Lalit (raga) - Revision history

UpdateBot: robot: Update article (please report if you notice any mistake or error in this edit)

2021-09-18T13:42:49Z

robot: Update article (please report if you notice any mistake or error in this edit)

← Older revision		Revision as of 19:12, 18 September 2021
(No difference)

2401:4900:51C0:5169:1865:78B2:FB0B:62FF: Removed blank rows and columns. Added some citations, and explainery test

2021-07-13T16:50:44Z

Removed blank rows and columns. Added some citations, and explainery test

← Older revision		Revision as of 22:20, 13 July 2021
Line 19:		Line 19:
	}}		}}
	{{Hindustani Classical Music}}		{{Hindustani Classical Music}}
	'''Lalit''' is a [[raga]] in [[Hindustani classical music]]. It is commonly described as serene and devotional and is performed at dawn.<ref name="Bor104">{{cite book \|title=The Raga Guide \|last=Bor \|first=Joep \|author2=Rao, Suvarnalata \|author3=Van der Meer, Wim \|author4=Harvey, Jane \|year=1999 \|publisher=[[Nimbus Records]] \|isbn=0-9543976-0-6 \|page=104 \|url=https://books.google.com/books?id=YEbxAAAACAAJ}}</ref>		'''Lalit''' is a prominent [[raga]] in [[Hindustani classical music]]. It is commonly described as serene and devotional and is performed at dawn time of the day.<ref name="Bor104">{{cite book \|title=The Raga Guide \|last=Bor \|first=Joep \|author2=Rao, Suvarnalata \|author3=Van der Meer, Wim \|author4=Harvey, Jane \|year=1999 \|publisher=[[Nimbus Records]] \|isbn=0-9543976-0-6 \|page=104 \|url=https://books.google.com/books?id=YEbxAAAACAAJ}}</ref>

	The [[swara]] (notes of the Indian musical scale) of Lalit put emphasis on the minor second (Re) and minor sixth (Dha), and include natural and sharp fourth (Ma), but omit the commonly used perfect fifth (Pa).<ref name="Lavezzoli">{{cite book \|title=The Dawn of Indian Music in the West \|last=Lavezzoli \|first=Peter \|year=2006 \|publisher=[[Continuum International Publishing Group]] \|isbn=0-8264-1815-5 \|page=229 \|url=https://books.google.com/books?id=OSZKCXtx-wEC&pg=PA229}}</ref> Author Peter Lavezzoli stated the raga was difficult to play for [[Classical music\|Western classical musicians]] because of its scale.<ref name="Lavezzoli" /> Jairazbhoy argued the use of both forms of Ma was an apparent [[chromaticism]], but that one of the Ma notes was a diminished Pa.<ref>Jairazbhoy 1995, p. 49</ref> Lalit with a different scale was identified in the 16th century, and a raga Lalita existed before.<ref name="Bor104" />		The [[swara]] (notes of the Indian musical scale) of Lalit put emphasis on the minor second (Re) and minor sixth (Dha), and include natural and sharp fourth (Ma), but omit the commonly used perfect fifth (Pa).<ref name="Lavezzoli">{{cite book \|title=The Dawn of Indian Music in the West \|last=Lavezzoli \|first=Peter \|year=2006 \|publisher=[[Continuum International Publishing Group]] \|isbn=0-8264-1815-5 \|page=229 \|url=https://books.google.com/books?id=OSZKCXtx-wEC&pg=PA229}}</ref> Author Peter Lavezzoli stated the raga was difficult to play for [[Classical music\|Western classical musicians]] because of its scale.<ref name="Lavezzoli" /> Jairazbhoy argued the use of both forms of Ma was an apparent [[chromaticism]], but that one of the Ma notes was a diminished Pa.<ref>Jairazbhoy 1995, p. 49</ref> Lalit with a different scale was identified in the 16th century, and a raga Lalita existed before.<ref name="Bor104" />
Line 27:		Line 27:
	As can be seen from above, the raga uses both the flat and the upper Ma and that makes this raga very distinct from other ragas. Deliberate oscillation on the cusp formed between Ma-Ma# and Ni is commonly heard.		As can be seen from above, the raga uses both the flat and the upper Ma and that makes this raga very distinct from other ragas. Deliberate oscillation on the cusp formed between Ma-Ma# and Ni is commonly heard.

	In the Gwalior tradition, and among many dhrupadiyas, Lalit is sung with a shuddh dhaivat (natural sixth), and has a slightly different chalan (way of moving).		In the [[Gwalior gharana\|Gwalior tradition of singing]], and among many dhrupadiyas(colloquial term used to refer [[Dhrupad]] singers), Lalit is sung with a shuddh dhaivat (natural sixth), and has a slightly different chalan (way of moving).

