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Madhyamavathi
Madhyamavati (madhyamāvati) is a raga 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 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 cycle of fifths ''S, P and R2'' and fourths ''S, M1 and N2''. Structure and Lakshana ''Mad ... [...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] |
Megh (raga)
Megh is a Hindustani classical raga. The meaning of ''megh'' in Sanskrit is 'cloud'. Hence this raga is mostly sung or played in the monsoon season. Another raga which describes rain is raga Malhar. These two ragas were merged and a new raga developed, raga Megh Malhar. The Carnatic music equivalent of this raga is Madhyamavati. Theory Arohana & Avarohana Arohana: Avarohana: Pakad Vadi & Samavadi In this raga vadi is Sa and samavadi is Pa – Re is used a lot but always sliding down from M, n always slides from P Organization & Relationships Related ragas: Ragas of Malhar family, namely Megh Malhar, Miyan ki Malhar, Gaud Malhar, Ramdasi Malhar, Dhuliya Malhar, etc. as well as Madhmad Sarang. Thaat: Kafi. Mixture The meaning of Megh in Sanskrit is 'Cloud'. This raga is usually sung or played in the Monsoon season. Another raga which describes rain is raga Malhar. Merging these two gives a new raga: Megh Malhar, which has elements of both these ragas. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madhyamavathi
Madhyamavati (madhyamāvati) is a raga 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 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 cycle of fifths ''S, P and R2'' and fourths ''S, M1 and N2''. Structure and Lakshana ''Mad ... [...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] |
Purandara Dasaru
Purandara Dasa (IAST: Purandara Dāsa; (1470 – 1564) was a composer, singer and a Haridasa philosopher from present-day Karnataka, India. He was a follower of Madhwacharya, Madhvacharya's Dwaitha, Dvaita philosophy. He was one of the chief founding proponents that shaped modern Carnatic music. In honor of his contributions to Carnatic music, he is referred to as the ''Pitamaha'' (''lit''. "grandsire") of Carnatic music. According to a legend, he is considered as an incarnation of Narada. Purandara Dasa was a wealthy merchant of gold, silver and other miscellaneous jewellery from Karnataka, who gave away all his material riches to become a Haridasa (literally meaning a servant of Vishnu or Krishna), a devotional singer who made the difficult Sanskrit tenets of Bhagavata Purana available to everyone in simple and melodious songs. He was one of the most important music scholars of medieval India. He formulated the basic lessons of teaching Carnatic music by structuring grade ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sandham- Symphony Meets Classical Tamil
''Sandham: Symphony Meets Classical Tamil'' is a studio album in Tamil by American Composer Rajan Somasundaram that involved various international artists. It is based on Sangam period ancient Tamil poetry and the first ever music album on Sangam poetry. ''The Hindu'' music review called the album "A Major Event in the World of Music". As of 15 July 2020, the album got into Amazon's Top#10 best seller list under International Music category. The album consists of seven songs, a collection of outstanding ancient Tamil Sangam literature poetry with music composed by Rajan Somasundaram and sung by leading singers Bombay Jayashri, Saindhavi, Karthik, Pragathi Guruprasad among others. The seven songs in the album are, Yathum Oore, written by Kaniyan Pungundranar having two versions (Symphony version and multi-genre version), Veral veli, written by Poet Kapilar, Yayum Nyayum written by Sempulapeyaneerar, Nyayiru Kayathu, written by Poet Kayamanar, Mullai Oorntha written by poet O ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kuṟuntokai
Kuṟuntokai (, meaning ''the short-collection'') is a classical Tamil poetic work and traditionally the second of the Eight Anthologies (''Ettuthokai'') in the Sangam literature. The collection belongs to the ''akam'' (love) category, and each poem consists of 4 to 8 lines each (except poem 307 and 391 which have 9 lines). The Sangam literature structure suggests that the original compilation had 400 poems, but the surviving ''Kuruntokai'' manuscripts have 402 poems. According to Takanobu Takahashi – a Tamil literature scholar, these poems were likely composed between 100 CE and 300 CE based on the linguistics, style and dating of the authors. Kamil Zvelebil, a Tamil literature and history scholar, states that the majority of the poems in the ''Kuruntokai'' were likely composed between the 1st century BCE and the 2nd century CE. The ''Kuruntokai'' manuscript colophon states that it was compiled by Purikko (உரை), however nothing is known about this compiler or the patron. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kanaka Dasa
