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Andolika
Andolika is a Carnatic raga, which is also sometimes written as ''Andholika''. This raga is a ''janya'' of the 22nd ''Melakarta'' raga Kharaharapriya.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Structure and Lakshana This ragam is an asymmetric scale and is classified as an ''audava-audava'' ragam (five notes in the ascending and descending scale).''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras * : * : The notes in this scale are ''chatushruti rishabham, shuddha madhyamam, panchamam, kaisiki nishadham'' in ''arohana'' and additional ''chatushruti dhaivatam'' in ''avarohanam'', in place of ''panchamam'' (see pictures). From ''Kharaharapriya'' scale (22nd melakarta), the ''gandharam'' is removed in this scale and the rest are used in asymmetrical manner. Since ''gandharam'' is removed this scale can also be considered a janya of 28th ''mela Harikambhoji'' scale, but since 22 comes ahead many prefer to use the a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andholika Avarohana Scale
Andolika is a Carnatic raga, which is also sometimes written as ''Andholika''. This raga is a ''janya'' of the 22nd ''Melakarta'' raga Kharaharapriya.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Structure and Lakshana This ragam is an asymmetric scale and is classified as an ''audava-audava'' ragam (five notes in the ascending and descending scale).''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras * : * : The notes in this scale are ''chatushruti rishabham, shuddha madhyamam, panchamam, kaisiki nishadham'' in ''arohana'' and additional ''chatushruti dhaivatam'' in ''avarohanam'', in place of ''panchamam'' (see pictures). From ''Kharaharapriya'' scale (22nd melakarta), the ''gandharam'' is removed in this scale and the rest are used in asymmetrical manner. Since ''gandharam'' is removed this scale can also be considered a janya of 28th ''mela Harikambhoji'' scale, but since 22 comes ahead many prefer to use the a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Muthu Thandavar
Muthu Thandavar (1525 – 1600 CE) (Tamil:முத்துத்தாண்டவர்)was composer of Carnatic music. He was an early architect of the present day Carnatic '' kriti'' (song) format, which consists of the ''pallavi'' (refrain), '' anupallavi'' and '' charanam''. He lived in the town of Sirkazhi in Tamil Nadu. His contributions to Carnatic music have been largely forgotten and not many of his ''kritis'' are in vogue today. Muthu Thandavar, along with Arunachala Kavi (1712–1779) and Marimutthu Pillai (1717–1787) are known as the Tamil Trinity of Carnatic music. Muthu Thandavar also composed several ''padams'', short songs mainly sung accompanying Bharatanatyam performances. Some of these ''padams'' are still popular such as ''Teruvil Varano'' in raga '' Khamas'' and ''Ittanai tulambaramo'' in raga ''Dhanyasi''. Compositions Very few of Muththu Thandavar's compositions have survived the test of time. Sixty of them have been collected. Twenty five ''padam ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kharaharapriya
Kharaharapriya is a rāga in Carnatic music. It is the 22nd ''melakarta'' rāga (parent scale) in the 72 ''melakarta'' rāga system. It is possible that the name of the ragam was originally ''Harapriya'' but it was changed to conform to the Katapayadi formula. ''Kharaharapriya'' has a distinct melody and brings out the ''Karuna'' rasam, invoking pathos in the listeners. The ''Kafi thaat'' of Hindustani music is the equivalent of ''Kharaharapriya''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Its Western equivalent is the Dorian mode. Etymology There are many theories behind the etymology of the name ''Kharaharapriya''. One of the most popular beliefs is that the ragam was initially called Samaganam and when Ravana was trapped by Shiva, under the kailash hill trying to lift it, it is believed that, to appease the lord, Ravana sang many hymns in praise of the lord, but his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madhyamavati Scale
Madhyamavati (madhyamāvati) is a rāga in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāga (or ''owdava'' rāga, meaning pentatonic scale), as it does not have all the seven musical notes (''swaras''). It is a ''janya'' rāga (derived scale). The equivalent of ''Madhyamavati'' in Hindustani music is ''Madhumad Sarang''.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It also has other equivalents in Hindustani music such as ragas Megh and Megh Malhar. It is considered a very auspicious rāgam and every Carnatic music concert ends with either a song in ''Madhyamavati'' or the ending of the last song is sung in this rāgam.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is very suitable for elaboration and exploration due to even spacing of notes. The scale uses the first three notes of the cycle of fifths ''S, P and R2'' and fourths ''S, M1 and N2''. Structure and Lakshana ''Madh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madhyamavati
Madhyamavati (madhyamāvati) is a rāga in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāga (or ''owdava'' rāga, meaning pentatonic scale), as it does not have all the seven musical notes (''swaras''). It is a ''janya'' rāga (derived scale). The equivalent of ''Madhyamavati'' in Hindustani music is ''Madhumad Sarang''.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It also has other equivalents in Hindustani music such as ragas Megh and Megh Malhar. It is considered a very auspicious rāgam and every Carnatic music concert ends with either a song in ''Madhyamavati'' or the ending of the last song is sung in this rāgam.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is very suitable for elaboration and exploration due to even spacing of notes. The scale uses the first three notes of the cycle of fifths ''S, P and R2'' and fourths ''S, M1 and N2''. Structure and Lakshana ''M ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music, known as or in the Dravidian languages, South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu, and Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu Texts and traditions, particularly the Samaveda. The other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from 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 (the relative musical pitch), (the musical sound of a single note), (the mode or melodic formulæ), and (the rhythmic cycles) form the foundation of improvisation and composition in both Carnati ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kedaragaula
