DOCSLIB.ORG

Detailed Study and Analysis of Some Gwalior Gharana Vocalists from the 20Th Century CHAPTER IV

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Detailed Study and Analysis of Some Gwalior Gharana Vocalists from the 20Th Century CHAPTER IV Chapter IV Detailed Study and Analysis of some Gwalior Gharana Vocalists from the 20th Century CHAPTER IV Detailed Study and Analysis of some Gwalior Gharana Vocalists from the 20th Century In the previous chapter, I have enumerated the salient features of the Gwalior gharana with special emphasis on the strong points pertaining to each feature. We will now look into the gayaki of some Gwalior gharana vocalists. Gwalior gharana practitioners are trained on the basis of the salient features of their core gharana. There are certain aspects in their gayaki which accord them the status of being a member of the gharana. But each has interpreted and evolved an individual gayaki to the best of their ability. It is this individualism that lends diversity within the gharana. The individual gayaki is due to the difference in the treatment of the core features of the gharana. The thrust of my work has been to study this individualism in seven vocalists belonging to the Gwalior gharana.1 Rehmat Khan was the son of Haddu Khan and an illustrious representative of the founding family of the Gwalior gharana. The study of his gayaki also acquires greater significance since after Rehmat Khan’s generation, the Gwalior gayaki was dissipated and propagated principally by the disciples of Haddu Khan, Hassu Khan and Natthu Khan. His influence on other vocalists was felt not only amongst later practitioners of the Gwalior gharana like Omkarnath Thakur, Sharad Chandra Arolkar and Gajananbua Joshi but also on Kirana gharana exponent Abdul Karim Khan and many others. 1 The need to select a finite number of vocalists for analysis purpose is to maintain the focus of this study. Additionally, the observation of considerable diversity in their gayaki has validated the selection of these vocalists. 51 Ramkrishnabua Vaze was a disciple of Nissar Hussain Khan (who was the son of Natthu Khan) and also someone who had myriad influences from a large number of musicians that he interacted with. His vast repertoire of bandish-s, command over rare raga-s, penchant for jhaptala and use of intricate patterning and unpredictable melodic movements are some aspects which contributed to making his performances engaging. Anant Manohar Joshi staunchly adhered to the general features of his gharana more pronounced in his choice of medium tempo laya for vilambit khayal-s, improvising and unfolding a raga through phrases of the raga and in his preference for sapaat tana-s often rendering straight tana-s even in raga-s involving tonal material which is vakra (non- sequential). Having said this, he created a niche for himself by adopting the vocalization of Rehmat Khan to some extent. Krishnarao Pandit was a prolific performer of the Gwalior gharana and also one who enjoyed a long career as a concert artiste. His command over many other forms besides khayal naturally influenced hiskhayal renditions. Gifted with a voice which was cultivated further to perform virtually the way he desired gave his music a high degree of virtuosity and flair. Omkarnath Thakur was an illustrious representative of the lineage of his guru Vishnu Digambar Paluskar. He provided a very different dimension to the gharana by exploring the effect of voice modulation and employing it in his khayal gayaki. Sharad Chandra Arolkar was a perceptive vocalist of the Gwalior gharana. His interpretation of the khayal form is unique and approach to music was also philosophical. His emphasis 52 on meend as a powerful melodic expression in rendition brought about an expansive interpretation to an otherwise fast-paced Gwalior gayaki. D.V. Paluskar was one of the most popular vocalists of the Gwalior gharana and is revered for the quality of his voice. He largely confirmed to the basic features of his parentgharana but while doing so, he also had the uncanny ability to seamlessly blend certain features from other gharana-s and vocalists’ styles as well. Each of the above vocalists enjoyed a wide repertoire in terms of the genres performed. The focus of this work however has been on the analysis of the khayal gayaki of the chosen artistes. Starting with a brief biography which gives an overview of the music training and influences, a detailed analysis of two raga-s is given, though a larger sample of recordings have been used for study. This is followed by general observations for each vocalist, based on his individual interpretation and treatment of each of the features of the Gwalior gharana. 