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Transcription and Analysis of Ravi Shankar's Morning Love For
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura Bethany Padgett Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Padgett, Bethany, "Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura" (2013). LSU Doctoral Dissertations. 511. https://digitalcommons.lsu.edu/gradschool_dissertations/511 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TRANSCRIPTION AND ANALYSIS OF RAVI SHANKAR’S MORNING LOVE FOR WESTERN FLUTE, SITAR, TABLA AND TANPURA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bethany Padgett B.M., Western Michigan University, 2007 M.M., Illinois State University, 2010 August 2013 ACKNOWLEDGEMENTS I am entirely indebted to many individuals who have encouraged my musical endeavors and research and made this project and my degree possible. I would first and foremost like to thank Dr. Katherine Kemler, professor of flute at Louisiana State University. She has been more than I could have ever hoped for in an advisor and mentor for the past three years. -
Automatic Raaga Identification System for Carnatic Music Using Hidden Markov Model by Prasad Reddy P.V.G.D, B
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Global Journal of Computer Science and Technology (GJCST) Global Journal of Computer Science and Technology Volume 11 Issue 22 Version 1.0 December 2011 Type: Double Blind Peer Reviewed International Research Journal Publisher: Global Journals Inc. (USA) Online ISSN: 0975-4172 & Print ISSN: 0975-4350 Automatic Raaga Identification System for Carnatic Music Using Hidden Markov Model By Prasad Reddy P.V.G.D, B. Tarakeswara Rao, Dr. K.R Sudha, Hari CH.V.M.K. Andhra University, Visakhapatnam, India Abstract - As for as the Human Computer Interactions (HCI) is concerned, there is broad range of applications in the area of research in respective of Automatic Melakarta Raaga Identification in music. The pattern of identification is the main object for which, the basic mathematical tool is utilized. On verification, it is observed that no model is proved consistently and effectively to be predicted in its classification. This paper is, therefore, introduces a procedure for Raaga Identification with the help of Hidden Markov Models (HMM) which is rather an appropriate approach in identifying Melakarta Raagas. This proposed approach is based on the standard speech recognition technology by using Hidden continuous Markov Model. Data is collected from the existing data base for training and testing of the method with due design process relating to Melakarta Raagas. Similarly, to solve the problem of automatic identification of raagas, a suitable approach from the existing database is presented. The system, particularly, this model is based on a Hidden Markov Model enhanced with Pakad string matching algorithm. -
Music & Dance Examinations
