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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Bilaskhani Todi: a requiem for Miya Tansen
The creation of Bilaskhani Todi, is attributed to Bilas Khan, one of the four sons of Mian Tansen (1491-1583), the legendary musician w...
Raga Desh – classicist as well as romanticist
Peter Manuel, an authority on the thumree and allied genres, has listed Desh amongst “thumree ragas” – ragas of the Khamaj parent scale, fre...
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...
Pandit Nikhil Banerjee (1931-1986)
P andit Nikhil Banerjee (1931-1986) was amongst the finest sitarists to emerge on the classical music platform in the post-independence era...
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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Aesthetic obsolescence: V
Aesthetic obsolescence IV
Aesthetic obsolescence III
Aesthetic obsolescence in Hindustani music II
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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, May 15, 2015
Aesthetic obsolescence IV
This study is now published in my book:
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