Seminar on the ‘Changes in Indian Instrumental Music Playing Styles’ – dept of instrumental music, rabindra bharati university, kolkatta

The department is going for a seminar titled ‘Changes in Indian Instrumental Music Playing Styles [yantra bAdan SailIr bibartaner dhArAr ruprekhA paryaloconA]‘ on the 25 March 2013 from 11 a.m. at Uday Shankar Hall, Sangeet Bhavan at Emerald Bower Campus. The seminar is sponsored by the University Grants Commission, New Delhi.

Abstracts [Seminar on Changing Instrument Styles]

http://sitardivin.globat.com/DoIM/2013/03/abstracts-seminar-changing-instrument-styles/

Some Thoughts on the Transit of Violin from European Music to Hindusthani

Ranjan Ghosh

During British rule in India the country witnessed a number of European musical instruments entering the land and getting played in different occasions in different places from the church rooms to playing grounds. During early 18th century Balaswami Dikshit and Matthuswami Dikshit of South India used violin in their compositions. In the late 18th century violin was introduced in West Bengal through ‘Aakhrai Gaan’ (Song). During early 19th century, Master Lobo of Eden Gardens formed a ‘Band’. Ustad Alauddin Khan became his student and played a very important role in bringing in violin, that is essentially an European musical instrument, in Hindusthani music. Violin gradually became popular and went through some changes to match the musical requirements here. Hidusthani musicians introduced a number of playing techniques that was never played earlier. They changed the holding posture, tuning and added strings.

Key words: British rule, violin, tuning, posture, strings, Hindusthani

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Sitar Baaj: The Changing Phenomenon

Samidha Vedabala

From its inception sitar has gone through the process of evolution and has introduced lots of changes in its physical structures, features and the playing style (baaj). Focus of my paper is the chronological changes in sitar techniques from beginning emphasizing the time frame of 20^th century which holds identified characteristics in Sitar musical history. My effort is to discuss the changes in the technicalities like gats, right hand left hand, inclination towards gayaki etc along ith its cause and effect and the present trends of sitar playing.

Key words: sitar, baaj, structure, gats,

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Violin in Global Styles with Special Focus on its Usage in South Indian Classical Music

M. Lalitha

Violin is known as the King of Instruments and is used in many world music traditions. In South Indian Classical Music traditions, the Violin is an accompaniment to Vocal and to instruments like flute, mandolin. Violin is also a primary Solo instrument and in dance it occupies the role of an accompanist. Carnatic Music is written for singing and the instrument is required to produce the music as it is sung. With regard to the Posture of holding the violin the sitting posture is adopted or designed so to have a secured feeling especially while playing the gamaka-s or the ornaments which is the pivotal aspect of Carnatic Music.

Keywords – Violin, World Music, South Indian Classical Music, Carnatic, gamakas.

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Adaptation of Rhythmic Expressions of Human from Other Manifestations

Debasish Mandal

Nature is the primary source of music. Rhythmic sounds are getting continuously generated all around the globe. It has different methods and many forms. Some nonliving elements are generating sounds like the water droplets, and living elements make sound by striking, bowing and blowing. Every species have their own styles. Some make sounds by clapping or hitting or striking on the cover of the vacant hollow portion of their bodies. Some uses foreign bodies like; wooden body. If we consider the insects we can observe that some insects generate rhythmic sound by striking their own body-drums . Some generate sound by bowing its legs on its chest. We can witness similarities of techniques of generating musical sound by insects and other animals.

My argument is all these helped the human to develop their instrumental music expressions.

Key words: rhythmic sounds, insects, striking, bowing, blowing, body-drum

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Development of Dotara Playing in Cooch Bihar District of West Bengal

Sangeeta Ray

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Transitions from Kothiwal Gharana to Lucknow Gharana of Tabla Playing

Biswajit Bhattacharjee

Lucknow Gharānā, also known as “Purab Gharâna”, uses eight fingers in tabla playing. It is characterized with the presence of highly resonant sounds, and the use of ring and little fingers on the dayan. The gharana was branched out of the Delhi Gharānā when Salari, Mammu, Modu and Bakshu Khan moved to Lucknow. The Nawabs of Lucknow provided good support to the musicians and this patronization helped the musicians to develop a new style of Tabla playing collaborating with the available Kathak dancers of Lucknow. This tabla playing style became widely popular and got known as Kathaki Baaz. These musicians composed many new compositions that gave birth to new ideas and expressions; and became known as ‘Kothiwal Gharana’.

I would like to argue that this Kothiwal Gharana played a very important role in establishing the Tabla Baaz of Lucknow Gharana.

