text:
Index of music articles

Articles related to music include:

0–9
7-limit tuning

15 equal temperament

17 equal temperament

19 equal temperament

22 equal temperament

23 equal temperament

31 equal temperament

34 equal temperament

41 equal temperament

53 equal temperament

58 equal temperament

72 equal temperament

96 equal temperament

20th-century classical music

20th-century music

21st-century classical music

833 cents scale

A
A

A♭

A♯

A major

A minor

A-flat major

A-flat minor

A-sharp minor

A cappella

A capriccio

A due

A12 scale

Abbreviation

Abendmusik

Absolute music

Absolute pitch

Accent (music)

Accentus

Accidental

Accompaniment

Acoustic enhancement

Acoustic scale

Ad libitum

Adagio

Added tone chord

Additive rhythm

Adonai malakh mode

Aeneator

Aeolian dominant scale

Aeolian mode

Aesthetics of music

Air

Air à boire

Air de cour

Ajam (maqam)

Akebono scale

Albanian opera

Alberti bass

Album

Aleatoric music

Algaita

Algerian scale

Algorithmic composition

All-interval tetrachord

All-interval twelve-tone row

Alla breve

Allegro

Allemande

Alpha scale

Alta cappella

Altered chord

Altered scale

Alternate bass

Alternatim

Altissimo

Alto

Ambassel scale

Ambrosian chant

Ambitus (music)

American Music Awards

Amoebaean singing

Amusia

Anacrusis

Ancient Celtic music

Ancient music

Andalusian cadence

Andalusian classical music

Andamento

Andean music

Anhemitonic scale

Answer song

Anthem

Antiphon

Arab tone system

Arabic maqam

Arabic music

Arch form

Archlute

Archytas of Mytilene

Arghul

Aria

Aria di sorbetto

Arioso

Arpeggio

Arrangement

Ars antiqua

Ars nova

Ars subtilior

Arsis and thesis

Art music

Art song

Articulation

Artificial harmonic

Athenaeus (musician)

Atonality

Attacco

Audio mixing

Auditory illusion

Augmentation

Augmented fifth

Augmented octave

Augmented second

Augmented seventh

Augmented sixth

Augmented third

Augmented triad

Augmented tuning

Augmented unison

Ausmultiplikation

Authentic performance

Avant-garde music

Avaz (music)

Azione teatrale

B
B

B♭

B♯

B major

B minor

B-flat major

B-flat minor

BACH motif

Back beat

Background music

Bagatelle (music)

Bagpipes

Balalaika

Ballad opera

Ballade

Ballata

Ballet (music)

Band (music)

Bar (music)

Bar form

Barbiton

Barcarolle

Bariolage

Baritenor

Baritone

Baritone violin

Baroque music

Baroque music of the British Isles

Baroque orchestra

Baroque violin

Baryton

Basque music

Bass (sound)

Bass (voice type)

Bass arpeggiation

Bass note

Bass run

Bass saxophone Bass song

Bass violin

Bass-baritone

Bassanello

Bassist

Bassline

Basso continuo

Basso profondo

Bassoon

Baton (conducting)

Battaglia (music)

Bayati (maqam)

Bayaty-Shiraz (mode)

Bayreuth canon

Bayreuth Festival

Beam

Beat (music)

Beatmatching

Bebung

Beethoven and C minor

Beethoven's compositional method

Beethoven's musical style

Bel canto

Bell pattern

Bell tone

Belting (music)

Berber music

Berceuse

Bergamask

Beste (Turkish music)

Beta scale

Bicinium

Bimodality

Binary form

Beneventan chant

Biomusic

Biomusicology

Birds in music

Bisector (music)

Blind octave

Block chord

Blue note

Blues

Blues ballad

Bohlen–Pierce scale

Bologna School of music

Boogie woogie

Border ballad

Borrowed chord

Bouzouki

Bowed clavier

Boy soprano

Braille music

Brass instrument

Brass quintet

Brass tablature

Bravura

Break (music)

Breath mark

Breedsma

Bridge (music)

Brindisi (music)

British opera

Broken consort

Bruckner rhythm

Burgundian School

Burletta

Bushi (music)

Byzantine lyra

Byzantine music

C
C

C♯

C major

C minor

C-flat major

C-sharp major

C-sharp minor

Cabaletta

Cadence

Cadenza

Caesura

Call and response (music)

Calypso music

Cambiata

Camerata (music)

Canción

Canon (music)

Canntaireachd

Cantabile

Cantastoria

Cantata

Canticle

Cantiga

Cantillation

Cantore al liuto

Cantus coronatus

Cantus firmus

Canzona

Canzone Napoletana

Canzonetta

Capriccio (music)

Carnatic music

Carnival song

Cassation (music)

Castrato

Catalogue aria

Catalogues of classical compositions

Cauda

Cavatina

Celesta

Cell (music)

Cello

Cello da spalla

Cellone

Cello sonata

Celtic chant

Celtic harp

Celtic music

Cent (music)

Central American music

Chaconne

Chahargah (mode)

Chamber music

Chamber opera

Changing tones

Chanson

Charlemagne and church music

Cheironomy

Chelys

Chest of viols

Chest voice

Chiaroscuro (music)

Chiavette Child singer

Citharode

Chitarra Italiana

Choir

Choral concerto

Choral symphony

Chorale

Chorale motet

Chorale partita

Chord

Chord chart

Chord substitution

Chording

Chordioid

Chord progression

Chord-scale system

Chordal space

Chroma feature

Chromatic chord

Chromatic circle

Chromatic fantasia

Chromatic fourth

Chromatic genus

Chromatic hexachord

Chromatic mediant

Chromatic scale

Chromaticism

Church music

Church music in Scotland

Cibell

Cimbasso

Circle of fifths

Circular breathing

Circus music

Citharode

Clapping

Clarinet

Clarinet trio

Classical music

Classical music in Scotland

Classical music written in collaboration

Classical period (music)

Clausula (music)

Clavichord

Clef

Cleonides

Clinic (music)

Close and open harmony

Closely related key

Cloud (music)

Coda

Cognitive musicology

Col legno

Colascione

Cologne School (music)

Color (medieval music)

Coloratura soprano

Colored music notation

Colorist (music)

Colotomy

Collaborative piano

Combination tone

Combinatoriality

Comic opera

Comma (music)

Common tone (chord)

Comping (jazz)

Complement (music)

Complexe sonore

Compound metre

Composer

Composer tributes (classical music)

Comprimario

Concert

Concert aria

Concert band

Concertmaster

Concert performance

Concert pitch

Concert version

Concertato

Concertino (composition)

Concerto

Concerto for Orchestra

Conclusion (music)

Conducting

Conductorless orchestra

Conjunto

Consonance

Consort of instruments

Consort song (musical)

Constant spectrum melody

Constant structure

Contemporary classical music

Contemporary harpsichord

Contenance angloise

Counting (music)

Contrabass oboe

Contrabassophone

Contraforte

Contralto

Contrapuntal motion

Contrast (music)

Convenienze

Coptic music

Copula (music)

Copyist

Cor anglais

Corelli cadence

Cornamuse

Cornett

Count off

Counter-melody

Counterpoint

Countertenor

Country house opera

Country music

Courante

Court music in Scotland

Cover version

Cretan lyra

Critical edition (opera)

Cross-dressing in music and opera

Cross motif

Cross-strung harp

Crotalum

Crusade song

Cubase

Cue note

Culture in music cognition

Curtain call

Cut-out score

Cycle (music)

Cyclic form

Cyclic set

Cymbal

D
D

D♭

D♯

D-sharp minor

D major

D minor

D-flat major

D-flat minor

D♯

Da capo

Da capo aria

Dal segno

Damon of Athens

Dance music

Dance and music of Latin America

Darmstadt School

Daseian notation

Dastgah

Dates of classical music eras

Decet (music)

Definite pitch

Definition of music

Degenerate music

Degree (music)

Delphic Hymns

Delta scale

Derived row

Descant

Descending tetrachord

Deutsch's scale illusion

Diapason

Diaschisma * Diatessaron

Diatonic and chromatic

Diatonic hexachord

Diatonic scale

Diatonic set theory

Didymus the Musician

Diegetic music

Diesis

Digital sheet music

Diminished fourth

Diminished octave

Diminished second

Diminished seventh

Diminished seventh chord

Diminished sixth

Diminished third

Diminished triad

Diminished tuning

Diminution

Discant

Distance model

Ditone

Ditonic scale

Divertimento

Divisi

Division viol

DJ mix

Dodeka music notation

Dominant

Dominant seventh sharp ninth chord

Dorian mode

Dorian ♭2 scale

Dotted note

Double bass

Double drumming

Double-Function Form

Double stop

Double tonic

Double variation

Double whole note

Dramma giocoso

Dream chord

Dresden amen

Dromoi

Drone

Drone music

Drum

Drum kit

Drum rudiment

DSCH motif

Dubreq Stylophone

Duet

Duettino

Dulab

Dulcian

Dumka (musical genre)

Duodecet

Duodrama

Duration (music)

Dyad (music)

Dynamic tonality

Dynamics

E
E

E♭

E major

E minor

E-flat major

E-flat minor

Ear training

Early music

Early music festivals

Early music of the British Isles

Early music revival

Earworm

Echos

Eclecticism in music

Ecomusicology

Educational music

Eighth note

Ekphonetic notation

Elastic scoring

Electronic music

Electric piano

Electronic musical instrument * Elementa harmonica

Elements of music

Eleventh

Eleventh chord

Emancipation of the dissonance

Embodied music cognition

Encore

English art song

English bagpipes

English cadence

English Musical Renaissance

Enharmonic

Enharmonic keyboard

Enharmonic scale

Enigmatic scale

Ensalada (music)

