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National Seminar on CONTRIBUTION OF TRINITY TO KARNATAKA MUSIC

5th & 6th Feb, 2018 BOOK OF ABSTRACTS

DEPARTMENT OF MUSIC AND FINE ARTS

Central University Of TamilNadu, Thiruvarur Contents

About CUTN 2

Department of Music and Fine Arts 3

Trinity of Karnataka Music 4

National Seminar – Brief 4

Themes of Papers 5

Titles of Papers 6

Academic Sessions – Schedule 9

Resource Persons – Profile 13

Abstracts of Papers with Author’s Profile 19

E-mail Ids and Contact numbers 60

Central University of Tamil Nadu

The Central University of Tamil Nadu, Thiruvarur was inaugurated on 30th September 2009. It functions with quality infrastructure facilities in two campuses set in a serene atmosphere in the Neelakudi and Nagakudi villages in the Cauvery delta region. River Vettaru flows in between the two campuses. The Administrative building, academic buildings, Library, Hostels and Auditorium are housed in the Neelakkudi campus and residential quarters, guest house and Kendriya Vidyalaya are in the Nagakkudi campus. Both Campuses are nestled in a vast, verdant paddy tract, tucked far away from the madding crowds of urban sites.

The University offers Undergraduate, Postgraduate, Integrated Masters and Doctoral degree Programmes in various subjects through 22 Departments under the Schools of Social Sciences & Humanities, Basic & Applied Sciences, Mathematics & Computer Sciences, Communication, Technology, Education & Training, Commerce and Management, Behavioural and Earth Sciences and Performing Arts. CUTN is a family with students, staff and faculty representing from different parts of the country. The University atmosphere offers a creative and multicultural learning atmosphere for the students with dynamic curricular and extracurricular activities.

Chief Patron

Prof. Dr. A. P. Dash Vice-Chancellor, Central University of Tamil Nadu, Thiruvarur Patrons

Dr. S. Bhuvaneswari Registrar, Central University of Tamil Nadu, Thiruvarur

Prof. A. Ragupathy Controller of Examinations, Central University of Tamil Nadu, Thiruvarur

Prof. T. Sengadir Dean (Academics), Central University of Tamil Nadu, Thiruvarur

Prof. S. Nagarajan Dean (Students' Welfare), Central University of Tamil Nadu, Thiruvarur

Mr. CMA. V. Palani Finance Officer, Central University of Tamil Nadu, Thiruvarur 3

Department of Music

The Department of Music and Fine Arts has stepped into its maiden year with a four year UG course B.P.A (Bachelor of Performing Arts) in Music, designed according to the Choice Based Credit system (CBCS). Besides Karnataka Music compositions, student could learn songs from other genres such as Devotional songs, Folk songs, Patriotic songs and songs for Dance and Harikatha. Student has an option to learn playing any of the instruments, viz., Veena, Violin or Mridangam. Under electives, students can also learn basics of Hindustani Music, Western Music, Regional Music of India, Music and Technology, Indian Culture and Sanskrit and Dravidian scripts. In the final semester, a student is trained to perform a Classical Concert for an hour‟s duration. The Department is equipped with “SMART CLASS ROOM“, to enable a better platform for Music learning and research and also enroll for Online Courses / MOOC through SWAYAM. Thus a student is made to shine with multi-faceted knowledge of Music. Further Music is offered as an Elective subject to the students of other Departments of CUTN, which has drawn a large number of students showing interest to learn music. M.Phil and Ph.D degree programmes are being introduced from the academic year 2018-19. Following years, Post Graduation degree programme is on the roadmap that will bring higher specialties in Music education.

Contact: The Head Department of Music School of Performing and Fine Arts Central University of Tamil Nadu Neelakkudi Campus, Kangalancherry Post, Tiruvarur – 610005 Telephone: 04366 -277373 Email: [email protected]

Trinity of Karnataka Music

Sri Syama Sastri, Sri Tyagaraja and Sri Muttuswamy Dikshita are the three masters of South Indian Music, who were born in the divine land of Thiruvarur. They lived during the 18th and 19th centuries and are rightly called as Trinity, because of their great contribution to the field. Their main contribution has been to the musical forms, raga-s and tala-s, thus giving a concrete structure to the Karnataka Music system. Their music tradition has been preserved today and descended through their disciples and documented in manuscripts and books.

National Seminar – Note

The National Seminar on the Contribution of Trinity to Karnataka Music is a maiden step placed humbly by the Department of Music in its first year of establishment. Thiruvarur is the birth place of the three great masters of Karnataka Music, namely Sri Thyagaraja, Sri Muttuswamy Dikshita and Sri Syama Sastri, who were born here about 250 – 300 years before. Seminars, Conferences and Music festivals are organised world-wide, but one in CUTN situated in this sacred place, is a remarkable one. This year is also special since the completion of 250 years of the birth of Saint Tyagaraja is also celebrated this year.

This National Seminar is scheduled for two days with 8 sessions of academic paper presentations and interaction of scholars with experts, added with a music tribute to the Trinity. The Seminar would also include a visit to the birth places of the Trinity at Thiruvarur.

The main focus of the seminar is the contribution of the Trinity to Karnataka Music and various sub- themes based on that, were suggested by the Organising committee. It is a matter of pride that we had received more than 70 abstracts, out of which 54 registrations have been accepted. Except for four presentations in absentia, the rest of the registered participants have come down to Thiruvaur. The paper presenters are from the four states of South India and one from London. About 75% of papers are from musicians and research scholars and the rest from faculty members of the Music Departments in various Educational Institutions.

Abstracts submitted by scholars were scrutinized and modifications were suggested, wherever required. It has been proposed to publish the full length papers after the seminar, for which there is a scope for the scholars to edit and supplement views of the Experts.

Themes for Research Papers

The Seminar is devoted to the Contribution of Music Trinity; the main focus would be on the musical contribution of one among the trinity or the three composers together. Research papers can be supplemented with music demonstrations, live and recorded. The sub-themes of the papers are:

 Contribution of Trinity to the growth of Karnataka Music  Treatment of different kinds of raga-s by each of them  Tala-s figuring in the compositions of Trinity  Types of compositions / Musical Forms composed by Trinity  Organization and Structure of Musical Forms (Krti / Kirtana / Svarajati / Ragamalika etc.) of Trinity  Melodic and Rhythmic organisation of Trinity‟s compositions  Appreciation of any one composition of Trinity  Group Krtis of Trinity  Pathantara-s in the Compositions of Trinity  Comparative analysis of the Compositions of Trinity  Sources for the Compositions of Trinity  Influence of Trinity on the Composers of 20th century  Impact of early composers on Trinity  Trinity Compositions in Bhajana tradition and Harikatha Kalakshepa  Trinity Compositions in Bharatanatya and other dance forms (And any other topic related to the main theme)

