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
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...
Manjusha Kulkarni-Patil: the busiest Hindustani vocalist?
With upwards of 50 concert appearances a year, straddling Khayal and Natya Sangeet genres, Manjusha Kulkarni-Patil could well be the busie...
The Ragascape of Hindustani Music: VIII
Contemporary Musicians and the Ragascape In this third part of the Ragascape study, we examine the repertoire strength of different ...
Dhrupad Today
For the 1999 annual issue of the Journal of the Indian Musicological Society, I had co-edited a survey of the Dhrupad genre of Hindustani ...
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...
Hindustani music: a tradition in transition
By Deepak Raja, Foreword: Pt. Shivkumar Sharma. Order from: indology@dkprintworld.com
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Aesthetic obsolescence and paradigm shifts in Hind...
The musician and his art
Neuroscience and Hindustani music
Who is a maestro in Hindustani music?
Gujarat Gaurav Award Ceremony
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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
Tuesday, April 28, 2015
Aesthetic obsolescence and paradigm shifts in Hindustani music I
This study is now published in my book:
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