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Ustad Vilayat Khan
Ustad Vilayat Khan (28 August 1928 – 13 March 2004) was an Indian classical sitar player.Profile of Vilayat Khan on Encyclopædia Britannica Retrieved 12 October 2020 Along with , , and , he is credited with the creation and development of ''gayaki ang'' (an attempt to mimic the sound of the human voice) on the sitar. He recorded his first 78-RPM disc at ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gouripur, Bangladesh
Gouripur is a small town in northern Bangladesh. The headquarters of Gouripur Upazila, Mymensingh District, Mymensingh Division, it is from Dhaka, from Mymensingh, and from the border with the Indian state of Meghalaya. In Gouripur there is an important railway station on the Narayanganj-Bahadurabad Ghat Line. The town is surrounded by several small valleys between high forests. The temperature ranges from , and the annual rainfall averages . Gouripur House Gouripur House is around hundred year old haveli built by then local zamindar Brajendra Kishore Roy Chowdhury. Brajendra Kishore Roy Chowdhury and his son Birendra Kishore Roy Chowdhury, were known for their interest in Indian classical music. Post partition property seems to be owned by Sonali Bank Bangladesh. Places Of interest * Shrine of Nizam Aulia * Fort of Bokai *Nagar * Shrine of Heroine Sakhina * Tajpur Fort * Ramgopalpur Zeminder House & The Lion Door * Gouripur R.K High School * Gouripur Govt. College See als ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Etawah Gharana
The Etawah gharana is a North Indian school of sitar and surbahar music and named after a small town close to Agra where Imdad Khan (1848–1920) lived.Sitar-playing Imdadkhani gharana on ITC Sangeet Research Academy website Retrieved 3 January 2019Profile of Imdadkhani gharana on parampara-sg.org website Retrieved 3 January 2019 It is also known as Imdadkhani gharana in the honour of its founder, . Imdad Khan family Imdad ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
All India Radio
All or ALL may refer to: Language * All, an indefinite pronoun in English * All, one of the English determiners * Allar language (ISO 639-3 code) * Allative case (abbreviated ALL) Music * All (band), an American punk rock band * ''All'' (All album), 1999 * ''All'' (Descendents album) or the title song, 1987 * ''All'' (Horace Silver album) or the title song, 1972 * ''All'' (Yann Tiersen album), 2019 * "All" (song), by Patricia Bredin, representing the UK at Eurovision 1957 * "All (I Ever Want)", a song by Alexander Klaws, 2005 * "All", a song by Collective Soul from ''Hints Allegations and Things Left Unsaid'', 1994 Science and mathematics * ALL (complexity), the class of all decision problems in computability and complexity theory * Acute lymphoblastic leukemia * Anterolateral ligament Sports * American Lacrosse League * Arena Lacrosse League, Canada * Australian Lacrosse League Other uses * All, Missouri, a community in the United States * All, a brand of Sun Prod ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhairavi (Hindustani)
Bhairavi (Hindi: भैरवी, ur, , Sindhi: راڳ ڀيروي) is a Hindustani Classical heptatonic ( Sampurna) raga of Bhairavi thaat. In Western musical terms, raga Bhairavi employs the notes of the Phrygian mode, one of the traditional European church modes. Many Indians growing up during 1980s and 1990s will instantly recognize raag Bhairavi as it is the dominant note in popular Doordarshan video 'Mile sur mera tumhara'. Theory Raga Bhairavi is often referred to as the queen of morning Ragas. It produces a rich, devotional atmosphere especially suitable for the genres of Bhajan and the light classical form of Thumri. The Rishabh and Dhaivat used here are oscillating which is strongly recommended in this Raga and it makes the Raag mood intense. Rishabh and Pancham are occasionally skipped in Aaroh like: S G m d P or G m d N S'. But in Avroh, Rishabh and Pancham are Deergh like S' N d P or P m G m r r S. In Avroh, Gandhar is skipped like: G m r S. Madhyam is an impor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Darbari
Darbari Kanada, or simply Raga Darbari, (pronounced darbāri kānada), is a raga in the Kanada family, which is thought to have originated in Carnatic music and brought into Hindustani classical music by Miyan Tansen, the legendary 16th-century composer in emperor Akbar's court. This tradition is reflected in the name itself; ''Darbar'' is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or ''pure Kanada''. It belongs to the Asavari thaat. This raag is called raaga Kaanada in Yakshagana Karnataka state dance It is also sometimes written as Durbari and Durbarikanada.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras In Hindustani classical music Darbari is a grave raga, played deep into the night, considered to be one of the more difficult to master, and with the potential for profound emotional impact. Darbari is a very serious raga and hence, slow and elab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Todi (raga)
Miyan ki Todi, often simply referred to as Todi or Darbari Todi (), is a Hindustani classical raga which gave its name to the Todi (thaat), Todi thaat, one of the ten types of classical music according to the musicologist Bhatkhande. Ragas from the Todi raganga (class of ragas) include Todi (a.k.a. Miyan ki Todi) itself, Bilaskhani Todi, Gujari Todi (also called Gurjari Todi), Desi (raga), Desi Todi, Hussaini Todi, Asavari Todi (more commonly known as Komal Rishabh Asavari), and Bahaduri Todi. The equivalent raga in Carnatic music is Shubhapantuvarali. But in Todi, the pancham is omitted in the Arohana, whereas Shubhapanthuvarali uses the panchamam in both the arohana and avarohana. The Carnatic Melakarta Hanumatodi is the equivalent of Bhairavi (thaat), Bhairavi thaat, but the Hindustani Bhairavi (Hindustani), Bhairavi raga is the equivalent of Carnatic Sindhu Bhairavi (raga), Sindhu Bhairavi. Carnatic Todi does not have any similarity with Hindustani Todi (Miyan ki Todi) raga. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shree (Hindustani Raga)