Titles of Papers

Title of Paper Name 1. A comparative analysis of the selected compositions of Trinity in the Ratheesh P R raga TŌ ḌI 2. A day with Thyagaraja- A study about Thyagaraja by Dr. Prasanth V Kaimal S.Ramanathan 3. A study of “Ninnu vina gamari” of Syama Sastri (Telugu) Syam Kumar R 4. A study on Neelotpalaamba Navaavarana Kritis of Muttuswamy Shubhamangala G K Dikshita 5. An Insight into the Dancing Musical Elements of Sri Tyagaraja Chudamani D Compositions 6. Appreciation of the song “Sari evvaramma” of Syama sastri in Raga Narayanaswamy J Bhairavi (Telugu) 7. Audava Sampoorna Ragas–An analysis through the compositions of Nagaranjani Trinity 8. Bangalore Nagaratnamma: The symbol of social transformation Hemalatha Bhat, Dr. behind the Tyagarja Aradhana 9. Bhashanga raga-s of Muttuswami Dikshita Bhavana.P 10. Comparative analysis of compositions of Trinity Radha A 11. Compositions of Trinity: Style differences in the compositions of Sudheer C V, different schools 12. Depiction of nayika bhava in Sri Tyagaraja‟s opera, Nauka caritram Sriranjitha C 13. Elaboration of Raga Alapana with Shodasa Ganapati Krithis of Rayaprolu Ramani, Dr. Muttuswamy Dikshita 14. Group compositions Muttuswamy Dikshita with special reference to Manjula Surendra Guruguha Vibhakti Krtis 15. Guṇḍakriyā rāga as seen in Dīkṣitar and Tyāgarāja compositions Arati N Rao, Dr. 16. Impact of Sri Muthuswami Dikshita on the compositions of the Gowthami K Tanjore Quartet 17. Influence of Tyagaraja compositions on Nagaswara Music and Kamaraj K rituals 18. Influence of Tyagaraja on the composers of post Trinity period Anuradha. A, Dr. 19. Influence of western Music on Tyagaraja and Muthuswami Dikshita Uma Kumar 20. Kambhoji raga Krti-s of Muttuswamy Dikshita Radhika K P 21. Krithis of Sri Thyagaraja with different Raga lakshanam – few Aravindhan T R, Dr. examples from Walajapet notations 22. Madhyama Kala sahitya in the compositions of Muttuswamy Dikshita Sivagowri S, Dr. (Tamiz) 7

23. Meenakshi Navaratnamalika of Syama Sastri Lalitha R 24. Melodic and Rhythmic organization in the compositions of Trinity Anjana P Rao 25. Melodic aspects in the Kamalamba vibhakti kritis of Sri Muthuswami Niranjana Srinivasan, Dikshita Dr 26. Melodic magnificence of Raga Sankarabharana in select Sankar Ganesh J Vilambakala Kritis of Trinity 27. Musical Compositions of Tyāgarāja in Dēśādi tāḷā and Madhyādi Harish Narayan K, Dr. tāḷa, and their Adaptation to Ādi tāḷa. 28. Musical forms composed by Trinity Jayakrishna A 29. Muttuswamy Dikshita‟s compositions on Lord Tyagaraja of Tiruvarur Vijayalakshmi R (Tamiz) 30. Portrayal of Ragas by Saint Tyagaraja and Sri Muthuswami Dikshita Veena K Murthy 31. Portrayal Of Vivadi Ragas In The Compositions Of Trinity, A Hamsini Nagendra, Comparison Prof. 32. Raga Ranjaka phrases in the compositions of Muttuswamy Dikshita Udhaya Bhaskar J in Bhairavi raga (Telugu) 33. Rakthi ragas handled by Syama Shastri- a review Deepashri S M 34. Rama Bhakti portrayed in select krtis of Tyagaraja (Telugu) Jagadeeswara Rao T 35. Rare ragas handled by Tyagaraja Aparna M 36. Saint Tyagaraja and Harikhambhoji Varanasi Jyothsna Lakshmi, Dr 37. Sampoorna Rasa in Trinity Compositions for Dance Chamundeswari 38. Sri Muttuswamy Dikshita‟s Kriti-s on rarely sung deities Ragini A R 39. Sri Tyagaraja Krtulalo Raga svarupamu – (Telugu) (Raga svarupa in Ramanaih, B Tyagaraja‟s Compositions”) 40. Swaminatha paripalaya of Muttuswamy Dikshita – a study Sivaraman R, Dr. 41. The concept of Graha in the compositions of Tyagaraja Kameswari M 42. The dimensions of Raga application in the compositions of Trinity Madhu M 43. The influence of the musical styles of the Trinity in the musical Ganga Ramachandran compositions of Ennapadam Venkitarama Bhagavatar (1880-1961) 44. Trimurtula Racana Shaili (Telugu) Style in the Compositions of Salma Sodanapalli Trinity 45. Trinity Compositions as presented by the Legend Smt D K Poorna Vaidhyanathan Pattammal 46. Tyagaraja - The Unique Composer (Telugu) Subrahmanyam K 47. Tyagaraja and Dikshita compositions on Siva Meenakshi .S 48. Tyagaraja compositions in which melody is appropriate for Sivakumar N instrumental playing (Telugu) 8

49. Tyagaraja kritis revealing the secrets of Nadayoga Shyla R K 50. Unique features of Sri Muttuswamy Dikshita‟s compositions Shilpa Shashidhar 51. Vinta Raga-s of Tyagaraja with special reference to the Janya raga-s Sharanya Sreeram of Kharaharapriya 52. Yadukula Kambhoji – Insights from the Trinity Srilatha K

Academic Sessions – Schedule

Session -1

05-02-2018 Room Chairperson – Prof B M Jayashree 11am – 1 pm no. 2 Name Title of Paper Madhu M The dimensions of Raga application in the compositions of Trinity Varanasi Jyothsna Saint Tyagaraja and Harikhambhoji Lakshmi, Dr Shyla R K Tyagaraja kritis revealing the secrets of Nadayoga Ganga Ramachandran The influence of the musical styles of the Trinity in the musical compositions of Ennapadam Venkitarama Bhagavatar (1880-1961) Sriranjitha C Depiction of nayika bhava in Sri Tyagaraja‟s opera, Nauka caritram Shilpa Shashidhar Unique features of Sri Muttuswamy Dikshita‟s compositions

Session – 1

05-02-2018 Room 11am – 1 pm no. 4 Chairperson – Dr Latha Varma Name Title of Paper Niranjana Srinivasan, Dr Melodic aspects in the Kamalamba vibhakti kritis of Sri Muthuswami Dikshita Manjula Surendra Group compositions Muttuswamy Dikshita with special reference to Guruguha Vibhakti Krtis Ragini A R Sri Muttuswamy Dikshita‟s Kriti-s on rarely sung deities Aparna M Rare ragas handled by Tyagaraja Chudamani D An Insight into the Dancing Musical Elements of Sri Tyagaraja Compositions Sharanya Sreeram Vinta Raga-s of Tyagaraja with special reference to the Janya raga-s of Kharaharapriya

Session – 2

05-02-2018 Room 2 pm – 4pm no. 2 Chairperson – Prof Ritha Rajan Name Title of Paper Aravindhan T R, Dr. Krithis of Sri Thyagaraja with different Raga lakshanam – few examples from Walajapet notations Prasanth V Kaimal “A day with Thyagaraja”, A study about Thyagaraja by Dr. S.Ramanathan Poorna Vaidhyanathan Trinity Compositions as presented by the Legend Smt D K Pattammal Arati N Rao, Dr. Guṇḍakriyā rāga as seen in Dīkṣitar and Tyāgarāja compositions Nagaranjani Audava Sampoorna Ragas–An analysis through the compositions of Trinity Sudheer C V, Dr. Compositions of Trinity: Style differences in the compositions of different schools