53 4.1 Rehmat Khan Rehmat Khan was a direct descendant of the founding family of the Gwalior gharana and is the only representative from the family whose music was recorded in the early twentieth century. Rehmat Khan’s music stood out for its emotive appeal. Sharad Chandra Arolkar, a veteran vocalist of this gharana, stated that the Gwalior gharana can be distinguished into two categories; the first that gave an aggressive connotation and the other that is marked by sweetness in appeal, simplicity and softer approach towards elaboration.1 He associated Rehmat Khan’s gayaki with the latter quality. Rehmat Khan was the younger son of Haddu Khan. His uncles Hassu Khan and Natthu Khan along with his father were the most illustrious musicians in the Gwalior court under the rule of Daulatrao Scindia and later Jankojirao Scindia during the latter half of the nineteenth century. Rehmat Khan was primarily trained in the family by his father and uncles. He began accompanying his father in concerts since a young age. His other major influences were Bande Ali Khan, a beenkaar of the Kirana gharana and Baba Dixit, who was a direct disciple of Haddu Khan. In fact Haddu Khan thought very highly of his disciple Baba Dixit, so much so that he is even said to have remarked to Rehmat Khan to listen to Baba Dixit in order to have a better understanding of his own (Haddu Khan’s) music (Arolkar 1995: 86). Temperamentally, Rehmat Khan was a very sensitive person. Being extremely attached to his family, he could not cope up after the demise of his father Haddu Khan and the 1 Arolkar’s lecture demonstration on khayal, May 16 1972. Sharad Chandra Arolkar, disciple of Krishnarao Pandit and Eknath Pandit, was influenced by Rehmat Khan’s gayaki. 54 untimely death of his brother chote Muhammad Khan. He left Gwalior to lead a largely reclusive life and was accidently discovered by Vishnupant Chatre in Banaras. Chatre was one of the main disciples of Haddu Khan. Rehmat Khan, by this time, was an opium addict. Vishnupant Chatre operated a circus company and while touring Banaras, he heard of a beggar who could sing very well. Upon examining, he was distressed to see his own co-disciple and the son of his guru, Rehmat Khan in a pitiable condition. Chatre from then on, took up the responsibility to take care of Rehmat Khan and invited him to join his circus company. It was Chatre who was instrumental in reviving the career of Rehmat Khan and arranged his soirees throughout the country. This fact is also corroborated by Ramkrishnabua Vaze in his book ‘Sangeet Kala Prakash’ (1938:164). Vaze writes highly about Rehmat Khan, having also heard him live on a few occasions. He first saw him in Banaras and was witness to his rehabilitation process by Chatre in the latter’s circus company. His (Vaze’s) own guru Nissar Hussain Khan was also a member of the company during this period. He also mentions that Rehmat Khan was adjudged as the foremost musician in a music contest in Nepal. According to Vaze, Moijuddin Khan was a disciple of Rehmat Khan, as told to him by Gauhar Jaan. After the demise of Chatre in 1905, his younger brother Kashinathpant Chatre took on the responsibility of taking care of Rehmat Khan.2 He shifted to Kurundawad, a princely state in western Maharashtra. During this time, he was persuaded to record for The Gramophone 2 Deodhar 2007a : 73. 55 Company Limited in Bombay, thanks to which his gayaki is accessible to the present generation. He died in 1922 in Kurundawad. 4.1.1 Analysis of Selected Recordings: Raga Malkauns and Raga Yaman The recording corpus of Rehmat Khan comprises of short three minute 78 rpm recordings published around 1920. The raga-s reviewed include Malkauns (peera na jaani, vilambit khayal in tilwada); Bhoop (jab se tumisana laagari, drut khayal in teentala); Yaman and Bhairavi (jamuna ke teer, thumri in deepchandi). Rehmat Khan enjoyed a wide repertoire in terms of forms/genres, a fact corroborated through the discography given above. It must be noted that the available recorded material is not representative entirely of the gayaki of the artiste. However glimpses of the gayaki from the founding family of Gwalior gharana are obtained from these samples of recordings. The detailed analysis of two recordings from this sample is given below. A: Delineation of Raga Malkauns in Bhatkhande’s and Patwardhan’s texts The analysis of the two clips will also be supplemented by a description of Raga Malkauns sourced from two authoritative works namely ‘Kramik Pustak Malika’ and ‘Raga Vigyan’ by Bhatkhande and Patwardhan respectively. This would also give a perspective on the raga grammar and deviation, if any, by the vocalist. This selection is justified by the fact that Bhatkhande’s was one of the earliest comprehensive work on raga-s and also a compilation and study of bandish-s from musicians of different gharana-s and Patwardhan was the earliest amongst the Gwalior gharana musicians to have authored texts on raga grammar and documented many traditional bandish-s in his texts. 56 Bhatkhande describes Raga Malkauns in ‘Kramik Pustak Malika Part 3’, a text comprising of notated compositions in different raga-s along with musicological details for each raga (1934: 694-95).
