# Karnatic Music, Tradition and Enlightenment



## munirao2001 (Mar 2, 2009)

Hi 
I have attached my articles on Karnatic Music, Tradition and Enlightenment and Nada Satchatkaram.
I invite serious classical music lovers to send me their feed back.
Thanks

S.MADHVA MUNI RAO


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## Lukecash12 (Sep 21, 2009)

I don't really understand it. You seemed to repeat over and over that Karnatic music shouldn't be overly restricted by tradition, to keep it's passion and individualism. I just fail to see where you actually got to describing Karnatic music. You at least named Raga and Tala, but you didn't really discuss things like counting cycles, Arohana and Avarohana, Shringara (romantic and erotic): Hasya (humorous): Karuna (pathetic): Raudra (anger): Veera (heroic): Bhayanaka (fearful): Vibhatsa (disgustful): Adbhuta (amazement): Shanta (peaceful), how to bring out the nine main rasas in each raga.

You could also go over the unique sadhana (teaching system) of Indian Karnatic music.

And here is a list of good ragas to go over in detail:

1.Nat Bhairav
2.Ahir Lalit
3.Rasiya
4.Yaman Manjh
5.Gunji Kanhara
6.Janasanmodini
7.Tilak Shyam
8.Bairagi
9.Mohan Kauns
10.Manamanjari
11.Mishra Gara
12.Pancham Se Gara
13.Purvi Kalyan
14.Kameshwari
15.Gangeshwari
16.Rangeshwari
17.Parameshwari
18.Palas Kafi
19.Jogeshwari
20.Charu Kauns
21.Kaushik Todi
22.Bairagi Todi
23.Bhawani Bhairav
24.Sanjh Kalyan
25.Shailangi
26.Suranjani
27.Rajya Kalyan
28.Banjara
29.Piloo Banjara
30.Suvarna

Not only that, but song is a big part of Karnatic music, and you could write several books just on Ustad Amir Khan alone. Also, it is important to understand the yogis, and the ever present religious sentiments of Karnatic music.


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## munirao2001 (Mar 2, 2009)

*Karnatic Music, Traditon and Enlightenment*

Hi Luke Cash,
Thanks for feed back. Please note that in Indian Classical Music, there are two-Hindusthani and Karnatic Music. This article is on Karnatic Music only. There are references to common features in the article. The articles scope is restricted only to the aspects of Tradition in Karnatic Music, its evolution, growth and its future pointers. I have given the objective of this article in the begining for clarity and understanding.
You are welcome to discuss, within the scope of this article.

S.Madhva Muni Rao


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