music

[siganeswarie]

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[FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=+1]1 Select Appropriate Music.[/SIZE][/FONT]

• • • [FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=-1]Most of us choose music that we “like” but will this give us the best results? In fact, often the music we are least attracted to will have the greatest benefit (when played in the right sequence). Let’s say you are very angry. So your first instinct is to put on some really angry music. Does it really help, or does it kind of perpetuate how you feel? Yet, on the other hand if you play some light and happy music, by comparison to how you are currently feeling, it will probably make you feel angrier! As you see, selecting music is not a simple one-shot process.[/SIZE][/FONT]

[FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=+1]2 Consider Music Sequencing.[/SIZE][/FONT]

• • • [FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=-1]Sometimes it is necessary to first choose music that totally matches your current mood rather than the mood you wish to acquire. Consider arranging a series of different musical compositions in sequence that are customized just for your needs. For example, if you are dealing with depression, select a composition which represents depression in its extreme form, to you. Follow this with one that is only mildly depressing. Then select a neutral composition, and end with a composition which is clearly uplifting and motivating. Listening to music in a sequence like this allows for your current stress level or mood to be first honored and then to be gradually transformed.[/SIZE][/FONT]

[FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=+1]3 Speakers Are Ideal.[/SIZE][/FONT]

• • • [FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=-1]It is ideal to listen to the music through speakers rather than headphones so that the cells of the body themselves may “listen” to the sound. [/SIZE][/FONT]

[FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=+1]4 Prepare Yourself to Listen.[/SIZE][/FONT]

• • • [FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=-1]Take off your shoes. Stand relaxed, sit or lie down and breathe. [/SIZE][/FONT]

[FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=+1]5 Listen All the Way Through.[/SIZE][/FONT]

• • • [FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=-1]It is preferable to listen to the musical composition all the way through, without interruption. This allows for the optimum response to the transformation process. [/SIZE][/FONT]

[FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=+1]6 Foreground, Not Background.[/SIZE][/FONT]

• • • [FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=-1]We all have the tendency to use music for the background of other activities. Try developing the technique of just listening to the music, not doing anything else. This way, you will get the best benefit.[/SIZE][/FONT]

[FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=+1]7 Your Response is What is Important.[/SIZE][/FONT]

• • • [FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=-1]It is through your response that the emotional/cellular memory may be released. Do not think that you have to just stay still and concentrate on the music! In fact, if the music inspires you to get up and do something or your mind begins to wander, allow, allow, allow! Allow all responses without judgment. On the other hand, do not begin listening to the music while you are already doing other unrelated activities. The important thing is to let the music embrace you totally.[/SIZE][/FONT]

[FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=+1]8 Listen Actively, Not Passively.[/SIZE][/FONT]

• • • [FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=-1]Allow the music to reach your inner feeling, and respond freely to it. Everyone has a different manner of expression. You may experience visual images, thoughts, movement, an intensification of emotion, physical vibrations, sleep, or nothing at all.[/SIZE][/FONT]

[FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=+1]9 Observe Mind/Body Connection.[/SIZE][/FONT]

• • • [FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=-1]A lot of research has been done recently showing that there is a definite connection between the mind and the body. (Actually this refers to the emotions too but it sounds succinct to say “mind/body.”) Even though music healing is often related to relaxation and emotional issues, there is the likelihood that this indirectly could have a benefit on physical illnesses as well.[/SIZE][/FONT]

[FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=+1]10 Enjoy the Silence![/SIZE][/FONT]

• • • [FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=-1]When the music stops, it is suggested that you bask in the silence for many moments. This will help integrate the feelings.[/SIZE][/FONT]

[FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=+1]11 Use a Journal.[/SIZE][/FONT]

• • • [FONT=Verdana, Tahoma, Arial, Helvetica, Sans-serif][SIZE=-1]If you wish to record your progress in a journal, it can be helpful, but not necessary.[/SIZE][/FONT]

 

[siganeswarie]

There are a number of Indian musical instruments that are classified into 3 categories, which are: · Stringed instruments: Sitar, tamboora, sarangi, dilurba and veena, etc.
· Wind instruments: Flute popularly known as bansuri, shehnai, naferi nagasvaram, etc.
· Percussion instruments: Tabla, pakhawaj, mridangam, dholak, etc.


