raagarasikaRaaga Rasika: Exploring the World of Carnatic Music2009-11-23T19:05:13ZCopyright 2009WordPresshttp://raagarasika.podbean.com/mf/web/canmc6/Veena_detail.jpgraagarasika<![CDATA[Episode 54: Special Rasikas’ Voice With Listener Renditions — Part V]]>http://raagarasika.podbean.com/2009/11/23/episode-54-special-rasikas%e2%80%99-voice-with-listener-renditions-part-v/2009-11-23T19:05:13Z2009-11-23T19:05:13ZUncategorizedContinuing on with the listener submitted renditions, we feature two submissions: the first one is by Smt. Seethalakshmi Parameshwaran from Ohio, USA who submitted a bhajan (devotional piece) on Lord Ganesha in the raaga Tilang; the second submission is a Vasantha raaga alapana by 10 year old Kum. Shreya Ashok from Texas, USA. Vidya provides additional information on each of these raagas and also sings snippets from other popular compositions these raagas.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 53: Special Rasikas’ Voice With Listener Renditions — Part IV]]>http://raagarasika.podbean.com/2009/11/11/episode-53-special-rasikas%e2%80%99-voice-with-listener-renditions-part-iv/2009-11-11T16:30:43Z2009-11-11T16:30:43ZUncategorizedIn this episode, we feature Smt. Gayathri Satya from San Francisco Bay Area, California. Smt. Gayathri has sung a Thyagaraja composition “Vinayakuni” in the raaga Madhyamavathy and set to Adi tala. Unlike most Thyagaraja compositions which are in praise of Lord Rama, this composition is fairly unique in that it is a Devi (Goddess) kriti. Vidya provides examples of other compositions by the Trinity in this majestic raga.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 52: Special Rasikas’ Voice With Listener Renditions — Part III]]>http://raagarasika.podbean.com/2009/11/03/episode-52-special-rasikas%e2%80%99-voice-with-listener-renditions-part-iii/2009-11-03T04:51:53Z2009-11-03T04:51:53ZUncategorizedIn this episode, we feature a submission by our listener Sri. Aren Skalman, from San Diego, California. Aren submitted a swarajati: Raara Venu in raaga Bilahari and Adi tala. Vidya elaborates on swarajatis. She also shares with us an example from a complex and involved Swarajati by Sri. Shyama Shastri in the raaga Yadukulakambhoji. We wrap up the episode with a rendition of Thyagaraja’s Raaka Sashivadana in raaga Takka and Adi tala by Smt. Padma Govardhan, from Auckland, New Zealand.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 51: Special Rasikas’ Voice With Listener Renditions — Part II]]>http://raagarasika.podbean.com/2009/10/23/episode-51-special-rasikas%e2%80%99-voice-with-listener-renditions-part-ii/2009-10-23T20:13:26Z2009-10-23T20:13:26ZUncategorizedContinuing on with the listener submitted renditions, we feature a submission by Sri. Shashank Shridar, a 3rd grader from Pennsylvania, USA. Shashank submitted a Papanasam Sivan composition: Maaramanan Umaramanan, in Hindolam raaga and Roopaka tala. Vidya sings snippets from other popular compositions in raaga Hindolam. We wrap up the episode with a discussion on the mood created by the notes in this raaga.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 50: Special Rasikas’ Voice With Listener Renditions — Part 1]]>http://raagarasika.podbean.com/2009/10/16/episode-50-special-rasikas%e2%80%99-voice-with-listener-renditions-part-1/2009-10-16T14:55:35Z2009-10-16T14:55:35ZUncategorizedHappy Deepavali! We have received an excellent response to our call for listener submissions. We really appreciate your involvement and enjoyed listening to each submission. Given the response, we will be spreading the submissions as well as our discussion on each selected entry across the next few episodes. In Part I, we feature submissions by: Kum. Ashraya Ananthanarayan who sent in a Tyagaraja composition in Bangala raaga, Adi tala and Smt. Durga Krishnan who submitted a thanam on veena in two raagas — Hamsanandi and Kalyani.