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Topic: Raga Sri

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Musicological Study of Sri Guru Granth Sahib Sri Raga is the first musical measure used in the Guru Granth Sahib and it covers pages 14 to 93 comprising 142 shabads. It is the fifth raga in Guru Granth. In most of the hymns in the Adi Granth except Japji, Bhattan De Swayyas, etc. indication of Raga, the author of hymn and its method of singing in the form of Gharu are given. www.sikhreview.org /march2003/moral1.htm   (2978 words)

Krsna Talk: Email Question & Answer Subscription Forum Pujala raga-patha inscription - Sri Caitanya Saraswata Matha Closeup of inscription An excerpt from a Bengali article found in The Gaudiya magazine written in 1935, explaining the prediction of Sri Nityananada Prabhu and it's fulfillment by Srila Bhaktivinoda Thakura and Srila Prabhupada Sarasvati Thakura. The Holy Birth Place of the Supreme Lord Sri Krsna Caitanya www.gosai.com /krishna-talk   (2978 words)

Guru Vandanam The musical continuity that Sri Srinivasa Iyer builds into the compositions with definite, smooth-flowing sangatis pregnant with raga bhava and linkages are noteworthy. Sri Semmangudi Srinivasa Iyer belongs to the Tyagaraja sishya parampara (musical lineage), and in particular, the Umayalpuram school, which is acknowledged as one of the most authentic in the rendition of the compositions. Semmangudi Srinivasa Iyer is a living legend still ready and able to give concerts at 92 plus. www.carnatica.net /semmangudi1.htm   (600 words)

Guru Vandanam The lofty and brilliant raga alapanas of Sri Semmangudi have been haunting his rasikas for over seven decades and they still look forward to hearing them from him. Similarly, in handling a raga alapana, the first driving force of the artiste is the lakshya or the aim to convey the concept of that particular raga, absorbed by him through auditory perception i.e. Raga essay or alapana is a unique aspect of the Indian system of music, where the performing artiste is afforded ample scope for showing the depth of his musical insight through his imagination. www.carnatica.net /semmangudi3.htm   (600 words)

Raga - Song list Version 2.0 nA kuTIramandu naDayADu SrI vEnkaTESwara mahAtmyam Alt: bhUp,kalyANi bhUpAlam -------- mElukO SrI rAmA mElukO raghu SrI rAmAnjanEya yuddham lakshmI nivAsa niravadya guNaika SrI vEnkaTESwara mahAtmyam bilahari -------- evaru nErpEramma I kommaku InATi bandham EnATidO rArA vENu gOpabAla Trad. song taruNa SasAnka tenAli rAmakRshNa verse rangA kAvETi rangA vipranArAyaNa nATyame kaLa landu kaDu minna SrI rAma katha simhEndramadhyamam ------------------ nA tala goTTi palnATiyuddham verse I nirAdaraNa bharincha SrI vEnkaTESwara mahAtmyam verse chEkonavayya mAmsamidE SrI kALahastISwara mahAtmyam verse swAmI chanchala maina chittamidE! members.tripod.com /~RKSanka/music/rslist.html   (600 words)

The Music Magazine -- India's first and finest music e-zine Sri Parthasarathi in raga Suddha Dhanyasi is a brief picture of the pentatonic raga from the Hanumatodi mela. The tape begins with the misra chapu kriti Sri Mahaganapthe in raga Gowlai. Raga Hemavati is the highlight of the tape. www.themusicmagazine.com /jayashree.html   (600 words)

Ramamatya's Vina For example, Ramamatya classifies Raga Bhairavi and Raga Dhanyasi as janya ragas of Mela Sri-raga, but describes the former as a heptatonic raga, and the latter, as a pentatonic raga because it “. Finally, in Govinda’s text, the term ‘ mela ragas ’ does mean scales — or heptatonic sequences of tones in regular order — which he used to identify (1) 72 abstract raga -categories or prototypes, and (2) a new class of 72 musical mela ragas. Although Ramamatya mentions the graha, amsa, and nyasa notes, he does not use traditional laksana properties to distinguish between groups of similar janya ragas that have five, six, or seven tones in common. www.chrysalis-foundation.org /Ramamatya's_Vina.htm   (600 words)