Load more

Recommended publications
  • Chapter 6 SOME NEWLY CREATED MISHRA RAGA
    Chapter 6 SOME NEWLY CREATED MISHRA RAGA SOME NEW CREATIONS : Raga Jogkauns : (A landmark of modem mishra raga) This is an excellent creation of late Pt. Jagannath Buva Purohit "Gunidas". It is a combination of Raga Jog, Chandrakauns (both old and newly created by Prof. Devdhar). Chalan: tit Pi <4 - ST Pt Wf, FlI'PI’ll m n *r n n P( \ w n *t \st, v 3tj\stv X{ *f nji # \*tst^*ftPtsi^sft srPr tft *r *t, v i\5 *nt h *t, *rr Here, (1) Phrase *tT *1 *1*1 is used for raga Jog (2) Phrase *tT *1 *1 *IJHT is also used for raga Jog (3) Phrase tfT Pt «(P[ tn is used for raga Chandrakaus (4) Phrase 4 tfT is also used for raga Chandrakaus (5) Phrase *1 *t ^ ’s also used for raga Chandrakaus (6) Phrase 4 st Pi^st 4 is used for od Chandrakaus While discussing this raga with Prof. N.V.Patwardhan on 18/12/88 he told us that he had a wide discussion with Buva and Buva has told him that while creating the raga Jogkaus the old Chandrakaus having komal Nishad was in his mind. So he had used phrase 4 % 4... which now an identical phrase of raga Jogkaus ( *t tt 4t^t 4 4^44 ) Also discussing this raga with Pt. Arvind Parikh a sitar mastreo and disciple of Sh. Ustad VilayatKhan; he also told that he believes only one newly created mishra raga which may be called as a land mark of mishra raga is only raga Jogkaus created by Pt.
    [Show full text]
  • Kothari International School Annual Academic Plan Subject-Hmv Grade-12 Session-2020-21 Weightage –Theory0-30 Marks
    KOTHARI INTERNATIONAL SCHOOL ANNUAL ACADEMIC PLAN SUBJECT-HMV GRADE-12 SESSION-2020-21 WEIGHTAGE –THEORY0-30 MARKS /PRACTICAL-70 MARKS MONTH TOPIC SUB TOPICS BLOCK PERIODS MARCH THEORY- TO UNDERSTAND SHORT NOTES - THE MEANING & ALANKARA,VARNA,KA USE OF THESE 8.5 BLOCKS N,MEEND,KHATKA NOTES IN SINGING. APRIL RAGA BAGESHRI HOW TO SING SHORT NOTES- RAGA BAGESHRI 6 BLOCKS MURKI ,GAMAK WITH DRUTH LAYA ` TALA-DHAMAR RENDERING OF TAL BY HAND BEATS MAY LIFE SKETCH TO WRITE LIFE SANGEET PARIJAT SKETCH OF ABDUL DEFINITIONS- SADRA, KARIM KHAN & FAIYAJ 4.5 BLOCKS DADRA KHAN GRAM ,MURCHHANA ENABLE STUDENTS TO ,ALAP ,TANA APPLY THESE TERMS RAGA MALKOSH WHILE SINGING DRUT KHAYAL. TALA –JHAP TALA & TO STUDY RUPAK &UNDERSTAND TEEN 4.5 BLOCKS TAAL JULY TIME THEORY TO OF RAGA UNDERSTAND TALA-TILWADA THE VALUE OF THAH AND TIME IN RAGAS DUGUN TILWADA ON HAND BEATS SHORT HOW TO SING NOTE,VILAMBIT VILAMBIT 6 BLOCKS KHAYAL RAGA KHAHYALWITH BHAIRAV SIMPLE ELABORATIONS TALA DHAAMAR TO ENABLE STUDENTS HOW 6.5 BLOCKS LIFE SKETCH TO WRITE BADE NOTATION GULAMALI KHAN & TALA- KRISHNARAO DUGUN & THAH SHANKAR PANDIT AUGUST SHUDDHA AND TO UNDERSTAND VIKRIT SWARAS ABOUT SWARAS 6.5 BLOCKS RAGA BHAIRAV TO DEVELOP FOLK SONG PRACTICE OF BOOK -SANGEET SINGING RAGA RATNAKAR AND LIGHT MUSIC BRIEF STUDY OF BOOK. DHRUTH KHAYAL WITH ELLABORTATIONS 6.5 BLOCKS OF ALLAP,TAAN SEPTEMBER TO DEVELOP SHORT NOTES – KHAYAL 6 BLOCKS ALAP,TANA,SADRA,DADRA, SINGING STYLE GRAM,MURCHANA TALA TILWADA TO KNOW HOW VARIOUS PARTS OF TO SING DADRA 6 BLOCKS TANPURA TALA JHAPTAL,DHAMAR THAH ,DUGUN AND EKTAL CHAWGUNLAYA PRE – BOARD EXAMS OCTOBER PRE – BOARD EXAM 1 NOVEMBER PRE – BOARD EXAM 2 DECEMBER PRE – BOARD EXAM 3 .
