This essay is now published in my book:
The Musician and His Art: Deepak Raja
Foreword by: Prof. Daniel M Neuman
The Raga-ness of Raga-s
By: Deepak Raja. Foreword: Dr. Ashwini Bhide-Deshpande.
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Since Bhatkhande’s documentation of raga grammar in the first quarter of the 20th century, “Vadi” and “Samvadi” swaras have been the pivot...
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Though there are, indeed, raga-s by this name, Sampoorna Malkauns cannot be considered the name of a specific raga with well-defined melodic...
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Marwa, Puriya, and Sohini are three ragas born from the same scale (S-r-G-M^-D-N). The three are also amongst the most popular ragas in Hin...
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Purva (also called Purvya) belongs to a cluster of ragas bearing a family resemblance to raga Puriya in terms of swara material, and phraseo...
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Shamsuddin Faridi Desai, amongst the last Rudra Veena players of the pre-independence generation, was not an easy man to interview. I tri...
Hindustani music: a tradition in transition
By Deepak Raja, Foreword: Pt. Shivkumar Sharma. Order from: indology@dkprintworld.com
Hindustani Sangeet and a Philosopher of Art
Author:SK Saxena, Publisher: DK Printworld, New Delhi
Khayal Vocalism: Continuity within Change
By Deepak Raja. Foreword:Pt. Ulhas Kashalkar. Order from: indology@dkprintworld.com