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 49: Relevance of Arohanam and Avarohanam in Defining a Raaga’s Structure]]>http://raagarasika.podbean.com/2009/09/30/episode-49-relevance-of-arohanam-and-avarohanam-in-defining-a-raagas-structure/2009-10-01T02:03:50Z2009-10-01T02:03:50ZUncategorizedWe wrap up our introductory series on Arohanam and Avarohanam with a discussion on whether or not raagas are entirely and solely defined by their corresponding ascending and descending scales. Using examples of raagas such as Reetigowlai, Madhyamavati, and Hamsaroopini, Vidya highlights the varying degrees in which textbook definitions of Arohanam and Avarohanam may (or may not) help understand the form of individual raagas.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 48: Carnatic Music Terms Defined: Types of Raagas – Audava, Shadava, Sampoorna, Krama, Vakra]]>http://raagarasika.podbean.com/2009/09/18/episode-48-carnatic-music-terms-defined-types-of-raagas-%e2%80%93-audava-shadava-sampoorna-krama-vakra/2009-09-18T14:04:05Z2009-09-18T14:04:05ZUncategorizedWe continue our discussion regarding arohanam and avarohanam, and define several terms commonly used in Carnatic music to describe raagas. With several examples and illustrations, Vidya elaborates on terms such as Audava, Shadava, Sampoorna, Krama, Vakra, Varja, Melakarta and Bhashanga, and describes how a raaga can frequently represent a combination of these attributes.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 47: Carnatic Terms Defined: Arohanam and Avarohanam]]>http://raagarasika.podbean.com/2009/09/09/episode-47-carnatic-terms-defined-arohanam-and-avarohanam/2009-09-09T23:51:05Z2009-09-09T23:51:05ZUncategorizedIn this episode, we discuss two very familiar terms in Carnatic music: Arohanam refers to the ascending scale and avarohanam refers to the descending scale. Vidya shares some examples of raagas to discuss kinds of arohanam and avarohanam in terms of number of swarams and the impact of this on the phrases that are permitted. Finally, we discuss how the importance of the arohanam and avarohanam varies from one raaga to another as raagas continue to evolve over time.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 46: Introduction to Chapu Talams]]>http://raagarasika.podbean.com/2009/08/25/episode-46-introduction-to-chapu-talams/2009-08-26T03:35:04Z2009-08-26T03:35:04ZUncategorizedWe conclude our introductory series on talams, with a discussion on two chapu talams: misra chapu talam and kanda chapu talam. Vidya illustrates these talams using snippets from concert recordings of master musicians Smt. Brinda and Smt. Mukta; and Smt. D. K. Pattammal.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 45: Introduction to Adi tala and Rupaka tala]]>http://raagarasika.podbean.com/2009/08/15/episode-45-introduction-to-adi-tala-and-rupaka-tala/2009-08-15T16:06:56Z2009-08-15T16:06:56ZUncategorizedWe continue our discussions of talas from the previous episode and name the seven basic talas in Carnatic music. Vidya highlights two very common talas: Rupaka tala and the Adi tala. She then explains the angas that make up these talas, and illustrates these with snippets from concert recordings of master musicians Sri G. N. Balasubramaniam and Smt. M. S. Subbulakshmi.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 44: Carnatic Music Terms Defined — Laya, Kala, and Tala]]>http://raagarasika.podbean.com/2009/08/05/episode-44-carnatic-music-terms-defined-laya-kala-and-tala/2009-08-05T04:07:27Z2009-08-05T04:07:27ZUncategorizedIn this episode, we introduce the fundamentals of rhythm. Vidya explains how rhythm manifests itself in Carnatic music and discusses terms such as laya, kala, and tala. We finish this episode by defining the basic constituents of tala, called “angas”.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 43: Featured Composition — Maamava Meenakshi Part II]]>http://raagarasika.podbean.com/2009/07/26/episode-43-featured-composition-maamava-meenakshi-part-ii/2009-07-26T16:53:39Z2009-07-26T16:53:39ZUncategorizedIn this segment, we look at the some more of the highlights of this short yet marvelous composition. Vidya uses this composition to showcase some of the salient phrases of this raaga and also illustrates the concept of improvisation known as “Neraval” in Carnatic music.