I have just uploaded a file "environmental pollution". it is a song on the same topic. Listen to the song
and send in your comments. the note-worthy thing is that I have taken all the instruments from different songs and have adapted them to suit the requirements of the song. no original instruments or the synthesized ones have been used whatsoever.
This article about the the religion and the culture has been taken from The Hindu dated 27 Jan, 2009, Edit page, online edition.
Culture as a site of struggle
K.N. Panikkar
Understanding the nature and direction of the struggle and participation in it call for serious academic engagement.
In the communal conception of nation, culture not only occupies a central place but defines its character by its identity with religion. The nation, therefore,
is a cultural construct, with culture being understood as an integral part of religion.
Much against the grain of historical experience and contemporary reality, the communal assumption has foregrounded two inter-related notions. The first
notion is that each religious community has a homogenous culture. The second notion is that the culture of each community is distinct and different. Such
a characterisation attributes a religious-cultural character to the social composition of the country. It is further qualified by dividing society into
two unequal segments: people of indigenous and 'foreign' origin who were separated by religious-cultural differences. These differences were so irreconcilable
that they belonged to two different nations, with entirely different cultural traditions.
These differences accounted for the struggle between communities in the past. Subsuming the assumptions of colonial historiography but improving upon its
political and cultural interpretations, communal ideologues argued that religious communities acquired political identity through inter-community struggles
with which Indian history abound. More important, communities had distinct identities as a result of their separate cultural practices rooted in religion.
In a synoptic account of Indian history in his relatively less known work, Six Glorious Epochs of Indian History, Vinayak Damodar Savarkar interpreted the
history of India in terms of the Hindu resistance to foreign invasions. The importance of this historical experience was that they contributed to the formation
of a self-identity of being a Hindu nation. But such a political experience alone, it is held, was not sufficient to bring about emotional bonds strong
enough to bind a people into a nation. Something more abiding was necessary, which according to Savarkar was the allegiance to a common culture. The religious
communities, both Hindu and Muslim, were different due to their differing cultural allegiances.
During the 20th century the cultural logic of communalism assumed an increasingly aggressive character. An important example of this development is the
reading of Hindu-Muslim cultural differences by Bengali novelist Sharat Chandra Chattopadhyay. In a brief essay titled 'Bartaman Hindu-Mussalman Samasya,'
first presented at the Bengal Provincial Conference of 1926, he added a new dimension to the communal argument about the differences between Hindus and
Muslims. Many before him were of the opinion that the differences between the two were irreconcilable because they were fundamentally cultural. The two-nation
theory advocated by Savarkar and Mohammad Ali Jinnah rested on this argument. Sharat Chandra's focus was not on cultural differences, which at any rate
existed, but on the lack of culture of Muslims. Hindus, high or low, were born with culture, whereas Muslims were born without it! Worse still, Muslims
could not even attain it, however much they tried. Their lack of culture accounted for their general behaviour which, according to him, was characterised
by "brutality, barbarism and fanaticism."
Many communal ideologues in the past had harped on the cultural differences between Hindus and Muslims or on the cultural superiority of Hindus. But Sharat
Chandra's concern was of an altogether different order: to create the categories of the cultured and the uncultured on the basis of religious identity.
What he did was to reinvent the traditional category of mlech in order to serve a contemporary purpose. One purpose was social discrimination by means
of the demonisation of Muslims. Another was to achieve the political objective of undermining the Gandhian project of Hindu-Muslim unity, for according
to him, the union between Hindus and Muslims was impractical and, more important, unnatural. He argued that instead of pursuing the mirage of Hindu-Muslim
unity what was required was unity within the Hindu community, by ending "the folly of treating a section of the Hindus as low castes." By discounting the
possibility of Hindus and Muslims coming together and at the same time promoting the internal consolidation of the Hindu community, Sharat Chandra was
charting out a path for the construction of communal consciousness.
Neither Hindu-Muslim differences nor community consolidation was alien to the communal discourse which evolved from the 19th century. Yet, Sharat Chandra's
views were significant for two reasons. First, Muslims are excluded from the nation not on cultural differences, as Savarkar did, but on the grounds of
being 'uncultured.' Secondly, it represented a new communal aggression based on cultural authenticity derived from an identity of religion and culture.
Sharat Chandra's arguments are not an aberration, but a logical development of the ideas of discrimination and hatred inherent in the communal discourse
evolving from the 19th century. They continue to be influential in shaping the consciousness of the present, at least among a section of society.
The cultural logic of communalism seeks to unburden the secular cultural baggage that society has acquired historically. In the process is ignored the heterogeneity
that came into being as a result of the social togetherness of communities. The heterogeneity covered a wide spectrum: the creative and philosophical realms,
on the one hand, and everyday cultural practices of the people, on the other. It gave rise to a variety of cultural processes — synthesis, assimilation,
acculturation and eclecticism and, more important, the way people lived.
It is arguable that what really happened was not any one of these processes, but a combination of all in varying degrees, which imparted to Indian culture
the quality of a colourful mosaic. One of the implications of this process was the immense cultural variety within religious communities in terms of everyday
cultural practices and creative expressions. In other words, religious communities were not synonymous with cultural communities. Their boundaries did
not coincide or overlap. The cultural logic of communalism is, therefore, antithetical to the historical experience of Indian society. The meaning of culture,
which communalism foregrounded, was tantamount to the denial of the secular heritage of Indian cultural life. Even more than this, it failed to take cognisance
of the variety of cultural articulations within a community.
What is central to the exploration of the meaning of culture is a methodology for its study that will take note of its complexity and social relatedness.
The empirical and descriptive methods which held sway for long did not go beyond the narration of cultural practices. And consequently the meaning of culture
remained beyond their reach. The early Marxist method viewed culture as an epiphenomenon of economic base in the overall structure of productive force
determinism, which failed to interrogate the complexities of cultural existence. A paradigm shift was heralded with the 'cultural turn' in Marxist studies
in the mid-20th century, which recognised the relative autonomy of cultural production and all forms of social consciousness. The historians who initiated
such a change by drawing attention away from the cellar to the attic heralded both a departure and continuity in the application of historical materialism
to the study of the past: continuity because it can be traced to Marx and Engels, and departure because it meant a reorientation in historical analysis.
The defining characteristic of the methodology so conceived and practised recognised the relative autonomy of the superstructure within the rubric of its
dialectical relationship with the base.
A turn towards culture with such theoretical sensitivity was slow to occur in Marxist historical writing in India. A serious attempt in this direction is
seen in the works of Damodar Dharmanand Kosambi. His methodological and theoretical contribution to the study of history has been so original that he is
credited with ushering in a 'paradigm shift' in the writing of Indian history. This was possible because of an interdisciplinary approach and very creative
and innovative use of Marxist method. He started with the superstructure rather than the base: because of the compulsions of the unavailability of sources
he turned the Marxist metaphor upside down. That led to the rejection of economic determinism and reflective theory; recognition of the dialectical relationship
between base and superstructure with relative autonomy for the latter; criticism of the mechanical approach of official Marxism and, above all, questioning
of the conclusions of Marx himself wherever they were not in conformity with historical facts. Such openness and intellectual freedom lay at the back of
the cultural turn he brought to bear upon Indian historiography.