Session – 2

05-02-2018 Room Chairperson – Prof Mandapaka Sarada 2 pm – 4pm no. 4 Name Title of Paper Radhika K P Kambhoji raga Krti-s of Muttuswamy Dikshita Jagadeeswara Rao T Rama Bhakti portrayed in select krtis of Tyagaraja (Telugu) Subrahmanyam K Tyagaraja - The Unique Composer (Telugu) Syam Kumar R A study of “Ninnu vina gamari” of Syama Sastri (Telugu) Kameswari M The concept of Graha in the compositions of Tyagaraja Udhaya Bhaskar J Raga Ranjaka phrases in the compositions of Muttuswamy Dikshita in Bhairavi raga (Telugu)

Tuesday, 06th February 2018

Session – 3

06-02-2018 Room Chairperson – Prof Mandapaka Sarada 9am – 11 am no. 2 Name Title of Paper Srilatha K Yadukula Kambhoji – Insights from the Trinity Ratheesh P R A comparative analysis of the selected compositions of Trinity in the raga TŌ ḌI Harish Narayan K, Dr. Musical Compositions of Tyāgarāja in Dēśādi tāḷā and Madhyādi tāḷa, and their Adaptation to Ādi tāḷa Narayanaswamy J Appreciation of the song “Sari evvaramma” of Syama sastri in Raga Bhairavi (Telugu) Ramanaih, B “Sri Tyagaraja Krtulalo Raga svarupamu “ – Telugu (Raga svarupa in Tyagaraja‟s Compositions”) Radha A Comparative analysis of compositions of Trinity

Session – 3

06-02-2018 Room Chairperson – Dr R S Jayalakshmi 9am–11am no. 4 Name Title of Paper Gowthami K Impact of Sri Muthuswami Dikshita on the compositions of the Tanjore Quartet Sivagowri S, Dr. Madhyama Kala sahitya in the compositions of Muttuswamy Dikshita (Tamiz) Vijayalakshmi R Muttuswamy Dikshita‟s compositions on Lord Tyagaraja of Thiruvarur (Tamiz) Sankar Ganesh J Melodic magnificence of Raga Sankarabharana in select Vilambakala Kritis of Trinity Jayakrishna A Musical forms composed by Trinity Meenakshi .S Tyagaraja and Dikshita compositions on Siva

Session – 4

06-02-2018 Room Chairperson – Dr. Latha Varma 11pm – 1pm no. 2 Name Title of Paper Anjana P Rao Melodic and Rhythmic organization in the compositions of Trinity Shubhamangala G K A study on Neelotpalaamba Navaavarana Kritis of Muttuswamy Dikshita Uma Kumar Influence of western Music on Tyagaraja and Muthuswami Dikshita Veena K Murthy Portrayal of Ragas by Saint Tyagaraja and Sri Muthuswami Dikshita Bhavana.P Bhashanga raga-s of Muttuswami Dikshita Kamaraj K Influence of Tyagaraja compositions on Nagaswara Music and rituals

Session – 4

06-02-2018 Room Chairperson – Dr. R Kausalya 11pm – 1pm no. 4 Name Title of Paper Anuradha. A, Dr. Influence of Tyagaraja on the composers of post Trinity period Sivakumar N Tyagaraja compositions in which melody is appropriate for instrumental playing (Telugu) Lalitha R Meenakshi Navaratnamalika of Syama Sastri Sivaraman R, Dr. “Swaminatha paripalaya” of Muttuswamy Dikshita – a study Hemalatha Bhat, Dr. Bangalore Nagaratnamma: The symbol of social transformation behind the Tyagarja Aradhana Rayaprolu Ramani, Dr. Elaboration of Raga Alapana with Shodasa Ganapati Krithis of Muttuswamy Dikshita

Resource Persons – Profile

Prof. Ritha Rajan  Retired Professor and Head of the Department of Music, Queen Mary‟s College, Chennai.  Member, Advisory Board of Experts, the Madras Music Academy.

Presently attached to the Madras Music Academy‟s Advanced school of Carnatic music as Academic Coordinator and approved guide for Music Academy Research Center.  “A” grade Artist, AIR, Chennai, since 1983.  Hails from a family of musicians at Kancheepuram, closely associated with Vina Dhanammal and Kancheepuram Nayana Pillai.  Learnt from mother and grandmother and Sri.D.K.Jayaraman. Intensive training from Vidwan Sri. Ramnad Krishnan for 6 years in the „gurukula‟ tradition.  Recipient of Central Government‟s cultural scholarship for advanced training in carnatic music under Ramnad Krishnan. Learnt for 2 years from Smt.T.Mukta.  Studied with Smt. T.Brinda and gave vocal support to Smt.T.Brinda in all her prestigious concerts and documentations.  Special training from Sri. Maruthuvakkudi Rajagopala Iyer and acquired the Umaiyalpuram Repertoire of Tyagaraja Kirtana-s.  Did pioneering academic research in actual performing in Carnatic Music and awarded Ph.D. degree for the doctoral thesis titled “Pathantara-s in the compositions of the Musical Trinity” from the University of Madras.  Has an extensive repertoire acquired from the most authentic sources, has done vast research in various styles of renderings of compositions in sishya parampara-s  Performing and teaching for the past 50 years. Published articles in Music research Journals. Received various awards.

Prof. B M Jayashree  Hails from the family of Artists & Musicians. Born to the famous musician Vidvan B.M. Muniveknatakappa  Has travelled a long way contributing nearly 35 years into the field of music education.  She has served the Department of Performing Arts, Bangalore University relentlessly and is today the Dean of faculty of Performing Arts, Bangalore University.  She has been guiding several research scholars and has participated in several national and international seminars.  She has also served in various capacities (B.O.S, B.O.A, B.O.E, and several confidential works of U.G.C) and is actively involved with various educational bodies all over India.  She has the unique distinction of evaluating close to 100 theses.  Several awards have been conferred upon her viz. “Artist of the year”, 2011, from Karnataka Ganakala Parishad, Bangalore, „Namma Sadhakaru‟ 2016 by Sangeetha Nritya Academy to name a few.

Dr. R. Kausalya

 Born in 1949 to Sri. N. Ramachandran and Smt. Rukmani. Paternal Grandmother Smt. Savithri Ammal was the disciple of (Narasimha Bhagavathar) Panchu Bhagavathar of Thillaisthanam  Learnt Music initially under Sri. Venkata Subramanian, Grandson of Narasimha Bhagavathar, disciple of Ramu Iyengar who was the direct disciple of Sri Tyagaraja. Thus belongs to the Thillaisthanam Sishya Parampara of Sri Tyagaraja.  Studied sangita siromani O.T course Madras University at Rajah‟s Music College, Thiruvaiyaru. Learnt Veena from Sri. K.P. Sivanandham and Smt. Sarada Sivanandam and Karaikkudi Smt. Vasantha.  Learnt Vocal from Chittoor Sri Subramania Pillai, Sri Srivanchiam K. Ramachandra Iyer, Sri Srirangam V.S. Krishnamoorthy Rao and Thiruvarur Sri. T.V. Namachivayam at college.  Learnt Musicology under Prof. R. V. Krishnan and Sri. T.S. Parthasarathy. Seikkizhar Adi-p-podi Dr.T.N.Ramachandran has been the guiding light in the Study of Bhakti Literature and Research. 15

 Has secured several awards like, Dr. A.L. Mudaliar award (for securing first rank in the final examination of sangita siromani), Sangam Era Award from Indian Fine Arts Society, Chennai, Musicologist Award- 2016 From The Music Academy, Madras  Has obtained Ph.D in Music from the Bharathidasan University, and has served as the Principal of the Govt. Music College, Thiruvayyaru.  Served as Consultant / Coordinator for Sangeet Natak Akademi, Indra Gandhi National Centre For Arts, C.C.R.T.  Has worked in developing Educational Films and produced several TV programmes,  She is presently Researching on the Compositions of Lesser Known Composers and conducting Workshops for them on behalf of Marabu Foundation.  Has published many books and articles in research journals and holds the post of chairperson and member of several boards and academic bodies.

