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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 derived. A ''melakarta'' raga is sometimes referred as ''mela'', ''karta'' or ''sampurna'' as well, though the latter usage is inaccurate, as a ''sampurna'' raga need not be a ''melakarta'' (take the raga ''Bhairavi,'' for example). In Hindustani music the '' thaat'' is the rough 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 i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Katapayadi Sankhya
''Kaṭapayādi'' system (Devanagari: कटपयादि, also known as ''Paralppēru'', Malayalam: പരല്പ്പേര്) of numerical notation is an ancient Indian alphasyllabic numeral system to depict letters to numerals for easy remembrance of numbers as words or verses. Assigning more than one letter to one numeral and nullifying certain other letters as valueless, this system provides the flexibility in forming meaningful words out of numbers which can be easily remembered. History The oldest available evidence of the use of ''Kaṭapayādi'' (Sanskrit: कटपयादि) system is from ''Grahacāraṇibandhana'' by Haridatta in 683 CE.Sreeramamula Rajeswara Sarma, THE ''KATAPAYADI'' SYSTEM OF NUMERICAL NOTATION AND ITS SPREAD OUTSIDE KERALA, ''Rev. d'Histoire de Mathmatique'' 18 (2012/ref> It has been used in ''Laghu·bhāskarīya·vivaraṇa'' written by '' Sankara Narayana, Śaṅkara·nārāyaṇa'' in 869 CE. In some astronomical texts p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music (known as or in the Dravidian languages) is a system of music commonly associated with South India, including the modern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu, Telangana and southern Odisha. It is one of three main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. (The other two are Hindustani music and Odissi music.) 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 formulae), and (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung ... [...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 equiv ... [...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 derived. A ''melakarta'' raga is sometimes referred as ''mela'', ''karta'' or ''sampurna'' as well, though the latter usage is inaccurate, as a ''sampurna'' raga need not be a ''melakarta'' (take the raga ''Bhairavi,'' for example). In Hindustani music the '' thaat'' is the rough 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 i ... [...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 (alias Aeolian mode) 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 ''swara ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harikambhoji
Harikambhoji (pronounced harikāmbhōji) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 28th ''Melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system. One of the first scales employed by the ancient Tamils (3rd century BCE) was the ''Mullaipann'', a pentatonic scale composed of the notes ''sa ri ga pa da'', equivalent to C, D, E, G and A in the western notations. These fully harmonic scales, constitutes the raga Mohanam in the Carnatic music style. ''Mullaipann'' further evolved into ''Sempaalai'', a scale based on seven notes by the addition of two more notes, ''ma'' and ''ni'' to the pentatonic scale. ''Sempaalai pann'' corresponds to the Carnatic raga Harikambhoji. '' Khamaj thaat'' of Hindustani Music is the equivalent to this rāgam.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It is known as Harikedāragowla in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindolam
Hindōḷaṃ is a ragam in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāgam (5 notes in arohana and avarohana) 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 Malkaush, 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'' means 'of 5'). Since pentatonic scales can be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Janya
''Janya'' is a term meaning "derive". In Carnatic (South Indian) music a ''janya raga'' is one derived from one of the 72 '' melakarta'' ragas (fundamental melodic structures). ''Janya'' ragas are classified into various types based on a variety of features. ''Varja'' ragas Ragas that omit (varjyam, to omit in Sanskrit) one or more of the notes of the scale (''swaras'') of their parent ''melakarta'' raga, in the ascending or descending scale or in both, fall into this category. Different notes may be omitted from the ascending '' arohana'' and descending '' avarohana'' scale. Such scales are given the names listed below.''A practical course in Carnatic music'' by Prof. P. Sambamurthy, 15th edition published 1998, The Indian Music publishing house''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications vrja a * ''Sampurna'' – 7 note scale * ''Shadava'' – 6 notes * ''Audava'' – 5 notes Since these terms are applicable both to the ascending and th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kanakangi
Kanakangi (pronounced kanakāngi, meaning ''the golden bodied one'') is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 1st ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Kanakāmbari in the Muthuswami Dikshitar school.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana It is the 1st rāgam in the 1st ''chakra Indu''. The mnemonic name is ''Indu-Pa''. The mnemonic phrase is ''sa ra ga ma pa dha na''. Its ' structure (ascending and descending scale) has all ''shuddha swaras'', as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : (the notes are ''shuddha rishabham, shuddha gandharam, shuddha madhyamam, panchamam, shuddha dhaivatham, shuddha nishadham'') It is a ''sampurna'' rāgam – a rāgam that has all seven ''swaras'' (notes) a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A raga ( ; , ; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. It is central to classical Indian music. Each raga consists of an array of melodic structures with musical motifs; and, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience. Each raga provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the raga in keeping with rules specific to the raga. Ragas range from small ragas like Bahar (raga), Bahar and Sahana (raga), Sahana that are not much more than songs to big ragas like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances can last over an hour. Ragas may change over time, with an example being Marwa (raga), Marwa, the primary development of which has been going down ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swaras
Swara () or svara is an Indian classical music term that connotes simultaneously a breath, a vowel, a note, the sound of a musical note corresponding to its name, and the successive steps of the octave, or ''saptanka''. More comprehensively, it is the ancient Indian concept of the complete dimension of musical pitch. At its most basic comparison to western music, a ''swara'' is, essentially, a "note" of a given scale. However, that is but a loose interpretation of the word, as a ''swara'' is identified as both a musical note and tone; a "tone" is a precise substitute for sur, relating to "tunefulness". Traditionally, Indian musicians have just seven ''swara''s/notes with short names: sa, re, ga, ma, pa, dha, ni, which they collectively refer to as ''saptank'' or ''saptaka''. This is one of the reasons why ''swara'' is considered a symbolic expression for the number seven. In another loose comparison to western music, ''saptak'' (as an octave or scale) may be interpreted as s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
