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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Tabla Solo and the “Zakir Effect”
A few years ago, I had interviewed a couple of senior Tabla professionals as part of my research for a book. They spoke of the “Zakir Effect...
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...
Pandit Omkarnath Thakur (1897-1967)
P andit Omkarnath Thakur, regal in appearance and bearing, dressed in flowing silken robes, and sporting a leonine mane of shoulder-length ...
Purva and Puriya Kalyan: What’s the difference?
Purva (also called Purvya) belongs to a cluster of ragas bearing a family resemblance to raga Puriya in terms of swara material, and phraseo...
Bhairavi II: The Archetype
As in the case of other ragas named after Hindu deities (Shree, Durga, Saraswati etc.), the genesis of the association between Bhairavi, as...
Hindustani music: a tradition in transition
By Deepak Raja, Foreword: Pt. Shivkumar Sharma. Order from: indology@dkprintworld.com
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Raga Lalita-Sohini: The Bahadur Khan interpretation
Raga Multani: wilting under the afternoon sun
Pandit Omkarnath Thakur (1897-1967)
Raga Bahar
Raga Bihag
Pandit Nikhil Banerjee (1931-1986)
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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
Saturday, June 11, 2011
Raga Bahar
This essay is now published in my fourth book:
Removing it from here was considered proper, though not contractually obligatory, in order to protect the investment of my publisher in the book.
DR
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