Image © The Hindu >> Gouri Dange, The Hindu, 11 May 2019 | Read the full article here >> Every kind of music has a protocol for ‘beginners’ or ‘learners’. Students must practise paltay, alankaras, scales, études, tonalisation exercises, depending on the kind of music they pursue. […] However, here’s the rub: for many learners, …
Continue reading “There really is no such thing as a ‘learner’ raga”
At first, this question seems easy to answer: just watch performers from either strand of Indian music and you’ll know Which is Which, merely going by the instruments in use, or how they dress and watching the body language involved: harmonium or sarangi vs. violin for melodic accompaniment for most vocal recitals, and tabla drums …
Continue reading “What’s the difference between Hindustani and Carnatic music?”
Adi tala (8 beats) demonstrated by T.R. Sundaresan https://youtu.be/1nuVVk7nn8g Adi tala (8 beats) solo by T.R. Sundaresan Misra chapu tala (7 beats) performed as konnakkol by T.R. Sundaresan
“Rasa is realised in from the combination of the sthāyibhāva (permanent and dominant emotional mood) with the vibhāva-s (the objects of emotions such as the hero and the heroine, and the exciting causes such as the spring, flowers, moonlight and the bower), anubhāva-s (the external manifestations of emotions such as the movement of the eye-brows, …
Continue reading ““Bhava” and “Rasa” explained by V. Premalatha”
Tiruvarur to Texas, Carnatic musicians have transcended global cultures, echoing the seven notes to the West. Trichy Sankaran,to be honoured with the Sangita Kalanidhi today, summarises Carnatic music’s history in America in a chat with critic Veejay Sai While everyone is aware of how Hindustani music became popular in the West, especially America, with maestros like …
Continue reading “Indian music and the west – an account by Sangita Kalanidhi Trichy Sankaran”
