The Journal of the Music Academy Devoted to the Advancement of the Sciencb and Art of Music
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The Music Academy, Madras 115-E, Mowbray’S Road
Tyagaraja Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XXXIX 1968 Parts MV srri erarfa i “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada l ” EDITBD BY V. RAGHAVAN, M.A., p h .d . 1968 THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription—Inland Rs. 4. Foreign 8 sh. iI i & ADVERTISEMENT CHARGES ►j COVER PAGES: Full Page Half Page Back (outside) Rs. 25 Rs. 13 Front (inside) 20 11 Back (Do.) „ 30 „ 16 INSIDE PAGES: 1st page (after cover) „ 18 „ io Other pages (each) „ 15 „ 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special positions and special rates on application. e iX NOTICE All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal Of the Music Academy, Madras-14. « Articles on subjects of music and dance are accepted for mblication on the understanding that they are contributed solely o the Journal of the Music Academy. All manuscripts should be legibly written or preferably type written (double spaced—on one side of the paper only) and should >e signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan Editor. Pages. -
Syllabus for Post Graduate Programme in Music
1 Appendix to U.O.No.Acad/C1/13058/2020, dated 10.12.2020 KANNUR UNIVERSITY SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: MA MUSIC DEPARTMENT OF MUSIC KANNUR UNIVERSITY SWAMI ANANDA THEERTHA CAMPUS EDAT PO, PAYYANUR PIN: 670327 2 SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: M A (MUSIC) ABOUT THE DEPARTMENT. The Department of Music, Kannur University was established in 2002. Department offers MA Music programme and PhD. So far 17 batches of students have passed out from this Department. This Department is the only institution offering PG programme in Music in Malabar area of Kerala. The Department is functioning at Swami Ananda Theertha Campus, Kannur University, Edat, Payyanur. The Department has a well-equipped library with more than 1800 books and subscription to over 10 Journals on Music. We have gooddigital collection of recordings of well-known musicians. The Department also possesses variety of musical instruments such as Tambura, Veena, Violin, Mridangam, Key board, Harmonium etc. The Department is active in the research of various facets of music. So far 7 scholars have been awarded Ph D and two Ph D thesis are under evaluation. Department of Music conducts Seminars, Lecture programmes and Music concerts. Department of Music has conducted seminars and workshops in collaboration with Indira Gandhi National Centre for the Arts-New Delhi, All India Radio, Zonal Cultural Centre under the Ministry of Culture, Government of India, and Folklore Academy, Kannur. -
Rakti in Raga and Laya
VEDAVALLI SPEAKS Sangita Kalanidhi R. Vedavalli is not only one of the most accomplished of our vocalists, she is also among the foremost thinkers of Carnatic music today with a mind as insightful and uncluttered as her music. Sruti is delighted to share her thoughts on a variety of topics with its readers. Rakti in raga and laya Rakti in raga and laya’ is a swara-oriented as against gamaka- complex theme which covers a oriented raga-s. There is a section variety of aspects. Attempts have of exponents which fears that ‘been made to interpret rakti in the tradition of gamaka-oriented different ways. The origin of the singing is giving way to swara- word ‘rakti’ is hard to trace, but the oriented renditions. term is used commonly to denote a manner of singing that is of a Yo asau Dhwaniviseshastu highly appreciated quality. It swaravamavibhooshitaha carries with it a sense of intense ranjako janachittaanaam involvement or engagement. Rakti Sankarabharanam or Bhairavi? rasa raga udaahritaha is derived from the root word Tyagaraja did not compose these ‘ranj’ – ranjayati iti ragaha, ranjayati kriti-s as a cluster under the There is a reference to ‘dhwani- iti raktihi. That which is pleasing, category of ghana raga-s. Older visesha’ in this sloka from Brihaddcsi. which engages the mind joyfully texts record these five songs merely Scholars have suggested that may be called rakti. The term rakti dhwanivisesha may be taken th as Tyagaraja’ s compositions and is not found in pre-17 century not as the Pancharatna kriti-s. Not to connote sruti and that its texts like Niruktam, Vyjayanti and only are these raga-s unsuitable for integration with music ensures a Amarakosam. -