MUSIC & DANCE EXAMINATIONS I. THE AIMS AND OBJECTIVES OF THE FACULTY ARE 1. To encourage the study of Performing Arts as a vocation 2. To institute degree and Junior Diploma Courses in Performing Arts 3 To produce artists of high order and to train and prepare teachers well versed in theory, practice and history of Performing Arts; 4 To conduct research and to carry on auxiliary activities such as collection and publication of manuscripts; 5. To develop a high standard of education and knowledge of the Theory of Music and aesthetics, both ancient and modern, through the study of old and new literature in Sanskrit and other languages and give training in performing arts as a vocation 6. To make special arrangements by way of extension course for those who are not otherwise qualified to be admitted to the Faculty. 7. The Faculty while serving as a repository of all forms of Music including different schools of Music and regional styles, seeks to preserve the traditional methods of teaching and in doing so makes use of all modern techniques e.g. notation and Science of voice culture. In furthering the objectives laid down above, the Faculty arranges for lectures, concerts, demonstrations and excursion tours to important centers of Music in India. II. ADMISSION TO COLLEGES/FACULTIES OF THE UNIVERSITY 1. The last date for admission to all the constituent Colleges / Faculties of the University shall be fixed each year by the Academic Council. 2. Each College/ Faculty maintained by the University shall have a separate form of application which will be serially numbered and issued by the Principal/Dean of the College /Faculty concerned, on payment of the prescribed amount of application fee or by any other officer deputed by University. -
Departmentof Music
DEPARTMENTOF MUSIC Pt. L.M.S. Govt. P.G. College Rishikesh, Dehradun Uttarakhand (An Autonomous College) (Affiliated to H.N.B.Garhwal University,Srinagar,Garhwal Syllabus Based on Choice Based Credit System For Undergraduate Courses BOS held on –19 th July 2018 Pt. L.M.S.Autonomous Govt.Post Graduate College Rishikesh Choice Based Credit System CHOICE BASED CREDIT SYSTEM WITH EFFECT FROM 2018-2019 DEPARTMENT OF MUSIC Pt. L.M.S. Govt. Post Graduate College(Autonomous) Rishikesh HINDUSTANI MUSIC(INSTRUMENTAL TABLA/ SITAR AND HINDUSTANI VOCAL) Semester CORE COURSE (12) Ability Enhancement Skill Elective: Discipline Elective: 6 credit each Compulsory Enhancement Specific DSE (6) Generic (GE) (2) Course(AECC) (2) Course(SEC)(4) 6 credit each 6 credit each 4 credit each 4 credit each I English/MIL-1 (English/MIL Communication)/ DSC-1A Theory of Environmental Science Indian Music: Unit-1 Practical: Unit-2 II English/MIL-2 Environmental Science/(English/MIL Theory of Indian Communication) Music General & Biographies Unit-I Practical : Unit-II III English/MIL-3 SEC-1 Value based & Theory: Unit-1 Ancient Practical Granthas & Orientedcourse Contribution of forHindustani musicologists Music Practical : Unit-2 (Vocal/Instrument al) Credits-4 IV English/MIL-4 SEC-2 Value based & Practical Orientedcourse Theory : Unit-1 forHindustaniMus Medieval Granthas & ic(Vocal/Instrume Contribution of ntal) Musicians Credits-4 Practical : Unit-2 V SEC-3 DSE-1A Generic Value based Theory:Vocal Elective-1 &PracticalPractic /Instrumental (Vocal/Instrume alOrientedcourse (Hindustani Music) ntalMusic) forHindustani Theory Music (Vocal/Instrument al) Credits-4 DSE-2A Practical:Vocal /Instrumental (Hindustani Music) VI SEC- 4 DSE-1B Generic Value based Theory:Vocal Elective-2 &PracticalOriente /Instrumental (Vocal/Instrume dcourse (Hindustani Music) ntalMusic)Pract forHindustaniMus ical ic DSE-2B (Vocal/Instrument Practical:Vocal al) Credits-4 /Instrumental (HindustaniMusic) 1 Choice Based Credit System Syllabus for B.A. -
Indian Classical Music Is One of the Oldest Forms of Music in the World