    [Show full text]
  • The Rich Heritage of Dhrupad Sangeet in Pushtimarg On
    Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda ||Shree DwaDwarrrrkeshokesho Jayati|| || Shree Vallabhadhish Vijayate || The Rich Heritage Of Dhrupad Sangeet in Pushtimarg on www.vallabhkankroli.org Reference : 8th Year Text Book of Pushtimargiya Patrachaar by Shree Vakpati Foundation - Baroda Inspiration: PPG 108 Shree Vrajeshkumar Maharajshri - Kankroli PPG 108 Shree Vagishkumar Bawashri - Kankroli Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda Contents Meaning of Sangeet ........................................................................................................................... 4 Naad, Shruti and Swar ....................................................................................................................... 4 Definition of Raga.............................................................................................................................. 5 Rules for Defining Ragas................................................................................................................... 6 The Defining Elements in the Raga................................................................................................... 7 Vadi, Samvadi, Anuvadi, Vivadi [ Sonant, Consonant, Assonant, Dissonant] ................................ 8 Aroha, avaroha [Ascending, Descending] ......................................................................................... 8 Twelve Swaras of the Octave ...........................................................................................................
    [Show full text]
  • HINDUSTANI MUSIC (Vocal)
    H$moS> Z§. Code No. 33 /C amob Z§. narjmWu H$moS >H$mo CÎma-nwpñVH$m Ho$ _wI-n¥ð Roll No. >na Adí` {bIo§ & Candidates must write the Code on the title page of the answer-book. ZmoQ> NOTE (I) H¥$n`m Om±M H$a b| {H$ Bg àíZ-nÌ _o§ _w{ÐV (I) Please check that this question n¥ð> 7 h¢ & paper contains 7 printed pages. (II) àíZ-nÌ _| Xm{hZo hmW H$s Amoa {XE JE H$moS (II) Code number given on the right >Zå~a H$mo N>mÌ CÎma-nwpñVH$m Ho$ _wI-n¥ð> na hand side of the question paper {bI| & should be written on the title page of the answer-book by the candidate. (III) H¥$n`m Om±M H$a b| {H$ Bg àíZ-nÌ _| (III) Please check that this question >5 àíZ h¢ & paper contains 5 questions. (IV) H¥$n`m àíZ H$m CÎma {bIZm ewê$ H$aZo go (IV) Please write down the Serial nhbo, CÎma-nwpñVH$m _| àíZ H$m H«$_m§H$ Number of the question in the Adí` {bI| & answer-book before attempting it. (V) Bg àíZ-nÌ H$mo n‹T>Zo Ho$ {bE 15 {_ZQ >H$m (V) 15 minute time has been allotted to g_` {X`m J`m h¡ & àíZ-nÌ H$m {dVaU read this question paper. The nydm©• _| 10.15 ~Oo {H$`m OmEJm & question paper will be distributed at 10.15 a.m. From 10.15 a.m.
