raagarasika

raagarasika

By Raaga RasikaArtsPerforming Arts
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raagarasika episodes

  • Episode 52: Special Rasikas’ Voice With Listener Renditions -- Part III
    In 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.
    14 min
  • Episode 52: Special Rasikas’ Voice With Listener Renditions — Part III
    In 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.
    14 min
  • Episode 51: Special Rasikas’ Voice With Listener Renditions -- Part II
    Continuing 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.
    18 min
  • Episode 51: Special Rasikas’ Voice With Listener Renditions — Part II
    Continuing 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.
    18 min
  • Episode 50: Special Rasikas’ Voice With Listener Renditions -- Part 1

    Happy 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.

    18 min
  • Episode 50: Special Rasikas’ Voice With Listener Renditions — Part 1

    Happy 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.

    18 min
  • Episode 49: Relevance of Arohanam and Avarohanam in Defining a Raaga's Structure
    We 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.
    12 min
  • Episode 49: Relevance of Arohanam and Avarohanam in Defining a Raaga’s Structure
    We 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.
    12 min
  • Episode 48: Carnatic Music Terms Defined: Types of Raagas – Audava, Shadava, Sampoorna, Krama, Vakra
    We 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.
    16 min
  • Episode 47: Carnatic Terms Defined: Arohanam and Avarohanam
    In 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.
    18 min

About raagarasika

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Raaga Rasika: Exploring the World of Carnatic Music