Sitar is a stringed instrument and is played with a plectrum worn on the finger. · Sarod is a stringed instrument carved from teakwood and is played with a plectrum generally made from coconut shell. Ustad Ali Akbar Khan is known for his sarod compositions
· Sarangi is a musical instrument that is played with a bow. I it not used for solo instrumental performances as it requires a vocalist to complement its tunes
· Tanpura is a stringed instrument that produces the essential backdrop for all Indian music compositions
· Esraj is a stringed instrument commonly played in the northern region of India
· Santoor is an instrument that originated from Kashmir. Pandit Shiv Kumar Sharma is known globally for his santoor performances and compositions.
· Veena is an ancient stringed instrument.
· Tabla is the name given to the two-drum set, which is played by musicians. Pandit Zakir Hussain is amongst the popular contemporary tabla maestros.
· Pakhawaj is a long bodied wooden drum that has both the sides covered in skin.
· Mridangam is similar to the Pakhawaj, with a variant texture at the two ends.
· Dholak is a cylindrical side drum that is made from solid wood.
· Jal tarang is a water-xylophone that has six china bowls of varying sizes containing water and is played with two sticks.
· Pung is a Manipuri side drum with its ends covered with varied skins.
· Bansuri is the Indian name for the flute, which is carved from bamboo
· Shehnai is a wind instrument with a tube that widens at the lower end. This instrument is generally played during celebratory of festive occasions.

 

[saarangam]

· Wind instruments: Flute popularly known as bansuri, shehnai, naferi nagasvaram, etc.

Have'nt heard about this wind instrument naferi. Can you give some details?
regards

 

[siganeswarie]

The word bansuri originates in the Sanskrit bans [bamboo] + swar [musical note]. There are two varieties of bansuri: transverse, and fipple. The fipple flute is usually played in folk music and is held at the lips like a whistle. Because it enables superior control, variations and embellishments, the transverse variety is preferred in Indian classical music.
Pandit Pannalal Ghosh (1911–1960) elevated the Bansuri from a folk instrument to the stage of serious classical music.[1] He experimented with the length, bore and number of holes, and found that longer length and larger bore allowed for better coverage of the lower octaves. He eventually pioneered longer bansuris with larger bores and a seventh hole placed a quarter turn inwards from the line of the other six finger holes

.

 

[siganeswarie]

Bansuris range in length from less than 12 inches (called muralis) up to about 40 inches (shankha bansuris). 20-inch bansuris are common. Another common and similar Indian flute played in South India is the venu, which is shorter in length and has 8 finger holes. The index, middle, and ring fingers of both hands are usually used to finger the six hole bansuri. For the seven hole bansuri, the little finger (pinky) of the lower hand is usually employed.[3]

fingering chart for a Bansuri


The sound of a bansuri is generated from resonance of the air column inside it. The length of this column is varied by closing or leaving open, a varying number of holes. Half-holing is employed to play flat or minor notes. The 'sa' (on the Indian sargam scale, or equivalent 'do' on the octave) note is obtained by covering the first three holes from the blowing-hole. Octaves are varied by manipulating one's embouchure and controlling the blowing strength. Various grip styles are used by flutists to suit different lengths of Bansuris, the two prominent styles being the Pannalal Ghosh grip, which uses the fingertips to close the holes, and the Hariprasad Chaurasia grip, which uses the pads(flat undersides) of the fingers to close the holes[4]. While playing, the sitting posture is also important in that one should be careful not to strain one's back over long hours of practice. The size of a Bansuri affects its pitch. Longer bansuris with a larger bore have a lower pitch and the slimmer and shorter ones sound higher.
In order to play the diatonic scale on a bansuri, one needs to find where the notes lie. For example, in a bansuri where Sa or the tonic is always played by closing the first three holes, is equivalent to D, one can play sheet music by creating a finger notation that corresponds to different notes. A flutist is able to perform complex facets of Raga music such as microtonal inflections, ornamentation, and glissando by varying the breath, performing fast and dextrous fingering, and closing/opening the holes with slow, sweeping gestures.

