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 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 Shivkumar Sharma and the Santoor
In post-independence India, the Santoor has had the most meteoric rise on the classical music platform. In less than twenty-five years, it ...
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...
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...
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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