Tejaswini Niranjana
Tejaswini Niranjana’s Musicophilia in Mumbai argues that the love of Hindustani music, which emerged in Mumbai around the mid-nineteenth century, led to the formation of a ‘lingua musica’ – a language that served to connect the diverse inhabitants of the city – and contributed to new forms of…
in Article
Aditi Deo
Khayal is a preeminent music genre included in the broader category of Hindustani or North Indian classical music. Historically associated with royal courts and aristocratic patronage, over the past two centuries, it has emerged as a well-recognised concert form performed across the length and…
in Article
Deepak Bhau Kumbhar
in Image Gallery
Siddhi Goel
Siddhi Goel: दीदी, the word thumri comes from ठुमका and thus contains suggestions of dance. Then, is thumri one genre or two genres? Is it just singing, or both singing and dancing?
Vidya Rao: नैना जी कहती थीं, 'ठुमक के रिझाना', हमेशा यही सुना है. You see there was a time when people were…
in Interview
Praveena: Namaskaram, Prof. Ritha Rajan. It is very nice of you to have agreed to share your thoughts on Veena Dhanammal. Veena Dhanammal is a very revered name in Carnatic music. Can you tell us little about Veena Dhanammal?
Ritha Rajan: Namaskaram, Praveena. I have also heard a lot about…
in Interview
V. Raghavan writes about the works of Maharaja Swathi Thirunal Rama Varma of Travancore (1813—1846), as a musical composer.
in Library Artifacts
Book review of The Winged Form: Aesthetical Essays on Hindustani Rhythm by Sushil Kumar Saxena (New Delhi: Sangeet Natak Akademi. 1979) and Odisi Chita Muruja, edited by Annapurna Misra, and illustrated by Geeta Misra (Cuttack: Cuttack Students' Store. 1979).
in Library Artifacts
Interview with M. Balamuralikrishna conducted by S. Gopalakrishnan, Venkat and Baby Sreeram
S. Gopalakrishnan: To begin with, I would like to ask you is why do you think or rather do you feel that your music is totally different from the music we have been used to listening?
M. Balamuralikrishna…
in Interview