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Ashtapadi
''Ashtapadis'' or ''Ashtapadi'' refers to the Sanskrit hymns of the ''Gita Govinda'', composed by Jayadeva in the 12th Century. The ''ashtapadis'', which describe the beauty of Lord Krishna and the love between Krishna and the '' gopis'', are considered a masterpiece in esoteric spirituality and the theme of 'Divine romance'. The literal meaning of ''ashtapathi'', 'eight-steps', refers to the fact that each hymn is made of eight couplets (eight sets of two lines). It is also the source of the word '' ashtāpada'', an Indian board game, the forerunner of chess. Although the original tunes of the ''ashtapadis'' were lost in history, they remain popular and are widely sung in a variety of tunes, and used in classical dance performances, across India. Ashtapadis are regularly performed at Kerala temples in the accompaniment of an '' idakka;'' a genre of music called '' sopana sangeetham.'' The lyrical poetry of the ''Gita Govinda'' is divided into twelve chapters, each of which is su ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ashtapadi 1
''Ashtapadis'' or ''Ashtapadi'' refers to the Sanskrit hymns of the ''Gita Govinda'', composed by Jayadeva in the 12th Century. The ''ashtapadis'', which describe the beauty of Lord Krishna and the love between Krishna and the '' gopis'', are considered a masterpiece in esoteric spirituality and the theme of 'Divine romance'. The literal meaning of ''ashtapathi'', 'eight-steps', refers to the fact that each hymn is made of eight couplets (eight sets of two lines). It is also the source of the word '' ashtāpada'', an Indian board game, the forerunner of chess. Although the original tunes of the ''ashtapadis'' were lost in history, they remain popular and are widely sung in a variety of tunes, and used in classical dance performances, across India. Ashtapadis are regularly performed at Kerala temples in the accompaniment of an ''idakka;'' a genre of music called '' sopana sangeetham.'' The lyrical poetry of the ''Gita Govinda'' is divided into twelve chapters, each of which is sub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gita Govinda
The ''Gita Govinda'' ( sa, गीत गोविन्दम्; ) is a work composed by the 12th-century Hindu poet, Jayadeva. It describes the relationship between Krishna, Radha and ''gopis'' (female cow herders) of Vrindavan. The ''Gita Govinda'' is organized into twelve chapters. Each chapter is further sub-divided into one or more divisions called ''Prabandha''s, totalling twenty-four in all. The prabandhas contain couplets grouped into eights, called ''Ashtapadis''. It is mentioned that Radha is greater than Krishna. The text also elaborates the eight moods of Heroine, the '' Ashta Nayika'', which has been an inspiration for many compositions and choreographic works in Indian classical dances. Summary The work delineates the love of Krishna for Radha, the milkmaid, his faithlessness and subsequent return to her, and is taken as symbolical of the human soul's straying from its true allegiance but returning at length to the God which created it. Chapters # ''Sāmo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Works Of Jayadeva
Jayadeva was an 11th-century Sanskrit poet and lyricist from present-day India. The works of Jayadeva have had a profound influence on Indian culture. They form the basis of the east Indian classical dance form, Odissi as well as traditional classical music of the state, Odissi music and have strongly influenced the Bharatanatyam classical dance as well as Carnatic music. Jayadeva's composition has also been incorporated in the Guru Granth Sahib. Religion Jayadeva has had a profound influence on the religious practices of Hinduism. The classic ''Tribhangi'' (threefold) posture of Krishna playing the flute gained popularity due to him. Dashavatara Jayadeva was instrumental in popularizing the ''Dasavatara'', the ten incarnations of Krishna in his composition ''Dasakritikrite''. Additionally, the Gita Govinda begins with a Dasavatara stotra. In Jayadeva's version of Dasavatara, Buddha is an incarnation of Vishnu, while Krishna is not incorporated because Krishna is the source of all ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kambhoji
Kambhoji or Kambodhi is a popular Raga in Carnatic Music. It is classified as a derived raga from 28th Melakartha, Harikambhoji. Scale The scale of Kambhoji is Ascending: S R2 G3 M1 P D2 S Descending: S N2 D2 P M1 G3 R2 S (N3 P D2 S) Usage of "n3" in phrase "npds" makes Kambhoji a bhashanga raga (a raga that includes notes other than what is in the parent raga). Medieval era There are numerous references to Raga or Ragini called Kambhoji in ancient Indian musical traditions. Narada's ''Sangita Makaranda'' (7th to 8th century AD) broadly classifies Ragas into eight subsets and includes three raginis in each subset. In this scheme of classification, Narada accepts raga Kambhoji as a mode of ''Shri raga'', the first subset of his scheme of classification. Ramaditya, the author of ''Swara-Mela Kalanidhi'' (1550 AD) has accepted 20 ''melas'' and has accommodated 64 ''Jana-ragas'' among the ''melas''. In this scheme of classification, the twentieth mela is Kambhoji u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madhyamavati
