List of Carnatic composers

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List of composers of Carnatic music, a subgenre of Indian classical music. Chronologically they can be grouped into 4 different Eras: Pre-Trinity Era, Trinity Era, Post Trinity Era and Modern Era. Composers are listed here based on this classification and their birth years are provided to the extent available.

Contents

Pre-Trinity Era composers (17th century and prior)

These are early stage composers that created the rules and foundations of classical music.

  1. Allama Prabhu (12th century)
  2. Andal (9th century)
  3. Tirugnana sambandar (7th century)
  4. Arunagirinathar (b.1480)
  5. Bhadraachala Raama daasu (1620–1688)
  6. Jayadeva, (12th Century) - Composed Gita Govinda
    1. Prathama Vaggeyakara(First poet-composer) of Carnatic and Hindustani music forms to compose art music (in contrast to traditional bhakti poems) involving ragas; he is praised for his contributions to dance and music by his contemporary and later musicologists in their musical treatises
  7. Kanakadasa (1509–1609)
  8. Karaikkal Ammeiyar (7th century)
  9. Kshetrayya (1600–1680)
  10. Madhwacharya (12th century)
  11. Manikkavasagar (10th century)
  12. Muthu Thandavar (1525–1625)
  13. Naraharitirtha (1250–1333)
  14. Narayana Teertha (1650–1725)
  15. Padmanabha Tirtha (12th century)
  16. Papanasa Mudaliar (1650–1725)
  17. Paidala Gurumurti Sastri (17th century) - Composed over 1000 geethams
  18. Purandaradasa (1484–1564)
  19. Raghavendra Swami (1595–1671)
  20. Sarangapani (1680–1750)
  21. Sripadaraya (1404–1502)
  22. Sundaramurti (7th century)
  23. Thirunavukkarasar (7th century)
  24. Tallapaka Annamacharya (1408–1503)
  25. Vadirajatirtha (1480–1600)
  26. Vijaya Dasa (1682–1755)
  27. Vyasatirtha (1460–1539)

Trinity Era Composers (18th Century)

Composers of 18th Century started a new era in the history of Carnatic music with the introduction of new ragas, krithis and musical forms that are widely adopted and laid foundation for what we know today as Classical music. Trinity are the biggest contributors of this era even though there are a large number of musicians and composers that left their mark during this period.

  1. Arunachala Kavi (1711–1788)
  2. Ghanam Krishna Iyer (1790–1854)
  3. Gopala Dasa (1722–1762)
  4. Iraiyamman Tampi (1782–1856)
  5. Jagannatha Dasa (1728–1809)
  6. Kaiwara Sri Yogi Nareyana (1730–1840)
  7. Krishnarajendra Wodeyar III (1799–1868)
  8. Marimutthu Pillai (1717–1787)
  9. Muthuswami Dikshitar (1775–1835)
  10. Mysore Sadasiva Rao (b. 1790)
  11. Oottukkadu Venkata Kavi (1700–1765)
  12. Pacchimiriam Adiyappa (early 18th century)
  13. Sadasiva Brahmendra (18th century)
  14. Thyagaraja Swami (1767–1847)
  15. Anai Ayya brothers (1776–1857)
  16. Tiruvarur Ramaswami Pillai (1798–1852)
  17. Ramaswami Dikshitar (1735–1817)
  18. Swathi Thirunal Rama Varma (1813-1846)
  19. Syama Sastri (1762–1827)

Post-Trinity Era composers (19th century)

