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Surbahar Players
''Surbahar'' (; ) sometimes known as bass sitar, is a plucked string instrument used in the Hindustani classical music of the Indian subcontinent. It is closely related to the sitar, but has a lower pitch. Depending on the instrument's size, it is usually pitched two to five whole steps below the standard sitar. Overview The surbahar is over 130 cm (51 inches). It uses a dried gourd as a resonator, and has a neck with very wide frets, which allow a glissando or "meend" of as much as an octave on the same fret through the method of pulling. The neck is made out of ''toona'', or mahogany wood. It has 3-4 rhythm strings (''chikari''), four playing strings (the broadest 1 mm), and 10 to 11 sympathetic strings. There are two bridges; the playable strings pass over the greater bridge, which is connected to the tabli with small legs, which are glued in place. The sympathetic strings pass over the smaller bridge which is directly glued on the tabli. The bridges have a s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Necked Bowl Lutes
Necking can refer to: * Making out, a term for heavy kissing of the neck or petting of that area * Necking (engineering), the process by which a ductile material deforms under tension forming a thin ''neck'' * Necking (electronics), thinning of traces in PCB layouts * Necking, a behavior of giraffes * Necking up or necking down, methods of modifying a firearm cartridge to make a wildcat cartridge or a new production cartridge (e.g. the US .60 caliber T17 round being shortened and necked up to create the 20×102 mm M61 Vulcan The M61 Vulcan is a Hydraulic machinery, hydraulically, electrically, or pneumatics, pneumatically driven, six-Gun barrel, barrel, air-cooled, electrically fired Gatling gun, Gatling-style rotary cannon which fires 20 mm caliber, rounds at an e ... cannon cartridge) See also * Neck (other) * Rubbernecking {{disambiguation ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sympathetic Strings
Sympathetic strings or resonance strings are auxiliary strings found on many Indian musical instruments, as well as some Western Baroque instruments and a variety of folk instruments. They are typically not played directly by the performer (except occasionally as an effect), only indirectly through the tones that are played on the main strings, based on the principle of sympathetic resonance. The resonance is most often heard when the fundamental frequency of the string is in unison or an octave lower or higher than the catalyst note, although it can occur for other intervals, such as a fifth, with less effect. Description Sympathetic strings are used to enhance the sound of an instrument. Some instruments have only a few sympathetic strings such as the Hardanger fiddle (pictured above right). Other instruments which have more include the sitar with 11-13 sympathetic strings and sarod with 15 sympathetic strings, and the sarangi, which has a total of 37 sympathetics. In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Annapurna Devi
Annapurna Devi (17 April 1927 – 13 October 2018) was an Indian surbahar player of Hindustani classical music. She was given the name 'Annapurna' by Maharaja Brijnath Singh of the former Maihar Estate, and it was by this name that she was popularly known. She was the daughter and disciple of Allauddin Khan, and the sister of Ustad Ali Akbar Khan. Pandit Ravi Shankar was her first husband, with whom she had a son, Shubhendra Shankar, who was an artist and a sitarist. She was an extremely private person and was never interested in being a professional musician like the rest of her family. However, she was active throughout her life as a teacher to many other prominent musicians like Nikhil Banerjee, Hariprasad Chaurasia, Nityanand Haldipur, Sudhir Phadke and Sandhya Phadke. She was the only known female maestro of the surbahar in the 20th century. Biography Annapurna Devi was born on 17 April 1927 at Maihar, a princely state in Madhya Pradesh, India. Her father, Ust ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lucknow
Lucknow () is the List of state and union territory capitals in India, capital and the largest city of the List of state and union territory capitals in India, Indian state of Uttar Pradesh and it is the administrative headquarters of the eponymous Lucknow district, district and Lucknow division, division. Having a population of 2.8 million as per 2011 census, it is the List of cities in India by population, eleventh most populous city and List of million-plus urban agglomerations in India, the twelfth-most populous urban agglomeration of India. Lucknow has always been a Multiculturalism, multicultural city that flourished as a North Indian cultural and artistic hub, and the seat of power of Nawabs in the 18th and 19th centuries. It continues to be an important centre of governance, administration, education, commerce, aerospace, finance, pharmaceuticals, information technology, design, culture, tourism, music, and poetry. Lucknow, along with Agra and Varanasi, is in the Uttar P ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wazir Khan (Rampur)
Ustad Mohammad Wazir Khan (1860–1926) served as the head of Arbab-e-Nishat (Music Department of Rampur State) during the period of Nawab Hamid Ali Khan of Rampur. He was also an excellent playwright who established the Rampur theatre in the building of club Ghar in Rampur. Early life and background Wazir Khan was born in 1860 in the former Rampur State to Ameer Khan Beenkar. He was the descendant of Naubat Khan and Hussaini (Tansen's daughter). Besides music, Wazir Khan's interests spanned many fields and areas. He was also a professional playwright, poet, published author, painter, passionate photographer, and a well-practiced calligrapher. Primarily he used to do calligraphy in Arabic and Persian. In poetry, he was the student of the noted poet Daagh Dehlvi. As a musicologist, he wrote the Risala Mausibi. In addition, Wazir Khan was proficient in many languages, such as Arabic, Persian, Urdu, Hindi, Bangla, Marathi and Gujarati. Cuisine All the Naubat Khanis were fond o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Omrao Khan
