Raga - Revision history

Mukbil at 05:11, 14 July 2021

2021-07-14T05:11:15Z

← Older revision		Revision as of 05:11, 14 July 2021
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	'''Raga'''~~''' '''~~a Sanskrit term meaning colour, musical tone. ''~~R''''a''''ga~~'' is a harmony of sound and words. Both [[classical music]] and classical songs, such as [[dhrupad]], [[kheyal]], [[tappa]], [[thungri]] etc are based on ragas. Ragas follow a set pattern of rising and descending notes known as ''~~r''''a''''galak''''s''''a''''n~~''.~~'' ''~~The singer introduces the raga through a brief ''~~a''''l''''a''''p~~'' (prelude). The raga is then elaborated through four stages: ''~~sth''''a''''y''''i~~'' (permanent, the first stage) ''~~antar''''a~~'' (the second stage), ''~~sa''''v''''char''''i~~'' (continuation) and ''abhoga'' (return to the first). Nowadays the process has been shortened, with the singer singing only the sthayi and the antara.		'''Raga''' a Sanskrit term meaning colour, musical tone. ''Raga'' is a harmony of sound and words. Both [[Classical Music\|classical music]] and classical songs, such as [[dhrupad]], [[kheyal]], [[tappa]], [[thungri]] etc are based on ragas. Ragas follow a set pattern of rising and descending notes known as ''ragalaksan''. The singer introduces the raga through a brief ''alap'' (prelude). The raga is then elaborated through four stages: ''sthayi'' (permanent, the first stage) ''antara'' (the second stage), ''savchari'' (continuation) and ''abhoga'' (return to the first). Nowadays the process has been shortened, with the singer singing only the sthayi and the antara.

	There are three divisions of ragas: ''~~samp''''u''''r''''n''''a~~'','' ~~s''''ad''''av~~ ''and ''~~au''''d''''av~~''.~~'' ''~~A raga with all the seven notes in ascent and descent is known as sampurna~~,'' ''~~a raga with six notes in ascent and descent is known as sadav~~'' ''~~and a raga with five as audav.~~'' ''~~From these three main divisions there are nine combinations according to the number of ascending and descending notes. These are as follows:		There are three divisions of ragas: ''sampurna'', ''sadav'' and ''audav''. A raga with all the seven notes in ascent and descent is known as sampurna a raga with six notes in ascent and descent is known as sadav and a raga with five as audav. From these three main divisions there are nine combinations according to the number of ascending and descending notes. These are as follows:

	''sampurna-sampurna ''(7 ascending +7 descending)		''sampurna-sampurna ''(7 ascending +7 descending)
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	a''udav-''a''udav ''(5 ascending + 5 descending)		a''udav-''a''udav ''(5 ascending + 5 descending)

	A raga possesses the following characteristics: (a) it is created with notes taken from a ''~~th''''a''''ta~~ ''(classification); (b) it has at least five notes with a minimum of two notes from ''~~p''''u''''rva''''b''''ga~~ ''(the lower half of an octave: notes: ''~~s''''a''''~~ re ~~g''''a'''' m''''a~~'') and ''~~uttara''''b''''ga~~ ''(the upper~~'' ''~~half of an octave'': ~~p''''a'''' dh''''a''~~'' ni ~~s''''a~~'');~~'' ''~~(c) its ascending and descending notes follow a set pattern; (d) a raga has ''~~v''''a''''d''''i~~'','' ~~samav''''a''''d''''i~~'','' ~~anuv''''a''''d''''i~~'','' ~~viv''''a''''d''''i~~'','' varjita'','' ~~j''''a''''ti~~'','' ~~pyaka''''d''''a~~'','' raga-samay'','' ~~a''''b''''ga~~'','' alap'','' ~~t''''a''''l~~'','' ~~volt''''a''''n~~'','' ~~v''''a''''t~~ ''and ''sargam''; (e) it has the quality to delight listeners; (f) it gives expression to a particular ''rasa'' (sentiment); (g) it must use ''~~s''''a''''d''''aj~~'',~~'' ''~~the first note of the ''saptak'';~~'' ''~~(i) no raga can discard both ''madhyam ''and ''~~pa''''v''''cham~~ ''notes at the same time; (j) no raga should juxtapose ''~~sh''''u''''ddha~~ ''and ''~~vik''''r''''ta~~ ''forms of notes (however, there may be exceptions).		A raga possesses the following characteristics: (a) it is created with notes taken from a ''thata'' (classification); (b) it has at least five notes with a minimum of two notes from ''purvabga ''(the lower half of an octave: notes: ''sa re ga ma'') and ''uttarabga''(the upper half of an octave: ''pa dha ni sa''); (c) its ascending and descending notes follow a set pattern; (d) a raga has ''vadi'', ''samavadi'', ''anuvadi'','' vivadi'', ''varjita'', ''jati'','' pyakada'', ''raga-samay'', ''abga'', ''alap'', ''tal'', ''voltan'', ''vat'' and ''sargam''; (e) it has the quality to delight listeners; (f) it gives expression to a particular ''rasa'' (sentiment); (g) it must use ''sadaj'', the first note of the ''saptak''; (i) no raga can discard both ''madhyam'' and ''pavcham''notes at the same time; (j) no raga should juxtapose ''shuddha'' and ''vikrta'' forms of notes (however, there may be exceptions).

