#Hindustani classical music vocal

[ajivasanacademy]

Ajivasan Kandivali: Enroll in Hindustani Vocal Classes Unlock the world of Hindustani classical music at Ajivasan Kandivali! Register now for soulful vocal lessons. Limited slots available. Join the melody!

[pebblegalaxy]

Shiv Upasana: Embarking on a Divine Journey of Devotion and Musical TranscendenceThrough Pandit Jasraj's Melodies

What’s your all-time favorite album? If you ask me what’s my all-time favorite music album it is the album “Shiv Upasana” by Pandit Jasraj, one of the most distinguished Indian classical vocalists of our time. Through the celestial strains of his soulful voice, Pandit Jasraj, a maestro of Hindustani classical music, channels the spiritual energy of Lord Shiva, the embodiment of cosmic…

[monicascot]

Nalinakaanthi Raagam | Manavyalakincharadate | Indian fusion classical cover |Karthik Mohan

I have been looking forward to producing this song for the longest time. Composed in Nalinakaanthi, it is one of the most beautiful Carnatic songs composed by the great saint Thyagaraja. The true poetic nature of such songs can be understood and felt only in the language in which the song was written, in this case, Telugu. The song is sung in praise of Lord Rama who decided to incarnate himself on the earth and taught us the path of self-virtue and righteousness so we can free ourselves from the cycle of birth and death.

[itcsra]

ITC Sangeet Research Academy, located in Kolkata, is one of the best music academies in India. It offers a comprehensive music education program that covers Classical, instrumental music and Indian Classical music. The academy’s faculty comprises world-renowned musicians who have performed on global platforms. ITCSRA has state-of-the-art facilities, including a recording studio, practice rooms, and performance spaces.

[carnaticmusic007]

Indian Classical Music 1-on-1 Live Classes By Best Music Teachers Offered By Go4Guru.

Indian classical music is the classical music of the Indian subcontinent and also Indian classical music is a solitary pursuit that focuses mainly on melodic development. This indian classical music is offered by Go4Guru with best music teachers in industry. All music classes will be 1 on 1 classses with the teachers. Just grab the offer and join now! https://www.onlinehindustanimusic.com/

[orgasming-caterpillar]

DOYH: Music Taste

Ranveer Kashyap

classical music is life (both Hindustani and Carnatic)

Lata Mangeshkar, Muhammad Rafi and Kishore Kumar fanboy to the core

will occasionally turn on a qawwali (doesnt want to admit that he's obsessed)

is very picky in english songs, but likes Hozier, Sleeping At Last, and Frank Sinatra

Raghav Patil

knows how to play acoustic and electric guitar

had a rock/punk phase in high school (only with music tho) and still likes them

boy's got Arctic Monkeys and Mother Mother in his blood

fell in love with retro bollywood music after he plugged into one of ranveer's playlists

he is… SO DRAMATIC. Like,, Rahat Fateh Ali Khan level of dramatic. Played Zaroori Tha in his head while crying in chapter 17

Madhuri Gaikwad

oh she's THAT girl

has a beautiful voice, wants to be like her favorite (Asha Bhosle)

can recite every hindi item song by heart, especially old bollywood ones. Chikni chameli? Ek do teen? Badi mushkil? Chane ke khet mein? She knows them all.

surprisingly, she also knows a lot of aartiyaan and mantras, catch her singing Madhurashtakam at any time of the day.

Manorama Shankar

MARWADI SONGS

is lowkey embarrassed by them usually, but push her onto the dance floor in a rajasthani wedding, and she's killing it on every single beat.

has a gym playlist

has a whole playlist of bollywood loverboy songs for madhuri, sings them at random times to make her blush

Shrishti Kaur

HOZIER LESBIAN

mitski too

hates mainstream bollywood songs

likes hard vocals, more for practicing than for listening because she likes pushing her limits

[kccinstitutes]

Cultural Extravaganza, Anugoonj 2024

On the inauguration of the biggest cultural extravaganza, Anugoonj 2024 Prelims Zone 2, an annual fest of GGSIPU hosted by the KCC Institute of Legal and Higher Education, a splendid array of diverse and vibrant cultural and artistic competitions took center stage.

