Who is chaitanya kunte

He has also benefitted by the valuable guidance by Pt. Mohanrao Karve and Dr. Ashok Da. Ranade for Hindustani vocal music. Harmonium Player: Chaitanya is a leading Harmonium player having accompanied maestros such as Pt.

Bhimsen Joshi, Dr. Prabha Atre, Pt. Dinkar Kaikini, Pt. Ramashrey Jha, Pt. Balasaheb Punchhawale, Pt. Pandit, Pt. His accompaniment is marked with perfection and accuracy, yet it is aesthetically enriching with a deep understanding of the vocalist's style and music in totality. A graded artiste for All India Radio, he has accompanied on Harmonium for several commercial recordings. Ashwini Bhide — Deshpande, Smt. Arati Ankalikar — Tikekar, Pt.

Prabhakar Karekar, Pt. Rajshekhar Mansoor, Pt. Ajay Pohankar, Pt. Vijay Sardeshmukh, Pt. Satyasheel Deshpande, Pt. Vijay Baxi, Dr. Chaitanya always uses an accurately tuned Harmonium to natural Shruti-s matching with Tanpura, which he tunes himself. His tuneful accompaniment stimulates the musical thoughts process of the vocalists. Chaitanya have accompanied many vocalists for several commercial recordings. Chaitanya has toured in USA , , , and , Singapore, Australia and New Zealand and , Dubai and Tokyo, Japan for concerts, where he was appreciated for his accompaniment, solo Harmonium playing and lecture demonstrations.

Besides being a busy and popular Harmonium accompanist, Chaitanya Kunte is taking huge efforts for Solo Harmonium recitals and continuing the mission lead down by his Guru, Dr.

Arawind Thatte for establishing concert-status to Harmonium in Hindustani music scenario. Chaitanya has given Solo Harmonium performances in India as well as abroad. Chaitanya have composed a corpus of more than Bandishes in variety of common as well as uncommon Raagas and Taalas. For Chaitanya, his Bandishes are the creations evolved from the serious study of the tradition, incorporating its diverse aspects, by which he tries to keep the tradition flowing!

Chaitanya Kunte has received a fellowship for his research pertaining to tappa, from the Ministry of Culture, Government of India. Chaitanya Kunte A harmonium player, composer and researcher, Chaitanya Kunte has been receiving intensive training in harmonium from Dr. How a professor of music can retain a balance between expectations from the performing and academic world? Such questions are addressed in this article. Music Education and Music Pedagogy.

Relevant areas of research in Indian Musicology today more. This paper takes a review of traditional avenues in the Indian Music research and further, enlists the possible avenues open for Music research in Indian perspective in the contemporary scenario.

From ancient times till date, the language of the song in India has undergone many changes. The song texts in the ancient period were primarily Sanskrit and Prakrit. In the medieval period, due to the development of regional languages, In the medieval period, due to the development of regional languages, the importance of Sanskrit as a language of the song started diminishing.

Sanskrit is still in vogue as song language in Carnatic music. But it is not the case in Hindustani Art music. In the modern period, few composers have composed Dhrupad, Khayal, and also line-components for Tarana or Chaturang in Sanskrit.

One also finds the influence of Sanskrit in some Dhrupad and Khayal compositions. This paper firstly takes a brief review of Sanskrit compositions of Hindustani Art music through the ages, and secondly discusses some questions such as why Sanskrit lost the pivotal place in song-texts in Hindustani Art music and still why modern composers, though few, have tried composing Sanskrit Bandish-s. The paper also ponders upon some issues such as potentialities and limitations of any language for being a song-language, and how vocalists handle the song-texts in actual rendition.

Sanskrit language and literature , Cultural Musicology , and Hindustani music. Swarartha - a unique blend of literature and music. Swarartha Prabandha was a form of ancient Indian music, in which the musical notes used to coincide with the lyrics.

This paper, while discussing the historical development and contemporary situation of Swarartha also called as Bamayna This paper, while discussing the historical development and contemporary situation of Swarartha also called as Bamayna Bandish and Soor-Sagar , discusses the aesthetics and creative possibilities of this form.

The article deals with the concept of 'Shakti' in Hindustani Art music on various levels, such as philosophy of music, musical compositions, various traditions in music. This article discusses the journey of Harmonium in India and the major pioneering musicians who explored the capacities of this instrument in solo performances.

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