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raagarasikaEpisode 80: Featured Composition -- Shankari Shankuru -- Part IVIn this concluding episode of the sub-series on the composition "Shankari Samkuru" by Shyama Shastri we continue our discussion on how Shyama Shastri has masterfully employed the concept of dual tala. Using examples from various parts of the song, Vidya goes into greater detail and lays out how the tala construct and specific syllables in the lyric connect up in the two talas - Rupaka tala and Adi tala in tisra gati.
2011-10-2915 minraagarasikaEpisode 79: Featured Composition -- Shankari Shankuru -- Part IIIIn this episode we continue our discussions on "Shankari Shankuru", a composition by Shyama Shastri. Vidya introduces the audience to the core tala construct used in this composition. Shyama Shastri has masterfully composed this song such that the rhythm can be kept in either of two talas, the Rupaka tala or the Adi tala in tisra gati. Vidya sings snippets from the Pallavi to demonstrate this interesting aspect of the composition.
2011-10-1211 minraagarasikaEpisode 78: Featured Composition - Sankari Sankuru - Part IIWe continue our analysis of the Shyama Shastri composition: Sankari Sankuru in the raaga Saveri. Using several phrases and snippets from the Anupallavi and Charanam portions of this composition, Vidya illustrates how the composer has skillfully weaved in some of the subtle nuances of this wonderful raaga.
2011-08-3010 minraagarasikaEpisode 77: Featured Composition - Sankari Sankuru - Part 1In this episode we feature a Shyama Shastri composition: Sankari Sankuru, in the raaga Saveri set to Adi tala in Tisra gati. Vidya covers the high-level meaning of the song as well as showcases some of the salient Saveri phrases that Shyama Shastri has skillfully used in the Pallavi of this song.
2011-08-0817 minraagarasikaEpisode 76: Featured Composer -- Shyama ShastriIn this episode we feature the renowned composer: Shyama Shastri. Shyama Shastri is the oldest of the relatively contemporary trinity of Carnatic music (the other two being Tyagaraja and Muthuswami Dikshitar). Vidya discusses his compositional format, style, and contributions to the field of Carnatic music. We conclude the episode with a snippet from a rendering of a Shyama Shastri composition by the stalwart musician, Sri. Semmangudi Srinivasa Iyer.
2011-04-1414 minraagarasikaEpisode 75: Featured Raaga -- PunnagavaraliIn this episode we feature the raaga Punnagavarali. Vidya shares with us the probable origins of this traditional raaga in the music of snake charmers as well as its scale and structure. We discuss how this raaga offers limited improvisational scope, and yet has been used by all three of the trinity composers. Vidya also elaborates on the concept of Madhayama Sruti, which involves a shifting up the fundamental note to the original Ma (4th note from the fundamental).
2011-02-2811 minraagarasikaEpisode 74: Featured Composition -- Kanakashaila VihariniIn this concluding episode of our sub-series featuring compositions on the temple town of Kanchipuram, we feature a Shyama Shastri composition: Kanakashaila Viharini in the raaga Punnagavarali. Vidya shares with us the meaning of this song, and uses the three segments of this composition, i.e. Pallavi, Anupallavi and Charanam to show us a glimpse of the form and flow of this raaga.
2011-02-1514 minraagarasikaEpisode 73: Featured Raaga -- BilahariContinuing our discussion from Episode 72, we take a minor detour from our series on compositions dedicated to Kanchipuram and feature the raaga Bilahari. Vidya shares with us the basic contours of this raaga, and discusses why it is typically considered a lively one to perform on the concert platform. We also list some well known compositions in this raaga and finish with an short alapana that features the key Bilahari phrases we heard in the Pallavi of the composition Kamakshi Varalakshmi.
2011-01-2013 minraagarasikaEpisode 72: Featured Composition -- Kamakshi VaralakshmiRaaga Rasika wishes you all a happy new year! In this episode we feature a composition by Muthuswami Dikshitar: Kamakshi Varalakshmi in the raaga Bilahari. This is a continuation of our discussion featuring compositions by each of the Carnatic music trinity on the temple town of Kanchipuram. Vidya sings snippets from this composition and explains the meaning across the pallavi, anupallavi, and charanam of this song.
