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About Susarla Dakhinamurthy
Susarla Dakshinamurthi Jr. was an Indian music composer, playback singer, record producer, Carnatic musician, multi-instrumentalist, and an eminent violinist known for his works in the South Indian film industry, Hindi cinema, Sri Lankan cinema, and Hollywood.
Susarla Dakshinamurthi Jr. (Telugu: సుసర్ల దక్షిణామూర్తి; 1921 – 2012) was an Indian music composer, playback singer, record producer, Carnatic musician, multi-instrumentalist, and an eminent violinist known for his works in the South Indian film industry, Hindi cinema, Sri Lankan cinema, and Hollywood.
Dakshinamurthi is the grandson of Susarla Dakshinamurthi Sr. who belongs to the student clan of saint Tyagaraja.He is known for his compositions in works such as Narada Naradi (1946) (music director), Laila Majnu (1949) (playback singer), Paramanandayya Sishyula Katha (1950) (playback singer and music director), Samsaram (1950) (music director), Sri Lakshmamma Katha (1950) (playback singer and music director), Sarvadhikari (1951) (playback singer and music director), Yaar Paiyyan (1957) (music director), Santhanam (1955) (playback singer and music director), Jungle Moon Men (1955), (re-recordist and conductor), Ilavelpu (1956) (playback singer and music director), Veera Kankanam (1957) (music director), Annapurna (1959) (music director), Krishna Leelalu (1959) (music director), Narthanasala (1963), which won the National Film Award for Second Best Feature Film, Sri Madvirata Parvam (1979), Srimadvirat Veerabrahmendra Swami Charitra (1984).
Film Career
He then moved to cinema and conducted music alongside C. R. Subburaman. He made Lata Mangeshkar sing the ever popular song Nidurapora Thammuda, in his movie Santhanam (1955). Samsaram (1950) movie was a musical hit film with ever popular song Samsaram Samsaram by Ghantasala and A. M. Rajah in Telugu and Tamil languages respectively. He then ventured into Hollywood, and became a re-recordist, and conductor for works such as Jungle Moon Men (1955), and several others by Columbia pictures.
Dakshinamurthy has produced hits tracks such as Challani Raja O Chandamama written by Raghunath Panigrahi.[1] He sang Challani Punnami Vennelalone casting Relangi in the film. His music for Nartanasala (1963) particularly the songs Evari Kosam Ee Mandhahasam, Naravara Kuruvara (S. Janaki), Janani Siva Kaamini (P. Susheela), Salalitha Raga Sudharasa Saaram (M. Balamuralikrishna) and Sakhiya Vivarinchave are forever memorable.
Later he worked on musical hits such as Sri Madvirata Parvam (1979) and Srimadvirat Veerabrahmendra Swami Charitra (1984). He then ventured into film production and produced Mohini Rukmangada (1960) and Rama Sundari (1962) under Anuradha Movies.

Year Film Language Director Banner Co- Music Directors

Playback Singer[edit]
YearFilmLanguageSongCo-SingerMusic

Drum
The drum is a member of the percussion group of musical instruments. In the Hornbostel-Sachs classification system, it is a membranophone.[1] Drums consist of at least one membrane, called a drumhead or drum skin, that is stretched over a shell and struck, either directly with the player's hands, or with a percussion mallet, to produce sound. There is usually a resonant head on the underside of the drum. Other techniques have been used to cause drums to make sound, such as the thumb roll. Drums are the world's oldest and most ubiquitous musical instruments, and the basic design has remained virtually unchanged for thousands of years.[1]
Drums may be played individually, with the player using a single drum, and some drums such as the djembe are almost always played in this way. Others are normally played in a set of two or more, all played by the one player, such as bongo drums and timpani. A number of different drums together with cymbals form the basic modern drum kit.
Uses
Drums are usually played by striking with the hand, a beater attached to a pedal, or with one or two sticks with or without padding. A wide variety of sticks are used, including wooden sticks and sticks with soft beaters of felt on the end. In jazz, some drummers use brushes for a smoother, quieter sound. In many traditional cultures, drums have a symbolic function and are used in religious ceremonies. Drums are often used in music therapy, especially hand drums, because of their tactile nature and easy use by a wide variety of people.

In popular music and jazz, "drums" usually refers to a drum kit or a set of drums (with some cymbals, or in the case of harder rock music genres, many cymbals), and "drummer" to the person who plays them.
Drums acquired even divine status in places such as Burundi, where the karyenda was a symbol of the power of the king.

Guitar
The guitar is a fretted musical instrument that typically has six strings. It is usually held flat against the player's body and played by strumming or plucking the strings with the dominant hand, while simultaneously pressing selected strings against frets with the fingers of the opposite hand. A plectrum or individual finger picks may also be used to strike the strings. The sound of the guitar is projected either acoustically, by means of a resonant chamber on the instrument, or amplified by an electronic pickup and an amplifier.The guitar is classified as a chordophone – meaning the sound is produced by a vibrating string stretched between two fixed points. Historically, a guitar was constructed from wood with its strings made of catgut. Steel guitar strings were introduced near the end of the nineteenth century in the United States; nylon strings came in the 1940s.The guitar's ancestors include the gittern, the vihuela, the four-course Renaissance guitar, and the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument.

There are three main types of modern guitar: the classical guitar (Spanish guitar/nylon-string guitar); the steel-string acoustic guitar or electric guitar; and the Hawaiian guitar (played across the player's lap).

Piano
The piano is a stringed keyboard instrument in which the strings are struck by wooden hammers that are coated with a softer material (modern hammers are covered with dense wool felt; some early pianos used leather). It is played using a keyboard, which is a row of keys (small levers) that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. It was invented in Italy by Bartolomeo Cristofori around the year 1700.

The word "piano" is a shortened form of pianoforte, the Italian term for the early 1700s versions of the instrument, which in turn derives from clavicembalo col piano e forte (key cimbalom with quiet and loud) and fortepiano. The Italian musical terms piano and forte indicate "soft" and "loud" respectively, in this context referring to the variations in volume (i.e., loudness) produced in response to a pianist's touch or pressure on the keys: the greater the velocity of a key press, the greater the force of the hammer hitting the strings, and the louder the sound of the note produced and the stronger the attack. The first fortepianos in the 1700s allowed for a quieter sound and greater dynamic range than the harpsichord.

A piano usually has a protective wooden case surrounding the soundboard and metal strings, which are strung under great tension on a heavy metal frame. Pressing one or more keys on the piano's keyboard causes a wooden or plastic hammer (typically padded with firm felt) to strike the strings. The hammer rebounds from the strings, and the strings continue to vibrate at their resonant frequency.[4] These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air.

When the key is released, a damper stops the strings' vibration, ending the sound. Notes can be sustained, even when the keys are released by the fingers and thumbs, by the use of pedals at the base of the instrument. The sustain pedal enables pianists to play musical passages that would otherwise be impossible, such as sounding a 10-note chord in the lower register and then, while this chord is being continued with the sustain pedal, shifting both hands to the treble range to play a melody and arpeggios over the top of this sustained chord. Unlike the pipe organ and harpsichord, two major keyboard instruments widely used before the piano, the piano allows gradations of volume and tone according to how forcefully or softly a performer presses or strikes the keys.

Most modern pianos have a row of 88 black and white keys, 52 white keys for the notes of the C major scale (C, D, E, F, G, A and B) and 36 shorter black keys, which are raised above the white keys, and set further back on the keyboard. This means that the piano can play 88 different pitches (or "notes"), spanning a range of a bit over seven octaves. The black keys are for the "accidentals" (F♯/G♭, G♯/A♭, A♯/B♭, C♯/D♭, and D♯/E♭), which are needed to play in all twelve keys. More rarely, some pianos have additional keys (which require additional strings), an example of which is the Bösendorfer Concert Grand 290 Imperial, which has 97 keys.

Most notes have three strings, except for the bass, which graduates from one to two. The strings are sounded when keys are pressed or struck, and silenced by dampers when the hands are lifted from the keyboard. Although an acoustic piano has strings, it is usually classified as a percussion instrument rather than as a stringed instrument, because the strings are struck rather than plucked (as with a harpsichord or spinet); in the Hornbostel–Sachs system of instrument classification, pianos are considered chordophones. There are two main types of piano: the grand piano and the upright piano.

The grand piano has a better sound and gives the player a more precise control of the keys, and is therefore the preferred choice for every situation in which the available floor-space and the budget will allow, as well as often being considered a requirement in venues where skilled pianists will frequently give public performances. The upright piano, which necessarily involves some compromise in both tone and key action compared to a grand piano of equivalent quality, is nevertheless much more widely used, because it occupies less space (allowing it to fit comfortably in a room where a grand piano would be too large) and is significantly less expensive.

During the 1800s, influenced by the musical trends of the Romantic music era, innovations such as the cast iron frame (which allowed much greater string tensions) and aliquot stringing gave grand pianos a more powerful sound, with a longer sustain and richer tone. In the nineteenth century, a family's piano played the same role that a radio or phonograph played in the twentieth century; when a nineteenth-century family wanted to hear a newly published musical piece or symphony, they could hear it by having a family member play a simplified version on the piano. During the nineteenth century, music publishers produced many types of musical works (symphonies, opera overtures, waltzes, etc.)

in arrangements for piano, so that music lovers could play and hear the popular pieces of the day in their home. The piano is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, and for composing, songwriting and rehearsals. Although the piano is very heavy and thus not portable and is expensive, its musical versatility, the large number of musicians–both amateurs and professionals– trained in it, and its wide availability in performance venues, schools and rehearsal spaces have made it one of the Western world's most familiar musical instruments.

Marabi
Marabi is a style of music that evolved in South Africa over the last century. The early part of the 20th century saw the increasing urbanisation of black South Africans in mining centres such as the gold mining area around Johannesburg - the Witwatersrand

What is the meaning of marabi?

What is the origin of jazz?

Where did jazz originate in Africa?

What is marabi in Mapeh?

What are the vocal form of African music?What African music was presented in the video Kwassa Kwassa?What is the function of mbira?
Where did kwaito music originated?

Blues
Blues is a music genre and musical form which originated in the Deep South of the United States around the 1860s by African-Americans from roots in African-American work songs and spirituals. Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads.

What does the term the blues mean?
Is blues happy or sad music?
Why are the blues called blues?

Is blues a jazz or rock?
What does feeling the blues mean? What defines blues as a genre?
Why do people love the blues?Why does blues music feel so good?
Who first started the blues?

Is blues the mother of all modern music?How many types of blues are there?
How do you identify blues music?

What's difference between jazz and blues?Who is the greatest blues singer of all time?How many types of blues are there?

What is the meaning of Sunday blues?
What are Friday blues?
Reggae
Reggae (rɛɡeɪ) is a music genre that originated in Jamaica in the late 1960s. The term also denotes the modern popular music of Jamaica and its diaspora. A 1968 single by Toots and the Maytals, "Do the Reggay" was the first popular song to use the word "reggae", effectively naming the genre and introducing it to a global audience.
While sometimes used in a broad sense to refer to most types of popular Jamaican dance music, the term reggae more properly denotes a particular music style that was strongly influenced by traditional mento as well as American jazz and rhythm and blues, and evolved out of the earlier genres ska and rocksteady.Reggae usually relates news, social gossip, and political commentary. It is instantly recognizable from the counterpoint between the bass and drum downbeat and the offbeat rhythm section. The immediate origins of reggae were in ska and rocksteady; from the latter, reggae took over the use of the bass as a percussion instrument.

Reggae is deeply linked to Rastafari, an Afrocentric religion which developed in Jamaica in the 1930s, aiming at promoting pan-Africanism. Soon after the Rastafarian movement appeared, the international popularity of reggae music became associated with and increased the visibility of Rastafari and spread its gospel throughout the world. Reggae music is an important means of transporting vital messages of Rastafari. The musician becomes the messenger, and as Rastafari see it, "the soldier and the musician are tools for change."

Stylistically, reggae incorporates some of the musical elements of rhythm and blues, jazz, mento (a celebratory, rural folk form that served its largely rural audience as dance music and an alternative to the hymns and adapted chanteys of local church singing), calypso, and also draws influence from traditional African folk rhythms. One of the most easily recognizable elements is offbeat rhythms; staccato chords played by a guitar or piano (or both) on the offbeats of the measure. The tempo of reggae is usually slower paced than both ska and rock steady.

The concept of call and response can be found throughout reggae music. The genre of reggae music is led by the drum and bass. Some key players in this sound are Jackie Jackson from Toots and the Maytals, Carlton Barrett from Bob Marley and the Wailers, Lloyd Brevett from the Skatalites, Paul Douglas from Toots and the Maytals, Lloyd Knibb from the Skatalites,Winston Grennan, Sly Dunbar, and Anthony "Benbow" Creary from the Upsetters.

The bass guitar often plays the dominant role in reggae.
The bass sound in reggae is thick and heavy, and equalized so the upper frequencies are removed and the lower frequencies emphasized. The guitar in reggae usually plays on the offbeat of the rhythm. It is common for reggae to be sung in Jamaican Patois, Jamaican English, and Iyaric dialects. Reggae is noted for its tradition of social criticism and religion in its lyrics, although many reggae songs discuss lighter, more personal subjects, such as love and socializing.

Reggae has spread to many countries around the world, often incorporating local instruments and fusing with other genres. Reggae en Español spread from the Spanish-speaking Central American country of Panama to the mainland South American countries of Venezuela and Guyana then to the rest of South America. Caribbean music in the United Kingdom, including reggae, has been popular since the late 1960s, and has evolved into several subgenres and fusions.
Many reggae artists began their careers in the UK, and there have been a number of European artists and bands drawing their inspiration directly from Jamaica and the Caribbean community in Europe. Reggae in Africa was boosted by the visit of Bob Marley to Zimbabwe in 1980. In Jamaica, authentic reggae is one of the biggest sources of income.

Reggae is a music genre that originated in Jamaica in the late 1960s. The term also denotes the modern popular music of Jamaica and its diaspora



Bob Marley (Regge Artist)



Robert Nesta Marley OM (6 February 1945 – 11 May 1981; baptised in 1980 as Berhane Selassie) was a Jamaican singer, musician, and songwriter. Considered one of the pioneers of reggae, his musical career was marked by fusing elements of reggae, ska, and rocksteady, as well as his distinctive vocal and songwriting style. Marley's contributions to music increased the visibility of Jamaican music worldwide, and made him a global figure in popular culture to this day. Over the course of his career, Marley became known as a Rastafari icon, and he infused his music with a sense of spirituality. He is also considered a global symbol of Jamaican music and culture and identity, and was controversial in his outspoken support for democratic social reforms.[citation needed] In 1976, Marley survived an assassination attempt in his home, which was thought to be politically motivated. He also supported legalization of marijuana, and advocated for Pan-Africanism.
Born in Nine Mile, Jamaica, Marley began his professional musical career in 1963, after forming the Teenagers with Peter Tosh and Bunny Wailer, which after several name changes would become the Wailers. The group released its debut studio album The Wailing Wailers in 1965, which contained the single "One Love", a reworking of "People Get Ready"; the song was popular worldwide, and established the group as a rising figure in reggae.

The Wailers released a further eleven studio albums, and after signing to Island Records the band's name became Bob Marley and the Wailers. While initially employing louder instrumentation and singing, the group began engaging in rhythmic-based song construction in the late 1960s and early 1970s, which coincided with Marley's conversion to Rastafari. Around this time, Marley relocated to London, and the group embodied their musical shift with the release of the album The Best of The Wailers (1971.

Rhythm and blues
Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular music that originated in African-American communities in the 1940s.



Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular music that originated in African-American communities in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, rocking, jazz based music ... [with a] heavy, insistent beat" was becoming more popular.
In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of relationships, economics, and aspirations.

The term "rhythm and blues" has undergone a number of shifts in meaning. In the early 1950s, it was frequently applied to blues records. Starting in the mid-1950s, after this style of music contributed to the development of rock and roll, the term "R&B" became used to refer to music styles that developed from and incorporated electric blues, as well as gospel and soul music.

From 1960s to 1970s, several British bands such as the Rolling Stones, the Who and the Animals were referred to and promoted as being R&B bands. By the end of the 1970s, the term "rhythm and blues" had changed again and was used as a blanket term for soul and funk. In the late 1980s, a newer style of R&B developed, becoming known as "contemporary R&B". It combines rhythm and blues with elements of pop, soul, funk, disco, hip hop, and electronic music.

Rock and Roll
Rock and roll (often written as rock & roll, rock 'n' roll, or rock 'n roll) is a genre of popular music that evolved in the United States during the late 1940s and early 1950s. It originated from African-American music such as jazz, rhythm and blues, boogie woogie, gospel, as well as country music. While rock and roll's formative elements can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until 1954.

