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Ragam Tanam Pallavi
Ragam Tanam Pallavi (RTP) is a form of singing in Carnatic music which allows the musicians to improvise to a great extent. It is one of the most complete aspects of Indian classical music, demonstrating the entire gamut of talents and the depth of knowledge of the musician. It incorporates '' raga alapana'', ''tanam'', '' niraval'', and '' kalpanaswara''. In more elaborate ragam tanam pallavis, a ''tani avartanam'' Kassebaum (2000), 158 may follow. Ragam "Ragam" in the context of "Ragam Tanam Pallavi" refers to ''raga alapana'' - the first component. In this form of pure melodic improvisation, the musician starts with a refrain to create the mood of raga and lays a foundation for composition to follow. Each ''Ragam tanam pallavi'' has at least one raga associated with it. Tanam ''Tanam'' is one of the most important forms of the improvisation, and is integral to the RTP. It is the second component of this composite form of improvisation. Originally developed for the veena, ... [...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] |
Sahityam
Sahitya literally means literature in Sanskrit. It is also used to refer to the lyrics of a 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, an ... composition or lyrics of any song. External links Sahityam Wiki* Telugu Sahityam Carnatic music terminology Indian literature {{India-lit-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sudha Ragunathan
Sudha Ragunathan is an Indian Carnatic vocalist, singer and composer. She was conferred the Kalaimamani award by the Government of Tamil Nadu in 1994, Padma Shri (2004) and Padma Bhushan (2015) by the Government of India, and Sangeetha Kalanidhi by Madras Music Academy in 2013. Early life and education Sudha Ragunathan (née Sudha Venkatraman) was born in Chennai on 30 April 1956 and later shifted to Bangalore. She did her schooling in Good Shepherd Convent, Chennai. She studied at Ethiraj College, and obtained a postgraduate degree in economics. Musical career Training Sudha Ragunathan received her initial training in Carnatic music from her mother V. Choodamani. From the age of three, she began to learn bhajans, Hindu devotional songs. Her tutelage continued under B. V. Lakshman. In 1977, she received an Indian government scholarship to study music under a doyenne of Carnatic music, Dr. M.L Vasantha Kumari, whose student she remained for thirteen years. Trained under Dr. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pantula Rama
Pantula Rama is an Indian singer, instrumentalist, and author who performs Carnatic music. She has been performing since the age of 8. Composing music in intricate rhythms is considered her specialty. Known as ''Andhra's Nightingale'' and ''Golden Voice'', Pantula Rama lives in Vishakhapatnam and is married to violinist MSN Murthy. She has been conferred with several national and international awards. Early life and education Pantula Rama was born to parents who are musicians. Her father is a trained violinist, and her mother is a Veena player. Her father was her first music teacher. After finishing school, Rama obtained a seat for MBBS. Eventually, she earned Bachelor of Arts and Master of Arts degrees in Music from Andhra University. Her Phd thesis at the same university was titled "A study of the shaping of an ideal musician through saadhana", and was published by Gyan Publishers. Career Rama has performed at various concerts and festivals: * She performed at a concert ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Latangi
Latangi (pronounced latāngi) is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 63rd ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Geetapriya or Gitapriya in the Muthuswami Dikshitar school of Carnatic music.''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 3rd rāgam in the 11th ''chakra Rudra''. The mnemonic name is ''Rudra-Go''. The mnemonic phrase is ''sa ri gu mi pa dha nu''. Its ' structure (ascending and descending scale) is as follows (see Swara#Svaras in Carnatic music, ''swaras'' in Carnatic music for details on below notation and terms): *Arohana, : *Avarohana, : (the notes used in this scale are ''chathusruthi rishabham, antara gandharam, prati madhyamam, shuddha dhaivatham, kakali nishadham'') As it is a ''melakarta'' rāgam, by definition it is a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bahudari
Bahudari (pronounced bahudāri) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a derived scale (''janya'' rāgam), as it does not have all the seven ''swaras'' (musical notes), derived from the 28th Melakarta raga Harikambhoji.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Structure and Lakshana ''Bahudari'' is an asymmetric scale that does not contain ''rishabham''. It is called a ''shadava-audava'' rāgam,''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras in Carnatic music classification (as it has 6 notes in ascending and 5 notes in descending scale). Its ' structure is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : This scale uses the notes ''shadjam, antara gandharam, shuddha madhyamam, panchamam, chathusruthi dhaivatham'' and ''kaisiki nishadam''. Popular compositions Bahudari is a melodious rāgam. Here are some popular c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhairavi (Carnatic)
