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Topic: Hindustani ragas

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	Rāga - Wikipedia, the free encyclopedia
		The raga of the SGGS are: Asa, Bairari, Basant, Bhairon, Bihagara, Bilaval, Devagandhari, Dhanasari, Gauri, Gond, Gujari, Jaijavanti, Jaitsri, Kalian, Kanara, Kedara, Maajh, Malaar, Mali Gaura, Maru, Nat Narain, Prabhati, Ramkali, Sarang, Sri, Sorath, Suhi, Tilang, Todi, Tukhari and Vadahans
		Ragas that have five swaras are called audava (औडव) ragas; those with six, shaadava (षाडव); and with seven, sampoorna (संपूर्ण) (Sanskrit for 'complete').
		Some Melakarta Ragas are Sankarabharanam, Maaya Malava Gowla, Kalyani etc. Janya ragas are derived from the Janaka ragas using a combination of the swarams in the parent raga.
	en.wikipedia.org /wiki/Raga (1108 words)

	Hindustani classical music - Wikipedia, the free encyclopedia
		Hindustani classical music, like Carnatic music, is organized by Ragas (also called raag) which are characterized, in part, by their specific ascent (Arohana) and descent (Avarohana.) The ascent notes may not be identical to the descent notes.
		The name Raga was first found in Natya Shastra a treatise on all dramatic forms of ancient India circa 200 CE purportedly written by Bharata Muni.
		Indeed, his ragas (which are based on times of the day) were reputed to have been so powerful that according to legend, upon his playing a night-time raga in the morning, the entire city fell under a hush and clouds gathered in the sky.
	en.wikipedia.org /wiki/Hindustani_classical_music (2110 words)

	Indian classical music - Wikipedia, the free encyclopedia
		The prime themes of Hindustani music are Rasleela (Hindu devotionals) of Krishna and Nature in all its splendour.
		The beginning of the raga is called an alap in Hindustani music and an alapana in Carnatic music.
		In Hindustani music, once the raga is established, the ornamentation around the mode begins to become rhythmical, gradually speeding up.
	en.wikipedia.org /wiki/Indian_classical_music (719 words)

	India4u - Music -Hindustani Music
		There are a limited number of ragas in Hindustani music; as the use of a ``KING" note and a ``QUEEN" note restricts to a great extent, the creation of new ragas.
		The raga forms the backbone of Indian music, and the laws laid down for the ragas have to be carefully observed to preserve and safeguard their integrity.
		There are certain ragas, which move in a certain pitch and if the pitch is changed, the raga fails to produce the mood and sentiment peculiar to it.
	www.india4u.com /Indmusic/hindustani.asp (1455 words)

	contact1.gif
		A raga is based on the principle of a combination of notes selected out the 22 note intervals of the octave.
		In sketching the outline of the raga, he improvises on the ascending and descending notes, observed the prescribed relation of "King" and "Queen" and the important group of notes which characterises the particular raga.
		When the singer feels that he has explored the raga sufficiently he moves without pause into the second part of the aalaap called the nom-tom aalaap where a definite rhythm is established through the use of repeated pitches and vocables.
	www.deepalondesigns.com /dinesh/hindustani.htm (5723 words)

	Symp2004, Bangalore
		Hindustani music, the Northern counterpart of Indian music is less complicated, less sophisticated than Carnatic music, and has been shaped by the increased Muslim/ Persian influence in Northern India, and due to the numerous invasions and occupations of that region.
		In Hindustani music, ragas are usually assigned to particular times of the day or night, and, in many cases, also to seasons of the year..
		Within each raga, the emphasis is on the slow unfolding of its melodic subtleties, note by note, in the largely improvised exposition, known as alap.
	www.meltonfoundation.org /Symp2004/1092/HTML/hindustani.htm (938 words)

	The Hindu : Hindustani ragas well-handled
		HINDUSTANI MUSIC lovers in Chennai are most familiar with Pt.
		Krishnanandji was one of the first pioneer to create an awareness and understanding of Hindustani classical music in Chennai.
		Krishnanandji, complimented the artiste and paid their tribute to Panditji on his unfailing commitment to popularising Hindustani classical music among the Chennai audience.
	www.hindu.com /2001/06/22/stories/0922070g.htm (292 words)

