Podcasts about Thumri

The Two Crew continue the fight! Music: "Thumri" by Sandeep Das "Northbound Along the 25th" by Robbie Whiplash All other music by Tabletop Audio Thanks for listening! You can find us on Twitter @25northpodcastYou can join our Discord community with this invite code "nBTZzTGZdA"You can send us an email at 25northpodcast@gmail.com if you wish

In this episode of Eyeway Conversations, George Abraham speaks with Manoj Govindraj, a professional musician and the founder of Swarras School of Music located in USA. Born blind, Manoj found his calling in music early on in life, and with the support of his parents; he began his formal training at the age of seven and parallelly completed his education from the mainstream. A rank-holder and a gold medalist from Mumbai University, he completed his Master of Fine Arts in Hindustani Classical Vocal Music in 1999 and took up a part-time job teaching music in a school. Manoj later moved to the USA when an opportunity to teach music came along his way. His repertoire includes Hindustani classical (Khayal), semi-classical (Thumri, Dadra), bhajans, ghazals, and film songs in Hindi, Marathi, and other languages. He has performed extensively across the United States and parts of India. Besides his passion for music, Manoj is an ardent believer in technology. Tune in to listen to his musical journey! To access the podcast transcript, click on link: https://otter.ai/u/kDIg1qptiP9HeEZm-icJuh_o7VU This podcast is brought to you by Score Foundation. To support our work, kindly visit the link: https://scorefoundation.org.in/get-involved/

I have attempted a favourite thumri composed in Raag Bhairavi by Hindustani music maestro Late Ustad Faiyaz Khan of the Agra Gharana in the 1920s-30s. The words, in the colloquial Hindi of Western Uttar Pradesh, express the hurt and anger of a woman whose beloved has been neglecting her. She chides him and asks why he is making false excuses for not visiting her when the real reason is that he has been callous and betrayed their love. She tells him that he should not come to her but rather should go back to his home and spouse where he spends all his nights anyway. She asks sarcastically if he was unable to move around because he had applied henna on his feet like some coy bride or whether it had been raining (just for him), that he couldn't visit her. If like he claimed, he couldn't get any opportunities in the day, didn't he have the night to make time for her!

गझल सम्राज्ञी बेगम अख्तर म्हणजे खरोखरीच संगीताचा अनोखा अलंकार होता! त्यांच्या गायनाबद्दल आणि जीवनाबद्दल, आपल्याशी हळुवार हितगुज करत आहेत, डॉक्टर राजीव आणि माणिकGhazal empress Begum Akhtar was truly a unique jewel of the musical world! Dr. Rajeev and Manik Deshmukh, talk to us about her singing and life in this latest episode of Marathi Khidkitun.Do follow IVM Podcasts on social media.We are @IVMPodcasts on Facebook, Twitter & Instagram.Follow the show across platforms:Spotify | Apple Podcasts | Jio Saavn | Gaana | Amazon MusicYou can listen to this show and other awesome shows on the IVM Podcasts app on Android: IVM Podcasts - Apps on Google Play or iOS: ‎IVM Podcasts, or any other podcast app.You can check out our website at https://shows.ivmpodcasts.com/See omnystudio.com/listener for privacy information.

In this episode, we have Avanti Patel on Audiogyan. Avanti Patel is a versatile artist based out of Mumbai and Bangalore. A Hindustani classical vocalist, playback singer, composer, and innovator. Her areas of passion include Thumri and Ghazal Gayki, as well as recreating classics using a vocal dominant arrangement style. Among her most recent projects is O Gaanewali, a show based on the lives and music of Tawaifs and Women performers in India. This show was produced by Harkat Studios with the support of The Goethe Institut Max Meuller Bhavan and premiered on their Live Virtual Interactive Stage watched all over the world in 3 successful runs online. O Gaanewali recently premiered live at the NCPA Experimental Theatre, to a houseful audience.Tune into the episode as Kedar and Avanti touch upon some basic aspects of Thumri and its allied forms in relation to the show O Gaanewali gig which is making news.Follow Avanti here Instagram| Facebook| Youtube | SpotifyFollow Kedar on Twitter | LinkedIn Follow Audiogyan on Twitter | Instagram | FacebookYou can listen to this show and other awesome shows on the new and improved IVM Podcast App on Android: https://ivm.today/android or iOS: https://ivm.today/iosYou can check out our website at http://www.ivmpodcasts.com

