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Asampurna Melakarta
The Asampurna Melakarta (transliterated as Asaṃpūrṇa Mēḷakarta) scheme is the system of 72 ragas (musical scales) originally proposed in the 17th century by Venkatamakhin in his Chaturdanda Prakasikha.Shree Muthuswami Dikshitar Keerthanaigal, by A Sundaram Iyer, Music Book Publishers, Chennai This proposal used scales with notes that do not conform to the sampurna raga system. Skipped notes or repeated notes, etc., were used in some of the ragas. Some of the ragas of any ''Melakarta'' system will use ''Vivadi'' swaras (discordant notes). The original system is supposed to avoid such ill-effects and was followed by the Muthuswami Dikshitar school. The naming of the original system followed Katapayadi system. Muthuswami Dikshitar's compositions use the name of these ragas in the lyrics of the songs and is still referred to by those names even in radio / TV announcements of these songs. Later Govindacharya came up with a more mathematical and regular system of 72 ragas, w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. The ''rāga'' is a unique and central feature of the classical Indian music tradition, and as a result has no direct translation to concepts in classical European music. Each ''rāga'' is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience. Each ''rāga'' provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the ''rāga'' in keeping with rules specific to the ''rāga''. ''Rāga''s range from small ''rāga''s like Bahar (raga), Bahar and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kamadeva
Kama ( sa, काम, ), also known as Kamadeva and Manmatha, is the Hindu god of love and desire, often portrayed alongside his consort, Rati. The Atharvaveda, Atharva Veda regards Kamadeva as the wielder of the creative power of the universe, also describing him to have been "born at first, him neither the gods nor the fathers ever equalled". He is described to be attended by the celestial nymphs of Hindu mythology, the Apsara, apsaras, depicted as a youthful deity of blue or red skin, decked with ornaments and flowers, armed with a bow of sugarcane and shooting arrows of flowers. His most popular legend is his story of incineration by Shiva's third eye while the latter was meditating, later embodied on earth as the eldest son of Krishna and his chief consort Rukmini, Pradyumna. Etymology and other names The name ''Kama-deva'' () can be translated as 'god of love'. ''Deva'' means heavenly or divine, and refers to a deity in Hinduism. ''Kama'' () means "desire" or "longing", ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Avarohana
An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The notes descend in pitch from the upper tonic (taar shadja or Sa) down to the lower tonic, possibly in a crooked (vakra) manner. Examples In raga Darbari, an Asavari-thaat raga with vadi-samvadi R-P, the avroha is R' n S' d~ n P, m P g~ m R S, with andolan on the dhaivat and gandhar. In Malahari, which is ''janya'' raga of 15th ''melakarta'' Mayamalavagowla Mayamalavagowla (pronounced ) is a raga of Carnatic music (musical scale of South Indian classical music). It is classified as 15th '' melakarta'' raga under Venkatamakhin's '' melakarta'' system. Originally known as ''malavagowla'', "maya" was ..., the avarohana is ''S D1 P M1 G2 R1 S''. See swaras in Carnatic music for description of this notation. In Sahana, a ''janya'' raga of 28th ''melakarta'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arohana
Arohana, Arohanam or Aroha, in the context of Indian classical music, is the ascending scale of notes in a raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The pitch increases as we go up from Shadja (Sa) to the Taar Shadja (Sa), possibly in a crooked (vakra) manner. Scale In Hindustani classical music, the ascending scale's notes are S R G M P D and N. Lower forms of notes are written in lower case, like r g m d n (S and P are fixed notes), while the first scale given above is that of higher form of the notes. The English notes C D E F G A and B correspond to S R G M P D and N, when C is taken as the tonal note (S is sung at C). In Carnatic music, the ascending scale's notes for the variant notes R G M D and N have a subscript number indicating the specific variant (see examples below). Examples In Multani, the aroha is 'N S g M P N S' (lowercase notes are the lower forms, while uppercase notes are the higher fo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swara
Svara or swara (Devanagari: स्वर, generally pronounced as ''swar'') is a Sanskrit word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or ''saptaka''. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a ''svara'' is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven ''svara''s/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as ''saptak'' or ''saptaka''. It is one of the reasons why ''svara'' is considered a symbolic expression for the number seven. Origins and history Etymology The word ''swara'' or ''svara'' (Sanskrit: स्वर) is derived from the root ''svr'' which means "to sound". To be precise, the ''svara'' is defined in the Sanskrit ''nirukt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Katapayadi Sankhya
''Kaṭapayādi'' system (Devanagari: कटपयादि, also known as ''Paralppēru'', Malayalam: പരല്പ്പേര്) of numerical notation is an ancient Indian alphasyllabic numeral system to depict letters to numerals for easy remembrance of numbers as words or verses. Assigning more than one letter to one numeral and nullifying certain other letters as valueless, this system provides the flexibility in forming meaningful words out of numbers which can be easily remembered. History The oldest available evidence of the use of ''Kaṭapayādi'' (Sanskrit: कटपयादि) system is from ''Grahacāraṇibandhana'' by Haridatta in 683 CE.Sreeramamula Rajeswara Sarma, THE ''KATAPAYADI'' SYSTEM OF NUMERICAL NOTATION AND ITS SPREAD OUTSIDE KERALA, ''Rev. d'Histoire de Mathmatique'' 18 (2012/ref> It has been used in ''Laghu·bhāskarīya·vivaraṇa'' written by '' Sankara Narayana, Śaṅkara·nārāyaṇa'' in 869 CE. Some argue that the system orig ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Surya