2011-01-1115 minraagarasikaEpisode 71 -- Featured Composition: VinayakuniWe continue our discussion on the temple town of Kanchipuram by featuring compositions by each of the Carnatic music trinity on this location. In this episode, we highlight the Tyagaraja composition "Vinayakuni", in the raaga Madhyamavathi. Vidya sings snippets from this composition and explains the meaning, the salient aspects of the raaga Madhyamavathi and provides some illustrations on how Trinity compositions often provide the foundation for creative aspects in Carnatic music.
2010-11-2315 minraagarasikaEpisode 70: Featured Place -- KanchipuramWe turn our attention to yet another noteworthy temple town in South India which has tremendous significance to the world of Carnatic music: Kanchipuram. In this episode, we talk about this town and its amazing temples. We also discuss the influence this town has had on the art form as well as prominent composers who have composed on this location. Vidya shares several snippets of popular compositions that are based on the various temple deities in this town.
2010-10-2017 minraagarasikaEpisode 69: Analysis of an "RTP" by Sri. GNBIn this concluding episode on Sri. GNB, we analyze a Raagam-Thanam-Pallavi (RTP) rendered by him in the intricate and rich raaga: Bhairavi. We showcase Sri GNB's incredible talent as he brings out various details of this raaga in a step-by-step fashion with tremendous creative energy. Vidya takes up snippets from each of the three segments of the RTP and discusses them in some detail.
2010-09-1919 minraagarasikaEpisode 68: Featured Person: Sri. G. N. Balasubramaniam - Part IIWe continue our conversation on Sri. GNB and discuss his talent, music and style. Vidya talks about the GNB Baani (or the GNB school) as well as the incredible improvisational and creative talent he brought to bear - including his contributions to techniques such as graha bedham and neraval. We conclude this episode with a snippet from a GNB composition "Samagama Lole", rendered by one of his prime students - Dr. M.L. Vasanthakumari.
2010-08-3113 minraagarasikaEpisode 67: Featured Person: Sri. G. N. Balasubramaniam - Part IIn this episode, we feature the legendary musician, Sri. G. N. Balasubramaniam (1910-1965). We discuss how Carnatic music shaped and influenced his early childhood days and his debut performance in the city of Madras (now called Chennai). We finish with a snippet from a concert recording to give a glimpse of the experience enjoyed by audiences during his time.
2010-08-2416 minraagarasikaEpisode 66: Analysis of a Kalpanaswaram rendition by Sri G N BalasubramaniamWe continue our discussions on kalpanaswarams from the last episode. Using a few snippets of Sri. GN Balasubramaniam, we showcase the spontaneity and variety in this form of improvisation in Carnatic music. Finally, Vidya concludes the episode by listing some of the common techniques used by Carnatic musicians when they perform kalpanaswarams.
2010-07-2613 minraagarasikaEpisode 65: Carnatic Terms Defined -- Kalpana SwaramsIn this episode, we introduce the listeners to some of the elements of kalpana swarams and compare kalpana swarams with another key form of improvisation, the alapana. Vidya gives illustrations of kalpana swaram rendition and explains certain conventions such as performance of kalpana swarams in multiple speeds and progressing from short to long cycles of kalpana swarams.
2010-07-1416 minraagarasikaEpisode 64: Raaga Rasika Quiz III -- Answers!Thanks to all those of you who participated in our quiz. In this episode, we discuss the answers to the three quiz questions that we asked in Episode 63. Listen to the episode to see if you got them right! Special congratulations to those of you who answered correctly!
2010-05-0110 minraagarasikaEpisode 63: Raaga Rasika Quiz IIIIn this episode, we conduct a quiz largely based on material and information we have covered in previous Raaga Rasika episodes. This segment includes three sets of questions for which the answers will be shared in the next episode. We look forward to your enthusiastic response and participation.
2010-04-2010 minraagarasikaEpisode 62: Featured Raaga Alapana - Atana -- Part IIIn this episode, we conclude the analysis of the Atana raaga alapana by Sri. G. N. Balasubramanian. We discuss how Sri. GNB uses specific techniques such as "jaarus" or glides in his alapana, and highlight his mesmerizing, fast passages towards the conclusion of this highly spontaneous exercise.
2010-03-2714 minraagarasikaEpisode 61: Featured Raaga Alapana - Atana -- Part IIn this episode, we feature an alapana of raaga Atana, rendered by the legendary musician Sri. G. N. Balasubramaniam. Vidya translates portions of this alapana, a highly spontaneous and improvisational aspect of Carnatic music into swaras (notes). She highlights the salient phrases that capture the quintessential beauty of this bright raga and the development of the alapana in distinct segments.