The relationship between the base and the superstructure — dialectical, dynamic and complex — around which Kosambi's analytical model was built, had opened
up immense possibilities for the study of Indian culture. But after him they remained largely unrealised, as the focus of Marxist historiography has been
either on economic issues or on political movements. Cultural issues hardly attracted attention. And when they did, their treatment suffered either from
reductionism or empiricism.
More grievously, the historical totality with culture as an integral element, as Kosambi had suggested, by and large remained outside the Marxist concern.
As a result, an impression has gathered ground that Marxist method is inadequate to deal with matters cultural. Kosambi's contribution proves the contrary.
A critical and innovative approach to the study of culture which Kosambi had pursued could herald a new theoretical and analytical approach in the study
of culture in Marxist historiography in India. That it has not really happened in any significant measure is surprising, as quite a few historians of the
present generation were inspired by Kosambi's work and many among the young are attracted to the study of everyday cultural practices. Such an inability
to further the study of culture has become particularly glaring as 'cultural studies' with a linguistic turn threaten to overwhelm the field. Whether the
relatively inadequate attention to the study of culture in Marxist historiography has made it easier for communalism to appropriate and imperialism to
hegemonise the study of culture, is a matter which requires serious consideration.
Nevertheless, the contemporary reality is such that culture has emerged as a very intense site of struggle. Understanding the nature and direction of this
struggle and participation in it call for serious academic engagement.
(K.N. Panikkar is general president, Indian History Congress; former Professor, Jawaharlal Nehru University; and Vice-Chairman, Kerala State Higher Education
Council. These are excerpts from his presidential address to the Indian History Congress held in Kannur during December 28-30, 2008. E-mail:
knp8@rediffmail.com)
******
The perceptions as well as appreciation about the Indian cinema or cinema over India is fast changing. Here is an extract from the Edit Page of "The Hindu [Online edition] dated Jan 26, 2009, about "Slum dog Millionaire
India does not hate Danny Boyle
Ian Jack
In India, films about poverty used to cause great offence. But not Slumdog Millionire.
— Photo: AFP
Danny Boyle, the director of Slumdog Millionaire, at a press conference in Mumbai.
A foreign director comes to India and shoots a film that in part depicts considerable cruelty, poverty and squalor. The Indian government is outraged when
the BBC broadcasts the film. There are official protests; severe restrictions are imposed on the BBC and any other foreign organisation that wants to film
in India; the director never enters the country again. Forty years pass. Another foreign director shoots a film in India in which the cruelty, poverty
and squalor are even more horrid. It wins four Golden Globes and 10 Oscar nominations. Most of India is delighted; domestic film-makers are chided for
the timidity of their vision and mindless escapism of their output.
The first director is Louis Malle, whose documentary series, Phantom India, examined some indisputable truths about so much of Indian life. The second is
Danny Boyle, whose Slumdog Millionaire takes some of the same truths, dramatises and exaggerates them inside a fantastical story — which slum boy is going
to jump into an oozing latrine, even for the autograph of Amitabh Bachchan? — set to Bollywood melodies. Something has happened in the years between these
films, to western as well as to Indian sensibilities. The reasons are complicated, but perhaps the main ones are that Indian society is a thousand times
more confident, that the word "vulgar" has vanished from the critical lexicon, and that the world has grown very small.
India has always had a difficult relationship with its easily observable poverty. Thirty years ago, the government's PR departments would express a sullen
disappointment that foreign writers were so "obsessed" by it. Its depiction abroad was seen, with just a little justice, as a plot against national ambition.
In the 1920s, the American writer Katherine Mayo had been helped by the British administration to research a book, Mother India, which demonstrated how
unfit India was for self-government. Child marriages, hopeless sanitary habits. Mahatma Gandhi famously described it as "the report of a drain inspector,"
but while it may have been inspired as a work of imperial propaganda, many of its facts were true.
In the 1960s, another foreigner, V.S. Naipaul, made squalor more vivid. His Indian ancestry offered no protection against unpopularity. Indians stood accused
of selling the country short. Satyajit Ray's Pather Panchali put Indian cinema on the map and is now considered a monument to humanism. But in 1955 its
account of an impoverished family in Bengal drew a hostile response in some government circles and Ray was accused of "exporting poverty."
The same charge is now levelled against Boyle. His "poverty porn" is damaging the image of a country on the brink of becoming a superpower. So far as I
can tell, that's a minority opinion. Bachchan, the great Bollywood star, made some mild remarks implying that the world took notice of Indian cinema only
when a foreigner hijacked its techniques, and he was widely condemned for what was taken to be spite. Fewer people now believe that a single film can represent
the Indian generality — supposing such a thing exists — to a foreign audience, who knows, or should know, of India's tremendous variety and compelling
social change. And there are now so many ways to know — mass tourism, business travel, the web, hundreds of satellite channels. And anyway, who cares?
It's only a film, and not a serious one at that, dealing as it does in the bestselling cliches of the Mumbai film industry. Poor man makes good, finds
lost love, gets rich, lives happily ever after. The more interesting question is: whom do we trust to best describe the experience of the poor? Ideally,
the answer should be the poor themselves, but even in much more equal societies than India's that has always been a rarity. Dickens spent some of his childhood
in a blacking factory, D.H. Lawrence's dad worked down the pit, but usually descriptions of the poor come from higher social castes. Writing is essentially
a middle-class activity for a middle-class audience. In India, very few accounts of poverty have come from the people who know what it means. Literacy,
opportunity, time, inclination: these are formidable barriers. Almost every Indian novel heard of in Britain has come from the Anglophone elite.
The author of Slumdog is no exception. The film was adapted from a first novel called Q&A (now retitled as a film tie-in) by Vikas Swarup, an Indian diplomat.
This week I met him at the Jaipur Literary Festival, where he was one of the week's big events. Schoolgirls queued to get his signature, displaying all
the grave and intelligent deference ("Thank you, sir, please put 'To Priya'") that will one day be put to use ruling the world. He was modest and polite.
In the evening, among the large audience gathered on the lawn to hear him speak, a deferential questioner asked, "Sir, you have become a very famous writer.
Many of us wish to write. Can you tell us, sir, how you did it?" And Swarup replied that he just sat down and wrote, and if he could do it, anybody could.
He was born into a distinguished legal family and entered the foreign service in 1986. He had no great ambition to be a writer. What struck me was his immense
practicality. He grew up enjoying James Hadley Chase and Alistair Maclean and ignored India's fashionable new generation of novelists until his early forties.
They were all very "literary." He had spotted a gap in the market. He would write an Indian thriller.
While posted in London, he was intrigued by the story of the British Major Charles Ingram convicted of cheating his way to the top prize in the U.K. version
of Who Wants to be a Millionaire? He sat down to write. Several agents turned him down, but one took him up. The novel was finished quickly — "20,000 words
in one weekend," he said. And a year before it was published, there were rejections here, too, the film rights had been bought. Five years later, it has
been translated into 36 languages.