Welcome to www.sankarikrishan.com Sarvani Sangeetha Sabha, Raga Tarangini, Nanganallur Shri Thyagaraja Sangeetha Samajam, Nanganallur Sri Maruthi Baktha Samajam Trust, Chrompet Varasiddhi Vinayagar Baktha Sabha, Pammal Sadguru Sangeetha Sabha, Prayojana Trust, IIT Music Club, Kala Kruti, Papanasam Sivan Sangeetha Sabha Madipakkam. Sankari has performed at various temples like Sri Krishna Temple- Guruvayoor, Warnad Baghavathy Temple-Sherthalai, Sri Rama Temple-Talasheri, Saptarishiswarar Temple-Lalgudi, Akilandeswari Temple- Thiruvanaikoil, Trichy Fine Arts, Rasika Ranjini Sabha, Sri Rama Gana Sabha, Shri Krishna Gana Sabha, Sri Sadguru Sangeetha Sabha, Youth Association for Classical Music www.sankarikrishnan.com /htm/concerts.htm   (600 words)

Department of Information & Communications: Dr Gordon Geekie > Carnatic Music, Section 2 According to Sri Doreswamy, the intensity of expression is achieved in alapana by 'cramming in' as many sanchara prayogas of the raga as possible. Mysore vidwans cite alapana as that part of the Carnatic music performance during which the expression of raga bhava is most intense and during which the improvisation skills of the performer are demonstrated to their greatest extent. This results in continuously changing correspondances perceived by the listener between what is played in alapana and the sanchara prayogas (and thereby the kritis) of the raga. www.hlss.mmu.ac.uk /infocomms/people/gg/cm-section2.html   (600 words)

FreeNote Music: Recordings and Publications / Cowpeople Two full-CD recordings of Raga Malkauns by Pandit Pran Nath are accompanied by a 20-page enclosed booklet with texts of the vocal compositions (presented in Devanagri script and phonetic English), word-by-word translation and poetic interpretation by Sri Karunamayee, a long-time senior disciple of the Master. It features an earlier 1971 recording of a live performance of Raga Malkauns that was one of his most intense and powerful, and a 1976 studio performance of the same raga and the same compositions, that is both well-recorded and extremely masterful. Midnight is the first new release of full-length raga performances by master vocalist Pandit Pran Nath since the long out-of-print Gramavision release (NY Times "Top Album of 1986"). microtones.com /info_pram.htm   (329 words)

Welcome to Nadatarangini - Bio of M.S. Sheela Sheela is declared as " ASTHANA VIDUSHI " of Sri Jagadguru Shankaracharya Mahasamsthanam Dakshinamnaya Sri Sharada Peetham, SRINGERI. They are in great demand and to name a few " Lalitha Sahasranama, Sri Sharada Suprabhata, Lalitha Thrishati, Gana Susheelam, Aadisidalu Yeshodha, Palinchu Kamakshi, Haridasa Namana, Sri Venkateshwara Suprabhata both in Sanskrit and in Kannada, Lakshmi Sahasranama, Himadrisute Pahimam, Soundharya Lahari, Shivananda Lahari, Vachanamrutha, etc., Sheela has been honored and given titles by various Sabhas as, Ganakala Shree, Sumadhura Sangeetha Dhruvatare, Guru Gaurava Karini, Sangeetha Raga Amrithavarshini, Sangeetha Gana Kalanidhi, Sangeetha Sahyadri Shikarini etc. www.nadatarangini.org /sheela.asp   (316 words)

Semmangudi Srinivasa Iyer Golden Jubilee Trust - 25th Annual Celebrations 6.00 PM on 25th July, saw the Raga Sudha Hall overflowing with people, who had come to participate in the 94th birthday celebrations of the maestro Semmangudi Srinivasa Iyer. The programme was followed by a vocal recital by Sri TM Krishna accompanied by RK Sriram Kumar on the violin and K Arun Prakash on the Mridangam. This was followed by the welcome address of Sri V Subrahmanyam, trustee and also long time disciple of Semmangudi. www.sangeetham.com /goldtrustcele.htm   (265 words)

Semmangudi Srinivasa Iyer Golden Jubilee Trust - 25th Annual Celebrations 6.00 PM on 25th July, saw the Raga Sudha Hall overflowing with people, who had come to participate in the 94th birthday celebrations of the maestro Semmangudi Srinivasa Iyer. The programme was followed by a vocal recital by Sri TM Krishna accompanied by RK Sriram Kumar on the violin and K Arun Prakash on the Mridangam. This was followed by the welcome address of Sri V Subrahmanyam, trustee and also long time disciple of Semmangudi. www.sangeetham.com /goldtrustcele.htm   (265 words)

Kalyani Kalyani is the 65th Melakarta raga, equivalent to the raganga raga Kalyan The pallavi is parama dayakara varasugunalaya sri ramachandra - sita manohara charanu charanu and a cursory count of the syllables establishes the tala as misra jati tripuda (11 aksharas or 44 matras). Viswanathan notes that "neither raga seems to have particularly well known in South India before the seventeenth century, which fact seems to support the likelihood of Middle-Eastern origins." www.sawf.org /newedit/edit01282002/musicarts1.asp   (265 words)

