Sunday, December 25, 2016
Wednesday, December 21, 2016
Sunday, December 18, 2016
Saturday, December 17, 2016
The frequency of Om is 136.1 Hz, Hertz
The frequency of Om is 136.1 Hz, Hertz
Nada Brahma. This frequency is also called the
fundamental tone,
the primordial vibration, and the
ever-sounding tone.
In Classical Music OM, is at same frequency as
"Shadaj," madhya sapthak
from om, all other swars are born , of 3
sapthaks, with shudh, komal teevar
ie, all other swars are the different
manifestations of the same one om,
136.1 Hertz or 136.1 Hz is the standard frequency of the Om
tuning fork.
used to tune the instruments for Indian temple
music.
"Sadja", or "Sa", the base tone of the
Sitar and Tambura. The Om Tone is said to stimulate the Anahata (heart chakra)
and hence is widely believed to be good for meditation.
Saturday, December 10, 2016
Wednesday, November 30, 2016
Thursday, November 24, 2016
Tuesday, November 15, 2016
Thursday, October 20, 2016
Friday, October 7, 2016
DANCE FORMS OF INDIA
DANCE FORMS OF INDIA
Bharata Natyam
Bharatanatyam is the most popular of Indian dances and belongs to the South Indian state of Tamilnadu. Its antiquity is well established. In the past it was practised ad performed in the temples by a class of dancers known as the devadasis. It was a part of the religious rituals and has a long and hoary past. The kings and the princely courts patronised the temples, as well as the various traditions sustaining the dance form.
Bharatanatyam is the most popular of Indian dances and belongs to the South Indian state of Tamilnadu. Its antiquity is well established. In the past it was practised ad performed in the temples by a class of dancers known as the devadasis. It was a part of the religious rituals and has a long and hoary past. The kings and the princely courts patronised the temples, as well as the various traditions sustaining the dance form.
The salient features of Bharatanatyam are movements conceived in space mostly either along straight lines or triangles. In terms of geometrical designs, the dancer appears to weave a series of triangles besides several geometrical patterns.
In nritta (pure dance) to the chosen time cycle and a raga (melody), a dancer executes patterns that reveal the architectonic beauty of the form with a series of dance units called jathis or teermanams. The torso is used as a unit, the legs are in a semi-plie form and the stance achieves the basic posture called araimandi. The nritta numbers include Alarippu, Jatiswaram and Tillana, which are abstract items not conveying and specific meaning except that of joyous abandon with the dancer creating variegated forms of staggering visual beauty.
In nritya, a dancer performs to a poem, creating a parallel kinetic poetry in movement, registering subtle expressions on the face and the entire body reacts to the emotions, evoking sentiments in the spectator for relish - the rasa. The numbers are varnam, which has expressions as well as pure dance; padams, javalis and shlokas. The accompanying music is classical Carnatic. The themes are from Indian mythology, the epics and the Puranas.
Chakiarkoothu
This dance form is believed to have been introduced to Kerala by the early Aryan immigrants & is performed only by the members of the Chakiar caste. A highly orthodox type of entertainment, it can be staged inside temples only & witnessed by the Hindus of the higher castes. The theatre is known as Koothambalam. The story is recited in a quasi-dramatic style with emphasis on eloquent declarations with appropriately suggestive facial expressions & hand gestures. The only accompaniments are the cymbals & the drum known as the mizhavu, made of copper with a narrow mouth on which is stretched a piece of parchment.
This dance form is believed to have been introduced to Kerala by the early Aryan immigrants & is performed only by the members of the Chakiar caste. A highly orthodox type of entertainment, it can be staged inside temples only & witnessed by the Hindus of the higher castes. The theatre is known as Koothambalam. The story is recited in a quasi-dramatic style with emphasis on eloquent declarations with appropriately suggestive facial expressions & hand gestures. The only accompaniments are the cymbals & the drum known as the mizhavu, made of copper with a narrow mouth on which is stretched a piece of parchment.
Chhau
With origins shrouded in mystery, the Chhau dancer communicates inner emotions and themes through cadences of body flexions, movements and kinetic suggestions. The word Chhau is interpreted differently by scholars. ‘Shadow’, ‘Disguise’ and ‘Image’ are the most common interpretations due to the extensive use of masks in this dance form. The martial movements of Chhau have led to another interpretation of the word as meaning ‘to attack stealthily’ or ‘to hunt’.
Three styles of Chhau exist born from the three different regions of Seraikella (Bihar), Purulia (West Bengal ), and Mayurbhanj
(Orissa). Martial movements, strong rhythmic statements and dynamic use of
space are characteristic of Chhau.
With origins shrouded in mystery, the Chhau dancer communicates inner emotions and themes through cadences of body flexions, movements and kinetic suggestions. The word Chhau is interpreted differently by scholars. ‘Shadow’, ‘Disguise’ and ‘Image’ are the most common interpretations due to the extensive use of masks in this dance form. The martial movements of Chhau have led to another interpretation of the word as meaning ‘to attack stealthily’ or ‘to hunt’.
