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Poorvi (thaat)
Purvi or poorvi is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat A ''thaat'' () is a "parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term '' Melakartha raga'' of Carnatic music. The concept of the ''thaat'' is not exactly equivalent to the western musical scal .... Description Poorvi thaat adds a Komal Dhaivat to Marva thaat. These thaat ragas usually feature komal Rishabh, shuddha Gandhar and Shuddha Nishad along with teevra Madhyam, the note which distinguishes evening from the morning ragas (dawn and sunset). The thaat raga Poorvi is deeply serious, quiet and mysterious in character and is performed at the time of sunset. Pictorial depictions in early texts, often mention the poise, grace, and charm of Poorvi. Ragas Ragas in Poorvi thaat include: * Poorvi * Puriya Dhanashree * Gauri * Shree * Paraj * Basant * Lalit References Hin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raag Poorvi, Ragamala, 17th Century
Raag may refer to: * Raga, a melodic framework in Indian classical music * Raag (film), ''Raag'' (film), a 2014 Assamese-language drama film * Raag (surname) * Radio Amateur Association of Greece * Right-angled Artin groups, in geometric group theory {{disambiguation ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thaat
A ''thaat'' () is a "parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term '' Melakartha raga'' of Carnatic music. The concept of the ''thaat'' is not exactly equivalent to the western musical scale because the primary function of a ''thaat'' is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent ''thaat''; a raga said to 'belong' to a certain ''thaat'' need not allow all the notes of the ''thaat'', and might allow other notes. ''Thaats'' are generally accepted to be heptatonic by definition. The term ''thaat'' is also used to refer to the frets of stringed instruments like the sitar and the veena. It is also used to denote the posture adopted by a Kathak dancer at the beginning of their performance. History The modern ''thaat'' system was created by Vishnu Narayan Bhatkhande (1860–1936), an influential musicologist ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Music
Hindustani classical music is the Indian classical music, classical music of the Indian subcontinent's northern regions. It may also be called North Indian classical music or ''Uttar Bhartiya shastriya sangeet''. The term ''shastriya sangeet'' literally means classical music, and is also used to refer to Indian classical music in general. It is played on instruments like the veena, sitar and sarod. It diverged in the 12th century Common Era, CE from Carnatic music, the classical tradition of Southern India. While Carnatic music largely uses compositions written in Sanskrit, Telugu language, Telugu, Kannada, Tamil language, Tamil, Malayalam, Hindustani music largely uses compositions written in Hindi, Urdu, Braj Bhasha, Braj, Awadhi language, Avadhi, Bhojpuri language, Bhojpuri, Bengali language, Bengali, Rajasthani languages, Rajasthani, Marathi language, Marathi and Punjabi language, Punjabi. Knowledge of Hindustani classical music is taught through a network of classical musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Subcontinent
The Indian subcontinent is a physiographic region of Asia below the Himalayas which projects into the Indian Ocean between the Bay of Bengal to the east and the Arabian Sea to the west. It is now divided between Bangladesh, India, and Pakistan. (subscription required) Although the terms "Indian subcontinent" and "South Asia" are often also used interchangeably to denote a wider region which includes, in addition, Bhutan, the Maldives, Nepal and Sri Lanka, the "Indian subcontinent" is more of a geophysical term, whereas "South Asia" is more geopolitical. "South Asia" frequently also includes Afghanistan, which is not considered part of the subcontinent even in extended usage.Jim Norwine & Alfonso González, ''The Third World: states of mind and being'', pages 209, Taylor & Francis, 1988, Quote: ""The term "South Asia" also signifies the Indian Subcontinent""Raj S. Bhopal, ''Ethnicity, race, and health in multicultural societies'', pages 33, Oxford University Press, 2007, ; Q ... [...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] |
Marva (thaat)
Marva or Marwa () is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat. Description Marva thaat is obtained by adding a komal Rishabh to the Kalyan (thaat), Kalyan thaat. The mood of the Marva family of ragas is strongly and easily recognisable. Ragas Other ragas in Marva thaat: *Marva (raga), Marva *Puriya *Sohni *Lalit (raga), Lalit (although it is sometimes placed in Purvi (thaat), Purvi thaat) *Bibhas (two other types of Bibhas are placed in Bhairav (thaat), Bhairav thaat or Purvi (thaat), Purvi thaat) *Pancham (raga), Pancham (Hindol Pancham) *Maligaura *Purba (raga), Purba (Purbya) *Purvakalyan *Jait (Jayat) (not to be confused with Jait Kalyan *Varati (raga) *Bhatiyar *Bhankar *Lalita Gauri (sometimes placed in Purvi (thaat), Purvi thaat) *Sazgiri According to O. Thakur Pūrvā Kalyāṇa is Marwa with Pa and less emphasis on komal Re. R. Jha treats Bhaṭiya as a mixture of Marwa and Maand. The ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Poorvi
