Raga subhalakshmi

[Sriram Devanathan]

Hi. I was listening to a composition of Ustad Amjad Ali Khan's, in raga
subhalakshmi (which he dedicated to his lovely wife). Taking this as an example,
what happens in these cases? Do other people play in this raga, or is it the
exclusive 'property' of the composer?
Also, how may ragas are there with names containing 'chandra'? I know of
chandramouli, chandrajyoti, and chandrakauns. Any others?

Thanks
Sriram

[Krishna Kunchithapadam]

In article <1993Mar1...@IASTATE.EDU>
: sri...@IASTATE.EDU (Sriram Devanathan) writes:
:
:Hi. I was listening to a composition of Ustad Amjad Ali Khan's, in raga

:subhalakshmi (which he dedicated to his lovely wife). Taking this as an example,
:what happens in these cases? Do other people play in this raga, or is it the
:exclusive 'property' of the composer?

:

Thank heavens we don't have the equivalent of intellectual
copyright and patenting in Indian music (yet). If the creators of
a rAga were the only people to perform it, we would'nt even know
most of the scales that are in vogue today.

Anything good will (and should) survive of its own accord.

A smattering of examples from various points in time:

[1] ha~sadhvanE: rAmasvAme dhEkShethar
[2] ABogE: thyAgarAja
[3] centhAmaNE: syAmA-SAsthre
[4] karNa-ra~janE: muththiyyA-BAgavathar
[5] mahathE: bAlamurale-kRShNa

I don't think anyone will doubt the popularity of ha~sadhvanE or
ABogE, centhAmaNE is certainly sung in concerts (in its many
forms, giving us fodder for discussion on RMIC), karNa-ra~janE
and mahathE are being used in concerts and in film songs.

In none of these cases, has the rAga been considered the
"exclusive property" of the composer. The last thing Indian music
needs is people debating the "look and feel" of rAgas,
compositions and renditions.

Art is meant to be shared, not kept in closets.

:
:Also, how may ragas are there with names containing 'chandra'? I know of

:chandramouli, chandrajyoti, and chandrakauns. Any others?

:

$ grep '^candhr' raganames.txt

candhrA
candhra-
-kalA
-kAntham
-kAnthA
-gAndhAram
-keraNE
-kauns
-kauseka
-kaesapreyA
-SeKarapreyA
-cUdapreyA
-cUda
-praBA
-mandala
-dharE
-dhaeSeka
-maeGa
-jyothe
-vadhana
-svarUpE
-Urcetha
-SrE

candhrAgya

candhrekA
candhrekA-
-gauLa
-dhAvaLE
-thode

candhrodhaya

Depending on your raganames.txt file, you may be able to find
other matches. I have heard of ``gathe-baeDha-preyA'' and
``ra~jana-mAlA'', but ``candhra-mAlA'' is something new. Most of
the above names mean little in contemporary music.

--Krishna

[Arthur Levine]

Rag "Chandra Neel" (maybe Bing Crosby should get in on this!)

- performed by O.M. Chourasia, on santur
- Sonodisc (France), ESP 165 543
- appears to = Chandrakauns + Pa on way down

With compliments,

ART

[John Campana]

In article <1993Mar16.0...@epas.toronto.edu> ale...@epas.utoronto.ca (Arthur Levine) writes:
>Rag "Chandra Neel" (maybe Bing Crosby should get in on this!)
>
>- performed by O.M. Chourasia, on santur
>- Sonodisc (France), ESP 165 543
>- appears to = Chandrakauns + Pa on way down

>ART

Let us not forget Chandrakaushiki by Nikhil Banerjee and the
stupendous Chandranandan by Ali Akbar Khansahib. There is also
Chandrakant of Kalyan thath, Chandra Kalyan, Chandni Kalyan (perf. by
Vilayat),and a Chandrika by J.D. Patki.

Have never heard Raag Subulakshmi. Some raags end up being the sole
property of the composer by default, since nobody besides a disciple
or two will touch them. The proof of acceptance is in gharana cross
migration while the composer is still alive. Chandranandan is a good
example of a living classic. I heard it performed vocally once.

While on this topic, can anyone shed some light on Hemant and Manj
Khamaj, both by Allauddin Khan. Or are they? These seem to have
successfully crossed the gharana borders.

John Campana

[Sriram Devanathan]

In article <krisna.7...@cs.wisc.edu>, Krishna Kunchithapadam

<kri...@cs.wisc.edu> writes:
>
> Thank heavens we don't have the equivalent of intellectual
> copyright and patenting in Indian music (yet). If the creators of
> a rAga were the only people to perform it, we would'nt even know
> most of the scales that are in vogue today.
>
> Anything good will (and should) survive of its own accord.
>
>
> A smattering of examples from various points in time:
>
> [1] ha~sadhvanE: rAmasvAme dhEkShethar
> [2] ABogE: thyAgarAja
> [3] centhAmaNE: syAmA-SAsthre
> [4] karNa-ra~janE: muththiyyA-BAgavathar
> [5] mahathE: bAlamurale-kRShNa
>
>
> I don't think anyone will doubt the popularity of ha~sadhvanE or
> ABogE, centhAmaNE is certainly sung in concerts (in its many
> forms, giving us fodder for discussion on RMIC), karNa-ra~janE
> and mahathE are being used in concerts and in film songs.
>
> In none of these cases, has the rAga been considered the
> "exclusive property" of the composer. The last thing Indian music
> needs is people debating the "look and feel" of rAgas,
> compositions and renditions.
>
> Art is meant to be shared, not kept in closets.
>

I was a little amused and quite happy to note the indignant response. However,
it is perhaps misplaced. When I said "exclusive property', I of course meant it
figuratively!!! Take as an example, [5] above, raga mahathE, because it is a
contemporary artist. Have you heard many other artists (other than BMK) sing in
this raga? (again, this is a question not a rebuttal)
BTW thanks for the 'chandra' list.

