Last Post (Report)

In the latter post, give a general report of the last 3 post and the DepEd. Intesa has been 2 weeks where we have music, literature and film. The truth was not as sensilla find information about Indian cinema. We hope to get a good rating, I admit we lack organization but we did our best. When we published at least we were doing with a vengeance. And to conclude we say goodbye and thank you for your attention.
technical team: 

Ben Velazquez

editorial office equipment and information: 

• Ana Galicia
• Lucero Dorantes
• Josue Molina
• Angel Lopez
• Daniel Perea

Thanks for all, Until Next Time XD

Quickly: Contemporanea Music

 By Ana Galicia


Blue films and performers green.

In Indian music you can hear various exponents, which their subjects have been busy in films such as:
• Kabhi Khushi Kabhie Gham-Lata Mangeshkar
Lata Mangeshkar: India is a singer, well known as dubbing in Bollywood films. His career started in 1942 and sang in over 1,000 films in 20 Indian languages. He received the Bharat Ratna, appeared in the Guinness Book of World Records from 1974 to 1991 as the most recorded singer in the world.
• Aaja nanchle-salim-Sulaiman.
Salim-Sulaiman: is a musical duo that arise as Indian music directors after six years of his first musical composition in a bollywood movie. Receive an award after his performance in the film Bhoot. Its award-winning film music Iqbal (film) which was written by Vipul K Rawal won enthusiastic praise.

An interpreter that we have in this 2010 is shahrukh khan with the song: Non Stop. Shahrukh Khan plays the role of Aman Mathur in the film: KAL HO NAA HO where we found Shankar-Ehsaan-Loy

• Shankar-Ehsaan-Loy: a trio consisting of India, Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa. Trained in India, who worked together to provide music for several Indian films.They are one of the most popular and critically acclaimed music director of Bollywood.

Mohabbatein-Lata Mangeshkar and Udit Nayaran
• Udit Narayan: This is a playback singer in commercial Hindi, Urdu, Sindhi, Tamil, Telugu, Malayalam, Kannada, Oriya, Assamese, Angika, Nepal and Bangla language film. Narayan has sung in 26 different languages. He was a recipient of Padma Shri award in 2009.

Raja Hindustani-Nadeem-Shravan
Nadeem-Shravan •: Nadeem-Shravan are a duo of composers of the 1990s until mid-2000. The duo is formed by Nadeem Akhtar Saifi and Shravan Rathod, who compose music for films.

Although there are many more interpretations of this type of music that most caught my attention were the above at the following links can verify the information and listen to other songs associated with them.

"INDIexploitation" film

By: Josué Yasser Molina Loyola

Bollywood the biggest film industry over the world "believe it or not"

Do you know what is an exploitation film?

an exploitation film is a low budjet movie, which had to exploit big stars, sex, violence, and romance for a relatively success.

 Bollywood Give us this autumm a really exiting  EXLOITATION film.

well this movie is called Dabangg.

" watch this trailer"

 if you watched the trailer, surely you thought What a trashy film!!!

but if you have the guts, to see an exploitation film i assure you that will fascinate.

dabangg is a great movie with action, girls, and a PIMP cop.

give an oportunity to this kind of movies

 keep supporting Exploitation. support art.

Indian literature (Part II)

by Angel Lopez

Devotional Hindu drama, poetry and songs are present throughout the subcontinent.Among the best known are the works of Kalidasa (author of the famous Sanskrit play Recognition of Shakuntala) and Tulsidas (who wrote an epic Indian poem Ramayana based on, called Raamcharitmaanas). Moreover, the Buddhist literature in the past formed a significant part of Indian literature, with texts ranging from philosophical discourse to biographies, although today is only preserved especially in foreign languages like Chinese.

Tamil poetry of the Sangam poetry which dates from the first century C. is well known.Carano, the extinct Prabhrita and Chudamani ("Crest Jewel"), either of the seventh century or earlier, is significativos. Muslim literary traditions also dominate a large part of Indian culture.