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 42: Featured Place — Madurai & Featured Composition — Maamava Meenakshi Part I]]>http://raagarasika.podbean.com/2009/07/16/episode-42-featured-place-%e2%80%94-madurai-featured-composition-maamava-meenakshi-part-i/2009-07-16T05:26:24Z2009-07-16T05:26:24ZUncategorizedIn this episode, we feature a popular composition “Maamava Meenakshi”, by Sri. Muthusamy Dikshithar in the Raaga Varali. We begin this episode by talking about the history of the temple town of Madurai in South India — known for the Madurai Meenakshi Amman temple. Vidya walks us through the structure and meaning of this brilliant piece.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 41: Analysis of a Ghana Ragamalika Thanam – Part V – Varali Ragam]]>http://raagarasika.podbean.com/2009/06/28/episode-41-analysis-of-a-ghana-ragamalika-thanam-%e2%80%93-part-v-%e2%80%93-varali-ragam/2009-06-28T20:12:35Z2009-06-28T20:12:35ZUncategorizedWe finish our analysis of Smt. Veena Dhanammal’s Raagamalika thanam, by covering the remaining ghana raaga, Varali. Vidya explains how Smt. Dhanammal uses the two common notes between Sri (the previous raaga in the thanam) and Varali to transition from one to the other. Vidya also sings an improvisational segment to illustrate such a transition in sharp detail. Finally, Vidya highlights some of the salient aspects of Varali including the unique gandharam.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 40: Analysis of a Ghana Ragamalika Thanam – Part IV – Sri Ragam]]>http://raagarasika.podbean.com/2009/06/18/episode-40-analysis-of-a-ghana-ragamalika-thanam-%e2%80%93-part-iv-%e2%80%93-sri-ragam/2009-06-18T07:09:52Z2009-06-18T07:09:52ZUncategorizedWe continue our analysis of Smt. Veena Dhanammal’s Raagamalika thanam. We discuss Sri raagam in this episode and Vidya points out some of the salient aspects of this raaga. Specifically, Vidya elaborates on the unique relationship between the rishabham and gandharam notes in Sri Ragam. She also highlights the key difference between the Thyagaraja and Dikshitar schools in handling this raaga.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 39: Analysis of a Ghana Ragamalika Thanam – Part III — Arabhi]]>http://raagarasika.podbean.com/2009/06/08/episode-39-analysis-of-a-ghana-ragamalika-thanam-%e2%80%93-part-iii-arabhi/2009-06-08T18:51:23Z2009-06-08T18:51:23ZUncategorizedWe continue our analysis of Smt. Veena Dhanammal’s Raagamalika thanam. The third and fourth raaga she plays are Arabhi and Sri, respectively. Vidya points out the specific phrases Smt. Veena Dhanammal uses to highlight Arabhi raagam. Vidya also touches upon a couple of key differences between Arabhi and its closely allied raaga, Sama. Finally, we finish this segment by reviewing the transition from Arabhi to Sri.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 38: Analysis of a Ghana Ragamalika Thanam – Part II — Gowlai]]>http://raagarasika.podbean.com/2009/05/24/episode-38-analysis-of-a-ghana-ragamalika-thanam-%e2%80%93-part-ii-gowlai/2009-05-24T15:59:17Z2009-05-24T15:59:17ZUncategorizedIn this episode, we continue our exploration of the Raagamalika thanam rendition by Smt. Veena Dhanammal. The second and third raaga she plays are Gowlai and Arabhi, respectively. Vidya points out the specific phrases Smt. Veena Dhanammal uses to transition from Nattai to Gowlai, and also elaborates on several important Gowlai phrases that Smt. Veena Dhanammal uses. Finally, we finish this segment by reviewing the transition from Gowlai to Arabhi.