The musical instuments may be western but my voice never wavers away from my own ragas. it is good to make experiments and I do a lot of them but my thoughts always round the centre and that centre is the tradition of my elders and it is classical music..
Like all dances of classical nature, the Odissi is also accompanied by singing in which people specialize and the compositions of Jayadeva and other poets are utilized for the purpose. In fact, the Oriya style of singing and the rendering of the poet’s songs is somewhat distinct and this has given birth to a style of some ragas and musical performance which are unique and special to Orissa.
...to learn the idioms and phrases that define the ‘ grammar ’ of the major ragas of Carnatic music is through learning the great compositions of these ragas....in Carnatic music, fixed texts are used to create the ‘ lexicon ’ of Carnatic music and ‘grammar’ of particular ragas
In Carnatic music, one can create new ragas (not just tunes) which have never been though of before. In that sense, raagas are open ended in Carnatic music.
The sheer range of ragas and talas of these ‘simple’ divyanama compositions [of Tyagaraja] with their repetitive structure must have taught the people around the great composer the essence of Carnatic music.
In Karnatak music, a great deal of emphasis is also placed on the Sampurna ( heptatonic ) scale types, Melas as a means of classifying ragas [musical scales]....the 17th century text Chaturdanda Prakasikha lists out all the possible melas which could fit into the Karnatak system of music. This 72 Melakarata system still provides the basis for classification in the Karnatak music.
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