Prof. Mandapaka Sarada  Born in 1957 in Vizianagaram, started her career at the age of 8 in 1965.  As a disciple of Sri Komanduri Krishnamacharya, she performed more than 2,000 concerts both in carnatic classical music and light music, covering 14 states all over India.  Obtained her M.A. Degree with Distinction (1st rank), and got appointed in the Dept. of Music, Andhra University. Later she did her Ph.D in Music and now she is Professor in music.  Sang for HMV and Columbia Gramophone companies; gave private cassettes, CDs and for a few films also.  She is a popular artist of AIR and Doordarshan in 3 disciplines viz., Carnatic classical music, light music and composing also. She extended her services on behalf of Govt. (Social Welfare Dept.) for the cause of eradication of untouchability and for many other schemes of Govt. She actively participated in the Spirit of Unity concerts for National Integration and for Universal Integration.  Received Gold medal from Smt. Indira Gandhi, the then Prime Minister of India in 1972 for rendering poems of Mahakavi Gurazada and received memento from Sri Neelam Sanjeeva Reddy in 1978.  She bagged many 1st and 2nd prizes, gold medals and received many 16

awards, rewards and honors and International award including „Pride of Asia‟ and „ Best Citizen of India‟.  She sang Devotional, Bhaktiranjani recordings with Chavelier, Padmavibhushan Dr.Mangalampalli Balamurali Krishna.  She was selected by the Andhra Pradesh Sangeeta Nataka Academy in 1979-80. She extended her concerts for South zone hook-up, coordination concerts and some special concerts for National Broadcasts.  Her renderings have been covered through overseas channels also.  As an academician she presented many research papers in National and International Seminars & Conferences  She has published research articles in reputed magazines, souvenirs and National and International Journals. Scholars are working for Ph.D under her guidance. She extended her services to other Universities as BOS Member, Subject expert, Selection Committee member etc.  Published 2 books, „Swara Tarangini‟ and „Kritimanjari‟ with her own compositions in popular ragas & talas as well as in rare ragas and 2 tiruppugazh talas. She created a Swarantara raga named „Chaturasya‟.  Sarada, recently completed 50 yrs of her musical journey, in which she has been honoured with the titles „Sangeetha Ratna‟, „Gana Kokila‟, „Gana Kala Mitra‟, „Sangeetha Sudhanidhi‟.

Dr. R S Jayalakshmi  Born on 8th July 1950 in Chennai to Janaki and Subramania Iyer, Dr. R.S. Jayalakshmi is a multifaceted personality, she is a musician, a teacher and a musicologist.  Started learning music (veena and vocal) at a very early age; had her initial training under Sri. V. Raghavan.  She underwent the Teachers Training Course from the Music Academy in 1966.  She furthered her music skills under the tutelage of Kalaimamani R. Pichumani Iyer by virtue of the Government of India Scholarship in the year 1971 to 1973.  She began her career as a Veena Assistant at the University of Madras in 1977 and went on to become a Lecturer in the later years before retiring from service in 2004. 17

 She has undergone specialized training on Padams and Javali‟s under Sangita Kala Acharya T. Muktha.  As an “A” grade artiste of the All India Radio, she has given Veena concerts in India and abroad and has received several awards and titles.  She has also trained innumerable students during her tenure with the University of Madras and a much sought-after Guru.  Presently she is a Teaching Faculty of the Advanced School of Carnatic Music run by the Music Academy.  She is also a Faculty at the Haridoss Giri School of Music run by the Narada Gana Sabha, Chennai.  R.S. Jayalakshmi was awarded the Ph. D degree for her doctoral thesis “Subbarama Dikshitharaal rin Sangita Sampradaya Pradarshini- il vilakkappattulla Gamakangal ” by the University of Madras.  She is one of the members of the Editorial Board for the English Translation of Sangita Sampradaya Pradarshini undertaken by The Music Academy.  She has been coordinating an ongoing project work carried out by TM Krishna on the Sangita Sampradaya Pradarshini, a couple of CDs of which has already been released which has attempted to reconstruct the ragas/compositions as perceived by Muthuswami Dikshithar.

Dr. Latha Varma

 Retired Principal, Sri Sathguru Sangeetha Vidyalayam, Madurai with a teaching Experience of 35 Years

 Received several awards like, “Shirantha Saathanai Aalar” Award

from Bharathi Yuva Kendra in Oct 2004, “Madhura Gaana Suddha” from Vaikath Ashtami Music Festival Committee, “Madhura Kalanidhi” from Kumara Gaana Sabha in October 2012

 An approved Research Guide of Madurai Kamaraj University; has guided 17 M.A Dissertations, 18 M.Phil. Dissertations, 10 Ph.D Theses. Currently guiding several students.

 Adjudicator for more than 20 Ph.D thesis of Various Universities offering Music 18

 Paper setter and Examiner of almost all universities offering Music

 Member of Board of studies in music in 4 Universities

 Resource Person for Seminars, Workshop and Refresher Courses in music conducted by various University offering music.

 Published more than 20 Research papers and 2 books in music

 Given concerts under the banner of Tanjore Music Tradition formed by the disciples of TMT and also in the Sabhas and temples of South India.

Abstracts of Papers with Author’s Profile

Anjana P Rao Profile Started music tutelage under the eminent guru, Vidwan H S Nagaraj and then from Vidwan S.R Maruthi Prasad. Currently she is honing her skills under the exemplary guidance of guru Dr T S Sathyavathi. Has secured „Sangeetha Koustubha (Vidwat)„ with a Scholarship from Shri D. Subbaramaiah Fine Arts

Research Scholar, Bangalore Trust(R)-Bengaluru. Awarded Fellowship from Inlak India University, Bengaluru foundation, Mumbai for Carnatic music vocal in the year 2017. Has received „Ananya Nadajyothi yuva puraskara‟; has performed in many prestigious sabhas in the country, like, Kalavanta-2016 (an International Music festival for youth), Swara Raaga Sudha-A national level program in SVBC channel- Tirupathi, SwaraJhari sangeetha Sabha, Rajatamahotsava- Vijayavada 2013, Girinagara Sangeetha Sabha-Bengaluru and R K Srikanthan sabha trust.

Melodic and rhythmic organization in the compositions of Trinity Abstract: The tradition of associating a particular song with a specific raga and tala was established by the Trinity. The lyric became the binding agent between melody and rhythm making them an inseparable pair. This music structure carved a path of legacy. Master pieces of composers were created with great spontaneity, at times with intentional accuracy and meticulously documented by their fortunate disciples Shyamashastri Eldest among the Trinity had an in-depth knowledge of languages Samskrit,Telugu and Tamil in particular coupled with an extraordinary sense of every aspect of classical music so as to mould them into perfect melodic structures. His immense potential to exploit the vilamba laya(slow tempo) and the employment of the same in his exquisite kritis in mishrachapu tala is left with no parallel even to this day. Thyagaraja Saint Thyagaraja‟s compositions stand out as unique combination of lyrical and musical beauty soaked in the elixir of bhakti. His popularity sees no bounds as his compositions easily transcend the barriers of linguistic inclinations. His spiraling sangatis spread over the canvas of simple talas like the adi, rupaka and chapus with an unusual ease and flow have an instantaneous appeal. Mutthuswamy Dixitar The spiritual elevation experienced through the compositions of Dixitar is a result of his being an authority in both shastra and prayoga of different genres of music combined with his authentic 20

knowledge in the philosophy of advaita. the majestic gait of his compositions all of which are set to a variety of suladi talas lend rare colors to his musical and lyrical vision of the highest order.