According to journalist Greg Kot, "rock and roll" refers to a style of popular music originating in the United States in the 1950s. By the mid-1960s, rock and roll had developed into "the more encompassing international style known as rock music, though the latter also continued to be known in many circles as rock and roll." For the purpose of differentiation, this article deals with the first definition.

In the earliest rock and roll styles, either the piano or saxophone was typically the lead instrument. These instruments were generally replaced or supplemented by guitar in the middle to late 1950s. The beat is essentially a dance rhythm with an accentuated backbeat, almost always provided by a snare drum.[10] Classic rock and roll is usually played with one or two electric guitars (one lead, one rhythm) and a double bass (string bass). After the mid-1950s, electric bass guitars ("Fender bass") and drum kits became popular in classic rock.
Rock and roll had a polarizing influence on lifestyles, fashion, attitudes, and language. It is often portrayed in movies

What is considered rock and roll?
Why is it called rock n Roll?

What did rock and roll do?
What is the 1 rock song of all time?Who started rock music?
Who was the first rock artist?
How did rock and roll change American culture?
Why was rock n roll so popular in the 1950s?
Who first used rock and roll?


Who made rock and roll popular?
How did rock music start?
Why is rock music popular?

What defines the rock genre?
What defines a rock song?
What is the coolest rock song?What's the most listened to song of all time?
What is considered the greatest song ever?Who is the king of rock?
When did rock become popular?

Who invented rap?Who is the real father of rock and roll?
Who invented music?Bluegrass
Bluegrass music is a genre of American roots music that developed in the 1940s in the Appalachian region of the United States. The genre derives its name from the band Bill Monroe and the Blue Grass Boys.

Bluegrass music is a genre of American roots music that developed in the 1940s in the Appalachian region of the United States. The genre derives its name from the band Bill Monroe and the Blue Grass Boys. Like mainstream country music, it largely developed out of old-time string music, though in contrast, bluegrass is traditionally played exclusively on acoustic instruments and also has roots in traditional English, Scottish, and Irish ballads and dance tunes as well as in blues and jazz. Bluegrass was further developed by musicians who played with Monroe, including 5-string banjo player Earl Scruggs and guitarist Lester Flatt. Monroe characterized the genre as: "Scottish bagpipes and ole-time fiddlin'. It's a part of Methodist, Holiness and Baptist traditions. It's blues and jazz, and it has a high lonesome sound."
Bluegrass features acoustic stringed instruments and emphasizes the off-beat. Notes are anticipated, in contrast to laid back blues where notes are behind the beat, which creates the higher energy characteristic of bluegrass. In bluegrass, as in some forms of jazz, one or more instruments each takes its turn playing the melody and improvising around it, while the others perform accompaniment; this is especially typified in tunes called breakdowns. This is in contrast to old-time music, in which all instruments play the melody together or one instrument carries the lead throughout while the others provide accompaniment. Breakdowns are often characterized by rapid tempos and unusual instrumental dexterity and sometimes by complex chord changes.

Country music
Country (also called country and western) is a genre of popular music that originated with blues, church music such as Southern gospel and spirituals, old-time, and American folk music forms including Appalachian, Cajun, Creole, and the cowboy Western music styles of New Mexico, Red Dirt, Tejano, and Texas country. Its popularized roots originate in the Southern and Southwestern United States of the early 1920s.
Country music often consists of ballads and dance tunes (most commonly known as "Honky Tonk music") with generally simple forms, folk lyrics, and harmonies often accompanied by string instruments such as electric and acoustic guitars, steel guitars (such as pedal steels and dobros), banjos, and fiddles as well as harmonicas. Blues modes have been used extensively throughout its recorded history.
The term country music gained popularity in the 1940s in preference to hillbilly music; it came to encompass Western music, which evolved parallel to hillbilly music from similar roots, in the mid-20th century. In 2009, in the United States, country music was the most listened to rush hour radio genre during the evening commute, and second most popular in the morning commute.

The term country music is used today to describe many styles and subgenres. The origins of country music are found in the folk music of working class Americans and blue-collar American life. It has historical roots in the indigenous music of North America, Celtic music, early music of the British Isles, jota, Irish traditional music, singing cowboys, corrido, ranchera, norteño, French folk music, African-American music, and other traditional folk music traditions.

Jewish Music is the music and melodies of the Jewish people. There exist both traditions of religious music, as sung at the synagogue and domestic prayers, and of secular music, such as klezmer.
While some elements of Jewish music may originate in biblical times, differences of rhythm and sound can be found among later Jewish communities that have been musically influenced by location. In the nineteenth century, religious reform led to composition of ecclesiastic music in the styles of classical music.
At the same period, academics began to treat the topic in the light of ethnomusicology. Edward Seroussi has written, "What is known as 'Jewish music' today is thus the result of complex historical processes".A number of modern Jewish composers have been aware of and influenced by the different traditions of Jewish music.

Religious Jewish music
Religious Jewish music in the biblical period

Further information: History of music in the biblical period
The history of religious Jewish music spans the evolution of cantorial, synagogal, and Temple melodies since Biblical times.
The earliest synagogal music of which we have any account was based on the system used in the Temple in Jerusalem.

The Mishnah gives several accounts of Temple music. According to the Mishnah, the regular Temple orchestra consisted of twelve instruments, and a choir of twelve male singers.

The instruments included the kinnor (lyre), nevel (harp), tof (tambourine), shofar (ram's horn), ḥatzotzᵊrot (trumpet) and three varieties of pipe, the chalil, alamoth and the uggav.

The Temple orchestra also included a cymbal (tziltzal) made of copper.[5] The Talmud also mentions use in the Temple of a pipe organ (magrepha), and states that the water organ was not used in the Temple as its sounds were too distracting.

No provable examples of the music played at the Temple have survived. However, there is an oral tradition that the tune used for Kol Nidrei was sung in the temple.

After the destruction of the Temple in 70 AD and the subsequent dispersion of the Jews to Babylon and Persia, versions of the public singing of the Temple were continued in the new institution of the synagogue.
Three musical forms were identified by scholars of the period, involving different modes of antiphonal response between cantor congregation: the cantor singing a half-verse at a time, with the congregation making a constant refrain; the cantor singing a half-verse, with the congregation repeating exactly what he had sung; and the cantor and congregation singing alternate verses.
All of these forms can be discerned in parts of the modern synagogue service.

Jewish prayer modes
Jewish liturgical music is characterized by a set of musical modes. These modes make up musical nusach, which serves to both identify different types of prayer, as well as to link those prayers to the time of year, or even time of day in which they are set.

There are three main modes, as well as a number of combined or compound modes. The three main modes are called Ahavah Rabbah, Magein Avot and Adonai Malach. Traditionally, the cantor (chazzan) improvised sung prayers within the designated mode, while following a general structure of how each prayer should sound.

There was no standard form of musical notation utilised by the Jews and these modes and synagogue melodies derived from them were therefore handed down directly, typically from a chazzan to his apprentice meshorrer (descant).

Since the late eighteenth century, many of these chants have been written down and standardized, yet the practice of improvisation still exists to this day.

The synagogal reading of the parashah (the weekly extract from the Torah) and the haftarah (section from the Prophets), may recall the melodic tropes of the actual Temple service.

Ashkenazic Jews named this official cantillation 'neginot' and it is represented in printed Hebrew versions of the Bible by a system of cantillation marks (sometimes referred to as neumes).

In practice the cantillation often echoes the tones and rhythms of the countries and ages in which Jews lived, notably as regards the modality in which the local music was based.
Traditional religious music.

Synagogues following traditional Jewish rites do not employ musical instruments as part of the synagogue service. Traditional synagogal music is therefore purely vocal. The principal melodic role in the service is that of the hazzan (cantor).

Responses of the congregation are typically monophonic—the introduction of a choir singing in harmony was largely a nineteenth-century innovation. However, during the mediaeval period among Ashkenazi Jews there developed the tradition of the hazzan being accompanied for certain prayers by a bass voice (known in Yiddish as singer) and a descant (in Yiddish, meshorrer).
This combination was known in Yiddish as keleichomos.
"Emet El Shmeha", traditional Jewish 17th century song.
There are many forms of song which are used in Jewish religious services and ceremonies. The following are notable examples.

With the piyyutim (liturgical poems—singular: piyut), dating from the first millennium after the destruction of the Temple, one stream of Jewish synagogal music began to crystallize into definite form. The hazzan sang the piyyutim to melodies either selected by themselves or drawn from tradition. Piyyutim have been written since Mishnaic times.

Most piyyutim are in Hebrew or Aramaic, and most follow some poetic scheme, such as an acrostic following the order of the Hebrew alphabet or spelling out the name of the author. A well-known piyyut is Adon Olam ("Master of the World"), sometimes attributed to Solomon ibn Gabirol in 11th century Spain.

Pizmonim are traditional Jewish songs and melodies praising God and describing certain aspects of traditional religious teachings. Pizmonim are traditionally associated with Middle Eastern Sephardic Jews, although they are related to Ashkenazi Jews' zemirot (see below).

One tradition is associated with Jews descended from Aleppo, though similar traditions exist among Iraqi Jews (where the songs are known as shbaִhoth, praises) and in North African countries. Jews of Greek, Turkish and Balkan origin have songs of the same kind in Ladino, associated with the festivals: these are known as coplas.

Some melodies are quite old, while others may be based on popular Middle Eastern music, with the words composed specially to fit the tune.

Zemirot are hymns, usually sung in the Hebrew or Aramaic languages, but sometimes also in Yiddish or Ladino. The words to many zemirot are taken from poems written by various rabbis and sages during the Middle Ages. Others are anonymous folk songs.

The baqashot are a collection of supplications, songs, and prayers that have been sung for centuries by the Sephardic Aleppian Jewish community and other congregations every Sabbath eve from midnight until dawn.

The custom of singing baqashot originated in Spain towards the time of the expulsion, but took on increased momentum in the Kabbalistic circle in Safed in the 16th century, and were spread from Safed by the followers of Isaac Luria (16th century).

Baqashot reached countries all round the Mediterranean and even became customary for a time in Sephardic communities in western Europe, such as Amsterdam and London.

Nigun (pl. nigunim) refers to religious songs and tunes that are sung either by individuals or groups; they are associated with the Hassidic movement. Nigunim are generally wordless.

Eighteenth- and nineteenth-century synagogue music
Changes in European Jewish communities, including increasing political emancipation and some elements of religious reform, had their effects on music of the synagogue.

By the late eighteenth century, music in European synagogues had sunk to a low standard. The Jewish scholar Eric Werner notes that among the European Ashkenazi communities of Europe "between 1660 and 1720 the musical tradition was waning, and the second half of the eighteenth century witnessed its worst decay".

The historian of Jewish music Abraham Zevi Idelsohn considers that "Eighteenth century manuscripts of Synagogue song display a striking monotony of style and texts".

In this context the English music historian Charles Burney visiting the Ashkenazi synagogue of Amsterdam in 1772, gave the opinion of one who was clearly ignorant of synagogue music (but did not regard that as a disqualification for comment) that the service resembled "a kind of tol- de rol, instead of words, which to me, seemed very farcical".

Others in England were more sympathetic to the synagogue service. The singing of the chazan Myer Lyon inspired the Methodist minister Thomas Olivers in 1770 to adapt the melody of the hymn Yigdal for a Christian hymn, The God of Abraham Praise.

Many synagogue melodies were used by Isaac Nathan in his 1815 settings of Lord Byron's Hebrew Melodies, and the popularity of this work drew the attention of Gentiles for the first time to this music (although in fact many of Nathan's melodies were not Jewish in origin, but contrafacta adapted from European folk melodies).

Franz Schubert around 1828 made a choral setting of Psalm 92 in Hebrew for the Vienna chazan Salomon Sulzer.[18] German congregations commissioned works from other Gentile composers, including Albert Methfessel (1785–1869).

Later in the century, as synagogues began to utilize choirs singing in Western harmony, a number of hazzanim, who had received formal training in Western music, began to compose works for the synagogue, many of which are still in use today in the congregations of their countries.
These included Sulzer in Vienna, Samuel Naumbourg in Paris, Louis Lewandowski in Berlin, and Julius Mombach in London.

Contemporary Jewish religious music

Secular Jewish music
Secular Jewish music (and dances) have been influenced both by surrounding Gentile traditions and Jewish sources preserved over time.

Klezmer
Around the 15th century, a tradition of secular (non-liturgical) Jewish music was developed by musicians called kleyzmorim or kleyzmerim by Ashkenazi Jews in Eastern Europe.

The repertoire is largely dance songs for weddings and other celebrations. They are typically in Yiddish.

Sephardic/Ladino
Sephardic music was born in medieval Spain, with canciones being performed at the royal courts. Since then, it has picked up influences from across Spain, Morocco, Argentina, Turkey, Greece and various popular tunes from Spain and further abroad.

There are three types of Sephardic songs—topical and entertainment songs, romance songs and spiritual or ceremonial songs. Lyrics can be in several languages, including Hebrew for religious songs, and Ladino.

These song traditions spread from Spain to Morocco (the Western Tradition) and several parts of the Ottoman Empire (the Eastern Tradition) including Greece, Jerusalem, the Balkans and Egypt. Sephardic music adapted to each of these locals, assimilating North African high-pitched, extended ululations; Balkan rhythms, for instance in 9/8 time; and the Turkish maqam mode.
Jewish art music.

Preclassical, classical, romantic and 20th-century composers
Salamone Rossi (1570 – c. 1630) of Mantua composed a series of choral settings called "The Songs of Solomon", based on Jewish liturgical and biblical texts.

Most art musicians of Jewish origin in the 19th century composed music that cannot be considered Jewish in any sense.
In the words of Peter Gradenwitz, from this period onwards, the issue is "no longer the story of Jewish music, but the story of music by Jewish masters." Jacques Offenbach (1819–1880), a leading composer of operetta in the 19th century, was the son of a cantor, and grew up steeped in traditional Jewish music.

Yet there is nothing about his music which could be characterized as Jewish in terms of style, and he himself did not consider his work to be Jewish.

Felix Mendelssohn, the grandson of the Jewish philosopher Moses Mendelssohn, continued to acknowledge his Jewish origins, even though he was baptized as a Reformed Christian at the age of seven. He occasionally drew inspiration from Christian sources, but there is nothing characteristically Jewish about any of his music.

The Jewish national revival in art music
Main article: Jewish art music
At the end of the 19th and beginning of the 20th centuries many Jewish composers sought to create a distinctly Jewish national sound in their music. Notable among these were the composers of the St. Petersburg Society for Jewish Folkmusic.

Led by composer-critic Joel Engel, these graduates of the St. Petersburg and Moscow Conservatories rediscovered their Jewish national roots, and created a new genre of Jewish art music. Inspired by the nationalist movement in Russian music, exemplified by Rimsky-Korsakov, Cui and others, these Jewish composers set out to the "shtetls"—the Jewish villages of Russia—and meticulously recorded and transcribed thousands of Yiddish folksongs.

They then set these songs to both vocal and instrumental ensembles.

The resulting music is a marriage between often melancholy and "krekhtsen" (moaning) melodies of the shtetl with late Russian romantic harmonies of Scriabin and Rachmaninoff.
The Jewish national revival in music was not only in Russia.

A number of Western European composers took an interest in their Jewish musical roots, and tried to create a unique Jewish art style. Ernest Bloch (1880–1959), a Swiss composer who emigrated to the United States, composed Schelomo for cello and orchestra, Suite Hebraique for viola and piano, and Sacred Service, which is the first attempt to set the Jewish service in a form similar to the Requiem, for full orchestra, choir and soloists.

Bloch described his connection to Jewish music as intensely personal:
It is not my purpose, nor my desire, to attempt a 'reconstitution' of Jewish music, or to base my work on melodies more or less authentic. I am not an archeologist.... It is the Jewish soul that interests me ... the freshness and naiveté of the Patriarchs; the violence of the Prophetic books; the Jewish savage love of justice...

As a child in Aix-en-Provence, Darius Milhaud (1892–1974) was exposed to the music of the Provençal Jewish community. "I have been greatly influenced by the character" of this music, he wrote.[26] His opera Esther de Carpentras draws on this rich musical heritage.

Mario Castelnuovo-Tedesco (1895–1968), an Italian composer who immigrated to America on the eve of World War II, was strongly influenced by his Sephardic Jewish upbringing. His second violin concerto draws on Jewish themes, as do many of his songs and choral works: these include a number of songs in Ladino, the language of Sephardic Jews.

Israeli music
Music of Israel
Art music in Mandatory Palestine and Israel
The 1930s saw an influx of Jewish composers to British Mandatory Palestine, later Israel, among them musicians of stature in Europe.
These composers included Paul Ben-Haim, Erich Walter Sternberg, Marc Lavry, Ödön Pártos, and Alexander Uriah Boskovich.
These composers were all concerned with forging a new Jewish identity in music, an identity which would suit the new, emerging identity of Israel. While the response of each of these composers to this challenge was intensely personal, there was one distinct trend to which many of them adhered: many of these and other composers sought to distance themselves from the musical style of the Klezmer, which they viewed as weak and unsuitable for the new national ethos. Many of the stylistic features of Klezmer were abhorrent to them.

