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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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 ...
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...
Shamsuddin Faridi Desai – "The Qadri Sufis regard music as a pathway to God"
Shamsuddin Faridi Desai, amongst the last Rudra Veena players of the pre-independence generation, was not an easy man to interview. I tri...
Ustad Ameer Khan (1912-1974)
Ustad Ameer Khan was easily the single most influential Hindustani vocalist of the 20th century. His music deeply influenced his contempora...
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...
Hindustani music: a tradition in transition
By Deepak Raja, Foreword: Pt. Shivkumar Sharma. Order from: indology@dkprintworld.com
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Raga Basant Mukhari – A Carnatic raga seeking a Hi...
Ustad Asad Ali Khan – “The university is no place ...
Book Review: by Abhik Majumdar
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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
Sunday, June 27, 2010
Raga Basant Mukhari – A Carnatic raga seeking a Hindustani identity
This essay is now published in my fourth book:
Removing it from this blog was proper, though not contractually obligatory, in order to protect my publisher's investment in my book.
DR
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