CR Vyas - Rajan Parrikar Music Archive
... the depths of three gharanas to arrive at his charmingly eclectic yet traditionally authentic style. His first teacher was Govindrao Bhatambrekar of the Kirana school. Vyas learnt from Bhatambrekar for nearly a decade and was already singing in concerts by the time he arrived in Mumbai as a young m ...
... the depths of three gharanas to arrive at his charmingly eclectic yet traditionally authentic style. His first teacher was Govindrao Bhatambrekar of the Kirana school. Vyas learnt from Bhatambrekar for nearly a decade and was already singing in concerts by the time he arrived in Mumbai as a young m ...
Klein ISD-Advanced Academics - Spring, TX
... some important genres of Hindu and Islamic devotional song and poetry, which we explore in a range of musical settings. India’s classical music is the subject of Section III. This type of music is heard in the concert halls of London and New York as well as in Mumbai and Chennai. We begin ...
... some important genres of Hindu and Islamic devotional song and poetry, which we explore in a range of musical settings. India’s classical music is the subject of Section III. This type of music is heard in the concert halls of London and New York as well as in Mumbai and Chennai. We begin ...
Tagore`s Rain Songs A Review in Context of
... Unlike the traditional scenario, Tagore explored the rain songs in his own ways. During first stage of his creation, he was confined within the traditional systems of tunes and topics. Gradually, he included various times of day in rains instead of only season – dawn, morning, afternoon, evening, ni ...
... Unlike the traditional scenario, Tagore explored the rain songs in his own ways. During first stage of his creation, he was confined within the traditional systems of tunes and topics. Gradually, he included various times of day in rains instead of only season – dawn, morning, afternoon, evening, ni ...
Kalyani Raga
... partalum, Ethaikandu ichai kondai and Thaiyale unnai have been sung very often over the y e a r s : these songs are the backbone of Bharatanatyam in the South. Pattabhiramayya's javali Enlati kuluke is a n o t h e r well-regarded composition. Many great musicians have chiselled out exquisite version ...
... partalum, Ethaikandu ichai kondai and Thaiyale unnai have been sung very often over the y e a r s : these songs are the backbone of Bharatanatyam in the South. Pattabhiramayya's javali Enlati kuluke is a n o t h e r well-regarded composition. Many great musicians have chiselled out exquisite version ...
ba 2 nd year (theory)
... associated with it. It is not difficult to accept that Ragas have life in them. Or, for those who think deeper, they can well understand if we say that every Raga has a soul, a life and a journey. A Raga is eternally becoming, blossoming out into new vivid forms through the musician. ...
... associated with it. It is not difficult to accept that Ragas have life in them. Or, for those who think deeper, they can well understand if we say that every Raga has a soul, a life and a journey. A Raga is eternally becoming, blossoming out into new vivid forms through the musician. ...
BA Sem-V (THEORY)
... associated with it. It is not difficult to accept that Ragas have life in them. Or, for those who think deeper, they can well understand if we say that every Raga has a soul, a life and a journey. A Raga is eternally becoming, blossoming out into new vivid forms through the musician. ...
... associated with it. It is not difficult to accept that Ragas have life in them. Or, for those who think deeper, they can well understand if we say that every Raga has a soul, a life and a journey. A Raga is eternally becoming, blossoming out into new vivid forms through the musician. ...
Music Theory - 1st year Carnatic
... geetha literally means a song. But in music it signifies a particular type of composition. The music of the geetha is simple melodic extension of the raga in which it is composed. Its tempo is uniform. It is a continuous composition without the sections pallavi, anupallavi and charanam. The geetha i ...
... geetha literally means a song. But in music it signifies a particular type of composition. The music of the geetha is simple melodic extension of the raga in which it is composed. Its tempo is uniform. It is a continuous composition without the sections pallavi, anupallavi and charanam. The geetha i ...
Harikambhoji raga
... scope for etching the melodic contours of the raga indelibly on our minds. This is an illustration of the fact that repetitions of song lines, offering subtle variations, provide more scope than alapana alone does for bringing out the swaroopa of a raga. Papanasam Sivan has composed more than half-a ...
... scope for etching the melodic contours of the raga indelibly on our minds. This is an illustration of the fact that repetitions of song lines, offering subtle variations, provide more scope than alapana alone does for bringing out the swaroopa of a raga. Papanasam Sivan has composed more than half-a ...
Carnatic Music Concert Overview
... Languages used: There are a number of kritis in Tamil, Telugu, Kannada and Sanskrit. Examples: Tamil Eppo Varuvaro - Jonpuri; Telugu - Brocevarevarura - Khamas; Kannada - Mosahodenallu Subhapantuvarali; Sanskrit - Ekamresha - Karnataka Suddha Saveri. There are also kritis in which the text is in two ...
