Deepak Raja's world of Hindustani Music

The Sarod is today a rival of the Sitar for popularity and stature. Its maturity conceals the fact that its transformation from a crude aco...

Author: Deepak S. Raja Foreword: Pandit Arvind Parikh Publisher: DK Printworld, New Delhi 2011 Paperback: Rs.320.00/ US$ 16.00 Hard-cove...

In post-independence India, the Santoor has had the most meteoric rise on the classical music platform. In less than twenty-five years, it ...

Ustad Ameer Khan was easily the single most influential Hindustani vocalist of the 20th century. His music deeply influenced his contempora...

Gaud Malhar is an immensely popular compound raga, derived from Gaud, a minor raga most frequently added as a subordinate melodic flavour t...

Kishori Amonkar (born: 1931) is by far the most influential female Hindustani vocalist to emerge in independent India.  She is the daughter...

Raga Bhatiyar, also known as Bhatiyari (not to be confused with Bhatiyali, the folk genre of Bengal), is a popular raga prescribed for perf...

Lalita-Sohini is a recent (early 20th century) raga reportedly created by Agra gharana vocalists. I have heard it only on a recording of th...

Multani is amongst the popular afternoon ragas in the Hindustani system. It is classified under the Todi parent scale. The raga is prescrib...

P andit Omkarnath Thakur, regal in appearance and bearing, dressed in flowing silken robes, and sporting a leonine mane of shoulder-length ...