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 37: Analysis of a Ghana Ragamalika Thanam – Part I — Nattai]]>http://raagarasika.podbean.com/2009/05/11/episode-37-analysis-of-a-ghana-ragamalika-thanam-%e2%80%93-part-i-nattai/2009-05-11T07:49:29Z2009-05-11T07:49:29ZUncategorizedIn this episode, we delve deeper into the Raagamalika thanam rendition by Smt. Veena Dhanammal. The first raaga she plays is the Raaga Nattai. Vidya elaborates on several important phrases and detailed nuances that Smt. Veena Dhanammal masterfully packed into a one minute snippet.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 36: Featured Person — Smt. Veena Dhanammal]]>http://raagarasika.podbean.com/2009/04/27/episode-36-featured-person-smt-veena-dhanammal/2009-04-27T19:36:07Z2009-04-27T19:36:07ZUncategorizedIn the last segment, we heard a veena rendition by Smt. Veena Dhanammal. In this episode, we discuss her life, times, and contributions to the world of Carnatic music. Vidya shares with us additional details regarding the snippet we heard in the last episode - a raagamalika thanam in the five ghana raagas. We also discuss the term “ghana raagas”.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 35: Featured Instrument — Veena: Part II]]>http://raagarasika.podbean.com/2009/04/14/episode-35-featured-instrument-veena-part-ii/2009-04-15T03:52:47Z2009-04-15T03:52:47ZUncategorizedWe conclude our two-part series on the Veena in this segment. We discuss the physical structure of the veena, how and where it is made, as well as how it is played. Finally, we share with you a snippet of a thaanam rendition by a very renowned vainika (veena player), Smt. Veena Dhanammal.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 34: Featured Instrument — Veena Part I]]>http://raagarasika.podbean.com/2009/04/02/episode-34-featured-instrument-veena-part-i/2009-04-02T21:20:41Z2009-04-02T21:20:41ZUncategorizedIn this segment, we feature the Veena, a plucked string instrument unique to Carnatic music. We discuss the revered status given to this instrument in the Hindu tradition. The veena is mentioned in several Carnatic music compositions. Vidya renders a few snippets of compositions that have references to the veena.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 33: Rasikas’ Voice — Your Letters and Questions]]>http://raagarasika.podbean.com/2009/03/26/episode-33-rasikas-voice-your-letters-and-questions/2009-03-26T05:43:11Z2009-03-26T05:43:11ZUncategorizedIn this episode, we would like to share some of the feedback we have been getting so far and answer some of your questions. We also give the answer to the Raaga Quiz: Mukhari vs. Bhairavi featured in Episode 28 and recognize listeners who submitted correct entries. Thanks a lot for all your comments and enthusiastic support. We really appreciate it!
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 32: Featured Composition – Alaavadennaalo Part II]]>http://raagarasika.podbean.com/2009/03/17/episode-32-featured-composition-%e2%80%93-alaavadennaalo-part-ii/2009-03-17T06:11:50Z2009-03-17T06:11:50ZUncategorizedIn this episode, we shift the focus to the multiple final segments (Charanams) of the composition. By singing several snippets of this composition, Vidya illustrates its distinct aspects in a detailed fashion. We discuss the rhythmic and melodic structure of this gem. We also define the rhythmic term, “eduppu” and describe the different kinds of “eduppu”.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 31: Featured Composition – Alaavadennaalo Part I]]>http://raagarasika.podbean.com/2009/03/07/episode-31-featured-composition-%e2%80%93-alaavadennaalo-part-i/2009-03-07T19:32:20Z2009-03-07T19:32:20ZUncategorizedIn this episode we feature a composition by Sri. Oothukaadu Venkatakavi. The composition “Alaavadennaalo”, in Raaga Paras, is one of his Saptaratna kritis. We introduce the ragam Paras and mention some well known compositions in this ragam. This is a masterful piece that brings together a deep sense of devotion and humility, superb lyrics, and incredible compositional structure. We discuss in detail the first two segments of this composition (i.e., the Pallavi and the Anupallavi).