	Indian classical music,hindustani classical music,carnatic music,semi-classical music
		However, there are some ragas which have the same scale as Hindustani ragas but have different names; such as Hindolam and Malkauns, Shankarabharanam and Bilawal.
		Hundreds of Ragas were created with the help of these Ragas and Raginis, many of which have become obsolete.
		The essential component of a khayal is a composition (Bandish) and the expansion of the text of the composition within the framework of the raga.
	www.itcsra.org /sra_faq_index.html (1439 words)

	Indian Melody : Introduction to Indian Music - An Article
		The Ascent and Descent of the rag, i.e.
		Ragas for the first quarter of the morning and night which include the notes re, ga, dha and ni(komal).
		Another division of ragas is the classification of ragas under six principal ragas -- Hindol, Deepak, Megh, Shree and Maulkauns.
	www.indianmelody.com /musicintro1.htm (3034 words)

	The Raga Guide (Site not responding. Last check: 2007-10-13)
		The Raga Guide is an introduction to Hindustani ragas, the melodic basis for the classical music of northern India, Pakistan, Nepal, and Bangladesh.
		Over four discs, the ragas are presented in strict alphabetical order, with the consequence that two ragas traditionally associated for late night performance may bracket an early morning one.
		Since the fast-paced raga "Jog" is mysteriously tagged for night and its disc successor the dreamy "Jogiya" intended for morning, this time-of-day mixing has no detrimental effect on the flow.
	www.technobeat.com /BOOKS/RAGAGUIDE.html (482 words)

	EOL 6 CD review: Raga Guide (Site not responding. Last check: 2007-10-13)
		Ragopedia" identifying over 650 Hindustani ragas in a seven volume set is extensive but no match for the Nimbus Records production; ragas are identified by ascending and descending scales, and a companion CD presents computer playback of MIDI files containing melodic progressions (chalans) of ten ragas with sampled Indian solfege vocals.
		The personification of musical ragas and raginis as male and female images developed first in poetry in the 14th century then in painting, and was linked to the association of ragas with emotions and with particular times of day and seasons of the year.
		A CD track listing of raga performances along with their performers is not printed in the book but can be found at the Nimbus Records website.
	research.umbc.edu /eol/6/raga (1469 words)

	The Raga Guide
		As Hindustani music increasingly reaches American ears, another need is felt: for a straightforward reference work which allows those interested in the music to identify and distinguish the various ragas in current repertoire.
		The raga's ascending and descending sequences are given in staff notation (C is the nominal tonic throughout), with superscript sargam notation in the Roman alphabet.
		This parallels the variation between different versions of particular ragas, and is an example of the difficulty involved in assigning "definitive" status to particular aspects of Hindustani repertoire.
	www.rootsworld.com /reviews/raga99.html (1514 words)

	Subject Bhatkhande Keywords Bhatkhande musicology Date Wed, 23 Dec 1992 202528 GMT Dear Fe
		Their method of transmission, which was by rote, at least made it plausible that the basic tonal- structural features of a Raga might have survived essentially intact over the years, although clearly both the phrasing and the texts had probably changed.
		He also pays great attention to the characteristic phrasings of the Raga, sometimes incorporating the solfage cleverly in the text in such a way that the letters of the solfage do double duty as a part of a meaningful word in the song, while retaining their appropriate musical pitches.
		Time and again he expresses in Hindustani Sangeeta Paddhati his dismay at the fact that in his day the upper echelons of society regarded the performance of art music as a decadent and degrading occupation associated with prostitution and orgiastic excess.
	www.skepticfiles.org /en003/bhat_art.htm (5498 words)

	bhweekly
		Ragas are the form used in Indian classical music, and there are basically two traditions which utilize this unparalleled system for improvisation and composition: the North and the South.
		The North is referred to as Hindustani and the South is Karnatic.
		Ragas are characterized by distinctive arrangements of tones, and each raga has its own expressive essence, which relates to the concept of rasa or mood.
	www.azuremilesrecords.com /bhweekly.html (590 words)

	Search results for 'Ragas'
		And he himself showed how this approach made it possible for our ragas and raginis to emerge in their true form, dignity, grandeur, color and sparkle.
		The names of ragas and the number of dhrupads Swamiji composed and set to these ragas are: ``Siddhanta dhrupadi'' ``Kelimal dhrupads'' ``Raga'' andnbspandnbspandnbspandnbsp No.
		Besides being a reservoir of wealth of rare ragas and composition of his honored gharana, Shri Yunus Hussain Khan is one of the very few musicians with the authority and stature to the established innumerable
	www.kamat.com /cgi-bin/htsearch?words=Ragas (471 words)

