![]() Large swaths of the Hindustani ragaspace remain beholden to this that for it is the mother lode of not only major ragas but also of several key ragangas (Kanada, Malhar, Bhimpalasi, Dhanashree, Bageshree and so on).Īs mentioned in the prefatory remarks, Raga Kafi has come to us from folk music. It corresponds to the 22nd Carnatic melakarta Kharaharapriya, known in early Carnatic literature as Shree-raga mela, and wields the following swara-set: S R g M P D n. The Kafi that is among the ten proposed by Pandit Vishnu Narayan Bhatkhande in his taxonomic scheme. Throughout this essay M represents the shuddha madhyam. That is to say, their conveyance is largely via auxiliary genres such as hori, dadra, thumri, bhajan and geet instead of the weighty classical forms like dhrupad and khayal. Although these tunes over time have come to be formalized into ragas, they remain consigned to the bucket of kshudra ragas. ![]() Besides sharing genetic material these ragas have another common attribute: they have arisen from dhuns, with their fons et origo in the province of folk music. In this paper we train our sights on Raga Kafi and its tributaries, namely, Sindhura, Barwa, Neelambari and Piloo. The distinguished ragas, Bhimpalasi and Bageshree, associated with the Kafi that have been the subjects of an earlier inquiry. Parrikar with Kishore Kumar in Goa (1986) ![]()
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