The extraordinary day was marked by awe-inspiring performances, exceptional talent, and a palpable electrifying ambiance, particularly in the domains of Musical and Fine Art Events. The audience witnessed fierce competition in singing across various genres, including classical in both Hindustani and Carnatic styles, light vocal Indian music, and Western genres. The Battle of Bands added a thrilling dimension to the festivities, captivating the audience with its intensity.

The campus of the institute was further beautified by the incredible work of talented artists who participated in creative art contests, including on-the-spot painting, clay modeling, collage creation, and cartooning. Stunning rangoli designs adorned the surroundings, enhancing the overall atmosphere.

The day was nothing short of a memorable extravaganza, as excitement and enthusiasm charged the air, leaving a lasting impression on all those who were fortunate to be a part of this splendid occasion.

#kcc #kccinstitutes #kcciilhe #kccitm #ggsipu #ipuniversity #aktu #bba #bca #bajmc #bcomh #btech #greaternoida #Placements #Job #placement #mba #bballb #ballb #mtech

#KCC #Institutes #Greater #Noida

[dustedmagazine]

Dagar Brothers — Berlin 1964 (Black Truffle)

Oren Ambarchi’s Black Truffle label has long been a source for challenging, rewarding music across genres from contemporary composition and free jazz to Thai mouth organ and wah-wah’d out solo bass recordings. Now it is becoming a great resource for Dhrupad music as well. Following up archival recordings of the recently departed Amelia Cuni and rudra veena virtuoso Ustad Zia Mohiuddin Dagar is a revelatory set of lost recordings from the Dagar Brothers, two of the most important figures in establishing the documentation and preservation of this important vocal art form.

Dhrupad is the oldest form of Hindustani classical music, characterized by extensive, drawn-out improvisations. Within this lineage, the Dagar family, which includes the Dagar Brothers, their younger siblings and fellow vocal duo Zahiruddin Dagar and Faiyazuddin Dagar, the aforementioned Z.M. Dagar and his son Bahauddin Dagar,  is not just a family, but an  institution. Historically, the Dagars were court musicians, and to give a sense of how important the Dagar family is to Dhrupad, there are four styles of court (or darbārī) Dhrupad, and one of them is known simply as the Dāgar vānī. Ustad Nasir Moinuddin (1919-1966) and Ustad Nasir Aminuddin Khan (1923-2000) were born into this lineage at a critical period, coming of age as India broke free from centuries of British colonial rule. British colonialism had upended Indian court music and, starting in the 19th century, Dhrupad had begun to decline in favor of different styles of Hindustani classical music such as Khyal and Thumri. The development of recording technology further displaced the music from its regal context, as the music was now being presented to a much larger audience than the courts would have allowed. Indian classical music was extensively recorded on 78 rpm records from the very beginning, but the limited timeframe that the records allowed made documenting the lengthy Dhrupad music practically impossible. In the aftermath of decolonization, Dhrupad was in danger of disappearing entirely, and it was in this context that the Dagar Brothers took initiative to preserve their family tradition.

Crucial to this mission was the rise of long-playing records in the 1950s and 1960s, which provided much more space for the expansive improvisations of the Dagar Dhrupad. There were also a number of record labels emerging around this time, such as Ocora and Lyrichord, which were dedicated to producing ethnographic recordings without consideration for commercial appeal. In the mid-1960s the Dagar Brothers made the very first Dhrupad record for the EMI-Odeon label, and went on a tour of Europe organized by the eccentric French historian Alain Daniélou. Daniélou recorded the Dagar Brothers in Berlin during this tour, which remained unreleased until now due to the tape abruptly cutting out just before the brothers finished their performance of Raga Jaijavanti. Fifty years later that recording, along with a live recording made in Berlin around the same time, is now being released by Black Truffle.

