query: the pair of hand drums used in indian classical music is called

pos: Tabla subcontinent. The "tabla" consists of two single headed, barrel shaped small drums of slightly different size and shapes: "daya" also called "dahina" meaning right (also called "tabla"), and "baya" also called "bahina" meaning left (also called "dagga"). The "daya tabla" is played by the musician's right hand (dominant hand), and is about 15 centimetres (~6 in) in diameter and 25 centimetres (~10 in) high. The "baya tabla" is a bit bigger and deep kettledrum shaped, about 20 centimetres (~8 in) in diameter and 25 centimetres (~10 in) in height. Each is made of hollowed out wood or clay or brass,

pos: Tabla Tabla The tabla is a membranophone percussion instrument originating from the Indian subcontinent, consisting of a pair of drums, used in traditional, classical, popular and folk music. It has been a particularly important instrument in Hindustani classical music since the 18th century, and remains in use in India, Pakistan, Afghanistan, Nepal, Bangladesh, and Sri Lanka. The name "tabla" likely comes from "tabl", the Persian and Arabic word for drum. However, the ultimate origin of the musical instrument is contested by scholars, some tracing it to West Asia, others tracing it to the evolution of indigenous musical instruments of the Indian

pos: Sunayana Ghosh Sunayana Ghosh Sunayana Ghosh is an Indian percussionist. Her instrument of choice is the tabla', the Indian hand drums. Born in Kolkata, India, Sunayana Ghosh learned music from her mother, who is a vocalist and her tabla gurus such as Samar Mitra, Pandit Shankar Ghosh of Farukhabad gharana and his son Bickram Ghosh. Beside being a tabla soloist and accompanist and sharing stage with some masters of Indian classical music, Sunayana Ghosh is familiar with Indian vocal music and kathak dance and holds a Master of Arts in Music. As a female tabla player, she has performed in India as

pos: Kris Chetan Ramlu Kris Chetan Ramlu Kris 'Chetan' Ramlu (Hindi: चेतन रामलु), is a New Zealand musician of Indian origin (Telugu descent from Andhra Pradesh, India). Though his main instrument is the tabla (a pair of tuned hand drums from India), Chetan plays many other instruments and has learnt classical singing with some of the Indian masters. His biggest musical influence is Ustad Zakir Hussain, a virtuoso percussionist whose name is synonymous with the tabla. Chetan started playing the tabla at the age of 10 and was performing at concerts by the age of 12. He was trained by his father for many

pos: Indian classical music shape of musical phrase. The most widely used "tala" in the South Indian system is "adi tala". In the North Indian system, the most common "tala" is "teental". In the two major systems of classical Indian music, the first count of any "tala" is called "sam". Instruments typically used in Hindustani music include the sitar, sarod, surbahar, esraj, veena, tanpura, bansuri, shehnai, sarangi, violin, santoor, pakhavaj and tabla. Instruments typically used in Carnatic music include veena, venu, gottuvadyam, harmonium, mridangam, kanjira, ghatam, nadaswaram and violin. Players of the tabla, a type of drum, usually keep the rhythm, an indicator of

pos: Mayo College Girls School for the Ranji trophy, representing Rajasthan. The activities provided include dances (folk, Odissi, Kathak and Bharatnatyam), art, craft, Indian classical vocal music, Indian classical instruments (sitar, tabla, harmonium, violin), Western vocal and instrumental (piano, guitar, violin, drums, Congo), pottery, creative writing, dramatics, Nature Club, computer related activities, quizzing and debating. The Dramatics Club is called The Sophocles Club, a name chosen by the XII Std batch of 2002-2003. The student-run newsletter was initiated by the XII Std batch of 2004-2005. The first edition was called Kitch. The newsletter is now named Mayonnaise. Recently, during the farewell ceremony of their founder

pos: Granthi Sikhs worldwide. A Granthi has to spend a few years as an assistant to a qualified reputable Granthi, who will act as a mentor and pass on his or her knowledge to teach ceremonial aspects of his or her duties. Assistant Granthis must possess the skills to play tabla, which is a pair of percussion drums use in classical Indian music. This is a necessity as they are required to join the head Granthi during Gurmat Kirtan, which is the rendering of verses from the Sri Guru Granth Sahib in the Ragas in the Guru Granth Sahib, Taalas, and musical

pos: Mrigya of that amusing incident. The founding members consisted of Rajat Kakkar on percussions (and, later, on drums), Sharat Chandra Srivastava on Hindustani violin, Indraneel Hariharan on electric bass, Sonam Sherpa on electric guitar, Gyan Singh on tabla and Indian percussion, and Ashwani Verma on drums. The current band-members are as follows" Mrigya Mrigya is an Indian World fusion music band from New Delhi that was formed in 1999. It music is a fusion of Blues, Folk, Funk, Latin, Rock and Jazz along with Indian classical music. Over the years the band has played at national and international music festivals. The

pos: Tiruchy L. Saravanan musicians in Singapore. His sensitivity and almost near diction in orchestrating Indian classical music is noteworthy. In 2006, he again created the SIFAS ensemble now with a ten-member team incorporating North Indian music instruments such as tabla and sitar in a Carnatic music orchestral piece, a unique "ragatalamalika" with different ragas and talas, blending with the traditional South Indian instruments with a pair of violins, a pair of support vocalists, flute, mridangam, and ghatam. In a challenging NAC National Indian Music competition, he won the second prize again and winning critical acclaim from the judges and the audience for his

pos: Kudamaloor Janardanan being expressed in a raag, that is also classical music. In 'Gita Govindam' where the theme is that of love between Radha and Krishna, it is the 'shringara bhava' that should be brought forth by the musician. But many artistes still keep projecting the bhakti bhava." He also uses "unconventional" instrumentation in his concerts. In the Kovalam Lt Festival, he used Drums, Percussions, Keyboard and Voices in a Raga based concert. He also uses Edakka( a south Indian, temple based drum) and Tabla ( mostly used in Hindustani Music) apart from conventional Mridagam and Ghatam. His overall approach of curiosity

pos: Suresh Rattan Suresh Rattan Suresh Rattan (full name: Suresh Inder Singh Rattan; born in 1955 in Amritsar, India) is a biogerontologist – a researcher in the field of biology of ageing, biogerontology. In addition to his professional research work on the biology of ageing, he is also very much interested and involved in the public communication of science and he likes to undertake explorations in the Indian classical music and semi-classical music by playing Tabla – the North Indian drums, as evident from music CDs "State of the Art: Small Town People" by Harry Jokumsen and other artists (2008), and "The Fall

pos: Tabla in stone, are found in the Ellora Caves, and others. A type of small Indian drums, along with many other musical instruments, are also mentioned in Tibetan and Chinese memoirs written by Buddhist monks who visited the Indian subcontinent in the 1st millennium CE. The "pushkala" are called "rdzogs pa" (pronounced dzokpa) in Tibetan literature. The "pushkara" drums are also mentioned in many ancient Jainism and Buddhism texts, such as "Samavayasutra", "Lalitavistara" and "Sutralamkara". Various Hindu and Jain temples, such as the Eklingaji in Jaipur, Rajasthan show stone carvings of a person playing tabla-like small pair of drums. Small drums