Three styles of Chhau exist born from the three different regions of Seraikella (Bihar), Purulia (
Seraikella Chhau flourished under royal patronage. Its vigorous martial character made it suitable only for male dancers. The princes were not only patrons but also dancers, teachers and mask-making experts. The Seraikella masks are similar to those used in the Noh dance of
Purulia Chhau uses masks which is a highly developed craft in the region. The barren land with its tribal inhabitants and multi-layered influences of Vedic literature, Hinduism and martial folk-lore have all combined to shape the Purulia Chhau dances which have only one message - the triumph of good over evil.
Mayurbhanj Chhau has highly developed movements, no masks and a more chiselled vocabulary than the other two Chhau styles. Like Seraikella Chhau, it had also thrived under royal patronage and is considered a link between the earthy Indian dance movements and the flying, springing elevations of Western dance. Unlike other Indian Classical dance forms, vocal music in Chhau hardly exists! Instrumental music and a variety of drums like the Dhol, Dhumba, Nagara, Dhansa and Chadchadi provide the accompaniment. Combining folk, tribal and martial traditions and yet covering the three aspects of Nritta, Nritya and Natya as well as the Tandava and Lasya aspects of classical dance, the Chhau dances are complex combinations of Folk and Classical motifs
.
Kathak
Prevalent in the North as a classical dance form, Kathak has a long history. Nurtured in the holy precincts of the Hindu temples, Kathak has over the centuries attained refinement and enriched itself with various hues and embellishments. Kathak means a story teller and it developed as a dance form in which a solo dancer tells and interprets stories from mythology.
In nritya, the expressional numbers called gats are danced by delicate glances of the eye and by using the art of mime. Themes from life are taken like enacting simple chores of carrying water from the well or walking gracefully, covering a face with a veil and looking through it in a tantalising manner at the lover.
Also, to the lyrics, expressions are shown evoking the rasa or emotion in the spectators, who, if the musical traditions are shared along with the songs, enjoy it by expressing their appreciation with a round of applause.
The themes ofKrishna , Radha, Shiva, Parvati
and mythological characters find a prominent place in the Kathak dancer’s
repertoire. Nowadays, experiments are being carried out with group choreography
exploring the dance form. Both men and women perform Kathak which is also used
to present dance dramas of historical tales and contemporary events.
Prevalent in the North as a classical dance form, Kathak has a long history. Nurtured in the holy precincts of the Hindu temples, Kathak has over the centuries attained refinement and enriched itself with various hues and embellishments. Kathak means a story teller and it developed as a dance form in which a solo dancer tells and interprets stories from mythology.
In nritya, the expressional numbers called gats are danced by delicate glances of the eye and by using the art of mime. Themes from life are taken like enacting simple chores of carrying water from the well or walking gracefully, covering a face with a veil and looking through it in a tantalising manner at the lover.
Also, to the lyrics, expressions are shown evoking the rasa or emotion in the spectators, who, if the musical traditions are shared along with the songs, enjoy it by expressing their appreciation with a round of applause.
The themes of
Kathakali
Kathakali means a story play or a dance drama. Katha means story. Belonging to the South-Western coastal state of Kerala, Kathakali is primarily a dance drama form and is extremely colourful with billowing costumes, flowing scarves, ornaments and crowns. The dancers use a specific type of symbolic makeup to portray various roles which are character-types rather than individual characters. Various qualities, human, godlike, demonic, etc., are all represented through fantastic make-up and costumes.
The world of Kathakali is peopled by noble heroes and demons locked in battle, with truth winning over untruth, good over evil. The stories from the two epics, the Mahabharata and the Ramayana, as well as the Puranas constitute the themes of the Kathakali dance dramas.
Kathakali means a story play or a dance drama. Katha means story. Belonging to the South-Western coastal state of Kerala, Kathakali is primarily a dance drama form and is extremely colourful with billowing costumes, flowing scarves, ornaments and crowns. The dancers use a specific type of symbolic makeup to portray various roles which are character-types rather than individual characters. Various qualities, human, godlike, demonic, etc., are all represented through fantastic make-up and costumes.
The world of Kathakali is peopled by noble heroes and demons locked in battle, with truth winning over untruth, good over evil. The stories from the two epics, the Mahabharata and the Ramayana, as well as the Puranas constitute the themes of the Kathakali dance dramas.
The macro and micro movements of the face, the movements of the eyebrows, the eyeballs, the cheeks, the nose and the chin are minutely worked out and various emotions are registered in a flash by a Kathakali actor-dancer. Often men play the female roles, though of late women have taken to Kathakali.
The pure dance element in Kathakali is limited to kalasams, decorative dance movements alternating with an expressional passage where the actor impersonates a character, miming to the liberetto sung by the musician. A cylindrical drum called chenda, a drum called maddalam held horizontally, cymbals and a gong form the musical accompaniment, and two vocalists render the songs. Using typical music known as Sopanam, Kathakali creates a world of its own.
