Studies in Indian Music |
Contents
Origin of Music and Introduction of Harmony | 3 |
Plea for a Rational Interpretation | 13 |
The Rāgas of the Sangita Sārāmrita | 34 |
Copyright | |
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Common terms and phrases
ādi tāla amsa and nyāsa anupallavi aroha avaroha beauty Bhairavi bhakti bhāva Carnatic Music charana chatuśśruti classic composer compositions derived deśādi dha dha dha ni dha dha pa dha dhaivata divine dviśruti ga ri sa gamakas gamut gāndhāra gita prayoga gives harmony Indian Music interval Iyer janya jāti kāla Kālidāsa kirtana lakshana Lochana Kavi mela melody mention mind mode modern Mukhāri murchanās musician Muthuswami Dikshitar Nāța nishāda notes ouḍuva padas pallavi pañchama phrase pieces pitch prabandha practice Prahlada Purandaradāsa rāga rāga and tāla Rāma Rāmāmātya Rāmāyaṇa rasa rendered rhythm ri ri ri sa dha ri sa ri rishabha ṣaḍja sahitya Sampradaya Pradarsini sampūrṇa sañchāras sangatis Sangita Sudha Sankarābharaṇa Sārāmrita semitone shāḍava sing Sītā song Śrī rāga mela śrutis sthāyi suddha Sudhā sūlādi sung supreme svara gati svaras system of music tāna tāra ṭhāya tion tones triśruti Tulajendra twenty-two śrutis Tyāgarāja varja Venkaṭamakhin vikrita vivādi vowel words