2010-03-1716 minraagarasikaEpisode 60: Featured Raaga -- AtanaIn this segment, we discuss the raaga Atana. Using a Papanasam Sivam composition, Vidya shares with us this raaga's high emotive appeal. She also illustrates key phrases in this raaga and describes its form and scope. We conclude the episode by covering some well known Atana compositions one can expect to hear at concerts.
2010-03-0619 minraagarasikaEpisode 59: Special Rasikas’ Voice With Listener Renditions -- Part XWe conclude our series showcasing listener submissions with a snippet from Smt. K. S. Vasanthalakshmi from New Delhi, India. Her submission is the Muthuswami Dikshitar Navagraha kriti "Brihaspate Tarapate", in the raaga Atana. Vidya elaborates on the meaning of this song and shares a high-level overview on the group of songs commonly referred to as the Navagraha kritis. We would like to thank each of our listener contributors for their enthusiastic participation in this sub-series.
2010-02-0215 minraagarasikaEpisode 58: Special Rasikas’ Voice With Listener Renditions -- Part IXContinuing our series featuring listener submissions, we showcase a rendition on the veena by Sri. Srinivas Raghavan, from Chennai, India. His submission is a tillana composed by Dr. M. Balamuralikrishna, in the raaga Brindavani. Vidya highlights some of the salient aspects of this raaga and also shares with us another tillana in the same raaga, composed by her guru Sri. Lalgudi Jayaraman.
2010-01-2510 minraagarasikaEpisode 57: Special Rasikas’ Voice With Listener Renditions -- Part VIIIContinuing our series on listener submissions, we feature a snippet from Smt. Uma Sankar from Massachusetts, USA. Her submission is a Muthuswami Dikshitar composition, "Sri Rama Saraswati Sevitham" in raaga Nasamani. The second featured submission is from 7 year old Ananya Rajesh of Wisconsin, USA -- "Maakelera Vicharamu", a Tyagaraja composition with a profound philosophical meaning in raaga Ravichandrika. We conclude this segment by playing a short snippet from a similarly themed composition by Annamacharya: "Nanati Baduku", rendered by the legendary singer Smt. M.S. Subbalakshmi.
2010-01-2015 minraagarasikaEpisode 56: Special Rasikas’ Voice With Listener Renditions -- Part VIIIn this segment, we feature a submission from 3rd grader Kum. Srinidhi Ananth of New Jersey, USA. Her submission is a Tyagaraja composition "Entha Nerchina" in the raaga Suddha Dhanyasi, also known as Udayaravichandrika. Vidya uses this submission to elaborate on Suddha Dhanyasi raaga, and shares snippets from several popular songs by other composers. We finish this episode by discussing the naming convention of this raaga in the Dikshithar and the Thyagaraja schools of music.
2010-01-1319 minraagarasikaEpisode 55: Special Rasikas’ Voice With Listener Renditions -- Part VIIn this segment, we feature a submission on the violin from nine year old Sri. Hari Santhanam of Pennsylvania, USA. His submission is a varnam "Ninnu Kori" in the raaga Mohanam. Vidya uses this submission to elaborate on how varnams are used by students of Carnatic music to obtain rhythmic and melodic mastery. Vidya illustrates how varnams can be used for advanced rhythmic techniques by singing a segment of the Mohanam varnam in Tisra gati wherein each beat is divided into three sub-units as compared to the original of four sub-units. We finish the segment with a tanam on veena...
2009-12-2314 minraagarasikaEpisode 54: Special Rasikas’ Voice With Listener Renditions -- Part VContinuing on with the listener submitted renditions, we feature two submissions: the first one is by Smt. Seethalakshmi Parameshwaran from Ohio, USA who submitted a bhajan (devotional piece) on Lord Ganesha in the raaga Tilang; the second submission is a Vasantha raaga alapana by 10 year old Kum. Shreya Ashok from Texas, USA. Vidya provides additional information on each of these raagas and also sings snippets from other popular compositions these raagas.
2009-11-2320 minraagarasikaEpisode 53: Special Rasikas’ Voice With Listener Renditions -- Part IVIn this episode, we feature Smt. Gayathri Satya from San Francisco Bay Area, California. Smt. Gayathri has sung a Thyagaraja composition "Vinayakuni" in the raaga Madhyamavathy and set to Adi tala. Unlike most Thyagaraja compositions which are in praise of Lord Rama, this composition is fairly unique in that it is a Devi (Goddess) kriti. Vidya provides examples of other compositions by the Trinity in this majestic raga.