AN INTRODUCTION TO THE CLASSICAL MUSIC OF INDIA Rangaraj M. Rangayyan Department of Electrical and Computer Engineering University of Calgary Calgary, Canada T2N 1N4. Phone: +1 (403) 220-6745 Fax: +1 (403) 282-6855 e-mail: [email protected] Web: http://www.enel.ucalgary.ca/People/Ranga 48 Scandia Hill N.W. Calgary, Alberta, CANADA T3L 1T8 Phone/fax: +1 (403) 239-7380 I. INTRODUCTION Indian classical music is one of the oldest forms of music in the world. It has its roots in diverse areas such as the ancient religious vedic hymns, tribal chants, devotional temple music, and folk music[2]. Indian music is melodic in nature, as opposed to Western music which is harmonic. The most important point to note is that movements in Indian classical music are on a one-note-at-a-time basis. This progression of sound patterns along time is the most significant contributor to the tune and rhythm of the presentation, and hence to the melody[2]. Although Indian music is now divided into the two major classes of Hindusthani (Northern Indian) and Karnatak or Carnatic (Southern Indian), the origins and fundamental concepts of both these types of music are the same. The form of presentation may however vary between the two systems, as well as from one gharana (family) to another in the former system. The fundamental concepts that have to be understood at the outset are those of swara (musical note), raga (a melodic concept, or scale of notes) and tala (beats of timing or rhythm). This paper begins with an introduction to these concepts. -
Hindustani Music (Vocal/ Instrumental) Submitted to University Grants Commission New Delhi Under Choice Based Credit System
Appendix-XXXIII E.C. dated 03.07.2017/14-15.07.2017 (Page No. 353-393) Syllabus of B.A. (Prog.) Hindustani Music (Vocal/ Instrumental) Submitted to University Grants Commission New Delhi Under Choice Based Credit System CHOICE BASED CREDIT SYSTEM 2015 DEPARTMENT OF MUSIC FACULTY OF MUSIC & FINE ARTS UNIVERSITY OF DELHI DELHI-110007 1 353 Appendix-XXXIII CHOICE BASED CREDIT SYSTEM INE.C. B.A. dated PROGRAMME 03.07.2017/14-15.07.2017 HINDUSTANI MUSIC (VOCAL/INSTRUMENTAL)(Page No. 353-393) CORE COURSE Ability Skill Elective: Elective: Semester Enhancement Enhancement Discipline Generic (GE) Compulsory Course Course (SEC) Specific DSE (AECC) 1 English/MIL-1 (English/MIL Communication)/ Environmental DSC-1A Theory of Indian Science Music: Unit-1 Practical: Unit-2 II Theory of Indian Music General Environmental & Biographies Unit-I Science/(English/MI L Communication) Practical : Unit-II III Theory: Unit-1 Ancient SEC-1 Granthas & Contribution of musicologists Value based & Practical Practical : Unit-2 Oriented course for Hindustani Music (Vocal/Instrum ental) Credits-4 IV Theory : Unit-1 SEC-2 Medieval Granthas & Contribution of Musicians Value based & Practical Practical : Unit-2 Oriented course for Hindustani Music (Vocal/Instrum ental) Credits-4 V SEC-3 DSE-1A Theory: Generic Elective Value based & Vocal / -1 (Vocal/ Practical Instrumental Instrumental Oriented (Hindustani Music) course for Music) Credit-2 Credit-6 Hindustani Music DSE-2A (Vocal/Instrum Practical: ental) Vocal / Credits-4 Instrumental (Hindustani Music) Credit-4 VI SEC-4 DSE-1B Generic Elective Value based & Theory: -2 (Vocal/ Practical Vocal / Instrumental Oriented Instrumental Music) course for (Hindustani Credit-6 Hindustani Music) Credit-2 Music (Vocal/Instrum DSE-2B ental) Practical: Credits-4 Vocal / Instrumental (Hindustani Music) Credit-4 2 354 Appendix-XXXIII E.C. -