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 30: Sri. Oothukadu Ventakakavi’s Compositional Style]]>http://raagarasika.podbean.com/2009/02/23/episode-30-sri-oothukadu-ventakakavis-compositional-style/2009-02-24T01:50:34Z2009-02-24T01:50:34ZUncategorizedWe continue our conversation from the last episode, and discuss Sri. Oothukadu’s musical mastery, highlighting his rhythmic prowess as well as poetic genius. Vidya illustrates salient aspects of his compositional style using examples drawn from his compositions, including the universally popular Alaipayudhe Kanna.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 29: Featured Composer — Sri. Oothukadu Venkatakavi]]>http://raagarasika.podbean.com/2009/02/13/episode-29-featured-composer-sri-oothukadu-venkatakavi/2009-02-13T20:05:12Z2009-02-13T20:05:12ZUncategorizedWe begin the episode with an introduction to the three composers known as the Trinity of carnatic music – Sri Thyagaraja, Sri Muthuswami Dikshitar and Sri Shyama Shastry. We continue our exploration by featuring a prolific pre-trinity composer: Sri. Oothukadu Venkatasubbier, also known as Oothukadu Venkatakavi. In this episode, Vidya shares with us some his popular compositions and discussed his exemplary contributions to Carnatic music.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 28: Raaga Quiz: Mukhari vs. Bhairavi]]>http://raagarasika.podbean.com/2009/02/03/episode-28-raaga-quiz-mukhari-vs-bhairavi/2009-02-03T21:51:37Z2009-02-03T21:51:37ZUncategorizedWe finish the discussion on Mukhari and its allied raaga Bhairavi with a quiz. Vidya sings two alapanas, one in Raaga Mukhari and the other in Raaga Bhairavi. Can you figure out which is which? If you know the answer, write to us! We will answer the quiz the next time we publish our Rasika’s Voice segment. We will recognize winners as well!
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 27: A Discussion on Allied Raagas — Mukhari and Bhairavi]]>http://raagarasika.podbean.com/2009/01/28/episode-27-a-discussion-on-allied-raagas-mukhari-and-bhairavi/2009-01-28T23:49:36Z2009-01-28T23:49:36ZUncategorizedIn the last couple of episodes we featured the Raaga Mukhari. There are a number of raagas in Carnatic music that are closely allied to Mukhari, the most prominent of them being Bhairavi. In this episode, we discuss the similarities and differences between Mukhari and Bhairavi.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 26: Featured Composition — Enthani Ne]]>http://raagarasika.podbean.com/2009/01/20/episode-26-featured-composition-enthani-ne/2009-01-20T22:20:52Z2009-01-20T22:20:52ZUncategorizedIn this episode, we feature a Tyagaraja composition: Enthani Ne in Mukhari raaga. In this composition, Tyagaraja describes Shabhari’s (a character in the Hindu epic Ramayana) good fortune because she was able to meet and serve Lord Rama. We highlight the wonderful way in which the composer employs various aspects of Raaga Mukhari to effectively bring out the high emotions connected to this story.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 25: Featured Raaga — Mukhari]]>http://raagarasika.podbean.com/2009/01/09/episode-25-featured-raaga-mukhari/2009-01-09T23:03:26Z2009-01-09T23:03:26ZUncategorizedIn this segment, we feature a raaga well known for its emotive appeal: Mukhari. As we discuss this raaga, we also cover a wide range of topics and define several terms in Carnatic music, such as: janya, shadava raaga, sampoorna raaga, and so on. We conclude the episode by talking about the fairly common misperception of Mukhari being a raaga associated with sadness and melancholy.