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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Sanjh Saravali – Ustad Vilayat Khan’s Magnum Opus
It is known of Ustad Vilayat Khan, that he did not particularly care either about adopting new ragas crated by others, or about creating ra...
Pandit Omkarnath Thakur (1897-1967)
P andit Omkarnath Thakur, regal in appearance and bearing, dressed in flowing silken robes, and sporting a leonine mane of shoulder-length ...
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...
"The Surbahar's future? Andhakarmoy" অন্ধকারময় says Smt. Annapoorna Devi
In August 2009, I sought an interview with one of the most distinguished performers on the Surbahar, Smt. Annapoorna Devi. Getting a pe...
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...
Hindustani music: a tradition in transition
By Deepak Raja, Foreword: Pt. Shivkumar Sharma. Order from: indology@dkprintworld.com
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The musician and his art
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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 21, 2015
The musician and his art
This essay has now been published under the title
"
The Raga-ness of musicians"
in my fourth book:
Removing it from here was proper, though not obligatory, in order that my publisher's investment in the book is protected.
DR
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