DU MA Hindustani Music Topic:- DU J19 MA HM
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Complete List of Books in Library Acc No Author Title of Book Subject Publisher Year R.No
Complete List of Books in Library Acc No Author Title of book Subject Publisher Year R.No. 1 Satkari Mookerjee The Jaina Philosophy of PHIL Bharat Jaina Parisat 8/A1 Non-Absolutism 3 Swami Nikilananda Ramakrishna PER/BIO Rider & Co. 17/B2 4 Selwyn Gurney Champion Readings From World ECO `Watts & Co., London 14/B2 & Dorothy Short Religion 6 Bhupendra Datta Swami Vivekananda PER/BIO Nababharat Pub., 17/A3 Calcutta 7 H.D. Lewis The Principal Upanisads PHIL George Allen & Unwin 8/A1 14 Jawaherlal Nehru Buddhist Texts PHIL Bruno Cassirer 8/A1 15 Bhagwat Saran Women In Rgveda PHIL Nada Kishore & Bros., 8/A1 Benares. 15 Bhagwat Saran Upadhya Women in Rgveda LIT 9/B1 16 A.P. Karmarkar The Religions of India PHIL Mira Publishing Lonavla 8/A1 House 17 Shri Krishna Menon Atma-Darshan PHIL Sri Vidya Samiti 8/A1 Atmananda 20 Henri de Lubac S.J. Aspects of Budhism PHIL sheed & ward 8/A1 21 J.M. Sanyal The Shrimad Bhagabatam PHIL Dhirendra Nath Bose 8/A2 22 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam VolI 23 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vo.l III 24 J.M. Sanyal The Shrimad Bhagabatam PHIL Oriental Pub. 8/A2 25 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vol.V 26 Mahadev Desai The Gospel of Selfless G/REL Navijvan Press 14/B2 Action 28 Shankar Shankar's Children Art FIC/NOV Yamuna Shankar 2/A2 Number Volume 28 29 Nil The Adyar Library Bulletin LIT The Adyar Library and 9/B2 Research Centre 30 Fraser & Edwards Life And Teaching of PER/BIO Christian Literature 17/A3 Tukaram Society for India 40 Monier Williams Hinduism PHIL Susil Gupta (India) Ltd. -
Music Initiative Jka Peer - Reviewed Journal of Music
VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc. -
School of Cultural Texts and Records, Jadavpur University)
4.2. SELF APPRAISAL REPORT ON DOCUMENTATION OF CULTURAL TEXTS (SCHOOL OF CULTURAL TEXTS AND RECORDS, JADAVPUR UNIVERSITY) 4.2.1 Contributing Faculty Members (PI/direct supervision of research projects) 1. PROFESSOR AMLAN DAS GUPTA, PROFESSOR OF ENGLISH Digitization of Cultural Material Digital Music Archiving Electronic Editing 2. DR ABHIJIT GUPTA, ASSOCIATE PROFESSOR OF ENGLISH Early Bengali Books Location Register Physical Culture in Bengal 3. SHRI RAJESWAR SINHA, ASST. PROFESSOR OF BENGALI Travel Literature in Bengal Database Advisory Faculty 1. PROFESSOR SUKANTA CHAUDHURI (PROFESSOR EMERITUS, JADAVPUR UNIVERSITY) 2. PROFESSOR SUPRIYA CHAUDHURI (PROFESSOR EMERITA, JADAVPUR UNIVERSITY) 3. PROFESSOR SWAPAN CHAKRAVORTY, PROFESSOR OF ENGLISH 4. PROFESSOR MOINAK BISWAS, PROFESSOR OF FILM STUDIES 5. PROFESSOR SAMANTAK DAS, ASSOCIATE PROFESSOR OF COMPARATIVE LITERATURE 6. DR RIMI B CHATTERJEE, ASSOCIATE PROFESSOR OF ENGLISH Project Staff under UPE 2 as on 1 January 2014 1. Sri Subrata Sinha, Research Fellow 2. Dr Spandana Bhowmik, Research Fellow 3. Dr Debapriya Basu, Research Fellow 4. Dr Sudeshna Datta Chaudhuri Basu, Project Fellow 5. Ms Purbasha Auddy, Project Fellow 6. Dr Deeptanil Roy, Project Fellow 7. Sri Nikhilesh Bhattacharya, Project Fellow 8. Ms Moumita Haldar, Project Fellow 9. Ms Asmita Chaudhuri, Project Fellow 4.2.2 Relevant Projects in Last 10 years including the Ongoing Projects (MAJOR PROJECTS ONLY) Project Title Sponsoring Members Grant Value Duration Agency (Rs in Lakh) DOCUMENTATION OF UGC ‐ UPE 1 SUKANTA CHAUDHURI, -
The West Bengal College Service Commission State
THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics. -
Volume-1, Issue-2 . ISSN 2456-6187 December , 2017
