DOCSLIB.ORG

Catching Another Train Divyansh Nautiyal Reflects on the Value of Friendships and Memories in School

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catching Another Train Divyansh Nautiyal Reflects on the Value of Friendships and Memories in School Established in 1936 The Doon School “I sketch your world exactly as it goes.” -Arthur Foot March 2, 2019|Issue No. 2528 scribbles NIGHT-TIME MELODIES CROSSWORD Parting words from the Batch of A report on the recently held Indian Politics 2019. Hindustani Classical Music concert. Pages 3-6 Page 7 Page 8 Catching Another Train Divyansh Nautiyal reflects on the value of friendships and memories in School. When my Editor-in-Chief asked every Dosco takes his ticket out of them ‘booting’ us at Tuck Shop or me what my plan was as I went School, he carries along a baggage collecting dough from juniors to ahead to write a prospective page full of memories, laughter and get themselves a packet of chips. one article, I could only reply cherished relationships with his As our C form approached, they very abstractly: “It would be on friends and Masters. At the core became the individuals who would friendships and memories”. As of a boarding school like ours are rush to our dorms with shouts of you proceed to read this article, the these relationships that we build “say something” and would pass tunes of Auld Lang Syne would be over time. For those of you who on their favours. As they reached waiting to soon reverberate across ever wonder why the legacy of their A form, we witnessed how the Rose Bowl and plunge straight our School goes such a long way, their personalities shaped and their into the hearts of every Dosco, it is because our School provides innate talents nurtured. Come Master and parent present in the a conducive environment to breed their SC form and our S form, they Rosebowl this afternoon. A crowd such camaraderie across the rungs turned into our friends. Gradually, of hundred Doscos will rejoice as of the hierarchy. From occasions the very same lens with which we they go in circles singing Balakari of celebrating birthdays or playing saw them as Seniors turned them Rama and Appalle ki appalle, an Inter House match as equals into our best of friends. transcending any differences to enjoying treats after winning However, with this journey came which ever separated them. The an Inter House competition, we along a hard-hitting realisation. feeling is very strong and emotive come across occasions where the While the transformation of my but inexpressible in words. walls of hierarchy are transcended Seniors was visible, even I had The feeling that consumed me to reach a stage of pure friendship. undergone the same process to was the same when Ansh asked Apart from just the SC-Ls, it also find myself only a level below the me about my article. Something becomes equally tough for many SC-Ls. The cycle will continue only strong surging past me but hard to to bid farewell to individuals to reach a point when someone articulate. During this transitional with whom they have learnt and else is bidding our batch farewell. period of the year, as S formers experienced so much. This experience is what lies so turn to SC formers and the D For many of us, the value of such much at the core of our ethos. form joins Chandbagh, we also things that we take for granted only It makes every Dosco realise bid farewell to the senior most surfaces when it is taken away from the importance of the fraternity batch in School. It also becomes us. When one’s time elapses in this that he is a part of. Writing at an transitional because the ones who institution, one can only wish to event where we say the hardest of are leaving have turned from being relive it innumerable times. Only goodbyes to our fellow Doscos, just seniors to friends and mentors when I realised that my closest John Mayer’s ‘Stop this Train’ rings and everything else that epitomises of friends from the SC-L will be incessantly in my mind – trust and camaraderie. leaving soon, did I begin to reflect Stop this train In one of the late-night sermons on the value of relationships. I want to get off and go home again I received from a close senior, Trailing back into time, one can I can’t take the speed it’s moving in I was told that a part of us also remember our first interaction I know I can’t leaves School with the seniors that with the SC-L batch with them as But, honestly, won’t someone stop this we bid farewell at Prize Giving. As our guides. It slowly turned into train? 