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.

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।

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।

A Subtle Novelty: Repetition, transmission and the valorisation of innovation within North Indian Classical Music

2006 ◽  
Vol 1 (3) ◽  
Author(s):  
John James Napier
Keyword(s):  
Classical Music ◽  
Indian Classical Music ◽  
Indian Music ◽  
Instrumental Accompaniment ◽  
The Individual

This paper investigates the interrelation between two aspects of North Indian classical music that at first might appear to occupy opposite poles of creativity and constraint. The first is the soloist’s actual construction of melody itself, and the interpretation of this as improvised. The second is sangat, the imitative instrumental accompaniment afforded such melodies when performed by vocalists. I argue that the conventional description of North Indian music as ‘improvised’ downplays the importance of the re-presentation of fixed materials, thus underemphasising the projection of tradition and transmission. In turn, I suggest that sangat has a homologous relationship to pedagogy, the process of transmitting traditional materials. Both melodic construction and imitative accompaniment derive aspects of their overall form and quality from, and may be understood in reference to, an ideational cluster that attempts to reconcile a socially validated and hierarchically underscored conservatism with an acceptance of individual innovation. Both practices may be seen as performed subjectivities standing at temporal interstices between tradition and contemporaneity, the broadly cultural and the individual.

scholarly journals And this is what we sing – what do we sing? Exploring the football fan songs of the Northern Irish ‘Green and White Army’

2020 ◽  
pp. 101269022097971
Author(s):  
John Bell ◽  
Paul Bell
Keyword(s):  
Northern Ireland ◽  
Participant Observation ◽  
Musical Instruments ◽  
Interview Data ◽  
Underlying Structure ◽  
Northern Irish ◽  
Football Fans ◽  
European Football ◽  
Current Context ◽  
Football Stadium

This paper draws upon digital recordings of Northern Ireland football fans singing in the stadium during all 10 qualifying matches for the 2016 UEFA European Football Championship. Supplemented by participant observation and interview data with 21 supporters themselves, the paper challenges assertions within the literature which focus upon the predominance of sectarian singing amongst a section of Northern Ireland football supporters. Although vocal manifestations of football fandom may initially appear to be randomly driven by irrational emotions, on the contrary, there is an underlying structure and sequence to fandom in the stadium in which certain factors promote collective singing at particular times. The paper identifies four key themes in particular: the timing in a match; whether or not a goal has been scored; if there is a lull or a break in play; and the use of musical instruments to encourage the wider collective to sing. We argue that it is important to understand the process by which collective singing occurs in the football stadium rather than fixating upon the alleged racist or sectarian psychopathology of the individuals involved. Such knowledge may assist in supporting those fan organisations that seek to challenge discriminatory behaviour in the stadium, particularly in the current context of the European (UEFA) and World football governing bodies (FIFA) punishing fans collectively, regardless of whether or not the majority in the stadium are opposed to what is being sung in their name.

Svaraprastāra in North Indian classical music

1961 ◽  
Vol 24 (2) ◽  
pp. 307-325 ◽  
Author(s):  
N. A. Jairazbhoy
Keyword(s):  
Thirteenth Century ◽  
Classical Music ◽  
Musical Scale ◽  
Complete Enumeration ◽  
Group 4 ◽  
Indian Classical Music ◽  
Complete Series ◽  
Logical Order

