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Bhupali
Bhoopali, also known as ''Bhoop'', ''Bhopali,'' or ''Bhupali'', is a Hindustani classical raga. Bhupālī, is a raag in Kalyan Thaat. It is a pentatonic scale (uses 5 notes in ascending and descending scale). Most of the songs in this raga are based on Bhakti rasa. Since it uses 5 notes, belongs to the "Audav jaati" of ragas. The same raga in Carnatic music is known as Mohanam. Raga Bhoopali, Raga Yaman, and Raga Bhairav tend to be the three basic ragas of Hindustani music, learned first by its students. Theory Karhade (2011) explains that raga Bhopali consists of just 5 notes - सा रे ग प ध (sa, re, ga, pa and dha). It does not use Ma (also called Madhyam) and Ni (also called Nishadh). It is said that the absence of Ni (representative of physical pleasure) and Ma (representative of loving) means this raga is about non-attachment. The Introduction consists of two parts – ''Aaroh'' आरोह (where the notes are simply recited on an ascending scale) and A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Pentatonic Scale
A pentatonic scale is a musical scale with five notes per octave, in contrast to the heptatonic scale, which has seven notes per octave (such as the major scale and minor scale). Pentatonic scales were developed independently by many ancient civilizations and are still used in various musical styles to this day. There are two types of pentatonic scales: those with semitones (hemitonic) and those without (anhemitonic). Types Hemitonic and anhemitonic Musicology commonly classifies pentatonic scales as either ''hemitonic'' or ''anhemitonic''. Hemitonic scales contain one or more semitones and anhemitonic scales do not contain semitones. (For example, in Japanese music the anhemitonic ''yo'' scale is contrasted with the hemitonic ''in'' scale.) Hemitonic pentatonic scales are also called "ditonic scales", because the largest interval in them is the ditone (e.g., in the scale C–E–F–G–B–C, the interval found between C–E and G–B). (This should not be con ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhabhi Ki Chudiyan
Bhabhi Ki Chudiyan is a 1961 Hindi film, a family drama directed by Sadashiv J. Row Kavi with Meena Kumari and Balraj Sahni in the lead roles. It is a remake of 1953 Marathi film ''Vahinichya Bangdya'', which was also remade in Telugu as ''Vadina Gari Gaajulu'' (1956) and in Tamil as ''Mangaiyar Thilakam'' (1955). Plot Geeta (Meena Kumari) is married to Shyam (Balraj Sahni), but is unable to bear children. Orphaned as a youth, Mohan (Sailesh Kumar) is raised by his elder brother Shyam and his wife, Geeta, who offers the boy motherly love and devotion. Mohan marries Prabha (Seema Deo), Prabha is from a wealthy family and her life is ruled over by her dominating mom (Durga Khote). Mohan's youthful bride becomes jealous of his loyalty to his family. Misunderstandings arise to such an extent that Prabha moves out of her home, and back to her mom's. She gives birth to a baby, and not even her husband comes to visit her or to see the baby. But when the infant falls ill, Prabha must set ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kalyan (thaat)
Kalyan () is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga (more popularly known as Yaman) within this thaat. Description Kalyan thaat consists of an important group of evening ragas. Characterised by the teevra Madhyam, this thaat literally means good luck. Ragas of this thaat are considered to be a blessing-seeking and soothing. As a result, they are performed in the evening at the beginning of a concert. These ragas create a feeling of the unfolding of an evening. The Hindustani Classical Thaats are defined in their relation with the Bilawal Thaat, which has all shuddha(pure) notes. Ragas Ragas in Kalyan Thaat: Yaman, Bhupali, Hindol, Kedar, Shuddha Kalyan, Shyam Kalyan, Yaman Kalyan, Khem Kalyan, Savani Kalyan Chhayanat, Hameer, Gaud Sarang Gaud Sarang is a raga in Hindustani classical music that combines characteristics of Sarang and the now extinct raga named Gaud. Unlike most other members of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kalyan Thaat