Madhyamavati (madhyamāvati) is a rāga in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāga (or ''owdava'' rāga, meaning pentatonic scale), as it does not have all the seven musical notes (''swaras''). It is a ''janya'' rāga (derived scale). The equivalent of ''Madhyamavati'' in Hindustani music is ''Madhumad Sarang''.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It also has other equivalents in Hindustani music such as ragas Megh (raga), Megh and Megh Malhar. It is considered a very auspicious rāgam and every Carnatic music concert ends with either a song in ''Madhyamavati'' or the ending of the last song is sung in this rāgam.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is very suitable for elaboration and exploration due to even spacing of notes. The scale uses the first three notes of the Circle of fifths, cycle of fifths ''S, P and R2'' and fourths ''S, M1 and N2''. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kalyani (raga)
Kalyani is a melakarta raga (parent musical scale) in the Carnatic music. It was called Kalyan but is now more popularly called Yaman in Hindustani Music. Its Western equivalent is the Lydian mode. Kalyani in Carnatic music In South Indian weddings it is a very prominently played raga. The word ''Kalyani'' means ''she who causes auspicious things''. It is the 65th melakarta raga under the Katapayadi sankhya. It is also called ''Mechakalyani''. The notes for Kalyani are S R2 G3 M2 P D2 N3. Kalyani is the first Prathi Madhyama raga that was ever discovered. It was obtained by the process of Graha Bhedam or modal shift of tonic of the ancient Shadja Grama. Specifics on this raga Kalyani has scope for elaborate alapana. One should not remain too long on panchamam (pa) or alternate between shadjamam and panchamam too frequently. Kalyani is prominently known among the public. It is often performed at the beginning of concerts because it is considered auspicious. Structure and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mukhaari
Mukhari (pronounced mukhāri) is a rāga in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāga of Kharaharapriya. Structure and Lakshana * Arohana: * Avarohana: Popular Compositions * ''Indu Enage Govinda'' by Raghavendra Swami (Also sung in Mukhari) *''Palisemma Muddu Sharade'', ''Chitta Shuddhi illadava'' By Purandara Dasa * ''Brahma Kadigina Padamu'' by Annamacharya * ''Pahimaam Rathnachala'' by '' Muthuswami Dikshitar'' * ''Entaninne'' by Tyagaraja * ''Ksheenamai'' by Tyagaraja * ''Karubaru Cheyuvaru'' by Tyagaraja * ''Elavatara'' by Tyagaraja * ''Sangeeta Sastra'' by Tyagaraja * ''Talachi Nantane'' by Tyagaraja * ''Muripemu'' by Tyagaraja * ''Endraikku Siva Krupai'' by Neelakanta Sivan * ''Emani Ne by'' Subbaraya Sastri * ''Ososi Namadi'' by Kshetrayya * ''Dasaratha Rama'' by Bhadrachala Ramadasu * ''Sivakama sundari'' by Papanasam Sivan * ''Krishnam Kalaya'' by Narayana Teertha Less-known Compositions ''Anandam Anandam A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yadukulakamboji
Yadukulakamboji or Yadukulakambodi (yadukulakāmbhōji) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāgam (derived scale) from the 28th ''melakarta'' scale ''Harikambhoji'', and is sometimes spelled as Yadukulakambhoji or Yadukulakambhodi. It is a ''janya'' scale, as it does not have all the seven ''swaras'' (musical notes) in the ascending scale. It is a combination of the pentatonic scale ''Shuddha Saveri'' and the ''sampurna raga'' scale ''Harikambhoji''.''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 ''Yadukulakamboji'' is an asymmetric rāgam that does not contain ''gandharam'' and ''nishadam'' in the ascending scale. It is an ''audava-sampurna'' rāgam (or ''owdava'' rāgam, meaning pentatonic ascending scale). Its ' structure (ascending and descending scale) is as follows: *Arohana, : *Av ... [...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] |
Saveri
Saveri (pronounced sāvēri) is a Carnatic music ragam. This raga is a janya of the 15th Melakarta raga Mayamalavagowla. This raga brings out karuna rasa, i.e. it brings mood of compassion.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Structure and Lakshana This ragam is an ''Audava-Sampurna'' ragam (five notes in the ascending scale and seven notes in the descending scale). * : * : The notes are ''shuddha rishabham, shuddha madhyamam'' and ''shuddha dhaivatam'' in ascending scale and ''kakali nishadam, shuddha dhaivatam, shuddha madhyamam, antara gandharam'' and ''shuddha rishabham'' in descent. The two swaras which give the raga such a characteristic are R (Rishabham) and D (Dhaivatham). Select compositions *''Sarasuda'', a ''varnam'' composed by Kotavasal Venkatarama Iyer, set to ''Adi tala'' *''Sankari Sankuru'', ''Durusuga'' and ''Janani Natajana'' composed by Shyama Sastri *''Bhavayaami Raghuraamam (first raga used in this ra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ahiri
Ahiri (pronounced āhiri) is a rāgam in Carnatic music. It is a ''janya'' rāgam (derived scale), and associated with the 14th '' melakarta'' scale '' Vakulabharanam''.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It has also been associated with the 8th ''melakarta'' scale Hanumatodi. Though it has all the seven ''swaras'' (musical notes) in the ascending and descending scale, the presence of zig-zag notes (''vakra'' swaras) makes it a ''janya'' rāgam. ''Ahiri'' is an ancient rāgam mentioned in '' Sangita Makarandha'' and ''Sangita samayasara''. It is a difficult rāgam to master, but it is rewarding. The rāgam is synonymous with ''karuna'' rasa (compassion). It is considered an early-morning scale. Structure and Lakshana ''Ahiri'' is an asymmetric rāgam which has ''vakra swaras'' (zig-zag notes) in the ascending scale. It is a ''sampurna'' rāgam (containing all 7 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sankarabharanam (raga)
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 Bāṇa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
