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Abheri
Abheri (pronounced ābhēri) is a raga in Carnatic music (musical scale of South Indian classical music). It is a ''Janya'' raga (derived scale), whose ''Melakarta'' raga (parent, also known as ''janaka'') is ''Kharaharapriya'', 22nd in the 72 ''Melakarta'' raga system. ''Bhimpalasi'' (or ''Bheempalas'') and ''Dhanashree'' of Hindustani music sounds close to ''Abheri''.''Ragas in Carnatic music'' by S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana Abheri is an ''audava-sampoorna'' Raga. Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : The ''swaras'' in this scale are ''Chathusruthi Rishabham, Sadharana Gandharam, Suddha Madhyamam, Chathusruthi Dhaivatham'' and ''Kaisiki Nishadham''. There are some differing views on swaras in the scale of Abheri. It is considered a ''Bhashanga'' ra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Udayaravichandrika Scale
Udayaravichandrika, or Shuddha Dhanyasi, is a rāgam in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāgam (or ''owdava'' rāgam, meaning pentatonic scale). It is a ''janya'' rāgam (derived scale), as it does not have all the seven ''swaras'' (musical notes). Closer to ''Udayaravichandrika'' in Hindustani music is ''Dhani (raga), Dhani'' aka Gaundgiri.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras But Dhani has N2 while Udayaravichandrika N3 in theory. Its Western equivalent is the ''Minor pentatonic scale''. This raga has a great association with the Chinese musicology, which is highly influenced by this raga, and is also called the ''"Chinese Scale"''. The ''Prati Madhyamam'' () equivalent of this raga is "Sumanesaranjani" (alias "Samudrapriya"), whose Hindustani Equivalent is "Madhukauns" Structure and Lakshana ''Udayaravichandrik ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhimpalasi
Bhimpalasi or Bheempalasi (also known as Bhimpalas or Bheempalas) is a Hindustani classical raga. The Carnatic Music equivalent of this raga is Abheri. Raga Bhimpalasi belongs to the Kafi Thaat. Theory * Aaroha: * Avaroha: The raga has komal Ni and Ga. ''Rishabh'' ((re)second) and ''dhaivat'' ((Dha)sixth) are skipped in ''āroha'' (ascending) passages, but are given due importance when descending (''avroha''). Since the scale has 5 notes ascending and all 7 descending, the resulting ''jāti'' is ''Audav–Sampūrṇa''. It is performed in the early afternoon, from 12:00 P.M. to 3:00 P.M. (the third ''prahar'' of the day). Use of ''dhaivat(dha)'' and ''rishabh(ray)'' is symmetrical in that both are approached via the succeeding notes (D from Ṉ, and R from ). is sung with a ''kaṇ-svara'' (grace note) of M. Similarly, Ṉ is sung with a ''kaṇ-svara'' from S. * Vadi Swar: * Samavadi Swar: *Thaat: Kafi * Pakad or Chalan: Bandish Examples A bandish is a compositi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mysore Vasudevacharya
Mysore Vasudevacharya (28 May 1865 – 17 May 1961) was an Indian musician and composer of Carnatic music compositions who belonged to the direct line of Thyagaraja's disciples. Vasudevachar's compositions (numbering over 200) were mostly in Telugu and Sanskrit. Some of his most popular kritis include Brochevarevarura in Khamas raga, ''Devadideva'' in Sunadavinodini, ''Mamavatu Sri Saraswati'' in Hindolam, ''Shankari Ninne'' in Pantuvarali, ''Bhajare Re Manasa'' in Abheri and ''Ra Ra Rajeevalochana Rama'' in Mohanam. He presided over Madras Music Academy's annual conference in 1935, when the Sangeetha Kalanidhi award did not exist. But everybody who presided over the annual conference in the 1930s was later conferred the award. He was a recipient of the civilian honour of the Padma Bhushan. He is credited with two writings in Kannada, one of them an autobiography called ''Nenapugalu'' (memories) and ''Na Kanda Kalavidaru'' (the musicians I have met) in which he wrote the b ... [...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] |
Bageshri
Raga Bageshri or Bageshree () is a Hindustani raga. It is meant to depict the emotion of waiting for reunion with one's lover. Being a very melodic raga it has gained popularity over the centuries. Like all ragas, Raga Bageshri traces its origins to the Samaveda, a sacred Hindu text with roots that likely date back to around 1500 BCE, though its oral tradition could be much older. Raga Bageshri is a night time raga (''madhya raatri'' Ragsamaya), written in '' Kaafi'' thaat, ''Ma'' Vadi, ''Sa'' Samvadi, 5/7 Jati, Hasya Rasa (associated with joyful, the comic, and happy emotions). In modern days, people like the popular Hindi music director C.Ramchandra favour composing songs in Bageshri, as he found it simple. In a 1978 interview at BBC studios with Mahendra Kaul, he explained this, while playing songs like ( Radha na bole – Azad, 1955) that were set to Bageshri. Theory The theoretical aspects of Bageshri are as follows: Scale :Arohana : S g m D n S' :Avarohana : S' ... [...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] |