Swarup has never been inside a Mumbai slum, but poverty in India was impossible to ignore. "The brown arm snakes through your car's open window and asks
you for alms," he said. "No man is an island in India." This contradicts my own experience. Many people are islands, joined in an archipelago of social
position. Becoming island-like offers you best hope of enduring sights that seem impossible to alter, and prevailing against the consequent despair.
Still, even as I write that sentence I see in it an old-fashioned attitude, dating from the time when India was filled with conversations about what could
be done, when the poor were fretted over and documentarians such as Malle put anger into their work. Much good did it do. As objects of pity, the poor
were one-dimensional. Swarup and Boyle show instead what they call the triumphant human spirit of the slums, and there are now trips around Dharavi, the
Slumdog slum, to show tourists that feistiness at work. It certainly shows they are human, as imperfect as us, but could it be that our new approach also
reveals self-interested pragmatism? Some facts can't be changed. The poor will always be with us, and we may as well make the best of them.
Related links
Golden Globes for Slumdog Millionaire - Photos
We have been waiting for this for 80 years: A.R. Rahman
3 Oscar nominations for Rahman
Rahman and the Oscar
One year harmonium playing certificate course
From the academic session 2008-09, a new certificate course on harmonium playing has been initiated by the department of Music, M. D. University, Rohtak, Haryana. This course has been designed by the former Head and famous Sitar maestro Dr. Ravi Sharma. The main idea behind this course was to give the graduating Sitar students an opportunity to learn the technique of harmonium playing. As we are aware that harmonium playing is considered essential for the school teachers.
Previously in the private schools the appointment of the sitar graduates has always been doubtful as they had no knowledge of harmonium playing. This course provides an equal opportunity for the students of sitar to try their luck for the post of school teachers.
The duration of the course is one year consisting of two papers of a hundred marks each one theory one practical. Not only the sitar graduates but any body who has passed 10+2 from an appropriate school/board is entitled for this course. The forms are available at a reasonableprice.
Smt. Radhika & Shri Rajnarayan
Exploring Musical Creativity: Digital Veena
First of all, at the very outset, let me tell you that there is no musical instrument in the name of Veena. There are different kinds of Veenas. For instance, Rudraveena, Vichitraveena etc in Hindustani music and Saraswativeena, in the South Indian music. What I mean to clarify that Veena is a specific group of musical instruments. Thus, when we talk of the Veena, it denotes a specific category of musical instruments. After this initial clarification, now I can address the main issue regarding the Veena.
Veena has a very ancient and rich traditional heritage. References of this musical instruments are available from the very beginning of history of Indian music. In the Vedic literature as well as in the ancient works of music, Veena has been refered to at the numerous places. In the ancient times, there were different kinds of Veenas. Some musicologists are of the view that Veena was the common noun for musical instruments. At least this can be agreed upon without any reasonable doubts that Veena was the common noun for all the stringed musical instruments.
There are many myths related to this instrument. However, in this essay, it is not my objective to elaborate upon those stories. My purpose behind telling all this is that I wish to establish this fact that Veena has been and is a very important musical instruments as far as the Indian music is concerned.
But now-a-days, the instrument which we call Veena is in great trouble. It is on the verge of being extinguished. There are many factors which are responsible for the unpopularity of this potential instrument. Its enormous size is the apparently is the first and the foremost challenge. Difficulty in transportation, problem in acclimatization etc are some other problems which have contributed to its present state.keeping in view all the hinderances and difficulties which are making Veena impopular, Smt. Radhika and Shri Rajnarayan experimented with the technology and came up with a very encouraging solution. Here let me tell you that Smt. Radhika is an exponent of Karnatik Veena. She is the artiste wife of Shri Rajnarayan. When she faced the problems which all the exponents of Veena have to, her husband Shri Rajnarayan came to her pursuit. It is also note worthy that Shri Rajnarayan is engaged in giving a new shape to Indian musical instruments since around1976. He has come up with the electronic versions of Tabla, Tamboora, Swaramandal etc. He has floated a company to manufacture electronic musical instruments. This company is called, "Radel electronics Pvt. Ltd." It is based in Bangalore Karnataka. Therefore, he decided to make an electronic version of Veena too. His scientific temper alongwith the artistic outlook of his better half, made it possible for all the Karnatik style Veena exponents that now they can play Veena without any difficulties. The new electronic Veena is easy to tune, easy to move from one place to another, easy to adjust to the magnitude of the tonal quality and there are many more feature which make this musical instruments much better than its traditional counterpart.
Musical Instruments
New dimensions
A seminar/workshop was held courtesy Omenad on 18-19 January, 2008, in order to discuss the new developments in the field of the instrumental music. different aspects regarding this were taken up for the discussions through the papers presented in the seminar.
The abstracts of the papers submitted for this conference will be made available online. Please visit Indian Music Junctionfor further information.
Time of the underdog
The Hindu Editorial Page
Admirers of good cinema everywhere will be delighted with the triumph of British director Danny Boyle's film Slumdog Millionaire at the Golden Globe Awards,
putting it in sight of the Oscars. But it has a special meaning for Indians, particularly much-maligned Bollywood. For although the film was a British
entry with a British actor of Indian origin playing the hero, it is essentially an Indian product — based on a novel by an Indian, co-prod uced by an Indian,
and filmed in India with an Indian cast. The icing on the cake is of course A.R. Rahman's music, one of the four categories in which the film was honoured.
By winning four Globes (for best film, best musical score, best director, and the best screenplay) against some serious competition, the film took its
own creators, including screenplay writer Simon Beaufoy, by surprise. Such overwhelming recognition of the quality of Slumdog Millionaire by some of the
world's most influential critics (Golden Globe awards are given by the Hollywood Foreign Press Association) is no doubt a huge achievement for the team
behind the film. But it is also a triumph of meaningful cinema: an affirmation that good movies are truly global.
On the face of it Slumdog Millionaire, adapted from Vikas Swarup's novel Q&A, is the story of the struggle of an orphan boy from the slums of Mumbai who
ends up winning the top prize in the Indian version of the television show "Who Wants to be a Millionaire?" But Mr. Boyle uses the simple rags-to-riches
Bollywood formula to explore the reality of modern India — the helplessness of India's teeming poor, the horrors of child exploitation, communal violence,
and widespread cynicism and apathy. The film has been praised for its 'Dickensian' portrayal of modern India. Critics familiar with Mr. Doyle's work have
called it his best work so far. He rips through the dark underbelly of a 'shining India' much the same way Aravind Adiga did it in his wonderful Booker-winning
novel The White Tiger. The difference, though, is that for all its hard-edged grittiness, Slumdog Millionaire is punctuated by dollops of hope — a socialist-style
belief in a new dawn. Mr. Boyle is able to detect humour and optimism even in the depths of gloom without appearing to romanticise poverty. He is also
not coy about using elements of popular cinema to make the film accessible, which makes it work at the level of entertainment as well as serious social
comment. The global economy may be in terrible shape, hurting hundreds of millions of people, but in the creative realm it's been a good time for the underdog.
Appreciation of arts
A man sat at a metro station in Washington DC and started
to play the violin; it was a cold January morning. He played
six Bach pieces for about 45 minutes. During that time,
since it was rush hour, it was calculated that a thousand
people went through the station, most of them on their way
to work.