Entr'acte

Entrainment

Environmentalism in music

Epidiapente

Equal temperament

Equivalence class (music)

Escala nordestina

Estampie

Étude

Ethnomusicology

Euclidean rhythm

Euouae

Evolutionary musicology

Exposition (music)

Expression pedal

Extension (music)

Eye movement in music reading

Eye music

F
F

F♯

F major

F minor

F-flat major

F-sharp major

F-sharp minor

F+ (pitch)

Factor (chord)

Faking (Western classical music)

Falset (music)

Falsetto

Falsettone

False relation

Falsobordone

Fandango

Fantasia (music)

Farandole

Farsa

Fasıl

Music and fashion

Fauxbourdon

Feedback

Fermata

Festa teatrale

Fifteenth

Fifth (chord)

Figure (music)

Figured bass

Filk music

Fill (music)

Film score

Finale (music)

Finale (software)

Finalis

Fingering (music)

Finger vibrato

Finnish tango

Fioritura

First inversion

First Viennese School

The Five (composers)

Five-finger exercise

Five-limit tuning

Five string violin

Flamenco mode

Flat (music)

Flugelhorn

Flute

Flute choir

Flute quartet

Folia

Folk instrument

Folk music

Formalism (music)

Formula composition

Forte

Fortepiano

Fortepiano (musical dynamic)

Fortspinnung

Four note group

Four-part harmony

Fragmentation (music)

Franco-Flemish School

Frankfurt Group

French classical music

French horn

French opera

French overture

French pop music

Frequency

Friction idiophone

Fugue

Function (music)

Fundamental structure

Furniture music

Futurism (music)

G
G

G♭

G♯

G major

G minor

G-flat major

G-sharp major

G-sharp minor

G run

Gagaku

Galliard

Gallican chant

Gamelan

Gamelan notation

Gamma scale

Gavotte

Gebrauchsmusik

Geisslerlieder

Generalized keyboard

Generative music

Generative theory of tonal music

Generic and specific intervals

Genus (music)

German organ schools

Ghost note

Gigue

Giovane scuola

Glee

Glissando

Glockenspiel

Gong

Gongche notation

GNU LilyPond

Grace note

Grand motet

Grand opera

Graphic notation (music)

Grave (music)

Greek musical instruments

Gregorian chant

Gregorian mode

Groove

Group of Eight (music)

Group piano

Grupo de los cuatro

Grupo renovación

Guidonian hand

Gymel

H
Hagiopolitan Octoechos

Half diminished scale

Half note

Half-time (music)

Hammond organ

Hang (instrument)

Harmonic

Harmonic major scale

Harmonic rhythm

Harmonic scale

Harmonic series (music)

Harmonic seventh

Harmonization

Harmony

Harp

Harpsichord

Harpsichord-viola

Hauptstimme

Haute-contre

Head (music)

Head voice

Helmholtz pitch notation

Hemiola

Heptatonic scale

Hexachord

Hexatonic scale

Heyrati

Hip hop

Hirajōshi scale

Hirtenschalmei

Historically informed performance

History of lute-family instruments

History of music

History of music in the biblical period

History of music publishing

History of sonata form

History of the harpsichord

History of the violin

Holdrian comma

Humayun (mode)

Homophony

Homotonal

Hornbostel-Sachs

Hundred twenty-eighth note

Hungarian minor scale

Hurrian songs

Hydraulis of Dion

Hymn

Hyperrealism (music)

Hypoaeolian mode

Hypoionian mode

Hypophrygian mode

I
ii–V–I progression

Imitation (music)

Implication-Realization

Impressionism in music

Impromptu

Improvisation

In scale

Incidental music

Incipit

Incomplete repetition

Incomposite interval

Indefinite pitch

Indeterminacy (music)

Indian Classical Music

Industrial music

Inganno

Inharmonicity

In scale

Insects in music

Insen scale

Instrumental idiom

Instrumentation (music)

Intabulation

Interactive music

Interdominant

Intermedio

Intermezzo

Interpolation (classical music)

Interval

Interval class

Interval ratio

Interval vector

Intonation

Introduction (music)

Intuitive music

Inversion (music)

Ionian mode

Irmos

Irrational rhythm

Irregular resolution

Islamic music

Ison (music)

Isorhythm

Istrian scale

Italian opera

Italian overture

Iwato scale

J
Japanese mode

Japanese musical scales

Jazz

Jazz standard

Jins

Jubilus

Just intonation

K
Kamancheh

Kammersänger

Kapellmeister

Karabakh Shikastasi (mode)

Karamuza

Karaoke

Kawala

Kemençe of the Black Sea

Key

Key signature

Key signature names and translations

Keyboard bass

Keyboard instrument

Keyboard tablature

Keyboardist

Khrennikov's Seven

Klang (music)

Klangfarbenmelodie

Kleisma

Kollops

Korean court music

Koron (music)

Kortholt

Krakebs

Kwitra

L
L'istesso tempo

Lacuna (music)

Lament bass

Landini cadence

Larghetto

Layali

Leading-tone

Lead instrument

Lead sheet

Ledger line

Legato

Leitmotif

Les Six

Letter notation

Level (music)

Libretto

Lied

Ligature

Lilting

Limenius

Limit (music)

Linear

Linear progression

Lining out

Linzer Orgeltabulatur

Lisztomania

Literaturoper

Live electronic music

Locrian mode

Longa (music)

Ludomusicology

Luri music

Lute

Lute song

Lydian augmented scale

Lydian cadence

Lydian mode

Lyra viol

M
Madrigal

Madrigal (Trecento)

Madrigal comedy

Madrigale spirituale

Maestoso

Maestro

Magadis

Magic chord

Major chord

Major fourth and minor fifth

Major limma

Major Locrian scale

Major second

Major scale

Major seventh

Major sixth

Major third

Mandola

Mannheim school

Manualism (hand music)

Manuscript paper

Māori music

March (music)

Marching band

Mariachi

Marimba

Martial music

Masonic music

Mass (music)

Matrix (music)

Maxima (music)

Maximal evenness

Mazurka

Meantone temperament

Measure

Mediant

Medieval music

Melharmony

Melisma

Melodic expectation

Melodic fission

Melodic motion

Melodic pattern

Melody

Melody type

Mensural notation

Mensurstrich

Messa di voce

Method (music)

Metre (hymn)

Metre (music)

Metric modulation

Metronome

Mezzo-soprano

Micropolyphony

Microsound

Microtonal music

Middle Eastern music

Military band

Millioctave

Miming in instrumental performance

Minimal music

Minnesang

Minor chord

Minor diatonic semitone

Minor second

Minor scale

Minor seventh

Minor sixth

Minor third

Minuet

Missing fundamental

Mistuning

Mix tape

Mixed-interval chord

Mixing

Mixolydian mode

Modal frame

Modal voice

Mode

Modernism (music)

Modes of limited transposition

Modified Stave Notation

Modular music

Modulation (music)

Modus (medieval music)

Moment form

Monad (music)

Money note

Monodrama

Monody

Monophony

Monotonic scale

Motet

Motet-chanson

Motif (music)

Mouthpiece (brass)

Mouthpiece (woodwind)

Movement (music)

Mozarabic chant

Mozart and G minor

Mozart effect

Multiphonic

Multiplication (music)

Muqam

Museme * Music

Music acquisition

Music alignment

Music and artificial intelligence

Music and emotion

Music and mathematics

Music and politics

Music appreciation

Music archaeology

Music as a coping strategy

Music box

Music community

Music criticism

Music drama

Music education

Music Encoding Initiative

Music engraving

Music examination

Music festival

Music genre

Music history

Music journalism

Music industry

Music in early modern Scotland

Music in Medieval England

Music in Medieval Scotland

Music in Paris

Music in psychological operations

Music in space

Music in Tatarstan

Music learning theory

Music lesson

Music librarianship

Music manuscript

Musico

Music of Afghanistan

Music of Albania

Music of Algeria

Music of Ancient Greece

Music of Andorra

Music of Argentina

Music of Armenia

Music of Australia

Music of Austria

Music of Badakhshan

Music of Bahrain

Music of Barbados

Music of Belarus

Music of Belgium

Music of Belize

Music of Bermuda

Music of Bolivia

Music of Bosnia and Herzegovina

Music of Brazil

Music of Brunei

Music of Bulgaria

Music of Canada

Music of Catalonia

Music of Chile

Music of Colombia

Music of Costa Rica

Music of Croatia

Music of Cuba

Music of Cyprus

Music of Denmark

Music of Easter Island

Music of Ecuador

Music of Egypt

Music of El Salvador

Music of Epirus (Greece)

Music of Estonia

Music of Fiji

Music of Finland

Music of France

Music of French Guiana

Music of Georgia (country)

