|
Swami Haridas
Swami Haridas (1480—1573) was a spiritual poet and classical musician. Credited with a large body of devotional compositions, especially in the Dhrupad style, he is also the founder of the Haridasi school of mysticism, still found today in North India. His work influenced both the classical music and the Bhakti movements of North India, especially those devoted to Krishna's consort Radha. Hit Harivansh Mahaprabhu, Hariram Vyas, Rupa Goswami, Vidyapati, Mahaprabhu Vallabhacharya, Vitthalnath (Gusainji), were his contemporaries. Swami Haridas is a direct disciple of father of Carnatic Music Purandara Dasa of Karnataka. He had many pupils, Tansen being one of them and one of Akbar's nine gems. Biography Haridas's father was a Saraswat Brahmin from Multan and that his mother's name was Chitra Mata. The family migrated to a village called Rajpur , near Vrindavan in Uttar Pradesh. Haridas was born there in 1480 and the village is now called Rajpur gram in his honor. This vi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swami Haridas 1985 Stamp Of India
Swami ( ; sometimes abbreviated sw.) in Hinduism is an honorific title given to a male or female ascetic who has chosen the path of renunciation (''sanyāsa''), or has been initiated into a religious monastic order of Vaishnavas. It is used either before or after the subject's name (usually an adopted religious name). The meaning of the Sanskrit root of the word ''swami'' is "e who isone with his self" ( stands for "self"), and can roughly be translated as "he/she who knows and is master of himself/herself". The term is often attributed to someone who has achieved mastery of a particular yogic system or demonstrated profound devotion (''bhakti'') to one or more Hindu gods. The ''Oxford English Dictionary'' gives the etymology as: As a direct form of address, or as a stand-in for a swami's name, it is often rendered ''Swamiji'' (also ''Swami-ji'' or ''Swami Ji''). In modern Gaudiya Vaishnavism, ''Swami'' is also one of the 108 names for a sannyasi given in Bhaktisiddhanta Sa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shri Ashudheer Maharaj
Shri (; , ) is a Sanskrit term denoting resplendence, wealth and prosperity, primarily used as an honorific. The word is widely used in South and Southeast Asian languages such as Marathi, Malay (including Indonesian and Malaysian), Javanese, Balinese, Sinhala, Thai, Tamil, Telugu, Hindi, Nepali, Malayalam, Kannada, Sanskrit, Pali, Khmer, and also among Philippine languages. It is usually transliterated as ''Sri'', ''Sree'', ''Shri'', Shiri, Shree, ''Si'', or ''Seri'' based on the local convention for transliteration. The term is used in Indian subcontinent and Southeast Asia as a polite form of address equivalent to the English "Mr." in written and spoken language, but also as a title of veneration for deities or as honorific title for local rulers. Shri is also another name for Lakshmi, the Hindu goddess of wealth, while a ''yantra'' or a mystical diagram popularly used to worship her is called Shri Yantra. Etymology Monier-Williams Dictionary gives the meaning of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baiju Bawra
Baiju Bawra (Lit. "Baiju the Insane", born as Baijnath Mishra) was a dhrupad musician from medieval India. Nearly all the information on Baiju Bawra comes from legends, and lacks historical authenticity. According to the most popular legends, he lived in the Mughal period during the 16th and 17th centuries. He was one of the court musicians of Man Singh Tomar of Gwalher (now Gwalior). Chanderi–Gwalior legend According to a story, mentioned by Susheela Misra in ''Some immortals of Hindustani music'', Baiju Bawra was born as Baijnath Mishra in a poor Brahmin family in Champaner, Gujarat Sultanate. After his father's death, his mother, a devotee of Krishna, went to Vrindavan. There, Baiju met his teacher Swami Haridas, and was trained in a gurukula. He also adopted an orphan named Gopal, and trained him to be a musician. Gradually, Baiju became famous, and was invited to the court of the Raja of Chanderi. In Chanderi, Baiju's adopted son Gopal also became famous. Gopal married ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nine Gems
Navaratnas (Sanskrit dvigu ''nava-ratna'', ) () or Nauratan was a term applied to a group of nine extraordinary people in an emperor's court in India. The well-known Nauratnas include the ones in the courts of the Hindu emperor Vikramaditya, the Mughal emperor Akbar, and the feudal lord Raja Krishnachandra. Vikramaditya's(Chandragupta II) Navaratnas Vikramaditya was a legendary emperor, who ruled from Ujjain; he is generally identified with the Gupta emperor Chandragupta II. According to folk tradition, his court had 9 famous scholars. The earliest source that mentions this legend is ''Jyotirvidabharana'' (22.10), a treatise attributed to Kalidasa. According to this text, the following 9 scholars (including Kalidasa himself) attended Vikramaditya's court: Another popular tradition mentions the astronomer Brahmagupta and the magician Vaitalik instead of Ghatkharpar and Vetala-Bhatta. Multiple scholars consider ''Jyotirvidabharana'' a literary forgery of a date later ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga Basant