2009-11-1111 minraagarasikaEpisode 52: Special Rasikas’ Voice With Listener Renditions -- Part IIIIn this episode, we feature a submission by our listener Sri. Aren Skalman, from San Diego, California. Aren submitted a swarajati: Raara Venu in raaga Bilahari and Adi tala. Vidya elaborates on swarajatis. She also shares with us an example from a complex and involved Swarajati by Sri. Shyama Shastri in the raaga Yadukulakambhoji. We wrap up the episode with a rendition of Thyagaraja’s Raaka Sashivadana in raaga Takka and Adi tala by Smt. Padma Govardhan, from Auckland, New Zealand.
2009-11-0313 minraagarasikaEpisode 51: Special Rasikas’ Voice With Listener Renditions -- Part IIContinuing on with the listener submitted renditions, we feature a submission by Sri. Shashank Shridar, a 3rd grader from Pennsylvania, USA. Shashank submitted a Papanasam Sivan composition: Maaramanan Umaramanan, in Hindolam raaga and Roopaka tala. Vidya sings snippets from other popular compositions in raaga Hindolam. We wrap up the episode with a discussion on the mood created by the notes in this raaga.
2009-10-2317 minraagarasikaEpisode 50: Special Rasikas’ Voice With Listener Renditions -- Part 1Happy Deepavali! We have received an excellent response to our call for listener submissions. We really appreciate your involvement and enjoyed listening to each submission. Given the response, we will be spreading the submissions as well as our discussion on each selected entry across the next few episodes. In Part I, we feature submissions by: Kum. Ashraya Ananthanarayan who sent in a Tyagaraja composition in Bangala raaga, Adi tala and Smt. Durga Krishnan who submitted a thanam on veena in two raagas -- Hamsanandi and Kalyani.
2009-10-1617 minraagarasikaEpisode 49: Relevance of Arohanam and Avarohanam in Defining a Raaga's StructureWe wrap up our introductory series on Arohanam and Avarohanam with a discussion on whether or not raagas are entirely and solely defined by their corresponding ascending and descending scales. Using examples of raagas such as Reetigowlai, Madhyamavati, and Hamsaroopini, Vidya highlights the varying degrees in which textbook definitions of Arohanam and Avarohanam may (or may not) help understand the form of individual raagas.
2009-10-0111 minraagarasikaEpisode 48: Carnatic Music Terms Defined: Types of Raagas – Audava, Shadava, Sampoorna, Krama, VakraWe continue our discussion regarding arohanam and avarohanam, and define several terms commonly used in Carnatic music to describe raagas. With several examples and illustrations, Vidya elaborates on terms such as Audava, Shadava, Sampoorna, Krama, Vakra, Varja, Melakarta and Bhashanga, and describes how a raaga can frequently represent a combination of these attributes.
2009-09-1815 minraagarasikaEpisode 47: Carnatic Terms Defined: Arohanam and AvarohanamIn this episode, we discuss two very familiar terms in Carnatic music: Arohanam refers to the ascending scale and avarohanam refers to the descending scale. Vidya shares some examples of raagas to discuss kinds of arohanam and avarohanam in terms of number of swarams and the impact of this on the phrases that are permitted. Finally, we discuss how the importance of the arohanam and avarohanam varies from one raaga to another as raagas continue to evolve over time.
2009-09-1017 minraagarasikaEpisode 46: Introduction to Chapu TalamsWe conclude our introductory series on talams, with a discussion on two chapu talams: misra chapu talam and kanda chapu talam. Vidya illustrates these talams using snippets from concert recordings of master musicians Smt. Brinda and Smt. Mukta; and Smt. D. K. Pattammal.
2009-08-2612 minraagarasikaEpisode 45: Introduction to Adi tala and Rupaka talaWe continue our discussions of talas from the previous episode and name the seven basic talas in Carnatic music. Vidya highlights two very common talas: Rupaka tala and the Adi tala. She then explains the angas that make up these talas, and illustrates these with snippets from concert recordings of master musicians Sri G. N. Balasubramaniam and Smt. M. S. Subbulakshmi.