Music of Germany-

Music of Guadeloupe

Music of Guatemala

Music of Guyana

Music of Haiti

Music of Hawaii

Music of Honduras

Music of Hungary

Music of Iceland

Music of India

Music of Indonesia

Music of Iraq

Music of Ireland

Music of Jamaica

Music of Jordan

Music of Kazakhstan

Music of Kenya

Music of Kuwait

Music of Latvia

Music of Lebanon

Music of Libya

Music of Liechtenstein

Music of Lithuania

Music of Luxembourg

Music of Malta

Music of Martinique

Music of Mauritius

Music of Mesopotamia

Music of Mexico

Music of Moldova

Music of Monaco

Music of Mongolia

Music of Montenegro

Music of Morocco

Music of Myanmar

Music of Namibia

Music of New Zealand

Music of Nicaragua

Music of Niue

Music of North Macedonia

Music of Norway

Music of Oman

Music of Palestine

Music of Panama

Music of Paraguay

Music of Peru

Music of Polynesia

Music of Portugal

Music of Puerto Rico

Music of Qatar

Music of Russia

Music of San Marino

Music of Samoa

Music of Saudi Arabia

Music of Scotland

Music of Scotland in the eighteenth century

Music of Scotland in the nineteenth century

Music of Serbia

Music of Seychelles

Music of Singapore

Music of Slovakia

Music of Slovenia

Music of South Korea

Music of Sweden

Music of Switzerland

Music of Syria

Music of Thailand

Music of Thessaly

Music of the Bahamas

Music of the Cayman Islands

Music of the Channel Islands

Music of the Comoros

Music of the Czech Republic

Music of the Dominican Republic

Music of the Faroe Islands

Music of the Federated States of Micronesia

Music of the Lesser Antilles

Music of the Maldives

Music of the Netherlands

Music of the Philippines

Music of the Trecento

Music of the Turks and Caicos Islands

Music of the United Arab Emirates

Music of the United Kingdom

Music of Tibet

Music of Tokelau

Music of Tonga

Music of Tunisia

Music of Turkey

Music of Ukraine

Music of Uruguay

Music of Vatican City

Music of Venezuela

Music of Vienna

Music of Vietnam

Music of Western Sahara

Music of Yemen

Music of Zambia

Music of Zimbabwe

Music piracy

Music psychology

Music publisher (sheet music)

Music-related memory

Music school

Music-specific disorders

Music stand

Music technology

Music theory

Music therapy

Music tourism

Music transposer

Music venue

MusicWriter

Musica ficta

Musica poetica

Musica reservata

Musical acoustics

Musical argument

Musical composition

Musical cryptogram

Musical development

Musical ensemble

Musical expression

Musical form

Musical gesture

Musical hallucinations

Musical historicism

Musical instrument

Musical keyboard

Musical literacy

Musical notation

Musical note

Musical phrasing

Musical prefix

Musical semantics

Musical setting

Musical similarity

Musical syntax

Musical system of ancient Greece

Musical technique

Musical tone

Musical tuning

Musicality

Musician

Musicology

Musique mesurée

Mute (music)

Mystic chord

N
Nashville Number System

Natural (music)

Neapolitan scale

Neapolitan School

Nenano

Neobyzantine Octoechos

Neoconservative postmodernism

Neo-Medieval music

Neue Deutsche Härte

Neume

Neuroscience of music

Neutral interval

Neutral sixth

New-age music

New German School

New interfaces for musical expression

New Music Manchester

New musicology

New Venice School

Niente

Ninth

Ninth chord

Nocturne

Noise music

Nomos

Nonchord tone

Nonet (music)

Non-lexical vocables in music

Notehead

Note nere

Notes inégales

Notre-Dame school

Novelette (music)

Novelty song

Number (music)

Numbered musical notation

Number opera

Numerical sight-singing

O
Obbligato

Oboe

Oboe da caccia

Octatonic scale

Octave

Octave glissando

Octave illusion

Octet (music)

Octoechos

"Ode-to-Napoleon" hexachord

Oeldorf Group

Offstage instrument or choir part in classical music

Oltremontani

Olympus (musician)

Open chord

Opera

Opéra-ballet

Opera buffa

Opéra comique

Opéra féerie

Opera house

Opera in Arabic

Opera in English

Opera in German

Opera in Scotland

Opera semiseria

Opera seria

Operetta

Optical music recognition

Opus number

Oratorio

Orchestra

Orchestral enhancement

Orchestra hit

Orchestra pit

Orchestration

Orff Schulwerk

Organ

Organ tablature

Organetto

Organology

Organum

Oriental riff

Origin of the harp in Europe

Origins of opera

Oriscus

Ornament (music)

Orwell comma

Ostinato

Ossia

Otonality and Utonality

Ottoman classical music

Oversinging

Overtone

Overture

P
Pandiatonicism

Pandura

Papadic Octoechos

Parallel and counter parallel

Parallel harmony

Parallel key

Paraphrase mass

Pardessus de viole

Parlour music

Parody mass

Parody music

Parsons code

Part (music)

Partbook-

Partimento

Partita

Pasodoble

Passacaglia

Passaggio

Passing chord

Passion music

Pasticcio

Pastorale

Pastorale héroïque

Patter song

Pattern completion

Pavane

Pedal keyboard

Pedal point

Pedal tone

Pelog

Pensato

Pentachord

Pentatonic scale

Percussion instrument

Percussion notation

Perfect fourth

Perfect fifth

Period (music)

Permutation (music) * Perpetuum mobile

Persian scale

Persian traditional music

Pervading imitation

Pesante

Petasti

Petrushka chord

Philosophy of music

Phonograph

Phorminx

Phrase (music)

Phrygian dominant scale

Phrygian mode

Piano

Piano ballade

Piano concerto

Piano duet

Piano extended technique

Piano four hands

Piano history and musical performance

Piano pedagogy

Piano pedals

Piano piece

Piano quartet

Piano quintet

Piano sextet

Piano six hands

Piano solo

Piano sonata

Piano trio

Piano-vocal score

Pianto

Picardy third

Piccolo

Piccolo heckelphone

Piccolo oboe

Piccolo trumpet

Pièce d'occasion

Pierrot ensemble

Pipe band

Pipe organ

Piston valve

Pitch

Pitch axis theory

Pitch class

Pitch class space

Pitch of brass instruments

Pitch space

Pit orchestra

Pizzicato

Plainsong

Playing by ear

Polish opera

Polychord

Polyphonic Era

Polyphony

Polyrhythm

Polystylism

Polytempo

Polytonality

Pop music

Popular music

Portato

Positive organ

Postminimalism

Postmodern music

Post-tonal music theory

Potpourri (music)

Power chord

Precomposition

Predominant chord

Prehistoric music

Prelude (music)

Prelude and fugue

Preparation (music)

Prima donna

Primary tone

Primary triad

Principal (music)

Privileged pattern

Process music

Program music

Progressive music

Progressive tonality

Projected set

Prolation

Prolation canon

Prolongation

Promenade concert

Prompter (opera)

Prosodion

Prosody (music)

Pro Tools

Protein music

Protest song

Psaltery

Pseudo-octave

Psychedelic music

Psychoacoustics

Psychoanalysis and music

Psychology of music preference

Ptolemy's intense diatonic scale

Public domain music

Pulse

Punctualism

Pygmy music

Pyknon

Pythagorean comma

Pythagorean hammers

Pythagorean interval

Pythagorean tuning

Q
Qanun (instrument)

Quartal and quintal harmony

Quarter-comma meantone

Quarter note

Quarter tone

Quartet

Quintet

Quintuple meter

Quintus (vocal music)

Quodlibet

R
Rackett

Radio opera

Raga

Rage aria

Range (music)

Ragisma

Rast (mode)

Rastrum

Rauschpfeife

Rebec

Recapitulation (music)

Recitative

Reciting tone

Record label

Reduction (music)

Reed contrabass

Reggae

Register (music)

Registration (organ)

Regular diatonic tuning

Rehearsal letter

Relative key

Relative pitch

Relaxation

Religious music

Remix

Renaissance music

Repeat sign

Répertoire International des Sources Musicales

Répétiteur

Repetition (music)

Requiem

Reprise

Rescue opera

Research in music education

Resolution (music)

Resonance

Rest (music)

Retrograde (music)

Retrograde inversion

Rhaita

Rhapsody (music)

Rhoptron

Rhythm

Rhythm in Arabic music

Rhythm section

Rhythmic gesture

Rhythmic mode

Rhythmic unit

Ricercar

Riddim

Riff

Ripieno

Ripieno concerto

Ritornello

Ritsu and ryo scales

Rock music

Rock music in France

Rock music in Portugal

Rock music in Russia

Roman School

Romantic music

Romantische Oper

Rondalla

Rondellus

Rondo

Rondò

Root (chord)

Rosegarden

Rosette (music)

Rotary valve

Rothphone

Roulade (music)

Round (music)

Rubab (instrument)

Rule of the octave

Rumba

Russian classical music

Russian opera

Russian romance

S
Sacher hexachord

Schenkerian analysis

Schoenberg hexachord

Sacred Harp

Sainete

Saint Martial school

Salpinx

Sámi music

Sampling (music)

Sarabande

Sarrusophone

Satz

Savart

Savoy opera

Saxophone

Scale (music)

Scale of harmonics

Scale-step

Scherzo

Schisma

Schismatic temperament

Science fiction opera

Scientific pitch notation

Scordatura

Scratching

Scroll (music)

Second inversion

Second Viennese School

Seconda pratica

Secondary dominant

Section (music)

Secular music

Secundal

Segah

Segue (music)

Seikilos epitaph

Semicomma

Semi-contrabassoon

Semitone

Sensitive style

Sentence (music)

Septet

Septimal chromatic semitone

Septimal comma

Septimal diatonic semitone

Septimal diesis

Septimal kleisma

Septimal major third

Septimal meantone temperament

Septimal minor third

Septimal quarter tone

Septimal semicomma

Septimal third tone

Septimal tritone

Septimal whole tone

Sequence (music)

Sequence (musical form)

Serenade

Serialism

Seventh (chord)

Seventh chord

Seventh octave

Sextet

Sextuple metre

Shakuhachi musical notation

Shape note

Sharawadji effect

Sharp (music)

Sheet music

Shepard tone

Shinto music

Shorthand for orchestra instrumentation

Shur (mugham)

Shushtar (mode)

Sibelius (scorewriter)

Siciliana

Siffernotskrift

Sigah

Similarity relation (music)