Music and Dance/ Volume
SENIOR SCHOOL CURRICULUM 2017-18 VOLUME - III Music and Dance for Class XI & XII Central Board of Secondary Education “Shiksha Sadan”, 17, Rouse Avenue, New Delhi – 110 002 / Telephone : +91-11-23237780 /Website : www.cbseacademic.in Senior School Curriculum 2017 - 18 Volume - III CBSE, Delhi – 110092 March, 2017 Copies: Price: ` This book or part thereof may not be reproduced by any person or Agency in any manner Published by: The Secretary, CBSE Printed by: Multi Graphics, 8A/101, WEA Karol Bagh, New Delhi – 110 005, Phone: 25783846 Printed by: II CONTENTS Page No. Music and Dance Syllabus (i) Carnatic Music 1 (a) Carnatic Music (Vocal) 2 (b) Carnatic Music (Melodic Instrument) 6 (c) Carnatic Music (Percussion Instrumental) 10 (ii) Hindustani Music 15 (a) Hindustani Music (Vocal) 16 (b) Hindustani Music (Melodic Instrument) 19 (c) Hindustani Music (Percussion Instrumental) 22 (iii) (a) Dances 25 (a) Kathak 27 (b) Bharatnatyam 32 (c) Kuchipudi 36 (d) Odissi 38 (e) Manipuri 42 (f) Kathakali 46 (g) Mohiniyattam 49 III SENIOR SCHOOL CURRICULUM 2017-18 VOLUME III (i) Carnatic Music Effective from the academic session 2017–2018 for Classes–XI and XII 1 (A) CARNATIC MUSIC (VOCAL) (CODE NO. 031) CLASS–XI (2017–18): (THEORY) One Theory Paper Total Marks: 100 3 Hours Marks: 30 72 Periods Theory: A. History and Theory of Indian Music 1. (a) Brief history of Carnatic music with special reference of Silappadikaram, Natyasastra, Sangita Ratnakara and Chaturdandi Prakasika. (b) Life-sketch and contributions of the following composers-Purandaradasa, Tyagaraja, Muthuswamy Dikshitar, Syama Sastri and Bhadrachala Ramdas. Jayadeva of Narayana Tirtha, Swati Tirumal. -
Hindustani Music for Other Hons. Courses
GENERIC ELECTIVE - HINDUSTANI MUSIC (VOCAL & INSTRUMENTAL - SITAR/ SAROD/ GUITAR/ VIOLIN/ SANTOOR) Syllabus and Scheme of Examination [(Choice Based Credit System (CBCS)] First draft was placed on dashboard on 01/04/2019 and cleared by CoC held on 05/04/2019 & 16/04/2019 Draft 2 was placed on dashboard on 16/04/2019 and cleared by Faculty Meeting on 14/05/2019 This shall be applicable for students seeking admission in B.A./ B.Com./ B.Sc. (Hons.) course in 2019-2020 DEPARTMENT OF MUSIC Faculty of Music & Fine Arts University of Delhi Delhi-110007 1 COURSE STRUCTURE CHOICE BASED CREDIT SYSTEM (CBCS) GENERIC ELECTIVE HINDUSTANI MUSIC (VOCAL & INSTRUMENTAL - SITAR/SAROD/GUITAR/VIOLIN/SANTOOR) FOR B.A/B.Com./B.Sc.(Hons.) Marks SEMESTER GENERIC ELECTIVE (GE) CREDITS Final IA Total I 2 38 12 50 GE-1 Theory: Introduction of Hindustani Music 4 25 25 50 GE-1 Practical: Performance & Viva-Voce II 2 38 12 50 GE-2 Theory: Basics concepts of Hindustani Music 4 25 25 50 GE-2 Practical: Performance & Viva-Voce III 2 38 12 50 GE-3 Theory: Study of Hindustani Music 4 25 25 50 GE-3 Practical: Performance & Viva-Voce IV 2 38 12 50 GE-4 Theory: Rudimentary elements of Hindustani Music 4 25 25 50 GE-4 Practical: Performance & Viva-Voce Total 24 400 2 B.A./B.COM./B.SC. HONOURS HINDUSTANI MUSIC (VOCAL & INSTRUMENTAL- SITAR/GUITAR/VIOLIN/SANTOOR) GENERIC ELECTIVE CREDITS: THEORY-2, PRACTICAL-4 SEMESTER: 1-4 SEMESTER-1 GE-1 Theory: An Introduction of Hindustani Music Credit: 2 Course Objective The Course has been carefully structured and aims at rendering the know - how of the technical terminologies and definitions. -
