by Gudipudi Srikanth
People who say "It's better to give than to receive" are flat out lying. It's always better to be on the receiving end of any transaction (unless you're receiving insults or incoming fire). Keep that sentiment in mind as you build relationships in the music business.
Let me explain.
Several years ago, I took a phone call from a local artist named Mickie. She asked if I had a need for free display banners in exchange for some free ads in the music magazine I published at the time, to promote an upcoming exhibit of her artwork.
I told her I wasn't sure if I could do it, but I'd be happy to discuss it. Before we hung up, she set a time to stop by my office.
Mickie arrived on time for her appointment and immediately pulled out a sketch pad and started asking me questions about the type of banners I might need. I had never given it much thought, really. She talked about the different shapes, sizes and uses: banners that hang over a stage, banners that hang from the front of a stage, banners that hang in front of tables at trade shows, banners that hang from the wall during sponsored events.
We talked about banner lengths, colors, logos ... Mickie even helped me craft a short, catchy slogan to go under my logo. She sketched out possible designs. I began to visualize how these banners would look. After 10 or 15 minutes of this I was excited about the many ways I could use them to promote my business. Best of all, it wouldn't cost me a dime. I was psyched!
As Mickie was gathering her things, almost as if it were an afterthought, she pulled out a small envelope and handed it to me. "Oh, here's a camera-ready ad for my exhibit," she said. "It's sized for your paper and ready to go. If you could run this in the next couple of issues, I'd really appreciate it."
"Absolutely!" I said.
After she left, I felt good about the transaction. I soon realized that I'd been manipulated by a pro -- but I didnt feel used or taken advantage of. Mickie had gone to great lengths to keep my needs in mind and make sure I felt I was getting value out of our relationship. She knew that, by doing this, she would ultimately get what she wanted: a free ad in my paper.
A more close-minded marketer would have approached me by focusing on the exhibit and why the artist deserved exposure ... and might have even asked, "What would I have to do to get a free ad in your paper?" That would have put me in the awkward position of having to figure out how to give this person what he/she wants while satisfying my own needs.
Which method would take you further in your music business relationships?
Think back to a situation in which someone made a great effort to give you something you wanted (keep it clean). How did it make you feel? What effect did it have on your opinion of that person?
Keep that happy state in mind, because it's your job to dole out a heapin' helpin' of that feeling to as many people as you can.
So now that you realize it's better to receive than give, from this day forward, make sure people receive a lot more from you. By doing so, youll end up getting a lot more in return.
วันพุธที่ 15 สิงหาคม พ.ศ. 2550
วันอังคารที่ 14 สิงหาคม พ.ศ. 2550
Music Review : Dhamaal
By Joginder Tuteja
Indra Kumar has hardly lost the plot when it comes to movies directed by him or the soundtrack of his films. Ok, so Pyaare Mohan was an exception but the director promises to bounce back with Dhamaal which is looking, what else, but absolute 'dhamaal'!
This is the very reason why Adnan Sami seems to be the unlikeliest of composers for making songs for the film since the romantic man has been famous more for his mushy/sad numbers than anything else. There has been a 'Lift Kara De' or a 'Kabhi Nahin' but still audience remembers him more for a 'Kabhi To Nazar Milao' or a 'Tera Chehra'.
This is why when he combines with lyricist Sameer for Dhamaal, one has mixed expectations from the film's soundtrack. Hence it is hardly surprising when Dhamaal turns out to be a very average album in the end.
Title song 'Dekho Dekho Dil Ye Bole-Dhamaal' isn't a bad start for the album as it sets the pace running for this film which is expected to be a non-stop laugh riot. The sound of 'Ae Aaa Aao' which forms the rhythm of the song is catchy and is expected to form a good part of the film's background track. Adnan Sami and Shaan come together for this all-men song and pump up the volume to ensure that the proceedings remain lively.
All male bonding continues as this time around Amit Kumar joins Adnan for 'Miss India Martee Mujhpe'. Forget the lyrics, the song is enjoyed mainly for the way it is paced, orchestrated and arranged in a Western style. Having said that, once the song moves into the 'antaras', the effect tapers down and mediocrity steps in. Neither Adnan nor Amit rise above the song and barely hang on to the tune. In fact the chorus in the background is primarily responsible for keeping whatever interest that one may have from the song.
Ample use of harmonium at the very beginning of 'Chandani Raat Hai Saiyan' combined with other assorted instruments make it apparent that it is a 'mujra' track in the making. Surprisingly, in spite of Asha Bhonsle's presence, the song fails to rise above the ordinary. Even the normally effervescent Amit Kumar is hardly in his elements here as he is required to take an earthy approach rather than croon in his inimitable romantic style.
One wonders how could Adnan rope in Ashaji for such an average track in spite of having created wonders with her earlier in 'Kabhi To Nazar Milao'? Later Raghav Sachar with his electronic flute does an 'instrumental' version of the same song but yet again one wonders what would an audience gain out of it? Ditto for Sandeep Shirodkar created 'remix' which only adds to the boredom.
