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Jugalbandi
A jugalbandhi or jugalbandi is a performance in Indian classical music, especially in Hindustani classical music but also in Carnatic, that features a duet of two solo musicians. The word jugalbandi means, literally, "entwined twins." The duet can be either vocal or instrumental. Often, the musicians will play different instruments, as for example the famous duets between sitarist Ravi Shankar and sarod player Ali Akbar Khan, who played the format since the 1940s. More rarely, the musicians (either vocalists or instrumentalists) may be from different traditions (i.e. Carnatic and Hindustani). What defines ''jugalbandi'' is that the two soloists be on an equal footing. A performance can only truly be deemed a jugalbandi when neither musician is always the soloist or solely an accompanist. In jugalbandi, both musicians act as lead players, and a playful competition exists between the two performers. Hindustani-Carnatic Jugalbandi Jugalbandi of Hindustani and Carnatic styles ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jasraj
Pandit Jasraj (28 January 1930 – 17 August 2020) was an Indian classical vocalist, belonging to the ''Mewati gharana'' (musical apprenticeship lineage). His musical career spanned 75 years resulting in national and international fame, respect and numerous major awards and accolades. His legacy includes memorable performances of classical and semi-classical vocal music, classical and devotional music, albums and film soundtracks, innovations in various genres including '' Haveli Sangeet'' and popularizing the ''Mewati Gharana'' – a school of thought in Hindustani classical music. Pandit Jasraj taught music to amateur and professional students in India, Europe, Canada and the United States. Early life Pandit Jasraj was born on 28 January 1930 in Pili Mandori, a village in the then Hisar district (now in Fatehabad district) of Haryana, in an artistic Brahmin family to Pandit Motiram, a classical singer and Krishna Bai. He was the youngest of three sons, in a family ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ravi Shankar
Ravi Shankar (; born Robindro Shaunkor Chowdhury, sometimes spelled as Rabindra Shankar Chowdhury; 7 April 1920 – 11 December 2012) was an Indian sitar, sitarist and composer. A sitar virtuoso, he became the world's best-known expert of Hindustani classical music, Indian classical music in the second half of the 20th century, and influenced many musicians in India and throughout the world. Shankar was awarded India's highest civilian honour, the Bharat Ratna, in 1999. He is also the father of American singer Norah Jones and British-American musician and sitar player Anoushka Shankar. Shankar was born to a Bengalis, Bengali family in India, and spent his youth as a dancer touring India and Europe with the dance group of his brother Uday Shankar. At age 18, he gave up dancing to pursue a career in music, studying the sitar for seven years under court musician Allauddin Khan. After finishing his studies in 1944, Shankar worked as a composer, creating the music for the ''Apu Tr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ali Akbar Khan
Ali Akbar Khan (14 April 192218 June 2009) was an Indian Hindustani classical musician of the Maihar gharana, known for his virtuosity in playing the sarod. Trained as a classical musician and instrumentalist by his father, Allauddin Khan, he also composed numerous classical ''ragas'' and film scores. He established a music school in Calcutta in 1956, and the Ali Akbar College of Music in 1967, which moved with him to the United States and is now based in San Rafael, California, with a branch in Basel, Switzerland. Khan was instrumental in popularizing Indian classical music in the West, both as a performer and as a teacher. He first came to America in 1955 on the invitation of violinist Yehudi Menuhin and later settled in California. He was an adjunct professor of music at the University of California, Santa Cruz. Khan was accorded India's second highest civilian honour, the Padma Vibhushan, in 1989. Nominated five times for the Grammy Award, Khan was also a recipient o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sitar Sarod Jugalbandi - Lakshay & Aayush Mohan Gupta
The sitar ( or ; ) is a plucked stringed instrument, originating from the Indian subcontinent, used in Hindustani classical music. The instrument was invented in the 18th century, and arrived at its present form in 19th-century India. Khusrau Khan, an 18th-century figure of the Mughal Empire has been identified by modern scholarship as the inventor of the sitar. According to most historians, he developed the sitar from the setar, an Iranian instrument of Abbasid or Safavid origin. Used widely throughout the Indian subcontinent, the sitar became popularly known in the wider world through the works of Ravi Shankar, beginning in the late 1950s and early 1960s. The advent of psychedelic culture during the mid-to-late 1960s set a trend for the use of the sitar in Western popular music, with the instrument appearing on tracks by bands such as the Beatles, the Rolling Stones, Metallica and many others. Etymology The word ''sitar'' is derived from the Persian word , meaning . Accordin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kalyani (raga)