The Dagar Brothers participated in these recordings with the intention of documenting and preserving a musical tradition in danger of disappearing (and promoting it to a new audience), but this doesn’t make them any less singular as artists. Perhaps the most striking thing about these releases is the intensity of the brothers’ performances, which ought to single handedly dispel any preconceptions of Indian Classical music as new-agey “chill-out” music. On the performance of Rāga Miyān kī Todī from the live recording, that intensity is present from the very beginning and doesn’t let up during the nearly 40 minute run time. The Dagar Brothers sing in beautiful droning overtones, but when the energy hits peak levels their vocal ornamentations sound like deep, commanding shouts, all perfectly on rhythm. The court music context may make one expect otherwise, but this is deeply powerful, trance-inducing music.

In the present day, Dhrupad is often associated with what is now known as drone music. La Monte Young, who is perhaps more associated with drone than any other composer, famously studied under Pandit Pran Nath, as did Terry Riley, and those two composers helped set the stage for future works exploring long tones. But what makes Dhrupad music so important in understanding the “Western” experimental music it paved the way for isn’t just the drone, but the way in which its practitioners showed the endless sonic possibilities of such seemingly “static” music. There are even some moments of vocal overlap between the two brothers that are somewhat reminiscent of the phasing techniques utilized by Phill Niblock.  But even beyond its importance to experimental music, these recordings are a testament to the living, breathing power of this ancient vocal art form, and the power of music in moving both the mind and the body. The voice, after all, is the original instrument.

by Levi Dayan

[b-sai-des]

A New Frontier: South Asian Fusion

In terms of any actual formal music knowledge, I come from the side of Carnatic music, the Indian classical music style, having been learning the mridangam for around ten years under my guru, Sri T.S Nandakumar. I am always eternally grateful for all that he has done for all of us students, and one of the many things I admire about sir is his willingness to explore unconventional avenues with the mridangam. The mridangam is a two-sided barrel drum usually played as an accompanying instrument in a Carnatic piece that may feature vocals or violin, and veena as well. Nandakumar sir is a renowned accompanying artist, but he’s also given his students many opportunities to perform like chamber concerts and arangetrams. One really unique thing he’s done is a large orchestra of mridangams and other Carnatic percussion instruments at the Cleveland Thyagaraja Festival, which he’s done for multiple years and encouraged even younger students to practice and perform there. It’s unusual for the mridangam to take such a center stage like that, where you have around 100 players playing together in an epic display alongside veena and violin. It was also cool to see Nandakumar sir bringing in western drums into those performances as well, along with drum pads there and in other performances. Having that exposure from a young age really opened my eyes to the potential of Carnatic music elements in contexts that you don’t normally see, and I got curious about what else is capable. Carnatic music for example utilizes many, many different talams (time signatures) apart from just 4:4 (Adi in Carnatic music), and it would be really interesting to see how that could be utilized more generally.

South Asian fusion is a huge, diverse space that’s hard to really pigeon-hole because of how many types of South Asian music there are (Carnatic is just one, there’s also Hindustani, Sufi music, folk music, Bhangra, etc.), along with different genres that they are mixed with like jazz, rock, pop, etc. You had mingling in the past, like Ravi Shankar and The Beatles. Later on it grew, definitely a more recent phenomenon and likely accelerated due to immigration and assimilation in the west. Younger generations are really at the forefront on it  – you see a ton of high school and college clubs doing Indian music or dance fusion. Rutgers has many, including RU Dhol for example. Some of these student clubs lean more on the side of Bollywood-oriented stuff, and there are times that can overshadow other ways to explore the genres – my sister sometimes talks about how the South Asian fusion club she’s part of really neglects classical dance forms like Bharatanatyam or Kathak. In that club it’s seen as the less hip thing, and people will say “it’s cool that you’re so confident to perform that” rather than actually having an interest in it and the people who want to share it. Then again, I'm talking about high-school pettiness here – it's not like this everywhere. RU Dhol combines South Asian instruments and styles of playing with western equivalents. This performance places electric guitars next to the Indian classical violin style in a really fun way.