FIRST YEAR ARTS MUSIC VOCAL THEORY PAPER-1 HINDUSTANI MUSIC 1 PAPER CODE – MUSV101 Time: 3 Hrs M.M
FIRST YEAR ARTS MUSIC VOCAL THEORY PAPER-1 HINDUSTANI MUSIC 1 PAPER CODE – MUSV101 Time: 3 hrs M.M. 30 Unit-1 1. Full study of following Ragas prescribed in the course. i. Kafi ii. Yaman iii. Des iv. Bhairav v. Aasawari 2. Fully Description of the following ; Talas with Dungun. i. Trital ii. Ektal iii. Jhaptal iv. Kaherva Unit-2 3. Writing of chota khayal with notation in following Ragas. Yaman-Bhairav-Kafi-Aasawari 4. Writing of Ten Alankar in Ten That’s. Unit-3 5. Complete knowledge about the following terms i. Aroh ii. Pakad iii. Samvadi iv. Vivadi v. Avroh vi. Vadi vii. Anuvadi viii. Saptak 6. Complete knowledge about sangeet and alankar. Unit-4 7. Brief study of the following terms: i. Alap ii. Tan iii. Alankar iv. Meed v. Gamak vi. Khayal 8. Study of 10 That’s and difference between That’s and Rag. Unit-5 9. Description and utility of following Instruments: i. Tanpura ii. Tabla iii. Sitar 10. Life sketches of: i. Jaidev ii. Gopal Nayak iii. Swami hari das iv. Ameer Khusro v. Tansen FIRST YEAR ARTS MUSIC VOCAL THEORY PAPER-II HINDUSTANI MUSIC II PAPER CODE – MUSV102 Time: 3 hrs M.M. 30 Unit- 1 1. Complete knowledge of Aadhunik Alap Gayan. 2. Detailed study of following terms : i. Raag Alap ii. Rupak Alap iii. Swasthan Niyam iv. Nad v. Alpatva vi. Laya Unit-2 3. Importance and basic rules regarding Hindustani Music. 4. Detail study of Rag Jati. Unit-3 5. History of Indian Music with reference to ancient period. -
Awards Letters to the Below Mentioned Selected Candidates Shall Be Issued Shortly by CCRI Dwarka, New Delhi
Declaration of the result of scholarship for year the 2Ol7-I8 under the Scheme of Award of Scholarship to young Artistes in different cultural fields. Awards letters to the below mentioned selected candidates shall be issued shortly by CCRI Dwarka, New Delhi. B arcH Y EAK )orl' tZ 1 S.No. Name of the Candidate SYA Enrollment No. Field(s) I ALISH MOHAN sY20185272 HINDUSTANI MUSIC VOCAL 2. K PRASANNA sY20187850 HINDUSTANI MUSIC VOCAT, 3. SAPTAK CHATTOPADHYAY sY20183447 HINDUSTANI MUSIC voCA' 4. HARSIMRAN SINGH sY20186261 HINDUSTANI MUSIC VOCAL 5. PAVI GAUR sY20183874 HINDUSTANI MUSIC VOCEr- 6. RASHI PANT sY20187708 HINDUSTANI MUSIC VOCAI, 7. PURNESH sY20183350 HTNDUSTANT Musrc vocE 8. BI{AVYA SARASWAT sY20183604 HINDUSTANI MUSIC VOCAL 9. PULKIT SHARAM sY20184802 HINDUSTANI MUSiC VoCAL 10. SOHINI GANGULY sY20186329 HINDUSTANI MUSTC VOCEI ll DEVASHREE SHARAD sT20183567 HTNDUSTANI Muslcrzocat NAWGHARE 12. ADITI AJIT KORATKAR sY20183936 HINDUSTANI MUSrC TIOCAI, 13. KAMESWARI SAILUSHA sY20184703 HINDUSTANI MUSTC VOCAI VADAPALLI 14. RASHMI SUHAS KUIXANNT sY20186527 HINDUSTANI MUSIC VOCEL 15. SAI EISHWARY MAHASHABDE sY20183071 HINDUSTANT MUSrC VOC]q,L t6. DHANI GUNDECHA sY20183586 HINDUSTANI UUSIC VOCAI- t7. SWARALI KESHAV sY20183614 HINDUSTANI MUSIC VOCAL PANSHIKAR 18. ANUP KUMAR SINGH sY20183460 urNousrewt rrnjSrc VbEaI- 19. sounaBl{ vasrs'ft{A sY20183099 HrNousraNt uru-rc.o-ff 20. SANJANA JANA sY20183100 HINDUSTANI MUSTC VOCET, 21. TRISHA SARBADHIKARY sY20184499 HINDUSTANI VUSIC VOCEI 22. AYUSH DWIWEDI sY20187146 t ttNousraNr lrustc rzoclr_ 23. AKASH PRAMOD PANDIT sY20183216 HN,IPUSTENT I\AUSIC VOCAL 24. ANIRUDH AITHAL sY20184449 HINDUSTANI MUSTC VOCAI- 25. SAMEER V KULKARNI sY20t 85846 HINDUSTANI MUSTC VOCNT- 26. MEGHA RANJINI R sY20187341 HtNDUSTANI uustc vbcat_ 27. -
