|Hindustani classical music|
Research on the musical theory of Indian classical music is fraught with complications, largely because there have been no set, formal methods of written notation. Indian music is an aural tradition, and therefore writing is not an essential part of attaining talim (knowledge).
Bilaskhani Todi is an example of the flaws of the Bhatkhande thaat system, because it is classified under the Bhairavi thaat based on the notes it uses, but it is actually a type of Todi, and permitting any Bhairavi during a performance kills the raga.
Arohana & Avarohana
Vadi & Samavadi
Organization & Relationships
Behavior refers to practical aspects of the music. It is complicated to talk about this for Hindustani music since many of the concepts are fluid, changing, or archaic. The following information cannot be accurate, but it can attempt to reflect how the music existed.
Morning,between 6 AM to 12 PM
Certain ragas have seasonal associations.
Legend has it that this raga was created by Bilas Khan, son of Miyan Tansen, after his father's death. It is said that while trying to sing Todi, his father's favorite raga, at the wake of his father, Bilas was so grief-stricken that he mixed up his notes. That gave birth to this raga, and that Tansen's corpse moved one hand in approval of the new melody. (There is a similar legend, differing only in detail, about Tansen's Todi.)
- Amir Khan, Ragas Bilaskhani Todi and Abhogi, HMV/AIR LP (long-playing record), EMI-ECLP2765
- Nikhil Banerjee, Morning Ragas, Bombay 1965, LP record, Raga Records. (Audio CD released June 1996; iTunes 2000).
- Ravi Shankar, from the 1950s
Bor, Joep (ed). Rao, Suvarnalata; der Meer, Wim van; Harvey, Jane (co-authors) The Raga Guide: A Survey of 74 Hindustani Ragas. Zenith Media, London: 1999.
- Rajan Parrikar. "The Empire of Todi".
- SRA on Samay and Ragas
- SRA on Ragas and Thaats
- Rajan Parrikar on Ragas
- Film Songs in Bilaskhani Todi
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