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Thiruvempavai
The Thiruvempavai (Tamil: திருவெம்பாவை, IAST: Tiruvempāvai) is a collection of songs composed by the poet and saint, Manikkavacakar. It consists of 20 stanzas devoted to the Hindu God Shiva. It forms part of the collection called Thiruvasagam, and the 8th book of the Thirumurai, a canonical text of the Tamil Shaiva SiddhanTa Shaiva Siddhanta () (Tamil: சைவ சித்தாந்தம் "Caiva cittāntam") is a form of Shaivism that propounds a dualistic philosophy where the ultimate and ideal goal of a being is to become an enlightened soul through Shiv .... The songs form part of the Pavai ritual for unmarried young girls during the Tamil month of Margazhi. Pavai genre The pavai songs are part of an ancient tradition amongst unmarried young girls, where they would light lamps in the early mornings of Margazhi, and sing songs in praise of Lord Shiva. The 20 stanzas are sung, one on every day and then followed by the 10 songs of the Thirup ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thiruvasagam
''Thiruvasagam'' ( ta, திருவாசகம், tiruvācakam, translit-std=IAST, lit=sacred utterance) is a volume of Tamil hymns composed by the ninth century Shaivite ''bhakti'' poet Manikkavasagar. It contains 51 compositions and constitutes the eighth volume of the Tirumurai, the sacred anthology of the Tamil Shaiva Siddhanta. Legend has it that Manikkavasakar was appointed as minister by king Arimarttanar and sent to purchase 10,000 horses from Arab traders but spent the money building a temple in Tirupperunturai. As the legend goes, ''Thiruvasagam'' is the only work which is signed as well as written by Lord Shiva in guise of a Tamil man when narrated by Manikkavasagar. The poet chased the writer but without success but the palm leaf manuscript had been seen inside the locked sanctum sanctorum of Thillai Nataraja with the Lord's signature. Poet Manikkavasagar's ''Thiruvasagam'' and ''Thirukovayar'' are compiled as the eighth ''Thirumurai'' and is full of visionary ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Manikkavacakar
Manikkavacakar, or Maanikkavaasagar ''(Tamil: மாணிக்கவாசகர், "One whose words are like gems")'', was a 9th-century Tamil saint and poet who wrote ''Tiruvasakam'', a book of Shaiva hymns. Speculated to have been a minister to the Pandya king Varagunavarman II (c. 862 CE–885 CE) (also called ''Arimarthana Pandiyan''), he lived in Madurai. He is revered as one of the Nalvar (''"group of four"'' in Tamil), a set of four prominent Tamil saints alongside Appar, Sundarar and Sambandar. The other three contributed to the first seven volumes (Tevaram) of the twelve-volume Saivite work Tirumurai, the key devotional text of Shaiva Siddhanta. Manikkavacakar's ''Tiruvasakam'' and Thirukkovaiyar form the eighth. These eight volumes are considered to be the ''Tamil Vedas'' by the Shaivites, and the four saints are revered as ''Samaya Kuravar'' (''religious preceptors'') His works are celebrated for their poetic expression of the anguish of being separated from Go ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tamil Language
Tamil (; ' , ) is a Dravidian language natively spoken by the Tamil people of South Asia. Tamil is an official language of the Indian state of Tamil Nadu, the sovereign nations of Sri Lanka and Singapore, and the Indian territory of Puducherry. Tamil is also spoken by significant minorities in the four other South Indian states of Kerala, Karnataka, Andhra Pradesh and Telangana, and the Union Territory of the Andaman and Nicobar Islands. It is also spoken by the Tamil diaspora found in many countries, including Malaysia, Myanmar, South Africa, United Kingdom, United States, Canada, Australia and Mauritius. Tamil is also natively spoken by Sri Lankan Moors. One of 22 scheduled languages in the Constitution of India, Tamil was the first to be classified as a classical language of India. Tamil is one of the longest-surviving classical languages of India.. "Tamil is one of the two longest-surviving classical languages in India" (p. 7). A. K. Ramanujan described it as "the on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Khamas (raga)