    [Show full text]
  • The Concept of Tala 1N Semi-Classical Music
    The Concept of Tala 1n Semi-Classical Music Peter Manuel Writers on Indian music have generally had less difficulty defining tala than raga, which remains a somewhat abstract, intangible entity. Nevertheless, an examination of the concept of tala in Hindustani semi-classical music reveals that, in many cases, tala itself may be a more elusive and abstract construct than is commonly acknowledged, and, in particular, that just as a raga cannot be adequately characterized by a mere schematic of its ascending and descending scales, similarly, the number of matra-s in a tala may be a secondary or even irrelevant feature in the identification of a tala. The treatment of tala in thumri parallels that of raga in thumn; sharing thumri's characteristic folk affinities, regional variety, stress on sentimental expression rather than theoretical complexity, and a distinctively loose and free approach to theoretical structures. The liberal use of alternate notes and the casual approach to raga distinctions in thumri find parallels in the loose and inconsistent nomenclature of light-classical tala-s and the tendency to identify them not by their theoretical matra-count, but instead by less formal criteria like stress patterns. Just as most thumri raga-s have close affinities with and, in many cases, ongms in the diatonic folk modes of North India, so also the tala-s of thumri (viz ., Deepchandi-in its fourteen- and sixteen-beat varieties-Kaharva, Dadra, and Sitarkhani) appear to have derived from folk meters. Again, like the flexible, free thumri raga-s, the folk meters adopted in semi-classical music acquired some, but not all, of the theoretical and structural characteristics of their classical counterparts.
    [Show full text]
  • This Article Has Been Made Available to SAWF by Dr. Veena Nayak. Dr. Nayak Has Translated It from the Original Marathi Article Written by Ramkrishna Baakre
    This article has been made available to SAWF by Dr. Veena Nayak. Dr. Nayak has translated it from the original Marathi article written by Ramkrishna Baakre. From: Veena Nayak Subject: Dr. Vasantrao Deshpande - Part Two (Long!) Newsgroups: rec.music.indian.classical, rec.music.indian.misc Date: 2000/03/12 Presenting the second in a three-part series on this vocalist par excellence. It has been translated from a Marathi article by Ramkrishna Baakre. Baakre is also the author of 'Buzurg', a compilation of sketches of some of the grand old masters of music. In Part One, we got a glimpse of Vasantrao's childhood years and his early musical training. The article below takes up from the point where the first one ended (although there is some overlap). It discusses his influences and associations, his musical career and more importantly, reveals the generous and graceful spirit that lay behind the talent. The original article is rather desultory. I have, therefore, taken editorial liberties in the translation and rearranged some parts to smoothen the flow of ideas. I am very grateful to Aruna Donde and Ajay Nerurkar for their invaluable suggestions and corrections. Veena THE MUSICAL 'BRAHMAKAMAL' - Ramkrishna Baakre (translated by Dr. Veena Nayak) It was 1941. Despite the onset of November, winter had not made even a passing visit to Pune. In fact, during the evenings, one got the impression of a lazy October still lingering around. Pune has been described in many ways by many people, but to me it is the city of people with the habit of going for strolls in the morning and evening.
