Concept of Raga in Guru Granth Sahib: a Divine Approach Dr
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The Music Academy, Madras 115-E, Mowbray’S Road
Tyagaraja Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XXXIX 1968 Parts MV srri erarfa i “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada l ” EDITBD BY V. RAGHAVAN, M.A., p h .d . 1968 THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription—Inland Rs. 4. Foreign 8 sh. iI i & ADVERTISEMENT CHARGES ►j COVER PAGES: Full Page Half Page Back (outside) Rs. 25 Rs. 13 Front (inside) 20 11 Back (Do.) „ 30 „ 16 INSIDE PAGES: 1st page (after cover) „ 18 „ io Other pages (each) „ 15 „ 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special positions and special rates on application. e iX NOTICE All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal Of the Music Academy, Madras-14. « Articles on subjects of music and dance are accepted for mblication on the understanding that they are contributed solely o the Journal of the Music Academy. All manuscripts should be legibly written or preferably type written (double spaced—on one side of the paper only) and should >e signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan Editor. Pages. -
Note Staff Symbol Carnatic Name Hindustani Name Chakra Sa C
The Indian Scale & Comparison with Western Staff Notations: The vowel 'a' is pronounced as 'a' in 'father', the vowel 'i' as 'ee' in 'feet', in the Sa-Ri-Ga Scale In this scale, a high note (swara) will be indicated by a dot over it and a note in the lower octave will be indicated by a dot under it. Hindustani Chakra Note Staff Symbol Carnatic Name Name MulAadhar Sa C - Natural Shadaj Shadaj (Base of spine) Shuddha Swadhishthan ri D - flat Komal ri Rishabh (Genitals) Chatushruti Ri D - Natural Shudhh Ri Rishabh Sadharana Manipur ga E - Flat Komal ga Gandhara (Navel & Solar Antara Plexus) Ga E - Natural Shudhh Ga Gandhara Shudhh Shudhh Anahat Ma F - Natural Madhyam Madhyam (Heart) Tivra ma F - Sharp Prati Madhyam Madhyam Vishudhh Pa G - Natural Panchama Panchama (Throat) Shuddha Ajna dha A - Flat Komal Dhaivat Dhaivata (Third eye) Chatushruti Shudhh Dha A - Natural Dhaivata Dhaivat ni B - Flat Kaisiki Nishada Komal Nishad Sahsaar Ni B - Natural Kakali Nishada Shudhh Nishad (Crown of head) Så C - Natural Shadaja Shadaj Property of www.SarodSitar.com Copyright © 2010 Not to be copied or shared without permission. Short description of Few Popular Raags :: Sanskrut (Sanskrit) pronunciation is Raag and NOT Raga (Alphabetical) Aroha Timing Name of Raag (Karnataki Details Avroha Resemblance) Mood Vadi, Samvadi (Main Swaras) It is a old raag obtained by the combination of two raags, Ahiri Sa ri Ga Ma Pa Ga Ma Dha ni Så Ahir Bhairav Morning & Bhairav. It belongs to the Bhairav Thaat. Its first part (poorvang) has the Bhairav ang and the second part has kafi or Så ni Dha Pa Ma Ga ri Sa (Chakravaka) serious, devotional harpriya ang. -
Reg. No Name in Full Residential Address Gender Contact No
Reg. No Name in Full Residential Address Gender Contact No. Email id Remarks 20001 MUDKONDWAR SHRUTIKA HOSPITAL, TAHSIL Male 9420020369 [email protected] RENEWAL UP TO 26/04/2018 PRASHANT NAMDEORAO OFFICE ROAD, AT/P/TAL- GEORAI, 431127 BEED Maharashtra 20002 RADHIKA BABURAJ FLAT NO.10-E, ABAD MAINE Female 9886745848 / [email protected] RENEWAL UP TO 26/04/2018 PLAZA OPP.CMFRI, MARINE 8281300696 DRIVE, KOCHI, KERALA 682018 Kerela 20003 KULKARNI VAISHALI HARISH CHANDRA RESEARCH Female 0532 2274022 / [email protected] RENEWAL UP TO 26/04/2018 MADHUKAR INSTITUTE, CHHATNAG ROAD, 8874709114 JHUSI, ALLAHABAD 211019 ALLAHABAD