pos: Bhangra (music) dhadd, dafli, dholki, and damru are the other drums. The tumbi, originally played by folk artists such as Lalchand Yamla Jatt and Kuldip Manak in true folk recordings and then notably used by Chamkila, a Punjabi folk (not Bhangra) singer, is a high-tone, single-string instrument and Chimta by (Late) Alam Lohar. Bhangra today has developed into a largely beat-based music genre, unlike before 1994, when it was slightly more mellow and classical. Pandit Dinesh and Kuljit Bhamra were trained exponents of Indian percussion and helped create the current British music, mainly with tabla and dholki for bands like Alaap and

pos: Love You To on John Lennon's song "Norwegian Wood (This Bird Has Flown)", while his own composition "If I Needed Someone" reflected the genre's influence in its melody and suggestion of drone. He subsequently wrote "Love You To" as a way to showcase the sitar, and to feature the tabla, a pair of Indian hand drums, for the first time. Music critic Richie Unterberger describes the song as the Beatles' "first all-out excursion" in raga rock,<ref name="Unterberger/AM"></ref> a genre that author Nicholas Schaffner says was "launched" by Harrison's use of sitar on "Norwegian Wood". Harrison wrote "Love You To" in early 1966 while

pos: Chhandayan leading Tabla player and represents the Farukhabad gharana (school) of tabla playing. Chatterjee's performances, lectures, and teachings have made contributions to both Indian and other world music traditions. His compositions and writings are widely acclaimed. The various activities conducted by Chhandayan include: Chhandayan offers lessons and classes on different branches of Indian classical music including training in vocals, Violin, Sitar, Sarangi, Bansuri, Harmonium (hand-pumped), and Tabla. Training in Indian classical dance including Kathak is also offered on a weekly basis at CCIM. Although modern technology has created the ability to reach students across the world, music instruction at Chhandayan is

pos: Bob Becker (composer) realistic and practical." A major work for percussion quintet, "Mudra" is another example of how Becker fuses military drumming style within the context of Hindustani practices. He employs both the tactics and melodic constructions that come from North Indian Classical music. Within this frame, Becker uses western drums in a tabla-like fashion, but employs rudimental ideas. The concept of building out of stasis in Hindustani music is used to establish a motif which builds on itself and sets up the sometimes chaotic presence of the snare drum, which focuses more on the melodic and soloistic functions of tabla drumming. While

pos: Duggi (drum) has of sustaining the frequencies of a note. Duggi (drum) The duggi, dugi or dukkar, is an Indian drum, with a kettle drum shape, played with fingers and palm of the hand. It is used in baul music of the Bengal/Bangladesh region. It is also employed in folk music of Uttar Pradesh (duggi) and Punjab (dukkar). In shehnai ensembles, a duggi player provided rhythm accompaniment, but nowadays, a tabla player has the role. The duggi part in those ensembles consists of two drums, like a tabla and bayan, but smaller in size. The duggi has neither the resounding quality of

pos: Duggi (drum) Duggi (drum) The duggi, dugi or dukkar, is an Indian drum, with a kettle drum shape, played with fingers and palm of the hand. It is used in baul music of the Bengal/Bangladesh region. It is also employed in folk music of Uttar Pradesh (duggi) and Punjab (dukkar). In shehnai ensembles, a duggi player provided rhythm accompaniment, but nowadays, a tabla player has the role. The duggi part in those ensembles consists of two drums, like a tabla and bayan, but smaller in size. The duggi has neither the resounding quality of the tabla nor the peculiarity that the tabla

pos: Music of Suriname styles from the area, such as kawina. Kaseko evolved in the 1930s during festivities that used large bands, especially brass bands, and was called Bigi Pokoe ("big drum music"). Following World War II, jazz, calypso and other importations became popular, while rock and roll from the United States soon left its own influence in the form of electrified instruments. Indian music arrived with immigrants from South Asia. This originally included folk music played with dhantal, tabla, sitar, harmonium and dholak, later including tassa drums. Music was mostly Hindu songs called bhajans, as well as filmi. The tan singing style is

neg: Nakara (drum) times, special occasions like consecration, temple fairs and festivals and during procession timings i.e.,car procession, float festival and palanquin festival processions. These instruments were most popular during eighteenth and nineteenth centuries. Nakara (Indian drum) is one among them. It is the variant of Murasu instrument. In famous temples this pair of musical instrument is either tied on the back of a bull or an elephant and the animal taken before the procession. Beating the instrument would communicate people that the temple procession is following. Nagada (pair of Indian drums) is the Skin-covered hand drum used in south Indian temple rituals

neg: Kudüm Kudüm Kudüm is one of the most fundamental rhythm instruments in classical Turkish music. The person playing it is called kudümzen. It is among ney, rebap, and halile as one of the four main instruments in Mevlevi music. It consists of a pair of small, hemispherical drums. Traditionally kudüm was played in religious ceremonies; in a secular context, like in mehter music, its slightly bigger cousin nakkare is played. The drums are some 28–30 cm. in diameter and about 16 cm high, growing narrower toward the bottom like a half-sphere. They are made of beaten copper, and resemble two bowls,

neg: Khrueang sai Khrueang sai Wong khrueang sai (, , literally "string ensemble") is a musical ensemble in Thai classical music which consists primarily of string instruments. A typical "khrueang sai" ensemble features two two-string fiddles, one high and one low ("saw duang" and "saw u"), a three-string zither called "jakhe", a vertical duct flute called "khlui", hand drums, and various cymbals. Depending on the size of the ensemble, instruments may be doubled or left out. A three-string spike fiddle called "saw sam sai" may be added as well. The "khim" (hammered dulcimer) has become popular and is also used in this ensemble.

neg: Jhyali blacksmiths. Jhyali Jhyali () is a traditional folk percussion instrument from Nepal. They are thinly walled, consist of a pair of round, metal plates, resembling cymbals, and are used in both folk and classical music in Nepal. Unlike most percussion instruments around the world, the Jhyali is played by rubbing the plates with the right hand rising and the left hand descending at the time when they clash. These percussion instruments are made by a Nepali alloy that is called pancha dhatu, which means five metals. The alloy consists of brass, copper, silver, zinc and gold, and are usually made

neg: Jhyali Jhyali Jhyali () is a traditional folk percussion instrument from Nepal. They are thinly walled, consist of a pair of round, metal plates, resembling cymbals, and are used in both folk and classical music in Nepal. Unlike most percussion instruments around the world, the Jhyali is played by rubbing the plates with the right hand rising and the left hand descending at the time when they clash. These percussion instruments are made by a Nepali alloy that is called pancha dhatu, which means five metals. The alloy consists of brass, copper, silver, zinc and gold, and are usually made by

