|
Garudadhvani
Garudadhvani or Garudadhwani is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāgam (derived scale) from the 29th ''melakarta'' scale ''Dheerasankarabharanam, Shankarabharanam''. It is a ''janya'' scale, as it does not have all the seven ''swaras'' (musical notes) in the descending scale. It is a combination of the ''sampurna raga'' scale ''Shankarabharanam'' and the pentatonic scale ''Mohanam''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana ''Garudadhvani'' is an asymmetric rāgam that does not contain ''madhyamam'' or ''nishādham'' in the descending scale. It is an ''sampurna-audava'' rāgam (or ''owdava'' rāgam, meaning pentatonic descending scale). Its ''ārohaṇa-avarohaṇa'' structure (ascending and descending scale) is as follows: *Arohana, ārohaṇa : *Avarohana, avarohaṇa : The note ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bilahari
Bilahari is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāgam (derived scale) from the 29th '' melakarta'' scale '' Sankarabharanam''. 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 ''Mohanam'' and the ''sampurna raga'' scale ''Sankarabharanam''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is a morning rāgam.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana ''Bilahari'' is an asymmetric rāgam that does not contain ''madhyamam'' or ''nishādham'' in the ascending scale. It is an ''audava-sampurna'' rāgam (or ''owdava'' rāgam, meaning pentatonic ascending scale). Its ' structure (ascending and descending scale) is as follows: * : they are used in every song * : The notes used in this scale are ''shadjam, chathusruthi rishabham, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lalgudi Jayaraman
Lalgudi Gopala Iyer Jayaraman (17 September 1930 – 22 April 2013) was an Indian Carnatic violinist, vocalist and composer. He is commonly grouped with M.S. Gopalakrishnan and T.N.Krishnan as part of the violin-trinity of Carnatic Music. He was awarded Padma Bhushan by the Government of India in 2001. His disciples included his two children Lalgudi G. J. R. Krishnan, Lalgudi Vijayalakshmi, his sister Lalgudi Srimathi Brahmanandamrenowned musician S P Ramh(grandson of Shri. G.N. Dandapani Iyer), musician P. Purnachander Rao, renowned Harikatha exponent Vishaka Hari, leading carnatic vocalist Saketharaman, Vittal Ramamurthy, Dr. N. Shashidhar, Film Music Composer Girishh G, Padma Shankar, Kanchan Chandran, Raghuram Hosahalli, Srinivasamurthy, Pakkala Ramdas, Sankari Krishnan, Yamini Ramesh, Mumbai Shilpa, Shreya Devnath, Krithika Natarajan, Salem Sisters, the leading Vainika Srikanth Chary and the Academy Award-nominated Bombay Jayashri Ramnath. Early life and backg ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mohanam
Mohanam is a rāga in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāga (or ''owdava'' rāga, meaning pentatonic scale). It is usually described as a ''janya'' rāga of Harikamboji (28th Melakartha Raga). However, alternate opinions suggest that ''Mechakalyani'' may be a more appropriate classification based on the lakshana of the raga. The equivalent of ''Mohanam'' in Hindustani music is '' Bhoop''''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications (or ''Bhopali''''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras). It is one of the most common pentatonic scales across the world and is very popular in East Asian and Southeast Asian music, including China and Japan. Structure and Lakshana ''Mohanam'' is a symmetric rāga that does not contain ''madhyamam'' and ''nishādham''. It is a symmetric pentatonic scale (''audava-audava'' raga in Carnatic music classification - ''audava'' meaning ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mohanam Scale
Mohanam is a 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 ... in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāga (or ''owdava'' rāga, meaning pentatonic scale). It is usually described as a ''janya'' rāga of Harikamboji (28th Melakartha Raga). However, alternate opinions suggest that ''Mechakalyani'' may be a more appropriate classification based on the lakshana of the raga. The equivalent of ''Mohanam'' in Hindustani music is ''Raga Bhopali, Bhoop''''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications (or ''Bhopali''''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras). It is one of the most common pentatonic scales across the world and is very popular in East Asian and Southeast Asi ... [...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] |
Adi Talam