    [Show full text]
  • Shruti Sangeet Academy
    Shruti Sangeet Academy https://www.indiamart.com/shruti-sangeet-academy/ We provide Hindustani Classical,Semi Classical,Light Compositions,Sanskrit Shlokas and Compositions etc. About Us The Shruti Sangeet Academy is blessed to have a very motivated, sincere and dedicated group of students. Current Students are enrolled at one of three levels; Beginers, Intermediate and Advanced, based on their experience and comfort with the art form. Students follow a curriculum based on that offered by the Gandharva Mahavidhalaya . Gandharva Mahavidyalaya is an institution established in 1939 to popularize Indian classical music and dance. The Mahavidyalaya (school) came into being to perpetuate the memory of Pandit Vishnu Digamber Paluskar, the great reviver of Hindustani classical music, and to keep up the ideals set down by him. The first Gandharva Mahavidyala was established by him on 5 May 1901 at Lahore. The institution was relocated to Mumbai after 1947 and has subsequently established its administrative office at Miraj, Sangli District, Maharashtra. Gandharva Mahavidyalaya, New Delhi was established in 1939 by Padma Shri Pt. Vinaychandra Maudgalaya, from the Gwalior gharana, today it is the oldest music school in Delhi and is headed by noted Hindustani classical singer, Madhup Mudgal. At the Shruti Sangeet Academy, students up on completion of their curriculum successfully, have the option of applying and testing for the following certifications; (1) Sangeet Praveshika, equivalent to matriculation (generally a... For more information, please visit https://www.indiamart.com/shruti-sangeet-academy/aboutus.html F a c t s h e e t Nature of Business :Service Provider CONTACT US Shruti Sangeet Academy Contact Person: Manager A1-602 Parsvnath Exotica Sector 53 Gurgaon - 122001, Haryana, India https://www.indiamart.com/shruti-sangeet-academy/.
    [Show full text]
  • 12 NI 6340 MASHKOOR ALI KHAN, Vocals ANINDO CHATTERJEE, Tabla KEDAR NAPHADE, Harmonium MICHAEL HARRISON & SHAMPA BHATTACHARYA, Tanpuras
    From left to right: Pandit Anindo Chatterjee, Shampa Bhattacharya, Ustad Mashkoor Ali Khan, Michael Harrison, Kedar Naphade Photo credit: Ira Meistrich, edited by Tina Psoinos 12 NI 6340 MASHKOOR ALI KHAN, vocals ANINDO CHATTERJEE, tabla KEDAR NAPHADE, harmonium MICHAEL HARRISON & SHAMPA BHATTACHARYA, tanpuras TRANSCENDENCE Raga Desh: Man Rang Dani, drut bandish in Jhaptal – 9:45 Raga Shahana: Janeman Janeman, madhyalaya bandish in Teental – 14:17 Raga Jhinjhoti: Daata Tumhi Ho, madhyalaya bandish in Rupak tal, Aaj Man Basa Gayee, drut bandish in Teental – 25:01 Raga Bhupali: Deem Dara Dir Dir, tarana in Teental – 4:57 Raga Basant: Geli Geli Andi Andi Dole, drut bandish in Ektal – 9:05 Recorded on 29-30 May, 2015 at Academy of Arts and Letters, New York, NY Produced and Engineered by Adam Abeshouse Edited, Mixed and Mastered by Adam Abeshouse Co-produced by Shampa Bhattacharya, Michael Harrison and Peter Robles Sponsored by the American Academy of Indian Classical Music (AAICM) Photography, Cover Art and Design by Tina Psoinos 2 NI 6340 NI 6340 11 at Carnegie Hall, the Rubin Museum of Art and Raga Music Circle in New York, MITHAS in Boston, A True Master of Khayal; Recollections of a Disciple Raga Samay Festival in Philadelphia and many other venues. His awards are many, but include the Sangeet Natak Akademi Puraskar by the Sangeet Natak Aka- In 1999 I was invited to meet Ustad Mashkoor Ali Khan, or Khan Sahib as we respectfully call him, and to demi, New Delhi, 2015 and the Gandharva Award by the Hindusthan Art & Music Society, Kolkata, accompany him on tanpura at an Indian music festival in New Jersey.
    [Show full text]
  • Secondary Indian Culture and Heritage
    Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture.