neg: Kanjira Kanjira The kanjira, khanjira, khanjiri or ganjira, a South Indian frame drum, is an instrument of the tambourine family. As a folk and bhajan instrument, it has been used in India for many centuries. It was modified to a frame drum with a single pair of jingles by Manpoondia Pillai in the 1880s, who is credited with bringing the instrument to the classical stage. It is used primarily in concerts of Carnatic music (South Indian classical music) as a supporting instrument for the "mridangam". Similar to the Western tambourine, it consists of a circular frame made of the wood of

neg: Kanjira time. Satyapal Maharaj ◆ Bharghava Halambi Kanjira The kanjira, khanjira, khanjiri or ganjira, a South Indian frame drum, is an instrument of the tambourine family. As a folk and bhajan instrument, it has been used in India for many centuries. It was modified to a frame drum with a single pair of jingles by Manpoondia Pillai in the 1880s, who is credited with bringing the instrument to the classical stage. It is used primarily in concerts of Carnatic music (South Indian classical music) as a supporting instrument for the "mridangam". Similar to the Western tambourine, it consists of a circular

neg: Ewe drumming tones of the language. Some African drums can even imitate consonants by hitting the drum with a stick or hand at different angles and with different parts of the stick or hand. The Ewe also play a pair of two drums called "atumpan" (pronounced ah-toom-pahn), which are used all over Ghana as talking drums. The atumpan player stands up and plays the drum with two sticks shaped like an L. In Anlo-Ewe cultural understanding, a drum is a super projection of the human voice. In this view, the role and power of the drum in play embodies the Sub-Saharan concept

neg: Taal (instrument) Taal (instrument) The taal (; , Gini ), manjira (also spelled manjīrā or manjeera), jalra, or gini is a pair of clash cymbals, which make high-pitched percussion sounds. In its simplest form, it consists of a pair of small hand cymbals. The word taal comes from the Sanskrit word "Tālà", literally means a clap. It is a part of Indian music and culture, used in various traditional customs e.g. Bihu music, Harinaam etc.It is a type of Ghana vadya. In Hindu religious contexts it is known as karatalas (, IAST: ), pronounced "karataala", (literally beat-"tala" hand -kara), typically used to

neg: Gurukul Pratishthan guitar, drums, keyboard, saxophone and other different differences. Every year it features a different raga based composition and to name a few, it includes ragas like Raga Khamaj, Raga Bhinna Shadja, Raga Yaman, etc. In the Khandesh region of Maharashtra, the Indian classical music has not gained much importance. A music movement called Khandesh Sangeet Samaroh was started by Vivek Sonar in the year 2010 in chalisgaon, his hometown in Maharashtra. The motive of the movement was to recognize and encourage the Indian classical music in small towns. Hence, it was conceivable to bring various performances of the leading musicians

neg: Pambai Pambai The pambai or pamba (Tamil: பம்பை) is a pair of cylindrical drums used in temple festivals and folk music in Tamil Nadu, India. There is a small community in southern Andhra who plays this instrument: the Pambalas. This unit of two drums is held near the waist of the player or put on the floor, and beaten with sticks, or with a hand and a stick. In the simpler varieties, both drums are made of wood, but there is a pambai in which one drum is of wood and the other of brass: the wooden one is known as

neg: Pambai veeru vanam and the metal drum as vengala pambai. The pambai is played in the traditional ensemble naiyandi melam. Pambai The pambai or pamba (Tamil: பம்பை) is a pair of cylindrical drums used in temple festivals and folk music in Tamil Nadu, India. There is a small community in southern Andhra who plays this instrument: the Pambalas. This unit of two drums is held near the waist of the player or put on the floor, and beaten with sticks, or with a hand and a stick. In the simpler varieties, both drums are made of wood, but there is a

neg: Tala (music) Tala (music) A Tala (IAST "tāla"), sometimes spelled Taal or Tal, literally means a "clap, tapping one's hand on one's arm, a musical measure". It is the term used in Indian classical music to refer to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the Indian subcontinental traditions. Along with "raga" which forms the fabric of a melodic structure, the "tala" forms the life cycle and thereby constitutes

neg: Music of Goa Music of Goa Music of Goa refers to music from the state of Goa, on the west coast of India. A wide variety of music genres are used in Goa ranging from Western art music to Indian classical music. Konkani music is also popular across this tiny state. Being a former territory of Portugal, Goa has a dominant western musical scene with the use of instrument such as the violin, drums, guitar, trumpet and piano. It has also produced a number of prominent musicians and singers for the world of Indian music. Portuguese Fado also has significance in Goa. Lorna

neg: Hindustani classical music and various versions of the slide guitar. Various other instruments have also been used in varying degrees. Among the earliest modern music festivals focusing on Hindustani classical music was the Harballabh Sangeet Sammelan, founded in 1875 in Jallandhar. Dover Lane Music Conference notably debuted in 1952 in Kolkata and Sawai Gandharva Bhimsen Festival in 1953 in Pune, while festivals such as the ITC SRA Sangeet Sammelan appeared in the early 1970s. Hindustani classical music Hindustani classical music () is the traditional music of northern regions of the Indian subcontinent. It may also be called "North Indian classical music" or "Śāstriya

neg: Kudüm In 1957, the first radio performance was performed by Kudümzen Hurşit Ungay. Cafer Açın was an instrument maker who made important changes in the making of the instrument in the latter half of the 20th century. Sadettin Heper is also an important composer whose music involved the instrument. Kudüm Kudüm is one of the most fundamental rhythm instruments in classical Turkish music. The person playing it is called kudümzen. It is among ney, rebap, and halile as one of the four main instruments in Mevlevi music. It consists of a pair of small, hemispherical drums. Traditionally kudüm was played in

neg: Dhamar (music) beat, beats 1, 6, and 11 are clapped ("tali"), and beat 8 is indicated by a wave of the hand ("khali"): Clap 2 3 4 5 | Clap 2 | Wave 2 3 | Clap 2 3 4 || Dhamar (music) Dhamar is one of the talas used in Hindustani classical music from the Indian subcontinent. It is associated with the dhrupad style and typically played on the pakhawaj. Dhamar tala has 14 beats ("matra"s) grouped asymmetrically into a 5-2-3-4 pattern. A song in dhrupad style set to dhamar tala is also called a dhamar. The text of a dhamar

neg: Music of Myanmar double reed pipe and "sidaw" (), a pair of ceremonial drums, as well as the "si" () and "wa" (), a bell and clapper and the "gandama", a double-headed drum. Today, "sidaw" music is played at festivals. Other instruments used in classical music include the "saung" (a harp) and "pattala" (a xylophone). The indoor form is the chamber music ensemble, which is basically a female singer accompanied by a traditional ensemble consisting of the "saung" (), "pattala" (), "migyaung" (, a zither), "palwe" (, a flute) and in the past, included the "tayaw" (, a fiddle) and "hnyin" (a small