A rock track, 'Chal Nache Shor Machlein', is a very 80s number due to its 'Disco Dancer' kinda feel. There is a slight Pakistani fusion feel to it as well but that is limited in appeal. The arrangements are zingy but somehow the tune isn't the kind that would hold your attention for more than a minute or so.
In fact the song rendered by Adnan and Shaan is hardly exciting even as it takes you towards the album's end. In the latter stages of the song, there is some redemption of sorts due to a live stage performance feel but that's about it. A saxophone driven 'instrumental' by Naveen appears too but that doesn't help the album anything more than acting as a filler.
The album hardly brings with it the kind of 'dhamaal' that one would have expected from a film starring Sanjay Dutt, Arshad Warsi, Riteish Deshmukh and Javed Jaffrey. There is not a single song that one takes home after hearing the entire album and what remains in the end is just the sound of beats and some rhythm. From Adnan Sami, one expected much better.
More bollywood masala at IndiaFM
Indra Kumar has hardly lost the plot when it comes to movies directed by him or the soundtrack of his films. Ok, so Pyaare Mohan was an exception but the director promises to bounce back with Dhamaal which is looking, what else, but absolute 'dhamaal'!
This is the very reason why Adnan Sami seems to be the unlikeliest of composers for making songs for the film since the romantic man has been famous more for his mushy/sad numbers than anything else. There has been a 'Lift Kara De' or a 'Kabhi Nahin' but still audience remembers him more for a 'Kabhi To Nazar Milao' or a 'Tera Chehra'.
This is why when he combines with lyricist Sameer for Dhamaal, one has mixed expectations from the film's soundtrack. Hence it is hardly surprising when Dhamaal turns out to be a very average album in the end.
Title song 'Dekho Dekho Dil Ye Bole-Dhamaal' isn't a bad start for the album as it sets the pace running for this film which is expected to be a non-stop laugh riot. The sound of 'Ae Aaa Aao' which forms the rhythm of the song is catchy and is expected to form a good part of the film's background track. Adnan Sami and Shaan come together for this all-men song and pump up the volume to ensure that the proceedings remain lively.
All male bonding continues as this time around Amit Kumar joins Adnan for 'Miss India Martee Mujhpe'. Forget the lyrics, the song is enjoyed mainly for the way it is paced, orchestrated and arranged in a Western style. Having said that, once the song moves into the 'antaras', the effect tapers down and mediocrity steps in. Neither Adnan nor Amit rise above the song and barely hang on to the tune. In fact the chorus in the background is primarily responsible for keeping whatever interest that one may have from the song.
Ample use of harmonium at the very beginning of 'Chandani Raat Hai Saiyan' combined with other assorted instruments make it apparent that it is a 'mujra' track in the making. Surprisingly, in spite of Asha Bhonsle's presence, the song fails to rise above the ordinary. Even the normally effervescent Amit Kumar is hardly in his elements here as he is required to take an earthy approach rather than croon in his inimitable romantic style.
One wonders how could Adnan rope in Ashaji for such an average track in spite of having created wonders with her earlier in 'Kabhi To Nazar Milao'? Later Raghav Sachar with his electronic flute does an 'instrumental' version of the same song but yet again one wonders what would an audience gain out of it? Ditto for Sandeep Shirodkar created 'remix' which only adds to the boredom.
A rock track, 'Chal Nache Shor Machlein', is a very 80s number due to its 'Disco Dancer' kinda feel. There is a slight Pakistani fusion feel to it as well but that is limited in appeal. The arrangements are zingy but somehow the tune isn't the kind that would hold your attention for more than a minute or so.
In fact the song rendered by Adnan and Shaan is hardly exciting even as it takes you towards the album's end. In the latter stages of the song, there is some redemption of sorts due to a live stage performance feel but that's about it. A saxophone driven 'instrumental' by Naveen appears too but that doesn't help the album anything more than acting as a filler.
The album hardly brings with it the kind of 'dhamaal' that one would have expected from a film starring Sanjay Dutt, Arshad Warsi, Riteish Deshmukh and Javed Jaffrey. There is not a single song that one takes home after hearing the entire album and what remains in the end is just the sound of beats and some rhythm. From Adnan Sami, one expected much better.
More bollywood masala at IndiaFM
Hrithik and Kareena in Zoya Akhtar's Kismat Talkies
By IndiaFM News Bureau
Hrithik Roshan has started shooting for Ashutosh Gowariker's Jodha-Akbar. And we all know about his 3 film deal with Adlabs. But before the Adlabs film, he will be starting shooting for another film with Zoya Akhtar, sister of Farhan Akhtar. Zoya will finally make her directorial debut with this film titled Kismat Talkies. Kareena Kapoor will play the female lead in this film produced by Ritesh Sidhwani and Farhan Akhtar under their Excel Films banner.
Zoya was to make her debut with a film titled Luck - By Chance in 2004. Unfortunately the film never took off. Finally Kismat Talkies is slated to roll by end of March 2007. The next release of Excel Films is Honeymoon Travel's Pvt Ltd. directed by Farhan's assistant Reema Kagti.