"Its character is depressing and sentimental", wrote music critic and composer Menashe Ravina in 1943. "The healthy desire to free ourselves of this sentimentalism causes many to avoid this...".
From these early experiments a large corpus of original Israeli art music has been developed. Modern Israeli composers include Betty Olivero, Tsippi Fleischer, Mark Kopytman and Yitzhak Yedid.

Israeli folk
From the earliest days of Zionist settlement, Jewish immigrants wrote popular folk music. At first, songs were based on borrowed melodies from German, Russian, or traditional Jewish folk music with new lyrics written in Hebrew. Starting in the early 1920s, however, Jewish immigrants made a conscious effort to create a new Hebrew style of music, a style that would tie them to their earliest Hebrew origins and that would differentiate them from the style of the Jewish diaspora of Eastern Europe, which they viewed as weak.

This new style borrowed elements from Arabic and, to a lesser extent, traditional Yemenite and eastern Jewish styles: the songs were often homophonic (that is, without clear harmonic character), modal, and limited in range.

"The huge change in our lives demands new modes of expression", wrote composer and music critic Menashe Ravina in 1943. "... and, just as in our language we returned to our historical past, so has our ear turned to the music of the east ... as an expression of our innermost feelings."
1:39
Your Land, a Hebrew song adapted to a traditional Bedouin Melody.
The youth, labor and kibbutz movements played a major role in musical development before and after the establishment of Israeli statehood in 1948, and in the popularization of these songs. The Zionist establishment saw music as a way of establishing a new national identity, and, on a purely pragmatic level, of teaching Hebrew to new immigrants.

The national labor organization, the Histadrut, set up a music publishing house that disseminated songbooks and encouraged public sing-alongs (שירה בציבור). This tradition of public sing-alongs continues to the present day, and is a characteristic of modern Israeli culture.

Mizrahi
Mizrahi music
Mizrahi music usually refers to the new wave of music in Israel which combines Israeli music with the flavor of Arabic and Mediterranean (especially Greek) music.
Typical Mizrahi songs will have a dominant violin or string sound as well as Middle Eastern percussion elements. Mizrahi music is usually high pitched. Zohar Argov is a popular singer whose music typifies the Mizrahi music style.

Non-Jewish composers using Jewish music
Sergei Prokofiev: Overture on Hebrew Themes 11:01

Performed by members of the Advent Chamber Orchestra
A number of non-Jewish composers have adapted Jewish music to their compositions. They include:

• Maurice Ravel wrote Mélodies hébraïques for violin and piano.
• Max Bruch, a German Protestant, (but a student of the German Jewish composer Ferdinand Hiller) made an arrangement, Kol Nidrei, of the Jewish Yom Kippur prayer Kol Nidre for cello and orchestra.
• Sergei Prokofiev wrote Overture on Hebrew Themes, an arrangement of traditional Jewish folksongs for clarinet, string quartet, and piano.
• Dmitri Shostakovich incorporated elements of Jewish music in some of his compositions. Most notable are the song cycle From Jewish Folk Poetry, and the 13th symphony, titled Babi Yar

Israel has an immense musical heritage to pay attention to. Both regional and religious influences enhanced the depth and the richness of Israeli music throughout the years.
The instruments included the
kinnor (lyre),
nevel (harp),
tof (tambourine),
shofar (ram's horn),
ḥatzotzᵊrot (trumpet) and
Three varieties of pipe,
-the chalil,
-alamoth and
-the uggav.
The Temple orchestra also included a cymbal (tziltzal) made of copper.

What are the 3 significant instrument in Israel?
    1. Qanun, 
     2.Oud, and 
     3. The Goblet Drum 
What are the famous musical instrument of Israel?

What is the name of the Jewish musical?
Typical instruments: Standard orchestra instruments, accordion, cimbalom
Cultural origins: Ashkenazic Jewish ceremonies, especially weddings, in Eastern Europe
Other names: Jewish instrumental folk music, Freylekh music
Parent genres: Romani music, Turkish music

Jewish music style
Jewish music is the music and melodies of the Jewish people. There exist both traditions of religious music, as sung at the synagogue and domestic prayers, and of secular music, such as klezmer

Do synagogues have musical instruments?
Do Jews worship with music?

Why do Orthodox not use instruments?

Why is it called a jews harp?

What is God's favorite instrument?
Israel has been home to a rich tradition of musical instruments since ancient times.
Regarding Israel’s geographical position, their music highly interacted with Arabic, Persian, Palestinian, Spanish, and Egyptian folk music and cultures.

Israel has a wide range of musical instruments that are commonly used in Middle Eastern traditions and cultures.

In Israeli music, there are many different instrument types with the main focus on stringed instruments and percussion instruments.

What Are The Main Musical Instruments Of Israel?
There are a whole host of musical instruments from Israel, however the 9 most popular include:

1. Kinnor (Jewish Lyre
2. Shofar
3. Oud
4. Tabret (Timbrel)
5. Goblet Drum
6. Toph (Frame Drum) 
7. Qanun
8. Sumponyah (Bagpipe)
9. Sistrum (Rattles)

1. Kinnor (Jewish Lyre)


Kinnor is one of the ancient musical instruments of Israeli music that is holy for the Jewish culture and used in sacred music.

Also known as the Jewish Lyre, Kinnor is commonly mistranslated as a harp. Although they have similarities, lyres and harps differ in shape, size, sound, and playability.
The Jewish Lyre traditionally has 10 strings, but you can still find a variety of Kinnors with 3 to 12 strings depending on its size and design.

Kinnors are mostly small, and musicians use one of their hands to hold it on their lap and the other to play it, which is different than a harp. A harp can be played with two hands.
Historically, Kinnor’s are known as the origins of the lyres that we see different versions of it in almost every culture today.

2. Shofar
The Shofar is made of mostly male sheep horns and used for religious purposes in Jewish tradition.
One of the earliest uses of the Shofar is to announce the Jubilee year and the new moon. There are certain experts who are only to blow the holy shofar in Jewish culture. They are known as ba’al tokeah -“the master of the blast.”
The harmonics of the shofar vary from one to another. There are diverse shapes of shofars made from horns of different sheep species, and their finishes may have been differently made. Therefore they may produce different intervals and resonances.

3. Oud


The Oud is the ancient form of the lute and the guitar. It belongs to the stringed instrument family and has a pear-shaped body, along with a deeply vibrant tone.

It commonly has 3 holes in the body. The Oud has a very small neck and has no frets, which is the main difference from the lute.

Also, by having no frets, the Oud allows sliding between pitches, which is very characteristic of this instrument and its sound.

The Oud is played with maqams, which are similar to various scales in western music. Oud is interbedded with Arabic music and continues to have a big influence on Jewish culture.

They are commonly tuned on single string courses like this: D2-G2-A2-D3-G3-C4 (low to high). However, there are various tuning traditions in different cultures.

The Turkish Oud, for example, tuned one whole step higher than the Arabian, therefore sounding more tight and harsh.
Arabian ouds are typically larger than their Turkish and Persian counterparts, providing a richer, deeper sound.

The Oud is played with a Risha, which is the oldest form of a guitar pick or plectrum, made from an eagles quill.

Today, the players commonly use a plastic or a bamboo plectrum to play the Oud.

4. Tabret (Timbrel)

The main percussion instrument of the Israel music instruments range is the Tabret, also known as the Timbrel in Hebrew, the Deff in Islam, and the Module in the Spanish culture. It resembles either a contemporary tambourine or a frame drum.

The Hebrew Bible uses the term “timbrel,” suggesting that the former refers to a wooden or metal hoop over which a parchment head is stretched. In contrast, the latter may refer to a tambourine with bells or jangles fastened at regular intervals in hoops.

5. Goblet Drum


The Goblet drum is a great heritage instrument from Mesopotamian and Ancient Egyptian history and is also an inevitable part of Israeli musical instruments and culture.
The Goblet drum generates two distinct tones.

A “doom”, when the length of the fingers and palm are used to strike the center of the head it produces a deeper bass sound than when the hand is removed for an open sound. The second sound is referred to as the “tak”, which is a higher-pitched noise made by tapping the head’s edge with the fingertips.

6. Toph (Frame Drum)

Toph is the Hebrew version of the frame drum, which we can see almost in every culture. It is amongst the oldest instruments in recorded history and has been cited as the first drum ever created.
It has a single drumhead, which is often made of rawhide but can alternatively be synthetic, and while the drumhead is tacked into many frame drums, some have mechanical tuning.

A shell is a circular wooden frame over which the drumhead is stretched. Rosewood, oak, ash, and other woods that have been bent and scarf joined together usually form the shell; however, some are also made of plywood or other man-made materials today.

The frame may also be adorned with metal rings or jingles. In spiritual ceremonies, larger frame drums are typically played by men in various cultures, whereas medium-sized drums are typically played by women.

7. Qanun


Arabic music has utilized the Qanun, a descendant of the ancient Egyptian harp since the ninth century.

See Also Dynamic vs Condenser Mics (Breaking Down The Tech)
It was first brought to Europe in the 12th century, and from the 14th through the 16th, it was known as a Psaltery or Zither in its European form. With Arabic music influences,

Qanun is widely used in Israeli music.
A flat board in the shape of a trapezoid serves as the foundation of the Qanun, where 81 strings are stretched in groups of three to create 24 treble chords with three chords per note.

The musician places the instrument flat on their knees or a table and uses their fingers or two plectra, one on each hand’s forefinger, to pluck the strings.

8. Sumponyah (Bagpipe)

The Sumponyah, which later became the Calabrian Zampogna, is one of the oldest instruments in the world. Its history goes back to the period of Babylon (500 BCE).

Although bagpipes can be found in many cultures, the Sumponyah is an essential instrument in Israeli culture. It is mainly a combination of a bag and chanters.

The bag is made from goat skin, traditionally with the hair on. Then shepherd pipes or chanters are attached to it to be able to blow in the bag and produce the holy sound.

9. Sistrum (Rattles)

The Sistrum comprises a handle and a U-shaped metal frame between 30 and 76 cm wide and is made of brass or bronze. Its movable crossbars’ tiny rings or loops of thin metal make a sound when shaken that ranges from a faint clank to a loud jangling.

Today, similar to how the tambourine is played in modern Evangelicalism, Romani song and dance, either on stage at a rock concert, the rhythmic shaking of the sistrum is connected to religious or ecstatic events. It was shaken as a sacred rattle in the worship of Hathor in ancient Egypt and used in rituals in Israel.

Jewish music styleJewish music is the music and melodies of the Jewish people. There exist both traditions of religious music, as sung at the synagogue and domestic prayers, and of secular music, such as klezmer

Music of Israel

Jewish and Israeli music

The music of Israel is a combination of Jewish and non-Jewish music traditions that have come together over the course of a century to create a distinctive musical culture. For almost 150 years, musicians have sought original stylistic elements that would define the emerging national spirit.

In addition to creating an Israeli style and sound, Israel's musicians have made significant contributions to classical, jazz, pop rock and other international music genres. Since the 1970s, there has been a flowering of musical diversity, with Israeli rock, folk and jazz musicians creating and performing extensively, both locally and abroad. Many of the world's top classical musicians are Israelis or Israeli expatriates.

The works of Israeli classical composers have been performed by leading orchestras worldwide.
Music in Israel is an integral part of national identity. Beginning in the days of the pioneers, Hebrew songs and public singalongs (Shira beTsibur) were encouraged and supported by the establishment. "Public singalongs were a common pastime (of the early settlers), and were for them a force in defining their identity", wrote Nathan Shahar.

This view of music as nation-building continues to this day. "We are in the midst of creating a culture", wrote Nahum Heyman, one of Israel's leading music composers and music historians. Jewish immigrants from Europe, Asia, the Middle East and elsewhere brought with them their musical traditions, melding and molding them into a new Israeli sound.

Zubin Mehta (Mastero)-Western Classical

Zubin Mehta is an Indian conductor of Western classical music. He is music director emeritus of the Israel Philharmonic Orchestra and conductor emeritus of the Los Angeles Philharmonic. Mehta's father was the founder of the Bombay Symphony Orchestra, and Mehta received his early musical education from him.

Zubin Mehta (born 29 April 1936) is an Indian conductor of Western classical music. He is music director emeritus of the Israel Philharmonic Orchestra (IPO) and conductor emeritus of the Los Angeles Philharmonic.
Mehta's father was the founder of the Bombay Symphony Orchestra, and Mehta received his early musical education from him. When he was 18, he enrolled in the Vienna state music academy, from which he graduated after three years with a diploma as a conductor. He began winning international competitions and conducted the Royal Liverpool Philharmonic at age 21. Beginning in the 1960s, Mehta gained experience by substituting for celebrated maestros throughout the world.
Mehta was music director of the Montreal Symphony Orchestra from 1961 to 1967 and of the Los Angeles Philharmonic from 1962 to 1978, the youngest music director ever for any major North American orchestra. In 1969, he was appointed Music Adviser to the Israel Philharmonic Orchestra and in 1981 he became its Music Director for Life. From 1978 to 1991, Mehta was music director of the New York Philharmonic. He was chief conductor of the Maggio Musicale Fiorentino in Florence from 1985 to 2017.
He is an honorary citizen of both Florence and Tel Aviv and was made an honorary member of the Vienna State Opera in 1997 and of the Bavarian State Opera in 2006. The title of Honorary Conductor was bestowed on him by numerous orchestras throughout the world. More recently, Mehta made several tours with the Bavarian State Opera and kept up a busy schedule of guest conducting appearances. In December 2006, he received the Kennedy Center Honor and in October 2008 he was honored by the Japanese Imperial Family with the Praemium Imperiale. In 2016, Mehta was appointed Honorary Conductor of the Teatro San Carlo, Naples.

Barbra Streisand


Barbara Joan "Barbra" Streisand (/ˈstraɪsænd/; born April 24, 1942) is an American singer and actress. With a career spanning over six decades, she has achieved success in multiple fields of entertainment, and is among the few performers awarded an Emmy, Grammy, Oscar, and Tony (EGOT).
Streisand began her career by performing in nightclubs and Broadway theaters in the early 1960s. Following her guest appearances on various television shows, she signed to Columbia Records, insisting that she retain full artistic control, and accepting lower pay in exchange, an arrangement that continued throughout her career, and released her debut The Barbra Streisand Album (1963), which won the Grammy Award for Album of the Year. Throughout her recording career, Streisand has topped the US Billboard 200 chart with 11 albums—a record for a woman—including People (1964), The Way We Were (1974), Guilty (1980), and The Broadway Album (1985).She also achieved five number-one singles on the US Billboard Hot 100—"The Way We Were", "Evergreen", "You Don't Bring Me Flowers", "No More Tears (Enough Is Enough)", and "Woman in Love".
Following her established recording success in the 1960s, Streisand ventured into film by the end of that decade. She starred in the critically acclaimed Funny Girl (1968), for which she won the Academy Award for Best Actress. Additional fame followed with films including the extravagant musical Hello, Dolly! (1969), the screwball comedy What's Up, Doc? (1972), and the romantic drama The Way We Were (1973). Streisand won a second Academy Award for writing the love theme from A Star Is Born (1976), the first woman to be honored as a composer. With the release of Yentl (1983), Streisand became the first woman to write, produce, direct, and star in a major studio film.The film won an Oscar for Best Score and a Golden Globe for Best Motion Picture Musical. Streisand also received the Golden Globe Award for Best Director, becoming the first (and for 37 years, the only) woman to win that award. Streisand later directed The Prince of Tides (1991) and The Mirror Has Two Faces (1996).
With sales exceeding 150 million records worldwide, Streisand is one of the best-selling recording artists of all time. According to the Recording Industry Association of America (RIAA), she is the second highest-certified female artist in the United States, with 68.5 million certified album units. Billboard ranked Streisand as the greatest female artist on the Billboard 200 chart and the top Adult Contemporary female artist of all time. Her accolades include two Academy Awards, 10 Grammy Awards including the Grammy Lifetime Achievement Award and the Grammy Legend Award, five Emmy Awards, four Peabody Awards, the Presidential Medal of Freedom, and nine Golden Globes.
Aged 16 and living on her own, Streisand took various menial jobs to have some income. During one period, she lacked a permanent address, and found herself sleeping at the home of friends or anywhere else she could set up the army cot she carried around. When desperate, she returned to her mother's flat in Brooklyn for a home-cooked meal. However, her mother was horrified by her daughter's "gypsy-like lifestyle", wrote biographer Karen Swenson, and again begged her to give up trying to get into show business,[25]: 6  but Streisand took her mother's pleadings as even more reason to keep trying: "My desires were strengthened by wanting to prove to my mother that I could be a star."
She took a job as an usher at the Lunt-Fontanne Theater for The Sound of Music early in 1960. During the run of the play, she heard that the casting director was auditioning for more singers, and it marked the first time she sang in pursuit of a job.: 6  Although the director felt she was not right for the part, he encouraged her to begin including her talent as a singer on her résumé when looking for other work.
She asked her boyfriend, Barry Dennen, to tape her singing, copies of which she could then give out to possible employers. Dennen found a guitarist to accompany her:
We spent the afternoon taping, and the moment I heard the first playback I went insane ... This nutty little kook had one of the most breathtaking voices I'd ever heard ... when she was finished and I turned off the machine, I needed a long moment before I dared look up at her.: 
Dennen grew enthusiastic and he convinced her to enter a talent contest at the Lion, a gay nightclub in Manhattan's Greenwich Village. She performed two songs, after which there was a "stunned silence" from the audience, followed by "thunderous applause" when she was pronounced the winner.. She was invited back and sang at the club for several weeks. It was during this time that she dropped the second "a" from her first name, switching from "Barbara" to "Barbra", due to her dislike of her original name.
In the early days Streisand was repeatedly told she was too ugly to be a star and advised to get a nose job, which she did not do.