Shree is a very old North Indian raga of the Purvi thaat, and has traditionally been associated with Shiva. It also appears in the Sikh tradition from northern India, and is a part of the ''Guru Granth Sahib'', the holy text of the Sikhs. The Guru Granth Sahib composition comprises 31 ragas where Shree is the first raga to appear. The raga appears first on 14th page of the composition. The basis of this Raag is steeped in the traditions of mainstream Indian Classical music. Siri Raag is serious and thought-provoking in its nature and creates an atmosphere where the listener is led to heed the advice given therein. The listener (the mind) is made aware of the truth of the message and with this ‘education’ is given the strength to face the future with both humility and the ‘gained’ knowledge. Guru Nanak, Guru Amar Das, Guru Ram Das, and Guru Arjan have composed sacred hymns ( Shabads) to be accompanied with this raga. It accompanies about 142 Shabads. According to I ... [...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] |
Chikari
The sitar ( or ; ) is a plucked stringed instrument, originating from the Indian subcontinent, used in Hindustani classical music. The instrument was invented in medieval India, flourished in the 18th century, and arrived at its present form in 19th-century India. Khusrau Khan, an 18th century figure of Mughal Empire has been identified by modern scholarship as the originator of Sitar. According to most historians he developed sitar from setar, an Iranian instrument of Abbasid or Safavid origin. Another view supported by a minority of scholars is that Khusrau Khan developed it from ''Veena''. Used widely throughout the Indian subcontinent, the sitar became popularly known in the wider world through the works of Ravi Shankar, beginning in the late 1950s and early 1960s. In the 1960s, a short-lived trend arose for the use of the sitar in Western popular music, with the instrument appearing on tracks by bands such as the Beatles, the Doors, the Rolling Stones and others. Etymolog ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tanpura
The tanpura (), also referred to as tambura and tanpuri, is a long-necked plucked string instrument, originating in India, found in various forms in Indian music. It does not play melody, but rather supports and sustains the melody of another instrument or singer by providing a continuous harmonic bourdon or drone. A tanpura is not played in rhythm with the soloist or percussionist: as the precise timing of plucking a cycle of four strings in a continuous loop is a determinant factor in the resultant sound, it is played unchangingly during the complete performance. The repeated cycle of plucking all strings creates the sonic canvas on which the melody of the raga is drawn. The combined sound of all strings–each string a fundamental tone with its own spectrum of overtones–supports and blends with the external tones sung or played by the soloist. Hindustani musicians favour the term ''tanpura'' whereas Carnatic musicians say ''tambura''; ''tanpuri'' is a smaller varian ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ahmed Jan Thirakwa
Ustad Ahmed Jan Khan "Thirakwa" was an Indian tabla player, commonly considered the pre-eminent soloist among tabla players of the 20th century, and among the most influential percussionists in the history of Indian Classical Music. He was known for his mastery of the finger techniques and aesthetic values of various tabla styles, technical virtuosity, formidable stage presence, and soulful musicality. While he had command over the traditional tabla repertoire of various gharanas, he was also distinguished by the way in which he brought together these diverse compositions, his reinterpretation of traditional methods of improvisation, and his own compositions. His solo recitals were of the first to elevate the art of playing tabla solo to an art in its own right in the popular mind. His style of playing influenced many generations of tabla players specially today’s foremost Tabla maestro Pandit Nayan Ghosh besides the maestro’s nephew ustad Rashid Mustafa. lineage with his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Riyaz
Riyaz () is the systematic practice of music, dance or any other art form usually under the guidance of a teacher or preceptor. In Hindustani classical music tradition, it is employed as a repertoire of exercises to cultivate the musicality of one's voice or fingers. It is known as Sadhakam or Sadhana in Carnatic music. It is followed rigorously by the students as well as exponents of vocal as well as dancing forms. The practice The ''Riyaaz'' or ''Sadhakam'', which often starts early in the morning at four, is taken seriously by the students for it requires intensity, discipline and commitment for years and forms an important component in the ''Guru - Shishya parampara'' (teacher-student tradition). In Carnatic music, the impression is that the assiduous sadhakam of the Trinity of Carnatic Music was the bedrock of the excellence of the old-world vidwans. A popular system for practice of the tabla, known as ''chilla'', is mostly followed by Muslim exponents of music and involve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
