scholarly journals HISTORY OF INNOVATION IN MUSIC, WITH REFERENCE TO DHRUPAD SINGING STYLE

2015 ◽  
Vol 3 (1SE) ◽  
pp. 1-3
Author(s):  
Sharmila Taylor ◽  
Kamna Sisodia
Keyword(s):  
Classical Music ◽  
Musical Instruments ◽  
Natural Process ◽  
Special Importance ◽  
Important Place ◽  
Historical View ◽  
Sanskrit Drama ◽  
Singing Style ◽  
History Of ◽  
Indian Classical Music

Changing the tradition of history is a natural process of nature. In the context of the Dhrupad singing style in the Indian classical music world, if we take a historical view, the practice of singing Dhruva and Prabandha songs before this style was prevalent. The ritual form of Dhruva songs is found in Sanskrit drama texts from pre- to late India. Dhruva has an important place in terms of song composition.Even in the exorcisms used in the puvarang before the Natyarambha, the Dhruvas have special importance due to the use of musical instruments. Originally, the verses of songs which are used within the play are called Dhruva to make those situations intensified or to intensify the character of the characters in various situations of the play. They are also related to the lyricists due to their use of various parts of the lyricists. इतिहास की परम्परा में परिवर्तन होना प्रकृति की स्वाभाविक प्रक्रिया है। भारतीय शास्त्रीय संगीत जगत में ध्रुपद गायन शैली के सन्दर्भ मं हम ऐतिहासिक दृष्टि डालें तो इस शैली के पूर्व ध्रुवा एवं प्रबन्ध गीतों को गाने का प्रचलन था। ध्रुवा गीतों की परम्परा का क्रियात्मक रूप भरत के पूर्व से लेकर परवर्ती संस्कृत नाटक ग्रंथों में पाया जाता है। गीत रचना की दृष्टि से ध्रुवा का महत्त्वपूर्ण स्थान है।नाट्यारम्भ से पहले पूर्वरंग में प्रयुक्त बहिर्गीतों में भी ध्रुवाएं वाद्यप्रयोग की उपरंजक होने के कारण विशेष महत्व रखती हैं। मूलतः नाट्य की विभिन्न परिस्थितियों में रसानुभूति करा कर उन परिस्थितियों को तीव्र बनाने अथवा पात्रों के चरित्र को उभारने के लिए जिन छन्दोबद्ध गीतों का प्रयोग नाट्य के भीतर किया जाता है वे ध्रुवा कहलताी है। गीतकों के विभिन्न अंगों का इनमें प्रयोग होने के कारण ये गीतकों से भी सम्बन्ध है।

Drumming, Language, and the Voice in South Asia

2017 ◽  
Author(s):  
Richard K. Wolf
Keyword(s):  
South Asia ◽  
Instrumental Music ◽  
Classical Music ◽  
Indian Subcontinent ◽  
Historical Context ◽  
Concert Music ◽  
The Public ◽  
South Indian ◽  
History Of ◽  
Indian Classical Music

This book explores drumming and other instrumental traditions that are interconnected over vast regions of South and West Asia. The traditions considered here qualify broadly as functional music rather than concert music and include the public instrumental music of weddings, funerals, and religious holidays. The book examines patterns that pervade functional music of South Asia and to some extent North and South Indian classical music and how performed texts are related to their verbal or vocal models. It also considers what it means in particular contexts for musical instruments to be voicelike and carry textual messages. This chapter discusses the broad historical context in which voices and instruments have been co-constructed in the history of the Indian subcontinent and regions west. Many examples from South India are included to help create a picture that transcends the bounds of Muharram Ali's travels.

scholarly journals Time-Based Raga Recommendation and Information Retrieval of Musical Patterns in Indian Classical Music Using Neural Networks

2017 ◽  
Vol 6 (1) ◽  
pp. 33 ◽  
Author(s):  
Samarjit Roy ◽  
Sudipta Chakrabarty ◽  
Debashis De
Keyword(s):  
Neural Networks ◽  
Pattern Matching ◽  
Classical Music ◽  
Musical Composition ◽  
Accuracy Level ◽  
History Of ◽  
Indian Classical Music ◽  
Musical Patterns ◽  
The Times ◽  
Confusion Matrices