Nightclub shows
Streisand was next asked to audition at the Bon Soir nightclub, after which she was signed up at $125 a week. It became her first professional engagement in September 1960, where she was the opening act for comedian Phyllis Diller. She recalls it was the first time she had been in that kind of upscale environment: "I'd never been in a nightclub until I sang in one."
Dennen now wanted to expose Streisand to his vast record collection of female singers, including Billie Holiday, Mabel Mercer, Ethel Waters, and Édith Piaf. Streisand realized she could still become an actress by first gaining recognition as a singer. According to biographer Christopher Nickens, hearing other great female singers benefited her style, as she began creating different emotional characters when performing, which gave her singing a greater range.
She improved her stage presence when speaking to the audience between songs. She discovered that her Brooklyn-bred style of humor was received favorably.During the next six months appearing at the club, some began comparing her singing voice to famous names such as Judy Garland, Lena Horne and Fanny Brice. Her conversational ability to charm an audience with spontaneous humor during performances became more sophisticated and professional.  Theater critic Leonard Harris wrote: "She's twenty; by the time she's thirty she will have rewritten the record books.
First albums
When she was 21, Streisand signed a contract with Columbia Records that gave her full creative control, in exchange for less money.
Lieberson relented and agreed to sign her. Nearly three decades later, Streisand said:
The most important thing about that first contract – actually, the thing we held out for – was a unique clause giving me the right to choose my own material. It was the only thing I really cared about. I still received lots of pressure from the label to include some pop hits on my first album, but I held out for the songs that really meant something to me.
She took advantage of this several times during her career.
Columbia wanted to call her first album, in early 1963, Sweet And Saucy Streisand; Streisand used her control to insist that it was called The Barbra Streisand Album, saying "if you saw me on TV, you could just go [to the record shop] and ask for the Barbra Streisand album. It's common sense". It reached the top 10 on the Billboard chart and won three Grammy Awards.[25]: 11  The album made her the best-selling female vocalist in the country.: 11  That summer she also released The Second Barbra Streisand Album, which established her as the "most exciting new personality since Elvis Presley.": 11  She ended that breakthrough year of 1963 by performing one-night concerts in Indianapolis, San Jose, Chicago, Sacramento, and Los Angeles.

Luciano Pavarotti- Opera




Luciano Pavarotti Cavaliere di Gran Croce OMRI (/ˌpævəˈrɒti/, US also /ˌpɑːv-/, Italian: [luˈtʃaːno pavaˈrɔtti]; 12 October 1935 – 6 September 2007) was an Italian operatic tenor who during the late part of his career crossed over into popular music, eventually becoming one of the most acclaimed and loved tenors of all time. He made numerous recordings of complete operas and individual arias, gaining worldwide fame for his tone, and achieving the honorific title "King of the High Cs".
As one of the Three Tenors, who performed their first concert during the 1990 FIFA World Cup before a global audience, Pavarotti became well known for his televised concerts and media appearances. From the beginning of his professional career as a tenor in 1961 in Italy to his final performance of "Nessun dorma" at the 2006 Winter Olympics in Turin, Pavarotti was at his best in bel canto operas, pre-Aida Verdi roles, and Puccini works such as La bohème, Tosca, Turandot and Madama Butterfly.
He sold over 100 million records, and the first Three Tenors recording became the best-selling classical album of all time. Pavarotti was also noted for his charity work on behalf of refugees and the Red Cross, amongst others. He died from pancreatic cancer on 6 September 2007.

Bhimsen Joshi

Pandit Bhimsen Gururaj Joshi; BHEEM-SAYN joe-SHEE; 4 February 1922 – 24 January 2011), also known by the honorific prefix Pandit, was one of the greatest Indian vocalists from India, in the Hindustani classical tradition. He is known for the khayal form of singing, as well as for his popular renditions of devotional music (bhajans and abhangs).

Joshi belongs to the Kirana gharana tradition of Hindustani Classical Music. He is noted for his concerts, and between 1964 to 1982 Joshi toured Afghanistan, Italy, France, Canada and USA. He was the first musician from India whose concerts were advertised through posters in New York City. Joshi was instrumental in organising the Sawai Gandharva Music Festival annually, as homage to his guru, Sawai Gandharva.


In 1998, he was awarded the Sangeet Natak Akademi Fellowship, the highest honour conferred by Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama. Subsequently, he received the Bharat Ratna, India's highest civilian honour, in 2009.

Late Pt. Acharya Vishwanath Rao Ringe


Late Pt. Acharya Vishwanath Rao Ringe 'Tanarang' born on 6 December 1922 was a Hindustani Classical Music vocalist and composer. He belonged to Gwalior Gharana of Hindustani Classical Music. He composed more than 2000 bandishs in about 200 ragaas, for which he has been enlisted in Limca Book of Records. He wrote couple of books in past named 'Sangitanjali' and 'Swaranjali' and a recent book `Aacharya "Tanarang" ki Bandishen` was published.



Pt. Ringe was the disciple of late Pandit Krishnarao Pandit of Gwalior gharana. He started learning music from his childhood. He received rigorous and intensive training and full guidance as a performer Khyal Gayakee, in Gwalior Gharana style. In 1939, he established a music school named Bhartiya Sangeet Kala Mandir.

More than 2000 compositions in about 200 raagas, have been composed in various Talas. Viz... Ektal, Deepchandi, Tritala, Tilwada, Chanchar, Dadra, Keharva, Jhaptala, Ada-Choutal, Roopak etc. Pt Ringe had himself composed a Raga Hemashri, which he has Rendered in All India Radio (AIR) Programme.

His compositions include Bada Khyal, Chota Khyal, Chaturang, Tarana, Sadra, Sargam, Tillana, Sur Sagar. Sur Sagar is a unique composition, in which the lyrics are same as the notes.

M. Balamurali krishna


Mangalampalli Balamuralikrishna (6 July 1930 – 22 November 2016) was an Indian Carnatic vocalist, musician, multi-instrumentalist, playback singer, composer, and character actor. He was awarded the Madras Music Academy's Sangeetha Kalanidhi in 1978. He has garnered two National Film Awards (1976, 1987), the Sangeet Natak Akademi Award in 1975, the Padma Vibhushan, India's second-highest civilian honor in 1991, for his contribution towards arts, the Mahatma Gandhi Silver Medal from UNESCO in 1995, the Chevalier of the Ordre des Arts et des Lettres by the French Government in 2005, the Sangeetha Kalanidhi by Madras Music Academy, and the Sangeetha Kalasikhamani in 1991, by the Fine Arts Society, Chennai to name a few.

Balamurali krishna started his career at the age of six. In his life-time, he gave over 25,000 concerts worldwide. Apart from Pandit Bhimsen Joshi, he presented jugalbandi concerts (duets) with Pandit Hariprasad Chaurasia, Pandit Ajoy Chakrabarty and Kishori Amonkar, among others. He is also known for popularizing the compositions of Sri Bhadrachala Ramadasu, Sri Annamacharya, and others.

Balamuralikrishna's concerts combined sophisticated vocal skills and rhythmic patterns of classical music with the popular demand for entertainment value. Balamurali krishna presented concerts in many countries, including the US, Canada, UK, Italy, France, Russia, Sri Lanka, Malaysia, Singapore, countries in the Middle East, and elsewhere. Apart from his native tongue, Telugu, he has also composed in other languages including Kannada, Sanskrit, Tamil, Malayalam, Hindi, Bengali, and Punjabi.

He appeared as a featured soloist with an award-winning British choir, performing the "Gitanjali Suite" with words from Rabindranath Tagore's Nobel Prize-winning poetry and music by "Dr. Joel", the noted UK-based Goan composer. His clear diction in several languages prompted an invitation to record Tagore's entire Rabindra Sangeet compositions in Bengali, preserving them for posterity. He had sung in French, and even ventured into jazz fusion, collaborating with the top Carnatic percussion teacher, Sri T.H. Subash Chandran, in a concert for Malaysian royalty.

Ravi Shankar

Ravi Shankar KBE (Bengali pronunciation: [ˈrobi ˈʃɔŋkor]; রবি শঙ্কর born Robindro Shaunkor Chowdhury, sometimes spelled as Rabindra Shankar Chowdhury; 7 April 1920 – 11 December 2012) was an Indian sitarist and composer. A sitar virtuoso, he became the world's best-known export of North Indian classical music in the second half of the 20th century, and influenced many musicians in India and throughout the world. Shankar was awarded India's highest civilian honour, the Bharat Ratna, in 1999.
 

Shankar was born to a Bengali Brahmin family in India, and spent his youth as a dancer touring India and Europe with the dance group of his brother Uday Shankar. He gave up dancing in 1938 to study sitar playing under court musician Allauddin Khan. After finishing his studies in 1944, Shankar worked as a composer, creating the music for the Apu Trilogy by Satyajit Ray, and was music director of All India Radio, New Delhi, from 1949 to 1956.

In 1956, Shankar began to tour Europe and the Americas playing Indian classical music and increased its popularity there in the 1960s through teaching, performance, and his association with violinist Yehudi Menuhin and Beatles guitarist George Harrison. His influence on Harrison helped popularize the use of Indian instruments in Western pop music in the latter half of the 1960s. Shankar engaged Western music by writing compositions for sitar and orchestra, and toured the world in the 1970s and 1980s. From 1986 to 1992, he served as a nominated member of Rajya Sabha, the upper chamber of the Parliament of India. He continued to perform until the end of his life.

Hariprasad Chaurasia

Hariprasad Chaurasia (born 1 July 1938) is an Indian music director and classical flautist, who plays the flute, in the Hindustani classical tradition.


Chaurasia started learning vocal music from his neighbour, Rajaram, at the age of 15. Later, he switched to playing the flute under the tutelage of Bholanath Prasanna of Varanasi for eight years. He joined the All India Radio, Cuttack, Odisha in 1957 and worked as a composer and performer. Much later, while working for All India Radio, he received guidance from the reclusive Annapurna Devi, daughter of Baba Allaudin Khan. She only agreed to teach him if he was willing to unlearn all that he had learnt until then.

Another version is that she only agreed to teach him after he took the decision to switch from right-handed to left-handed playing to show her his commitment. In any case Chaurasia plays left-handed to this day.

Apart from classical music, Hariprasad has collaborated with Shivkumar Sharma, forming a group called Shiv-Hari. The pair composed music for many popular movies, including Silsila and Chandni, and created some highly popular songs. Chaurasia also collaborated with Bhubaneswar Mishra, forming the pair "Bhuban-Hari" (in line with Shiv-Hari), and the pair composed music for many Odia movies, creating numerous songs that were hugely popular in the state. These include Muje janena kaha baata (sung by Suman Kalyanpur; movie: Gapa helebi Sata); and all songs from Maa o Mamata, and many more.


Chaurasia's nephew and pupil Rakesh Chaurasia is a highly accomplished flautist now, and has been performing globally with such eminent maestros as Ustad Zakir Hussain.
He serves as the artistic director of the World Music Department at the Rotterdam Music Conservatory in the Netherlands[citation needed]. He was also the founder of the Vrindavan Gurukul in Mumbai (opened 2006) and Vrindavan Gurukul in Bhubaneshwar (opened 2010). Both of these institutes are schools dedicated to training students in bansuri in the Guru-shishya tradition.

He has collaborated with several western musicians, including John McLaughlin, Jan Garbarek, and Ken Lauber, and has composed music for Indian films. Chaurasia also played on The Beatles' 1968 B-side "The Inner Light", which was written by George Harrison. He also played with George Harrison on his first solo release, Wonderwall Music, and with Harrison, Ravi Shankar and others on the Dark Horse Records release Shankar Family & Friends.

K. J. Yesudas- Indian Classical
 
Kattassery Joseph Yesudas (born 10 January 1940) is an Indian playback singer and musician who sings Indian classical, devotional and film songs. He is widely regarded as one of the greatest singers in the history of Indian Music and also as a cultural icon of Kerala. Yesudas is estimated to have recorded more than 50,000 songs in various Indian languages, including Malayalam, Tamil, Kannada, Telugu, Hindi, Odia, Bengali, Marathi as well as Arabic, English, Latin, and Russian, in a career spanning six decades.He is often referred to as Gaanagandharvan (transl. The Celestial Singer). He is one of the highly acclaimed singers in India. Yesudas holds the record for singing 11 songs in different languages in a single day. He has also composed a number of Malayalam film songs during the 1970s and 1980s.


Yesudas won the National Award for the Best Male Playback Singer record eight times, the Filmfare Awards South five times, and the State Award for the Best Playback Singer forty-three times, including awards given by the state governments of Kerala, Tamil Nadu, Andhra Pradesh, Karnataka, and West Bengal. He was awarded the Padma Shri in 1975, the Padma Bhushan in 2002, and the Padma Vibhushan (second-highest civilian award) in 2017 by the Government of India for his contributions towards the arts. In 2005, he was honoured with the J. C. Daniel Award, Kerala government's highest honour for contributions to Malayalam cinema. In 2011 Yesudas was honoured with the CNN-IBN outstanding achievement award for his contributions in the music field. In 2006, he sang 16 film songs in four South Indian languages on the same day at AVM Studio, Chennai.

Hari Om Sharan- Indian Classical



Hari Om Sharan (26 September 1932 – 18 December 2007) was an Indian Hindu devotional singer and lyricist. He devoted most of his career to singing devotional songs in praise of Sita, Rama, and Hanuman. As a Bhajan singer in the 1970s he recorded albums such as Premanjali Pushpanjali, and Daata Ek Ram. His bhajans namely 'Tera Ram ji Karenge Bedaa Paar', 'Maili Chadar Odhke Kaise', 'Aarti Kunj Bihari ki', 'Aisa Pyar Bahaa De Maiyya', 'Shree Radhey Govinda', 'Hanuman Chalisa', 'Govind Jai Jai Gopal Jai Jai' are very popular amongst devotees around the world. During his devotional recordings spanning over 35 years, he released over 20 Bhajan albums.




Anup Jalota- Indian Classical

Anup Jalota, (born 29 July 1953) is an Indian singer, musician and actor, best known for his contributions to the Bhajan genre of Indian Music. He is popularly known as the "Bhajan Samraat" (Emperor of Bhajans).Padma Shri was conferred upon him by Government of India in 2012.


Jalota started his musical career as a chorus singer in All India Radio. He is usually backed by a santoor player, dholak player, sarod player, sarangi player, violinist, sitar player, tabla player and guitarist. Some of his popular bhajans include Aisi Lagi Lagan, Main Nahi Makhan Khayo, Rang De Chunariya, Jag Me Sundar Hai Do Naam, and Chadariya Jhini Re Jhini. He was also the presenter of the program Dharam Aur Hum, telecast in Star Plus from 2002 to 2005. He met Jagadguru Shree Kripaluji Maharaj in Mumbai and agreed to release several CDs of his compositions. In 2008 he recorded the title song "Golden Memorable Yaadein" for the CD "Noorani Chehra", produced by Shaukat (Sam) Kassam to commemorate the Golden Jubilee of the Aga Khan.

Bhupen Hazarika- Indian Classical


Bhupen Hazarika was an Indian playback singer, lyricist, musician, poet, actor, filmmaker and politician from Assam, widely known as Sudha Kontho.
Bhupen Hazarika (Assamese: [bʱupɛn ɦazɔɹika] (8 September 1926 – 5 November 2011) was an Indian playback singer, lyricist, musician, poet, actor, filmmaker and politician from Assam, widely known as Sudha Kontho (meaning cuckoo, literally "nectar-throated"). His songs were written and sung mainly in the Assamese language by himself, are marked by humanity and universal brotherhood and have been translated and sung in many languages, most notably in Bengali and Hindi.