Also here is another exclusive. 2007 will see the acting debut of Farhan Akhtar. "There is one assignment that I'm doing which we had shot about 40 per cent before Don. It is Anand Surapur's The Fakir. It actually was supposed to be complete even before Don had gone on floors. But since the director had some personal issues to deal with, the shooting was stopped for a while. We will start again on November 2 and we are heading to Venice for a month's schedule to finish the film", informs Farhan. Let us wish him all the best for his acting debut. We are sure he can pull off acting as good as he directs films.
More bollywood masala at IndiaFM
Hrithik Roshan has started shooting for Ashutosh Gowariker's Jodha-Akbar. And we all know about his 3 film deal with Adlabs. But before the Adlabs film, he will be starting shooting for another film with Zoya Akhtar, sister of Farhan Akhtar. Zoya will finally make her directorial debut with this film titled Kismat Talkies. Kareena Kapoor will play the female lead in this film produced by Ritesh Sidhwani and Farhan Akhtar under their Excel Films banner.
Zoya was to make her debut with a film titled Luck - By Chance in 2004. Unfortunately the film never took off. Finally Kismat Talkies is slated to roll by end of March 2007. The next release of Excel Films is Honeymoon Travel's Pvt Ltd. directed by Farhan's assistant Reema Kagti.
Also here is another exclusive. 2007 will see the acting debut of Farhan Akhtar. "There is one assignment that I'm doing which we had shot about 40 per cent before Don. It is Anand Surapur's The Fakir. It actually was supposed to be complete even before Don had gone on floors. But since the director had some personal issues to deal with, the shooting was stopped for a while. We will start again on November 2 and we are heading to Venice for a month's schedule to finish the film", informs Farhan. Let us wish him all the best for his acting debut. We are sure he can pull off acting as good as he directs films.
More bollywood masala at IndiaFM
Cinema of India
From Wikipedia, the free encyclopedia
The Indian film industry is the largest in the world in terms of the ticket sales and the number of films produced annually (877 feature films and 1177 short films were released in the year 2003 alone).In contrast, 473 films were produced in the US in 2003.Movie tickets in India are among the cheapest in the world.India accounts for 73% of movie admissions in the Asia-Pacific region, and earnings are currently estimated at US$2.9 billion.[citation needed] The industry is mainly supported by the vast cinema-going Indian public. The Central Board of Film Certification of India cites on its website that every three months an audience as large as India's billion-strong population visits cinema halls.Indian films are popular in various parts of the world, especially in countries with significant Indian communities.An Indian film personality Sandeep Marwah has produced 1000 short films which is the highest in the world by an individual.
The Indian film industry is the largest in the world in terms of the ticket sales and the number of films produced annually (877 feature films and 1177 short films were released in the year 2003 alone).In contrast, 473 films were produced in the US in 2003.Movie tickets in India are among the cheapest in the world.India accounts for 73% of movie admissions in the Asia-Pacific region, and earnings are currently estimated at US$2.9 billion.[citation needed] The industry is mainly supported by the vast cinema-going Indian public. The Central Board of Film Certification of India cites on its website that every three months an audience as large as India's billion-strong population visits cinema halls.Indian films are popular in various parts of the world, especially in countries with significant Indian communities.An Indian film personality Sandeep Marwah has produced 1000 short films which is the highest in the world by an individual.The introduction of cinema in India
1896 - 1910
Hiralal Sen
Cinema was introduced to India on July 7, 1896. It began with the Lumiere Brothers' Cinematography, unveiling six silent short films at the Watson Hotel in Bombay, namely Entry of Cinematographe, The Sea Bath, Arrival of a Train, A Demolition, Ladies & Soldiers on Wheels and Leaving the Factory[1]. The Times of India carried details of the "Living Photographic Pictures in Life-Size Reproductions by Mssrs. Lumiere Brotheres". In the same year, the Madras Photographic Store advertised "animated photographs". Daily screenings of films commenced in Bombay in 1897 by Clifton and Co.'s Meadows Street Photography Studio.
In 1898, Hiralal Sen started filming scenes of theatre productions at the Classic Theatre in Calcutta, inspired by Professor Stevenson (who had brought to India the country's first bioscope)'s, film presentation alongside the stage production of The Flower Of Persia; his debut was a contribution to this presentation. He continued making similar films to complement theatrical productions, which were shown as added attractions during intermission, in private screenings for high society households or taken to distant venues where the stage performers could not reach.
Hiralal Sen
Cinema was introduced to India on July 7, 1896. It began with the Lumiere Brothers' Cinematography, unveiling six silent short films at the Watson Hotel in Bombay, namely Entry of Cinematographe, The Sea Bath, Arrival of a Train, A Demolition, Ladies & Soldiers on Wheels and Leaving the Factory[1]. The Times of India carried details of the "Living Photographic Pictures in Life-Size Reproductions by Mssrs. Lumiere Brotheres". In the same year, the Madras Photographic Store advertised "animated photographs". Daily screenings of films commenced in Bombay in 1897 by Clifton and Co.'s Meadows Street Photography Studio.
In 1898, Hiralal Sen started filming scenes of theatre productions at the Classic Theatre in Calcutta, inspired by Professor Stevenson (who had brought to India the country's first bioscope)'s, film presentation alongside the stage production of The Flower Of Persia; his debut was a contribution to this presentation. He continued making similar films to complement theatrical productions, which were shown as added attractions during intermission, in private screenings for high society households or taken to distant venues where the stage performers could not reach.