In Indian Classical Music (ICM) perspective, Raga is formed from the different and correct combination of notes. If it is observed the history of Indian Classical Raga in ICM, the playing or serving each of the ragas has some unique sessions. The procedure is to suggest the classifications of playing a raga has been attempted to display by explaining unique musical features and pattern matching. This contribution has been represented how music structures can be advanced through a more conceptual demonstration and consent to unambiguously describe process of computational modeling of Musicology which signify the challenge on complete musical composition from the elementary vocal objects of ICM usage using Neural Networks. In Neural network the samples of various ragas have been taken as input and classify them according to the times of the performance. Over 90% accuracy level has achieved using entire Confusion Matrices and Error Histogram performance evaluation technique.

scholarly journals AN ANALYSIS ON THE PROCESS OF BECOMING AN “ORCHESTRAL MUSICIAN” IN ISTANBUL STATE SYMPHONY ORCHESTRA

2018 ◽  
Vol 7 (46) ◽  
Keyword(s):  
Private Sector ◽  
Classical Music ◽  
Descriptive Analysis ◽  
Symphony Orchestra ◽  
The State ◽  
Ethnographic Research ◽  
Affecting Factors ◽  
Symphony Orchestras ◽  
Important Place ◽  
History Of

Symphony orchestras are institutions that have been serving in the field of classical music for centuries. The history of the symphony orchestras in Turkey is not as old as the Europe orchestras. These orchestras have been supported both by the state and the private sector. The symphony orchestras which continue to work under state auspices have gained an important place in the field of art by giving concerts regularly since their establishment. The structure and works of the symphony orchestras have been studied by researchers who are in the fields of management, organisational studies and psychology. The subjects of these researches, largely conducted with the participation of orchestra members, have been determined to be as leadership, interaction between the conductor and orchestra members, or interaction between orchestra and audience. For this reason, this study focuses on explaining the concept of orchestral musician (“orkestracı”) as the result of the ethnographic research conducted with members of the Istanbul State Symphony Orchestra. Becoming an orchestral musician has been considered here as a particular process and its affecting factors have been explained in a descriptive analysis. Keywords: Classical music, symphony orchestra, becoming an orchestral musician, interaction, etnomusicology

scholarly journals A pianist and his musical instrument (on the example of Alexandre Tharaud’s works)

2021 ◽  
pp. 76-84
Author(s):  
Y. Voskoboinikov
Keyword(s):  
Classical Music ◽  
Comparative Method ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Educational Process ◽  
Important Place ◽  
Modern Media ◽  
Media Space ◽  
First Time ◽  
The Relationship

The relevance. The modern media space is full of musical experience of different cultures, which is embodied by musical instruments. Each of them with its uniqueness occupies the same important place on the stage as a composer, a piece of work and a performer. First, only by their appearance and name, and then by timbre, volume, range, musical instruments (solo or in an ensemble or orchestra) objectify the sound space, set the parameters of artistic communication. A musical instrument as an artifact exists in musical activity not as a certain thing, even exceptionally valuable, but, first of all, as a “mediator of use” (Voronin A. Myth of technology. Moscow: Nauka, 2004. P. 65). It is the process of its use that needs to be understood not only in broad historical and cultural contexts, but also in the scale of creative activity of one performer. The aim of the article is to try to use the example of the famous pianist Alexandre Tharaud (1968) to consider the process of understanding the “horizons” of his creative world through the selection and development of certain musical instruments, including pianos of modern production. Such a problematic prospect includes: on the one hand, the purely economic relationship between the musician and world brands and requires a definition of the artist-ambassador at the music market, on the other — highlights the performance search for reliable “mediators” for their own version of the music, new opportunities for dialogue with the historical past. The methodology. It is based on the comparative method, the application of the apparatus of organology in historical retrospect, as well as on the methodological approaches used by E. Nazaikinsky and A. Voronin. The results. The problem of the relationship between the piano firm and the performer was raised in the historical context. On the example of Alexandre Tharaud’s discography the modern mechanisms of the relationship between the piano firm and the performer were revealed. The topicality. It is the first time Alexandre Tharaud’s experience in media representation of piano products is summarized. It is the first time the piano works and performance in terms of instrumental resources involved in the Alexandre’s performance was analyzed. The practical significance. The material can be used in the educational process, as well as by professionals who are interested in this prospect for further study of the performance issue. The conclusions. Nowadays, pianists master a significant number of musical instruments. Guided by individual sound perceptions, they choose their priority brand. A professional performer is able to adjust the musical concept of the work in relation to the existing piano during the game. The performer adapts a piece of music to the instrument through a complex of feelings such as hearing, touch, sight, smell, and, emphasized by Alexandre Tharaud, the feeling of pain which is familiar to all performers. Alexandre Tharaud in his own music albums, represented not only the original performance versions of classical music, but also each time opened a new refraction of the sound spectrum of a particular piano company, through the original artistic and sound representation of each of the works. In the modern media space, Alexandre Tharaud has created a treasure trove of sound spectra of Steinway and Yamaha pianos, which combine such timbre capabilities that can meet the artistic needs of almost every artist.

