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Mridang
The mridangam is a percussion instrument of ancient origin. It is the primary rhythmic accompaniment in a Carnatic music ensemble. In Dhrupad, a modified version, the pakhawaj, is the primary percussion instrument. A related instrument is the Kendang, played in Maritime Southeast Asia. During a percussion ensemble, the mridangam is often accompanied by the ghatam, the kanjira, and the morsing. Etymology The word "Mridangam" is formulated by the union (sandhi) of the two Sanskrit words ''mŗt'' (clay or earth) and ''anga'' (limb), as the earliest versions of the instrument were made of hardened clay. Legend In ancient Hindu sculpture, painting, and mythology, the mridangam is often depicted as the instrument of choice for a number of deities including Ganesha (the remover of obstacles) and Nandi, who is the vehicle and follower of Shiva. Nandi is said to have played the mridangam during Shiva's primordial ''tandava'' dance, causing a divine rhythm to resound across the h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Palghat Mani Iyer
Palghat T. S. Mani Iyer (1912–1981), born Thiruvilvamalai Ramaswamy was one of the leading mridangists in the field of Carnatic music. He, along with his contemporaries Palani Subramaniam Pillai and Ramanathapuram C. S. Murugabhoopathy, are revered as the "Holy Trinity of Mrudangam". Mani Iyer was the first mridangist to be awarded the Sangeetha Kalanidhi (1966) presented by the Music Academy of Madras, the Padma Bhushan (1971) and the Sangeet Natak Akademi Awards(1956) presented by the Government of India. Early life and background He was born in a Palakkad brahmin family on 12 June 1912 at Pazhayanur, then in Tiruvilvamala Taluk, in Palghat District, Kerala (now located in Thrissur District) to Sesham Bhagavatar and Aanandaambaal as their second son. Mani was named Ramaswami at birth— after his grandfather who was a school teacher besides being a good singer. Mani Iyer learnt his music from his parents in his native Pazhayyanur. His maiden public performance was at the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Palani Subramaniam Pillai
Pazhani Subramania Pillai (1909–1962) was a well known Carnatic music percussionist. He, along with his contemporaries Palghat Mani Iyer and Ramanathapuram C. S. Murugabhoopathy, are revered as the "Holy Trinity of Mridanga". He was adept in playing the ''mridangam'' and ''kanjira''. He was the '' sishya'' (disciple) of the celebrated Palani Muthaiah Pillai (his father). Early life Subramania Pillai was born on 20 April 1908. His mother was Unnamulai Ammal, and his father, Muthaiah Pillai, who was also a mridangist. He learned mridangam under the tutelage of his father and also had the friendship of ‘Thavil Panchami’ Malikkottai Panchapakesa Pillai. He was also influenced by a renowned mridangist at the time, Dakshinamurthy Pillai. Pillai in return showered great love and affection on young Palani, whom he looked upon as his own son. Before he turned twenty, Palani had the good fortune to accompany stalwarts like Kanchipuram Nayana Pillai, Mazhavarayanendal Subbarama Bhav ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Morsing
The morsing (also mukharshanku, mourching, morching or morchang; Sanskrit: दंत वाद्यन्तरात्मसत्रस्य, Telugu: మోర్సింగ్, Kannada: ಮೋರ್ಸಿಂಗ್, Rajasthani: मोरचंग, Tamil: நாமுழவு அல்லது முகச்சங்கு, Malayalam: മുഖർശംഖ്, English: " jaw harp") is an instrument similar to the Jew's harp, mainly used in Rajasthan, in the Carnatic music of South India, and in Sindh, Pakistan. It can be categorized under lamellophones, which is a sub-category of plucked idiophones. The instrument consists of a metal ring in the shape of a horseshoe with two parallel forks which form the frame, and a metal tongue in the middle, between the forks, fixed to the ring at one end and free to vibrate at the other. The metal tongue, also called the trigger, is bent at the free end in a plane perpendicular to the circular ring so that it can be struck and made t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Khol
The khol is a terracotta two-sided drum used in northern and eastern India for accompaniment with devotional music (''bhakti''). It is also known as a mridanga (< + , ), not to be confused with ''''. It originates from the Indian states of , and . The drum is played with palms and fingers of both hands. Description The khol is regarded as resembling to the ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pakhawaj
The pakhavaj is a barrel-shaped, two-headed drum, originating from the Indian subcontinent, the oldest version of double sided drums and its descendants are mridangam of Southern India and kendang of Maritime Southeast Asia and other South Asian double-headed drums. Its older forms were made with clay. It is the percussion instrument most commonly used in the dhrupad style of Indian classical music and less often used as a rhythm accompaniment for various other sub-forms of music and dance performances (e.g. kathak, odissi, marathi). It has a low, mellow tone that is quite rich in harmonics. The sides of the pakhawaj are made with animal skin (often goat, cow skin). The pakhavaj players place the instrument horizontally in front of themselves as they sit on the floor with legs crossed. The players may sometimes place a cushion under the narrower treble face to lift it slightly. A right-handed person places the larger bass-skin on the left side and the treble skin on the right. ... [...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] |
