Trackimage | Playbut | Trackname | Playbut | Trackname |
---|---|---|---|---|
84669220 | Play | Raga Shuddha Todi: Alap | 00:00 Tools | |
84669223 | Play | Raga Yaman: Alap | 00:00 Tools | |
84669219 | Play | Alap | 00:00 Tools | |
84669218 | Play | Jor and Jhala | 00:00 Tools | |
84669224 | Play | Raga Yaman: Jor and Jhala | 00:00 Tools | |
84669221 | Play | Raga Shuddha Todi: Jor and Jhala | 00:00 Tools | |
88631622 | Play | Raga Abhogi | 00:00 Tools | |
84669222 | Play | 1 - Alap | 00:00 Tools | |
88631623 | Play | Raga Vardhani | 00:00 Tools | |
84669226 | Play | Marwa: Alap | 00:00 Tools | |
84669225 | Play | Raga Shuddha Todi - Alap | 00:00 Tools | |
84669256 | Play | Raga Yaman | 00:00 Tools | |
84669272 | Play | Dhrupad - Raga Yaman | 00:00 Tools | |
84669227 | Play | Miyan Malhar - Alap (Sitar) | 00:00 Tools | |
84669236 | Play | Bageshree: Alap | 00:00 Tools | |
84669235 | Play | Marwa: Jor | 00:00 Tools | |
84669228 | Play | Darbari Kanada - Alap (Been) | 00:00 Tools | |
84669232 | Play | Todi | 00:00 Tools | |
84669229 | Play | Rag Marwa - Alap | 00:00 Tools | |
84669242 | Play | Bageshree: Jor | 00:00 Tools | |
84669243 | Play | Ahir Lalit | 00:00 Tools | |
84669231 | Play | Rag Marwa - Jor | 00:00 Tools | |
84669230 | Play | Yaman: Alaap | 00:00 Tools | |
84669234 | Play | Raga Yaman - Alap | 00:00 Tools | |
84669233 | Play | Gangeyabushan - Alap | 00:00 Tools | |
84669239 | Play | Raga Shuddha Todi - Jor And Jhalla | 00:00 Tools | |
84669237 | Play | Rag Bageshree - Alap | 00:00 Tools | |
84669238 | Play | Ahir Lalit: Alaap | 00:00 Tools | |
84669244 | Play | Panchamkauns | 00:00 Tools | |
84669241 | Play | Rag Bageshree - Jor | 00:00 Tools | |
84669240 | Play | Alaap | 00:00 Tools | |
88631625 | Play | Multani - Alap, Jor, Jhala | 00:00 Tools | |
84669245 | Play | Raga Yaman - Jor and Jhala | 00:00 Tools | |
84669246 | Play | Marwa - Alap | 00:00 Tools | |
84669247 | Play | Gangeyabushan - Jod-Jhala | 00:00 Tools | |
84669249 | Play | Raga Chandrakauns | 00:00 Tools | |
84669248 | Play | Marwa - Jor | 00:00 Tools | |
90315066 | Play | Bhimpalasi - Chowtal | 00:00 Tools | |
84669250 | Play | Bageshree - Alap | 00:00 Tools | |
84669251 | Play | Bhairavi - alap | 00:00 Tools | |
88631624 | Play | Jor, Jhala | 00:00 Tools | |
84669252 | Play | Bhairavi - jor, jhala | 00:00 Tools | |
90315067 | Play | Lalit - Dhammar | 00:00 Tools | |
90315068 | Play | Raga Gangeyabushan - Alap | 00:00 Tools | |
84669253 | Play | Bageshree - Jor | 00:00 Tools | |
90315069 | Play | Raga Gangeyabushan - Jor, Jhala | 00:00 Tools | |
90315070 | Play | Lachasa - Jhaptal | 00:00 Tools | |
90315071 | Play | Rageshvarey - Jhaptal | 00:00 Tools | |
90315072 | Play | Shyam Malhar - Jhaptal | 00:00 Tools | |
84669254 | Play | Ahir Bhairav | 00:00 Tools | |
84669255 | Play | Malkauns | 00:00 Tools | |
84669260 | Play | Rudra Vina (stick zither) | 00:00 Tools | |
84669257 | Play | Chandrakauns | 00:00 Tools | |
90315073 | Play | Chayanat - Dhammar | 00:00 Tools | |
90315074 | Play | Suha - Dhammar | 00:00 Tools | |
90315075 | Play | Madhmand Sarang - Jhaptal | 00:00 Tools | |
84669259 | Play | Ragini Miyan ki todi | 00:00 Tools | |
84669258 | Play | Alap, jor, jhala (Raga Malkauns) | 00:00 Tools | |
84669261 | Play | Raga Pancham Kosh - Raga Malkauns | 00:00 Tools | |
90315076 | Play | Jog Natai Chaalnat – Rupak | 00:00 Tools | |
90315077 | Play | Suha - Jhaptal | 00:00 Tools | |
90315078 | Play | Kedar - Dhammar | 00:00 Tools | |
84669271 | Play | Jod & Jhala | 00:00 Tools | |
