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
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...
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...
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 ...
Indrakishore Mishra – “Everyone thought the Bettiah Dhrupad gharana had disappeared”
Mishra spoke to Deepak Raja on December 22, 2002 My gharana traces its origins to two brothers, Jasraj and Yuvraj Mallik, who ser...
Raga Bihag
Bihag is a popular late evening raga in Hindustani classical music, but not too common in the semi-classical genres. In classical music, ho...
Hindustani music: a tradition in transition
By Deepak Raja, Foreword: Pt. Shivkumar Sharma. Order from: indology@dkprintworld.com
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Abstraction in our times
Pt. Shrikant Waikar, Raga Gaud Sarang
Pt. Shrikant Waikar, Raga Todi
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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, February 20, 2018
Abstraction in our times
This essay is now published in my forthcoming book:
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