Hindustani classical music in the context of "Indian classical music"

Bhairavi (Hindi: भैरवी, Urdu: بَھیرَوی , Sindhi: راڳ ڀيروي, Bengali: ভৈরবী) is a Hindustani Classical heptatonic (Sampurna) raga of Bhairavi thaat. In Western musical terms, raga Bhairavi employs the notes of the Phrygian mode, one of the traditional European church modes.

The veena, also spelled vina (Sanskrit: वीणा IAST: vīṇā), is any of various chordophone instruments from the Indian subcontinent. Ancient musical instruments evolved into many variations, such as lutes, zithers and arched harps. The many regional designs have different names such as the Rudra veena, the Saraswati veena, the Vichitra veena and others.

The North Indian rudra veena, used in Hindustani classical music, is a stick zither. About 3.5 to 4 feet (1 to 1.2 meters) long to fit the measurements of the musician, it has a hollow body and two large resonating gourds, one under each end. It has four main strings which are melodic, and three auxiliary drone strings. To play, the musician plucks the melody strings downward with a plectrum worn on the first and second fingers, while the drone strings are strummed with the little finger of the playing hand. The musician stops the resonating strings, when so desired, with the fingers of the free hand. In modern times the veena has been generally replaced with the sitar in North Indian performances.

The sitar (English: /ˈsɪtɑːr/ or /sɪˈtɑːr/; IAST: sitāra) is a plucked stringed instrument, originating from the Indian subcontinent, used in Hindustani classical music. The instrument was invented in the 18th century, and arrived at its present form in 19th-century India. Khusrau Khan, an 18th-century figure of the Mughal Empire, has been identified by modern scholarship as the inventor of the sitar. According to most historians, he developed the sitar from the setar, an Iranian instrument of Abbasid or Safavid origin.

Used widely throughout the Indian subcontinent, the sitar became popularly known in the wider world through the works of Ravi Shankar, beginning in the late 1950s and early 1960s. The advent of psychedelic culture during the mid-to-late 1960s set a trend for the use of the sitar in Western popular music, with the instrument appearing on tracks by bands such as the Beatles, the Rolling Stones, Metallica and many others.

Bahar is a Hindustani classical raga. This raga is very similar (but still distinct) to raga Miyan ki Malhar. This raga is from the Kafi Thaat.

Darbari Kanada, or simply Raga Darbari (pronounced darbāri kānada), is a raga in Hindustani music. It is a janya ragam (derived scale) of 20th Melakarta raga Natabhairavi. It is believed to be borrowed into Hindustani classical music by Miyan Tansen, the famous 16th-century composer in the Mughal emperor Akbar's court. It belongs to the Kanada family. It is believed that the Mughal emperor Akbar was very fond of this raaga. Hence often made Miyan Tansen sing this raaga in his court. This is reflected in the name itself; Darbar is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or pure Kanada. It belongs to the Asavari thaat. This raag is called raaga Kaanada in Yakshagana Karnataka state dance. It is also sometimes written as Durbari and Durbarikanada.

Yaman (also known as Kalyaan, Iman, Aiman, Eman, Kalyani in Carnatic classical music) is a heptatonic (sampurna) Indian classical raga of Kalyan Thaat.

Its signature phrase (Pakad) is ni-Re-Ga-/Re-Ga/ni-Re-Sa/Pa-Ma-Ga-Re/ni-Re-Sa' (Ma is teevra).

Raag Marwa or Marva is an Indian raag belonging to Hindustani classical music. This is a masculine raaga and conveys an emotion of longing or separation.This is a sandhiprakash raaga of sandhyakaaleen samay.This means that it is sung during dusk hour. This raag includes Teervra Madhyam and Komal Rishab and Pancham the 5th note is totally varjit or prohibited. The Kshadaj or Sa in this raag hold a special place. Kshadaj is considered to be the most important swara in this raag but is allowed to be used as minimum as possible in order to create a feeling of longing and frustration of patience for the swara. This minimizling the use of Kshadaj ultimately helps the raaga to achieve its proper mood

Terrence Mitchell Riley (born June 24, 1935) is an American composer and performing musician best known as a pioneer of the minimalist school of composition. Influenced by jazz and Indian classical music, his work became notable for its innovative use of repetition, tape music techniques, improvisation, and delay systems. His best known works are the 1964 composition In C and the 1969 album A Rainbow in Curved Air, both considered landmarks of minimalism and important influences on experimental music, rock, and contemporary electronic music. Subsequent works such as Shri Camel (1980) explored just intonation.

Raised in Redding, California, Riley began studying composition and performing solo piano in the 1950s. He befriended and collaborated with composer La Monte Young, and later became involved with both the San Francisco Tape Music Center and Young's New York collective, the Theatre of Eternal Music. A three-record deal with CBS in the late 1960s brought his work to wider audiences. In 1970, he began intensive studies under Hindustani singer Pandit Pran Nath, whom he often accompanied in performance. He has collaborated frequently throughout his career, most extensively with chamber ensemble the Kronos Quartet and his son, guitarist Gyan Riley.