Hindustani Music Concert

Total Page:16

File Type:pdf, Size:1020Kb

Hindustani Music Concert Saturday, May 13, 2017 • 8:00 P.M. HINDUSTANI MUSIC CONCERT DePaul Concert Hall 800 West Belden Avenue • Chicago Saturday, May 13, 2017 • 8:00 P.M. DePaul Concert Hall HINDUSTANI MUSIC CONCERT Kushal Das, sitar Ramdas Palsule, tabla PROGRAM Pt. Kushal Das will announce this evening’s selections from the stage. HINDUSTANI MUSIC CONCERT • MAY 13, 2017 ABOUT TONIGHT’S PERFORMANCE Hindustani music has been performed for centuries in the regions that are now the countries of India, Pakistan, Bangladesh, and Afghanistan. Hindustani music is based on modal melody types called raga. They typically have extra-musical meanings that correspond with a time of day or night, season, or occasion. The musician improvises the melody within highly prescribed, traditional “rules” of a particular raga, which include characteristic phrases and emotional nuances. No two performances of the same raga will be alike. The aesthetic and emotional feeling created by a raga, known as its rasa, is considered an essential element of a successful performance In a sitar recital, the performer may play an alaap, jor, jhala, and gat – the solo sitar plays for an extended period, first in slow free rhythm, then introducing steady pulse, moving into high speed, all before the tabla enters in a tala, a rhythmic cycle of set number of beats. Or, the performer may simply play a brief alaap followed by the appearance of the tabla in one or more improvised pieces based on compositions in the given cycle. HINDUSTANI MUSIC CONCERT • MAY 13, 2017 ABOUT THE PERFORMERS Pandit Kushal Das is the leading sitar player of his generation, hailing from Kolkata, India. He received his first lessons on the sitar from his father, Sri Sailen Das, and his uncle, Sri Santanu Das, both respected members of the famous Maihar gharana (school of raga interpretation). He continued studies under the guidance of Prof. Sanjoy Banerjee and Pandit Ajoy Sinha Roy and also benefitted from vocal lessons with Pandit Manas Chakraborty and Sri Ramkrishna Basu. He soon gained fame as, perhaps, the contemporary player whose music is closest in spirit and sheer ability to the playing of the late Nikhil Banerjee. But his questing and deeply modest nature has led him to seek further incorporations into his instrumental approach. Since 2002, Das has also played the surbahar, a lower-pitched or bass sitar with very few contemporary adherents. He has given multiple performances at the top music festivals in India and at prestigious venues in Europe and the United States, and he has made numerous recordings. In addition, All India Radio and Doordarshan, the Government of India’s radio and television broadcasting services, have long rated him at the highest level. Pandit Ramdas Palsule is familiar to Hindustani music aficionados as an intellectual tabla player. As a senior disciple of the famous tabla maestro Taalyogi Padmashree Pandit Suresh Talwalkar, he is recognized as one of the finest players of his generation. An accomplished soloist as well as versatile accompanist, he has performed widely in eminent music festivals in India and abroad, and he has accompanied distinguished vocalists, instrumentalists and Kathak dancers. Palsule is an important tabla pedagogue, and for the over twenty years, he has served on the Faculty of the Center for the Performing Arts at the University of Pune in India. HINDUSTANI MUSIC CONCERT • MAY 13, 2017 ABOUT THE SOUTH ASIAN CLASSICAL MUSIC SOCIETY Special thanks go to the South Asian Classical Music Society for their assistance in arranging Pt. Kushal Das’s and Pt. Ramdas Palsule’s visit to Chicago. Now in its fifth season, SACMS is focused on presenting the finest performers of Hindustani and