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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] |
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] |
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] |
Jagte Raho
''Jagte Raho'' () is a 1956 Bollywood/ Bengali film, directed by Amit Maitra and Sombhu Mitra, written by Khwaja Ahmad Abbas, and produced by and starring Raj Kapoor. The film centers on the trials of a poor villager (Kapoor) who comes to a city in search of a better life. However, the naive man soon becomes trapped in a web of middle-class greed and corruption. The film also features a cameo by Nargis in the final scene. It was produced in Bengali as ''Ek Din Raatre'', starring Raj Kapoor, Chhabi Biswas, Pahari Sanyal, Nargis Dutt and Daisy Irani. The film won the Crystal Globe Grand Prix at the Karlovy Vary International Film Festival in Czechoslovakia in 1957. Plot summary A poor peasant (Kapoor) from the village, who comes to the city in search of work, is looking for some water to quench his thirst. He enters an apartment complex, whose residents take him for a thief and chase him. He runs from one flat to the other trying to escape his predicament. Along the way, he w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baiju Bawra
Baiju Bawra (Lit. "Baiju the Insane", born as Baijnath Mishra) was a dhrupad musician from medieval India. Nearly all the information on Baiju Bawra comes from legends, and lacks historical authenticity. According to the most popular legends, he lived in the Mughal period during the 16th and 17th centuries. He was one of the court musicians of Man Singh Tomar of Gwalher (now Gwalior). Chanderi–Gwalior legend According to a story, mentioned by Susheela Misra in ''Some immortals of Hindustani music'', Baiju Bawra was born as Baijnath Mishra in a poor Brahmin family in Champaner, Gujarat Sultanate. After his father's death, his mother, a devotee of Krishna, went to Vrindavan. There, Baiju met his teacher Swami Haridas, and was trained in a gurukula. He also adopted an orphan named Gopal, and trained him to be a musician. Gradually, Baiju became famous, and was invited to the court of the Raja of Chanderi. In Chanderi, Baiju's adopted son Gopal also became famous. Gopal married ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sansar (1951 Film)
''Samsaram'' () is a 1951 Indian Tamil-language drama film directed by Chandru and produced by S. S. Vasan. A remake of the 1950 Telugu film of the same name, it stars M. K. Radha, Pushpavalli, Kumari Vanaja, Sriram, M. S. Sundari Bai, T. R. Ramachandran, D. Balasubramaniam, R. Balasubramaniam, K. N. Kamalam, and Kamalaveni Ammal. The film was simultaneously filmed in Hindi as ''Sansar'', which Vasan directed. Plot A struggling clerk lives with his wife and two children. Their blissful life is threatened with the arrival of his scheming mother and sister. A short time later, the clerk disappears, abandoning his family, and his brother comes to their rescue. Exploiting the fragile situation, mischief makers suggest an immoral relationship between the clerk's brother and wife. Frustrated, the clerk's wife sends her two children to beg on the streets. Several years later, the elder of the two children, now working in a mill, meets a bearded beggar who, unknown to him, is ac ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mohini Bhairav
Mohini (Sanskrit: मोहिनी, ') is the Hindu goddess of enchantment. She is the only female avatar of the Hindu god Vishnu. She is portrayed as a ''femme fatale'', an enchantress, who maddens lovers and demons, sometimes leading them to their doom. Mohini is introduced into Hinduism in the narrative epic of the ''Mahabharata''. Here, she appears as a form of Vishnu following the Churning of the Ocean, a mesmerising beauty who distributes the amrita (the elixir of immortality) to the weakened devas (gods) and depriving it to the dominant asuras (demons), allowing the former to defeat the latter with their newfound immortality. Many different legends tell of her various exploits and marriages, including her union with the god Shiva. These tales relate, among other things, the birth of the god Shasta and the destruction of Bhasmasura, the ash-demon. Mohini's main ''modus operandi'' is to trick or beguile those she encounters. She is worshipped throughout Indian culture, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bairagi Bhairav
