Subscribe for Newsletters and Discounts
Be the first to receive our thoughtfully written
religious articles and product discounts.
Your interests (Optional)
This will help us make recommendations and send discounts and sale information at times.
By registering, you may receive account related information, our email newsletters and product updates, no more than twice a month. Please read our Privacy Policy for details.
.
By subscribing, you will receive our email newsletters and product updates, no more than twice a month. All emails will be sent by Exotic India using the email address info@exoticindia.com.

Please read our Privacy Policy for details.
|6
Sign In  |  Sign up
Your Cart (0)
Best Deals
Share our website with your friends.
Email this page to a friend
Books > Performing Arts > Carnatic > The Ragas of Karnatic Music
Subscribe to our newsletter and discounts
The Ragas of Karnatic Music
Pages from the book
The Ragas of Karnatic Music
Look Inside the Book
Description
About the Author

Sri N S Ramachandran thus comes of a family distinguished in the field of Carnatic Music. At the young age of 31, Prof. Ramachandran wrote the book, Ragas of Carnatic Music, a monumentally work showing considerable research and erudition. Sir C V Raman, the eminent scientist and Noble laureate, praised him for the commendable research work in Carnatic Music. This book is available in all the major libraries of the world.

After having served as the Station Director of All India Radio (AIR) in several stations, he became the Chief Producer of Carnatic Music in the Directorate General of All India Radio, New Delhi. Later, he was also appointed as the Dean of the faculty of music in Delhi University.

During his stint in AIR, Trichy, he directed several Music Dramas which won great acclaim from the public like Nowka Charitram, Kaveri River and Laila Majnu. He also was deputed by the Union Government under the Colombo plan, to study the working of the Radio Ceylon, and advise the Ceylon Government on the planning and organisation of the Tamil programs on Ceylon Radio. He brought out revolutionary changes in the Ceylon Broadcasting system, dividing commercial broadcasts and general broadcasts separately. The local Celonese people applauded and admired his work, and the Ceylonese Government also thanked him for his expertise and valuable contribution.

He was a leading Vina vidwan who gave many concerts in AIR. He was affectionately called ganalola (one who lovers music), by music lovers of Tamilnadu. His admires included great vainikas like Vina S Balachander and Karaikudi Sambasiva lyer. As a musicologist and composer, he composed more than 200 songs in 3 languages, namely, Tamil, Telugu and Sanskrit. These were rendered by top-notch musicians like Dr. M L Vasanthakumari, M S Subbulakshmi, Maharajapuram Santanam, Semmagudi Srinivasa lyer etc. They have also been brought out in book format, in a volume called Sangeeta Pushpanjali and was acclaimed as one of the best works by musicologists, musicians and critics. The Tirumala Tirupati Devasthanam has adopted his Abhogi Kriti Sri Mahaganapate (Khanda Chapu), played by Namagiripettai Krishnan, during the temple’s Garuda vahana Utsavam Bhavani.

Awarda and honours sought N S Ramachandran. The Tamilnadu Government recognized his achievement awarded him the prestigious State Award, Kalaimamani in 1971. His name, along with his grandfather’s has been included in America’s popular who is who. Similarly, the sahitya Academy and Sangeet Natak Academy have released a who is who, including the names of N S Ramachandran and his grandfather along with other illustrious musicians of India.

 

Preface

It has been my aim in the course of this treatise to investigate the evolution and the structure of Ragas, comprised in the system of Karnatic Music, and I am proud of the privilege of having worked under Vidvan M.R.Ry. K. Varadachari Avl., one of the veteran musicians of South India, and former Lecturer in Indian Music, University of Madras. The Ragas constitute the fundamental factor which determines the character of Indian Music. It may be said that our system of Music was moulded in the past mainly in relation to the laws governing the concept of the Raga, and its future may be very largely guided by this influence.

Though the Raga is so well known in practice, its theoretical aspects seem to have been only vaguely understood, and in many cases current ideas concerning them appear to be rather confused, partly owing to the string of differences of opinion and partly to insufficient acquaintance with the available literature on the subject. The need for a close stud of the Ragas and what they stand for is therefore evident, and this work is an attempt to consider the Raga in relation to its historical background and its place in current practice, in the light of the wealth of literature preserved in palm leaves and printed books.

The historical approach to the subject needs no apology, since this sets the theme in its proper perspective for study; besides, by this means, one is enabled to unearth many ideas which have long remained forgotten but which have great practical value even today. So far as the practical aspects are concerned, the two most striking problems which call for attention at present and which have given rise to a good deal of controversy are the sancara rages in each raga. In considering these questions, I have tried to base my conclusions after a careful scrutiny of the views of the various schools of thought, and by observing how and why they differ or agree. And in the case of srutis, I have tried to make use of methods of exact measurement as far as possible. Owing to various considerations, my treatment of the subject had to be very brief but I have taken care not to omit any data or detail which might be necessary for a proper understanding of the problems discussed.