neg: Boula (music) Boula (music) The word boula can refer to at least four different drums played in the Caribbean music area. In the Lesser Antilles region of the Caribbean, the boula drum is used in the Big Drum traditions. The "boula" of Carriacou is also a hand drum, now most often made of rum casks. It is also called the "tambou dibas", and is used in the Big Drum tradition. The Guadeloupean "boula" is a hand drum, similar to the "tambou bèlè", and is used in "gwo ka" and special occasions likes wakes, wrestling matches and Carnival celebrations. It is a hand

neg: Okinawan music with those of American popular and rock music. This is called "Uchinaa pop". One example is Ryukyu Underground, who combine both classical and folk music with modern Dub music. The instrument that defines Okinawan music is the sanshin. It is a three-stringed lute, very similar to the Chinese sanxian and a precursor to the Japanese shamisen. The body is covered in snake skin and it is plucked with a plectrum worn on the index finger. Okinawan folk music is often accompanied by various taiko drums such as , , and . Paaranku, a small hand-held drum about the size of

neg: Indian classical music Indian classical music Indian classical music Indian subcontinent. It has two major traditions: the North Indian classical music tradition is called "Hindustani", while the South Indian expression is called "Carnatic". These traditions were not distinct till about the 16th century. There on, during the turmoils of Islamic rule period of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploring all aspects of a raga, while Carnatic performances tend to be short and composition-based. However, the two systems continue to have more common features than differences. The roots of the classical music of

neg: Music of Sri Lanka is created with few instruments only and the frequency range is narrowly. The folk songs and poems were used in social gatherings to work together. The Indian influenced Classical Music has grown to be unique. The traditional drama, music and songs are typically Sri Lankan. The classical Sinhalese Orchestra consists of five categories of instruments. The drum is the king of local percussions instruments and without it, there will be no dance. The vibrant beat of the rhythm of the drums form the basic of the dance. The dances feet bounce off the floor and they leap and swirl in

neg: Rhythm in Arabian music variety of "iqa<nowiki>'</nowiki>at" (ranging from two to 48 beats) are used in the "muwashshah". Rhythm in Arabian music Rhythm in Arabian music is analysed by means of rhythmic units called "awzan" and "iqa'at". A rhythmic pattern or cycle in Arabian music is called a "wazn" (; plural أوزان / "awzān"), literally a "measure", also called "darb", "mizan", and "usul" as is in Ottoman classical music). A "Wazn" is performed on the goblet drum (tarabuka), frame drum (riqq or tar), and kettle drums (naqqarat). A "wazn" is only used in musical genres with a fixed rhythmic-temporal organization including recurring measures, motifs,

neg: Indian classical music Music Academy Madras' Sangeetha Kalanidhi Award is a well regarded award. Indian classical music Indian classical music Indian subcontinent. It has two major traditions: the North Indian classical music tradition is called "Hindustani", while the South Indian expression is called "Carnatic". These traditions were not distinct till about the 16th century. There on, during the turmoils of Islamic rule period of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploring all aspects of a raga, while Carnatic performances tend to be short and composition-based. However, the two systems continue to have more

neg: Music having preserved many of its features, rhythms and instruments. Indian classical music is one of the oldest musical traditions in the world. The Indus Valley civilization has sculptures that show dance and old musical instruments, like the seven holed flute. Various types of stringed instruments and drums have been recovered from Harappa and Mohenjo Daro by excavations carried out by Sir Mortimer Wheeler. The Rigveda has elements of present Indian music, with a musical notation to denote the metre and the mode of chanting. Indian classical music (marga) is monophonic, and based on a single melody line or raga rhythmically

neg: Korean barrel drum shape. Performers in the court music usually beat these drums with a single drumstick (called "bukchae", 북채) in one hand or two hands together, while drummers in the folk music commonly use a drumstick in their right hand while hitting the other side with their open left hand. In the past, the "jong" (종, bell) was also referred to as ""soebuk"" (쇠북, metal drum) and included in the drum category. Barrel drums have been used for Korean music since the period of the Three Kingdoms of Korea (57 BC – 668 AD) in light of mural paintings in Anak Tomb

neg: Trinidad Orisha Bahá'í, and Trinidad Kabbalah. Trinidad Orisha practice involves call and response singing accompanied by a trio of drums. Orisha drums are double-headed bi-tensorial cylinders derived from Yoruba "bembe" drums (similar to the Cuban "Iyesá" drums). The drum that is lowest in pitch is called the "bo" or "kongo". The lead drum is called "center drum," "big drum," or "bembe". The smallest drum, highest in pitch, is called "umele". The first two drums are played with a single stick plus hand combination, while the "umele" is played with a pair of sticks. All of the sticks are curved at the end,

neg: Tala (music) a North Indian classical dance composition must end there. However, melodies do not always begin on the first beat of the "tala" but may be offset, for example to suit the words of a composition so that the most accented word falls upon the "sam". The term "talli", literally "shift", is used to describe this offset in Tamil. A composition may also start with an anacrusis on one of the last beats of the previous cycle of the "tala", called "ateeta eduppu" in Tamil. The "tāla" is indicated visually by using a series of rhythmic hand gestures called "kriyas" that

neg: Military drums the American Civil War. Over a period of time, Snare drums, as well as timpani, have been adopted into civilian classical and popular music. In modern times, the term "war drums" is used as a metaphor for preparation for war. Military drums Military drums or war drums are all kinds of drums and membranophones that have been used for martial music, including military communications, as well as drill, honors music and military ceremonies. Among ancient war drums that can be mentioned, junjung was used by the Serer people in West Africa. The Rigveda describes the war drum as the fist

neg: Santal music most important Santal traditional instrument and still evokes feelings of nostalgia for many Santal. Traditionally the Santal used a variety of musical instruments, but the following are now the most prominent ones in use. The Santal have two primary membranophones: the Tamak' and the Tumdak'. These instruments are critical for most traditional Santal music because they provide the metric foundation for the music. The Tumdak' is a hand-struck two-headed drum. The body of the drums made from clay. Like most similar Indian drums, the left head is larger than the right. Leather straps zigzag from head to head to connect

neg: Rhythm in Arabian music Rhythm in Arabian music Rhythm in Arabian music is analysed by means of rhythmic units called "awzan" and "iqa'at". A rhythmic pattern or cycle in Arabian music is called a "wazn" (; plural أوزان / "awzān"), literally a "measure", also called "darb", "mizan", and "usul" as is in Ottoman classical music). A "Wazn" is performed on the goblet drum (tarabuka), frame drum (riqq or tar), and kettle drums (naqqarat). A "wazn" is only used in musical genres with a fixed rhythmic-temporal organization including recurring measures, motifs, and meter or pulse. It consists of two or more regularly recurring time segments,

neg: Hindustani classical music Hindustani classical music Hindustani classical music () is the traditional music of northern regions of the Indian subcontinent. It may also be called "North Indian classical music" or "Śāstriya Saṅgīt". Its origins date from the 12th century CE, when it diverged from Carnatic music, the classical tradition of southern regions of the Indian subcontinent. Hindustani classical music has strongly influenced Indonesian classical music and Dangdut popular music, especially in instrumentation, melody, and beat. Besides vocal music, which is considered to be of primary importance, its main instruments are the sitar and sarod. Classical music can be divided into melody and