Three minutes went by and a middle aged man noticed there
was a musician playing. He slowed his pace and stopped for a
few seconds and then hurried up to meet his schedule.
A minute later, the violinist received his first dollar
tip: a woman threw the money in the till and without
stopping continued to walk.
A few minutes later, someone leaned against the wall to
listen to him, but the man looked at his watch and started
to walk again. Clearly he was late for work.
The one who paid the most attention was a 3 year old boy.
His mother tagged him along, hurried, but the kid stopped to
look at the violinist. Finally the mother pushed hard and
the child continued to walk turning his head all the time.
This action was repeated by several other children. All the
parents, without exception, forced them to move on.
In the 45 minutes the musician played, only 6 people
stopped and stayed for a while. About 20 gave him money but
continued to walk their normal pace. He collected $32. When
he finished playing and silence took over, no one noticed
it. No one applauded, nor was there any recognition.
No one knew this, but the violinist was Joshua Bell, one of
the best musicians in the world. He played one of the most
intricate pieces ever written with a violin worth 3.5
million dollars.
Two days before his playing in the subway, Joshua Bell sold
out at a theatre in Boston and the seats average $100.
This is a real story. Joshua Bell playing incognito in the
metro station was organized by the Washington Post as part
of a social experiment about perception, taste and
priorities of people. The outlines were: in a commonplace
environment at an inappropriate hour: Do we perceive beauty?
Do we stop to appreciate it? Do we recognize the talent in
an unexpected context?
One of the possible conclusions from this experience could
be: If we do not have a moment to stop and listen to one of the
best musicians in the world playing the best music ever
written, how many other things are we missing?
(Read the original article in the Washington Post web site. Link:
http://www.washingtonpost.com/ wp-dyn/content/ article/2007/ 04/04/AR20070404 01721.html
Classification of musical instruments
When we talk of the classification of musical instruments, the first thing that comes in our mind is the traditional four-fold classification. This classification has been very elaborately described in 'Sangeet Ratnakar'. Many papers have been presented on the subject and many research works have been published in the pursuit of this topic. Therefore, I will not go into the details of this traditional classification. In this paper, I would like to draw the attention of the distinguished audience to the limitations of the aforesaid classification. Prof. Lalmani Misra, in his remarkable book on musical instruments, "Bharatiya Sangeet Vadya", had for the first time felt the need to reclassify the musical instruments. In fact, he proposed some new categories in the same book. However, the conservative world of our musicologists did not take note of this very urgent matter. So the proposition was not included in the discourses of musicologists except that the research scholars, who took up the subject of categorizing musical instruments, referred Prof. Misra's innovative suggestions. Hence, the need of the hour is that the traditional four-fold classification of the musical instruments should be discussed and analyzed in this context and if the scholars feel that some changes are required in the ancient classification, we should opt for the same.
The ancient classification is stood for around 800 years now. We are aware of the fact that many new musical instruments have come into being in due course of time. There are many musical instruments which cannot be accommodated in any of the four categories. Prof. Misra has suggested many new categories for such musical instruments. For example, Sarod, which is considered to be a stringed instrument, uses a layer of skin to amplify the sound. Likewise, Jaltarang is considered to be a chime, [Ghana] instrument. We are aware Jaltarang is a full-fledged instrument which is capable of solo performances. Therefore, it does not sound proper to include this instrument in the Ghana category. There are many such flaws in the traditional classification of musical instruments. Therefore, I propose a new classification. This proposed classification should be discussed and debated in a very healthy manner. After the discussions, if the distinguished scholarly presence thinks it proper, it can be adopted for the future classification of Indian musical instruments.
Proposed Classification of musical instruments:
Therefore, on the basis of the above description, we can reclassify our musical instruments in the following categories:
1 Tat, The stringed musical instruments,
These instruments can further be classified as:
Group A can further be categorized as:
A1. Musical instruments with frets, like Dilaruwa etc,
A2. Musical instruments without frets, like violin, Sarangi, Israj etc.
Group B has a variety of musical instruments which come in different shapes and sizes. Therefore, it needs further categorization:
B1 The musical instruments with gourd like Sitar, Veenas of different kinds etc,
In this group, some musical instruments have one gourd and some have two. The instruments having one gourd can be classified as: B1 [a] and the musical instruments having two gourd, can be included in B1 [b]
B2 The musical instruments which have a gourd-like thing, but it is not the natural gourd; it is made of wood. Such musical instruments which have an artificial gourd and not a natural one can be included in this category. For example, Guitar, Sarod etc.
B3 This category will represent those musical instruments which do not have frets. For example, Sarod, Sarangi etc.
B4 The musical instruments whose tonal quality is modified to the satisfaction of the artist by means of a process called "Juvaari". In this process, the bridge is very precisely given a desired shape on the point on which the string passes by. This results in the production of harmonics, which determines its tonal quality. Instruments like Sitar, Tanpura may be included in this category.
B5 The musical instruments, which are put in a position whereby, the strings face upwards. These include, Santoor, guitar which is used in Hindustani classical music, Swaramandal etc.
B6 musical instruments which have a keyboard attached to them. These include, Banjo, piano etc.
2 Avanaddha, The percussion musical instruments:
These musical instruments can also be further categorized as follows:
Both A and B categories of the group 2 can further be divided as:
II. The drums which are not capable of producing a musical note.
3 Sushira, The wind musical instruments:
This category has many different kinds of musical instruments. Therefore, it needs further classification:
This group can further be categorized as:
E1 The bellowed reed instruments; which have a bellow attached to them in order to blow the air.
E2 The musical instruments wherein, the air is blown through the lips.
4 Ghana, The bell/stone/wooden chimes,
This group of musical instruments has a variety of items. In fact, these are not very complicated instruments. Whatever looks to be helpful in order to create or inhance the rhythmic pleasure, is included in this category. Be it a piece of wood, metal, stone, or any kind of synthetic material. For example, Manjeera, Khartaal, Chimta, Jhaanj, Cymbol, Triangle, Qabbakas, Ghungharu, Khanjari, Bells, Stone-chimes etc. here, Khanjari attracts our attention. Khanjari should be included in the group of the percussion musical instruments. However, it has its limitations and there is nothing very special about it. Therefore, it is counted in this category.
These musical instruments can be classified on the basis of the material they are made of. For example, metal, wood, stone etc. these can further be classified as having two or more parameters from the above categorization. Like Khanjari has the metal as well as wood. Khartaal is also made of wood and metal.
5 Mishra Vadyas or mingling of two or more categories,
This category will represent such musical instruments which have two or more parameters from the main categorization.
Here, let me clarify that the chimes have been categorized in 4 Ghana, The bell/stone/wooden chimes. However, This group is different from that category. Simply, because the category 2.5.4 Ghana, The bell/stone/wooden chimes, represents only those musical instruments which help in the enhancement of the pleasure of rhythm. Whereas, this category of group 6 Tarang, the chimes represents those musical instruments which can be played to create melody and these instruments can be played in solo performances also. For example, Jaltarang, Naltarang etc.