scholarly journals IMPACT OF VARIOUS SCIENTIFIC DIMENSIONS IN INDIAN CLASSICAL MUSIC

2015 ◽  
Vol 3 (1SE) ◽  
pp. 1-1
Author(s):  
Chetna Banawat ◽  
Anjali Gilotra
Keyword(s):  
Information Technology ◽  
Classical Music ◽  
Musical Instruments ◽  
Seasonal Effect ◽  
Scientific Instruments ◽  
Special Contribution ◽  
The World ◽  
The Gift ◽  
Indian Classical Music ◽  
Vedic Period

The tradition of Indian classical music has been ancient and continuous developing in the world. It is like a tree in which, as a result of the seasonal effect, sometimes the autumn and sometimes the Navakopal kept coming, but the root has remained the same. This long-standing tradition of classical music takes place in the Vedic period itself, but various contemporary changes have changed its condition and direction, resulting in considerable qualitative progress in the field of music. Today's era is receiving the gift of new innovators of science, with which we are all practically familiar. Our musical arts side could not remain untouched by these new scientific designs. Today, with the development of technology and technology, the music world has got a strong foundation. This technology has proved to be helpful in the preservation, promotion and continuous propagation of classical music etc. Various electronic musical instruments, scientific instruments and information technology have also influenced classical music by providing new possibilities like teaching, listening and collecting of classical music, and playing an important role in promoting its conservation and making special contribution in making it sustainable. Huh. भारतीय शास्त्रीय संगीत की परम्परा विष्व में प्राचीनतम् तथा अनवरत् विकासशील रही है। यह उस वृक्ष की भांति है, जिसमें ऋतुकालीन प्रभाव के फलस्वरूप कभी पतझड़ तो कभी नवकोपल आते रहे, किन्तु मूल यथावत् ही रहा है। शास्त्रीय संगीत की इस सुदीर्घ परम्परा के दर्शन वैदिक काल में ही हो जाते हैं, किन्तु विभिन्न समकालीन परिवर्तनों ने इसकी दशा व दिशा में परिवर्तन ला दिया है, फलतः संगीत के क्षेत्र में काफी गुणात्मक प्रगति हुई है। आज के युग को विज्ञान के नित नवीन आविष्कारों की देन प्राप्त हो रही है, जिससे हम सभी व्यवहारिक रूप से परिचित ही हैं। इन नवीन वैज्ञानिक सर्जनाओं से हमारा सांगीतिक कला पक्ष भी अछूता नहीं रह सका। आज तकनीकी व प्रौद्योगिकी के विकास से संगीत जगत् को सुदृढ़ आधार मिला है। संगीत की आदि शाखा शास्त्रीय संगीत के संरक्षण, संवर्धन एवं निरन्तर प्रचार-प्रसार में यह तकनीकी जगत् सहायक सिद्ध हुआ है। विभिन्न इलेक्ट्राॅनिक सांगीतिक वाद्यों, वैज्ञानिक उपकरणों एवं सूचना प्रौद्योगिकी ने शास्त्रीय संगीत के शिक्षण, श्रवण एवं संग्रहण जैसी नवीन सम्भावनाएं भी प्रदान कर शास्त्रीय संगीत को प्रभावित किया एवं इसके संरक्षण-संवर्धन में अहम् भूमिका निभाते हुए इसे चिरस्थायी बनाने में अपना विशेष योगदान भी दे रहे हैं।

scholarly journals Relevance of Music in Vedic Traditions and Contemporary Context

