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Rāga
A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a 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 and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman, which have great scope for improvisation and for which performances can last over an hour. ''Rāga''s may ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yaman (raga)
Yaman (also known as kalyaan, Iman, Aiman,'Eman', 'Kalyani' in Carnatic classical music) is a heptatonic ( Sampurna) Indian classical raga of Kalyan Thaat. Its signature phrase (Pakad) is ni-Re-Ga-/Re-Ga/ni-Re-Sa/Pa-Ma#-Ga-Re/ni-Re-Sa' (Ma is teevra). Tonal movements of the notes mostly reflect zigzag motion ''with gap of one or several notes'' usually that prefer reverse order very often like DNS' mDN GmD RGm N,GR or MDNS' GmDN RGmD N,RGm D,N,GR etc. Ideally yaman should not use PR combination but can use P~R showing colour of m or G while gliding from P to R, for PR is one of the specific identification of raag kalyaan. Description Yaman emerged from the parent musical scale of Kalyan. Considered to be one of the most fundamental and basic ragas in Hindustani tradition, it is thus often one of the first ragas taught to students. Mechanics Yaman's Jati is a Sampurna raga (ideally, yaman is audav sampoorna raag because of the structure- N,RGmDNR'S' NDPmGRS) and i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marwa (raga)
Marva or Marwa () is a hexatonic Indian raga; Pa (the fifth tone) is omitted. Marva is the eponymous raga of the Marva thaat. Aroha and Avaroha Arohana: 'Ni Ga Dha Ni S' Keeping the key in C, in the Western scale this would roughly translate to: B D♭ E F♯ A B D♭ C Avarohana: Ni Dha Ga 'Ni 'Dha Sa The Ma is actually Ma Tivratara, which is a perfect fourth above Re komal (which is 112 cents above Sa)) Vadi and Samvadi The Vadi is komal Re, while the Samvadi is shuddh Dha. Notice that these do not form a perfect interval. So V.N.Paṭvardhan says "It is customary to give Re and Dha as vādi and saṃvādi, but seen from the point of view of the śāstras (treatises) it is not possible for re and Dha to be saṃvādī (i.e. consonant) to each other. For this reason, in our opinion it is proper to accept Dha as vādī and Ga as saṃvādī" On the other hand if Ga receives too much emphasis, it would create the impression of raga Puriya Pakad or Chalan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Classical Music
Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya sangeet'' (). It is played in instruments like the violin, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. Hindustani classical music arose in the Ganga-Jamuni Tehzeeb, a period of great influence of Perso-Arabic arts in the subcontinent, especially the Northern parts. This music combines the Indian classical music tradition with Perso-Arab musical knowledge, resulting in a unique tradition of gharana system of music education. History Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.The central notion in both systems is that of a melodic musical mode or ''raga'', sung to a rhythmic cycle or ''tala''. It is melodic music, wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Malkauns
Malkauns, known also as rag Malkosh, is a raga in Indian classical music. It is one of the oldest ragas of Indian classical music. The equivalent raga in Carnatic music is called Hindolam, not to be confused with the Hindustani Hindol. According to Indian classical vocalist Pandit Jasraj, Malkauns is a raga that is "sung during small hours of the morning, just after midnight." He further adds that the raga has a soothing and intoxicating effect. Etymology The name ''Malkaush'' is derived from the combination of ''Mal'' and ''Kaushik'', which means he who wears serpents like garlands – the god Shiva. However, the ''Malav-Kaushik'' mentioned in classical texts does not appear to be the same as the ''Malkauns'' performed today. The raga is believed to have been created by goddess Parvati to calm lord Shiva, when he was outraged and refused to calm down after Tandav in rage of Sati's sacrifice. In ''Jainism'', it is also stated that the Raga Malkauns is used by the ''Tirt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Classical Music
Indian classical music is the classical music of the Indian subcontinent. It has two major traditions: the North Indian classical music known as ''Hindustani'' and the South Indian expression known as '' Carnatic''. These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences. The roots of the classical music of India are found in the Vedic literature of Hinduism and the ancient '' Natyashastra'', the classic Sanskrit text on performing arts by Bharata Muni., Quote: "The tradition of Indian classical music and dance known as ''Sangeeta'' is fundamentally rooted in the sonic and musical dimensions of the Vedas (Sama veda), Upanis ... [...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 mus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Darbari