Kālidāsa (Devanāgarī: कालिदास "servant of Kali") was a renowned classical Sanskrit writer, considered the greatest poet and playwright in Sanskrit language. Your floruit not be dated precisely, but probably most falls within the Gupta period, probably in the 4th 5th or 6th century Nothing, apart from his work is known with certainty about Kalidasa's life, such as its period or where lived. Little is known about the life of Kalidasa.Según legend, the poet was known for its beauty that he brought to the attention of a princess who married him. However, as legend, Kalidasa had grown up without much education, and the princess was ashamed of his ignorance and coarseness. A true devotee of Kali (goddess Saraswati by other accounts), Kalidasa is said to have asked his God for help when it was going to commit suicide in a pond after being humiliated by his wife, and was rewarded with a sudden and extraordinary gift of grace. Then he said to have become the brightest of the "nine jewels" in the court of King Vikramaditya of Ujjain. The legend also says that he was murdered by a courtesan in Sri Lanka during the reign of Kumaradasa .. Kalidasa wrote three plays Mālavikāgnimitram, Abhijñānaśākuntalam, Vikramōrvaśīyam and two epic poems, and Kumarasambhava Raghuvamsa and two poems that are lyrical and Ṛtusaṃhāra Meghaduta

Music Part II: History

By Lucero Dorantes

Pre-Islamic period

The development of Arabic music has extremely deep roots in Arabic poetry dating back to the pre-Islamic period known as Jahiliyyah. Though there is a lack of scientific study to definitively confirm the existence of Arabic music at those times, most historians agree that there existed distinct forms of music in the Arabian peninsula in the pre-Islamic period between the 5th and the 7th century AD. Arab poets of that time - called شعراء الجاهلية or "Jahili poets" which translates to "The poets of the period of ignorance" - used to recite poems with a high musical rhythm and tone.

Music at that time played an important role in cultivating the mystique of exorcists and magicians. It was believed that Jinns revealed poems to poets and music to musicians. The Choir at the time served as a pedagogic facility where the educated poets would recite their poems. Singing was not thought to be the work of these intellectuals and was instead entrusted to women with beautiful voices (i.e. Al-Khansa[citation needed]) who would learn how to play some instruments used at that time (i.e. lute, drum, Oud, rebab, etc...) and then perform the songs while respecting the poetic metre. It should be noted that the compositions were simple and every singer would sing in a single maqam. Among the notable songs of the period were the "huda" from which the ghina' derived, the nasb, sanad, and rukbani'

Early Islamic period

Arabic maqam is the system of melodic modes used in traditional Arabic music, which is mainly melodic. The word maqam in Arabic means "station" and denotes a melody type built on a scale and carrying a tradition that defines its habitual phrases, important notes, melodic development and modulation. Both compositions and improvisations in traditional Arabic music are based on the maqam system. Maqams can be realized with either vocal or instrumental music, and do not include a rhythmic component.

Al-Kindi (801–873 AD) was the first great theoretician of Arabic music. He proposed adding a fifth string to the oud and discussed the cosmological connotations of music[citation needed]. He surpassed the achievement of the Greek musicians in using the alphabetical annotation for one eighth. He published fifteen treatises on music theory, but only five have survived. In one of his treaties the word musiqa was used for the first time in Arabic, which today means music in Arabic, Persian, Turkish, English and several other languages in the Islamic world.

Al-Farabi (872-950) wrote a notable book on music titled Kitab al-Musiqi al-Kabir (The Great Book of Music). His pure Arabian tone system is still used in Arabic music.

Al-Ghazali (1059–1111) wrote a treatise on music in Persia which declared, "Ecstasy means the state that comes from listening to music".

In 1252, Safi al-Din developed a unique form of musical notation, where rhythms were represented by geometric representation. A similar geometric representation would not appear in the Western world until 1987, when Kjell Gustafson published a method to represent a rhythm as a two-dimensional graph.

Al-Andalus

By the 11th century, Moorish Spain had become a center for the manufacture of instruments. These goods spread gradually throughout France, influencing French troubadours, and eventually reaching the rest of Europe. The English words lute, rebec, guitar, organ and naker are derived from Arabic oud, rabab, qitara, urghun and nagqara'.
The Arabs invented the Ghazal (love song), often used since in Arabic music.

Influence of Arabic music

The lute was adopted from the Arab world. 1568 print.
A number of musical instruments used in classical music are believed to have been derived from Arabic musical instruments: the lute was derived from the Oud, the rebec (ancestor of violin) from the rebab, the guitar from qitara, which in turn was derived from the Persian Tar, naker from naqareh, adufe from al-duff, alboka from al-buq, anafil from al-nafir, exabeba from al-shabbaba (flute), atabal (bass drum) from al-tabl, atambal from al-tinbal, the balaban, the castanet from kasatan, sonajas de azófar from sunuj al-sufr, the conical bore wind instruments, the xelami from the sulami or fistula (flute or musical pipe),the shawm and dulzaina from the reed instruments zamr and al-zurna,[10] the gaita from the ghaita, rackett from iraqya or iraqiyya, the harp and zither from the qanun,canon from qanun, geige (violin) from ghichak, and the theorbo from the tarab.
The music of the troubadors may have had some Arabic origins. Ezra Pound, in his Canto VIII, famously declared that William of Aquitaine, an early troubador, "had brought the song up out of Spain / with the singers and veils...". In his study, Lévi-Provençal is said to have found four Arabo-Hispanic verses nearly or completely recopied in William's manuscript. According to historic sources, William VIII, the father of William, brought to Poitiers hundreds of Muslim prisoners.Trend admitted that the troubadours derived their sense of form and even the subject matter of their poetry from the Andalusian Muslims. The hypothesis that the troubadour tradition was created, more or less, by William after his experience of Moorish arts while fighting with the Reconquista in Spain was also championed by Ramón Menéndez Pidal in the early 20th-century, but its origins go back to the Cinquecento and Giammaria Barbieri (died 1575) and Juan Andrés (died 1822). Meg Bogin, English translator of the female troubadors, also held this hypothesis, as did Idries Shah. Certainly "a body of song of comparable intensity, profanity and eroticism [existed] in Arabic from the second half of the 9th century onwards."
One possible theory on the origins of the Western Solfège musical notation suggests that it may have had Arabic origins. It has been argued that the Solfège syllables (do, re, mi, fa, sol, la, ti) may have been derived from the syllables of the Arabic solmization system Durr-i-Mufassal ("Separated Pearls") (dal, ra, mim, fa, sad, lam). This origin theory was first proposed by Meninski in his Thesaurus Linguarum Orientalum (1680) and then by Laborde in his Essai sur la Musique Ancienne et Moderne (1780), while more recent supporters include Henry George Farmer and Samuel D. Miller.

Sixteenth century

Bartol Gyurgieuvits (1506–1566) spent 13 years as a slave in the Ottoman empire. After escaping, he published De Turvarum ritu et caermoniis in Amsterdam in 1544. It is one of the first European books to describe music in Islamic society. In India, the Islamic Mughal emperors ruled both Muslims and Hindus. The greatest of these, Akbar (1542–1605) had a team of at least fifty musicians, thirty-six of whom are known to us by name. The origins of the "belly dance" are very obscure, as depictions and descriptions are rare. It may have originated in Pre islamic Arabia Examples have been found from 200 BC, suggesting a possible pre-Islamic origin.pagan Arabs used to bellydance for Hubal the moon God and some Godess like Allat .

Early Modern Music in Cairo

Though, according to Edward William Lane, no man of sense would ever become a musician, music was a key part of society. Tradesmen of every occupation used music during work and the schools taught the Quran by chanting. Their music was derived from Greek, Persian and Indian traditions. According to Lane, the most remarkable peculiarity of the Arab system of music is the division of tones into thirds. The songs of this period were similar in sound and simple, consisting of only a few notes.
Male professional musicians during this period were called Alateeyeh (pl) (Egyptian: [ʔælæˈtejːæ]), or Alatee (singular) (Egyptian: [ʔæˈlæːti]), which means “a player upon an instrument”. However, this name applies to both vocalists as well as instrumentalists. This position was considered disreputable and lowly. However, musicians found work singing or playing at parties to entertain the company. They generally made three shillings a night, but earned more by the guests giving more.
Female professional musicians were called Alawim (pl) or Al’meh, which means a learned female. These singers were often hired on the occasion of a celebration in the harem of a wealthy person. They were not with the harem, but in an elevated room that was concealed by a screen so as not to be seen by either the harem or the master of the house. The female Alawim were more highly paid than male performers and more highly regarded than the Alateeyeh as well. Lane relates an instance of a female performer who so enraptured her audience that she earned to fifty guineas for one night’s performance from the guests and host, who were not considered wealthy.