Kalyani is a melakarta raga (parent musical scale) in the Carnatic music. It is the prati madhyama equivalent of the raga Sankarabharanam. 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 begin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Instrumental Duets
An instrumental or instrumental song is music without any vocals, although it might include some inarticulate vocals, such as shouted backup vocals in a big band setting. Through semantic widening, a broader sense of the word song may refer to instrumentals. The music is primarily or exclusively produced using musical instruments. An instrumental can exist in music notation, after it is written by a composer; in the mind of the composer (especially in cases where the composer themselves will perform the piece, as in the case of a blues solo guitarist or a folk music fiddle player); as a piece that is performed live by a single instrumentalist or a musical ensemble, which could range in components from a duo or trio to a large big band, concert band or orchestra. In a song that is otherwise sung, a section that is not sung but which is played by instruments can be called an instrumental interlude, or, if it occurs at the beginning of the song, before the singer starts to sing, ... [...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] |
Keeravani
Keeravani (pronounced ) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 21st ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. The 21st ''melakarta'' rāgam as per Muthuswami Dikshitar school of music is . This rāgam is a popular scale in western music as well. The Western equivalent is the Harmonic minor scale.''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 said to be borrowed into Hindustani music from Carnatic music. Structure and Lakshana It is the 3rd rāgam in the 4th ''chakra Veda''. The mnemonic name is ''Veda-Go''. The mnemonic phrase is ''sa ri gi ma pa dha nu''. Its ' structure (ascending and descending scale) is as follows (see '' ''swaras'' in Carnatic music'' for details on below notation and terms): * : * : The notes used in this scale are ''chathusruthi rishabha, sadharana gandhar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sindhubhairavi (raga)
Sindhu Bhairavi is a raga in Hindustani and Carnatic classical music, belonging to the Asavari thaat. In Carnatic music it is a Janya raga of the 8th melakartha raga Hanumatodi. The raga brings Viraham (separation), Shokam (sorrow), Karunam (compassion) and Bhakthi (devotion) rasas. In Carnatic music it is a ''Bhashangaraga'', in which all the 12 notes are applicable. Sindhu Bhairavi is not to be confused with other similarly named ragas such as Sindhi Bhairavi, Sindh, Sindhura and Sindhura Bhairavi. Theory Arohana: Avarohana: Vadi: Samavadi: Popular compositions Popular carnatic compositions in the raga are: * ''Mosa Jese(Javali)'' by Chinnaiah of the Tanjore Quartet is originally in Hanumatodi, sung today in Sindhubhairavi * ''Vinnum Mannum'' by Subramania Bharati * ''Venkatachala Nilayam, Tamboori meetidava, Vrindavanave Mandira, Tirupati Venkataramana, Harihara ninnanu, Elliruvano Ranga'', ''Kai Meeri Hoda Matige'' By Purandara Dasa * ''Narasimhanembo Deva ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhairavi
Bhairavi () is a Hindu goddess, described as one of the Mahāvidyas, the ten avatars of the mother goddess. She is the consort of Bhairava ( a form of Shiva). Etymology The name ''Bhairavi'' means "terrifying" or "awe-inspiring". Iconography Her dhyana shloka in the Devi Mahatmya describes her form. She wears red garments and wears a garland of severed heads around her neck. She has three eyes and her head is adorned with a crescent moon. Tripura Sundari and Tripura Bhairavi are closely associated but different. Legend Bhairavi is also a title for a female adept in Kundalini, Tantra. A yogini is a student of Tantra or an aspirant. A ''Bhairavi'' has succeeded in Tantra with the help of 64 yoginis. Yogini or Jogini are 64 in number. Yoginis, female supporting deities of Bhairavi. Bhairavi is the supreme leader of all 64 yoginis. Bhairav also has 52 supporting powers called ''52 Bhairav''. Bhairavi is the consort of Bhairava according to the Puranas and Tantras. In Tant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tanpura
The tanpura (; also referred to as tambura, tanpuri, tamboura, or tanpoura) is a long-necked, plucked, four-stringed instrument originating in the Indian subcontinent, found in various forms in Indian music. Visually, the tanpura resembles a simplified sitar or similar lute-like instrument, and is likewise crafted out of a gourd or pumpkin. The tanpura does not play a melody, but rather creates a meditative ambience, supporting and sustaining the performance of another musician or vocalist, as well as for musicians accompanying a dance performance. The instrument's four strings are tuned to specific notes of a given scale or musical key, normally the fifth (''Pa''; Solfège, “So”) and the root tonic (''Sa''; “Do”). The strings are generally tuned 5-8-8-1. One of the three strings tuned to the tonic is thus an octave below the others, adding greater resonance and depth to the ambient drone. Through continuous, rhythmic plucking of its strings, the tanpura creates ... [...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--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 in some c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
