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A Rasika is a term for an aesthete of Indian classical music. [1] The term is derived from the Sanskrit word 'rasa', meaning full of passion, elegant, and with discrimination. Connoisseur - An expert able to appreciate a field; especially in the fine arts.
A rasika is a term for audience in Sinhalese as well.
A rasika, in carnatic music terminology, is a person who has some knowledge of carnatic music and is able to appreciate carnatic music. In carnatic music concerts (or katcheri, as they are called), the audience is usually called rasikas. [2] With its origins in Sanskrit, the word is used across India, and followers of North Indian (Hindusthani) Music are also referred by the same term. [3]
Modern Standard Hindi, commonly referred to as Hindi, is an Indo-Aryan language spoken chiefly in North India, and serves as the lingua franca of the Hindi Belt region encompassing parts of northern, central, eastern, and western India. Hindi has been described as a standardised and Sanskritised register of the Hindustani language, which itself is based primarily on the Khariboli dialect of Delhi and neighbouring areas of North India. Hindi, written in the Devanagari script, is one of the two official languages of the Government of India, along with English. It is an official language in nine states and three union territories and an additional official language in three other states. Hindi is also one of the 22 scheduled languages of the Republic of 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 Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu. 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.
A raga is a melodic framework for improvisation in Indian classical music akin to a melodic mode. The rāga is a unique and central feature of the classical Indian music tradition, and as a result has no direct translation to concepts in classical European music. Each rāga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience.
Indian classical music is the classical music of the Indian subcontinent. It is generally described using terms like Marg Sangeet and Shastriya 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 Eastern part of India, i. e. Odissi music has evolved since two thousand years ago.
Desi is a loose term used to describe the people, cultures, and products of the Indian subcontinent and their diaspora, derived from Sanskrit देश (deśá), meaning "land, country". Desi traces its origin to the people from the South Asian republics of India, Pakistan and Bangladesh, and may also sometimes include people from Sri Lanka, Nepal, the Maldives and Bhutan.
A tala literally means a 'clap, tapping one's hand on one's arm, a musical measure'. It is the term used in Indian classical music similar to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the Indian subcontinental traditions. Along with raga which forms the fabric of a melodic structure, the tala forms the life cycle and thereby constitutes one of the two foundational elements of Indian music.
The venu is one of the ancient transverse flutes of Indian classical music. It is an aerophone typically made from bamboo, that is a side blown wind instrument. It continues to be in use in the South Indian Carnatic music tradition. It is referred to as nadi and tunava in the Rigveda and other Vedic texts of Hinduism. In northern Indian music, a similar flute is called bansuri. In the south, it is also called by various other names such as pullanguḻal (புல்லாங்குழல்) in Tamil, oodakuḻal (ഓടകുഴൽ) or kurungu kuḻal in Malayalam (Kerala) and ಕೊಳಲು (koḷalu) or ಮುರಳಿ (muraļi) in Kannada (Karnataka). It is known as pillana grōvi or vēṇuvu (వేణువు) in Telugu. It is also called as Carnatic Flute.
A mudra is a term woven into compositions in Indian classical music, particularly Carnatic music, that indicates the identity of the composer, a patron, the raga, tala, or style. A composer might use his own name or a pseudonym. Not all composers have mudras, and they do not necessarily relate to the composer's name.
Svara is a word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or saptaka. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a svara is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven svaras/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as saptak or saptaka. It is one of the reasons why svara is considered a symbolic expression for the number seven.
A jugalbandi or jugalbandhi is a performance in Indian classical music, especially in Hindustani classical music but also in Carnatic, that features a duet of two solo musicians. The word jugalbandi means, literally, "entwined twins." The duet can be either vocal or instrumental.
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.
Ragam Tanam Pallavi (RTP) is a form of singing in Carnatic music which allows the musicians to improvise to a great extent. It is one of the most complete aspects of Indian classical music, demonstrating the entire gamut of talents and the depth of knowledge of the musician. It incorporates raga alapana, tanam, niraval, and kalpanaswara. In more elaborate ragam tanam pallavis, a tani avartanam may follow.
Śārṅgadeva (1175–1247), also spelled Sharngadeva or Sarnga Deva, was the 13th-century Indian musicologist who authored Sangita Ratnakara – the classical Sanskrit text on music and drama. It is considered to be the authoritative treatise in Indian classical music by both the Hindustani music and the Carnatic music traditions.
M.S. Gopalakrishnan, a.k.a. MSG, was a violinist in the field of Carnatic music. He is commonly grouped with Lalgudi Jayaraman and T.N.Krishnan as part of the violin-trinity of Carnatic Music. He was awarded the Madras Music Academy's Sangeetha Kalanidhi in 1997. He was a recipient of the Padma Bhushan, Padma Shri, Kalaimamani, Sangeetha Kalanidhi and Sangeet Natak Akademi awards.
A kacheri is an assembly of musicians and audience in the context of Carnatic music. It is presented in the concert format. The music fraternity of connoisseurs and common people assemble at the katcheri venues to listen to classical music concerts of vidwans. Etymologically the word "katcheri" is derived from Urdu language and in Hindi to mean a court of law.
Riyaz is the systematic practice of music, dance or any other art form usually under the guidance of a teacher or preceptor. In Hindustani classical music tradition, it is employed as a repertoire of exercises to cultivate the musicality of one's voice or fingers. It is known as Sadhakam or Sadhana in Carnatic music. It is followed rigorously by the students as well as exponents of vocal as well as dancing forms.
A Pandit is an individual with specialised knowledge or a teacher of any field of knowledge whether it is shashtra or shastra (Weapons) in Hinduism, particularly the Vedic scriptures, dharma, or Hindu philosophy; in colonial-era literature, the term generally refers to lawyers specialized in Hindu law. Whereas, today the title is used for experts in other subjects, such as music. Pundit is a loanword in English meaning "an expert in a particular subject or field who is frequently called upon to give their opinions to the public".
Rasika Shekar is a singer, flautist and composer. She plays the Indian bamboo flute.
Lavangi is a rāgam of Carnatic music.
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