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 24: Featured Compositions of Sri. Annamacharya]]>http://raagarasika.podbean.com/2008/12/26/episode-24-featured-compositions-of-sri-annamacharya/2008-12-26T20:52:46Z2008-12-26T20:52:46ZUncategorizedWe continue our discussion from the previous episode and talk about Annamacharya’s compositions. Specifically, we feature two of his compositions. The first is Oka Pari in raaga Kharakarapriya, rendered by Sangeetha Kalanidhi Dr. Nedunuri Krishnamurthy. The second is the very popular Brahma Kadigina Padamu, in the raaga Mukhari.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 23: Featured Composer — Sri. Tallapaka Annamacharya]]>http://raagarasika.podbean.com/2008/12/19/episode-23-featured-composer-sri-tallapaka-annamacharya/2008-12-19T19:25:55Z2008-12-19T19:25:55ZUncategorizedIn this episode, we feature a prolific composer who was born 600 years ago: Sri Tallapaka Annamacharya. He is one of the earliest and most prolific composers in South India who composed several thousand songs in the praise of Lord Venkateshwara. We discuss his composition format and style, and also the ongoing efforts to re-popularize his compositions. We conclude the episode with a snippet from a rendering of an Annamacharya composition by Ms. Srirangam Gopalaratnam.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 22: Graha Bhedam Illustration]]>http://raagarasika.podbean.com/2008/12/04/episode-22-graha-bhedam-illustration/2008-12-04T20:49:30Z2008-12-04T20:49:30ZUncategorizedWe finish the discussion on Graha Bhedam with an illustration. Vidya discusses a graha bhedam performed by her guru Shri. Lalgudi Jayaraman in a Nattaikurinji raaga alapana to bring out the flavor of Neelambari raaga.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 21: Carnatic Music Terms Defined — Shruti Bhedam or Graha Bhedam]]>http://raagarasika.podbean.com/2008/11/28/episode-21-carnatic-music-terms-defined-shruti-bhedam-or-graha-bhedam/2008-11-28T06:54:20Z2008-11-28T06:54:20ZUncategorizedContinuing on the topic of “Shruti”, in this episode we present the concept of Shruti Bhedam. Shruti Bhedam or Graha Bhedam is a form of improvisation in Carnatic Music where artistes transpose the raaga they are rendering to a new raaga by using a perception of a shift of their fundamental note or shadjam. Vidya illustrates this concept using the raaga Mohanam to bring out the raaga Madhyamavathy by a tonic shift.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 20: Rasikas’ Voice — Your Letters and Questions]]>http://raagarasika.podbean.com/2008/11/13/episode-20-rasikas-voice-your-letters-and-questions/2008-11-13T23:08:55Z2008-11-13T23:08:55ZUncategorizedIn this episode, we would like to share some of the feedback we have been getting so far. Thanks a lot for all your comments and enthusiastic support. We really appreciate it!
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 19: Featured Instruments — Shruti Box and Tambura]]>http://raagarasika.podbean.com/2008/11/05/episode-19-featured-instruments-shruti-box-and-tambura/2008-11-05T23:40:32Z2008-11-05T23:40:32ZUncategorizedIn this segment, we showcase three related instruments: shruti box, electronic tambura, and a traditional tambura. We also discuss the main differences between each of them. Finally, we talk about the role of the traditional tambura artiste in the Carnatic music platform. Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 18: Carnatic Music Terms — Shruti]]>http://raagarasika.podbean.com/2008/10/27/episode-18-carnatic-music-terms-shruti/2008-10-27T19:26:52Z2008-10-27T19:26:52ZUncategorizedWe discuss another important term: Shruti or pitch. We also explain the relative nature of this concept in Carnatic music- and how a singer identifies the pitch that is best suited to his or her voice. Finally, we showcase a couple of snippets by Dr. M. Balamurali Krishna who is well known, among numerous other things, for his exemplary capacity to easily sing across several octaves.