Carnatic music. In addition to bringing renowned exponents of this music to Chicago, SACMS provides a stage for fine local and regional performers and to rising talent. SACSMS welcomes your participation in their activities! For more information, please visit SACMS’s Facebook page: https://www.facebook.com/ SouthAsianClassicalMusic/. HINDUSTANI MUSIC CONCERT • MAY 13, 2017 UPCOMING EVENTS Friday, May 19 • 7:30 P.M. Sunday, May 21 • 2:00 P.M. Concert Hall DePaul Opera Theatre presents Monteverdi’s L’Incoronazione di Poppea Saturday, May 20 • 3:00 P.M. Concert Hall Percussion Ensemble Saturday, May 20 • 4:00 P.M. Recital Hall Wind/Mixed Chamber Showcase Saturday, May 20 • 8:00 P.M. Concert Hall African Drum Ensemble Sunday, May 21 • 8:00 P.M. Concert Hall Brass Ensemble Monday, May 22 • 8:00 P.M. Concert Hall Composers Forum Monday, May 22 • 8:00 P.M. Recital Hall DePaul Jazz Combos Tuesday, May 23 • 8:00 P.M. Concert Hall Ensemble 20+ Wednesday, May 24 • 7:00 P.M. Symphony Center • 220 S Michigan Avenue DePaul Symphony Orchestra Free, tickets required. Visit the “Concert & Events” page on music.depaul. edu for more information, or call 773.325.7260. Thursday, May 25 • 7:00 P.M. Recital Hall Opera Workshop HINDUSTANI MUSIC CONCERT • MAY 13, 2017 UPCOMING EVENTS Thursday, May 25 • 8:00 P.M. DePaul Student Center • 2250 N. Sheffield Ave. DePaul Jazz Ensembles Thursday, May 25 • 8:00 P.M. Concert Hall String Chamber Showcase I Friday, May 26 • 8:00 P.M. Concert Hall DePaul Wind Ensemble Saturday, May 27 • 8:00 P.M. Concert Hall DePaul Concert Orchestra and Symphonic Choir Sunday, May 28 • 2:00 P.M. St. Vincent de Paul Parish • 1010 W. Webster Ave. DePaul Concert Orchestra and Symphonic Choir Sunday, May 28 • 8:00 P.M. Concert Hall Baroque Ensemble Tuesday, May 30 • 7:00 P.M. Concert Hall Faculty Recital: Stephen Balderston, cello As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you. Sign up for Music @ DePaul E-Notes! Receive monthly updates in your inbox on performances taking place at the School of Music, as well as special offers and discounts to ticketed events! You can choose to unsubscribe from the list at any time. We have a strict privacy policy and will never sell or trade your email address. You can sign up for E-Notes by visiting music.depaul.edu and clicking on Concerts and Events. DePaul University School of Music Concert Hall • 800 West Belden Avenue • Chicago Recital Hall • 804 West Belden Avenue • Chicago music.depaul.edu • 773.325.7260 804 West Belden Avenue Chicago, IL 60614 773.325.7260 music.depaul.edu.
Recommended publications
  • Famous Indian Classical Musicians and Vocalists Free Static GK E-Book
    oliveboard FREE eBooks FAMOUS INDIAN CLASSICAL MUSICIANS & VOCALISTS For All Banking and Government Exams Famous Indian Classical Musicians and Vocalists Free static GK e-book Current Affairs and General Awareness section is one of the most important and high scoring sections of any competitive exam like SBI PO, SSC-CGL, IBPS Clerk, IBPS SO, etc. Therefore, we regularly provide you with Free Static GK and Current Affairs related E-books for your preparation. In this section, questions related to Famous Indian Classical Musicians and Vocalists have been asked. Hence it becomes very important for all the candidates to be aware about all the Famous Indian Classical Musicians and Vocalists. In all the Bank and Government exams, every mark counts and even 1 mark can be the difference between success and failure. Therefore, to help you get these important marks we have created a Free E-book on Famous Indian Classical Musicians and Vocalists. The list of all the Famous Indian Classical Musicians and Vocalists is given in the following pages of this Free E-book on Famous Indian Classical Musicians and Vocalists. Sample Questions - Q. Ustad Allah Rakha played which of the following Musical Instrument? (a) Sitar (b) Sarod (c) Surbahar (d) Tabla Answer: Option D – Tabla Q. L. Subramaniam is famous for playing _________. (a) Saxophone (b) Violin (c) Mridangam (d) Flute Answer: Option B – Violin Famous Indian Classical Musicians and Vocalists Free static GK e-book Famous Indian Classical Musicians and Vocalists. Name Instrument Music Style Hindustani
