Music of India

Classical music
Main article: Indian 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. Further information: Indian classical music, Hindustani music, and Carnatic music [edit]Hindustani music Main article: Hindustani classical music Hindustani music is an Indian classical music tradition that goes back to 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 philosophy and native Indian sounds but also enriched by the Persian performance practices of the Mughals.During the Medivel age especially in Mughals era various Gharana got famous due to excellence and class in type of musics like raga.Tansen is one of the navratna of Mughals Admiral Akbar. Classical genres are dhrupad, dhamar, khyal, tarana y sadra. [edit]Carnatic

music

Main article: 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. However, the form itself is reputed to have been one of the gifts bestowed on man by the gods of Hindu mythology. It is one of the oldest musical forms that continue to survive today. Carnatic music is completely melodic, with improvised variations. It consists of a composition (the base) with improvised embellishments added to the piece in the forms of Raga Alapana, Kalpanaswaram, Neraval, and, in the case of more advanced students, Ragam Tanam Pallavi. 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 gyaki). There are about 7.2 million ragas (or scales) in Carnatic Music, with only 300 or so still in common use today.

Noted artists of Carnatic Music include MS Subbulakshmi, Ariyakudi Ramanuja Iyengar (the father of the current concert format),Semmangudi Srinivasa Iyer, TN Seshagopalan and more recently Sanjay Subrahmanyan, TM Krishna, Bombay Jayashri, etc. Every December, the city of Chennai in India has its six week-long Music Season, which has been described as the world's largest cultural event. It has served as the foundation for most music in South India, include

Plucked String Instruments

bulbul tarang

dotara

ektara

gottuvadhyam

rebab

santoor

Bowed string instrument

esraj

onaavillu

Central asian arts

Literary, performing, and visual arts of Afghanistan, Azerbaijan, Kazakhstan, Kyrgyzstan, Mongolia, Nepal, Turkmenistan, Uzbekistan, and parts of China (including Tibet) and Russia. The term usually denotes only those traditions not influenced by the ISLAMIC ARTS. Tibetan developed as a literary language from the 7th century as a result of cultural contacts with neighbouring BUDDHISTcountries to the south, on the Indian subcontinent. Most works produced between the 7th and 13th centuries are skillful translations of Buddhist works from Sanskrit, after which a vast body of orthodox Buddhist works of purely Tibetan origin was built up. Mongolian literature began in the 13th century with chronicles of GENGHIS KHAN and his successors, but from the late 16th century Mongolian literature was profoundly influenced by Buddhism. The variety of musical styles in Central Asia ranges from

the systematically organized classical music of the Turkic peoples, to the notated religious chants of Buddhists in Tibet, to the highly varied folk music styles of the Mongols, Siberians, and numerous other ethnic groups. Two main types of performance predominate throughout Tibet, Nepal, Sikkim, Bhutan, and Mongolia: those related to shamanism and those derived from Buddhism. Music performed on drums and stringed instruments accompanied shamanistic trances. The performance of Buddhist monastic dances and morality plays is also accompanied by various drums and horn instruments. The performing arts of the Turkic peoples are very different from these other traditions because of the influence of Islam. The tribes of Central Asia shared, for the most part, a nomadic Scytho-Altaic visual art that favoured animal and hunting motifs in objects such as belts and jewelry. Contacts with the Greco-Roman world and with India, Iran, and China also left their mark; Hellenistic influence culminated in the Kushan style of Gandhara. The most important pre-Islamic influence on Central Asia's visual arts, however, was Buddhism, which was reflected in the subject matter of sculptures and bas-reliefs. Nepal's traditions in architecture and painting were adaptations of those of India, whether the themes were Hindu or Buddhist. Buddhist religious art was gradually introduced into Tibet from the 8th century, and a distinctive Tibetan imagery was subsequently developed. See also GANDHARA ART; KUSHAN ART; SCYTHIAN ART.

ravanahatha

sarangi

Gandhara art

The Buddha preaching, relief from Gandhara, schist, c. 2nd century AD; in the Prince of Wales P. Chandra

Style of Buddhist art that developed in what is now northwestern Pakistan and eastern Afghanistan from the 1st to the 7th century AD. It was contemporaneous with MATHURA
ART.