Simplified music notation

Sinfonia

Sinfonia concertante

Singakademie

Singing

Singing school

Single (music)

Singspiel

Sight-reading

Simple meter

Simultaneity

Sixteenth note

Sixth

Sixth chord

Sketch (music)

Skolion

Slash chord

Slide (musical ornament)

Slide trumpet

Slur (music)

Social history of the piano

Sociomusicology

Soft pedal

Soggetto cavato

Solfège

Solita forma

Solmization

Solo

Solo tuning

Sonata

Sonata cycle

Sonata da chiesa

Sonata form

Sonata theory

Sonatina

Song

Song cycle

Song structure

Sonorism

Sopranissimo

Sopranist

Soprano

Soprano sfogato

Sordun

Sori (music)

Sostenuto

Sotto voce (music)

Soul music

Sound

Sound and music computing

Sound hole

Sound icon

Sound quality

Sound recording and reproduction

Sound sculpture

Sound system

Spaltklang

Spanish opera

Spatial music

Spectral music

Spiccato

Spieloper

Spinto

Spinto soprano

Spiral array model

Spontaneous composition

Sprechgesang

Squillo

Stab (music)

Staccato

Staff (music)

Stagione

Stem (music)

Stentato

Steps and skips

Stile concitato

Stile rappresentativo

Sting (musical phrase)

Sting (percussion)

Stochastic

Stopped note

Strain (music)

Strähle's construction

Stretto

String instrument

String octet

String piano

String quartet

String quintet

String resonance

String section

String sextet

String trio

Strophic form

Style brisé

Sub-bass

Subdominant

Submediant

Subminor and supermajor

Subtonic

Suite

Sung-through

Superius

Supertonic

Suspension (music)

Sustain pedal

Suzuki method

Swing

Symmetric scale

Symmetry

Sympathetic string

Sympathy (music)

Symphonic music in Iran

Symphonic poem

Symphony

Syncopation

Synthesizer

Synthetic mode

Synthetic scale

Syntonic comma

Syriac sacral music

Systematic musicology

Systems music

T
Tablature

Table canon

Tacet

Tafelmusik

Tambouras

Tambourine

Tarantella

Tarantella Napoletana

Tasto solo

Tatum (music)

Temperament

Temperament ordinaire

Tempo

Tempo rubato

Tenor

Tenor violin

Tenore contraltino

Tenore di grazia

Tenoroon

Tension (music)

Tenuto

Ternary form

Tertian

Tertium major

Terzschritt

Tessitura

Tetrachord

Tetrad (music)

Tetratonic scale

Text declamation

Texture

Theatre music

Thematic transformation

Theorbo

Theoretical key

Third (chord)

Thirteenth

Thirty-second note

Thirty-two-bar form

Three-hand effect

Three-key exposition

Through-composed

Thumb position

Tie (music)

Tiento

Timbre

Timbre composition

Timeline of Italian music

Time point

Time signature

Time unit box system

Timing (music)

Timpani

Tiorbino

Toccata

Tonality

Tonality diamond

Tonality flux

Tone

Tone Clock

Tone cluster

Tone row

Tongan music notation

Tonic (music)

Tonicization

Tonic Sol-fa

Tonnetz

Tonus peregrinus

Total chromatic

Totalism

Trance music

Traditional Gaelic music

Tragédie en musique * Traité de l'harmonie réduite à ses principes naturels

Transcription (music)

Transformation (music)

Transformational theory

Transition from Renaissance to Baroque in instrumental music

Transposing instrument

Transposition (music) * Treatise on Instrumentation

Treble (sound)

Treble flute

Treble voice

Tremolo

Triad (music)

Triangle (musical instrument)

Trigonon

Trill

Triple contrabass viol

Tritone

Tritone paradox

Tritone substitution

Tritonic scale

Triumphal march

Trombone

Troubadour

Trouvère

Trumpet

Trumpet voluntary

TTBB

Tuba

Tuna (music)

Tuning

Tuplet

Turkish Five

Turkish folk music

Turkish music (style)

Tutti

Twelve-tone technique

Two hundred fifty-sixth note

Tydorel

Tympanum

U
Ukrainian Dorian scale

Undertone series

Unfigured bass

Unfolding (music)

Unified field

Unison

Universal key

V
Variation (music)

Venetian polychoral style

Venetian School (music)

Verismo

Vernacular music

Verrophone

Verse anthem

Verse–chorus form

Verso sciolto

Vertical viola

Vibraphone

Vibrato

Video game music

Vienna horn

Vienna New Year's Concert

Viennese trichord

Villanella

Viol

Viola

Viola bastarda

Viola d'amore

Viola organista

Viola pomposa

Viola profonda

Violin

Violin family

Violin octet

Violin sonata

Violino piccolo

Violotta

Virelai

Virtuoso

Vocal fry register

Vocal music

Vocal pedagogy

Vocal range

Vocal register

Vocal weight

Vogel's Tonnetz

Voice classification in non-classical music

Voice crossing

Voice exchange

Voicing (music)

Voluntary (music)

W
Wagner tuba

Wah-wah

Waltz (music)

War of the Romantics

Water organ

Well temperament

White voice

Wienerlied

Whole note

Wind instrument

Wind quartet

Wind quintet

Women in music

Woodwind doubler

Woodwind instrument

Woodwind quartet

Wolf interval

Word painting

Wordless functional analysis

X
Xenharmonic

Xhosa music

Xylophone

Y
Yo scale

Yoruba music

Z
Zarzuela

Zeitoper

Zhonghu

Zither

Znamenny chant

Zoomusicology

Zukra

Lists
Chord progressions

Chords

Chronological lists of classical composers

Classical and art music traditions

Classical music concerts with an unruly audience response

classical music genres

Composers

Compositions in just intonation

Cultural and regional genres of music

Intervals in 5-limit just intonation

Italian musical terms used in English

Major/minor compositions

Major opera composers

Meantone intervals

Music museums

Music software

Music styles

Music theorists

Musical instruments

Musical instruments by Hornbostel–Sachs number

Musical scales and modes

Musical symbols

Musicology topics

Opera librettists

Ornaments

Performances of French grand operas at the Paris Opéra

Period instruments

Pipe organ stops

Pitch intervals

Principal conductors by orchestra

List of program music

Quarter tone pieces

Styles of music: A–F

Styles of music: G–M

Styles of music: N–R

Styles of music: S–Z

Symphony orchestras

Tone rows and series

Outline of the Beatles

Outline of the Doors

title: Index of music articles


text:
Talk:MI5

MI5/SS Logo
Should the MI5/SS logo be mentioned in this article? I believe it is pre-1955 but have also read that it was used from the 1950's to 1970's. Any more information on this? — Preceding unsigned comment added by 77.96.24.33 (talk • contribs) 21:42, 21 January 2009

Wikipedia heyday relic tailing lead
Plans to open the northern operations centre were reported by The Manchester Evening News in February 2005, and plans to open a permanent Scottish office in Glasgow were reported by The Scotsman in January of that year.

This seems like old news to me. I nominate deletion. — MaxEnt 16:13, 15 March 2018 (UTC)
 * Removed. Dormskirk (talk) 23:38, 15 March 2018 (UTC)

Official Secrets Act
What is the point of 'All employees of the service are bound by the Official Secrets Act'? It's the law, all of us in the UK are bound by it. 31.52.252.166 (talk) 20:42, 28 March 2019 (UTC)
 * And...? - wolf  11:55, 29 March 2019 (UTC)

MI5 Agents Can Murder, Kidnap and Torture
Is anyone against stating this important fact in the lead? — Preceding unsigned comment added by 90.174.3.218 (talk) 21:25, 1 January 2020 (UTC)
 * It's probably a bit more nuanced than that. I think it would be better to sort out the section "MI5 first - the lead is only a summary of the article. I also think one might need to be careful not to exaggerate what is known. For example, the recent "Third direction" tribunal makes very clear that MI5 might have the power to do some things, but this does not mean they are immune from prosecution. -- zzuuzz (talk) 22:05, 1 January 2020 (UTC)

"Government Communications Planning Directorate"
The Guardian is reporting that Whitehall uses this title to refer to MI5. Should this, and also the organisation's involvement in the development of drone-supported covert surveillance technology, be included in the article? ~dom Kaos~ (talk) 10:54, 6 March 2021 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:MI5


text:
Secret service

A secret service is a government agency, intelligence agency, or the activities of a government agency, concerned with the gathering of intelligence data. The tasks and powers of a secret service can vary greatly from one country to another. For instance, a country may establish a secret service which has some policing powers (such as surveillance) but not others. The powers and duties of a government organization may be partly secret and partly not. The organization may be said to operate openly at home and secretly abroad, or vice versa. Secret police and intelligence agencies can usually be considered secret services.

Various states and regimes, at different times and places, established bodies that could be described as a secret service or secret police – for example, the agentes in rebus of the late Roman Empire were sometimes defined as such. In modern times, the French police officer Joseph Fouché is sometimes regarded as the primary pioneer within secret intelligence. Among other things, he is alleged to have prevented several murder attempts on Napoleon during his time as First Consul (1799–1804) through a large and tight net of various informants.

title: Secret service


text:
Ravi Shankar

Ravi Shankar (born Robindro Shaunkor Chowdhury, sometimes spelled as Rabindra Shankar Chowdhury; 7 April 1920 – 11 December 2012) was an Indian sitarist and composer. A sitar virtuoso, he became the world's best-known expert of North Indian classical music in the second half of the 20th century, and influenced many musicians in India and throughout the world. Shankar was awarded India's highest civilian honour, the Bharat Ratna, in 1999.