2 the doon school weekly The School Hindi Debating Society is starting a unquotable quotes debating ladder in which participants will be ranked Only facts can be wrong. with respect to their performance and contribution Shrivar Kanudia, evidently. to the society. The ladder will decide candidates for I won’t see any dinosaurs because only a few of them are left. Inter-School debate competitions. Ribhav Bansal, Shrivar agrees. All boys wishing to participate should mail their Draw the windows. names to the School Hindi Debating Captain. Balraam Suri, artistic. Let’s go to some place with some open oxygen. cover point Yatharth Goel, deoxygenated. My shoes were slippering. The School Cricket Team played a match against Ranunjeya Singh, on thin ice. ITM on Sunday. Batting first, the School team won I literally saw the ball thrice, but I didn’t see it. by 43 runs. Saatvik Anand, clearly hallucinating. Manan Agarwal scored 43 runs, Arnav Jain scored 41 Why is the water so wet? runs and Arijit Sannamanda took 4 wickets. Riddhim Agarwal, eureka! Why it didn’t get sticked? Well done! Jinay Borana, in a sticky mess retort and rebutt Blazin’ in black The School hosted the 3rd annual Junior English Debating Invitational Cup. The team comprising Scholar’s Blazers have been awarded to Amritansh Kabir Singh Bhai, Lorcan Conlon, Shreyan Mittal Saraff, Anant Jain, Ansh Raj and Milind Khemka and Agam Bhatia emerged victorious. Kudos! Congratulations! Tailored Talent Around the World in 80 Words Pakistan violated Indian Airspace policies and Sanjum Dhaliwal has been awarded the Games ceasefire rules along the LoC. Eight people including Blazer. the Nepal Tourism Minister were killed in a helicopter crash. The second summit between North Korean Well done! leader Kim Jong Un and U.S. President Donald Trump took place in Hanoi. Nigeria re-elected Muhammadu Buhari as president. Chelsea FC’s keeper Kepa The most difficult thing is the decision to act, “ Arrizabalaga was fined for defying manager Sarri’s the rest is merely tenacity. direct instructions. Music giant Spotify released their Amelia Earhart application in India. Beresheet, the Israeli spaceship was launched heading towards the moon. No Escape Saatvik Anand Saturday, March 2 | Issue No. 2528 the doon school weekly 3 Scribbles Saturday, March 2 | Issue No. 2528 4 the doon school weekly Saturday, March 2 | Issue No. 2528 the doon school weekly 5 Saturday, March 2 | Issue No. 2528 6 the doon school weekly Saturday, March 2 | Issue No. 2528 the doon school weekly 7 Night-time Melodies Veer Nigam reports on the recently held Hindustani Classical Music concert. On the 16th of February, Doscos and Masters alike The performance contained magnificent melodic got to witness a serene evening filled with eclectic patterns and ended with a Tihai. music performed by our Hindustani Classical Music Up next was Raghav Singhal, our other Choir Leader, students. Our first performer for the evening was who sang two compositions of Raga Shuddh Kalyaan. Vedant Gattani, playing the santoor. Vedant performed The first was aChota Khayal and a Tarana (a composition two captivating compositions of Raga Hansdhwani (cry based in Arabic or Persian). The performance was of the swan) . The two compositions were in Madhya interesting owing to the second composition which laya (medium speed) Ektaal (12 beats) and Drut laya was unique, leaving everyone in a whirl of wonder and (fast speed) Teentaal (16 beats). The compositions had contentment. a delightful beginning (alap) and finally ended with the After this performance we had Nikunj Bansal on Jhala (concluding composition), eliciting a mélange of the sarod. He played three compositions of Raga emotions. Bihag. The first composition was composed By Ustad Our second performer for the evening was Anant Ali Akbar Khan, and the other two by Ustad Amjad Kuriyal, one of our two Choir Leaders. Anant Ali Khan; two of the world’s great sarod maestros. performed two compositions of Raga Bageshree, a This performance was engaging due to the Saval- melodious opus reminiscent of the midnight hours. Javab (question-answer) form of music between the His first and second compositions were in Madhya instrumentalist and the tabla player. laya Teentaal and Drut laya Ektaal respectively. Both Our final performer for the evening was Karthik his compositions consisted of Chota Khayals which Subbiah, one of the Orchestra Leaders. He performed classical compositions are indigenous to North India. three compositions of Raga Jhog. This was a memorable His nightingale voice waltzed through the winter performance due to the improvisations and a night, bringing the soft wind and silent trees to life. traditional Chota Khayal interpreted on the santoor. The next performer was our youngest tabla player In the end, the performances were received with well in School, Harveer Singh Kochar. He played Kaidas deserved applause and the audience left wonderstruck (bases) and Thekas (parts) from Jhap taal (10 beats). and in awe of them. Rumours regarding the Pulwama attacks are rampant across all forms of media. This makes it imperative that we as a community remain informed, and not fall prey to these rumours.
