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classical Tag

Much like Togere Nanjundashastri, the Nanjundashastri of Kadaba was a traditional scholar. A person with complete mastery over both Sanskrit and classical Kannada. If the scholar from Togere was well-versed in Epigraphical Literature, the one from Kadaba had a deep knowledge of music. He has written an insightful article about

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Tyāgarāja's Darini telusukonti is my favorite kṛti in the rāga Śuddhasāveri. Many others have also composed songs in this rāga. In fact, there are several other compositions of Tyāgarāja in Śuddhasāveri but Darini telusukonti stands apart by its brilliance. The possibilities for elaboration of saṅgatis in this kṛti are tremendous. (Saṅgatis are the melodic

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Grahabedha is an interesting as well as a mesmerising facet of music. The science behind Grahabedha is very simple. The terminology becomes clear if it is called graha-svara-bedha instead [It may be noted that we discussed Graha in part-1. Graha means the ‘reference note’]. When Graha (i.e., the reference note,

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Hindola is one of my favourite rāgas. The equivalent of Hindola in the Hindustani system is a rāga called Malkauns. Many feel that the manner in which it is rendered in South Indian classical music is different. In my opinion, however, Hindustani musicians have used Malkauns in a more aesthetic,

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Sri Ananta Sastri had distinguished himself as one of the most prominent (Classical) musicians of Bangalore. He possessed an extremely manly voice in both singing and teaching music. I listened to his music for the first time in 1904. He was in his youth back then. That particular concert was

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Prekshaa is glad to bring out a special two-part article on the occasion of Tyāgarāja Ārādhana 2018, which falls on January 6th this year. This also happens to be Tyāgarāja's 250th birth anniversary year. — Editors   Śrī Tyāgarājāya Namaḥ vyāso naigama-carcayā mrudugirā valmīka-janmā muniḥ vairāgye śuka eva bhaktiviṣaye prahlāda eva svayaṃ | brahmā nārada eva

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