Shankar was born to a Bengali family in India, and spent his youth as a dancer touring India and Europe with the dance group of his brother Uday Shankar. At age 18, he gave up dancing to pursue a career in music, studying the sitar for seven years under court musician Allauddin Khan. After finishing his studies in 1944, Shankar worked as a composer, creating the music for the Apu Trilogy by Satyajit Ray, and was music director of All India Radio, New Delhi, from 1949 to 1956. He was nominated for the Academy Award for Best Original Score for scoring the blockbuster Gandhi (1982).

In 1956, Shankar began to tour Europe and the Americas playing Indian classical music and increased its popularity there in the 1960s through teaching, performance, and his association with violinist Yehudi Menuhin and Beatles guitarist George Harrison. His influence on Harrison helped popularize the use of Indian instruments in Western pop music in the latter half of the 1960s. Shankar engaged Western music by writing compositions for sitar and orchestra and toured the world in the 1970s and 1980s. From 1986 to 1992, he served as a nominated member of Rajya Sabha, the upper chamber of the Parliament of India. He continued to perform until the end of his life. He was a recipient of numerous prestigious musical accolades, including a Polar Music Prize and four Grammy Awards, including Album of the Year for The Concert for Bangladesh in 1973.

Early life
Shankar was born on 7 April 1920 in Benares (now Varanasi), then the capital of the eponymous princely state, in a Bengali Hindu family, as the youngest of seven brothers. His father, Shyam Shankar Chowdhury, was a Middle Temple barrister and scholar who originally from Jessore district, East Bengal (now Bangladesh). A respected statesman, lawyer and politician, he served for several years as dewan (Prime Minister) of Jhalawar, Rajasthan, and used the Sanskrit spelling of the family name and removed its last part. Shyam was married to Hemangini Devi who hailed from a small village named Nasrathpur in Mardah block of Ghazipur district, near Benares and her father was a prosperous landlord. Shyam later worked as a lawyer in London, England, and there he married a second time while Devi raised Shankar in Benares and did not meet his son until he was eight years old.

Shankar shortened the Sanskrit version of his first name, Ravindra, to Ravi, for "sun". Shankar had five siblings: Uday (who became a choreographer and dancer), Rajendra, Debendra and Bhupendra. Shankar attended the Bengalitola High School in Benares between 1927 and 1928.

At the age of 10, after spending his first decade in Benares, Shankar went to Paris with the dance group of his brother, choreographer Uday Shankar. By the age of 13 he had become a member of the group, accompanied its members on tour and learned to dance, and play various Indian instruments. Uday's dance group travelled Europe and the United States in the early to mid-1930s and Shankar learned French, discovered Western classical music, jazz, cinema and became acquainted with Western customs. Shankar heard Allauddin Khan – the lead musician at the court of the princely state of Maihar – play at a music conference in December 1934 in Calcutta, and Uday persuaded the Maharaja of Maihar H.H. Maharaja Brijnath singh Judev in 1935 to allow Khan to become his group's soloist for a tour of Europe. Shankar was sporadically trained by Khan on tour, and Khan offered Shankar training to become a serious musician under the condition that he abandon touring and come to Maihar.

Training and work in India
Shankar's parents had died by the time he returned from the Europe tour, and touring the West had become difficult because of political conflicts that would lead to World War II. Shankar gave up his dancing career in 1938 to go to Maihar and study Indian classical music as Khan's pupil, living with his family in the traditional gurukul system. Khan was a rigorous teacher and Shankar had training on sitar and surbahar, learned ragas and the musical styles dhrupad, dhamar, and khyal, and was taught the techniques of the instruments rudra veena, rubab, and sursingar. He often studied with Khan's children Ali Akbar Khan and Annapurna Devi. Shankar began to perform publicly on sitar in December 1939 and his debut performance was a jugalbandi (duet) with Ali Akbar Khan, who played the string instrument sarod.

Shankar completed his training in 1944. He moved to Mumbai and joined the Indian People's Theatre Association, for whom he composed music for ballets in 1945 and 1946, Dharti Ke Lal, 1946. Shankar recomposed the music for the popular song "Sare Jahan Se Achcha" at the age of 25. He began to record music for HMV India and worked as a music director for All India Radio (AIR), New Delhi, from February 1949 until January 1956. Shankar founded the Indian National Orchestra at AIR and composed for it; in his compositions he combined Western and classical Indian instrumentation. Beginning in the mid-1950s he composed the music for the Apu Trilogy by Satyajit Ray, which became internationally acclaimed. He was music director for several Hindi movies including Godaan and Anuradha.

1956–1969: International performances
V. K. Narayana Menon, director of AIR Delhi, introduced the Western violinist Yehudi Menuhin to Shankar during Menuhin's first visit to India in 1952. Shankar had performed as part of a cultural delegation in the Soviet Union in 1954 and Menuhin invited Shankar in 1955 to perform in New York City for a demonstration of Indian classical music, sponsored by the Ford Foundation.

Shankar heard about the positive response Khan received and resigned from AIR in 1956 to tour the United Kingdom, Germany, and the United States. He played for smaller audiences and educated them about Indian music, incorporating ragas from the South Indian Carnatic music in his performances, and recorded his first LP album Three Ragas in London, released in 1956. In 1958, Shankar participated in the celebrations of the 10th anniversary of the United Nations and UNESCO music festival in Paris. From 1961, he toured Europe, the United States, and Australia, and became the first Indian to compose music for non-Indian films. Shankar founded the Kinnara School of Music in Mumbai in 1962.

Shankar befriended Richard Bock, founder of World Pacific Records, on his first American tour and recorded most of his albums in the 1950s and 1960s for Bock's label. The Byrds recorded at the same studio and heard Shankar's music, which led them to incorporate some of its elements in theirs, introducing the genre to their friend George Harrison of the Beatles. In 1967, Shankar performed a well-received set at the Monterey Pop Festival. While complimentary of the talents of several of the rock artists at the festival, he said he was "horrified" to see Jimi Hendrix set fire to his guitar on stage: "That was too much for me. In our culture, we have such respect for musical instruments, they are like part of God." Shankar's live album from Monterey peaked at number 43 on Billboard's pop LPs chart in the US, which remains the highest placing he achieved on that chart.

Shankar won a Grammy Award for Best Chamber Music Performance for West Meets East, a collaboration with Yehudi Menuhin. He opened a Western branch of the Kinnara School of Music in Los Angeles, in May 1967, and published an autobiography, My Music, My Life, in 1968. In 1968, he composed the score for the film Charly.

He performed at the Woodstock Festival in August 1969, and found he disliked the venue. In the late 1960s, Shankar distanced himself from the hippie movement and drug culture. He explained during an interview:

"It makes me feel rather hurt when I see the association of drugs with our music. The music to us is religion. The quickest way to reach godliness is through music. I don't like the association of one bad thing with the music."

1970–2012: International performances
In October 1970, Shankar became chair of the Department of Indian Music of the California Institute of the Arts after previously teaching at the City College of New York, the University of California, Los Angeles, and being guest lecturer at other colleges and universities, including the Ali Akbar College of Music. In late 1970, the London Symphony Orchestra invited Shankar to compose a concerto with sitar. Concerto for Sitar & Orchestra was performed with André Previn as conductor and Shankar playing the sitar. Shankar performed at the Concert for Bangladesh in August 1971, held at Madison Square Garden in New York. After the musicians had tuned up on stage for over a minute, the crowd of rock-music fans broke into applause, to which the amused Shankar responded, "If you like our tuning so much, I hope you will enjoy the playing more." which confused the audience. Still, the audience well received the subsequent performance. Although interest in Indian music had decreased in the early 1970s, the live album from the concert became one of the best-selling recordings to feature the genre and won Shankar a second Grammy Award.

In November and December 1974, Shankar co-headlined a North American tour with George Harrison. The demanding schedule weakened his health, and he suffered a heart attack in Chicago, causing him to miss a portion of the tour. Harrison, Shankar and members of the touring band visited the White House on invitation of John Gardner Ford, son of US president Gerald Ford. Shankar toured and taught for the remainder of the 1970s and the 1980s and released his second concerto, Raga Mala, conducted by Zubin Mehta, in 1981. Shankar was nominated for an Academy Award for Best Original Music Score for his work on the 1982 movie Gandhi.

He performed in Moscow in 1988, with 140 musicians, including the Russian Folk Ensemble and members of the Moscow Philharmonic, along with his own group of Indian musicians.

He served as a member of the Rajya Sabha, the upper chamber of the Parliament of India, from 12 May 1986 to 11 May 1992, after being nominated by Indian Prime Minister Rajiv Gandhi. Shankar composed the dance drama Ghanashyam in 1989. His liberal views on musical co-operation led him to contemporary composer Philip Glass, with whom he released an album, Passages, in 1990, in a project initiated by Peter Baumann of the band Tangerine Dream.

Because of the positive response to Shankar's 1996 career compilation In Celebration, Shankar wrote a second autobiography, Raga Mala. He performed between 25 and 40 concerts every year during the late 1990s. Shankar taught his daughter Anoushka Shankar to play sitar and in 1997 became a Regents' Professor at University of California, San Diego.

He performed with Anoushka for the BBC in 1997 at the Symphony Hall in Birmingham, England. In the 2000s, he won a Grammy Award for Best World Music Album for Full Circle: Carnegie Hall 2000 and toured with Anoushka, who released a book about her father, Bapi: Love of My Life, in 2002. After George Harrison's death in 2001, Shankar performed at the Concert for George, a celebration of Harrison's music staged at the Royal Albert Hall in London in 2002.

In June 2008, Shankar played what was billed as his last European concert, but his 2011 tour included dates in the United Kingdom.