Tabla
A tabla, bn, তবলা, prs, طبلا, gu, તબલા, hi, तबला, kn, ತಬಲಾ, ml, തബല, mr, तबला, ne, तबला, or, ତବଲା, ps, طبله, pa, ਤਬਲਾ, ta, தபலா, te, తబలా, ur, , group="nb", name="nb" is a pair of twin hand drums from the Indian subcontinent, that are somewhat similar in shape to the bongos. Since the 18th century, it has been the principal percussion instrument in Hindustani classical music, where it may be played solo, as accompaniment with other instruments and vocals, and as a part of larger ensembles. It is frequently played in popular and folk music performances in India, Bangladesh, Afghanistan, Pakistan, Nepal and Sri Lanka.Tabla Encyclopædia Britannica The tabla is an essential instrument in the |
Kanjira
The kanjira, khanjira, khanjiri or ganjira, a South Indian frame drum, is an instrument of the tambourine family. As a folk and bhajan instrument, it has been used in India for many centuries. The kanjira's emergence in South Indian Carnatic music, as well as the development of the modern form of the instrument, is credited to Manpoondia Pillai. In the 1880s, Manpoondia Pillai was a temple lantern-bearer who sought to study drumming. He modified it to a frame drum with a single pair of jingles and brought the instrument to a classical stage. It is used primarily in concerts of Carnatic music (South Indian classical music) as a supporting instrument for the ''mridangam''. Construction Similar to the Western tambourine, it consists of a circular frame made of the wood of the jackfruit tree, between 7 and 9 inches in width and 2 to 4 inches in depth. It is covered on one side with a drumhead made of monitor lizard skin (specifically the Bengal monitor, ''Varanus bengalensis'', now ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kendang
Kendang or Gendang ( jv, ꦏꦼꦤ꧀ꦝꦁ, translit=Kendhang, su, ᮊᮨᮔ᮪ᮓᮀ, translit=Kendang, ban, ᬓᬾᬦ᭄ᬤᬂ, translit=Kendang, Tausug/Bajau Maranao: ''Gandang'', Bugis: ''Gendrang'' and Makassar: ''Gandrang'' or ''Ganrang'' ) is a two-headed drum used by people from the Indonesian Archipelago. Kendang is one of the primary instruments used in the Gamelan ensembles of Javanese, Sundanese, and Balinese, the Kendang ensemble as well as various Kulintang ensembles in Indonesia, Brunei, Malaysia, Singapore, and the Philippines. It is constructed in a variety of ways by different ethnic groups. It is a relation to the Indian mridangam double-headed drum. Overview The typical double-sided membrane drums are known throughout Maritime Southeast Asia and India. One of the oldest image of kendang can be found in ancient temples in Indonesia, especially the ninth century Borobudur and Prambanan temple. Among the Javanese, Sundanese, and Balinese, the has one ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mavelikkara Velukkutty Nair
Mavelikkara Velukutty Nair (Malayalam: മാവേലിക്കര വേലുക്കുട്ടി നായർ) was an Indian mridangam player. Life Mavelikkara Velukkutty Nair was born on 2 October 1926 in Chettikulangara (near Mavelikkara), Alleppey district, Kerala. He had undergone preliminary lessons in Mridangam from his the famous ''Mridanga Vidwan'' Muthukulam S. Kumara Pillai. Later undergone advanced training from Maestro Sangeetha Kalanidhi Padmabhooshan Palghat Mani Iyer under Gurukula system for a period of 8 years. Late Palghat R. Raghu and Umayalpuram K. Sivaraman were also disciples of Palghat Mani Iyer along with him. Awards and recognitions * ''A Top'' graded artist (highest award) in All India Radio and Doordarshan. * ''Sangeetha Kalaacharya'' title from Madras Music Academy in 2008. * Central Sangeet Natak Akademi "Tagore Samman" in 2012. * ''Golden Jubilee Award'' from Dr. Semmangudi Srinivasa Iyer foundation, Chennai in 2002. * Kerala Sangeetha ... [...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] |
Dhrupad
Dhrupad is a genre in Hindustani classical music from the Indian subcontinent. It is the oldest known style of major vocal styles associated with Hindustani classical music, Haveli Sangeet of Pushtimarg Sampraday and also related to the South Indian Carnatic tradition. It is a term of Sanskrit origin, derived from ''dhruva'' (ध्रुव, immovable, permanent) and ''pada'' (पद, verse). The roots of Dhrupad are ancient. It is discussed in the Hindu Sanskrit text ''Natyashastra'' (~200 BCE – 200 CE), and other ancient and medieval Sanskrit texts, such as chapter 33 of Book 10 in the ''Bhagavata Purana'' (~800–1000 CE), where the theories of music and devotional songs for Krishna are summarized. The term denotes both the verse form of the poetry and the style in which it is sung. It is spiritual, heroic, thoughtful, virtuous, embedding moral wisdom or solemn form of song-music combination. Thematic matter ranges from the religious and spiritual (mostly in praise of Hindu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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