|
Ragamalika
Ragamalika, literally a garland of ragas, is a popular form of composition in Carnatic music where different segments of the composition are set to different ragas. It is also known as ''Raga Kadambakam,'' and forms parallel to the composition form talamalika which features segments set to different talas. Ragatalamalika are a special kind of ragamalika compositions featuring a range of talas. Navaragamalika is a popular type of ragamalika composition where the music is set to 9 ragas. Ramaswami Dikshitar is referred to as ''Ragamalika Chakravarti'' (King of Ragamalika) for his varied ragamalika compositions in Telugu. Over the years, composers composed elaborate pieces such as the '''ashtottarashata ragatalamalika’'' of Ramaswami Dikshitar with 108 ragas and 108 talas, and 'melakarta ragamalika' of Maha Vaidyanatha Iyer featuring all 72 sampoorna melakarta ragas. Compositions A few examples of ragamalikas are: * ''Manasa Verutarula, Sivamohanasakti nannu, Samajagamana Ninnu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swathi Thirunal Rama Varma
( ml, സ്വാതി തിരുനാള് രാമവർമ്മ) (16 April 1813 – 26 December 1846) was the Maharaja of the Kingdom of Travancore. He is also considered as a brilliant music composer and is credited with over 400 classical compositions in both Carnatic and Hindustani style.http://print.achuth.googlepages.com/SwathiThirunalandSciencev3.0.pdf A well-formulated code of laws, courts of justice, introduction of English education, construction of an observatory, installation of the first Government printing press, establishment of the first manuscripts library were amongst the many initiatives taken by Svāti Tirunāḷ, as a King, to modernise Travancore. Early life Svāti Tirunāḷ was born into the Venad dynasty of the Matrilineal royal family of Travancore, which is now a part of Kerala, on 16 April 1813. He was the second child of Queen Gowri Lakshmi Bayi who ruled Travancore from 1811 to 1815, and Raja Raja Varma Koil Thampuran of C ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Navaragamalika
Navaragamalika (pronounced navarāgamālika) is a composition in Carnatic Music that is composed using a collection of nine ragas. Each verse is set to a different raga. Etymology ''Navaragamalika'' is the samasa of two words, ''nava'' and ''ragamalika''. ''Nava'' means nine. ''Ragamalika'' means a garland of ragas in a composition. Compositions The most well-known example of a Navaragamalika is ''Valachi Vachi'', a Telugu varnam in the nine ragams of Kedaram, Shankarabharanam, Kalyani, Begada, Kambhoji, Yadukulakamboji, Bilahari, Mohanam and Shree ragam. The author of the varnam is said to be Patnam Subramania Iyer, though it is also attributed to Kottavasal Venkatarama Iyer. ''Navaragamalikas'' are commonly used in the composition of ''Pada Varnams'', which are a class of ''varnams'' composed mainly for dance. They are particularly useful when the song is intended to portray the '' Navarasas'', or nine emotions. ''Navaragamalika Pada Varnams'' include: ''Samiyai Azh ... [...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] |
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] |
Tala (music)
A tala ( IAST ''tāla'') literally means a 'clap, tapping one's hand on one's arm, a musical measure'. It is the term used in Indian classical music similar to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the Indian subcontinental traditions. Along with ''raga'' which forms the fabric of a melodic structure, the ''tala'' forms the life cycle and thereby constitutes one of the two foundational elements of Indian music. ''Tala'' is an ancient music concept traceable to Vedic era texts of Hinduism, such as the '' Samaveda'' and methods for singing the Vedic hymns. The music traditions of the North and South India, particularly the ''raga'' and ''tala'' systems, were not considered as distinct till about the 16th century. There on, during the tumultuous period of Islamic rul ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ramaswami Dikshitar
Ramaswami Dikshita (, 1735–1817) or Dikshitar was a South Indian composer of Carnatic music and the father of Muthuswami Dikshitar. He was a member of the courts of Amar Singh of Thanjavur, Amarasimha () and Thuljaji, Tulaja II () of Thanjavur. Ramaswami Dikshitar was instructed in music and music theory by Melattur Veerabhadrayya and Venkata Vaidyanatha Dīkshitar, a grandson of Venkatamakhin, author of the Chaturdandiprakashika. His ragamalika using 108 ragas and tala (music), talas is notable and the longest of its type. He also composed varnams in a variety of ragas. He is popularly considered the creator of the raga, Hamsadhvani. Others believe that he was the first to create a composition using it which made it popular. His son Muthuswami Dikshitar's acclaimed work, Vatapi Ganapatim was composed using the same raga. Besides Muthuswami, Ramaswami Dikshitar had two other sons, Chinnaswami and Balaswami, and a daughter, Balamba. Balaswami's grandson was the composer and sch ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Telugu Language