IFAA In 1995, he received the Indian government's highest honor, the "Sangeeth Nataka Academy Award," which was conferred by His Excellency the then President of India Sri Shanker Dayal Sharma in New Delhi. He is noted for his raga alapanas and vocalized technique. Venkateswara Iyer in Carnatic music followed by Nadaswaram (an Indian double-reed instrument) training from Ellupur Sri. indianfinearts.tripod.com /IFAA/profiles/AKCN.htm   (516 words)

RTP by R.Vedavalli - Sify.com She shifts gears into varied Natta, Gaula, Varali and Sri ragas before reversing back to Todi in her inimitable style. It is pleasant to listen to the complicated raga Todi, handled proficiently by Vidushi Vedavalli. She begins by expounding Todi, delving into the intricate structure of the raga in her captivating style. sify.com /carnaticmusic/fullstory.php?id=13743188   (516 words)

srutiArticleDetails.asp?ArticleId=4 Thyagaraja himself in his own songs refers to (1) Sata Raga Ratna Malika and (2) Kirtana Susatakam. [1] C. Ramanujachari, The Spiritual Heritage of Thyagaraja, Sri Ramakrishna Math, Madras, 1981. [3] Bhavaraju Narasimharao, T.S. Parthasarathy, "Sangita Jagadguru Sri Thyagaraja Kirtanalu" (in Telugu), Triveni Publishers, Machilipatnam, 1988. www.sruti.org /sruti/srutiArticleDetails.asp?ArticleId=4   (516 words)

::Sangeetham Archives:: The second lecture in the series, presented by Sri VAK Ranga Rao, noted dance critic and collector of 78 rpm records, was held on the 12th of August, 2003. VAK was assisted in the presentation by Swamimalai Sri SK Suresh, who sang a few songs. The verse, was set to rAga hamsadhvani and goes thus: www.sangeetham.com /others/archives/annama_vak.php3   (1221 words)

Midheaven Mailorder Browse by Label: Ammp It is an evening raga mostly used for prayer for one's soul and mind. Khansahib has continued his father's tradition, that of the Sri Baba Allauddin Seni Gharana of Maihar and Rampur, India. Maestro Ali Akbar Khan (sarod) is joined by tabla master Sri Swapan Chaudhuri. www.midheaven.com /labels/ammp.html   (2516 words)

Madurai T N Seshagopalan Sydney Concert Review The concert commenced with the Sri ragam varnam rendered in two speeds. Whether it was krithi rendition, raga alapana, swara singing or pallavi rendition, he excelled. Venkatram's raga expositions in Kalyani and Saveri were dignified and his swara prastharas in Varamu and Kapi were most attractive. www.carnaticcorner.com /articles/tns98-review.html   (424 words)

His Holiness and Sri Lalita Geetha Narayanam byt Smt. Kalakkad R. Seethalakshmi : Experiences with His Holiness Sri Chandrasekharendra Saraswathi MahaSwamiji : kamakoti.org While he was rendering the particular Naama "Vakthralakshmi pareevahascalan meenabhalochana "he asked him to stop at that place and made an elaboration about the appropriateness of the Raga "Aarabhi" in which it was rendered and explained that Naama in great detail in Sanskrit for more than an hour. In 1965, one of the disciples of my father, who was then recently married, went to Kanchi with her parents and her husband to have the darshan of the Paramacharya. As the Lalita Sahasranama was being rendered before His Holiness the singer was not aware of what was happening around him. www.kamakoti.org /souv/5-111.html   (424 words)

The Music of SOUTH ASIA Because of this momentum and the wider diffusion of Indian music outside India, now as compared to the past, a point has been reached with the discovery that one raga can have variants in terms of scale because of the schools and with the idea that it would be worthwhile to standardize the scales. It is thus possible that in the beginning, the primary meaning of the word raga was not matched by the importance which it assumed later and which karnatic music has not inherited. At the same time, it is surrounded by other countries; Pakistan, Nepal, and Bangladesh to the north and Sri Lanka and the Maldives to the south, even though this last country is part of the cultures of the Indian Ocean. www.eyeneer.com /World/Sa   (424 words)