The Sounds of Music: Science of Musical Scales∗ III: Indian Classical Music
SERIES ARTICLE The Sounds of Music: Science of Musical Scales∗ III: Indian Classical Music Sushan Konar In the previous articles of this series, we have discussed the development of musical scales particularly that of the hepta- tonic scale which forms the basis of Western classical music today. In this last article, we take a look at the basic struc- ture of scales used in Indian classical music and how differ- ent ragas are generated through the simple process of scale shifting. Sushan Konar works on Introduction stellar compact objects. She also writes popular science In a certain generation many people, all around the world, re- articles and maintains a weekly astrophysics-related ceived their first lesson in Western musical scales from Julie An- blog called ‘Monday drews when she and the von Trapp children sang ‘do-re-mi...’ in Musings’. The Sound of Music. In India, what surprised the uninitiated is the equivalence of this scale with the ‘saptak’ (a scale containing seven basic notes) that forms the basis of Indian traditional music. Indian classical music is a genre that is prevalent in the Indian sub-continent and parts of the far-eastern reaches of South Asia. There exist two major traditions – the North Indian tradition called Keywords the Hindustani classical, and the South Indian variant known as Swara, saptak, murchhana, raga. the Carnatic classical. They began as one but later diverged into two separate forms because of various historical reasons. How- ever, much of the basic structure remains the same till date. The guiding principle of Indian classical music is to exploit the freedom accorded by the special nature of human sensitivity1 to the acoustic frequencies. -
Clarke, North Indian Classical Music and Lerdahl and Jackendoff
North Indian Classical Music and Lerdahl and Jackendoff’s Generative Theory – a Mutual Regard David Clarke NOTE: The examples for the (text-only) PDF version of this item are available online at: h-p:..www.mtosmt.org.issues.mto.12023.4.mto.12023.3.clarke.php 5 6WORDS: Lerdahl and Jackendoff, generative theory, syntax, musical universals, Indian music, khyāl, rāg, ālāp, improvisation, diachronic modeling of music ABSTRACT: This article applies aspects of A Generative Theory of Tonal Music ,y Fred Lerdahl and Ray Jackendoff to the analysis of Hindustani (North Indian) classical music, with a dou,le-edged purpose. On the one hand, the GTTM methodology is used to illuminate the workings of an ālāp (as performed ,y Vijay Rajput, a vocalist in the khyāl style). On the other hand, the analysis acts as a case study to assess the via,ility of this methodology for the analysis of Indian classical music, and in particular, to test out Lerdahl and Jackendoff’s claim that GTTM presents a universal musical grammar, transcending speci?c cultures. This pilot study considers what modi?cations would ,e necessary to GTTM ’s preference rules to make a via,le generative theory for Hindustani classical music—or at least for its melodic aspects, governed as these are ,y the principles of rāg . 7ith such modi?cations, it is possi,le to formally represent levels of musical knowledge involved in the production and perception of this music, and to verify the generative principles where,y a performer is a,le to improvise a potentially in?nite num,er of musical u-erances from a ?nite set of rules.