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Natakapriya
Natakapriya, (pronounced nāţakapriya, meaning ''the one dear to theatre'') is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 10th ''melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system. According to the Muthuswami Dikshitar school, the 10th melakarta rāgam is called Naţābharanam.''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 a ''sampoorna'' rāgam - rāgam having all 7 ''swarams''. It is the 4th rāgam in the 2nd ''chakra Netra''. The mnemonic name is ''Netra-Bhu''. The mnemonic phrase is ''sa ra gi ma pa dhi ni''. 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 ''shuddha rishabham, sadharana gandharam, shuddha madhyamam, chathusruthi dhaivatham'' and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Natakapriya Scale
Natakapriya, (pronounced nāţakapriya, meaning ''the one dear to theatre'') is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 10th '' melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system. According to the Muthuswami Dikshitar school, the 10th melakarta rāgam is called Naţābharanam.''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 a ''sampoorna'' rāgam - rāgam having all 7 ''swarams''. It is the 4th rāgam in the 2nd ''chakra Netra''. The mnemonic name is ''Netra-Bhu''. The mnemonic phrase is ''sa ra gi ma pa dhi ni''. 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 ''shuddha rishabham, sadharana gandharam, shuddha madhyamam, chathusruthi dhaivatham'' an ... [...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] |
Gourimanohari
Gourimanohari or Gaurimanohari is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 23rd ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. The 23rd ''melakarta'' rāgam as per Muthuswami Dikshitar school of music is . The Western equivalent is the jazz minor scale. The Hindustani music equivalent to this rāgam is Raag Patdeep. Structure and Lakshana It is the 5th rāgam in the 4th ''chakra Veda''. The mnemonic name is ''Veda-Ma''. The mnemonic phrase is ''sa ri gi ma pa dhi nu''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications 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 ''shadjam, chatushruti rishabham, sadharana gandharam, shuddha madhyamam, panchamam, chatushruti daivatam'' and ''kakali nishadham''. It is a ''sampurna'' rāgam – a rāga ... [...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] |
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] |
Shadvidamargini
Shadvidamargini (pronounced , meaning ''the one with the road to a hundred forms of knowledge'') is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 46th '' melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Stavarājam in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''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 4th rāgam in the 8th ''chakra Vasu''. The mnemonic name is ''Vasu-Bhu''. The mnemonic phrase is ''sa ra gi mi pa dhi ni''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : The ''swaras shuddha rishabham, sadharana gandharam, p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nallan Chakravartula Krishnamacharyulu
Nallan Chakravartula Krishnamacharyulu (1924–2006) was a scholar, musician, teacher and exponent of the art of hari katha. He belongs to the lineage of Saint Tyagaraja. He was a first generation disciple of Sriman Parupalli Krishnaiyyah pantulu. Being a top grade artist, his reach went above and beyond being a violinist and a musician. He was also a pandit in Sanskrit and Telugu literature who wrote and composed numerous Kritis, yaksha ganas, poems and harikathas. He was awarded the Vaggeyakara award by the Madras music academy in 2005. Compositions Notes and references See also *List of Carnatic composers List of composers of Carnatic music, a subgenre of Indian classical music. Chronologically they can be grouped into 4 different Eras: Pre-Trinity Era, Trinity Era, Post Trinity Era and Modern Era. Composers are listed here based on this classif ... References A Tribute to Sri Nallan Chakravartula Krishnamacharyulu * Thyagaraja Geyartha Kunchika {{DEFAULT ... [...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] |
Vachaspati (ragam)
Vachaspati (pronounced Vāchaspati, meaning ''Lord of speech'') is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 64th ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system. It is known as Bhushāvati according to the Muthuswami Dikshitar school.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It was borrowed into Hindustani music, like many other ragas from Carnatic rāgams. Structure and Lakshana It is the 4th rāgam in the 11th ''chakra Rudra''. The mnemonic name is ''Rudra-Bhu''. The mnemonic phrase is ''sa ri gu mi pa dhi ni''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : This scales uses the notes and . It is a ''sampoorna'' rāgam - a rāgam that has all seven ''swaras'' (notes). It is the equivalent of '' Harikambhoji ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charukesi
Charukesi (pronounced chārukēśi) is a rāga in Carnatic music (musical scale of South Indian classical music). It is the 26th ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Tarangini in Muthuswami Dikshitar school of Carnatic music. ''Charukesi'' is known to incite feelings of pathos and devotion in the listener. Structure and Lakshana It is the 2nd rāgam in the 5th ''chakra Bana''. The mnemonic name is ''Bana-Sri''. The mnemonic phrase is ''sa ri gu ma pa dha ni''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : (''chathusruthi rishabham, anthara gandharam, shuddha madhyamam, shuddha dhaivatham, kaisiki nishadham'') It is a ''sampoorna'' rāgam - a rāgam that has all seven ''swaras'' (notes). It is the ''shuddha madhyamam'' equivalent of ''Rish ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arunmozhi
Arunmozhi ( ta, அருண்மொழி) (also called Napoleon Selvaraj) (born 1951) is an Indian playback singer and well-known flutist. He has sung songs composed by leading Indian film industry music directors, including Ilaiyaraaja, Shankar Ganesh, Deva, S. A. Rajkumar, Viji Manuel, Swararaj, Harris Jayaraj, Sirpy, Vidyasagar, Soundaryan, Karthik Raja, Siva, Masa, Dhina and Yuvan Shankar Raja. He has also performed in live concerts across the world. He is a part of Ilaiyaraaja's musical troupe, playing flute. Arunmozhi is very familiar with western musical notes, and used to interpret and explain those written by Ilaiyaraaja to other musicians in the group. Introduced by Ilaiyaraaja as a playback singer, Arunmozhi has sung some very popular hit songs. Early life Arunmozhi was born in Thirukandiswaram village, near Nannilam in Tiruvarur district, Tamil Nadu. Arunmozhi, a self-taught musician, started playing flute at the age of nine, with a flute that was made by him. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mogamul
''Mogamul'' is a 1995 Tamil language film directed by Gnana Rajasekaran based on a novel written by Thi. Janakiraman. The film stars Archana Joglekar, Nedumudi Venu and Abhishek, while Vivek and Vennira Aadai Moorthy play supporting roles. The score and soundtrack were composed by Ilaiyaraaja. The film opened in May 1995 to critical acclaim. Plot A musician falls in love with a woman who is the illegitimate daughter of a Brahmin from his village. But she refuses to accept him since she is 10 years older to him. Cast *Archana Joglekar as Yamuna *Nedumudi Venu as Ranganna * Abhishek as Babu *Vennira Aadai Moorthy *Vivek *Shanmugasundaram *Delhi Ganesh *Krishnankutty Nair *Kamala Kamesh as Ranganna's wife Production The film marked the directorial debut of Gnana Rajasekaran Gnana Rajasekaran (born 23 January 1953) is an Indian filmmaker, screenwriter, playwright and Retired Indian Administrative Service, IAS Officer. His directional debut was ''Mogamul'' (1994) won th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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