His songs, based on the themes of communal amity, universal justice and empathy, are especially popular among the people of Assam, West Bengal and Bangladesh. He is also acknowledged to have introduced the culture and folk music of Assam and Northeast India to Hindi cinema at the national level. He received the National Film Award for Best Music Direction in 1975, the Sangeet Natak Akademi Award (1987), Padma Shri (1977), and Padma Bhushan (2001),Dada Saheb Phalke Award (1992), the highest award for cinema in India and Sangeet Natak Akademi Fellowship (2008), the highest award of the Sangeet Natak Akademi.


He was posthumously awarded both the Padma Vibhushan, India's second-highest civilian award, in 2012, and the Bharat Ratna, India's highest civilian award, in 2019.Hazarika also held the position of the Chairman of the Sangeet Natak Akademi from December 1998 to December 2003.

S. D. Burman

Sachin Dev Burman (1 October 1906 – 31 October 1975) was an Indian music director and singer. A member of the Tripura royal family, he started his career with Bengali films in 1937. He later began composing for Hindi movies and became one of the most successful and influential Bollywood film music composers. Burman composed the soundtracks for over 100 movies, including Bengali films and Hindi. Apart from being a versatile composer, he also sang songs in the light semi-classical and folk style of Bengal. His son, R. D. Burman, was also a celebrated music composer for Bollywood films.


Burman's compositions were sung by the leading singers of the era, including Kishore Kumar, Lata Mangeshkar, Mohammed Rafi, Geeta Dutt, Manna Dey, Hemant Kumar, Asha Bhosle, Shamshad Begum, Mukesh and Talat Mahmood. As a playback singer, Burman sang 14 Hindi and 13 Bengali film songs.


Burman started working as a radio singer on Calcutta Radio Station in the late 20s, when his work as a singer-composer was based on Bengali folk and light Hindustani classical music. Consequently, his compositions were mainly influenced by his huge repertoire of folk-tunes from present Bangladesh and later other parts of India and around the world. His first record was also released in 1932 (Hindustan Musical Product), with "Khamaj" (semi classical), "E Pathey

Aaj Eso Priyo" on one side and the folk "Dakle Kokil Roj Bihane" on the reverse side, on 78 rpm for Hindustan Records. In the following decade, he reached his peak as a singer, cutting as many as 131 songs in Bengali, and also sang for composers like Himangsu Dutta , RC Boral , Nazrul Islam, Sailesh Das Gupta and Subal Das Gupta . He also sang for Madhavlal Master and his son R.D. Burman .
In 1934, he attended the All India Music Conference, at the invitation of Allahabad University, where he presented his Bengali Thumri, all to an illustrious audience, with the likes of Vijaya Lakshmi Pandit and the inimitable Abdul Karim Khan of Kirana Gharana. Later in the year, he was invited to Bengal Music Conference, Kolkata, which was inaugurated by Rabindranath Tagore, here again he sang his Thumri, and was awarded a Gold Medal.

As a music composer, he started with the Bengali plays Sati Tirtha and Janani, and eventually gave his first score in the film Rajgee. In 1937, his second film Rajkumarer Nirbashan (1940) became a hit. He gave music in Bengali films such as Protishodh (1941), Abhoyer Biye (1942) and Chaddobeshi (1944) and only one Bengali film in 1969/70 after he permanently moved to Mumbai in 1946.
He composed for over 20 Bengali films and 89 Hindi films in all. He made his film debut singing in Yahudi ki Ladki (1933) but the songs were scrapped and re-sung by Pahari Sanyal. His first film as a singer was finally Sanjher Pidim (1935).

1940s
In 1944, Burman moved to Mumbai, at the request of Sasadhar Mukherjee of Filmistan, who asked him to give score for two Ashok Kumar starrers, Shikari (1946) and Aath Din, but his first major breakthrough came the following year with the company's Do Bhai (1947). The song Mera Sundar Sapna Beet Gaya sung by Geeta Dutt was his breakthrough song into the film industry. In 1949 came Shabnam, his biggest hit yet with Filmistan, especially noticeable for its multi-lingual hit song Yeh Duniya Roop ki Chor, by Shamshad Begum, which became a rage in those days.

1950s
Disillusioned with the materialism of Mumbai, Burman left the Ashok Kumar starred Mashaal (1950) incomplete and decided to board the first train back to Calcutta. Fortunately, he was dissuaded from doing so.
In the 1950s, Burman teamed up with Dev Anand's Navketan Films to create musical hits like Taxi Driver, Nau Do Gyarah (1957) and Kala Pani (1958). In addition, he gave music for Munimji (1955) and Paying Guest (1957). His songs sung by Kishore Kumar and Mohammed Rafi became popular. Burman composed the music for Afsar (1950). With the success of their second film Baazi (1951), he made it to the top and a long association with Navketan and Dev Anand was on its way.
Baazi's jazzy musical score revealed a new facet of singer Geeta Dutt, who was mainly known for melancholy songs and bhajans. One song from the film stood out – "Tadbeer Se Bigdi Hui Taqdeer", a ghazal that was occidentalised into a seductive song.[citation needed] The Jaal song "Yeh Raat Yeh Chandni" sung by Hemant Kumar is an all-time great classic.The song "Thandi Hawain" from the film Naujawan (1951) sung by Lata Mangeshkar was one of his first major hits. It made Lata very famous as also poet Sahir.

He also wrote music for Guru Dutt's films Pyaasa (1957) and Kaagaz Ke Phool (1959). The soundtracks of Devdas (1955), House No. 44 (1955), Funtoosh (1956), and Solva Saal (1958) were other S. D. Burman hits. In 1959 came Sujata, and S. D. created magic again with "Jalte hai Jiske Liye" by Talat Mahmood.

When Guru Dutt made comparatively light-weight films like Baazi and Jaal (1952), Burman reflected their mood with compositions like "Suno Gajar Kya Gaye" or "De Bhi Chuke Hum" and when Guru Dutt made his sombre masterpieces–Pyaasa (1957) and Kaagaz Ke Phool (1959), he was right on target with "Jinhe Naaz Hai Hind" and "Waqt Ne Kiya Kya Haseen Sitam." In 2004, the soundtrack of Pyaasa was chosen as one of "The Best Music in Film" by Sight & Sound, the British Film Institute magazine.


In 1958, S. D. Burman gave music for Kishore Kumar's house production Chalti Ka Naam Gaadi. The same year, he was awarded the Sangeet Natak Akademi Award for his compositions in Sujata and remains the only music director to have won this prestigious award. S. D. Burman often took inspiration from folk music, Hindustani classical music as well as the more mundane day to day sounds of life. For example, in a later interview, he discussed how he had composed the Kala Pani tune for the Majrooh Sultanpuri / Md. Rafi / Dev Anand song "Hum bekhudi mein tum" based upon the Hindustani Raga "Raag Chayyanat" and the Muslim Muezzin's call for prayers that one hears daily near a mosque.

1960s
Early on in his career, Burman refused to allow his voice to be lip-synced on film by actors;as a result, even later on, in Hindi cinema, his thin yet powerful voice was often used as bardic commentary to haunting results, as in "O Re Majhi Mere Sajan Hai Us Paar" from Bandini (1963), "Wahan Kaun Hai Tera" from Guide (1965), and "Saphal Hogi Teri Aradhana" from Aradhana (1969), for which he received the National Film Award for Best Male Playback Singer in 1970.

Ill health caused a slump in his career in the early 1960s, but he gave many hit films in the late 1960s. In 1961, Burman and Lata Mangeshkar came together during the recording of R.D. Burman's first song for the movie Chhote Nawab (1961). They reconciled their differences and started working again in 1962.

The Dev Anand-S. D. Burman partnership, under the Navketan banner, continued to churn out musical hits like Bombai Ka Babu (1960), Tere Ghar Ke Samne (1963), Guide (1965) and Jewel Thief (1967). In 1963, he composed the soundtrack of Meri Surat Teri Aankhen (1963), in which Manna Dey sang the song "Poocho Na Kaise Maine" in raga Ahir Bhairav. This song was inspired by the song "Arun kanti ke go yogi", a masterpiece that was created by Bidhrohi Kabi Kazi Nazrul Islam and a Ustad Mushtaq Hussain Khan's Khayal which was based on raga Ahir bhairav (morning ragaa). That movie also had a song "Nache Mon Mora Magan", sung by Mohammad Rafi; these became landmarks in Hindi film songs.

Other S. D. Burman hits from this period were Bandini (1963), Ziddi (1964), and Teen Devian (1965). In Bandini, Sampooran Singh (well known as Gulzar), made his debut as a lyricist with the song "Mora Gora Ang Lai Le", though the other songs were written by Shailendra. Guide (1965) starring Dev Anand, was probably the best[citation needed] of his work during the time with all the songs super-hits as well as the film; however, it did not receive the Filmfare Award in the best music director category for that year, which remained always a discussion among the Bollywood film pandits.

Aradhana (1969) is considered another landmark score in Bollywood history. The music of the movie shaped the careers of singer Kishore Kumar, lyricist Anand Bakshi and filmmaker Shakti Samanta. According to the director Shakti Samanta, originally, Mohammed Rafi was supposed to have sung all the songs in the film (he sang only two song), but he was on 2 month long tour and they didn't want to wait for 2 months. So, he suggested Burman to use Kishore Kumar instead as Rajesh Khanna was a newcomer and he agreed. All the songs became chartbuster which made Kishore Kumar an overnight sensation.
Reference For the song "Mere Sapno ki raani", Sachin Dev made R. D. play the mouth organ.[citation needed] Dev Anand and S. D. Burman continued their musical partnership in Prem Pujari

Mehdi Hassan

Mehdi Hassan Khan NI PP HI (Urdu: مہدی حسن خاں) 18 July 1927 – 13 June 2012) was a Pakistani ghazal singer and playback singer for Lollywood. Widely considered one of the greatest and most influential figures in the history of ghazal singing, Hassan is referred to as the "Shahenshah-e-Ghazal" (Emperor of Ghazal). Known for his "haunting" baritone voice, Hassan is credited with bringing ghazal singing to a worldwide audience. He is unique for his melodic patterns and maintaining integrity of the ragas in an innovative way.

Born into a family of Kalawant musicians, Hassan was naturally inclined towards music from a young age. He influenced generations of singers from diverse genres, from Jagjit Singh to Parvez Mehdi.He earned numerous awards and accolades during his lifetime and remained a leading singer of Pakistani film industry along with another contemporary playback singer Ahmed Rushdi, and it is estimated that Hassan sang for over 300 films during his career. For his contributions to the arts, Hassan was awarded with the Nishan-e-Imtiaz, Tamgha-e-Imtiaz, Pride of Performance, and Hilal-e-Imtiaz by the Government of Pakistan.

In 1957, Hassan was again given the opportunity to sing on Radio Pakistan, primarily as a thumri singer and later as a ghazal performer, which earned him recognition within the musical fraternity. He had a passion for Urdu poetry, and therefore, he began to experiment by singing ghazals on a part-time basis. He cites radio officers Z.A. Bukhari and Rafiq Anwar as additional influences in his progression as a ghazal singer. He first sang on Radio Pakistan in 1952.

His first film song was "Nazar Milte Hi Dil Ki Bat Ka Charcha Na Ho Jaye" film Shikhar in 1956. This song was written by poet Yazdani Jalandhari and its music was composed by Asghar Ali M. Husain. In 1964, his ghazal for a film Farangi, "Gulon mein rang bharay, baad-e-naubahar chale" written by renowned Pakistani poet Faiz Ahmed Faiz and composed by Rasheed Attre, gave him a major breakthrough into the Pakistani film industry and he never looked back after that. Even the original ghazal poet Faiz Ahmed Faiz stopped reciting it in his 'mushairas' (poetry reciting events) and, instead, recommended that the audience ask Hassan to sing it for them because the poet jokingly used to say that the ghazal belonged to Hassan after its popularity.

In October 2010, HMV Label released "Sarhadein" in which his first and last duet song Tera Milna featuring Hassan and Lata Mangeshkar was released. This song was composed by Hassan and written by Farhat Shahzad. Hassan recorded it in Pakistan in 2009, and Mangeshkar later heard the track and recorded her part in India in 2010, and the song was later mixed for a duet. The same duet was also sung by Hassan and Noor Jehan.

Following a severe illness in the late 1980s, Hassan cut back on his singing, eventually stepping down from playback singing altogether.[18] Later, due to the severity of his illness, he completely departed from music.

Nusrat Fateh Ali Khan- Classical

Ustad Nusrat Fateh Ali Khan PP (Punjabi: نصرت فتح علی خان; born Pervez Fateh Ali Khan; 13 October 1948 – 16 August 1997) was a Pakistani Punjabi singer, songwriter, and music director. He was primarily a singer of qawwali — a form of Sufi devotional music. Often referred to as "Shahenshah-e-Qawwali" (the King of Kings of Qawwali), he is considered by The New York Times to be the greatest Sufi singer in the Punjabi and Urdu languages and one of the greatest qawwali singers in history. He was described as the fourth greatest singer of all time by LA Weekly in 2016. He was known for his vocal abilities and could perform at a high level of intensity for several hours.Khan is widely credited with introducing qawwali music to international audiences.


Born in Lyallpur (Faisalabad), Khan had his first public performance at the age of 15, at his father's chelum. He became the head of the family qawwali party in 1971, and brought his unique style of sargam, khayal, and rhythm to his family's legacy. He was signed by Oriental Star Agencies, Birmingham, England, in the early 1980s. Khan went on to release movie scores and albums in Europe, India, Japan, Pakistan, and the U.S.

He engaged in collaborations and experiments with Western artists, becoming a well-known world music artist. He toured extensively, performing in over 40 countries.[13] In addition to popularising qawwali music, he also had a big impact on contemporary South Asian popular music, including Pakistani pop, Indian pop, and Bollywood music.

Early life and career
Khan was born into a Punjabi Muslim family family in Lyallpur (modern-day Faisalabad), Punjab, Pakistan, in 1948. His family originates from Basti Sheikh Darvesh, who settled in Jalandhar, Punjab in present-day India.
His ancestors learned music and singing there and adopted it as a profession.[19] He was the fifth child and first son of Fateh Ali Khan, a musicologist, vocalist, instrumentalist, and qawwal. Khan's family, which included four older sisters and a younger brother, Farrukh Fateh Ali Khan, grew up in central Faisalabad.

The tradition of qawwali in the family had passed down through successive generations for almost 600 years. Initially, his father did not want Khan to follow the family's vocation. He had his heart set on Nusrat choosing a much more respectable career path and becoming a doctor or engineer because he felt qawwali artists had low social status. However, Khan showed such an aptitude for and interest in qawwali, that his father finally relented.

In 1971, after the death of his uncle Mubarak Ali Khan, Khan became the official leader of the family qawwali party and the party became known as Nusrat Fateh Ali Khan, Mujahid Mubarak Ali Khan & Party.
Khan's first public performance as the leader of the qawwali party was at a studio recording broadcast as part of an annual music festival organized by Radio Pakistan, known as Jashn-e-Baharan.
Khan sang mainly in Urdu and Punjabi and occasionally in Persian, Braj Bhasha, and Hindi. His first major hit in Pakistan was the song Haq Ali Ali, which was performed in a traditional style and with traditional instrumentation. The song featured restrained use of Khan's sargam improvisations.

Later career
In the summer of 1985, Khan performed at the World of Music, Arts and Dance (WOMAD) festival in London.He performed in Paris in 1985 and 1988. He first visited Japan in 1987, at the invitation of the Japan Foundation. He performed at the 5th Asian Traditional Performing Art Festival in Japan. He also performed at Brooklyn Academy of Music, New York, in 1989, earning him admiration from the American audience.

Khan, throughout his career, had great understanding with many south Asian singers such as Alam Lohar, Noor Jehan, A. R. Rahman, Asha Bhosle, Javed Akhtar, and Lata Mangeshkar.
In the 1992 to 1993 academic year, Khan was a Visiting Artist in the Ethnomusicology department at the University of Washington, Seattle, Washington, United States.

In 1988, Khan teamed up with Peter Gabriel on the soundtrack to The Last Temptation of Christ, which led to Khan being signed to Gabriel's Real World label. He would go on to release five albums of traditional qawwali through Real World, along with the more experimental albums Mustt Mustt (1990), Night Song (1996), and the posthumous remix album Star Rise (1997).

In 1989, commissioned by Oriental Star Agencies Ltd in Birmingham UK, Khan collaborated at Zella Recording Studios with composer Andrew Kristy and producer Johnny Haynes on a series of 'fusion' tracks which propelled Nusrat Fateh Ali Khan and Party into the Channel 4 Christmas Special of "Big World Café." While in the UK in 1989, Khan and party performed Sikh devotional music at a Sikh Gurdwara in Slough, continuing a tradition of Muslims performing hymns at Sikh temples.

Further to this in 1990, the BBC devoted an entire program on Network East to this collaboration, and Big World Café subsequently invited Khan, Andrew Kristy and violinist Nigel Kennedy to perform Allah Hoo live on the show. A live UK tour containing these new fusion tracks was made in 1990.

