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 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 ...
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...
Briefs on Hindustani musical instruments
The classification of instruments: Around 3000 BC, the Chinese are known to have classified musical instruments based on the material from...
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...
Hindustani music: a tradition in transition
By Deepak Raja, Foreword: Pt. Shivkumar Sharma. Order from: indology@dkprintworld.com
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Prof. SK Saxena. pioneering aesthetician of Hindus...
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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
Friday, April 18, 2014
Prof. SK Saxena. pioneering aesthetician of Hindustani music
This essay is now published in my book:
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