Learning Processes within the Ustad Shagird Relationship - Technische Informationsbibliothek (TIB)
webadmin May 10, Feature Stories Comments Off on Shagird to get certified! who have learned various skills informally mainly through Ustad- Shagrid. Like the ustad- shagird relationship, learning in the mother-daughter participation', but it is not recognised as an ustad-shagird relationship. ustads often withhold advice and instruction until the shagird becomes ready for the next step. The ustad-shagird relationship in its simplest, most basic “Iqbal Sahib was always there for me, helping and caring for me and my children.
Over years, plastic has gained popularity and, with a ban on ivory in place since the nineteen eighties, almost all new pianos use plastic key covers. Ivory absorbs sweat; therefore, ivory keys help when a pianist sweats. They also tend to be more tactile and have greater friction than plastic keys.
However, they are increasingly difficult to find, easy to damage and very difficult to maintain. I like playing with plastic keys. They do feel comparatively slippery but that helps in the playing of quick notes. I also try to play in air conditioned venues where sweating is limited. As a side note, let me mention that a piano should always be stored and played in temperature-controlled rooms. This helps protect the instrument and keeps it tuned for longer periods of time.
What kind of piano do you enjoy playing? The grand piano, without a doubt. I sometimes practice on uprights and electronic pianos but, for a performance, I always want the grand piano.
Grand pianos are larger in size and produce richer sound with more dimension, weight and gravitas. The pure tone of the grand piano cannot be matched by the more compact uprights and electronic pianos. Since the strings in a grand piano are longer, the overtones are varied and more interesting.
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The vibrations are superior and the tones purer. Grand pianos afford pianists the softest of pianissimos low tones and the most vibrant of fortissimos loud tones. The playability of grand pianos cannot be matched by other pianos. The keys in grand pianos tend to be more responsive. Grand pianos have three pedals and, therefore, offer a greater range of musical effects. Professional pianists prefer grand pianos all over the world.Farrukh fateh ali khan talk about his father and nusrat saab
As a result, manufacturers craft these instruments with the utmost attention to detail, workmanship and quality. The best pianos are always the gran pianos. They also look very good. The stylish curves, attractive woodwork and majestic size of grand pianos make them the most good-looking of musical instruments.
They light up the stage and look great in homes. How do you prepare for a concert?
I practice a great deal, playing the program pieces in different keys and in different tempos. I also approaching the pieces in multiple manners and settle on the one that brings alive their emotional essence.
I like to check the performance environment well before the concert. I make sure that I sleep well the night before a performance. I eat and drink carefully on the day of the performance.
I also make sure that my performance clothes and shoes fit well and are comfortable. A few hours before the concert, I try to be alone and not talk to others.
I need these final hours to focus and mentally prepare for my performance. You always have a smile on your face when playing the piano.
I enjoy playing the piano and it shows on my face. When is a performance successful? A performance is successful when I am able to reach out to my listeners, connect with them and help them contribute to my performance. How does the audience contribute to your performance? An audience can make or break a performance. It contributes by giving me so much love, affection and attention that I am forced to put my heart and soul into my performance and give it all I that have. Once I am connected with my audience, I let it guide me.
I do not play for myself at that stage and let the audience take me wherever it wants. An engaged audience is the best one. I cannot perform well for a disinterested audience.
Shagird to get certified! – Pakistan TVET REFORM Support Programme
What are the individual merits of composition and improvisation in music? Composition makes a performance disciplined, technically sound and musically accurate. Improvisation gives it energy, newness and vigor.
Composition is planned whereas improvisation is spontaneous. A good performance has both planning and spontaneity. Composition demonstrates the education, preparation and knowledge of a pianist. Improvisation shows his creativity, imagination and intelligence. The two elements are important. Improvisation allows the pianist to involve the audience and let it lead the way. That, as I said earlier, is a key component of a successful performance. Composition can make a performance great but improvisation is needed to make it truly brilliant.
Augustine grieved over death of Geoffrey Douglas A large number of youngsters flock to see your concerts. Most shagirds are unpaid during their training period, especially at the beginning. Unpaid training is preferred by apprentices over paid unskilled jobs, as acquiring a skill is considered vital if one has plans to start a business of their own. For many shagirds, their resolve to become entrepreneurs or even to see better days, is strengthened by success stories such as year-old Sarfaraz, a commercial painter and writer, who started as an apprentice but now runs his shop.
Sarfaraz started training for his vocation when he was only 12 and still studying at a primary school.
He worked with his ustad, Arif Naz, for more than a decade, learning the art of making Urdu and English publicity material, nameplates, signboards, hoardings, billboards and graffiti used by traders, shopkeepers, educational institutions and political parties as well. A time came when Ustad was reliant on my efforts for most of the work and assignments he got. With the passage of time, I developed my own connections and started getting assignments from clients.
This encouraged me to establish a shop of my own. Things took a turn for the better. Ali is now busy reconstructing his house in Karachi, turning it into a three-storey building. There are, of course, several other repetitions in the second line, which add to its closural force. Nevertheless—or rather, for exactly this reason—no theorist ever sat down to explore its ramifications.
To people who had taken it for granted from the beginning of their literary lives, it was entirely self-evident. Who would bother to write about something so fundamental? Who would need to read about it? The verse has, in the immediate sense, only its own resources to exploit—and except in the case of an opening verse these resources do not even include rhyme between the two lines.
Some commentators have considered it a defect that the word qismat occurs in each line, without any poetic use being made of the fact. First, all parties agree that the repetition of even a single word is not a neutral or minor fact; there is no leeway whatsoever for padding.
It is a kind of euphonious, harmonious sound that makes people want to recite the verse aloud and savor it.
I cannot perform well for a disinterested audience: Haroon Shad
His ocean of beauty is end-to-end crests and waves and buffeting As far as my passionate glance travels, there is kissing and embracing today. The component long and short syllables of the lines can be shown, but no such analysis can convey how swingy and seductive their rhythm is. When singers sing ghazals, in concert or for recording, they take the same liberties.
Azad presented whole ghazals in Water of Life in order to ensure representativeness, not artistic integrity. Single verses are quoted in conversation or recited among friends. Even the greatest connoisseurs, who know thousands of verses by heart, cannot recite whole ghazals—unless they can reconstruct them verse by verse, and even then they usually do not have the verses in order and often cannot tell whether a verse is missing.
Even in a formal printed volume, no one considers it strange if a poet chooses to omit most of a ghazal and present one or two selected verses. The individual verse has always been treated as a small, complete, free-standing poem. When enjambement occurs—when a single thought overruns the first line and completes itself only in the second—the two lines are woven into one semantic unit.
But far more often, the two lines are end-stopped: Azad put it very well: There can be winners and losers: This small poem, the two-line verse, thus stands alone, independent of the particular ghazal in which it appears. The ghazal universe is founded on the figure of the passionate lover, and mirrors his consciousness.
The lover, while longing for his inaccessible human beloved or divine Beloved, reflects on the world as it appears to him in his altered emotional state. The human inhabitants of the ghazal universe include all, and only, the supporting characters proper to a love affair: This whole universe exists in the consciousness of the ghazal knower—who constructs it by reading or hearing verses, and constantly refines it by reading or hearing yet more verses.
It is time to look more closely at the ways in which the ghazal universe is defined and elaborated. For this whole interpretive universe, while it implicitly surrounds each small two-line poem, must be evoked and creatively exploited by the words of the poem itself. What can and should be accomplished within a single two-line verse?
And how did the classical ghazal poets themselves describe their achievements? Princeton University Press, Russell and Islam, Ghalib, Browne, A Literary History of Persia, 3: