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A result of decades of experimentation and innovation, Sopori's Santoor and its playing style (now known as 'Sopori Baaj') stands out from his other contemporary Classical Santoor pioneers, namely, Shivkumar Sharma and Tarun Bhattacharya, through its novel construction, further adoption of Dhrupad aesthetics, and its variety of kalam (wooden mallets).
Indian santoor musician. The Indian santoor instrument is a trapezoid-shaped hammered dulcimer, and a variation of the Iranian santur. [1] The instrument is generally made of walnut and has 25 bridges. Each bridge has 4 strings, making for a total of 100 strings. It is a traditional instrument in Jammu and Kashmir, and dates back to ancient times.
Abhay Rustum Sopori (born 7 June 1979) is an Indian Santoor player, music composer and conductor. He is the son of Santoor player Pandit Bhajan Sopori, known for his versatility, innovations and experimentation.
Tarun Bhattacharya was born on 23 December 1957 in Howrah (the twin city of Calcutta), India. He was a commerce graduate from one of the most reputed colleges of Calcutta, and after a few brief years of professional life he started learning music from his father, Rabi Bhattacharya.
The Iraqi santur (also santour, santoor) (Arabic: سنطور) is a hammered dulcimer of Mesopotamian origin. [2] It is a trapezoid box zither with a walnut body and 92 steel (or bronze) strings. The strings, tuned to the same pitch in groups of four, are struck with two wooden mallets called " midhrab ".
A favorite traditional instrument is the santoor (Shat-tantri-veena), a hundred string percussion instrument which is played by the goddess Sharada (the goddess of learning and art in ancient Kashmir). Notable santoor players from Jammu and Kashmir include Shivkumar Sharma, from Jammu, and Bhajan Sopori from the Kashmir Valley. [citation needed]
Bharatiya Sangeet Vadya (Indian Musical Instruments) is a book (ISBN 81-263-0727-7) written by Lalmani Misra. It was published under the Lokodya Granthmala series (Granthak / Volume No.: 346) of Bharatiya Jnanpith, New Delhi. The first edition was published in 1973, the second in 2002. The book was written in Hindi.
It is performed in the early afternoon, from 12:00 P.M. to 3:00 P.M. (the third prahar of the day). [4] Use of dhaivat(dha) and rishabh(ray) is symmetrical in that both are approached via the succeeding notes (D from Ṉ, and R from G̱).G̱ is sung with a kaṇ-svara (grace note) of M. Similarly, Ṉ is sung with a kaṇ-svara from S. Vadi ...