2021 ◽  
Vol 9 (VI) ◽  
pp. 4954-4958
Author(s):  
Dr. Mrs. Tanuja Nafde
Keyword(s):  
Classical Music ◽  
Research Topic ◽  
The Core ◽  
The Earth ◽  
History Of ◽  
Indian Classical Music ◽  
Indian Music ◽  
Topic Theory ◽  
Contemporary Context

Indian classical music has a very long-accumulated heritage of centuries. The origin of Indian music can be traced back to nearly two thousand years ago. It is undisputedly believed that the sage Narada introduced the art of music to the Earth, also it is said that the sound that pervades the whole universe, i.e. Nadabrahma, itself represents divinity. Scientifically structured Indian music owes its origin to the Samaveda. The Veda scriptures describe all the seven notes of the raga karaharpriya in descending order, which is a favorite research topic theory and treatise writers to explore, how the core sound ‘Om’ gave rise to the various notes. The first evidential reference to music dates back to 500 BC by Panini and the first reference to musical theory dates back to 400 BC found in Rikpratisakhya. Bharata’s Natya Shastra dating 4th Century AD contains several chapters on music. This is the first known work that clearly elaborated the octave of its structured characteristics for various applications. There is an eternal statement about the history of Indian Music, that "classical Indian music is derived from the Vedas". Although no one can say that this statement is false, it is deceptively simplistic, when discussing the Relevance of Music in Vedic Traditions and contemporary context.

scholarly journals Music and Society in Late Colonial India: A Study of Esraj in Gaya

2019 ◽  
Vol 79 (1) ◽  
pp. 25-49
Author(s):  
Tirthankar Roy
Keyword(s):  
Classical Music ◽  
Small Town ◽  
Professional Group ◽  
Professional Musicians ◽  
Colonial India ◽  
Transition Stress ◽  
History Of ◽  
Indian Classical Music ◽  
Late Nineteenth ◽  
Type Of Transition

In the late nineteenth and early twentieth centuries, Indian classical music was in transition. Most readings of the transition stress the choices of the professional musicians, as these musicians and the institutions in which they functioned were caught up in political and economic movements such as nationalism and commercialization. This article studies a different type of transition: when a small-town professional group with a strong associational culture became musicians. This second process, standing in contrast to the received narratives, suggests novel lessons in the history of urban cultures during a time of change.

scholarly journals A Nonlinear Study on Time Evolution in Gharana Tradition of Indian Classical Music

2019 ◽  
Author(s):  
Archi Banerjee ◽  
Shankha Sanyal ◽  
Ranjan Sengupta ◽  
Dipak Ghosh
Keyword(s):  
Cross Correlation ◽  
Classical Music ◽  
Spectral Width ◽  
Acoustic Cues ◽  
Musical Style ◽  
Teacher Student ◽  
Non Linear ◽  
Singing Style ◽  
Indian Classical Music ◽  
Evolution Of Music

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. The spectral width obtained from the MFDFA method gives an estimate of the complexity of the signal whereas the cross correlation coefficient obtained from the MFDXA technique gives the degree of correlation between two nonlinear time series. The observations give a cue in the direction to the scientific recognition of “Guru-Shisya Parampara” (teacher-student tradition)—a hitherto much-heard philosophical term. Moreover the variation in the complexity patterns among various gharanas will give a hint of the characteristic feature of that particular gharana as well as the effect of globalization in the field of classical music happening through past few decades.

scholarly journals Ethnomusicology of the Individual: Vishnuchittan Balaji between Tradition and Innovativeness

2018 ◽  
Vol 54 (1) ◽  
pp. 107-122
Author(s):  
Svanibor Pettan ◽  
Lasanthi Manaranjanie Kalinga Dona
Keyword(s):  
Classical Music ◽  
Participant Observation ◽  
Musical Instruments ◽  
Indian Classical Music ◽  
Theoretical Frame ◽  
The Individual

The article presents the case of a creative Indian classical music artist respectful of tradition and open towards experimentation. Based on the interviews and participant observation, it presents the artist‘s views and his four innovative musical instruments. The article fits in the theoretical frame of ethnomusicology of the individual.

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