Deepak Raja's world of Hindustani Music
Explorations in the realm of Hindustani music.
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The Musician and His Art: Deepak Raja
Foreword by: Prof. Daniel M Neuman
The Raga-ness of Raga-s
By: Deepak Raja. Foreword: Dr. Ashwini Bhide-Deshpande.
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Popular Posts
Shamsuddin Faridi Desai – "The Qadri Sufis regard music as a pathway to God"
Shamsuddin Faridi Desai, amongst the last Rudra Veena players of the pre-independence generation, was not an easy man to interview. I tri...
Book Review: The Sixth String of Vilayat Khan
November 8, 2018 Chitra Swaminathan Namita Devidayal’s book on Ustad Vilayat Khan is an interesting account of his life and musica...
Pandit DV Paluskar and the Paluskarite tradition
DV Paluskar, through his father, Vishnu Digambar Paluskar, belonged to the Maharashtra stream of the Gwalior gharana, founded by Balkri...
Marwa, Puriya & Sohini: The tricky triplets
Marwa, Puriya, and Sohini are three ragas born from the same scale (S-r-G-M^-D-N). The three are also amongst the most popular ragas in Hin...
Ustad Hafiz Ali Khan: The Last Interview
Ustad Hafiz Ali Khan By Lalita Khanna From: The Souvenir of the Ustad Hafiz Ali Khan Music Festival 1975 ...
Hindustani music: a tradition in transition
By Deepak Raja, Foreword: Pt. Shivkumar Sharma. Order from: indology@dkprintworld.com
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Raga Basant Mukhari – A Carnatic raga seeking a Hi...
Ustad Asad Ali Khan – “The university is no place ...
Book Review: by Abhik Majumdar
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About Me
Deepak Raja
View my complete profile
Hindustani Sangeet and a Philosopher of Art
Author:SK Saxena, Publisher: DK Printworld, New Delhi
Khayal Vocalism: Continuity within Change
By Deepak Raja. Foreword:Pt. Ulhas Kashalkar. Order from: indology@dkprintworld.com
Sunday, June 27, 2010
Raga Basant Mukhari – A Carnatic raga seeking a Hindustani identity
This essay is now published in my fourth book:
Removing it from this blog was proper, though not contractually obligatory, in order to protect my publisher's investment in my book.
DR
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