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Hamsadhwani
Hamsadhvani (meaning "the cry of the swan"), is a rāga in Carnatic music (musical scale of Carnatic tradition of Indian classical music). It is an ''audava'' rāgam (or ''owdava'' rāga, meaning pentatonic scale). It is a ''janya'' rāga of the Melakartha raga, Sankarabharanam (29th) but according to Hamsadhvani's prayoga or the way it is sung it is said to be the janya of Kalyani (65th). ''Hamsadhvani'' is also extensively used in Hindustani music and said to be borrowed into it from Carnatic music.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It was created by the Carnatic composer Ramaswami Dikshitar (1735–1817), father of Muthuswami Dikshitar (one of the musical trinity of Carnatic music), and brought into Hindustani music by Aman Ali Khan of the Bhendibazaar gharana. It has become popular due to Amir Khan. Structure and lakshana ''Hamsadhvani'' does not contain ''madhyamam'' or ''dhaivatham''. It is a pentatonic scale (''audava-audava'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hamsadhwani
Hamsadhvani (meaning "the cry of the swan"), is a rāga in Carnatic music (musical scale of Carnatic tradition of Indian classical music). It is an ''audava'' rāgam (or ''owdava'' rāga, meaning pentatonic scale). It is a ''janya'' rāga of the Melakartha raga, Sankarabharanam (29th) but according to Hamsadhvani's prayoga or the way it is sung it is said to be the janya of Kalyani (65th). ''Hamsadhvani'' is also extensively used in Hindustani music and said to be borrowed into it from Carnatic music.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It was created by the Carnatic composer Ramaswami Dikshitar (1735–1817), father of Muthuswami Dikshitar (one of the musical trinity of Carnatic music), and brought into Hindustani music by Aman Ali Khan of the Bhendibazaar gharana. It has become popular due to Amir Khan. Structure and lakshana ''Hamsadhvani'' does not contain ''madhyamam'' or ''dhaivatham''. It is a pentatonic scale (''audava-audava'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hamsadhwani Scale
Hamsadhvani (meaning "the cry of the swan"), is a rāga in Carnatic music (musical scale of Carnatic tradition of Indian classical music). It is an ''audava'' rāgam (or ''owdava'' rāga, meaning pentatonic scale). It is a ''janya'' rāga of the Melakartha raga, Sankarabharanam (29th) but according to Hamsadhvani's prayoga or the way it is sung it is said to be the janya of Kalyani (65th). ''Hamsadhvani'' is also extensively used in Hindustani music and said to be borrowed into it from Carnatic music.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It was created by the Carnatic composer Ramaswami Dikshitar (1735–1817), father of Muthuswami Dikshitar (one of the musical trinity of Carnatic music), and brought into Hindustani music by Aman Ali Khan of the Bhendibazaar gharana. It has become popular due to Amir Khan. Structure and lakshana ''Hamsadhvani'' does not contain ''madhyamam'' or ''dhaivatham''. It is a pentatonic scale (''audava-audava'' ... [...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] |
Vatapi Ganapatim
"Vatapi Ganapatim", also known as "Vatapi ganapatim bhajeham" or "Vatapi ganapatim bhaje", is a Sanskrit ''kriti'' song by the South Indian poet-composer Muthuswami Dikshitar (1775–1835), one of the "Trinity of Carnatic music". The panegyrical hymn praises Vatapi Ganapati, Ganesha (Ganapati) worshipped in a shrine in Tiruchenkattankudi Utrapatishwaraswamy Temple dedicated to lord Shiva in Thiruvarur district in the Tamil Nadu state of India. The hymn is composed in Hamsadhvani raga (musical mode); however, in tradition of kritis, individual performers add their own variations in the tune as a part of improvisation. ''Vatapi Ganapatim'' is considered the best-known piece of Muthuswami Dikshitar and is one of the most popular compositions of Carnatic music (South Indian classical music school). The hymn is traditionally sung at the beginning of many Carnatic music concerts. Background: Vatapi Ganapati "Vatapi Ganapatim" is a part of the series of hymns called ''Shodasha G ... [...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] |
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] |
Swathi Thirunal Rama Varma
( 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] |
Vyasatirtha
Vyāsatīrtha (. 1460 – 1539), also called ''Vyasaraja'' or ''Chandrikacharya'', was a Hindu philosopher, scholar, polemicist, commentator and poet belonging to the Madhwacharya's Dvaita order of Vedanta. As the patron saint of the Vijayanagara Empire, Vyasatirtha was at the forefront of a golden age in Dvaita which saw new developments in dialectical thought, growth of the Haridasa literature under bards like Purandara Dasa and Kanaka Dasa and an amplified spread of Dvaita across the subcontinent. Three of his polemically themed doxographical works ''Nyayamruta'', ''Tatparya Chandrika'' and ''Tarka Tandava'' (collectively called ''Vyasa Traya'') documented and critiqued an encyclopaedic range of sub-philosophies in Advaita, Visistadvaita, Mahayana Buddhism, Mimamsa and Nyaya, revealing internal contradictions and fallacies. His ''Nyayamruta'' caused a significant stir in the Advaita community across the country requiring a rebuttal by Madhusudhana Saraswati through hi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Varnam
Varṇam is a type of composition in the Carnatic music system consisting of short metric pieces which encapsulate the main features (patterns of notes) of a ''raga''. Varnams capture the ''raga bhavam'', ''ranjaka prayogas'' ''visesha sancharas'', etc. ''Dhatu'' and ''janta prayogas'' (phrase usage) are usually part of a varnam. Understanding of these aspects is key to developing ''manodharma sangeetham'' (i.e., improvisation aspects of Carnatic music such as ''raga aalapana'', ''swara kalpana'', ''neraval'', etc.). Known for their complex structure, varnams are a fundamental form in Carnatic music. All varnams consist of lyrics, Bradnock (1992), p631 as well as ''swara'' passages, including a ''pallavi'', an '' anupallavi'', ''muktaayi swaras'', a ''charanam'', and '' chitta swaras''. There are different types of varnams, such as ''taana varnam'', ''pada varnam'', ''daru varnam'' and ''ragamalika varnam''. They also come in different ''taalams'' (beat cycles). Though the mo ... [...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] |
