Explore >> The notion of a particular time prescribed for ragas (gāna kāla) plays a greater role in Hindustani music than for exponents of its southern counterpart where sārvakālika ragas prevail: ragas suited to any day or night time. A few ragas nevertheless continue to be associated with the moods indicated by song lyrics (notably …
Continue reading “Time theory in Vivekananda’s Concepts of Indian Classical Music”
Give it a try and DIY (“do it yourself”) – become part of a larger “musical home”; one that welcomes and accommodates scales and tunes from all over India and beyond! For music lovers aged 20+ (or even below), grasping and applying the principles underlying South India’s 72 melakarta scale system is more than an …
In Tanjore as a Seat of Music (pp. 420-426), S. Seetha explains the scope envisaged by Venkatamakhi when presenting his mela arrangement >> Venkatamakhi while justifying the derivation of 72 melakartas by permutation and combination interestingly remarks that countries are many with people having variety of tastes and it is to please them ragas have been …
