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Sangeetpedia is the first multimedia encyclopedia of Indian music. A product which has taken 7 years to compile...It is a revolutionary product with the aim of educating and introducing Indian music in an academic light. Sangeetpedia features the biographies of over 250+ lumenaries and pioneers of Indian music. It has many archival recordings of many of the top musicians from 1900 onwards. We have also used some of the most talented musicians in India of the present generations to define and demonstrate many of the terms of Indian music. We are aiming to further enhance its term-base every few months to include over 10,000 terms that have been marked for inclusion. There are numerous audio and video recordings that have been shot for Sangeetpedia and remains one of our strongest points. The music of India, Bangladesh and Pakistan is so diverse and culturally flavored we have done our best to keep it true to form. Students of Indian music, as well as those who have never heard Indian music can enjoy and educate themselves of the many different features of Indian music. Please download and install our DEMO to further understand what Sangeetpedia is about.

 

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Excerpt From Encyclopedia Term Base

Uthan

The term uthan literally means the "act of rising" and refers to the first composition that is played in a solo performance. Uthan is usually a majestic opening flourish which rises to a crescendo and introduces the tabla's presence before settling down to the theka. At times, the term mohra (literally "front" or "vanguard") is also used for this introductory segment in some gharanas. An important distinction between the two terms is that the uthan is derived from the kathak dance tradition, and therefore, the bols resound with an emphatic boldness that is not as prominent in mohra. Uthan is traditionally performed this way in the Benaras and Lucknow gharanas where elements of classical dance tradition have come to influence tabla repertoire.....

The initial phrases of uthan are improvised in slow tempo and begin without the resonance of the bayan using dampened strokes. Some believe that this is analogous to the alap of vocal and instrumental music. As the performance proceeds, undampened strokes are added on the bayan, creating more resonance and a sense of rhythmic momentum leading to a climax. The climax arrives with a tihai, a thrice-repeated cadential phrase that concludes on sam.....





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