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Kyun Dooriyan
''Kyun Dooriyan'' (; ) is the second solo studio album by Pakistani classical and pop singer, songwriter, and composer Shafqat Amanat Ali, released in India on March 2, 2010 by the Music Today label. Background ''Kyun Dooriyan'' was released two years after Ali's debut solo album '' Tabeer'' (2008) and features several high-energy tracks with a pronounced rock feel as well as a few romantic ballads. Ali stated that he wanted to release his second solo album in quick succession to make up for the long gap between the release of '' Saagar'' (2002) and ''Tabeer'' (2008). ''Kyun Dooriyan'' received positive reviews for its overall narrative structure and tight production, and Ali received praise for adapting "old traditional compositions and ivingthem new energy with his own interpretation and style." Music and style ''Rolling Stone'' (India) described ''Kyun Dooriyan'' as a "heady spin of raga-rock" and ''Billboard'' magazine characterized the tone of album as a blend of "soul ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shafqat Amanat Ali
Shafqat Amanat Ali Khan ( ur, ; ; born 26 February 1965) is a Pakistani pop and classical singer, songwriter, and composer belonging to the Patiala Gharana tradition of music. He was the lead vocalist of the Pakistani pop rock band Fuzön until 2006 and is a prominent playback singer in the Indian film industry. The youngest son of noted classical vocalist Ustad Amanat Ali Khan, Ali started his musical training at the age of four under the tutelage of his uncle, Ustad Bade Fateh Ali Khan, who was widely regarded as the foremost exponent of Hindustani classical music in Pakistan. Ali rose to prominence in both India and Pakistan with the lead single "Aankhon Ke Saagar" and the song "Khamaj" (also known as "Mora Saiyaan") from Fuzön's debut album, '' Saagar'' (2002). In 2006, Ali went on to achieve breakthrough success in Bollywood with two songs – "Mitwa" (from the film ''Kabhi Alvida Naa Kehna'') and "Yeh Honsla" (from the film '' Dor''). Both songs earned Ali signific ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
We Will Rock You
"We Will Rock You" is a song written by Brian May and recorded by British rock band Queen for their 1977 album ''News of the World''. ''Rolling Stone'' ranked it number 330 of "The 500 Greatest Songs of All Time" in 2004, and it placed at number 146 on the Songs of the Century list in 2001. In 2009, "We Will Rock You" was inducted into the Grammy Hall of Fame. Other than the last 30 seconds, which contains a guitar solo by May, the song is generally set in a cappella form, using only stomping and clapping as a rhythmic body percussion beat. In 1977, "We Will Rock You" and "We Are the Champions" were issued together as a worldwide top 10 single. Soon after the album was released, many radio stations played the songs consecutively, without interruption. Since its release, "We Will Rock You" has been covered, remixed, sampled, parodied, referred to, and used by multiple recording artists, TV shows, films and other media worldwide. It has also become a popular stadium anthem at sp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sthayi
Sthayi or Asthaayi is an initial phrase or line of a fixed, melodic composition in Hindustani music. It's a way of systematizing the parts of a composition. The Sthayi part of a Dhrupad is the first of four stanzas and uses the middle octave's first tetrachord and the lower octave notes. Sthayi means an octave. Shadjam to NIshadham is called sthayi or an octave. It is called a position. Basically there are 3 stayis but 5 stayis are correct too. Anumandra sthayi, mandra sthayi, madhya sthayi, tara sthayi and athithara sthayi. See also * * *Antara (music) Antarā is the equivalent of a verse in Hindustani classical music. In Hindustani classical music, the fixed (dhrupad/bandish) section is in four parts of which only the first two are performed regularly: Sthāyī (pallavi in Carnatic music) - th ... References Hindustani music terminology Musical form {{music-genre-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Malkauns