I am under a heavy debt of gratitude to the authorities of the University of Madras who kindly encouraged me, first by awarding a scholarship to work on this subject and subsequently by undertaking to publish my thesis under their auspices. I take this opportunity to express my grateful thanks to them.

I am deeply grateful to Dr. T.R. Chintamani, M.A., Ph.D., Senior Lecturer in Sanskrit, University of Madras, for the invaluable help he has rendered by correcting the proofs and taking charge of the publication through all its stages. My thanks are also due to the Madras Law Journal Press for the attractive get-up of the book.

 

Contents

 

Chapter I Introduction  1
Chapter II Srutis and Svaras  12
Chapter III The Classification of Ragas  52
Chapter IV The Structure and The Alapa of Ragas  63
Chapter V Gamakas and The Embellishment of Song  111
Chapter VI The Meaning of Ragas  159
Chapter VII The Analysis of Ragas  162

 

Sample Pages








The Ragas of Karnatic Music

Item Code:
NAL143
Cover:
Paperback
Edition:
2003
Language:
English
Size:
9.5 inch x 6.0 inch
Pages:
240
Other Details:
Weight of the Book: 330 gms
Price:
$21.00   Shipping Free
Look Inside the Book
Be the first to rate this product
Add to Wishlist
Send as e-card
Send as free online greeting card
The Ragas of Karnatic Music
From:
Edit     
You will be informed as and when your card is viewed. Please note that your card will be active in the system for 30 days.

Viewed 4949 times since 14th Apr, 2019
About the Author

Sri N S Ramachandran thus comes of a family distinguished in the field of Carnatic Music. At the young age of 31, Prof. Ramachandran wrote the book, Ragas of Carnatic Music, a monumentally work showing considerable research and erudition. Sir C V Raman, the eminent scientist and Noble laureate, praised him for the commendable research work in Carnatic Music. This book is available in all the major libraries of the world.

After having served as the Station Director of All India Radio (AIR) in several stations, he became the Chief Producer of Carnatic Music in the Directorate General of All India Radio, New Delhi. Later, he was also appointed as the Dean of the faculty of music in Delhi University.

During his stint in AIR, Trichy, he directed several Music Dramas which won great acclaim from the public like Nowka Charitram, Kaveri River and Laila Majnu. He also was deputed by the Union Government under the Colombo plan, to study the working of the Radio Ceylon, and advise the Ceylon Government on the planning and organisation of the Tamil programs on Ceylon Radio. He brought out revolutionary changes in the Ceylon Broadcasting system, dividing commercial broadcasts and general broadcasts separately. The local Celonese people applauded and admired his work, and the Ceylonese Government also thanked him for his expertise and valuable contribution.

He was a leading Vina vidwan who gave many concerts in AIR. He was affectionately called ganalola (one who lovers music), by music lovers of Tamilnadu. His admires included great vainikas like Vina S Balachander and Karaikudi Sambasiva lyer. As a musicologist and composer, he composed more than 200 songs in 3 languages, namely, Tamil, Telugu and Sanskrit. These were rendered by top-notch musicians like Dr. M L Vasanthakumari, M S Subbulakshmi, Maharajapuram Santanam, Semmagudi Srinivasa lyer etc. They have also been brought out in book format, in a volume called Sangeeta Pushpanjali and was acclaimed as one of the best works by musicologists, musicians and critics. The Tirumala Tirupati Devasthanam has adopted his Abhogi Kriti Sri Mahaganapate (Khanda Chapu), played by Namagiripettai Krishnan, during the temple’s Garuda vahana Utsavam Bhavani.

Awarda and honours sought N S Ramachandran. The Tamilnadu Government recognized his achievement awarded him the prestigious State Award, Kalaimamani in 1971. His name, along with his grandfather’s has been included in America’s popular who is who. Similarly, the sahitya Academy and Sangeet Natak Academy have released a who is who, including the names of N S Ramachandran and his grandfather along with other illustrious musicians of India.

 

Preface

It has been my aim in the course of this treatise to investigate the evolution and the structure of Ragas, comprised in the system of Karnatic Music, and I am proud of the privilege of having worked under Vidvan M.R.Ry. K. Varadachari Avl., one of the veteran musicians of South India, and former Lecturer in Indian Music, University of Madras. The Ragas constitute the fundamental factor which determines the character of Indian Music. It may be said that our system of Music was moulded in the past mainly in relation to the laws governing the concept of the Raga, and its future may be very largely guided by this influence.

Though the Raga is so well known in practice, its theoretical aspects seem to have been only vaguely understood, and in many cases current ideas concerning them appear to be rather confused, partly owing to the string of differences of opinion and partly to insufficient acquaintance with the available literature on the subject. The need for a close stud of the Ragas and what they stand for is therefore evident, and this work is an attempt to consider the Raga in relation to its historical background and its place in current practice, in the light of the wealth of literature preserved in palm leaves and printed books.