Load more

Recommended publications
  • Music Initiative Jka Peer - Reviewed Journal of Music
    VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc.
    [Show full text]
  • 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]
  • 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]
  • 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]
  • Bachelor of Performing Arts (Vocal/Instrumental) I Semester
    BACHELOR OF PERFORMING ARTS (VOCAL/INSTRUMENTAL) I SEMESTER Course - 101 (English (Spoken)) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To introduce students to the theory, fundamentals and tools of communication. 2. To develop vital communication skills for personal, social and professional interactions. 3. To effectively translate texts. 4. To understand and systematically present facts, idea and opinions. Course Content:- I. Introduction: Theory of Communication, Types and modes of Communication. II. Language of Communication: Verbal and Non-verbal (Spoken and Written) Personal, Social and Business, Barriers and Strategies Intra- personal, Inter-personal and Group communication. III. Speaking Skills: Monologue, Dialogue, Group Discussion, Effective Communication/ Mis-Communication, Interview, Public Speech. IV. Reading and Understanding: Close Reading, Comprehension, Summary, Paraphrasing, Analysis and Interpretation, Translation(from Indian language to English and Viva-versa), Literary/Knowledge Texts. V. Writing Skills: Documenting, Report Writing, Making notes, Letter writing Bibliographies: a. Fluency in English - Part II, Oxford University Press, 2006. b. Business English, Pearson, 2008. c. Language, Literature and Creativity, Orient Blackswan, 2013. d. Language through Literature (forthcoming) ed. Dr. Gauri Mishra, Dr Ranjana Kaul, Dr Brati Biswas Course - 102 (Hindi) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 मध्यकालीन एवं आधुननक ह ंदी काव्य तथा व्याकरण Course Objective:- 1. पाठ्क्रम में रखी गई कनवता䴂 का ग न अध्ययन करना, उनपर चचाा करना, उनका नववेचन करना, कनवता䴂 का भावाथा स्पष्ट करना, कनवता की भाषा की नवशेषता䴂 तथा अथा को समझाना। 2. पाठ्क्रम में रखी गई खण्ड काव्य का ग न अध्ययन कराना,काव्यका भावाथा स्पष्ट करना, काव्य की भाषा की नवशेषता䴂 तथा अथा को समझाना। 3.