Omrao Khan beenkar was a vina wizard of the 18th century. He was a descendant of Naubat Khan. Early life Omrao Khan beenkar was born in Agra to Naubat Khan II. He was the nephew of Nirmol Shah and first cousin of Pyar Khan, Jafar Khan and Basit Khan, of Awadh. He came to Banda (state), Banda on the invitation of Nawab of Banda. Omrao Khan had two sons Ameer Khan Khandara, Ameer Khan beenkar and Rahim Khan. Ameer Khan was the father of legendary vina player Wazir Khan (Rampur), Wazir Khan. Career The court of Maharaja Udit Narayan Singh of Banaras was the home of one of the foremost bin playing lines of the time. Topmost among the musicians of banaras and first among all contemporary musicians named by Karam Imam is Omrao Khan. Omrao Khan was the master of Nawab of Banda 'Hashmat Jung' or Ali Bahadur II who participated in the 1857 war of independence. Ali Naqi the prime minister of Awadh and Raja sahab Rewa also learnt music under his instruction. Surbahar Omrao Khan invented sur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saraswati
Saraswati (, ), also spelled as Sarasvati, is one of the principal Devi, goddesses in Hinduism, revered as the goddess of knowledge, education, learning, arts, speech, poetry, music, purification, language and culture. Together with the goddesses Lakshmi and Parvati, she forms the trinity of chief goddesses, known as the Tridevi. Sarasvati is a pan-Indian deity, venerated not only in Hinduism but also in Jainism and Buddhism.Ludvik (2007), pp. 1, 11. She is one of the prominent goddesses in the Historical Vedic religion, Vedic tradition (1500 to 500 BCE) who retains her significance in later Hinduism. In the Vedas, her characteristics and attributes are closely connected with the Sarasvati River, making her one of the earliest examples of a Rivers in Hinduism, river goddess in Indian tradition. As a deity associated with a river, Sarasvati is revered for her dual abilities to purify and to nurture fertility. In later Vedic literature, particularly the Brahmanas, Sarasvati is i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Veena
The ''veena'', also spelled ''vina'' ( IAST: vīṇā), is any of various chordophone instruments from the Indian subcontinent. Ancient musical instruments evolved into many variations, such as lutes, zithers and arched harps.Vina: Musical Instrument Encyclopædia Britannica (2010) The many regional designs have different names such as the '' Rudra veena'', the '''', the '' Vichitra veena'' and others. The North Indian ''rudra veena'', used in |
Pakhavaj
The ''pakhavaj'' is a barrel-shaped, two-headed drum, originating from the Indian subcontinent, kendang of Maritime Southeast Asia and other South Asian double-headed drums. Its older forms were made with clay. It is the percussion instrument most commonly used in the dhrupad style of Indian classical music and less often used as a rhythm accompaniment for various other sub-forms of music and dance performances (e.g. kathak, odissi, marathi). It has a low, mellow tone that is quite rich in harmonics. The sides of the pakhawaj are made with animal skin (often goat skin). The pakhavaj players place the instrument horizontally in front of themselves as they sit on the floor with legs crossed. The players may sometimes place a cushion under the narrower treble face to lift it slightly. A right-handed person places the larger bass-skin on the left side and the treble skin on the right. The bass face tends to be smeared with some fresh wheat dough which acts as the ''kiran'' and g ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jhala
Jhala (Hindi: झाला, ) is a term in Hindustani classical music which denotes the fast-paced conclusions of classical compositions or raga A raga ( ; , ; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. It is central to classical Indian music. Each raga consists of an array of melodic structures with musical motifs; and, fro .... It is often characterized by the overwhelming of the melodic component by the rhythmic component. This is sometimes affected by the rapid striking together of the ''chikari'' between notes.Kamien, Roger, and Anita Kamien. Music: an Appreciation. McGraw-Hill Education, 2018. References Hindustani music terminology Formal sections in music analysis {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jor (music)
In Hindustani classical music, the jor (Hindi: जोर, ; also spelt jod and jhor) is a formal section of composition in the long elaboration (''alap'') of a raga that forms the beginning of a performance. It comes after ''alap'' and precedes ''jhala'', the climax. Jor is the instrumental equivalent of nomtom in the dhrupad vocal style of Indian music. Both have a simple pulse but no well-defined rhythmic cycle. Origin and terminology Jor (or jod) is an instrumental interpretation of nomtom which is an introductory style that is characterised by its modest rhythm and lack of rhythmic cycle (also known as tal).Lavezzoli. The Dawn of Indian Music in the West. Bloomsbury Academic, 2007. Jor is present in most Hindustani classical music through the raga, as an articulate and rapid pulse that the alap transitions into, followed by jhala.Napier. Structure and Proportion in Hindustani Alap. University of New South Wales, 2019. pp. 56. In Hindustani music Indian classical music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alap
The Alap (; ) is the opening section of a typical North Indian classical performance. It is a form of melodic improvisation that introduces and develops a raga. In dhrupad singing the alap is unmetered, improvised (within the raga) and unaccompanied (except for the tanpura drone), and started at a slow tempo. For people unfamiliar with the raga form, it introduces the thaat to the listener. It defines the raga, its mood, and the emphasized notes and notes with a secondary role. Instead of wholly free improvisation, many musicians perform alap schematically, for example by way of ''vistar'', where the notes of the raga are introduced one at a time, so that phrases never travel further than one note above or below what has been covered before. In such cases, the first reach into a new octave can be a powerful event. In instrumental music, when a steady pulse is introduced into the alap, it is called jor; when the tempo has been greatly increased, or when the rhythmic element o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
