Which Indian-American musician won the best world Music Album award for 'Sing Me Home' at the 2017 Grammy Awards? ?->(Show Answer!)

1. Which Indian-American musician won the best world Music Album award for 'Sing Me Home' at the 2017 Grammy Awards?

Write Comment

Comments

Tags

Show Similar Question And Answers

QA->Which is awarded the best Album of the Year in the 57th Grammy Awards?....

QA->Indian sitar legend who has been awarded with double Grammy Awards including the life time achievement Grammy award?....

QA->Who has won the Grammy award in the Best Music Film section?....

QA->Name the Indian who won the prestigious Grammy awards held in February 2015?....

QA->Who won the Artist of the Year Award at the 37th American Music Awards (AMAs) beating out Michael Jackson?....

MCQ-> The teaching and transmission of North Indian classical music is, and long has been, achieved by largely oral means. The raga and its structure, the often breathtaking intricacies of talc, or rhythm, and the incarnation of raga and tala as bandish or composition, are passed thus, between guru and shishya by word of mouth and direct demonstration, with no printed sheet of notated music, as it were, acting as a go-between. Saussure’s conception of language as a communication between addresser and addressee is given, in this model, a further instance, and a new, exotic complexity and glamour.These days, especially with the middle class having entered the domain of classical music and playing not a small part ensuring the continuation of this ancient tradition, the tape recorder serves as a handy technological slave and preserves, from oblivion, the vanishing, elusive moment of oral transmission. Hoary gurus, too, have seen the advantage of this device, and increasingly use it as an aid to instructing their pupils; in place of the shawls and other traditional objects that used to pass from shishya to guru in the past, as a token of the regard of the former for the latter, it is not unusual, today, to see cassettes changing hands.Part of my education in North Indian classical music was conducted via this rather ugly but beneficial rectangle of plastic, which I carried with me to England when I was a undergraduate. Once cassette had stored in it various talas played upon the tabla, at various tempos, by my music teacher’s brother-in law, Hazarilalii, who was a teacher of Kathak dance, as well as a singer and a tabla player. This was a work of great patience and prescience, a one-and-a-half hour performance without my immediate point or purpose, but intended for some delayed future moment who I’d practise the talas solitarily.This repeated playing our of the rhythmic cycles on the tabla was inflected by the noises-an hate auto driver blowing a horn; the sound bf overbearing pigeons that were such a nuisance on the banister; even the cry of a kulfi seller in summer —entering from the balcony of the third foot flat we occupied in those days, in a lane in a Bombay suburb, before we left the city for good. These sounds, in turn, would invade, hesitantly, the ebb and flow of silence inside the artificially heated room, in a borough of West London, in which I used to live as an undergraduate. There, in the trapped dust, silence and heat, the theka of the tabla, qualified by the imminent but intermittent presence of the Bombay subrub, would come to life again. A few years later, the tabla and, in the background, the pigeons and the itinerant kulfi seller, would inhabit a small graduate room in Oxford.cThe tape recorder, though, remains an extension of the oral transmission of music, rather than a replacement of it. And the oral transmission of North Indian classical music remains, almost uniquely, testament to the fact that the human brain can absorb, remember and reproduces structures of great complexity and sophistication without the help of the hieroglyph or written mark or a system of notation. I remember my surprise on discovering the Hazarilalji- who had mastered Kathak dance, tala and North Indian classical music, and who used to narrate to me, occasionally, compositions meant for dance that were grant and intricate in their verbal prosody, architecture and rhythmic complexity- was near illustrate and had barely learnt to write his name in large and clumsy letters.Of course, attempts have been made, throughout the 20th century, to formally codify and even notate this music, and institutions set up and degrees created, specifically to educate students in this “scientific” and codified manner. Paradoxically, however, this style of teaching has produced no noteworthy student or performer; the most creative musicians still emerge from the guru-shishya relationship, their understanding of music developed by oral communication.The fact that North Indian classical music emanates from, and has evolved through, oral culture, means that this music has a significantly different aesthetic, aw that this aesthetic has a different politics, from that of Western classical music) A piece of music in the Western tradition, at least in its most characteristic and popular conception, originates in its composer, and the connection between the two, between composer and the piece of music, is relatively unambiguous precisely because the composer writes down, in notation, his composition, as a poet might write down and publish his poem. However far the printed sheet of notated music might travel thus from the composer, it still remains his property; and the notion of property remains at the heart of the Western conception of “genius”, which derives from the Latin gignere or ‘to beget’.The genius in Western classical music is, then, the originator, begetter and owner of his work the printed, notated sheet testifying to his authority over his product and his power, not only of expression or imagination, but of origination. The conductor is a custodian and guardian of this property. IS it an accident that Mandelstam, in his notebooks, compares — celebratorily—the conductor’s baton to a policeman’s, saying all the music of the orchestra lies mute within it, waiting for its first movement to release it into the auditorium?The raga — transmitted through oral means — is, in a sense, no one’s property; it is not easy to pin down its source, or to know exactly where its provenance or origin lies. Unlike the Western classical tradition, where the composer begets his piece, notates it and stamps it with his ownership and remains, in effect, larger than, or the father of, his work, in the North India classical tradition, the raga — unconfined to a single incarnation, composer or performer — remains necessarily greater than the artiste who invokes it.This leads to a very different politics of interpretation and valuation, to an aesthetic that privileges the evanescent moment of performance and invocation over the controlling authority of genius and the permanent record. It is a tradition, thus, that would appear to value the performer, as medium, more highly than the composer who presumes to originate what, effectively, cannot be originated in a single person — because the raga is the inheritance of a culture.The author’s contention that the notion of property lies at the heart of the Western conception of genius is best indicated by which one of the following?
....