Harischandra Sakharam Bhatavdekar (H. S. Bhatavdekar) alias Save Dada, who had attended the show, imported a cine-camera from London at a price of 21 guineas and filmed the first Indian documentary, a wrestling match in Hanging Gardens, Bombay, in 1897. In 1901, he recorded the return from Cambridge of 'Wrangler' Ragunath P. Paranjpye, who had secured a distinction in mathematics from Cambridge University, and M M Bhownuggree, considered the first Indian news film. He also filmed Lord Curzon (the Viceroy of India)'s Delhi Durbar that marked the enthronement of Edward VII in 1903.
The commercial potential of cinema was also tested during the time. F.B. Thanewala's "Grand Kinetoscope Newsreels" is one successful case. J.F. Madan was another highly successful film producer, who released hit films like Satyavadi Raja Harishchandra and Bilwamangal; also, he launched Madan Theatres Limited, which became India's largest film production-distribution-exhibition company and the biggest importer of American films after World War I. His films were marked by a high degree of technical sophistication, facilitated by his employment of experienced foreign directors like Eugenio De Liguoro and Camille Legrand. This expertise was complemented by grand sets and popular mythological storylines which ensured good returns.
Cinema houses were set up in major Indian cities in this period, like one in Madras (in 1900 by Major Warrick), the Novelty Cinema in Bombay (where newsreels from the Boer Wars were shown) and the Elphinstone Picture Palace in Calcutta (set up by J.F. Madan in 1907). Apart from these, a number of film shows were arranged in tents; examples are: shows arranged by two Italians, Colorello and Cornaglia, in tents at the Azad Maidan Bombay, J.F. Madan's tent cinema at the Calcutta Maidan. Another popular mode of broadcasting films was the touring cinema. In 1904, Manek Sethna started the Touring Cinema Co. in Bombay and a year later, Swamikannu Vincent, a draughtsman for the railways set up a touring cinema going around small towns and villages in the South of India. Pathe, the famous film production company set up an Indian Office in 1907.
The commercial potential of cinema was also tested during the time. F.B. Thanewala's "Grand Kinetoscope Newsreels" is one successful case. J.F. Madan was another highly successful film producer, who released hit films like Satyavadi Raja Harishchandra and Bilwamangal; also, he launched Madan Theatres Limited, which became India's largest film production-distribution-exhibition company and the biggest importer of American films after World War I. His films were marked by a high degree of technical sophistication, facilitated by his employment of experienced foreign directors like Eugenio De Liguoro and Camille Legrand. This expertise was complemented by grand sets and popular mythological storylines which ensured good returns.
Cinema houses were set up in major Indian cities in this period, like one in Madras (in 1900 by Major Warrick), the Novelty Cinema in Bombay (where newsreels from the Boer Wars were shown) and the Elphinstone Picture Palace in Calcutta (set up by J.F. Madan in 1907). Apart from these, a number of film shows were arranged in tents; examples are: shows arranged by two Italians, Colorello and Cornaglia, in tents at the Azad Maidan Bombay, J.F. Madan's tent cinema at the Calcutta Maidan. Another popular mode of broadcasting films was the touring cinema. In 1904, Manek Sethna started the Touring Cinema Co. in Bombay and a year later, Swamikannu Vincent, a draughtsman for the railways set up a touring cinema going around small towns and villages in the South of India. Pathe, the famous film production company set up an Indian Office in 1907.
1910-1920
The first feature film made in India was a narrative named Pundalik, by N.G. Chitre and R.G. Torney. The first full-length Indian feature film was Raja Harishchandra (3700 feet as compared to 1500 for Pundalik), made in 1913 and released commercially in May that year, by Dadasaheb Phalke. Phalke had attended a screening of The Life of Christ at P.B. Mehta's American-Indian Cinema and was inspired to make films himself. He was convinced of the possibility of establishing an indigenous film industry by focusing on Indian themes. In this regard, he said Like the life of Christ, we shall make pictures on Rama and Krishna. The film was about an honest king who for the sake of his principles sacrifices his kingdom and family before the gods, who are impressed with his honesty and restore him to his former glory. The film was a success, and Phalke went on to make more mythological films till the advent of talkies, and commercialization of Indian films lessened his popularity.
In 1916, Universal Pictures set up Hollywood's first Indian agency (see Hollywood meets India, below). The first South Indian feature was Rangaswamy Nataraja Mudaliar's Keechaka Vadham, released in 1918. The following year, he made the film Draupadi Vastrapaharanam, featuring Anglo-Indian actress Marian Hill who played the role of Draupadi.
In 1916, Universal Pictures set up Hollywood's first Indian agency (see Hollywood meets India, below). The first South Indian feature was Rangaswamy Nataraja Mudaliar's Keechaka Vadham, released in 1918. The following year, he made the film Draupadi Vastrapaharanam, featuring Anglo-Indian actress Marian Hill who played the role of Draupadi.
