I shudder to think of the kind of stiff resistance A-J Greimas would have faced in the US of A in propounding his theory of semiotic carre. Here, if you say anything short of “brilliant post”, “awesome singing”, you are somehow dubbed as “offensive” and “pseudointellectual” and to some sensitive souls you have made them hear “German accent”!

And yes, I have made politely dismissive statements about Amardeep’s understanding of music. I genuinely believe he has to do a lot of homework especially in the field of music and cinema before inviting people to respond to his opening master-discourse. Since he has a privileged position, he must also have a requisite degree of accountability.

She’s obviously not bad as some people here seem to be making of her. Her voice is fine for the genre. At the same time, it is clearly not out-of-the-world. Neither do I feel her training in Hindustani classical music (HCM) has any bearing on what I’ve heard uptil now.

Regardless of how extensive her training has been, I don’t think she is obligated to include any HCM or fusion in what she wants to compose (I got the feeling some people were expecting the same of her). I would however, disagree with the fact that HCM does not give freedom to the individual. Unlike jazz, HCM involves disciplined improvization (jazz can tend to get chaotic). Songwriting is not really giving her the “freedom” to break from the rules of a raga – it is simply an escape from the rigor involved, to something that is much much below what HCM is. The two can not be compared, as she has tried doing.

As usual, I wander away from SM at exactly the wrong moments. WTF? Arthi and Ethan commenting, heated rants by DJ Drrrty hissownbadself, and then odd inchoate ramblings from someone who clearly thinks very highly of her own opinion of music?

WHY WAS I NOT ALERTED IMMEDIATELY?

I posit the following, Mutineers: some form of alert mechanism so that I (and other meddling busybodies like me) can become aware of developing situations like these in real time. I’m thinking a picture of AJP, hands to her ears a la “The Screamer” or “Home Alone” (take your pick), projected onto low-lying clouds, like the Bat Signal. This would be far more fun than some kind of mundane, “email me when it’s heated” type Web 0.20 feature or whatever.

Drrrty, thank you for the Muppets / Papa Kahthe / NIN mashup, by the way. I’ve forwarded that one far and wide. Mad props. I can’t help but bust into giggles at the ending of that one. I won’t criticize your rhythmic structures in that one, ok? What say you?

There’s a whole lot of such ragas. There are some diferences, but most of them are very subtle. Raga Kalyani is the Carnatic equivalent of Raga Yaman in Hindustani music. Similarly, Raga Malkauns in Hindustani music is Raga Hindolam in Carnatic music.

As for similar styles or origins, if I’m not mistaken, the Carnatic vocal style of Thillana is borrowed from the Hindustani style of Tarana. Though both are essentially meaningless words or syllables, Taranas have some Persian-sounding words in them.

?

Yes, several are the same but not nearly all (they have different names in the two systems).

Also, can anyone explain how some miniature paintings are meant to depict raags?

Ragas are associated with moods, or certain times of day, or certain occasions, or elements, etc.

And I have that right to existence regardless of what my qualifications as a musicologist are for a similar right and much more is enjoyed by a lot many people in this very space.

You opened the discussion of “qualifications” with your assertion of expertise. Those who live by the sword can’t complain when asked to die by it.

But I agree with Shruti in comment 52. Sorry for going there everyone