    [Show full text]
  • Rajeeb Chakraborty (Sarod) and Reena Shrivastava
    The Asian Indian Classical Music Society 52318 N Tally Ho Drive, South Bend, IN 46635 Indian Classical Music Concert Dr. Rajeeb Chakarborty (sarod) Reena Chakraborty Shrivastava (sitar) with Subhen Chatterjee (tabla) September 6, 2009, Sunday, 7.30PM Dr. Rajeeb Chakraborty and Reena Chakraborty Shrivastava, are two of India’s leading classical instrumental musicians. They started training with their father, the eminent Sarod player, Pandit Robi Chakraborty, from the ages of six and five. They belong to the famous Maihar Gharana (school or tradition of music), following the tradition of the great masters Ustad Allauddin Khan, Ustad Ali Akbar Khan and Pandit Ravi Shankar. Both Rajeeb and Reena began performing publicly when they were nine years of age. As soloists, and sometimes together, they have participated in all the major music festivals in India, performed extensively in India, the US, Canada, and Western Europe, and have several musical recordings to their names. Subhen Chatterjee has accompanied most of India’s classical musicians. For more information, see http://www.rajeebchakraborty.com/ and http://www.aimusic.co.uk/artiste.html, and for a preview of their music, see http://www.youtube.com/watch?v=q57Oh3Ddnk8 Place: the Hesburgh Center for International and Peace Studies Auditorium, University of Notre Dame Tickets available at gate. General Admission: $10, AICMS Members and ND/SMC faculty: $5, Students: FREE Please also note that the AICMS had its annual general-body meeting on June 19, 2009. The new members of the Executive Committee were elected at the meeting. They are: Samir Bose (President), Vidula Agtey (Vice President), Amitava Dutt (Secretary), Ganesh Vaidyanathan (Treasurer) and Umesh Garg (Member-at-Large and Program Coordinator).
    [Show full text]
  • J 1607 PAPER II.P65
    Signature and Name of Invigilator Answer Sheet No. : ...................................................... (To be filled by the Candidate) 1. (Signature) Roll No. (Name) (In figures as per admission card) 2. (Signature) Roll No. (In words) (Name) Test Booklet No. J1 6 0 7 PAPERII Time : 1¼ hours]MUSIC [Maximum Marks : 100 Number of Pages in this Booklet : 48 Number of Questions in this Booklet : 50 Instructions for the Candidates ÂÚUèÿææçÍüØô¢ ·ð¤ çÜ° çÙÎðüàæ 1. Write your roll number in the space provided on the top of this 1. ÂãÜðU ÂëDU ·ð¤ ª¤ÂÚU çÙØÌ SÍæÙ ÂÚU ¥ÂÙæ ÚUôÜU ÙÕÚU çÜç¹°Ð page. 2. §â ÂýàÙ-Âæ ×𢠿æâ Õãéçß·¤ËÂèØ ÂýàÙ ãñ¢Ð 2. This paper consists of fifty multiple-choice type of questions. 3. ÂÚUèÿææ ÂýæÚUÖ ãôÙð ÂÚU, ÂýàÙ-ÂéçSÌ·¤æ ¥æ·¤ô Îð Îè ÁæØð»èÐ ÂãÜðU ÂUæ¡¿ ç×ÙÅU 3. At the commencement of examination, the question booklet ¥æ·¤ô ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ÌÍæ ©â·¤è çÙÙçÜç¹Ì Áæ¡¿ ·ð¤ çÜ° çÎØð will be given to you. In the first 5 minutes, you are requested ÁæØð¢»ð çÁâ·¤è Áæ¡¿ ¥æ·¤ô ¥ßàØ ·¤ÚUÙè ãñ Ñ to open the booklet and compulsorily examine it as below : (i) ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ·ð¤ çÜ° ©â·ð¤ ·¤ßÚU ÂðÁ¤ÂÚU Ü»è ·¤æ»Á ·¤è (i) To have access to the Question Booklet, tear off the paper âèÜ ·¤ô ȤæǸU Üð¢UÐ ¹éÜè ãé§ü Øæ çÕÙæ SÅUè·¤ÚU-âèÜU ·¤è ÂéçSÌ·¤æ seal on the edge of this cover page. Do not accept a Sßè·¤æÚU Ù ·¤Úð¢UÐ booklet without sticker-seal and do not accept an open booklet.