Key words: gharana, lucknow, kothiwal, kathak, baaz

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Process of Changes in Music

Goutam Nag

Different performing styles of musical instruments have occupied a distinct and unique position in India over the period of few centuries. Different creative processes make different styles and unfold the performers’ imagination. Musicians try to discover new ways of presentations. They create new phrasings to reveal the beauties in music through coordination of tones, organization of sounds, rhythmic application and other aspects of musical structure. How the musical imaginations get portrayed and get reflected in the musicians’ performances is an interesting inquiry.

Key words: musical instruments, creative process, tones. rhythm, imagination, beauty

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Development of Tabla Playing Styles

Krishnendu Dutta

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Nāgasvaram – the Multifaceted Instrument

Nandini Muthuswamy

Music and musical instruments form an integral part of the lives of the people of South Asia. It is seen that several musical instruments have been used for different purposes or contexts, thereby enriching the culture and lifestyle of the people. Instruments have been used in various spheres such as religion, entertainment, rituals, ceremonies etc. It is also interesting to note that some instruments have been used in diverse contexts.

The Nāgasvaram, which is regarded as the oboe of South India, is one such instrument. This wind instrument is indispensable in the cultural and social contexts of South India. It is variedly used as a solo and accompanying instrument in several contexts such as classical music, folk music, auspicious ceremonies and religious purposes. The Nāgasvaram can be regarded as the South Indian parallel of the North Indian Shehnāi. The Nāgasvaram, also known as Nādasvaram or Nāyanam , has been accorded the special status of a MAÑGALA VĀDYAM or auspicious instrument. It is also widely regarded as a RĀJA VĀDYAM – King of instruments.

Key words – Nāgasvaram, Music instrument, Mañgala Vādyam, Rāja Vādyam.

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Thematic Applications of Music in Bengali Films Between 1930 and 1990; and its Changing Styles

Goutam Ghosh

A music genre indicates a class of music belonging to some specific mutual tradition and set of conventions. Music is interchangeable. This is changing with time and getting sub-divided into different genres and styles. A specific theme can receive different musical expressions and can use music from different genres. This can be music from a particular genre or a mix of different genre.

I shall take examples of some instrumental music pieces and orchestral music those were used in Bengali films during 1930~90 to explain these phenomena. I would also like to discuss the openness, accessibility and familiarity of popular music; and the changes in their rhythmic and tonal character with the passing of time.

Key words: genre, style, Bengali films, rhythm, tone, instrumental music, orchestration

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Effect of the Changes in Shape and Design of Tabla on the Playing Techniques and Compositions

Mukund Bhale

Any changes in shape and design in a musical instruments directly reflect on the playing of the instrument. The effect of this can be prominently witnessed on the playable compositions. We can visualize tabla in the Urdhvak – Alingyak of Bharata’s time. During 17th and 18th centuries there had been considerable experimentation on this instrument.

The up-faced paired-instrument Tabla went through considerable changes. There are plenty of supporting evidences those tell us the Dayan used to be larger than the Bayan as opposed to what we see today. The playing posture, playing techniques and composition styles were different. The change of Tabla to the current shape and design has changed the playing posture, and showed strong impacts on performance techniques and composition styles.

Key words: Tabla, Urdhvak-Alingyak, Bharata, composition, shape, design, technique

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Music is a Living Art and Changes are the Proof

LIpika Dasgupta

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A discussion on the Principles of Evolution of Instrumental Music

Bidyut Kanti Chaudhury

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An Analysis of the Development of Pakhawaj Playing Style in the Bhattacharya Family of Kolkata

Partha Pratim Chaudhury

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The Nal-Tarang and its Playing Style

Dimple Sharma

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Indianizing of the Violin

Prakash Mahadik

Although there are differences in opinions on the origin of violins but the names those come before us are all from the west. Interestingly, we can find some sculptural depictions in the Agastheesewarar Temple at T. Narasingpur in Karnataka that closely resembles violin.

It is widely accepted that Vidyan Baluswami Dikshitar [1786-1858] popularized violin in the south. In Hindusthani style it came in two ways. One through Vidyan P.A. Sundaram Ayyar who came to Gandharva Mahavidyalaya around 1911-12 and taught there on the invitation of Pt. Vishnu Digambar Paluskar. The second line is of Mater Lobo of Eden Gardens who taught Ustd. Allauddin Khan in 1911. Later to make the violin more compatible to Indian Music there were modifications and adaptations.