01 Ab Ke Sawan Ghar Aaja 02 More Balam Pardesiya 03 Lagi Beriya Piya Ke Avan Ki 04 Kaise Katen Din Ratiyan 05 Nanadiya Kahe Mare Bole 06 Nihure Nihure Baharen 07 Hamar Kahin Mano Rajaji 08 Hamri Atariya Pe Aao Image Courtesy Sangeet Natak Akademi --- Send in a voice message: https://podcasters.spotify.com/pod/show/sm-irfan/message

Farida Khanum is a Pakistani classical singer from the province of Punjab. She was born in the fall of 1929 in Calcutta , British India. She had four siblings, a sister and three brothers. Her sister is the famous singer, Mukhtar Begum. Their whole family moved from Amritsar, British India to Lahore, Pakistan when she was 18 years old. She started learning Khayal, Thumri and Dadra from Ustad Ashiq Ali Khan of Patiala gharana. As a child, her sister Mukhtar Begum would take her to the Khan's place for regular riyaaz (practice of classical music). Her family moved to Pakistan after the Partition of India in 1947. Farida Khanum gave her first public concert in 1950 at the very young age of 21, and then joined Radio Pakistan where she gained recognition for herself. She became a star when Pakistan's president Ayub Khan invited her to a public recital in the 1960s. She has been a frequent performer on Pakistan Television and other Pakistani TV channels. The ghazal she is most associated with is Aaj Jaane Ki Zidd Naa Karo written by the famous poet Fayyaz Hashmi. In 2015, at the age of 86, she sang this ghazal in Coke Studio (Pakistan) Season 8. Farida Khanum also visited Kabul, Afghanistan in the late 1960s or early 1970s for concerts, she collaborated with Afghan musicians and sang Persian-language ghazals there. Farida Khanum lives in Lahore, Pakistan. She has five daughters and one son. Sheba Hassan is her niece, who is known for her performance in the PTV drama serial Sona Chandi (1982). Farida Khanum has been affectionately called Queen of Ghazal in Pakistan. Text Courtesy Wikipedia Image Courtesy: Farida Khanam's Facebook page --- Send in a voice message: https://podcasters.spotify.com/pod/show/sm-irfan/message

#Raaggiri #UntoldStory #BegumAkhtar Raaggiri Turst presents famous ghazal singer Begum Akhtar untold story. Begum Akhtar also known as a Akhtari Bai Faizabadi and Mustri Bai. Begum Akhtar was a well-known actress and a ghazal singer. She also sung Dadra, and Thumri genres of Hindustani classical music. Noted lyricist Raj Shekhar who has written songs for Tanu Weds Manu, Tanu Weds Manu Returns and many more films is narrating the story --- Send in a voice message: https://anchor.fm/raag-giri/message

फाल्गुन मास में शीत ऋतु का क्रमशः अवसान और ग्रीष्म ऋतु की आगमन होता है। यह परिवेश उल्लास और श्रृंगार भाव से परिपूर्ण होता है। प्रकृति में भी परिवर्तन परिलक्षित होने लगता है। रस-रंग से परिपूर्ण फाल्गुनी परिवेश का एक प्रमुख राग काफी होता है। स्वरों के माध्यम से फाल्गुनी परिवेश, विशेष रूप से श्रृंगार रस की अभिव्यक्ति के लिए राग काफी सबसे उपयुक्त राग है। इस राग में ठुमरी, टप्पा, खयाल, तराना और भजन सभी विधायें उपलब्ध हैं। आज के अंक में हम आपसे राग काफी की कुछ होरी की चर्चा करेंगे, साथ ही गायिका अच्छन बाई, विदुषी गिरिजा देवी और पण्डित भीमसेन जोशी के बारे में कुछ जानकारियां भी देने की कोशिश करेंगे।