Anuradha A, Prof Profile: A post graduate and Ph.D in Music and has been teaching music for the past 27 years to Post graduate students. Has been the Co-ordinator, Head of the Department and Chairperson for the Board of Studies at Andhra University, Vishakapatnam. Has completed one UGC- Minor Research Project (2004) and an

UGC- Major Research Project is in progress. Has published 8 Professor & Head, Department papers in National and International Journals, a book and 3 of Music, Andhra University, articles in the Proceedings of Seminars and Conferences. Vishakapatnam Attended 40 Seminars and Workshops and conducted 9. A Performer on voice in AIR.

INFLUENCE OF TYAGARAJA ON THE COMPOSERS OF POST-TRINITY PERIOD Abstract The period of Trinity is a golden period in the history of Carnatic Music. Many branches of Music have flourished during this period. Several pure musical forms were composed in this era. Among them, the most important one is the development of Kriti form. It is a pure musical form and very important one in the concert singing which was developed by the Trinity in their own individual styles. „Group kritis‟ is another aspect that is developed during this period. The tradition of composing Group Kritis began just before the period of Trinity. The major number of group kritis were contributed by Tyagaraja and Dikshitar. Among the Trinity, Tyagaraja has composed the highest number of Pancharatna kriti-s in Telugu and Telugu – Sanskrit combination. Many composers after him fallowed this tradition of Group Kriti-s being composed Pancharatna kriti-s in Telugu and Tamil. Few have chosen Tyagaraja as their inspiration and composed individual kritis in the format of Tyagaraja‟s Ghanaraga Pancharatna kriti-s. Thus, Tyagaraja stood as an inspiration for many Vaggeyakara-s and became popular as “Sadguru”, meaning „a Teacher or a Philosopher who shows right path to his followers and disciples‟.

Aparna M Profile: Completed B.P.A in Vocal and M.A.in Music from University of Kerala with 2nd rank and 1st rank respectively. An UGC-NET-JRF holder and presently pursuing Ph.D in music at University of Calicut under the guidance of Dr.A.Jalaja Varma, on the topic “Contributions of Maha 21

Vaidyanatha Iyer and Ramaswamy Sivan, to south Indian Carnatic music”. Recently selected as Lecturer in Music in Govt. music colleges (Kerala Public service commission).

Research Scholar, University of Calicut

Rare ragas handled by Saint Thyagaraja Abstract: Thyagaraja who is prominent among the trinity, has used many apurva ragas in his compositions which is also known as Vinda ragas. Rare ragas refer to those ragas which is not heard or used often, due to their lack of elaborate sancharas or difficulty in handling the ragas.

Some of these ragas are beautiful but were not brought into the lime light due to the lack of compositions. Some of them are Amruthavahini, Bindumalini, Bangala, Ganavaridhi, Chenchukamboji, Chitharanjani, Devamruthavarshini and many more. These ragas have beautiful structure and sancharas. The compositions in these ragas are also beautiful and appealing. Though Muthuswami Deekshithar and Syama Sasthri have handled rare ragas, I would like to emphasis on the rare ragas used by Thyagaraja, its prayoga, sancharas and the compositions.

Arati N Rao, Dr. Profile: Has a Ph.D. in music from the University of Mysore on the topic „Vijayanagara as a Seat of Music‟. She has completed a project with a grant from IGNCA-RCB Bengaluru. She has been awarded a Senior Fellowship from the Ministry of Culture, Govt. of India. She has published papers in journals such as Journal of Music Academy of Madras, Ninaad (Journal of ITCSRA, Kolkata), Swar-Bharati (Journal of

Bharatiya Vidya Bhavan, Delhi Kendra) and has presented papers in Researcher, Bengaluru several international conferences. She has authored articles pertaining to three modules on Indian Music for the e-PG Pathshala project of the UGC, Govt. of India. She assists in the maintenance of the music research websites „www.musicresearchlibrary.net‟ and „www.musicresearch.in‟. 22

Guṇḍakriyā rāga as seen in Dīkṣitar and Tyāgarāja compositions Abstract: Guṇḍakriyā rāga, which has been placed under the 15th mēla in most of the musicological texts of the Mēla period (starting from the 16th century upto the 20th century) seems to display two distinct svarūpa-s in the compositions „Rājarājēndra Cōla‟ by Muthusvāmi Dīkṣitar and „Intanusu varṇimpa‟ by Tyāgarāja. This paper primarily examines the features of the rāga as found in these two songs. It also examines the rāga features seen in other song notations in Guṇḍakriyā from Thanjavur manuscripts, „Saṅgītasampradāyapradarśini‟ by Subbarāma Dīkṣitar and printed editions of songs of the twentieth century composers such as Muthaiah Bhagavatar and Jayacāmarājēndra Woḍeyar. The examination of rāga features is carried out only by the study of the svara phrases, since details of aspects such as gamaka-s employed, registers traversed etc. are not available in all the notations mentioned above.

The paper attempts to illustrate the similarity in svara phrases between the Thanjavur song notations, the compositions of Dīkṣitar and other compositions from Saṅgītasampradāyapradarśini in Guṇḍakriyā. The paper also tries to demonstrate that the version of this rāga found in the Tyāgarāja composition is close to the Guṇḍakriyā compositions of the twentieth century composers.

Aravindhan T R , Dr. Profile A dentist by profession has learnt music from Smt R Vedavalli. He has completed his Bachelor‟s degree in Music.

Out of interest in the compositions of our great composers, especially Sri Thyagaraja Swamy, he has done a personal

research on the various versions of his compositions. He is much Researcher, Chennai devoted to the Walajapet version, preserved by Walajapet disciples.

Krithis of Sri Thyagaraja with different Raga lakshanam – few examples from Walajapet notations Abstract: Though our music is mainly relied on oral tradition, textual tradition was too given an equal importance in the past. One such textual version which speaks about the krithis of Sri Thyagaraja Swamy was by Sri Walajapet Venkataramana Bhagavathar. Sri Venkataramana Bhagavathar, a devout disciple of Saint Thyagaraja hailed from Ayyampettai, learnt from the latter approximately for a period of 26 years. Not only a disciple, he was an ardent bhaktha of his Guru too. 23

Venkataramana Bhagavathar and his son, Sri Krishnaswamy Bhagavathar, who has also learnt from Sri Thyagarajar has left us a legacy, handwritten manuscripts preserved at Madurai Sowrashtra Sabha. The transcripts of these manuscripts are preserved at GOML, Chennai.

These notations are a treasure trove, as Prof Sambamurthy has said even Sri Thyagaraja might have seen those manuscripts as they were written during his lifetime itself. This corpus, though not a complete one in terms of songs, gives us valuable information on the Raga lakshanam and the versions that they have learnt from their Guru.

This paper addresses two of those ragam and how the Raga lakshanam portrayed in these notations adhere very much with the earlier treatises.