The most striking feature of Kathakali is its overwhelming dramatic quality. But its characters never speak. It is danced to the musical compositions, involving dialogues, narration and continuity. It employs the lexicon of a highly developed hand-gesture language which enhances the facial expressions and unfolds the text of the drama.
Koodiyattam
Practised and preserved by the Chakyar community in Kerala, Koodiyattam is the oldest surviving link with ancient Sanskrit theatre. A precursor of Kathakali drama, Koodiyattam has several conventions which reflect the aesthetic conventions of the Natyashastra. The stylised mode of acting, the same character playing different roles, the use of the spoken word akin to chanting, stories within stories, flash backs, improvisations, eye expressions (netrabhinaya), an extensive gesture vocabulary or 'hastas', body movements (angika abhinaya) and facial expressions (mukhajabhinaya), the use of Sanskrit by the main character and Malayalam by the court jester or vidushaka who comments, satirizes and ridicules the protagonists... these are the salient features of Koodiyattam.
Performances are traditionally held in the Koothambalam which are special theatres attached to temples. The Sanskrit play selected for the performance usually takes over several days. Female dancers called Nangiars deliver the invocatory songs and also participate. The use of the tirashila or curtain, different colours for the face to depict characters and elaborate ornaments are all similar to Kathakali. The mizhavu is a special drum used as an accompaniment for Koodiyattam performances.
The repertoire consists of Sanskrit dramas like Ascharyachudamani of Shaktibadra, Subhadradhananjeyan of Kulasekara Varman, Abhisekha Nataka and Swapnavasavadatta of Bhasa, Kalyana Saugandhikam of Mahendra Vikrama and Bhagavadajjukiyam of Bodhayana which are the popular favourites. With disciplined and dedicated performers like Ammanur Madhava Chakyar, Kocchukuttan Chakyar and Kitangur Kuttappan Chakyar, this ancient classical form has a growing legion of students and afficionados in
Krishnattam
It is intended for presentation on eight successive nights to unfold the entire story of Lord Krishna, the style is almost akin to Kathakali.
Kuchipudi
Kuchipudi, like Kathakali is also a dance-drama tradition and derives its name from the vilage of Kuchipudi in the Southern State of Andra Pradesh. In recent years, it has evolved as a solo dance for the concert platform and is performed by women, though like Kathakali it was formerly the preserve of men. The female roles were enacted by men and even today, the tradition boasts of gifted male dancers enacting female roles with such consummate artistry that hardly anyone would notice them as male dancers.
Kuchipudi, like Kathakali is also a dance-drama tradition and derives its name from the vilage of Kuchipudi in the Southern State of Andra Pradesh. In recent years, it has evolved as a solo dance for the concert platform and is performed by women, though like Kathakali it was formerly the preserve of men. The female roles were enacted by men and even today, the tradition boasts of gifted male dancers enacting female roles with such consummate artistry that hardly anyone would notice them as male dancers.
The movements in Kuchipudi are quicksilver and scintillating,
rounded and fleet-footed. Performed to classical Carnatic music, it shares many
common elements with Bharatanatyam. In its solo exxposition Kuchipudi nritta
numbers include jatiswaram and tillana whereas in nritya it has several lyrical
compositions reflecting the desire of a devotee to merge with God -
symbolically the union of the soul with the super soul.
The songs are mimed with alluring expressions, swift looks and fleeting emotions evoking the rasa. A special number in the Kuchipudi repertoire is called tarangam, in which a dancer balances herself on the rim of a brass plate and executes steps to the beat of a drum. At times she places a pot full of water on her head and dances on the brass plate. The song accompanying this number is from the well known Krishna Leela Tarangini, a text which recounts the life and events of Lord Krishna.
The songs are mimed with alluring expressions, swift looks and fleeting emotions evoking the rasa. A special number in the Kuchipudi repertoire is called tarangam, in which a dancer balances herself on the rim of a brass plate and executes steps to the beat of a drum. At times she places a pot full of water on her head and dances on the brass plate. The song accompanying this number is from the well known Krishna Leela Tarangini, a text which recounts the life and events of Lord Krishna.
In expressional numbers a dancer sometimes chooses to enact the role of Satyabhama, the proud and self-assured queen of Lord Krishna, from the dance-drama Bhama Kalapam. She goes through various stages of love. When in separation from Lord Krishna, she recalls the happy days of union and pines for him. At last they are reunited when she sends him a letter. One more number from the Kuchipudi repertoire that deserves mention is Krishna Shabdam, in which a milkmaid invites
Manipuri
Manipuri dances originate from the North Eastern state of Manipur and derives its name from its native state. Intensely devotional in mood, the Manipuri dances are a part of the daily life of the Manipuri people. Essentially presented as a group dance with gorgeous, colourful costumes and gentle, swaying petal-soft movements, Manipuri dances create a hypnotic impact. The dances are influenced by the religious movement of Vaishnavism, the worship of Lord Vishnu, and have flowered in exquisite Rasalila performances, the favourite dance in a circle byKrishna with
his milkmaids. Various types of Rasalilas are performed on special occasions
and festivals.
