Tuesday, February 16, 2016

Rasa & Bhava in Indian Music - 05 of 06

Following is the flow of the fifth of six part special, Rasa & Bhava in Music:

- snippet of tere mere sapne ab ek rang hain (Guide,1965)
- A single raga can evoke diverse feelings and thus we discuss compositions where two or more bhaav are used in varying proportion
- Understanding rasa in Indian music
- How does one rasa give way to another like shringar to hasya, raudra to karuna, veera to adbhuta and bibhatsa to bhayanaka?
- How audiences experience and enjoy the dominant mood (sthayi-bhava) created by various bhava and abhinaya in a composition. This experience, which is possible only through mental perception is termed as natyarasa.
- What happens when we blend two dominant moods together in a single composition?
- To explain this in detail, we take raga nand as an example - traditionally, raga nand stimulates shaant rasa and can float into shringar as well karuna rasa. So we will listen to raga nand in three different forms with varying proportions of shringar and karuna rasa.
- snippet of tu jahan jahan rahega mera saaya (Mera Saaya,1966)

Hope you enjoy listening to the show, Bollywood Rewind: Rasa & Bhava in Indian Music (05 of 06) –

https://www.youtube.com/watch?v=xrNqVfnq8qk


I do not own rights for the songs and the visuals used in this video. If any concerned individual or an organization has an objection to the music or visuals used here, kindly notify me and I’ll promptly pull it down.

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