ANURADHA MAHESH Music Therapy for Wellness
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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". -
CARNATIC MUSIC (CODE – 032) CLASS – X (Melodic Instrument) 2020 – 21 Marking Scheme
CARNATIC MUSIC (CODE – 032) CLASS – X (Melodic Instrument) 2020 – 21 Marking Scheme Time - 2 hrs. Max. Marks : 30 Part A Multiple Choice Questions: Attempts any of 15 Question all are of Equal Marks : 1. Raga Abhogi is Janya of a) Karaharapriya 2. 72 Melakarta Scheme has c) 12 Chakras 3. Identify AbhyasaGhanam form the following d) Gitam 4. Idenfity the VarjyaSwaras in Raga SuddoSaveri b) GhanDharam – NishanDham 5. Raga Harikambhoji is a d) Sampoorna Raga 6. Identify popular vidilist from the following b) M. S. Gopala Krishnan 7. Find out the string instrument which has frets d) Veena 8. Raga Mohanam is an d) Audava – Audava Raga 9. Alankaras are set to d) 7 Talas 10 Mela Number of Raga Maya MalawaGoula d) 15 11. Identify the famous flutist d) T R. Mahalingam 12. RupakaTala has AksharaKals b) 6 13. Indentify composer of Navagrehakritis c) MuthuswaniDikshitan 14. Essential angas of kriti are a) Pallavi-Anuppallavi- Charanam b) Pallavi –multifplecharanma c) Pallavi – MukkyiSwaram d) Pallavi – Charanam 15. Raga SuddaDeven is Janya of a) Sankarabharanam 16. Composer of Famous GhanePanchartnaKritis – identify a) Thyagaraja 17. Find out most important accompanying instrument for a vocal concert b) Mridangam 18. A musical form set to different ragas c) Ragamalika 19. Identify dance from of music b) Tillana 20. Raga Sri Ranjani is Janya of a) Karahara Priya 21. Find out the popular Vena artist d) S. Bala Chander Part B Answer any five questions. All questions carry equal marks 5X3 = 15 1. Gitam : Gitam are the simplest musical form. The term “Gita” means song it is melodic extension of raga in which it is composed. -
On Identifying a Common Goal Between Musicians and Scientists
ON IDENTIFYING A COMMON GOAL BETWEEN MUSICIANS AND SCIENTISTS Soubhik Chakraborty Department of Applied Mathematics Birla Institute of Technology Mesra, Ranchi-835215, India Email: [email protected] Abstract The aim of this article is to identify a common goal between musicians and scientists. Our analysis ends on a positive note suggesting that the “gap” between the two, so to say, exists only in the nature of the paths undertaken. There is hardly any gap so far as the goal is concerned. This realization, which I believe will be helpful in bringing scientists and musicians together thereby raising the standard of music appreciation, music therapy and music-learning, bears a sure relevance in the context of those developing countries such as India to which this author belongs where music therapy is not yet an established profession, nor is scientific research in music as popular as in the west. Key words Music appreciation; music therapy; music learning 1. Introduction Discovering similarities between the pursuits of scientific research and musical arts is a compelling and perennially interesting topic that has been discussed for around a century. This article gives my subjective personal opinion on the topic and bears a sure relevance in the Indian context where music therapy is not yet an established profession, nor is scientific research in music as popular as in the west. For further literature, however, the reader is referred to Parncutt and McPherson (2002), Hallam, Cross and Thaut (2009). See also Levinson (2003). 1.1 Discovering science in art Morgan and King (1986) have distinguished art from science as follows:- Science is a body of systematized knowledge. -