MCQ-> Read the following passage carefully and answer the questions given below it . Certain words have been printed in bold to help you locate them while answering some of the question.There was a girl who sang beautifully at the temple every morning. The music master used to happily recall, “One day when I went into the woods to pluck flowers, I found this baby under a pipal tree”. He picked her up carefully, raised her lovingly as if she were his daughter and taught her to sing before she spoke her first word. The music master grew old and didn’t see too well. The girl tended to him caringly. Many people including young men travelled from far and wide to hear her sing . This made the music master’s heart quake with fear. “You will choose one of them as your husband. What is to become of me ?” The girl replied ,”I shall not be apart from you “. But on a full moon night during the harvest festival, the master’s chief disciple touched his feet reverently and said, “Master, grant me your permission for your daughter has agreed to many me.” The master’s tears flowed freely,” She has chosen well. Go and fetch her let me hear you sing the first of many melodies that you will sing together.” The two began to sing in harmony. But the song was interrupted by the arrival of the royal messenger. “Your daughter is very fortunate– the king has sent for her,” the messenger said. At the palace the queen summoned the girl to her and said, “I place upon you the honour of making sure my daughter is never unhappy at her husband’s home.” There wasn’t a single tear in the girl’s eyes but she thought of the master and her heart was heavy.That very night the princess began her journey to Kambhoj. The princess’s royal chariotled the procession and the girl’s palanquin followed close behind carrying trunks of silk, jewellery and precious stones. It was covered with a velvet sheet and had soldiers on the both sides. As the procession passed, the master and his disciple Kumarsen stood still by wayside. A collective sigh escaped the crowd gathered there wishing that the princess wouldn’t feel homesick in her faraway home.Which of the following can be said about the girl? (A) She was brought up by her father as her mother had died when she was a baby. (B) She was a talented singer who had learnt to sing at an early age. (C) She was only allowed to sing with the master’s permission.....

MCQ->Which Indian-American musician won the best world Music Album award for 'Sing Me Home' at the 2017 Grammy Awards?....

MCQ->Which Indian-American musician has won the best world Music Album awar for "Sing Me Home" at the 2017 Grammy Awards?....

MCQ-> Read the passage carefully and answer the questions given below it. Certain words/ phrases have been given in bold to help you locate them while answering some of the questions. Once upon a time, there lived a washerman in a village. He had a donkey by the name of Udhata. He used to carry loads of clothes to the river bank and back home everyday. The donkey was not satisfied with the food, that was given to him by his master to eat. So he wandered into the nearby fields stealthily and ate the crops growing there. Once, the donkey, while wandering around, happened to meet a fox. Soon, both of them became friends and began to wander together in search of delicious food. One night, the donkey and the fox were eating water-melons in a field. The water- melons were so tasty, that the donkey ate in a large quantity. Having eaten to his appetite, the donkey became so happy that he was compelled by an intense desire to sing. He told the fox that he was in such a good mood that he had to express his happiness in a melodious tone. ‘Don’t be a fool. If you sing, the people sleeping in and around this field will wake up and beat us black and blue with sticks,’ said the fox worriedly. `You are a dull fellow’, the donkey said hearing the words of fox. ‘Singing makes one happy and healthy. No matter what comes. I’ll definitely sing a song.” The fox became worried to see the donkey adamant to sing a song in the midst of the field, while the owner was still sleeping only a little distance away. Seeing his adamance, he said to the donkey, ‘Friend, wait a minute before you start first, let me jump over to the other side of the fence for my safety.’ Saying so the fox jumped over to the other side of the fence without losing a moment. The donkey began in his so-called melodious tone. Hearing, suddenly, a donkey braying in the field, the owner woke up from his sleep. He picked up his stick lying by his side and ran towards the donkey who was still braying happily. The owner of the field looked around and saw the loss caused by the donkey. He became very angry and beat him so ruthlessly that the donkey was physically incapacitated temporarily. He, somehow, managed to drag himself out of the field with great difficulty. The fox looked at the donkey and said in a sympathetic tone, T m sorry to see you in this pitiable condition. I had already warned you, but you didn’t listen to my advice.’ The donkey too realised his folly and hung his head in shame.Why did donkey want to sing ?
....