	Ragaas and time: An analysis - Sify.com (Site not responding. Last check: 2007-10-13)
		Ragas are classified according to the day, night or seasons.
		The Hindustani ragas are also classified on the basis of the notes - Vadi and Samvadi.
		The Hindustani ragas have been classified into 10 Thaats similar to the Melakartha Ragas of the Karnatic music.Ragas like Bhairavi and Piloo can be sung at all times.
	sify.com /carnaticmusic/fullstory.php?id=13540432 (643 words)

	[No title] (Site not responding. Last check: 2007-10-13)
		Each of the 74 individual ragas has a short introduction dealing with its history, musical analysis, emotional mood and associated time of day; a chart of the ascending and descending notes of the raga; and a transcription of the melodic outline written in Western notation and sargam superscript.
		From here, each raga recorded on the CDs goes into the next movement in a tala (rhythmic framework) which is named, but this part of the raga, accompanied by tabla drums, is not transcribed (with one exception).
		The first raga receives a full 5-page transcription and analysis in the book as a “performance in miniature,” and I have found it very helpful to go over this piece in class with students.
	members.aol.com /ethnodox/reviews/Sample-b_Raga.htm (477 words)

	The Raga Guide: A Survey of 74 Hindustani Ragas (Site not responding. Last check: 2007-10-13)
		The closest analogue to the raga in Western music are the "standards" routinely used by jazz musicians as a basis for their improvisations.
		A raga can be regarded as a tonal framework for composition and improvisation; a dynamic musical entity with a unique form, embodying a unique musical idea.
		As well as a fixed scale, there are features particular to each raga such as the order and hierarchy of its tones, their manner of intonation and ornamentation, their relative strength and duration, and specific approach.
	www.classical-music-review.org /reviews/RagaGuide.htm (332 words)

	Ragas in Hindustani Music - Conceptual Aspects (Site not responding. Last check: 2007-10-13)
		Ragas, the expressional mean of Indian Music are not merely the combination of notes.
		There are a number of conceptual aspects and various affinities in ragas which help in establishing every raga’s character.
		The salient feature of this book is that the author draws her conclusions after having tapped primary sources material and interviews with the stalwarts of Indian music.
	www.indiaclub.com /html/9220.htm (197 words)

	Indian Classical Music (Site not responding. Last check: 2007-10-13)
		The rationale is specifically contrast (usually), as opposed to Turkish music where modes are chosen for a directed development, or Arabic music where the frequent modulations should be as unnoticed as possible, etc.
		In both Hindustani and Carnatic music, songs (or instrumental compositions in Hindustani music) are usually (although not always) preceded by an improvised unmeasured prelude (alap/alaapana) which is sometimes extensive.
		Hindustani music is the music of North India, involving both Hindu and Muslim musicians.
	www.medieval.org /music/world/india.html (463 words)

	Hindustani Music - www.artindia.net
		Hindustani music is based on the raga system.
		A raga is a melodic scale, consisting of notes from the basic seven known as sa, re, ga, ma pa, dha, and ni.
		The form of the raga is also determined by the particular pattern of ascent and descent of the notes, which may not be strictly linear.
	www.artindia.net /hindustani.html (315 words)

	Royal Carpet: Equivalent Ragas in Carnatic and Hindustani Music
		First is the hindustani (north Indian) raagaa, followed by its equivalent/near equivalent raagaa in carnaaTic music.
		For each raga, the thaaT and the mELakartaa or mELaa scales, notations of the main or raga from which the derivative or janya raagaa is formed, are also given.
		Where carnaaTic raagaas are separated by a slash, the first raga is aarOha (ascending scale) and the second raga is the avarOha (descending scale).
	www.geocities.com /promiserani2/hcragatable.html (129 words)

	Amazon.co.uk: India - the Raga Guide: a Survey of 74 Hindustani Ragas: Music: Various Artists (Site not responding. Last check: 2007-10-13)
		Stately in their sounds, ragas are most often created with sitar, sarod, tabla, tamboura (or drone), and voice with each note functioning as an evocation of the world's sanctity.
		For anyone interested in exploring the depth of Hindustani raga performance it is also first-rate in its presentation of a variety of ragas performed over a range of instruments and with an illuminating text..
		This is a major obstacle to ease of use for practising musicians - in both senses of the word - and the alaps in the instrumental pieces - especially in the flute performances, are comparatively overlong and over-elaborated.
	www.amazon.co.uk /India-Guide-Survey-Hindustani-Ragas/dp/B00000JT5P (1026 words)