About the the seminar participants those submitted their paper abstracts and follow-up processing successfully completed. [in alphabetical order]

Dr. Bidyut Kanti Chaudhury will speak on

A discussion on the Principles of Evolution of Instrumental Music

Dr. Chaudhury did his Ph.D. on ‘Influence of Music in Humanistic Education’. He is a theoretician, a singer and an author. He is currently an Assistant Professor at the Department of Instrumental Music, Rabindra Bharati University. For more information please visit http://sitardivin.globat.com/DoIM/2011/04/dr-bidyut-kanti-chaudhury/

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Biswajit Bhattacharjee will talk on

Transitions from Kothiwal Gharana to Lucknow Gharana of Tabla Playing

A torch bearer of Lucknow School of Tabla playing Biswajit Bhattacharjee chose to sincerely understand the academics with similar yearning matching his natural creative urge through traditional tabla playing. He visited different universities for lectures and workshops. During first week of August 2011 he was at the Paro College of Education, Bhutan.

Currently he is serving as an Assistant Professor in Tabla at the Department of Instrumental Music, Rabindra Bharati University.

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Dr. Debasish Mandal will talk on

Adaptation of Rhythmic Expressions of Human from Other Manifestations

Dr. Debasish Mandal is a renowned educator and scholar. The areas of his research interest are Folk and Tribal Music of Bengal, Labour Music, Music of the Insects and theorizing of the musical practices of India from historical and current perspectives. Dr. Mandal had his Ph.D. from the Rabindra Bharati University. He participated in a number of national seminars. He organized several national seminars and one international seminar. Dr. Mandal has several national level publications to his credit and widely taken part in academic seminars.

Currently he is serving as an Associate Professor in Tabla at the Department of Instrumental Music, Rabindra Bharati University.

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Dimple Sharma will talk on

The Nal-Tarang and its Playing Style

Dimple Sharma is topped in her M.A. examinations from the Dayalbagh Educational Institution [Deemed University] in 2010. In the same year she also got qualified in the NET. Dimple is now pursuing her researches under Ph.D. program in the same institute.

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Goutam Ghosh will talk on

Thematic Applications of Music in Bengali Films Between 1930 to 1990; and its Changing Styles

A versatile creative personality Goutam Ghosh is a sarod player, a composer, a conductor, an arranger, an educator, a writer, a music critic. He has composed music for around 300 dramas in Bengali and Hindi. He also composed music for cinema, short films, tele-films, operas, large ensemble orchestra, and large choir.He has several music albums to his credit. He has been felicitated for his work in the country and foreign countries.

Mr. Ghosh was associated to the Satyajit Ray Film and Television Institute [SRFTI], Bengal Music College and West Bengal State University as Visiting Faculty. Mr. Ghosh visited Canada United States and China and did workshops on Indian Music. He is also the Director of J.N. Tagore Centre of Research at the Rabindra Bharati University.

Currently he is serving as an Associate Professor at the Department of Instrumental Music, Rabindra Bharati University.

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Professor Goutam Nag will talk on

Process of Changes in Music

Dr. Goutam Nag, a profound scholar and vocalist, is a Professor at the Department of Instrumental Music, Rabindra Bharati University. Professor Nag authored many books and his writings regularly get featured in different journals. He gives regular vocal performance in and around Kolkata. Click to know more.

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Dr. Krishnendu Dutta will speak on

Development of Tabla Playing Styles

Dr. Krishnendu Dutta had his Ph.D. in Instrumental Music from the Rabindra Bharati University. He was awarded Junior Fellowship by the Ministry of Culture, Government of India. He served S.M. Tagore Centre of Research as a Project Associate for two years from November, 2009. Earlier he worked in a project for Leipzig University, Germany. He is a disciple of the legendary tabla player Pandit Shyamal Bose.

Dr. Dutta is currently serving the Sikkim University as an Assistant Professor in Music.

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Professor [Dr.] Lipika Dasgupta will speak on

Music is a Living Art and Changes are the Proof

Professor Lipika Dasgupta has specialization in Hindusthani Music and Rabindrasangeet. She has obtained MA degrees in History & Archeology and Musicology and later did M.Phil in Musicology at the Banaras Hindu University. She did her Ph.D. in Musicology from the same university. Seven students received Ph.D. degree and seventeen received M.Phil. under her supervision. She authored three books and wrote twenty five articles for different journals and gave about fifty five lectures . She is attached to many high-powered committees of many universities. She participated in forty eight national and international seminars.

Currently she is serving the Banaras Hindu University as the Professor & Head of the Department of Musicology.

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Dr. M. Lalitha will talk on

Violin in global styles with special focus on its usage in South Indian Classical Music

Dr. M. Lalitha is a internationally reputed violinist along with her sister Nandini Muthuswamy. Dr M Lalitha holds a Phd in Indian Music from the University of Madras and is the proud recipient of the prestigious Fulbright Fellowship, USA. She has performed all over the globe and presented papers / articles in esteemed National/ international conferences. She has received several awards including the exalted State government of award of KALAIMAMANI, from Tamil nadu and became the FIRST INDIAN MUSICIAN to perform / interviewed for BBC World routes, UK. Currently she is the Director the MS Academy of Global Music.

