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Hamsanadam
Hamsanadam (pronounced hamsanādam) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a pentatonic scale (''audava'' rāgam, which means "of 5"), as it is sung in current days.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It is a derived scale (''janya'' rāgam), as it does not have all the seven ''swaras'' (musical notes), from the 60th ''Melakarta'' rāgam ''Neetimati''. Structure and Lakshana ''Hamsanadam'', as it is sung now-a-days, is a symmetric scale that does not contain ''gandharam'' and ''dhaivatam''. It is called an ''audava'' rāgam, in Carnatic music classification (as it has 5 notes in both ascending and descending scales). Its ''ārohaṇa-avarohaṇa'' structure is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * ārohaṇa : * avarohaṇa : This scale uses the notes ''shadjam, chatusruti rishabham, prati madhyamam, panchamam'' and ''kakali nishadam''. Ot ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hamsanadam
Hamsanadam (pronounced hamsanādam) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a pentatonic scale (''audava'' rāgam, which means "of 5"), as it is sung in current days.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It is a derived scale (''janya'' rāgam), as it does not have all the seven ''swaras'' (musical notes), from the 60th ''Melakarta'' rāgam ''Neetimati''. Structure and Lakshana ''Hamsanadam'', as it is sung now-a-days, is a symmetric scale that does not contain ''gandharam'' and ''dhaivatam''. It is called an ''audava'' rāgam, in Carnatic music classification (as it has 5 notes in both ascending and descending scales). Its ''ārohaṇa-avarohaṇa'' structure is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * ārohaṇa : * avarohaṇa : This scale uses the notes ''shadjam, chatusruti rishabham, prati madhyamam, panchamam'' and ''kakali nishadam''. Ot ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhupalam
Bhupalam (pronounced ''bhūpalam'') is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a pentatonic scale (''audava'' rāgam or ''owdava'' rāgam). It is a ''janya'' rāgam (derived scale), as it does not have all the seven ''swaras'' (musical notes). It is also written as Bhoopalam. It is considered an auspicious scale and a morning rāgam.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications In Tamil music, this scale is called ''Puranirmai pann'' and some ''thevarams'' are set to this scale. This rāgam is played in the night. It is also used for chanting slokas, folks songs, Kathakali music and other rituals. The equivalent scale in Hindustani music is Bhupal Todi.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana ''Bhupalam'' is a symmetric rāgam that does not contain ''madhyamam'' or ''nishādham''. It is a symmetric pentatonic scale (''audava-audava'' ragam in Carna ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gambhiranata
Gambhiranata is a rāga in Carnatic music (musical scale of South Indian classical music) and Yakshagana where it is called Naati. It is an ''audava'' rāgam (or ''owdava'' rāga, meaning pentatonic scale). It is a ''janya'' rāga (derived scale), as it does not have all the seven ''swaras'' (musical notes). ''Gambhiranata'' is also known as ''Shuddha Nata''.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana ''Gambhiranata'' is a symmetric rāga that does not contain ''rishabham'' or ''dhaivatam''. It is a pentatonic scale (''audava-audava'' ragam''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications in Carnatic music classification – ''audava'' meaning 'of 5'). Its ascending and descending scale structure (') is as follows: * : * : The notes used in this scale are ''shadjam, antara gandharam, shuddha madhyamam, panchamam'' and ''kakali nishadam'' (see ''swaras'' in Carnatic music for details on below ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Neetimati
Neetimati is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 60th ''melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Nishādham in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''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 It is the 6th rāgam in the 10th ''chakra Disi''. The mnemonic name is ''Disi-Sha''. The mnemonic phrase is ''sa ri gi mi pa dhu nu''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : (this scale uses the notes ''chathusruthi rishabham, sadharana gandharam, prati madhyamam, shatsruthi dhaivatham, kakali nishadham'') As it is a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
G N Balasubramaniam
Gudalur Narayanaswamy Balasubramaniam (6 January 1910 – 1 May 1965), popularly known as GNB, was an Indian Carnatic singer. He innovated the art through emphasis on ''laya ''control and reducing the ''gamakas'' which eventually made Carnatic music appeal to the lay and the learned alike. He was also a Tamil film actor.Ariyakudi Iyengar inspired him. Balasubramanian was born in Gudalur, a small village near Mayavaram in Tamil Nadu. He was the son of G V Narayanaswamy Iyer, who was a keen student of music. Throughout his younger years, he observed with utmost attention the techniques of the musicians of his day. Ariyakudi Ramanuja Iyengar became his manasika guru and inspiration. While his father dreamed of living in a villa at Luz Church road through GNB becoming a successful lawyer, the musician in GNB made way for greater goals in life. He completed his BA (Hons) in English Literature at the Christian College, Chennai, and took up a short music course at Annamalai University ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Graha Bhedam