	ARTINDIA,India painting, India craft, India dance, India music, India cinema, India tradition, India culture (Site not responding. Last check: 2007-10-13)
		Hindustani Music came ino existence with the advent of Muslim invasion in India.
		Hindustani Thodi is the equivalent of Carnataka Subha Pantuvarali & there is Bhairavi in both systems which have no common features.
		Many Hindustani ragas are being handled with efficiency by Carnataka composers & musicians.
	www.webindia.com /artindia/nithya.htm (460 words)

	Vimoksha - Indian classical music and dance portal - Classical Music (Site not responding. Last check: 2007-10-13)
		Ragas are groups of notes that organise melody.Common in Indian classical music.
		Both the styles Hindustani and Carnatic are monophonic in nature, follow a melodic line and employ a drone (tanpura) with the help of one or two notes against the melody.
		The primary genres of musical composition in North Indian or Hindustani classical music are dhrupad and khyal.
	www.vimoksha.com /music-frontpage.html (653 words)

	India Musica - Hindustani music
		It traces, in simple and clear style, the evolution of Indian music from its ritualistic and devotional use to the emergence of khayal - a style that marked the blending of the Indian and Persian styles...
		India Musica is an impressively comprehensive initiation to Hindustani classical music--all squeezed, along with lots of musical pieces from well-known artists...
		The title discusses the philosophy of Hindustani music and attempts to equip the music enthusiast to appreciate music in more ways then one.
	specialitysoftware.com /imusica/media/index.htm (280 words)

	[No title] (Site not responding. Last check: 2007-10-13)
		Bhatkhande' s Magnum Opus, " Hindustani Sangeet Paddhati ", is a four volume work of over 2000 pages, cast in the form of a Platonic dialogue between teacher and student.
		He explicitly allowed in Hindustani Sangeeta Paddhati the validity and logical appeal of a finer classification with more Thaats, but settled on 10 Thaats because he felt that it led to an adequate system which would not burden a student' s memory unduly.
		Today, essentially all the institutions of Hindustani musical instruction use Bhatkhande' s classification (in varying degrees of detail) as a basis for their curricula.
	sanskrit.gde.to /all_txt/bhatkhande.txt (5496 words)

	Sound of India
		Even within this genus, one finds a great variety of traditions and styles of performance, of compositions, of Ragas and their renderings, making a systematic study of this subject a challenging task.
		Under the Mela system, each Raga is considered to have been derived from a particular " parent scale ", which is called a Mela (or more fully, a Swaramela - literally : a compatible collection of Swaras or pitches).
		would be an allowable Mela, but Hindustani music does not use it because of the preponderance of half-note intervals in it.
	www.soundofindia.com /showarticle.asp?in_article_id=1043207043 (5728 words)

	THE RAGA GUIDE A survey of 74 Hindustani Ragas : Classical CD Reviews- OCT 1999 (Site not responding. Last check: 2007-10-13)
		It is an elegant and enormously attractive production, to which has been brought a wealth of scholarship and expertise in a project which dates back for one and a half decades before coming to fruition.
		Here you can find all the ragas you are ever likely to encounter in miniature performances on flute (Hariprasad Chaurasia, King of Indian masters of the keyless Indian flute), sarod (Buddadev DasGupta) and voice, the ascent-descent and melodic outlines of each rag transcribed in both western and Indian notation.
		For me, the core of the enterprise is the raga Alhaiya bilavi, winningly sung by Shruti Sadolikar-Katkar in a four minute version and fully transcribed in its entirety; I have played it over many times with increasing pleasure and appreciation.
	www.musicweb.uk.net /classrev/oct99/indianbook.htm (423 words)

	The Hindu : Basic concepts and terms of music
		In the ragas section, a list of the ragas is mentioned referring to the Mela, Janya and Bhashanga.
		Here the reference is to a large extent, Hindustani ragas and those of the Carnatic system is still elementary.
		For example, under Sriranjani, the note says ``23rd janya ragas originated from Karaharapriya melakarta of Carnatic music.'' At least in the case of some Hindustani ragas there is some educative material.
	www.hinduonnet.com /thehindu/2000/04/04/stories/13040178.htm (423 words)

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