Besides Rasalilas, there are other dances called Natasankirtana, in which a group of men play cymbals and dance in a circle or in two rows singing praises of God. In Pung Cholom, the dancers play upon pung, the drum, and dance while playing the intricate time cycles, executing somersaults and breathtaking acrobatic feats. In group dances like Lai Haraoba, the merry-making for the gods, the dancers perform various steps and weave patterns, involving various choreographic compositions. From the corpus of Manipuri dances, one sees on the contemporary stage solo, duet and group performances. The music is typical of the region and is influenced by the kirtanschool of Bengal
Rasalila, Lai Haraoba, Choloms, Pung Cholom, Natasankirtana, Khubak Ishai and other Manipuri dances share both nritta and nritya aspects and are edited judiciously for the concert platform to suit the urban audience. However, to enjoy Manipuri, one should see the dances in their natural setting. Gossamer veils, cylindrical mirrored skirts and ornaments dazzle the audiences with their colourful costumes which create a dream-like effect.
Manipuri dances originate from the North Eastern state of Manipur and derives its name from its native state. Intensely devotional in mood, the Manipuri dances are a part of the daily life of the Manipuri people. Essentially presented as a group dance with gorgeous, colourful costumes and gentle, swaying petal-soft movements, Manipuri dances create a hypnotic impact. The dances are influenced by the religious movement of Vaishnavism, the worship of Lord Vishnu, and have flowered in exquisite Rasalila performances, the favourite dance in a circle by
Besides Rasalilas, there are other dances called Natasankirtana, in which a group of men play cymbals and dance in a circle or in two rows singing praises of God. In Pung Cholom, the dancers play upon pung, the drum, and dance while playing the intricate time cycles, executing somersaults and breathtaking acrobatic feats. In group dances like Lai Haraoba, the merry-making for the gods, the dancers perform various steps and weave patterns, involving various choreographic compositions. From the corpus of Manipuri dances, one sees on the contemporary stage solo, duet and group performances. The music is typical of the region and is influenced by the kirtan
Rasalila, Lai Haraoba, Choloms, Pung Cholom, Natasankirtana, Khubak Ishai and other Manipuri dances share both nritta and nritya aspects and are edited judiciously for the concert platform to suit the urban audience. However, to enjoy Manipuri, one should see the dances in their natural setting. Gossamer veils, cylindrical mirrored skirts and ornaments dazzle the audiences with their colourful costumes which create a dream-like effect.
Mohiniattam
Mohini Attam as a dance form has developed in Kerala. Performed by women it has graceful, gentle bobbing movements. Mohini means an enchantress and a dancer with enchanting movements, dressed in a typical white saree with gold border, hair gathered in a bun on one side and with golden jewellery epitomises the image of a beautiful maiden. Apparently it resembles the Bharatanatyam dance form but is quite distinct in its execution of movements, usage of hand gestures and its stark, simple costume.
Mohini Attam has enjoyed a revival in recent times and is the most popular dance form among the young aspirants in Kerala. It has a format which follows the Bharatanatyam form and the repertoire has common names. In nritta a number called Cholukattu consists of pure dance movements at the end of which is tagged a poem that is in praise of a deity and also narrates the story of the Ramayana in a nutshell. The mnemonic syllables are sung instead of being uttered by the musician. Another item of pure dance is Tillana which follows the musical mode of Bharatanatyam with classical Carnatic music. However, of late, kerala's Sopana music is being employed for Mohini Attam and the repertoire has also been enlarged with the choreography maintaining the typical movements of this graceful style.
Mohini Attam as a dance form has developed in Kerala. Performed by women it has graceful, gentle bobbing movements. Mohini means an enchantress and a dancer with enchanting movements, dressed in a typical white saree with gold border, hair gathered in a bun on one side and with golden jewellery epitomises the image of a beautiful maiden. Apparently it resembles the Bharatanatyam dance form but is quite distinct in its execution of movements, usage of hand gestures and its stark, simple costume.
Mohini Attam has enjoyed a revival in recent times and is the most popular dance form among the young aspirants in Kerala. It has a format which follows the Bharatanatyam form and the repertoire has common names. In nritta a number called Cholukattu consists of pure dance movements at the end of which is tagged a poem that is in praise of a deity and also narrates the story of the Ramayana in a nutshell. The mnemonic syllables are sung instead of being uttered by the musician. Another item of pure dance is Tillana which follows the musical mode of Bharatanatyam with classical Carnatic music. However, of late, kerala's Sopana music is being employed for Mohini Attam and the repertoire has also been enlarged with the choreography maintaining the typical movements of this graceful style.
In nritya, the padams are mimed with facial expressions and hand gestures and the themes are drawn from mythology. The nayika or heroine longs for union with her beloved. A confidante goes and conveys the message to the lover and the nayika describes the pangs of separation. A varnam follows the structure of a Bharatanatyam varnam dwelling upon the narration, impersonation and alternating with pure dance. Though the dance units in Mohini Attam are limited, the quintessential grace and the measured movements are its distinct features.