Malkauns, known also as rag Malkosh, is a raga in Indian classical music. It is one of the oldest ragas of Indian classical music. The equivalent raga in Carnatic music is called Hindolam, not to be confused with the Hindustani Hindol. According to Indian classical vocalist Pandit Jasraj, Malkauns is a raga that is "sung during small hours of the morning, just after midnight." He further adds that the raga has a soothing and intoxicating effect. Etymology The name ''Malkaush'' is derived from the combination of ''Mal'' and ''Kaushik'', which means he who wears serpents like garlands – the god Shiva. However, the ''Malav-Kaushik'' mentioned in classical texts does not appear to be the same as the ''Malkauns'' performed today. The raga is believed to have been created by goddess Parvati to calm lord Shiva, when he was outraged and refused to calm down after Tandav in rage of Sati's sacrifice. In ''Jainism'', it is also stated that the Raga Malkauns is used by the ''Tirthank ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. The ''rāga'' is a unique and central feature of the classical Indian music tradition, and as a result has no direct translation to concepts in classical European music. Each ''rāga'' is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience. Each ''rāga'' provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the ''rāga'' in keeping with rules specific to the ''rāga''. ''Rāga''s range from small ''rāga''s like Bahar (raga), Bahar and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thumri
Thumri () is a vocal genre or style of Indian music. The term "thumri" is derived from the Hindi verb ''thumuknaa'', which means "to walk with a dancing gait in such a way that the ankle-bells tinkle." The form is, thus, connected with dance, dramatic gestures, mild eroticism, evocative love poetry and folk songs, especially from Uttar Pradesh, though there are regional variations. The text is romantic or devotional in nature, the lyrics are usually in Uttar Pradesh dialects of Hindi called Awadhi and Brij Bhasha. Thumree is characterized by its sensuality, and by a greater flexibility with the ''raga''. ''Thumri'' is also used as a generic name for some other, even lighter, forms such as Dadra, Hori, Kajari, Sawani, Jhoola, and Chaiti, even though each of them have their own structure and content — either lyrical or musical or both—and so the exposition of these forms vary. Like Indian classical music itself, some of these forms have their origin in folk literature and m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saraiki Language
Saraiki ( '; also spelt Siraiki, or Seraiki) is an Indo-Aryan language of the Lahnda group, spoken by 26 million people primarily in the south-western half of the province of Punjab in Pakistan. It was previously known as Multani, after its main dialect. Saraiki has partial mutual intelligibility with Standard Punjabi, and it shares with it a large portion of its vocabulary and morphology. At the same time in its phonology it is radically different (particularly in the lack of tones, the preservation of the voiced aspirates and the development of implosive consonants), and has important grammatical features in common with the Sindhi language spoken to the south. The Saraiki language identity arose in the 1960s, encompassing more narrow local earlier identities (like Multani, Derawi or Riasati), and distinguishing itself from broader ones like that of Punjabi. Name The present extent of the meaning of ' is a recent development, and the term most probably gained its curr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aamir Zaki
Aamir Zaki (April 8, 1968 – June 2, 2017) was a Saudi born Pakistani guitarist-songwriter and composer. Zaki is considered by many as one of the most influential guitarists in Pakistan's history. He is considered to be among the pioneers of Rock music in Pakistan. Career Early career Zaki started out his music career with a band named The Scratch in 1987, their first album was named ''The Bomb'', whose title track was about the Empress Market bomb blast. The song gave Zaki a little recognition. On an advice from his friend, he quit The Scratch in 1988 to form his own band, thus in process of doing so he started touring with Alamgir. On Tour with Alamgir The first mainstream musician to recognise Zaki as a teenage prodigy was Alamgir, who got in touch with him to tour India, Dubai, England and the U.S.A. After touring Zaki played on two of Alamgir's albums. "Keh De Na" and "Albela Rahi" were two hit singles with young Zaki as the lead guitarist, he played a self built Flying V ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Zahida Parveen (singer)