The historical approach to the subject needs no apology, since this sets the theme in its proper perspective for study; besides, by this means, one is enabled to unearth many ideas which have long remained forgotten but which have great practical value even today. So far as the practical aspects are concerned, the two most striking problems which call for attention at present and which have given rise to a good deal of controversy are the sancara rages in each raga. In considering these questions, I have tried to base my conclusions after a careful scrutiny of the views of the various schools of thought, and by observing how and why they differ or agree. And in the case of srutis, I have tried to make use of methods of exact measurement as far as possible. Owing to various considerations, my treatment of the subject had to be very brief but I have taken care not to omit any data or detail which might be necessary for a proper understanding of the problems discussed.

I am under a heavy debt of gratitude to the authorities of the University of Madras who kindly encouraged me, first by awarding a scholarship to work on this subject and subsequently by undertaking to publish my thesis under their auspices. I take this opportunity to express my grateful thanks to them.

I am deeply grateful to Dr. T.R. Chintamani, M.A., Ph.D., Senior Lecturer in Sanskrit, University of Madras, for the invaluable help he has rendered by correcting the proofs and taking charge of the publication through all its stages. My thanks are also due to the Madras Law Journal Press for the attractive get-up of the book.

 

Contents

 

Chapter I Introduction  1
Chapter II Srutis and Svaras  12
Chapter III The Classification of Ragas  52
Chapter IV The Structure and The Alapa of Ragas  63
Chapter V Gamakas and The Embellishment of Song  111
Chapter VI The Meaning of Ragas  159
Chapter VII The Analysis of Ragas  162

 

Sample Pages








Post a Comment
 
Post a Query
For privacy concerns, please view our Privacy Policy
Based on your browsing history
Loading... Please wait

Items Related to The Ragas of Karnatic Music (Performing Arts | Books)

The Raga-ness of Ragas (Ragas Beyond the Grammar)
Deal 20% Off
by Deepak S. Raja
Hardcover (Edition: 2016)
D. K. Printworld Pvt. Ltd.
Item Code: NAL855
$57.00$45.60
You save: $11.40 (20%)
Add to Cart
Buy Now
Raga Chintamani (A Guide to Carnatic Ragas Through Tamil Film Music)
by Sundararaman
Paperback (Edition: 2007)
Pichammal Chintamani, Chennai
Item Code: NAM424
$31.00
Add to Cart
Buy Now
The Grammar of  North Indian Ragas
by Bimalakanta Roychaudhuri
Hardcover (Edition: 2005)
Om Publications
Item Code: NAO092
$57.00
Add to Cart
Buy Now
Ragas in Carnatic Music
by Dr. S. Bhagyalekshmi
Paperback (Edition: 2019)
CBH Publications
Item Code: IDK982
$33.50
Add to Cart
Buy Now
The Ragas of Karnatic Music
by N.S. Ramachandran
HARDCOVER (Edition: 2017)
Shubhi Publications, Gurgaon
Item Code: NAO778
$29.00
Add to Cart
Buy Now
Ragas and Raginis
by O.C.Gangoly
HARDCOVER (Edition: 2017)
Shubhi Publications, Gurgaon
Item Code: NAO777
$36.00
Add to Cart
Buy Now
Evolution of Raga and Tala in Indian Music
Item Code: IMD10
$30.00
Add to Cart
Buy Now
The Ragas of Northern Indian Music
Item Code: IMD33
$52.50
Add to Cart
Buy Now
Rag Malika With Notation
Item Code: NAJ122
$52.00
Add to Cart
Buy Now
Testimonials
Thank you so much. Your service is amazing. 
Kiran, USA
I received the two books today from my order. The package was intact, and the books arrived in excellent condition. Thank you very much and hope you have a great day. Stay safe, stay healthy,
Smitha, USA
Over the years, I have purchased several statues, wooden, bronze and brass, from Exotic India. The artists have shown exquisite attention to details. These deities are truly awe-inspiring. I have been very pleased with the purchases.
Heramba, USA
The Green Tara that I ordered on 10/12 arrived today.  I am very pleased with it.
William USA
Excellent!!! Excellent!!!
Fotis, Greece
Amazing how fast your order arrived, beautifully packed, just as described.  Thank you very much !
Verena, UK
I just received my package. It was just on time. I truly appreciate all your work Exotic India. The packaging is excellent. I love all my 3 orders. Admire the craftsmanship in all 3 orders. Thanks so much.
Rajalakshmi, USA
Your books arrived in good order and I am very pleased.
Christine, the Netherlands
Thank you very much for the Shri Yantra with Navaratna which has arrived here safely. I noticed that you seem to have had some difficulty in posting it so thank you...Posting anything these days is difficult because the ordinary postal services are either closed or functioning weakly.   I wish the best to Exotic India which is an excellent company...
Mary, Australia
Love your website and the emails
John, USA
Language:
Currency:
All rights reserved. Copyright 2020 © Exotic India