Uttar Pradesh 20004 BICHU VAISHALI 6, KOLABA HOUSE, BPT OFFICENT Female 022 22182011 / NOT RENEW SHRIRANG QUARTERS, DUMYANE RD., 9819791683 COLABA 400005 MUMBAI Maharashtra 20005 DOSHI DOLLY MAHENDRA 7-A, PUTLIBAI BHAVAN, ZAVER Female 9892399719 [email protected] RENEWAL UP TO 26/04/2018 ROAD, MULUND (W) 400080 MUMBAI Maharashtra 20006 PRABHU SAYALI GAJANAN F1,CHINTAMANI PLAZA, KUDAL Female 02362 223223 / [email protected] RENEWAL UP TO 26/04/2018 OPP POLICE STATION,MAIN ROAD 9422434365 KUDAL 416520 SINDHUDURG Maharashtra 20007 RUKADIKAR WAHEEDA 385/B, ALISHAN BUILDING, Female 9890346988 DR.NAUSHAD.INAMDAR@GMA RENEWAL UP TO 26/04/2018 BABASAHEB MHAISAL VES, PANCHIL NAGAR, IL.COM MEHDHE PLOT- 13, MIRAJ 416410 SANGLI Maharashtra 20008 GHORPADE TEJAL A-7 / A-8, SHIVSHAKTI APT., Male 02312650525 / NOT RENEW CHANDRAHAS GIANT HOUSE, SARLAKSHAN 9226377667 PARK KOLHAPUR Maharashtra 20009 JAIN MAMTA -
Master of Performing Arts (Vocal & Instrumental)
MASTER OF PERFORMING ARTS (VOCAL & INSTRUMENTAL) I SEMESTER Course - 101 (Applied Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To critically appreciate a music concert. 2. To understand and compare the ragas and talas prescribed for practical’s. 3. To write compositions in the prescribed notation system. 4. To introduce students to staff notation. Course Content:- I. Theoretical study of Ragas and Talas prescribed for practical and their comparative study wherever possible. II. Reading and writing of Notations of compositions Alap, Taan etc. in the Ragas and Talas with prescribed Laykraries. III. Elementary Knowledge of Staff Notation. IV. Critical appreciation of Music concert. Bibliographies:- a. Dr. Bahulkar, S. Kalashastra Visharad (Vol. 1 - 4 ). Mumbai:: Sanskar Prakashan. b. Dr. Sharma, M. Music India. A. B. H. Publishing Hoouse. c. Dr. Vasant. Sangeet Visharad. Hatras:: Sangeet Karyalaya. d. Rajopadhyay, V. Sangeet Shastra. Akhil Bhartiya Gandharva Vidhyalaya e. Rathod, B. Thumri. Jaipur:: University Book House Pvt. Ltd. f. Shivpuji, G. Lay Shastra. Bhopal: Madhya Pradesh Hindi Granth. Course - 102 (General Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To study Aesthetics in Music. 2. To appreciate the aesthetic aspects of different forms of music. Course Content:- I. Definition of Aesthetics and its Application in Music. II. Aesthetical principles of Different Haran’s. III. Aesthetical aspects of different forms of Music. a. Dhrupad, Dhamar, Khayal, Thumri, Tappa etc. IV. Merits and demerits of vocalist. Bibliographies:- a. Bosanquet, B. (2001). The concept of Aesthetics. New Delhi: Sethi Publishing Company. b. Dr. Bahulkar, S. Kalashastra Visharad (Vol. -
Ma Gurmat Sangeet
M.A. GURMAT SANGEET PART - II SEMESTER - III (2017-2018) Paper I HISTORICAL PERSPECTIVE OF GURMAT SANGEET Time: 3 hrs. Max. Marks : 75 Internal Assessment : 25 Marks Pass Marks : 35 % Assessment Test : 15 Total Teaching Hours : 75 Attendance : 10 INSTRUCTIONS FOR THE PAPER-SETTER AND THE CANDIDATES The question paper will consist of three sections A, B & C. Sections A & B will have 5 questions of 8 marks each from the respective sections of the syllabus and acandidates are required to attempt three questions from each section. Section C will consist of 9 short answer type questions of 3 marks each, which will cover the entire syllabus uniformly. Students are required to attempt all questionos of Section C. Section - A 1. Evolution and Development of Gurmat Sangeet during a) Guru Nanak period b) Guru Angad Dev to Guru Arjan Dev period c) Guru Hargobind to Guru Gobind Singh period 2. Taksaal tradition of Gurmat Sangeet with reference