	Ragas can be created in seven ways. The first way has three forms: ''shuddha'','' ~~chh''''a''''y''''a''''lag~~ ''(or'' ~~s''''a''''la''''b''''ka~~'')~~'' ''~~and ''~~sangk''''i''''r''''n''''a~~''. A raga formed with its own elements is called ''shuddha'',~~'' ''~~for instance ''bhairav'';~~'' ''~~a raga mixing two ragas is called ''chhayalag ''(or'' salanka''), such as ''shuddha-~~kaly''''a''''n'';''~~ ''and a raga mixing more than two ragas is called ''sangkirna'','' ''such as ''jaya-~~jayant''''i~~''.~~'' ''~~There are six other ways in which a raga can be created: by altering the mode of a raga (''~~p''''u''''riy''''a''''~~ ''and ''~~m''''a''''rv''''a~~''), lending vadi-samavadi~~'' ''~~to a raga (''~~bh''''u''''p''''a''''l''''i''''~~ ''and ''~~deshk''''a''''r~~''), altering the ''komal ''or ''~~ka''''d''''i~~ ''notes of a raga (''~~k''''a''''phi~~ ''or ''~~p''''u''''rav''''i~~''), lowering or raising the notes of a raga (''~~shuddhakaly''''an''''~~ ''and ''~~bh''''u''''p''''a''''l''''i~~''), altering the standing of a raga (''~~darb''''a''''ri k''''a''''n''''ada''''~~ ''and ''~~ada''''n''''a~~''), and altering the hour of a raga (''~~suh''''a''''~~ kanada ''and ''~~n''''a''''yak''''i''''~~ kanada'').		Ragas can be created in seven ways. The first way has three forms: ''shuddha'', ''chhayalag'' (or ''salabka'') and ''sangkirna''. A raga formed with its own elements is called ''shuddha'', for instance ''bhairav''; a raga mixing two ragas is called ''chhayalag'' (or ''salanka''), such as ''shuddha-kalyan'' and a raga mixing more than two ragas is called ''sangkirna'', ''such as ''jaya-jayanti''. There are six other ways in which a raga can be created: by altering the mode of a raga (''puriya'' and ''marva''), lending vadi-samavadi to a raga (''bhupali'' and ''deshkar''), altering the ''komal'' or ''kadi'' notes of a raga (''kaphi'' or ''puravi''), lowering or raising the notes of a raga (''shuddhakalyan'' and ''bhupali''), altering the standing of a raga (''darbari kanada'' and ''adana''), and altering the hour of a raga (''suha kanada ''and ''nayaki kanada'').

