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Pann
''Pann'' ( ta, பண்) is the melodic mode used by the Tamil people in their music since the ancient times. The ancient ''pans'' over centuries evolved first into a pentatonic scale. But from the earliest times, Tamil Music is heptatonic and known as Ezhisai (ஏழிசை).Adiyarkunallar's commentary to the ''Aychiyarkkuravai'', the seventh book of Cilappatikaram gives the number of Srutis and how they were allotted among Seven notes. ''Panns'' in literature There are several references to music and ''Pants'' in the ancient pre-Sangam and Sangam literature starting from the earliest known work Tholkappiyam (500 BCE). Among Sangam literature, '' Mathuraikkanci'' refers to women singing ''sevvazhi pain'' to invoke the mercy of God during childbirth. In '' Tolkappiyam'', the five landscapes of the Sangam literature had each an associated ''Pann'', each describing the mood of the song associated with that landscape. Among the numerous ''pans'' that find mention in the ancien ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ancient Tamil Music
The ancient Tamil music is the historical predecessor of the Carnatic music during the Sangam period spanning from 500 BCE to 200 CE. Many poems of the classical Sangam literature were set to music. There are various references to this ancient musical tradition found in the ancient Sangam books such as ''Ettuthokai'' and '' Pattupattu''. The early narrative poem ''Cilappatikaram'', belonging to the post-Sangam period (5th or 6th century) also mentions various forms of music practiced by the Tamil people. Music was an integral part of the compositions of the Tamil Saiva saints such as Appar, Siva Prakasar, Thirugnana Sambanthar and Manikkavasagar during the Hindu revival period between the 6th and the 10th century. Sangam music The Sangam age grammatical work '' Tolkappiyam'' mentions the various music pertaining to the five landscapes (''thinai'') of the Sangam literature. The five landscapes are associated with a particular mood of the poem and to give colour to these mo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ahiri
Ahiri (pronounced āhiri) is a rāgam in Carnatic music. It is a ''janya'' rāgam (derived scale), and associated with the 14th ''melakarta'' scale ''Vakulabharanam''.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It has also been associated with the 8th ''melakarta'' scale Hanumatodi. Though it has all the seven ''swaras'' (musical notes) in the ascending and descending scale, the presence of zig-zag notes (''vakra'' swaras) makes it a ''janya'' rāgam. ''Ahiri'' is an ancient rāgam mentioned in ''Sangita Makarandha'' and ''Sangita samayasara''. It is a difficult rāgam to master, but it is rewarding. The rāgam is synonymous with ''karuna'' rasa (compassion). It is considered an early-morning scale. Structure and Lakshana ''Ahiri'' is an asymmetric rāgam which has ''vakra swaras'' (zig-zag notes) in the ascending scale. It is a ''sampurna'' rāgam (containing all 7 not ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tamil People
The Tamil people, also known as Tamilar ( ta, தமிழர், Tamiḻar, translit-std=ISO, in the singular or ta, தமிழர்கள், Tamiḻarkaḷ, translit-std=ISO, label=none, in the plural), or simply Tamils (), are a Dravidian peoples, Dravidian ethno-linguistic group who trace their ancestry mainly to India’s South India, southern state of Tamil Nadu, union territory of Puducherry (union territory), Puducherry and to Sri Lanka. Tamils who speak the Tamil Language and are born in :Social groups of Tamil Nadu, Tamil clans are considered Tamilians. Tamils constitute 5.9% of the population in India (concentrated mainly in Tamil Nadu and Puducherry), 15% in Sri Lanka (excluding Sri Lankan Moors), 7% in Tamil Malaysians, Malaysia, 6% in Tamil Mauritians, Mauritius, and 5% in Indian Singaporeans, Singapore. From the 4th century BCE, urbanisation and mercantile activity along the western and eastern coasts of what is today Kerala and Tamil Nadu led to the develo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kambhoji
Kambhoji or Kambodhi is a popular Raga in Carnatic Music. It is classified as a derived raga from 28th Melakartha, Harikambhoji. Scale The scale of Kambhoji is Ascending: S R2 G3 M1 P D2 S Descending: S N2 D2 P M1 G3 R2 S (N3 P D2 S) Usage of "n3" in phrase "npds" makes Kambhoji a bhashanga raga (a raga that includes notes other than what is in the parent raga). Medieval era There are numerous references to Raga or Ragini called Kambhoji in ancient Indian musical traditions. Narada's ''Sangita Makaranda'' (7th to 8th century AD) broadly classifies Ragas into eight subsets and includes three raginis in each subset. In this scheme of classification, Narada accepts raga Kambhoji as a mode of ''Shri raga'', the first subset of his scheme of classification. Ramaditya, the author of ''Swara-Mela Kalanidhi'' (1550 AD) has accepted 20 ''melas'' and has accommodated 64 ''Jana-ragas'' among the ''melas''. In this scheme of classification, the twentieth mela is Kambhoji u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kamavardani
Kamavardhani (pronounced kāmavardhini – కామవర్ధిని/ ಕಾಮವರ್ಧಿನಿ/ காமவர்தினி / कामवर्धिनि) is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 51st ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is also referred by the name ''Pantuvarāḷi'',''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications although purists prefer to designate it as Kamavardhini. It literally means "that which increases desire". This rāgam is very popular with musicians who typically sing it in the beginning of a concert. It is called Kāshirāmakriya in the Muthuswami Dikshitar school. The Hindustani music equivalent of ''Kamavardhini'' is the ''Poorvi thaat''/ Puriya Dhanashree.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana It is the 3rd rāgam in the 9th ''chakra Brahma''. The mn ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Malahari
