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KRITIS OF SANKARA VIJAYAM by Kollegal .R.Subhramanyam-A Study Thesis submitted for the degree of M.phil in vocal music department of music potti sriramulu telugu university. Research scholar: D.V.L.Ramavalli M.A. [Music] Supervisor: Dr.S.Uma Devi Asst.proffessor HEAD OF THE DEPARTMENT [Music] Department of Music, Lalithakala Peetham. Potti Sriramula Telugu University. Hyderabad 2016. KRITIS OF SANKARA VIJAYAM by-Kollegal .R.Subhramanyam-A Study Thesis submitted for the degree of M. Phil in vocal music. Department of Music, Potti Sreeramulu Telugu University. Supervisor: Research scholar: Dr.S. Uma Devi D.V.L. Rama Valli Asst.professor M.A.[Music] Head of the department [Music] Department of Music, Lalithakala Peetham Potti Sreeramulu Telugu. University Hyderabad. 2016. Declaration I undertake that the thesis entitled 'Kritis of Sankara Vijayam-by Kollegal. R.Subramanyam- A Study', submitted by me for the degree of M.Phil is the result of my own research.The present study submitted is not reproduced or published elsewhere. Date: Place: Hyderabad D.V.L.Ramavalli Research scholar Department of Music Certificate Certified that the thesis entitled 'Krithis of Sankara Vijayam- by Kollegal R. Subramanyam - A Study' is a bonafied record of research work done by Smt. D.V.L. Ramavalli, for the degree of M. Phil. in vocal music under my supervision and guidance. I certify that no part of this work is submitted earlier. Dr. S. UmaDevi Asst. Professor Head of the Department [Music] Acknowledgements I would first like to thank the present Vice-chancellor Prof. S. V. Sathyanarayana Registrar Prof. Satti Reddy Former Vice Chancellors and Registrars. Dean-School of Fine arts, Prof. T. Jaya Manohar, Head of the Department of Music Dr. S. UmaDevi for giving me an oppurtunity for Research Study. My sincere thanks to my thesis supervisor and Head of the Department of music, Dr. S. UmaDevi for consistently steering me in the right direction when ever she thought I needed it, with valuable suggestions. My deep gratitude to Sri Kollegal R. Subhramanyam garu, for providing me all the required material and for giving valuable interviews at this age of 86 years. I would like to thank all the teaching and administrative staff in the university. Dr. Neeta Chandrasekhar, Dr. Radha Saranga pani and Dr. Venkata Chary. Finally I must express my gratitude to my family for providing their unfailing support and continuous encouragement throught my years of study and through the process of researching and writing this thesis. This accomplishment would not have been possible without them. D.V.L. Ramavalli _______________________________________________________________________________________________ Kritis of Sri Sankara Vijayam -By Kollegal.R.Subramanyam __________________________________ - A Study Contents Chapter Name Page No. 1. Kriti Introduction and about Sankara Vijayam 1.1. Kriti 1 1.2. About Sankara Vijayam 2 - 4 1.3. Incidents of sankaracharya’s life 5 1.4. Sankara’s important disciples 5 1.5. The Amnaya Peethams. 6 2. Life history of Sri R. Kollegal Subrahmanyam 2.1. Geneology of Kollegal R. Subrahmanyam 7 2.2. Life history 9 2.3. His training in Music and his gurus 10 2.4. His spiritual gurus 10 - 12 2.5. His contribution as a Vaggeyakara 12 - 13 2.6. Books published by Sri Kollegal Subrahmanyam 14 2.7. Music festivals conducted by him 15 - 3. Diacritical Marks 16 Kritis of Sankara Vijayam – By Kollegal R. Subramanyam – A Study (1 to 32 Kritis) 17 - 155 4. Conclusion 156 - 157 1. KRITI INTRODUCTION AND ABOUT SANKARA VIJAYAM 1.1 KRITI The Kriti is the most important of the melodic group of compositions. Every composer of note during the last two centuries has attempted this type of composition. Kritis from the bulk of the musical compositions at the present day. In the modern concert, more than half of the time is taken up with the rendering of kritis and rightly so. The composer enjoys ease and freedom in the expression of his musical thoughts in this form. A Kriti is remembered and valued for its aesthetic content and gana rasa. In a kriti the raga bhava is mostly portrayed. The Kriti in its fully developed form appears about 4 centuries later than keertana which had its birth in the fourteenth century. Tallapakam composers (1400 – 1500) were the first to write kirtanas with the divisions: Pallavi, Anupallavi and Charana. Tallapakam composers have used this term “Kriti”, Purandara dasa in his song vasudevana namavaliya in Mukhari ragam, says that he has composed 4,75,000 kritis. Thyagaraja in his piece, “Sogasuga mridanga talamu” (Sri ranjani rga) gives the lakshana of an ideal kriti. Walajapet venkataramana Bhagavatar in his sisa padyam E kale Kalitundu says “I pay my homage to Thyagaraja who has compoed different types of kritis…..” Scholaras and composers like tacchur singaracharlu, Tiruvottiyur Tyagayyar, T.M. Venkatesa sastri and others have restricted the term kirtana to those compositions whose sahityas had a special spiritual value. The most essential factor of a kriti is the dhatu. 