PERCUSSION INSTRUMENTS Dholak Dholak Is a Very Popular

Total Page:16

File Type:pdf, Size:1020Kb

PERCUSSION INSTRUMENTS Dholak Dholak Is a Very Popular PERCUSSION INSTRUMENTS Dholak Dholak is a very popular folk drum of northern India, Pakistan and Bangladesh as well. It is barrel shaped, at times a cylindrical drum, with skins on both sides. Dumroo Dumroo is probably the oldest and traditional form of percussion instrument in India. Dumroo is the only remaining form of hour-glass drums which are seen in ancient Indian statues. Ghatam GHATAM replicates or conveys the meaning of the pot in Sanskrit. It is an ancient percussion instrument and ancient like other musical instruments mridangam, veena, etc. Ghungroos Ghungroos are very famous Musical Instrument in India. Ghungroos are usually the small brass bells. It is a musical accessory used by performers of all classical dances. Kanjeera The Kanjeera is a very old and traditional instrument which is very popular in South Indian classical performances. Kanjeera is secondary percussion which is played as an accompaniment with the mridangam. Kartal Kartal literally means rhythm of the hand which is made of wooden blocks with holes for the fingers and circular copper plates, pairs of Kartals are played with both hands. Khol IKhol is usually used traditionally for accompanying Bhajans and Kirtans. Its high skin is relatively small with a diameter of about 9 - 10 cm, which gives it a particularly high, piercing sound. Manjeera Manjeera is basically a set of small cymbals and is a ubiquitous component of dance, music and bhajans. It is a very ancient instrument seen on ancient temple walls. Manjeera is the most inexpensive and easy to play Instrument, Mridangam The Indian Musical Instrument Mridangam is one of the most popular classical instruments of South India. Mridangam accompanies vocal, instrumental and dance performances. Pakhawaj The Pakhawaj in India is also called Mardal, Pakhawaj, Pakuaj, Pakhvaj, Pakavaj or Mardala, as it is a barrel-shaped, two-headed drum. Tabla Tabla is the most popular pair of drums in the Indian Sub- continent. Tabla is a pair of drums which consists of a small right hand drum called Dayan and a larger metal one called bayan. WIND INSTRUMENTS Bansuri Bansuri is basically a folk instrument, invariably linked to the lives and playfulnesses of Krishna. However, it was during the Bhakti movement that Bansuri raised to prominence. Harmonium Harmonium usually belongs to the family of free-reed aerophones. The instrument is a small, tabletop size organ which has bellows at the back that is pumped by one hand while the other hand plays the keyboard. Shehnai Shehnai the wind instrument is believed to have been introduced in India by the Muslims. Shehnai is the predominant double-reed wind instrument used in North Indian music. STRING INSTRUMENTS Sarangi Sarangi has a hollow body and made of teak wood adorned with ivory inlays. It consisits of forty strings of which thirty seven are sympathetic. Sarod Sarod is a popular Indian classical musical instrument which is similar to the Western lute in structure. Among the followers and connoisseurs of Hindustani classical music Sarod is one of the most important musical instruments. Sitar Sitar is one of the most popular Indian classical instruments and it comes under the category of a chordophone in the lute family. Sitar has neck crafted from toon or teakwood and a resonator carved from a large seasoned gourd. Tanpura Tanpura in India is a drone instrument that accompanies Dhrupad singing and is the most fundamental of all instruments of Indian Classical Music. Veena Veena the traditional instrument of India is also known as Saraswati Veena which is a musical instrument of South India. Veena is a classical instrument basically plucked stringed instrument that is used to accompany Carnatic music. .