Malahari is a Carnatic raga. This raaga is a ''janya'' of the 15th ''Melakarta'' raga Mayamalavagowla. This raga is known to be a morning raga which brings out a sense of calmness.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It is associated with the rainy season.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications In classical carnatic training, it is often used as a raaga for beginners using geetha right after the swara-based exercises in Mayamalavagowla. Many of the Geetha's in this raga have been composed by Purandara Dasa and Muthuswami Dikshitar. Structure and Lakshana This raga is an asymmetric scale and is classified as an ''audava-shadava'' raga (five notes in the ascending scale and six notes in the descending scale). * : * : The notes in this scale are ''shuddha rishabha, shuddha madhyama, shuddha dhaivata'' in ''arohana'' and additional ''antara gandhara'' in ''avarohana''. Since this scale does not h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arabhi
Arabhi or Aarabhi (pronounced ārabhi) is a ragam (musical scale) in Carnatic music (South Indian classical music). It is a ''Janya'' raga (derived scale), whose ''Melakarta'' raga (parent scale, also known as ''janaka'') is '' Shankarabharanam'', 29th in the 72 ''Melakarta'' raga system. It is a combination of the pentatonic scale ''Shuddha Saveri'' (or ''Durga'' in Hindustani Music) and the ''sampurna raga'' scale ''Shankarabharanam''. ''Arabhi'' is a raga that dates back to 7 AD. Originally, it was called as ''pazhanthakkam'' in Ancient Tamil music. A very auspicious ragam that emanates Veera rasa (valour), Arabhi is one of the five ''Ghana'' ragams that shine with special brilliance when '' Thanam'' is played on Veena. Structure and Lakshana Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : ''Arabhi'' raga is an ''Owdava-sampoorna'' raga meaning, 5 ''swaras'' occur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mechakalyani
Kalyani is a melakarta raga (parent musical scale) in the Carnatic music. It was called Kalyan but is now more popularly called Yaman (raga), Yaman in Hindustani Music. Its Western equivalent is the Lydian mode. Kalyani in Carnatic music In South Indian weddings it is a very prominently played raga. The word ''Kalyani'' means ''she who causes auspicious things''. It is the 65th melakarta raga under the Katapayadi Katapayadi sankhya, sankhya. It is also called ''Mechakalyani''. The notes for Kalyani are S R2 G3 M2 P D2 N3. Kalyani is the first Prathi Madhyama raga that was ever discovered. It was obtained by the process of Graha Bhedam or modal shift of tonic of the ancient Shadja Grama. Specifics on this raga Kalyani has scope for elaborate alapana. One should not remain too long on panchamam (pa) or alternate between shadjamam and panchamam too frequently. Kalyani is prominently known among the public. It is often performed at the beginning of concerts because it is conside ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kharaharapriya
Kharaharapriya is a rāga in Carnatic music. It is the 22nd ''melakarta'' rāga (parent scale) in the 72 ''melakarta'' rāga system. It is possible that the name of the ragam was originally ''Harapriya'' but it was changed to conform to the Katapayadi formula. ''Kharaharapriya'' has a distinct melody and brings out the ''Karuna'' rasam, invoking pathos in the listeners. The ''Kafi thaat'' of Hindustani music is the equivalent of ''Kharaharapriya''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Its Western equivalent is the Dorian mode. Etymology There are many theories behind the etymology of the name ''Kharaharapriya''. One of the most popular beliefs is that the ragam was initially called Samaganam and when Ravana was trapped by Shiva, under the kailash hill trying to lift it, it is believed that, to appease the lord, Ravana sang many hymns in praise of the lord, but his ... [...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] |
Hanumatodi
Hanumatodi, more popularly known as Todi (pronounced hanumatōdi and tōdi), is a rāgam (musical scale) in Carnatic music. It is the 8th ''melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system. This is sung very often in concerts. It is a difficult rāgam to perform in owing to its complexity in '' prayoga'' (phrases of notes and intonation). It is called Janatodi in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai Its Western equivalent is the Phrygian mode. Todi in Carnatic music is different from ''Todi (thaat)'' of Hindustani music (North Indian classical music). The equivalent of the Hindustani raga ''Todi'' in Carnatic music is ''Shubhapantuvarali'' (which is the 45th ''melakarta'').''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras The equival ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Natabhairavi
Naṭabhairavi is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 20th ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system. It corresponds to the Natural minor scale of western music system. Natabhairavi corresponds to the ''Asavari thaat'' of Hindustani 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 In the Muthuswami Dikshitar school this melakarta is instead known as Nārīrītigowla.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai ''Natabhairavi'' is known to be a rāgam that incites feelings of grandeur and devotion in the listeners. Structure and Lakshana It is the 2nd rāgam in the 4th ''chakra Veda''. The mnemonic name is ''Veda-Sri''. The mnemonic phrase is ''sa ri gi ma pa dha ni''. Its ' structure is as follows (see ''swaras'' in Carnatic music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
