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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 their 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 explor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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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] |
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Raga 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 pr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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Neraval
In Carnatic music, Neraval also known as Niraval or Sahitya Vinyasa is the elaboration and improvisation of melody for a particular line. Usually, just one or two lines of text from the song (from the anupallavi or charanam part of the kriti) are sung repeatedly, but with improvised elaborations. The part of lyrics is chosen which is self-contained in terms of its meaning and context and has an elegant structure amenable for repetition with variations. In general, such elaboration follow the rhythmic patterns in the original lyrics ( talam), Randel (2003), p562 and each word in the lines of text stay set within their original place (''idam'') in the tala cycle, Viswanathan & Cormack (1998), p232 though minor variations that remain faithful to the syllabic patterns of the sahityam are considered fine. The lines are then also played at different levels of speed which can include double speed, triple speed, quadruple speed and even sextuple speed. The neraval is one of the featur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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Javali
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] |
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Grammar
In linguistics, grammar is the set of rules for how a natural language is structured, as demonstrated by its speakers or writers. Grammar rules may concern the use of clauses, phrases, and words. The term may also refer to the study of such rules, a subject that includes phonology, morphology (linguistics), morphology, and syntax, together with phonetics, semantics, and pragmatics. There are, broadly speaking, two different ways to study grammar: traditional grammar and #Theoretical frameworks, theoretical grammar. Fluency in a particular language variety involves a speaker internalizing these rules, many or most of which are language acquisition, acquired by observing other speakers, as opposed to intentional study or language teaching, instruction. Much of this internalization occurs during early childhood; learning a language later in life usually involves more direct instruction. The term ''grammar'' can also describe the linguistic behaviour of groups of speakers and writer ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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Tanam
{{Use Indian English, date=July 2020 Tanam or Taanam (pronounced tānam) is one of the methods of raga improvisation (''manodharma'') in the Carnatic classical music tradition, suited mainly for vocal, violin and veena. Tanam consists of expanding the raga with syllables "a-nam-tam". The origin of this usage is not very clear. It could have originated from the Sanskrit word "tanyate" (that which is elaborated) or "tena" indicative of an auspicious object. Tanam is rendered as a rhythmic variation of raga alapana, in chaturasra nadai, though there is no specific talam that is followed. Tanam is almost always rendered without percussion accompaniment; the element of rhythm is embedded within the repetition of the syllables "a-nam-tham". Tanam is the second part of a Raagam Taanam Pallavi, and comes immediately after the 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 I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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Pallavi
A pallavi is a refrain in carnatic music, commonly associated with South India. It is the first part of any formal composition ( Krithi) which has three segments – Pallavi, Anupallavi and Charanam (which can be one or more). Pallavi is usually also an abbreviation of Ragam Thanam Pallavi. It is considered as the opening verse of Varnam. Other uses Pallavi in Sanskrit Sanskrit (; stem form ; nominal singular , ,) is a classical language belonging to the Indo-Aryan languages, Indo-Aryan branch of the Indo-European languages. It arose in northwest South Asia after its predecessor languages had Trans-cultural ... is used as an adjective or a verb with appropriate suffix to denote a small and tender red-coloured leaf of a plant or a tendril. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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Swaram
Swara () or svara is an Indian classical music term that connotes simultaneously a breath, a vowel, a note, the sound of a musical note corresponding to its name, and the successive steps of the octave, or ''saptanka''. More comprehensively, it is the ancient Indian concept of the complete dimension of musical pitch. At its most basic comparison to western music, a ''swara'' is, essentially, a "note" of a given scale. However, that is but a loose interpretation of the word, as a ''swara'' is identified as both a musical note and tone; a "tone" is a precise substitute for sur, relating to "tunefulness". Traditionally, Indian musicians have just seven ''swara''s/notes with short names: sa, re, ga, ma, pa, dha, ni, which they collectively refer to as ''saptank'' or ''saptaka''. This is one of the reasons why ''swara'' is considered a symbolic expression for the number seven. In another loose comparison to western music, ''saptak'' (as an octave or scale) may be interpreted as s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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Kritis
A ''kriti'' () is a form of musical composition in the Carnatic music literature. The Sanskrit common noun ''Kriti'' means 'creation' or 'work'. A kriti forms the mental backbone of any typical Carnatic music concert and is the longer format of a Carnatic song. Structure A conventional ''kriti'' typically contain three parts: #''Pallavi'', the equivalent of a refrain in Western music #'' Anupallavi'', the second verse, which is sometimes optional #'' Charanam'', the final (and longest) verse that wraps up the song The ''charanam'' usually borrows patterns from the ''anupallavi''. The ''charanam's'' last line usually contains the composer's signature, or ''mudra'', with which the composer leaves their mark. Variations Some Kritis have a verse between the ''anupallavi'' and the ', called the '' ''. This verse consists only of notes, and has no words. Other ''krithis'', particularly some of Oothukkadu Venkata Kavi and Muthuswami Dikshitar's compositions, are intentionally compos ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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Varnam
Varṇam is a type of composition in the Carnatic music system that encapsulates the key features of a raga, and considered as a foundational element in the learning path. Varnams capture the essence of the ragam in terms of typical swara patterns used, vishesha prayogas, highlighting the main notes (jeeva swaras), etc. This forms the basis for creative presentation (manodharma) of the raga in the form of raga aalapana, kalpana swarams and neraval. Varnams are a fundamental form in Carnatic music. All varnams consist of lyrics, Bradnock (1992), p631 as well as ''swara'' passages, including a '' pallavi'', an '' anupallavi'', ''muktaayi swaras'', a '' charanam'', and '' chitta swaras''. There are different types of varnams, such as ''taana varnam'', ''pada varnam'', ''daru varnam'' and ''ragamalika varnam''. They also come in different ''taalams'' (beat cycles). Though the most popular varnams are in ''Aadi'' and ''Ata taalas'', there are a number of varnams in other ''talas'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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Kriti (music)
A ''kriti'' () is a form of musical composition in the Carnatic music literature. The Sanskrit common noun ''Kriti'' means 'creation' or 'work'. A kriti forms the mental backbone of any typical Carnatic music concert and is the longer format of a Carnatic song. Structure A conventional ''kriti'' typically contain three parts: #''Pallavi'', the equivalent of a refrain in Western music #''Anupallavi (music), Anupallavi'', the second verse, which is sometimes optional #''Charanam'', the final (and longest) verse that wraps up the song The ''charanam'' usually borrows patterns from the ''anupallavi''. The ''charanam's'' last line usually contains the composer's signature, or ''mudra (music), mudra'', with which the composer leaves their mark. Variations Some Kritis have a verse between the ''anupallavi'' and the ', called the ''Chitta swara, ''. This verse consists only of notes, and has no words. Other ''krithis'', particularly some of Oothukkadu Venkata Kavi and Muthuswami Diks ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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No Original Research
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