Khan's experimental work for Real World, which featured his collaborations with the Canadian guitarist Michael Brook, spurred on several further collaborations with a number of other Western composers and rock musicians. One of the most noteworthy of these collaborations came in 1995, when Khan grouped with Pearl Jam's lead singer Eddie Vedder on two songs for the soundtrack to Dead Man Walking.

Khan also provided vocals for The Prayer Cycle which was put together by Jonathan Elias, but died before the tracks could be completed. Alanis Morissette was brought in to sing with his unfinished vocals. In 2002, Gabriel included Khan's vocals on the posthumously released track "Signal to Noise" on his album Up.

Khan's album Intoxicated Spirit was nominated for a Grammy Award for Best Traditional Folk Album in 1997. That same year, his album Night Song was also nominated for a Grammy Award for Best World Music Album.

Khan contributed songs to, and performed in, several Pakistani films. Shortly before his death, he composed music for three Bollywood films, which includes the film Aur Pyaar Ho Gaya, in which he also sang for "Koi Jaane Koi Na Jaane" on-screen with the lead pair, and "Zindagi Jhoom Kar."

He also composed music for Kartoos where he sang for "Ishq Da Rutba", and "Bahaa Na Aansoo", alongside Udit Narayan. He died shortly before the movie's release. His final music composition for Bollywood was for the movie Kachche Dhaage where he sang in "Iss Shaan-E-Karam Ka Kya Kehna." The movie was released in 1999, two years after his death.

The two singing sisters of Bollywood, Asha Bhosle and Lata Mangeshkar sang for the songs he composed in his brief stint in Bollywood. He also sang "Saya Bhi Saath Jab Chhod Jaye" for Sunny Deol's movie Dillagi. The song was released in 1999, two years after Khan's death.

He also sang "Dulhe Ka Sehra" from the Bollywood movie Dhadkan which was released in 2000. Khan was used by Imran Khan to source funds for his Cancer Hospital as told by Appo G, his eldest of four sisters.

Khan contributed the song "Gurus of Peace" to the 1997 album Vande Mataram, composed by A. R. Rahman, and released to celebrate the 50th anniversary of India's independence.

As a posthumous tribute, Rahman later released an album titled Gurus of Peace which included "Allah Hoo" by Khan. Rahman's 2007 song "Tere Bina" for the film Guru was also composed as a tribute to Khan.

Indian Music Glossary
Achal - Achal Swaras are the fixed swaras of the seven musical notes. Sa and Pa are the achal swaras of the Indian classical music. 
Arohi - The term Arohi, also known as Arohana and Aroh, is used to define the ascending melody in music. 
Avirbhav - Avirbhav is that technique of presenting the raga, in which the raga is noticeably expanded and exhibited. It is a bhavbhavna and  how it is exibited.
Abhoga - The last stage of a musical composition, especially in the Drupad music. 
Alaap - Alaap is the free flow of the Raga, in which there are no words and no fixed rhythm. It is the purest from of melody. 
Andolan - Andolan refers to a slow alternation between the notes and shrutis that are next to each other. (Vibration)
Ang - The term 'Ang' refers to the root to which a particular raga belongs. For example, Tantrakari Ang (instrumental style of music) 
Alankar - Alankaras are those notes and features that differentiate one raga from the other. 
Antar Gandhar - One of the variable forms of the third note 'Ga' of Indian Classical Music. 
Antara - Antara is the second stage of a musical composition that emphasizes the upper half of the octave-range. 
Antya - Antya is the last section of a musical composition, after which the recital ends. 
Anuvadi - Those notes of a raga that are neither highlighted nor downplayed are known as Anuvadi notes. 
Asthai - Asthai is the first as well as the fundamental part of a composition, which is repeated during the entire alaap. 
Asthan - The octave region of a raga is known as its Asthan. For example, the lower octave region is known as the Mandar Asthan. 
Ati - The term Ati refers to an extreme in a raga. For example, Ati Vilambit Laya means extremely slow tempo.
Audava - Audava is a raga that has only five notes i.e. 'Paanch Swaras'.
Avarohi - The term Avarohi, also known as Avarohana and Avaroh, is used to define the descending melody in music. 
Bhajan - A devotional song eulogizing Indian Gods and Goddesses. Sung in light classical style, it is usually set to 6, 7 or 8 beat cycles. 
Bol - The term 'Bol' refers to the words making up a vocal composition.
Carnatic - Ancient classical music of South India is known as Carnatic Music
Chakra - As per the Melakarta table of raga classification, Chakras are the twelve groups according to which the ragas are categorized. 
Chalan - Chalan is the makeup of a musical composition, which embodies the movement of a particular raga. 
Chautalaa - Chautalaa is the musical cycle that consists of fourteen beats. 
Dadra Tal - Dadra Tal is the common cycle in the lighter forms of music, comprising of six or three beats. 
Deepchandi Tal - Deepchandi Tal is the tabla composition with fourteen beats
Dhamar Tal - Dhamar Tal is the fourteen beat Tal that has a '5+2+3+4' vibhag pattern. 
Dhaivata - Dhaivata is the sixth of the seven swaras or notes of the Indian classical scale. 
Drut - Drut is the term denoting the fast tempo or speed of the Tal.
Ektal - Ektal is that Tal of the Indian classical music in which the 12 matras are divided into 6 vibhags, each of them having two matras. 
Gandhar - Gandhar is 'Ga', the third musical note of Indian Classical Music.
Gayaki - Gayaki is one of the several styles of singing. 
Geet - Geet is the Indian term for a song or composition.
Ghazal - Ghazal is a poetic-cum-musical form of Hindustani light music, with Persian and Urdu poetic influences.
Grama - Gramas are the basic notes employed in musical tradition. Initially there were three Gramas - Shadaja, Madhyama and Gandhar.
Hindustani - Hindustani Classical Music is the form of Indian classical music that developed in northern parts of India.
Jati - Jati refers to the classification of musical compositions as per the tones.
Jhaptal - Jhaptal is an Indian rhythmic form with a ten-beat cycle.
Jhumra Tal - Jhumra Tal is a slow Indian rhythmic form of 14 (3+4+3+4) beats.
Kan - Kan is the grace note of a musical composition.
Keharwa Tal - Keharwa Tal is the one of the rhythms of the Indian classical music, which has an eight beat cycle.
Komal - The flat form of a note or swar in the classical music of India.
Kriti - Kriti is a format of a musical composition that characterizes the Carnatic form of music. 
Lakshan - An introduction to the ragas is known as Lakshan. It comprises of a set of rules and principles
Laya - Laya can be described as the tempo or speed of the Tal.
Madhya Saptak - The basic saptak, with middle octave region, is known as the Madhya Saptak.
Madhya Laya - Madhya Laya is the medium tempo or speed of the Tal. 
Madhyama - Madhyama is 'Ma', the fourth musical note of Indian Classical Music.
Mandra - Mandra refers to the lower scale notes of the raga, written with dots underneath them.
Meend - Meend is an unbroken flow of a musical progression, from higher to lower notes. 
Mela - Mela is the basic organization of the notes in aroha and avaroha melody.
Mishra - A Mishra melody is that melody which has features of more than one raga. "
Mridangam - Mridangam is a drumming instrument, used in the Carnatic music of South India. 
Nada - The raga or musical notes in music are known as nada vibrations. There are basically Two types of Nadas - Ahata (struck) and Unahata (un-struck).
Nada Brahma - The concept of Nada Brahma means that the whole universe was created from the energy of sound.
Nataka - Nataka is the Hindi term used for defining a theater performance. 
Nyasa - Nyasa is the last note of a specific phrase of notes, which leads to its ending.
Nishadha - Nishadha is 'Ni', the seventh musical note of Indian Classical Music.
Pakad - Pakad is the catch phrase of note combinations, which normally comprises of five notes. It characterizes the flow of a raga.
Panchama - Panchama is 'Pa', the fifth musical note of Indian Classical Music.
Pandit - Pandit is a term of respect, used to refer to the masters or scholars in the field of Indian Classical Music.
Poorvang - The lower region of an octave, from Sa to Ma (Sa Re Ga Ma) is known as the Poorvang.
Prati - The term Prati is used to define a sharp musical note i.e. a musical note that is higher in pitch by a semitone.
Raga - Raga is the basic organization of the thirteen musical notes in a composition, as per specific rules.
Ragini - Ragini is the feminine form of raga. It is usually described as a summary of the main theme of the melody.
Rasa - Rasa is the term used to define the emotional state or quality of the raga and ragini. There are nine rasas in classical music. 
Rasik - Rasik is name given to the composer of a Rasa. 
Rishabha - Rishabha is 'Re', the second musical note of Indian Classical Music. 
Rupak Tal - Rupak Tal is an Indian rhythmic form, which comprises of seven beats. 
Sanchari - Sanchari is the third subsection of a musical composition that comprises of all the regions of the octave. 
Sangeet - Sangeet is the Hindu term used to define music. 
Sampooran - Sampooran ragas are those ragas that comprise of all the seven notes. 
Samvadi - Samvadi is the second most important class into which the notes in the basic musical gamut are divided.
Sandhi Prakash - The ragas that are performed during the hours of twilight or dusk are called Sandhi Prakash Ragas. 
Saptak - Saptak means the set of seven swars or seven notes of the Indian Classical Music. 
Sargam - Sargam is the term used to define the scale of notes used in the composition of music. 
Shadaja - Shadaja is 'Sa', the first musical note of Indian Classical Music. 
Shastra - Shastra is the treatise or text that explains the timeless rules and principles behind music. 
Shaudava - Shaudava Raga is the raga that comprises of six notes in its ascending or descending movement. 
Shruti - Shruti is the sound interval between recognized notes or swaras. 
Shudha - The pure and natural notes or swaras are known as Shudha Swaras.
Swara - Swaras are the musical notes of a composition. 
Swaroop - The term Swaroop refers to the image of a raga. 
Tabla - Tabla is a North Indian drum set, which comprises of the Dagga (bass drum) and the Tabla (Treble drum) 
Tal - Tal is a predisposed arrangement of beats, in a certain tempo
Tan - An improvised vocal or instrumental musical phrase 
Tanpura - String instrument used for drone; Tanpura means to fill the void behind the music; to complete or assist a tan; a. k. a. Tamboora 
Tar - Tar is a fast-paced musical and melodic amplification of vocal as well as instrumental classical music. 
Tamboora - Tamboora is a musical instrument made from a gourd (Tumba). It is also known as Tanpura. 
Thaat - Thaat is Pandit Bhatkande's classification of all the ragas into one of ten parent scales. 
Thumri - Thumri is a form of 'light-classical' vocal music. It does not follow the tala and raga rules of music very rigidly. 
Tintal (Teental) - Tintal is an Indian rhythmic tal with sixteen beats, in four equal divisions. 
Tirobhav - Tirobhav basically means the process of concealing a raga on a temporary basis. 
Tivra - Tivra means the highest state (pitch) of the two notes, madhyama and nishad.
Uttarang - Uttarang is the higher tetra-chord of an octave, which comprises of Pa, Dha, Ni and Sa notes. 
Vadi - Vadi is the note that holds the maximum importance in a raga. 
Vakra - Vakra Raga is one of the four Janya Ragas and has swaras in a non-sequential order.
Varana - The four Varanas are the four basic ways, on the basis of which musical tones are organized. 
Varjit - Varjit note is the note that is deleted from the Arohi or Avarohi of its derivative Ragas.
Vikrit - Vikrit notes are the modified notes used in the raga.
Vilambit - The term Vilambit is used to denote the slow speed or tempo of the Tal.
Vivadi - Vivadi notes are those notes that are either not included in a raga or are used very rarely

How many ragas are there in India?What are 6 main ragas?

1. Raag Bhoop
2. Raag Durga
3. Raag Sarang
4. Raag Des
5. Raag Khamaj
6. Raag Kafi
7. Raag Bhimpalasi
8. Raag Bageshri

Indian Ragas List 

This is a list of various Ragas in Hindustani classical music. There is no exact count/known number of ragas which are there in Indian classical music.

Once Ustad Vilayat Khan saheb at the Sawai Gandharva Bhimsen Festival, Pune said before beginning his performance - "There are approximately about 4 lakh ragas in Hindustani classical music. Many of them are repetitious but have different names."

Here some of the Ragas and other types that are named alphabetically.
(Following are Ragas, Raaginis, Upragas, Putra ragas, raga's wives, Das ragas, Dasi ragas, Misra ragas or Jod ragas, etc all are present in the following list in an alphabetical order)

LIST OF THE RAAGAS

• Aadi (raga)
• Aadi Basant (Marwa Thaat)
• Aarabi (raga)
• Abhari (raagini)
• Abheri Todi
• Abhiri (raagini)
• Abhogi
• Abhogi Kanada
• Achob (raga)
• Adambari Kedar (raga)
• Adana (raga)
• Adana Bahar
• Adana Malhar
• Adbhut Kalyan (raga)
• Adbhut Ranjani
• Aghali (raga)
• Ahir Bhairav
• Ahimohini (raagini)
• Ahir Kanada
• Ahir Lalat
• Ahir Lalit
• Ahiri (raagini)
• Ahiri Malhar
• Ahiri Todi
• Ajad (raga)
• Ajad Hindol
• Alamgiri (raagini)
• Amba Manohari
• Ambika Sarang
• Amari (raagini)
• Amiri Kauns (Vachaspati aang)
• Amir Khani Kauns (Vachaspati aang)
• Amrith Kalyan
• Amritvarshini (raga)
• Ananda (raga's son)
• Ananda Bhairav
• Ananda Leela
• Ananda Malhar
• Anandi (raagini)
• Anandi Bahar
• Anandi kedar
• Andhri (raga)
• Andiyali (raagini)
• Anjani Kalyan
• Anjani Todi
• Anuranjani
• Alhaiya
• Alhaiya Bilaval
• Araj (raga)
• Arun Malhar
• Asa (raga)
• Asa Bhairav
• Asa Kafi
• Asa Maand
• Asa Todi
• Asa Asavari
• Asavari (Shuddh Rishabh Asavari)
• Asavari Todi (Komal Rishabh Asavari)
• Aslekhi (raagini)
• Averi Bhairavi
• Audav (raga)
• Audav Bhairav
• Audav Bilawal
• Audav Devgiri (raagini)
• Audav Dhannasri (raagini)
• Audav Gandhar
• Audav Girija
• Audav Kauns
• Audav Shuddha Kalyan

B

• Badhans (raga)
• Badhamsa Sarang (Badhans Sarang)
• Bagkauns (raga)
• Bageshri / Bageshree
• Bageshri Bahar
• Bageshri Kanada
• Bageshri Kauns
• Bahaduri Todi
• Bahar
• Bahari Kedar
• Bairagi
• Bairagi Bhairav
• Bairagi Todi
• Bakul Bhairav
• Bakulabharan (raga)
• Ban (putra raga)
• Bangal (putra raga)
• Bangal Bhairav
• Bangal Bilawal
• Bangli (raagini)
• Barari (Marwa aang)
• Barari (Purvi aang)
• Barathi Todi
• Barhams Sarang
• Barahansika (raagini)
• Barwa (raga)
• Basant
• Basant Bahar
• Basant Pancham
• Basant Hindol
• Basant Kedar
• Basanta Mukhari
• Basanti (raagini)
• Basanti Kanada
• Basanti Kauns
• Basanti Kedar
• Bayati
• Bhairav
• Beehad (raga)
• Beehad Bhairav
• Bhairav Bahar
• Bhairav Bhatiyar
• Bhairavi
• Bhankhar
• Bhankhari
• Bhaskali
• Bhasker (putra raga)
• Bhatiyar (Marwa aang)
• Bhatiyar (Purvi aang)
• Bhatiyari (raagini)
• Bhatiyari Bhairav
• Bhatiyari Gauri
• Bhavmat (raga)
• Bhavmat Bhairav
• Bhav Kauns
• Bhavsakh
• Bhavsakh Kanada
• Bhavana pancham (upraga)
• Bhawani (raga)
• Bhawani Bahar
• Bhilalu
• Bhim (Kafi Thaat)
• Bhimsen
• Bhimpalasi
• Bhinna Bhairav
• Bhinna Kauns
• Bhinna Lalat
• Bhinna Rageshri
• Bhinna Shadja
• Bhookosh (raga)
• Bhora (putra raga)
• Bhup/Bhoopali
• Bhoopal (bhairav Thaat)
• Bhoopal Todi
• Bhoopeshwari
• Bhup Bilawal
• Bhup Kalyan
• Bhup Nat
• Bhupawali
• Bhupkali
• Bhuplai
• Bibhas (Marwa aang)
• Bibhas (Purvi aang)
• Bibhas (Bhairav aang)
• Bibhas (Deshkar aang)
• Bibhas Parbhati
• Bihag
• Bihag Maalva
• Bihag Nat
• Bihag Pat
• Bihag Savani
• Bihagada (with N)
• Bihagada (with n, N)
• Bihagara
• Bihari
• Bihagora (raga)
• Bihagora Maalva (raga)
• Bihari (raga)
• Bilaskhani Todi
• Bilawal
• Bilawal Dakhani
• Bilawal Gond
• Bilawal Kukubh
• Bilawal Malhar (mixture of ragas Gaud Malhar and Alhaiya Bilawal)
• Bilawal Nat
• Bilawal Shukla
• Bilawali (raagini)
• Bilahari (raga)
• Binoda (putra raga)
• Biradhar (putra raga)
• Birju ki Malhar
• Brindabani Sarang