Telugu (; , ) is a Dravidian language spoken by Telugu people predominantly living in the Indian states of Andhra Pradesh and Telangana, where it is also the official language. It is the most widely spoken member of the Dravidian language family and one of the twenty-two scheduled languages of the Republic of India. It is one of the few languages that has primary official status in more than one Indian state, alongside Hindi and Bengali. Telugu is one of six languages designated as a classical language (of India) by the Government of India. Telugu is also a linguistic minority in the states of Karnataka, Tamil Nadu, Maharashtra, Gujarat, Chhattisgarh, Orissa, West Bengal, and the union territories of Puducherry and Andaman and Nicobar Islands. It is also spoken by members of the Telugu diaspora spread across countries like United States, Australia, United Kingdom, Canada, New Zealand in the Anglosphere; Myanmar, Malaysia, South Africa, Mauritius; and the Arabian Gulf count ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maha Vaidyanatha Iyer
Vaidyanatha Sivan (1844 - 1893) ( ta, மஹா வைத்யநாத சிவன்) was a composer and vocalist of Carnatic music. He was a great exponent of extemporaneous singing. He also composed a ''ragamalika'' (garland of ragas - a song that utilises more than one ''raga'') with all the 72 melakartha ragas. Maha Vaidyanatha Iyer, as Sivan came to be known, was born in the village of Viyacheri in the Thanjavur district of Tamil Nadu, on 23 May 1844. His father Duraisami Iyer was also a musician and he trained Vaidyanatha Iyer as well as his other sons in Carnatic music. Vaidyanatha Iyer continued his training with some of the well known musicians of his time including Anai Ayya brothers. Later he continued his training under Manambuchavadi Venkatasubbayyar, one of Tyagaraja’s disciples. He was famous for his elaboration of ''ragas'' (''raga alapana''). Maha Vaidyanatha Sivan and his elder brother, Ramaswami Sivan, were the earliest performing duo in the history of C ... [...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] |
Muthuswami Dikshitar
Muthuswami Dikshitar (Mudduswamy Dikshitar)(, 24 March 1776 – 21 October 1835), mononymously Dikshitar, was a South Indian poet, singer and veena player, and a legendary composer of Indian classical music, who is considered one of the musical trinity of Carnatic music. Muthuswami Dikshitar was born on 24 March 1775 in Tiruvarur near Thanjavur, in what is now the state of Tamil Nadu in India, to a family that is traditionally traced back to Virinichipuram in the northern boundaries of the state. His compositions, of which around 500 are commonly known, are noted for their elaborate and poetic descriptions of Hindu gods and temples and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas. They are typically in a slower speed (chowka kala). He is also known by his signature name of Guruguha which is also his mudra (and can be found in each of his songs). His compositions are widely sung and played in classical concerts of Carnatic mu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Patnam Subramania Iyer
Patnam Subramania Iyer (1845 – July 31, 1902) was a composer and singer of Carnatic music. Subramaniya Iyer followed the traditions of the great composer Tyagaraja. He has left behind almost one hundred compositions. Subramaniya Iyer was born in Thiruvaiyaru in Thanjavur district of present-day Tamil Nadu. His family had a long history of musical involvement – his father Bharatam Vaidyanatha Iyer was adept at both music and Sastra and his grandfather Panchanada Sastri was the court musician in the court of Serfoji Maharaja of Thanjavur. Subramaniya Iyer learned music from his uncle, Melattur Ganapati Sastri, and later under Manambuchavadi Venkatasubbayyar who was a disciple of Tyagaraja himself. Subramaniya Iyer spent a long time in Chennapatnam (Chennai). This gave Subramaniya Iyer the prefix to his name. Many of his students such as Mysore Vasudevachar, Poochi Srinivasa Iyengar, Bhairavi Kempegowda and Tiger Varadachariar became famous composers and vocalists. His neighb ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kanakadasa
Kanaka Dasa (1509–1609) was a Haridasa saint and philosopher, popularly called Daasashreshta Kanakadasa (ದಾಸಶ್ರೇಷ್ಠ ಕನಕದಾಸ). He was a renowned composer of Carnatic music, poet, reformer and musician. He is known for his keertanas and ugabhoga, and his compositions in the Kannada language for Carnatic music. Like other Haridasas, he used simple Kannada and native metrical forms for his compositions. Life Kanaka Dasa was born into a Kannada Kuruba (shepherd) Hindu family in Baada village, near Bankapura in Karnataka, and was a warrior at Bankapura fort. He was taught by Srinivasacharya. As a child, he became an expert in ''tarka'', ''vyakaran'', and ''mimamsa''. Based on one of his compositions, it is interpreted that he was seriously injured in a battle and was miraculously saved. After this incident, he gave up his profession as a warrior and devoted himself to composing music, writing literature and explaining philosophy to people. His ear ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
.jpg "Click for more on -> Tala (music)")