Khamas''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras or Kamās/ Khamās /Khamāch/ Khamāj / Kamāchi (கமாச்) (ఖమాస్/కమాచి) a rāgam in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāgam (derived scale) from the 28th ''melakarta'' scale ''Harikambhoji''. It is a ''janya'' scale, as it does not have all the seven ''swaras'' (musical notes) in the ascending scale. It is a scale that evokes ''Shringara rasa''. It is suitable for ''javali'' type compositions. Structure and Lakshana ''Khamas'' is an asymmetric rāgam that does not contain ''rishabham'' in the ascending scale. It is a ''vakra-shadava-sampurna'' rāgam (''vakra-shadava'', meaning 6 notes in ascending scale with zig-zag moves). Its ' structure (ascending and descending scale) is as follows: * : * : The notes used in this scale are ''shadj ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindolam
Hindōḷaṃ is a rāgam in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāgam (or ''owdava'' rāgam, meaning pentatonic scale). It is a ''janya'' rāgam (derived scale), as it does not have all the seven ''swaras'' (musical notes). Hindolam is not the same as the Hindustani Hindol. The equivalent of ''Hindolam'' in Hindustani music is ''Malkauns''''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications (or Malkosh''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras). It is known to be a rāgam that is generally beautiful and soothing to listen to. Being symmetrical in its ascending and descending scales, it lends itself very well to improvisation and is therefore popular at concerts. Structure and Lakshana ''Hindōḷaṃ'' is a symmetric rāgam that does not contain ''rishabham'' and ''panchamam''. It is a pentatonic scale (''audava-audava'' rāgam in Carnatic music classification—''audava ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Amritavarshini
Amr̥tavarṣiṇi is a rāgam in Carnatic music (musical scale of South Indian classical music), created in the early nineteenth century by Muthuswami Dikshitar. It is an ''audava'' rāgam (meaning pentatonic scale) in which only five of the seven ''swaras'' (musical notes) are used. It is a ''janya'' rāgam (derived scale), fairly popular in Carnatic music. There is a belief that ''Amr̥tavarṣiṇi'' causes rain ( The name of the rāgam is derived from the Sanskrit words Amrita: meaning Nectar and Varshini: meaning one who causes a shower or rain, and hence the association with rain ), and that the Carnatic composer Muthuswami Dikshitar brought rain at Ettayapuram, Tamil Nadu, India by singing his composition, ''Aanandaamrutakarshini amrutavarshini''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Rāganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana ''Amr̥tavarṣiṇi'' is a rāgam that does no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Suddhadhanyasi
Udayaravichandrika is a rāgam in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāgam (or ''owdava'' rāgam, meaning pentatonic scale ). It is a ''janya'' rāgam (derived scale), as it does not have all the seven ''swaras'' (musical notes). Closer to ''Udayaravichandrika'' in Hindustani music is '' Dhani'' aka Gaundgiri.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras But Dhani has N2 while Udayaravichandrika N3 in theory. Structure and Lakshana ''Udayaravichandrika'' is a symmetric rāgam that does not contain ''rishabham'' or ''dhaivatam''. It is a pentatonic scale (''audava-audava'' rāgam in Carnatic music classification – ''audava'' meaning 'of five') and is equivalent to the minor pentatonic scale in Western music. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saveri
Saveri (pronounced sāvēri) is a Carnatic music ragam. This raga is a janya of the 15th Melakarta raga Mayamalavagowla. This raga brings out karuna rasa, i.e. it brings mood of compassion.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Structure and Lakshana This ragam is an ''Audava-Sampurna'' ragam (five notes in the ascending scale and seven notes in the descending scale). * : * : The notes are ''shuddha rishabham, shuddha madhyamam'' and ''shuddha dhaivatam'' in ascending scale and ''kakali nishadam, shuddha dhaivatam, shuddha madhyamam, antara gandharam'' and ''shuddha rishabham'' in descent. The two swaras which give the raga such a characteristic are R (Rishabham) and D (Dhaivatham). Select compositions *''Sarasuda'', a ''varnam'' composed by Kotavasal Venkatarama Iyer, set to ''Adi tala'' *''Sankari Sankuru'', ''Durusuga'' and ''Janani Natajana'' composed by Shyama Sastri *''Bhavayaami Raghuraamam (first raga used in this rag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sankarabharanam (raga)