Bhavana.P Profile Started the pursuit of Karnatak Classical Music (Vocal), since the age of 8, under the eminent tutelage of guru Vidwan H S Nagaraj. As a 12 year old, stepped in to the world of performances and recitals, which has grown till date. Her abilities were further moulded by Vivwan S R Maruthi Prasad, and is currently pursuing music under the exemplary guidance of guru, Dr. T S Sathyavathi. Has been awarded the Researcher, Bangalore scholarship from Karnataka Sangeetha Nrithya Academy. Has been University, Bengaluru performing widely in many places in India and on DD-Chandana.

Bhashanga Raga-s of Shri Mutthuswamy Dikshita Abstract: In Karnatak Music, We have come across several raga systems evolved and gradually reformed by many of the Lakshanakaras at that time. Ragas in Karnatak music is based mainly on Shruthi‟s and Gamakas. On that basis, we have two raga systems at present namely 1. Asampoorna Raga System 2. Krama Sampoorna Raga System Shree Muthuswamy Dikshitar followed Asampoorna Raga System and this Raga system is very accurate scientifically. According to both systems, approaches for Bhashanga Ragas are different. Therefore studies of Bashanga Ragas are essential as per Shree Muthuswamy Dikshitar.

Chamundeswari K Profile: A Bharathanatyam dancer and choreographer, and a student of Smt. Kalanidhi Narayanan. She has completed TN Dance (Higher and lower) exams and music (lower) exam. She currently teaches and performs in the UK and India. In 2017, she collaborated with Balakrishnan to present Abinaya through the Ages, an exploration of padams and javalis.

Balakrishnan (co-author) is a Carnatic musician, educator and

composer, trained for over 15 years, currently training under Smt. R. Dancer, London Vedavalli. He is interested in music, theatre, literature and works with spiritual poetry of the mystics from the Indian subcontinent.

Sampoorna Rasa in Trinity Compositions for Dance Abstract A number of compositions of Sri Tyagarajar and Sri Mutthuswami Dikshitar feature in the Bharathanatyam repertoire. The unique contribution of dancers engaging with trinity compositions is that they are able to see the rainbow of rasas in their compositions and bring them out in their performances, thereby enhancing rasanubhava. Dancers such as Ananda Shankar Jayant, Lakshmi Viswanathan, Kalanidhi Narayanan and others have explored Trinity compositions such as Ragamalika „Simhasana-sthite‟, Daru ni sati, and Ardhanareeshwaram of Mutthuswami Dikshitar, Ksherasagara, Samayaniki, Saadinchane, Nannu vidachi, iti janmam, maa janaki of Tyagaraja, and ballets Tyagaraja Ramayanam and Nauka Charitam. Dr.Balamuralikrishna‟s Thillana on Tyagaraja is a unique take on the foremost of the Trinity, which dancers have taken up with gusto. This paper looks at the multiple interpretations of Tyagaraja compositions that dancers have brought to the fore.

For dancers, music and musicality is an inherent part of the ideal training that is imparted, and therefore coproduction of music and dance is inevitable, but for musicians, it may not be seen to be so. However, for compositions of Muthusamy Dikshitar, the most exciting of the Trinity, from a dancer‟s point of view, such coproduction has had rich results, evident in his deep, layered and sated masterpieces. This paper will explore the nature of this coproduction and the bhavas in Dikshitar‟s multifaceted compositions through compositions such as Roopamujoochi and Devi krithis. Dikshitar‟s tendency to bring variety through complexity is much to a dancer‟s delight. The use of ragamalika, the play with yatis, the exquisite illustrativeness of his poetics, his subtle nayaka-nayika delineations makes Dikshitar a dancer‟s inspiration. The last section of this paper will identify Dikshitar‟s compositions that have as yet not been danced, but have huge scope.

Chudamani D Profile: Passionate, professional dance performance on various national and international prestigious stages. Determined to imbibe the conventional theoretical aspects into the practical performance through a creative contemporary choreography. Engrossed in promoting moral values, social awareness, and personality development skills through dance

workshops. Proficient in training students of low level to high level Research Scholar, standards irrespective of their age and gender. University of Hyderabad Has a Masters degree in Performing Arts – Kuchipudi, MCA and a diploma in bharatanatyam. Currently pursuing Ph.D. at University of Hyderabad.

An Insight into the Dancing Musical Elements of Sri Tyagaraja Compositions Abstract: Dance is a complimentary visualization of Music whereas Music is an extending asset of Dance. Many great legendary gurus of South Indian classical dance forms like Kuchipudi, Bharatanatyam, Mohiniyattam, Kathakali adopted Sri Tyagaraja compositions as part of their repertoire. For example: Balakanakamayachela, nagumomuganaleni etc. Bhava, Raaga, Taala are the main and important aspects of Sri Tyagaraja compositions which attracted the dance gurus to adopt them to their choreographies. Adding to that the components of his works like structure, subject, emotion, dynamics, texture etc. are the elements which makes his compositions as the special part of the south Indian classical dance. Rendering compositions like pancharatna kritis are very tough and challenging to both musician and dancer. Sri Tyagaraja had learnt the yakshagana format and its grammar from his grandfather Giriraja. This results in his works opera “Nauka Charitham” and “Prahlada Bhaktha Vijayam”. The former is transformed as dance drama by many dance gurus. His innovation and creativity in the musical space reflects in the dance space too. The logical and analytical exploration of musical technicalities which gives raise to the dancing movements is the main emphasis of this paper.

Deepashree.S.M Profile: M.A in Carnatic Classical Music (Vocal) with 2 nd Rank and Graded artist of AIR in Carnatic classical vocal. PhD Research Scholar (UGC-JRF) at Bangalore University. Pursuing research under the guidance of Prof. Dr. Hamsini Nagendra. Currently under the tutelage of Vidushi Dr. Manjula Shriram in Rajarajeshwari Nagar, Bangalore. B.E in Computer Science.

Worked for Infosys Technologies Ltd. Bangalore. Research Scholar, Bangalore University. 26

Rakthi ragas handled by Syama Shastri- a review Abstract: The celebrated musical Trinity of Carnatic music, Syama Sastri, Tyagaraja and Mutthuswamy Dikshitar exhibit distinct styles in their compositions. While Tyagaraja‟s compositions are more lucid and simple, Dikshitar‟s compositions are majestic and scholarly. Syama Shastri‟s compositions on the other hand showcase rhythmic excellence- at the same time filled with excellent raga-rasa bhava. His compositions mainly exhibit vatsalya bhava wherein he considers himself a child in front of mother, goddess Kamakshi. The term „Rakthi‟ means the evocation of certain rasas. Hence rakthi ragas are the gamaka pradhana ragas which are mainly dependent on the raga swaroopa and not merely the scales and are capable of captivating a shrothru‟s (listener) mind. Analysing Syama Shastri‟s compositions shows that rakthi ragas enjoy the lion‟s share - ananda bhairavi and saveri being his favorites. The focus of this article is on rakthi ragas handled by Syama shastri with special appreciation to their application in his compositions

Ganga Ramachandran Profile Has obtained Post graduate and M.Phil degrees in music and has submitted Ph.D. thesis on the contribution of Ennapadam Venkatrama Bhagavatar. Had additional training in various institutions on music performance. Conducting music classes and training to students of various regions in persons and through online. Actively engaged in music teaching, concerts and academic presentations. Knowledgeable in many Musician & Researcher, Indian languages. Tirunelveli