neg: Gamelan Gadhon musician chooses how to play each one at the time, according to the style of the piece, the pathet, the irama, and other musical considerations. The slenthem is a low-pitched tube-resonated metallophone played with a large padded mallet held in one hand, with the other hand is used for damping the ringing key as a new key is sounded. The melodic framework of a piece, sometimes called the balungan, is played on the slenthem. The kendhang, two-headed drums played with the hands, control the tempo of the music and signal changes in irama. Different drums are used according to the

neg: Bombo criollo comparsas. In other countries, the term tambora is commonly used. The bombo should not be confused with the Puerto Rican bomba, a genre of music played with hand drums called "barriles de bomba" (bomba barrels), which are unrelated to the European bass drums. The bombo legüero is a common instrument in Argentine folk traditions such as zamba and chacarera. The body of the drum is made out of a hollowed tree trunk, and the head is made of animal skins. The bombo de comparsa is the lowest drum used in "conga santiaguera", the music of the street carnivals from Santiago

neg: Indigenous music of North America For larger dance or powwow type drums, the basic construction is very similar in most tribes: a wooden frame or a carved and hollowed-out log, with rawhide buckskin or elk skin stretched out across the opening by sinew thongs. Traditionally American Indian drums are large, two to three feet in diameter, and they are played communally by groups of singers who sit around them in a circle. For smaller single-sided hand drums, a thinner frame or shell is used, and a rawhide surface is strung onto only one side, with lacing across the other. Other types include two basic styles

neg: Classical Indian musical theatre is too vigorous and difficult for them. Indian dancing is not just physical movements of hands and legs, it is a form of physical art with body and mind for both men and women alike as well as a form of worship to the Almighty Divine Gods. An important feature of Indian classical dances is the use of Mudras or hand gestures. Mudras are used by the artists to express their feeling or even the whole story. Ancient Sanskrit drama had a highly stylized nature with an emphasis on spectacle, where music, dance and gesture combined "to create a vibrant

neg: Swaralipi are used for the lower variety of the vikrut swar. Swaralipi Swaralipi (Akar Matrik Swaralipi ) is any system used in sheet music in order to represent aurally perceived music through the use of written notes for Indian classical music. The Indian scholar and musical theorist Pingala (c. 200 BC), in his "Chanda Sutra", used marks indicating long and short syllables to indicate meters in Sanskrit poetry. In the notation of Indian rāga, a solfege-like system called sargam is used. As in Western solfege, there are names for the seven basic pitches of a major scale (Shadja, Rishabh, Gandhar, Madhyam,

neg: Malays (ethnic group) dances. There are also drums of various sizes, ranging from the large "rebana ubi" used to punctuate important events to the small "jingled-rebana" (frame drum) used as an accompaniment to vocal recitations in religious ceremonies. Nobat music became part of the Royal Regalia of Malay courts since the arrival of Islam in the 12th century and only performed in important court ceremonies. Its orchestra includes the sacred and highly revered instruments of "nehara" (kettledrums), "gendang" (double-headed drums), "nafiri" (trumpet), "serunai" (oboe), and sometimes a knobbed gong and a pair of cymbals. Indian influences are strong in a traditional shadow play

neg: Mohan veena Mohan veena A mohan veena is either of two distinct plucked string instruments used in Indian classical music, especially Hindustani classical music which is associated with the northern parts of the Indian subcontinent. A modified sarod, created by sarod player Radhika Mohan Maitra in the 1940s, was called the mohan veena. The instrument was so named by musicologist Thakur Jaidev Singh, then the chief producer at All India Radio. Later Vishwa Mohan Bhatt modified a Hawaiian guitar to create an instrument also called the mohan veena, with Bhatt naming the instrument after himself. The latter instrument has become more closely

neg: Taal (instrument) hold great importance and are played in bhajan, santvani and dayro. Gadam Taal (instrument) The taal (; , Gini ), manjira (also spelled manjīrā or manjeera), jalra, or gini is a pair of clash cymbals, which make high-pitched percussion sounds. In its simplest form, it consists of a pair of small hand cymbals. The word taal comes from the Sanskrit word "Tālà", literally means a clap. It is a part of Indian music and culture, used in various traditional customs e.g. Bihu music, Harinaam etc.It is a type of Ghana vadya. In Hindu religious contexts it is known as karatalas

neg: Love Runs Blind (LRB) country. Although, LRB is a Rock band, they owe their musical heritage to a rich Bengali musical tradition. In general, music in Bangladesh has been used as a communication device to relay stories from one generation to the next, and to encourage the population to adopt specific ideals towards how they lead their lives. Bangla music fits into five genres, many of which reflect the core values of the musical approach taken by LRB: Based on musical modes called ragas. All Bengali music has some basis in classical music. LRB's reliance on classical instruments (guitars and drums) demonstrates training in

neg: Phrygian dominant scale V/VI. This scale occurs in Indian, Middle Eastern, Eastern European, Central Asian, and Flamenco music. It is common in Arabic and Egyptian music, in which it is called "Hijaz-Nahawand" or "Hijaz maqam", and used in Hebrew prayers and Klezmer music, where it is known as "Ahava Rabbah", "Freygish" or just the "Jewish scale", and is called "Dastgāh-e Homāyoun" in Iran. It is the most common scale in North Indian classical raga "Hijaz Bhairav (Basant Mukhari)" and South Indian raga "Vakulabharanam". It is sometimes called the "Spanish Phrygian scale", "Spanish Gypsy scale" (see: gypsy scale) or "Phrygian major scale" (see: phrygian

neg: Swaralipi Swaralipi Swaralipi (Akar Matrik Swaralipi ) is any system used in sheet music in order to represent aurally perceived music through the use of written notes for Indian classical music. The Indian scholar and musical theorist Pingala (c. 200 BC), in his "Chanda Sutra", used marks indicating long and short syllables to indicate meters in Sanskrit poetry. In the notation of Indian rāga, a solfege-like system called sargam is used. As in Western solfege, there are names for the seven basic pitches of a major scale (Shadja, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad, usually shortened Sa Re Ga Ma

neg: George Shearing & Barry Tuckwell Play the Music of Cole Porter give a jazz feel to all of the performances and make the music accessible (if not really essential) to both classical and jazz listeners". George Shearing & Barry Tuckwell Play the Music of Cole Porter George Shearing & Barry Tuckwell Play the Music of Cole Porter is a 1986 album of the music of Cole Porter by jazz pianist George Shearing and classical French horn player Barry Tuckwell. The pair play as a duet on four selections, two are performed as a quartet with bass and drums, and the remaining five are accompanied by a small orchestra of string players.