Adi tala (Sanskrit: ''ādi tālà'' {{lang, sa, आदि ताळ, Kannada: ಆದಿ ತಾಳ, literally "primary rhythm" also spelled aadi taalam or adi talam) is the name of one of the most popular tala or rhythms used in Carnatic Music. Its full technical name according to the Carnatic Music's tala system is ''Chaturashra-naDe Chaturashra-jaati triputa taLa''. Structure This tala has eight akshara Aksara (also ''akshara'', Devanagari अक्षर, IAST ''akṣara'') is a Sanskrit term translating to "imperishable, indestructible, fixed, immutable" (i.e. from अ, '' a-'' "not" and क्षर्, ''kṣar-'' "melt away, perish"). It h ...s, each being 4 svaras long. Many kritis and around half of the varnams are set to this tala. Carnatic music Carnatic music terminology ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tillana
A Tillana or thillana is a rhythmic piece in Carnatic music that is generally performed at the end of a concert and widely used in classical indian dance performances. It was popularised by Dr. M Balamuralikrishna and some other musicians A Tillana uses tala-like phrases in the pallavi and anupallavi, and lyrics in the charanam. The ''thillana'' is based on the tarana which was introduced by Amir Khusrau Abu'l Hasan Yamīn ud-Dīn Khusrau (1253–1325 AD), better known as Amīr Khusrau was an Indo-Persian Sufi singer, musician, poet and scholar who lived under the Delhi Sultanate. He is an iconic figure in the cultural history of the Indian sub ... (1253-1325 CE). Popular Compositions * Kadanakuthuhalam Thillana composed by Dr.M. Balamuralikrishna (Ragam: Kadanakuthuhalam) * Kadanakuthuhalam Thillana composed by Lalgudi Jayaraman (Ragam: Kadanakuthuhalam) * Kalinga Narthana Thillana composed by Sri Oothukkadu Venkata Ravi (Ragam: Gambhira Natta) * Mohanakalyani Thillana c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Muthiah Bhagavatar
Harikesanallur Muthiah Bhagavatar (15 November 1877 – 30 June 1945), commonly known as Muthiah Bhagavatar, is one of Carnatic classical music's famous twentieth-century composers. He also created about 20 '' ragas''. Early life Muthiah was born on 15 November 1877, in Harikesanallur, a small village in the Tirunelveli district of Tamil Nadu in India, into an affluent Brahmin Tamil family. He was exposed to music from a very early age, as his father was a patron of musicians. He lost his father at the young age of six years, and his maternal uncle M. Lakshmana Suri took over the responsibility for his education, initiating Muthiah into Sanskrit and Vedic studies. However, the love of music that had been implanted in him led Muthiah to leave his hometown of Harikesanallur, Tamil Nadu when he was only ten years in search of a teacher. He found the gifted teacher Padinaindumandapa Sambasiva Iyer at Tiruvarur, who recognised Muthiah's talent for music. Sambasiva Iyer was the father ... [...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] |
Kriti (music)
''Kriti'' (Sanskrit: कृति, ''kṛti'') is a format of musical composition typical to Carnatic music. ''Kritis'' form the mental backbone of any typical Carnatic music concert and is the longer format of Carnatic song. "Kriti" also means Creation. Structure Conventional ''Kritis'' typically contain three parts #''Pallavi'', the equivalent of a refrain in Western music #'' Anupallavi'', the second verse, which is sometimes optional #''Charanam'', the final (and longest) verse that wraps up the song The ''charanam'' usually borrows patterns from the ''anupallavi''. The ''charanam's'' last line usually contains the composer's signature, or '' mudra'', with which the composer leaves their mark. Variations Some Kritis have a verse between the ''anupallavi'' and the ', called the '' ''. This verse consists only of notes, and has no words. Other ''krithis'', particularly some of Oottukkadu Venkata Kavi and Muthuswami Dikshitar's compositions, are intentionally composed without a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gamaka (music)
Gamaka (also spelled gamakam) refer to ornamentation that is used in the performance of North and South Indian classical music. Gamaka can be understood as embellishment done on a note or between two notes. Present-day Carnatic music uses at least fifteen different kinds of ornamentation. Gamaka is any graceful turn, curve or cornering touch given to a single note or a group of notes, which adds emphasis to each raga's individuality. ''Gamaka can be understood as any movement done on a note or in between two notes.'' The unique character of each raga is given by its gamakas, making their role essential rather than decorative in Indian music. Nearly all Indian musical treatises have a section dedicated to describing, listing and characterising gamakas. The term ''gamaka'' itself means "ornamented note" in Sanskrit. Gamakas involve the variation of pitch of a note, using oscillations or glides between notes. Each raga has specific rules on the types of gamakas that might be appli ... [...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] |