In this Chaitime, we talk to vocalist, composer, and scholar of Hindustani classical, semi-classical, and devotional music Pandit Raja Kale (http://www.rajakale.com) and listen to his compositions, recorded in KZSU studio. Pandit Kale is accompanied by renowned bay-area artist Raju Chithambaram, founder of Andaaz creations. Pandit Raja Kale is a senior disciple of Pandit Jitendra Abhisheki. He also received valuable guidance from Pandit C. P. Rele and Pandit Balasaheb Poonchwale from the Gwalior Gharana. Pandit Raja Kale is known for rendering both old and new Hindustani classical music with an approach that is at once eclectic and focused on the performance. With his appealing style and gifted voice with wide range and rare tonal qualities, Pt. Raja Kale achieves perfect articulation in the alaap, taan as well as the exposition of the Bandish. He is equally proficient in presenting Thumri, Tappa, Natyageet, Bhajan, and Bhavgeet. He holds a Ph.D. with the thesis on the Importance of Bandish in Khayal. He has also received a senior fellowship from the Department of Culture of the Government of India for the study of the subject: Comparative study and analysis of "Gayaki" of Legendary singers Pandit Bhimsen Joshi, Pandit Kumar Gandharva, Pandit Jitendra Abhisheki, and Pandit Jasraj. Pandit Kale is the founder of Swarabhishek Gurukul, a music academy with the goal of teaching the real essence of Hindustani classical and semi-classical music. He has performed live on several notable occasions, and on broadcast media, including TV and Radio in India. Raju Chithambaram is a lead vocalist in Bay Area band Andaaz Creations. Raju is a student of Mahesh Kale & Pandit Laxmi Ganesh Tewari and has sung with Kavita Krishnamurthy, Sadhana Sargam, and other elite Bollywood artists. Andaaz Creations is the originator of the Bollywood Broadway Musical and has raised over $1M in fundraisers.

Dhanashree Pandit Rai holds a Masters Degree in Hindustani Classical Music from University of Bombay. She has trained under the stalwart of the Kirana Gharana Pt. Firoz Dastur and the Thumri legend Shobha Gurtu. She has also received valuable guidance in Thumri from Begum Afroz Bano and Batuk Dewanji. She is a recipient of the prestigious SUR MANI award from Sur Singar Samsad. Dhanashree is one of the leading exponents of the THUMRI form of music and her repertoire, besides khayal, consists of thumri, chaiti, hori, kajri , sawan, jhoola etc. She has also been associated with Jazz musicians and have been giving training in Indian music to several world renowned Jazz artistes. Most. Of us must have heard in ted talks and other places where she familiarise with Raag Sangit and how to identify raag in new and old age songs. 1. What is Thumri and how did it emerge? 2. How does Thumri sit in over all scheme of Traditional Hindustani classical music? 3. Even thumri format has set rules and it’s own framework. Did Thumri face problems when it was evolving? If yes, what kind of challenges? Why did people ventured into another lighter forms? 4. Most of the thumris are in Awadhi, Bhojpuri, Mirzapuri. Why? Have any of the artist explored by creating new bandishes or experimenting with the format? 5. How does a particular format ceases to evolve? Who decides beyond this point it won’t be called as Thumri? Futher modifications to this form and we will have to change the name? (Who defines naam-roop to these forms)

SynTalk thinks about different facets of music, including its ever changing relationship with ‘place’ and time. We explore how blocks of noise, sound, consonants, melody, & ‘intention’ come together to create music. How does music exploit the spatial dimension? How does the envelope of quality (timbre) emerge? The concepts are derived off / from Panini, Kant, Bakhtin, Chomsky, Kumar Gandharva, Bismillah Khan, Alladiya Khan, Aminuddin Dagar, & Ashok Ranade, among others. Are sounds (& music) merely vibrations? Are the underlying chronotopes of (say) Dhrupad, Khayal, or Thumri different in ‘a certain way’ (a la Epic and the Novel)? Do musical gharanas (styles) named after places have anything to do with them? Is it possible to tacitly learn music (including the ragas) from the environment? Does music have an internal grammar? How music is both instinctive and cultural. What is the role of imitation? Does music live in our experience, and what / where then is music for animals & plants? The varying priorities accorded to melody and lyrics in folk & classical music. Does folk music always have a performative function? Why are instruments closer to human voice (created by God himself(?)) considered superior (like sarangi over violin?)? Why instrumental music has rarely had a solo repertoire? Are we an instrument ourselves. Why (if at all) is art music special, & how is its aesthetic different from other genres? Why / how do different stringed instruments sound different? Is human voice also a medium (instrument)? The links between beating, mongoose, bowing, crows, plucking, peacocks, blowing, music, bird song, heavy metal, & Bhendi Bazaar. How / why is the place uprooted (say Sufi music from Tunisia) and brought to a performance space? Is music first for the musician? Is it possible to easily distinguish electronic sounds from the natural? Is there a certain quality (timbre) to EDM as well? The irony of tuning the tanpura electronically (shruti box). The SynTalkrs are: Prof. Milind Malshe (literature, aesthetics, IITB, Mumbai), Dr. Suvarnalata Rao (musicology, NCPA, Mumbai), & Dr. Subroto Mihir Roy (music (Dhrupad), Pune).