Kharaharapriya Scale
Kharaharapriya is a rāga in Carnatic music. It is the 22nd ''melakarta'' rāga (parent scale) in the 72 ''melakarta'' rāga system. It is possible that the name of the ragam was originally ''Harapriya'' but it was changed to conform to the Katapayadi formula. ''Kharaharapriya'' has a distinct melody and brings out the ''Karuna'' rasam, invoking pathos in the listeners. The ''Kafi thaat'' of Hindustani music is the equivalent of ''Kharaharapriya''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Its Western equivalent is the Dorian mode. The ''Prati Madhyamam'' () equivalent of this raga is Hemavati Etymology There are many theories behind the etymology of the name ''Kharaharapriya''. One of the most popular beliefs is that the ragam was initially called Samaganam and when Ravana was trapped by Shiva, under the kailash hill trying to lift it, it is believed that, to appease t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dhanashree
Dhanasree is a raga. It prominently appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib. Raga Dhanashree appears in the Ragmala as a ragini of Malkauns and currently is a member of the Kafi thaat. It closely resembles Bhimpalasi in musical content but the vadis and moods are different (Described Below). Dhanashree is performed in the early afternoon and presents a cheerful, happy mood. It provided the setting for hymns by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadar for a total of 101 hymns. The following represents the order of notes that can be used on the ascending and descending phase of the composition and the primary and secondary notes: * Aroh: ni Sa ga Ma Pa ni Sa * Avroh: Sa ni Dha Pa Ma Pa ga Re Sa * Vadi: Sa * Samvadi: Pa * Jaati : Audava – sampurana * samay : Third pehar of the day * Thaat : Kafi This Raag is almost exactly the same as the Classical Raga Bhimpalasi, only that the Vadi/Samvadi are s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kharaharapriya
Kharaharapriya is a rāga in Carnatic music. It is the 22nd ''melakarta'' rāga (parent scale) in the 72 ''melakarta'' rāga system. It is possible that the name of the ragam was originally ''Harapriya'' but it was changed to conform to the Katapayadi formula. ''Kharaharapriya'' has a distinct melody and brings out the ''Karuna'' rasa (aesthetics), rasam, invoking pathos in the listeners. The ''Kafi (raga), Kafi thaat'' of Hindustani music is the equivalent of ''Kharaharapriya''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Its Western equivalent is the Dorian mode. The ''Prati Madhyamam'' () equivalent of this raga is Hemavati (raga), Hemavati Etymology There are many theories behind the etymology of the name ''Kharaharapriya''. One of the most popular beliefs is that the ragam was initially called Samaganam and when Ravana was trapped by Shiva, under the kailash hill tryin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhajan
Bhajan is an Indian term for any devotional song with a religious theme or spiritual ideas, specifically among Dharmic religions, in any language. The term bhajanam (Sanskrit: भजनम्) means ''reverence'' and originates from the root word ''bhaj'' (Sanskrit: भज्), which means ''to revere'', as in 'Bhaja Govindam' (''Revere Govinda'')''. ''The term bhajana also means ''sharing''. The term bhajan is also commonly used to refer to a group event, with one or more lead singers, accompanied with music, and sometimes dancing. Normally, bhajans are accompanied by percussion instruments such as ''tabla'', dholak or a tambourine. Handheld small cymbals (''kartals'') are also commonly used to maintain the beat. A bhajan may be sung in a temple, in a home, under a tree in the open, near a river bank or a place of historic significance.Anna King, John Brockington, ''The Intimate Other: Love Divine in Indic Religions'', Orient Longman 2005, p 179. A group of bhajan performers m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Papanasam Sivan
Paapanaasam Raamayya Sivan (26 September 1890 – 1 October 1973) was an Indian composer of Carnatic music and a singer. He was awarded the Madras Music Academy's Sangeetha Kalanidhi in 1971. He was also a film score composer in Kannada cinema as well as Tamil cinema in the 1930s and 1940s. Sivan was also known as Tamil Thyaagaraja. Using Classical South Indian music as a base, Sivan created compositions popularised by M. K. Thyagaraja Bhagavathar, D. K. Pattammal, and M. S. Subbulakshmi. In 1962, he was awarded the Sangeet Natak Akademi Fellowship conferred by Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama. Life Sivan's early years were spent in the Travancore area of Kerala. He was born at Polagam village in the district of Thanjavur, which was home to the musical trinity of Carnatic music. His given name was Ramaiya. In 1897, when he was 7, his father died. His mother Yogambal, along with her sons, left Thanjavur and moved to Travancore (now Thi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