neg: Music of Afghanistan & regional styles), Western, and another style unique to Afghanistan itself (however, mainly adopted by Persian-speaking musicians) simply called Afghan music. The Indian classical tradition was a hugely influential strain. The vast majority of the elite artists in Afghanistan until the 1980s were trained in the Indian classical tradition. Ustad Sarahang, Rahim Bakhsh, Ustad Nashenas and many other singers were prominent adherents of this style. This style emphasized compositions in the Indian raga style & the singing of Ghazals in melodies very similar to Indian classical & court music. The classical musical form of Afghanistan is called klasik, which includes

neg: Sri Lanka drums played with one hand t. This is the biggest of the drums used in Sri Lanka. The special feature of this drum is that it is played at a time by two or more people. They use both hands. This drum is commonly used for New Year festivals and there are many special rhythms played on them. It is mostly played by women. Sri Lanka drums Sri Lanka has been having many types of drums in use from ancient times, and reference to these are found in some of the classical literature e.g. "Pujawaliya", "Thupawansaya", "Dalada Siritha" etc. Although there

neg: Classical guitar Classical guitar The classical guitar (also known as the nylon-string guitar, or Spanish guitar) is a member of the guitar family used in classical music. It is an acoustic wooden guitar with strings made of gut or nylon, rather than the metal strings used in acoustic and electric guitars. For a right-handed player, the traditional classical guitar has twelve frets clear of the body and is properly held on the left leg, so that the hand that plucks or strums the strings does so near the back of the sound hole (this is called the classical position). The modern steel

neg: History of music dance and musical instruments (some no longer in use), like the seven holed flute. Various types of stringed instruments and drums have been recovered from Harrappa and Mohenjo Daro by excavations carried out by Sir Mortimer Wheeler. The Rigveda has elements of present Indian music, with a musical notation to denote the metre and the mode of chanting. Early Indian musical tradition also speaks of three accents and vocal music known as "Samagan" (Sama meaning melody and Gan meaning to sing). The classical music of India includes two major traditions: the southern Carnatic music and the northern Hindustani classical music.

neg: Veena which are melody type, and three auxiliary drone strings. To play, the musician plucks the melody strings downward with a plectrum worn on the first and second fingers, while the drone strings are strummed with the little finger of the playing hand. The musician stops the resonating strings, when so desired, with the fingers of the free hand. In modern times the veena has been generally replaced with the sitar in north Indian performances. The South Indian veena design, used in classical Carnatic music, is a lute. It is a long-necked, pear-shaped lute, but instead of the lower gourd of

neg: Mehfil performances are also called 'Mehfil'. "The word 'Mehfil' generally means a place where a music or dance-performance is in progress." Mehfil Mehfil (also spelled mahfil) is an evening of courtly entertainment poetry or concert of Indian classical music and Pakistani classical music (particularly Hindustani classical music) and dance, performed for a small audience in an intimate setting. Historically, "mehfil"s were presented in the homes or palaces of Muslim royalty or noblemen, who acted as these artists' patrons. Mehfils are also an integral part of the Hyderabadi Muslim community, and used as a way of unity among them, all around the

neg: Bongo drum is done by rubbing the third finger, supported by the thumb, across the head of the drum. The finger is sometimes moistened with saliva, or sweat before rubbing it across the head. When used in art music compositions they are usually struck with drum sticks. These drums can also be played on a stand, as is the case with concert orchestras and bands. Bongo drum Bongos (Spanish: "bongó") are an Afro-Cuban percussion instrument consisting of a pair of small open bottomed drums of different sizes. In Spanish the larger drum is called the "hembra" (female) and the smaller the "macho"

neg: Naqareh instrument. These drums and the "davul" or "cylindrical drum" were used in Ottoman "mehter" music. In Uzbekistan the kettledrum is called "naqara" or "nagora". "Dulnaqara": a large kettledrum that gives a low and loud sound (i.e. "tum"). "Reznaqara" is a small kettledrum that gives a high and loud sound (i.e. "tak"). "Koshnaqara" is a small-paired kettledrum, a pair of clay pots with goatskin tops. Kettledrums were adopted in Europe during the 13th century Crusades, following contact with Saracen musicians who played the drums;The Arabic term "naqqara" became French "nacaires", the Italian "naccheroni" and the English nakers. The instrument spread rapidly,

neg: Plena philosophy, community, and self to the lower class became an entertaining spectacle for the white upper class. By the 1930s, the plena was accessible to all through the radio and record industries. Plena music is generally folkloric in nature. The music's beat and rhythm are usually played using hand drums called panderetas, also known as panderos. The music is accompanied by a scrape gourd, the guiro. Panderetas resemble tambourines but without the jingles. These are handheld drums with stretched animal skins, usually goat skin, covering a round wooden frame. Three different sizes of pandereta are used in plena: the Seguidor

neg: Singing typically features sung words called lyrics, although there are notable examples of vocal music that are performed using non-linguistic syllables or noises, sometimes as musical onomatopoeia. A short piece of vocal music with lyrics is broadly termed a song, although, in classical music, terms such as aria are typically used. Vocal music is written in many different forms and styles which are often labeled within a particular genre of music. These genres include Indian classical music, Art music, popular music, traditional music, regional and national music, and fusions of those genres. Within these larger genres are many subgenres. For example,

neg: Orientalism an Indian temple dancer and Indian warrior. This ballet was based on Kalidasa's play "Sakuntala". "La Bayadere" used vaguely Indian costuming, and incorporated Indian inspired hand gestures into classical ballet. In addition, it included a 'Hindu Dance,' motivated by Kathak, an Indian dance form. Another ballet, "Sheherazade", choreographed by Michel Fokine in 1910 to music by Nicholas Rimsky-Korsakov, is a story involving a shah's wife and her illicit relations with a Golden Slave, originally played by Vaslav Nijinsky. The ballet's controversial fixation on sex includes an orgy in an oriental harem. When the shah discovers the actions of his numerous

neg: Andalusian classical music there used to be twenty-four "nuba" linked to each hour of the day, but in Algeria there are only sixteen "nuba" and in Morocco eleven have survived. Each "nuba" is divided into five parts called "mîzân", each with a corresponding rhythm. The rhythms occur in the following order in a complete nuba: Andalusian classical music orchestras are spread across the Maghreb, including the cities of: They use instruments including oud (lute), rabab (rebec), darbouka (goblet drums), taarija (tambourine), qanún (zither), and kamancheh. More recently, other instruments have been added to the ensemble, including piano, contrabass, cello, and even banjos, saxophones,

neg: Indian classical music which the 7 basic notes are, in ascending tonal order, "Sa Re Ga Ma Pa Dha Ni " for Hindustani music and "Sa Ri Ga Ma Pa Dha Ni " for Carnatic music, similar to Western music's "Do Re Mi Fa So La Ti ". However, Indian music uses just-intonation tuning, unlike some modern Western classical music, which uses the equal-temperament tuning system. Also, unlike modern Western classical music, Indian classical music places great emphasis on improvisation. The underlying scale may have four, five, six or seven tones, called "swaras" (sometimes spelled as "svaras"). The "svara" concept is found in