Darbari Kanada, or simply Raga Darbari, (pronounced darbāri kānada), is a raga in the Kanada family, which is thought to have originated in Carnatic music and brought into Hindustani classical music by Miyan Tansen, the legendary 16th-century composer in emperor Akbar's court. This tradition is reflected in the name itself; ''Darbar'' is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or ''pure Kanada''. It belongs to the Asavari thaat. This raag is called raaga Kaanada in Yakshagana Karnataka state dance It is also sometimes written as Durbari and Durbarikanada.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras In Hindustani classical music Darbari is a grave raga, played deep into the night, considered to be one of the more difficult to master, and with the potential for profound emotional impact. Darbari is a very serious raga and hence, slow and e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Svara
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 '' saptaka''. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a ''svara'' is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven ''svara''s/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as ''saptak'' or ''saptaka''. It is one of the reasons why ''svara'' is considered a symbolic expression for the number seven. Origins and history Etymology The word ''swara'' or ''svara'' (Sanskrit: स्वर) is derived from the root ''svr'' which means "to sound". To be precise, the ''svara'' is defined in the Sanskrit ''niruk ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Monier Monier-Williams
Sir Monier Monier-Williams (; né Williams; 12 November 1819 – 11 April 1899) was a British scholar who was the second Boden Professor of Sanskrit at Oxford University, England. He studied, documented and taught Asian languages, especially Sanskrit, Persian and Hindustani. Early life Monier Williams was born in Bombay, the son of Colonel Monier Williams, surveyor-general in the Bombay presidency. His surname was "Williams" until 1887, when he added his given name to his surname to create the hyphenated "Monier-Williams". In 1822, he was sent to England to be educated at private schools at Hove, Chelsea and Finchley. He was educated at King's College School, Balliol College, Oxford (1838–40), the East India Company College (1840–41) and University College, Oxford (1841–44). He took a fourth-class honours degree in Literae Humaniores in 1844. He married Julia Grantham in 1848. They had six sons and one daughter. He died, aged 79, in Cannes, France. In 1874 he bought ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samavadi
The Samavadi is the second-most prominent (though not necessarily second-most played) note of a raga in Indian classical music. The primary note of the raga is the '' vadi''; the vadi and samvadi are in most cases a fourth or fifth apart. A ''samavadi'' is a note of special significance. It is like the ministry to the monarch. A performer will typically try to emphasize the ''samvadi'' along with the vadi when improvising on a certain raga. The ''vadi'' and ''samvadi'' can be crucial in defining the raga at hand, and in some cases two ragas with the same arohana Arohana, Arohanam or Aroha, in the context of Indian classical music, is the ascending scale of notes in a raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The pitch increases as we g ... and avrohana can be distinguished only by the prominence of their sonant and consonant notes. References {{reflist Hindustani music terminology Carnatic music termino ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Principal Upanishads
Principal Upanishads, also known as Mukhya Upanishads, are the most ancient and widely studied Upanishads of Hinduism. Composed between 800 BCE to the start of common era, these texts are connected to the Vedic tradition. Content The Principal Upanishads, which were composed probably between 600 and 300 BCE, constitute the concluding portion of the Veda. According to most Hinduism traditions, ten Upanishads are considered as Principal Upanishads, but some scholars now are including , and into the list. The founders of the major schools of Vedanta, viz, Adi Shankara and Madhvacharya wrote (''commentaries'') on these ten Principal Upanishads. Even though Ramanuja did not write individual commentaries on Principal Upanishads, he quoted many hundreds of quotations from Upanishads in his Sri Bhasya. In the Ramanuja lineage, one of his followers, Rangaramanuja, wrote commentaries on almost all of the Principal Upanishads around the 1600s. The ten Principal Upanishads are: # (I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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