  1. Ajjada Adibhatla Narayana Dasu (1864–1945)
    1. Primary contribution is in the area of Hari katha. Also created several krithis as part of the hari kathas he authored
  2. Ambi Dikshitar (1863–1936)
    1. Propagated Muthuswami Dikshitar compositions and helped bring them into modern era
    2. Also used the mudra of guruguha for about 10 compositions we have available at this time
  3. Annamalai Reddiyar (1865–1891)
  4. Cheyyur Chengalvaraya Sastri (1810–1900)
  5. Chittor Subrahmanya Pillai (1898–1975)
  6. Dharmapuri Subbarayar
    1. Composed more than 50 Javalis
  7. Ennappadam Venkatarama Bhagavatar (1880–1961)
  8. Gopalakrishna Bharathi (1811–1896)
  9. Jayachamaraja Wodeyar (1919–1974)
  10. Kavi Kunjara Bharati (1810–1896)
  11. Koteeswara Iyer (1870–1940)
    1. Composed in all 72 melakarta raagas
  12. Kotthavaasal Venkatarama Ayyar (1810–1880)
  13. Maha Vaidyanatha Iyer (1844–1893)
    1. Composed Mela raga maalika
  14. Manambuchavadi Venkatasubbayyar
  15. Mayuram Viswanatha Sastri (1893–1958)
  16. Muthiah Bhagavatar (1877–1945)
  17. Mysore T. Chowdiah (1894–1967)
  18. Mysore Vasudevacharya (1865–1961)
  19. Neelakanta Sivan (1839–1900)
  20. Pallavi Seshayyar (1842–1905)
  21. Papanasam Sivan (1890–1973)
  22. Patnam Subramania Iyer (1845–1902)
  23. Pattabhiramayya (b. 1863)
  24. Poochi Srinivasa Iyengar (1860–1919)
  25. Rallapalli Anantha Krishna Sharma (1893–1979)
  26. Subbarama Dikshitar (1839–1906)
  27. Subbaraya Sastri (1803–1862)
    1. Son of Shyama Shastri and First generation disciple of Tyagaraja
  28. Mahakavi Subramanya Bharathiyar (1882–1921)
  29. Shuddhananda Bharati (1897–1990)
  30. Thanjavur Quartet (1801–1856)
  31. Tiger Varadachariar (1876–1950)
  32. Tiruvottriyur Tyagayya (1845–1917)
    1. Son of Veena Kuppayya
  33. Veena Kuppayya (1798–1860)
    1. First generation disciple of Tyagaraja
  34. Veene Sheshanna (1852–1926)

Modern Era composers (20th century and beyond)

Pre-Trinity composers (born in 17th century or earlier)