In the Saṅgītaratnākara, a thirteenth-century musical text by Śārṅgadeva, listed under svaraprastāra (lit. extension of notes) is a complete enumeration of all the possible combinations of the 7 notes of the Indian musical scale. This enumeration begins with the single note (ārcika) and is followed by all the possible combinations of two notes (gāthika), three notes (sāmika), four notes (svarāntara), five notes (auḍuva), six notes (ṣāḍava), and seven notes (pūrṇa). Each of these series of kūṭatānas (series of notes in which the continuity of the sequence is broken) develop in the same logical order based on the precedence of the ascending line over the descending line. In Śārṅgadeva's arrangement the first of the 7 note series is the straight ascending line, sa ri ga ma pa dha ni, which, for easy comprehension will be rendered as l 2 3 4 5 6 7 in this paper; and the last of the 7 note series is the straight descending line, ni dha pa ma ga ri sa, rendered 7 6 5 4 3 2 1 here. The changes in the order of the notes take place from the beginning of the series, at first involving only the first two notes, then the first three notes, then the first four notes, and so on. In fact, the progression for the 7 note series includes the progressions for all the smaller series within it. Thus the 7th note of the 7 note series remains constant until the progressions of one, two, three, four, five, and six notes have been exhausted. Only then is the 7th note replaced by the 6th. The chart on p. 308 is an abbreviation showing the nature of the progression. The 2 and 3 note series involving the first 2 and 3 notes respectively are complete. Beginning from the 4 note series, the chart is abbreviated as follows. The 4 note series is divided into four groups determined by the terminal note, each involves change in the first 3 notes, and each of these groups corresponds to the previous 3 note series, which is in fact the first group of the 4 note series. Of the remaining groups only the first and last sequences are given with an indication as to the number of sequences comprising that group. Similar abbreviations are used in the longer series that follow. Commas have been placed to indicate that the preceding numbers now replace the original ascending sequence (mūlakrama) and that the progressions which follow in that group involve change in only these preceding numbers. For example, if one wishes to determine the complete series from 1 2 4,3 5 6 7 to the end of its particular group 4 2 1 3 5 6 7 the comma after 4 indicates that only the first three numbers change.

scholarly journals Publikowanie w sieci jako reakcja odbiorcy na przekaz masowy w interakcji medialnej

2021 ◽  
Vol 13 ◽  
pp. 51-65
Author(s):  
Anna Granat
Keyword(s):  
Qualitative Research ◽  
Participant Observation ◽  
Indirect Interaction ◽  
Individual Interview ◽  
Online Publishing ◽  
Media Interaction ◽  
Auto Ethnography ◽  
The Media ◽  
The Individual ◽  
Web Publishing

The article demonstrates the mass media receiver, who interacts with media and after reading, listening or watching the content online reacts by web publishing. The article presents examples of such reactions in the form of texts, obtained as a result of expe-rimental research (hidden ethnographic participant observation, survey auto-ethnography, in-depth, standardized/structured individual interview), which subjects them to qualitative research. This rese-arch consists in the analysis of the content and its form by using methods dedicated to examine lingu-istic pragmatics and interactionism.Therefore, it is assumed that the individual receiver participates in the media interaction, which I understand as the mutually indirect interaction of the sender and the receiver in media communica-tion process. The receiver’s reaction in this process may be, among others, online publishing, which is named as “surfer commentary”.

scholarly journals The Disrupted and Realigned Self: Exploring the Narratives of New Zealanders with  Chronic Fatigue Syndrome/Myalgic Encephalomyelitis

2021 ◽  
Author(s):  
◽  
Lara Joyce Milka Bell
Keyword(s):  
Chronic Fatigue Syndrome ◽  
Participant Observation ◽  
Physical Exertion ◽  
Chronic Fatigue ◽  
Myalgic Encephalomyelitis ◽  
Community Interactions ◽  
Self Identity ◽  
Authentic Self ◽  
Fatigue Syndrome ◽  
The Individual