Odissi
Odissi has been revived in the past fifty years and can be considered as the oldest classical Indian dance on the basis of archival evidence. The form belongs to the East Indian state of Orissa. Odissi has a close association with the temples and its striking feature is its intimate relationship with temple sculpture. Tribhanga, the three-body bend characterises this dance form. It has a vast range of sculptural body movements which gives one the illusion of the sculptures coming to life
Odissi has been revived in the past fifty years and can be considered as the oldest classical Indian dance on the basis of archival evidence. The form belongs to the East Indian state of Orissa. Odissi has a close association with the temples and its striking feature is its intimate relationship with temple sculpture. Tribhanga, the three-body bend characterises this dance form. It has a vast range of sculptural body movements which gives one the illusion of the sculptures coming to life
.
In nritta the numbers consist of batu nritya, pallavi and mokhya. In batu nritya the dancer strikes poses holding various instruments like veena, flute, cymbals and drums and the choreography of this number reveals the imagination of the choreographer-gurus. Pallavi means to elaborate, and a dancer performs pure dance to a chosen time cycle and a musical raga (melody). Various body postures similar to temple sculptures are woven in this number. In mokhya, before the dance concludes, a dancer employs various dance units creating arresting visuals. In nritya, the songs from the celebrated Gita Govinda of poet Jayadeva written in the 12th century A.D., are used by dancers for expressional numbers
In nritta the numbers consist of batu nritya, pallavi and mokhya. In batu nritya the dancer strikes poses holding various instruments like veena, flute, cymbals and drums and the choreography of this number reveals the imagination of the choreographer-gurus. Pallavi means to elaborate, and a dancer performs pure dance to a chosen time cycle and a musical raga (melody). Various body postures similar to temple sculptures are woven in this number. In mokhya, before the dance concludes, a dancer employs various dance units creating arresting visuals. In nritya, the songs from the celebrated Gita Govinda of poet Jayadeva written in the 12th century A.D., are used by dancers for expressional numbers
.
The exquisite Sanskrit poetry and the sculptural movements to the typical Odissi music almost cast a spell on the spectators. Songs of other Oriya poets are also danced with subtle expressions, replete with emotions. In its revival period Odissi has received enthusiastic support from the young exponents and often one finds Bharatanatyam dancers also mastering the Odissi technique and performing both the dance forms though while doing so, they maintain the clearcut differences in the execution of the movements. In recent years, group choreographic presentations and dance dramas are also attempted in order to bring out the full glory and sculptural wealth of Odissi which is truly a visually fascinating performance style.
The exquisite Sanskrit poetry and the sculptural movements to the typical Odissi music almost cast a spell on the spectators. Songs of other Oriya poets are also danced with subtle expressions, replete with emotions. In its revival period Odissi has received enthusiastic support from the young exponents and often one finds Bharatanatyam dancers also mastering the Odissi technique and performing both the dance forms though while doing so, they maintain the clearcut differences in the execution of the movements. In recent years, group choreographic presentations and dance dramas are also attempted in order to bring out the full glory and sculptural wealth of Odissi which is truly a visually fascinating performance style.
Ottan Thullal
It is performed solo & because of its ready mass appeal, it is also known as the poor man's Kathakali. Kunjan Nambiar evolved it & brought out the social conditions of his time, the distinctions of class & the weakness & whims of the rich & the great. The dialogue is in simple Malayalam & therefore ensures mass appeal.
It is performed solo & because of its ready mass appeal, it is also known as the poor man's Kathakali. Kunjan Nambiar evolved it & brought out the social conditions of his time, the distinctions of class & the weakness & whims of the rich & the great. The dialogue is in simple Malayalam & therefore ensures mass appeal.
Yaksha Gana
This belongs to Karnataka & has a rural origin. It is an admixture of dance & drama. Its heart lies in Gana meaning music. It is about 400 years old. The language is Kannada & the themes are based on Hindu Epics. The costumes are almost akin to the Kathakali ones & the style seems to have drawn inspiration from Kathakali. As prescribed in the Natya Sastra, it has the Suthra Dhara (conductor) & the vidushaka (the Jester).
The info about Bharatanatyam, Chhau, Kathak, Kathakali, Koodiyattam, Kuchipudi, Manipuri, Mohinattam, Odissi have been provided from
This belongs to Karnataka & has a rural origin. It is an admixture of dance & drama. Its heart lies in Gana meaning music. It is about 400 years old. The language is Kannada & the themes are based on Hindu Epics. The costumes are almost akin to the Kathakali ones & the style seems to have drawn inspiration from Kathakali. As prescribed in the Natya Sastra, it has the Suthra Dhara (conductor) & the vidushaka (the Jester).
The info about Bharatanatyam, Chhau, Kathak, Kathakali, Koodiyattam, Kuchipudi, Manipuri, Mohinattam, Odissi have been provided from
"Narthaki - A web directory of
Classical Indian Dances"http://www.narthaki.com/
Narthaki - Indian
dance online - Events, articles, preveiws, reviews on all dance forms of India
NARTHAKI.COM|BY SUMATHI, SAIGAN CONNECTION
Everyone likes music..but
Everyone likes music.....is off quoted....statement....