    [Show full text]
  • MUSIC Hindustani
    The Maharaja Sayajirao University of Baroda, Vadodara Ph. D Entrance Tet (PET) SYLLABUS Subject: MUSIC PET ExamCode : 21 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 -1- 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. -2- 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]
  • Track Name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt
    Track name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt. Bhimsen Joshi 3 HINDOLIKA Pt. Bhimsen Joshi 4 Thumri-Bhairavi Pt. Bhimsen Joshi 5 SHANKARA MANIK VERMA 6 NAT MALHAR MANIK VERMA 7 POORIYA MANIK VERMA 8 PILOO MANIK VERMA 9 BIHAGADA PANDIT JASRAJ 10 MULTANI PANDIT JASRAJ 11 NAYAKI KANADA PANDIT JASRAJ 12 DIN KI PURIYA PANDIT JASRAJ 13 BHOOPALI MALINI RAJURKAR 14 SHANKARA MALINI RAJURKAR 15 SOHONI MALINI RAJURKAR 16 CHHAYANAT MALINI RAJURKAR 17 HAMEER MALINI RAJURKAR 18 ADANA MALINI RAJURKAR 19 YAMAN MALINI RAJURKAR 20 DURGA MALINI RAJURKAR 21 KHAMAJ MALINI RAJURKAR 22 TILAK-KAMOD MALINI RAJURKAR 23 BHAIRAVI MALINI RAJURKAR 24 ANAND BHAIRAV PANDIT JITENDRA ABHISHEKI 25 RAAG MALA PANDIT JITENDRA ABHISHEKI 26 KABIR BHAJAN PANDIT JITENDRA ABHISHEKI 27 SHIVMAT BHAIRAV PANDIT JITENDRA ABHISHEKI 28 LALIT BEGUM PARVEEN SULTANA 29 JOG BEGUM PARVEEN SULTANA 30 GUJRI JODI BEGUM PARVEEN SULTANA 31 KOMAL BHAIRAV BEGUM PARVEEN SULTANA 32 MARUBIHAG PANDIT VASANTRAO DESHPANDE 33 THUMRI MISHRA KHAMAJ PANDIT VASANTRAO DESHPANDE 34 JEEVANPURI PANDIT KUMAR GANDHARVA 35 BAHAR PANDIT KUMAR GANDHARVA 36 DHANBASANTI PANDIT KUMAR GANDHARVA 37 DESHKAR PANDIT KUMAR GANDHARVA 38 GUNAKALI PANDIT KUMAR GANDHARVA 39 BILASKHANI-TODI PANDIT KUMAR GANDHARVA 40 KAMOD PANDIT KUMAR GANDHARVA 41 MIYA KI TODI USTAD RASHID KHAN 42 BHATIYAR USTAD RASHID KHAN 43 MIYA KI TODI USTAD RASHID KHAN 44 BHATIYAR USTAD RASHID KHAN 45 BIHAG ASHWINI BHIDE-DESHPANDE 46 BHINNA SHADAJ ASHWINI BHIDE-DESHPANDE 47 JHINJHOTI ASHWINI BHIDE-DESHPANDE 48 NAYAKI KANADA ASHWINI
    [Show full text]
  • Ruchira Panda, Hindusthani Classical Vocalist and Composer
    Ruchira Panda, Hindusthani Classical Vocalist and Composer SUR-TAAL, 1310 Survey Park, Kolkata -700075, India. Contact by : Phone: +91 9883786999 (India), +1 3095177955 (USA) Email Website Facebook - Personal Email: [email protected] ​ ​ ​ ​ ​ Website: ruchirapanda.com Highlights: ❑ “A” grade artist of All India Radio. ​ ❑ Playback-singer - ‘Traditional development of Thumri’ , National TV Channel. India. ​ ❑ Discography : DVD (Live) “Diyaraa Main Waarungi” from Raga Music; CD Saanjh ( Questz World ); also on iTunes, ​ ​ ​ ​ Google Play Music , Amazon Music, Spotify ​ ​ ​ ​ ❑ Performed in almost all of the major Indian Classical Conferences (Tansen, Harivallabh, Dover Lane, Saptak, Gunijan, AACM, LearnQuest etc.) in different countries (India, USA, Canada, UK,Bangladesh, Uzbekistan, Tajikistan) ❑ Empaneled Artist of Hindustani Classical Music : ICCR (Indian Council for Cultural Relations, Government of ​ India), and SPICMACAY ❑ Fellow of The Ministry of Culture, Govt. Of India (2009) ​ ❑ JADUBHATTA AWARD, by Salt Lake Music Festival (2009) ; SANGEET SAMMAN, by Salt Lake Silver Music Festival (2011) ; SANGEET KALARATNA , by Matri Udbodhan Ashram, Patna Synopsis: Ruchira Panda, from Kolkata, India, is the current torch-bearer of the Kotali Gharana, a lineage of classical vocal masters originally hailing from Kotalipara in pre-partition Bengal. She is a solo vocalist and composer who performs across all the major Indian Classical festivals in India, USA, CANADA and Europe. Her signature voice has a deep timbre and high-octane power that also has mind-blowing flexibility to render superfast melodic patterns and intricate emotive glides across microtones. Her repertoire includes Khayal - the grand rendering of an Indian Raga, starting with improvisations at a very slow tempo where each beat cycle can take upwards of a minute, and gradually accelerating to an extremely fast tempo where improvised patterns are rendered at lightning speed .