neg: Music of Vanuatu symbolize Vanuatu belong to these traditional instruments; they were most often used as musical drums to accompany certain dances, but also sometimes – though seldom – as a ritual means of communication; although widespread throughout Vanuatu, they are used vertically only in central areas of the archipelago (mainly on Ambrym). So-called "traditional music" is actually a very general cover term encompassing a wide and complex variety of musical genres known by every local community – in a way very similar to the vague term "classical music" of Western societies. Another musical genre that has become widely popular during the 20th

neg: Abhijit Pohankar Abhijit Pohankar Abhijit Pohankar (born 29 June 1975, in Mumbai) is an Indian classical instrumentalist. He plays classical music on the keyboard. Abhijit was born to Indian classical vocalist Ajay Pohankar. He is the grandson of Susheela Pohankar of the Kirana Gharana. He learned for some time with santoor player Shivkumar Sharma . After playing classical music on a keyboard, he started venturing into world music and fusion music. His biggest album was Piya Bawari with his father Ajay Pohankar, and in that album he experimented with classical music fused with lounge music. His latest project/band is called Panch Tatva

neg: Kicker (poker) Kicker (poker) A kicker, also called a side card, is a card in a poker hand that does not itself take part in determining the rank of the hand, but that may be used to break ties between hands of the same rank. For example, the hand Q-Q-10-5-2 is ranked as a pair of queens. The 10, 5, and 2 are kickers. This hand would defeat any hand with no pair, or with a lower-ranking pair, and lose to any higher-ranking hand. But the kickers can be used to break ties between other hands that also have a pair of

neg: Kailasa (band) Moodbidri on 14 January 2018. Kailasa (band) Kailasa is an Indian fusion band, founded by Kailash Kher. The name of the band is taken from an accented pronunciation of Kailash's own name as well as Mount Kailash, the abode of Hindu God Shiva. Along with guitars, drums and keyboards, the band incorporates classical Indian instruments and sometimes traditional lyrics into their songs to infuse folk and a Sufi hue. Kailasa's music is a blend of medieval Indian music, Sufi and Western music. Lyrical themes though vary but the most distinct style of Kailash Kher is where he sings as through

neg: Kailasa (band) Kailasa (band) Kailasa is an Indian fusion band, founded by Kailash Kher. The name of the band is taken from an accented pronunciation of Kailash's own name as well as Mount Kailash, the abode of Hindu God Shiva. Along with guitars, drums and keyboards, the band incorporates classical Indian instruments and sometimes traditional lyrics into their songs to infuse folk and a Sufi hue. Kailasa's music is a blend of medieval Indian music, Sufi and Western music. Lyrical themes though vary but the most distinct style of Kailash Kher is where he sings as through a female devotee/lover trying to

neg: Mandolin his version of the mandolin very popular in India and abroad. Many adaptations of the instrument have been done to cater to the special needs of Indian Carnatic music. In Indian classical music and Indian light music, the mandolin, which bears little resemblance to the European mandolin, is usually tuned E–B–E–B. As there is no concept of absolute pitch in Indian classical music, any convenient tuning maintaining these relative pitch intervals between the strings can be used. Another prevalent tuning with these intervals is C–G–C–G, which corresponds to "sa–pa–sa–pa" in the Indian carnatic classical music style. This tuning corresponds to

neg: Drum sticks are used, including wooden sticks and sticks with soft beaters of felt on the end. In jazz, some In many traditional cultures, drums have a symbolic function and are used in religious ceremonies. Drums are often used in music therapy, especially hand drums, because of their tactile nature and easy use by a wide variety of people. In popular music and jazz, "drums" usually refers to a drum kit or a set of drums (with some cymbals, or in the case of harder rock music genres, many cymbals), and "drummer" to the person who plays them. Drums acquired even

neg: Venu of flute is mainly used in South India.The Lord Vishnu is portrayed as Sri Venugopala - playing the flute of Creation. In the Hindustani style, it is known as Bansuri. In the Carnatic style, it is known as flute. Venu The venu (Sanskrit: ; ) is one of the ancient transverse flutes of Indian classical music. It is an aerophone typically made from bamboo, that is a side blown wind instrument. It continues to be in use in the South Indian Carnatic music tradition. In Northern Indian music, a similar flute is called "bansuri". In the South, it is also

neg:
Loh tarang come by. Folk instruments from India have been used by musicians in world music and ethnic fusion. Although Indian classical music is regarded as a higher art form than Indian folk music, there is no denying that classical ragas have been influenced by various forms of folk music. Instruments used in Indian folk music stir the soul. Dwell in the mystical sounds of India. • Udukai (Percussion Instrument)
 • Algoza (Woodwind Instrument)
 • Sarinda (Bowed String Instrument)
 • Sruti upanga (Bagpipe)
 • Ghungroo (Musical Anklet)
 • Khol (Indian Drum)
 • Chengila (Percussion Instrument)
 • Pepa (Flute-like Instrument)
 • Idakka

neg: Chatrapati Singh Chatrapati Singh Raja Chatrapati Singh (1919–1998) was an Indian percussionist. He was famous for his virtuosity on Pakhavaj drums used in Hindustani Classical Music. Chatrapati (also spelled "Chhatrapati") Singh Ju Deo was born in the Royal family of Bijna State in Uttar Pradesh, bordering Madhya Pradesh, India. His grandfather Raja Mukund Singh and father Raja Himmat Singh were patrons of music. He showed a great deal of interest in music from a very early age and started learning Pakhavaj from a number of masters including Shri Kudau Singh Ji and Swami Ramdas Ji. He became the foremost exponent of Pakhavaj

neg: Brown Indian Band Brown Indian Band The Brown Indian Band was formed by bass player Colin D'Cruz and features accomplished Indian classical musicians, in concert with jazz musicians. Indian classical is similar to jazz as they are both forms of improvised music. Whereas Indian classical is linear and uses just one scale (rāga) to improvise within a composition, jazz has a much broader palette for musical improvisation, where multiple scales can be used to improvise through complex harmonies. Indian classical music, however, has some of the world's most complex rhythm structures and subtle quarter tones that takes its sound far beyond the realms

neg: ChaalBaaz plight. Anju likes classical dance and is unable to resist the urge to dance whenever she hears Indian classical music. On his birthday, Tribhuvan hosts a grand party. Among the several guests attending is his friend Vishwanath (Saeed Jaffrey), who is generally kind towards Anju. When Indian classical music plays at the party, Anju is unable to resist and bursts out dancing, but ends up accidentally slapping Tribhuvan. Although calm at the party, he beats Anju mercilessly with a whip the next day. On the other hand, Manju grows up in a slum as a happy-go-lucky and street smart stage