2009-08-1513 minraagarasikaEpisode 44: Carnatic Music Terms Defined -- Laya, Kala, and TalaIn this episode, we introduce the fundamentals of rhythm. Vidya explains how rhythm manifests itself in Carnatic music and discusses terms such as laya, kala, and tala. We finish this episode by defining the basic constituents of tala, called "angas".
2009-08-0513 minraagarasikaEpisode 43: Featured Composition -- Maamava Meenakshi Part IIIn this segment, we look at the some more of the highlights of this short yet marvelous composition. Vidya uses this composition to showcase some of the salient phrases of this raaga and also illustrates the concept of improvisation known as “Neraval” in Carnatic music.
2009-07-2613 minraagarasikaEpisode 42: Featured Place — Madurai & Featured Composition -- Maamava Meenakshi Part IIn this episode, we feature a popular composition "Maamava Meenakshi", by Sri. Muthusamy Dikshithar in the Raaga Varali. We begin this episode by talking about the history of the temple town of Madurai in South India -- known for the Madurai Meenakshi Amman temple. Vidya walks us through the structure and meaning of this brilliant piece.
2009-07-1618 minraagarasikaEpisode 41: Analysis of a Ghana Ragamalika Thanam – Part V – Varali RagamWe finish our analysis of Smt. Veena Dhanammal's Raagamalika thanam, by covering the remaining ghana raaga, Varali. Vidya explains how Smt. Dhanammal uses the two common notes between Sri (the previous raaga in the thanam) and Varali to transition from one to the other. Vidya also sings an improvisational segment to illustrate such a transition in sharp detail. Finally, Vidya highlights some of the salient aspects of Varali including the unique gandharam.
2009-06-2816 minraagarasikaEpisode 40: Analysis of a Ghana Ragamalika Thanam – Part IV – Sri RagamWe continue our analysis of Smt. Veena Dhanammal's Raagamalika thanam. We discuss Sri raagam in this episode and Vidya points out some of the salient aspects of this raaga. Specifically, Vidya elaborates on the unique relationship between the rishabham and gandharam notes in Sri Ragam. She also highlights the key difference between the Thyagaraja and Dikshitar schools in handling this raaga.
2009-06-1812 minraagarasikaEpisode 39: Analysis of a Ghana Ragamalika Thanam – Part III -- ArabhiWe continue our analysis of Smt. Veena Dhanammal's Raagamalika thanam. The third and fourth raaga she plays are Arabhi and Sri, respectively. Vidya points out the specific phrases Smt. Veena Dhanammal uses to highlight Arabhi raagam. Vidya also touches upon a couple of key differences between Arabhi and its closely allied raaga, Sama. Finally, we finish this segment by reviewing the transition from Arabhi to Sri.
2009-06-0818 minraagarasikaEpisode 38: Analysis of a Ghana Ragamalika Thanam – Part II -- GowlaiIn this episode, we continue our exploration of the Raagamalika thanam rendition by Smt. Veena Dhanammal. The second and third raaga she plays are Gowlai and Arabhi, respectively. Vidya points out the specific phrases Smt. Veena Dhanammal uses to transition from Nattai to Gowlai, and also elaborates on several important Gowlai phrases that Smt. Veena Dhanammal uses. Finally, we finish this segment by reviewing the transition from Gowlai to Arabhi.
2009-05-2416 minraagarasikaEpisode 37: Analysis of a Ghana Ragamalika Thanam – Part I -- NattaiIn this episode, we delve deeper into the Raagamalika thanam rendition by Smt. Veena Dhanammal. The first raaga she plays is the Raaga Nattai. Vidya elaborates on several important phrases and detailed nuances that Smt. Veena Dhanammal masterfully packed into a one minute snippet.
2009-05-1112 minraagarasikaEpisode 36: Featured Person -- Smt. Veena DhanammalIn the last segment, we heard a veena rendition by Smt. Veena Dhanammal. In this episode, we discuss her life, times, and contributions to the world of Carnatic music. Vidya shares with us additional details regarding the snippet we heard in the last episode - a raagamalika thanam in the five ghana raagas. We also discuss the term “ghana raagas”.
2009-04-2713 minraagarasikaEpisode 35: Featured Instrument -- Veena: Part IIWe conclude our two-part series on the Veena in this segment. We discuss the physical structure of the veena, how and where it is made, as well as how it is played. Finally, we share with you a snippet of a thaanam rendition by a very renowned vainika (veena player), Smt. Veena Dhanammal.
2009-04-1515 minraagarasikaEpisode 34: Featured Instrument -- Veena Part IIn this segment, we feature the Veena, a plucked string instrument unique to Carnatic music. We discuss the revered status given to this instrument in the Hindu tradition. The veena is mentioned in several Carnatic music compositions. Vidya renders a few snippets of compositions that have references to the veena.
2009-04-0217 minraagarasikaEpisode 33: Rasikas' Voice -- Your Letters and QuestionsIn this episode, we would like to share some of the feedback we have been getting so far and answer some of your questions. We also give the answer to the Raaga Quiz: Mukhari vs. Bhairavi featured in Episode 28 and recognize listeners who submitted correct entries. Thanks a lot for all your comments and enthusiastic support. We really appreciate it!
2009-03-2620 minraagarasikaEpisode 32: Featured Composition – Alaavadennaalo Part IIIn this episode, we shift the focus to the multiple final segments (Charanams) of the composition. By singing several snippets of this composition, Vidya illustrates its distinct aspects in a detailed fashion. We discuss the rhythmic and melodic structure of this gem. We also define the rhythmic term, “eduppu” and describe the different kinds of “eduppu”.
2009-03-1717 minraagarasikaEpisode 31: Featured Composition – Alaavadennaalo Part IIn this episode we feature a composition by Sri. Oothukaadu Venkatakavi. The composition "Alaavadennaalo", in Raaga Paras, is one of his Saptaratna kritis. We introduce the ragam Paras and mention some well known compositions in this ragam. This is a masterful piece that brings together a deep sense of devotion and humility, superb lyrics, and incredible compositional structure. We discuss in detail the first two segments of this composition (i.e., the Pallavi and the Anupallavi).
2009-03-0714 minraagarasikaEpisode 30: Sri. Oothukadu Ventakakavi's Compositional StyleWe continue our conversation from the last episode, and discuss Sri. Oothukadu's musical mastery, highlighting his rhythmic prowess as well as poetic genius. Vidya illustrates salient aspects of his compositional style using examples drawn from his compositions, including the universally popular Alaipayudhe Kanna.
2009-02-2420 minraagarasikaEpisode 29: Featured Composer -- Sri. Oothukadu VenkatakaviWe begin the episode with an introduction to the three composers known as the Trinity of carnatic music – Sri Thyagaraja, Sri Muthuswami Dikshitar and Sri Shyama Shastry. We continue our exploration by featuring a prolific pre-trinity composer: Sri. Oothukadu Venkatasubbier, also known as Oothukadu Venkatakavi. In this episode, Vidya shares with us some his popular compositions and discussed his exemplary contributions to Carnatic music.
2009-02-1321 minraagarasikaEpisode 28: Raaga Quiz: Mukhari vs. BhairaviWe finish the discussion on Mukhari and its allied raaga Bhairavi with a quiz. Vidya sings two alapanas, one in Raaga Mukhari and the other in Raaga Bhairavi. Can you figure out which is which? If you know the answer, write to us! We will answer the quiz the next time we publish our Rasika's Voice segment. We will recognize winners as well!
2009-02-0308 minraagarasikaEpisode 27: A Discussion on Allied Raagas -- Mukhari and BhairaviIn the last couple of episodes we featured the Raaga Mukhari. There are a number of raagas in Carnatic music that are closely allied to Mukhari, the most prominent of them being Bhairavi. In this episode, we discuss the similarities and differences between Mukhari and Bhairavi.
2009-01-2919 minraagarasikaEpisode 26: Featured Composition -- Enthani NeIn this episode, we feature a Tyagaraja composition: Enthani Ne in Mukhari raaga. In this composition, Tyagaraja describes Shabhari's (a character in the Hindu epic Ramayana) good fortune because she was able to meet and serve Lord Rama. We highlight the wonderful way in which the composer employs various aspects of Raaga Mukhari to effectively bring out the high emotions connected to this story.
2009-01-2021 minraagarasikaEpisode 25: Featured Raaga -- MukhariIn this segment, we feature a raaga well known for its emotive appeal: Mukhari. As we discuss this raaga, we also cover a wide range of topics and define several terms in Carnatic music, such as: janya, shadava raaga, sampoorna raaga, and so on. We conclude the episode by talking about the fairly common misperception of Mukhari being a raaga associated with sadness and melancholy.
