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 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...
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...
Hindustani music: a tradition in transition
By Deepak Raja, Foreword: Pt. Shivkumar Sharma. Order from: indology@dkprintworld.com
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Raga Gara – The raga and the fragrance
Pandit Shivkumar Sharma – “The foundation of the '...
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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
Thursday, February 21, 2008
Raga Gara – The raga and the fragrance
This essay is now published in my fourth book:
Removing it from here was proper, though not obligatory, in order that my publisher's investment in the book is protected.
DR
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