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Glossary - Classical Dance
Terms used in Indian
classical dance


Bharata Nătyam - Indian classical dance style from South India
Kathak - Indian classical dance style from North India mainly Jaipur and Lucknow
Kuchipudi - Classical dance style from Kuchipudi village in Andhra Pradesh
Mohiniattam - Classical dance style from South Indian state of Kerala.
Odissi - Classical dance style from Orissa (India)
Kathakali - Indian classical dance drama of Kerala, a state in south India.
Nritta - Pure dance involving hand and body movements
Nritya - Interpretative aspect of dance involving Abhinaya
Bhăva - Mood
Thillana
- A lively musical form, usually set to be rendered in brisk pace. It is the Carnatic counterpart of the North Indian 'tarana'.
Rangapravesam or Arangetram -
This is the blossoming of the student of Bharatnatyam into a full-fledged artist and enters the stage for the first time.
Mudhras
are a means of communication for
the dancer to express the theme of the song. Common in south Indian classical dance.
Adavus-
are the basic steps taught to the students in Bharatanatyam.
Glossary - Classical Music
Terms used in Indian classical music   
Karnatic Music/Carnatic Music - the classical music of South India.
Hindustani Music - North Indian classical music.
Rag/Raga/Ragam: A melodic concept within certain strict rules. Ragas are groups of notes that organise melody.Common in Indian classical music.
Tal/Tala/Talam :A time cycle, a rhythm structure and a measure applied in the act of keeping time.Common in Indian classical music.
Laya: Rhythm or Tempo. The tempo is regulated. The duration of rest between two strokes of 'matra' Is laya.Common in Indian classical music
Gharana : A school Of music representing a specific musical lineage or tradition.Term used in North Indian classical music.
Bol - This is the mnemonic system where each stroke of the drum has a syllable attached to it. These syllables are known as bol. Term found in Northy Indian classical music.
Bhajan — a hindu devotional song. Bhajans are sometimes used as light classical repetoire
Mridangam: A percussion instrument which is a common accompaniment in south Indian classical music and dance.
Tabla: A percussion instrument which is a common accompaniment in north Indian classical music and dance.
Guru-Shishya Parampara -The traditional teacher-disciple method of learning all forms of Indian classical music.

Three generations of musicians PDF Print E-mail
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Written by Administrator   
Tuesday, 02 May 2006

Daniels Auditorium, North Carolina Museum of History, Raleigh.
Sunday April 30th, 2006. - By Vaishnavi Rao

It was a unique event featuring three generations of musicians on the same stage. N Rajam and Sangeeta ShankarLegendary violinist Dr. N Rajam her daughter Dr.Sangeeta Shankar and Rajam's grand daughters Ragini and Nandini Shankar. The event was organised by Indian classical music and dance society(ICMDS)  Raleigh, North Carolina.
Padma Bhusan Smt. N Rajam is one of the foremost violinists in Hindustani classical music, known for her mastery over the gayaki ang of instrumental technique. She was born into a musical family which boasted generations of talented violinists, including her brother T.N.Krishnan, the carnatic violinist. 

Early in her life, she trained in carnatic music under her father Sri. Narayana Iyer who encouraged her to incorporate vocal music and veena into her playing. This was followed by an intense 15 years of training under the tutelage of the legendary singer Omkarnath Thakur in vocal music. This training inspired her profoundly to undertake an intensive research project to develop the gayaki ang (vocal style) on the violin.
Her explorative research opened up a plethora of new dimensions and directions for NRajam and Sangeeta Shankarplaying violin in the Hindustani classical tradition. Rajam has passed on the art to many, including her daughter Sangeeta Shankar, and Sangeeta Shankar’s daughters Ragini Shankar, who is 16, and Nandini Shankar, 12.
Dr.Sangeeta Shankar has performed throughout the world and is very well know in India. Her academic distinctions are in keeping with her illustrious professional career. Besides being distinguished with twin gold medals for bachelors' and masters' degrees, Sangeeta's doctoral thesis from the Banaras Hindu University is the culmination of detailed and dedicated research on the contribution of violin and violinists to Indian music.

Rajam was accompanied by her daughter and granddaughters in this unique concert spanning three generations. They were very ably supported by tabla percussionist Vinayak Netke, a disciple of Arvind Mulgaonkar.

Ragini and Nandini ShankarThe evening began with a 30 minute performnace by Ragini and Nandini, in raag Yaman Kalyan, the  evening raga. For their young age they showed extreme dexterity in handling the violin and Vinayak Netke  on the tabla rose to a  healthy competition which recieved thunderous applause from the audience.

Vinayak NetkeThis was followed with a duet by N Rajam and Sangeeta Shankar accompanied on the tabla by Vinayak Netke.
They played the following items:

Gorakh Kalyan - Thaat Khamaj
Desh - The late evening raga.
Banarsi Dadra and concluded with a
Bhairavi, the late morning raga and traditionally the last raga performed in a session.

In conclusion, it was a rare soul stirring treat for the connoisseurs of Indian classical music  and an evening that integrated three generations of musicians.


For more infomation on Dr. N Rajam and Dr.Sangeeta Shankar visit : http://www.legendarylegacy.com/

 


Last Updated ( Tuesday, 10 April 2007 )
 
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