	Every raga has a propitious time for its rendering. The 24 hours of a day are divided into eight time segments, with different ragas being associated with different periods. The junctures between day and night are known as ''~~sandhiprak''''a''''sh~~ ''time and ragas rendered at these times are known as sandhiprakas ragas. The other ragas are associated with the time of their rendering: morning, midday, evening and night. Thus bhairav (not to be confused with bhairavi) is a morning raga. Each period is dominated by a raga of some particular ''~~th''''a''''t~~''. The raga that carries the suggestion of the next ''that ''and is rendered while gliding from one ''that ''to another is known as ''paramel-praveshak ''raga, for example, ''malgunji'',~~'' ''~~which belongs to the'' kaphi ''and'' khamiaj that''. At times several ragas are rendered in a row. This is known as ''~~r''''a''''gam''''a''''l''''a''''~~ ''and it gives the listeners a special delight. Ragas are also associated with different seasons. ''Basanta'', for example is associated with spring; ''malhar ''is associated with rains, as are its variations such as ''miaki- malhar ''and'' megh-malhar''.		Every raga has a propitious time for its rendering. The 24 hours of a day are divided into eight time segments, with different ragas being associated with different periods. The junctures between day and night are known as ''sandhiprakash'' time and ragas rendered at these times are known as sandhiprakas ragas. The other ragas are associated with the time of their rendering: morning, midday, evening and night. Thus bhairav (not to be confused with bhairavi) is a morning raga. Each period is dominated by a raga of some particular ''that''. The raga that carries the suggestion of the next ''that'' and is rendered while gliding from one ''that ''to another is known as ''paramel-praveshak'' raga, for example, ''malgunji'', which belongs to the ''kaphi'' and ''khamiaj that''. At times several ragas are rendered in a row. This is known as ''ragamala'' and it gives the listeners a special delight. Ragas are also associated with different seasons. ''Basanta'' for example is associated with spring; ''malhar'' is associated with rains, as are its variations such as ''miaki- malhar'' and '' megh-malhar''.

	The use of ragas in Bangla songs dates as far back as the~~'' ''~~[[charyapada]],~~'' ''~~the songs of which were composed to be sung in ''vishuddha ''ragas. A fuller use of ragas is found in the later [[gitagovindam]]~~'' ''~~and [[srikrishnakirtan]]. The ragas of the ''~~Chary''''a''''pada~~'' are ''~~patma''''v''''jar''''i''''~~, bhairav'','' aru, ~~var''''adi''''~~, ~~gav''''da''''~~, ~~shavar''''i''''~~, ~~gurjar''''i''''~~, ~~mall''''a''''r''''i''''~~, ~~devakr''''i''''~~, ~~gau''''da''''~~, ~~desh''''a''''kh~~, ~~gavu''''da''''~~, ~~m''''a''''ls''''i''''~~-~~gavu''''da''''~~, ~~k''''a''''mod~~, ~~k''''a''''nhu~~-~~gunjar''''i''''~~, ~~dhanas''''i''''~~, ~~va''''b''''g''''a''''l~~ ''and ''~~r''''a''''mkr''''i''''~~. ''It is probable that gauda and gavuda are the modern gauda raga and that gauda is the modern ''~~g''''a''''r''''a~~''.		The use of ragas in Bangla songs dates as far back as the [[charyapada]], the songs of which were composed to be sung in ''vishuddha'' ragas. A fuller use of ragas is found in the later [[gitagovindam]] and [[srikrishnakirtan]]. The ragas of the ''Charyapada'' are ''patmavjari, bhairav'', ''aru, varadi, gavda, shavari, gurjari, mallari, devakri, gauda, deshakh, gavuda, malsi-gavuda, kamod, kanhu-gunjari, dhanasi, vabgal'' and ''ramkri. It is probable that gauda and gavuda are the modern gauda raga and that gauda is the modern ''gara''.