to a) Damdami taksaal b) Jawaddi Taksaal 3. Contribution of Rabaabi tradition in Gurmat Sangeet. Section – B 1. Historical development of Kirtan Chauki tradition a) Upto Guru Arjan Dev period. b) Tradition of Sri Harimandir Sahib 2. Analytical study of basic sources of Gurmat Sangeet with reference to a) Sri Guru Granth Sahib b) Panth Parkaash 3. Contribution of different scholars towards Gurmat Sangeet with special reference to the 19th century. BOOKS PRESCRIBED 1 Gurmat Sangeet : Vibhin Pripekh, Gurnam Singh (Dr.) (Editor), Punjabi University Patiala, 1995 2. Gurmat Sangeet : Prabandh te Pasaar Gurnam Singh (Dr.), Punjabi University, Patiala. 2012 3. Gurmat Sangeet da Sangeet Vigyan, Varinder Kaur (Dr.), Amarjit Sahit Parkashan, Patiala 2005 4. -
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 ........................................................................................................... -
Raga of the Month July 2020 Raga Sorath Raga Sorath Has Become a Rare Melody Today
Raga of the month July 2020 Raga Sorath Raga Sorath has become a rare melody today. It is believed that Raga Sorath has its roots in Folk songs of Sourashtra which is part of Kathiawar region of the state of Gujarat. Close companion of Raga Sorath, Des, being a dhun-raga is more popular. Both the Ragas share the same scale, but Gandhar is very weak, practically omitted, in Sorath and is only subtly used in meend from Madhyam to Rishabh in Avaroha. Inclusion of Gandhar in Des and its chanchal prakriti makes it suitable for light forms of music such as, thumri, dadra, hori, ghazal etc. Ragas of Khamaj Thata are classified in 2 types- Rishabh prominent; that is, Sorathanga and Gandhar prominent- Khamajanga. Raga Des belongs to Sorathanga. The Raga is classified in Khamaj Thata (Harikambhoji Melakarta no. 28). Ragas Surati and Andolika from Carnatic music are similar to Raga Sorath. Aroha- S,RR, MPN,S’’; Avaroha- S’’R’’nD,MPD,M->R,’NS; Vadi- R,Samvadi- D;Time 10 p m to 1 a m; Chalan: S, R, MP, N, S’’, R’’, nD, P, DM->R, RPMMR, R S; R, P, MPD, M->R, n,D, M->R, RMPN, S’’, R’’nD, M->R, P, M->R, R’N, ‘NS. Please listen to a melodious collection of audio clips of Raga Sorath presented by i) Dr. Varada Godbole (a bandish composed by Prempiya Ustad Faiyaz Hussain Khan*), ii) Pandit K G Ginde (a bandish composed by Sujan- Acharya S N Ratanjankar), iii) Ustad MunawarAliKhan, iv) Acharya S N Ratanjankar and v) Sarangi Maestro Ustad Bundu Khan. -
Evaluation of the Effects of Music Therapy Using Todi Raga of Hindustani Classical Music on Blood Pressure, Pulse Rate and Respiratory Rate of Healthy Elderly Men
Volume 64, Issue 1, 2020 Journal of Scientific Research Institute of Science, Banaras Hindu University, Varanasi, India. Evaluation of the Effects of Music Therapy Using Todi Raga of Hindustani Classical Music on Blood Pressure, Pulse Rate and Respiratory Rate of Healthy Elderly Men Samarpita Chatterjee (Mukherjee) 1, and Roan Mukherjee2* 1 Department of Hindustani Classical Music (Vocal), Sangit-Bhavana, Visva-Bharati (A Central University), Santiniketan, Birbhum-731235,West Bengal, India 2 Department of Human Physiology, Hazaribag College of Dental Sciences and Hospital, Demotand, Hazaribag 825301, Jharkhand, India. [email protected] Abstract Several studies have indicated that music therapy may affect I. INTRODUCTION cardiovascular health; in particular, it may bring positive changes Music may be regarded as the projection of ideas as well as in blood pressure levels and heart rate, thereby improving the emotions through significant sounds produced by an instrument, overall quality