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
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
The term ‘bhāṣāṅga’ connoted different meaning at different point of time in the history of Karnāṭaka Music. During the period when the “grāma-mūrcana” system was
[simple-author-box] Tanjāvūr during 16-19 CE saw an influx of exotic rāgā-s from North and the other parts of this country. The rāgā-s which had their
[simple-author-box] Our music was propagated by two routes – oral and textual. Though we have a textual history of approximately 150 years recording the compositions