Indian Music Glossary
by Manjiri Ganu
Achal - Fixed
Arohi - Ascending movement a. k. a. Arohana; Aroh
Avirbhav - To make visible the original raga form
Abhoga - Closing movement in a composition
Alaap - Unmetered Raga introduction and expansion; prelude
Andolan - Undulating vibrato
Ang - Style; as in Gayaki
Ang-vocal style
Alankar - Ornaments, exercises
Antar Gandhar - Shudha Gandhar
Antara - 2nd Movement in a composition with the melodic progression generally in the uttarang region of the octave and above
Antya - Ending on
Anuvadi - Assonant note
Asthai - 1st movement in a composition with the melodic progression generally in the poorvang region of the octave and below
Asthan - Region; area: as in Mandar
Asthan-lower octave region
Ati - Very
Audava - Five notes; pentatonic
Avarohi - Descending movement a. k. a. Avarohana; Avaroh
Bhajan - Devotional song
Bol /s - Sound sylabel /s. as in Tabla Bols
Carnatic - South Indian
Chakra - S. I. Melakarta raga classification. There are 12 Chakras of six ragas each, giving the 72 Melas. See Mela Chart.
Chalan - A systematic raga expansion
Chautalaa - 14 Beatr Cycle
Dadra Tal - Six beat cycle
Deepchandi Tal - Fourteen beat cycle
Dhamar Tal - Fourteen beat cycle
Dhaivata - Sixth musical note (Dha)
Drut - Fast
Ek Tal - Twelve beat cycle
Gandhar - Third musical note (Ga)
Gayaki - Vocal
Geet - Popular song or composition
Ghazal - Urdu poem, vocal song style
Grama - Ancient music scales- Shadaja, Madhyama, and Gandhar Gramas
Hindustani - North Indian
Jati - Tonal classification
Jhaptal - Ten beat cycle
Jhumra Tal - Fourteen beat cycle
Kan - Grace, as in grace note
Keharwa Tal - Eight beat cycle
Komal - Flat
Kriti - Classical composition (used in S. I. music system)
Lakshan - Introduction, definitive principles, or rules
Laya - Tempo
Madhya Saptak - Middle octave region; middle pitch register
Madhya Laya - Medium Tempo
Madhyama - Fourth musical note (Ma)
Mandar - Lower octave region; low pitch register
Manjari - Collection, bouquet
Meend - Slide or glissando
Mela - S. I. Parent mode; 72 in all; See Mela chart
Mishra - Mixed
Mridangam - Barrel shaped drum used in Carnatic classical music
Nada - Sound in general; but applies more to musical sound or else it is considered noise. Nada is of two types: Ahata (struck) and Unahata (un-struck)
Nada Brahma - This universe is sound
Nataka - Drama
Nyasa - Closing note; cadence
Nishadha - Seventh musical note (Ni)
Pakar - Characteristic musical catch phrase of a raga
Panchama - Fifth Musical note (Pa)
Pandit - A learned man; scholar
Poorvang - Lower tetrachord-Sa Re Ga Ma / modified to Sa Re Ga Ma Pa
Prati - Sharp (a. k. a. Tivar)
Raga - Modal scale
Ragini - Feminine gender Modal scale
Rasa - Emotional state. In music there are nine: Shringaar (sensual), Raudra (anger), Hasya (happy), Vibhatsaya (disgust), Veera(heroic), Karuna (sympathy), Bhayanak (fear), Adabhuta (wonder), and Shanta (peace)
Rasik - Tasteful, admirer of beauty, creator of Rasa. Author Pandit S. D. Batish's poetic name
Rishabha - Second musical note (Re)
Rupak Tal - Seven beat cycle
Sanchari - Third movement in a composition encompassing all the regions of the octave; Sanchari means wandering
Sangeet - Musical science
Sampooran - Seven note; heptatonic
Samvadi - Subsonant, the second most important note in a raga
Sandhi Prakash - Sunrise or sunset time periods
Saptak - Octave (Sapt means seven. Indian music does not count repeated notes as a part of the same octave. But saptak and octave basically imply the same meaning)
Sargam - Indian solfegio; derived from the first four notes Sa, Re, Ga, Ma
Shadaja - First musical note (Sa). A. k. a. Kharaja
Shastra - Treatise
Shaudava - Six note; hexatonic
Shruti - Musical microtone; pitch; intonation
Shudha - A pure or a natural note
Swara - Musical note
Swaroop - Image
Tabla - North Indian drum set consisting of the Dagga (bass drum) and the Tabal (Treble drum)
Tal - Rhythm cycle
Tan - An improvised vocal or instrumental musical phrase
Tanpura - String instrument used for drone; Tanpura means to fill the void behind the music; to complete or assist a tan; a. k. a. Tamboora
Tar - Upper octave region; upper pitch register
Tamboora - See Tanpura; made from a gourd (Tumba)
Thaat - Parent scale, parent mode; Thaat means to tie down as in frets
Thumri - Vocal or instrumental song style
Tintal - Sixteen beat cycle
Tirobhav - Deviating or camouflaging from the original. Concealment
Tivar - Sharp
Uttarang - Upper tetrachord-Pa Dha Ni Sa / modified to Ma Pa Dha Ni Sa
Vadi - Sonant. The most important note in a raga
Vakra - Zigzag, indirect, or crooked
Varana - Embellishment, note group
Varjit - Omitted, deleted or avoided note
Vikrit - Modified
Vilambit - Slow
Vivadi - Dissonant note
Achal - Fixed
Arohi - Ascending movement a. k. a. Arohana; Aroh
Avirbhav - To make visible the original raga form
Abhoga - Closing movement in a composition
Alaap - Unmetered Raga introduction and expansion; prelude
Andolan - Undulating vibrato
Ang - Style; as in Gayaki
Ang-vocal style
Alankar - Ornaments, exercises
Antar Gandhar - Shudha Gandhar
Antara - 2nd Movement in a composition with the melodic progression generally in the uttarang region of the octave and above
Antya - Ending on
Anuvadi - Assonant note
Asthai - 1st movement in a composition with the melodic progression generally in the poorvang region of the octave and below
Asthan - Region; area: as in Mandar
Asthan-lower octave region
Ati - Very
Audava - Five notes; pentatonic
Avarohi - Descending movement a. k. a. Avarohana; Avaroh
Bhajan - Devotional song
Bol /s - Sound sylabel /s. as in Tabla Bols
Carnatic - South Indian
Chakra - S. I. Melakarta raga classification. There are 12 Chakras of six ragas each, giving the 72 Melas. See Mela Chart.