2009-01-1021 minraagarasikaEpisode 24: Featured Compositions of Sri. AnnamacharyaWe continue our discussion from the previous episode and talk about Annamacharya's compositions. Specifically, we feature two of his compositions. The first is Oka Pari in raaga Kharakarapriya, rendered by Sangeetha Kalanidhi Dr. Nedunuri Krishnamurthy. The second is the very popular Brahma Kadigina Padamu, in the raaga Mukhari.
2008-12-2619 minraagarasikaEpisode 23: Featured Composer -- Sri. Tallapaka AnnamacharyaIn this episode, we feature a prolific composer who was born 600 years ago: Sri Tallapaka Annamacharya. He is one of the earliest and most prolific composers in South India who composed several thousand songs in the praise of Lord Venkateshwara. We discuss his composition format and style, and also the ongoing efforts to re-popularize his compositions. We conclude the episode with a snippet from a rendering of an Annamacharya composition by Ms. Srirangam Gopalaratnam.
2008-12-1915 minraagarasikaEpisode 22: Graha Bhedam IllustrationWe finish the discussion on Graha Bhedam with an illustration. Vidya discusses a graha bhedam performed by her guru Shri. Lalgudi Jayaraman in a Nattaikurinji raaga alapana to bring out the flavor of Neelambari raaga.
2008-12-0411 minraagarasikaEpisode 21: Carnatic Music Terms Defined -- Shruti Bhedam or Graha BhedamContinuing on the topic of "Shruti", in this episode we present the concept of Shruti Bhedam. Shruti Bhedam or Graha Bhedam is a form of improvisation in Carnatic Music where artistes transpose the raaga they are rendering to a new raaga by using a perception of a shift of their fundamental note or shadjam. Vidya illustrates this concept using the raaga Mohanam to bring out the raaga Madhyamavathy by a tonic shift.
2008-11-2818 minraagarasikaEpisode 20: Rasikas' Voice -- Your Letters and QuestionsIn this episode, we would like to share some of the feedback we have been getting so far. Thanks a lot for all your comments and enthusiastic support. We really appreciate it!
2008-11-1410 minraagarasikaEpisode 19: Featured Instruments -- Shruti Box and TamburaIn this segment, we showcase three related instruments: shruti box, electronic tambura, and a traditional tambura. We also discuss the main differences between each of them. Finally, we talk about the role of the traditional tambura artiste in the Carnatic music platform.
2008-11-0616 minraagarasikaEpisode 18: Carnatic Music Terms -- ShrutiWe discuss another important term: Shruti or pitch. We also explain the relative nature of this concept in Carnatic music- and how a singer identifies the pitch that is best suited to his or her voice. Finally, we showcase a couple of snippets by Dr. M. Balamurali Krishna who is well known, among numerous other things, for his exemplary capacity to easily sing across several octaves.
2008-10-2714 minraagarasikaEpisode 17: Carnatic Music Terms -- NaadaStarting with this episode, we would like to dedicate a few segments to explaining some common terms used in Carnatic music. The first among these terms is Naada. We also showcase a couple of very popular Thygaraja compositions where he describes Naada and mentions the divine origin of the Saptaswaras or the 7 basic musical notes.
2008-10-2014 minraagarasikaEpisode 16 -- Featured Compositions in SivaranjaniIn this episode, we feature a couple of immensely popular tillanas. The first is composed by Maharajapuram Sri Santhanam and the second tillana is a composition by Lalgudi Sri Jayaraman. We discuss the additional inclusion of the Antara Gandharam to make the Misrasivaranjani variant of the raaga and also describe tillanas in general.
2008-10-1413 minraagarasikaEpisode 15: Featured Raaga -- SivaranjaniIn the previous episode, we heard a snippet sung by Smt. M.L. Vasanthakumari in the audava (pentatonic) raaga: Sivaranjani. In this episode, we discuss this distinctive raaga known for its melancholic character. We then compare and contrast it to a relatively upbeat audava raaga: Mohanam.
2008-09-3014 minraagarasikaEpisode 14: Purandara Dasa CompositionsWe continue our discussion from the previous episode and talk about Purandara Dasa's compositions. We talk about Purandara Dasa’s influence on later composers, especially Thyagaraja, and also mention some musicians who have popularized his compositions on the concert platform.
