Kailash Kher – Musician that having magic in his voice The Real God Gift

In 2003, There is song came and became chart-buster name of song is “Allah k bande” Sung by extremely talented singer that's Kailash kher. From that day till today if there is any sufi song,any romantic song sad version and any devotion song evry composer first choice is Kailash kher. On one day I was seeing a program on TV and that day I know he is very good human being that helps poor child.


Legendry A.R.Rehman says

”I remember how I first heard of him. I had asked Mehboob, our lyricist, for a new voice that is earthy and strong, and he said, I have just the person for you. That voice can only be that of Kailash!' And he sent Kailash to meet me.“

Good Going Kailash Keep it up

Its my favorite singer Right Now

A guy coming from cool state but when he sings environment became so hot,yes its one and only one Mohit chauhan. A Himachal-delhi mix boy,after doing graduation Mohit moves to Bombay. Sorry, but I love bombay not mumbai. There he set-up a band and released his album named “SILK ROUTE”.That a big hit.Mohit is very good guitarist. After that he separate from band & sang individually .Pritam gave him a successful song “tum se hi” What a song it is .That song sung by mohit chauhan that made so romantic defaultly. Its my favorite romantic singer now a days.

Rising Star of indian Music

Hi, all


if u r seeing indian music right now there there are so many names in your mind.But now a days one lyricist impress everyone that is Prasoon Joshi.What a lyricist it is as i know prasoon first a ad-maker but now he is shining in celluloid. In dec 2008 Ghajini & now Delhi-6 in feb 2009 songs of both movies are becoming chartbuster as released.

So my good wishes to Prasoon do work like that all time.
Good Day All.

INDIAN CLASSICAL MUSIC

The word music in India means 'Sangeeta', which traditionally meant performing the art of singing, playing of instruments and dancing.

Indian classical music originated from Vedic chants or Sama music. This music chiefly consisted of chanting of hymns in praise of the Vedic gods. The musical structure of the chants was characterised by descending order of notes, initially two to five which later was increased to seven notes. Gradually various developments took place and this culminated in the Raga tradition.

The Raga (structure of melody) and Tala (structure of rhythm) are the two major characteristics of Indian Classical music. The melody deals with the rise and fall of sounds and the latter deals with the pattern of time beats of Ragas.

Tala is the pulse of Indian music. The term Tala is derived from the Sanskrit word 'Tal' which means to strike with palms. Early musicians may have employed claps or palm-strokes to mark time in dance and music which later developed into a complicated system of 108 talas of classical music. It is a time cycle that remains fixed through out a particular rendering. Tala, binds music together and offer a regularity that calms the mind.

Raga is the basic scale or note-pattern of a melody formed by selecting notes from the thirteen tonal intervals, conventionally established in the octave space. The notes are selected from ascending as well as descending progressions. They are Sa, Re, Ga, Ma, Pa, Dha, Ni in the ascending order and Sa, Ni, Dha, Pa, Ma, Ga, Re, Sa in the descending order. Frameworks, thus provided by the selected notes function as the ground-plan. Musicians can elaborate Ragas on the basis of this plan and create more tonal patterns pleasing to the ears of the listeners.

Ragas in the South mostly have Sanskrit names, unlike in the North, where their names often comes from specific region or from the dialects of regions.

Tala and raga varies in each composition. Sometimes Tala is more active and controls the other or vise versa. This depends on the person performing the music.

Music is a universal art. The two cultures of the south and the north gave rise to the two modes of singing-Uttaradi and Dakshinadi or Hindustani and Karnatic.

North Indian Music offers a variety of forms of music like the Dhruvapada, Khyal, Thumari, Tappa and Ghazal. The dhruvapada is a strictly classical and a slow form. The khyal incorporates into this rigidity, the romanticism of yet another form, the thumari. All these forms follow the same basic tenets of the raga-tala system. The thumari is used quite extensively to accompany the dance Kathak. This is because it incorporates a high degree of emotional and aesthetic content, from the bottom of the heart. The tappa is a lighter form of classical music that is brisk and replete with a variety of phrases, which makes it particularly difficult to render without a good degree of virtuosity.

North Indian music has a wide range of ancient and beautiful instruments, each having a tone quite unique. Some of the more well known are the sitar, the sarod, the rudraveena, the santoor, the flute, the shehnai and the sarangi. Among the percussion instruments are the tabla and the pakhawaj. The tabla is used as an accompaniment to most music recitals. The pakhawaj has a deeper tone than the tabla.

Karnatic music has a deeper understanding of 'notal' values and their inter-relations. The musician of the south adheres very firmly to the tala cycle. Karnatic music is rigid and deeply spiritual. Thus, taste for Karnatic music has to be cultivated. The dominant element of Karnatic music is the 'Kriti'; a form of composition with three parts. The literary content of the Kritis or songs, are in the form of offerings.