Volume-1, Issue-2 . ISSN 2456-6187 December , 2017 CONTRIBUTION OF USTAD SHARAFAT HUSSAIN KHAN SAHEB: IN THE FIELD OF DEVELOPMENT OF SANGEET KALA IN THE BACK DROP OF GHARANA Page | 1 -Alok Acharjee Abstract From the very beginning of civilization art and music started walking on the course of gradual development. With the gradual advancement of civilization this art also kept and advancing keeping its own trend. In ancient India monotype of music was exercised. But this art experienced an amalgamation with foreign culture as a consequence of foreign attack (specially South Asian foreign force). As a result this mono music art got by individual form between North and South India .In spite of that , some contemporary music practitioners endeavoured to keep up the spirit of monotype music. Thus to protect the music art trend „music school „ or „Gharanas„ originated .Through these „Gharana s „ subtle creativity of music art is protected till date. In this regard Ustad Sharafat Hussain Khan of Agra Gharana is specially noteworthy. The strengthened and popularised Agra Gharana across the Country found a place In the posterity. According to Pt. Ajoy Chakrabarty “those who made Agra Gharana the best are Ustad Fiyaz Khan , Ustad Vilayet Hussain khan ,Ustad Sharafat Hussain Khan. In one word Saharafat Hussain Khan was the Torchbearer of this Gharana.”1 Thus Agra Gharana has become an eternal source of Music inspiration for music learners and lovers . Keyword : - Gharana, Gayaki , Rangile Style, Alapchari ,Bol Bant Introduction: From the very beginning of Sangeet Kala two different aspects in this regard into two different flow and transformed in different times and flowed in to the present day form. -
A Music Appreciation Course/Program
स्तुति A Music appreciation Course/Program *Syllabus, course, content copyright of Veena Venu Art Foundation About The Course/Program: • The music Appreciation course: Students undergoing this course will get to learn the basics of Indian classical music, the fundamentals of Indian classical music by first understanding the swars ,raag and taal, ways of expressing music besides getting to learn different styles. Students shall learn the basic theory of Indian Classical Music. Little bit more understanding about raag, performance styles, and gharanas of music shall also be taught. Who Can Join? Anyone who wants to have understanding about Music, know music and appreciate Music. Where Can you Learn This? This course is both Offline/Online. For more details please contact us. Who will teach? Dr.Radhika Veenasadhika expert and first lady Vichitra Veena player and a maestro of music with 25+ Years of teaching experience. Both her and gurus of foundation shall be teaching. Duration of Course/Program: 3 Months. Mode: Workshop Mode Course. Overview • Basic understanding of swars, 6-8 raags ,taal, lay, rhythm • Introduction to different styles and gharanas of Indian classical music • Basic understanding of Aalap,taan,and compositions • Listening sessions to enhance, analyze, and understand gayan/vadan • Activities and projects Examination • We shall conduct an assessment to test and know how much student has understood. * If student does not pass the assessment they need to learn for extra 2 months …. Joining Process • Students need to pay fee • After payment students shall receive online registration form which has to be filled by them • And the class will get started About Veena Venu Art Foundation • Veena Venu Art Foundation is an initiative with vision to save and promote Indian art and culture. -
Old-City Lahore: Popular Culture, Arts and Crafts
Bāzyāft-31 (Jul-Dec 2017) Urdu Department, Punjab University, Lahore 21 Old-city Lahore: Popular Culture, Arts and Crafts Amjad Parvez ABSTRACT: Lahore has been known as a crucible of diversified cultures owing to its nature of being a trade center, as well as being situated on the path to the capital city Delhi. Both consumers and invaders, played their part in the acculturation of this city from ancient times to the modern era.This research paperinvestigates the existing as well as the vanishing popular culture of the Old-city Lahore. The cuisine, crafts, kites, music, painting and couture of Lahore advocate the assimilation of varied tastes, patterns and colours, with dissimilar origins, within the narrow streets of the Old- city. This document will cover the food, vendors, artisans, artists and the red-light area, not only according to their locations and existence, butin terms of cultural relations too.The paper also covers the distinct standing of Lahore in the South Asia and its popularity among, not only its inhabitants, but also those who ever visited Lahore. Introduction The Old City of Lahore is characterized by the diversity of cultures that is due tovarious invaders and ruling dynasties over the centuries. The narrow streets, dabbed patches of light andunmatched cuisine add to the colours, fragrance and panorama of this unique place. 