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Bhairav (thaat)
Bhairav is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat. But there is no connection in the similarity between in the names of the thaat and the raga. Description Ragas of the Bhairav thaat make use of Komal Rishabh and Komal Dhaivat. Bhairava is one of the names of Shiva especially in his powerful form as a naked ascetic with matted locks and body smeared with ashes. The ragas too have some of these masculine and ascetic attributes in its form and compositions. The Bhairav raga itself is extremely vast and allows a huge number of note combinations and a great range of emotional qualities from valour to peace. There are many variations based on it including (but not restricted to) Ahir Bhairav, Alam Bhairav, Anand Bhairav, Bairagi Bhairav, Beehad Bhairav, Bhavmat Bhairav, Devata Bhairav, Gauri Bhairav, Nat Bhairav, Shivmat Bhairav. Ragas Ragas belonging to the Bhairav thaat include: * Basant Mukhar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thaat
A Thaat () is a "Parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term ''Melakartha raga'' of Carnatic Music. The concept of the ''thaat'' is not exactly equivalent to the western musical scale because the primary function of a ''thaat'' is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent ''thaat''; a raga said to 'belong' to a certain ''thaat'' need not allow all the notes of the ''thaat'', and might allow other notes. ''Thaats'' are generally accepted to be heptatonic by definition. The term ''thaat'' is also used to refer to the frets of stringed instruments like the sitar and the veena. It is also used to denote the posture adopted by a Kathak dancer at the beginning of their performance. History The modern ''thaat'' system was created by Vishnu Narayan Bhatkhande (1860–1936), an influential musicologist in the field o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Music
Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya sangeet'' (). It is played in instruments like the violin, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. Hindustani classical music arose in the Ganga-Jamuni Tehzeeb, a period of great influence of Perso-Arabic arts in the subcontinent, especially the Northern parts. This music combines the Indian classical music tradition with Perso-Arab musical knowledge, resulting in a unique tradition of gharana system of music education. History Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.The central notion in both systems is that of a melodic musical mode or '' raga'', sung to a rhythmic cycle or '' tala''. It is melodic music, with no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Subcontinent
The Indian subcontinent is a list of the physiographic regions of the world, physiographical region in United Nations geoscheme for Asia#Southern Asia, Southern Asia. It is situated on the Indian Plate, projecting southwards into the Indian Ocean from the Himalayas. Geopolitically, it includes the countries of Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan, and Sri Lanka."Indian subcontinent". ''Oxford Dictionary of English, New Oxford Dictionary of English'' () New York: Oxford University Press, 2001; p. 929: "the part of Asia south of the Himalayas which forms a peninsula extending into the Indian Ocean, between the Arabian Sea and the Bay of Bengal. Historically forming the whole territory of Greater India, the region is now divided into three countries named Bangladesh, India and Pakistan." The terms ''Indian subcontinent'' and ''South Asia'' are often used interchangeably to denote the region, although the geopolitical term of South Asia frequently includes Afghanist ... [...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] |
Bhairava
Bhairava (Sanskrit: भैरव ) or Kala Bhairava is a Shaivite and Vajrayāna deity worshiped by Hindus and Buddhists. In Shaivism, he is a powerful manifestation, or avatar, of Shiva associated with annihilation. In Trika system ''Bhairava'' represents Supreme Reality, synonymous to Para Brahman.Christopher WalliTantra Illuminated/ref> Generally in Hinduism, Bhairava is also called Dandapani (" e who holds theDanda in ishand"), as he holds a rod or Danda to punish sinners, and Svaśva, meaning "whose vehicle is a dog". In Vajrayana Buddhism, he is considered a fierce emanation of boddhisatva Mañjuśrī, and also called Heruka, Vajrabhairava, and Yamantaka. He is worshiped throughout India, Nepal and Sri Lanka as well as in Tibetan Buddhism. Etymology Bhairava originates from the word ''bhīru'', which means "fearsome". Bhairava means "terribly fearsome form". It is also known as one who destroys fear or one who is beyond fear. One interpretation is that he protects hi ... [...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] |
Bhairav (raga)
