Introduction * Round and round the garden * Hey diddle diddle * Little wind * Father and Mother and Uncle John * Two little birds * Incy Wincy Spider * Christmas Bells * Jack Frost * Five currant buns * I'm a little teapot * Hands are meant to clap * Mandy stands so big and tall * Just like me * The bear went over the mountain * Who made the pie? * Stars * Cats and Dogs * Little frog * The band in the park * Additional piano accompaniments(less)
Rahman's first film Roja was released in 1992, his astonishing music with its other-worldly melodies, tonal texture, pulsating rhythms made an instant impact in India. His abundantly flowing talent has given life to the score of over a hundred films, including Dil Se, Bombay, Lagaan, Warriors of Heaven and Earth, 127 Hours and Jodhaa Akbar.
According to a recent estimate by the BBC, 150 million Copies of his albums have sold worldwide. A.
R. Rahman has won a host of awards, together with a Golden Globe, a Bafta, two Oscars and two Grammys for his score in Slumdog Millionaire.
In 2010, he received the Padma Bhusan, the third civilian honour, awarded by the Government of India. Despite all his great success, Rahman remains a deeply private person, shying away from the glitz and glamour of show business.
Rahman, The Spirit of Music is in the form of biographical conversations between the composer(less)
Essential and relevant information on all matters have been included. Concise summaries of important operas and dance dramas have been given.
Nomenclatures pertaining to srutis and svaras have been given. Plural meanings for those technical terms which admit of them have been given.
Current terms as well as obsolete terms, current ragas as well as obsolete ragas, current talas as well as obsolete talas, current musical forms as well as obsolete musical forms and current musical instruments as well as obsolete musical instruments have been noticed in this dictionary. Though the present book concerns itself primarily with South Indian Music and Musicians, terms, ragas, talas, composers and instruments pertaining to North(less)
Interrelationship of music and sociology. 2.
Social history of music. 3.
Guru-Shishya tradition: an institution in Indian music. 4.
Gharanas: the houses of tradition. 5.
Social status and different categories of musicians. 6.
Art of music: journey from self to society. Conclusion.
"This book provides a fascinating study of Hindustani music in its sociological perspective. It is a wonderful study for depicting the social interaction that takes place in Guru-Shishya parampara handing down the tradition of music and strictly preserving a style through pedagogy.
The book also explains the social status and organisation of the musician-community and a psycho-social analysis of the journey of a musician from an individual being to a social being. The author has carefully traced the history of Hindustani music in its socio-political perspective.
She has amply proved what an interdisciplinary study can achieve for a great art like Hindustani music. It is a treat to(less)
Author's note on the second edition. Author's note on the third edition.
Guide to pronunciation for lyrics. 1.
Rhythm. Practical exercises--Phase I: Getting started.
Practical exercises--Phase II: 1. Sequences.
2. Sarali Varishai.
3. Jantai Varishai.
4. Datu Varishai.
5. Melsthayi Varishai.
Practical exercises--Phase III: Geetam and Tiruppugazh: 1. Lambodara Lakumikara.
2. Kunda gowra.
3. Kereya neeranu.
5. Bhaya samaya.
6. Shree Ganapatiye.
8. Iravu pahar.
10. Harihara vinuta.
15. Re re Shree Ramachandra.
16. Mandara dhare.
17. Teerappini teera.
18. Shree Govinda.
20. Shree Ramachandra.
21. Janaki ramana.
23. Shree Ramachandra.
24. Jaya Karunasindho.
26. Bhaktiyal yanunai.
Practical exercises--Phase IV: Swarajati: 28. Ra ra Venugopa bala.
29. Raveme maguva.
30. Sambashiva yanave.
Scheme of 72 Melakartas. A few popular(less)
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And this makes the situation extremely ticklish. Even an inadvertent omission of one or two names here and there will send wrong signals leading people to think that it might have been deliberate! Hence, in the dictionary segment we have avoided allotting individual entries to all composers both past and present, except six.
They are; the trinity for the very special and unmatched place they hold, Swati Thirunal for being the most popular multi-lingual composer, Purandaradasa for being the creator of Abhyasa Gana (Music lessons) and Gopalakrishna Bharati for being the trendsetter by introducing Tamizh compositions. Of course, other composers' names have been mentioned wherever it is relevant in that context.
Also in the 'A Raga A Page' segment, genuine effort has been taken to include the works of all(less)
History and tradition. 2.
Hindustani vocal music. 3.
Vistar--the concept of improvisation. 4.
Raga, Tala and Rasa. 5.
Hindustani vocal music--a field study. 6.
Hindustani vocal music as seen in Canada and USA. 7.
Final reflections. Bibliography.
Index. "Hindustani music has become one of the most sought-after musical systems of the world.
The interest exhibited for this music is continuously on the rise. With its basic foundation on devotion and Indian philosophy, it clearly exhibits a superb quality of tranquility and meditation.
This quality alone has fascinated the music connoisseurs of the world. As a Hindustani vocal musician and instructor, I was afforded the privilege of performing and teaching this music to a vast audience in India, Canada and the USA over the last three decades.