M.A-Music-Vocal-Syllabus.Pdf
BANGALORE UNIVERSITY NAAC ACCREDITED WITH ‘A’ GRADE P.G. DEPARTMENT OF PERFORMING ARTS JNANABHARATHI, BANGALORE-560056 MUSIC SYLLABUS – M.A KARNATAKA MUSIC VOCAL AND INSTRUMENTAL (VEENA, VIOLIN AND FLUTE) CBCS SYSTEM- 2014 Dr. B.M. Jayashree. Professor of Music Chairperson, BOS (PG) M.A. KARNATAKA MUSIC VOCAL AND INSTRUMENTAL (VEENA, VIOLIN AND FLUTE) Semester scheme syllabus CBCS Scheme of Examination, continuous Evaluation and other Requirements: 1. ELIGIBILITY: A Degree with music vocal/instrumental as one of the optional subject with at least 50% in the concerned optional subject an merit internal among these applicant Of A Graduate with minimum of 50% marks secured in the senior grade examination in music (vocal/instrumental) conducted by secondary education board of Karnataka OR a graduate with a minimum of 50% marks secured in PG Diploma or 2 years diploma or 4 year certificate course in vocal/instrumental music conducted either by any recognized Universities of any state out side Karnataka or central institution/Universities Any degree with: a) Any certificate course in music b) All India Radio/Doordarshan gradation c) Any diploma in music or five years of learning certificate by any veteran musician d) Entrance test (practical) is compulsory for admission. 2. M.A. MUSIC course consists of four semesters. 3. First semester will have three theory paper (core), three practical papers (core) and one practical paper (soft core). 4. Second semester will have three theory papers (core), two practical papers (core), one is project work/Dissertation practical paper and one is practical paper (soft core) 5. Third semester will have two theory papers (core), three practical papers (core) and one is open Elective Practical paper 6. -
Lalgudi's Compositions, 21St Century Masterpieces
Lalgudi ’s compositions, 21st century masterpieces - Carnatic Music News - Darbar for cl ... Page 1 of 2 Music Academy to hold singing competion GO Top Most Lalgudi’s compositions, 21st century masterpieces Stories Viewed An engaging dialogue between By Vidya Subramanian www.vidyasubramanian.com flute & mandolin Akademi Ratna for Lalgudi CHENNAI, September 16: My guru, Padmabhushan G.Jayaraman Winning mind share, the Bombay Lalgudi Shri Jayaraman, is one of the most gifted and Jayashri way versatile musicians of this century. His genius has Music is a continuous process innumerable facets. With his warm and self-effacing of learning personality and total commitment to his art, he shares his Music has to be approached deep knowledge with readiness. with modesty Avoid easy route to concert stage Lalgudi Sir is a globally acclaimed musician, composer and When they bow,Ganesh & teacher. His 80th birthday celebration on September 18 Kumaresh sound distinct and September 19, 2010 at The Music Academy, Madras is Understand the science of music Future of voice science in India an event that all of us in the music fraternity are eagerly Listen to Tiruppavai and excitedly looking forward to. Each composition of my guru is a masterpiece in its own right. In this article, I attempt to highlight a few of these gems. Lalgudi Sir has composed in diverse compositional forms. His varnams and tillanas are legendary. He has also composed beautiful pieces in other musical forms such as kirtanams, swarajathis and jathiswarams. The fact that he does not use a mudra or signature term in his compositions bears testimony to his modesty. -
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 -
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. -
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 -
Translations of Krithis of Ashok Madhava Contents
