Palghat raghu biography sample
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As mentioned in the title, one of the themes of this blog is music. I thought I might as well uppstart the musical posts now&#;
Carnatic (classical south Indian) music is very close to my heart, having studied it for the past 17 years or so. In my opinion, it is one of the greatest systems of music in the world, due to the exquisitely structured and scientific formulation of rhythm and rhythm cycles, as well as melodic scales. An even higher premium is placed on the ability to improvise in this style of music than in any other style in the world; this leads to the expression that &#;no two Carnatic concerts are ever the same&#;, even if they have the same artists performing, and even if they sing the same songs!
On this note, the topic for today is the legendary mrudangam vidwan Shri. Palghat T. S. Mani Iyer.
I start with Shri Mani Iyer because I am reminded of an incident several years ago. During the December music årstid in Madras some time ago, Karaikudi Mani had arranged
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Remembering Palghat Raghu
Vol. 67, No. 1 Ethnomusicology Spring Remembering Palghat Raghu Toby Wren Abstract. Palghat Raghu was a master of the mridangam and one of the leading figures in South Indian Carnatic music. In this article, I want to contribute a perspective on his musical life and, through my reflections on my time with him, contribute insights toward a fuller understanding of Carnatic music and Western engagements with it. I do so by drawing on fieldwork I conducted in Chennai, India, at various times between – Specifically, I use examples of solkattu from my lessons with him to illustrate Raghu’s approach to rhythm and the general rhythmic approach within Carnatic music, including the kinds of musical-cognitive skills involved in rhythmic production within the Carnatic system. bygd describing aspects of his practice and his various interactions with other musicians, I also reflect on his position as a culture-bearer and on the relationships between musical cultures. I ar
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Abhishek Raghuram interview: ‘There’s no right and wrong in art. For me, it’s about self-expression’
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And that unconventional daring approach makes his music unpredictable, remarkably exciting and often genre-bending. Just like vintage wine, no two concerts of Abhishek are the same. For the same reasons, when he sings the same raga twice in a concert, they don’t sound the same, or even close to each other.
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Born in a family of celebrated musicians &#; Palghat Raghu, the yesteryear doyen of mridangam, was his paternal grandfather and the legendary violinist Lalgudi Jayaraman was his paternal grand-uncle &#; Abhishek grew up listening to classical music. He learned both vocal music and mridangam under the fond supervision of Palghat Raghu and started performing publicly from the age of He also pla