Bhairav is a Hindustani classical raga of Bhairav thaat. It is a sampurna raga that is traditionally performed in the morning and also as the beginning piece in concerts. It is the defining raga of its own Thaat. Raga Kalingda in Hindustani and Ragam Mayamalavagowla in Carnatic music have the same scale as Raga Bhairav, although the moods they create can be quite different due to the way they are expounded. According to Indian classical vocalist Pandit Jasraj, Bhairav is a "morning raga, and solemn peacefulness is its ideal mood." It is grave in mood and suggests seriousness, introversion and devotional attitude. History Bhairav raga is an ancient raga that is considered to be extremely old and originated many centuries ago. The origin of Bhairav raga is disputed. According to some musicians, Bhairav raga was the first raga that originated from the mouth of Lord Shiva. While some musicians argue that Bhairav raga originated from the mouth of Lord Surya. This is why it was ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ahir Bhairav
Ahir Bhairav is a Hindustani classical ''raga''. It is a mixture of Bhairav and the ancient, rare ''raga'' Ahiri or Abhiri,Bor 1999 or perhaps a mixture of Bhairav and Kafi. Important traditional Compositions Some of the most important traditional compositions in Raag Ahir Bhairav are: # Man Rangeele (Teental 32BPM Vilambit) # Shankara Mhaarare (180BPM Drut); popularised by Nagaraja Rao Havaldar # Mohe Chedo Na Giridhaari (170 BPM Drut); popularised by Parveen Sultana Theory Arohana and avarohana Arohana: Avarohana: Key: S, G, M, P, D: ''shuddha'' (natural); r, n : ''komal'' (flat); ''Pa'' and ''Sa'' are sometimes avoided in ascending Arohan. The descent can be direct, but is often expressed as S' N d P m, G m Gr ~ S with a slight oscillation on ''komal re'' to express the character of Bhairav. Vadi and samavadi Vadi: Samavadi: Pakad or Chalan S, r G M, G M r, ṇ Ḍ, ṇ r S , ''komal Ni, shuddha Dha, komal Ni, komal Re, Sa'' , is the most charact ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nat Bhairav
Nat Bhairav (or also written as Nut Bhairav) (Hindi: नट भैरव) is a Hindustani classical heptatonic ( Sampurna) raga of Bhairav Thaat. Traditionally it is a morning raga. It is one of the most important ragas of the Bhairav anga. Sarasangi in Carnatic music has the same scale as the Nat Bhairav in Hindustani music. Theory Writing about the musical theory of Hindustani music is fraught with complications. Firstly, there have been no set, formal methods of written notation. Secondly, Hindustani music is an aural tradition, and therefore writing is not an essential part of learning. However, Nat Bhairav is a morning raga. The raga reflects the mood of slight pathos with heroic exuberance. Arohana and Avarohana Arohana Sa, Re, Ga, Ma, Pa, , Ni, Sa' C, D, E, F, G, A♭, B, C' Avarohana Sa', Ni, , Pa, Ma, Ga, Re, Sa C', B, A♭, G, F, E, D, C Pakad or Chalan -Ni-Sa' Sa-Re-Sa Sa-Re-Ga-Ma--Pa, Ga-Ma-Re-Sa, Re-'Ni-'-Sa While the above is true, modern (20th century) tr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bibhas
Bibhas is a Hindustani classical raga. Theory Bibhas (sometimes also called 'Vibhas') is a pentatonic raga belonging to the Bhairav Thaat. This Raga is sung during daybreak. It is quite similar to Raga Deshkar as changing the Shuddha Dha and Shuddha Re of Deshkar converts it into Bibhas. The true nature of Bibhas has and flat. However, it is very rarely performed using the Shuddha Dha. In order to maintain the pure character of Bibhas, it is very important that Pa is not the last note during any alap or taan. The atmosphere created by this raga is serious, as it has Komal '' and ''. Arohana and avarohana Arohana: S r G P d S' Avarohana: S' d P G r S Thaat Bhairav Thaat Vadi and samavadi & Pakad or Chalan r* G r* G, P d* S', d* P G r* S. Organization and relationships Related ragas: Deshkar Behavior Behavior refers to practical aspects of the music. It is complicated to talk about this for Hindustani music since many of the concepts are fluid, changing, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ramkali
Raga Ramkali is an early morning raga in Hindustani classical music which belongs to Bhairav Thaat. In this raga, as in Bhairav, Rishabh and Dhaivat are Komal(flat), but the Teevra and the flat nishad are added. The vadi-samvadi are Pancham and Shadja. The aroha is S r G M P, G M d N S' and the avroha is S' N d P m P, d (N)d P, G M r S. Flat nishad (seventh degree) and sharp madhyama (fourth degree) are used often. Raga Ramkali also appears in Sikh tradition in North India and is a part of Sikh Scripture Sri Guru Granth Sahib Ji. Another form of this Raga present in Sri Guru Granth Sahib Ji isRaga Ramkali Dakhni. Theory Arohana and avarohana Arohana: Avarohana: Vadi : Pa Samavadi : Sa Pakad In Hindustani music, a ''pakad'' (Hindi: पकड़) is a generally accepted musical phrase (or set of phrases) thought to encapsulate the essence of a particular raga. The pakad contains the melodic theme of the raga, on listening to the paka .../ Chalan : Description ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gunkali
Gunakri is a raga in Hindustani classical music. Some consider it to be the same as the raga, Gunkali, while others consider the two to be distinct ragas. Gunakri is usually used in the khyal and dhrupad Dhrupad is a genre in Hindustani classical music from the Indian subcontinent. It is the oldest known style of major vocal styles associated with Hindustani classical music, Haveli Sangeet of Pushtimarg Sampraday and also related to the South Ind ... forms. Notes References Hindustani ragas {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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