22 Old-city Lahore: Popular Culture, Arts and Crafts Figure 1. “Old-city Lahore Street” (2015) By Amjad Parvez Digital Photograph Personal Collection Inside the Old-city Lahore, one may come the steadiness and stationary quality of time, or even one could feel to have been travelled backward in the two or three centuries when things were hand-made, and the culture was non-metropolitan. -
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. -
A Nonlinear Study on Time Evolution in Gharana
Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 15 April 2019 doi:10.20944/preprints201904.0157.v1 A NONLINEAR STUDY ON TIME EVOLUTION IN GHARANA TRADITION OF INDIAN CLASSICAL MUSIC Archi Banerjee1,2*, Shankha Sanyal1,2*, Ranjan Sengupta2 and Dipak Ghosh2 1 Department of Physics, Jadavpur University 2 Sir C.V. Raman Centre for Physics and Music Jadavpur University, Kolkata: 700032 India *[email protected] * Corresponding author Archi Banerjee: [email protected] Shankha Sanyal: [email protected]* Ranjan Sengupta: [email protected] Dipak Ghosh: [email protected] © 2019 by the author(s). Distributed under a Creative Commons CC BY license. Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 15 April 2019 doi:10.20944/preprints201904.0157.v1 A NONLINEAR STUDY ON TIME EVOLUTION IN GHARANA TRADITION OF INDIAN CLASSICAL MUSIC ABSTRACT Indian classical music is entirely based on the “Raga” structures. In Indian classical music, a “Gharana” or school refers to the adherence of a group of musicians to a particular musical style of performing a raga. The objective of this work was to find out if any characteristic acoustic cues exist which discriminates a particular gharana from the other. Another intriguing fact is if the artists of the same gharana keep their singing style unchanged over generations or evolution of music takes place like everything else in nature. In this work, we chose to study the similarities and differences in singing style of some artists from at least four consecutive generations representing four different gharanas using robust non-linear methods. For this, alap parts of a particular raga sung by all the artists were analyzed with the help of non linear multifractal analysis (MFDFA and MFDXA) technique. -
Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan
Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan By Zainub Beg A Thesis Submitted to Saint Mary’s University, K’jipuktuk/Halifax, Nova Scotia in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Theology and Religious Studies. December 2020, Halifax, Nova Scotia Copyright Zainub Beg, 2020 Approved: Dr. Syed Adnan Hussain Supervisor Approved: Dr. Reem Meshal Examiner Approved: Dr. Sailaja Krishnamurti Reader Date: December 21, 2020 1 Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan by Zainub Beg Abstract Abida Parveen, often referred to as the Queen of Sufi music, is one of the only female qawwals in a male-dominated genre. This thesis will explore her performances for Coke Studio Pakistan through the lens of gender theory. I seek to examine Parveen’s blurring of gender, Sufism’s disruptive nature, and how Coke Studio plays into the two. I think through the categories of Islam, Sufism, Pakistan, and their relationship to each other to lead into my analysis on Parveen’s disruption in each category. I argue that Parveen holds a unique position in Pakistan and Sufism that cannot be explained in binary terms. December 21, 2020 2 Table of Contents Abstract ................................................................................................................... 1 Acknowledgements ................................................................................................ 3 Chapter One: Introduction .................................................................................. -
