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An alankara is any pattern of musical decoration a musician or vocalist creates within or across tones, based on ancient musical theories or driven by personal creative choices, in a progression of svaras. The term alankara is standard in Carnatic music, while the same concept is referred to as palta or alankara in Hindustani music.
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Gamaka (Hindi: गमक / Urdu: گمک) (also spelled gamakam) refer to ornamentation that is used in the performance of North and South Indian classical music. [1] Gamaka can be understood as embellishment done on a note or between two notes. Present-day Carnatic music uses at least fifteen different kinds of ornamentation. [2]
Arohana, Arohanam, Aroh or Aroha, in the context of Indian classical music, is the ascending scale of notes in a raga. [1] The pitch increases as we go up from Shadja (Sa) to the Taar Shadja (Sa), possibly in a crooked (vakra) manner.
Ragini Todi. Mughal, c. 1750. Salar Jung Museum. In 1570, Kshemakarna, a priest of Rewa in Central India, compiled a poetic text on the Ragamala in Sanskrit, which describes six principal Ragas—Bhairava, Malakoshika, Hindola, Deepak, Shri, and Megha—each having five Raginis and eight Ragaputras, except Raga Shri, which has six Raginis and nine Ragaputras, thus making a Ragamala family of ...
Bhamaha was apparently from Kashmir. [3] [4] [5] [6]Little is known of Bhāmaha's life: the last verse of the Kāvyālaṃkāra says his father was called Rakrilagomin, but little more is known: [7]
See swaras in Carnatic music for description of this notation. In Sahana, a janya raga of 28th melakarta Harikambhoji, the Avarohana is S N2 D2 P M1 G3 M1 R2 G3 R2 S. [1] This raga in its avarohana has the notes jumping from one to another (a bit like Dattu). This changes the whole feel of the raga, making Sahana a beautiful raga to listen to.
Jagannātha (1590-1670), also known as Jagannātha Paṇḍita or Jagannātha Paṇḍitarāja, or Jagannatha Pandita Rayalu, was a poet, musician and literary critic who lived in the 17th century. [1]