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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] |
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. Non-Film/Album Songs 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 (Goddess), Sati's sacrifice. In ''Jainism'', it is also stated that t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Annamacharya
Tallapaka Annamacharya () (09 May 1408 – 23 February 1503), also popularly known as Annamayya, was a Telugu musician, composer, and a Hindu saint. He is the earliest known Indian musician to compose songs called '' samkirtanas.'' His devotional samkirtanas were in the praise of Venkateswara, a form of Vishnu. Annamayya is said to have composed as many as 32,000 samkirtanas (songs) in the praise of Venkateswara of which only about 12,000 are available today. He wrote the highest number of Kirtanas of all time in the praise of Lord Vishnu The musical form of the kirtana songs that he composed, which are still popular among Carnatic music concert artists, have strongly influenced the structure of Carnatic music compositions. Jackson (1999), p. 216. His compositions are classified as Adhyatma (spiritual) and Sringara (romantic). Annamacharya is remembered for his saintly life, as one of the greatest musicians and is honoured as a great devotee of Vishnu by devotees and saintly ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mysore Vasudevacharya
Mysore Vasudevacharya (28 May 1865 – 17 May 1961) was an Indian musician and composer of Carnatic music compositions who belonged to the direct line of Thyagaraja's disciples. Vasudevachar's compositions (numbering over 200) were mostly in Telugu and Sanskrit. Some of his most popular kritis include Brochevarevarura in Khamas raga, ''Devadideva'' in Sunadavinodini, ''Mamavatu Sri Saraswati'' in Hindolam, ''Shankari Ninne'' in Pantuvarali, ''Bhajare Re Manasa'' in Abheri and ''Ra Ra Rajeevalochana Rama'' in Mohanam. He presided over Madras Music Academy's annual conference in 1935, when the Sangeetha Kalanidhi award did not exist. But everybody who presided over the annual conference in the 1930s was later conferred the award. He was a recipient of the civilian honour of the Padma Bhushan. He is credited with two writings in Kannada, one of them an autobiography called ''Nenapugalu'' (memories) and ''Na Kanda Kalavidaru'' (the musicians I have met) in which he wrote the b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oothukkadu Venkata Kavi
Oothukkaadu Venkata Kavi (-1765) or Oottukkaadu Venkata Subramanyar was one of the pioneering composers in Indian classical Carnatic music. He lived in South India in the present-day state of Tamil Nadu. Also known by the name Oothukkaadu Venkatasubramaniya Iyer, he composed hundreds of compositions in Sanskrit and Tamil of which over 500 are available. These were handed down from generation to generation by the descendants of the composer's brother's family. Venkata Kavi's compositions reveal that he was a complete master of the science and art of music in all senses of the term – melody, rhythm, and lyrics. He was fluent in Sanskrit and Tamil. Renowned for his rare depth, scholarship and sublime appeal, he was proficient in a variety of musical forms such as the ''kriti'', '' tillana'' and '' kaavadicchindu''. He used ''taalas'' and themes that many other Carnatic composers had or have not. His compositions are a blend of a high degree of scholarship on a variety of s ... [...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] |
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] |
Mangalampalli Balamuralikrishna
Mangalampalli Balamuralikrishna (né Muralikrishna; 6 July 1930 – 22 November 2016) was an Indian Carnatic vocalist, musician, multi-instrumentalist, playback singer, composer, and character actor. He was awarded the Madras Music Academy's Sangeetha Kalanidhi in 1978. He has garnered two National Film Awards (1976, 1987), the Sangeet Natak Akademi Award in 1975, the Padma Vibhushan, India's second-highest civilian honor in 1991, for his contribution towards arts, the Mahatma Gandhi Silver Medal from UNESCO in 1995, the Chevalier of the Ordre des Arts et des Lettres by the French Government in 2005, the Sangeetha Kalanidhi by Madras Music Academy, and the Sangeetha Kalasikhamani in 1991, by ''the Fine Arts Society'', Chennai to name a few. Balamuralikrishna started his career at the age of six. In his life-time, he gave over 25,000 concerts worldwide. Apart from Pandit Bhimsen Joshi, he presented jugalbandi concerts (duets) with Pandit Hariprasad Chaurasia, Pandit Ajoy Chakrabar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mohanam
Mohanam is a raga in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāga (or ''owdava'' rāga, meaning pentatonic scale). It is usually described as a ''janya'' rāga of Harikamboji (28th Melakartha Raga). However, alternate opinions suggest that ''Mechakalyani'' or even ''Sankarabharanam (raga), Shankarabharanam'' may be a more appropriate classification based on the lakshana of the raga. The equivalent of ''Mohanam'' in Hindustani music is ''Raga Bhopali, Bhoop''''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications (or ''Bhopali''''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras). It is one of the most common pentatonic scales across the world and is very popular in East Asian and Southeast Asian music, including China and Japan. Structure and Lakshana ''Mohanam'' is a symmetric rāga that does not contain ''madhyamam'' and ''nishādham''. It is a symmetric pentatonic scale (''audava-au ... [...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] |
