From Infogalactic: the planetary knowledge core
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Pictured left: Ram Narayan in 2007
Ram Narayan (born 1927) is an Indian musician who popularized the bowed instrument sarangi as a solo concert instrument in Hindustani classical music and became the first internationally successful sarangi player. Narayan was born in Udaipur and learned to play the sarangi at an early age. He studied under sarangi players and singers and, as a teenager, worked as a music teacher and traveling musician. All India Radio, Lahore, hired Narayan as an accompanist for vocalists in 1944. He moved to Delhi following the partition of India in 1947, but wishing to go beyond accompaniment and frustrated with his supporting role, Narayan moved to Mumbai in 1949 to work in Indian cinema. After an unsuccessful attempt in 1954, Narayan became a concert solo artist in 1956, and later gave up accompaniment. He recorded solo albums and began to tour America and Europe in the 1960s. Narayan taught Indian and foreign students and performed, frequently outside of India, into the 2000s. He was awarded India's second highest civilian honor, the Padma Vibhushan, in 2005.
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A carnatic 8-hole flute, raga mayamalavagowla played
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| A raga, literally "colour, hue" but also "beauty, melody"; also spelled raag, rag, ragam)[1] is one of the melodic modes used in Indian classical music.
It is a series of five or more musical notes upon which a melody is made. However, it is important to remember that the way the notes are rendered in musical phrases and the mood they convey are even more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rāga. Non-classical music such as popular Indian film songs and ghazals sometimes use rāgas in their compositions.
Joep Bor of the Rotterdam Conservatory of Music defined Raga as "tonal framework for composition and improvisation."[2] Nazir Jairazbhoy, chairman of UCLA's department of ethnomusicology, characterized ragas as separated by scale, line of ascent and descent, transilience, emphasized notes and register, and intonation and ornaments.[3]
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South Indian (Carnatic) musical performance. From left to right:
—Guruvayur Dorai, mridangam
—Ravi Balasubramanian, ghatam
—Ravikiran, navachitraveena, which is his own invention, basically a hollow-body electric chitraveena played with a teflon (rather than ebony) slide.
—Akkarai S. Subhalakshmi, violin
Photo taken at Interlake High School, Bellevue, Washington, during a performance in the Ragamala series (Greater Seattle).
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- ↑ "Raag" is the modern Hindi pronunciation used by Hindustani musicians; "ragam" is the pronunciation in Tamil.
- ↑ Lua error in package.lua at line 80: module 'strict' not found.
- ↑ Lua error in package.lua at line 80: module 'strict' not found.
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