Purana
Moral Story in the Gitas
Sankirtanam
Early south indian composition from which the Kriti is derived
Uncavritti Bhajana
The method employed by Thyagaraja and other bhagavatars the involved going from house to house and playing for food.
Kirtana
Small version of the larger carnatic suite, the Kriti
divyanam kirtana
Kirtana in praise of divine name
Utsava sampradaya
songs that are festive pieces celebrating the deity in a series of worshipful acts.
Brahmin
Caste of indian who is a priest or teacher
ksatriya
warrior or ruler caste
vaisya
farmer, merchant, artisan caste member
Sudra
Laboring caste
Adi dravida
outside caste member
Muttuttandavar
First composer of Tamil kritis
periya melam
temple ensemble musicians
Ranj
Word from which raga is derived which means, “colored with a reddish tint.”
Svara
“Radiating self”
Vakra
Crooked—refers to non-linear raga
Kampita
Shake or oscillation
Jaru
Slide
Jantai
Stressed note
Sancara/Prayoga
Musical phrases of 2 or more swara that are important to a raga
Jiva swara
life giving swara
Graha Swara
Initial note or beginning note of a musical phrase
Nyasa swara
ending note of a musical phrase
Dhirga
Prolonged note
Amsa Swara
Frequently occuring swara
Alpa swara
Swara used only in passing/sparingly
Padam
A dance composition
Javali
A dance composition
Kacceri
“court” in tamil
Pathantara
Style
Kanakku
Culculation
Mela 1
Kanakangi
Mela 2
Ratnangi
Mela 3
Ganamoorti
Mela 4
Vanaspati
Mela 5
Manavati
Mela 6
Tanaroopi
Chakra 1
Indu
Mela 7
Senavati
Mela 8
Hanumatodi
Mela 9
Dhenuka
Mela 10
Natakaprya
Mela 11
Kokilapriya
Mela 12
Roopavati
Chakra 2
Netra
Mela 13
Gayakapriya
Mela 14
Vakulabharanam
Mela 15
Vakulabharanam
Mela 16
Chakravakam
Mela 17
Suryakantam
Mela 18
Hatakambari
Chakra 3
AGNI
Chakra 4
VEDA
Mela 19
Jhankaradhwani
Mela 20
Natabhairavi
Mela 21
Keeravani
Mela 22
Kharaharapriya
Mela 23
Gowrimanohari
Mela 24
Varunapriya
Chakra 5
BANA
Mela 25
Mararanjani
Mela 26
Charukesi
Mela 27
Sarasangi
Mela 28
Harikambhoji
Mela 29
Dheera-sankarabharanam
Mela 30
Naganandini
CHAKRA 6
RUTU
Mela 31
Yagapriya
Mela 32
Ragavardhini
Mela 33
Gangeyabhooshani
Mela 34
Vagadheeswari
Mela 35
Soolini
Mela 36
Chalanatai
Mela 37

sAlagam

Mela 38
jalArnavam
Mela 39
JAlavarALi
Mela 40
navanItham
Mela 41
pAvani
Mela 42
raGupriya
Mela 43
gavAmbodhi
Mela 44
bhavapriya
Mela 45
shubhapanthuvarALi
Mela 46
shadhvidha mArgiNi
Mela 47
suvarNAngi
Mela 48
dhivyAmaNi
Mela 49
dhavalAmbari
Mela 50
nAmanArAyaNi
Mela 51

kAmavardhini (Pantuvarali)

Mela 52
rAmapriya
Mela 53
gamanashrama
Mela 54
vishvAmbhari
Mela 55
shyAmaLAngi
Mela 56
shanmuKapriya
Mela 57
simHendra madhyamam
Mela 58
HemAvathi
Mela 59
DharmAvathi
Mela 60
nIthimathi
Mela 61
kAnthAmaNi
Mela 62
rishabhapriya
Mela 63
lathAngi
Mela 64
vAchaspathi
Mela 65
mEchakalyANi
Mela 66
chithrAmbari
Mela 67
sucharithra
Mela 68
jyothisvarUpiNi
Mela 69
dhAtuvardhani
Mela 70
nAsika bhUshaNi
Mela 71
kosalam
Mela 72
rasikapriya
Komala swara
lower swara (in terms of placement within the solfege)
Tivra swara
swara higher pitched (with regard to the solfege position)
What two ragas take ONLY tivra/komala swaras
Thodi and Kalyani
Varjya raga
A raga with notes absent in arohana/avarohana
Sthayi singing
consists of stopping on a particular note or singing the same note consecutively
Arohi singing
taking swaras in ascending order
avarohi singing
taking swaras in descending order
sancari singing
a mix of sthayi, arohi and avarohi singing
Jati
Precursor to raga
Muddu Venkatakhin
descendent who grouped the melakartas into chakras
Varjya raga
when a swara or more is absent in A or Av.
Ubhaya varjya
both arohana and avarohana are varjya (missing a swara)
Vakra swara
Swara where the vakra nature of the raga starts
vakrantya swara
swara where the vakra nature of a raga ends