|
Manoranjani
Manavati (pronounced mānavati, meaning the bride) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 5th ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. In Muthuswami Dikshitar school of Carnatic music, the 5th ''melakarta'' is Manōranjani.''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 5th rāgam in the 1st ''chakra Indu''. The mnemonic name is ''Indu-Ma''. The mnemonic phrase is ''sa ra ga ma pa dhi 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 ''shuddha rishabham, shuddha gandharam, shuddha madhyamam, chathusruthi dhaivatham, kakali nishadham'') As it is a ''melakarta'' rāgam, by definition it is a ''sampoorna'' rāgam (has all seven not ... [...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] |
Venkatamakhin
Venkatamakhin (; ) or Venkatamakhi, was an Indian poet, musician, and musicologist of Carnatic music. He is renowned for his '' Chaturdandiprakashika'' in which he explicates the melakarta system of classifying ragas. Venkatamakhin composed geethams and prabandhas, as well as 24 ashtapadis in praise of Lord Thyagaraja of Tiruvarur. Biography Venkatamakhin or Venkateswara Dikshita was the son of the musician, scholar, and priest, Govinda Dikshita, a Kannada Brahmin from Honnali near Shivamogga, who was also a minister of Raghunatha Nayak of Thanjavur. He was instructed in the veena by his father and his brother, Yagnanarayan. He was later schooled in the scholarly aspects of classical music by Tanappacharya. Venkatamakhin was also versed in Sanskrit and equipped with knowledge in varied subjects such as astrology, logic, philosophy, and alankara. Like his father, Venkatamakhin served as a minister to Raghunatha Nayak's successor, Vijayaraghava Nayak (). Seeing as to how ther ... [...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] |
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] |
Balamuralikrishna
Mangalampalli Balamuralikrishna (6 July 1930 – 22 November 2016) was an Indian Carnatic Music, Carnatic vocalist, musician, multi-instrumentalist, playback singer, composer, and character actor. He was awarded the Madras Music Academy's Sangeetha Kalanidhi in 1978. He has garnered two National Film Awards (1976, 1987), the Sangeet Natak Akademi Award in 1975, the Padma Vibhushan, India's second-highest civilian honor in 1991, for his contribution towards arts, the Mahatma Gandhi Silver Medal from UNESCO in 1995, the Chevalier of the Ordre des Arts et des Lettres by the French Government in 2005, the Sangeetha Kalanidhi by Madras Music Academy, and the Sangeetha Kalasikhamani in 1991, by ''the Fine Arts Society'', Chennai to name a few. Balamuralikrishna started his career at the age of six. In his life-time, he gave over 25,000 concerts worldwide. Apart from Pandit Bhimsen Joshi, he presented jugalbandi concerts (duets) with Pandit Hariprasad Chaurasia, Pandit Ajoy Chakrabarty an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thyagaraja
Thyagaraja (Telugu: త్యాగరాజ) (4 May 1767 – 6 January 1847), also known as Thyāgayya and in full as Kakarla Thyagabrahmam, was a composer and vocalist of Carnatic music, a form of Indian classical music. Tyagaraja and his contemporaries, Shyama Shastri and Muthuswami Dikshitar, are regarded as the Trinity of Carnatic music. Thyagaraja composed thousands of devotional compositions, most in Telugu and in praise of Lord Rama, many of which remain popular today, the most popular being "Nagumomu". Of special mention are five of his compositions called the ''Pancharatna Kritis'' ( "five gems"), which are often sung in programs in his honour, and ''Utsava Sampradaya Krithis'' ( Festive ritual compositions), which are often sung to accompany temple rituals. Tyagaraja lived through the reigns of four kings of the Maratha dynasty — Tulaja II (1763–1787), Amarasimha (1787–1798), Serfoji II (1798–1832) and Sivaji II (1832–1855), although he served none of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Janya
''Janya'' is a term meaning "derive". In Carnatic (South Indian) music a ''janya raga'' is one derived from one of the 72 ''melakarta'' ragas (fundamental melodic structures). ''Janya'' ragas are classified into various types based on a variety of features. ''Varja'' ragas Ragas that omit (varjyam, to omit in Sanskrit) one or more of the notes of the scale (''swaras'') of their parent ''melakarta'' raga, in the ascending or descending scale or in both, fall into this category. Different notes may be omitted from the ascending ''arohana'' and descending ''avarohana'' scale. Such scales are given the names listed below.''A practical course in Carnatic music'' by Prof. P. Sambamurthy, 15th edition published 1998, The Indian Music publishing house''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications vrja a * ''Sampurna'' – 7 note scale * ''Shadava'' – 6 notes * ''Audava'' – 5 notes Since these terms are applicable both to the ascending and the d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pavani (ragam)
Pavani (pronounced pāvani, meaning ''the purifier'') is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 41st ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Kumbhini in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai Structure and Lakshana It is the 5th rāgam in the 7th ''chakra Rishi''. The mnemonic name is ''Rishi-Ma''. The mnemonic phrase is ''sa ra ga mi pa dhi nu''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Its ' structure is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : The notes used in this scale are ''shuddha rishabham, shuddha gandharam, prati madhyamam, chathusruthi dhaivatham'' and ''kakali nishadham''. It is a ''sampurna'' rāgam – a rāgam that has all seven ''swaras'' (no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music, known as or in the Dravidian languages, South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu, and Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu Texts and traditions, particularly the Samaveda. The other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in ''gāyaki'' (singing) style. Although there are stylistic differences, the basic elements of (the relative musical pitch), (the musical sound of a single note), (the mode or melodic formulæ), and (the rhythmic cycles) form the foundation of improvisation and composition in both Carnati ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sampoorna Raga
In Indian classical music, Sampūrṇa rāgas (संपूर्ण, Sanskrit for 'complete', also spelt as ''sampoorna'') have all seven ''swaras'' in their scale. In general, the swaras in the ''Arohana'' and ''Avarohana'' strictly follow the ascending and descending scale as well. That is, they do not have ''vakra'' swara phrases (वक्र, meaning 'crooked'). In Carnatic music, the Melakarta ragas are all ''sampurna'' ragas, but the converse is not true, i.e., all ''sampurna'' ragas are not ''Melakarta'' ragas. An example is Bhairavi raga in Carnatic music (different from the Bhairavi of Hindustani music). Some examples of ''Melakarta'' ragas are ''Mayamalavagowla'', ''Todi'', '' Sankarabharanam'' and ''Kharaharapriya Kharaharapriya is a rāga in Carnatic music. It is the 22nd ''melakarta'' rāga (parent scale) in the 72 ''melakarta'' rāga system. It is possible that the name of the ragam was originally ''Harapriya'' but it was changed to conform to the K ...''. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
.jpg "Click for more on -> Tala (music)")
