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Panchama Baradi
Panchama Baradi () is a rāga belonging to the tradition of Odissi music. Falling under the ''meḷa'' of the same name, the raga uses all twelve swaras and is traditionally associated with the ''karuṇa rasa.'' It is said to be a composite of the ragas Panchama and Baradi. Structure An ancient raga, Panchama Baradi has been used by hundreds of poet-composers for well-over the past many centuries. The raga is ''sampurna'' or heptatonic in its ''aroha'' and ''abaroha'' (ascent and descent). Its ''aroha-abaroha'' are bakra or nonlinear. The raga dwells or does ''nyasa'' on the ''gandhara'', as per tradition and evokes a solemn mood. Compositions Some of the well-known traditional compositions in this raga include : * ''Are Babu Syamaghana'' by Bhakta Charana Dasa * ''Chahin Chahin To Sarani by Kabisurjya'' Baladeba Ratha ''Kabisurjya'' Baladeba Ratha (alternatively spelled ''Kabisurya, Kavisurya Baladev Rath,'' ; c. 1789 – 1845) was an Indian poet who wrote in the ... [...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] |
Odissi Music
music () is a genre of classical music in India, originated from the eastern state of Odisha. The traditional ritual music for the service of Lord Jagannatha, Odissi music has a history spanning over two thousand years, authentic ''sangita-shastra''s or treatises, unique Ragas & Talas and a distinctive style of rendition. The various aspects of Odissi music include ''odissi prabandha, chaupadi, chhānda, champu, chautisa, janāna, mālasri, bhajana, sarimāna, jhulā, kuduka, koili, poi, boli,'' and more. Presentation dynamics are roughly classified into four: ''raganga'', ''bhabanga, natyanga'' and ''dhrubapadanga''. Some great composer-poets of the Odissi tradition are the 12th-century poet Jayadeva, Balarama Dasa, ''Atibadi'' Jagannatha Dasa, Dinakrusna Dasa, ''Kabi Samrata'' Upendra Bhanja, Banamali Dasa, ''Kabisurjya'' Baladeba Ratha and ''Kabikalahansa'' Gopalakrusna Pattanayaka. According to Bharata Muni's '' Natya Shastra'', Indian classical music has four significan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Panchama (raga)
Pancham is the fifth svara from the seven svaras of Hindustani music and Carnatic music. Pancham is the long form of the syllable प. For simplicity in pronouncing while singing the syllable, Pancham is pronounced as Pa (notation - P). It is also called as पंचम in the Devanagri script. Details The following is the information about Panchama and its importance in Indian classical music : * Pancham is the fifth svara in an octave or Saptak. * Pancham is the immediate next svara of Madhyam (Ma). * The svara of Pancham is never or , it is always in any given raga just like the svara Shadja. * It is said that Shadja is the basic svara from which all the other 6 svaras are produced. When we break the word Shadja then we get, Shad And Ja. It means that Shad is 6 and ja is 'giving birth' in Marathi. So basically the translation is : षड् - 6, ज -जन्म. Therefore it collectively means giving birth to the other six notes of the music. So the svara Pa is form ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baradi
Baradi () is a rāga belonging to the tradition of Odissi music. Falling under the ''meḷa'' Barādi, the raga uses ''komala rusabha, komala dhaibata'' and ''tibra madhyama'' swaras and is traditionally associated with the ''karuṇa rasa.'' The raga is mentioned in treatises such as the ''Gita Prakasa'' and ''Sangita Narayana.'' This raga has been used by the 12th-century Odia composer Jayadeva in his Gita Govinda along with its ''angaraga'' Desa Barādi. Structure An ancient raga, Baradi has been used by hundreds of poet-composers for well-over the past many centuries. The raga is ''sampurna'' or heptatonic in its ''aroha'' and ''abaroha'' (ascent and descent). Its ''aroha-abaroha'' are given below : ''Aroha :'' S r G m P d N S ''Abaroha :'' S N d P m G r S The raga dwells or does ''nyasa'' on the ''gandhara'', as per tradition and evokes a solemn mood. Compositions Some of the well-known traditional compositions in this raga include : * ''Sajani Tora Dharuchi Kara'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhakta Charana Dasa
''Bhakti'' ( sa, भक्ति) literally means "attachment, participation, fondness for, homage, faith, love, devotion, worship, purity".See Monier-Williams, ''Sanskrit Dictionary'', 1899. It was originally used in Hinduism, referring to devotion and love for a personal god or a representational god by a devotee.Bhakti ''Encyclopædia Britannica'' (2009) In ancient texts such as the '''', the term simply means participation, devotion and love for any endeavor, while in the '''', it connotes one of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kabisurjya Baladeba Ratha
''Kabisurjya'' Baladeba Ratha (alternatively spelled ''Kabisurya, Kavisurya Baladev Rath,'' ; c. 1789 – 1845) was an Indian poet who wrote in the Odia language, and a composer and musician of Odissi music, most known as poet-composer of the ''Champu''. Kabisurjya has composed hundreds of songs in the tradition of Odissi music, employing unique traditional ragas & talas. His magnum opus ''Kisorachandrananda Champu'' is a cornerstone of the Odissi music repertoire & Kabisurjya is widely renowned for his masterful compositions. He wrote in both Sanskrit and Odia. His works are known for their devotional quotient and he is the credited founder of the Dhumpa Sangita tradition. Early life He was born in Bada Khemundi ''(presently Digapahandi)'', Ganjam, Odisha. Baladeva Ratha's mother died when he was ten years old. He was brought up by his maternal grand father, Tripurari Hota in Athagada (who also taught him Sanskrit and Odia literature). He married at the age of 15. After his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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