The Gandhara region had earlier been a site of much Buddhist

missionary activity, and the Kushan rulers maintained contact with Rome; the Gandhara school incorporated motifs and techniques from Classical Roman art (e.g., vine scrolls, cherubs with garlands, tritons, centaurs), but the iconography was based on the interpretation of Buddhist legends. Sculptural materials included green phyllite, gray-blue mica, and stucco; sculptures were originally painted and gilded. See also CENTRAL ASIAN
ARTS;

KUSHAN

ART.

Kushan art
Kushan art
Art produced during the Kushan dynasty (late 1st3rd century AD), in an area that now includes parts of Central Asia, northern India, Pakistan, and Afghanistan. There are two major stylistic divisions among artifacts of the period: the imperial art of Iranian derivation, and the Buddhist art of mixed Greco-Roman and Indian sources. The former is exemplified by stiff, frontal portraits (including those on coins) emphasizing the individual's power and wealth. The second, more realistic, style is typified by the schools ofGANDHARA and MATHURA art.

Scythian art

/ Scythian gold belt buckle with turquoise inlay, from Siberia; in the Hermitage, St. PetersburgNovosti Press Agency

Decorative objects, mainly jewelry and trappings for horses, tents, and wagons, produced by nomadic SCYTHIAN tribes that roamed Central Asia and eastern Europe between the 7th century BC and the 2nd century AD. Also known as Steppes art, it largely features representations of real or mythical beasts worked in a wide variety of materials, including wood, leather, bone, appliqu felt, bronze, iron, silver, gold, and electrum. Outstanding are gold stags about 12 in. (30 cm) long, their legs tucked under them, probably used as central ornaments on round shields.

Central Asian Art was founded in 1999 in Tashkent, Uzbekistan. While living in Tashkent, founder, Christine Kiley discovered a growing art community that had limited

marketing ability outside its own borders. Initially, Central Asian Art sold local artwork to foreigners living in Tashkent. The works of roughly 20 artists were brought together in periodic exhibitions. Paintings that sold brought much-needed funds to the artists and the potential for future business as word of mouth traveled about the exhibitions. Now based in Washington, DC, Central Asian Art imports artwork from Uzbekistan as well as central Europe.

Volley ball
William Morgan invented volleyball in 1895 at the Holyoke, Massachusetts, YMCA (Young Men's Christian Association) where he served as Director of Physical Education. Morgan originally called his new game of Volleyball, Mintonette. The name Volleyball came about after a demonstration game of the sport, when a spectator commented that the game involved much "volleying" and game was renamed Volleyball. William Morgan was born in the state of New York and studied at Springfield College, Massachusetts. Ironically at Springfield, Morgan met James Naismith who invented basketball in 1891. Morgan was motivated by Naismith's game of basketball designed for younger students to invent a game suitable for the older members of the YMCA. William Morgan's basis for the new game of Volleyball was the then popular and similar German game of Faustball and a few other sports including: tennis (the net), basketball, baseball and handball. The Morgan Trophy Award is presented annually to the most outstanding male and female collegiate volleyball player in the United States. Established by the William G. Morgan Foundation in 1995 during the centennial year of volleyball, the trophy is named in honor of William Morgan.

Volleyball Court Dimensions

The Volleyball court is 60 feet by 30 feet in total. The net in placed in the center of the court, making each side of the net 30 feet by 30 feet.

Center Line
A center line is marked at the center of the court dividing it equally into 30 feet squares, above which the net is placed.

Attack Line
An attack line is marked 10 feet of each side of the center line.

Service Line
A service line, the area from which the server may serve the volleyball, is marked 10 feet inside the right sideline on each back line.

The Net
The net is placed directly above the center line, 7 feet 4 inches above the ground for women and 8 feet above the ground for men.

Poles
Volleyball poles should be set at 36 feet apart, 3 feet further out from the sidelines.

Ceiling Height
The minimum ceiling height should be 23 feet, though they should preferably be higher.

Volleyball is a popular NCAA and Olympic sport. The facilities and equipment used in collegiate and world class competition must meet regulation standards. Read more: Facilities & Equipment Used in Volleyball | eHow.com http://www.ehow.com/facts_5300278_facilities-equipment-usedvolleyball.html#ixzz1cATi7b3R

Court
o

The entire in-play area of the court measures 60 by 30 feet and is painted a light color. All lines are painted white. As noted by Top End Sports, the ceiling of the indoor facility must be at least 23 feet high, but it's preferable to be higher.