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Professor Mukund Bhale will speak on

Effect of the Changes in Shape and Design of Tabla on the Playing Techniques and Compositions

Gwalior born Pandit Mukund Bhale had his training in Tabla under the guidance of Pt. Yasvant Rao Shirgaonkar and Pt. Gajanan Tadey. Mukundji performed very extensively in prestigious music festivals all over India and abroad. He provided tabla support to a long list of reverend musicians. Pandit Bhale successfully produced some exceptional students those have proved their talents in the Indian music fraternity. His articles regularly get published in different journals in the country.

Currently he is a Professor & Dean at the Faculty of Performing Arts, Indira Kala Sangit Vishwavidyalaya, Khairagarh.

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Nandini Muthuswamy will talk on

Nāgasvaram – the multifaceted instrument

Nandini Muthuswamy is an internationally reputed violinist along with her sister Dr. M. Lalitha she forms a part of the much acclaimed Duo – The Violin Sisters. Nandini is a brilliant academician and holds triple Master’s Degrees in Indian Music, Ethnomusicology and Information Science. She was awarded the prestigious CWIT Award for Performing Arts, UK. Besides performances, she has also presented Lectures and workshops in several prestigious universities and organisations. She is also a Music Educator and has conducted an Indian Music Program at the Summer School of SOAS, University of London. She has also served as an adjudicator and examiner for Music Festivals and examinations.

She has received several awards including the exalted State government award of KALAIMAMANI, from Tamil Nadu and became the FIRST INDIAN MUSICIAN to perform / interviewed for BBC World routes, UK.

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Dr. Partha Pratim Chaudhury will speak on

An Analysis of the Development of Pakhawaj Playing Style in the Bhattacharya Family of Kolkata

Partha Pratim Chaudhury received his doctoral degree from the Rabindra Bharati University, Kolkata. He had the opportunity to learn Pakhawaj under the guidance of Pt. Chanchal Bhattacharya the famous Pakhawaj player of Bengal. He is involved in a number of cultural activities.

Currently he is a Guest Faculty at the Department of Instrumental Music of Rabindra Bharati University.

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Professor [Dr.] Prakash Mahadik will talk on

Indianizing of the Violin

Dr. Prakash Mahadik is a Professor & the Head of the Department of Instrumental Music at the I.K.S. University, Khairagarh. He is a musicologist who has several books and paper publications to his credit. He is an excellent violin pedagogue and taught many students. Earlier this year he was felicitated with the prestigious ‘Kaka Hathrasi Award’ for his exemplary contributions in the field of music academics in India.

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Ranjan Ghosh will talk on

Some Thoughts on the Transit of Violin from European Music to Hindusthani Music’ by Ranjan Ghosh

Ranjan Ghosh, son and disciple of Violin Maestro Rabin Ghosh, has done Master Degree in Indian Classical Music, on violin from Rabindra Bharati University, India.

Ranjan is an ‘Associate Violin’ from Trinity College of Music, UK and received training on ‘Teacher Training Programme’ from Wuerzburg University of Music, Germany.

Presently, Ranjan Ghosh is associated as ‘Teacher of Violin’ of Instrumental Music Department, Rabindra Bharati University and Calcutta School of Music, Kolkata, India. Detailed information at www.ranjanghosh.info

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Samidha Vedabala will talk on

Sitar Baaj: The Changing Phenomenon

Samidha Vedabala, currently an Assistant Professor at the Department of Music (School of indigenous and folk studies) at the Sikkim Central University is pursuing as a Ph.D. scholar under the Department of Instrumental Music, Rabindra Bharati University.

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Sangeeta Ray will talk on

Development of Dotara Playing in Cooch Bihar District of West Bengal

Sangeeta Ray is a remarkable vocalist and an ardent researcher. She is pursuing her research on the musical instruments and music of North Bengal under the Ph.D. program of the Department of Instrumental Music, Rabindra Bharati University. She received Rajiv Gandhi National Fellowship from the University Grants Commission and also awarded the Junior Fellowship from the Ministry of Culture, Government of India. She has been awarded A-grade from the All India Radio.

Drmlalitha's Blog

Month: March 2013

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Seminar on the ‘Changes in Indian Instrumental Music Playing Styles’

Seminar on the ‘Changes in Indian Instrumental Music Playing Styles’ – dept of instrumental music, rabindra bharati university, kolkatta

Abstracts [Seminar on Changing Instrument Styles]

Violinists Lalitha and Nandini perform in Saligramam

Violinists Lalitha and Nandini perform in Saligramam

VIOLIN IN WORLD MUSIC TRADITIONS – My concert

Violins around the world – LN in documentary film