Kalyan () is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga (more popularly known as Yaman) within this thaat. Description Kalyan thaat consists of an important group of evening ragas. Characterised by the teevra Madhyam, this thaat literally means good luck. Ragas of this thaat are considered to be a blessing-seeking and soothing. As a result, they are performed in the evening at the beginning of a concert. These ragas create a feeling of the unfolding of an evening. The Hindustani Classical Thaats are defined in their relation with the Bilawal Thaat, which has all shuddha(pure) notes. Ragas Ragas in Kalyan Thaat: Yaman, Bhupali, Hindol, Kedar, Shuddha Kalyan, Shyam Kalyan, Yaman Kalyan, Khem Kalyan, Savani Kalyan Chhayanat, Hameer, Gaud Sarang Gaud Sarang is a raga in Hindustani classical music that combines characteristics of Sarang and the now extinct raga named Gaud. Unlike most other members of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Amar Bhoopali
''Amar Bhoopali'' (English: ''The Immortal Song'', French: ''Le Chant Immortel'') is a 1951 Indian film, produced and directed by V. Shantaram and written by Vishram Bedekar. It is a true story about a simple cow herder who has an innate gift of poetry, set in the waning days of the Maratha confederacy, c. early 19th century. It is an ode to the saffron flag of Marathas, calling on people to rise again against the foreign enemy. It competed for the Grand Prize of the Festival at the 1952 Cannes Film Festival. Plot Honaji Bala, a simple cow herder, becomes a legendary bard who has an innate gift of poetry. The film is set in the last days of the Maratha confederacy of the early 19th Century. Cast In credits order translated from Marathi * Panditrao Nagarkar as Shahir Honaji Bala * Sandhya as Gunawati * Lalita Pawar as Vitabai * Bhalchandra Pendharkar as Bala Karanjikar * Vishwas as Subedar * Gulab as Suguna * Jairampant as Shastribua * Nimbalkar as Balakaka * Amina as Jamuna * ... [...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] |
Rasa (aesthetics)
In Indian aesthetics, a rasa ( sa, रस) literally means "nectar, essence or taste".Monier Monier-Williams (1899)Rasa Sanskrit English Dictionary with Etymology, Motilal Banarsidass (Originally Published: Oxford) It connotes a concept in Indian arts about the aesthetic flavour of any visual, literary or musical work that evokes an emotion or feeling in the reader or audience but cannot be described.Rasa: Indian Aesthetic Theory Encyclopedia Britannica (2013) It refers to the emotional flavors/essence crafted into the work by the writer and relished by a 'sensitive spectator' or ''sahṛdaya,'' literally one who "has heart", and can connect to the work with emotion, without dryness. Rasas are created by ''bhavas'': the state of mind. The ''rasa'' theory has a dedicated section (Chapter 6) in the |
Marathi Language
Marathi (; ''Marāṭhī'', ) is an Indo-Aryan languages, Indo-Aryan language predominantly spoken by Marathi people in the Indian state of Maharashtra. It is the official language of Maharashtra, and additional official language in the state of Goa. It is one of the 22 scheduled languages of India, with 83 million speakers as of 2011. Marathi ranks 11th in the List of languages by number of native speakers, list of languages with most native speakers in the world. Marathi has the List of languages by number of native speakers in India, third largest number of native speakers in India, after Hindi Language, Hindi and Bengali language, Bengali. The language has some of the oldest literature of all modern Indian languages. The major dialects of Marathi are Standard Marathi and the Varhadi dialect. Marathi distinguishes Clusivity, inclusive and exclusive forms of 'we' and possesses a three-way Grammatical gender, gender system, that features the neuter in addition to the masculine ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Amrapali