The influence of the musical styles of the Trinity in the musical compositions of Ennapadam Venkitarama Bhagavatar (1880-1961) Abstract: The paper proposes to highlight the influence of the musical styles of the Trinity in the musical compositions of Ennapadam Venkitarama Bhagavatar{ 1880-1961}. · grew in popularity as a musician between 1895-1901 · prolific composer during his fifties. · composed songs for Harikatha and keerthanams for concert type rendering. · chose Ramayana story themes for the songs in Harikatha. · chose Mahbharatha story theme for sreekrishna ashtottara sata nama keerthanas, · Songs propitiating Parukkanchery amman kulaDevatha after he recovered from affliction - vasoori. 27

· Personal troubles in life like Tyagaraja- untimely demise of his brother and partner in duo singing; · Music structure style resemblance with that of Tyagaraja and of Muthuswami Dikshitar in as much as They are mostly in samskrit. · ragas of both mela paddhatis in 108 group keertanams- · Evident from names and scales of ragas - Venkatramaneeyam-.publication. · Keertanas feature rare ragas and talas of Trinity – like Udayaravicandrika, Useni, dvijavanti etc. · Complex eduppu talas like that of Syama Sastri. And new 8 ragas and 3 talas.

Gowthami.K Dr. Profile A research scholar from University of Hyderabad. She is pursuing her Ph.D under the guidance of Sri Pasumarthi Ramalinga Sastri and her topic is Contribution of Tanjore Quartet to Development of Bharatanatyam. She has undergone training from Sri Devendra Pillai of Tirupati and Sri Pasumarthi Ramalinga Sastri of Hyderabad. Has performed extensively and obtianed several awards like, Natya Pratibha, Research Scholar, Natya Mayuri, National Nrithya Shiromani, Nrithya Cudamani and so on. University of Hyderabad

Impact of Sri Muthuswami Dikshitar on the compositions of the Tanjore Quartet

Abstract: Sri Muthuswami Dikshitar was the guru of the Tanjore Quartet. They learnt the finer aspects and nuances of classical music under his guidance during their abhyasa. Sri Muthuswami conferred the title, Bharata Sresta to them looking at their grasp of the subject.

The Tanjore Quartet composed their Navratnamalika Kriti and offered to Sri Muthuswami as Guru Dakshina. This fact is evident from the mudras, Guruhuha dasa, Guruguha Murti & Guruguha Bhakta. This was referring to their Guru, Sri Muthuswami whose signature was the mudra Guruguha. The first of the Navaratnas, Mayatita Svarupini was composed in the Mayamalava Goula raga similar to their guru Sri Muthuswami, whose first composition Sri Nathadiguruguho Jayati which also was set in Mayamalava Goula. They also used samisti charanams in their kritis like Sri Muthuswami.

Many of Ponnayya‟s works reflect his devotion to Lord Brihadeeswara and Sri Muthuswami. Ponnyya‟s dwadasa ragamalika written in telugu utilised only three ragas when he first composed it, 28

adding nine more ragas on the instructions of his Guru which can be inferred by observing that the Sri raga, which is normally used as a mangala raga for conclusion is the third raga. Sri Muthuswami on witnessing the pada varna Daniketagujana set in Todi raga, Rupaka tala by Sivanandam, ranked it higher than his varna Rupamujuci set to the same raga.

Hamsini Nagendra, Prof Profile:

Born in the family of music connoisseurs, who are the descendants of Sri BHAKSHI THIPPAIAH, who was the Minister in the court of Sri MUMMADI KRISHNA RAJA VODEYAR the third, was initiated to music by her grandfather, Sri S. Krishnamurthy at the age of Two. The

actual learning commenced at the age of five with the encouragement Professor, Bangalore of her Parents, Sri K Nagendra and Smt. M R Vijayalakshmi. She had University, Bengaluru rigorous musical training under the guidance of Ganakalashree Dr. T S Sathyavathi for 8 years. She was also guided by Sangeetha Vidyasaagara, Sri R R Keshava Murthy for 2 years. For more than 10 years, she was also under the tutelage of Padma Bhushana, Sangeetha Kalanidhi, Madurai Sri T N Seshagopalan for advance training. She is also being trained by Layakalaa Pratibhamani Vid. H S Sudhindra in Mridanga. She has done her Ph.D. in Music in 2004.

Portrayal Of Vivadi Ragas In The Compositions Of Trinity, A Comparison Abstract: It is an undisputable fact that, the Indian Music especially, the Karnatak Music has a plethora of Ragas, which are like its back bone. The Karnatak Music has a rich variety of Ragas, which are grouped under different categories such as Janaka Ragas, Janya Ragas, Pratimadhyama Ragas, Deshi Ragas, Rakti Ragas etc., based on different purposes, among which, the Vivadi Ragas occupy an important place as well. The term Vivadi itself suggests of contradiction. As the name itself indicates, the Vivadi Ragas are those Ragas, which consist of Vivadi or the dissonant swaras and sancharas. Such Ragas have been unjustifiably treated as inauspicious ones by the Vidwans. If so, the great vaggeyakaras especially, the Trinity would not have composed their wonderful compositions in such Ragas at all. Hence, this study would like to compare and highlight on how these Ragas have been explored by the Trinity to prove their MELODIC WORTH on the basis of following aspects. 1. Number of Vivadi Ragas used. 2. Treatment of these Ragas. 3. Their sanchara krama. 4. Their melodic worth. 29

5. Their scope and limitations. 6. Their inlayed kalapramana. 7. Influence of their respective Raga system if any. 8. The rational attitude of the trinity etc. This research paper is an analytical study, based not only on the various textual references but, also the audio samples, concert recordings, lecture demonstrations, discussions with veterans, analysis etc, which can highlight on the intricate aspects of Karnatak Music.

Harish Narayan.K, Dr. Profile: Completed M.A., M.Phil and Ph.D in Music from the Department of Indian Music, University of Madras, Chennai. Served as a Guest Lecturer at the Department of Indian Music, University of Madras from 2007 to 2010. Since 2014, working as Asst. Professor (on Contract) at the Department of Vocal, Tamil Nadu

Music and Fine Arts University, Chennai. Assistant Professor, TN Music and Fine Arts University, Chennai

Musical Compositions of Tyāgarāja in Dēśādi tāḷā and Madhyādi tāḷa, and their Adaptation to Ādi tāḷa

Abstract: Tyāgarāja, is regarded as a pioneer in introducing the style of composing Kīrtana-s in the Dēśādi tāḷa, characterised by 3 Taṭtu-s (Ghāta) and 1Vīccu (Visarjita) totalling a time duration of 4 mātrā-s. In the later period, these compositions have been adapted and sung to the modern Ādi tāḷa of 8 mātrā-s. This paper, analyzes the method underlying the placement of music on the time framework of Ādi tāla, whereby one set of compositions with 3/4-mātrā anāgata eḍuppu have been set in Oru-kaḷai (Ēka-kaḷa) Ādi tāḷa,with 1½-mātrā anāgata eḍuppu, while those with ½ - mātrā anāgata eḍuppu (popularly referred to as Madhyādi) being set in Reṇḍu-kaḷai (Dvi-kaḷa) Ādi tāḷa with a ½-mātra anāgata eduppu. Apart from these kīrtana-s of Tyāgarāja and of a few later composers, some compositions in Jāvaḷi and Tillānā forms set in Dēśāditāla format are also seen. This paper makes an attempt to understand the impact that Graha and Arudi have on the placement of sāhitya syllables on the tāla framework.

