Arshad ali khan biography samples

Ustad Mashkoor Ali Khan has musical blue blood in his veins owing to his family lineage. A direct descendant of the family of the great Ustad Abdul Karim Khan and the much legendary Sartaj-e-Mousiqui, Ustad Abdul Wahid Khan who were the founders of the famous Kirana Gharana. Ustad Mashkoor Ali Khan is the son of the great Sarangi-nawaz, Padmashree Ustad Shakoor Khan, who was the grand nephew of Ustad Bande Ali Khan Beenkar who composed numerous andishes under his pseudonym 'Sabras'.

New Delhi, Smt. Arti Mukherjee, the celebrity playback singer, and Michael Harrison the well known American pianist and many other accomplished vocalists.

Ustad Mehboob Baksh Khan alias Aajiz Pia was Maskoor Ali’s great grandfathers. The family tree shows that he has a distinguished line of elders who reigned supreme in the world of music. As such he has inherited a veritable treasure of compositions and rare knowledge of Ragas which few musicians can boast of.

Initiated and trained by his father for fifteen years, young Mashkoor Ali had secured a place for himself in the world of music even before his father breathed his last. Now as a Guru of the ITC Sangeet Research Academy (Institute of Hindusthani classical vocal and music, Kolkata, India), he is nurturing scholars under his able wings. Growing in maturity, Mashkoor Ali Khan now displays multi dimensional imaginativeness and vocal agility in his recitals. He has an erudite concept of Ragas and keen understanding of the various "angs" of Kirana gayakee emphasizing the numerous permutations of Khandmeru.

A classified "A" grade artiste of ALL INDIA RADIO Mashkoor Ali has performed in prestigious programmes of AIR and DOORDARSHAN including National Programmes of music. He has performed in almost all the major music festivals and conferences of classical music all over in India. Including Swami Haridas Sammelan, Mumbai 1997, Sawai Gandharva Sammelan, Pune 1993, Dover Lane Music Conference, Kolkata, 19

Abstract

Background

Post-traumatic seizures cause secondary brain injury, contributing to morbidity and mortality after traumatic brain injury. Seizure activity may be undetectable if the patient is paralysed and ventilated.

Aims

The effect of prophylactic anticonvulsant therapy on the prevention of seizures after moderate to severe traumatic brain injury was studied.

Methods

A structured systematic literature review was performed.

Results

There may be a place for prophylactic anticonvulsants in the prophylaxis of early post-traumatic seizures.

Conclusion

Further randomised controlled trials are needed to firmly establish the benefits of prophylactic anticonvulsants.

Keywords: Head injury, Seizure, Anticonvulsants, Prophylaxis

Introduction

Trauma is an important cause of epilepsy. Post-traumatic epilepsy is defined as a recurrent seizure disorder due to traumatic brain injury. Post-traumatic epilepsy has become an important clinical problem in many countries, as the incidence of head injuries is steadily increasing, especially from road traffic accidents [1]. Post-traumatic epilepsy has been reported in 5–7% of all hospitalised patients with traumatic brain injury [2].

Post-traumatic epilepsy can be divided into three groups: immediate seizure, occurring within 24 h of injury; early seizure, occurring within 7 days of injury; and late seizure, occurring more than 7 days after injury. The incidence of each following civilian head injury ranges from 1 to 4%, 4 to 25% and 9 to 42%, respectively [3].

Children are reported to have greater risk of early post-traumatic epilepsy as compared to adults after severe traumatic brain injury. The reported incidence of early post-traumatic epilepsy in children is 20–30% compared to 4–25% in adults. The incidence of late post-traumatic epilepsy in children is 7–12% as compared to 9–13% in adults.

In early post-traumatic epilepsy the pea

PESHAWAR: Shanza Ali Khan, an Islamabad-based young Pashto singer, has recently launched maiden video of her career with a pledge to change all kinds of stereotypes in Pashto music tradition.

Born with a flair for music and painting, she did her masters in English linguistics and literature from University of Wah, Punjab. Inborn love for music and art drove her to satisfy her internal urge for become a singer and painter in future life.

A year ago, she formally engaged a music teacher in Peshawar Arshad Ali, a noted music director, to learn the intricacies of Pashto music. In a few months, she was able to release her first Pashto video, which proved an instant success.

The young singer wanted to learn playing harmonium to get a mastery over composition of tunes. “I am not a onetime singer but want to be a professional artist with a cause to change. My mother is my first fan, who after watching my video said, it made her revisit her old good days,” she said.

Shanza Ali Khan decides to make music her career for social cause

Ms Khan said that her head hanged down in shame to listen to Pashto songs sung by some tasteless singers not in synch with the Pakhtun norms and values. “Pakhtun chauvinism is another factor which irritates me because first we are Pakistanis so music, poetry and art are supposed to be inclusive and should create a pluralistic society with the spirit of humanism , peace and social cohesion,” she said. She added that she did not blame all Pashto singers and artists for the worst portrayal of Pakhtuns but a few.

Ms Khan said that Afgar Bukhari, a popular Pashto poet with a Sufi blend, was the bard who attracted her. She said that she was a great fan of Afghan, Persian and English music but would love to tasteful Pashto tracks immersed in Sufi touch.

“My music mentor Arshad Ali gave me a deep insight into the philosophy of music. I, therefore, have intended to utilise my both strengths for peace and positive image of our society,” she

Genre in Hindustani classical music

The Kirana Gharana is a Hindustani music apprenticeship tradition (gharana) made popular by Bande Ali Khan in the 19th Century and his cousins Abdul Karim Khan and Abdul Wahid Khan. Evolved from the instrumental and vocal Gauharbanidhrupad lineages of medieval music maestros Nayak Gopal, Nayak Dhondu, and Nayak Bhanu. Later, this tradition came to be reputed for khayal, thumri, dadra, ghazal, bhajan, abhang, and natya sangeet. This gharana is known for producing acclaimed musicians like Sawai Gandharva, Sureshbabu Mane, Hirabai Barodekar, Amir Khan, Gangubai Hangal, Bhimsen Joshi, Roshanara Begum, Mohammed Rafi, Prabha Atre, Mashkoor Ali Khan Kaivalya Kumar Gurav, Pran Nath, Anand Bhate, Sanhita Nandi, and Jayateerth Mevundi. Consequently, this gharana developed a reputation for its distinctly sweet, devotional, and intense vocalism.

Background

Awareness about the Kirana Gharana grew with the rising status of BeenkarBande Ali Khan in the Gwalior Court and Indore Court in the mid-19th Century. Due to his fame, members of his extended family, such as vocalists Abdul Karim Khan and Abdul Wahid Khan, began describing themselves as from the same gharana. The Kirana Gharana takes its name from the birth place of Bande Ali Khan, Kairana, though the family is said to originate from Saharanpur District. Bande Ali Khan is arguably the most influential Hindustani Classical instrumentalist of the 19th Century. In its initial decades, the importance of Kirana Gharana was derived from his status. Since, the fame of Abdul Karim Khan and Abdul Wahid Khan extended the gharana's name which came to be associated with singing.

History

In the 19th Century, the Kirana gharana coalesced around Bande Ali Khan, a renowned musician of the rudra veena. The gharana's style was further developed, and established as one of the prominent style