Female Harem

Slavery was widespread around the world. Just as in the Roman empire, slaves were often brought into the Arab world from Africa. Black slaves from Zanzibar were noted in the 11th century for the quality of their song and dance. The "Epistle on Singing Girls", written by the Basra Mu'tazilite writer al-Jahiz in the 9th century CE, satirizes the excessive money that could be made by singers. The author mentions an Abyssinian girl who fetched 120,000 dinars at an auction - far more than an ordinary slave. A festival in the 8th century CE is mentioned as having fifty singing slave-girls with lutes who acted as back-up musicians for a singer called Jamilia. In 1893, "Little Egypt", a belly-dancer from Syria, appeared at the Chicago world's fair and caused a sensation.

Male instrumentalists

Musicians in Aleppo, 18th century.
Male instrumentalists were condemned in a treatise in 9 CE. They were associated with perceived vices such as chess, love poetry, wine drinking and homosexuality. Many Persian treatises on music were burned by zealots. Following the invasion of Egypt, Napoleon commissioned reports on the state of Ottoman culture. Villoteau's account reveals that there were guilds of male instrumentalists, who played to male audiences, and "learned females," who sang and played for women. The instruments included the oud, the kanun (zither) and the ney (flute). By 1800, several instruments that were first encountered in Turkish military bands had been adopted into European classical orchestras: the piccolo, the cymbal and the kettle drum. The santur or hammered dulcimer was cultivated within Persian classical schools of music that can be traced back to the middle of 19 CE. There was no written notation for the santur until the 1970s. Everything was learned face-to-face .

Music of India

By Lucero Dorantes


The music of India includes multiple varieties of folk, popular, pop, classical music and R&B. India's classical music tradition, including Carnatic and Hindustani music, has a history spanning millennia and, developed over several eras, it remains fundamental to the lives of Indians today as sources of spiritual inspiration, cultural expression and pure entertainment. India is made up of several dozen ethnic groups, speaking their own languages and dialects, having very distinct cultural traditions.

Classical music

The two main traditions of classical music are Carnatic music, found predominantly in the peninsular regions, and Hindustani music, found in the northern and central regions. Both traditions claim Vedic civilization|Vedic] origin, but history indicates that they diverged from a common musical root since about the 13th century.

Further information: Indian classical music, Hindustani music, and Carnatic Hindustani music

Main article: Hindustani classical music

Hindustani music is an Indian classical music tradition that goes back to Vedic civilization|Vedic times around 1000 BC, and further developed circa the 13th and 14th centuries AD with Persian influences and from existing religious and folk music. The practice of singing based on notes was popular even from the Vedic times where the hymns in Sama Veda, a sacred text, was sung as Samagana and not chanted. Developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. In contrast to Carnatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hindu musical traditions, historical Vedic religion|Vedic philosophy and native Indian sounds but also enriched by the Persian people|Persian performance practices of the Mughal era|Mughals. The popular vocalists amongs 20th century includes - Abdul Karim Khan, Amir Khan, Bade Gulam Ali khan, Omkarnath Thakur, Kesarbai Kerkar, Fayyaz Khan, Hirabai Badodekar, pandit Bhimsen Joshi,Kumar Gandharv, Gangubai Hangal, Prabha Atre, kishori Amonkar, jasraj, Rashid Khan etc. Besides pure classical, there are also several semi-classical forms such as thumri, Dadra and tappa.

Carnatic music

The present form of Carnatic music is based on historical developments that can be traced to the 15th - 16th centuries AD and thereafter. From the ancient Sanskrit works available, and the epigraphical evidence, the history of classical musical traditions can be traced back about 2500 years. "Carnatic" in sanskrit means "soothing to ears". Carnatic music is completely Melodic music|melodic, with improvised variations. The main emphasis is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as gāyaki. Like Hindustani music, Carnatic music rests on two main elements: IAST|[[raga|rāga', the [[musical modemodes or melodic formulæ, and IAST|tala musictāḷa, the rhythmic cycles.What is Carnatic Music

Purandara Dasa is credited with having founded today's Carnatic Music. He systematized the teaching method by framing a series of graded lessons such as swaravalis, janta swaras, alankaras, lakshana geetas, prabandhas, ugabhogas, thattu varase, geetha, sooladis and kritis. He introduced the Mayamalavagowla as the basic scale for music instruction. These are followed by teachers and students of Carnatic music even today. Another of his important contributions was the fusion of bhava, raga and laya in his compositions.

