 |
Marga Sangeet is the use of music to find path to moksha . [1] [2] Though some articles equate it to Indian Classical Music, Pandit Mukul Shivputra mentions it as "the path to salvation" in this [3] interview titled 'The Raga of Truth'.
|
Marga Sangeet is the use of music to find path to moksha . [1] [2] Though some articles equate it to Indian Classical Music, Pandit Mukul Shivputra mentions it as "the path to salvation" in this [3] interview titled 'The Raga of Truth'.
The Sanskrit root word of Marga is mrg, [4] "which indicates contemplation and seeking." The article also mentions "That which was discovered by Brahma and (first) practiced by Bharata and others in the audience of lord Shiva is known as marga, which definitely bestows prosperity; while the sangeeta comprising gitam, vadyam and nrttam, that entertains people according to their taste in the different regions, is known as desi"
Samagana mentions
The connection between Marga Sangeet and Rahasyageyo-gān is one of Swara-sadhana
Moksha, also called vimoksha, vimukti, and mukti, is a term in Hinduism, Buddhism, Jainism, and Sikhism for various forms of emancipation, liberation, nirvana, or release. In its soteriological and eschatological senses, it refers to freedom from saṃsāra, the cycle of death and rebirth. In its epistemological and psychological senses, moksha is freedom from ignorance: self-realization, self-actualization and self-knowledge.
A raga is a melodic framework for improvisation in Indian classical music akin to a melodic mode. Rāga is central to classical Indian music. Each rāga consists of an array of melodic structures with musical motifs; and, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience.
Indian classical music is the classical music of the Indian subcontinent. It is generally described using terms like Shastriya Sangeet and Marg Sangeet. It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic. These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences. Another unique classical music tradition from the eastern part of India is Odissi music, which has evolved over the last two thousand years.
Hindustani classical music is the classical music of the Indian subcontinent's northern regions. It may also be called North Indian classical music or Uttar Bhartiya shastriya sangeet. The term shastriya sangeet literally means classical music, and is also used to refer to Indian classical music in general. It is played on instruments like the veena, sitar and sarod. It diverged in the 12th century CE from Carnatic music, the classical tradition of Southern India. While Carnatic music largely uses compositions written in Sanskrit, Kannada, Telugu, Tamil, Malayalam, Hindustani music largely uses compositions written in Hindi, Urdu, Braj, Avadhi, Bhojpuri, Bengali, Rajasthani, Marathi and Punjabi.
Jnana yoga, also known as the jnanamarga, is one of the three classical paths (margas) for moksha (liberation) in the Bhagavad Gita, which emphasizes the "path of knowledge", also known as the "path of self-realization". The other two are karma yoga and bhakti yoga. Modern interpretations of Hindu texts have yielded systems, techniques and formulations such as raja yoga and kriya yoga.
Ustad Amir Khan was an Indian singer and musician in the Hindustani classical tradition. He was the founder of the Indore gharana.
The music of West Bengal includes multiple indigenous musical genres such as Baul, Ramprasadi, Bishnupuri Classical, Kirtan, Shyama Sangeet, Rabindra Sangeet, Nazrul Geeti, Dwijendrageeti, Prabhat Samgiita, Agamani-Vijaya, Patua Sangeet, Gambhira, Bhatiali, Bhawaiya, Bengali Rock.
Hindu music is music created for or influenced by Hinduism. It includes Indian classical music, Kirtan, Bhajan and other musical genres. Raagas are a common form of Hindu music in classical India.
A thaat is a "parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term Melakartha raga of Carnatic music. The concept of the thaat is not exactly equivalent to the western musical scale because the primary function of a thaat is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent thaat; a raga said to 'belong' to a certain thaat need not allow all the notes of the thaat, and might allow other notes. Thaats are generally accepted to be heptatonic by definition.
Pandit Vishnu Narayan Bhatkhande was an Indian musicologist who wrote the first modern treatise on Hindustani classical music, an art which had been propagated for centuries mostly through oral traditions. During those earlier times, the art had undergone several changes, rendering the raga grammar documented in scant old outdated texts.
Sāma is composition of words in Rigvedic hymns from notes. The hymns of Rigveda form the base of Sāmagāna. Sāmagāna is not merely a name given to singing hymns of Veda but represents the philosophy and science of uniting thought, sound and music. Sāmagāna is purpose of creation of Samaveda.
Kaivalya is the ultimate goal of aṣṭāṅga yoga and means "solitude", "detachment" or "isolation", a vrddhi-derivation from kevala "alone, isolated". It is the isolation of purusha from prakṛti, and liberation from rebirth, i.e., Moksha. Kaivalya-Mukti is described in some Upanishads, such as Muktika and Kaivalya as the most superior form of Moksha which can grant liberation both within this life, as Jivanmukti, and after death, as Videhamukti.
Pandit Jnan Prakash Ghosh was an Indian harmonium and tabla player from Farukhabad gharana of Hindustani classical music and musicologist.
PanditDamodar Hota was an Indian classical vocalist, musicologist, composer, and guru based in Odisha, India. He was an exponent of Hindustani classical music as well as Odissi classical music.
Lalith J. Rao is an Indian classical singer and a representative of the Agra gharana.
Rajeev Taranath was an Indian classical musician who played the sarod. Taranath was a disciple of Ali Akbar Khan.
Chandralekha Prabhudas Patel, commonly known as Chandralekha, was a dancer and choreographer from India. The niece of Vallabhbhai Patel, India's first deputy Prime Minister, she was an exponent of performances fusing Bharatanatyam with Yoga and martial arts like Kalarippayattu.
Odissi music is a genre of classical music originating from the eastern state of Odisha. It is played on traditional instruments like the mardala, veena, and bansuri. Rooted in the ancient ritual music tradition dedicated to Lord Jagannatha, Odissi music has a rich history spanning over two thousand years, distinguished by its unique sangita-shastras, a specialized system of Ragas and Talas, and a distinctive style of performance. While some Indian classical music like Carnatic music and Hindustani music, traditions evolved separately over centuries, Odissi music has retained its classical purity and its characteristic devotion-centered compositions. Odissi compositions are largely written in Sanskrit and Odia.
ITC SRA Sangeet Sammelan is an annual Indian classical music festival organised by ITC Sangeet Research Academy held by turn in various cities in India.
Pandit Vinayak Malharrao Torvi, is an Indian classical vocalist. He belongs to the Gwalior and Kirana gharanas.
{{cite web}}: CS1 maint: unfit URL (link)