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Miyan Ki Todi
Miyan ki Todi, often simply referred to as Todi or Darbari Todi (), is a Hindustani classical raga which gave its name to the Todi thaat, one of the ten types of classical music according to the musicologist Bhatkhande. Ragas from the Todi raganga (class of ragas) include Todi (a.k.a. Miyan ki Todi) itself, Bilaskhani Todi, Gujari Todi (also called Gurjari Todi), Desi Todi, Hussaini Todi, Asavari Todi (more commonly known as Komal Rishabh Asavari), and Bahaduri Todi. The equivalent raga in Carnatic music is Shubhapantuvarali. But in Todi, the pancham is omitted in the Arohana, whereas Shubhapanthuvarali uses the panchamam in both the arohana and avarohana. The Carnatic Melakarta Hanumatodi is the equivalent of Bhairavi thaat, but the Hindustani Bhairavi raga is the equivalent of Carnatic Sindhu Bhairavi. Carnatic Todi does not have any similarity with Hindustani Todi (Miyan ki Todi) raga. Though the Swarasthana orders of Carnatic Thodi are similar to Hindustani Bhairavi thaa ... [...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] |
Hanumatodi
Hanumatodi, more popularly known as Todi (pronounced hanumatōdi and tōdi), is a rāgam (musical scale) in Carnatic music. It is the 8th ''melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system. This is sung very often in concerts. It is a difficult rāgam to perform in owing to its complexity in '' prayoga'' (phrases of notes and intonation). It is called Janatodi in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai Its Western equivalent is the Phrygian mode. Todi in Carnatic music is different from ''Todi (thaat)'' of Hindustani music (North Indian classical music). The equivalent of the Hindustani raga ''Todi'' in Carnatic music is ''Shubhapantuvarali'' (which is the 45th ''melakarta'').''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras The equival ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lahore School Of Economics
The Lahore School of Economics (LSE) is an independent research university based in Lahore, Punjab, Pakistan established in 1993 and chartered by the government in January 1997. It has currently 200 faculty members and over 3,000 students studying undergraduate, graduate and post-graduate programs.Management conference at Lahore School of Economics The Express Tribune (newspaper), Published 20 March 2013, Retrieved 30 November 2021 Recognized institution Lahore School of Economics is a recognized college by the |
The Raga Guide
''The Raga Guide'' is a 1999 Nimbus Records compilation of 74 Hindustani ragas on four CDs. It includes a textbook edited by Joep Bor (of the Rotterdam Conservatory of Music) with information and western-style transcriptions of the ragas and a catalogue of two sets of ragamala plates, dated to ca. 1610 and 1650. The 1610 plates are painted in the Mughal style. The featured artists are Vidyadhar Vyas (vocal), Shruti Sadolikar-Katkar (vocal), Buddhadev Das Gupta (sarod), and Hariprasad Chaurasia Hariprasad Chaurasia (born 1 July 1938) is an Indian music director and classical flautist, who plays the bansuri, in the Hindustani classical tradition. Early life Chaurasia was born in Allahabad (1938) (officially called Prayagraj) in the ... (flute). External links * Encyclopedias of music Hindustani classical music albums Ragas Regional music compilation albums 1999 compilation albums Nimbus Records compilation albums {{music-publication-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Todi Ragini, Second Wife Of Hindol Raga, Folio From A Ragamala (Garland Of Melodies) LACMA M
Todi () is a town and ''comune'' (municipality) of the province of Perugia (region of Umbria) in central Italy. It is perched on a tall two-crested hill overlooking the east bank of the river Tiber, commanding distant views in every direction. In the 1990s, Richard S. Levine, a professor of Architecture at the University of Kentucky, included Todi in academic design exercises aimed at conceiving hypothetical improvements to the city and presented its results in a conference titled "The Sustainable City of the Past and the Sustainable City of the Future". As a result, the Italian press incorrectly reported on Todi as ''the world's most livable city''. History According to the legend, said to have been recorded around 1330 BC by a mythological Quirinus Colonus, Todi was built by Hercules, who here killed Cacus, and gave the city the name of ''Eclis''. Historical Todi was founded by the ancient Italic people of the Umbri, in the 8th-7th century BC, with the name of ''Tutere'' in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tansen