Composer YearsLanguagesApprox. number of compositionsSignature
(Insignia)
Other Info
Naraharitirtha 1250? – 1333) Sanskrit NarahariComposed Dasara Padas
Sripadaraya 1404–1502 Kannada , Sanskrit Ranga VittalaComposed Dasara Padas
Tallapaka Annamacharya 1408–1503 Telugu, Sanskrit 36,000 compositions were composed, out of which around 12,000 are only available as of todayVenkatachala, venkatagiri, venkatadhri, venkatesuCalled as Telugu pada-kavita pitamaha; composed in themes srungara (love), adhyatma (bhakti) and philosophical in 100 ragas; also the author of the musical text Sankeertana Lakshana
Vadirajatirtha 1480–1600) Kannada , Sanskrit hundredsHayavadanaComposed Dasara Padas in his Ramagadya, Vaikunthavarnane and Lakshmisobanehadu
Arunagirinathar 1480– Tamil 760Composed Tiruppugazh
Purandara Dasa 1484–1564 Kannada, Sanskrit 475,000, of which only around 2000 have come down to usPurandara VittalaSet the Carnatic music in its present form; composed basic exercises for practice like sarali and janta varisai, and thus known as 'Karnataka Sangeetha Pithamaha', meaning the Grandfather of Carnatic music.
Kanaka Dasa 1509–1609 Kannada 300Adi KeshavaComposed Dasara Padas in native metrical forms such as Suladi and Ugabhoga and wrote 5 classical Kavya epics poems in Shatpadi
Muthu Thandavar 1525–1625 Tamil 165
Kshetrayya or Kshetrajna or Varadayya1600–1680 Telugu 100MuvvagopalaComposed immortal padams which are even popular today in Bharathanatyam & Kuchipudi. Also the oldest composer whose tunes are available
Bhadraachala Raama daasu 1620–1688 Telugu 500BhadradriComposed devotional songs
Narayana Teertha or Tallavajjhala Govinda Sastry1650–1745 Telugu, Sanskrit 200Vara Naaraayana TeerthaComposed Krishna leelaa Tarangini
Papanasa Mudaliar 1650–1725 Tamil
Sarangapani 1680–1750 Telugu 220Venugopalu
Paidala Gurumurti Sastri 17th century Telugu, Sanskrit Composed mainly geetams, many of which have since been lost
Vijaya Dasa 1682–1755 Kannada 25,000Vijaya VittalaComposed Dasara Padas in native metrical forms such as Suladi and Ugabhoga
Oottukkadu Venkata Kavi 1700–1765 Tamil, Sanskrit 600Composed in complex talas like Sankeerna Matyam and Misra Ata. Also an early composer of Navavarana kritis. He was the pioneer of the Madhyama Kala Prayoga. Had knowledge of ancient Tamil tags system too. His Sapta Ratnas were the precursors to Thyagaraja's pancharatnas. His kritis often used complicated madhyamakala systems.
Arunachala Kavi 1711–1788 Tamil 320
Marimutthu Pillai 1717–1787 Tamil 42
Gopala Dasa 1722–1762 Kannada 10,000Gopala VittalaComposed Dasara Padas in native metrical forms such as Suladi and Ugabhoga
Pacchimiriam Adiyappa early 18th century Telugu Composed the immortal Viriboni bhairavi ata tala varnam
Sadasiva Brahmendra 18th century Sanskrit 95
Jagannatha Dasa 1728–1809 Kannada 260Jagannatha VittalaComposed Dasara Padas, and the Kavya poems Harikathamritasara in the native shatpadi and Tattva suvvali in the native tripadi meters
Kaiwara Sri Yogi Nareyana 1730–1840 Kannada & Telugu 172AmaranareyanaComposed 20 Kannada Keerthanam and 152 Telugu Padas, and the Kavya poems on various gods
Ramaswami Dikshitar 1735–1817 Telugu, Sanskrit ThyageshwaraComposed many varnams, padams, and kirtanas; popularly considered the inventor of Hamsadwhani

Trinity-Age composers (born in 18th century)

These composers lived during the time of the Trinity and there are recorded instances of their interaction with the Trinity.

Composer YearsLanguagesSignature(Insignia)Approx. Number of CompositionsOther Info
Syama Sastri 1762–1827 Telugu, Sanskrit Shyama Krishna400Eldest of the trinity. He came from a family of priests at the Bangaru Kamakshi temple in Thanjavur, he composed on many devi temples in the region. He is famous for his use of chitta swara sahityam and complicated talams, as well as modernizing Ananda Bhairavi raga
Thyagaraja Swami 1767–1847 Telugu, Sanskrit Thyagaraja24000 of which only 700 are available todayMost famous of the trinity, composed many kritis on lord Rama, and also a few group kritis at temples for Shiva and Parvati. He composed the famous ghanaraga pancharatna kritis, and was famous for the use of ragas such as Kharaharapriya and Ritigowla.
Muthuswami Dikshitar 1775–1835 Sanskrit Guruguha400Youngest of the trinity, famous for his use of madhyamakala sahityams, raga mudra, and Sanskrit rhyming. He composed multiple group kritis.
Iraiyamman Tampi 1782–1856 Malayalam, Sanskrit Padmanabha40
Ghanam Krishna Iyer 1790–1854 Tamil Muthu Kumara85
Tiruvarur Ramaswami Pillai 1798–1852 Tamil Vedapura
Thanjavur Quartet 1801–1856 Telugu, Tamil, Sanskrit
Kavi Kunjara Bharati 1810–1896 Tamil Kavi Kunjaran200
Cheyyur Chengalvaraya Sastri 1810–1900 Sanskrit, Telugu Chengalvarayadasa1000
Swathi Thirunal 1813–1846 Sanskrit, Tamil, Malayalam, Kannada, Telugu, Hindi, Braj Bhasha Padmanabha, Sarasinabha, etc. 300+

