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
Raga Shuddha Kalyan: How and why it is changing
Shuddha Kalyan is a popular, though difficult, raga of the Kalyan parent scale. The raga is pentatonic in the ascent and heptatonic in the d...
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...
Pandit Kumar Gandharva: The ultimate rebel of Hindustani vocalism
P andit Kumar Gandharva (1924-1992) was easily the most original, and the most controversial Hindustani vocalist of the 20th century. His m...
Kishori Amonkar : the queen of romanticism
Kishori Amonkar (born: 1931) is by far the most influential female Hindustani vocalist to emerge in independent India. She is the daughter...
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 ...
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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