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Kudamaloor Janardanan
Kudamaloor Janardanan[കുടമാളൂര് ജനാര്ദ്ദനന്] (21 July 1969 – ) is an Indian flautist of the Carnatic music tradition. Early life and background Kudamaloor Janardanan was born into a musical family in Kudamaloor, Kottayam district, Kerala, India. He had his basic vocal music lessons from his father, G. Krishna Iyer. Soon he was fascinated by the art of instrumental music and turned to the Flute#Indian, Indian flute. Kudamaloor Janardanan or Kudamaloorji as he is better known is a self-taught and learnt classical flautist. His journey began on a high note with a maiden performance at the tender age of 7, followed by prizes, medals and accomplishments in different school, college, university, district and state level competitions under different categories of Flute, Vocal and Violin. In his later years of student life, Janardanan was guided by his paternal uncle, K.Shivaramakrishna Iyer, a prominent flautist of his time. Janardanan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music (known as or in the Dravidian languages) is a system of music commonly associated with South India, including the modern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu, Telangana and southern Odisha. It is one of three main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. (The other two are Hindustani music and Odissi music.) 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 formulae), and (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madhu Balakrishnan
Madhu Balakrishnan (born 24 June 1974) is an Indian playback singer who primarily sings in Malayalam. He has also sung songs in Tamil, Telugu, Kannada languages. He has sung over 10 thousand songs in films and several devotional albums. Personal life Madhu Balakrishnan was born on 24 June 1974 to the late Balakrishnan (d. 1987) and Leelavathy at Paravur in Eranakulam. His earlier life was at Koratty, near Chalakudy, Thrissur. He completed his schooling in Mar Augustine Memorial Higher Secondary School, Koratty. He was inspired by his mother to take up music. Later he shifted to Paravur, his native place. He is married to Divya, elder sister of Indian cricketer S.Sreesanth. The couple has two sons - Madhav and Mahadev. List of songs Devotional Private album by Musical Bee Productions Malayalam Tamil Kannada Telugu Television **All shows are in Malayalam television unless noted ;Reality shows as Judge Malayalam Television series title song Awards ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sujatha Mohan
Sujatha Mohan is a renowned Indian playback singer known for her contributions to a wide range of Indian film industries, particularly in Malayalam, Tamil, and Telugu cinema. Over her decades-long career, she has also recorded songs in other languages including Kannada, Badaga, Hindi, and Marathi, among others. , she had sung more than 18,000 songs.Widely celebrated as the Melody Queen of South India, Sujatha is affectionately called Bhava Gayika in Kerala for her emotive singing, and Innisai Kuyil (Nightingale of Music) in Tamil Nadu, reflecting her sweet and expressive vocal style.She has worked with a wide array of prominent music composers such as A. R. Rahman, Ilaiyaraaja, M. M. Keeravani, Koti, Vidyasagar, S. A. Rajkumar, and Mani Sharma, and has frequently performed duets with legendary playback singers including K. J. Yesudas, Hariharan, and S. P. Balasubrahmanyam.Her unique voice often described as husky yet melodious along with her ability to adapt to diver ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Radhika Thilak
Radhika Jayathilakan (1969 – 20 September 2015), known by her stage name Radhika Thilak, was an Indian playback singer who predominantly worked in the Malayalam film industry. She sang 70 songs for Malayalam films. Career Some of her songs are "Arunakirana Deepam", "Deva Sangeetham", "Maya Manchalil", "Kaithapoo Manam", "Thiruvathira Thira Nokkiya", "Ente Ulludukkum Kotti" and "Ninte Kannil". Her song "Ilampani Thuli" from Tamil film ''Aaradhanai'' (1981) is well remembered. Apart from film songs, she also sang 200 devotional songs. She was also a TV anchor. Awards In 2002 Kerala film critics association awarded her best female playback singer award for her song ''Omanamalare Ninmaran'' from the film '' Kunjikoonan''. Death On 20 September 2015, Radhika was admitted to a private hospital in Kochi Kochi ( , ), List of renamed Indian cities and states#Kerala, formerly known as Cochin ( ), is a major port city along the Malabar Coast of India bordering the Laccadive ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kapi (raga)
Kāpi is a popular rāga in Carnatic music, the classical music of South India. ''Kāpi'' is a janya rāgam of '' Kharaharapriya'' with a meandering vakra scale. Typically performed at slow and medium speeds, it is capable of inducing moods of devotion, pathos and sadness in the listeners. ''Kāpi'' is different from the Hindustani raag and thaat '' Kafi.'' The equivalent raag in Hindustani is Pilu. Structure and Lakshana Kāpi is an audava-vakra sampoorna rāgam with an ascending pentatonic scale and a descending scale with seven notes, but not in a descending order. Use of Kakali Nishadam and Anthara Gandharam make it a Bhashanga Raagam. * : * : The presence of different ''nishāda'' swarās (N2 and N3) lends a distinctive quality to Kāpi, along with the fact that it uses a set of vakra swarās (N2 D2 N2). There is also a mild presence of shuddha daivatham (D1) that renders an invaluable feeling of devotion to the raagam. This, and the presence of Anthara Gan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charukesi