    [Show full text]
  • DEFAULTER PART-A.Xlsx
    The following lists of Dentists whose names have been removed from the Maharashtra State Dental Register under sub-section (2) of section 39 of the Dentists Act,1948, on 1st April 2017 for committing default payment of Retention fee before the due date are published in accordance with sub section (5) of section 41 of the Dentists Act, 1948. Part-A Sr. No. Name Reg.No. Remarks 1 VARIFDAR CAPTION NARIMAN RUSTAMJI A-2 2 MAZUMDAR MADHUSNDAN CHUNILAL A-3 3 MAEHANT HARIKRISHAN DHANAMDAS A-5 4 GINWALS MINO SORABJI NUSSAWANJEE A-9 5 VACHHA PHEROX BYRAMJI A-10 6 MADAN BALBIR SINGH A-12 7 NARIMAN HOSHANG JEHANGIV A-14 8 MASANI BEHRAM FRAMRORE A-19 9 JAWLE NARENDEA BHAWANRAO A-20 10 DINSHAW KAVINA ERAEH A-21 11 BHARUCHA COOVER PHIRORE A-22 12 AGARWAL VITHAL DEOLAL A-23 13 AURORA HARISH CHANDAR A-27 14 COLACO ISABEL FAUSTIN A-28 15 HALDIPWR VASANTRAO SHAMRAO A-33 16 EEKIEL RUTH JACOB A-39 17 DEODHAR ACHYUT SITARAM A-43 18 DESIAI BHAGWENTRAI GULABSHAWEAR A-44 19 CHAVHAN SADASHIV GOPAL A-48 20 MISTRI JEHANGIR DADABHAI A-50 21 MEHTA SUKHAL ABHECHAND A-52 22 DEODHAR PRABHA ACHYUT A-58 23 DHANBHOORA MANECK JEHANGIRSHA A-59 24 GINWALLA JEHMI MINO SORABJI A-61 25 SOONAWALA HOMI ARDESHIR A-63 26 SIGUEIRA CAPTION WALTER JOSEPH A-65 27 BHANICHA DHANJISHAH PHERIZWSHAW A-66 28 DESHMUKH VASANT RAMKRISHAN A-70 29 PATIL SONAL CHANDHAKNT A-72 30 JAGOS JASSI BYARANSHAW A-74 31 PAHLAJANI SUMATI MUKHAND A-76 32 FERANANDAS RUPHAEL PHILIP A-77 33 MATHIAS JOHNNY JOHN BAPTIST A-78 34 JOSHI PANDMANG WASUDEVAO A-82 35 DCOSTA HENNY SERTORIO A-86 36 JHAKUR ARVIND BHAKHANDRA
    [Show full text]
  • 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.
    [Show full text]
  • Artifacts and Representations of North Indian Art Music [*Ecompanion At
    Oral Tradition, 20/1 (2005): 130-157 Shellac, Bakelite, Vinyl, and Paper: Artifacts and Representations of North Indian Art Music [*eCompanion at www.oraltradition.org] Lalita du Perron and Nicolas Magriel Introduction Short songs in dialects of Hindi are the basis for improvisation in all the genres of North Indian classical vocal music. These songs, bandiśes, constitute a central pillar of North Indian culture, spreading well beyond the geographic frontiers of Hindi itself. Songs are significant as being the only aspect of North Indian music that is “fixed” and handed down via oral tradition relatively intact. They are regarded as the core of Indian art music because they encapsulate the melodic structures upon which improvisation is based. In this paper we aim to look at some issues raised by the idiosyncrasies of written representations of songs as they has occurred within the Indian cultural milieu, and then at issues that have emerged in the course of our own ongoing efforts to represent khyāl songs from the perspectives of somewhat “insidish outsiders.” Khyāl, the focus of our current research, has been the prevalent genre of vocal music in North India for some 200 years. Khyāl songs are not defined by written representations, but are transmitted orally, committed to memory, and re-created through performance. A large component of our current project1 has been the transcription of 430 songs on the basis of detailed listening to commercial recordings that were produced during the period 1903-75, aspiring to a high degree of faithfulness to the details of specific performance instances. The shellac, bakelite, and vinyl records with 1 An AHRB-funded (Arts and Humanities Research Board) project, “Songs of North Indian Art Music” (SNIAM), carried out by the two authors in the Department of Music at the School of Oriental and African Studies (SOAS).
    [Show full text]