|
Abhogi Raga
Abhogi () is a raga in Carnatic music and has been adapted to Hindustani music. It is a pentatonic scale, an ''audava'' raga. It is a derived scale (''janya'' raga), as it does not have all the seven ''swaras'' (musical notes). ''Ābhōgi'' has been borrowed from Carnatic music into Hindustani music and is also quite popular in the latter.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Theory The Carnatic raga Abhogi is a symmetric pentatonic scale that does not contain ''panchamam'' and ''nishadam''. It is called an ''audava-audava'' raga, as it has 5 notes in both ascending and descending scales. Its ' structure is as follows: * : * : The notes used are ''shadjam, chathusruti rishabham, sadharana gandharam, shuddha madhyamam and chathusruthi dhaivatham''. ''Ābhōgi'' is considered a ''janya'' raga of '' Kharaharapriya'', the 22nd '' Melakarta'' raga, though it can b ... [...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] |
Adi Tala
Adi tala (Sanskrit: ''ādi tālà'' {{lang, sa, आदि ताळ, Kannada: ಆದಿ ತಾಳ, literally "primary rhythm" also spelled aadi taalam or adi talam) is the name of one of the most popular tala or rhythms used in Carnatic Music. Its full technical name according to the Carnatic Music's tala system is ''Chaturashra-naDe Chaturashra-jaati triputa taLa''. Structure This tala has eight akshara Aksara (also ''akshara'', Devanagari अक्षर, IAST ''akṣara'') is a Sanskrit term translating to "imperishable, indestructible, fixed, immutable" (i.e. from अ, '' a-'' "not" and क्षर्, ''kṣar-'' "melt away, perish"). It h ...s, each being 4 svaras long. Many kritis and around half of the varnams are set to this tala. Carnatic music Carnatic music terminology ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bageshri
Raga Bageshri or Bageshree () is a Hindustani classical raga. It is a popular night raga, which is meant to depict the emotion of a woman waiting for reunion with her lover. It is said to have been first sung by Miyan Tansen, the celebrated court singer of the Emperor Akbar in the sixteenth century. In the twentieth century, Bageshri raga found widespread popularity in Carnatic Music. The popular Hindi music director C.Ramchandra favoured composing songs in Bageshri, as he found it simple. In a 1978 interview at BBC studios with Mahendra Kaul, he explained this, while playing songs like ( Radha na bole - Azad, 1955) that were set to Bageshri. Theory The theoretical aspects of Bageshri are as follows: Scale :Arohana : S g m D n S' :Avarohana : S' n D m P D g m g R S Vadi & Samavadi : Vadi : Madhyam (Ma) :Samavadi: Shadja (Sa) Pakad or Chalan D n s, m, m P D, m g R S :Varjit Swara - P & R in Aaroh :Jati : - Audav-Sampoorna (Vakra) Organization & Relationships Thaat: K ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kafi (thaat)
Kafi () is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga ( Kharaharapriya) within this thaat. Description Kafi thaat makes use of the Komal Gandhara and Komal Nishad. So basically it adds Komal Gandhara to the Khamaj thaat. The Kafi raga is one of the oldest ragas and its intervals are described as the basic scale of the Natyashastra. Thus in ancient and medieval times, Kafi was considered as natural scale. Kafi is a late evening raga and said to convey the mood of springtime. Ragas Ragas in Kafi thaat include: * Abhogi * Bageshri * Bageshri-Ang Chandrakauns * Bahar * Barwa * Bhimpalasi * Brindavani Sarang * Dhani * Hanskinkini * Jog * Kafi * Megh * Malhar * Nayaki Kanada * Patdeep * Pilu * Jaijaiwanti Jaijaivanti or Jaijaiwanti is a Hindustani classical '' raga'' belonging to Khamaj Thaat. According to the Guru Granth Sahib, this ''raga'' is a mixture of two others: Bilaval and Sorath. The ''raga'' app ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Annamacharya
Tallapaka Annamacharya (Telugu : తాళ్ళపాక అన్నమాచార్య) ( IAST: taḷḷapāka annamācārya; 22 May 1408 – 4 April 1503), also popularly known as Annamayya, was a 15th-century Hindu saint and the earliest known Indian musician to compose songs called ''sankirtanas'' in praise of the Venkateswara, a form of Vishnu. The musical form of the keertana songs that he composed, which are still popular among Carnatic music concert artists, have strongly influenced the structure of Carnatic music compositions. Jackson (1999), p. 216. Annamacharya is remembered for his saintly life, and is honoured as a great devotee of Vishnu by devotees and saintly singers. Jackson (1999), p. 265. He is believed to have been the avatar of Nandaka, the sword of Vishnu. He is widely regarded as the Andhra Pada kavitā Pitāmaha (Grandfather of Telugu song-writing). Personal life Tallapaka Annamacharya was born on Vaishakha Shuddha Pournami in the year Sarwadh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
N S Ramachandran
N. S. Ramachandran (born 1908) was one of the leading composers of 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, an .... References External links * 1908 births Carnatic composers People from Tamil Nadu Year of death missing {{carnatic-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Papanasam Sivan
