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Keeravani
Keeravani (pronounced ) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 21st ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. The 21st ''melakarta'' rāgam as per Muthuswami Dikshitar school of music is . This rāgam is a popular scale in western music as well. The Western equivalent is the Harmonic minor scale.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It is said to be borrowed into Hindustani music from Carnatic music. Structure and Lakshana It is the 3rd rāgam in the 4th ''chakra Veda''. The mnemonic name is ''Veda-Go''. The mnemonic phrase is ''sa ri gi ma pa dha nu''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music'' for details on below notation and terms): * : * : The notes used in this scale are ''chathusruthi rishabha, sadharana gandhara, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Keeravani Scale
Keeravani (pronounced ) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 21st ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. The 21st ''melakarta'' rāgam as per Muthuswami Dikshitar school of music is . This rāgam is a popular scale in western music as well. The Western equivalent is the Harmonic minor scale.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It is said to be borrowed into Hindustani music from Carnatic music. Structure and Lakshana It is the 3rd rāgam in the 4th ''chakra Veda''. The mnemonic name is ''Veda-Go''. The mnemonic phrase is ''sa ri gi ma pa dha nu''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music'' for details on below notation and terms): * : * : The notes used in this scale are ''chathusruthi rishabha, sadharana gandhara, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kalyanavasantam
Kalyanavasantam (also written as kalyanavasantham) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāgam (derived scale) from the 21st ''melakarta'' scale ''Keeravani''. 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 ''Chandrakauns'' of Hindusthani music and the ''sampurna raga'' scale ''Keeravani''.''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 ''Kalyanavasantam'' is an asymmetric rāgam that does not contain ''rishabham'' or ''panchamam'' 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: * : * : The notes used in this scale are ''shadjam, sadharana gandhar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmonic Minor Scale
In music theory, the minor scale is three scale patterns – the natural minor scale (or Aeolian mode), the harmonic minor scale, and the melodic minor scale (ascending or descending) – rather than just two as with the major scale, which also has a harmonic form but lacks a melodic form. In each of these scales, the first, third, and fifth scale degrees form a minor triad (rather than a major triad, as in a major scale). In some contexts, ''minor scale'' is used to refer to any heptatonic scale with this property (see Related modes below). Natural minor scale Relationship to relative major A natural minor scale (or Aeolian mode) is a diatonic scale that is built by starting on the sixth degree of its relative major scale. For instance, the A natural minor scale can be built by starting on the 6th degree of the C major scale: : Because of this, the key of A minor is called the ''relative minor'' of C major. Every major key has a relative minor, which start ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oottukkadu Venkata Kavi
Oothukkaadu Venkata Kavi (-1765) or Oottukkaadu Venkata Subbaiar was one of the pioneering composers in Indian classical Carnatic music. He lived in South India in the present-day state of Tamil Nadu. Also known by the name Oothukkaadu Venkatasubramaniya Iyer, he composed hundreds of compositions in Sanskrit and Tamil of which over 500 are available. These were handed down from generation to generation by the descendants of the composer's brother's family. Venkata Kavi's compositions reveal that he was a complete master of the science and art of music in all senses of the term – melody, rhythm, and lyrics. He was fluent in Sanskrit and Tamil. Renowned for his rare depth, scholarship and sublime appeal, he was proficient in a variety of musical forms such as the ''kriti'', ''tillana'' and ''kaavadicchindu''. He used ''Taalas'' and themes that many other Carnatic composers have not handled. His compositions are a blend of a high degree of scholarship on a variety of subject ... [...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] |
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] |
Simhendramadhyamam