Dhīraśankarābharaṇaṃ, commonly known as ''Śankarābharaṇaṃ'', is a rāga in Carnatic music. It is the 29th ''Melakarta'' rāga in the 72 ''Melakarta'' rāga system of Carnatic music. Since this raga has many Gamakās (ornamentations), it is glorified as ''"Sarva Gamaka Maaṇika Rakti Rāgaṃ".'' By scale wise, the Śankarābharaṇaṃ scale corresponds to ''Bilaval'' in the Hindustani music system. The Western equivalent is the major Scale (music), scale, or the ''Ionian mode''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Hence this rāga is one of the most popular scales across the world, known with different names in different musical styles. Its nature is mellifluous and smooth. This rāga offers a large scope for compositions. It is ideal for a melodious, but still laid back majestic presentation. Structure and Lakshana It is the 5th rāga in the 5th '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shuddha Saveri
Shuddha Saveri or śuddha sāveri is a ragam in Carnatic music (musical scale of South Indian classical music) and Yakshagana music. It is an ''audava'' rāgam (or ''owdava'' rāgam, meaning pentatonic scale). It is a '' janya'' rāgam (derived scale)of the Melakarta ragam Dhīraśaṅkarābharaṇaṃ which is 29th Melakarta raga. In Hindustani music it is called ''Durga''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras According to the school of Muthuswami Dikshitar, this rāgam is called ''Devakriya''. '' Karnataka Shuddha Saveri'', a janya rāgam of 1st ''melakarta'' '' Kanakangi'', is called ''Shuddha Saveri'' by the Dikshitar school. Structure and Lakshana ''Shuddha Saveri'' is a symmetric rāgam that does not contain ''gāndhāram'' or ''nishādam''. It is a pentatonic scale (''audava-audava'' ragam in Carnatic music classification – audava meaning 'of 5'). Its ' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nattakurinji
Nattakurinji is a raga (musical scale) in Carnatic music. It is an ''audava janya'' raga of 28th Melakarta raga Harikambhoji. This raga is good to sing in evenings.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is used rarely in Hindustani, but is very popular in Carnatic music.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras The raaga Kurinji belongs to the Melakarta family Shankarabharanam but is sung relatively rarely. Structure and Lakshana ''Nattakurinji'' is an asymmetric rāgam. It is said to have three types of ascending (arohana) and descending scales (avarohana). In practice all 3 types of ''arohana'' and ''avarohana'', as well as other usages (''prayogas'') are found. Its ' structure (one ascending and descending scale) is as follows: * : * : The notes used in this scale are ''shadjam, chathusruthi rishabham, antara gandhara, chathusruthi dhaivatham'' and ''kaisiki nishadham'' in ascending scale, wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dhanyasi
Dhanyasi is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāgam (derived scale) from the 8th '' melakarta'' scale ''Hanumatodi''. It is a ''janya'' scale, as it does not have all the seven ''swaras'' (musical notes) in the ascending scale. It is a combination of the pentatonic scale ''Shuddha Dhanyasi'' and the ''sampurna raga'' scale ''Hanumatodi''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications This is the common and popular scale and is used for portraying the '' bhakthi rasa''. According to the Muthuswami Dikshitar school, there exists a scale with same name, ''Dhanyasi'', which is derived from '' Natabhairavi melakarta'' scale, instead of ''Hanumatodi'' scale.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras This scale is less popular and has far less compositions set to it. Structure and Lakshana ''Dhanyasi'' is an asymmetric rāgam that does not contain ''rishabham ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
