Music is a prime part of Rajasthani culture, which displays all aspects of Rajasthan culture. Rajasthani music and songs talk about its rich past by many religious and devotional songs and dramas. Various traditional musical instruments like dholak, ektara, matas, nagada, chang, kamayacha, sarangi, sitar are commonly used in all types of music.
Music of Rajasthan aim is to present talented MUSICIANS OF DESRET to national and international festivals and events around the world.
The people of Rajasthan live life to the hilt. After hard work in the harsh desert sun and the rocky terrain whenever they take time off they let themselves go in gay abandon. There is dancing, singing, drama, devotional music and puppet shows and other community festivities which transform the hardworking Rajasthani into a fun-loving and carefree individual. Each region has its own folk entertainment, the dance styles differ as do the songs. Interestingly enough, even the musical instruments are different.
Manjoor Khan is a name that finds special mention and great respect among the folk music circuits of Rajasthan. Today he sings a wide repertoire of traditional Folk- and Sufi songs. The special style of the Manganiyar Folk Music called Jangra includes a universe of songs for all occasions in life. From traditional wedding songs to welcome songs for a new born child; specially the happy occasions of life are accompanied by the strong and colorful songs of the Manganiyar Musicians.
Manjorr and his group organization and collaboration with organization have presented the extraordinary western Rajasthan traditional music world wide .They have given the shows in more than 40 countries some of the countries and where group showed their music and art appreciated ere Germany, Paris, Switzerland, New York, Washington, Los Angeles, Chicago, San Francisco, Singapore, Russia, Australia, Quarasia, Dubai, Abu Dhabi, Muscut, Ireland, Spain, Iran, Viana, Itlay, Lahore, London, Honkong, Brazil, Bangkok
The “Bansuri” or Indian flute is among the most ancient musical instruments of India and is known from the vedic period. We also finds its mention in Buddhist period 2000 years ago in the form of scriptures and sculptures.
Prior to this, say @ 300 years BC, in Mahabharat period, Lord Krishna played this sonorous instrument and blessed his devotees. Lord Krishna played “Dhuns” on his flute in Vrindavan, all the gopis used to gather around him hypnotized and listen to his music.
The Indian flute or Bansuri is a cylindrical tube of uniform bore, closed at one end. It is made of straight, clean, smooth bamboo that is free from notches or other flaws. Earlier flute came with 6 to 7 open finger holes. There are no keys to produce sharps and flats like the western flute, therefore all the required shrutis (microtones) for a particular Raag in Indian Music, as well as meend, ghaseet and other ornaments, so important to Indian classical music, are produced by a unique fingering technique.
Carnatic flutes have eight open finger holes. The usual range of such flutes is two and a half octaves, the range of most human voices.
The dhol is played using two wooden sticks, usually made out of bamboo and cane wood. The stick used to play the bass side of the instrument, known as the dagga in Punjabi, is thick (roughly about 10 mm in diameter) and is bent in a quarter-circular arc on the end that strikes the instrument. The other stick, known as tihli, is much thinner and flexible and used to play the higher note end of the instrument.
The dhol is slung over the neck of the player with a strap usually made up of woven cotton. The surface of the wooden barrel is in some cases decorated with engraved patterns and sometimes paint.
In the pre-Partition era, dozens of rhythms were played on the Punjabi dhol, which corresponded to specific functions. However, with the decline or disappearance of some cultural practices, recent generations of dhol-players have become unfamiliar with many of these. At the same time, the growth of folkloric staged bhangra dance in Indian Punjab inspired the creation of many new rhythms particular to that dance
Some of the most common Punjabi dhol rhythms are bhangra (originating with the old, community bhangra dance), dhamaal (associated with many cultural functions, including worship at Sufi shrines), and kaharva, a dance and song rhythm. The staged “bhangra” dance, originating in the 1950s, gave special prominence to kaharva, for the performance of actions called luddi. In the 1970s, many more actions were added to staged bhangra to go with the kaharva rhythm, which started to become one of the most prominent rhythms associated with the dance. At the same time, this type of rhythm would be played on the dholki drum to accompany Punjabi songs. So when, in the 1990s, Punjabi pop songs began to evoke bhangra dance, they used the kaharva rhythm. It is known now by various names. Some dhol-players call it kaharva, its technical name, while other players in Punjab call it luddi to refer to the dance of that name. With the style of dhol-playing that developed in the U.K., the name chaal was adopted-probably in reference to the “chaal” movements it accompanies in modern bhangra-however, that term is not used elsewhere
The introduction of electronic devices such as tape recorders has led to a decline in the importance of dhol players in celebratory events. Nevertheless, dhol music still figures in the studio recordings of present day raas, garba and bhangra music artists. A related instrument is the dholak or dholki.
The Veena is an Indian and Pakistani plucked stringed instrument used mainly in Indian classical music. It derives its distinctive timbre and resonance from sympathetic strings, bridge design, a long hollow neck and a gourd resonating chamber. The earliest veenaa was an instrument of the harp type whose type survives in the Burmese harp, whereas in the last centuries and nowadays, the word has tended to be applied to instruments of the lute type or even, recently, to certain kinds of guitars developed in India. The more popular sitar is believed to have been derived from the veena, an ancient Indian instrument, which was modified by a Mughal court musician to conform with the tastes of his Persian patrons and named after a Persian instrument called the setar (meaning “three strings”). It subsequently underwent many changes, and the modern sitar evolved in 18th century India. A person who plays a veena is called a vainika.
Algoza or Algoja is one of popular wooden Music Instrument of Punjab, Rajasthan and northern India specially adopted by Sindhi, Rajasthani and Balochi folk musicians, also called Jorhi, Do Nally, Satara or Ngoze. Algoza -A double flute made of bamboo, the algoza works on the same principle as a bagpipe and is a tricky instrument to master. One of the two flutes usually plays a continuous drone while the other plays different notes. The player has to master the art of breathing without letting the sound of the algoza break even for a bit
It resembles a pair of wooden flutes. The musician plays it by using three fingers on each side. Sound is generated by breathing into it rapidly; the quick recapturing of breath on each beat creates a bouncing, swing rhythm. It is generally used as a folk instrument and Punjabi folk singers use it to play traditional music such as Jugni, Jind Mahi, and Mirza. The greatest exponents of Alghoza, however, are the Sindhi musicians (Late) Ustad Khamisu Khan, (Late) Ustad Misri Khan Jamali and Akbar Khamisu Khan (Khamisu Khan’s son).