of life. Hence, to regulate blood pressure, music voices, or both by taking into consideration different elements of therapy may be regarded as a significant complementary and alternative medicine (CAM). The respiratory rate, if maintained melody, rhythm, and harmony. Music plays an important role in within the normal range, may promote good cardiac health. The everyone’s life. Music has the power to make one experience aim of the present study was to evaluate the changes in blood harmony, emotional ecstasy, spiritual uplifting, positive pressure, pulse rate and respiratory rate in healthy and disease-free behavioral changes, and absolute tranquility. The annoyance in males (age 50-60 years), at the completion of 30 days of music life may increase in lack of melody and harmony. -
Guru.Granth.Sahib.Speaks.Volume.06.Ego.By.Surinder.Singh.Kohli
~~ l./CJH ~~" ~ H': 'l, l/or 226) Wben the Ego is effaced, The highest spiritual state is attained. (Gauri M. 1, p. 226) CONTENTS • Foreword 7 • The Concept of Ego 9 • An Elucidation of the Hymn of Guru Nanak Dev on Ego in 'Asa Di Var' 14 • Ego and Self 24 • Fate of the Egoist 29 • Mythological Instances of Egoists 39 • The Position and Status of those with Ego and without Ego 58 • Two Opposites-Ego and Name 69 • Various Facets of Ego mentioned in Gum Granth Sahib 82 FOREWORD This is the Fifth Book in "GURU GRANTII SAHIB SPEAKS" series. The earlier four books already published in order are Death and After, Naam, Attributes ofGod (Hari Gun) and God's Will (Hukm). While writing this book on Ego, I experienced great difficulty in proceeding further because of the scanty material available on the subject. The titles of various chapters were chalked out on various quotations, hence some of the quotations had to be repeated keeping in view the significance of the subject-matter. However by the Grace of the Lord and True Guru, the work has been completed satisfactorily. I am confident that the Sikhs liVing abroad will make use of the books of the series, not only going through them themselves, but also encouraging their children to be benefitted by this series. It is the wish of the author that our next generation should have the required knowledge about our Scripture Le. Guru Granth Sahib. I take pleasure in expressing my gratitude to the publishers for fully co operating with me in bringing out the books in the series for the benefit of the community at a good speed. -
Song and Memory: “Singing from the Heart”
SONG AND MEMORY: “SINGING FROM THE HEART” hir kIriq swDsMgiq hY isir krmn kY krmw ] khu nwnk iqsu BieE prwpiq ijsu purb ilKy kw lhnw ]8] har kīrat sādhasangat hai sir karaman kai karamā || kahu nānak tis bhaiou parāpat jis purab likhē kā lahanā ||8|| Singing the Kīrtan of the Lord’s Praises in the Sādh Sangat, the Company of the Holy, is the highest of all actions. Says Nānak, he alone obtains it, who is pre-destined to receive it. (Sōrath, Gurū Arjan, AG, p. 641) The performance of devotional music in India has been an active, sonic conduit where spiritual identities are shaped and forged, and both history and mythology lived out and remembered daily. For the followers of Sikhism, congregational hymn singing has been the vehicle through which melody, text and ritual act as repositories of memory, elevating memory to a place where historical and social events can be reenacted and memorialized on levels of spiritual significance. Hymn-singing services form the magnetic core of Sikh gatherings. As an intimate part of Sikh life from birth to death, Śabad kīrtan’s rich kaleidoscope of singing and performance styles act as a musical and cognitive archive bringing to mind a collective memory, uniting community to a common past. As a research scholar and practitioner of Gurmat Sangīt, I have observed how hymn singing plays such a significant role in understanding the collective, communal and egalitarian nature of Sikhism. The majority of events that I attended during my research in Punjab involved congregational singing: whether seated in the Gūrdwāra, or walking in a procession, the congregants were often actively engaged in singing. -