The three great composers known as the trinity of Karnatic music are Shyama Sastry, Thyagaraja and Muthuswamy Dikshitar. Tyagaraja is the most popular among them. The music compositions, 'Tyagaraja Gana', 'Valmikiya Kavana' and 'Agumbeya Astamaya' are said to be unique for enrapturing the human heart. The flute, the violin, the veena, the nadaswaram and the gottuvadyam are among the most well known South Indian instruments.

Article source: http://www.webindia123.com/music/music1.htm

Modern Indian Music

In the present day, there are far less people who enjoy Indian classical music as they feel it is too slow for them. Many youngsters go a step further terming classical music to be boring. But then, enjoying music is a personal journey and purely depends on the moods. However, in keeping with times and demands, today, most music composers have shifted from the classical to newer forms, whereby they imbibe the Indian melody and tunes with the western beats.



Modern Indian music comprises:

· Remixes, where old tunes are blended with faster beats making them popular amongst the younger generation. These are generally played at discos and parties.

· Fusion is that type of music where Indian classical music is combined with the western music forms to create a musical mix of east and west

· Film music is in fact extremely popular amongst people of all age groups. In fact an Indian film is considered incomplete without songs with the heroes and heroines dancing. Undoubtedly there is a clear distinction between the type of songs that were composed between the 1940s and 1980s and those composed ever since

· Indi pop, which is basically the Indian version of the western pop music. There are number of young artists who sign up with music companies to cut an album of pop songs in Hindi and other regional languages.



Modern Indian music has more of the western influences and barely imbibes any of the traditional forms. In fact even the basics of classical Indian music, raga and taal, has been removed from the latest compositions with composers using the western scale and tones. In fact the new music being generated brings in the older styles and blend them into the western chords, thus creating a fusion of east meets west type of music.

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ORIGIN OF INDIAN MUSIC

Indian music has a very long, unbroken tradition and is an accumulated heritage of centuries. It is believed that the sage Narada introduced the art of music to the Earth. The origin can be traced back to Vedic days, nearly two thousand years ago. It is said that the sound that pervades the whole universe, i.e. Nadabrahma, itself represents the divinity. Organised Indian music owes its origin to the Samaveda. The Veda has all the seven notes of the raga karaharpriya in the descending order. The earliest Raga is speculated to be 'Sama Raga'. Theories and treatises began to be written about how the primitive sound 'Om' gave rise to the various notes. The first reference to music was made by Panini (500 BC) and the first reference to musical theory is found in Rikpratisakhya (400 BC). Bharata's Natya Sastra (4th Century AD) contains several chapters on music. This is probably the first work that clearly elaborated the octave and divided it into 22 keys. The next major work on music was Dathilam, which also endorses the existence of the 22 sruti per octave and even goes to suggest that these 22 srutis are the only ones a human body could make. This view was expressed again by another musicologist of the 13th century AD Saranga Deva in his famous work Sangeeta Ratnakara. Saranga Deva, among other things, defined almost 264 Ragas, including some Dravidian and North Indian ones. He also described the various 'kinds' of 'microtones' and also classified them into different categories. Of the other important works on Indian music, mention may be made of Brihaddesi (9 AD) written by Matanga, which attempts to define the word 'Raga', Sangeeta Makaranda (11th century AD) written by Narada, which enumerates 93 Ragas and classifies them into masculine and feminine species, Swaramela-kalanidhi of Ramamatya (16 AD) and Chaturdandi-prakssika of Venkatamakhi (17 AD).



It took a long time for music to come to its present-day form. In the beginning music was devotional in content and was purely used for ritualistic purposes and was restricted to temples. During the late Vedic period (3000-1200 BC), a form of music called Samgana was prevalent which involved chanting of the verses set to musical patterns. Various forms of music like Jatigan were evolved to narrate the epics. Between 2-7 AD a form of music called Prabandh Sangeet, which was written in Sanskrit, became very popular. This form gave way to a simpler form called dhruvapad, which used Hindi as the medium. The Gupta Period is considered as the golden era in the development of Indian music. All the music treatises like Natya Shastra and Brihaddeshi were written during this period.

One of the strongest and most significant influences on Indian music has perhaps been that of Persian music, which brought in a changed perspective in the style of Northern Indian music. In the 15th century AD, as a result of the patronage given to the classical music by the rulers, the devotional dhruvapad transformed into the dhrupad form of singing. The khayal developed as a new form of singing in the 18th century AD. The Indian classical music, thus, developed from the ritualistic music in association with folk music and other musical expressions of India's extended neighbourhood, developing into its own characteristic art. It is then that the two schools of music resulted, the Hindustani (North Indian music) and the Carnatic (South Indian music). Historical roots of both Hindustani and Carnatic classical music traditions stem from Bharata's Natyashastra. The two traditions started to diverge only around 14th Century AD. Carnatic music is kriti based and saahitya (lyric) oriented, while Hindustani music emphasises on the musical structure and the possibilities of improvisation in it. Hindustani music adopted a scale of Shudha Swara saptaka (octave of natural notes) while Carnatic music retained the traditional octave. Both systems have shown great assimilative power, constantly absorbing folk tunes and regional tilts and elevating many of them to the status of ragas. These systems have also mutually influenced each other.

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