Monthly Archives: September 2015

Swar-O-Metre in Indian Classical Music

While practicing Indian Classical ragas, my mind often innovates a device which gives an accurate measurement of Swaras. Whenever I perceive the uncertainty or some inaccuracies in the rendition of  swaras while practicing swaras, I often wonder that there should be an instrument ‘swar-O-metre’ which can scan our voice while we sing and accordingly judge the notes with the help of the markings made on it.

Continue reading

Origin Of Western Classical Music

The word ‘classical’ connotes something of lasting value, something conceived with certain standards in mind. The word classical conveys structural order, a clear sense of form, design, and content. The story of classical  music is old and ongoing one, which encompasses many different styles and developments. In general. classical music has tended to reflect the times.

Like all the other art fields, music tends to shape itself according to the then public tastes and demeanor. In classical music, entertainment should be the last thing to think about. Classical music art works as an art first, then discipline, rules and principals, aesthetics moreover extracted from the limitations of rules. As stated before, classical music systems the art form by certain rules and theories. A good answer to the question “what is Classical music” is “a music which does not make money.

Continue reading

Indian Classical Raga Therapy

Music is a  sound or nada generating particular vibrations which moves through the medium of ether present in the atmosphere and effects the human body. Pt. Sarangdeva mentions in his Sangeet Ratnakar that ahata-nada or music is always produced by striking or Agatha by a living being on an instrument of any kind So music is a power or universal energy in the form of raga.

Continue reading

Visualizing The Indian Classical Hindustani Ragas

Raag Madhuvanti

 I visualize  raga Madhuvanti with the yellow majestic  sun-set, which somewhat darkens the environment. An insipid but beautiful evening full of balmy environment…as if, however all the flora has been darkened because of the sun’s radiance, but still that radiance merge into soul’s flame end up giving a pacifistic feel.

Continue reading

    Since my specialization is Indian Classical music, I always want me to listen to different kinds of musicians or instrumentalists and their music, to enhance my classical knowledge and notes-accuracy, as I’ve been told from my own teachers that listening adds up to better singing. In fact, listening to classical music is more beneficial in singing than just practicing rigorously. The more we listen, more musical notes are grasped in our brains which leads to better perception while singing.

Continue reading

Two Types of Music Therapy

Hansel and her more than 3,200 colleagues of the American Music Therapy Association practice two types of music therapy: active and passive. Familiar and, most importantly, likable, music elicits the best responses. For example, Big Band music motivated social interaction more than making a puzzle in one 1993 study, and another study that same year found playing music of a patient’s choosing six days a week reduced his or her agitation.

Continue reading


Agara Gharana had been one of the most eminent and affluent Gharanas of tradition system in the world of Indian Hindustani classical music. There are ample of Agara stalwarts in today’s domain, who are extremely successful and working a lot for the up-gradation of Indian music. Some of the radically distinguished and knowledgeable personalities of Agara Gharana, which do not belong to their family in particular, yet patronized a lot  in making the Gharana prestigious and illustrious include: Pt. Bhaskar Bua Bakhle, Pt. Jagannath Bua Purohit,  Pt. Dilip Chandra Vedi, Dr. Sumati Mutatkar , Pt. Babanrao Haldankar,  and  many more. Maximum of these great people had been the disciples of Ustad Vilayat Hussain Khan, one of the leading creator and mentor of Agara Gharana.

Continue reading

Baroque Music

Baroque era is considered as  the golden age for classical music and for musicians. It was the time when western classical discipline flourished and  achieved dignified reputation within the society.

‘Baroque’ word represents the style of an art, architecture or music developed in Europe during the early seventeenth to mid-18th century. In other words, an era between 1600-1750 AD incorporates baroque era. It emphasizes on dramatic, often strained effect and typified by bold, curving forms, elaborated ornamentation and small balance of desperate parts.

 Baroque period in music exhibited the developments such as construction of fundamentals were firmly organized and put in place. Music became more systematic by conceptualizing the melody and harmony through the creation of music theory. For instance, composers like Claudio Monteverdi and Jean Philippe Rameau helped creating the harmonic logic, melodic expressiveness, and rhythmic vitality. More and more researches initiated by the then composers resulted in the refinement of polyphonic music and invented of newer, in fact more convenient methodology of singing. For example, an element of polyphonic music was introduced called ‘imitation‘. A method of having an independent line in a piece of music imitate, a few moments later, the melody of a previous line.

Baroque composers refined the possibilities in this imitative style of polyphony which later came to be known as ‘counterpoint’.

Then arrived fugue, which was the most elevated form of counterpoint. Fugue is the kind of complex musical argument worked out and brought to a clear resolution by multiple voices. Similarly, many musical form showed up which proved highly adaptable and engaging for instrumental music that was somehow meant for listening.  1700 AD can be considered as the golden age of western classical/baroque music when Handel’s water music demonstrated the versatility and expressive thoughts.

Baroque era also witnessed the rise of virtuoso performers who displayed their sterling technique and flair for embellishment (improvised ornamentation of melodic lines was a common occurrence). Several musical forms especially for the performing purpose such as concertos, sonatas, oratorios were developed for solo-instruments and singers. Handel was the preeminent oratorio composer of that period.

Ways To Improve Voice Production in Indian Classical music

In Indian classical music, it is pretty essential to sing in a good, pure voice, which not only keep your vocal chords in a comfort zone, but also seem soft and sweet for the listeners. Music of every community or country has its own peculiar style and intonations, but probably, almost all the musical cultures believe in the pure and full-throat voice which leads to aesthetically sound music. I am trying to explain some some proper ways to improve the voice quality while singing, which has incredibly helped me a lot in  rigorous practices and vocal recitals as well.

Continue reading

Seven Modes Interpreted With Indian Classical Ragas/Thaats

We are pretty familiar with the seven basic modes or scales in western music theory, which are considered useful in composing music. These seven modes are: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. For my better understanding and grasping  of these modes, I have tried to perceive how they resemble some of the Indian classical ragas. But Before that, I would like to exhibit a chromatic an octave table in both (Indian & Western) the disciplines.

Continue reading