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
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...
Sitar Music Today. Part II
In the conclusion to Part I of this exploration, I had raised a few questions about the role of the Sitar in the emerging musical enviro...
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...
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...
Indra Kishore Mishra: The vintage flavour of Dhrupad
How much Dhrupad is there in contemporary Dhrupad? Connoisseurs with a taste for such conundrums will find plenty of grist for their mill i...
Hindustani music: a tradition in transition
By Deepak Raja, Foreword: Pt. Shivkumar Sharma. Order from: indology@dkprintworld.com
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Raga Lalita-Sohini: The Bahadur Khan interpretation
Raga Multani: wilting under the afternoon sun
Pandit Omkarnath Thakur (1897-1967)
Raga Bahar
Raga Bihag
Pandit Nikhil Banerjee (1931-1986)
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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
Saturday, June 11, 2011
Raga Bahar
This essay is now published in my fourth book:
Removing it from here was considered proper, though not contractually obligatory, in order to protect the investment of my publisher in the book.
DR
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