In a way true........But the purpose of music is to reach..... Transcendental. state.......
Music connecting with devotion....
Music for entertainment......
We need entertainment.....
..
But not to that state .......which we reached...... forgetting the purpose...
With the scientific developments and various instruments.........some of them have limits of not able to some ragas and rhythms.......... there are restrictions..
So....till one attains a stage.....where he can create his own com positions.....
It is essential to learn classical music specially......Indian.....which is very systematic......
Then innovations.....will lead to harmony...
Like music dance...
We have a shastra with systematic approach.......given by our Rishis.....
Then lyrics.......revolving around.... Our puranas.......always.....reminding us of our divine forms......
In a way true........But the purpose of music is to reach..... Transcendental. state.......
Music connecting with devotion....
Music for entertainment......
We need entertainment.....
..
But not to that state .......which we reached...... forgetting the purpose...
With the scientific developments and various instruments.........some of them have limits of not able to some ragas and rhythms.......... there are restrictions..
So....till one attains a stage.....where he can create his own com positions.....
It is essential to learn classical music specially......Indian.....which is very systematic......
Then innovations.....will lead to harmony...
Like music dance...
We have a shastra with systematic approach.......given by our Rishis.....
Then lyrics.......revolving around.... Our puranas.......always.....reminding us of our divine forms......
I m adding my personal thoughts here...
As t v is a medium.....and a great influence.....it is better to go back to our cultural......classical forms.....
What is shown in the competitions....in the name of music specially dance......is just acrobatics and with scanty dresses..is not at all doing good to the children....
As t v is a medium.....and a great influence.....it is better to go back to our cultural......classical forms.....
What is shown in the competitions....in the name of music specially dance......is just acrobatics and with scanty dresses..is not at all doing good to the children....
They can have a separate program for exercises.....
and gym ..................
D d channels.....specially d d bharathi.....is doit its best...promoting good music and good dance..
All other channels
and gym ..................
D d channels.....specially d d bharathi.....is doit its best...promoting good music and good dance..
All other channels
Bit I feel sorry.....to. say that......it is like an opening a bar.......opposite to a temple..
All other channels countless are showing all sorts of ......gimmicks......
Unless something is done....... the required effect...is very difficult to gain.....
There is a lot of talented children ready to grasp......any step...but are learning ..something...which is not Indian at all..
All other channels countless are showing all sorts of ......gimmicks......
Unless something is done....... the required effect...is very difficult to gain.....
There is a lot of talented children ready to grasp......any step...but are learning ..something...which is not Indian at all..
I feel ......how nice they would excel.....if they learn our dance forms.....
Indian Classical Music
Indian Classical Music
The music is the soul of the nature.
It is present everywhere in the rustling of
trees, the flow of rivers, the pitter-patter of the raindrops, and the sound of
the birds.
The varied human passions like, agony,
ecstasy, sorrow, hope, desire etc found expression in the subtle notes of
music.
Indian music is one of the oldest and the
finest forms of human expression. The Vedas, representing the most ancient
literature known to the world, have distinct melody.
A music
which follows the traditional characteristics is referred as the classical
music. The Indian classical music is very open. It allows a musician to invent
new classical forms, new poetical forms, new modes, and new rhythms. The drone
is the main requirement to develop a raga. The singers are always accompanied
by the tambura or the harmonium.
The Indian classical music has been important
to the Hindus, especially to many Vaishnavite sects. In ancient times, the
priests sung Vedic hymns based on notes assigned by the rules codified in the
Chandogya Upanishad. These priests were called the Samans or the Samavedis.
A number of ancient musical instruments such
as the conch or the Shankhu, the lute or the Veena, the flute or the bansuri,
the trumpets and the horns were associated with the classical music. The name
Raga was first found in the Natya Shastra of Bharata Muni.
There were lots of evolutions in the theory of
classical music. The Purana period was characterized by numerous references to
singing, musicians and musical instruments.
The Narada's Sangita Makarandha treatise is
the earliest text where rules similar to the current Hindustani classical music
can be found. Narada actually names and classifies the system in its earlier
form before the advent of changes as a result of Islamic influences.
Also, Jayadeva's Gita Govinda from the 12th
century was perhaps the earliest musical composition in the classical tradition
called Ashtapadi music.
The advent of Islamic rule under the Delhi
Sultanate and later the Mughal Empire over northern India India
The most legendary musician of this period was
Amir Khusrau, who systemized the Hindustani methodologies by studying the forms
of Vedic music theory and spurring a chain of creative composition that melded
Indian with Persian sensibilities. He also invented most of the major genres of
Hindustani music and some of its most important instruments, mainly the Sitar.
Later, during the reign of the Mughal Empire, the dance and music flourished.
The Hindu musician Tansen was the popular
artist of the same time. His ragas which were based on times of the day were
reputed to have been so powerful that according to legend, upon his playing a
night-time raga in the morning, the entire city fell under a hush and clouds
gathered in the sky.