Recommended publications
  • 1 Syllabus for MA (Previous) Hindustani Music Vocal/Instrumental
    Syllabus for M.A. (Previous) Hindustani Music Vocal/Instrumental (Sitar, Sarod, Guitar, Violin, Santoor) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical and Theoretical Study of Ragas 70 Marks A. Historical Study of the following Ragas from the period of Sangeet Ratnakar onwards to modern times i) Gaul/Gaud iv) Kanhada ii) Bhairav v) Malhar iii) Bilawal vi) Todi B. Development of Raga Classification system in Ancient, Medieval and Modern times. C. Study of the following Ragangas in the modern context:- Sarang, Malhar, Kanhada, Bhairav, Bilawal, Kalyan, Todi. D. Detailed and comparative study of the Ragas prescribed in Appendix – I Internal Assessment 30 marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Music of the Asian Continent 70 Marks A. Study of the Music of the following - China, Arabia, Persia, South East Asia, with special reference to: i) Origin, development and historical background of Music ii) Musical scales iii) Important Musical Instruments B. A comparative study of the music systems mentioned above with Indian Music. Internal Assessment 30 marks Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of half an hour’s duration before an audience in Ragas selected from the list of Ragas prescribed in Appendix – I Candidate may plan his/her performance in the following manner:- Classical Vocal Music i) Khyal - Bada & chota Khyal with elaborations for Vocal Music. Tarana is optional. Classical Instrumental Music ii) Alap, Jor, Jhala, Masitkhani and Razakhani Gat with eleaborations Semi Classical Music iii) A short piece of classical music /Thumri / Bhajan/ Dhun /a gat in a tala other than teentaal may also be presented.
    [Show full text]
  • In the Name of Krishna: the Cultural Landscape of a North Indian Pilgrimage Town
    In the Name of Krishna: The Cultural Landscape of a North Indian Pilgrimage Town A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Sugata Ray IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Frederick M. Asher, Advisor April 2012 © Sugata Ray 2012 Acknowledgements They say writing a dissertation is a lonely and arduous task. But, I am fortunate to have found friends, colleagues, and mentors who have inspired me to make this laborious task far from arduous. It was Frederick M. Asher, my advisor, who inspired me to turn to places where art historians do not usually venture. The temple city of Khajuraho is not just the exquisite 11th-century temples at the site. Rather, the 11th-century temples are part of a larger visuality that extends to contemporary civic monuments in the city center, Rick suggested in the first class that I took with him. I learnt to move across time and space. To understand modern Vrindavan, one would have to look at its Mughal past; to understand temple architecture, one would have to look for rebellions in the colonial archive. Catherine B. Asher gave me the gift of the Mughal world – a world that I only barely knew before I met her. Today, I speak of the Islamicate world of colonial Vrindavan. Cathy walked me through Mughal mosques, tombs, and gardens on many cold wintry days in Minneapolis and on a hot summer day in Sasaram, Bihar. The Islamicate Krishna in my dissertation thus came into being.
    [Show full text]
  • Jagdish Prasad Sunil Kumar
    +91-9811192425 Jagdish Prasad Sunil Kumar https://www.indiamart.com/jpskmusicalstore/ Founded in 1965, Jagdish Prasad Sunil Kumar is the foremost manufacturer, wholesaler and supplier of Tabla Musical Instruments, Naal Drums and Shruti Box. About Us Founded in 1965, Jagdish Prasad Sunil Kumar is the foremost manufacturer, wholesaler and supplier of Tabla Musical Instruments, Harmonium Musical Instrument, Dhol Musical Instrument, Dholak Musical Instrument, Swarmandal Musical Instruments, Santur Musical Instruments, Tanpura Musical Instruments, Khanjari Musical Instruments, Electronic Banjos, Pakhawaj Drums, Djembe Drums, Khol Drums, Naal Drums and Shruti Box. Our products are extremely well-liked owing to their top features and nominal prices. These products are made by professional’s team employing the advanced techniques and best quality material, which is bought from trustworthy sellers of market. Professionals manufacture these products as per universal industry parameters. Being a customer’s centric organization, professionals also make these products according our client’s requirements and necessities. Due to huge distribution network, fair business polices and quality-centric approach, we have gained trust of our patrons. Apart from, we work under the leadership of our mentor Ashish Verma. Under his supervision our firm has attained heights of success. We also provide many facilities to the patrons to put their demands forward and get them solve timely and as per their requirements. For more information, please visit https://www.indiamart.com/jpskmusicalstore/profile.html
    [Show full text]
  • Readying the Purnahutis, to Dressing of 11 Rudrams, Accompanied the Devi and Every Murthi Inside by Bilva Archana for 11 Shiva the Temple
    Sri Chakra The Source of the Cosmos The Journal of the Sri Rajarajeswari Peetam, Rush, NY Blossom 13 Petal 1 March 2009 Om Nama Shivaya... MarchMarch NewsletterNewsletter Since the last issue... The beginning of December saw Aiya come up to Toronto to teach the kids’ class and Kitchener/ Waterloo to teach a class and make personal visits. He was back in Rochester for Karthikai Deepam on Dec. 11. The temple hosted large crowds later in the month when it Clockwise from top: Aiya was hosted a Rudra homam workshop honoured by Nemili Ezhilmani; on the 27th and the annual kids’ Annamalai temple and mountain; Aiya Matangi homam on the 28th. and Amma at the conference; Aiya The next big event after that was delivering his address on mantra, tantra and yantra; our gurus hanging Thiruvempavai for the first 10 days out with their gurus. of 2009. After Ardhra Dharshanam, Aiya and Amma briefly visited Delaware before embarking on a two-week trip to India. Satpurananda. They were in Kanchipuram and After the conference, Amma and Nemili on the 16th, where they Aiya flew to Visakapatnam to see received a wonderful welcome. Ammah and Guruji and also to Aiya’s rendition of Bala Kavacham visit Devipuram. After that, they was playing as they entered the went to kumbhakonam and later Nemili peetam. From there, Amma met Sri Shangaranarayanan to and Aiya went to Thiruvannamalai, discuss items needed for the SVTS and then Chidambaram. kumbhabhishekam in 2010. They then came back to Upon returning from India on Chennai, where they visited the evening of Jan.
