Karnatic


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Karnatic,

historic region, India: see CarnaticCarnatic
, historic region in SE India, comprising roughly the area between the S Coromandel Coast of the Bay of Bengal and the Deccan Plateau. The region comprised the domains of the nawabs of the Carnatic, who governed the territory (16th to early 17th cent.
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References in periodicals archive ?
Gopalnath was given tuition by the Palace band's saxophonist, Lakshmi Narasimhaiah, and then studied with Gopalkrishna Iyer, at which point he started to specialise in Karnatic interpretation.
Then the two drummers and I will play two or three Karnatic South Indian classical ragas.
Kadri Gopalnath and Evan Parker combine improvised jazz and Karnatic music tonight at MAC, Cannon Hill Park, at 8pm (box office: 0121 440 3838).
One of India's most popular and most socially provocative Karnatic vocalists, Krishna is this year's Ramon Magsaysay (RM) Awardee for Emergent Leadership, selected for his advocacy of dismantling the boundaries of India's caste system by taking Karnatic music beyond class limits.
The Chennai native was exposed to Karnatic music early, training at age 6 in the aristocratic classical art form his businessman father, T.M.
The five other 2016 RM awardees were India's crusader Bezwada Wilson and Karnatic musician Thodur Madabusi Krishna, and three private organizations: the Japan Overseas Cooperation Volunteers (JOCV), Laos' Vientiane Rescue, and Indonesia's Dompet Dhuafa (wallet of the poor).
Ramanathan: Copies can be had from, The Karnatic Music Book Centre, 2004.
Cameos: a collection of writings on Karnatic musicians of the late nineteenth and early twentieth centuries.
Bangalore: Vee Emm Publications; Chennai: distrb., Karnatic Music Book Centre, 2003.
Vedavalli; Copies can be had from Karnatic Music Book Centre, 2001.
He describes how the twenty-two microtonal steps in the octave can be distributed "[w]ithin the framework of the modern Karnatic rage system" (p.
A similarly tantalizing experience comes with the extraordinarily detailed list of melodic embellishments, the sthayas or thayas which the authors of the later medieval texts appear to have received directly from performing traditions; each of them is explained in musical and extramusical terms, reminiscent indeed of the ways in which present-day Hindustani and Karnatic musicians may describe their art, but in many of these older cases we must admit that interpretation is now guesswork.

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