7 musical instruments with amplified sounds:
In this era, amplification of musical instruments has been extensively been experimented with. That is why, a special category is required for them.
8 Electronic musical instruments:
Electronic musical instruments are different from that of the amplified musical instruments. These instruments have an electronic chip implanted in them in order to produce sound.
9 musical instruments with synthetic material:
Now-a-days, the natural and the traditional materials are being replaced with the synthetic ones. The reason being, the unavailability of the natural material. For example, the gourd for Sitar and Tanpura, is not easily available these days. That is why, the artificial alternatives are being explored. Likewise, the bridges of these musical instruments are being replaced with the synthetic bridges. Moreover, new musical instruments are being made with the synthetic material. Like Plastic drums, Plastic flutes etc.
On the occasion of 200th birth anniversary of Louis Braille, we pay tribute to him.
The story of Louis Braille's life, told in a lively style
Louis Braille
www.afb.org
Louis Braille (1809-1852)
Six dots. Six bumps. Six bumps in different patterns, like constellations,
spreading out over the page. What are they? Numbers, letters, words. Who
made this code? None other than Louis Braille, a French 12-year-old, who was
also blind. And his work changed the world of reading and writing, forever.
Louis was from a small town called Coupvray, near Paris-he was born on
January 4 in 1809. Louis became blind by accident, when he was 3 years old.
Deep in his Dad's harness workshop, Louis tried to be like his Dad, but it
went very wrong; he grabbed an awl, a sharp tool for making holes, and the
tool slid and hurt his eye. The wound got infected, and the infection
spread, and soon, Louis was blind in both eyes.
All of a sudden, Louis needed a new way to learn. He stayed at his old
school for two more years, but he couldn't learn everything just by
listening. Things were looking up when Louis got a scholarship to the Royal
Institution for Blind Youth in Paris, when he was 10. But even there, most
of the teachers just talked at the students. The library had 14 huge books
with raised letters that were very hard to read. Louis was impatient.
Then in 1821, a former soldier named Charles Barbier visited the school.
Barbier shared his invention called "night writing," a code of 12 raised
dots that let soldiers share top-secret information on the battlefield
without even having to speak. Unfortunately, the code was too hard for the
soldiers, but not for 12-year-old Louis!
Louis trimmed Barbier's 12 dots into 6, ironed out the system by the time he
was 15, then published the first-ever braille book in 1829. But did he stop
there? No way! In 1837, he added symbols for math and music. But since the
public was skeptical, blind students had to study braille on their own. Even
at the Royal Institution, where Louis taught after he graduated, braille
wasn't taught until after his death. Braille began to spread worldwide in
1868, when a group of British men, now known as the Royal National Institute
for the Blind, took up the cause.
Now practically every country in the world uses braille. Braille books have
double-sided pages, which saves a lot of space. Braille signs help blind
people get around in public spaces. And, most important, blind people can
communicate independently, without needing print.
Louis proved that if you have the motivation, you can do incredible things.
Where Can I Find a Picture of Louis Braille?
We hear this question a lot-why are there no photographs of Louis Braille on
the Braille Bug site?
We looked long and hard for a photograph of Louis Braille. But he died in
1852, and at that time photography had been around for only 13 years. It was
still a relatively difficult and rare process.
Also, Louis Braille's code for reading wasn't adopted by the school where he
taught until eight years before he died. France didn't officially adopt
Braille's system until two years after he died. It wasn't until 1890 that
the code was adopted in Austria, Belgium, Denmark, England, Germany, Spain,
and Scotland-and it took even longer to reach the United States. Louis
Braille really became more famous after his death!
Maybe people didn't think of taking a photo of him while he was alive
because they didn't know how famous he would later become. But someone did
think to take an old type of "photo" called a daguerreotype shortly after
his death. Here is a
portrait of Louis Braille
that was based on the daguerreotype. You can see this image, as well as
others, in a new biography from National Braille Press entitled Louis
Braille: A Touch of Genius . As the author notes, "This is the visage of a
dead man; in life, he kept his eyes open."
The only other image we have of Louis Braille is a sculpted bust, which can
be found at the school in Paris where he taught, the Royal Institution for
Blind Youth.
It's hard to remember in these days of digital cameras and instant pictures
how young photography actually is. Sculpture has been around for thousands
of years-photography for only 165 years!
- The Braille Bug
-
What is Braille?
What When you first look at something written in braille, all you see (or
feel) is a jumble of dots! However, like any other code, braille is based on
a logical system. Once you understand it, you'll be able to read and write
braille easily. That's because braille is not a language, it's just another
way to read and write English (or any other language, such as Japanese).
Learn more in "Braille: Deciphering the Code" and check out the other links
below.
Braille: Deciphering the Code
Trivia
Braille Technology
Printable Braille Alphabet Key
braille alphabet card
...Overview of the Braille Bug Site...
table with 2 columns and 44 rows
Six tiny raised dots, ingeniously arranged by a fifteen-year-old boy nearly
two hundred years ago, have brought literacy to thousands of people with
visual disabilities worldwide. Louis Braille, the inventor of the braille
code, was born on January 4, 1809, so January is celebrated as Braille
Literacy Month. The Braille Bug web site for children was launched in
January 2002 to commemorate the achievements of this remarkable young
inventor.
The information, activities, and games found on the Braille Bug web site are
designed to teach children in grades 3 through 6 about braille. As they
explore the site, children will be able to:
list of 6 items
. develop an appreciation for the efficiency and versatility of braille;
. learn why and how Louis Braille invented the literary braille code;
. understand the importance of braille for another famous blind person,
Helen Keller;
. learn to recognize braille letters and numbers;
. describe different ways to read and write braille, including the use of
technology;
. use suggested resources to learn more about braille, blindness, and
related topics.
list end
About Braille Literacy
Braille enables people who are blind or visually impaired to develop
literacy skills comparable to those of sighted people who read print. Those
who know braille can perform tasks as varied as jotting down a phone number,
writing a shopping list, solving a long division problem, reading a musical
score, or composing a doctoral thesis. Sighted elementary students initially
are fascinated by braille as a kind of "secret code." However, as they learn
more about braille and its many uses, they expand their knowledge of people
with disabilities and the accommodations they use to lead full and
successful lives.
Accessibility
Children who are blind or visually impaired can enjoy the activities on the
Braille Bug website right along with their sighted classmates. However, they
will need special software and/or hardware on their computers.
. Those with low vision have the option of
changing the color of the site
to increase contrast and make the text easier to see. They also may use
screen magnification software to enlarge the text and pictures on the
screen.
. Those who do not learn visually may access information and participate in
the games & activities by listening. To do this, they need to have a screen
reader installed on their computer that will read everything that appears on
the screen, including text, menus, icons, and alt tags. All the games and
activities are designed to be completely accessible. However, the objectives
for children who participate by listening are somewhat different from those
for children who access the site visually. Although they will not be
learning to recognize simulated braille letters and numbers, they will
benefit from practice using their screen readers as they select menu items,
listen to information, and play the games. Children with screen readers may
access the games that have simulated braille characters by listening to the
alt tags that give the dot numbers for each one. In this way, a player who
is blind can work on the same questions with a classmate or friend who is
sighted. This arrangement can promote the development of social interaction
skills for both children. Children who would like more practice using their
screen readers may also select the "
Jumble Puzzle
" game that provides clues in regular print letters and words, rather than
in simulated braille.