The Hindustani and the Carnatic are the two
major systems of classical music. Though they have similar origins and source,
according to ancient scripts, they are different.
The Raga or the melody is the India
The ragas are made of different combinations
of sapta swaras or seven notes. They are Sa Sadjam, Ri Rishabam, Ga
Gaandhaaram, Ma Madhyamam, Pa Pancham, Dha Dhaivadam, Ni Nishadam. The
combination of these notes weaved into a composition in a way which is pleasing
to the ear is called a raga'. Each raga creates an atmosphere which is
associated with the feelings, the emotions and the sentiments. Any drift
combination of notes cannot be called as a raga'.
A raga is based on the principle of a
combination of notes selected out the 22 note intervals of the octave. A
performer with sufficient training and knowledge alone can create the desired
emotions, through the combination of shrutis and notes. There are a limited
number of raga' in Hindustani classical music. Each Raga has a name and a
character, which can be devotional, erotic, bold and valorous, or tragic.
The role of music in promoting core values
| Padmini Rao The role of music in promoting core values in today’s changing environment |
The following article was published as part of a University Grants Commission Seminar. ..by Padmini Rao
Change is the only constant in the world today. We see and experience it aroundus all the time. It is an all- embracing term and covers various aspects, such as the physical changes occurring around us in our environment; for example, the phenomenon of global warming. Technological advances have led to several changes in our basic lifestyle. The means of communication, transport, and day to day living have all shown a steady upward growth. Even in the work place, the dynamics have changed on account of several factors. Opportunities, career options, social perceptions have all contributed to making the workplace dynamics very different today.
The social fabric of our society is, by a natural consequence, changing, evolving and metamorphosing constantly. This is reflected in our value systems, our priorities, and perceptions of not only ourselves but also of those around us, within a social frame work.
So, how does Music impact, mould, and in some ways direct these changes? To seek the answers to these questions, we would have to look at our Music on different levels, namely the literal and the metaphorical.
A. The literal level- Here we consider the various factors contained in the musical idiom.
1. The poetry or the ‘sahitya’ of our compositions. Poetry is when an emotion has found its thought and the thought has found words. The poetry in our music, thus gives a shape to our thoughts. Thoughts are what mould us, our thinking, our actions and responses. When we relate to the beauty of nature, feeling the tranquility of a sunset or experiencing the romance of a moonlit night, it fills the heart with joy and happiness. A happy thought is like a seed that sows positivity for all to reap.
2. The interplay of melody and rhythm is one of the most perfect examples of a harmonious relationship. Each has its own identity, but when they come together, a third unique and exciting dimension comes into play, enriching the components by its mere existence. It is not too difficult to extrapolate this imagery and symbolism into the inter-personal relationships that everyone in society has at various levels in the different spheres of their life.
3. The aesthetics of the Raaga: When different emotional states come together, the aesthetic flavor of the raaga comes through and makes the experience enjoyable. The unfolding of a raaga is like that of a flower blooming-a thing of infinite beauty. The mental state evoked, lingers on long after the music has stopped - leaving the listener in a state of ‘Aanand’ or deep joy.
B. The metaphorical level:
1. Within the society: We see that the ideas conveyed through Music, at the literal level, are embodied in- Beauty in the poetry, Harmony in the interplay of Svara and Laya, and Happiness and Joy in the aesthetics of a Raaga and its expression. These ideas or concepts have a universal appeal and they transcend the limitations of boundaries, borders, religion and race. This promotes and fosters peace, and understanding which can go a long way to strengthen global ties.
2. Within the family: Music, especially our Classical Music tradition, has an intrinsic element of ‘timelessness’. Some changes have happened, for example, the different way concerts are structured today. Many artistes are featured in one evening, thus leading to shorter recitals. However, the core musical content has stayed relatively unchanged. The intrinsic nature of our Music is such that, it rises above Time and Change. It is eternal. The literature of the compositions carry their own cultural ethos. The raagas still adhere to the time theory, evoking a bygone era of natural illumination, reflected as sunlight in the ‘raaga’. When this music is enjoyed by the family as a whole, there is a sense of bonding. Everyone is able to relate to it as, it cuts across the generation gap. Such bonding is undoubtedly a very healthy environment for children to grow and bloom. Communication between different generations becomes easier as the doors of understanding open up.
In conclusion, I would like to say, that, through all the changes happening in and around us, the one reassuring constant is the presence of Music. It cleanses the mind and soul and uplifts the spirits. It is the universal language of Mankind, enabling people to reach out, connect and communicate with each other. This shared happiness has and will continue to guide and steer us towards peace and harmony in the world.
Change is the only constant in the world today. We see and experience it aroundus all the time. It is an all- embracing term and covers various aspects, such as the physical changes occurring around us in our environment; for example, the phenomenon of global warming. Technological advances have led to several changes in our basic lifestyle. The means of communication, transport, and day to day living have all shown a steady upward growth. Even in the work place, the dynamics have changed on account of several factors. Opportunities, career options, social perceptions have all contributed to making the workplace dynamics very different today.