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 17: Carnatic Music Terms — Naada]]>http://raagarasika.podbean.com/2008/10/20/episode-17-carnatic-music-terms-naada/2008-10-20T16:39:23Z2008-10-20T16:39:23ZUncategorizedStarting with this episode, we would like to dedicate a few segments to explaining some common terms used in Carnatic music. The first among these terms is Naada. We also showcase a couple of very popular Thygaraja compositions where he describes Naada and mentions the divine origin of the Saptaswaras or the 7 basic musical notes.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 16 — Featured Compositions in Sivaranjani]]>http://raagarasika.podbean.com/2008/10/13/episode-16-featured-compositions-in-sivaranjani/2008-10-14T02:41:05Z2008-10-14T02:41:05ZUncategorizedIn this episode, we feature a couple of immensely popular tillanas. The first is composed by Maharajapuram Sri Santhanam and the second tillana is a composition by Lalgudi Sri Jayaraman. We discuss the additional inclusion of the Antara Gandharam to make the Misrasivaranjani variant of the raaga and also describe tillanas in general.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 15: Featured Raaga — Sivaranjani]]>http://raagarasika.podbean.com/2008/09/30/episode-15-featured-raaga-sivaranjani/2008-09-30T04:31:31Z2008-09-30T04:31:31ZUncategorizedIn the previous episode, we heard a snippet sung by Smt. M.L. Vasanthakumari in the audava (pentatonic) raaga: Sivaranjani. In this episode, we discuss this distinctive raaga known for its melancholic character. We then compare and contrast it to a relatively upbeat audava raaga: Mohanam.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 14: Purandara Dasa Compositions]]>http://raagarasika.podbean.com/2008/09/22/episode-14-purandara-dasa-compositions/2008-09-22T05:57:13Z2008-09-22T05:57:13ZUncategorizedWe continue our discussion from the previous episode and talk about Purandara Dasa’s compositions. We talk about Purandara Dasa’s influence on later composers, especially Thyagaraja, and also mention some musicians who have popularized his compositions on the concert platform.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 13: Featured Person — Purandara Dasa]]>http://raagarasika.podbean.com/2008/09/15/episode-13-featured-person-purandara-dasa/2008-09-15T21:53:59Z2008-09-15T21:53:59ZUncategorizedWe feature one of the most prominent Carnatic musicians during the time of the Vijayanagara kings: Purandara Dasa. Purandara Dasa is known as the Sangeeta Pitamaha or the Father of Carnatic music. We discuss some of his extraordinary contributions to Carnatic music and how his framework for music instruction is still followed today.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 12: Featured Place — Hampi]]>http://raagarasika.podbean.com/2008/09/07/episode-12-featured-place-hampi/2008-09-07T18:59:19Z2008-09-07T18:59:19ZUncategorizedA few episodes ago, we talked about Chennai and its relevance to Carnatic music. In this episode, we trace the history of Carnatic music and take you back 600 years to discuss the Vijayanagara kingdom. We feature its capital: Vijayanagara, which is near modern day Hampi in Karnataka, India.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 11: Rasikas’ Voice — Your Letters and Questions]]>http://raagarasika.podbean.com/2008/08/31/episode-11-rasikas-voice-your-letters-and-questions/2008-09-01T01:27:30Z2008-09-01T01:27:30ZUncategorizedIn this episode, we share some of the emails we have received from you so far and answer some of the questions we got from you. Thank you for joining us at Raaga Rasika and listening to our podcasts. Please continue writing to us — we value your feedback!
