Analysis Paper Hindustani performances(rags)

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Analysis Paper – Hindustani Performances (rags)
Rag Malkauns
This paper will compare two rags namely Rag Malkauns also known as Malkosh and Rag Bhairavi. Malkosh is a popular rag that was common in North Indian. The rag has five notes: Sa, Komal Ga, Ma, Komal Dha, and Komal Ni, and hence it is categorized as a pentatonic rag. Komal is a flat note, but when being presented, it does not come out as a strong quality. The fifth note is absent, but the fourth note is present, a characteristic that makes the mind to “invert” the note. As a result, the note causes Malkosh to sound the same as Dhani (Courtney 2). Musicians use caranam to give form to the performance. The overall performance of the Malkosh rag can be described as good. The temporal and the affective experience give the general effect of the rag. There is less interaction between the soloists and the accompanists, and this happens to be a striking feature because the mood is usually sad. Also, the modality is unshared with other rags. The soloist conducts the song while the rest of the accompanists follow the instructions.
Bhairavi Rag
Bhairavi rag, on the other hand, has two approaches known as Sindhu Bhairavi and Shuddha Bhairavi. The rags are usually performed at the conclusion of events. For this rag, the cartnatic that musicians choose is a palace. The overall form of the performance of the rag is celebrated as it is done at the conclusion of a performance (Courtney 3).

Its temporal experience is relatively higher. Musicians employ repetition by repeating the notes while ornamentation is employed through a special costume that is worn during the dance. The level of interaction in Bhairavi is high as the soloist interacts closely with the accompanist. Each of the musicians has their notes which they are supposed to perform.
Work Cited
Courtney David. Chandrakantha. http://chandrakantha.com/raga_raag/malkauns/malkosh.html. Accessed 23 Sept 2018.