Zahida Parveen was a Pakistani classical singer and playback singer. She was known as ''The Nightingale'' and ''The Queen of Kafi''. Early life Zahida Parveen was born in 1925 at Amritsar, Punjab during British India. Her parents died when she was very young so she was raised by one of her sisters, Peeran Ditti. She joined Patiala Gharana School to learn singing from sarangi player Baba Taj from Kapurthalla. Then she studied with Hussain Bakhsh Khan, a sarangi player from Amritsar. Career After partition, she moved to Pakistan and learned singing from Ashiq Hussain of Patiala Gharana in Lahore. Then she started singing at Radio Pakistan Lahore. In 1949 she worked as a playback singer and recorded a qawwali with Iqbal Bano and Munawar Sultana in the film ''Mundri''. The qawwali was composed by B.A. Chishti. At Radio Pakistan, she performed the songs "Kya Haal Sunawan Dil Da" and "Maindi Ajj Kal Akh Phurkaandi Aei", a composition of Khwaja Ghulam Farid with kafi style the so ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Khwaja Ghulam Farid
Khwaja Ghulam Farid (Urdu: ) or Khwaja Fareed (1845–1901) was a 19th-century Sufi poet from Punjab. He was a member of the Chishti Nizami Sufi order. He wrote poetry in several languages, and his literary heritage has been claimed by both the Punjabi and the Saraiki language movements. Early life Farid's mother died when he was four years old and he was orphaned around the age of eight when his father, Khwaja Khuda Bakhsh, died. He was then brought up by his elder brother, Khwaja Fakhr-ud-Din, also known as Khwaja Fakhr Jehan Sain, and grew up to become a scholar and writer. He wrote kafi poems in Punjabi, Sindhi, Urdu, Persian, and Braj Bhasha. Sadeq Mohammad Khan III Nawab of Bahawalpur took Farid to his palace at Ahmedpur East for his religious education by a scholar, when he was 8 years old. His brother Fakhr-ud-Din, who had brought him up after his parents' deaths, also died when Farid was 28 years old. Farid then left for the Cholistan Desert (also known as ''Rohi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kafi
Kafi ( pa, ਕਾਫ਼ੀ (Gurmukhi), (Shahmukhi), Hindi: काफ़ी, Urdu: کافی, Sindhi:ڪافي) is a classical form of Sufi music mostly in the Siraiki, Punjabi and Sindhi languages and originating from the Punjab, and Sindh regions in the Indian subcontinent. Some well-known Kafi poets are Baba Farid, Bulleh Shah, Shah Hussain, Shah Abdul Latif Bhittai, Sachal Sarmast and Khwaja Ghulam Farid. This poetry style has also lent itself to the Kafi genre of singing, popular throughout South Asia, especially Pakistan, Bangladesh and India. Over the years, both Kafi poetry and its rendition have experienced rapid growth phases as various poets and vocalists added their own influences to the form, Tribute: The legendary maestro by Shaikh Aziz, |
3rd Mirchi Music Awards
The 3rd Mirchi Music Awards, presented by Radio Mirchi, honored the best of Hindi music from the year 2010. The ceremony was held on 27 January 2011 at the Bandra Kurla Complex, Mumbai, and was hosted by Shaan and Sonu Nigam. The program featured many performances, including those by Bappi Lahiri, Usha Uthup, DJ Lloyd, Akshay Kumar, Anushka Sharma, Rishi Kapoor and Priyanka Chopra. Several award categories were introduced for the first time, including Best Indipop Song, Best Item Number, Best Raag Inspired Song, Best song in Sufi Tradition, and Best Album of Golden Era. ''Dabangg'' won a leading eight awards including Album of the Year and Song of the Year for " Munni Badnaam". The First Mirchi Music awards was held on 2009 and was hosted by Radio Mirchi 98.3 FM. Winners and nominees The winners were selected by the members of a jury, chaired by Javed Akhtar. The following are the names of nominees and winners. (''Winners are listed first, highlighted in boldface.'') F ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