Credits: Tabla - Rajesh Dhawle | Piano & Sound - Navdeep Dhatra

Stormen är det första programmet av två i Sten Björnulfsons nya serie om det stora mötet mellan persisk och indisk musik och kultur, mellan hinduism och islam i Nordindien. Programmet är en berättelse i musik och ord om ett stort och dramatiskt skeende i Indisk historia. Här hör vi musik av Indiens stora mästare, Nikhil Banerjee, Bhimsen Joshi, Sulochana Brahaspati, Kumar Gandharva och många andra. Norra Indien utsattes från 1100 talet och framåt för återkommande invasioner av muslimer och mongoler. Det var en tid fylld av förödande krig och härjningar men som också förde med sig starka positiva impulser. Med muslimernas intåg från Persien och Afghanistan uppstod nya musikaliska former på den norra delen av den Indiska subkontinenten. Khayal, Thumri, Ghazel och Qawali är några andra av de musikaliska former som föddes ur den oerhört kreativa mylla som mötet mellan de två kulturerna skapade. Gemensamt för alla dessa musikformer och stilar är att de tillsammans bildar den klassiska och halvklassiska nordindiska musiken som utövas idag. Det är en tradition som på inget sätt är stillastående, utan har under de senaste hundra åren befunnit sig i en stark konstnärlig utveckling. De muslimska invasionerna kom att styra det indiska samhället, kultur och historia i en ny riktning.  De tidigare hinduiska och buddhistiska trosriktningarna var inte längre de ensamt dominerande. Islam hade kommit för att stanna. Det vi idag skulle kalla klassisk indisk musik utövades i det gamla hindusamhället i de hinduiska templen som en andlig tillbedjan. För muslimerna var detta helt främmande eftersom musik i moskén är förbjuden i islam. Med tiden växte i Indien en hovmusik fram vid de muslimska härskarnas herresäten. Musikern, poeten och den mångbegåvade renässansmänniskan Amir Khusro var på tolvhundratalet en tidig exponent för det fruktbara mötet mellan persisk och indisk kultur. Han komponerade kvällsragan Yaman som är en av de mest spelade ragorna idag. Han konstruerade även föregångaren till sitaren. Paradoxalt nog kom den stora konstnärliga blomningen i den klassiska nordindiska musiken att följa med Timur Lenks ättling Baburs invasion från Persien och Afghanistan. Efter att till slut ha besegrat sultanen av Delhi 1526 grundade Babur Stormogulriket norra Indien, ett av dåtidens största och mest lysande välden. Mogulkejsarna var stora mecenater av musik, litteratur, konst och kultur. Här möttes två konstarter med starka rötter i två olika traditioner varandra, Den klassiska persiska poesin och den klassiska nordindiska musiken. Man kan säga att om perserna gick segrande fram på slagfältet och i poesin så vann indierna det stora slaget om musiken. (Repris från april 2012) Två P2 Dokumentärer om nord-indisk musik av Sten Björnulfson