    [Show full text]
  • (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl
    MINISTRY OF HOME AFFAIRS (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl. Prefix First Name Last Name Award State Field Remarks 1954 1 Dr. Sarvapalli Radhakrishnan BR TN Public Affairs Expired 2 Shri Chakravarti Rajagopalachari BR TN Public Affairs Expired 3 Dr. Chandrasekhara Raman BR TN Science & Eng. Expired Venkata 4 Shri Nand Lal Bose PV WB Art Expired 5 Dr. Satyendra Nath Bose PV WB Litt. & Edu. 6 Dr. Zakir Hussain PV AP Public Affairs Expired 7 Shri B.G. Kher PV MAH Public Affairs Expired 8 Shri V.K. Krishna Menon PV KER Public Affairs Expired 9 Shri Jigme Dorji Wangchuk PV BHU Public Affairs 10 Dr. Homi Jehangir Bhabha PB MAH Science & Eng. Expired 11 Dr. Shanti Swarup Bhatnagar PB UP Science & Eng. Expired 12 Shri Mahadeva Iyer Ganapati PB OR Civil Service 13 Dr. J.C. Ghosh PB WB Science & Eng. Expired 14 Shri Maithilisharan Gupta PB UP Litt. & Edu. Expired 15 Shri Radha Krishan Gupta PB DEL Civil Service Expired 16 Shri R.R. Handa PB PUN Civil Service Expired 17 Shri Amar Nath Jha PB UP Litt. & Edu. Expired 18 Shri Malihabadi Josh PB DEL Litt. & Edu. 19 Dr. Ajudhia Nath Khosla PB DEL Science & Eng. Expired 20 Shri K.S. Krishnan PB TN Science & Eng. Expired 21 Shri Moulana Hussain Madni PB PUN Litt. & Edu. Ahmed 22 Shri V.L. Mehta PB GUJ Public Affairs Expired 23 Shri Vallathol Narayana Menon PB KER Litt. & Edu. Expired Wednesday, July 22, 2009 Page 1 of 133 Sl. Prefix First Name Last Name Award State Field Remarks 24 Dr.
    [Show full text]
  • The Sixth String of Vilayat Khan
    Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration.
    [Show full text]
  • KRAKAUER-DISSERTATION-2014.Pdf (10.23Mb)
    Copyright by Benjamin Samuel Krakauer 2014 The Dissertation Committee for Benjamin Samuel Krakauer Certifies that this is the approved version of the following dissertation: Negotiations of Modernity, Spirituality, and Bengali Identity in Contemporary Bāul-Fakir Music Committee: Stephen Slawek, Supervisor Charles Capwell Kaushik Ghosh Kathryn Hansen Robin Moore Sonia Seeman Negotiations of Modernity, Spirituality, and Bengali Identity in Contemporary Bāul-Fakir Music by Benjamin Samuel Krakauer, B.A.Music; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2014 Dedication This work is dedicated to all of the Bāul-Fakir musicians who were so kind, hospitable, and encouraging to me during my time in West Bengal. Without their friendship and generosity this work would not have been possible. জয় 巁쇁! Acknowledgements I am grateful to many friends, family members, and colleagues for their support, encouragement, and valuable input. Thanks to my parents, Henry and Sarah Krakauer for proofreading my chapter drafts, and for encouraging me to pursue my academic and artistic interests; to Laura Ogburn for her help and suggestions on innumerable proposals, abstracts, and drafts, and for cheering me up during difficult times; to Mark and Ilana Krakauer for being such supportive siblings; to Stephen Slawek for his valuable input and advice throughout my time at UT; to Kathryn Hansen
    [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]
  • Raag-Mala Music Society of Toronto: Concert History*