Kanaka Dasa (1509–1606) also known as Daasashreshta Kanakadasa (ದಾಸಶ್ರೇಷ್ಠ ಕನಕದಾಸ), was a Haridasa saint and philosopher of Dvaita Vedanta, from present-day Karnataka, India. He was a follower of Madhvacharya's Dvaita philosophy and a disciple of Vyasatirtha. He was a composer of Carnatic music, poet, reformer and musician. He is known for his keertanas and ugabhoga, and his compositions in the Kannada language for Carnatic music. Like other Haridasas, he used simple Kannada and native metrical forms for his compositions. Birth Kanaka Dasa was born into a Kannada kuruba family in Baada village, near Bankapura in Karnataka, and was a warrior at the Bankapura fort. He was taught by Srinivasacharya. As a child, he became an expert in "tarka", "vyakarana", and "mimamsa". Based on one of his compositions, it is interpreted that he was injured in battle and took to the practice of chanting the name of Lord Hari. A beggar appeared to Kanaka Dasa, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vijaya Dasa
Vijaya Dasa () (c. 1682– c. 1755) was a prominent saint from the Haridasa tradition of Karnataka, India in the 18th century, and a scholar of the Dvaita philosophical tradition. Along with contemporary haridasa saints such as Gopala Dasa, Helevankatte Giriamma, Jagannatha Dasa and Prasanna Venkata Dasa, he propagated the virtues of the philosophy of Madhwacharya across South India through devotional songs called written in the Kannada language., p1 An integral part of Kannada Vaishnava devotional literature, these compositions in praise of the Hindu god Vishnu as well as other deities are called (compositions of the ).Narasimhacharya (1988), p25 He has influenced both Carnatic music and Hindustani music through his compositions. His ''ankita'' (pen name) is Vijaya vithala. These compositions can be more specifically categorized as , , , and simply . They were easy to sing to the accompaniment of a musical instrument and dealt with (devotion) and the virtues of a pio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Purandara Dasa
Purandara Dasa (IAST: Purandara Dāsa; (1470 – 1564) was a composer, singer and a Haridasa philosopher from present-day Karnataka, India. He was a follower of Madhwacharya, Madhvacharya's Dwaitha, Dvaita philosophy. He was one of the chief founding proponents that shaped modern Carnatic music. In honor of his contributions to Carnatic music, he is referred to as the ''Pitamaha'' (''lit''. "grandsire") of Carnatic music. According to a legend, he is considered as an incarnation of Narada. Purandara Dasa was a wealthy merchant of gold, silver and other miscellaneous jewellery from Karnataka, who gave away all his material riches to become a Haridasa (literally meaning a servant of Vishnu or Krishna), a devotional singer who made the difficult Sanskrit tenets of Bhagavata Purana available to everyone in simple and melodious songs. He was one of the most important music scholars of medieval India. He formulated the basic lessons of teaching Carnatic music by structuring grade ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vyasatirtha
Vyāsatīrtha (), also called ''Vyasaraja'' or ''Chandrikacharya'', was a Hindu philosopher, scholar, polemicist, commentator and poet belonging to the Madhwacharya's Dvaita order of Vedanta. As the rajaguru of Vijayanagara Empire, Vyasatirtha was at the forefront of a golden age in Dvaita which saw new developments in dialectical thought, growth of the Haridasa literature under bards like Purandara Dasa and Kanaka Dasa and an increased spread of Dvaita across the subcontinent. He himself composed many kīrtanas in Kannada and Sanskrit. Three of his polemically themed doxographical works ''Nyayamruta'', ''Tatparya Chandrika'' and ''Tarka Tandava'' (collectively called ''Vyasa Traya'') documented and critiqued an encyclopaedic range of sub-philosophies in Advaita, Visistadvaita, Mahayana Buddhism, Mimamsa and Nyaya, revealing internal contradictions and fallacies. His ''Nyayamruta'' caused a stir in the Advaita community across the country requiring a rebuttal by M ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vadiraja Tirtha
Sri Vadiraja Tirtha (1480 – 1600) was a Dvaita philosopher, poet, traveller and mystic. He authored many works, often critical, on Madhva theology and metaphysics. Additionally, he composed numerous poems and as the pontiff of Sodhe Mutt, renovated the temple complex at Udupi and established the ''Paryaya'' system of worship. He also enriched the Kannada literature of the time by translating Madhvacharya's works to Kannada, giving impetus and contributing to the Haridasa movement. He has influenced both Carnatic and Hindustani music through his compositions. His compositions are mainly in Kannada and Sanskrit. His mudra is 'Hayavadana'. His works are characterised by their poetic flourishes, wit and humour. Life Vadirajaru was born as Bhuvaraha in Huvinakere, a village in the Kundapura taluk. He was ordained as a monk at the age of 8 and placed into the care of Vidyanidhi Tirtha and later Vagisha Tirtha, who oversaw his education. Works of contemporary Haridasas and o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
