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Early south indian composition from which the Kriti is derived |
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The method employed by Thyagaraja and other bhagavatars the involved going from house to house and playing for food. |
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Small version of the larger carnatic suite, the Kriti |
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Kirtana in praise of divine name |
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songs that are festive pieces celebrating the deity in a series of worshipful acts. |
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Caste of indian who is a priest or teacher |
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farmer, merchant, artisan caste member |
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First composer of Tamil kritis |
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temple ensemble musicians |
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Word from which raga is derived which means, “colored with a reddish tint.” |
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Crooked—refers to non-linear raga |
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Musical phrases of 2 or more swara that are important to a raga |
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Initial note or beginning note of a musical phrase |
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ending note of a musical phrase |
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Frequently occuring swara |
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Swara used only in passing/sparingly |
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kAmavardhini (Pantuvarali) |
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lower swara (in terms of placement within the solfege) |
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swara higher pitched (with regard to the solfege position) |
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What two ragas take ONLY tivra/komala swaras |
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A raga with notes absent in arohana/avarohana |
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consists of stopping on a particular note or singing the same note consecutively |
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taking swaras in ascending order |
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taking swaras in descending order |
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a mix of sthayi, arohi and avarohi singing |
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descendent who grouped the melakartas into chakras |
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when a swara or more is absent in A or Av. |
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both arohana and avarohana are varjya (missing a swara) |
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Swara where the vakra nature of the raga starts |
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swara where the vakra nature of a raga ends |
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