	The ragas of the ''~~G''''i''''tgovindam~~'' are ''gurjari, ~~m''''a''''lavgau''''d''''a~~, ~~kar''''na''''t~~, deshakh, ~~deshv''''a''''ra''''di''''~~, ~~go''''n''''dakir''''i''''~~, ~~m''''a''''lava~~, vasanta, bhairavi, ~~r''''a''''mkir''''i''''~~, ~~var''''adi''''~~ ''and ''~~vibh''''a''''s~~''.~~'' ''~~The songs of the ''Gitgovindam ''were composed in these ragas and it was clearly indicated which song was to be sung in which raga and [[tal]].~~'' ''~~The ragas of ''~~Shr''''i''''k''''r''''s''''v''''ak''''i''''rtan~~ ''are ''~~a''''her~~, vibhas, kaku, vibhas kahu, kahu, ~~vel''''a''''val''''i''''~~, ~~gajjar''''i''''~~, ~~bh''''a''''tiy''''a''''l''''i''''~~, ~~ked''''a''''r~~, bhairavi, ~~ko''''da''''~~, ~~mall''''a''''r~~, ~~ko''''da'''' desh''''a''''g~~, ~~m''''a''''lava~~, ~~deshvar''''adi''''~~, ~~m''''a''''lavashr''''i''''~~, ~~desh''''a''''g~~, ~~m''''a''''h''''a''''r''''a''''th''''a''''~~, ~~dh''''a''''nu''''si''''~~, ~~r''''a''''mgiri~~, patamanjari, lalita, ~~p''''a''''h''''a''''d''''ia''''~~, ~~shaur''''i''''~~, ~~va''''b''''g''''a''''l~~, ~~shr''''i''''~~, vangal ~~var''''adi''''~~, ~~sh''''r''''ir''''a''''mgiri~~, varadi, ~~sindho''''da''''~~, vasanta ''and ''kahu-~~gurjar''''i~~''. Even today these ragas are in use and are quite popular, though many have undergone some change of nomenclature. For instance, koda~~'' ''~~is now familiar as ''~~kaunsik~~''''a''''~~n''''ada~~''.		The ragas of the ''Gitgovindam'' are ''gurjari, malavgauda, karnat, deshakh, deshvaradi, gondakiri, malava, vasanta, bhairavi, ramkiri, varadi ''and ''vibhas''. The songs of the ''Gitgovindam'' were composed in these ragas and it was clearly indicated which song was to be sung in which raga and [[tal]]. The ragas of ''Shrikrsvakirtan ''are ''aher, vibhas, kaku, vibhas kahu, kahu, velavali, gajjari, bhatiyali, kedar, bhairavi, koda, mallar, koda deshag, malava, deshvaradi, malavashri, deshag, maharatha, dhanusi, ramgiri, patamanjari, lalita, pahadia, shauri, vabgal, shri, vangal varadi, shriramgiri, varadi, sindhoda, vasanta ''and ''kahu-gurjari''. Even today these ragas are in use and are quite popular, though many have undergone some change of nomenclature. For instance, koda is now familiar as ''kaunsikanada''.

			Indian music is divided into North Indian (Hindustani) and South Indian (Daksini) music, with Bengali music generally following the North Indian style. However, many Bengali composers, including [[Tagore, Rabindranath\|rabindranath tagore]] and [[Islam, Kazi Nazrul\|kazi nazrul islam]], have introduced south Indian ragas into Bangla songs and have experimented with different ragas. Nazrul Islam not only popularized raga-based Bangla songs, he also created some new ragas and composed songs in them. Among the ragas he created are ''venuka, dolanchanpa, devayani, sandhyamalati, vanakuntala, minaksi, yogini'' and ''nirjharini''. [Mobarak Hossain Khan and Krishnapada Mandal]

	Indian music is divided into North Indian (Hindustani) and South Indian (Daksini) music, with Bengali music generally following the North Indian style. However, many Bengali composers, including [[rabindranath tagore]] and [[kazi nazrul islam]], have introduced south Indian ragas into Bangla songs and have experimented with different ragas. Nazrul Islam not only popularized raga-based Bangla songs, he also created some new ragas and composed songs in them. Among the ragas he created are ''ve''''n''''uk''''a'''', dolanch''''a''''np''''a'''', devay''''a''''n''''i'''', sandhy''''a''''m''''a''''lat''''i'''', vanakuntal''''a'''', m''''i''''n''''a''''k''''si'''', yogin''''i'''' ''and ''nirjhari''''ni''. [Mobarak Hossain Khan and Krishnapada Mandal] [Khan, Mobarak Hossain former DG, Bangladesh Shilpakala Academy]

	[[Category:Performing Arts]]		[[Category:Performing Arts]]

	[[bn:রাগ]]		[[bn:রাগ]]

0:0:0:0:0:0:0:1: Content Updated.

2021-06-17T19:29:41Z

Content Updated.

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'''Raga'''''' '''a Sanskrit term meaning colour, musical tone. ''R''''a''''ga'' is a harmony of sound and words. Both [[classical music]] and classical songs, such as [[dhrupad]], [[kheyal]], [[tappa]], [[thungri]] etc are based on ragas. Ragas follow a set pattern of rising and descending notes known as ''r''''a''''galak''''s''''a''''n''.'' ''The singer introduces the raga through a brief ''a''''l''''a''''p'' (prelude). The raga is then elaborated through four stages: ''sth''''a''''y''''i'' (permanent, the first stage) ''antar''''a'' (the second stage), ''sa''''v''''char''''i'' (continuation) and ''abhoga'' (return to the first). Nowadays the process has been shortened, with the singer singing only the sthayi and the antara.

