tG O^ & O +O +f >*< >•< >*« X NOTICE All correspondence should be addressed to Dr. V. R Editor, Journal of the Music Academy, Madras-14. Articles on subjects of music and dance are accep publication on the understanding that they are contribute) to the Journal of tlie Music Academy. All manuscripts should be legibly written or preferab written (double spaced—on one side of the paper only) and be signed by the writer (giving his address in full). The Editor of the Journal is not responsible for t1 expressed by individual contributors. All books, advertisement, moneys and cheque ♦ended for the Journal should be sent to D CONTENTS 'le X X X V th Madras Music Conference, 1961 : Official Report Alapa and Rasa-Bhava id wan C. -
Raga (Melodic Mode) Raga This Article Is About Melodic Modes in Indian Music
FREE SAMPLES FREE VST RESOURCES EFFECTS BLOG VIRTUAL INSTRUMENTS Raga (Melodic Mode) Raga This article is about melodic modes in Indian music. For subgenre of reggae music, see Ragga. For similar terms, see Ragini (actress), Raga (disambiguation), and Ragam (disambiguation). A Raga performance at Collège des Bernardins, France Indian classical music Carnatic music · Hindustani music · Concepts Shruti · Svara · Alankara · Raga · Rasa · Tala · A Raga (IAST: rāga), Raag or Ragam, literally means "coloring, tingeing, dyeing".[1][2] The term also refers to a concept close to melodic mode in Indian classical music.[3] Raga is a remarkable and central feature of classical Indian music tradition, but has no direct translation to concepts in the classical European music tradition.[4][5] Each raga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "color the mind" and affect the emotions of the audience.[1][2][5] A raga consists of at least five notes, and each raga provides the musician with a musical framework.[3][6][7] The specific notes within a raga can be reordered and improvised by the musician, but a specific raga is either ascending or descending. Each raga has an emotional significance and symbolic associations such as with season, time and mood.[3] The raga is considered a means in Indian musical tradition to evoke certain feelings in an audience. Hundreds of raga are recognized in the classical Indian tradition, of which about 30 are common.[3][7] Each raga, state Dorothea