Tansen ( – 26 April 1589), also referred to and commonly known as Sangeet Samrat () , was a Hindustani classical musician. Born in a Hindu Gaur Brahmin family, he learnt and perfected his art in the northwest region of modern Madhya Pradesh. He began his career and spent most of his adult life in the court and patronage of the Hindu king of Rewa, Raja Ramchandra Singh (r.1555–1592), where Tansen's musical abilities and studies gained widespread fame. This reputation brought him to the attention of the Mughal Emperor Akbar, who sent messengers to Raja Ramchandra Singh, requesting Tansen to join the musicians at the Mughal court. Tansen did not want to go, but Raja Ramchandra Singh encouraged him to gain a wider audience, and sent him along with gifts to Akbar. In 1562, about the age of 60, the Vaishnava musician Tansen joined the Akbar's court, and his performances became a subject of many court historians. Numerous legends have been written about Tansen, mixing facts a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Miyan Ki Malhar
Miyan may refer to: * Miyan (title), a royal title of the Indian subcontinent * Miyan people, an ethnic group of Australia * Miyan language, a language of Australia * Mian, Punjab, a village in India See also * * Mian (other) Mian may refer to: People and languages * Mian (surname), including a list of people with the surname * Mian (given name), including a list of people with the given name * Mian family of Baghbanpura, a noble Arain family of Lahore, Pakistan *Mia ... {{Disambiguation Language and nationality disambiguation pages ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Avarohana
An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The notes descend in pitch from the upper tonic (taar shadja or Sa) down to the lower tonic, possibly in a crooked (vakra) manner. Examples In raga Darbari, an Asavari-thaat raga with vadi-samvadi R-P, the avroha is R' n S' d~ n P, m P g~ m R S, with andolan on the dhaivat and gandhar. In Malahari, which is ''janya'' raga of 15th ''melakarta'' Mayamalavagowla Mayamalavagowla (pronounced ) is a raga of Carnatic music (musical scale of South Indian classical music). It is classified as 15th '' melakarta'' raga under Venkatamakhin's '' melakarta'' system. Originally known as ''malavagowla'', "maya" was ..., the avarohana is ''S D1 P M1 G2 R1 S''. See swaras in Carnatic music for description of this notation. In Sahana, a ''janya'' raga of 28th ''melakarta'' ... [...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] |
Sindhu Bhairavi (raga)
Sindhu Bhairavi is a raga in Hindustani classical music, Hindustani and Carnatic classical music, Carnatic Indian classical music, classical music, belonging to the Asavari thaat. In Carnatic music it is a Janya, Janya raga of the 8th Melakarta, melakartha raga Hanumatodi. The raga brings Viraham (separation), Shokam (sorrow), Karunam (compassion) and Bhakthi (devotion) Rasa (aesthetics), rasas. In Carnatic music it is a ''Bhashangaraga'', in which all the 12 notes are applicable. Sindhu Bhairavi is not to be confused with other similarly named ragas such as Sindhi Bhairavi, Sindh (raga), Sindh, Sindhura and Sindhura Bhairavi. Theory Arohana: Avarohana: Vadi (music), Vadi: Samavadi: Popular compositions Popular carnatic compositions in the raga are: * ''Vinnum mannum'' - Subramania Bharati * ''Venkatachala Nilayam, Tamboori meetidava, Vrindavanave Mandira, Tirupati Venkataramana, Harihara ninnanu, Elliruvano Ranga'', ''Kai Meeri Hoda Matige'' By Purandara Dasa * ''Naras ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhairavi (Hindustani)
Bhairavi (Hindi: भैरवी, ur, , Sindhi: راڳ ڀيروي) is a Hindustani Classical heptatonic ( Sampurna) raga of Bhairavi thaat. In Western musical terms, raga Bhairavi employs the notes of the Phrygian mode, one of the traditional European church modes. Many Indians growing up during 1980s and 1990s will instantly recognize raag Bhairavi as it is the dominant note in popular Doordarshan video 'Mile sur mera tumhara'. Theory Raga Bhairavi is often referred to as the queen of morning Ragas. It produces a rich, devotional atmosphere especially suitable for the genres of Bhajan and the light classical form of Thumri. The Rishabh and Dhaivat used here are oscillating which is strongly recommended in this Raga and it makes the Raag mood intense. Rishabh and Pancham are occasionally skipped in Aaroh like: S G m d P or G m d N S'. But in Avroh, Rishabh and Pancham are Deergh like S' N d P or P m G m r r S. In Avroh, Gandhar is skipped like: G m r S. Madhyam is an impor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