Purvi or Poorvi () is a raga in Hindustani classical music that exemplifies its own thaat, the Poorvi thaat. Purvi has a deeply serious, quiet and somewhat mystical character. It is uncommon in performances nowadays. Aroha & Avaroha Arohana: Thus: C D-flat E F-sharp G A-flat B C+ In German: C Des E Fis G Aes H C+ In ''Arohana'', S and P are often avoided, specially in fast taans. Avarohana: Vadi & Samavadi Vadi : Ga Samvadi : Ni Pakad or Chalan Organization & Relationships Thaat: Purvi is the main raga of Purvi Thaat. Samay (Time) 4th Prahar of the day (3pm-6pm) Film Songs Language: Hindi Language: Tamil Related Ragas Puriya Dhanashree Rasa Raga-Kalpadruma: Charming and beautiful, scantily dressed, lotus-eyed Puravi appears at the end of the day. Idle and sleepy, she suffers from the pangs of separation and dreams only of her lover.Kaufmann 1968 Cattvarimsacchata-Raga-Nirupanam: Master of archery, seated on an elephant and dressed in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Puriya Dhanashree
Puriya Dhanashree is a raga in Hindustani classical music. It belongs to the Purvi thaat and has been derived from the defining raga of that thaat – Raga Purvi. The notes of Puriya Danashree correspond, in Western terms, to the double harmonic scale with an augmented fourth. Structure Raga Purvi, the "type-raga" of the Purvi thaat contains all seven notes (i.e. Shadaj, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad). But the rishabh and the dhaivat are komal both in ascent and descent and the madhyam varies from teevra to shuddh whereas the gandhar and the nishaad stay shuddh throughout. In Puriya Dhanashree, however, the aarohan or the ascent is as follows - -N r G M d N S+. This shows that pancham is not used very often in the aarohan thereby making it a shaadav aarohan or an aarohan with six notes. Rishabh and Dhaivat are komal or flat in Raag Puriya Dhanashree wheres the Madhyam is teevra or sharp. The descent or the avarohan is as follows: S+ N d P M G M r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gauri (raga)
Gauri is an India musical raga that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. there are Gouris of the Bhairav, Poorvi and Marwa thats with additional qualifiers such as the Shree-anga Gouri, Bhairav-anga Gouri, Poorvi-anga Gouri and so on. These are not considered ‘big’ ragas. In the Guru Granth Sahib, the Sikh holy Granth (book) there are a total of 60 raga compositions and this raga is the ninth raga to appear in the series. The composition in this raga first appear on ang (page) no. 151. Raag Gauri (ਗਉੜੀ) – Gauri creates a mood where the listener is encouraged to strive harder in order to achieve an objective. However, the encouragement given by the Raag does not allow the ego to increase. This theref ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shree (Hindustani Raga)
Shree is a very old North Indian raga of the Purvi thaat, and has traditionally been associated with Laxmi. It also appears in the Sikh tradition from northern India, and is a part of the ''Guru Granth Sahib'', the holy text of the Sikhs. The Guru Granth Sahib composition comprises 31 ragas where Shree is the first raga to appear. The raga appears first on 14th page of the composition. The basis of this Raag is steeped in the traditions of mainstream Indian Classical music. Siri Raag is serious and thought-provoking in its nature and creates an atmosphere where the listener is led to heed the advice given therein. The listener (the mind) is made aware of the truth of the message and with this ‘education’ is given the strength to face the future with both humility and the ‘gained’ knowledge. Guru Nanak, Guru Amar Das, Guru Ram Das, and Guru Arjan have composed sacred hymns ( Shabads) to be accompanied with this raga. It accompanies about 142 Shabads. According to Indi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Basant (raga)
Basant or Vasant is a Hindustani classical music, Hindustani classical raga. Raga Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. In the Guru Granth Sahib Ji, there are a total of 60 raga compositions and this raga is the forty-ninth raga to appear in the series. The composition in this raga appear on a total of 29 pages from page numbers (Ang) 1168 to 1170. Basant denotes the changing of the season and the newness of spring. This Raag encourages the mind to brush away its selfishness, just like spring-cleaning removes all the cobwebs and creates a fresh start. There are feelings of hope and expectation of a new beginning and the start of a new cycle. However, these emotions are not dependent on the physical change of the season, but are an encouragement of an internal effort to change. Origin Vasant is a Sanskrit word for "spring". ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
