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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Raga Ahir Bhairav... and issues in raga grammar
Since Bhatkhande’s documentation of raga grammar in the first quarter of the 20th century, “Vadi” and “Samvadi” swaras have been the pivot...
Sampoorna Malkuns: the concept and its manifestations
Though there are, indeed, raga-s by this name, Sampoorna Malkauns cannot be considered the name of a specific raga with well-defined melodic...
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...
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...
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...
Hindustani music: a tradition in transition
By Deepak Raja, Foreword: Pt. Shivkumar Sharma. Order from: indology@dkprintworld.com
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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
Tuesday, August 15, 2017
Video recording: The 4th Kumar Gandharva Memorial Lecture (2017)
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