<p>Chronic Fatigue Syndrome/Myalgic Encephalomyelitis (CFS/ME) causes pronounced, debilitating fatigue that is not alleviated by rest, along with muscle and joint weakness, pain, cognitive difficulties and can be worsened through mental and physical exertion. However, it is also without an aetiology, and there is little consensus amongst both medical and patient spheres as to what CFS/ME actually is. In this thesis I draw on interviews with people with CFS/ME and participant observation in a patient-led support group in order to explore the way in which CFS/ME shaped participants’ identities and narratives of the self. I argue that participants moved through two stages that I call ‘The Disrupted Self’ and ‘The Realigned Self’. Falling ill with CFS/ME rapidly disrupted participants’ understandings of the bodies, their position within their family and the community, interactions with doctors, and all the usual markers on which they had previously formed their self-identities. In this state, I argue that participants and those with whom they engaged viewed both CFS/ME and my participants as liminal, ‘betwixt and between’ (Turner 1969) social roles and contemporary New Zealand ideals of illness, the individual, and the ‘sick person’. As the initial disruption and confusion of falling ill subsided, however, my participants worked to develop a new secure self-identity, the ‘Realigned Self’. They move into a normalised long-term liminal state by prioritising their health, adjusting their expectations of their body, developing their own conception of the aetiology of CFS/ME and forming a positive narrative of their new lives. This identity work utilised wider cultural ideals about the active, responsibilised and authentic self; common to late modern contemporary life (Beck and Beck-Gernsheim 2001, Desjarlais 1994, Giddens 1991, Rose 1996). Yet this realignment was often not reflected in the views of my participants’ friends, families and doctors. This illustrates the diverse perspectives and different degrees of liminality that exist within experiences and narratives of CFS/ME and contested illnesses.</p>

scholarly journals COEXISTENCE OF CLASSICAL MUSIC AND GUGAK IN KOREAN CULTURE

2020 ◽  
Vol 5 ◽  
pp. 67-99
Author(s):  
So Hyun Park
Keyword(s):  
Classical Music ◽  
Traditional Music ◽  
Musical Instruments ◽  
Colonial Period ◽  
New Music ◽  
Flowering Period ◽  
Korean Culture ◽  
Korean Traditional Music ◽  
Japanese Colonial

Classical music and Korean traditional music ‘Gugak’ in Korean culture try various ways such as creating new music and culture through mutual interchange and fusion for coexistence. The purpose of this study is to investigate the present status of Classical music in Korea that has not been 200 years old during the flowering period and the Japanese colonial period, and the classification of Korean traditional music and musical instruments, and to examine the preservation and succession of traditional Gugak, new Korean traditional music and fusion Korean traditional music. Finally, it is exemplified that Gugak and Classical music can converge and coexist in various collaborations based on the institutional help of the nation. In conclusion, Classical music and Korean traditional music try to create synergy between them in Korean culture by making various efforts such as new attempts and conservation.

scholarly journals Nonlinear Signal Processing Method Detects Emotional Changes Induced by Indian Classical Music

2019 ◽  
Vol 9 (1) ◽  
pp. 6200-6206
Keyword(s):  
Signal Processing ◽  
Classical Music ◽  
Recurrence Quantification Analysis ◽  
Nonlinear Signal Processing ◽  
Recurrence Quantification ◽  
Quantification Analysis ◽  
Indian Classical Music ◽  
Nonlinear Signal ◽  
Sad Music ◽  
The Brain

Music is one of the major activities that alters the emotional experience of a person. Musical processing in the brain is a complex process involving coordination between various areas of the brain. There are less number of studies that focus on analyzing brain responses due to music using modern signal processing techniques. This research aims to apply a nonlinear signal processing technique i.e. the Recurrence Quantification Analysis (RQA) technique to analyze the brain correlates of happy and sad music conditions while listening to happy and sad ragas of North Indian Classical Music (NICM). EEG signals from 20 different subjects are acquired while listening to excerpts of raga elaboration phases of NICM. Along with behavioural ratings, the signals were analyzed using the Recurrence Quantification Analysis technique. The results showed significant differences in the recurrence plot and recurrence parameters extracted from the frontal and frontotemporal regions in the right and left hemispheres of the brain. Therefore, from the results, it can be concluded that RQA parameters can detect emotional changes due to happy and sad music conditions.

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