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 10: A Discussion on Gamakams]]>http://raagarasika.podbean.com/2008/08/24/episode-10-a-discussion-on-gamakams/2008-08-24T23:08:37Z2008-08-24T23:08:37ZUncategorizedWe continue our discussion from the last episode on Kalyani and Mohanakalyani, and discuss the role gamakams play when raagas are rendered.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 9: Featured Raagas — Kalyani and Mohanakalyani]]>http://raagarasika.podbean.com/2008/08/17/episode-9-featured-raagas-kalyani-and-mohanakalyani/2008-08-17T20:17:42Z2008-08-17T20:17:42ZUncategorizedIn this week’s episode, Vidya provides the answer to last week’s quiz. The odd-man out song is in Mohanakalyani. Vidya highlights some of the key differences between Kalyani and Mohanakalyani and illustrates the role of gamakams in bringing out differences between allied ragas using the three songs in the quiz.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 8: Raaga Quiz — Kalyani]]>http://raagarasika.podbean.com/2008/08/10/episode-8-a-raaga-quiz-on-kalyani/2008-08-10T19:36:16Z2008-08-10T19:36:16ZUncategorizedA good approach to enjoying Carnatic music is to begin training your ear to discern raagas and raaga patterns. In this episode, Vidya sings three different snippets - two of them in Kalyani raaga and one in a different raaga. Can you find the odd one out? We will answer the quiz in the next episode. If you know the answer, write to us! There will be special credit for people who not only provide the answer but also explain why and how the raagas are different. We will recognize noteworthy entries in a subsequent episode.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 7: Featured Composition — Navarasa Navaraga Varnam]]>http://raagarasika.podbean.com/2008/08/03/episode-7-featured-composition-navarasa-navaraga-varnam/2008-08-03T20:19:59Z2008-08-03T20:19:59ZUncategorizedWe continue last episode’s focus on Padmabhushan Lalgudi Jayaraman and turn our attention to his compositions. We feature his set of compositions included in Jaya Jaya Devi, a dance drama on Mother Goddess (Devi). Specifically, we focus on the Navarasa Varnam, a raagamalika that showcases the nine emotions (navarasas), and also discuss raagamalikas in general.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 6: Featured Person – Padmabhushan Lalgudi G. Jayaraman]]>http://raagarasika.podbean.com/2008/07/27/episode-6-featured-person-%e2%80%93-padmabhushan-lalgudi-g-jayaraman/2008-07-27T19:13:59Z2008-07-27T19:13:59ZUncategorizedJust as in any other performing art, Carnatic Music — especially if you want to perform — takes several years of learning and practice. And in Carnatic Music, the guru has a very special and almost sacred place in your life. In this episode, we talk about Vidya’s guru: Lalgudi Jayaraman. We also discuss his unique style, the Lalgudi Bani.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 5: Featured Place — Chennai]]>http://raagarasika.podbean.com/2008/07/20/episode-5-featured-place-chennai/2008-07-20T18:39:00Z2008-07-20T18:39:00ZUncategorizedAs we explore the world of Carnatic Music, every now and then, we plan to highlight key cities, towns, and villages that play an important role in this art form. In the last segment, we discussed the art of listening. We talked about how attending concerts is one way to expose yourself and learn by listening. When it comes to Carnatic music concerts, Chennai has a lot to offer. So, in this segment, we shine the spotlight on Chennai.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 4: The Art of Listening]]>http://raagarasika.podbean.com/2008/07/13/episode-4-the-art-of-listening/2008-07-13T17:36:34Z2008-07-13T17:36:34ZUncategorizedWe start of this episode by learning a bit more about Vidya. Then, we discuss how you can begin your journey to understand and appreciate Carnatic Music better. Vidya’s tip is pretty straightforward yet profound: keep listening to a lot of Carnatic Music and start looking for patterns.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 3: Raaga Discussion — Naattai]]>http://raagarasika.podbean.com/2008/07/06/episode-3-raaga-discussion-naattai/2008-07-06T16:52:31Z2008-07-06T16:52:31ZUncategorizedWe continue the discussion from the last episode. We discuss the raaga Naattai, the raaga in which Maha Ganapathim is composed.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 2: Featured Song — Maha Ganapathim]]>http://raagarasika.podbean.com/2008/06/29/featured-song-mahaganapathim/2008-06-29T04:58:48Z2008-06-29T04:58:48ZUncategorizedOne of the best ways to appreciate Carnatic Music better is to listen to songs. In that spirit, we will be regularly featuring certain songs and talk about them. This week, our featured song is Maha Ganapatim.
Download Standard Podcasts ]]>raagarasika<![CDATA[Episode 1: Welcome to Raaga Rasika]]>http://raagarasika.podbean.com/2008/06/23/episode-1-welcome-to-raaga-rasika/2008-06-23T06:16:07Z2008-06-23T06:16:07ZUncategorizedHere’s the first podcast in the series. In this episode, we discuss what Raaga Rasika is, what you should expect from this program, and why we are doing this. This is going to be an exciting journey and we hope you join us!
Download Standard Podcasts ]]>