. Those who read braille may access the screen by using a refreshable
braille display or by downloading and printing out a hard copy of the file
on a braille embosser. Directions for creating a hard copy of any part of
this website are found in another submenu item under "
Parents and Teachers
" entitled "
How to Download Braille Files
."
The Home Page
The Braille Bug, a ladybug with the six dots of the braille cell on her
back, welcomes children to the website on the home page. There are four menu
items for them to choose from, in addition to the "Parents and Teachers"
item:
Change the Colors of the Site
: Children have the option to change the color of the text and background
based on their personal preferences for comfortable viewing.
What is Braille?
Five submenu items provide children with information about the Braille
Code, tools used to read and write braille, and the life of Louis Braille.
It is recommended that children read "Braille: Deciphering the Code" before
attempting any of the games or activities under the next main menu item.
list of 5 items
.
Braille: Deciphering the Code
-An introduction to Louis Braille's systematic arrangement of dots in the
braille cell to form letters, punctuation marks, and numbers. In this
section children also learn about braille contractions and short-form words.
These are special symbols or spellings that reduce the amount of space
needed for writing words in braille.
.
Trivia
-Interesting facts about braille
.
Braille Technology
-A description of low- and high-tech tools used to read and write braille.
.
Printable Braille Alphabet
-A copy of the braille alphabet that students can print out and use as a
reference while playing the games, writing their own simulated braille
messages, or decoding braille words and numbers they find in the
environment.
.
Louis Braille
-The story of Louis Braille's life told in a lively style.
list end
Games and Secret Messages:
Children can explore a variety of interactive activities that challenge them
to decode simulated braille letters, words, and numbers on the screen. All
of the activities except the first one include a copy of the braille
alphabet and numbers for reference.
list of 7 items
.
See Your Name in Braille!
-Type in any name or other word, and watch it appear on the screen in
braille.
.
Trivia Mania
-Decode braille words related to a specific category, such as "Insects."
After a practice round, players earn points for correct answers.
.
Riddles
-Read a riddle in print and decode the braille answer.
.
Braille Jumble
-A more difficult version of Trivia Mania. The braille letters for each word
in a specific category are scrambled. Players decode the letters, rearrange
them, and type their response. After a practice round, points are awarded
for each correct answer.
.
Jumble Puzzle
-Games designed for use with a screen reader or refreshable braille display.
.
Countdown!
-Decode the braille numbers, figure out the pattern (such as 2, 4, 6, 8),
and type the next number in the sequence. After a practice level, players
earn points for correct answers.
.
Secret Message
-Send a coded message to a friend by clicking on the letters of the braille
alphabet or typing in the text. When the message is sent via e-mail, the
friend will receive instructions on how to see it in braille and decode the
words.
braillebug@afb.net
list end
Louis Braille
: The story of Louis Braille's life, told in a lively style.
Helen Keller Kids Museum Online
: A fascinating timeline of Helen Keller's life and achievements. Includes
photos, videos, letters, and more!
We hope that the children who use this site will enjoy learning about
braille and begin to understand its significance for people who are blind
and visually impaired. During the coming year, the Braille Bug website will
expand to include a Reading Club and Friends area. We welcome your comments
and suggestions, which may be sent to
braillebug@afb.net
Send instant messages to your online friends http://in.messenger.yahoo.com
Fighting terrorism
In the aftermath of 26-11 barbaric terror tragedy of Mumbai, the nation is expressing the anger, distress and above all, the frustration arising out of the lack of a real political will as well as the united and cohesive effort especially, from the leadership, to act rapidly, decisively and strongly in order to eliminate terrorism and extremism from our soil. No doubt, the terrorism has become a Global phenomena and it is difficult to deal with it unilaterally. Even the United States had sought the cooperation from the international community after the 9-11 terror strikes in New York. Therefore, if India has sought the same through the United Nation's Security Council, [and a partial success has been achieved], there is no reason why frowns should come on any face. However, the tendency of looking towards the US for the solutions to all our problems looks to be our indecisiveness or short-sightedness which is dangerous and hence must be rectified. We have been fighting a proxy war with Pakistan for more than a quarter of a Century now and yet we have not been able to devise a suitable strategy to counter this undeclared war! This war has been imposed upon us and yet Pakistan successfully makes the international community believe that they are the aggrieved and we are the aggressors. We keep on giving concessions to our hostile neighbour on different counts and at different levels apparently, thinking that someday the good sense shall prevail and we would be able to live like good neighbourly nations, but the hostilities are rising up incessantly and without any break in the magnitude as well as dimension. To pressurize Pakistan, we look towards the US, the UN, and the International community. All the three praise our self-control, yearning of "good neighbourly relations", our far-sightedness etc and apparently, build up the pressure on Pakistan to our happiness and we feel satisfied that enough is enough; From now on, Pakistan will not repeat the Terror tactics. This is the reason why we have not been able to design an original strategy to combat the hostilities imposed upon us.
The political leadership
For the politicians of our country, "the chair" is the destination by hook or by crook. All kinds of the divisive tactics are used to woo the voters as they say, everything is fair in love and war. They tactically create their vote banks on the basis of caste, religion, language, region, gender and all other such issues. Unaccounted money is arranged for such activities and the revenue department keeps on sleeping. Many of our leaders squander lavishly on the occasions like birthdays, weddings etc and the income tax officials apparently, have nothing to do with these activities. Most importantly, the masses watch these irregularities on TV but very easily forget everything. They do not use their right to vote reasonably, judiciously and effectively. That is why, the criminals, who should be in jail, become the members of the legislative assemblies and the parliament. When some terror tragedy occurs, our leadership demonstrates a show of fire crackers through their lip service. Strong words are used mostly without direct reference to any country, as "we are the matured politicians". Many suggestions and plans are discussed in detail. Media makes the scenario spicier. The emotions of the masses are ridiculed and misused. But after a while, everything is forgotten.
Small states like Pakistan, Bangladesh, Afghanistan etc strike upon us and we revise the lessons of keeping restrain, tolerance and the universal brotherhood. Countries like Israel very strongly can control the whole Arab world and we have to seek advice from the US whether or not we have the right to self defence. "We cannot engage in a full-fledged war because it is not in our interest", states the leadership of our country. We are destined to die but do not have the right to kill as it is inhuman and hence does not suit the noble Indian tradition. It is far better to sacrifice one's life for the motherland than to live in the fear of the terror. Mahatma Gandhi once said, "If I have to choose between the violence and the cowardice, I will opt for violence." However, with our leadership, the case is the opposite.
Solutions
So what is the solution? Should we accept the situation as our we are destined to? Are we nothing but the puppets of the destiny? Not at all. Swami Vivekananda had very rightly said, "We are the brothers and the sisters of the Almighty, we are the sparks of the divine fire burning in our hearts. How can we be nothings! We are everything, ready to do everything, we can do everything and man must do everything."