    [Show full text]
  • Part 2 - Mcqs ★ Menti Quiz 1 ★ Summary of Part 2 ★ Vocabulary ★ Extract Based Mcqs ★ Assertion and Reason Type Mcqs ★ Homework Question ★ Menti Quiz 2 1
    Part 2 - MCQs ★ Menti Quiz 1 ★ Summary of part 2 ★ Vocabulary ★ Extract based MCQs ★ Assertion and Reason type MCQs ★ Homework Question ★ Menti Quiz 2 1. Ayush Kumar Singh 2. Priyal Shrivastava 3. Aditya kr Maurya 4. Simran Gupta 5. ARYAN Choudhary 9b 6. mopal mahalakshmi 7. Shailendra Singh 8. TANMAY AGRAWAL 9. TULIP OJHA 10.Nishant buwa Amit RohraEnglish ● 10+ Years of teaching experience. ● Taught & mentored more than 40,000 students. In my class you will learn to Be a Reader, a Writer and an Achiever. The Shehnai of Bismillah Khan ● Shehnai replaced pungi which had a shrill unpleasant sound. Shehnai Pungi ● Pungi’s tonal quality was improved by a nai (barber) of shah (emperor Aurangzeb) hence it was named as shehnai. Aurangzeb ● Ustad Bismillah Khan is a Shehnai Maestro. ● Bismillah khan took to music early in life when he was 3 years old in the company of his maternal uncle. ● He used to sing ‘Chaita’ in Bihariji temple and practicing shehnai in Vishnu temple and Mangala Maiya temple of Varanasi. ● His life is a source of simplicity and communal harmony. ● Bismillah khan got his big break with the opening of All India Radio in Lucknow in 1938. ● He also played shehnai on 15 August, 1947 from Red fort in presence of Pandit Nehru. ● Bismillah khan gave many memorable performance both in India and abroad. ● He also gave music in two movies ‘Gunj Uthi shehnai’ and ‘Sanadhi Apanna’. ● He was so fond of his motherland India, Benaras and the holy Ganga that he refused an offer to be the Head of Shehnai school in USA.
    [Show full text]
  • A Guide to Introducing a Meditative Experience in Congregations a Joint Project of the FJMC and the Cantors Assembly
    A Guide to Introducing a Meditative Experience in Congregations A Joint project of the FJMC and the Cantors Assembly Purpose: This guide has been created to provide congregation decision makers with needed information to institute a Jewish Meditative experience in their synagogue on Shabbat morning in order to provide a Shabbat experience to those who either find the main service not to their liking or are searching for a more spiritual opportunity. The questions and answers that follow were designed to provide basic guidelines how to proceed. The accompanying essays seek to explain the authenticity of Jewish meditation. Introduction One of the greatest challenges synagogue professionals face is how to adapt traditional worship to a population that is becoming increasingly less engaged and more distant. In an attempt to bridge this gap learner’s services, rhythmic or instrumental music has in many cases been integrated into the Friday evening and Shabbat morning services. These efforts to some degree have been and continue to be successful but are dwarfed by the vast number of men and women who seek out spiritual experiences in the meditation and yoga worlds. These people are, by in large not attracted and do not find satisfying the traditional forms of Jewish worship In an attempt to attract this growing population a number of congregations have begun to introduce guided meditations into the traditional services or to offer meditative experiences in a separate venue. Unfortunately the decision makers in the congregation, while well intended, often lack the necessary background to maximize this effort. As a result, it is common in congregations for people to attend a meditative service and immediately following the service’s conclusion, leave.
