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Malhar
"Malhar" is a Hindustani classical raga. Malhar is associated with torrential rains. Besides the basic Shuddha Malhar, which was the original Malhar, several Malhar-related ragas use the Malhar signature phrase m (m)R (m)R P, including "Miyan ki Malhar", "Megh Malhar", "Ramdasi Malhar", " Gaud Malhar", "Sur Malhar", "Shuddha Malhar", "Desh Malhar", "Nat Malhar", "Dhulia Malhar", and "Meera ki Malhar". This phrase, although it might seem similar and equivalent, is different from the swara phraseology employed in Raga "Brindavani Sarang". It can be determined that raga Malhar or rather Miyan ki Malhar is a mixture of ragas "Brindavani Sarang", raga " Kafi" and raga "Durga".This raga has a ''Vakra'' form (meaning that the swaras of a raga are not completely arranged in a particularly straightforward manner), and is classified as a Ghambir Prakruti raga (meaning that it is played slow with patience, and it is played in a serious tone/note). Legend According to legend, Malhar i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Megh Malhar
Megh Malhar is a Hindustani classical raga. The name derives from the Sanskrit word ''Megh'', meaning ''cloud''. Legends say that this raga has the power to bring out rains in the area where it is sung. Megh Malhar is similar to raga Megh with a tint of Malhar in it. According to Indian classical vocalist Pandit Jasraj, Megh Malhar is a seasonal raag and is sung as invitation to rains. Theory Arohana & Avarohana Arohana: S R P m P n (d) N S Avarohana: S' n P m R g~ m R S Vadi & Samavadi In this raga vadi is Sa and samavadi is Pa Pakad 'n 'P R g~ m R S Organization & Relationships Related ragas: Ragas of Malhar family, namely Megh, Miyan ki Malhar, Gaud Malhar, Ramdasi Malhar, Dhuliya Malhar, etc. as well as Madhmad Sarang Madhyamavati rāga in Carnatic music can be considered as equivalent to it. Thaat: Kafi. Behavior Samay (Time) Late night. Seasonality Raga Megh Malhar is commonly associated with the monsoon season. Historical Information Legend ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Durga (raga)
Durga is a raga in Hindustani Classical music. It shares some features with ''Shuddha Saveri'' of Carnatic music (such as the note positions), but is significantly different from it in terms of the ''sanchara''s of the raga. Unless mentioned otherwise, notes refer to the concept of notes in Indian classical music, called ‘swara’ in Hindustani. Durga raga evokes the sringara rasa – romantic love. Technical description Notes and features # All swaras used are suddha # Gandhar and Nishad are not used. Example composition ''R m P D ; P D m ; m P D D m ; D m P D S' ; D D S' S' D D m; m P D ; m R, D S;'' Here m is ''Shuddha Madhyam'', M is '' Madhyam'' but this is not used in Durga at all. Samay (time) Second Prahar of night : 9:00 p.m. to midnight () Comparable to Malhar Durga has the same notes as Malhar, another popular raag and one of old pedigree. The aural experience of both are significantly different. Technically, they are made apart by the use of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gaud Malhar
Gaud Malhar is a raga in Hindustani classical music that combines characteristics of Malhar "Malhar" is a Hindustani classical raga. Malhar is associated with torrential rains. Besides the basic Shuddha Malhar, which was the original Malhar, several Malhar-related ragas use the Malhar signature phrase m (m)R (m)R P, including "Miyan ... and the now extinct raga named Gaud. References Hindustani ragas {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kafi (thaat)
Kafi () is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga (Kharaharapriya) within this thaat. Description Kafi thaat makes use of the Komal Gandhara and Komal Nishad. So basically it adds Komal Gandhara to the Khamaj thaat. The Kafi raga is one of the oldest ragas and its intervals are described as the basic scale of the Natyashastra. Thus in ancient and medieval times, Kafi was considered as natural scale. Kafi is a late evening raga and said to convey the mood of springtime. Ragas Ragas in Kafi thaat include: * Abhogi * Bageshri * Bageshri-Ang Chandrakauns * Bahar * Barwa * Bhimpalasi * Brindavani Sarang * Dhani * Hanskinkini * Jog * Kafi * Megh * Malhar * Nayaki Kanada * Patdeep Patdeep or Patdip (पटदीप), is a Hindustani classical raga from the Kafi Thaat. Theory Arohana and Avarohana Notation: S r R g G M Ḿ P d D n N S Lower case indicates 'komal' or flat notes, " indicates higher (third ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baiju Bawra
Baiju Bawra (Lit. "Baiju the Insane", born as Baijnath Mishra) was a dhrupad musician from medieval India. Nearly all the information on Baiju Bawra comes from legends, and lacks historical authenticity. According to the most popular legends, he lived in the Mughal period during the 16th and 17th centuries. He was one of the court musicians of Man Singh Tomar of Gwalher (now Gwalior). Chanderi–Gwalior legend According to a story, mentioned by Susheela Misra in ''Some immortals of Hindustani music'', Baiju Bawra was born as Baijnath Mishra in a poor Brahmin family in Champaner, Gujarat Sultanate. After his father's death, his mother, a devotee of Krishna, went to Vrindavan. There, Baiju met his teacher Swami Haridas, and was trained in a gurukula. He also adopted an orphan named Gopal, and trained him to be a musician. Gradually, Baiju became famous, and was invited to the court of the Raja of Chanderi. In Chanderi, Baiju's adopted son Gopal also became famous. Gopal ma ... [...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 fact ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Meera
