Learn · Appreciating Carnatic Music
Lecture 25 of 71Week 3
Lec 25 - Generating the 72 mela-s
Prof. Lakshmi Sreeram · Ahmedabad University
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- From
- Appreciating Carnatic Music, Ahmedabad University (at NPTEL)
- Licence
- CC BY-NC-SA, as NPTEL states it. Non-commercial use only.
- Attribution
- NPTEL states: "Distributed under Creative Commons Attribution-ShareAlike / CC BY - NC - SA", beside a BY-NC-SA badge. Coordinated by IIT Madras.
- Who can watch
- Teens profiles and older. How courses are placed
All the lectures
- Lec 01 - The Body of Music
- Lec 02 - Music everywhere – finding the classical
- Lec 03 - Classical Music – Art Music
- Lec 04 - Music through Melody & Music through Harmony
- Lec 05 - Musical Material – A Hard Look
- Lec 06 - Musical material Mo2
- Lec 07 - Carnatic Music as Raga Music
- Lec 08 - Understanding Raga - Part I
- Lec 09 - Understanding Raga - Part II (Raga and Swara)
- Lec 10 - Understanding Raga - Part III A Glimpse into Gamaka (Ornamentation) and Phraseology
- Lec 11 - "Swara" in the Sanskrit Textual Tradition
- Lec 12 - "Sruti" in Sanskrit Textual Tradition
- Lec 13 - Tambura
- Lec 14 - Gamaka I
- Lec 15 - Gamaka II
- Lec 16 - Gamaka III
- Lec 17 - Gamakas IV
- Lec 18 - Raga and Phraseology
- Lec 19 - Raga - some basic expectations
- Lec 20 - A string of Ragas and a teaser
- Lec 21 - Raga in the textual tradition
- Lec 22 - Classification of Ragas I
- Lec 23 - Classification of Ragas II
- Lec 24 - Mela system of classifying raga-s
- Lec 25 - Generating the 72 mela-s
- Lec 26 - Application of 72 mela
- Lec 27 - Katapayadi – Naming the 72 melas
- Lec 28 - Vivadi – I
- Lec 29 - Vivadi – II
- Lec 30 - Raga - Circles and Triangles
- Lec 31 - Laya: temporal discipline in music.
- Lec 32 - Tala – an Introduction to the Concept
- Lec 33 - More on Tala and laya
- Lec 34 - Aspects of Tala - I
- Lec 35 - Aspects of Tala - II
- Lec 36 - Aspects of Tala - III
- Lec 37 - Aspects of tala – IV
- Lec 38 - Composition in Carnatic Music
- Lec 39 - Varnam – an Introduction
- Lec 40 - Varnam and laya intricacies
- Lec 41 - Kriti – the premier compositional form in Carnatic music
- Lec 42 -Kriti – some basic features
- Lec 43 - Precursors to the Kriti
- Lec 44 - Bhakti and Carnatic Music: Metaphor, World view and Yearning in Carnatic compositions.
- Lec 45 - Tanjavur and the Carnatic Trinity
- Lec 46 - Tyagaraja, the Vaggeyakara
- Lec 47 - Tyagaraja and His Many Moods -I
- Lec 48 - Tyagaraja and His Many Moods – II
- Lec 49 - Muthuswami Dikshitar – an overview
- Lec 50 - Muthuswami Dikshitar – the Sanskirt Scholar and Advaitin
- Lec 51 - Muthuswami Dikshitar – Some Other Aspects of his Work.
- Lec 52 - Syama Sastri
- Lec 53 - Tamil Composers before the trinity
- Lec 54 - Post trinity Composers
- Lec 55 - Swathi Tirunal - the Versatile Royal Composer
- Lec 56 - The Romance of Padam and Javali
- Lec 57 - Tillana
- Lec 58 - Improvisation in Carnatic Music - Alapana
- Lec 59 - ALAPANA : Style and Aesthetics
- Lec 60 - Neraval and Swaraprastara
- Lec 61 - TANAM
- Lec 62 - An expostion of Balagopala,a kriti in the rega Bhairavi with alapana, neraval and swaraprastara followed by tani Avartanam
- Lec 63 - Accompaniment in Carnatic Music - The Violin
- Lec 64 - Percussive Accompaniment - the Mridangam
- Lec 65 -Subsidiary Accompaniment - Interaction Among Accompanists
- Lec 66 - Perscussion MRIDANGAM
- Lec 67 - Percussion KANJIRA
- Lec 68 - Percussion Ghatam
- Lec 69 - Percussion Morsing
- Lec 70 - Percussion Korvai and Thani avartanam
- Lec 71 - The Typical carnatic Concert And Ragam Tanam Pallavi - RTP