19th-century composers

Composer YearsLanguagesApprox. Number of CompositionsSignature(Insignia)Other Info
Mahakavi Subramanya Bharathiyar 1882–1921 Tamil 230
Annamalai Reddiyar 1865–1891 Tamil 40
Anai Ayya brothers 19th century Telugu, Tamil 20Umadasa
Dharmapuri Subbarayar 19th century Telugu 50DharmapuriComposed many javalis
Ennappadam Venkatarama Bhagavatar 1880–1961Venkataramana [1]
Gopalakrishna Bharathi 1811–1896 Tamil 395Balakrishnan
Koteeswara Iyer 1870–1940 Tamil, Sanskrit 200KavikunjaradasanComposed in all 72 Melakarta raagas
Krishnarajendra Wodeyar III 1799–1868 Sanskrit
Jayachamaraja Wodeyar 1919–1974 Sanskrit 70Srividya
Maha Vaidyanatha Iyer 1844–1893 Sanskrit, Tamil 100GuhadasaComposed 72-Melakarta raaga maalika
Manambuchavadi Venkatasubbayyar 19th century Telugu, Tamil 50VenkatesaCousin and disciple of Thyagaraja
Mayuram Viswanatha Sastri 1893–1958 Tamil, Sanskrit 160Vishwam, Vedapuri
Muthiah Bhagavatar 1877–1945 Tamil, Kannada Sanskrit 390HarikeshaComposed many famous songs, including a set of 108 songs on goddess Chamundeshwari at the behest of the kings of Mysore
Mysore Sadasiva Rao b. 1790 Telugu, Sanskrit 100Sadashiva
Mysore Vasudevacharya 1865–1961 Telugu, Sanskrit 250Vasudeva
Neelakanta Sivan 1839–1900 Tamil 300Nilakantha
Pallavi Seshayyar 1842–1905 Telugu 75Shesha
Papanasam Sivan 1890–1973 Tamil 535Ramadasan
Patnam Subramania Iyer 1845–1902 Telugu 100Venkatesha
Pattabhiramayya c. 1863 Tamil Composed javalis
Poochi Srinivasa Iyengar 1860–1919 Telugu 100SrinivasaComposed varnams,javalisand krithis including the famous mohanam raga varnam ninnu kori.
Shuddhananda Bharati 1897–1990 Tamil, Sanskrit 1090
Subbarama Dikshitar 1839–1906 Telugu 50Grandson of Baluswami Dikshitar, younger brother of Muthuswami Dikshitar. Author of the important Telugu musical treatise Sangeetha sampradaya pradarshini
Subbaraya Sastri 1803–1862 Telugu 12KumaraSon of Syama Sastri
Tiruvottriyur Tyagayya 1845–1917 Telugu 80VenugopalaSon of Veena Kuppayya
Veena Kuppayya 1798–1860 Telugu 100GopaladasaDisciple of Thyagaraja
Ajjada Adibhatla Narayana Dasu 1864–1945 Telugu 100Composed in all 72 melakarthas and a geetha-malika in 90 ragas in manjari meter called Dasha Vidha Raga Navati Kusuma Manjari; also composed in rare talams like Sankeerna chapu

Modern-age composers (born in 20th century and beyond)

Composer YearsLanguagesApprox.

