|
Alapana
In Carnatic classical music, alapana is a form of manodharmam, or improvisation, that introduces and develops a raga (musical scale). It communicates the permitted notes and phrases of the raga, setting the mood for the composition that follows. As a term that is Sanskrit in language, alapana means "to speak, address, discourse, communicate". It is the first part of Ragam Tanam Pallavi (RTP), which showcases a Carnatic musician's ability to understand a raga and improvise music set to it. Overview The flavor of the raga is outlined in the alapana by rendering the raga's permitted notes in structures and phrases unique to the raga (known as "raga lakshanam"). Alapana typically precedes a song that is going to be sung in the same raga. It demonstrates proper knowledge of the raga by highlighting key phrases common to it. Alapana is rendered in different speeds, with a gradual increase in tempo. Likewise, the complexity of the patterns increases steadily as the alapana prog ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Classical Music
Carnatic music, known as or in the 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 Carnatic and Hindustani mus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music, known as or in the 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 Carnatic and Hindustan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Manodharma
Manodharma is a form of improvised South Indian classical Carnatic music. It is created on the spot during the performance, while remaining within the confines of musical grammar, as codified in the raga and/or the tala. Every Carnatic concert has one or many music pieces that showcases the singer's prowess and intellect in the form of Manodharma sangeetham. Often the centerpiece of a Carnatic concert will explore all the five types of manodharma. It serves as an important and integral aspect of Carnatic music. Types of Manodharma Based out of manodharma, Individual styles are developed. Manodharma has many aspects and performers develop distinct styles based on his/her musical values, interpretation and understanding. There is ample scope for manodharma when rendering raga alapana, tanam, neraval, pallavi, swaram and also kritis. There are five improvisational forms that fall under the practice of manodharma in Carnatic Music. They include: Alapana: a free flowing explora ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ragam Thanam Pallavi
Ragam Tanam Pallavi (RTP) is a form of singing in Carnatic music which allows the musicians to improvise to a great extent. It is one of the most complete aspects of Indian classical music, demonstrating the entire gamut of talents and the depth of knowledge of the musician. It incorporates '' raga alapana'', ''tanam'', '' niraval'', and '' kalpanaswara''. In more elaborate ragam tanam pallavis, a ''tani avartanam'' Kassebaum (2000), 158 may follow. Ragam "Ragam" in the context of " Ragam Tanam Pallavi" refers to ''raga alapana'' - the first component. In this form of pure melodic improvisation, the musician starts with a refrain to create the mood of raga and lays a foundation for composition to follow. Each ''Ragam tanam pallavi'' has at least one raga associated with it. Tanam ''Tanam'' is one of the most important forms of the improvisation, and is integral to the RTP. It is the second component of this composite form of improvisation. Originally developed for the veen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Akshipthika
In Carnatic music, the Akshipthika is the first part or the introductory part of the alapana. It gives an idea about the raga (musical mode) in which the song is going to be sung. It is followed by the ragavardhini Ragavardhini (pronounced rāgavardini) has two separate meanings in Indian classical music: * a major part of the alapana of a raga. The performer gives a step-by-step elaboration of the raga, pausing at each major note or swara. * the 32nd .... Akshipthika is the introduction to the raagam. It usually starts on a low note in the scale but then again the artist is permitted to start wherever they want on the scale and at whatever tempo they want. We must remember that the idea raagam alapana is to allow the musician to creatively express themselves and the raagam without sticking to a particular scaffold as they must in a song. Thus, there is no particular order or manner in which it must be performed. Carnatic music terminology {{Carnatic-music-st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
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 ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 Bronze Age. Sanskrit is the sacred language of Hinduism, the language of classical Hindu philosophy, and of historical texts of Buddhism and Jainism. It was a link language in ancient and medieval South Asia, and upon transmission of Hindu and Buddhist culture to Southeast Asia, East Asia and Central Asia in the early medieval era, it became a language of religion and high culture, and of the political elites in some of these regions. As a result, Sanskrit had a lasting impact on the languages of South Asia, Southeast Asia and East Asia, especially in their formal and learned vocabularies. Sanskrit generally connotes several Old Indo-Aryan language varieties. The most archaic of these is the Vedic Sanskrit found in the Rig Veda, a colle ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Quarterly
''The Musical Quarterly'' is the oldest academic journal on music in America. Originally established in 1915 by Oscar Sonneck, the journal was edited by Sonneck until his death in 1928. Sonneck was succeeded by a number of editors, including Carl Engel (1930–1944), Gustave Reese (1944-45), Paul Henry Lang, who edited the journal for over 25 years, from 1945 to 1973, Joan Peyser (1977–84), Eric Salzman who served as editor from 1984 to 1991 and several others. Since 1993 ''The Musical Quarterly'' has been edited by Leon Botstein, president of Bard College and principal conductor of the American Symphony Orchestra. Originally published by G. Schirmer, Inc., it is published by Oxford University Press. References External links * Articles published before 1923at the Internet Archive The Internet Archive is an American digital library with the stated mission of "universal access to all knowledge". It provides free public access to collections of digitized materials, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ragavardhini
Ragavardhini (pronounced rāgavardini) has two separate meanings in Indian classical music: * a major part of the alapana of a raga. The performer gives a step-by-step elaboration of the raga, pausing at each major note or swara. * the 32nd '' melakarta'' raga in the Katapayadi sankhya scheme of Carnatic music. Melakarta It is the 32nd '' melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Rāgachudāmaṇi in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''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 2nd rāgam in the 6th ''chakra Ritu''. The mnemonic name is ''Ritu-Sri''. The mnemonic phrase is ''sa ru gu ma pa dha ni''. Its ' structure is as follows (see ''swaras'' in Carnatic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Magarini
Maragini is the concluding section of the alapana In Carnatic classical music, alapana is a form of manodharmam, or improvisation, that introduces and develops a raga (musical scale). It communicates the permitted notes and phrases of the raga, setting the mood for the composition that follow .... The artist sings brisks passages scaling across the entire range of raga. Indian classical music {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