Music and Dance from the Courts of Northern India (1/19/2012). Thumri, a light vocal classical music genre is said to have evolved in North India in the mid-19th century court of Nawab Wajid Ali Shah of Lucknow to accompany the kathak dance form, one of the eight major classical dance forms of India. This program presented by Pandit Rai and Sinha evokes the court ambience of 19th-century and early 20th-century India with a fully choreographed performance of dance, music, and storytelling, depicting the close interaction between these two major art forms. About the artists: Dhanashree Pandit Rai is one of the leading exponents of the thumri form of music. A graduate of Hindustani Classical Music from the University of Bombay, and visiting faculty at SNDT University, Mumbai, she trained under the stalwart of the Kirana gharana, Firoz Dastur and Thumri legend Shobha Gurtu. Keka Sinha is a leading kathak exponent in India trained in the Lucknow gharana. She is a disciple of Guru Bandana Sen and Reba Vidyarthi. This program was co-presented and co-sponsored by the Society for Art and Cultural Heritage of India: http://www.sachi.org/

Music and Dance from the Courts of Northern India (1/19/2012). Thumri, a light vocal classical music genre is said to have evolved in North India in the mid-19th century court of Nawab Wajid Ali Shah of Lucknow to accompany the kathak dance form, one of the eight major classical dance forms of India. This program presented by Pandit Rai and Sinha evokes the court ambience of 19th-century and early 20th-century India with a fully choreographed performance of dance, music, and storytelling, depicting the close interaction between these two major art forms. About the artists: Dhanashree Pandit Rai is one of the leading exponents of the thumri form of music. A graduate of Hindustani Classical Music from the University of Bombay, and visiting faculty at SNDT University, Mumbai, she trained under the stalwart of the Kirana gharana, Firoz Dastur and Thumri legend Shobha Gurtu. Keka Sinha is a leading kathak exponent in India trained in the Lucknow gharana. She is a disciple of Guru Bandana Sen and Reba Vidyarthi. This program was co-presented and co-sponsored by the Society for Art and Cultural Heritage of India: http://www.sachi.org/

Thumri, a light vocal classical music genre is said to have evolved in North India in the mid-19th century court of Nawab Wajid Ali Shah of Lucknow to accompany the kathak dance form, one of the eight major classical dance forms of India. This program presented by Pandit Rai and Sinha evokes the court ambience of 19th-century and early 20th-century India with a fully choreographed performance of dance, music, and storytelling, depicting the close interaction between these two major art forms. About the artists: Dhanashree Pandit Rai is one of the leading exponents of the thumri form of music. A graduate of Hindustani Classical Music from the University of Bombay, and visiting faculty at SNDT University, Mumbai, she trained under the stalwart of the Kirana gharana, Firoz Dastur and Thumri legend Shobha Gurtu. Keka Sinha is a leading kathak exponent in India trained in the Lucknow gharana. She is a disciple of Guru Bandana Sen and Reba Vidyarthi. This program was co-presented and co-sponsored by the Society for Art and Cultural Heritage of India: http://www.sachi.org/

Thumri, a light vocal classical music genre is said to have evolved in North India in the mid-19th century court of Nawab Wajid Ali Shah of Lucknow to accompany the kathak dance form, one of the eight major classical dance forms of India. This program presented by Pandit Rai and Sinha evokes the court ambience of 19th-century and early 20th-century India with a fully choreographed performance of dance, music, and storytelling, depicting the close interaction between these two major art forms. About the artists: Dhanashree Pandit Rai is one of the leading exponents of the thumri form of music. A graduate of Hindustani Classical Music from the University of Bombay, and visiting faculty at SNDT University, Mumbai, she trained under the stalwart of the Kirana gharana, Firoz Dastur and Thumri legend Shobha Gurtu. Keka Sinha is a leading kathak exponent in India trained in the Lucknow gharana. She is a disciple of Guru Bandana Sen and Reba Vidyarthi. This program was co-presented and co-sponsored by the Society for Art and Cultural Heritage of India: http://www.sachi.org/

Transcript -- Sudokshina explains te meanings behind a Thumri, explain the words, and also the emotions held within the song.

Sudokshina explains te meanings behind a Thumri, explain the words, and also the emotions held within the song.

Sudokshina, accompanied by Subrata Manna, performs a romantic song, known as a Thumri

Transcript -- Sudokshina explains te meanings behind a Thumri, explain the words, and also the emotions held within the song.

Sudokshina explains te meanings behind a Thumri, explain the words, and also the emotions held within the song.

Sudokshina, accompanied by Subrata Manna, performs a romantic song, known as a Thumri