    RAAG-MALA MUSIC SOCIETY OF TORONTO: CONCERT HISTORY* 2013 2012 2011 Praveen Sheolikar, Violin Ud. Shahid Parvez, Sitar Pt. Balmurli Krishna, Vocal Gurinder Singh, Tabla Subhajyoti Guha, Tabla Pt. Ronu Majumdar, Flute Arati Ankalikar Tikekar, Vocal Ud. Shujaat Khan, Sitar Kishore Kulkarni, Tabla Abhiman Kaushal, Tabla Ud. Shujaat Khan, Sitar Abhiman Kaushal, Tabla Anand Bhate, Vocal Vinayak Phatak, Vocal Bharat Kamat, Tabla Enakshi, Odissi Dance The Calcutta Quartet, Violin, Suyog Kundalka, Harmonium Tabla & Mridangam Milind Tulankar, Jaltrang Hidayat Husain Khan, Sitar Harvinder Sharma, Sitar Vineet Vyas, Tabla Ramdas Palsule, Tabla Warren Senders, Lecture- Raja Bhattacharya, Sarod Demonstration and Vocal Shawn Mativetsky, Tabla Raya Bidaye, Harmoium Ravi Naimpally, Tabla Gauri Guha, Vocal Ashok Dutta, Tabla Luna Guha, Harmonium Alam Khan, Sarod Hindole Majumdar, Tabla Sandipan Samajpati, Vocal Raya Bidaye, Harmonium Hindole Majumdar, Tabla Ruchira Panda, Vocal Pandit Samar Saha, Tabla Anirban Chakrabarty, Harmonium 2010 2009 2008 Smt. Ashwini Bhide Deshpande, Smt. Padma Talwalkar, Vocal Pt. Vishwa Mohan Bhatt, Mohan Vocal Rasika Vartak, Vocal Veena Vishwanath Shirodkar, Tabla Utpal Dutta, Tabla Subhen Chatterji, Tabla Smt. Seema Shirodkar, Suyog Kundalkar, Harmonium Heather Mulla, Tanpura Harmonium Anita Basu, Tanpura Milind Tulankar, Jaltarang Pt. Rajan Mishra, Vocal Sunit Avchat, Bansuri Pt. Sajan Mishra, Vocal Tejendra Majumdar, Sarod Ramdas Palsule, Tabla Subhen Chatterji, Tabla Abhijit Banerjee,Tabla Sanatan Goswami, Harmonium Kiran Morarji, Tanpura Irshad Khan, Sitar Manu Pal, Tanpura Subhojyoti Guha, Tabla Aparna Bhattacharji, Tanpura Aditya Verma, Sarod Ramneek Singh, Vocal Hindol Majumdar, Tabla Pt. Ronu Majumdar, Flute Won Joung Jin, Kathak Ramdas Palsule, Tabla Amaan Ali Khan, Sarod Rhythm Riders, Tabla Bharati, tanpura Ayaan Ali Khan, Sarod Vineet Vyas, Tabla 1 RAAG-MALA MUSIC SOCIETY OF TORONTO: CONCERT HISTORY* 2010 Cont.
    [Show full text]
  • Music Entrainment Seminar
    Entrainment and interaction in Hindustani raga performance Martin Clayton and Laura Leante Durham University, UK 29 December 2016, 3 – 4 pm Lecture Hall Complex LCC-001 (opposite to KReSIT), IIT Bombay Abstract: In this paper we will draw together a number of strands in our recent research on the performance of Hindustani classical music, particularly as they relate to the themes of entrainment and interaction. In the first part we introduce the concept of interpersonal entrainment, the mechanism by which different individuals in a group coordinate their actions in time. How can this topic shed light on Indian music’s performance dynamics, and the structures involved in the music? We then broaden the discussion out to the theme of interpersonal interaction more broadly. Beyond the dynamics of synchronisation that allow musicians to play in time with each other, numerous other factors play a role in ensemble performance: leader-follower relationships, and various musical and social hierarchies are all involved in the realisation of a successful (or unsuccessful) performance. The talk will be illustrated with examples from our own collection of concert recordings. About the Speakers: Martin Clayton is Professor in Ethnomusicology at Durham University. He studied at the School of Oriental and African Studies (SOAS) in London, and is a former sitar student of Deepak Choudhury (Maihar gharana). His research interests include Hindustani classical music, rhythmic analysis, musical entrainment and embodiment, comparative musicology and early field recordings, British-Asian music and Western music in India. Dr Laura Leante is a Lecturer in Ethnomusicology at Durham University. She studied ethnomusicology at the University of Rome "La Sapienza".