Simhendramadhyamam is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 57th ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Sumadyuti in Muthuswami Dikshitar school of Carnatic music.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It is said to be borrowed into Hindustani music from Carnatic music. Structure and Lakshana It is the 3rd rāgam in the 10th ''chakra Disi''. The mnemonic name is ''Disi-Go''. The mnemonic phrase is ''sa ri gi mi pa dha ni''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : It is also equivalent to Hungarian Minor Scale that is also called as Gypsy Minor Scale in Western Music. This musical scale uses the notes ''chatushruti rishabham, sadharana gandharam, prati madhyama ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gopalakrishna Bharathi
Gopalakrishna Bharathi ( ta, கோபாலகிருஷ்ண பாரதி) (1810–1896) was a Tamil poet and a composer of Carnatic music. He composed the K''athakalakshepam'' ( ta, கதாகாலக்ஷேபம் ) Nandanar Charitram, two other works in this genre, and many independent ''kritis''. Bharathi was a contemporary of Thyagaraja whom he is said to have met, and who asked him whether he had composed anything in the ''raga AbhOgi''; Bharathi composed overnight one of his most popular ''kriti''s in ''rUpaka tALa'', ''Sabhaapatikku vERu''. The great Tamil literary figure, U. V. Swaminatha Iyer wrote two sources for Bhaarati's life: a biography of the composer and his own autobiography, which contains references to Bharathi, who was his ''guru'' in music. Early life Gopalakrishna Bharathi was born at Narimanam, near Nagapattinam. He spent his early days in Mudikondan, near Thiruvarur. A few years later he moved to Anandathandavapuram village, near Mayavar ... [...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] |
Then Nilavu
''Thennilavu'' (; ) is a 1961 Indian Tamil-language romantic comedy film written, produced and directed by C. V. Sridhar. The film stars Gemini Ganesan and Vyjayanthimala, with K. A. Thangavelu, M. N. Nambiar, M. Saroja and Vasanthi in supporting roles. The film's plot is about a man who, due to mistaken identity, is appointed as a manager by a young woman for her father's honeymoon in Kashmir. The man and the woman fall in love but things go awry when the real manager arrives in Kashmir. ''Thennilavu'' is the first film Sridhar produced through his production company Chitralaya Pictures; it is also the first South Indian film to be made in Jammu and Kashmir; additional filming took place in Madras (now Chennai) and Kodaikanal. Principal photography took about two months to complete. A. M. Rajah composed the soundtrack and Kannadasan wrote the lyrics. Cinematography was handled by A. Vincent, art direction by Ganga and editing by T. R. Srinivasulu. The film was released on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melakarta
Mēḷakartā is a collection of fundamental musical scales ( ragas) in Carnatic music (South Indian classical music). ''Mēḷakartā'' ragas are parent ragas (hence known as ''janaka'' ragas) from which other ragas may be generated. A ''melakarta'' raga is sometimes referred as ''mela'', ''karta'' or ''sampurna'' as well, though the latter term is inaccurate, as a ''sampurna'' raga need not be a ''melakarta'' (take the raga ''Bhairavi,'' for example). In Hindustani music the ''thaat'' is equivalent of ''Melakartā''. There are 10 ''thaats'' in Hindustani music, though the commonly accepted ''melakarta'' scheme has 72 ragas. Rules for ''Mēḷakarta'' ragas Ragas must contain the following characteristics to be considered ''Melakarta''. *They are ''sampurna ragas'' – they contain all seven ''swaras'' (notes) of the octave in both ascending and descending scale''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''A practical course in Carnatic musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melakarta
Mēḷakartā is a collection of fundamental musical scales ( ragas) in Carnatic music (South Indian classical music). ''Mēḷakartā'' ragas are parent ragas (hence known as ''janaka'' ragas) from which other ragas may be generated. A ''melakarta'' raga is sometimes referred as ''mela'', ''karta'' or ''sampurna'' as well, though the latter term is inaccurate, as a ''sampurna'' raga need not be a ''melakarta'' (take the raga ''Bhairavi,'' for example). In Hindustani music the ''thaat'' is equivalent of ''Melakartā''. There are 10 ''thaats'' in Hindustani music, though the commonly accepted ''melakarta'' scheme has 72 ragas. Rules for ''Mēḷakarta'' ragas Ragas must contain the following characteristics to be considered ''Melakarta''. *They are ''sampurna ragas'' – they contain all seven ''swaras'' (notes) of the octave in both ascending and descending scale''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''A practical course in Carnatic musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
