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...
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...
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...
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...
Raga Ahiri: Neither Ahiri Todi, nor Ahir Bhairav – just Ahiri
Until a few years ago, I had not heard Raga Ahiri. The opportunity of studying it came my way when I had to write a commentary on the sarodi...
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
Wednesday, October 31, 2018
The Musician and his Art: to be published soon.
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