Number of Compositions

Signature(Insignia)Other Info
G. N. Balasubramaniam 1910–1965 Telugu, Sanskrit, Tamil 250NoneDid not use a mudra; Ranjani Niranjani, Saraswati Namostute, and Sri Chakra Raja Nilaye are popular compositions.
Ambujam Krishna 1917–1989 Kannada, Telugu, Sanskrit, Tamil 600NoneDid not use a mudra; Her songs have been set to tune by leading Carnatic musicians.
M. D. Ramanathan 1923–1984 Telugu, Sanskrit, Tamil, Malayalam 300varadasaComposed in all popular ragas; Used signature "Varada dasa"; Disciple of Tiger Varadachariar
Kalyani Varadarajan 1923–2003 Telugu, Sanskrit, Tamil 1000 +kalyaniComposed in all 72 Melakarta raagas; Used signature "Kalyani"

Composed songs on many deities, mainly Sholinganallur Narasimhar, Sholinganallur Anjaneyar, Thayars, and most all Devis.

K. Ramaraj 1936-2009Telugu, Tamil, Sanskrit200+ragamudraDid not use a composer mudra; Vaggeyakkara who composed both the lyrics and the tune; specialised in less popular and vivaadhi ragas
M.Balamuralikrishna 1930–2016 Telugu, Kannada, Sanskrit, Tamil 400muraliComposed in all 72 Melakarta raagas; Used signature "Muraligana";

Created several ragas, with 4 notes and 3 notes; Invented a new Tala system;

Disciple of Parupalli Ramakrishnayya Pantulu,

a direct descendant of the shishya parampara (lineage of disciples) of Tyagaraja.

Lalgudi Jayaraman 1930–2013 Telugu, Sanskrit, Tamil 100NoneHis sparkling thillana are especially popular and a staple of Carnatic music concerts.
Mahesh Mahadevpresent Sanskrit, Kannada Sri SkandaCreated many new ragas [2] and composed kritis, varnams and devaranama [3] [4] [5]
Mysore Manjunath present Instrumental Manjunath has created many New ragas including Yaduveera Manohari, Bharatha. [6]

Other composers

Other composers in Mysore Kingdom

Other composers—Bhakti Saints

In addition to the above composers, various Bhakti saints of medieval India also composed devotional hymns, verses and songs. First six composer used ancient Tamil music [pannicai] which later evolved to the Carnatic musical tradition over the centuries.[ citation needed ]

See also

Related Research Articles

<span class="mw-page-title-main">Carnatic music</span> Music genre originating in southern India

Carnatic music, known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu and Telangana. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. The other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.

<span class="mw-page-title-main">Tyagaraja</span> Composer in Carnatic classical music

Thyagaraja, also known as Thyāgayya and in full as Kakarla Thyagabrahmam, was a composer and vocalist of Carnatic music, a form of Indian classical music. Tyagaraja and his contemporaries, Shyama Shastri and Muthuswami Dikshitar, are regarded as the Trinity of Carnatic music. Tyagaraja composed thousands of devotional compositions, most in Telugu and in praise of Rama, many of which remain popular today, the most popular being "Nagumomu". Of special mention are five of his compositions called the Pancharatna Kritis, which are often sung in programs in his honour, and Utsava Sampradaya Krithis, which are often sung to accompany temple rituals.

<span class="mw-page-title-main">Hanumatodi</span>

Hanumatodi, more popularly known as Todi, is a rāgam in Carnatic music. It is the 8th melakarta rāgam in the 72 melakarta rāgam system. This is sung very often in concerts. It is a difficult rāgam to perform in owing to its complexity in prayoga. It is called Janatodi in Muthuswami Dikshitar school of Carnatic music. Its Western equivalent is the Phrygian mode. Todi in Carnatic music is different from Todi (thaat) of Hindustani music. The equivalent of the Hindustani raga Todi in Carnatic music is Shubhapantuvarali. The equivalent of Carnatic Todi in Hindustani is Bhairavi thaat in terms of notes, but the two sound very different due to differing uses of gamakas.