	== Film songs ==		== Film songs ==
Line 67:		Line 67:
	\|[[Naushad]]		\|[[Naushad]]
	\|Lata Mangeshkar, [[Mohd Rafi]]		\|Lata Mangeshkar, [[Mohd Rafi]]
			\|}

			== Hindustani Classical Music Composition(Bandish) set in Raga Lalit ==
			{\| class="wikitable"
			\|+
			!Creator - Composer
			!Taal
			!Composition(Bandish)
			\|-
			\|[[Gokulotsavji Maharaj\|Acharya Pandit Dr Gokulotsavji Maharaj]]
			\|Matta Taal
			\|"ऐसो ढ़ीत लंगरवा"<ref>{{Cite book\|last=Mathur\|first=Dr.Neeta\|title=Shashtriya Sangeet Ke Surya Acharya Pandit Dr Gokulotsavji Maharaj\|publisher=Raadha Publication\|year=2011\|isbn=978-81-7487-765-9\|location=New Delhi\|pages=71}}</ref>
	\|}		\|}

>FrescoBot: Bot: link syntax

2021-07-06T17:07:15Z

Bot: link syntax

New page

{{Other uses|Lalit (disambiguation){{!}}Lalit}}
{{Infobox raga
| name = Lalit
| image_name =
| image_alt =
| thaat = [[Poorvi (thaat)|Poorvi]]
| type =
| time =
| season =
| arohana =
| avarohana =
| vadi =
| samavadi =
| pakad =
| chalan =
| synonym =
| equivalent =
| similar =
}}
{{Hindustani Classical Music}}
'''Lalit''' is a [[raga]] in [[Hindustani classical music]]. It is commonly described as serene and devotional and is performed at dawn.<ref name="Bor104">{{cite book |title=The Raga Guide |last=Bor |first=Joep |author2=Rao, Suvarnalata |author3=Van der Meer, Wim |author4=Harvey, Jane |year=1999 |publisher=[[Nimbus Records]] |isbn=0-9543976-0-6 |page=104 |url=https://books.google.com/books?id=YEbxAAAACAAJ}}</ref>

The [[swara]] (notes of the Indian musical scale) of Lalit put emphasis on the minor second (Re) and minor sixth (Dha), and include natural and sharp fourth (Ma), but omit the commonly used perfect fifth (Pa).<ref name="Lavezzoli">{{cite book |title=The Dawn of Indian Music in the West |last=Lavezzoli |first=Peter |year=2006 |publisher=[[Continuum International Publishing Group]] |isbn=0-8264-1815-5 |page=229 |url=https://books.google.com/books?id=OSZKCXtx-wEC&pg=PA229}}</ref> Author Peter Lavezzoli stated the raga was difficult to play for [[Classical music|Western classical musicians]] because of its scale.<ref name="Lavezzoli" /> Jairazbhoy argued the use of both forms of Ma was an apparent [[chromaticism]], but that one of the Ma notes was a diminished Pa.<ref>Jairazbhoy 1995, p. 49</ref> Lalit with a different scale was identified in the 16th century, and a raga Lalita existed before.<ref name="Bor104" />

Pakad - Chalan of Lalit: Re♭, Ma-Ma#-Ma Ga Ma, Ma#Ni, Sa

As can be seen from above, the raga uses both the flat and the upper Ma and that makes this raga very distinct from other ragas. Deliberate oscillation on the cusp formed between Ma-Ma# and Ni is commonly heard.

In the Gwalior tradition, and among many dhrupadiyas, Lalit is sung with a shuddh dhaivat (natural sixth), and has a slightly different chalan (way of moving).

== Film songs ==
=== Language:[[Tamil language|Tamil]] ===
{| class="wikitable"
!Song
!Movie
!Composer
!Singer
|-
|Vazhkkai Odam
|''[[Aval Appadithan]]''
|rowspan=3|[[Ilaiyaraaja]]
|[[S. Janaki]]
|-
|Engeyo Etho (Charanam in Lalit)
|''[[Nadhiyai Thedi Vandha Kadal]]''
|[[S. P. Balasubrahmanyam]], [[P. Susheela]]
|-
|Dheiveega Raagam
|[[Ullasa Paravaigal]]
|[[Jency Anthony]], [[Vani Jairam]]
|}

=== Language:[[Hindi language|Hindi]] ===
{| class="wikitable"
!Song
!Movie
!Composer
!Singer
|-
|Raina Beeti Jaye
|''[[Amar Prem]]''
|[[R.D. Burman]]
|[[Lata Mangeshkar]]
|-
|Ek shehenshah ne banwake
|[[Leader (1964 film)|''Leader'']]
|[[Naushad]]
|Lata Mangeshkar, [[Mohd Rafi]]
|}

==References==
{{reflist}}

==External links==
* [http://oceanofragas.com/ocean_htmlpages/Lalit.html More details about the Lalit raga]

{{Rāgas as per Performance Time}}

[[Category:Hindustani ragas]]