neg: Gamelan Gamelan Gamelan () is the traditional ensemble music of Java and Bali in Indonesia, made up predominantly of percussive instruments. The most common instruments used are metallophones played by mallets and a set of hand-played drums called "kendhang" which register the beat. Other instruments include xylophones, bamboo flutes, a bowed instrument called a "rebab", and even vocalists called "sindhen". Although the popularity of gamelan has declined since the introduction of pop music, gamelan is still commonly played on formal occasions and in many traditional Indonesian ceremonies. For most Indonesians, gamelan is an integral part of Indonesian culture. The word gamelan

neg: Sign of the horns Sign of the horns The Corna (also known as sign of the horns, metal horns, devil horns, rock horns, and other names) is a hand gesture often associated with heavy metal music and a symbol of fellowship for its listeners. It is created by bringing the middle and ring fingers to the palm, bringing the thumb inward, and extending the index and pinky fingers. In Hinduism, the hand gesture is known as the "Apana yogic mudra." In Indian classical dance forms, the hand gesture symbolises the Lion. In Buddhism, it is seen as an apotropaic gesture very commonly used by

neg: Victor Marius Beliciu Indian Classical Music" ". a documented study regarding the mathematics used in the Indian Classical Music. The result eliminates completely the adjustments from musical compositions and offers the entire range of solutions (numerical series). The formulas and tables are registered at OSIM and protected by copyright. Today he is performing solo and also with Anne Marie Ene, a professional violinist at Radio Chamber Orchestra Bucharest in an attempt to fusion two cultures, Eastern Classical Music with Western Classical Music.On 21 October 2008 Turya Classical music ensemble was born.The group becomes part of Tansen,Indian Cultural Centre for Europe an institution established

neg: Music of India rare in India. Western keyboard, drums and guitar instruction being an exception as it has found some interest; mainly in an effort to create musicians to service contemporary popular Indian music. Many reasons have been cited for the obscurity of Western classical music in India, a country rich in its musical heritage by its own right, however, the two main reasons are an utter lack of exposure and a passive disinterest in what is considered esoteric at best. The difficulty in importing Western musical instruments and their rarity have also contributed to the obscurity of classical Western music. Despite more

neg: Okinawan music a tambourine, is often used in eisa dancing. Other percussion instruments such as , and can often be heard in Okinawan music. "Sanba" are three small, flat pieces of wood or plastic that are used to make rapid clicking sounds, similar to castanets. "Yotsutake" are two sets of rectangular bamboo strips tied together, one set held in each hand, clapped together on the strong beat of the music. Traditionally they have been used in Ryukyuan classical music, but recently they have been used in eisa dancing. A group of singers called a often accompanies folk music, singing the chorus or

neg: Indian classical music of the ancient and medieval Indian subcontinent (modern Bangladesh, India, Pakistan) were a generally integrated system through the 14th century, after which the socio-political turmoil of the Delhi Sultanate era isolated the north from the south. The music traditions of the North and South India were not considered distinct until about the 16th century, but after that the traditions acquired distinct forms. North Indian classical music is called "Hindustani", while the South Indian expression is called "Carnatic" (sometimes spelled as "Karnatic"). According to Nazir Ali Jairazbhoy, the North Indian tradition acquired its modern form after the 14th or the 15th

neg: Chácaras Chácaras "For the style of bags made by some indigenous people in Panama, see Ngobe-Bugle" Chácaras are a type of castanets from the Canary Islands. They are an idiophonic and chattering instrument, with an interior cavity. Chácaras are used in the traditional music of the islands of El Hierro and La Gomera, the latter being very big, bigger than the hands of the player. They are often accompanied by "tambor" drums and chanting, and by dancers performing the "baile de tambor" (drum dance). When playing, a pair of chácaras is held in each hand, secured by the cord, and the

neg: Rudra veena Rudra veena Rudra veena (also spelled Rudra vina, and also called Bīn in North India), is a large plucked string instrument, originating from the Indian subcontinent, used in Hindustani classical music, one of the major types of "veena" played in Indian classical music. It has a long tubular body made of wood or bamboo with a length between 54 and 62 inches. Two large, round resonators, made of dried and hollowed gourds, are attached under the tube. Twenty-four brass-fitted raised wooden frets are fixed on the tube with the help of wax. There are 4 main strings and 3 "chikari"

neg: Rudra veena strings (0.45-0.47 mm) and closed "javari that". This produced a soft and deep sound when plucked without the use of any plectrum ("mizrab"). The instrument was further modified as the shruti veena by Lalmani Misra to establish Bharat's "Shadja Gram" and obtain the 22 "shruti"s. Rudra veena Rudra veena (also spelled Rudra vina, and also called Bīn in North India), is a large plucked string instrument, originating from the Indian subcontinent, used in Hindustani classical music, one of the major types of "veena" played in Indian classical music. It has a long tubular body made of wood or bamboo with

neg: Raga rock limited to that decade, although heavily Indian-derived sounds are found in some post-1960s popular music. Ragas are specific melodic modes used in the classical music of the Indian subcontinent. Thus, any rock song with obvious Indian influences may be deemed "raga rock" although the term is frequently used to refer to much more explicitly Indian musical outings. A major influence on raga rock was the Indian classical raga music of Bengali sitarist Ravi Shankar, who himself had become a pop music icon by 1966, following the rise of the raga rock trend.<ref name="Life/PsychedelicArt"></ref> Writing for "Crawdaddy!" in December 1966, Sandy

neg: Angklung in a cemetery to the cremation site. The musicians also often play music to accompany the cremation ceremony. Thus, many Balinese listeners associate angklung music and its "slendro" scale with strong emotions evoking a combination of sacred sweetness and sadness. The structure of the music is similar to gong kebyar, although employing a four-tone scale. A pair of "jegog" metallophones carries the basic melody, which is elaborated by "gangsa", "reyong", "ceng-ceng", flute, and small drums played with mallets. A medium-sized gong, called "kempur", is generally used to punctuate a piece's major sections. Most older compositions do not employ gong kebyar's

neg: Music in ancient India has its roots in the prehistoric era of Indian and South Asian culture The "Nātya Shastra" is an ancient Indian treatise on the performing arts, embracing Indian theatre, early Indian classical dance and Indian classical music. It was written between 200 BC and 200 AD, during the classical period of Indian history. This text, which contains 6000 shlokas, is attributed to a muni whose name was Bharata Muni. The "Nātya Shastra" is based upon a much older text called the "Nātya Veda", which contained 36,000 shlokas. No copies of the "Nātya Veda" have survived. Some scholars believe that it may

neg: Malaysian Indians is hence popular in Malaysia. Ramli Ibrahim and Mavin Khoo are two non-Indian Malaysians who are world-renowned Indian classical dance performers. The Temple of Fine Arts in Brickfields, Kuala Lumpur is an academy that provides training in traditional Indian dance and music. The urumee drums are often played at religious and cultural events. The nadaswaram is a traditional Indian wind instrument often played at Indian weddings in Malaysia. The contribution of the Indian community to Malaysian cuisine is enormous. Indian cuisine has had a strong influence on traditional Malay cuisine resulting in the popularity of curries in Malaysia. Indian restaurants