<span class="mw-page-title-main">Syama Sastri</span> Indian musician

Syama Sastri or Shyama Shastri was a musician and composer of Carnatic music. He was the oldest among the Trinity of Carnatic music, Tyagaraja and Muthuswami Dikshitar being the other two.

<span class="mw-page-title-main">G. N. Balasubramaniam</span> Indian carnatic singer (1910–1965)

Gudalur Narayanaswamy Balasubramaniam, popularly known as GNB, was an Indian Carnatic singer. He innovated the art through emphasis on laya control and reducing the gamakas which eventually made Carnatic music appeal to the lay and the learned alike. He was also a Tamil film actor. Ariyakudi Iyengar inspired him.

<span class="mw-page-title-main">Sankarabharanam (raga)</span>

Dhīraśankarābharaṇaṃ, commonly known as Śankarābharaṇaṃ, is a rāga in Carnatic music. It is the 29th Melakarta rāga in the 72 Melakarta rāga system of Carnatic music. Since this raga has many Gamakās (ornamentations), it is glorified as "Sarva Gamaka Maaṇika Rakti Rāgaṃ".

Patnam Subramania Iyer was a composer and singer of Carnatic music. Subramaniya Iyer followed the traditions of the great composer Tyagaraja. He has left behind almost one hundred compositions.

<span class="mw-page-title-main">Mayamalavagowla</span> Fifteenth raga in the melakarta

Mayamalavagowla is a raga of Carnatic music. It is classified as 15th melakarta raga under Venkatamakhin's melakarta system. Originally known as malavagowla, "maya" was prefixed to it after the advent of the scheme of the 72 melas. The number 15 was assigned to it following the Katapayadi sankhya system. This is a morning raga.

<span class="mw-page-title-main">Kalyani (raga)</span> Musical scale (raga) in Carnatic music

Kalyani is a melakarta raga in the Carnatic music. It was called Kalyan but is now more popularly called Yaman in Hindustani Music. Its Western equivalent is the Lydian mode.

The Trinity of Carnatic Music, also known as the Three Jewels of Carnatic Music, refers to the outstanding trio of composer-musicians of Carnatic music in the 18th century—Tyagaraja, Muthuswami Dikshitar, and Syama Sastri. Prolific in composition, the Trinity of Carnatic music is known for creating a new era in the history of carnatic music by bringing about a noticeable change in what was the existing carnatic music tradition. Compositions of the Trinity of Carnatic music are recognized as being distinct in style, and original in handling ragas. All three composers were born in Thiruvarur, formerly part of Thanjavur District in Tamilnadu. M. S. Subbalakshmi, D. K. Pattammal, and M. L. Vasanthakumari, who are carnatic musicians of the 20th century, are popularly referred to as the female Trinity of Carnatic Music.

<span class="mw-page-title-main">Hindolam</span>

Hindōḷaṃ is a rāgam in Carnatic music. It is an audava rāgam as it does not have all the seven swaras. Hindolam is not the same as the Hindustani Hindol. The equivalent of Hindolam in Hindustani music is Malkauns.

<span class="mw-page-title-main">Madhyamavati</span> Janya raga of Carnatic music

Madhyamavati (madhyamāvati) is a rāga in Carnatic music. It is an audava rāga, as it does not have all the seven musical notes (swaras). It is a janya rāga. The equivalent of Madhyamavati in Hindustani music is Madhumad Sarang. It also has other equivalents in Hindustani music such as ragas Megh and Megh Malhar.

<span class="mw-page-title-main">Shuddha Saveri</span>

Shuddha Saveri or śuddha sāveri is a ragam in Carnatic music and Yakshagana music. It is an audava rāgam. It is a janya rāgam of the Melakarta ragam Dhīraśaṅkarābharaṇaṃ which is 29th Melakarta raga. In Hindustani music it is called Durga. According to the school of Muthuswami Dikshitar, this rāgam is called Devakriya. Karnataka Shuddha Saveri, a janya rāgam of 1st melakartaKanakangi, is called Shuddha Saveri by the Dikshitar school.