Meera, better known as Mirabai and venerated as Sant Meerabai, was a 16th-century Hindu mystic poet and devotee of Krishna. She is a celebrated Bhakti saint, particularly in the North Indian Hindu tradition. Mirabai was born into a Rathore Rajput royal family in Kudki (modern-day Pali district of Rajasthan) and spent her childhood in Merta. She is mentioned in '' Bhaktamal'', confirming that she was widely known and a cherished figure in the Bhakti movement culture by about 1600 CE.Catherine Asher and Cynthia Talbot (2006), India before Europe, Cambridge University Press, , page 109 Most legends about Mirabai mention her fearless disregard for social and family conventions, her devotion to Krishna, her treating Krishna as her husband and being persecuted by her in-laws for her religious devotion. She has been the subject of numerous folk tales and hagiographic legends, which are inconsistent or widely different in details.Nancy Martin-Kershaw (2014), Faces of the Femini ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gokulotsavji Maharaj
Gokulotsavji Maharaj is a Hindustani classical musician, specializing in Khayal, Dhrupad Dhammar, Prabandh Gayaki and various other ancient indian musical styles. He is also a singer-cum-composer, writer, poet, and musicologist. He composes music under the pen name MadhurPiya. He has created more than 5,000 compositions in Khayal, Dhrupad Dhammar, Prabandha Gayan, etc. in Sanskrit, Hindi, Braj Bhasha, Persian, Urdu. He belongs to the SamVeda(mother of Indian Music) and Krishna Yajurveda parampara radition He has received Padma Bhushan, Padma Shri by the Central Government of India. He has also received National Tansen Samman Award 7 December 2007, Dhrupad Ratna from Darbhanga Gharana of Dhrupad Virtuosos Pt Kshtipal Mallick Dhrupad Society. He is the top grade artist of All India Radio(Aakashwani) and DoorDarshan. He has also created several new Raagas such as Bhaat Kalyan, AdhbhutRanjini, Hem Gaud, Madhur Malahar, Divya Gandhar, Khat Shringar, Prasanna Padaa, etc. He sing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tana And Riri
Tana and Riri is an Indian story about two girls born around 1564, who were asked to sing in the court of Akbar. The story has become part of Gujarati folk culture. The twins were from a northern town known as Vadnagar near Visnagar in the state of Gujarat. Tana and Riri both girls are closely related to Narsih Maheta. Narasih Maheta's grand daughter is Sharmishtha who is mother of Tana and Riri. The legend When Akbar's court singer, maestro Tansen's preceptor died, he sang the raag "Deepak". The effect of singing this raag is said to be that the singer starts feeling an incurable heat in his/her body. When Tansen was affected by the burns of the Deepak raag, he roamed around the whole of India. Finally the commander in chief of their army, Amjadkhan, came to Vadnagar and learned of the two sisters Tana and Riri who were proficient singers and could cure Tansen (expert of raag dipak) by singing raga Malhar. When they were asked to sing at Akbar's court, they refused to come s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brindavani Sarang
Brindavani Sarang or Brindabani Sarang, also known as raga Sarang, is a Hindustani classical raga. It is also called Vridavani Sarang. This raga falls under the category of Sarang ragas. Theory Brindabani Sarang is a Kafi thaat raga. It was created by Swami Haridas. The associated mythology being that he brought Lord Krishna to earth by singing this raga who took the form of an idol which can still be seen in Mathura. One of the famous Ragas for the Sarang , it is a popular of this family, together with Shuddha Sarang, and Madhyamad Sarang. The name Brindavani Sarang is a testament to its popularity in the region around Mathura. The notes ''Ga'' and ''Dha'' are not used in this raga. A characteristic of all Sarang is the way ''Rishab'' (Re) is sung. The Rishabh is not accorded embellishments, so it is sung without any ''meenḍ'' of adjacent ''swara''s neither with any ''andolan''. This preeminence of Re makes the ''swar'' the ''vadi'' of this Raga as also for all other ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Darbari Kanada
Darbari Kanada, or simply Raga Darbari, (pronounced darbāri kānada), is a raga in the Kanada family, which is thought to have originated in Carnatic music and brought into Hindustani classical music by Miyan Tansen, the legendary 16th-century composer in emperor Akbar's court. This tradition is reflected in the name itself; ''Darbar'' is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or ''pure Kanada''. It belongs to the Asavari thaat. This raag is called raaga Kaanada in Yakshagana Karnataka state dance It is also sometimes written as Durbari and Durbarikanada.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras In Hindustani classical music Darbari is a grave raga, played deep into the night, considered to be one of the more difficult to master, and with the potential for profound emotional impact. Darbari is a very serious raga and hence, slow and ela ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bahar (raga)
Bahar is a Hindustani classical raga. This raga is very similar (but still distinct) to raga Malhar. This raga is from the Kafi Thaat. Theory Writing about the musical theory of Indian classical music is fraught with complications due to complex and intricate nature. First of all, there have been no set, formal methods of written notation. Indian music is an aural tradition, and therefore writing is not an essential part of attaining talim (systematic study). But in the recent years, a couple of methods of notation (swar leepi) the sheet music for Hindustani Classical Music have evolved. A prominent of them are BhatKhande Swar leepi (widely used in the present time) by Pt. VishnuNarayan BhatKhande, Creator: Hzt Amir Khusrau Arohana & Avarohana Arohana: Avarohana: Vadi & Samvaadi Vadi: Ma Samvadi: Sa Jati Shadav - Sampurna Thaat The Raag belongs to Kafi Thaat Pakad or Chalan The bare scale of this raga has little unique musical meaning, and is, therefore ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