C

• Chaiti (raga)
• Chaiti Barwa
• Chaiti Bhup
• Chakradhar (raga)
• Chakravaak (raga)
• Chalnat
• Champak bilawal
• Champak (putra raga)
• Champakali
• Chand (putra raga)
• Chanchalsas Malhar
• Chandani (raga)
• Chandani Bihag
• Chandani Kalyan
• Chandani Kedar[1]
• Chandra Bhairav
• Chandra Bhankar
• Chandra-Bimb (putra raga)
• Chandra Kalyan
• Chandradhwani
• Chandrakant (raga)
• Chandrakauns (Agra Gharana)
• Chandrakauns (Bageshree aang)
• Chandrakauns[1]
• Chandramouli
• Chandranandan
• Chandraprabha
• Chandrika (raga)
• Charju ki Malhar
• Charukauns
• Charukeshi
• Chhaya (raga)
• Chhaya bihag
• Chhaya Gaud Sarang
• Chhaya Hindol
• Chhaya Kalyan
• Chhaya Malhar
• Chhaya Tilak
• Chhayanat[1]

D

• Dadori
• Dagori
• Dakshina Gujjari (raga)
• Dakshinatya (raga)
• Daras Kauns (raga)
• Darbari
• Darbari Kanada
• Darbari Todi
• Daulati (raagini)
• Dayabati
• Deepak (Bilawal Thaat)
• Deepak Kedar
• Deepawali
• Deepranjani
• Deosakh
• Deogandhara (raga's son)
• Desaa Jaldhar (raga)
• Desaa Sawan (raga)
• Desaa Sorath (raga)
• Desh
• Desh Gaud
• Desh Jogi
• Desh Malhar
• Deshakhya (raga)
• Deshi (raagini)
• Desi Devgiri
• Deshi Tilang
• Desi Todi
• Deshkar (Purvi aang)
• Deshkar (Marwa aang)
• Deshkar[1]
• Devadarshini
• Devangi
• Devkari (raagini)
• Dev Gandhar (raga) (Both Ga's in Jaunpuri)
• Dev Gandhar (Jogia aang)
• Dev Gandhar (Asavari aang)
• Devgaandhari (raagini)
• Devaranjani
• Devata Bhairav
• Devgiri Bilawal
• Devmaya
• Devkauns
• Devsag (raga)
• Devtirthi
• Dev Todi
• Dhakka (raga) (Komal Bhimpalasi)
• Dharmavati
• Dhan Basanti (Purvi aang)
• Dhanakoni Kalyan
• Dhanashri (raga)
• Dhanashri (Bhairavi aang)
• Dhanashri (Bilawal aang)
• Dhanashri (Kafi aang)
• Dhanashri (Khamaj aang)
• Dhanashri Multani
• Dhanawarchi Kalyan
• Dhani
• Dhanki
• Dhanikauns
• Dhanya Dhaivat
• Dhavalshree (raga)
• Dhulia Malhar
• Dhulia Sarang
• Dhumavati
• Din Ka Malkauns
• Divyagandhar
• Din ka Shankara
• Din ki Puriya (raagini)
• Din ki Puriya (Poorvi aang)
• Dishakh (putra raag)
• Divya Chandrika (created by Pt. Milind Date)
• Diwali (raagini)
• Dravida Gauda (raga)
• Dravida Gujjari (raga)
• Durga (raga)
• Durga (Bilawal Thaat)
• Durga (Khamaj Thaat)
• Durga Kalyan
• Durga Kedar
• Durgawati (raagini)
• Durgeshwari 1
• Durgeshwari 2
• Dwijavanthi

E

• Enayatkhani Kanada
• Erukalakambhoji (raga)

G

• Gagan Vihang (raga)
• Gajdhar (putra raga)
• Gambhir (raga)
• Gandhara (putra raga)
• Gandhari 1 (raagini)
• Gandhari 2 (raagini)
• Gandhari 3 (raagini)
• Gandhari Bahar
• Gandhakriya (raga)
• Gandhi Malhar
• Ganeshwari (raga)
• Gara (raga)
• Gara Bageshri
• Gara Kanada
• Gara Mand
• Gaud (raga)
• Gaud Bahar
• Gaud Bilawal
• Gaud Malhar[1]
• Gaud Sarang[1]
• Gaudgiri Bahar
• Gaudi (putra raga)
• Gaudi Bahar
• Gaudi Lalat
• Gaudi Malari (putra raga)
• Gaul (Bhairav Thaat)
• Gauri (raga)
• Gauri (Bhairav Thaat)
• Gauri (Kalingada aang) (2 Ma’s)
• Gauri (Marwa aang)
• Gauri (Poorvi aang)
• Gauri Bairagan
• Gauri Basant
• Gauri Chayti
• Gauri Cheti
• Gauri Dakhani
• Gauri Deepaki
• Gauri Guarairi
• Gauri Lalita
• Gauri Majh
• Gauri Mala
• Gauri Malva
• Gauri Purbi
• Gauri Purbi Deepaki
• Gauri Sorath
• Gaundkari (raagini)
• Gawati (raga)
• Girija Audav
• Girija Bhairav
• Girija Gandhar
• Girija Kauns
• Godagir (raagini)
• Gop Kamboji (Kafi Thaat)
• Gopika (raga)
• Gopika Basant
• Gorakh Kalyan[1]
• Govardhani Todi
• Gound
• Gujjari (raagini)
• Guna Kalyan
• Guna Sagra
• Gunkiri (raagini)
• Gunguni (putra raga)
• Gunakali (raga)
• Gunakali (Bilawal Thaat)
• Gunakali (without Ma)
• Gunakali (without Ni)
• Gunakali Jogia
• Gunakali Utari (raga)
• Gunakree[1]
• Gunaranjani
• Gund (putra raga)
• Gunji Kanada
• Gunjikauns
• Gurjri (raagini)
• Gurjari Todi[1]
• Guru Kalyan
• Gyankali

H

• Hameer[1]
• Hameer Tarang
• Hameer Bahar
• Hameer Bilawal
• Hameer Kalyan
• Hameer Kedar
• Hameeri (raagini)
• Hameeri Bilawal
• Hamviri (raagini)
• Hamsadhvani
• Himala (raga's son)
• Hansanarayani (Purvi Thaat)
• Hanskinkini (raga)
• Haunsnad (raga)
• Hansvinod (raga)
• Harakh (putra raga)
• Harsha (raga's son)
• Harshsrungara
• Harasringara (raagini)
• Hari Bhairav (a raga created and tributed by Pt. Milind Date to his Guru Pandit Hariprasad Chaurasia)
• Hari Kauns (raga)
• Hari Mohini (a raga created and tributed by Pt. Milind Date to his Guru Pandit Hariprasad Chaurasia)
• Hari Priya (raga)
• Hasantrehta (raga)
• Hem Bihag
• Hem Kalyan
• Hem Lalat
• Hem Nat
• Hemshri (created by Pt. Acharya Vishwanath Rao Ringe 'Tanarang')
• Hemant (raga)
• Hemvati (raga)
• Hemvanti (raga)
• Hijaj (raga)
• Hijaj Bhairav
• Hindol
• Hindol Ajad (raga)
• Hindol Bahar
• Hindol Basant
• Hindol Hem
• Hindol Kalyan
• Hindol Marg (raga)
• Hindol Pancham (raga)
• Hindoli (raagini)
• Hindolita (raagini)
• Homshikha (raga) (Khamaj Thaat)
• Hussaini Kanada 1
• Hussaini Kanada 2
• Hussaini Kanada 2
• Hussani Bhairav (a raga created and tributed by Pt. Milind Date to Ustad Zakir Hussain)
• Hussaini Bhairavi
• Hussani Todi

I

• Iman (raga's son)
• Imratkauns
• Inayatkhani Kanada (created by Ustad Vilayat Khan)
• Indumati
• Indrasan

J

• Jablidhar (putra raga)
• JaiKauns (raga)
• JaiRaj (Bilawal Thaat)
• Jaij Bilawal
• Jaimini (raga)
• Jaimini Kalyan
• Jait (Marwa Thaat)
• Jaitshri (raagini)
• Jait Kalyan
• Jaiwanti (Todi Thaat)
• Jaijaiwanti[1]
• Jaijaiwanti (Kafi aang)
• Jaijaiwanti (Desh aang)
• Jaijaiwanti Kanada
• Jaijaiwanti Todi
• Jaldhara (putra raga)
• Jaladhar Basanti
• Jaladhar Desa
• Jaladhar Kedar
• Janasammohini[1]
• Jangla Purvi
• Jangula (Asavari aang)
• Jaun (raga)
• Jaunkali
• Jaunpuri
• Jaunpuri Bahar
• Jaunpuri Todi
• Jayant (Kafi Thaat)
• Jayant Malhar (it is made up of ragas Jaijaiwanti and Malhar.)
• Jayant Kanada (it is made up of ragas Jaijaiwanti and Kanada.)
• Jayanti (raagini)
• Jaya
• Jayet
• Jetashree
• Jhanjh Malhar
• Jhinjhoti
• Jhinjhoti Misravanti
• Jhilla/Jilla (raga)
• Jog (raga)
• Jog Bahar
• Jog Tilang
• Jogeshwari (raga) (Kafi Thaat)
• Jogeshwari (raga) (Khamaj Thaat)
• Jogi (raga)
• Jogi Bhairavi
• Jogi Mand
• Jogia Kalingada
• Jogia
• Jogiya Asavari
• Jogkauns
• Jogwanti
• Joun Bhairav
• Jungala (raga)

K

• Kaamaai (Khamaj Thaat)
• Kaamkesh (Khamaj Thaat)
• Kabir Bhairav 1
• Kabir Bhairav 2
• Kabiri (raagini)
• Kabiri Gauri
• Kachheli (raagini)
• Kafi
• Kafi Bahar
• Kafi Kanada
• Kafi Malhar
• Kagnat (raga)
• Kaisiki (raagini)
• Kakambheri (Bhairavi)
• Kakubha (raagini)
• Kala Bharan (Khamaj Thaat)
• Kalahans (raga)
• Kaalanka (putra raga)
• Kalaranjani
• Kalashree (created by Pt Bhimsen Joshi)
• Kalian (raga)
• Kalian Bhopali
• Kalinga (raga)
• Kalingada
• Kalyan
• Kalyani (raagini)
• Kamakshani (raagini)
• Kamal (putra raga)
• Kamal Shree
• Kamalaranjani
• Kamboji (raga)
• Kameshwari
• Kamkesh (raga)
• Kamod
• Kamod Nat
• Kamodi (raagini)
• Kamodwanti (raagini) (Khamaj Thaat)
• Kampili (raagini)
• Kanada (raga)
• Kanada Bageshri
• Kanada Bahar
• Kaanara (raga)
• Kannadi (raagini)
• Kanaraya (raga's son)
• Kanakanagi (raga)
• Kanmala (raga's son)
• Kanra
• Kanakanagi (Bhairav Thaat)
• Kausi
• Kausi Kanada (Bageshri aang)
• Kausi Kanada (Nayaki aang)
• Kansi Kanada (it is a mixture of ragas Malkauns and Kanada)
• Kapar Gauri
• Kapi (raga) (Kafi Thaat)
• Karnati (raagini)
• Karnataka Bangala
• Karnataki (raagini)
• Kaushik (raga)
• Kaushikdwani (raga)
• Kaushiki (raagini)
• Kaushi Kanada
• Kaunsi Kanada (Nayaki aang)
• Kaunsi (Bhairavi Thaat)
• Kedar
• Kedar Bahar
• Kedar Bhairav
• Kedar Bhankar
• Kedar Mand
• Kedar Nand
• KedarNanda
• Kedari (raagini)
• Kedari Malhar
• Keki (raagini)
• Kesari Kalyan
• Khamaj
• Khamaj Bahar
• Khambavati (Khamaj Thaat)
• Khammaji Bhatiyar
• Khapar Gauri
• Khat (Asavari Thaat)
• Khat
• Khat Dhanashree
• Khat Todi
• Khem (raga) (Kalyan Thaat)
• Khem Kalyan
• Khemb (raga)
• Khemdhwan (raga)
• Khemnat (raga)
• Khokar
• Khokat (putra raga)
• Kiranranjani (raagini)
• Kiwani
• Klawanti
• Kohari Kalyan
• Kokabh (raga)
• Kokar (raag's son)
• Kokila Pancham (upraga)
• Kohal (raga) (Kafi Thaat)
• Kolahal (raga) (Bilawal Thaat)
• Kolhaas (raga) (Kafi Thaat)
• Komal Bageshri
• Komal Bhairav
• Komal Desi
• Komal Rishabh Asavari (raga)
• Kola (raga's son)
• Koumari (raagini) (Poorvi Thaat)
• Kripavati (raagini) (Asavari Thaat)
• Krishna Kalyan (raga)
• Krulanda (raga's son)
• Kukubh (raga)
• Kumbh (putra raga)
• Kumbhara (raga's son)
• Kumodini (raagini)
• Kunada (raga)
• Kuntal (putra raga)
• Kuranji (raga)
• Kusha (raga's son)
• Kusum (putra raga)

L

• Lachari Kanada
• Lachari Todi
• Lachchasakh (raga)
• Lachhasas (raga)
• Lagan Gandhar
• Lajwanti (raagini)
• Lakshmi Kalyan
• Lakshmi Todi
• Lalat[1]
• Lalat Bahar
• Lalat Pancham
• Lalit (putra raga)
• Lalit Bhatiyar
• Lalit Bilas
• Lalit Pancham
• Lalita (raagini)
• Lalita Gauri (Bhairav aang)
• Lalita Gauri (Poorvi aang)
• Lalita Sohani
• Lalitdhwani
• Lalitkali
• Lataangi (raga)
• Lankadahan Sarang (also known as Lankadahani Sarang)
• Lankeshri 1
• Lankeshri 2
• Lankeshri Kanada
• Lankeshwari
• Lom

M

• Madha Kalyan
• Madhakauns
• Madhava (putra raga)
• Madhasuraja (raga)
• Madhu (putra raga)
• Madhu Basant
• Madhukali
• Madhu Kalyan
• Madhu Malhar
• Madhu Malvi
• Madhu Sarang
• Madhu Saraswati
• Madhuwanti
• Madhukauns
• Madhumadh Sarang
• Madhumalati
• Madhumadhavi (raagini)
• Madhuranjani
• Madhusurawali
• Madhyamad Sarang[1]
• Madhyamavati
• Maharashtra Gujjari (raga)
• Majh (raga)
• Malashree
• Malavasri (raagini)
• Malani (Bhairavi Thaat)
• Malati Basant
• Malati Bihag
• Malati
• Malava
• Malavi (Marwa Thaat)
• Malavi (Purvi Thaat)
• Malawa Bihag
• Malawati
• Malayalam
• Malhar
• Malhari (raagini)
• Malgunji
• Maligaura (d)
• Maligaura (d, D)
• Malini Basant
• Malkauns
• Malkauns Bahar
• Malkauns Kanada
• Malkauns Pancham[1]
• Maalva (raga)
• Malavi (raagini)
• Maluha Bihag
• Maluha Kalyan
• Maluha Kedar
• Maluha Mand
• Mallari (raagini)
• Manavi
• Mand Bhairav
• Mand Bhatiyar
• Mand[1]
• Mangal Bhairav 1
• Mangal Bhairav 2
• Mangal Lalit
• Mangal Todi
• Mangaldhwani
• Mangalgujari
• Mangalan (putra raga)
• Mangeshi Todi (a raga created and tributed to Lata Mangeshkar, Asha Bhosale and Family by Pt. Milind Date)
• Mangiya Bhusani
• Manj Khamaj
• Manjha Khamaj
• Manjari
• Manjari Bihag
• Manjubhashini
• Marga Bihag[1]
• Marg Hindol
• Maru (putra raga)
• Maru Basant
• Maru Bihag
• Maru Dakhani
• Maru Kalyan
• Maru Kafi
• Maru Kauns
• Maru Khamaj
• Maru Sarang
• Marwa
• Marwa Shree
• Medhavi
• Meghranji
• Mehkali
• Mewara (putra raga)
• Mayuri (raagini)
• Mirabai ki Malhar
• Mishra Bhairavi
• Mishra Bihag
• Mishra Desh
• Mishra Gara
• Mishra Jhinjhoti
• Mishra Jog
• Mishra Kafi
• Mishra Kalyan
• Mishra Khamaj
• Mishra Kirwani
• Mishra Mand
• Mishra Manjha
• Mishra Narayani
• Mishra Nat
• Mishra Pahadi
• Mishra Pilu
• Mishra Shankara
• Mishra Shivaranjani
• Mishra Todi
• Malhar (Some consider raga Malhar different from raga Miyan Malhar)
• Miyan Malhar[1]
• Miyan ki Sarang (made up by the mixer of ragas Miyan Malhar and Brindabani Sarang)
• Miyan ki Todi
• Mod Malhar (made up by the mixer of ragas Kamod and Miyan Malhar)
• Mohankauns
• Mohini
• Motaki
• MotakiTodi
• Mrig Savani
• Mudrika Kanada
• Mudriki Kanada (raagini)
• Mugdha Chandrika (raga created by Pt. Milind Date)
• Mukthipradayini
• Multani
• Multani dhanashree
• Mustang (putra raga)