Surya (; sa, सूर्य, ) is the sun as well as the solar deity in Hinduism. He is traditionally one of the major five deities in the Smarta tradition, all of whom are considered as equivalent deities in the Panchayatana puja and a means to realise Brahman. Other names of Surya in ancient Indian literature include Aditya, Arka, Bhanu, Savitr, Pushan, Ravi, Martanda, Mitra, Bhaskara, Prabhakara, Kathiravan, and Vivasvan. The iconography of Surya is often depicted riding a chariot harnessed by horses, often seven in number which represent the seven colours of visible light, and the seven days of the week. During the medieval period, Surya was worshipped in tandem with Brahma during the day, Shiva at noon, and Vishnu in the evening. In some ancient texts and art, Surya is presented syncretically with Indra, Ganesha, and others. Surya as a deity is also found in the arts and literature of Buddhism and Jainism. In the Mahabharata and Ramayana, Surya is represented as the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aditya
Surya (; sa, सूर्य, ) is the sun as well as the solar deity in Hinduism. He is traditionally one of the major five deities in the Smarta tradition, all of whom are considered as equivalent deities in the Panchayatana puja and a means to realise Brahman. Other names of Surya in ancient Indian literature include Aditya, Arka, Bhanu, Savitr, Pushan, Ravi, Martanda, Mitra, Bhaskara, Prabhakara, Kathiravan, and Vivasvan. The iconography of Surya is often depicted riding a chariot harnessed by horses, often seven in number which represent the seven colours of visible light, and the seven days of the week. During the medieval period, Surya was worshipped in tandem with Brahma during the day, Shiva at noon, and Vishnu in the evening. In some ancient texts and art, Surya is presented syncretically with Indra, Ganesha, and others. Surya as a deity is also found in the arts and literature of Buddhism and Jainism. In the Mahabharata and Ramayana, Surya is represented as the sp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shiva
Shiva (; sa, शिव, lit=The Auspicious One, Śiva ), also known as Mahadeva (; ɐɦaːd̪eːʋɐ, or Hara, is one of the principal deities of Hinduism. He is the Supreme Being in Shaivism, one of the major traditions within Hinduism. Shiva is known as "The Destroyer" within the Trimurti, the Hindu trinity which also includes Brahma and Vishnu. In the Shaivite tradition, Shiva is the Supreme Lord who creates, protects and transforms the universe. In the goddess-oriented Shakta tradition, the Supreme Goddess ( Devi) is regarded as the energy and creative power (Shakti) and the equal complementary partner of Shiva. Shiva is one of the five equivalent deities in Panchayatana puja of the Smarta tradition of Hinduism. Shiva has many aspects, benevolent as well as fearsome. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash as well as a householder with his wife Parvati and his three children, Ganesha, Kartikeya and A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rudra
Rudra (; sa, रुद्र) is a Rigvedic deity associated with Shiva, the wind or storms, Vayu, medicine, and the hunt. One translation of the name is 'the roarer'. In the Rigveda, Rudra is praised as the 'mightiest of the mighty'. Rudra means "who eradicates problems from their roots". Depending upon the periodic situation, Rudra can mean 'the most severe roarer/howler' (could be a hurricane or tempest) or 'the most frightening one'. This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages. The ''Shri Rudram'' hymn from the Yajurveda is dedicated to Rudra and is important in the Shaivism sect.For an overview of the Śatarudriya see: . In Prathama Anuvaka of Namakam (Taittiriya Samhita 4.5), Sri Rudram the 'mightiest of the mighty' Rudra, is revered as ''Sadasiva (meaning 'mighty Shiva')'' and Mahadeva. Sadashiva is the Supreme Being, Lord Paramashiva in the Mantra marga Siddhanta sect of Shaivism. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brahma
Brahma ( sa, ब्रह्मा, Brahmā) is a Hindu god, referred to as "the Creator" within the Trimurti, the trinity of supreme divinity that includes Vishnu, and Shiva.Jan Gonda (1969)The Hindu Trinity Anthropos, Bd 63/64, H 1/2, pp. 212–226. He is associated with creation, knowledge, and the ''Vedas''. Brahma is prominently mentioned in creation legends. In some ''Puranas'', he created himself in a golden embryo known as the Hiranyagarbha. Brahma is frequently identified with the Vedic god Prajapati.;David Leeming (2005), The Oxford Companion to World Mythology, Oxford University Press, , page 54, Quote: "Especially in the Vedanta Hindu Philosophy, Brahman is the Absolute. In the Upanishads, Brahman becomes the eternal first cause, present everywhere and nowhere, always and never. Brahman can be incarnated in Brahma, in Vishnu, in Shiva. To put it another way, everything that is, owes its existence to Brahman. In this sense, Hinduism is ultimately monotheistic or m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vasu
The Vasus () refers to a group of deities in Hinduism associated with fire and light. They are described to be the attendant deities of Indra, and later Vishnu. Generally numbering eight and classified as the Ashtavasu, they are described in the Ramayana as the children of Kashyapa and Aditi, and in the Mahabharata as the sons of Manu or Dharma and a daughter of Daksha named Vasu. They are eight among the thirty-three gods featured in the Vedas. Etymology The Sanskrit term ''Vasu''(s) is translated as the "bright ones". List There are varying lists of the eight Vasus in different texts, sometimes only because particular deities have varying names. The following are names and meanings according to the Brihadaranyaka Upanishad, Manava Purana, and according to the Mahabharata, as normally equated: Though the ''Shatapatha Brahmana'' uses the '' Brhad-Aranyaka'' names, most later texts follow the ''Mahabharata'' names with the exception that Āpa 'water' usually appears in place ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
