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Thillana
A Tillana or thillana is a rhythmic piece in Carnatic music that is generally performed at the end of a concert and widely used in classical indian dance performances. It was popularised by Dr. M Balamuralikrishna and some other musicians A Tillana uses tala-like phrases in the pallavi and anupallavi, and lyrics in the charanam. The ''thillana'' is based on the tarana which was introduced by Amir Khusrau Abu'l Hasan Yamīn ud-Dīn Khusrau (1253–1325 AD), better known as Amīr Khusrau was an Indo-Persian culture, Indo-Persian Sufi singer, musician, poet and scholar who lived under the Delhi Sultanate. He is an iconic figure in the cultural his ... (1253-1325 CE). Popular Compositions * Kadanakuthuhalam Thillana composed by Dr.M. Balamuralikrishna (Ragam: Kadanakuthuhalam) * Kadanakuthuhalam Thillana composed by Lalgudi Jayaraman (Ragam: Kadanakuthuhalam) * Kalinga Narthana Thillana composed by Sri Oothukkadu Venkata Ravi (Ragam: Gambhira Natta) * Mohanakalyani Thillana c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thillana
A Tillana or thillana is a rhythmic piece in Carnatic music that is generally performed at the end of a concert and widely used in classical indian dance performances. It was popularised by Dr. M Balamuralikrishna and some other musicians A Tillana uses tala-like phrases in the pallavi and anupallavi, and lyrics in the charanam. The ''thillana'' is based on the tarana which was introduced by Amir Khusrau Abu'l Hasan Yamīn ud-Dīn Khusrau (1253–1325 AD), better known as Amīr Khusrau was an Indo-Persian culture, Indo-Persian Sufi singer, musician, poet and scholar who lived under the Delhi Sultanate. He is an iconic figure in the cultural his ... (1253-1325 CE). Popular Compositions * Kadanakuthuhalam Thillana composed by Dr.M. Balamuralikrishna (Ragam: Kadanakuthuhalam) * Kadanakuthuhalam Thillana composed by Lalgudi Jayaraman (Ragam: Kadanakuthuhalam) * Kalinga Narthana Thillana composed by Sri Oothukkadu Venkata Ravi (Ragam: Gambhira Natta) * Mohanakalyani Thillana c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music Terminology
Carnatic music terms are briefly described in this page. Major terms have their own separate article pages, while minor terms are defined / described here. The order of terms is from basic to related terms, rather than alphabetic. Main terms Nāda '' Nāda'' refers to music or musical sound. It also refers to the tone of a musical instrument. Anahata Nāda ''Anāhata Nāda'' refers to the naturally occurring sounds (literally not struck). Ahata Nāda ''Ahata Nāda'' refers to generated sounds or sounds made by efforts of man (literally that which is heard). It is of 6 types. 1.shareeraja - it emanates from the human throat. Example: vocal singing 2.Dhanuja - is born from string instruments. Example: Violin,veena etc... 3.Vayuja - us born when air is passed through narrow pipe like instruments. Example: Flute, nadaswaram etc... 4.Charmaja 5. Lohaja 6.Nakhaja Śruti ''Śruti'' is musical pitch. It is considered to be equivalent to tonic of western music. This is the pit ... [...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] |
Pallavi
A pallavi has multiple connotations in carnatic music. It is the first part of any formal composition (Krithi) which has three segments - Pallavi, Anupallavi and Charanam (which can be one or more). Pallavi is usually also an abbreviation of Ragam Thanam Pallavi. Other uses Pallavi in Sanskrit Sanskrit (; attributively , ; nominally , , ) is a classical language belonging to the Indo-Aryan branch of the Indo-European languages. It arose in South Asia after its predecessor languages had diffused there from the northwest in the late ... is used as an adjective or a verb with appropriate suffix to denote a small and tender red-coloured leaf of a plant or a tendril. Spokensanskrit.de. Retrieved on 2017-02-23. ...
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Anupallavi (music)
In Carnatic music, the anupallavi comes after the pallavi and is usually the second section of any composition. It is then followed by one or more charanam Charanam (meaning ''foot'') in Carnatic music (South Indian classical music) is usually the end section of a composition which is sung after the anupallavi. There may be multiple ''charanams'' in a composition which make up different stanzas, bu ...s. The anupallavi is optional. In compositions that do not have an anupallavi, there often exists a Samrashti Charanam that combines both the anupallavi and charanam of the composition which directly follows the pallavi. It is usually sung at a higher pitch and adds more beauty to the music. Usually the Anupallavi is shorter than the Charanam . In Sanskrit 'anu' means 'next'. It literally means 'next to pallavi'. Carnatic music terminology {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charanam
Charanam (meaning ''foot'') in Carnatic music (South Indian classical music) is usually the end section of a composition which is sung after the anupallavi. There may be multiple ''charanams'' in a composition which make up different stanzas, but in compositions that do not have an anupallavi, there often exists a ''samrashti charanam'' that combines both the anupallavi and charanam of the composition which directly follows the ''pallavi''. The charana swara Svara or swara (Devanagari: स्वर, generally pronounced as ''swar'') is a Sanskrit word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or '' ...s are grouped in four different ways: *1st - one tala cycle. *2nd - one tala cycle. *3rd - two long tala cycles *4th - four long tala cycles References Carnatic music terminology {{Carnatic-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tarana
''Tarana'' is a type of composition in Hindustani classical vocal music in which certain words (e.g. "odani", "todani", "tadeem" and "yalali") based on Persian and Arabic phonemes are rendered at a medium (''madhya laya'') or fast (''drut laya'') rate. It was invented by Amir Khusro (1253-1325 CE), and is similar to the Qalbana form of Sufi poetry. In modern times, the singer Amir Khan helped popularize it and researched its origins and the syllables used. Nissar Hussain Khan was a tarana singer. Tarana was also used by Sikh tenth Guru Gobind Singh in his compositions. Form A second, contrasting melody, usually with higher notes, is introduced once before returning to the main melody. The tarana may include a Persian quatrain, and may use syllables from sitar or tabla A tabla, bn, তবলা, prs, طبلا, gu, તબલા, hi, तबला, kn, ತಬಲಾ, ml, തബല, mr, तबला, ne, तबला, or, ତବଲା, ps, طبله, pa, ਤਬਲਾ, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Amir Khusrau
Abu'l Hasan Yamīn ud-Dīn Khusrau (1253–1325 AD), better known as Amīr Khusrau was an Indo-Persian culture, Indo-Persian Sufi singer, musician, poet and scholar who lived under the Delhi Sultanate. He is an iconic figure in the cultural history of the Indian subcontinent. He was a mysticism, mystic and a spiritual disciple of Nizamuddin Auliya of Delhi, India. He wrote poetry primarily in Persian language, Persian, but also in Hindustani language, Hindavi. A vocabulary in verse, the ''Ḳhāliq Bārī'', containing Arabic, Persian and Hindustani language, Hindavi terms is often attributed to him. Khusrau is sometimes referred to as the "voice of India" or "Parrot of India" (''Tuti-e-Hind''), and has been called the "father of Urdu literature." Khusrau is regarded as the "father of qawwali" (a devotional form of singing of the Sufis in the Indian subcontinent), and introduced the ghazal style of song into India, both of which still exist widely in India and Pakistan. Khusrau ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