We have the capacity to strike back. We have the potential to eliminate the terror not only from our soil but from the world. What is lacking is only the will power. Dedicate yourself to the nation and you will see miracles happen. The illness of the individualism has been trying to extinguish the fire of the patriotism. Remember, if the nation lives, we live but if the nation dies, who will live! Those who have the individualist approach must think over it.
For years now, we have been living a duel life. We tell others that we are very helpful, caring, sensitive to other's pains, and we posses all the noble qualities. But when it comes to the practice, we forget everything and do whatever in our own short-term interest. We cheat others, we bribe, we see the road accidents but do not react, and we see others in pain but think it better to run away unnoticed. We teach our young ones to speak the truth but when somebody comes to our doorsteps who we do not wish to see, we tell the same children to tell a lie. We have to come out of this hypocrisy.
If bribery is bad, it is bad for everyone. Do not bribe, even if you have to lose some important position. Because, the corruption begins not from anybody else. It begins from you. Contribute to stopping corrupt practices by pledging that you will not bribe in order to get favour.
On one hand, we oppose the Bangladeshi migrant and on the other hand, we hire them as the domestic aids as they are the cheaper ones. Pledge that we will not hire any illegal migrants for any purpose.
The general elections are not very far away. Let us pledge that we will use our right to vote very judiciously. We will surely vote and choose the right candidate. We will not consider the religion, caste, language, and other such things about the candidate but will elect him/her purely on the basis of his qualities.
If the public in general, adopts the aforesaid pledges, we will see a great welcome change in our country.
Dear admirers of Indian classical music!
For a long time I have been planning to create a web space for the good quality musical compositions in Hindustani classical music. Eventually, I have decided to use "youtube" as a tool for the same. My first contribution in this direction is a Drut Khayal in Rag Yaman. Please click Here, and listen to the Bandish. Your comments as well as suggestions are always welcome.
Classical music vs Popular music
All the fine arts can be categorized in two groups. Namely, one, classical and two, folk arts or the arts of the masses. In this essay, we will discuss the art of music in its classical as well as the folk form.
Music is a fine art wherein, the medium of expression is the sound. However, not all sounds are used in music. Only musical sounds are permitted. In the terminology of music, the sounds that are considered musical are called 'tones' or 'naada'. These tones are expressed through musical notes. Names of these notes differ from place to place but in the present era, it is universally accepted that there are seven musical notes in one octave. These musical notes are the alphabet of music. We have just these notes to express ourselves musically. This is the reason, these notes are said to be so important. In the Indian subcontinent, the teachers as well as the scholars of music insist on the practice of these notes. This process of getting control over the musical notes is called 'Swara Saadhana'.
Before going deep into the technical issues, let me tell you that in the folk music, the art comes naturally and instinctively. The folk singers (excluding the professional ones) do not formally learn how to sing or how to take to 'swara saadhana'. In the countryside, people instinctively sing and dance to express their joy and other sentiments. This is the reason that we find folk songs for almost all the occasions. Be it marriage ceremony, occasion of birth of a baby, harvesting season, and what not; there are folk songs for every occasion? Festival songs, seasonal songs, songs associated with different rituals etc are passed on from one generation of folk singers to the one. Thus, the chain keeps on growing.
This is a fact that the origin of all other forms of music is our rich, vibrant and ever new folk tradition. The classical music, popular music, regional music, devotional music, theatrical music, movie songs, light music etc have been originated and evolved from the great ocean of the folk musical tradition. If we go through the first written references about Indian music (the Rigveda), we find that two streams of music have been mentioned there. 1. Aranyagaan and 2. Graamgeya Gaana. It is said that the first one represents the music that was sung by the tribes of the forest. These tribes were far from the urban life and therefore were not cultured enough to devise the rules of singing and dancing.
The second stream of music – 'the gramageya gaana' - was governed by a set of rules and hence it can be considered "nearer to the classical music".
Dimensions of music
Music is a multidimensional art form. In its origin, it comes directly in our instinct, stimulated by the natural surroundings as well as the specific stage of our cultural upgradation. Culture and civilization play a great role in the evolution of musical expressions. The more we develop culturally, the newer dimensions of music peep in. Hence, the music that was in its simplest form at the dawn of our civilization has now grown as if a big banyan tree, which has numerous roots and branches but is still, retains its originality. If we take note of the present era with regard to music, we find that there is a variety of musical forms. (Let us restrict the topic to the context of the Subcontinent for better studies). In India, Pakistan, Bangladesh, Nepal etc, we follow almost the same musical tradition. In the region, we have the popular music on one hand and the classical music on the other hand. In between, there are several give and takes, which, more often than not, go unattended.
Popular music
Generally, music that is popular amongst the masses can be called popular music. However, specifically, it is based upon those music Albums that are the most popular on the chart busters. These popularity ratings are given by the electronic media. Different TV networks, which have especially dedicated to the popular music, provide the weekly ratings for different Songs. These ratings are not very transparent and hence cannot be depended upon. However, these ratings contribute to the promotion of the Album and therefore influence and sometimes fabricate the taste of the audience. Thus, we can define the popular music as "the music which is composed keeping in view the taste of the masses; the rhythm and the beat in this music is such that one tends to dance with the music."
This music includes, the movie melodies, Indipop Albums, Disco music, Remakes of the previous Popular Albums etc. In this list of popular music, the folk music has no place. In fact, in due course of time, the folk and the traditional music has become outdated and hence is not the part of the modern popular music. Popular music, though, is said to be the music of the masses yet it is popular only in the youth of the urban localisations. Somehow, the countryside has gone with the music which is called the folk music. This is also true that as the electronic media has increased its penetration to the rural areas, the influence of the so-called popular music can be felt in the villages too. In short, the popular music has liberated itself from the folk music and has become a different form altogether.
Classical music
This discourse about the classical/nonclassical music is a new phenomenon to the music of the subcontinent. In fact, in the ancient as well as the medieval periods of the history of the music of the region, there has no such word as "classical or nonclassical". These words have ushered into our music from the Western musical fraternity. These days, the music that is governed by a strict set of rules and is based upon the one or the other Raga, is called the classical music. It is also called "Ragdari sangeet". This kind of music is targeted at a very thin audience which is appreciative of the classical music. There are different musical establishments which continuously endeavour to extend the audience base for the classical music but day by day, it is getting thinner.
There are other forms of music popular in the Subcontinent like the jazz music, the Rock music and other Western experiments with music but such forms too have not been able to find an encouraging audience base. Therefore, we can establish the fact beyond any doubts that the only musical form which has a strong audience base is the popular music. Popular music is called the pop music in its shorter forms. To attract more and more audience, the composers of pop music experiment with new ideas and come up with innovations. This results in newer musical forms like the Sufi Pop, the Indipop, the Arabian Pop, remake of the previously popular songs, Disco Bhangda, Disco Garba etc. These composers reproduce the folk music in a new manner and with new beats and rhythms. Punjabi Pop Star Daler Mahndi has reproduced many Punjabi songs in the so-called popular style of music. Garba, Daandya etc are some of other examples where the pop composers have presented "the old wine" in a new and attractive bottle. On the first observation, it looks that by the aforesaid experiments, the composers of the pop music are promoting the folk tradition of music but after a deep analysis we reach the conclusion that these experiments are destroying the sentiment and the ethos of the real folk songs. They are producing such music just for the sole purpose to make their compositions sellable. Thus, they wish to earn more and more out of the artificial or the synthesized kind of the folk music. Therefore, let us discourage such trends.