Chalan - A systematic raga expansion
Chautalaa - 14 Beatr Cycle
Dadra Tal - Six beat cycle
Deepchandi Tal - Fourteen beat cycle
Dhamar Tal - Fourteen beat cycle
Dhaivata - Sixth musical note (Dha)
Drut - Fast
Ek Tal - Twelve beat cycle
Gandhar - Third musical note (Ga)
Gayaki - Vocal
Geet - Popular song or composition
Ghazal - Urdu poem, vocal song style
Grama - Ancient music scales- Shadaja, Madhyama, and Gandhar Gramas
Hindustani - North Indian
Jati - Tonal classification
Jhaptal - Ten beat cycle
Jhumra Tal - Fourteen beat cycle
Kan - Grace, as in grace note
Keharwa Tal - Eight beat cycle
Komal - Flat
Kriti - Classical composition (used in S. I. music system)
Lakshan - Introduction, definitive principles, or rules
Laya - Tempo
Madhya Saptak - Middle octave region; middle pitch register
Madhya Laya - Medium Tempo
Madhyama - Fourth musical note (Ma)
Mandar - Lower octave region; low pitch register
Manjari - Collection, bouquet
Meend - Slide or glissando
Mela - S. I. Parent mode; 72 in all; See Mela chart
Mishra - Mixed
Mridangam - Barrel shaped drum used in Carnatic classical music
Nada - Sound in general; but applies more to musical sound or else it is considered noise. Nada is of two types: Ahata (struck) and Unahata (un-struck)
Nada Brahma - This universe is sound
Nataka - Drama
Nyasa - Closing note; cadence
Nishadha - Seventh musical note (Ni)
Pakar - Characteristic musical catch phrase of a raga
Panchama - Fifth Musical note (Pa)
Pandit - A learned man; scholar
Poorvang - Lower tetrachord-Sa Re Ga Ma / modified to Sa Re Ga Ma Pa
Prati - Sharp (a. k. a. Tivar)
Raga - Modal scale
Ragini - Feminine gender Modal scale
Rasa - Emotional state. In music there are nine: Shringaar (sensual), Raudra (anger), Hasya (happy), Vibhatsaya (disgust), Veera(heroic), Karuna (sympathy), Bhayanak (fear), Adabhuta (wonder), and Shanta (peace)
Rasik - Tasteful, admirer of beauty, creator of Rasa. Author Pandit S. D. Batish's poetic name
Rishabha - Second musical note (Re)
Rupak Tal - Seven beat cycle
Sanchari - Third movement in a composition encompassing all the regions of the octave; Sanchari means wandering
Sangeet - Musical science
Sampooran - Seven note; heptatonic
Samvadi - Subsonant, the second most important note in a raga
Sandhi Prakash - Sunrise or sunset time periods
Saptak - Octave (Sapt means seven. Indian music does not count repeated notes as a part of the same octave. But saptak and octave basically imply the same meaning)
Sargam - Indian solfegio; derived from the first four notes Sa, Re, Ga, Ma
Shadaja - First musical note (Sa). A. k. a. Kharaja
Shastra - Treatise
Shaudava - Six note; hexatonic
Shruti - Musical microtone; pitch; intonation
Shudha - A pure or a natural note
Swara - Musical note
Swaroop - Image
Tabla - North Indian drum set consisting of the Dagga (bass drum) and the Tabal (Treble drum)
Tal - Rhythm cycle
Tan - An improvised vocal or instrumental musical phrase
Tanpura - String instrument used for drone; Tanpura means to fill the void behind the music; to complete or assist a tan; a. k. a. Tamboora
Tar - Upper octave region; upper pitch register
Tamboora - See Tanpura; made from a gourd (Tumba)
Thaat - Parent scale, parent mode; Thaat means to tie down as in frets
Thumri - Vocal or instrumental song style
Tintal - Sixteen beat cycle
Tirobhav - Deviating or camouflaging from the original. Concealment
Tivar - Sharp
Uttarang - Upper tetrachord-Pa Dha Ni Sa / modified to Ma Pa Dha Ni Sa
Vadi - Sonant. The most important note in a raga
Vakra - Zigzag, indirect, or crooked
Varana - Embellishment, note group
Varjit - Omitted, deleted or avoided note
Vikrit - Modified
Vilambit - Slow
Vivadi - Dissonant note
Music of India
From Wikipedia, the free encyclopedia
The music of India includes multiple varieties of folk, popular, pop, and classical music. India's classical music tradition, including Carnatic and Hindustani music, has a history spanning millennia and, developed over several eras, remains fundamental to the lives of Indians today as sources of religious inspiration, cultural expression and pure entertainment. India is made up of several dozen ethnic groups, speaking their own languages and dialects.