There are three divisions of ragas: ''samp''''u''''r''''n''''a'','' s''''ad''''av ''and ''au''''d''''av''.'' ''A raga with all the seven notes in ascent and descent is known as sampurna,'' ''a raga with six notes in ascent and descent is known as sadav'' ''and a raga with five as audav.'' ''From these three main divisions there are nine combinations according to the number of ascending and descending notes. These are as follows:

''sampurna-sampurna ''(7 ascending +7 descending)

''sampurna-sadav ''(7 ascending + 6 descending)

''sampurna-''a''udav ''(7 ascending + 5 descending)

''sadav-sampurna ''(6 ascending + 7 descending)

sadav-sadav (6 ascending + 6 descending)

sadav-a''udav ''(6 ascending + 5 descending)

a''udav-sampurna ''(5 ascending + 7 descending)

a''udav- sadav ''(5 ascending + 6 descending)

a''udav-''a''udav ''(5 ascending + 5 descending)

A raga possesses the following characteristics: (a) it is created with notes taken from a ''th''''a''''ta ''(classification); (b) it has at least five notes with a minimum of two notes from ''p''''u''''rva''''b''''ga ''(the lower half of an octave: notes: ''s''''a'''' re g''''a'''' m''''a'') and ''uttara''''b''''ga ''(the upper'' ''half of an octave'': p''''a'''' dh''''a'''' ni s''''a'');'' ''(c) its ascending and descending notes follow a set pattern; (d) a raga has ''v''''a''''d''''i'','' samav''''a''''d''''i'','' anuv''''a''''d''''i'','' viv''''a''''d''''i'','' varjita'','' j''''a''''ti'','' pyaka''''d''''a'','' raga-samay'','' a''''b''''ga'','' alap'','' t''''a''''l'','' volt''''a''''n'','' v''''a''''t ''and ''sargam''; (e) it has the quality to delight listeners; (f) it gives expression to a particular ''rasa'' (sentiment); (g) it must use ''s''''a''''d''''aj'','' ''the first note of the ''saptak'';'' ''(i) no raga can discard both ''madhyam ''and ''pa''''v''''cham ''notes at the same time; (j) no raga should juxtapose ''sh''''u''''ddha ''and ''vik''''r''''ta ''forms of notes (however, there may be exceptions).

Ragas can be created in seven ways. The first way has three forms: ''shuddha'','' chh''''a''''y''''a''''lag ''(or'' s''''a''''la''''b''''ka'')'' ''and ''sangk''''i''''r''''n''''a''. A raga formed with its own elements is called ''shuddha'','' ''for instance ''bhairav'';'' ''a raga mixing two ragas is called ''chhayalag ''(or'' salanka''), such as ''shuddha-kaly''''a''''n'';'' ''and a raga mixing more than two ragas is called ''sangkirna'','' ''such as ''jaya-jayant''''i''.'' ''There are six other ways in which a raga can be created: by altering the mode of a raga (''p''''u''''riy''''a'''' ''and ''m''''a''''rv''''a''), lending vadi-samavadi'' ''to a raga (''bh''''u''''p''''a''''l''''i'''' ''and ''deshk''''a''''r''), altering the ''komal ''or ''ka''''d''''i ''notes of a raga (''k''''a''''phi ''or ''p''''u''''rav''''i''), lowering or raising the notes of a raga (''shuddhakaly''''an'''' ''and ''bh''''u''''p''''a''''l''''i''), altering the standing of a raga (''darb''''a''''ri k''''a''''n''''ada'''' ''and ''ada''''n''''a''), and altering the hour of a raga (''suh''''a'''' kanada ''and ''n''''a''''yak''''i'''' kanada'').