One of my biggest experiences with South Asian fusion is with Brooklyn Raga Massive. My aunt is a Bharatanatyam teacher, and in 2018 or so she had collaborated with a theater director for a production of Jungle Book, where her students performed Bharatanatyam in a song. After the show, we had met some of the other musicians involved in the show, since my cousin learns Carnatic singing, my sister Bharatanatyam, and I mridangam, and we talked to a percussionist who was part of Brooklyn Raga Massive. He had told us about them – they do daily events at a Prospect Heights venue along with bigger events and performances, and he encouraged us to come on a Thursday where they hold an open mic jam session. We definitely got excited about this, and we went one evening.

The venue was a real hole in the wall type bar with a small stage and seating area in the back, and there was a decent and rather diverse crowd of people. Dim lights and creaky wooden floors, very aesthetic. It’s interesting because now they’ve grown immensely as an organization, and I don’t believe they still have events at this place. It was really cool to see the really different talents displayed there – one woman performed a really interesting singing performance which now I can’t pinpoint what style it was. You also had more traditional classical instruments like tabla and sitar. What’s really cool is that even though I was only in eight grade and my cousin was only in ninth grade, they gave both of us the opportunity to play with them, and they were super friendly and inviting, even despite any mistakes or hesitation I had. There were no judgments, just the spirit of experimenting and playing. I still look at that night with a lot of fondness. 

What I played that day, it was really incredible to get that opportunity and for it to be so low-key and welcoming. My cousin is also there on the stage (dressed in white), he’s an incredibly skilled Carnatic vocalist.

Recently I was inspired by all this and for my midterm assignment for the class I’m writing this for, I made a music track with mridangam and electronic effects in Ableton (free trial came clutch). I initially spent a lot of time worrying about doing it right and perfectly planning everything, but it only came together when I just let go of that and just messed around, re-arranging recordings of me playing and layering effects. Just doing it was fun, and I learned a lot from it.

shameless plug to my video

There’s a free-ness with something like this that’s a really different experience from traditional Carnatic music. At the same time, there’s a level of playfulness with Carnatic music too, as when you’re playing on stage you don’t practice with the other artist beforehand, and what happens there is often unexpected and exciting, and I’m reminded of that when I see jazz music too. To me says a lot about the inherent commonalities in what makes music so rewarding to make and experience.

[celtic-cd-releases]

https://www.elirmusic.com

https://www.facebook.com/elirmusic/

https://elirmusic.bandcamp.com/album/silver-sails-2

https://open.spotify.com/album/1kDkupv3mDkwssE07G2H8G

[monicascot]

Nalinakaanthi Raagam | Manavyalakincharadate | Indian fusion classical cover |Karthik Mohan

I have been looking forward to producing this song for the longest time. Composed in Nalinakaanthi, it is one of the most beautiful Carnatic songs composed by the great saint Thyagaraja. The true poetic nature of such songs can be understood and felt only in the language in which the song was written, in this case, Telugu. The song is sung in praise of Lord Rama who decided to incarnate himself on the earth and taught us the path of self-virtue and righteousness so we can free ourselves from the cycle of birth and death.

[ramayantika]

Hey!

Last year i had my music exam ( hindustani vocal) after my 4 year course ans the exam was in june-july time too. Probably thought out by all music colleges in india that have indian classical courses but yaa

Hope it goes great for you!

Thanks! I have to prepare for it after may so I will a month gap to bring back my stamina to dance and also this time I really want a good score like something the best one because last time I got around the high mark range only but it doesn't hurt to me ambitious now does it

[dhwani-sangeet-mahavidyalaya]

Dhwani Sangeet Mahavidyalaya is considered one of

Dhwani Sangeet Mahavidyalaya is considered one of the Best Music Academies in Gurgaon. It offers high-quality music classes, including Hindustani Classical and Light Classical Vocal. In addition to vocal classes, they also offer classes in guitar, keyboard and harmonium, drum, violin, dance, and dholak. The music school offers online music and dance lessons via Zoom and Skype. Dhwani Sangeet Mahavidyalaya has attracted an ever-growing number of students in Gurgaon and surrounding areas.