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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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...
Briefs on Hindustani musical instruments
The classification of instruments: Around 3000 BC, the Chinese are known to have classified musical instruments based on the material from...
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...
Manjiri Asnare Kelkar – “The concert is still the real thing”
Introduction : Manjiri Asnare-Kelkar (born: 1971) was selected by the Sangeet Natak Akademi for the first Bismillah Khan Memorial Award for ...
Jugalbandi-s in Hindustani music: Is 1+1=3?
During my interviews with several leading musicians – mainly instrumentalists-- I have found considerable lack of enthusiasm, sometimes ev...
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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