Classical music vs Popular music
All the fine arts can be categorized in two groups. Namely, one, classical and two, folk arts or the arts of the masses. In this essay, we will discuss the art of music in its classical as well as the folk form.
Music is a fine art wherein, the medium of expression is the sound. However, not all sounds are used in music. Only musical sounds are permitted. In the terminology of music, the sounds that are considered musical are called 'tones' or 'naada'. These tones are expressed through musical notes. Names of these notes differ from place to place but in the present era, it is universally accepted that there are seven musical notes in one octave. These musical notes are the alphabet of music. We have just these notes to express ourselves musically. This is the reason, these notes are said to be so important. In the Indian subcontinent, the teachers as well as the scholars of music insist on the practice of these notes. This process of getting control over the musical notes is called 'Swara Saadhana'.
Before going deep into the technical issues, let me tell you that in the folk music, the art comes naturally and instinctively. The folk singers (excluding the professional ones) do not formally learn how to sing or how to take to 'swara saadhana'. In the countryside, people instinctively sing and dance to express their joy and other sentiments. This is the reason that we find folk songs for almost all the occasions. Be it marriage ceremony, occasion of birth of a baby, harvesting season, and what not; there are folk songs for every occasion? Festival songs, seasonal songs, songs associated with different rituals etc are passed on from one generation of folk singers to the one. Thus, the chain keeps on growing.
This is a fact that the origin of all other forms of music is our rich, vibrant and ever new folk tradition. The classical music, popular music, regional music, devotional music, theatrical music, movie songs, light music etc have been originated and evolved from the great ocean of the folk musical tradition. If we go through the first written references about Indian music (the Rigveda), we find that two streams of music have been mentioned there. 1. Aranyagaan and 2. Graamgeya Gaana. It is said that the first one represents the music that was sung by the tribes of the forest. These tribes were far from the urban life and therefore were not cultured enough to devise the rules of singing and dancing.
The second stream of music – 'the gramageya gaana' - was governed by a set of rules and hence it can be considered "nearer to the classical music".
Dimensions of music
Music is a multidimensional art form. In its origin, it comes directly in our instinct, stimulated by the natural surroundings as well as the specific stage of our cultural upgradation. Culture and civilization play a great role in the evolution of musical expressions. The more we develop culturally, the newer dimensions of music peep in. Hence, the music that was in its simplest form at the dawn of our civilization has now grown as if a big banyan tree, which has numerous roots and branches but is still, retains its originality. If we take note of the present era with regard to music, we find that there is a variety of musical forms. (Let us restrict the topic to the context of the Subcontinent for better studies). In India, Pakistan, Bangladesh, Nepal etc, we follow almost the same musical tradition. In the region, we have the popular music on one hand and the classical music on the other hand. In between, there are several give and takes, which, more often than not, go unattended.
Popular music
Generally, music that is popular amongst the masses can be called popular music. However, specifically, it is based upon those music Albums that are the most popular on the chart busters. These popularity ratings are given by the electronic media. Different TV networks, which have especially dedicated to the popular music, provide the weekly ratings for different Songs. These ratings are not very transparent and hence cannot be depended upon. However, these ratings contribute to the promotion of the Album and therefore influence and sometimes fabricate the taste of the audience. Thus, we can define the popular music as "the music which is composed keeping in view the taste of the masses; the rhythm and the beat in this music is such that one tends to dance with the music."
This music includes, the movie melodies, Indipop Albums, Disco music, Remakes of the previous Popular Albums etc. In this list of popular music, the folk music has no place. In fact, in due course of time, the folk and the traditional music has become outdated and hence is not the part of the modern popular music. Popular music, though, is said to be the music of the masses yet it is popular only in the youth of the urban localisations. Somehow, the countryside has gone with the music which is called the folk music. This is also true that as the electronic media has increased its penetration to the rural areas, the influence of the so-called popular music can be felt in the villages too. In short, the popular music has liberated itself from the folk music and has become a different form altogether.
Classical music
This discourse about the classical/nonclassical music is a new phenomenon to the music of the subcontinent. In fact, in the ancient as well as the medieval periods of the history of the music of the region, there has no such word as "classical or nonclassical". These words have ushered into our music from the Western musical fraternity. These days, the music that is governed by a strict set of rules and is based upon the one or the other Raga, is called the classical music. It is also called "Ragdari sangeet". This kind of music is targeted at a very thin audience which is appreciative of the classical music. There are different musical establishments which continuously endeavour to extend the audience base for the classical music but day by day, it is getting thinner.
There are other forms of music popular in the Subcontinent like the jazz music, the Rock music and other Western experiments with music but such forms too have not been able to find an encouraging audience base. Therefore, we can establish the fact beyond any doubts that the only musical form which has a strong audience base is the popular music. Popular music is called the pop music in its shorter forms. To attract more and more audience, the composers of pop music experiment with new ideas and come up with innovations. This results in newer musical forms like the Sufi Pop, the Indipop, the Arabian Pop, remake of the previously popular songs, Disco Bhangda, Disco Garba etc. These composers reproduce the folk music in a new manner and with new beats and rhythms. Punjabi Pop Star Daler Mahndi has reproduced many Punjabi songs in the so-called popular style of music. Garba, Daandya etc are some of other examples where the pop composers have presented "the old wine" in a new and attractive bottle. On the first observation, it looks that by the aforesaid experiments, the composers of the pop music are promoting the folk tradition of music but after a deep analysis we reach the conclusion that these experiments are destroying the sentiment and the ethos of the real folk songs. They are producing such music just for the sole purpose to make their compositions sellable. Thus, they wish to earn more and more out of the artificial or the synthesized kind of the folk music. Therefore, let us discourage such trends.
On 21st November, 2008, ART OF LIVING, a well-known NGO presents - MEDITATION THROUGH MUSIC – a musical evening entitled, "BrahmaNaad" which has attracted the attention of "the guineas Book of the World Records".
Over one thousand Sitar exponents will perform in unison with flutes, violins, Synth and the rhythmic accompaniment on Tablas, Dholaks, Drum set and the auctropads in the presence of a galaxy of stars from the field of music and dance. It includes, Pt Ravishankar, Pt. Rajan and Sajan Misra, Sonal Mansingh, Pt. Shiv Kumar Sharma and many more.
The venue for this great event is: City Lawns, Sector 32, Noida, UP, India.
The note worthy as well as the record-breaking aspect in this marvelous event is that more than one thousand exponents of Sitar are participating in it. Amongst them, some of the eminent artists are:
Dr. Ravi Sharma, Reader, MDU Rohtak; Vedprakash Sharma, Senior Teacher in a Govt. School in Delhi; Chanderpal, Poonam, Sombeer, students in MDU Rohtak; Santosh Khanna and Neelam Mahendru, Lecturers in a college in Jalandhar; Seema Chadddha.