The social fabric of our society is, by a natural consequence, changing, evolving and metamorphosing constantly. This is reflected in our value systems, our priorities, and perceptions of not only ourselves but also of those around us, within a social frame work.
So, how does Music impact, mould, and in some ways direct these changes? To seek the answers to these questions, we would have to look at our Music on different levels, namely the literal and the metaphorical.
A. The literal level- Here we consider the various factors contained in the musical idiom.
1. The poetry or the ‘sahitya’ of our compositions. Poetry is when an emotion has found its thought and the thought has found words. The poetry in our music, thus gives a shape to our thoughts. Thoughts are what mould us, our thinking, our actions and responses. When we relate to the beauty of nature, feeling the tranquility of a sunset or experiencing the romance of a moonlit night, it fills the heart with joy and happiness. A happy thought is like a seed that sows positivity for all to reap.
2. The interplay of melody and rhythm is one of the most perfect examples of a harmonious relationship. Each has its own identity, but when they come together, a third unique and exciting dimension comes into play, enriching the components by its mere existence. It is not too difficult to extrapolate this imagery and symbolism into the inter-personal relationships that everyone in society has at various levels in the different spheres of their life.
3. The aesthetics of the Raaga: When different emotional states come together, the aesthetic flavor of the raaga comes through and makes the experience enjoyable. The unfolding of a raaga is like that of a flower blooming-a thing of infinite beauty. The mental state evoked, lingers on long after the music has stopped - leaving the listener in a state of ‘Aanand’ or deep joy.
B. The metaphorical level:
1. Within the society: We see that the ideas conveyed through Music, at the literal level, are embodied in- Beauty in the poetry, Harmony in the interplay of Svara and Laya, and Happiness and Joy in the aesthetics of a Raaga and its expression. These ideas or concepts have a universal appeal and they transcend the limitations of boundaries, borders, religion and race. This promotes and fosters peace, and understanding which can go a long way to strengthen global ties.
2. Within the family: Music, especially our Classical Music tradition, has an intrinsic element of ‘timelessness’. Some changes have happened, for example, the different way concerts are structured today. Many artistes are featured in one evening, thus leading to shorter recitals. However, the core musical content has stayed relatively unchanged. The intrinsic nature of our Music is such that, it rises above Time and Change. It is eternal. The literature of the compositions carry their own cultural ethos. The raagas still adhere to the time theory, evoking a bygone era of natural illumination, reflected as sunlight in the ‘raaga’. When this music is enjoyed by the family as a whole, there is a sense of bonding. Everyone is able to relate to it as, it cuts across the generation gap. Such bonding is undoubtedly a very healthy environment for children to grow and bloom. Communication between different generations becomes easier as the doors of understanding open up.
In conclusion, I would like to say, that, through all the changes happening in and around us, the one reassuring constant is the presence of Music. It cleanses the mind and soul and uplifts the spirits. It is the universal language of Mankind, enabling people to reach out, connect and communicate with each other. This shared happiness has and will continue to guide and steer us towards peace and harmony in the world.
Saturday, July 30, 2016
Tuesday, July 12, 2016
rajani takes me to ”mudra”
rajani takes me to ”mudra”
rajanikanth takes me to a new field, ”mudra”
[click]with his sudden/unanticipated movements/jerks and ‘gestures’,
as if he
diving deep and bringing out new gems and displaying,
every opportunity of
acting, he utilizing to the maximum extent,
never a routine, not a dull,
he
satisfies some deepest unknown desires of the viewers ,
they not knowing what
is happening inside them and inside him,
some mystery revealed, some knots
loosened.
i doubt if he himself knows the happening phenomenon, unusual in any
other actor
Mudra (music) - Wikipedia, the free encyclopedia
Mudra (music) - Wikipedia, the free encyclopedia
Mudra (music)
From Wikipedia, the free encyclopedia
Mudra is the unique signature of a Carnatic music composer, which is woven into some or all of their respective compositions.[1] Not all composers have mudras, and they do not necessarily relate to the composer's name.[1]
- Tallapaka Annamayya - Venkata
- Purandara Dasa - Purandara Vitthala
- Kanaka Dasa - Kaginele Adi Keshava
- Tyagaraja - Tyagaraja
- Syama Shastri - Syama Krishna
- Muthuswami Dikshitar - Guruguha
- Swati Tirunal - Padmanabha/Pankajanabha
- Bhadrachala Ramadas - Ramadasu
- Papanasam Sivan - Ramadasan
- Gopalakrishna Bharathi - Gopalakrishnan
- Harikesanallur Muthiah Bhagavatar - Harikesha
- Narayana Teertha - Narayana Teertha
- Patnam Subramania Iyer - Venkateshwara
- Mysore Vasudevacharya - VasudevA
- Mysore V Ramarathnam - rAma
- M. D. Ramanathan - Varada dasa
- M. Balamuralikrishna - Hari and Murali
- Maharajapuram Santhanam - Maharajan
- Koteeswara Iyer - Kavi Kunjara dasa
- Kshetrayya - Muvva Gopala
- Sadashiva Brahmendra swami - Paramahamsa
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