    [Show full text]
  • Scheme of Examination for Session 2020-21 One Year Diploma in Tabla Programme Code- DPT1 Semester-I Paper Theory/ Practical
    Scheme of Examination for session 2020-21 One Year Diploma in Tabla Programme Code- DPT1 Semester-I Paper Theory/ Paper Nomenclature Maximum Internal Total Credits Practical Code of Paper Marks Assessment Marks I Theory 20CPT11C1 Basics of 80 20 100 4 Tabla II Theory 20CPT11C2 Historical & 80 20 100 4 Theoretical Study of Tabla III Practical 20CPT11C3 Stage 150 150 6 Performance IV Practical 20CPT11C4 Viva-Voce 150 150 6 Total 500 20 Paper Theory/ Paper Nomenclature Maximum Internal Total Credits Practical Code of Paper Marks Assessment Marks V Theory 20DPT12C1 History and 80 20 100 4 Basics of Tabla VI Theory 20DPT12C2 Applied 80 20 100 4 Theory of Tabla VII Practical 20DPT12C3 Stage 150 150 6 Performance VIII Practical 20DPT12C4 Viva-Voce 150 150 6 Total 500 20 The candidate has to answer five questions by selecting atleast one question from each Unit. Maximum Marks 80 Internal Assessment 20 marks Semester 1 Theory Paper - I Programme Name One Year Diploma Programme Code DPT1 in Tabla Course Name Basics of Tabla Course Code 20CPT11C1 Credits 4 No. of 4 Hours/Week Duration of End 3 Hours Max. Marks 100 term Examination Course Objectives:- 1. To impart Practical knowledge about Tabla. 2. To impart knowledge about theoretical aspects of Tabla in Indian Music. 3. To impart knowledge about Tabla and specifications of Taala 4. To impart knowledge about historical development of Tabal and it’s varnas(Bols) Course Outcomes 1. Students would able to know specifications of Tabla and Taalas 2. Students would gain knowledge about Historical development of Tabla 3.
    [Show full text]
  • The West Bengal College Service Commission State
    THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics.
    [Show full text]
  • Section 124- Unpaid and Unclaimed Dividend
    Sr No First Name Middle Name Last Name Address Pincode Folio Amount 1 ASHOK KUMAR GOLCHHA 305 ASHOKA CHAMBERS ADARSHNAGAR HYDERABAD 500063 0000000000B9A0011390 36.00 2 ADAMALI ABDULLABHOY 20, SUKEAS LANE, 3RD FLOOR, KOLKATA 700001 0000000000B9A0050954 150.00 3 AMAR MANOHAR MOTIWALA DR MOTIWALA'S CLINIC, SUNDARAM BUILDING VIKRAM SARABHAI MARG, OPP POLYTECHNIC AHMEDABAD 380015 0000000000B9A0102113 12.00 4 AMRATLAL BHAGWANDAS GANDHI 14 GULABPARK NEAR BASANT CINEMA CHEMBUR 400074 0000000000B9A0102806 30.00 5 ARVIND KUMAR DESAI H NO 2-1-563/2 NALLAKUNTA HYDERABAD 500044 0000000000B9A0106500 30.00 6 BIBISHAB S PATHAN 1005 DENA TOWER OPP ADUJAN PATIYA SURAT 395009 0000000000B9B0007570 144.00 7 BEENA DAVE 703 KRISHNA APT NEXT TO POISAR DEPOT OPP OUR LADY REMEDY SCHOOL S V ROAD, KANDIVILI (W) MUMBAI 400067 0000000000B9B0009430 30.00 8 BABULAL S LADHANI 9 ABDUL REHMAN STREET 3RD FLOOR ROOM NO 62 YUSUF BUILDING MUMBAI 400003 0000000000B9B0100587 30.00 9 BHAGWANDAS Z BAPHNA MAIN ROAD DAHANU DIST THANA W RLY MAHARASHTRA 401601 0000000000B9B0102431 48.00 10 BHARAT MOHANLAL VADALIA MAHADEVIA ROAD MANAVADAR GUJARAT 362630 0000000000B9B0103101 60.00 11 BHARATBHAI R PATEL 45 KRISHNA PARK SOC JASODA NAGAR RD NR GAUR NO KUVO PO GIDC VATVA AHMEDABAD 382445 0000000000B9B0103233 48.00 12 BHARATI PRAKASH HINDUJA 505 A NEEL KANTH 98 MARINE DRIVE P O BOX NO 2397 MUMBAI 400002 0000000000B9B0103411 60.00 13 BHASKAR SUBRAMANY FLAT NO 7 3RD FLOOR 41 SEA LAND CO OP HSG SOCIETY OPP HOTEL PRESIDENT CUFFE PARADE MUMBAI 400005 0000000000B9B0103985 96.00 14 BHASKER CHAMPAKLAL
    [Show full text]
  • WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
    United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al.
