Search

Browse items

–

Current results range from 1962 to 1984

View distribution
  • University of California, Los Angeles. Ethnomusicology Archive✕[remove]138

Search Constraints

You searched for: Subject Chordophones ✖Remove constraint Subject: Chordophones Repository University of California, Los Angeles. Ethnomusicology Archive ✖Remove constraint Repository: University of California, Los Angeles. Ethnomusicology Archive
Start Over

138 Catalog Results

Number of results to display per page
View results as:
List Created with Sketch. List View List Gallery Created with Sketch. Gallery View Gallery

Search Results

Babu Sherbande, Nila Sewlinga Vaghmare, and Ratna Shanka Vaghmare, Miraj (India), 1963

Description:
Musician and teacher Babu Sherbande plays manjira (small bronze finger cymbals) for a song sung by his student, Nila Sewlinga Vaghmare. She plays a cawandga, a variable tension monochord whose string is attached to a wooden handle, and stretched and loosened by the left hand, while being plucked with the right-hand fingers. Bronze bells (ghanti) are attached to the bronze holder for the strap that is attached to the wooden cylindrical body, whose upper edge is rimmed in bronze, and whose bottom is covered by a thin leather membrane, through which the end of the string passes and is tied. Bronze jingles are attached to the wooden handle. Nila Vaghmare’s daughter, Ratna Shankar Vaghmare, sings along and plays a tuṇtuṇe, a plucked monochord with a horsehead peg and a wooden cylindrical resonator. The cawandga and tuṇtuṇe were made in the shop of Abdul Karim Ismail Saheb, sitar makers of Miraj.
Date:
December 19, 1963
Resource Type:
still image
Photographer:
Jairazbhoy, Nazir Ali, 1927-2009
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Babu Sherbande, Nila Sewlinga Vaghmare, and Ratna Shanka Vaghmare, Miraj (India), 1963

Cawanda at the shop of Abdul Karim Ismail Saheb, Miraj (India), 1963

Description:
Cawandga, a variable tension monochord whose string is attached to a wooden handle, and stretched and loosened by the left hand, while being plucked with the right-hand fingers. Three bronze bells ghanti are attached to the bronze holder for the strap attached to the wooden cylindrical body, whose bottom is tightly covered by a thin leather membrane, through which the end of the string passes and is tied. Three bronze jingles are attached to the wooden handle. The instrument is said to have originated in the skull of the evil king Kartavirya Arjun, after he was beheaded by Lord Parasurama, son of Goddess Renuka/Yellamma. Devotees play the instrument in honor of Goddess Renuka-Yellamma and Lord Parasurama. The cawandga was made at the shop of Abdul Karim Ismail Saheb, sitar Makers of Miraj.
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Cawanda at the shop of Abdul Karim Ismail Saheb, Miraj (India), 1963

Cawanda at the shop of Abdul Karim Ismail Saheb, Miraj (India), 1963

Description:
Cawandga view from underside, a variable tension monochord whose string (not shown) is attached to a wooden handle, and stored within the wooden “drum.” The string is stretched and loosened by the left hand, while being plucked with the right-hand fingers. Three bronze bells ghanti are attached to a serpentine bronze wire hanging on two bronze rings attached to the wooden resonator, to which a leather carrying strap is attached to the wooden resonator. The bottom of the resonator is tightly covered by a thin leather membrane, through the center of which the end of the string passes, where it is knotted and tied to a small piece of raw cotton padding to prevent the membrane from tearing. A stitched piece of printed textile with a decorative tassel at its corner loosely covers the wooden body. The cawandga was made at the shop of Abdul Karim Ismail Saheb, sitar Makers of Miraj. .
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Cawanda at the shop of Abdul Karim Ismail Saheb, Miraj (India), 1963

Congregational singers at a Christmas Eve hymn singing, Kottagūdem (India), 1963

Description:
Congregational singers at Christmas Eve hymn singing Telugu Christmas songs: to Mariamma (Mary), and Jesus; a lullaby; a rama; and a “village" song. Musicians play rectangular clappers (left), a ḍholak or mṛdaṅgam (center), and harmonium (right). A large kalam decorates the floor.<br>Ref: Jairazbhoy, Nazir Ali, Musical Journey Through India: 1963-1964 (1988), p. 26; CD example 5.8.
Date:
December 24, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Congregational singers at a Christmas Eve hymn singing, Kottagūdem (India), 1963

D. Balakrishna and his father, Mysore Doreswami Iyyengar, Bangalore (India), 1984

Description:
D. Balakrishna and his father, Mysore Doreswami Iyyengar (Vi. Doresvāmi Ayyaṅgār), play a vīṇā duet at home, located at 51, 4th Main Road.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84):Bake Restudy Notes, p. 17, Jairazbhoy Diary, p. 44, Data Sheets, p. 64-70
Date:
March 1, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
D. Balakrishna and his father, Mysore Doreswami Iyyengar, Bangalore (India), 1984

D. Balakrishna and his father, Mysore Doreswami Iyyengar, Bangalore (India), 1984

Description:
D. Balakrishna and his father, Mysore Doreswami Iyyengar (Vi. Doresvāmi Ayyaṅgār), play a vīṇā duet at home, located at 51, 4th Main Road.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 17, Jairazbhoy Diary, p. 44, Data Sheets, p. 64-70
Date:
March 1, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
D. Balakrishna and his father, Mysore Doreswami Iyyengar, Bangalore (India), 1984

D. Balakrishna and his father, Mysore Doreswami Iyyengar, Bangalore (India), 1984

Description:
D. Balakrishna and his father, Mysore Doreswami Iyyengar (Vi. Doresvāmi Ayyaṅgār), play a vīṇā duet at home, located at 51, 4th Main Road.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 17, Jairazbhoy Diary, p. 44, Data Sheets, p. 64-70
Date:
March 1, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
D. Balakrishna and his father, Mysore Doreswami Iyyengar, Bangalore (India), 1984