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Varanam
Varṇam is a type of composition in the Carnatic music system consisting of short metric pieces which encapsulate the main features (patterns of notes) of a ''raga''. Varnams capture the ''raga bhavam'', ''ranjaka prayogas'' ''visesha sancharas'', etc. ''Dhatu'' and ''janta prayogas'' (phrase usage) are usually part of a varnam. Understanding of these aspects is key to developing ''manodharma sangeetham'' (i.e., improvisation aspects of Carnatic music such as ''raga aalapana'', ''swara kalpana'', ''neraval'', etc.). Known for their complex structure, varnams are a fundamental form in Carnatic music. All varnams consist of lyrics, Bradnock (1992), p631 as well as ''swara'' passages, including a ''pallavi'', an '' anupallavi'', ''muktaayi swaras'', a ''charanam'', and '' chitta swaras''. There are different types of varnams, such as ''taana varnam'', ''pada varnam'', ''daru varnam'' and ''ragamalika varnam''. They also come in different ''taalams'' (beat cycles). Though the mo ... [...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] |
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] |
Adi Tala
Adi tala (Sanskrit: ''ādi tālà'' {{lang, sa, आदि ताळ, Kannada: ಆದಿ ತಾಳ, literally "primary rhythm" also spelled aadi taalam or adi talam) is the name of one of the most popular tala or rhythms used in Carnatic Music. Its full technical name according to the Carnatic Music's tala system is ''Chaturashra-naDe Chaturashra-jaati triputa taLa''. Structure This tala has eight akshara Aksara (also ''akshara'', Devanagari अक्षर, IAST ''akṣara'') is a Sanskrit term translating to "imperishable, indestructible, fixed, immutable" (i.e. from अ, '' a-'' "not" and क्षर्, ''kṣar-'' "melt away, perish"). It h ...s, each being 4 svaras long. Many kritis and around half of the varnams are set to this tala. Carnatic music Carnatic music terminology ... [...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] |
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] |
Swati Tirunal
( 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] |
Dheerasankarabharanam
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, 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 ''Chakra Bāṇ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pacchimiriam Adiyappa
Pacchimiriam Adiappayya was a famous court musician at the Maratha kingdom of Thanjavur in the 18th century. He belongs to Kannada Madhwa Brahmin community. Famous musicians Veena Venkatamaramana Das of Vijayanagaram and Veena Seshanna of Mysore are his descendants. He was a composer of Carnatic music. Some of his famous disciples were Syama Sastri, one of the Trinity of Carnatic composers, and Ghanam Krishna Iyer. His compositions are in the Telugu language. Pacchimiriam Adiappayya's most famous composition is the varnam ''Viriboni'' in ''Bhairavi'' ragam. See also *List of Carnatic composers List of composers of Carnatic music, a subgenre of Indian classical music. Chronologically they can be grouped into 4 different Eras: Pre-Trinity Era, Trinity Era, Post Trinity Era and Modern Era. Composers are listed here based on this classif ... References * M. V. Ramana, Pre-trinity composers of Tamil Nadu Carnatica.net Carnatic composers {{Carnatic-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhairavi (ragam)
Bhairavi is a ''janya'' rāgam in Carnatic music (musical scale of South Indian classical music). Though it is a ''sampoorna'' rāgam (scale having all 7 notes), it has two different ''dhaivathams'' in its scale making it a Bhashanga Ragam, and hence is not classified as a ''melakarta'' rāgam (parent scale). This is one of the ancient rāgams, said to have been prevalent about 1500 years ago. There are numerous compositions in this rāgam. Though a Raga called Bhairavi also exists in Hindusthani music, it is very different from the Carnatic version. Hindustani's Bhairavi, in terms of its aroha and avaroha alone, corresponds to Carnatic music's Thodi. It is considered a ''janya'' of the 20th ''melakarta Natabhairavi''. Its ' structure is as follows (see ''swaras'' of Carnatic music for details on below notation and terms): *: *: The other set of ārohaṇa and avarohaṇa used is: *: *: The notes used are ''chathusruthi rishabham, sadharana gandharam, shuddha madhyam ... [...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] |
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] |
Abhogi
Abhogi () is a raga in Carnatic music and has been adapted to Hindustani music. It is a pentatonic scale, an ''audava'' raga. It is a derived scale (''janya'' raga), as it does not have all the seven ''swaras'' (musical notes). ''Ābhōgi'' has been borrowed from Carnatic music into Hindustani music and is also quite popular in the latter.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Theory The Carnatic raga Abhogi is a symmetric pentatonic scale that does not contain ''panchamam'' and ''nishadam''. It is called an ''audava-audava'' raga, as it has 5 notes in both ascending and descending scales. Its ' structure is as follows: * : * : The notes used are ''shadjam, chathusruti rishabham, sadharana gandharam, shuddha madhyamam and chathusruthi dhaivatham''. ''Ābhōgi'' is considered a ''janya'' raga of ''Kharaharapriya'', the 22nd ''Melakarta'' raga, though it can be d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
