This app aids users in the learning of Carnatic, Tamil and Hindi music, both vocal and instrumental. The notes in this app can be used to play songs in instruments such as violin, veena, flute and keyboard.
Carnatic songs include - Geetham, Swarajathi, Varnam and Krithi. For Carnatic music the details included are- Title, Ragam, Talam, Arohanam, Avarohanam, Notes and Lyrics.
For movie songs - Tamil and Hindi - the details included are - Title, Movie name, Notes and Lyrics.
Hindi songs also have YouTube link to the song.
You can submit a song from the 'Submit a song' page.More songs will be added periodically.
I hope you enjoy using this application. Please send comments and suggestions to firstname.lastname@example.org.
The game contains 3 modes each of which contains 4 levels.
The PATANG is a game, developed by using AndEngine.
Nirguni Bhajans have a clear reflection of the unparalleled wisdom of the great sages who wrote them and also the deep understanding of the human mind.The words give a food for thought and a different perspective on life to the listener. Add to that the serene notes of music, and you have a complete and rejuvenating therapy for the tired mind. This exactly is the reason, why the album is titled,'Kabir Bani… Music for Soul’.Related information can be found on the Kahe Kabira portal.www.kahekabira.com.
The data is taken from www.mpcb.gov.in, the official website of Maharashtra Pollution Control Board, the state agency dealing with environmental issues in Maharashtra. The data is fed into a system at the back end and is then delivered through this application.
The composition is by Gorakshnath. Describing the fortress-like structure of human body, Gorakshnath moves ahead in pointing out the chinks in the armour. Two eyes, ears and nostrils each, one mouth, a couple of private organs and a Brahmarandhra – these ten doors allow the enemy to enter into the fortress and the defeat of the self is for sure. A yogi would always guard at these doors. It becomes possible only if the self seeks spiritual wisdom.
Using the metaphor of predator and prey Kabir speaks about the virtues of wisdom, spiritualism and the vice of temptation. Describing man as if it is a deer, Kabir calls the three areas as different forests. For the deer the first two, i. e. wisdom and spirituality, are safe. The third area, i. e. of temptations, is dangerous and that it is likely to be preyed upon there. It is all illusion, deception there. Five predators – faculties recognised by the sensory organs – occupy that area and it makes the man forget the inner self. Salvation is a process of securing oneself from these predators and this requires a true Guru.
In this bhajan, Kabir speaks about the loneliness of the atma (self), the mere-spectacle-nature of the world, and the attributes of the Lord. Calling the atma symbolically a swan Kabir says it will fly all alone. As a falling leaf of a tree gets a stroke of wind nobody will know where it will fall. Same is with the life of the self. According to Kabir, in the conflict with the Death the man has no chances of winning. The Lord alone can rescue the man, but again it all depends on the self. Everybody, including the Guru and the disciple, will go according to their individual doings.
The Death is the final frontier in the journey of life. Kabir has underlined the same, but in his own way. According to Kabir, the body is like a township, temptations are the robbers who loot the township. The soul is like the bride, while the Lord is the bridegroom. According to Kabir, if the death comes before achieving oneness of the self with the Lord, it is bound to bring in grief. Death is final and inevitable and once it is there the relationship of the self with the earthy world will be over.
All his life Kabir insisted on the concept of Koi bole Ram Ram Koi Khudai. In other words, he never espoused any specific form of God or Lord. In fact constant insistence on simplicity and directness, the hatred of all abstractions and philosophising, the ruthless criticism of external religion are his characteristics. For him the Lord is nirgun (one without virtues or attributes). This very philosophy of his is summed up best in this composition of Kabir. He says he will fearlessly sing the attributes of the one without attributes. In this context Kabir once again talks about the body, its structuring out of the five elements, in all twenty-five derivations of the same, three each virtues (sattva, raja and tama) and states (jagruti, svapna and sushupti) are the thirty-six ragas that he says he will sing sitting atop the shunyashikhar, the state where an ascetic reaches oneness of the soul with the universe.
A masterpiece by Kabir, ‘Avadhoota’ is about the search of self through meditation, no doubt; but with a different metaphor. Kabir uses the activity of farming. As the clouds gather a farmer gets ready for sowing and cultivation. Kabir tells the ascetic that the clouds have started roaring, and hence he should prepare himself. Kabir asks the ascetic to prepare the soil of deliverance. Renunciation be soaked in this shower. The harvest should be taken to home like a wise farmer as it would take care of him as well as the wise men and the saints.