... Languages used: There are a number of kritis in Tamil, Telugu, Kannada and Sanskrit. Examples: Tamil Eppo Varuvaro - Jonpuri; Telugu - Brocevarevarura - Khamas; Kannada - Mosahodenallu Subhapantuvarali; Sanskrit - Ekamresha - Karnataka Suddha Saveri. There are also kritis in which the text is in two ...
Music Appreciation Notes by S Rajam. (Reproduced from Sruti 291).
... ayamalavagaula is a sampoorna raga – it uses all the seven notes in both the ascending and descending scales. The swara-s used in Mayamalavagaula are sa – shadja, ra – suddha rishabha, gu – antara gandhara, ma – suddha madhyama, pa – panchama, dha – suddha dhaivata, and nu – kakali nishada. The alig ...
... ayamalavagaula is a sampoorna raga – it uses all the seven notes in both the ascending and descending scales. The swara-s used in Mayamalavagaula are sa – shadja, ra – suddha rishabha, gu – antara gandhara, ma – suddha madhyama, pa – panchama, dha – suddha dhaivata, and nu – kakali nishada. The alig ...
MUSIC OF INDIA - Srinivas Reddy
... Gandharva declined a great deal by the 10 th century but had still survived through the 11 th century and by the 13th century it was slowly converted into Raga music. Reasons : (a) It became too intellectual without much emotional appeal (b) It became bound up with too many rigid rules and hardly le ...
... Gandharva declined a great deal by the 10 th century but had still survived through the 11 th century and by the 13th century it was slowly converted into Raga music. Reasons : (a) It became too intellectual without much emotional appeal (b) It became bound up with too many rigid rules and hardly le ...
Music of India
... stylistic principles underlying traditional music. The musical structure consists of Swara (the seven musical notes)—Sa, Ri, Ga, Ma, Pa, Da and Ni in an octave; each of which has a distinct character. Raga (melody) is a musical scale having a definite combination of musical notes (swaras) – in the a ...
... stylistic principles underlying traditional music. The musical structure consists of Swara (the seven musical notes)—Sa, Ri, Ga, Ma, Pa, Da and Ni in an octave; each of which has a distinct character. Raga (melody) is a musical scale having a definite combination of musical notes (swaras) – in the a ...
Thyagaraja meets Bach - Confluence of three ragas
... “Thyagaraja meets Bach”. This, I believe, is my way of paying tribute to all Gods of music. ...
... “Thyagaraja meets Bach”. This, I believe, is my way of paying tribute to all Gods of music. ...
Raga Hamirkalyani: Classical Compositions: Film Songs:
... with A.G. VENKATASUBRAMANIAM –VIOLIN, ARJUN GANESH - MRIDANGAM ...
... with A.G. VENKATASUBRAMANIAM –VIOLIN, ARJUN GANESH - MRIDANGAM ...
Influence of Hindusthani Music and folk music on
... Dear readers, as we have seen previously, until the 12th century A.D., only one form of music prevailed all through India. Around this time, the Islamic presence was beginning to be felt in North India. The musical practice there came under the influence of Persian and Arabic cultures and came to be ...
... Dear readers, as we have seen previously, until the 12th century A.D., only one form of music prevailed all through India. Around this time, the Islamic presence was beginning to be felt in North India. The musical practice there came under the influence of Persian and Arabic cultures and came to be ...
Carnatic music
Carnatic music, Karnāṭaka saṃgīta or Karnāṭaka saṅgītam is a system of music commonly associated with the southern part of the Indian subcontinent, with its area roughly confined to four modern states of India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu traditions, the other subgenre being Hindustani music, which emerged as a distinct form because of Persian and Islamic influences in northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.Although there are stylistic differences, the basic elements of śruti (the relative musical pitch), swara (the musical sound of a single note), rāga (the mode or melodic formulæ), and tala (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung through compositions, especially the kriti (or kirtanam) – a form developed between the 14th and 20th centuries by composers such as Purandara Dasa and the Trinity of Carnatic music. Carnatic music is also usually taught and learned through compositions.Carnatic music is usually performed by a small ensemble of musicians, consisting of a principal performer (usually a vocalist), a melodic accompaniment (usually a violin), a rhythm accompaniment (usually a mridangam), and a tambura, which acts as a drone throughout the performance. Other typical instruments used in performances may include the ghatam, kanjira, morsing, venu flute, veena, and chitraveena. The most outstanding performances, and the greatest concentration of Carnatic musicians, are to be found in the city of Chennai. Various festivals are held throughout India and abroad which mainly consist of Carnatic music performances, such as the Madras Music Season, which has been considered to be one of the world's largest cultural events.