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%. -
Dance Troupe
DANCE TROUPE The mission of our college ‘Blooming Humanity through Arts’ is disseminated by our institution through the program ‘Dance troupe’ globally for the past 39 years. It started on 27.12.1978 with the classical and folk dances of India and also dance dramas. The 1000th troupe programme was done on 13.01.2002 in the presence of the former Tamilnadu Chief-minister Dr.M.Kalaignar. It is also of great pride to say that soon the dance troupe will be performing its 3000thprogramme. KalaiKaviri performs dances not only to raga and thala but also performs dances with important didactic themes to reach the audience. Dances are performed with the following themes: Spirituality, Humanity, Social development, Moral values, Awareness, Religious morals and Patriotism. The troupe performs mainly in rural and remote areas to create awareness among the public. Irrespective of religion, caste and creed talented students from different backgrounds are selected, trained professionally for the troupe dances. This helps in the growth of the student’s individuality and also showcases their talent. The syllabus and dance items which students learn in their class are highly motivating for them to do a performance in the dance troupe. Main advantages of performing in a dance troupe include losing stage fear, sense of timing and rhythm, learning make-up techniques, costume selection and designing and helps building self-confidence in oneself. A student gets the opportunity to perform different roles and styles for example, classical, Indian folk and drama roles, hence by quick costume and role changes one’s concentration power increases. -
Andhra University 1 Year Diploma in (Music) Syllabus
SCHOOL OF DISTANCE EDUCATIN – ANDHRA UNIVERSITY 1st YEAR DIPLOMA IN (MUSIC) SYLLABUS (BOS approved and modified syllabus to be implemented from the admitted Batch 2012-13) Theory 100 Marks Paper I : Technical aspects of South Indian Classical Music 1. Technical Terms: a) Nada b) Sruti c) Swaras d) Swarasthanas e) Sathayi 2. Tala System: Sapta Talas, 35 Talas, Tala Dasa Prans, Chapu Tala Varieties Desadi and Madhyadi Talas 3. Musical Forms and their Lakshnas: Gitam, Varnam, Kritis, Kirtana, Padam, Ragamalika, Jasti Swaram, Swarajati, Tillana and Javali. 4. Lakshanas and Sancharas of the following Ragas: A a) Todi, b) Mayamalavagoula, c) Bhairavi, d) Kambhoji, e) Sankarabharanam f) Kalyani, g) Kharaharapriya, h) Mohana, i) Madhyamavathi j) Bilahari B. a) Dhanyasi, b) Saveri e)Vasanta d) HIndola e) Ananda Bhairavi f) Mukhari g) Kanada h) Khamas i) Begada j) Poorikalyani Paper II : Theoretical Aspects of South Indian Classical Music 100 Marks 1. Raaga and raga Lakshanam: a) Definition and Classification of ragas. b) Study of 13 Lakshanas c) ragalapana Padhathi 2. Musical Instruments and their classification 3. Special study of Tambura, Veena, Violin, Flute, Nagaswaram and Mridangam. 4. Characteristics of a composer. 5. Short biographical sketches of the following: a) Jayadeva b) Annamayya, c) Purandhara Dasa d) Narayana Tirtha e) Ramadasa f) Kshetrayya. Practical (First year) 100 Marks Paper III (Practical I) Fundamentals of Classical Music 1. a. Saraliswaras 6 b. Janta swaras 8 c. Alankaras 7 2. Gitas - 7 (Two Pillari Gitas, Two Ghanaraga Gitas, one Dhruva and one Lakshana gitam) 3. One Swarapallavi and one Swarajati 4. Five Adi Tala Varnas. -
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 -