    [Show full text]
  • COMMENCEMENT CONCERT 2017 COMMENCEMENT CONCERT FRIDAY, June 9, 2017 • 8 P.M
    COMMENCEMENT CONCERT 2017 COMMENCEMENT CONCERT FRIDAY, june 9, 2017 • 8 P.m. Lawrence Memorial chapel Maggie Anderson ’19 Jack Breen ’18 Allison Brooks-Conrad ’18 Elisabeth Burmeister ’17 Sarah Clewett ’17 Isabel Dammann ’17 Garrett Evans ’17 Nathan Gornick ’17 Raleigh Heath ’17 Andrew Hill ’18 Ming Hu ’17 Emmett Jackson ’18 Nicholas Kalkman ’17 Kate Kilgus ’18 Jason Koth ’17 Sara Larsen ’17 Alaina Leisten ’17 Mingfei Li ’17 Madalyn Luna ’17 Gabriella Makuc ’17 Mikaela Marget ’18 Evan Newman ’17 Nick Nootenboom ’17 Froya Olson ’17 Sam Pratt ’17 Kaira Rouer ’17 Bryn Rourke ’18 Madeline Scholl ’17 Shaye Swanson ’17 Gawain Usher ’18 Lauren Vanderlinden ’17 Erec VonSeggern ’18 1 PROGRAM From Rusalka Antonín Dvořák “Měsíčku na nebi hlubokém” (1841-1904) Etude in D minor, op. 2, no. 1 Sergei Prokofiev Froya Olson ’17, soprano (1891-1953) Susan Wenckus, piano Evan Newman ’17, piano ✦ INTERMISSION ✦ From Partenope George Frideric Handel “Furibondo spira il vento” (1685-1759) Solo Improvisation Sam Pratt Shaye Swanson ’17, mezzo-soprano (b. 1995) Nathan Birkholz, piano Sam Pratt ’17, saxophone Karate Alex Mincek Four Fragments from the Canterbury Tales Lester Trimble (b. 1975) IV. The Wyf of Biside Bathe (1923-86) Jack Breen ’18, saxophone Jason Koth ’17, saxophone Lauren Vanderlinden ’17, voice Sara Larsen ’17, flute Kate Kilgus ’18, clarinet Abegg Variations, op. 1 Robert Schumann Madeline Scholl ’17, harpsichord (1810-1856) Mingfei Li ’17, piano Toccata, op. 15 Robert Muczynski (1929-2010) Concertino Erwin Schulhoff Ming Hu ’17, piano I. Andante con moto (1894-1942) IV. Rondino: Allegro gaio Kaira Rouer ’17, flute Summer Music, op.
    [Show full text]
  • Musical Instruments of South Asian Origin Depicted on the Reliefs at Angkor, Cambodia
    Musical instruments of South Asian origin depicted on the reliefs at Angkor, Cambodia EURASEAA, Bougon, 26th September, 2006 and subsequently revised for publication [DRAFT CIRCULATED FOR COMMENT] Roger Blench Mallam Dendo Ltd. 8, Guest Road Cambridge CB1 2AL United Kingdom Voice/ Fax. 0044-(0)1223-560687 Mobile worldwide (00-44)-(0)7967-696804 E-mail [email protected] http://www.rogerblench.info/RBOP.htm Cambridge, Monday, 02 July 2007 TABLE OF CONTENTS 1. INTRODUCTION: MUSICAL ICONOGRAPHY IN SE ASIA..................................................................1 2. MUSICAL ICONOGRAPHY AT ANGKOR ................................................................................................1 3. THE INSTRUMENTS......................................................................................................................................2 3.1 Idiophones.....................................................................................................................................................................2 3.2 Drums............................................................................................................................................................................3 3.3 Strings ...........................................................................................................................................................................4 3.4 Wind instruments.........................................................................................................................................................5
    [Show full text]