Pop music
The biggest form of Indian pop music is filmi, or songs from Indian musical films. The Film industry of India supported music by according reverence to classical music while utilizing the western orchestration to support Indian melodies. Music composers like C. Ramchandra, Salil Chowdhary, S.D. Burman, Vasant Desai, Shankar Jaikishan emplyed the principles of harmony while retaining classical and folk flavor. Reputed names in the domain of Indian classical music like Pt. Ravishankar, Ustad Vilayat Khan, Ustad Ali Akbar Khan and Pt. Ramnarayan have also composed music for films. Independent pop acts such as Asha Bhosle, Alisha Chinai, Shaan, Sonu Nigam, Sukhwinder Singh, KK, Kunal Ganjawala, Sunidhi Chauhan, Alka Yagnik, Shreya Ghoshal and rock bands like Indus Creed, Indian Ocean, and Euphoria exist and have gained mass appeal with the advent of cable music television.
Western fusions
In the late 1970s and early 1980s, rock and roll fusions with Indian music were well-known throughout Europe and North America. Ali Akbar Khan's 1955 performance in the United States was perhaps the beginning of this trend, which was soon centred around Ravi Shankar.
In 1962, Shankar and Bud Shank, a jazz musician, released Improvisations and Theme From Pather Pachali and began fusing jazz with Indian traditions. Other jazz pioneers such as John Coltrane—who recorded a composition entitled 'India' during the November 1961 sessions for his album Live At The Village Vanguard (the track was not released until 1963 on Coltrane's album Impressions)—also embraced this fusion. George Harrison (of the Beatles) played the sitar on the song "Norwegian Wood (This Bird Has Flown)" in 1965, which sparked interest from Shankar, who subsequently took Harrison as his apprentice. Jazz innovator Miles Davis recorded and performed with musicians like Khalil Balakrishna, Bihari Sharma, and Badal Roy in his post-1968 electric ensembles. Other Western artists like the Grateful Dead, Incredible String Band, the Rolling Stones, the Move and Traffic soon incorporated Indian influences and instruments, and added Indian performers.
Guitarist (and former Miles Davis associate) John McLaughlin experimented with Indian music elements in his electric jazz-rock fusion group The Mahavishnu Orchestra, and pursued this with greater authenticity in the mid-1970s when he collaborated with L. Shankar, Zakir Hussain and others in the acoustic ensemble Shakti. The sole successful blending of classical music with western music was achieved by Ananda Shankar, son of Pt. Uday Shankar. The limits of such a fusion are narrow because the scales of western and Indian music differ.
Though the Indian music craze soon died down among mainstream audiences, diehard fans and immigrants continued the fusion. In the late 1980s, Indian-British artists fused Indian and Western traditions to make the Asian Underground.
In the new millennium, American hip-hop has featured Indian Filmi and Bhangra. Mainstream hip-hop artists have sampled songs from Bollywood movies and have collaborated with Indian artists. Examples include Timbaland's "Indian Flute", Erick Sermon and Redman's "React", Slum Village's "Disco", and Truth Hurts' hit song "Addictive", which sampled a Lata Mangeshkar song, and the Black Eyed Peas sampled Asha Bhosle's song "Yeh Mera Dil" in their hit single "Don't Phunk With My Heart". In 1997, the British band Cornershop paid tribute to Asha Bhosle with their song Brimful of Asha, which became an international hit. British-born Indian artist Panjabi MC also had a Bhangra hit in the U.S. with "Mundian To Bach Ke" which featured rapper Jay-Z. Asian Dub Foundation are not huge mainstream stars, but their politically-charged rap and punk rock influenced sound has a multi-racial audience in their native UK
In 1962, Shankar and Bud Shank, a jazz musician, released Improvisations and Theme From Pather Pachali and began fusing jazz with Indian traditions. Other jazz pioneers such as John Coltrane—who recorded a composition entitled 'India' during the November 1961 sessions for his album Live At The Village Vanguard (the track was not released until 1963 on Coltrane's album Impressions)—also embraced this fusion. George Harrison (of the Beatles) played the sitar on the song "Norwegian Wood (This Bird Has Flown)" in 1965, which sparked interest from Shankar, who subsequently took Harrison as his apprentice. Jazz innovator Miles Davis recorded and performed with musicians like Khalil Balakrishna, Bihari Sharma, and Badal Roy in his post-1968 electric ensembles. Other Western artists like the Grateful Dead, Incredible String Band, the Rolling Stones, the Move and Traffic soon incorporated Indian influences and instruments, and added Indian performers.
