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Svaramelakalanidhi
''Swaramelakalanidhi'' is a much celebrated musicological treatise of 16th century Vijayanagara. Authored by Ramamatya in the year 1550, the work is counted among the ''sangita shastra navaratnas'' or the nine 'gems' of the theory of Carnatic Music. The work's importance lies in the fact that it is more relevant and related to modern practice than the books written prior to it. Spread over five chapters, it deals primarily with the theory of ''raga'', describes the ''melas'' for the classification of ''raga'' -and the different ''shuddha svaras'' and ''vikrta svaras'' constituting the ''melas''. Works by other celebrated contemporaries like Pundarika Vitthala and Somanantha also deal with similar themes, namely the description of ragas, their classification under melas and the enumeration of the shuddha and vikrta svaras constituting the melas. Minor ideological difference can however be discerned among these works. The author Ramamatya was the grandson of the illustrious ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vijayanagara Musicological Nonet
The Vijayanagara musicological nonet or the are a group of nine musicological treatises written during the reign of the Vijayanagara empire. These works are counted among the most important and definitive treatises in Carnatic music theory. Each of these works contributed seminally to the growth of the Carnatic music tradition. These nine works are the by the sage Vidyaranya, by Salva Gopa Tippendra, by Kallinatha, Bhandaru Vittaleshwara's commentary on the , Bhandaru Lakshminarayana's , Achyutadevaraya's and the much celebrated by Ramamatya. Historical milieu The reign of Vijayanagara empire was a watershed period in the cultural history of South India, particularly the history of Carnatic music. The period witnessed the prolific contributions of numerous musicians, saints and theoreticians. By virtue of the geo-political influence it exerted, Vijayanagara had become the confluence of many religions, art forms and cultures. Society and culture went through a process o ... [...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] |
Haridasas And Carnatic Music
The Haridaasas, the Vaishnava saints of Karnataka, are classified into the ''Vyaasakuta'' and ''Daasakuta''. The Vyaasakuta were the pontifical saints known for their scholarship and exposition of Madhva's philosophy. The ''Daasakuta'' were the peripatetic saint disciples of the Vyaasakuta sanyasins. They were proficient singers and composers and used classical music and the Kannada language as a medium to propagate the teachings and philosophy of the Dvaita school. While Sripadaraya is sometimes credited with starting this musical movement, Purandaradaasa, a disciple of Vyaasasraaya, became renowned as Karnataka Sangita Pitaamaha. The devotees of Panduranga Vitthala of Pandharapur in the Varakari tradition traveled through Karnataka and composed and wrote almost entirely in Kannada. The Haridaasas had a seminal influence on Carnatic music. Later composers from Karnataka and outside, including the venerated 'Trinity' and musical treatises exhibit and acknowledge these influenc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vijayanagara Empire
The Vijayanagara Empire, also called the Karnata Kingdom, was a Hinduism, Hindu empire based in the region of South India, which consisted the modern states of Karnataka, Andhra Pradesh, Tamil Nadu, Kerala, Goa and some parts of Telangana and Maharashtra. It was established in 1336 by the brothers Harihara I and Bukka Raya I of the Sangama dynasty, members of a pastoralist Herder, cowherd community that claimed Yadava lineage. The empire rose to prominence as a culmination of attempts by the southern powers to ward off Islamic invasions of India, Perso-Turkic Islamic invasions by the end of the 13th century. At its peak, it subjugated almost all of South India's ruling families and pushed the sultans of the Deccan beyond the Tungabhadra River, Tungabhadra-Krishna River, Krishna river doab region, in addition to annexing modern day Odisha (ancient Kalinga (historical region), Kalinga) from the Gajapati Empire, Gajapati Kingdom thus becoming a notable power. It lasted until 1646 ... [...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] |
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] |
Pundarika Vitthala
Pundalik ( mr, पुंडलिक) or Pundarik is a central figure in the legends of the Hindu God Vithoba, generally considered a Vaishnava deity identified with the deities Vishnu and Krishna. He is credited to have brought Vithoba to Pandharpur, where Vithoba's central shrine stands today. Pundalik is also perceived to be the historical founder of the Varkari sect, which is centered on the worship of Lord Vithoba. Pundalik was one of the earliest Kundalini Yoga practitioners. As He was the master of Kundalini Yoga, people used to call him "Kundalik". Later, after several years, Kundalik become Pundalik. He symbolised Kundalini energy in the form of Lord Vitthal also known as Lord Pandurang after his name Pundalik. Pandharpur's Vitthal was an incarnation of Lord Vishnu or Lord Krishna. According to legends it also depicts the symbol of the Kundalini Energy, although spiritually, the same energy dwells in all. The brick on which Lord Vitthal is standing is the basic chak ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sangita Ratnakara
The ''Sangita-Ratnakara'', सङ्गीतरत्नाकर, (IAST: Saṅgīta ratnākara), literally "Ocean of Music and Dance", is one of the most important musicological texts from India. Composed by Śārṅgadeva (शार्ङ्गदेव) in Sanskrit during the 13th century, both Carnatic music and Hindustani music traditions of Indian classical music regard it as a definitive text. The author was a part of the court of King Singhana II (1210–1247) of the Yādava dynasty whose capital was Devagiri, Maharashtra. The text is divided into seven chapters. The first six chapters, ''Svaragatadhyaya'', ''Ragavivekadhyaya'', ''Prakirnakadhyaya'', ''Prabandhadhyaya'', ''Taladhyaya'' and ''Vadyadhyaya'' deal with the various aspects of music and musical instruments, while the last chapter ''Nartanadhyaya'' deals with dance. The medieval era text is one of the most complete historical Indian treatises on the structure, technique, and reasoning on music theory that ha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Akbar
Abu'l-Fath Jalal-ud-din Muhammad Akbar (25 October 1542 – 27 October 1605), popularly known as Akbar the Great ( fa, ), and also as Akbar I (), was the third Mughal emperor, who reigned from 1556 to 1605. Akbar succeeded his father, Humayun, under a regent, Bairam Khan, who helped the young emperor expand and consolidate Mughal domains in India. A strong personality and a successful general, Akbar gradually enlarged the Mughal Empire to include much of the Indian subcontinent. His power and influence, however, extended over the entire subcontinent because of Mughal military, political, cultural, and economic dominance. To unify the vast Mughal state, Akbar established a centralised system of administration throughout his empire and adopted a policy of conciliating conquered rulers through marriage and diplomacy. To preserve peace and order in a religiously and culturally diverse empire, he adopted policies that won him the support of his non-Muslim subjects. Eschewing t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karnataka Music
Carnatic music, known as or in the 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 Carnatic and Hindustani ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vijayanagara Empire
The Vijayanagara Empire, also called the Karnata Kingdom, was a Hinduism, Hindu empire based in the region of South India, which consisted the modern states of Karnataka, Andhra Pradesh, Tamil Nadu, Kerala, Goa and some parts of Telangana and Maharashtra. It was established in 1336 by the brothers Harihara I and Bukka Raya I of the Sangama dynasty, members of a pastoralist Herder, cowherd community that claimed Yadava lineage. The empire rose to prominence as a culmination of attempts by the southern powers to ward off Islamic invasions of India, Perso-Turkic Islamic invasions by the end of the 13th century. At its peak, it subjugated almost all of South India's ruling families and pushed the sultans of the Deccan beyond the Tungabhadra River, Tungabhadra-Krishna River, Krishna river doab region, in addition to annexing modern day Odisha (ancient Kalinga (historical region), Kalinga) from the Gajapati Empire, Gajapati Kingdom thus becoming a notable power. It lasted until 1646 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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