    [Show full text]
  • What Is Khya/?-A Critique of Wade's Khyal: Creativity Within North India's Classical Music Tradition
    What is Khya/?-A Critique of Wade's Khyal: Creativity Within North India's Classical Music Tradition Mukund Lath This book has all the trappings of an impressive production. It is published by a University with as great a tradition of scholarship as khyal has of creativity, a tradition w ith a history certainly older than that of khyal. The 350-odd pages that the book contains are beautifully printed with numerous impeccably drawn charts of sargam-s and gharana genealogies and well reproduced photographs of well­ know n musicians. Its appearance is sober but attractive, befitting the scholarly series of which it is a part. This appearance invites respect despite the fact that t he banner "ethnomusicology", under which it is published, has certain unsavoury suggestions and echoes of references to a comparatively " lower " art practised by traditionaL "third-world" communities, stagnant rather than creative. One would not write about Western classical music under this banner. 1 must hasten to add, however, that Bonnie C. Wade's attitude towards her subject has no ethnomusicological overtones in any pejorative sense. Quite the contrary, she has, in fact great admiration for khyal as an art-form. Maybe the meaning of the term "ethnomusicology" is changing, as many students of the subject claim. But then w hy not do away with the word? Is not " musicology" adequate? But no matter w hat the name of the series, a book from Cambridge is bound to arouse great expectations. A student w ill turn to the book hoping that here at last is something definitive on khyal.
    [Show full text]
  • Indian Classical Music Is One of the Oldest Forms of Music in the World
    AN INTRODUCTION TO THE CLASSICAL MUSIC OF INDIA Rangaraj M. Rangayyan Department of Electrical and Computer Engineering University of Calgary Calgary, Canada T2N 1N4. Phone: +1 (403) 220-6745 Fax: +1 (403) 282-6855 e-mail: [email protected] Web: http://www.enel.ucalgary.ca/People/Ranga 48 Scandia Hill N.W. Calgary, Alberta, CANADA T3L 1T8 Phone/fax: +1 (403) 239-7380 I. INTRODUCTION Indian classical music is one of the oldest forms of music in the world. It has its roots in diverse areas such as the ancient religious vedic hymns, tribal chants, devotional temple music, and folk music[2]. Indian music is melodic in nature, as opposed to Western music which is harmonic. The most important point to note is that movements in Indian classical music are on a one-note-at-a-time basis. This progression of sound patterns along time is the most significant contributor to the tune and rhythm of the presentation, and hence to the melody[2]. Although Indian music is now divided into the two major classes of Hindusthani (Northern Indian) and Karnatak or Carnatic (Southern Indian), the origins and fundamental concepts of both these types of music are the same. The form of presentation may however vary between the two systems, as well as from one gharana (family) to another in the former system. The fundamental concepts that have to be understood at the outset are those of swara (musical note), raga (a melodic concept, or scale of notes) and tala (beats of timing or rhythm). This paper begins with an introduction to these concepts.
