![]() ![]() After the 1961 Indo-Pak War, the Indian government revoked the anti-Hindustani laws. Joshi which issued the "Rules for Playing and Singing" (1960 edition). In 1959, a committee was constituted under the chairmanship of R. The committee issued a report called the "Rules of Raag Desh" in 1953, but this report was not implemented. In 1952, the Indian government decided to codify all the raga and tala scales under the ragalaya of P. Subbulakshmi Music Academy to mark the silver jubilee of her death. Ambedkar, Lala Lajpat Rai, Bal Gangadhar Tilak, and others, largely promoted the performance of traditional raga styles. The anti-Hindustani movement, which was led by the likes of Gopal Ganesh Agarkar, B. As a result of the laws, the raga acquired a reputation of being essentially conservative and dull. These rules required the use of pre-recorded musical scores and discouraged the use of improvisation. The British colonial government at the time was trying to curb the power of the raga, and issued the "Rules for Playing and Singing", which were followed in schools, studios, and concert venues. For example, the operatic romanticism of Amalendu Roy is known as the Raag Desh in the West, a style that is said to have originated in the Ragas Radhe Krishna and Radhe Shyam. The Mughals had major roles in promoting the raga, and it gained popularity in the 19th and 20th century in the United States and Europe. ![]()
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