 

[siganeswarie]

The bamboo flute is an important instrument in Indian classical music, and developed independently of the Western flute. The Hindu God Krishna is traditionally considered a master of the Bansuri (see below). The Indian flutes are very simple compared to the Western counterparts; they are made of bamboo and are keyless.[23]
Pannalal Ghosh, a legendary Indian flutist, was the first to transform a tiny folk instrument to a bamboo flute (32 inches long with seven finger holes) suitable for playing traditional Indian classical music, and also to bring to it the stature of other classical music instruments. The extra hole permitted madhyam to be played, which facilitates the meends (like M N, P M and M D) in several traditional ragas.[citation needed]
Pandit Raghunath Prasanna developed various techniques in the realm of flute playing so as to faithfully reproduce the subtleties and nuances of the Indian classical music. In fact, he was responsible to provide a strong base to his Gharana by training his own family members. Disciples of the family like Pt. Bhola nath Prasanna, Pt. Hari Prasad Chaurasia, Pt. Rajendra Prasanna globally known for their melodious music.
Indian concert flutes are available in standard pitches. In Carnatic music, the pitches are referred by numbers such as (assuming C as the tonic) 1 (for C), 1½ (C#), 2 (D), 2½ (D#), 3 (E), 4 (F), 4½ (F#), 5 (G), 5½ (G#), 6 (A), 6½ (A#) and 7 (B). However, the pitch of a composition is itself not fixed and hence any of the flutes may be used for the concert (as long as the accompanying instruments, if any, are tuned appropriately) and is largely left to the personal preference of the artist.[citation needed]
Two main varieties of Indian flutes are currently used. The first, the Bansuri, has six finger holes and one embouchure hole, and is used predominantly in the Hindustani music of Northern India. The second, the Venu or Pullanguzhal, has eight finger holes, and is played predominantly in the Carnatic music of Southern India. Presently, the eight-holed flute with cross-fingering technique is common among many Carnatic flutists. This technique was introduced by T. R. Mahalingam in the mid-20th century. It was then developed by BN Suresh and Dr. N Ramani[citation needed]. Prior to this, the South Indian flute had only seven finger holes, with the fingering standard developed by Sharaba Shastri, of the Palladam school, at the beginning of the 20th century.[24]
The quality of the flute's sound depends somewhat on the specific bamboo used to make it, and it is generally agreed that the best bamboo grows in the Nagercoil area in South India.[25]

 

[saarangam]

Sri/Smt siganeswarie
I think you are presenting the information on music from some book or website adopting the cut and paste technique.While it is very useful I suggest that you acknowledge the original source.Whenever we write an article the common practice is to acknowledge any quotation from other sources. Let me add that in this forum this practice is followed only by a handful of members.

 

[siganeswarie]

ok that true saarangam
but i learning knowledge and like to share with u all that my motive

 

[siganeswarie]

i am learning classical music
vilion
if u would know about it
there 4 string in it
8 notes will be used repeatedly
sa ri ga ma
pa da ni sa
that is basic notes of learning vilion
'there also got high and low speed

 

[siganeswarie]

Thanks for all
u can comment
or share your knowledge about music

 

[siganeswarie]

all of the Muse

in

• Call of the Muse

ShareThis Soulful, contemplative prayer chants for solo violin, evoking the silent power of the natural world, and the deepest yearnings of the indigenous heart. This CD features the powerful plaintive power of a solo violin, playing partly in Native American flute style, and partly in the style of a Jewish cantor. All tracks are improvisational in style, yet with a natural structure to musical line, giving an engaging dramatic arc.
This is Gary Schnitzer's 8th CD, and his latest. The music on this CD is a break with his previous style of music making. It reflects a long standing love of the Native American flute style of Carlos Nakai, as well as the time he has spent traveling in the American Southwest.
"Call of the Muse" is a Grammy Contender for "Best New Age Album", entry number 83, for the 2010 Grammy Awards. It was submitted to the ballot by the Grammy committee of the National Academy of Recording Arts and Sciences.

 

[praveen]

Almost all of your posts are copy/pasted from other websites without proper credits.

This is termed as Plagiarism which is not allowed here.

Copy/pasting content should have the proper credits and must mention the original source.