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 Indian classical music

          All branches of knowledge can be grouped under two heads Arts(kala) and Science(shastra). The chaturshasti kala (64 kalas) mentioned in ancient works include music as one of the most important arts, which appeals through the medium of the ear. This is one of the performing arts.  
          ‘Sangita’ is the Indian term denoting music. ‘Gandharva Tatva’ is musicology or the science of music. Ancient writers were of the opinion that Gitam (vocal music), Vadya (instrumental music) ,and Nirtya (dance music) together constituted Sangita. With the rapid advancement made in the field of pure music, the art of dance was separated and the Githam & Vadya alone constituted Sangita in the later years.
            Music existed from the very beginning of the history of mankind. It is found in all countries irrespective of whether the people are cultured or uncultured , literate or illiterate. Man has always been attracted by the beauty in different forms of music. Nevertheless, only a few nations have a developed classical system of music. Music appeals to all people irrespective of nationality , race, caste, creed and religion.

          Indian classical music is both elaborate and expressive. It is classified into  Carnatic music and Hindustani music.​

 Gandharva Tatva


​ 1. Sruthi
​
 2. Swara
 3. Sthayi
​
 4. Raga
​
 5. 72 Melaraga Scale
​
 6. Kadapayadi Sutra
​
 7. Trayodasa lakshanas
​
 8. Ragalakshana
 9. Model shift of tonic
​
10. Thala prastara
11. Kala (tempo)

​12. Musical Forms
​13. Musical Terms
​14. Life History​ of Composers
​15. Musical Instruments
​16. ​Sangita Mela- Orchestra
​17. Musical prosody 

18. Acoustics
​
19. Mnemonics
20. Greatness Of Carnatic Music
21. Manodharma Sangeetham
​22. Gamakas

23. 22 Srutis​
24.Origin and development of
​     Indian Music
​25. History of Indian Music
26. Folk music
​27. Kathakali Sangeetham
28. Indian Music System
29. Western Music - a small
      Introduction

Contents
​

Sruti

​Sruti (22 srutis)

Sruti Intervals
Bharatha Muni's Approach
Druva veena - Chala veena Experiment
​Cycle of 5th, 4th and 3rd
Sruti jathis
Dviguna Relationship
​​Septimal Ratios
Complementary Intervals
Swara

​Nada
Sruti
Swara
Sapta swara
Dwadasa Swarasthanas
Shodasa Swarasthanas
Vadi, Samvadi, Anuvadi & Vivadi
Grahaswara, Amsa swara & Nyasa swara
Sthayi

​Anumandra sthayi 
Mandra sthayi 
Madhya sthayi
Thara sthayi
Athi Thara sthayi 

Raga
Raga
Basic classification of Ragas -> Janaka, Janya, Varjya, Vakra, Upanga, Bhashanga
Classification of Bhashanga ragas
Nishadandhya, Dhaivatandhya, Panchamandhya, Madhyamandhya Ragas
Fixing Janaka ragas for Janya ragas
Kriyanga Ragas
Ghana, Naya, Desya 
Karnataka & Desya
Sudha, Chhayalaga & Sankeerna
Svasthana visada - Gamaka sruti visada ragas
Classification based on Kampita swaras
Classification based on Nyasa swaras
Classification based on Graha, Jeeva, Amsa swaras
Classification based on Sancharas
Classification based on Rasa
Classification based on Ganakala/time of singing
Closely Allied ragas
Traditional & Textual ragas
Mitra ragas
Common / Parellel ragas
Flow Charts
Janya Ragas: Computation
Repetition
Principles of Repetition
​Conclusion 
​

72 Melakartha Scheme

​Melakartha Raga
The Scheme
12 Chakras
Bhuta Sankya
​Utility of the Scheme


Tyayodasa Lakshanas

Trayodasa Lakshana
Thirteen Characteristics
Other Lakshanas
Conclusion

​​​​
Katapayadi Sutra

​Katapayadi Sankya
Application
Other uses of the formula
Bhuta Sankya
Historical
History of mela nomenclature
Observations and deductions
Significance of Ma
Mela and Raga
​Deductions

Raga Lakshana

​Melakartha Ragas
Janya Ragas
​72 Lakshanas of a Raga

Grahabhedam (Model shift of tonic)
​

Thala Prasthara
Kaala (tempo)
​

Kaala
Avarthanam
Aksharam
Types of kaala
Eduppu

​

Musical Forms
Types of Music
Classification
Categorizing musical forms
Abyasagana
Sabhagana
Kriti              
Ragamalika
Talamalika
Ragatalamalika
Pada
Javali
Daru
Tillana
​Sutra Gitas

Musical Terms

Life History​ of Composers

Purandaradasar
Musical Trinity - Syama Sastri
Tyagarajar
​Muthuswami Dhikshitar
Musical Instruments

Carnatic Music Instruments
Peculiarity of Indian Musical Instruments
Meterials used for making musical instruments
Classification - Tata Vadhyas, Sushira Vadhyas, Avanadha Vadhyas, Ghana Vadhyas
Sruti Vadhyas
Instruments - Tambura
Violin
Veena
Mridangam and Pakavaj
Flute
​Tabla

Sangitha Mela - Orchestra
Acoustics

Greatness Of Carnatic Music 

​Nature of Music
Indian Classic Music
Music and Science
Cultural , Intellectual, Emotional and Spiritual aspects of Carnatic Music
Gamakas



Indian Music System

​Hindustani and Carnatic Music
Similarities between Hindustani and Carnatic Music
Differences between Hindustani and Carnatic Music
​Other features
Home
  • Home
  • Proficiency
    • Beginner >
      • Varisai
      • Geetham
      • Nottuswaram
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      • Varnam page 1
    • Intermediate >
      • Varnam Page 2
      • Keerthanam Page 1 (1- 30)
    • Advanced >
      • Keerthanam Pages >
        • Keerthanam Page 2 ( 31 - 60 )
        • Keerthanam Page 3 ( 61 - 90 )
        • Keerthanam Page 4 (91 - 120)
        • Keerthanam Page 5(121 - 150)
        • Keerthanam Page 6 ( 151 - 180 )
        • Keerthanam Page 7 (181 - 210)
        • Keerthanam Page 8 (211 - 240)
      • Bhajans
      • Thillana
  • Learning Materials
    • Musicology
    • Classes >
      • Playing techniques
      • Raga Alapana tutorials
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  • Bhajana Sampradaya
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      • Divya nama keerthanam
  • Our Maestros
    • Vaikam Padma Krishnan
    • Sakthi Krishna P
    • Sankar Vaidyanathan
  • Vocal classes