    [Show full text]
  • 2 M Music Hcm.Pdf
    Visva-Bharati, Sangit-Bhavana DEPARTMENT OF HINDUSTHANI CLASSICAL MUSIC CURRICULUM FOR POSTGRADUATE COURSE M.MUS IN HINDUSTHANI CLASSICAL MUSIC Sl.No Course Semester Credit Marks Full . Marks 1. 16 Courses I-IV 16X4=64 16X50 800 10 Courses Practical 06 Courses Theoretical Total Courses 16 Semester IV Credits 64 Marks 800 M.MUS IN HINDUSTHANI CLASSICAL MUSIC OUTLINE OF THE COURSE STRUCTURE 1st Semester 200 Marks Course Marks Credits Course-I (Practical) 40+10=50 4 Course-II (Practical) 40+10=50 4 Course-III (Practical) 40+10=50 4 Course-IV (Theoretical) 40+10=50 4 2nd Semester 200 Marks Course Marks Credits Course-V (Practical) 40+10=50 4 Course-VI (Practical) 40+10=50 4 Course-VII (Theoretical) 40+10=50 4 Course-VIII (Theoretical) 40+10=50 4 3rd Semester 200 Marks Course Marks Credits Course-IX (Practical) 40+10=50 4 Course-X (Practical) 40+10=50 4 Course-XI (Practical) 40+10=50 4 Course-XII (Theoretical) 40+10=50 4 4th Semester 200 Marks Course Marks Credits Course-XIII (Practical) 40+10=50 4 Course-XIV (Practical) 40+10=50 4 Course-XV (Theoretical) 40+10=50 4 Course-XVI (Theoretical) 40+10=50 4 1 Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music CURRICULUM FOR POST GRADUATE COURSE M.MUS IN HINDUSTHANI CLASSICAL MUSIC TABLE OF CONTENTS HINDUSTHANI CLASSICAL MUSIC (VOCAL)………………………………………………3 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (SITAR)…………………………14 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (ESRAJ)…………………………23 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (TABLA)………………………..32 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (PAKHAWAJ)………………….42 2 CURRICULUM FOR POSTGRADUATE COURSE DEPARTMENT OF HINDUSTHANI CLASSICAL MUSIC SUBJECT- HINDUSTHANI CLASSICAL MUSIC (VOCAL) Course Objectives: This is a Master’s degree course in Hindustani Classical vocal music with emphasis on teaching a nuanced interpretation of different ragas.
    [Show full text]
  • Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music
    Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music CURRICULUM FOR UNDERGRADUATE COURSE CHOICE BASED CREDIT SYSTEM S.No. COURSE SEMESTER CREDITS MARKS FULL MARKS Core Course 1 14 Courses I –VI 14X6=84 14X75 1050 08 Courses Practical 06 Courses Theoretical Discipline Specific Elective Course (DSE) 2 04 Courses V- VI 4X6=24 4X75 300 03Courses Practical 01 course Theoretical Generic Elective Course (GEC) 04 Courses I-IV 4X6=24 4X75 300 3 03 Courses Practical 01 Course Theoretical Skill Enhancement Compulsory Course (SECC) 4 III-IV 2X2=4 2X25 50 02 Courses Theoretical Ability Enhancement I-II 2X2=4 2X25 50 Compulsory Course (AECC) 5 02 Courses Theoretical 6 Foundation Course I-II 2X4=8 2X50 100 (Tagore Studies) 02 Courses Theoretical Total: 26+2=28 Courses - - - 1850 1 CHOICE BASED CREDIT SYSTEM B.MUS (HONS) IN HINDUSTHANI CLASSICAL MUSIC (VOCAL) COURSE AND MARKS DISTRIBUTION STRUCTURE Core course AECC SECC DSE GEC TS SEM Total Prac Theo Prac Theo Prac Theo Prac Theo Prac Theo Theo I 75 75 - 25 - - - - 75 - 50 300 II 75 75 - 25 - - - - 75 - 50 300 III 150 75 - - - 25 - - 75 - - 325 IV 150 75 - - - 25 - - - 75 - 325 V 75 75 - - - - 150 - - - - 300 VI 75 75 - - - - 75 75 - - - 300 Total 600 450 - 50 - 50 225 75 225 75 100 1850 2 Sangit-Bhavana, Visva Bharati Department of Hindusthani Classical Music CURRICULUM FOR UNDERGRADUATE COURSE CHOICE BASED CREDIT SYSTEM B.MUS (HONS) IN HINDUSTHANI CLASSICAL MUSIC TABLE OF CONTENTS HINDUSTHANI CLASSICAL MUSIC (VOCAL) 4 HINDUSTHANI CLASSICAL MUSIC INSTRUMENTAL (SITAR) 21 HINDUSTHANI
    [Show full text]