    [Show full text]
  • 2013 MFA Painting/Print Making/Sculpture
    B - 31 Entrance Examinations, February 2013 MFA Painting/Print Making/Sculpture Maximum Marks ,5o Time : 2 Hours Hall Ticket No. General Instructions : 1. Write your Hall Ticket Number in the OMR Answer Sheet and also write the Hall Ticket Number in the space provided above. 2. This paper consists ,A' ,Bn. .question of Two Parts - Part and part part-A of the question paper consists of 25 questions of one mark each. a J. Answers are to be marked on the OMR answer sheet following the instructions provided thereupon. 5. There is negative marking for a wrong answer in Part-A only. Each wrong answer carries -0.33 mark. 6. Hand over the oMR answer sheet at the end of the examination to the Invigilator. 7. No additional sheets will be provided. Rough work can be done in the question paper itself. b-> I UNIVERSITY OF HYDERABAI) Department of Fine Arts MFA Painting/Printmaking/Sculpture Total Marks 56: (1X50) Date:2610212013 Time: 2:00 pm to 4:00 pm Instructions , The question paper consists of two parts (part A and part B). Part A has 25 questions with negative marking of 0.33 for each for every wrong answer of one mark question. lart B has 25 questions with NO NEGATIVE marking. For each question, there shall be four answers and the-answers are to be indicated with capital letters of alphabets viz., A, Bn C and D. Part A 25 Questions with Negative Marking I Name the capital of the Vijayanagara dynasty. A. Mathura B. Tanjore C. Hampi D.
    [Show full text]
  • 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.
    [Show full text]
  • Ali Akbar Khan, Le Maître Du Sarod Indien
    Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 5 | 1992 Musiques rituelles Ali Akbar Khan, le maître du sarod Indien Huib Schippers Traducteur : Isabelle Schulte-Tenckhoff Édition électronique URL : http://journals.openedition.org/ethnomusicologie/2446 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 1 janvier 1992 Pagination : 258-276 ISBN : 978-2-8257-0456-1 ISSN : 1662-372X Référence électronique Huib Schippers, « Ali Akbar Khan, le maître du sarod Indien », Cahiers d’ethnomusicologie [En ligne], 5 | 1992, mis en ligne le 15 décembre 2011, consulté le 19 avril 2019. URL : http:// journals.openedition.org/ethnomusicologie/2446 Article L.111-1 du Code de la propriété intellectuelle. ENTRETIEN ALI AKBAR KHAN, LE MAÎTRE DU SAROD INDIEN* Huib Schippers En 1936, un jeune joueur de sarod fit ses débuts à la All India Music Conference de Allahabad. Ce premier concert en solo d'Ali Akbar Khan marqua le début d'une phase importante de l'histoire de la musique instrumentale indienne. Jusque là, aucun joueur de sarod n'avait su atteindre pareille maîtrise technique et artistique. Ce fut le début d'une carrière remarquable, couvrant maintenant plus de cinq décennies. Des milliers de concerts et d'émissions de radio, ainsi que de nom- breux enregistrements commerciaux ont affirmé la renommée du khansahib comme le digne dépositaire de la gharān ā de son père Baba Allauddin, et comme l'un des meilleurs musiciens du vingtième siècle. Mais l'importance d'Ali Akbar Khan va au delà de ses qualités artistiques. Sa vie reflète les changements sociaux et musicaux que l'Inde a connus tout au long de ce siècle : le déclin des cours royales, le rôle de la All India Radio comme nou- velle protectrice de la musique classique, l'avènement du concert de masse, le dé- veloppement de la musique enregistrée et la propagation de la musique indienne en Occident.
    [Show full text]