N

• Nad (putra raga)
• Nad Kalyani
• Nadanamakriya (raga)
• Nagadhwani Kanada
• Naga Gandhar (upraga)
• Naga Pancham (upraga)
• Nagaswaravali
• Naiki Kanada
• Nanad
• Nand[1]
• Nand Basant
• Nand Kauns
• Nand Kedar
• Nanak Malhar
• Narayani
• Narendra Kaunsa (a raga tributed to Shri Narendra Modi and created by Pt. Milind Date)
• Nat (putra raga)
• Nat Bhairav
• Nat Bihag
• Nat Bilawal
• Nat Kamod
• Nat Kedar
• Nat Malhar
• Nat Nagari
• Natachandra
• Natahams
• Natakpriya
• Natika (raagini)
• Natnarayan
• Natnarayani 1
• Natnarayani 2
• Nathmira (raagini)
• Narayani (raga)
• NavRanjani
• Nayaki Kanada
• Nepala (raga)
• Nepala Gauda (raga)
• Neelambari
• Nindiyari
• Niranjani Todi

P

• Pahadi (raga)
• Palas (raga)
• Palas Kafi
• Palasi
• Pancha Jogeshwari
• Pancham (putra raga)
• Pancham (Basant aang)
• Pancham (Hindol aang)
• Pancham Malkauns
• Pancham Shadhav (upraga)
• Pancham se Gara
• Parbal (putra raga)
• Parbhati
• Parbhati Bibhas
• Parbhati Dakhani
• Paraj (putra raga)
• Paraj Basant
• Paraj Kalingada
• Paraji Bhairav
• Parameshwari (raga)
• Pardesh (raga)
• Pat Bihag
• Pat Kafi
• Pat Ranjani
• Patdeepak
• Patmanjari (raagini) (earlier called as Phalamanjari or Padamanjari)
• Patmanjari 2
• Patmanjari 3 (Talwandi Gharana)
• Patdeep
• Phulashree
• Piloo
• Piloo Gara
• Piloo Ki Maanjh
• Pitambara
• Poorbya
• Prabhakali
• Prabhat (raga)
• Prabhat Bhairav
• Prabhati (raagini)
• Prabhateshwari
• Pradeepaki
• Pratapvarali
• Priya Kalyan
• Punyaki (raagini)
• Purabi Kalyan
• Purna Chandrakauns
• Purva (Purvi Thaat)
• Purva Kalyan (Marwa Thaat)
• Purvi Bihag
• Puriya Dhanashree
• Puriya Kalyan
• Pushpa Chandrika (created by Pt. Pannalal Ghosh)

R

• Rageshri
• Rageshri Bahar
• Rageshri Kanada
• Rageshri Kauns
• Rageswari
• Rahi (raga)
• Raisa Kanada
• Raj Kalyan (raga)
• Raja Kalyan (raga)
• Rajani Kalyan (raga)
• Rama putra raga)
• Ram Gauri
• Ram Kalyan
• Ramanandi Gauri
• Ramkali
• Ramkali Dakhani
• Ramdasi Malhar
• Ramsakh
• Ramakiri (raagini)
• Rangeshwari
• Rasia (raga)
• Rasia Kanada
• Rasranjani Rasavati
• Rati (raga)
• Rati Bhairav
• Rativallabha (raga)
• Rayasa Kanada
• Revagupta (upraga)
• Rewa (Purvi aang)
• Rudhravati
• Rudra Pancham
• Rudra Ranjani
• Rupawati Kalyan
• Rupkali
• Rupmanjari Malhar

S

• Sagara
• Sagera
• Sagra (putra raga)
• Sagunaranjani (raga)
• Sahanki (raagini)
• Saheli todi
• Saindhava (raga's son)
• Saindhavi (raagini)
• Sajan (raga)
• Salagvarali
• Salu (putra raga)
• Samant Kalyan
• Samant Sarang
• Sampurna Bageshri
• Sampurna Bangala (raga's son)
• Sampurna Basakta (raga's son)
• Sampurna Bhairavi (raagini)
• Sampurna Bibhas
• Sampurna Gauda (raga's son)
• Sampurna Hindol
• Sampurna Kedar
• Sampurna Malkauns
• Sampurna Sarang
• Sampurna Ramkali (raagini)
• Sandhya
• Sandhya Shree
• Sanjani
• Sanjh Barari
• Sanjh Sarawali
• Sanjh Tarini
• Sanjh
• Sangam Kedar
• Santuri Todi
• Sar Nat
• Sarag (putra raga)
• Sarpada
• Sarang
• Sarang Kauns
• Sarangi (raagini)
• Saradi (putra raga)
• Sarasaangi (raga)
• Saraswati
• Saraswati Chandra
• Saraswati Kalyan
• Saraswati Kedar
• Saraswati Sarang
• Saravali (created by Ustad Vilayat Khan)
• Sarparda (raga)
• Sarparda Bilawal
• Salang
• Salang Sarang
• Sathanka (raga's son)
• Saurati (raagini)
• Savan (raga)
• Savan Desaa (raga)
• Savani 1
• Savani 2
• Savani Barwa
• Savani Bhatiyar
• Savani Bihag
• Savani Bilawal
• Savani Kalyan
• Savani Kedar
• Savani Nat
• Saveri (raagini)
• Saveri Todi
• Sazgiri
• Sehra (by Ustad Sultan Khan)
• Seehute (raagini)
• Shajda (raga)
• Shadjandhri (raga)
• Shahana
• Shahana Bahar
• Shahana Kanada
• Shaktilak (upraga)
• Shamvati
• Shankara
• Shankara Bihag
• Shankara Kalyan
• Sharada
• Shiv (raga)
• Shiv Abhogi
• Shiv Bhairav
• Shivdhaam
• Shiv Kalyan (made up by the mixer of ragas Shivaranjani and Aman)
• Shiv Kauns
• Shiv Kedar
• Shivari (raagini)
• Shivmat Bhairav
• Shivaranjani
• Shiv Todi
• Shobhavari
• Shree
• Shree Kalyan 1
• Shree Kalyan 2
• Shreetanki
• Shubh Kalyan
• Shuddha (raga)
• Shuddha Bahar
• Shuddha Barari
• Shuddha Basant
• Shuddha Bhairavi
• Shuddha Bihag
• Shuddha Bilawal
• Shuddha Dhanashree
• Shuddha Desi
• Shuddha Kafi
• Shuddha Kalyan
• Shuddha Kedar
• Shuddha Lalat
• Shuddha Malhar (Bilawal Thaat)
• Shuddha Malu
• Shuddha Nat
• Shuddha Nishad Bageshri
• Shuddha Sarang
• Shuddha Sarangi
• Shuddha Shyam
• Shuddha Todi
• Shukla (raga)
• Shukla Bilawal
• Shyam (putra raga)
• Shyam Kalyan 1
• Shyam Kalyan 2
• Shyam Kalyan
• Shyam Kauns
• Shyam Kedar
• Shyam Sarang
• Shyam Shree
• Simhendramadhyam
• Sindh (raga)
• Sindhimallari (raga)
• Sindhavi Asavari (raagini)
• Sindhava
• Sindhu Bahar
• Sindhu Bhairav
• Sindhu Bhairavi
• Sindhura
• Sindhura Bahar
• Sindhura Kafi
• Sindhuri (raagini)
• Sohani
• Sohani Bhatiyar
• Sohani Pancham
• Soma (raga)
• Sooha (raga)
• Sorati (raagini)
• Sorath
• Sorath Desaa (raga)
• Sorath Malhar
• Sorathi (raga's son's wife)
• Sourashtra (raga)
• Sourashtra Bhairav
• Sourashtra Gujjari
• Siri Raag
• Srirangapriya
• Subah Ki Malavi (Marwa Thaat)
• Sugandh (raga)
• Sugharai
• Sugharai Kanada
• Suha (raga)
• Suha Adana
• Suha Kanada
• Suha Malhar
• Suha Sughrai
• Suha Sugharai Kanada (raga)
• Suha Todi
• Suhi (raga)
• Suhi Kafi
• Suhi lalit
• Suho/Suhai
• Sujani Malhar
• Sukhiya (raga)
• Sukhiya Bilawal
• Sukul Bilawal
• Sunand Bhairav (created by Pt. Milind Date)
• Sunand Sarang (created by Pt. Milind Date)
• Sundar Kali (raga)
• Sundar Kauns (raga)
• Sur Malhar
• Surdasi Malhar
• Suryakant (raga)
• Surya Kauns (raga)
• Surmanand (putra raga)
• Swanandi (raagini)
• Swarparda (raga)

T

• Takkasaindhav (upraga)
• Tanka (raagini)
• Tanseni Madhuwanti
• Tappa Khamaj
• Telangi (raagini)
• Telugu Kambhoji (raga)
• Thumari (raga)
• Tilak Bihag
• Tilak Des
• Tilak Kamod
• Tilak Kedar
• Tilak Malhar
• Tilak Shyam
• Tirbhukti
• Tilang
• Tilang Bahar
• Tilang Kafi
• Timbanki
• Tivrakallyan
• Todi
• Todi Abheri
• Todi Ahiri
• Todika (raagini)
• Triveni
• Triveni Gauri
• Tukhari
• Tulsikauns (raa)
• Turushka Gauda (raga)
• Turushka Todi (raga)

U

• Udan (raga)
• Udan Chandrika (Kafi Thaat)
• Udan Kanta (Khamaj Thaat)
• Udasi (raga)
• Udasi Bhairav (Bhairav Thaat)
• Uday (raga)
• Uday Chandrika (Asavari Thaat) (created by Pt. Milind Date)
• Uday Ravi (Bilawal Thaat)
• Uma Tilak (Khamaj Thaat)
• Ushhaak (raga made from shades of 3 ragas Sarang, Asavari and Bhairav)
• Utara Kalyan (raga)
• Utari (raga)
• Utari Basant
• Utari Gunakali

V

• Vachspati
• Vada Hamsa (raga's son's wife)
• Vadhans
• Vadhans Dakhani
• Vanka (raagini)
• Varati (raagini)
• Vardhani
• Varorji
• Vasanta
• Vasanta Carnatic
• Vasanta Mukhari
• Vasanti (raagini)
• Vaya (dasi raagini)
• Velaval (raga's son)
• Velavali (raagini)
• Vibhas
• Vibhavari
• Vibhasaka
• Vidhyavati
• Vihang
• Vigiswari (dasi raagini)
• Vijayaranjani
• Vikram Bhairav
• Vilolika (raagini)
• Vinod
• Virat Bhairav
• Virari (raagini)
• Viyogvarali
• Vrindavani Sarang (it is also called as Brindabani Sarang.)
• Vyjayanti (raagini)

Y

• Yaman
• Yaman Kalyan
• Yamani (raagini)
• Yamani Basant
• Yamani Bilawal
• Yamani Hindol

Z

• Zeelaf (raga)
• Zeelaf (Asavari Thaat)
• Zeelaf (Bhairav aang)
• Zilla (raga)
• Zilla Kafi (raga)
• Zim Kalyan (created by Pt. Milind Date)

=======================================================
Which ragas of Hindustani music were created after 19th century?

Raag Hussaini Kanada - Ustad Bahadur Hussain Khan
Raag Hemant - Allauddin Khan
Raag Gunji Kanada - Pandit Vishnu Digambar Paluskar
Raag Jaiwant Todi - Maharana Jaiwant Singh Waghela
Raag Bagkauns - Maharana Jaiwant Singh Waghela
Raag Gyankali - Maharana Jaiwant Singh Waghela
Raag Pranavranjini - Omkarnath Thakur
Raag Ranjani Kalyan - Shrikrishna Narayan Ratanjankar
Raag Gopika Basant - Shrikrishna Narayan Ratanjankar
Raag Marga Bihag - Shrikrishna Narayan Ratanjankar
Raag Kedar Bahar - Shrikrishna Narayan Ratanjankar
Raag Sawani Kedar - Shrikrishna Narayan Ratanjankar
Raag Hansaranjani - Shrikrishna Narayan Ratanjankar
Raag Salagvarali - Shrikrishna Narayan Ratanjankar
Raag Jogkauns - Pandit Jagannath Buwa Purohit
Raag Amirkhani Kauns - Ustad Amir Khan
Raag Ahir Lalit - Pandit Ravi Shankar
Raag Nat Bhairav - Pandit Ravi Shankar
Raag Bairagi - Pandit Ravi Shankar
Raag Bairagi Todi - Pandit Ravi Shankar
Raag Bairagi Bhairav - Pandit Ravi Shankar
Raag Tilak Shyam - Pandit Ravi Shankar
Raag Monomanjari - Pandit Ravi Shankar
Raag Parameshwari - Pandit Ravi Shankar
Raag Jogeshwari - Pandit Ravi Shankar
Raag Purabi Kalyan - Pandit Ravi Shankar
Raag Kalashri - Pandit Bhimsen Joshi
Raag Chandranandan - Ustad Ali Akbar Khan
Raag Pancham Jogeshwari - Vishwanath Rao Ringe
Raag Hemashri - Vishwanath Rao Ringe
Raag Gandhi Malhar - Pandit Kumar Gandharva
Raag Shiv Bhatiyar - Pandit Kumar Gandharva
Raag Sindhura Jhinjhoti - Pandit Kumar Gandharva
Raag Madhsurja - Pandit Kumar Gandharva
Raag Sanjaari - Pandit Kumar Gandharva
Raag Mishravanti Jhinjhoti - Pandit Kumar Gandharva
Raag Utaraa Kalyan - Pandit Kumar Gandharva
Raag Shiv Abhogi - Pandit C. R. Vyas
Raag Dhanakoni Kalyan - Pandit C. R. Vyas
Raag Sagera - Pandit C. R. Vyas
Raag Shuddha Ranjini - Pandit C. R. Vyas
Raag Sanjogiya - Pandit C. R. Vyas
Raag Araj - Ustad Abdul Halim Jaffer Khan
Raag Gunaranjini - Dinkar Kaikini
Raag Hussaini Kanada - Ustad Yunus Hussain Khan
Raag Sahana Kanada - Ustad Yunus Hussain Khan
Raag Pat Bihag - Ustad Yunus Hussain Khan
Raag Tribhuvan Malhar - Jaysukhlal Shah
Raag Vibhavri - Amjad Ali Khan
Raag Swar Sameer - Amjad Ali Khan
Raag Kiran Ranjani - Amjad Ali Khan
Raag Chandra Dhwani - Amjad Ali Khan
Raag Hari Priya Kanada - Amjad Ali Khan
Raag Suhaag Bhairav - Amjad Ali Khan
Raag Amiri Todi - Amjad Ali Khan
Raag Lalita Dhwani - Amjad Ali Khan
Raag Shyamshri - Amjad Ali Khan
Raag Saraswati Kalyan - Amjad Ali Khan
Raag Priyadarshani - Amjad Ali Khan
Raag Shivanjali - Amjad Ali Khan
Raag Mangresh - Amjad Ali Khan
Raag Jawahar Manjari - Amjad Ali Khan
Raag Shantana - Amjad Ali Khan
Raag Kamalshri - Amjad Ali Khan
Raag Ganesh Kalyan - Amjad Ali Khan
Raag Subhalakshmi - Amjad Ali Khan
Raag Shyama Gouri - Amjad Ali Khan
Raag Aahuti - Amjad Ali Khan
Raag Rahat Kauns - Amjad Ali Khan
Raag Haafiz Kauns - Amjad Ali Khan
Raag Shyama Gouri - Amjad Ali Khan
Raag Saawan Malhar - Amjad Ali Khan
Raag Madhukauns - Chaitanya Kunte
Raag Neelkauns - Shri Pritam Bhattacharjee
and many many more.
The latest one is Saawan Malhar composed in the year 2008.
Madhukauns and Neelkauns were also composed in 21st century