Net

The net should be positioned 8 feet high for a men's game.

Measuring from the ground to the top, the net is 7 feet 4 inches high for the women's game and 8 feet high for the men's game. Net poles are positioned 36 feet apart.

Ball

o
circumference.

A competition volleyball will fall in the range of 25 to 27 inches in

According to the International Federation of Volleyball (FIVB) rulebook, a competition ball must measure approximately 25 to 27 inches (64 to 67cm) in circumference and weigh 9 to 10 oz. (260 to 280g). It should be inflated to a pressure of approximately 4.5 psi.

Beach Volleyball Court Dimensions

Beach volleyball is fun and exciting!

Beach volleyball court dimensions differ slightly from the indoor game. The beach court measures 16 by 18 meters and has no center line.

Beach Volleyball Court Surface

o

According to Strength and Power for Volleyball, the beach court surface is made of loosely compact grains of sand and is at least 40cm deep.

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Basic Skills in Playing Volleyball - Learning How to Jump Higher with Vertical Jump Training. Block Why do you need to block? In volleyball, this skill must be mastered since this is a form of attacking or defending the ball coming from the court of the opponent. Usually, blocking is performed by standing at the net for the purpose of (1) diverting an attack from the opposing team or (2) preventing the opponent's ball from getting into your own court. There are various forms of blocks. These can be the offensive one or the defensive block. In any blocking form, a good footwork is always a tremendous advantage. Offensive block may be employed to stop completely an attack from the court of the opponent, thus the ball stays in the opponent's court. An offensive block can be a: (1) perfect block if a player is able to foresee the direction of the ball and attack it skillfully; or (2) roof block, which is another offensive blocking style with an amazing form, which may be employed for redirecting the speed and power of the attacker. The roof block brings the ball straight down onto the opponent's floor.

Read more: http://www.articlesbase.com/outdoor-sports-articles/basic-skills-in-playing-volleyballlearning-how-to-jump-higher-with-vertical-jump-training-part-iii-5333544.html#ixzz1cAVaSUxE Under Creative Commons License: Attribution No Derivatives Defensive block, also referred to as thesoft block, is employed for controlling and redirecting the hard-driven ball coming from your opponent. The soft block aims to slow the ball down making your defense a bit easier. As much as possible, make a perfect defensive block. How do you do that? By executing a jump which is high enough to place your hand over the net without getting into your opponent's court, you are making a perfect defensive block Always bear in mind that as the net blocker, you should have your palms raised up with fingers pointing backward. Blocking may be performed solo, or double, or triple depending on the number of players involved. Dig Not all volleyball players can dig! Digging is a skill and an art, as well as a real rough one to learn. It takes a very good digger to dig. Digging forces the player to throw his or her body forward in the air in order to save a ball. There are certain ways to dig. You can dive or do the pancake. You will know why these methods are called in these names The Dive When the digger lands with the chest on the ground or court, the form is usually referred to as the dive. Perhaps you can relate why! The Pancake When the player slides his or her hand under the ball that is about to touch the court, this form is called the pancake. Whether it is a dive or pancake, the player has to dig to prevent the ball -- being driven by the opponent through an attack or a spike -- from touching the court of his or her team. Likewise, volleyball players must master the dropping, rolling and digging techniques in order to minimize getting an injury or even avoid it at all. A player in this form of sport should learn how to roll or drop skillfully with his or her body to the floor as quickly as possible to save the ball. Do not forget that vertical mastery is an indispensable ingredient in this game. You can improve your jumping maneuvers through a good jump manual which can be found on certain websites. A comprehensive jump manual would be best for you since it includes a training manual and an instructional video about the vertical explosion program. It is also important to have the appropriate guide that can help you avoid injuries while undertaking vertical jump training for a sport like volleyball. The dig has concluded the article on Basic Skills in Playing Volleyball - Learning How to Jump Higher with Vertical Jump Training (Part III). At this juncture, it is also presumed that you have learned something from this writing at least some, if not all, of the basic skills to become a good volleyball player. Feel free to post your questions, comments, suggestions or recommendations. Thank YOU for dropping by.

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Basic rues