Bairagi jaat in Haryana Bairagi is a Hindu caste. They are also called by different names that are Swami, Bairagi, Mahant, Vaishnav, Vairagi, Ramanandi, Shami, Vaishnav , Pujari. They are Vaishnav, and wear the sacred thread. Bairagi caste is one from the high castes of Bengal – Brahmin, Rajput, Chatri, Grahacarya , Vaidya. Miller places them as a high caste group between Brahmins, and the Rajputs and Jats. Miller Says that Bairagis from the varna. Senugupta describes them as a High caste group. William Pinch believes that the Bairagi branch of Vaishnavas is the result of the Galta conference of 17th Century. According to Mayer, the Bairagis were one of a few sectarian castes which accepted admissions from higher castes. He states that they Bairagis had a worldly and celibate branches of the caste. He states they were considered of equal status with Brahmins, Rajputs, and Jat. Dynasties Nandgaon The first ruler Mahant Ghasi Das of Nandgaon State, was recognized as a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chalan (music)
In Hindustani music, a Chalan is an extensive series of note patterns which summarises the development of a particular raga. It discloses the basic grammar of the raga and provides a treatment and melodic context of each tone. Chalan is the movement of a raga or development of a raga while performing Alap. It may also refer to a Pakad of a raga. (Note: Chalan is mostly similar to the Pakad of a raga) For example, the Chalan of the Kedar (raga) is () , Beneath are some Chalans of different ragas for better understanding: * Bridabani Sarang - Ni Sa Re Ma Re Pa Ma Re Ni Sa * Sohni - Sa Ni Dha, Ga Ma# Dha Ga Ma# Ga * Ahir Bhairav - S r G M G M r ṇ Ḍ ṇ r S See also * 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 ... References Hindustani music theory Hindustani ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 pakad a person who knows the raga is usually able to identify it. In many cases, the ragas contain the same swaras (notes), then the pakad also contains information about gayaki or chalan (the way the notes are to be ordered and played/sung). Usually, the pakad is formed from short convolutions of the arohana and avarohana, while in some cases it is quite different from them. The pakad for a particular raga need not be unique, its sole purpose is to clarify what raga it is. For example, here is a pakad for raga Yaman, a prominent raga from 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 s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samavadi
The Samavadi is the second-most prominent (though not necessarily second-most played) note of a raga in Indian classical music. The primary note of the raga is the '' vadi''; the vadi and samvadi are in most cases a fourth or fifth apart. A ''samavadi'' is a note of special significance. It is like the ministry to the monarch. A performer will typically try to emphasize the ''samvadi'' along with the vadi when improvising on a certain raga. The ''vadi'' and ''samvadi'' can be crucial in defining the raga at hand, and in some cases two ragas with the same arohana and avrohana 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 pitc ... can be distinguished only by the prominence of their sonant and consonant notes. References {{reflist Hindustani music terminology Carnatic music termino ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vadi (music)
Vadi, in both Hindustani classical music and Carnatic music, is the tonic (root) swara (musical note) of a given raga (musical scale). "Vadi is the most sonant or most important note of a Raga."Nad Understanding Raga Music, Bagchee, Sandeep It does not refer to the most played note but it rather refers to a note of special significance. It is usually the swara which is repeated the greatest number of times, and often it is the swara on which the singer can pause for a significant time. Vadi swara in a raga is like a king in a kingdom. The specialty of any raaga depends on vadi swara and because of this, the vadi swara is also called the ''Jeeva swara'' or the ''Ansha swara''. A good artist uses vadi swara in different ways like singing vaadi swara again and again, starting a raga with vadi swara, to end a raaga with vadi swara, singing vadi swara many times in important places with different swaras or sometime singing vadi swara for a longer time in one breath. ''Vadi'' swara is al ... [...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] |