Another
"thank heavens we don't have intellectual copyright in Indian Music" person

Sriram

[Srinivasan Pichumani]

In article <1993Mar1...@IASTATE.EDU> sri...@IASTATE.EDU (Sriram Devanathan) writes:

>figuratively!!! Take as an example, [5] above, raga mahathE, because it is a
>contemporary artist. Have you heard many other artists (other than BMK) sing in
>this raga? (again, this is a question not a rebuttal)
>

>Sriram

This is not really an answer to your question; but
wasn't Mahati used almost right away in film music; The song
"adisaya rAgam" in the (circa 76) K.Balachander movie "apUrva rAgangaL"
is based on this rAgam whose scale is S G3 P N2 S/S N2 P G3 S .
The usage of this rare rAga was very apt considering the name of the
movie and the opening words of this song.

-Srini.

[V Chandramouli]

Hi,
Is there a raaga called "chandramouli"? If so could anyone post the aarohanam-
avarohnam of this raaga and any known compositions in this raaga.
Reason ? See below:-)

--V.Chandramouli

[Seetamraju UdayaBhaskar Sarma]

<kri...@cs.wisc.edu> () writes:
-+>Thank heavens we don't have the equivalent of intellectual
-+>copyright and patenting in Indian music (yet). If the creators of
-+>a rAga were the only people to perform it, we would'nt even know
-+>most of the scales that are in vogue today.

-+>A smattering of examples from various points in time:
-+>
-+>[1] ha~sadhvanE: rAmasvAme dhEkShethar
-+>[2] ABogE: thyAgarAja
-+>[3] centhAmaNE: syAmA-SAsthre
-+>[4] karNa-ra~janE: muththiyyA-BAgavathar
-+>[5] mahathE: bAlamurale-kRShNa

Getting ambitious enough to slime into these discussions :-)

I would love to hear stories about how these ragas were created --
the motivating sequence of events...

We all have seen the raging discussions on cintaamaNii (Sorry Kris :-) I use
telugu script developed on s.c.i.telugu )

And I heard from the vidwan_suraalu here in Detroit (Smt. Bhaanumati caari) that
prati mAdhyamaavati was created by ma~galampalli bAlamurali kRshna
while he was in a drunken state, and mistakenly `tripped' on another ragam !

Someone with more details ?

---
Seetamraju Udaya Bhaskar Sarma
(email : seetam @ ece7 . eng . wayne . edu)

[Arthur Levine]

Amjad Ali Khan - Raag Subhalakshmi (8:00) - T-Series SICCD 019
- sounds like "tossed swara salad" -- no problem with intellectual
copyright here!

Your faithfully,
ART

[Arthur Levine]

Rag Chandramauli, Pannalal Ghosh (bansuri). HMV - EBLP 1752 (1963);
reissued HMV - EALP 1354 (1971) & Odeon - EALP 1354 (1971).
- accompanists unidentified
- original issue on 10", reissues on 12" with addition of 2 tracks
- my turntable is on the fritz, so I can't tell you how it goes!

Your servant,
Art Levine

[Arthur Levine]

In article <1993Mar17.1...@epas.toronto.edu> jcam...@epas.utoronto.ca (John Campana) writes:

>Could you tell us a little about Mishra Byriani or was it rAg "tribute
>to America" by Amjad Ali Khan Art? Then I'll tell you about rAg Miyan
>Ki Mallarki.
>
>John
>

But, John, my BIG problem with Amjad's music is that I happen to enjoy
it! What to do?

This statement posted publicly to allay any suspicion that we are all
"Amjad-bashers" in Toronto. Count me out. Besides, just think of all
the "Tribute" rags you can have. And all of them above criticism,
since no-one except the performer knows how they are supposed to go.
Why didn't WE think of this?

Your truly,
Art

[Sriram Devanathan]

This brings to mind another rare piece. Its one in raag 'deepawali'. I have an
out of the world recording of the legendary Pannalal Ghosh's. (Has chandramouli,
yaman, bhairavi and something else). Can anyone shed light on this (raag)? Is
any other artist known to have played it?

Thanks in advance
Sriram

[Shiv Naimpally]

In article <1993Mar18....@epas.toronto.edu>, ale...@epas.utoronto.ca (Arthur Levine) writes:
|> But, John, my BIG problem with Amjad's music is that I happen to enjoy
|> it! What to do?
|>
|> This statement posted publicly to allay any suspicion that we are all
|> "Amjad-bashers" in Toronto. Count me out. Besides, just think of all
|> the "Tribute" rags you can have. And all of them above criticism,
|> since no-one except the performer knows how they are supposed to go.
|> Why didn't WE think of this?

PLEASE ! While I do like Amjad's early stuff, his raga 'creations'
are simply dreadful. I had the misfortune to hear Amjad play his
made up raga 'Haripriya'. Yechh! 'Baisura' is a more apt title for
this kind of nonsense. Art, I can't believe you like this drivel !

[Shiv Naimpally]

Deepavali was one of Pannalal's own creations. Only his disciples
such as Devendra Murdeshwar play it.