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Jogiya (raga)
Jogiya, or Jogia, is a raga in Hindustani classical music. It is based on Bhairav Thaat. It is played at the 1st Prahar of the day, dawn time ( Brahma Muhurt). The name Jogiya came from Jogi, a colloquial version of the word yogi A yogi is a practitioner of Yoga, including a sannyasin or practitioner of meditation in Indian religions.A. K. Banerjea (2014), ''Philosophy of Gorakhnath with Goraksha-Vacana-Sangraha'', Motilal Banarsidass, , pp. xxiii, 297-299, 331 Th .... Nature It lacks Ga. Re-ma and Dha-ma are frequently rendered in Meend. Raga description Madhyam is powerful, a nyas Swar as well as a Vadi Swara. Jogiya has Rishabha and Dhaivata Komal like Raag Bhairav, however they are not oscillated here (Andolit). In Avroh, Shuddha Nishad is Alp and is always used as a Kan Swar of Komal Dhaivat like: S' (N)d P. Sometimes Komal Nishad is also used as a Kan Swar with Komal Dhaivat like: M P d (n)d M ; M r S to enhance the beauty of this Raag. r-M and d-M are render ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhairav (thaat)
Bhairav is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat. But there is no connection in the similarity between in the names of the thaat and the raga. Description Ragas of the Bhairav thaat make use of Komal Rishabh and Komal Dhaivat. Bhairava is one of the names of Shiva especially in his powerful form as a naked ascetic with matted locks and body smeared with ashes. The ragas too have some of these masculine and ascetic attributes in its form and compositions. The Bhairav raga itself is extremely vast and allows a huge number of note combinations and a great range of emotional qualities from valour to peace. There are many variations based on it including (but not restricted to) Ahir Bhairav, Alam Bhairav, Anand Bhairav, Bairagi Bhairav, Beehad Bhairav, Bhavmat Bhairav, Devata Bhairav, Gauri Bhairav, Nat Bhairav, Shivmat Bhairav. Ragas Ragas belonging to the Bhairav thaat include: * Basant Mukhar ... [...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] |
Hindustani Classical Music
Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya sangeet'' (). It is played in instruments like the violin, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. Hindustani classical music arose in the Ganga-Jamuni Tehzeeb, a period of great influence of Perso-Arabic arts in the subcontinent, especially the Northern parts. This music combines the Indian classical music tradition with Perso-Arab musical knowledge, resulting in a unique tradition of gharana system of music education. History Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.The central notion in both systems is that of a melodic musical mode or '' raga'', sung to a rhythmic cycle or '' tala''. It is melodic music, with no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brahma Muhurt
''Brahmamuhurta'' (Sanskrit-ब्रह्म मुहूर्त, ) is a period (''muhurta'') that begins one hour and 36 minutes before sunrise, and ends 48 minutes before sunrise. It is traditionally the penultimate phase or ''muhurta'' of the night, and is considered an auspicious time for all practices of yoga and most appropriate for meditation, worship or any other religious practice. Spiritual activities performed early in the morning are said to have a greater effect than in any other part of the day. ''Brahmamuhurtha'' is the 14th ''muhurtha kala'' of the night. One ''muhurtha'' is a period of 48 minutes, with a whole night consisting of 15 muhurthas. The time of sunrise varies each day, according to geographic location and time of year, and the time of the ''Brahmamuhurta'' varies with it. For example, if sunrise is at 6:00 am, the ''brahmamuhurta'' begins at 4:24 am and ends at 5:12 am. In yoga Ayurveda medicine states that there are three ''doshas'' found in the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yogi
A yogi is a practitioner of Yoga, including a sannyasin or practitioner of meditation in Indian religions.A. K. Banerjea (2014), ''Philosophy of Gorakhnath with Goraksha-Vacana-Sangraha'', Motilal Banarsidass, , pp. xxiii, 297-299, 331 The feminine form, sometimes used in English, is yogini. Yogi has since the 12th century CE also denoted members of the Nath siddha tradition of Hinduism, and in Hinduism, Buddhism and Jainism, a practitioner of tantra.Rita Gross (1993), ''Buddhism After Patriarchy'', SUNY Press, , pages 85–88 In Hindu mythology, the god Shiva and the goddess Parvati are depicted as an emblematic yogi–yogini pair. Etymology In Classical Sanskrit, the word ''yogi'' (Sanskrit: masc ', योगी; fem ') is derived from ''yogin'', which refers to a practitioner of yoga. ''Yogi'' is technically male, and ''yoginī'' is the term used for female practitioners. The two terms are still used with those meanings today, but the word ''yogi'' is also used ge ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kirtan
Kirtana ( sa, कीर्तन; ), also rendered as Kirtan, is a Sanskrit word that means "narrating, reciting, telling, describing" of an idea or story, specifically in Indian religions. It also refers to a genre of religious performance arts, connoting a musical form of narration or shared recitation, particularly of spiritual or religious ideas, native to the Indian subcontinent. With roots in the Vedic ''anukirtana'' tradition, a kirtan is a call-and-response style song or chant, set to music, wherein multiple singers recite or describe a legend, or express loving devotion to a deity, or discuss spiritual ideas. It may include dancing or direct expression of ''bhavas'' (emotive states) by the singer. Many kirtan performances are structured to engage the audience where they either repeat the chant,Sara Brown (2012), ''Every Word Is a Song, Every Step Is a Dance'', PhD Thesis, Florida State University (Advisor: Michael Bakan), pages 25-26, 87-88, 277 or reply to the call of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tala (music)
A tala ( IAST ''tāla'') literally means a 'clap, tapping one's hand on one's arm, a musical measure'. It is the term used in Indian classical music similar to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the Indian subcontinental traditions. Along with ''raga'' which forms the fabric of a melodic structure, the ''tala'' forms the life cycle and thereby constitutes one of the two foundational elements of Indian music. ''Tala'' is an ancient music concept traceable to Vedic era texts of Hinduism, such as the '' Samaveda'' and methods for singing the Vedic hymns. The music traditions of the North and South India, particularly the ''raga'' and ''tala'' systems, were not considered as distinct till about the 16th century. There on, during the tumultuous period of Islamic rul ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ragas In The Guru Granth Sahib
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] |
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