|
Vishwambari
Vishwambari is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 54th ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Vamshavati in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana It is the 6th rāgam in the 9th ''chakra Brahma''. The mnemonic name is ''Brahma-Sha''. The mnemonic phrase is ''sa ra gu mi pa dhu nu''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : ''Shuddha rishabham, antara gandharam, prati madhyamam, shatsruthi dhaivatham'' and ''kakali nishadham'' are the notes used in this scale, other than ''sha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Graha Bhedam
''Graha Bhedam'' in Carnatic music is the process (or result of the process) of shifting the Tonic (music), Tonic note (''Śruti (music), śruti'') to another note in the rāgam and arriving at a different rāgam. Its equivalent in Hindustani classical music is called a ''murchhana''. Expressed in Classical music, Western music theory terms, this is the process of arriving at a different scale by shifting to another mode in the key, i.e, Modulation (music), modulation. ''Graha'' literally means ''position'' and ''Bhedam'' means ''change''. Since the position of the ''śruti'' is changed (pitch of the base note or drone (music), drone), it is also sometimes called ''Swara Bhedam'' or ''Śruti Bhedam'' though ''Śruti Bhedam'' and ''Graha Bhedam'' have some technical differences. Definition Modal shift of the Tonic note to higher notes of a rāgam, while retaining the note's positions (swara sthānas – sthāna means position/ pitch), results in different rāgams. This is cal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ganamoorti
Ganamurti (pronounced gānamūrti, meaning ''the idol of music'') is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 3rd ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Gānasāmavarāḷi in Muthuswami Dikshitar school of Carnatic music.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana It is the 3rd rāgam in the 1st ''chakra Indu''. The mnemonic name is ''Indu-Go''. The mnemonic phrase is ''sa ra ga 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 ''shuddha rishabham, shuddha gandharam, shuddha madhyamam, shuddha dhaivatham, kakali nishadham''. As it is a ''melakarta'' rāgam, by definition it is a ''sampoorna'' rāgam (has all ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hatakambari
Hatakambari (pronounced Hātakāmbari''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai) is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 18th ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Jayashuddhamālavi in Muthuswami Dikshitar school of Carnatic music.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana It is the 6th rāgam in the 3rd ''chakra Agni''. The mnemonic name is ''Agni-Sha''. The mnemonic phrase is ''sa ra gu ma pa dhu 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 ''shuddha rishabham, antara gandharam, shuddha madhyamam, shatsruthi dhaivatham, kakali ni ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melakarta
Mēḷakartā is a collection of fundamental musical scales ( ragas) in Carnatic music (South Indian classical music). ''Mēḷakartā'' ragas are parent ragas (hence known as ''janaka'' ragas) from which other ragas may be derived. A ''melakarta'' raga is sometimes referred as ''mela'', ''karta'' or ''sampurna'' as well, though the latter usage is inaccurate, as a ''sampurna'' raga need not be a ''melakarta'' (take the raga ''Bhairavi,'' for example). In Hindustani music the '' thaat'' is the rough equivalent of ''Melakartā''. There are 10 ''thaats'' in Hindustani music, though the commonly accepted ''melakarta'' scheme has 72 ragas. Rules for ''Mēḷakarta'' ragas Ragas must contain the following characteristics to be considered ''Melakarta'': *They are '' sampurna ragas'' – they contain all seven '' swaras'' (notes) of the octave in both ascending and descending scale.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''A practical course i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shamalangi
Shamalangi or Shyamalangi (pronounced ) is a ragam in Carnatic music (classical music of southern India). It is the 55th in the 72 ''melakarta'' rāgam system of Carnatic music, and is called ' in the Muthuswami Dikshitar school of that genre.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana Shamalang is the 1st rāgam in the 10th ''chakra Disi''. Its mnemonic name is ''Disi-Pa;'' the mnemonic phrase associated with it is ''sa ri gi mi pa dha na''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on notation and terms): * : * : ''Shamalangi's swaras'' are ''chathusruthi rishabham, sadharana gandharam, prati madhyamam, shuddha dhaivatham'' and ''shuddha nishadham''. As it is a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mysore Jayachamaraja Wodeyar
Mysore ( ), List of renamed places in India, officially Mysuru (), is a city in the South India, southern Indian state of Karnataka. It is the headquarters of Mysore district and Mysore division. As the traditional seat of the Wadiyar dynasty, the city functioned as the capital of the Kingdom of Mysore for almost six centuries (). Known for its List of Heritage Buildings in Mysore, heritage structures, palaces (such as the famous Mysore Palace), and its Culture of Mysore, culture, Mysore has been called the "City of Palaces", the "Heritage City", and the "Cultural capital, Cultural capital of Karnataka". It is the List of cities in Karnataka by population, second-most populous city in the state and one of the List of cleanest cities in India, cleanest cities in India according to the Swachh Survekshan. Mysore is situated at the foothills of the Chamundi Hills. At an altitude of above Sea level, mean sea level, the city of Mysore is geographically located at 12° 18′ 26″ nor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Koteeswara Iyer
Koteeswara Iyer (1869 - 1938), was a pioneer composer of Indian classical music Carnatic music. He was a grandson of Kavi Kunjara Bharati(1810–1896) attributing to a strong lineage of accomplished musicians. He was born in Nandhanur to Nagarathinam iyer who was a Sivagangai Samasthana Sangeetha Vidwan. His ancestors lived initially in Tirunelveli (Tamil Nadu) and later in Raja Hiranya Garba Thirumalai Sethupathi's village in Perungarai (Ramanathapuram). Koteeswara Iyer studied music under Poochi Srinivasa Iyengar (1860–1919) and Patnam Subramania Iyer (1845–1902). He composed mainly in the Tamil language and used the ''mudra'' ''Kavi Kunjara Dasan'' in tribute to his grandfather. While studying his BA in English Literature in Trichy, Koteeswara Iyer started performing in small Kutcheries singing Kavi Kunjara Bharathi's Skanda Puranam, Perinba Keerthanaigal. Noted devotional singers K. Somu (Somasundaram) and K. Veeramani were the grandsons of Koteeswara Iyer, and thus th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rāga
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] |
Janya
''Janya'' is a term meaning "derive". In Carnatic (South Indian) music a ''janya raga'' is one derived from one of the 72 '' melakarta'' ragas (fundamental melodic structures). ''Janya'' ragas are classified into various types based on a variety of features. ''Varja'' ragas Ragas that omit (varjyam, to omit in Sanskrit) one or more of the notes of the scale (''swaras'') of their parent ''melakarta'' raga, in the ascending or descending scale or in both, fall into this category. Different notes may be omitted from the ascending '' arohana'' and descending '' avarohana'' scale. Such scales are given the names listed below.''A practical course in Carnatic music'' by Prof. P. Sambamurthy, 15th edition published 1998, The Indian Music publishing house''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications vrja a * ''Sampurna'' – 7 note scale * ''Shadava'' – 6 notes * ''Audava'' – 5 notes Since these terms are applicable both to the ascending and th ... [...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] |
