The rāga-s in Karnataka Music are innumerous and can be grouped into various ways. The most common, and perhaps the well-known system is to identify
Our dharma extols and worship a Guru to an extent that he is always treated synonymously with the ever pervading Almighty. Svetashvatara Upanishad, one among
हस्तीन्द्राणां-इन्दुचूड-अरुणछायां-त्रिनेत्रां-रसात् आश्लिष्टंप्रियया-सपद्मकरया-स्वाङ्गस्तया-सन्ततम् | बीजापूर-गधेक्षु-चाप-कार्मुकरुजा-चक्राब्ज-पाशोत्पल व्रीह्यग्र-स्वविषाण-रत्नकलशान्-हस्तैर्-वहन्तं-भजे || hastIndrAnAm indhu cUda aruna chAyAm trinEtram rasAt, Aslishtam priyayA sapadma karayA swAngastAya santatam, bhIjApUra gadhEkshu kArmukalAsachakrAbhja pasOtphala, vrIhyagrasvavishAna-rathna kalasAn
We get to know the structure of many rāga-s only through Saṅgīta Sampradāya Pradarṣini of Subbarāma Dīkṣitar. This text has both musical and musicological importance,
We have seen about the rāga Rudrapriyā, its gṛha, amsa, nyāsa svarā-s and salient phrases in the two earlier posts. It was established that Rudrapriyā
वटाधोनिवासं महाट्टाट्टहासं महापापनाशं सदासुप्रकाशम् । गिरीशं गणेशं महेशं सुरेशं शिवं शङ्करं शम्भुमीशानमीडे ॥ vaṭādhonivāsaṃ mahāṭṭāṭṭahāsaṃ mahāpāpanāśaṃ sadāsuprakāśam । girīśaṃ gaṇeśaṃ maheśaṃ sureśaṃ śivaṃ śaṅkaraṃ śambhumīśānamīḍe
This article is a continuation of the previous one on the rāga Kamās. It is advisable to get acquainted with that article before proceeding further
Prologue & A Prelude: Ragas like Saranganatta, Desakshi, Samantha and Malavasri once upon time ruled the roost but today lie forgotten and unsung. Malavasri is
It has been reiterated several times that Subbarāma Dīkṣitar has not explained many tenets explicitly in his treatise Saṅgīta Sampradāya Pradarṣini. It is up to
This article was published in “Sruti” May, 2019 issue. Śrī nārasiṃha māṃ pāhi is one of the very few kṛti-s of Tyāgarāja Svāmi on Lord