Diploma in Gurmat Sangeet
DIPLOMA IN GURMAT SANGEET ACADEMIC POLICY/ORDINANCES Objectives of the Course : An Online initiative by Gurmat Sangeet Chair - Department of Gurmat Sangeet, Punjabi University, Patiala to disseminate the message of Sikh Gurus through Gurmukhi, Gurmat Studies and Gurmat Sangeet at global level. Duration of the Course : Two Semester Eligibility : The candidate must have passed Certificate Course in Gurmat Sangeet in the same stream Medium of Instruction : English & Punjabi Medium of Examination : English & Punjabi Fees for the Course : On admission in the course a candidate shall have to pay Admission fees (including Examination Fee) as given below Admission Fee : 300US$ (15,000/- INR) upto 30th June st With Late Fee 350US$ (17,500/- INR) upto 31 July With Late Fee 450US$ (22,500/- INR) and with the st special permission of Vice Chancellor upto 31 August SCHEME OF THE COURSE FOR SPRING SEMESTER Compulsory/ Papers Paper Code Title of the Papers Elective Compulsory Paper I DGS 301 Historical Study of Sikhism Papers Paper III DGS 302 Gurbani Santhya DGS 303 Musicology of Gurmat Sangeet Vocal Tradition Elective Paper II DGS 304 Musicology of Gurmat Sangeet String Instrumental Tradition Papers DGS 305 Musicology of Gurmat Sangeet Percussion Instrumental Tradition (Jorhi/Tabla) DGS 306 Stage Performance of Shabad Keertan Elective Paper IV DGS 307 Stage Performance of String Instruments Papers DGS 308 Stage Performance of Percussion Instrumental (Jorhi/Tabla) 1 HISTORICAL STUDY OF SIKHISM (Paper I - DGS 301) 1. Contribution of Ten Guru in Propagation of Sikhism 2. Contributors of Bhai Mardana ji, Baaba Budha ji, Bhai Gurdas ji, and Bhai Nand lal ji in Sikh History. -
108 Melodies
SRI SRI HARINAM SANKIRTAN - l08 MELODIES - INDEX CONTENTS PAGE CONTENTS PAGE Preface 1-2 Samant Sarang 37 Indian Classical Music Theory 3-13 Kurubh 38 Harinam Phylosphy & Development 14-15 Devagiri 39 FIRST PRAHAR RAGAS (6 A.M. to 9 A.M.) THIRD PRAHAR RAGAS (12 P.M. to 3 P.M.) Vairav 16 Gor Sarang 40 Bengal Valrav 17 Bhimpalasi 4 1 Ramkal~ 18 Piloo 42 B~bhas 19 Multani 43 Jog~a 20 Dhani 44 Tori 21 Triveni 45 Jaidev 22 Palasi 46 Morning Keertan 23 Hanskinkini 47 Prabhat Bhairav 24 FOURTH PKAHAR RAGAS (3 P.M. to 6 P.M.) Gunkali 25 Kalmgara 26 Traditional Keertan of Bengal 48-49 Dhanasari 50 SECOND PRAHAR RAGAS (9 A.M. to 12 P.M.) Manohar 5 1 Deva Gandhar 27 Ragasri 52 Bha~ravi 28 Puravi 53 M~shraBhairav~ 29 Malsri 54 Asavar~ 30 Malvi 55 JonPurl 3 1 Sr~tank 56 Durga (Bilawal That) 32 Hans Narayani 57 Gandhari 33 FIFTH PRAHAR RAGAS (6 P.M. to 9 P.M.) Mwa Bilawal 34 Bilawal 35 Yaman 58 Brindawani Sarang 36 Yaman Kalyan 59 Hem Kalyan 60 Purw Kalyan 61 Hindol Bahar 94 Bhupah 62 Arana Bahar 95 Pur~a 63 Kedar 64 SEVENTH PRAHAR RAGAS (12 A.M. to 3 A.M.) Jaldhar Kedar 65 Malgunj~ 96 Marwa 66 Darbar~Kanra 97 Chhaya 67 Basant Bahar 98 Khamaj 68 Deepak 99 Narayani 69 Basant 100 Durga (Khamaj Thhat) 70 Gaur~ 101 T~lakKarnod 71 Ch~traGaur~ 102 H~ndol 72 Shivaranjini 103 M~sraKhamaj 73 Ja~tsr~ 104 Nata 74 Dhawalsr~ 105 Ham~r 75 Paraj 106 Mall Gaura 107 SIXTH PRAHAR RAGAS (9Y.M.