music

The immortal qawwali kalam of Hazrat Amir Khusro (ra) expressing how divine love (Ishq) for his master Khwaja Nizamuddin Aulia has dissolved the illusion of separate self (nafs).

It indulges so completely in describing the eternal play of lover & Beloved, the intoxication of Ishq (divine love) a wonderfully sentimental perspective on the human quest to know Allah الله سبحان و تعالى

This Sanskrit hymn, a lyrical masterpiece by saint-philosopher Adi Shankara, pays homage to Goddess Chamundeshwari and her defeat of the demon Mahishasura.

The upcoming 2018 concerts will also see Maher Zain fronting his own ensemble, which features musicians from Egypt, Spain, Lebanon, Belgium, Netherlands and the United Kingdom.

ShareAmerica’s serious acquaintance with, and acceptance of, Indian classical music began in the late 1950s through musicians such as the sitar maestro Ravi Shankar, the sarod virtuoso Ali Akbar Khan and the tabla master, Alla Rakha. These artists belonged to the Hindustani school of Indian classical music. Eventually, musicians from the other school, Carnatic, toured America and Europe, and musicians and audiences in the West became familiar with both musical styles. The audiences weren’t always drawn from the elite: battalions of long-haired shabbily-attired hippies swayed and rocked and gyrated to Ravi Shankar’s dazzling performance at Woodstock in 1969. Familiarity brought out the differences between Western and Indian classical music. Indian music was monotonic, based on ragas, musical scales comprising specific notes, which the musician played, moving up (aarohana) and down (avarohana) the scale. Western music was polyphonic, based on harmony where …

The tune, colourful costumes, background dancers, beautiful Shraddha Kapoor and quirky Rajkummar Rao and Pankaj Tripathi, all make the more than two minutes long song an entertaining watch.