Charukesi (pronounced chārukēśi) is a rāga in Carnatic music (musical scale of South Indian classical music). It is the 26th ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Tarangini in Muthuswami Dikshitar school of Carnatic music. ''Charukesi'' is used in devotional music. Its mood is poignant and the raga is usually easily identified. Structure and Lakshana It is the 2nd rāgam in the 5th ''chakra Bana''. The mnemonic name is ''Bana-Sri''. The mnemonic phrase is ''sa ri gu ma pa dha ni''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : (''chathusruthi rishabham, anthara gandharam, shuddha madhyamam, shuddha dhaivatham, kaisiki nishadham'') It is a ''sampoorna'' rāgam - a rāgam that has all seven ''swaras'' (notes). It is the ''shuddha madhya ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music (known as or in the Dravidian languages) is a system of music commonly associated with South India, including the modern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu, Telangana and southern Odisha. It is one of three main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. (The other two are Hindustani music and Odissi music.) 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 formulae), and (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tabla
A ''tabla'' is a pair of hand drums from the Indian subcontinent. Since the 18th century, it has been the principal percussion instrument in Hindustani classical music, where it may be played solo, as an accompaniment with other instruments and vocals, or as a part of larger ensembles. It is frequently played in popular and folk music performances in India, Bangladesh, Afghanistan, Pakistan, Nepal and Sri Lanka.Tabla Encyclopædia Britannica The tabla is an essential instrument in the bhakti devotional traditions of Hinduism and Sikhism, such as during ''bhajan'' and ''kirtan'' singing. It is one of the main qawwali instruments used by Sufi musicians. The instrument is also featured in dance performances such as Kathak. Tabla is a rhythmic instrument. The word ''tabla'' likely comes from ''tabl'', the Arabic word for drum. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Edakka
The idakka (), also spelt edaykka/edakka, is an hourglass-shaped drum from Kerala in south India, very similar to the pan-Indian damaru. While the damaru is played by rattling knotted cords against the resonators, the idakka is played with a stick. Like the damaru, the idakka's pitch may be bent by squeezing the lacing in the middle. The idakka is slung over the left shoulder and the right side of the instrument is gently beaten with a thin curve-ended stick. It is played in temples and in performances such as Kathakali and Mohiniattam classical dance. Etymology The Malayalam name ''idaykka'' or ''idakka'' derives from the Sanskrit word श्रीढक्का (''Śrīḍhakkā''). In Sanskrit, a ''ḍhakkā'' is described as a double drum that makes a ''ḍhak'' sound. ढक् इति गम्भीरशब्देन कायतीति (ḍhak iti gambhīraśabdēna kāyatīti). The sacred prefix Śrī is used to denote the auspiciousness of the instrument. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shringara
Sringara (, ) is one of the nine rasas, usually translated as erotic love, romantic love, or as attraction or beauty. ''Rasa'' means "flavour", and the theory of rasa is the primary concept behind classical Indian arts including theatre, music, dance, poetry, and sculpture. Much of the content of traditional Indian arts revolves around the relationship between a man and a woman. The primary emotion thus generated is Sringara. The romantic relationship between lover and beloved is a metaphor for the relationship between the individual and the divine. Classical theater/dancers (i.e. Bharatanatyam, Odissi, Mohiniyattam) refer to Sringara as 'the Mother of all rasas.' Sringara gives scope for a myriad of other emotions including jealousy, fear, anger, compassion, and of course for the expression of physical intimacy. No other Rasa has such a vast scope. The treatment and performance of Sringara varies on a large scale from the grotesque (as in Koodiyattam) to very refined and subtle ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Krishna
Krishna (; Sanskrit language, Sanskrit: कृष्ण, ) is a major deity in Hinduism. He is worshipped as the eighth avatar of Vishnu and also as the Supreme God (Hinduism), Supreme God in his own right. He is the god of protection, compassion, tenderness, and love; and is widely revered among Hindu divinities. Krishna's birthday is celebrated every year by Hindus on Krishna Janmashtami according to the lunisolar calendar, lunisolar Hindu calendar, which falls in late August or early September of the Gregorian calendar. The anecdotes and narratives of Krishna's life are generally titled as ''Krishna Līlā''. He is a central figure in the ''Mahabharata'', the ''Bhagavata Purana'', the ''Brahma Vaivarta Purana,'' and the ''Bhagavad Gita'', and is mentioned in many Hindu philosophy, Hindu philosophical, Hindu theology, theological, and Hindu mythology, mythological texts. They portray him in various perspectives: as a god-child, a prankster, a model lover, a divine hero, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