''Graha Bhedam'' in Carnatic music is the process (or result of the process) of shifting the Tonic note (''śruti'') to another note in the rāgam and arriving at a different rāgam. Its equivalent in Hindustani classical music is called a ''murchhana''. Expressed in Western music theory terms, this is the process of arriving at a different scale by shifting to another mode in the key. ''Graha'' literally means ''position'' and ''Bhedam'' means ''change''. Since the position of the ''śruti'' is changed (pitch of the base note or drone), it is also sometimes called ''Swara Bhedam'' or ''Śruti Bhedam'' though ''Śruti Bhedam'' and ''Graha Bhedam'' have some technical differences. Definition Modal shift of the Tonic note to higher notes of a rāgam, while retaining the note's positions (swara sthānas – sthāna means position/ pitch), results in different rāgams. This is called ''Graha Bhedam''. Practical demo A simple practical demonstration of ''Graha Bhedam'' can be ... [...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] |
Karnan (1964 Film)
''Karnan'' () is a 1964 Indian Tamil-language Hindu mythological film produced and directed by B. R. Panthulu. It stars Sivaji Ganesan leading an ensemble cast consisting of N. T. Rama Rao, S. A. Ashokan, R. Muthuraman, Savitri, Devika and M. V. Rajamma. The film is based on the story of Karna, a character from the Hindu epic ''Mahabharata''. ''Karnan'', which was officially launched in 1963, was shot in palaces at Jaipur and the war sequences were filmed in Kurukshetra, which featured several soldiers from the Indian Army. The film's original soundtrack was composed by the duo Viswanathan–Ramamoorthy, while the lyrics were written by Kannadasan. The screenplay was written by A. S. Nagarajan and the dialogues by Sakthi T. K. Krishnasamy. The film was the first in Tamil to be colourised using Eastmancolor. ''Karnan'' was released on 14 January 1964, during the festival occasion of Pongal. The film ran for over 100 days in theatres, and later won the Certificate of Merit fo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viswanathan–Ramamoorthy
Viswanathan–Ramamoorthy were an Indian music composing duo composed of M. S. Viswanathan and T. K. Ramamoorthy. They worked together on over 100 films, from 1952's '' Panam'' to 1965's '' Aayirathil Oruvan''. After their split, Ramamoorthy worked on 16 films between 1966 and 1986. He and Viswanathan reunited in 1995 for ''Engirundho Vandhan''. Early lives Ramamoorthy Ramamoorthy, born into a well-known musical family in Trichy, was a capable violinist at an early age. His father (Krishnasamy Pillai) and grandfather, Malaikottai Govindasamy Pillai, were noted violinists in Trichy. As a child, Ramamoorthy performed several times with his father. During the early 1940s he worked for Saraswathi Stores (in which AVM Productions owner Avichi Meiyappa Chettiar was a partner), and played violin for AVM composer R. Sudharsanam in several films. Ramamoorthy became friendly with P. S. Diwakar, the pianist-composer of Malayalam cinema, and roomed with P. S. Diwakar. C. R. Subburaman ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sirithu Vazha Vendum
''Sirithu Vazha Vendum'' () is a 1974 Indian Tamil-language film, directed by S. S. Balan. The film stars M. G. Ramachandran, Latha and M. N. Nambiar. It is a remake of the 1973 Hindi film '' Zanjeer''. The film was released on 30 November 1974, and ran for over 100 days in theatres. Plot During his childhood, Ramu escapes from killing during the massacre of his parents. He grows up, haunted by the memory of this horrible night, drawing indefatigably a white horse, resulting from the chain bracelet of the mysterious killer. Later, he finds the murderer some years later on his policeman's way with the help of Usthad Abdul Rahman, an ex-owner of a cabaret, and settles the score with him. Cast *M. G. Ramachandran as Inspector Ramu and Usthad Abdul Rahman * Latha as Mala * M. N. Nambiar as Nakanraj *R. S. Manohar as Othai Kannu *Thengai Srinivasan as "Kedhy" Pakiri *L. Kanchana (also Junior Kanchana) as Nakanraj's mistress *V. S. Raghavan as De Selva * V. Gopalakrishnan as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nizhal Nijamagiradhu
''Nizhal Nijamagiradhu'' () is a 1978 Indian Tamil-language film, directed by K. Balachander, starring Kamal Haasan, Sarath Babu, Sumithra and Hanumanthu, and introduced Sobha. It was a remake of the Malayalam film ''Adimakal''. Plot Venkatachalam (Sarath Babu) and Indumathi (Sumithra) are siblings. Indumathi hates men and she is adamant that she will never get married. Sanjeevi (Kamal) is a friend of Venkatachalam and often visits his house. Sanjeevi likes Indumathi's attitude and starts teasing her many times, they often quarrel as well. Though Indumathi too starts liking him, she is too egotistical to show her romantic side to Sanjeevi as she doesn't want to remove her stubborn attitude "mask". Thilagam (Sobha) is a young girl from the village who comes to work as a servant in Venkatachalam's house. Her innocence draws Venkatachalam towards her and they get intimate. She becomes pregnant, but Venkatachalam refuses her. Thilagam is driven out of Venkatachalam's house a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vani Jairam
Vani Jairam (born as Kalaivani on 30 November 1945), also credited as Vani Jayaram, is an Indian singer. She is best known as a playback singer in South Indian cinema. Vani's career started in 1971 and has spanned over five decades. She has done playback for over one thousand Indian movies recording over 10,000 songs. In addition, she has recorded thousands of devotionals and private albums and also participated in numerous solo concerts in India and abroad. Renowned for her vocal range and easy adaptability to any difficult composition, Vani has often been the choice for several composers across India through the 1970s until the late 1990s. She has sung in several Indian languages, such as Kannada, Tamil, Hindi, Telugu, Malayalam, Marathi, Odia, Gujarati, Haryanvi, Assameese, and Bengali languages. Vani won the National Film Awards for Best Female Playback Singer three times and also has won State Government awards from the states of Odisha, Andhra Pradesh, Tamil Nadu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