Translations of Krithis of ashok Madhava I am a multi linguist and enjoyed translating compositions of another Multi linguist. I have translated 59 of his compositions from Sanskrit, Tamil, Telugu and kannada. I enjoyed it Contents Translations of Krithis of ashok Madhava ................................................. 1 1. Abhaghi Naanalla(Kannada) ........................................................ 3 2. Adhi Nayakim(Sanskrit) ................................................................ 5 3. Amba YUvathi(Sanskrit) ............................................................. 6 4. Anbu vellame (Tamil) ................................................................... 8 5. Aravinda Nayanam (Sanskrit) ....................................................... 9 6. Arul Tharuvai shri(tamil) ........................................................... 10 7. Baaramma Hogona(Kannada) ................................................... 12 8. Bandhaa Krishna(Kannada) ....................................................... 13 9. Bhagavathi neene hari manohari (kannada).............................. 15 10. Bhajami Manasa(sanskrit) ......................................................... 16 11. Bhajamyaham satatam(sanskrit) .............................................. 18 12. Bhajana seyyu(telugu)................................................................ 20 13. BHajare re sriman(Sanskrit) ...................................................... 21 14. BHajeham sri(Sanskrit) .............................................................. -
Chapter 12 Charitams Gopalakrishna Bharati
Language in India 18:11 November 2018 CHAPTER 12 CHARITRAMS GOPALAKRISHNA BHARATI Dr Adi Sankara Singing with Saivite Saints Language in India 18:11 November 2018 Gopalakrishna Bharati Dr Adi Sankara Singing with Saivite Saints Language in India 18:11 November 2018 142 Singing with Saivite Saints GOPALAKRISHNA BHARATI Gopalakrishna Bharati, also known as Gopalakrishna Bharatiyar, was the son of Ramaswami Bharathi and was born in 1810 in Narimanam near Nagappattinam. He lived in and around Mayiladhuturai and lead a celibate life. Bharathi was a genius in music since childhood and possessed great dexterity in composing songs. His ancestors were musicians and his father as well as his grandfather, were good Vainikas. Bharati was attracted towards the Chidambaram temple right from his childhood. He would visit Chidambaram sthala on all occasions, especially when Abishegam on Lord Nataraja was performed. Gopalakrishna Bharati was ostracized by the orthodox people because he composed and performed a Kathakalakshebam on Tirunilakanta Nayanar one of the 63 Saivite Saints who was supposed to have belonged to an inferior community. His own people shunned him and made him an outsider in their community. Kathakalashebam is a story-telling from the Puranas, to the accompaniment of musical instruments with crisp musical dialogues, witty stories inserted at relevant places with songs. The impact of the Maratha culture on South Indian devotional music was primarily responsible for the development of the ‘Hari Katha Kalakshebam’. Gopalakrishna Bharati composed another opera named Nandanar Charitram which is well-known even nowadays and sung in concerts. It was Maha Vidwan Meenakshi Sundaram Pillai, himself a great musician, who brought Bharati to one Vedanayakam Pillai. -
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 -
SRUTI August 2011 Sruti South Indian Classical Music and Dance Monthly
l SRUTI August 2011 Sruti south indian classical music and dance monthly Issue 2 16 November 1983 It's with a sense of gratification at the warm reception given to the inaugural issue of SRUTI that we have prepared our second offering. The lead group of articles this time focusses on what has come to be called Tamil Isai. The principal article (p.4), researched and written by Anandhi Ramachandran, provides a retrospective analysis of the genesis and the controversial initial years of the Tamil Isai Movement, while a companion piece (p.8) by her offers a balance sheet of sorts on Tamil Isai Sangam, the institution set up to implement the movement's goals. The hymns composed by Tamil saints, known as Tevaram, form an important part of the musical heritage of the Tamils and a report on the interview conducted by Muthumeenakshi with an official of the Dharmapuram Adheenam Mutt throws considerable light on the hoary tradition of hymn- singing (p. 12). Rounding out the group is a Sruti Report (p. 11) on what prominent musicians have to say on Tamil compositions and what our chief has to say on whether the proponents of Tamil Isai and their opponents have served the listening public. The latter's analysis is presented in the first edition of an opinion column on music, which we call Bull's Eye. (p. 15); it will be a more or less regular feature. A companion column on dance is also envisaged. Giants have trodden the Carnatic earth, offering music sublime. We have plans to publish special articles about them from time to time.