I found most of the students and listeners, especially outside India, to be quite curious and interested in this music. Their genuine inquisitive nature and somewhat(less)
2. Technical and qualitative terms.
3. Musical instruments.
"All rich, durable and varied cultural traditions thrive because of their presence in multiple contexts. Hindustani music is no exception.
Arts, culture and life have shaped the multi-faceted personality of Indian music. Through this mechanism the performing and scholastic streams of Hindustani music have evolved to crystallize the totality of inherited and practiced musical knowledge.
The resulting musico-cultural profile is both rich and complex! Therefore the author thought it useful to combine two approaches of presenting source material, namely, the thesaurus and dictionary approaches. While the thesaurus approach seeks to provide larger contexts, the dictionary format supplies factual information and meanings.
Together, the approaches make it easier to appreciate the larger map of Indian music. Through three hundred entries grouped in three main sections and six subsections, the author deals with etymological, historical, musicological and cultural aspects of Hindustani music.
The reader can quickly find out enough about each musical style to appreciate its subtleties, and is also directed to the best available CDs for further listening. Unlike the massive Rough Guides or MusicHound volumes, this book is designed to be concise and easily digested, covering the essentials on each style, rather than encyclopedically listing every possible recording.
It is a perfect introduction for the student, scholar, or general listener(less)
Swara, Saptak and That. 2.
Raga and Time Theory. 3.
Forms of Hindustani Music. 4.
Gharanas in Hindustani Vocal and Instrumental Music. 5.
Karnatak Music. 6.
Indian Instrumental Music. 7.
Classical Dances of India. 8.
Artists Association with Indian Music and Dance. 10.
Rabindra Sangeet. 11.
Indian Folk Music and Dance. 12.
Books and Authors. 14.
Music and Dance Academies and Institutions. 15.
Music and Dance Festivals. 16.
Creation/Invention in the Field of Indian Music. 17.
Awards and Sammans in the Field of Music and Dance. 18.
Court Musicians of India and Nick Names of Musicians. Bibliography.
The book has been written to benefit the students of Music and to cater to the needs of the NET/SLET/JRF aspirants. It covers all the aspects of Hindustani and Karnatak Music and Dance in an objective questionnaire manner.
Multiple choice objective questions would come in handy for those preparing to appear(less)
For western music, there are such standard works as Grove’s Dictionary of Music and Musicians, The Oxford Companion to Music, the Macmillan Encyclopaedia of Music and Musicians and Riemann’s Lexicon. No such ambitious work has so far been attempted for Indian music either in English or in the Indian languages.
The author is glad that the publication of volume I of this Dictionary of South Indian Music and Musicians, synchronises with the completion of twenty-five years of his career as an author of music books. The other three volumes of this Dictionary of South Indian Music and Musicians will be published shortly.
In this Dictionary, topics of interest to different classes of readers have been covered. The Professional musician as well as the teacher, writer, research(less)
At the same time, this genius proved his many detractors who criticized him for corrupting popular taste wrong by composing some of the most influential raga-based songs in Hindi cinema and showing an immense comfort with all kinds of music, including Indian folk. RD: The Man, The Music looks at the phenomenon called R.
D. Burman and how he changed the way Indians perceived Hindi film music.
Through anecdotes and trivia that went into the making of Pancham's music the many innovations he introduced, like mixed rhythm patterns, piquant chords and sound mixing and through interactions with the musicians who were part of RD's(less)
Philosophical aesthetics: approaches and concepts. 2.
Of artistic expression. 3.
Form in art. 4.
Aesthetic predicates. 5.
The knitwork of musical form. 6.
Conclusion. Appendix: Linear diagrams of the form of some Tanas Maps.
Index. "With its roots in the Samaveda (which treats it as a "divine art"), music in India has a long, splendid tradition.
Over the centuries, it has absorbed fresh influences and experimented with new forms to finally evolve into two meticulously codified classical systems: Hindustani and Carnatic. In today’s growing library of writings on Hindustani music, Anjali Mittal’s research is yet another valuable addition adopting, as it does, a viewpoint which has been neglected so far, namely, the viewpoint of contemporary western aesthetics.
It is for the first time that this monograph examines the concept of form in Hindustani classical music. In this context, analytic attention has been focussed on some select compositions in dhrupada, dhamar,(less)
He has long been haunted, though, by memories of the pianist he loved and left ten years earlier, Julia McNicholl. Now Julia, married and the mother of a small child, unexpectedly reenters his life and the romance flares up once more(less)
2. Characteristics of Bharatanatyam and Carnatic music.
3. Eminent composers of Carnatic music.
4. Kriti analysis of Muthuswami Dikshitar, Syamasastri, Swati Tirunal and Papanasam Sivan.
Bibliography. "Classical music and dance are some of the very proud treasures of the heritage of our nation.
The author wishes to analyze the extent and scope for Abhinaya leading to dramatic potentials, as available in most of the Kritis of eminent composers of Carnatic music. Both Carnatic music and dance have prominent place in the cultural and fine arts set up.
This has not only swayed the hearts of the ethnic Indian community but also the hearts of the universe breaking all barriers. Together they have a great role in the cultural diplomacy to make the world a better and befitting place to live.
The author shares her experience in the dance field as a vocalist with different dancers to select this(less)
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