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.
Sri, SRI, or variations thereof, may refer to:
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.
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 During those earlier times, the art had undergone several changes, rendering the raga grammar documented in scant old outdated texts.
Vanaspati is a rāgam in Carnatic music. It is the 4th melakarta rāgam in the 72 melakarta rāgams of Carnatic music, following the Katapayadi sankhya system. In the Muthuswami Dikshitar school of music, this raga is called Bhānumati.
Abhogi is a raga in Carnatic music and has been adapted to Hindustani music. It is a pentatonic scale, an audava raga. It is a derived scale, as it does not have all the seven swaras. Ābhōgi has been borrowed from Carnatic music into Hindustani music and is also quite popular in the latter. In Hindustani music the raga has been classified under the Kafi thaat.
Chakravakam or Chakravaham is a rāgam in Carnatic music. It is the 16th Melakarta rāgam in the 72 melakarta rāgam system. According to the Muthuswami Dikshitar school, this rāgam is called Tōyavēgavāhini. Chakravakam is similar to Raga Ahir bhairav in Hindustani music.
Charukesi is a rāga in Carnatic music. It is the 26th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Tarangini in Muthuswami Dikshitar school of Carnatic music.
Kanakangi is a ragam in Carnatic music. It is the 1st Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Kanakāmbari in the Muthuswami Dikshitar school.
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.
Manavati is a rāgam in Carnatic music. It is the 5th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. In Muthuswami Dikshitar school of Carnatic music, the 5th melakarta is Manōranjani.
Tilang is a raga in Indian classical music, that belongs to the Khamaj Thaat.
Sriranjani is a ragam in Carnatic music. It is a hexatonic scale. It is a derived scale, as it does not have all the seven swaras. It is also written as Shri ranjani or Shree Ranjani. It also exist in Hindustani music, with a different scale. Aroh: Sa, komal Ga, Ma, Dha, komal Ni, Sa; Avroh: Sa, komal Ni, Dha, Ma, komal Ga, Ré, Sa.
Shri ragam is an ancient ragam in the Carnatic tradition. It is also written as Sri or Shree. This scale does not have all the seven swaras in the ascending scale. Shree is the asampurna melakartha equivalent of Kharaharapriya, the 22nd Melakarta rāgam. It is the last of the 5 Ghana rāgams of Carnatic music. It is a popular rāgam that is considered to be highly auspicious.
Vidushi Sumitra Guha is an Indian classical vocalist, known for her expertise in the Carnatic and Hindustani schools of classical music. The Government of India honored her in 2010, with the fourth highest civilian award of Padma Shri.
Bhairavi is a Hindu goddess associated with the Mahavidyas.
Bhubaneswar Mishra was an Indian music director, a noted composer of Odissi music and a classical violin player. Born in Paralakhemundi, Mishra was exposed to and developed an inclination towards classical Odissi music at a very young age. Later, he acquired training and proficiency in Odissi, Hindustani and Carnatic styles of playing the violin. In All India Radio Cuttack, he came under the influence of Singhari Shyamsundar Kar, Kashinath Pujapanda, Balakrushna Dash and others. He teamed up with Pandit Hariprasad Chaurasia to score music for Hindi and Odia films.
PanditGopal Chandra Panda is a Guru of Odissi classical music, vocalist, researcher and composer. A disciple of Singhari Shyamsundar Kar, he has authored several books such as Odissi Raga Ratnabali & Odissi Raga Darpana, and is acclaimed for his efforts to collect & document several traditional Odissi ragas from the hinterlands. Panda served as a lecturer and head of department in the Utkal Sangeet Mahavidyalaya for nearly three decades. He has performed in music festivals across the country and is the founder of the Gopal Panda Odissi Academy. In 2011, Panda received the Sangeet Natak Akademi Award for his contributions to Odissi music.