Basant or Vasant is a Hindustani classical raga. Raga Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. In the Guru Granth Sahib Ji, there are a total of 60 raga compositions and this raga is the forty-ninth raga to appear in the series. The composition in this raga appear on a total of 29 pages from page numbers (Ang) 1168 to 1170. Basant denotes the changing of the season and the newness of spring. This Raag encourages the mind to brush away its selfishness, just like spring-cleaning removes all the cobwebs and creates a fresh start. There are feelings of hope and expectation of a new beginning and the start of a new cycle. However, these emotions are not dependent on the physical change of the season, but are an encouragement of an internal effort to change. Origin Vasant is a Sanskrit word for "spring". The word is much older than ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga Malhar
"Malhar" is a Hindustani classical raga. Malhar is associated with torrential rains. Besides the basic Shuddha Malhar, which was the original Malhar, several Malhar-related ragas use the Malhar signature phrase m (m)R (m)R P, including "Miyan ki Malhar", "Megh Malhar", "Ramdasi Malhar", "Gaud Malhar", "Sur Malhar", "Shuddha Malhar", "Desh Malhar", "Nat Malhar", "Dhulia Malhar", and "Meera ki Malhar". This phrase, although it might seem similar and equivalent, is different from the swara phraseology employed in Raga "Brindavani Sarang". It can be determined that raga Malhar or rather Miyan ki Malhar is a mixture of ragas "Brindavani Sarang", raga "Kafi" and raga "Durga".This raga has a ''Vakra'' form (meaning that the swaras of a raga are not completely arranged in a particularly straightforward manner), and is classified as a Ghambir Prakruti raga (meaning that it is played slow with patience, and it is played in a serious tone/note). Legend According to legend, Malhar is s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gauri (raga)
Gauri is an India musical raga that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. there are Gouris of the Bhairav, Poorvi and Marwa thats with additional qualifiers such as the Shree-anga Gouri, Bhairav-anga Gouri, Poorvi-anga Gouri and so on. These are not considered ‘big’ ragas. In the Guru Granth Sahib, the Sikh holy Granth (book) there are a total of 60 raga compositions and this raga is the ninth raga to appear in the series. The composition in this raga first appear on ang (page) no. 151. Raag Gauri (ਗਉੜੀ) – Gauri creates a mood where the listener is encouraged to strive harder in order to achieve an objective. However, the encouragement given by the Raag does not allow the ego to increase. This theref ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kedar (raga)
Raga Kedar, also known as Kedara, is a Hindustani classical raga. Named after Lord Shiva, the raga occupies a high pedestal in Indian classical music. It is characterised by many melodious turns. This raga is the repetition of the swaras सा and म. It is generally accepted that it displays much thermal energy and is regarded as the Raagini of Raag Deepak. While preceding from Shuddha Madhyam (m) to Pancham (P), a touch of Gandhar (G) or a smooth passage from Gandhar (G) to Pancham (P) expressed as m G P is the more common way of instant raga manifestation. Origin The raga emerges from the Kalyan thaat. This raga is named after Lord Shiva and is loved by Lord Krishna. Lord Krishna played this raga on his flute and everyone in Gokul was mesmerized. Technical description The raga is of ''shaadava-sampurna'' nature, i.e., in its arohana (ascent), only six notes are used, and in avarohana (descent), all seven notes are used. In general, the progression of the raga is hig ... [...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] |
Daff
John Ashley "Daff" Gammons (March 17, 1876 – March 24, 1963) was an American baseball and football player, college football and baseball coach, amateur golfer, and insurance agent. He played professional baseball for one season, 1901, for the Boston Beaneaters. Gammons served as the head football coach at Brown University in 1902, 1908, and 1909, and as its head baseball coach from 1901 to 1903. Early life Gammons was born on March 17, 1876, in New Bedford, Massachusetts. He attended Brown University, where he earned letters in football from 1895 to 1897, and baseball, including on the 1896 national championship team. He graduated from Brown in 1898, and then attended Harvard University in 1899 and 1900. Professional career After college, Gammons embarked upon a professional career in the insurance business. In 1901, he founded his own insurance company, John A. Gammons, Inc. (later Gammons & Son), in Providence, Rhode Island, which still remained in business more than one hun ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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] |
.jpg "Click for more on -> Nine Gems")