Āmrapālī, also known as "Ambapālika", "Ambapali", or "Amra" was a celebrated ''nagarvadhu'' (royal courtesan) of the republic of Vaishali (located in present-day Bihar) in ancient India around 500 BC. Following the Buddha's teachings, she became an arahant. She is mentioned in the old Pali texts and Buddhist traditions ( āgama sutras), particularly in conjunction with the Buddha staying at her mango grove, ''Ambapali vana'', which she later donated to his order and wherein he preached the famous ''Ambapalika Sutra''. The legend of Amrapali originated in the Buddhist Jataka Tales some 1500 years ago. Early life Amrapali was born around 600-500 BCE, to Mahanama & an unknown mother. Etymologically, the variants on her name derive from a combination of two Sanskrit words: ''amra'', meaning mango, and ''pallawa'', meaning young leaves or sprouts. It is said that she was spontaneously born at the foot of a mango tree in one of the royal gardens in Vaishali — hence her name. E ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bajirao Mastani
''Bajirao Mastani'' is a 2015 Indian Hindi-language epic historical romance film directed by Sanjay Leela Bhansali, who co-produced it with Eros International and composed its soundtrack. The film stars Ranveer Singh, Deepika Padukone and Priyanka Chopra with Tanvi Azmi, Vaibhav Tatwawaadi, Milind Soman, Mahesh Manjrekar and Aditya Pancholi in supporting roles. Based on Nagnath S. Inamdar's Marathi novel '' Rau'', ''Bajirao Mastani'' narrates the story of the Maratha ''Peshwa'' Bajirao I (1700–1740 AD) and his second wife, Mastani. Conceived as early as the 1990s, Bhansali announced the film in 2003 but production was delayed several times due to its changing cast. ''Bajirao Mastani'', a passion project for Bhansali, spent the next eleven twelve years in development hell before being revived in 2014. Extensive research was done before moving into pre-production, which required the creation of twenty-two highly detailed sets, and numerous costumes and props to strengthen its ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Silsila (1981 Film)
''Silsila'' () is a 1981 Indian Hindi-language romantic drama film co-written, directed, and produced by Yash Chopra. The story revolves around the love triangle of Amit (Amitabh Bachchan), a romantic playwright, Shobha (Jaya Bachchan), his wife, and Chandni (Rekha), his former partner. ''Silsila'' follows the incidents faced by Amit and Shobha in their forced marriage, which drifts them apart, and his encounter with Chandni that leads to an extramarital affair. The soundtrack was composed by Shiv–Hari, with lyrics from Javed Akhtar, Hasan Kamal, Meera Dev Burman, Nida Fazli, Rajendra Krishan, and Harivansh Rai Bachchan. ''Silsila'' attracted considerable attention from the media when it was in production due to its casting. Principal photography took place in Amsterdam, Bombay (now Mumbai), Delhi, and Kashmir from November 1980 and May 1981. The film, however, failed at the box office after premiered on 14 August 1981, grossing only . At the 29th Filmfare Awards, the film re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Love In Tokyo
''Love In Tokyo'' is a 1966 Indian Hindi-language romantic comedy film directed and produced by Pramod Chakravorty. The film was a hit at the box office. Plot A young man Ashok's (Joy Mukherjee) mother makes him go to Tokyo, Japan in search of his deceased elder brother's and his wife (also dead)'s son Ashok's nephew Chikoo. He is unhappy because he is in a loveless relationship with his fiancée Sarita. Chikoo is in an orphanage and taken in by Ashok, his uncle. Ashok tries to convince Chikoo to come back to India with him, but Chikoo refuses and runs away. Meanwhile, Mahesh (Mehmood) Ashok's friend is in love with Sheela (Shubha Khote) but her dad finds out and has goons (this is what the opening scene is) chase Mahesh, Sheela's father then takes her to Tokyo where Mahesh follows them and ends up at their shop "Indian Art Emporium", and pretends to dress up as a Sadhu Ascetic. He also falsely says to clear his sins that he needs to go to a river and he must say "i befriend mahes ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
