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Dhanyasi (music)
Dhanyasi is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a '' janya'' rāgam (derived scale) from the 8th ''melakarta'' scale '' Hanumatodi''. It is a ''janya'' scale, as it does not have all the seven '' swaras'' (musical notes) in the ascending scale. It is a combination of the pentatonic scale ''Shuddha Dhanyasi'' and the '' sampurna raga'' scale ''Hanumatodi''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications This is the common and popular scale and is used for portraying the '' bhakthi rasa''. According to the Muthuswami Dikshitar school, there exists a scale with same name, ''Dhanyasi'', which is derived from ''Natabhairavi melakarta'' scale, instead of ''Hanumatodi'' scale.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras This scale is less popular and has far less compositions set to it. Structure and Lakshana ''Dhanyasi'' is an asymmetric rāgam that does not contain ''rishab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rāga
A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a 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 and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman, which have great scope for improvisation and for which performances can last over an hour. ''Rāga''s may ... [...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] |
Shyama Sastri
Shyama Shastri (; 26 April 1762 – 1827) or Syama Sastri was a musician and composer of Carnatic music. He was the oldest among the Trinity of Carnatic music, Tyagaraja and Muthuswami Dikshitar being the other two. Early life and career Shyama Shastri, whose birth name was Venkata Subrahmanya, was born on 26 April 1762 in a Telugu Brahmin family. He was also known as one of the trinity of carnatic music. To later generations, he is better known by his adopted name Shyama Shastri or by his musical mudra (signature) Shyama Krishna. He was born in Tiruvarur, in what is now the state of Tamil Nadu. He received his instruction in the vedas, astrology, and other traditional subjects early on and learned music from his maternal uncle. He was later trained in music by Adiappayya, a noted durbar musician of Thanjavur. Although Śyāma Śastri did not compose as many '' kritis'' as his two prolific contemporaries, his compositions are still well known due to the literary, melodi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Muthuswamy Dikshitar
Muthuswami Dikshitar (Mudduswamy Dikshitar)(, 24 March 1776 – 21 October 1835), mononymously Dikshitar, was a South Indian poet, singer and veena player, and a legendary composer of Indian classical music, who is considered one of the musical trinity of Carnatic music. Muthuswami Dikshitar was born on 24 March 1775 in Tiruvarur near Thanjavur, in what is now the state of Tamil Nadu in India, to a family that is traditionally traced back to Virinichipuram in the northern boundaries of the state. His compositions, of which around 500 are commonly known, are noted for their elaborate and poetic descriptions of Hindu gods and temples and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas. They are typically in a slower speed (chowka kala). He is also known by his signature name of Guruguha which is also his mudra (and can be found in each of his songs). His compositions are widely sung and played in classical concerts of Carnatic mu ... [...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] |
Purandara Dasa
Purandara Dasa (IAST: Purandara dāsa) ( 1470 – 1565) was a Haridasa philosopher and a follower of Madhwacharya 's Dwaitha philosophy -saint from present-day Karnataka, India. He was a composer, singer and one of the chief founding-proponents of Carnatic music (Karnataka classical music). In honor of his significant contributions to Carnatic music, he is widely referred to as the ''Pitamaha'' (''lit''. "father" or "grandfather") of Carnatic music. According to a legend, he is considered as an incarnation of Saint Narada. Purandara Dasa was a wealthy merchant of gold, silver and other miscellaneous jewellery from Karnataka, who gave away all his material riches to become a Haridasa (literally meaning a servant of Lord Hari or Lord Krishna), a devotional singer who made the difficult Sanskrit tenets of Bhagavata Purana available to everyone in simple and melodious songs. He was one of the most important music scholars of medieval India. He formulated the basic lessons of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhadrachala Ramadas
Kancharla Gopanna ( te, కంచర్ల గోపన్న) ( – 1688), popularly known as Bhakta Ramadasu or Bhadrachala Ramadasu ( te, భద్రాచల రామదాసు), was a 17th-century devotee of the Hindu god Rama, a saint-poet and a composer of Carnatic music. He is a famous ''Vaggeyakara'' (classical composer) from the Telugu classical era. He was born in the village of Nelakondapalli in Khammam district, and orphaned as a teenager. He spent his later years in Bhadrachalam and 12 years in solitary confinement at the Golconda prison during the Qutb Shahi-rule. Different mythical stories about his life circulate in the Telugu tradition. He is renowned for constructing the famous Sita Ramachandraswamy Temple and pilgrimage center on the banks of river Godavari at Bhadrachalam. His devotional ''kirtana'' lyrics to Rama illustrate the classical Pallavi, Anupallavi and Caranam genre composed mostly in Telugu, some in Sanskrit and with occasional use of Tamil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arunachala Kavi
Arunachala Kavi ( ta, அருணாசல கவி) (1711–1779) was a Tamil poet and a composer of Carnatic music. He was born in Tillaiyadi in Thanjavur District in Tamil Nadu. The three Tamil composers Arunachala Kavi, Muthu Thandavar and Marimutthu Pillai are considered the Tamil Trinity, Carnatica.net who contributed to the evolution of Carnatic music. Life His father died when he was 12, and during that time he went to to continue his studies in Sanskrit and Tamil. The head of Mutt was so pleased with him he even considered making Arunchala his successor. At 18, he left Mutt and continued his studies in Tamil for another 12 years. He got married at the age of 30 in a plac ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swati Tirunal
( ml, സ്വാതി തിരുനാള് രാമവർമ്മ) (16 April 1813 – 26 December 1846) was the Maharaja of the Kingdom of Travancore. He is also considered as a brilliant music composer and is credited with over 400 classical compositions in both Carnatic and Hindustani style.http://print.achuth.googlepages.com/SwathiThirunalandSciencev3.0.pdf A well-formulated code of laws, courts of justice, introduction of English education, construction of an observatory, installation of the first Government printing press, establishment of the first manuscripts library were amongst the many initiatives taken by Svāti Tirunāḷ, as a King, to modernise Travancore. Early life Svāti Tirunāḷ was born into the Venad dynasty of the Matrilineal royal family of Travancore, which is now a part of Kerala, on 16 April 1813. He was the second child of Queen Gowri Lakshmi Bayi who ruled Travancore from 1811 to 1815, and Raja Raja Varma Koil Thampuran of C ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tyagaraja
Thyagaraja (Telugu: త్యాగరాజ) (4 May 1767 – 6 January 1847), also known as Thyāgayya and in full as Kakarla Thyagabrahmam, was a composer and vocalist of Carnatic music, a form of Indian classical music. Tyagaraja and his contemporaries, Shyama Shastri and Muthuswami Dikshitar, are regarded as the Trinity of Carnatic music. Thyagaraja composed thousands of devotional compositions, most in Telugu and in praise of Lord Rama, many of which remain popular today, the most popular being "Nagumomu". Of special mention are five of his compositions called the ''Pancharatna Kritis'' ( "five gems"), which are often sung in programs in his honour, and ''Utsava Sampradaya Krithis'' ( Festive ritual compositions), which are often sung to accompany temple rituals. Tyagaraja lived through the reigns of four kings of the Maratha dynasty — Tulaja II (1763–1787), Amarasimha (1787–1798), Serfoji II (1798–1832) and Sivaji II (1832–1855), although he served none of ... [...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] |
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] |
