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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Raga Ahir Bhairav... and issues in raga grammar
Since Bhatkhande’s documentation of raga grammar in the first quarter of the 20th century, “Vadi” and “Samvadi” swaras have been the pivot...
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 Shree: Supplicant, spooky, or belligerent?
Shree is amongst the oldest raga-s in the Hindustani art music pantheon. But, it is not clear whether the melodic entity currently identifie...
Sampoorna Malkuns: the concept and its manifestations
Though there are, indeed, raga-s by this name, Sampoorna Malkauns cannot be considered the name of a specific raga with well-defined melodic...
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...
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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