Paapanaasam Raamayya Sivan (26 September 1890 – 1 October 1973) was an Indian composer of Carnatic music and a singer. He was awarded the Madras Music Academy's Sangeetha Kalanidhi in 1971. He was also a film score composer in Kannada cinema as well as Tamil cinema in the 1930s and 1940s. Sivan was also known as Tamil Thyaagaraja. Using Classical South Indian as a base, Sivan created compositions popularised by M. K. Thyagaraja Bhagavathar, D. K. Pattammal, and M. S. Subbulakshmi. In 1962, he was awarded the Sangeet Natak Akademi Fellowship conferred by Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama. Life Sivan's early years were spent in the Travancore area of Kerala. He was born at Polagam village in the district of Thanjavur, which was home to the musical trinity of Carnatic music. His given name was Ramaiya. In 1897, when he was 7, his father died. His mother Yogambal, along with her sons, left Thanjavur and moved to Travancore (now Thiruva ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Patnam Subramania Iyer
Patnam Subramania Iyer (1845 – July 31, 1902) was a composer and singer of Carnatic music. Subramaniya Iyer followed the traditions of the great composer Tyagaraja. He has left behind almost one hundred compositions. Subramaniya Iyer was born in Thiruvaiyaru in Thanjavur district of present-day Tamil Nadu. His family had a long history of musical involvement – his father Bharatam Vaidyanatha Iyer was adept at both music and Sastra and his grandfather Panchanada Sastri was the court musician in the court of Serfoji Maharaja of Thanjavur. Subramaniya Iyer learned music from his uncle, Melattur Ganapati Sastri, and later under Manambuchavadi Venkatasubbayyar who was a disciple of Tyagaraja himself. Subramaniya Iyer spent a long time in Chennapatnam (Chennai). This gave Subramaniya Iyer the prefix to his name. Many of his students such as Mysore Vasudevachar, Poochi Srinivasa Iyengar, Bhairavi Kempegowda and Tiger Varadachariar became famous composers and vocalists. His neighb ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Varnam
Varṇam is a type of composition in the Carnatic music system consisting of short metric pieces which encapsulate the main features (patterns of notes) of a ''raga''. Varnams capture the ''raga bhavam'', ''ranjaka prayogas'' ''visesha sancharas'', etc. ''Dhatu'' and ''janta prayogas'' (phrase usage) are usually part of a varnam. Understanding of these aspects is key to developing ''manodharma sangeetham'' (i.e., improvisation aspects of Carnatic music such as ''raga aalapana'', ''swara kalpana'', ''neraval'', etc.). Known for their complex structure, varnams are a fundamental form in Carnatic music. All varnams consist of lyrics, Bradnock (1992), p631 as well as ''swara'' passages, including a ''pallavi'', an '' anupallavi'', ''muktaayi swaras'', a ''charanam'', and '' chitta swaras''. There are different types of varnams, such as ''taana varnam'', ''pada varnam'', ''daru varnam'' and ''ragamalika varnam''. They also come in different ''taalams'' (beat cycles). Though the mo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mysore Sadashiva Rao
Mysore Sadashiva Rao (Mysore ; ) or Sadasiva Rao was a notable Indian vocalist and composer of Carnatic music. He was a member of the court of the king of Mysore, Krishnaraja Wodeyar III. Biography Very little is known about Sadashiva Rao's early days. He was born in a Marathi-speaking Deshastha Brahmin family which had settled in modern-day Andhra Pradesh. It is believed that he was employed as a clerk in his early career before he travelled to Walajahpet near Madras where he ended up training under Venkataramana Bhagavatar, a pupil of Tyagaraja (1767–1847), one of the Trinity of Carnatic Music. It is also said that Rao once met Tyagaraja when the composer travelled to Walajahpet on a pilgrimage and briefly stayed with his disciple. Sadashiva Rao travelled with two brothers, the merchants Kopparam Chinnamuni Swamy Setty and Padda Muniswamy, to Mysore, brought Sadashiva Rao to Mysore. By the time he was 30, Rao had found a place in the Mysore Wodeyar durbar. The royal patron ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gopalakrishna Bharati
Gopalakrishna Bharathi ( ta, கோபாலகிருஷ்ண பாரதி) (1810–1896) was a Tamil poet and a composer of Carnatic music. He composed the K''athakalakshepam'' ( ta, கதாகாலக்ஷேபம் ) Nandanar Charitram, two other works in this genre, and many independent ''kritis''. Bharathi was a contemporary of Thyagaraja whom he is said to have met, and who asked him whether he had composed anything in the ''raga AbhOgi''; Bharathi composed overnight one of his most popular ''kriti''s in ''rUpaka tALa'', ''Sabhaapatikku vERu''. The great Tamil literary figure, U. V. Swaminatha Iyer wrote two sources for Bhaarati's life: a biography of the composer and his own autobiography, which contains references to Bharathi, who was his ''guru'' in music. Early life Gopalakrishna Bharathi was born at Narimanam, near Nagapattinam. He spent his early days in Mudikondan, near Thiruvarur. A few years later he moved to Anandathandavapuram village, near Mayavar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rupaka
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 rule of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
.jpg "Click for more on -> Rupaka")