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. -
Track Name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt
Track name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt. Bhimsen Joshi 3 HINDOLIKA Pt. Bhimsen Joshi 4 Thumri-Bhairavi Pt. Bhimsen Joshi 5 SHANKARA MANIK VERMA 6 NAT MALHAR MANIK VERMA 7 POORIYA MANIK VERMA 8 PILOO MANIK VERMA 9 BIHAGADA PANDIT JASRAJ 10 MULTANI PANDIT JASRAJ 11 NAYAKI KANADA PANDIT JASRAJ 12 DIN KI PURIYA PANDIT JASRAJ 13 BHOOPALI MALINI RAJURKAR 14 SHANKARA MALINI RAJURKAR 15 SOHONI MALINI RAJURKAR 16 CHHAYANAT MALINI RAJURKAR 17 HAMEER MALINI RAJURKAR 18 ADANA MALINI RAJURKAR 19 YAMAN MALINI RAJURKAR 20 DURGA MALINI RAJURKAR 21 KHAMAJ MALINI RAJURKAR 22 TILAK-KAMOD MALINI RAJURKAR 23 BHAIRAVI MALINI RAJURKAR 24 ANAND BHAIRAV PANDIT JITENDRA ABHISHEKI 25 RAAG MALA PANDIT JITENDRA ABHISHEKI 26 KABIR BHAJAN PANDIT JITENDRA ABHISHEKI 27 SHIVMAT BHAIRAV PANDIT JITENDRA ABHISHEKI 28 LALIT BEGUM PARVEEN SULTANA 29 JOG BEGUM PARVEEN SULTANA 30 GUJRI JODI BEGUM PARVEEN SULTANA 31 KOMAL BHAIRAV BEGUM PARVEEN SULTANA 32 MARUBIHAG PANDIT VASANTRAO DESHPANDE 33 THUMRI MISHRA KHAMAJ PANDIT VASANTRAO DESHPANDE 34 JEEVANPURI PANDIT KUMAR GANDHARVA 35 BAHAR PANDIT KUMAR GANDHARVA 36 DHANBASANTI PANDIT KUMAR GANDHARVA 37 DESHKAR PANDIT KUMAR GANDHARVA 38 GUNAKALI PANDIT KUMAR GANDHARVA 39 BILASKHANI-TODI PANDIT KUMAR GANDHARVA 40 KAMOD PANDIT KUMAR GANDHARVA 41 MIYA KI TODI USTAD RASHID KHAN 42 BHATIYAR USTAD RASHID KHAN 43 MIYA KI TODI USTAD RASHID KHAN 44 BHATIYAR USTAD RASHID KHAN 45 BIHAG ASHWINI BHIDE-DESHPANDE 46 BHINNA SHADAJ ASHWINI BHIDE-DESHPANDE 47 JHINJHOTI ASHWINI BHIDE-DESHPANDE 48 NAYAKI KANADA ASHWINI -
Annual Report 2014-15 ICSSR Annual Report 2014-15 ICSSR
Annual Report 2014-15 ICSSR Annual Report 2014-15 ICSSR Aruna Asaf Ali Marg, JNU Institutional Area, New Delhi - 110067 Tel No. 26741849/50/51 Fax : 91-11-26741836 Ministry of Human Resource Development e-mail : [email protected] Website : www.icssr.org Government of India Annual Report 2014-15 Indian Council Of Social Science Research Aruna Asaf Ali Marg, J.N.U. Institutional Area, New Delhi-110067 Contents Programmes 1-48 1. Overview 1-3 2. Research Promotion 4-12 3. Documentation 13-16 4. Research Survey and Publications 17-18 5. International Collaboration 19-31 6. Regional Centers 32-37 7. Research Institutes 38-47 Appendices 49-480 1. List of Members of the Council 51-53 2. ICSSR Senior Officials 54-55 3. Research Projects 56-107 4. Research Fellowships 108-193 5. Financial Assistance Provided for Organising 194-200 Capacity Building Programmes and Research Methodology Courses. 6. Financial Assistance Provided for Organising 201-244 International / National Seminars/ Conferences/ Workshops in India. 7. Publication Grants 245-250 8. Financial Assistance Provided to Scholars for 251-268 Participation in International Conferences / Data Collection Abroad. 9. Major Activities of ICSSR Regional Centres 269-296 10. Major Activities of ICSSR Research Institutes 297-475 11. Theses Purchased / Bibliographies Prepared in 476-479 the NASSDOC Statement of Accounts 481-580 Programmes 1 Overview Social science research, which presupposes launched in May 1969. It was considered a freedom of intellectual choice and opinion, significant achievement of evolving Indian needs to be encouraged by a developing democracy. nation. India has not only encouraged it, but also promoted it with state patronage. -
Sruti Notes a Publication of SRUTI - the India Music & Dance Society E-Mail: [email protected] Volume 16, Issue 2