2008-09-2212 minraagarasikaEpisode 13: Featured Person -- Purandara DasaWe feature one of the most prominent Carnatic musicians during the time of the Vijayanagara kings: Purandara Dasa. Purandara Dasa is known as the Sangeeta Pitamaha or the Father of Carnatic music. We discuss some of his extraordinary contributions to Carnatic music and how his framework for music instruction is still followed today.
2008-09-1514 minraagarasikaEpisode 12: Featured Place -- HampiA few episodes ago, we talked about Chennai and its relevance to Carnatic music. In this episode, we trace the history of Carnatic music and take you back 600 years to discuss the Vijayanagara kingdom. We feature its capital: Vijayanagara, which is near modern day Hampi in Karnataka, India.
2008-09-0709 minraagarasikaEpisode 11: Rasikas' Voice -- Your Letters and QuestionsIn this episode, we share some of the emails we have received from you so far and answer some of the questions we got from you. Thank you for joining us at Raaga Rasika and listening to our podcasts. Please continue writing to us -- we value your feedback!
2008-09-0114 minraagarasikaEpisode 10: A Discussion on GamakamsWe continue our discussion from the last episode on Kalyani and Mohanakalyani, and discuss the role gamakams play when raagas are rendered.
2008-08-2509 minraagarasikaEpisode 9: Featured Raagas -- Kalyani and MohanakalyaniIn this week's episode, Vidya provides the answer to last week's quiz. The odd-man out song is in Mohanakalyani. Vidya highlights some of the key differences between Kalyani and Mohanakalyani and illustrates the role of gamakams in bringing out differences between allied ragas using the three songs in the quiz.
2008-08-1712 minraagarasikaEpisode 8: Raaga Quiz -- KalyaniA good approach to enjoying Carnatic music is to begin training your ear to discern raagas and raaga patterns. In this episode, Vidya sings three different snippets - two of them in Kalyani raaga and one in a different raaga. Can you find the odd one out? We will answer the quiz in the next episode. If you know the answer, write to us! There will be special credit for people who not only provide the answer but also explain why and how the raagas are different. We will recognize noteworthy entries in a subsequent episode.
2008-08-1007 minraagarasikaEpisode 7: Featured Composition -- Navarasa Navaraga VarnamWe continue last episode's focus on Padmabhushan Lalgudi Jayaraman and turn our attention to his compositions. We feature his set of compositions included in Jaya Jaya Devi, a dance drama on Mother Goddess (Devi). Specifically, we focus on the Navarasa Varnam, a raagamalika that showcases the nine emotions (navarasas), and also discuss raagamalikas in general.
2008-08-0311 minraagarasikaEpisode 6: Featured Person – Padmabhushan Lalgudi G. JayaramanJust as in any other performing art, Carnatic Music -- especially if you want to perform -- takes several years of learning and practice. And in Carnatic Music, the guru has a very special and almost sacred place in your life. In this episode, we talk about Vidya's guru: Lalgudi Jayaraman. We also discuss his unique style, the Lalgudi Bani.
2008-07-2712 minraagarasikaEpisode 5: Featured Place -- ChennaiAs we explore the world of Carnatic Music, every now and then, we plan to highlight key cities, towns, and villages that play an important role in this art form. In the last segment, we discussed the art of listening. We talked about how attending concerts is one way to expose yourself and learn by listening. When it comes to Carnatic music concerts, Chennai has a lot to offer. So, in this segment, we shine the spotlight on Chennai.
2008-07-2009 minraagarasikaEpisode 4: The Art of ListeningWe start of this episode by learning a bit more about Vidya. Then, we discuss how you can begin your journey to understand and appreciate Carnatic Music better. Vidya's tip is pretty straightforward yet profound: keep listening to a lot of Carnatic Music and start looking for patterns.
2008-07-1309 minraagarasikaEpisode 3: Raaga Discussion -- NaattaiWe continue the discussion from the last episode. We discuss the raaga Naattai, the raaga in which Maha Ganapathim is composed.
2008-07-0612 minraagarasikaEpisode 2: Featured Song -- Maha GanapathimOne of the best ways to appreciate Carnatic Music better is to listen to songs. In that spirit, we will be regularly featuring certain songs and talk about them. This week, our featured song is Maha Ganapatim.
2008-06-2910 minraagarasikaEpisode 1: Welcome to Raaga RasikaHere's the first podcast in the series. In this episode, we discuss what Raaga Rasika is, what you should expect from this program, and why we are doing this. This is going to be an exciting journey and we hope you join us!
2008-06-2309 min