In 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!
In 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.
We 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.
Starting 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.
In 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.
In 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.
We 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.
We 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.
A 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.
In 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!
We continue our discussion from the last episode on Kalyani and Mohanakalyani, and discuss the role gamakams play when raagas are rendered.
In 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.
A 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 entrie...
We 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.
Just 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.
As 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 ....
We 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.
We continue the discussion from the last episode. We discuss the raaga Naattai, the raaga in which Maha Ganapathim is composed.
One 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.
Here'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!