Every raga has a propitious time for its rendering. The 24 hours of a day are divided into eight time segments, with different ragas being associated with different periods. The junctures between day and night are known as ''sandhiprak''''a''''sh ''time and ragas rendered at these times are known as sandhiprakas ragas. The other ragas are associated with the time of their rendering: morning, midday, evening and night. Thus bhairav (not to be confused with bhairavi) is a morning raga. Each period is dominated by a raga of some particular ''th''''a''''t''. The raga that carries the suggestion of the next ''that ''and is rendered while gliding from one ''that ''to another is known as ''paramel-praveshak ''raga, for example, ''malgunji'','' ''which belongs to the'' kaphi ''and'' khamiaj that''. At times several ragas are rendered in a row. This is known as ''r''''a''''gam''''a''''l''''a'''' ''and it gives the listeners a special delight. Ragas are also associated with different seasons. ''Basanta'', for example is associated with spring; ''malhar ''is associated with rains, as are its variations such as ''miaki- malhar ''and'' megh-malhar''.

The use of ragas in Bangla songs dates as far back as the'' ''[[charyapada]],'' ''the songs of which were composed to be sung in ''vishuddha ''ragas. A fuller use of ragas is found in the later [[gitagovindam]]'' ''and [[srikrishnakirtan]]. The ragas of the ''Chary''''a''''pada'' are ''patma''''v''''jar''''i'''', bhairav'','' aru, var''''adi'''', gav''''da'''', shavar''''i'''', gurjar''''i'''', mall''''a''''r''''i'''', devakr''''i'''', gau''''da'''', desh''''a''''kh, gavu''''da'''', m''''a''''ls''''i''''-gavu''''da'''', k''''a''''mod, k''''a''''nhu-gunjar''''i'''', dhanas''''i'''', va''''b''''g''''a''''l ''and ''r''''a''''mkr''''i''''. ''It is probable that gauda and gavuda are the modern gauda raga and that gauda is the modern ''g''''a''''r''''a''.

The ragas of the ''G''''i''''tgovindam'' are ''gurjari, m''''a''''lavgau''''d''''a, kar''''na''''t, deshakh, deshv''''a''''ra''''di'''', go''''n''''dakir''''i'''', m''''a''''lava, vasanta, bhairavi, r''''a''''mkir''''i'''', var''''adi'''' ''and ''vibh''''a''''s''.'' ''The songs of the ''Gitgovindam ''were composed in these ragas and it was clearly indicated which song was to be sung in which raga and [[tal]].'' ''The ragas of ''Shr''''i''''k''''r''''s''''v''''ak''''i''''rtan ''are ''a''''her, vibhas, kaku, vibhas kahu, kahu, vel''''a''''val''''i'''', gajjar''''i'''', bh''''a''''tiy''''a''''l''''i'''', ked''''a''''r, bhairavi, ko''''da'''', mall''''a''''r, ko''''da'''' desh''''a''''g, m''''a''''lava, deshvar''''adi'''', m''''a''''lavashr''''i'''', desh''''a''''g, m''''a''''h''''a''''r''''a''''th''''a'''', dh''''a''''nu''''si'''', r''''a''''mgiri, patamanjari, lalita, p''''a''''h''''a''''d''''ia'''', shaur''''i'''', va''''b''''g''''a''''l, shr''''i'''', vangal var''''adi'''', sh''''r''''ir''''a''''mgiri, varadi, sindho''''da'''', vasanta ''and ''kahu-gurjar''''i''. Even today these ragas are in use and are quite popular, though many have undergone some change of nomenclature. For instance, koda'' ''is now familiar as ''kaunsik''''a''''n''''ada''.

Indian music is divided into North Indian (Hindustani) and South Indian (Daksini) music, with Bengali music generally following the North Indian style. However, many Bengali composers, including [[rabindranath tagore]] and [[kazi nazrul islam]], have introduced south Indian ragas into Bangla songs and have experimented with different ragas. Nazrul Islam not only popularized raga-based Bangla songs, he also created some new ragas and composed songs in them. Among the ragas he created are ''ve''''n''''uk''''a'''', dolanch''''a''''np''''a'''', devay''''a''''n''''i'''', sandhy''''a''''m''''a''''lat''''i'''', vanakuntal''''a'''', m''''i''''n''''a''''k''''si'''', yogin''''i'''' ''and ''nirjhari''''ni''. [Mobarak Hossain Khan and Krishnapada Mandal] [Khan, Mobarak Hossain former DG, Bangladesh Shilpakala Academy]

[[Category:Performing Arts]]

[[bn:রাগ]]