for students and lovers of Carnatic music
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 in dance … Read more
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 … Read more
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 … Read more
We must understand India today in the light of its rich, long argumentative tradition [while] appreciating not only the richness of India’s diversity but its need for toleration. – Nobel Awardee Amartya Sen >> Source: “International Day Commemorating the Victims of Acts of Violence Based on Religion or Belief”URL: https://www.un.org/en/observances/religious-based-violence-victims-dayDate Visited: 15 August 2023 Even … Read more
By choosing an octave based on G# or A for basic “Sa”, all types of voice will be able to join in comfortably. This is demonstrated by a noted singer and vocal guru, Dr. Nookala Chinnasatyanarana: for this audio lesson1 he chose G# as basic “sa” to enable male and female voices to practice together; … Read more