1 Referred South Indian Music Book - III Sambamoorthy .K 1 1.2 ABOUT SHANKARAVIJAYAM SRI ADI SHANKARACHARYA The permanent charm of the name of Sri Shankara acharya, the founder of the Four Mutts at Sringeri, Jyoshimat, Puri and Dwaraka, lies undoubtedly in the Advaita philosophy he propounded. It is based on the Upanishads and augmented by his incomparable commentaries. He wrote for every one and for all time. The principles, which he formulated, systematized, preached and wrote about, know no limitations of time and place. It cannot be denied that such relics of personal history as still survive of the great Acharya have their own value. It kindles our imagination to visualise him in flesh and blood. It establishes a certain personal rapport instead of a vague conception as an unknown figure of the past. मदा मदा हश धभमम 嵍राननबमलनत बायत। अभ्म配ु थानभधभम म तदा配भानं वजृ ाम्मशभ।् । These are the words of Sri Krishna spoken as an assurance given to humanity at times when there is a decline in adherence to Dharma, righteousness as enjoined in the scriptures. He declares that He descends to earth and ensures the sustenance of Dharma, annihilates the evil elements and protects those treading the path of morality. Such an incarnation was deemed necessary towards the end of the 8th century A.D, when a 2 Net – Wiki Pedia and from the book Acharya’s Call Madrass Discourses Part-1 (1957 -1960) 2 number of incorrect interpretations of the Vedic utterances were prevalent across the length and breadth of India. The birth and life of Sri Adi Shankara Bhagavatpada, the beacon-light of Vedanta and reviver of the true import of Sanatana Dharma, substantiates his being regarded as an incarnation. The life of the Acharya is made known to us through the Shankara vijayam. Vedic India in the 8th century A.D Their logic did not feel necessity of God. But the masses among the Buddhists did not observe any of this reason or atheism. They knew Buddha and worshipped him as God. Buddhist Viharas were built in gigantic dimensions. Buddha's images made of costly metals and materials were installed and worshipped with great pomp and splendour. Swaying away from the pure Vedic injunctions but clinging on to their lower aspects, the spiritual life among the Buddhists was at a low ebb with the vigour and purity of Buddha having vanished. The masses had moved gradually towards abandoning the Vedic way of life, comprising of the various duties in accordance to the sacred tradition and the Ashrama - stages in life. There was a strong and urgent need for the revival of the Sanatana Dharma, lest it crumble to nonexistence. In the course of practice, the sacrifices and rituals were upheld as the ultimate goal and the true Vedic dictums were forgotten. Spiritual insight was conspicuous by its absence. At such a crucial juncture, Sri Adi Shankaracharya, respectedsince across on to world as the greatest philosopher and revered as an incarnation of Lord Sadashiva, walked the earth. He finds in the Vedic religion an infinite storehouse of thoughts and precepts suited to every possible temperament and stage of spiritual development. The great Acharya realized in all its fullness the significance of such a religion. He was able to reconcile all the warring creeds and sects. The grateful world in its turn recognized him as a world-teacher or Jagadguru. Though his special forte was the enunciation of the Nameless and Formless Absolute, he was credited at the same time with the establishment of the six common forms of Hindu religious worship. This earned for him the title of Shanmata Sthapanacharya. He was the most acute of philosophers. He was the most devoted of devotees. He preached the doctrine of the Self to a point he practically denied God any part in the regulation of our affairs. At the same time, he enunciated the seemingly contradictory 3 The Book ‘Acharya’s Call’ Madras Discourses. Part -1 3 doctrine that all our activities and its results depended on God and God alone. His idea of renunciation was so high as to require us to throw off everything we call ours. He is a bhakta of Shiva, as much of Vishnu and in fact, of any other deity of the Hindu religion. He was a bhakta of the One who manifests in the all. Of the chief incidents in his life, there is not much variation among the several accounts entitled 'Shankara Vijayas'. Sri Shankara was born of Shivaguru and Aryamba at Kaladi in Kerala. He lost his father in the third year. He received Gayatri initiation in his fifth year.

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