Kedaragaula (pronounced kēdāragaula) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāgam (derived scale) from the 28th ''melakarta'' scale ''Harikambhoji'', and is sometimes spelled as Kedaragowla. It is a ''janya'' scale, as it does not have all the seven ''swaras'' (musical notes) in the ascending scale. It is a combination of the pentatonic scale ''Madhyamavati'' and the ''sampurna raga'' scale ''Harikambhoji''. It is a morning rāgam. Structure and Lakshana ''Kedaragaula'' is an asymmetric rāgam that does not contain ''gandharam'' and ''dhaivatam'' in the ascending scale. It is an ''audava-sampurna'' rāgam (or ''owdava'' rāgam, meaning pentatonic ascending scale). Its ' structure (ascending and descending scale) is as follows: * : * : The notes used in this scale are ''shadjam, chathusruthi rishabham, shuddha madhyamam, panchamam'' and ''kaisiki nishadham'' in ascending scale, with ''chatusruti dhaivatam'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hamsalekha
Gangaraju (born June 23, 1951), professionally known as Hamsalekha, is an Indian film composer and a songwriter who works in South Indian cinema, predominantly in the Kannada film industry since the late 1980s. He is also a screenplay writer, dialogue writer, instrumentalist and a conductor, composed and written for over 500 feature films. Also regarded as one of the greatest music composers of all time in history. Hamsalekha has won one National Film Awards and six Filmfare Awards in the Best Music Director Category; seven Karnataka State Film Awards - four for music direction and three for lyrics - and is a recipient of an honorary doctorate from Bangalore University. Early career Hamsalekha was born as Gangaraju in 1951, to K. H. Govindaraju and Rajamma in Tulasikatte, near Akkipete in Bangalore. After his studies, he was employed in his father's printing press and subsequently joined his brother Balakrishna's orchestra group. Lavani Neelakantappa his teacher modified his na ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kodi Parakuthu
''Kodi Parakkuthu'' () is a 1988 Indian Tamil-language action film, directed by Bharathiraja. The film starred Rajinikanth, who worked with Bharathiraja nearly a decade after their last film ''16 Vayathinile'' (1977). Plot A mafia leader tries to kill policeman Sivagiri, who took down his illegal businesses, with the help of a lookalike. Later, Sivagiri discovers that the leader is responsible for his father's death. Cast * Rajinikanth as DCP Erode Shivagiri/JDP Dhadha/16 Vayadhinile Parattai * Amala as Aparna * Bhagyalakshmi as Dhadha's love interest *Manivannan as GD (voice dubbed by Bharathiraja) * Sujatha as Sengamalam * A. R. Srinivasan as Shivagiri's uncle *Janagaraj as Chinna Dhadha * Vijayan as Shivagiri's father (Guest appearance) * Sangili Murugan as Dhadha (Guest appearance) *S. R. Veeraghavan as I.G. * Ilavarasu as Police constable * Sudha as Madhavi *Vinod Raj as Jailer Meyyappan Production Soundtrack The music was composed by Hamsalekha. The song " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tamil Language
Tamil (; ' , ) is a Dravidian language natively spoken by the Tamil people of South Asia. Tamil is an official language of the Indian state of Tamil Nadu, the sovereign nations of Sri Lanka and Singapore, and the Indian territory of Puducherry. Tamil is also spoken by significant minorities in the four other South Indian states of Kerala, Karnataka, Andhra Pradesh and Telangana, and the Union Territory of the Andaman and Nicobar Islands. It is also spoken by the Tamil diaspora found in many countries, including Malaysia, Myanmar, South Africa, United Kingdom, United States, Canada, Australia and Mauritius. Tamil is also natively spoken by Sri Lankan Moors. One of 22 scheduled languages in the Constitution of India, Tamil was the first to be classified as a classical language of India. Tamil is one of the longest-surviving classical languages of India.. "Tamil is one of the two longest-surviving classical languages in India" (p. 7). A. K. Ramanujan described it as "the on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tala (music)
A tala ( IAST ''tāla'') literally means a 'clap, tapping one's hand on one's arm, a musical measure'. It is the term used in Indian classical music similar to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the Indian subcontinental traditions. Along with ''raga'' which forms the fabric of a melodic structure, the ''tala'' forms the life cycle and thereby constitutes one of the two foundational elements of Indian music. ''Tala'' is an ancient music concept traceable to Vedic era texts of Hinduism, such as the '' Samaveda'' and methods for singing the Vedic hymns. The music traditions of the North and South India, particularly the ''raga'' and ''tala'' systems, were not considered as distinct till about the 16th century. There on, during the tumultuous period of Islamic rul ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thyagaraja
Thyagaraja (Telugu: త్యాగరాజ) (4 May 1767 – 6 January 1847), also known as Thyāgayya and in full as Kakarla Thyagabrahmam, was a composer and vocalist of Carnatic music, a form of Indian classical music. Tyagaraja and his contemporaries, Shyama Shastri and Muthuswami Dikshitar, are regarded as the Trinity of Carnatic music. Thyagaraja composed thousands of devotional compositions, most in Telugu and in praise of Lord Rama, many of which remain popular today, the most popular being "Nagumomu". Of special mention are five of his compositions called the ''Pancharatna Kritis'' ( "five gems"), which are often sung in programs in his honour, and ''Utsava Sampradaya Krithis'' ( Festive ritual compositions), which are often sung to accompany temple rituals. Tyagaraja lived through the reigns of four kings of the Maratha dynasty — Tulaja II (1763–1787), Amarasimha (1787–1798), Serfoji II (1798–1832) and Sivaji II (1832–1855), although he served none of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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