Guitarist (and former Miles Davis associate) John McLaughlin experimented with Indian music elements in his electric jazz-rock fusion group The Mahavishnu Orchestra, and pursued this with greater authenticity in the mid-1970s when he collaborated with L. Shankar, Zakir Hussain and others in the acoustic ensemble Shakti. The sole successful blending of classical music with western music was achieved by Ananda Shankar, son of Pt. Uday Shankar. The limits of such a fusion are narrow because the scales of western and Indian music differ.
Though the Indian music craze soon died down among mainstream audiences, diehard fans and immigrants continued the fusion. In the late 1980s, Indian-British artists fused Indian and Western traditions to make the Asian Underground.
In the new millennium, American hip-hop has featured Indian Filmi and Bhangra. Mainstream hip-hop artists have sampled songs from Bollywood movies and have collaborated with Indian artists. Examples include Timbaland's "Indian Flute", Erick Sermon and Redman's "React", Slum Village's "Disco", and Truth Hurts' hit song "Addictive", which sampled a Lata Mangeshkar song, and the Black Eyed Peas sampled Asha Bhosle's song "Yeh Mera Dil" in their hit single "Don't Phunk With My Heart". In 1997, the British band Cornershop paid tribute to Asha Bhosle with their song Brimful of Asha, which became an international hit. British-born Indian artist Panjabi MC also had a Bhangra hit in the U.S. with "Mundian To Bach Ke" which featured rapper Jay-Z. Asian Dub Foundation are not huge mainstream stars, but their politically-charged rap and punk rock influenced sound has a multi-racial audience in their native UK
Rock & Metal music
The rock music scene in India is extremely small when compared to filmi or fusion music scenes but has of recent years come into its own, achieving a cult status of sorts. Rock music in India has its origins in 1960's and 70's when international stars such as The Beatles visited India and brought their music with them. These artistes' collaboration with Indian musicians such as Ravi Shankar and Zakir Hussain have led to the development of Raga Rock. However Indian Rock Bands began to gain prominence only much later, around the late 1980's. It was around this time that the rock band Indus Creed formerly known as The Rock Machine got itself noticed on the international stage with hits like Rock N Roll Renegade. Other bands quickly followed. As of now, the rock music scene in India is quietly growing day by day and gathering more support. With the introduction of MTV in the early 1990's, Indians began to be exposed to various forms of rock such as grunge and speed metal. This influence can be clearly seen in many Indian bands today. The cities of Kolkata, Delhi, Mumbai and Bangalore have emerged as major melting pots for rock and metal enthusiasts. Some prominent bands include Parikrama, Pentagram, Thermal and a Quarter, Zero and Nexus. The future looks encouraging thanks to entities such as DogmaTone Records, that are dedicated to promoting and supporting Indian Rock. A new genre of non-professional bands with strong influence of western classic rock acts such as Pink Floyd/Dire Straits, combined with an Indian classical touch, are coming up with their own web based existence - one such band is 6Strings&Sid
Folk music
The arrival of films and pop music weakened folk music's popularity, but cheaply recordable music has made it easier to find and helped revive the traditions. Folk music (desi) has been influential on classical music, which is viewed as a higher art form. Instruments and styles have had an effect on classical ragas. It is also not uncommon for major writers, saints and poets to have large musical libraries and traditions to their name, often sung in thumri (semi-classical) style.
Classical music
The two main traditions of classical music have been Carnatic music, found predominantly in the peninsular regions and Hindustani music, found in the northern and central parts. While both traditions claim Vedic origin, history indicates that the two traditions diverged from a common musical root since c. 13th century. For more, see Indian classical music, Hindustani music and Carnatic music.
Hindustani music
Hindustani music is an Indian classical music tradition that took shape in northern India circa the 13th and 14th centuries AD from existing religious, folk, and theatrical performance practices. The practice of singing based on notes was popular even from the Vedic times where the hymns in Sama Veda, a sacred text, was sung as Samagana and not chanted. Developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. In contrast to Carnatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hindu musical traditions, Vedic philosophy and native Indian sounds but also by the Persian performance practices of the Mughals.
Carnatic music
The present form of Carnatic music is based on historical developments that can be traced to the 15th - 16th centuries CE and thereafter. From the ancient Sanskrit works available, and the several epigraphical inscriptional evidences, the history of classical musical traditions can be traced back to about 2500 years.
Carnatic music is completely melodic, with improvised variations. The main emphasis is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as gāyaki). Like Hindustani music, Carnatic music rests on two main elements: rāga, the modes or melodic formulæ, and tāḷa, the rhythmic cycles.
Carnatic music is completely melodic, with improvised variations. The main emphasis is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as gāyaki). Like Hindustani music, Carnatic music rests on two main elements: rāga, the modes or melodic formulæ, and tāḷa, the rhythmic cycles.
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