Tag: Ahobala

Music – General Knowledge

Namaste all

01. Which of the following musician is famous for Thumri?

(A) Saiduddin      (B) Fahimuddin       (C) Riyazuddin  (D) Bindadeen

Answer: (D)

02. What is the length of ‘Shudha Ni’ according to Ahobal, as per the method of placing the swaras on the 36″ wire of veena?

(A) 20″      (B) 27″       (C) 32″      (D) 18″

Answer: (A)

03. Identify the correct order of tuning the four-string Tanpura:

(A) Madhya Pa, Tar Sa, Tar Sa, Madhya Sa

(B) Mandra Pa, Madhya Sa, Madhya Sa, Mandra Sa

(C) Mandra Pa, Tar Sa, Tar Sa, Mandra Sa

(D) Madhya Pa, Tar Sa, Tar Sa, Mandra Sa

Answer: (B)

04. Ustad Faiyaz Khan was an artist of

(A) Agra Gharana     (B) Gwalior Gharana     (C) Atrauli Gharana   (D) Bhendi Bazar Gharana

Answer: (A)

05 Nandikeshwar is the author of

(A) Raga Tatva Vibodh   (B) Raga Rahasya      (C) Rag Darpan   (D) Abhinaya Darpan

Answer: (D)

06 Jangda Geet is the folk form of

(A) Gujarat     (B) Punjab      (C) Rajasthan     (D) Uttar Pradesh

Answer: (C)

07. Vikrit Swar of Bharat

(A) Teevra Tar Ni    (B) Kaushik Ni     (C) Antar Gandhar   (D) Teevratam Dhaivat

Answer: (C)

08. Dominant chord is formed of

(A) Pa + Ni + Re       (B) Dha + Sa + Ni      (C) Ma + Dha + Sa     (D) Sa + Ga + Pa

Answer: (A)

09. Instrument of equally tempered scale

(A) Tanpura      (B) Violin      (C) Guitar  (D) Harmonium

Answer: (D)

10. What is the basis of classification of Swaras in tempered scale?

(A) Major tone      (B) Minor tone      (C) Semi tone   (D) Half tone

Answer: (D)

— to be continued —

Prof. V. MEENAKSHI JAYAKUMAR

MUSIC – Sangita Parijatha

Namaste all.

Sangita Parijatha

संगीत पारिजात: Sangeet Parijata

 

संगीत पारिजात: Sangeet Parijata

 

Ahobala’s Sangita Parijatha:

  1. Sangita Parijatha was written by Ahobla who lives in the 17th
  2. He was son of Sri Krishna. (Father’s name)
  3. This work explains how the 22 srutis are arrived at through shadja-panchama bhava. Besides, names for all the 22 sruthis are also given.
  4. He names the 22 sruthis and their positions.
  5. He identified the 12 swaras in terms of the length of the string of the Veena.
  6. The importance of this work is that only this book shows clearly for the first time how we can get different swaras when we pluck a stretched string at different lengths.
  7. 17 kinds of gamakas are illustrated.
  8. It is true that Sangita Parijatha speaks more about Hindustani Music.
  9. The suddha scale described in Sangita Parijatha is the same of todays Kafi Raga.
  10. And that equivalent to the Raga Kharahara Priya of Carnatic music.
  11. Ahobala refers to his music theory with the Principles of Lochana Kavi’s Raga Tarangini (15th Century) and Somanathar’s Raga Vibhodha (1609).
  12. Ahobala describes Mela as a combination of Swaras.
  13. He says it has a power to create the Ragas.
  14. Ahobala describes 122 Ragas in detail with swara structure. He gives the number of their swaras, their time of performance and their characteristic melodic phrases.
  15. Ahobala listed 11340 Ragas. And classified 122 ragas under six mela categories. He even sub divides into Audava, Shadava and sampurna.
  16. According to Ahobala the movement of different swaras in different places that is sthana of the same swara, that various swarasthanas give each Raga an unique flavour.
  17. Ahobala describes 68 types of Alankaras (Vadana-bedha) and is considered as an improvement over Raga Vibhodha of Somanathar.
  18. Ahobala determined the length of the strings of the Veena as the value of swaras.
  19. He names the 22 sruthi and their positions.
  20. He identified the 12 swaras in terms of the length of the string of the Veena.
  21. Ahobalar’s Sangita Parijatha was translated into Persian by Pandit Dinanatha and many other music scholars translated in other Northern languages.

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— to be continued —

Prof. V.Meenakshi Jayakumar.