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 Mallikarjun Mansur (1910-1992)
P andit Mallikarjun Mansur was amongst leading Khayal vocalists of the post-independence period, and the only significant male vocalist to ...
Book Review : "Hindustani music: a tradition in transition" by Deepak Raja
By: Prof. N Ramanathan, Former Head of Department of Music, Madras University, Published in: Sruti, Issue of May 2006. " This book ...
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...
Raga Vachaspati in Hindustani music
Vachaspati is a Carnatic raga, representing the Vachaspati parent-scale (64th Melakarta). In its Hindustani adaptation, it has the tone mate...
Raga Bihag
Bihag is a popular late evening raga in Hindustani classical music, but not too common in the semi-classical genres. In classical music, ho...
Hindustani music: a tradition in transition
By Deepak Raja, Foreword: Pt. Shivkumar Sharma. Order from: indology@dkprintworld.com
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Raga Shuddha Chhaya: Elusive component of a popula...
Dhondutai Kulkarni (1927-2014)
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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
Friday, June 6, 2014
Raga Shuddha Chhaya: Elusive component of a popular compound
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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