On 1 July 2010, at the Southbank Centre's Royal Festival Hall, London, England, Anoushka Shankar, on sitar, performed with the London Philharmonic Orchestra, conducted by David Murphy, which was billed the first Symphony by Ravi Shankar.

Collaboration with George Harrison

The Beatles' guitarist George Harrison, who was first introduced to Shankar's music by the American singers Roger McGuinn and David Crosby, themselves big fans of Shankar, became influenced by Shankar's music. Harrison went on to help popularize Shankar and the use of Indian instruments in pop music throughout the 1960s. Olivia Harrison explains: "When George heard Indian music, that really was the trigger, it was like a bell that went off in his head. It not only awakened a desire to hear more music, but also to understand what was going on in Indian philosophy. It was a unique diversion."

Harrison became interested in Indian classical music, bought a sitar and used it to record the song "Norwegian Wood (This Bird Has Flown)". In 1968, he went to India to take lessons from Shankar, some of which were captured on film. This led to Indian music being used by other musicians and popularised the raga rock trend. As the sitar and Indian music grew in popularity, groups such as the Rolling Stones, the Animals and the Byrds began using it in some of their songs. The influence even extended to blues musicians such as Michael Bloomfield, who created a raga-influenced improvisation number, "East-West" (Bloomfield scholars have cited its working title as "The Raga" when Bloomfield and his collaborator Nick Gravenites began to develop the idea) for the Butterfield Blues Band in 1966.

Harrison met Shankar in London in June 1966 and visited India later that year for six weeks to study sitar under Shankar in Srinagar. During the visit, a documentary film about Shankar named Raga was shot by Howard Worth and released in 1971. Shankar's association with Harrison greatly increased Shankar's popularity, and decades later Ken Hunt of AllMusic wrote that Shankar had become "the most famous Indian musician on the planet" by 1966.

George Harrison organized the charity Concert for Bangladesh in August 1971, in which Shankar participated. During the 1970s, Shankar and Harrison worked together again, recording Shankar Family & Friends in 1973 and touring North America the following year to a mixed response after Shankar had toured Europe with the Harrison-sponsored Music Festival from India. Shankar wrote a second autobiography, Raga Mala, with Harrison as editor.

Style and contributions
Shankar developed a style distinct from that of his contemporaries and incorporated influences from rhythm practices of Carnatic music. His performances begin with solo alap, jor, and jhala (introduction and performances with pulse and rapid pulse) influenced by the slow and serious dhrupad genre, followed by a section with tabla accompaniment featuring compositions associated with the prevalent khyal style. Shankar often closed his performances with a piece inspired by the light-classical thumri genre.

Shankar has been considered one of the top sitar players of the second half of the 20th century. He popularised performing on the bass octave of the sitar for the alap section and became known for a distinctive playing style in the middle and high registers that used quick and short deviations of the playing string and his sound creation through stops and strikes on the main playing string. Narayana Menon of The New Grove Dictionary noted Shankar's fondness for rhythmic novelties, among them the use of unconventional rhythmic cycles. Hans Neuhoff of Musik in Geschichte und Gegenwart has argued that Shankar's playing style was not widely adopted and that he was surpassed by other sitar players in the performance of melodic passages. Shankar's interplay with Alla Rakha improved appreciation for tabla playing in Hindustani classical music. Shankar promoted the jugalbandi duet concert style. Shankar introduced at least 31 new ragas, including Nat Bhairav, Ahir Lalit, Rasiya, Yaman Manjh, Gunji Kanhara, Janasanmodini, Tilak Shyam, Bairagi, Mohan Kauns, Manamanjari, Mishra Gara, Pancham Se Gara, Purvi Kalyan, Kameshwari, Gangeshwari, Rangeshwari, Parameshwari, Palas Kafi, Jogeshwari, Charu Kauns, Kaushik Todi, Bairagi Todi, Bhawani Bhairav, Sanjh Kalyan, Shailangi, Suranjani, Rajya Kalyan, Banjara, Piloo Banjara, Suvarna, Doga Kalyan, Nanda Dhwani, and Natacharuka (for Anoushka). In 2011, at a concert recorded and released in 2012 as Tenth Decade in Concert: Ravi Shankar Live in Escondido, Shankar introduced a new percussive sitar technique called Goonga Sitar, whereby the strings are muffled with a cloth.

Indian government honours

 * Bharat Ratna (1999)
 * Padma Vibhushan (1981)
 * Padma Bhushan (1967)
 * Sangeet Natak Akademi Award (1962)
 * Sangeet Natak Akademi Fellowship (1975)
 * Kalidas Samman from the Government of Madhya Pradesh for 1987–88

Other governmental and academic honours

 * Ramon Magsaysay Award (1992)
 * Commander of the Legion of Honour of France (2000)
 * Honorary Knight Commander of the Order of the British Empire (KBE) for "services to music" (2001)
 * Honorary degrees from universities in India and the United States.
 * Honorary member of the American Academy of Arts and Letters
 * Honorary Doctor of Laws from the University of Melbourne, Australia (2010)

Arts awards

 * 1964 fellowship from the John D. Rockefeller 3rd Fund
 * Silver Bear Extraordinary Prize of the Jury at the 1957 Berlin International Film Festival (for composing the music for the movie Kabuliwala).
 * UNESCO International Music Council (1975)
 * Fukuoka Asian Culture Prize (1991)
 * Praemium Imperiale for music from the Japan Art Association (1997)
 * Polar Music Prize (1998)
 * Four Grammy Awards
 * 1967: Best Chamber Music Performance – West Meets East (with Yehudi Menuhin)
 * 1973: Album of the Year – The Concert for Bangladesh (with George Harrison)
 * 2002: Best World Music Album – Full Circle: Carnegie Hall 2000
 * 2013: Best World Music Album – The Living Room Sessions Pt. 1
 * Lifetime Achievement Award received at the 55th Annual Grammy Awards
 * Nominated for an Academy Award for Best Original Score, along with George Fenton, for Gandhi.
 * Posthumous nomination in the 56th Annual Grammy Awards for his album "The Living Room Sessions Part 2".
 * First recipient of the Tagore Award in recognition of his outstanding contribution to cultural harmony and universal values (2013; posthumous)

Other honours and tributes

 * 1997 James Parks Morton Interfaith Award
 * American jazz saxophonist John Coltrane named his son Ravi Coltrane after Shankar.
 * On 7 April 2016 (his 96th birthday), Google published a Google Doodle to honour his work. Google commented: "Shankar evangelized the use of Indian instruments in Western music, introducing the atmospheric hum of the sitar to audiences worldwide. Shankar's music popularized the fundamentals of Indian music, including raga, a melodic form and widely influenced popular music in the 1960s and 70s.".
 * In September 2014, a postage stamp featuring Shankar was released by India Post commemorating his contributions.

Personal life and family
Shankar married Allauddin Khan's daughter Annapurna Devi (Roshanara Khan) in 1941 and their son, Shubhendra "Shubho" Shankar, was born in 1942. He separated from Devi during 1962 and continued a relationship with dancer Kamala Shastri, a relationship that had begun in the late 1940s.

An affair with Sue Jones, a New York concert producer, led to the birth of Norah Jones in 1979. He separated from Shastri in 1981 and lived with Jones until 1986.

He also entered an affair in 1978 with married tanpura player Sukanya Rajan, whom he had known since 1972, which led to the birth of their daughter Anoushka Shankar in 1981. In 1989, he married Sukanya Rajan at Chilkur Temple in Hyderabad.

Shankar's son, Shubhendra, often accompanied him on tours. He could play the sitar and surbahar, but elected not to pursue a solo career. Shubhendra died of pneumonia in 1992.

Ananda Shankar, the experimental fusion musician, is his nephew.

His daughter Norah Jones became a successful musician in the 2000s, winning eight Grammy Awards in 2003.

His daughter Anoushka Shankar was nominated for a Grammy Award for Best World Music Album in 2003. Anoushka and her father were both nominated for Best World Music Album at the 2013 Grammy Awards for separate albums.

Shankar was a Hindu, and a devotee of the Hindu god Hanuman. He was also an "ardent devotee" of the Bengali Hindu saint, Sri Anandamayi Ma. Shankar used to visit Anandamayi Ma frequently and performed for her on various occasions. Shankar wrote of his hometown, Benares (Varanasi), and his initial encounter with "Ma": "Varanasi is the eternal abode of Lord Shiva, and one of my favorite temples is that of Lord Hanuman, the monkey god. The city is also where one of the miracles that have happened in my life took place: I met Ma Anandamayi, a great spiritual soul. Seeing the beauty of her face and mind, I became her ardent devotee. Sitting at home now in Encinitas, in Southern California, at the age of 88, surrounded by the beautiful greens, multi-colored flowers, blue sky, clean air, and the Pacific Ocean, I often reminisce about all the wonderful places I have seen in the world. I cherish the memories of Paris, New York, and a few other places. But Varanasi seems to be etched in my heart!" Shankar was a vegetarian. He wore a large diamond ring that he said was manifested by Sathya Sai Baba. He lived with Sukanya in Encinitas, California.

Shankar performed his final concert with daughter Anoushka on 4 November 2012 at the Terrace Theater in Long Beach, California.

Illness and death
On 9 December 2012, Shankar was admitted to Scripps Memorial Hospital in La Jolla, San Diego, California after complaining of breathing difficulties. He died on 11 December 2012 at around 16:30 PST after undergoing heart valve replacement surgery.