The Gwalior Gharana of Khayal
THE GWALIOR GHARANA OF KHAYAL SusheeJa Misra The different gharanas in Khayal-singing have not only helped to preserve and perpetuate the older traditions through an unbroken lineage of Guru shishya-paratnpara, but also added much colour and infinite variety to Hindustani Music. In an article on "A spects of Karnatic Music", the late Sri G.N. Balasubramaniam (a famous performing artiste and scholar) wrote almost longingly:- "Unlike the Karnatak system, the Hindustani system is more elastic and flexible and comparatively free from inhibitions and restrictions. For instance, in the North there are several Gharanas--each one handling one and the same raga differently. In the South everywhere, every raga is ren dered alike". It is this scope for variety, choice of suitable style, and flights of fancy that have maintained the popul arity of the Khayal up till now. The precursors of the Khayal also used to be rendered in different styles. In ancient granthas, we come across mention of different types of "Geetis" such as "Shudhdha", "Bhinna", "Goudi", "Vesari", and "Saadhaarant", When the golden age of the Dhrupad began (during the Middle Ages), Dhrupad-gayan also had developed four "Baants" (meaning styles, or schools) namely, :-"Goudi" or "Gobarhari", "Daggur", "Khandar", and "Nowhar". When the majestic and ponderous Dhrupad had to give place to the .classico-romantic Khayal-form, the latter was developed and perfected into various styles which came to be known as "Gharanas", These "gharanas" gave an attractive variety to Khayal-singing,-each "gharana" developing its own distinctive features, although all of them were deeply rooted in a common underlying tradition or "Susampradaaya". -
Ramprapanna Bhattacharya
Ramprapanna Bhattacharya 15/2B, College Row, Kolkata – 700009 (Sitar Player) Phone:+91 33 22414151 Email: [email protected] Mobile: +91 9748008729 Webpage: http://www.ramprapanna.webs.com RAMPRAPANNA BHATTACHARYA SITAR PLAYER ---------------------------------------------------------------------------------------------------------------------------------- Ramprapanna Bhattacharya (born: 1982) is a Hindustani classical musician and Sitar player. Training and Background Ramprapanna Bhattacharya is the highly acclaimed Sitarist and a worthy representative of younger generation of the famous Imdadkhani-Etawah Gharana. He was born in a family with remarkable musical, cultural and spiritual heritage. His great grandfather Late Ramendu Bhattacharya was a noted clarinet player. His grandmother used to play sitar and has the family relation with great musicians like Timir Baran, Amiya Kanti Bhattacharya (Bhombal Babu). His father Sri Ram Udar Bhattacharya is also a Sitarist and is a disciple of Ustad Ali Ahmad Khan(Sitar), Ustad Mushtaq Ali Khan, Pt. Gokul Nag and Pt. Indranil Bhattacharya. Ramprapanna was first introduced to music by his mother. He took up the Sitar at the age of six under guidance of his father, Sri Ram Udar Bhattacharya . After receiving musical lessons from Sri Soumitra Lahiri of Vishnupur Gharana, he got privilege to have musical lessons from Pt. Kashinath Mukherjee (The senior disciple of Ustad Vilayat Khan and Ustad Amir Khan). Now, continuing the same musical tradition he is undergoing extensive guidance from Pt. Arvind Parikh (the world renowned Sitarist and senior most disciple of Ustad Vilayat Khan) in Mumbai. He received compositions from Late Pt. Bimal Mukherjee of Jaipur Gharana, Ustad Amjad Ali Khan, Ustad Shahid Parvez Khan in several workshops from 1995 to 2004. Ramprapanna is rarely fortunate to have affection and blessings from none other than Aftaab-E-Sitar Ustad Vilayat Khan Sahab.