Sruti Notes A Publication of SRUTI - The India Music & Dance Society www.sruti.org E-mail: [email protected] Volume 16, Issue 2, Board of Directors President’s Note President Dear Indian Classical Music and Dance Rasikas: Ravi Pillutla Greetings! Hope you enjoyed an India-like summer in Philadelphia as the board is gearing President-Elect Sunanda Gandham up to present to you a very exciting lineup of concerts in the fall. This year, Indian classical music mourns the loss of music stalwarts Pt. Ravishankar, Sri Lalgudi Jayaraman, MS Go- Treasurer palakrishnan and Maha Guru Sri Pinakapani. We are going to miss them dearly, and their Venkat Kilambi contributions to the art will be cherished by generations to come. Secretary The 2013 spring season was a phenomenal success, starting with the Thyagaraja Ara- Madhavi Ratnagiri dhana in April, featuring an American born young musician in Ramakrishnan Murthy, fol- lowed by an exquisite dance performance featuring the contrasting styles of Odissi and Directors Kandyan by Nrithyagram and the Srilankan dancers. Sri Malladi Suribabu's workshop on Ramana Kanumalla manodhrama sangeetham, varnam and kritis in the Pinakapani style and a vocal concert Suresh Tyagarajan by the upcoming Kunnakudi Balamurali Krishna kept us busy in the remainder of April. In Nari Narayanan May and June, we had the fortune of presenting a lively performance of the Malladi broth- Uma Sivakumar ers with a memorable RTP in charukesi followed by a lilting performance by the Mandolin Sundar Arunapuram duo of Shrinivas & Rajesh to wrap up the spring season. We were overwhelmed by the number of families that came forward to sponsor the 2013 events. -
A Method for Quantifying Raga Similarity
INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH VOLUME 10, ISSUE 06, JUNE 2021 ISSN 2277-8616 Ragadist: A Method For Quantifying Raga Similarity Vinuraj Devaraj Abstract: Raga Similarity had been a topic of fascination among Karnatik music followers. Though the topic remains active and interesting, a lack of appropriate similarity quantification method leads to subjective interpretations which in turn can be ambiguous intermittently. In this paper, we propose a raga similarity method, RagaDist, that quantifies similarities between raga pairs, based on their semantic structure and classifies the similarity into a 4- scale measure. Similarities derived using RagaDist is compared with popular string similarity methods using clustering approaches – Hierarchical clustering and Partition Around Medoids (PAM) and Multi-Dimensional Scaling (MDS) methods to analyze emerging patterns and characteristics among Melakarta raga similarities. Empirical measurements were conducted using one-way ANOVA and post hoc analysis. We also determined that using RagaDist, a threshold of 0.79 may be used as a cut off to distinguish ragas based on similarity. Index Terms: Multi-Dimensional Scaling, Correlation Analysis, Clustering, Partition Around Medoids (PAM), Levenshtein distance, ANOVA, Karnatik Ragas. ———————————————————— 1 INTRODUCTION KARNATIK Music is an ancient, sophisticated yet refined art form of delivering mesmerizing music through a structured In its core, Karnatik ragas are based on sapta swaras or seven method. This form of art is predominantly practiced in South musical notes viz. ―Sa‖, ―Ri‖, ―Ga‖, ―Ma‖, ―Pa‖, ―Dha‖ and ―Ni‖. India and this form of music is still the foundation for various The figure 1 below represents solfeggio of Karnatik raga as musical compositions that are emerging in several forms of represented on a single octave of a piano.