The Swara Samrat festival, organized on 5–6 January 2013 and dedicated to Ravi Shankar and Ali Akbar Khan, included performances by such musicians as Shivkumar Sharma, Birju Maharaj, Hariprasad Chaurasia, Zakir Hussain, and Girija Devi.

title: Ravi Shankar


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Jamadagni

Jamadagni (जमदग्नि) is a sage in Hindu literature. He is regarded in Hindu tradition to be one of the Saptarishi (Seven Vedic sages) in the 7th, and the current age of Manvantara.

He is a descendant of the sage Bhrigu, one of the Prajapatis created by Brahma, the creator deity. Jamadagni has five children with his wife, Renuka, the youngest of whom is Parashurama, an avatar of Vishnu.

Birth
According to the Bhagavata Purana, the sage Richika was asked by King Gadhi to bring a thousand white horses with black ears to marry Satyavati. Richika, with the help of Varuna, brought those horses and the king allowed Richika to marry Satyavati.

After their wedding, Satyavati, and her mother, demanded from Richika the blessings for having a son. Accordingly, the sage prepared two portions of milk boiled rice for each, one with the Brahma mantra (for Satyavati) and other with the Kṣātra mantra (for his mother-in-law). Giving the respective portions, he went to perform his ablutions. Meanwhile, Satyavati's mother asked her daughter to swap their portions. Her daughter obeyed. When Richika learned of this exchange, he said that the child born of his mother-in-law would be a great Brahmana, but that his son would become an aggressive warrior, who would bring a bloodbath to this world. Satyavati prayed to amend this outcome, so that her son would be born as the great Brahmana, but that her grandson would become the aggressive warrior. This resulted in Jamadagni being born as a sage (out of Satyavati's womb) and eventually, Parashurama being born as Jamadagni's son, a warrior with a fearful reputation.

Thus, Jamadagni was born to Richika and Satyavati. Meanwhile, around the same time as Jamadagni's birth, Gadhi's wife (Satyavati's mother, whose name is not mentioned) gave birth to a son with Kshatriya traits, named Kaushika. He later becomes the renowned Vishvamitra, who was a Kshatriya by birth, but later ascended to the status of a Brahmarishi.

Householder
Growing up, Jamadagni studied hard and achieved erudition in his studies of the Vedas. He is said to have acquired knowledge regarding the science of weapons without any formal instruction, with the guidance of his father. The Aushanasa Dhanurveda, now lost, is about a conversation between Jamadagni and Ushanas on the exercises of warfare.

After achieving the status of a rishi, Jamadagni visited a number of holy sites, and finally reached the palace of King Prasenajit of the Solar dynasty. He fell in love with his daughter, Princess Renuka, upon seeing her, and asked the king for her hand in marriage. Subsequently, the two were married, and had five sons: Ṛumaṇvān, Suhotra, Vasu, Viśvāvasu, and Rama, later known as Parshurama. The couple started to engage in tapasya along the banks of the river Narmada.

He receives Sharanga, the celestial bow of Vishnu, from his father, Richika.

Death of Renuka
According to the Brahmanda Purana, Renuka once went to the banks of the river Narmada to fetch some water. There, she observed the king of the Salva kingdom playing with his queen in the water. She stood there, mesmerised by the beauty of the sight. By the time she reached the hermitage of her husband with the water, she was quite late. The weary Jamadagni was furious when he heard the reason for her delay, and called forth each of his sons, one after the other, to kill her. Each of them refused to kill their own mother. Parashurama, however, came forth, and beheaded his mother with a single arrow. The rishi exiled his four older sons to the forests due to their disobedience. Pleased by Parashurama's devotion to him, he granted his son any boon of his choice. Parashurama wished for his mother to be restored to life, and this was granted.

Dharma's test
In the Ashvamedha Parva of the Mahabharata, Dharma took the form of Anger, and manifested at the ashrama of Jamadagni. He observed that the rishi had just milked his cow, Kamadhenu, and kept her milk in a pot. As Anger, Dharma crept into the pot. Despite drinking it, Jamadagni remained calm. Noticing this, Dharma appeared as a Brahmin before the rishi, and blessed him with the boon that he would always be righteous in the future.

Boons from Surya
According to the Mahabharata, Jamadagni once became annoyed with the sun god, Surya, for causing too much heat. The warrior-sage shot several arrows into the sky, terrifying Surya. Surya then appeared before the rishi as a Brahmin, and gave him two inventions that would help mankind deal with his heat - sandals and an umbrella.

Death
Jamadagni was once visited by the Haihaya king Kartavirya Arjuna and his retinue (who was said to have thousand arms/hands), to whom he served a feast offered by the divine cow, Kamadhenu. The king sent his minister called Chandragupta, who offered a ten million cows, or even half the kingdom, to purchase this cow of plenty, but Jamadagni refused to part with her. Not willing to concede, Chandragupta and his men seized the cow by force and took her away with them. The helpless rishi, who loved the cow, pursued Chandragupta's party as they traversed the forest, unwilling to allow them to steal her. Infuriated by his defiance, the minister struck down Jamadagni, and took Kamadhenu to the king's capital city of Māhiṣmatī.

After a long wait, Renuka started to search for her husband, finding him almost dead, surrounded by a pool of his own blood. Renuka fainted at the sight, and when she returned to consciousness, started wailing. When Parashurama and his disciple, Akṛtavraṇa, found her, she turned to him, and beat her breast twenty-one times. Parashurama resolved that he would travel the world twenty-one times, and annihilate all the Kshatriya kings he could find. When Jamadagni was to be cremated, the sage Shukra arrived on the scene, and restored the rishi's life with the Mṛtasañjīvanī mantra.

Parashurama and Akṛtavraṇa travelled to Māhiṣmatī, intending to bring Kamadhenu back home. At the gates of the city, they met Kartavirya Arjuna and his forces in battle, and slew them. They returned the divine cow to Jamadagni. The rishi instructed his son to perform a penance at Mahendragiri in order to cleanse himself of his sins. While Parashurama had left for this penance, Shurasena, a son of Kartavirya Arjuna, and his men, exacted their vengeance by beheading Jamadagni at his hermitage, and taking his head with them so that he could not be resurrected again. Parashurama and Jamadagni's disciples cremated the rishi, and his wife Renuka performed sati. Thence, Parashurama, inheriting his fallen father's Sharanga, started his twenty-one expeditions to obliterate the kings of the Kshatriya race.

Buddhism
In the Buddhist Vinaya Pitaka section of the Mahavagga (I.245) the Buddha pays respect to Jamadagni by declaring that the Vedas (Shruti's) in their true form were revealed to the original Vedic rishis, including Jamadagni.

title: Jamadagni


text:
Kartavirya Arjuna

Kartavirya Arjuna (कार्तवीर्य अर्जुन, ; also known as Sahasrabahu Arjuna or Sahasrarjuna) was a king of an ancient Haihayas kingdom with capital at Mahishmati which is on the banks of Narmada River in the current state of Madhya Pradesh. Kartavirya was son of Kritavirya, king of the Haihayas. According to the Puranas, Haihaya was the grandson of Sahasrajit, son of Yadu. This is his patronymic, by which he is best known; he is also referred to simply as Arjuna. He is described as having a thousand hands and a great devotee of god Dattatreya.

One of the several such accounts states that Arjuna conquered Mahishmati city from Karkotaka Naga, a Naga chief and made it his fortress-capital.

Almost 100 manuscripts on the worship of Kārtavīrya have been found mostly in the royal libraries of the Hindu Rajas. The states in which the manuscripts are still available are: Udaipur, Jodhpur, Kota, Bikaner, Bharatpur, and Alwar of Rajasthan, and further in Mysore.

Encounter with Ravana
Kartavirya's power is popularly told in the Ramayana, Uttara Kanda, which is not often considered to be the part of the original Valmiki Ramayana and its constituent 6 adhyayas (अध्याय), since the original Ramayana speaks of the number of verses and the shlokas in Ramayana – Verse 2 of Chapter IV of Baala Kaanda of Srimad Valmiki Ramayana reads as:

चतुर्विंशत्सहस्त्राणि श्लोकानामुक्तवानृषिः |

तथा सर्गशतान् पञ्च षट्काण्डानि तथोत्तरम् ||

This epic contains 24,000 verses split into 500 chapters in Six Cantos. (Baala Kaanda: refer Ch IV:2) [The six cantos are Baala Kaanda, Ayodhya Kaanda, Aranya Kaanda, Kishkinda Kaanda, Sundara (Lanka) Kaanda and Yuddha Kaanda.].

Kartavirya is considered to be the contemporary of Ravana. The story goes that once when Kartavirya Arjuna was having a bath in the river Narmada along with his wives, he stopped the force of the river with his thousand arms from both sides. The teenage Dasagriva (Ravana), who was singing the hymns of Shiva and praying to him, made him lose his concentration. Enraged, he challenged the former for combat in which Ravana was defeated and was put to humiliation. Then, on request of his paternal grandfather Pulastya the great emperor Kartavirya Arjuna released Ravana.

Another account states that when Ravana came "in the course of his campaign of conquest to Kunnamkulam (the capital of Kartavirya), he was captured without difficulty, and was confined like a wild beast in a corner of his city."

The Vayu Purana states that Kartavirya invaded Lanka, and there took Ravana as prisoner, but later he was killed by Parashurama and Ravana was rescued from Arjuna.

Encounter with Parashurama

According to the Mahabharata and the Puranas, the most celebrated Haihaya king was Kartavirya Arjuna. His epithet was Sahasrabahu. He was called a Samrat and Chakravartin. His name is found in the Rig Veda (VIII.45.26). He ultimately conquered Mahishmati city from Karkotaka Naga, a Naga chief and made it his fortress-capital. According to the Vayu Purana, he invaded Lanka and took Ravana prisoner. Arjuna propitiated Dattatreya and was favoured by him. Arjuna's sons killed sage Jamadagni. Jamadagni's son Parashurama in revenge killed Arjuna. Arjuna had a number of sons. His son Jayadhvaja succeeded him to the throne. Jayadhvaja was succeeded by his son Talajangha.