<span class="mw-page-title-main">Shanmukhapriya</span> 56th raga in the Melakarta

Shanmukhapriya is a ragam in Carnatic music. It is the 56th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Chāmaram in Muthuswami Dikshitar school of Carnatic music. It is said to be borrowed into Hindustani music from Carnatic music. Many compositions on Lord Murugan and Lord Shiva are based on this raaga.

<span class="mw-page-title-main">Dharmavati</span> 59th raga in the Melakarta

Dharmavati is a rāgam in Carnatic music. It is the 59th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Dhaamavati in Muthuswami Dikshitar school of Carnatic music. Madhuvanti is the nearest Hindustani music scale to Dharmavati. Raga Dharmavati was introduced in Hindustani music in vocal style for the first time by late Pandit Samaresh Chawdhury

<span class="mw-page-title-main">Vakulabharanam</span> Fourteenth raga in the Melakarta

Vakulabharanam is a rāgam in Carnatic music. It is the 14th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Dhātivasantabhairavi or Vātivasantabhairavi in Muthuswami Dikshitar school of Carnatic music. Hindustani equivalent of this ragam is raga basant mukhari

<span class="mw-page-title-main">Dhanyasi</span>

Dhanyasi is a rāgam in Carnatic music. It is a janya rāgam from the 8th melakarta scale Hanumatodi. It is a janya scale, as it does not have all the seven swaras in the ascending scale. It is a combination of the pentatonic scale Shuddha Dhanyasi and the sampurna raga scale Hanumatodi.

<span class="mw-page-title-main">Nattakurinji</span>

Nattakurinji is a raga in Carnatic music. It is an audava janya raga of 28th Melakarta raga Harikambhoji. This raga is good to sing in evenings. It is used rarely in Hindustani, but is very popular in Carnatic music. The raaga Kurinji belongs to the Melakarta family Shankarabharanam but is sung relatively rarely.

<span class="mw-page-title-main">Nata (raga)</span>

Nata (nāṭa) is a rāgam in Carnatic music, sometimes spelled Nattai. It is a janya rāgam from the 36th melakarta scale Chalanata. It is a janya scale, as it does not have all the seven swaras in the descending scale. It is a combination of the sampurna raga scale Chalanata and the pentatonic scale Gambhiranata. It is an auspicious raga, which is mostly sung in the early part of the concert.

<span class="mw-page-title-main">Reetigowla</span> Janya raga in Carnatic music

Reethigowla, Reethi Gowla or Reethigowlai is a janya raga in carnatic music. It is associated with 22nd melakarta raga Kharaharapriya.

References

  1. "Music — different perspectives". The Hindu. 2 January 2009. Retrieved 21 April 2018 via www.thehindu.com.
  2. Mary, S. B. Vijaya (5 August 2021). "Mahesh Mahadev's experiments with ragas". The Hindu. ISSN   0971-751X . Retrieved 20 January 2023.
  3. Pinto, Arun (19 January 2023). "Sri Tyagaraja - a New Raga in Carnatic Music by Mahesh Mahadev". News Karnataka. Retrieved 20 January 2023.
  4. "Bengaluru composer creating new ragas". Deccan Herald. 10 August 2021. Retrieved 20 January 2023.
  5. Balachandran, Logesh. "Mahesh Mahadav and Priyadarshini salute Saint Tyagaraja with a new raga named after him". The Times of India. ISSN   0971-8257 . Retrieved 27 February 2023.
  6. p, shilpa (26 June 2016). "'Yaduveer raga' for Mysuru royal wedding". Deccan Chronicle. Retrieved 5 September 2020.
  7. 1 2 "rallapallisharma". sites.google.com. Retrieved 21 April 2018.