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 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...
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 Miya-ki Todi.... reluctant differentiation
Miya-ki Todi, also known as, Todi, Darbari Todi, and sometimes Shuddha Todi, is amongst the more popular morning ragas of Hindustani music. ...
Kishori Amonkar : the queen of romanticism
Kishori Amonkar (born: 1931) is by far the most influential female Hindustani vocalist to emerge in independent India. She is the daughter...
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...
Hindustani music: a tradition in transition
By Deepak Raja, Foreword: Pt. Shivkumar Sharma. Order from: indology@dkprintworld.com
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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
Thursday, September 7, 2017
The Critical Environment And The Musical Culture
This essay is now published in my forthcoming book:
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