As per the Narada Purana (76:4), The Thousand Armed Sahasrabahu Arjuna was the incarnation of the Thousand Blade Sudarsana Chakra. He was born on the Earth in order to face the power of Vishnu in the contest with the Shaktyavesha Avatar Parashurama. In most accounts, Kartavirya is described as a righteous king, who eventually became egotistical. The kshatriyas of his age, on account of their war with the Bhargava clan over property, became unrighteous and began oppressing and slaying innocent Brahmins, etc. On this count, the Jivatma Parashurama (destined to be a future Saptarishi) was born with the God Vishnu's divine strength and power to rid the Earth of unjust rulers. Kartavirya was slated to be his prime opponent, as the mightiest king of that time.

In the Mahabharata Vana Parva, according to the story of Akritavana, Kartavirya Arjuna became drunk with power, despite all the boons he had acquired. He lost control of his senses and began to oppress humans, Yakshas and the very gods themselves. Kartavirya even had the audacity to insult Indra in front of Shachi. Around this time, other Kshatriyas too had become drunk with power and oppressed innocents for pleasure.

Arjuna once troubled Varuna and asked him if there was anyone equal to him in power. Varuna replied that only Jamadagni's son, Parashurama rivalled Arjuna. Enraged, Arjuna went to Jamadagni's hermitage to see Parashurama's power.

The Puranas recount that Kartavirya Arjuna and his army visited a rishi named Jamadagni, who fed his guest and the whole army with offerings from his divine cow Kamadhenu. The king demanded the cow for the betterment of his subjects; Jamadagni refused because he needed the cow for his religious ceremonies. King Arjuna sent his soldiers to take the cow. As the conflict developed among the Jamadagni and the King, Arjuna lost his temper and chopped off the head of Jamadagni. When Parashurama (Jamadagni's son and one of the Daśāvatāras of Vishnu) returned to the hermitage, he was informed of the context by his mother. In revenge, Parashurama killed the entire clan of Arjuna and the King with a battleaxe given to him by Shiva, eventually killing all kshatriyas, thus conquering the entire earth. He enacted this wholesale eradication of the kshatriyas for 21 generations.

In another legend, Kartavirya Arjuna visited the hermitage of Jamadagni, and was received by that sage's wife Renuka with all respect; but he made an ill return for her hospitality, and carried off by violence "the calf of the milch-cow of the sacred oblation." For this outrage Parashurama cut off his thousand arms and killed him.

In another legend, Kartavirya sent seventeen Akshauhinis to fight against the alone Parashurama who was on foot. Parshurama single-handedly slew the entire army and spared no one alive. Kartavirya arrived in his divine golden chariot which could go anywhere unobstructed. The King himself was a powerful archer, capable of simultaneously wielding five hundred bows and shooting five hundred arrows at a time. Parashurama broke Arjuna's bows, slew his horses and charioteer and destroyed the chariot itself with his arrows.

Arjuna hurled many weapons, rocks and trees at Parashurama, but the sage parried all these. Parashurama hacked off his thousand arms with his arrows and dismembered him with his axe.

In another place a different character is given to him, and more in accordance with his behavior at Jamadagni's hut. "He oppressed both men and gods," so that the latter appealed to Vishnu for succor. That God then came down to the earth as Parashurama for the special purpose of killing him.

The Mahabharata mentions him as one of the best warriors and introduces his divine origin, attributing it to the Padmini Ekadasi. It is said that there was none who could rival him in Sacrifices, Charity, Learning, Austerity, Battlefield Exploits, Feats, Strength, Mercy, Generosity or Power.

In the controversy regarding his name the clarification is given as below; Sahasra is the correct prefix that means "a thousand", not SahasTra. However, it is invariably misspelled as the latter. The same prefix is spelled when referring to the crown chakra: "Sahasrara Chakra" or when it occurs in family names (example: Sahasrabuddhe) without a T. Also see Sahasralinga. The confusion arises because the Hindi letter "Sa" (स) merges with "ra" (र) and looks like "stra" (स्र).

The origin of Vrishala Kshatriya
The Ocean said, If thou hast heard, O king, of the great Rishi Jamadagni, his son is competent to duly receive thee as a guest.--Then that king proceeded, filled with great wrath. Arrived at that retreat, he found Rama himself. With his kinsmen he began to do many acts that were hostile to Rama, and caused much trouble to that high-souled hero. Then the energy, which was immeasurable of Rama blazed forth, burning the troops of the foe, O lotus-eyed one. Taking up his battle-axe, Rama suddenly put forth his power, and hacked that thousand-armed hero, like a tree of many branches. Beholding him slain and prostrated on the earth, all his kinsmen, uniting together, and taking up their darts, rushed at Rama, who was then seated, from all sides. Rama also, taking up his bow and quickly ascending on his car, shot showers of arrows and chastised the army of the king. Then, some of the Kshatriyas, afflicted with the terror of Jamadagni's son, entered mountain-fastnesses, like deer afflicted by the lion. Of them that were unable, through fear of Rama, to discharge the duties ordained for their order, the progeny became Vrishalas owing to their inability to find Brahmanas. In this way Dravidas and Abhiras and Pundras, together with the Savaras, became Vrishalas through those men who had Kshatriya duties assigned to them (in consequence of their birth), falling away (from those duties). Then the Kshatriyas that were begotten by.

Later on, as Patanjali's Aṣṭādhyāyī mentions, Abhiras appear in 150 BC. Later on, Abhiras established the Traikutaka dynasty with kings such as Ishwarsena, Indradutta, Dahrasena & Vyaghrasena. Dahrasena even performed Ashwamedha Yagya. Traikutikas were known for their Vaishnava faith, who claimed to be Yadava of Haiheya branch. Later on, in 10th century, Chudasamas are mentioned as the Abhira Ranaka, in Hemachandra's reference to Graharipu in Dvyashraya. Merutunga claims in his prose that Abhira Ranaka, Navaghana defeated Jayasimha eleven times, but Jayasimha went himself twelfth time after capturing newly fortified Vardhamanapura (now Wadhwan).

Indonesia
In Indonesia version, especially in Javanese wayang, Kartavirya Arjuna (Indonesian: Kartawirya Arjuna ) is called by the name of Prabu Arjuna Sasrabahu. He is told as the son of Kartawirya and still a descendant of Batara Surya. His grandfather, Herriya, was the founder of the Mahespati Kingdom. Herriya has a sister named Resi Wisageni who has two sons named Suwandagni and Jamadagni. Suwandagni had sons named Sumantri and Sukasrana, while Jamadagni had sons named Ramabargawa (Parasurama). Thus, between Arjuna and Parasurama there is still a cousin relationship.

The Javanese version of Arjuna Sasrabahu is considered an avatar of Lord Vishnu. He ruled justly and wisely in the Mahespati Kingdom. His wife named Citrawati daughter of the Kingdom of Magadha. The person who was assigned to propose to the daughter was Sumantri. This success had made Sumantri forget herself. He also challenges Arjuna if he wants to take Citrawati as a wife, he must take it himself. After going through an exciting battle, Sumantri finally admitted defeat. Arjuna was willing to forgive as long as Sumantri could move Sriwedari Park from Mount Untarayana into Mahespati's palace. Sumantri managed to fulfill this request thanks to the help of her younger brother, Sukasrana. Arjuna who was very happy decided to appoint Sumantri as governor with the title Suwanda.

One day Arjuna went on an excursion with his wife in a river. He did triwikrama changing his form into a very large giant and while lying on the dam the flow of the river created a pond as a bathing place for Citrawati. As a result, the river overflowed to flood the camp of Ravana king of Alengka who was on his way to expand the colony. Then there was a battle between the Alengka troops against Mahespati. Because Citrawati is the reincarnation of Widawati, the woman Ravana loves, Hwana is increasingly eager to crush Mahespati's army. After Suwanda died in the battle, Arjuna Sasrabahu woke up from his sleep and immediately attacked Ravana. Arjuna managed to defeat Ravana, then tied him with chains and dragged him using a chariot. Seeing the torture, Batara Narada came down to deliver a message from heaven for Arjuna to release Ravana because the giant king was not destined to die. Arjuna also freed Ravana on the condition that he should stop spit out his anger. Ravana agreed, and from that moment he became a vassal of Arjuna Sasrabahu. With various tricks Ravana tried to eliminate Arjuna to launch his greedy act again and marry Citrawati.

One day when Arjuna was hunting alone in the forest to entertain himself, Ravana came to report to Citrawati that her husband had died in an accident. Despite Ravana's plan, Citrawati actually defended her starch by plunging into the fire. Upon hearing of his wife's death, Arjuna became even more sad. In this situation Batara Vishnu left Arjuna's body to return to heaven. Arjuna who had lost his passion for life, went to abandon his kingdom. On the way he met Ramabargawa alias Parasurama, his cousin. The valiant Brahmin wandered in search of the perfect death. Apparently he had received divine instructions that he could enter heaven if he died at the hands of Vishnu's incarnation through a fight.

Seeing a good opportunity, Ramabargawa also challenged Arjuna Sasrabahu. Arjuna who was no longer passionate about life was finally killed by Ramabargawa's ax. Batara Narada descended from heaven to explain to Ramabargawa that Vishnu had long since left Arjuna's body. Later, Vishnu will reappear as a prince from the Ayodhya Kingdom named Sri Rama. This character will later lead Ramabargawa to his death.

title: Kartavirya Arjuna