Purandara Dasa was the first composer who started commenting on the daily life of the people in compositions. He incorporated in his songs popular folk language and introduced folk ragas in the mainstream. The most important contribution he made was the fusion of bhava, raga and laya into organic units.

He also composed a large number of lakshya and lakshana geetas, many of which are sung to this day. His sooladis exhibit his mastery of the techniques of music, and are considered an authority for raga lakshana. Scholars attribute the standardization of varna mettus entirely to Purandaradasa.

Purandaradasa's era was probably the beginning of Carnatic music's movement towards krithi based classical music (one of its distinguishing characteristics compared to Hindustani). The peripatetic dasas who followed him are believed to have followed the systems he devised, as well as orally passing down his compositions.

Purandaradasa was a performer, a musicologist and the father of Carnatic musical pedagogy. He is credited with having elevated Carnatic music from religious and devotional music into the realm of a performing art. For all these reasons and the enormous influence that he had on Carnatic music, musicologists call him the "Sangeeta Pitamaha" or the grandfather of Carnatic music.

Popular Carnatic vocalists of today include M. Balamuralikrishna,Dr.T.V.Gopalakrishnan,Sri.T.V.Sankaranarayanan, Sri.T.N. Seshagopalan,Sri.R.K.Srikantan, Nithyashree Mahadevan, Sudha Ragunathan, P. Unni Krishnan, Aruna Sairam, Priya Sisters, S. Sowmya, Sanjay Subrahmanyan, Sreevalsan J. Menon, Bombay Jayashri Ramnath, Ranjani & Gayatri, Vijay Siva, Srivani Yalla - veena, O. S. Arun, O. S. Thyagarajan, T. M. Krishna and Malladi Brothers - Sriram Prasad & Ravikumar.

Many songs and poems and ballads supported in carnatic music are written by poets all the way back to the 14th century. Thyagaraja, Annamacharya and Bhadrachala Ramadasu have written in Telugu and most of the melodious songs from carnatic music we listen today belong to one of them. There are multiple tamil and sanskrit lyrics as well which are sung in carnatic version. In the southern state of Tamilnadu, there appears to be more folks who continue to hang on to the pure carnatic version, even though lately fusion has become a trend.

Indian Literature

by Angel Lopez


The Indian literature is usually considered one of the oldest in the world. India has 22 officially recognized languages and over time has generated a vast literature in these languages.

In Indian literature, oral literature is as important as the worship of tinamou. Hindu literary traditions dominate a large part of Indian culture.

In addition to the Vedas are sacred forms of knowledge, there are other works such as the Hindu epics Ramayana and Mahabharata, treatises such as Vaastu Shastra in architecture and city planning, and political science . Devotional Hindu drama, poetry and songs are present throughout the subcontinent.

Mahabharata

No one knows the author of the Mahabharata.
According to the text, was told by Viasadeva, who is one of the major dynastic characters within it (although it does not appear many times throughout history.) The grandfather was wise Viasa the two dynasties protagonists of the story: the Kauravas and the Pandavas. This relationship allowed him to learn a lot about the events within the royal family. In addition he lived in Kurukshetra, in a forest close to the battlefield (the center of the story), which allowed him to learn some details of the war that took place before his eyes and finally write the story.
Ganapati And  Viasa.
The great Lord Brahma (the creator of the universe) came down and told you to get help Viasa Ganapati (Ganesha) for its work [to put in writing the speech]. Ganapati wrote the hymns recited by memory pathways and thus Bhārata was registered. Ganapati could not write at the speed of track, so that several words or even whole lines were lost.
During the time of Viasa, writing was unknown or at least a non-conventional or too new technology. The wise would not know to write, because they felt that writing was appropriate for the mortals of the age of Kali, which would have little memory for several thousand verses.

Map showing the places mentioned in the Mahabharata. The names represent the kingdoms yellow, orange are the foreign realms (speculated location), the pink are alien tribes, rivers are blue, violet mountains and forests green.
The first texts that were preserved are about the year 500 AD, in words indu and brahmi (the first type of letter that was written the Sanskrit language.)
By matching stories told by different narrators professional differences were apparent, explaining as Ganapati failure to put the text in writing. Anyway it is believed he suffered a minimum loss of information during its existence as oral recitation, due to the excellent preservation techniques used by the ancient Hindus. The Vedas were the texts preserved by oral tradition, even though they are older than the Mahabharata.