Bhairavi is a ''janya'' rāgam in Carnatic music (musical scale of South Indian classical music). Though it is a ''sampoorna'' rāgam (scale having all 7 notes), it has two different ''dhaivathams'' in its scale making it a Bhashanga Ragam, and hence is not classified as a '' melakarta'' rāgam (parent scale). This is one of the ancient rāgams, said to have been prevalent about 1500 years ago. There are numerous compositions in this rāgam. Though a Raga called Bhairavi also exists in Hindusthani music, it is very different from the Carnatic version. Hindustani's Bhairavi, in terms of its aroha and avaroha alone, corresponds to Carnatic music's Thodi. It is considered a ''janya'' of the 20th ''melakarta Natabhairavi''. Its ' structure is as follows (see ''swaras'' of Carnatic music for details on below notation and terms): *: *: The other set of ārohaṇa and avarohaṇa used is: *: *: The notes used are ''chathusruthi rishabham, sadharana gandharam, shuddha mad ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vasantha (raga)
Vasantha (pronounced vasantā) is a raga in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' raga of '' Suryakantam'', the 17th '' Melakarta'' raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications According to P, Subba Rao, majority opinion is that the raga is derived from ''Mayamalavagowla'', the 15th ''Melakarta'' raga.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras ''Vasantha'' is suitable to be sung in evening and is considered an auspicious raga. Structure ''Vasantha'' is an asymmetric scale that does not contain ''panchamam''. It is called a ''vakra audava-shadava'' raga, malathiga structure is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * ārohaṇa : * avarohaṇa : This scale uses the notes shadjam, shuddha rishabham, antara gandharam, shuddha madhyamam, chathusruthi dhaivatham and kakali nishadam. Popular compositions ''Vasant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sanjay Subrahmanyan
Sanjay Subrahmanyan (born 21 January 1968 in Chennai, Tamil Nadu) is a Carnatic vocalist from India. He was awarded the Madras Music Academy's Sangeetha Kalanidhi in 2015. Biography Sanjay Subrahmanyan was born on 21 January 1968 in Chennai to S. Sankaran and Aruna Sankaran (who learned music from Rukmini Rajagopalan, Flute Rajaram Iyer, Maruthuvakudi Rajagopala Iyer and Mayavaram Saraswati). His father S. Sankaran, popularly known as Burma Sankaran, was a member of the drama troupe led by Cho Ramaswamy. He began learning music at age eight, studying the violin with V. Lakshminarayana and vocals from his aunt late Sukanya Swaminathan. He studied 'Carnatic vocal music from Rukmini Rajagopalan for eight years, until 1988, and after 1989 with Calcutta K. S. Krishnamurthi. It is during this phase, which lasted until KSK’s death in 1999, that he started first developing and then mastering an innovative style of singing that blended tradition and modernity, and he set aside his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Malayamarutam
Malayamarutam is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāgam (derived scale), as it does not have all the seven ''swaras'' (musical notes). This scale is used in Hindustani music in recent years by instrumentalists.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras This is a morning raga''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications and regularly used in programmes and functions of the mornings. Structure and Lakshana ''Malayamarutam'' is a symmetric rāgam that does not contain ''madhyamam''. It is a hexatonic scale (''shadava-shadava'' rāgam in Carnatic music classification). 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, shuddha rishabham, antara gandharam, panchamam, chathusruthi dhaivatham'' and ''kaisiki nishadam ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kriti (musical Composition)
''Kriti'' (Sanskrit: कृति, ''kṛti'') is a format of musical composition typical to Carnatic music. ''Kritis'' form the mental backbone of any typical Carnatic music concert and is the longer format of Carnatic song. "Kriti" also means Creation. Structure Conventional ''Kritis'' typically contain three parts #''Pallavi'', the equivalent of a refrain in Western music #'' Anupallavi'', the second verse, which is sometimes optional #''Charanam'', the final (and longest) verse that wraps up the song The ''charanam'' usually borrows patterns from the ''anupallavi''. The ''charanam's'' last line usually contains the composer's signature, or ''mudra'', with which the composer leaves their mark. Variations Some Kritis have a verse between the ''anupallavi'' and the ', called the '' ''. This verse consists only of notes, and has no words. Other ''krithis'', particularly some of Oottukkadu Venkata Kavi and Muthuswami Dikshitar's compositions, are intentionally composed without an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