Guru Granth Sahib All the verses of the Granth are set on 30 ragas such as sri raga, asa, gujari, dev gandhari, sorath, dhanasari, todi, suhi, bhairav, malhar, kalyan, jai jai vanti, ramkali, etc. The poetic images in the Guru Granth Sahib depict the life of people of Punjab and India. It was first placed in Sri Harimandir Sahib at Amritsar and Baba Buddha was appointed the first priest. The opinion of some intellectuals that Guru Granth Sahib is such a glorious holy book that every human being on this earth can say with confidence that it is a liberating holy book is also correct. www.punjabilok.com /faith/sikh/gururgranthsahib.htm   (424 words)

Kingdom of Sai - Saint Thyagaraja day at Puttaparthi - 30.01.2005 Thyagaraja himself sings about this vision in the Raga Sahana — “Giripai Nelakonna Ramuni Guri Thappaka Ganti ”, meaning “Unerringly, I have seen Rama who is installed on the hill. For Thyagaraja, the very physical Form of Sri Rama was the embodiment of all music. His steadfast and consuming devotion to his favourate Divine Form of Sri Rama elevated him to a sublime state. www.kingdomofsai.org /modules.php?name=News&file=print&sid=317   (424 words)

MusicalNirvana - A. Kanyakumari Ramani, Dr M. Balamuralikrishna, the Late T. Mahalingam, Sri U. Srinivas, Sikkil Sisters, Sri T. Gopalakrishnan and a host of leading and eminent artistes. Today, Kanyakumari has achieved much success with his strong grip of laya and deep knowledge of raga-s. Kanyakumari is a sought after accompanist and has toured the world extensively, accompanying several senior and eminent musicians. www.musicalnirvana.com /carnatic/a_kanyakumari.html   (336 words)

Indian Heritage - Music - Profiles of Artistes - R Ramarathnam composed his first krithi "Karunisu Pramatha Ganapathe" in the raga Todi set to Rupaka tala, following which he composed more than 25 keerthanas and thillanas in Sanskrit, Kannada, and Telugu with the swanama mudra, 'rama'. Once he got an elephant as a gift and donated it to Sri Adi Kumbheswara Temple, Kumbakonam. The period also witnessed his setting tunes and rhythm to all the songs of 'Tiruppavai' of Sri Andal, a large number of 'Rama Natakam' songs of Arunachala Kavirayar and others and publishing them. www.saigan.com /heritage/music/garlandr.htm   (2908 words)

India - Travelling to India - Holidays in India - www.reiswijs.co.uk The raga, a musical form of ancient Hindustani prayer and poetry, has been the cornerstone of Indian music for centuries, evolving into a complex set of expressions inviting improvisation and varying according to purpose, mood, story, and ritual. Sri Lanka, the Maldives and Indonesia are nearby island nations in the Indian Ocean. 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. www.reiswijs.co.uk /destinations/asia/india/india.html   (2908 words)

Music CDs - Shashank Shashank has had a particular liking to this raga and this album presents a wholesome and elaborate exploration of the nooks and corners of this raga through several including the deep bass flutes. Recorded live on February 21, 2002 in Madras, this new double CD contains Kamboji, Nattai, Saraswathi, Malavi, Keeravani, Mond, and Khamas ragas (one selection is a ragamalika). Exquisitely-mastered triple CD, recorded live on January 1st, 1999 at the Madras Music Academy, and dedicated to Sri Parthasarathi of the Shri Ram Chandra Mission in Manapakkam www.flute4u.com /CDs_shashank.html   (481 words)

Jaiva-dharma (The Universal Religion) Babaji: Raga-bhakti in the rasa of familial relationships is manifested when one identifies himself as Krishna's parent or other relative. Manifested according to their different rasas (relationships with Lord Krishna), Lord Krishna's personal associates in the spiritual world of Vraja with strong faith engage in ragatmika-bhakti. Taking these two disciples to a secluded place, he happily said, "May Nimai Pandita, who is the son of Sri Saci-devi, and who, descending to this world in the land of Sri Mayapura, mercifully delivered the people of Bengal and Orissa, grant transcendental bliss to us. www.bvml.org /SBTP/JD/index2.html   (481 words)

Carnatica's Discussion Forum Irayimman Thanpi originally composed this padam in 'Sri' ragam and I have heard KVN singing this long time back. The short audio clip from a rasika "shankar", of Chembai Vaidyanatha Bhagavatar talking about Raga Puraneer during a concert in which he has rendered Irayimman Thampi's "Karuna Cheyvan Enthu Thaamasam Krishna..." We have uploaded it for rasikas' benefit at the following location: I like to be a friend of you can you please add me as a chat friend www.carnatica.net /cgi-bin/rasikaforum_technical/messageviewN_technical.pl?topicid=100   (481 words)

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