84669262 | Play | B1 Rudra Vina (stick zither) Chandrakauns 5'40 | 00:00 Tools | |
90315079 | Play | Gaud Sarang – Dhammar | 00:00 Tools | |
84669273 | Play | Panchamkauns+Malkauns | 00:00 Tools | |
90315080 | Play | Desi - Dhammar | 00:00 Tools | |
84669269 | Play | Mridang solo by Swami Pagal Das | 00:00 Tools | |
84669263 | Play | Jog | 00:00 Tools | |
84669266 | Play | Mishra Bhairavi - Alap | 00:00 Tools | |
90315081 | Play | Bharavi - Rupak Tivra | 00:00 Tools | |
84669264 | Play | Yaman - Alap | 00:00 Tools | |
84669265 | Play | Malkauns 1-Alap Jod | 00:00 Tools | |
90315082 | Play | Bharavi - Dhammar | 00:00 Tools | |
84669267 | Play | Raga Gangeyabushan: Alap | 00:00 Tools | |
90315083 | Play | Adana - Jhaptal | 00:00 Tools | |
90315084 | Play | Lalit - Dhammar II | 00:00 Tools | |
90315085 | Play | Suha - Dhammar III | 00:00 Tools | |
84669268 | Play | Gangeyabushan - Jor, Jhala | 00:00 Tools | |
84669276 | Play | Raga Jog | 00:00 Tools | |
84669270 | Play | 02 - zia mohiuddin dagar (rudra vina | 00:00 Tools | |
90315086 | Play | Kedar - Dhammar II | 00:00 Tools | |
84669274 | Play | Untitled | 00:00 Tools | |
90315087 | Play | Mishra Bhairavi - Jor-Jhala | 00:00 Tools | |
84669275 | Play | Rag Gangeyabhushan - alap | 00:00 Tools |
Ustad Zia Mohiuddin Dagar (14 March 1929 – 28 September 1990), popularly known as Z. M. Dagar, was a Hindustani classical musician, one of the 19th generation of Dagar family dhrupad musicians. He was largely responsible for the revival of the rudra vina as a solo concert instrument. Zia Mohiuddin Dagar was born in Udaipur, Rajasthan, India, and began musical study with his father, Ustad Ziauddin Khan Dagar, court musician for the Maharana of Udaipur. He was trained both in vocals and in the rudra veena, an instrument used by vocalists to practice melodies. The veena was traditionally not played in public, but the young Zia Mohiuddin adopted it as his primary instrument, giving his first recital at age 16. Although he was discouraged by his father from experimenting with the structure of the veena, he nevertheless modified the instrument after his father's death to better equip it for solo performance, transforming it into a larger bass instrument (sometimes called "Dagar veena"): with the help of the instrument house Kanailal & Brother, he enlarged the tumbas (gourds) and dhandhi (hollow neck) to create greater resonance and to allow the notes to sustain longer and so better reproduce the techniques used in dhrupad singing. Because of these modifications, the instrument was too heavy to be held in the standard Northern posture (with one tumba on the left shoulder), so he played instead in the Southern posture, with one tumba on the ground and one on the left knee. He was known particularly for his slow development of ragas, which were typically performed accompanied only by a tanpura and occasionally with pakhawaj, and for his meticulous attention to microtonal inflections. He was very active in the West, associated with the American Society for Eastern Arts in Berkeley, California and was a visiting professor at Wesleyan and at the University of Washington, Seattle. In 1990, Z. M. Dagar was awarded the Kalidas Samman, one of the most prestigious award of the country by Madhya Pradesh Government. He had also received Sangeet Natak Academy Award, Rajasthan Sangeet Natak Academy award, Maharana Kumbha award and many more. Zia Mohiuddin Dagar died in 1990. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.