Hemalatha Bhatt, Dr Profile: PG and Ph.D in Sociology from Pondicherry University. Working as Assistant Professor of Sociology, in Tamil Nadu National Law School, Trichy. One of the thrust areas of research is on the Social and Cultural aspects relating to Devadasis.

Assistant Professor of Sociology, Tamil Nadu National Law School, Trichy

Bangalore Nagarathnama: the symbol of social transformation behind the Thyagaraja Aradhana

Abstract: This paper explores the life and works of the prominent devadasi of the twentieth century south India namely Bangalore Nagarathnama. Firstly it analyses the origin, practice and decline of the devadasi system in South India through socio historical perspectives. The second part of the paper deals with works of Bangalore Nagarathnamma as a scholar of Fine Arts and Indian Languages, and as an epitome of charity. The best known yearly Music festival of world - Thyagaraja Aradhana at Thiruvaiyaru of Tamil Nadu, is a living example of Bangalore Nagarathnamma‟s efforts to erect a shrine and perpetuate the memory of saint Thyagaraja – one of the trinities of Carnatic Music. She also structured it with the five gems of Saint Thyagaraja namely the Pancharatna kritis.

Nagarathnama‟s tireless fights against masculinity and upper caste appropriation of Carnatic music laid a beautiful precedent for future generations in terms of fight against all kinds of socio- political segregation. The efforts of Nagarathnama has materialised as women‟s participation in the Thyagaraja Utsavam of Thiruvaiyaru has steadily increased five times more than men, in the last seven decades.

The paper also attempts to understand how religion, art and culture often merging seamlessly in Hindu traditions witnessed a transition of dance and music from temples, courts and private homes to public spheres as a secular art form. Music and dance in its language, form and contents of religious rituals had been an emblem of liberation for devadasis, whereas today it has transfigured itself into academic exercises or sources of entertainment, having no patronage and philanthropy.

Jagadeeshwara Rao.T Profile: Has completed PG in Music and performing Violin under the Annamacharya Project of the Tirumala Tirupati Devasthanams, Tirupati.

Student, Tirupati

Rama Bhakti portrayed in select krtis of Tyagaraja (Telugu) Abstract: Among the Trinity of Karnatic music, Saint Thyagaraja has been a great devotee of Lord Rama. He has composed plenty of compositions on his favourite deity who has been his soul refuge. Even in the ghanaraga panca ratna krti-s, which are regarded as the crown of the Saint‟s compositions, the theme of Rama bhakthi has been portrayed in an elaborate manner. Thyagaraja has visualised Rama as his friend, brother, relative, slave, and his ultimate. This paper would focus on some compositions of Thyagaraja dealing with Rama bakthi.

Jayakrishna.A Profile: A PG graduate in Music and pursuing research at S V University, Tirupati. Has performed in many music programmes in and around Tirupati. Also served as Freelancher Anchor in SVBC (TTD channel), Tirupati.

Research Scholar, S V University, Tirupati Musical Forms composed by Trinity Abstract: We can define the word music trinity as a group of three closely music related persons. The Trinity of carnatic music refer to the outstanding trio of composer- musicians of carnatic music in the 18th century being Tyagaraja (1767-1847), Muthu Swamy Dikshita (1775-1835) and Syamasastri (1762- 1827). In our carnatic music we have several musical forms like Geetham, Suladis, Swarajati, Jatiswaram, Tanavarnam, Padavarnam, Keertanam, kriti, Padam, Javali, Tillala, Ragam Tanam Pallavi and so on. Tyagaraja was a Rama Bhaktha and his compositions are Mellifluous and adorned with sangatis and with the mudra of “Tyagaraja”. Dikshitar was committed to the musical grammar of 32

his guru parampara, his compositions are not dedicated to one single deity but to several with the mudra of “Guru guha”. Syamasastri was a Devi Bhaktha and his songs are rich in melody and rhythmic content. His compositions reflect the depth of sastris Bhakthi towards the Devi Kamakshi with the mudra of “Syama Krishna”. Tyagaraja was composed more than 800 compositions, Dikshitar composed 450-500 compositions and syamasastri composed more than 100 compositions.

This paper attempts to discuss on the various types of musical forms composed by Trinity and the role in the growth of Karnataka Music system.

Kamaraj K Profile: Obtained UG and PG in Music (Mridhangam), and completed M.Phil through regular mode from Tamil University, Tanjavur. Passed NET Exam in June 2013 and currently doing Ph.D (Part time) in Tamil University under the guidance of Dr. E. Angayarkanni. Presently working as a Balbhavan Instructor (Mridhangam) in JBB (Edn. Dept), Puducherry for the past 17 years. Has participated in more than 20 seminars (National /International) and has published a book titiled SANGA Instructor ILAKKIYATHIL THOORKARUVIGAL, and 9 research publications as (Mridhangam), articles in Seminar / Conference Proceedings. A professional Puducherry & Research Mridhangam Artist. Scholar, Thanjavur

Influence of Tyagaraja compositions on Nagaswara Music and rituals Abstract: The Trinity of Karnatic music shine like a crown of South Indian music. Their compositions are widely performed on stage, in the rituals of temples and rendered as part of other festivals and domestic functions. In this paper, it is proposed to bring out the role of Sathguru Sri Thyagaraja‟s compositions on the rituals and traditional temple worship practices. It would also deal with the use of Thyagaraja‟s krtis in the Nagasvaram musical tradition during auspicious functions in South India.

Kameshwari.M Profile: Has completed M.A. in music and currently doing Ph.D. on the unpublished work called Talarnava. Has participated and won prizes in many competitions and on DD for playing Veena.

Research Scholar, S V University, Tirupati

The concept of Graha (in the context of tala) in select compositions of Tyagaraja Abstract: The term “Graha” in the context of tala refers to the commencement of the song with relation to tala. The compositions of Tyagaraja, one among the Trinity, are set in different tala-s. It is interesting to note that the commencement of a song differs in some of them. The compositions in desadi and madhyadi tala-s follow a definite pattern, which are sung in adi tala in present day. But with regard to the adi and rupaka tala-s, some of them have sama graha throughout. Whereas in some cases, there is a variety in the commencement of a song in different sections. For example, the pallavi and anupallavi of the fifth of the pancaratna krti-s, “endaro mahanaubhavulu” in Sriraga commences after the first akshara on the little finger. But the carana-s have sama graha. The present paper attempts to analyse and bring out some of the instances of different graha with respect to tala in the compositions of Tyagaraja.

Lalitha R Profile: Passed Vidwath (Carnatic vocal) from Karnataka secondary board. After UG in music, now doing MA Music in Bangalore University. Teaching Carnatic vocal from past 20 years privately at home to young interested music aspirants. Also teaching students of India and Abroad through Online. Conducted classes at Sri. Bhimsen Joshi centre „RHYTHMS‟, at Jayanagar, Bangalore Worked for Sri Kumaran Children‟s Home (SKCH) CBSE-ICSE as music teacher 2009-2010. worked for Sri Aurobindo Student, Bangalore Memorial School(CBSE),Bangalore 2010-2011 University, Bengaluru

Meenakshi Navaratnamalika of Syama Sastri Abstract: Group Krtis-s refer to a set of Krtis composed by a Vaggeyakara on a particular deity or place or theme. Syama Sastri is one among the Trinity and has composed a set of nine compositions on Goddess Meenakshi of Madurai, popularly called Meenakshi Navartnamalika. Out of the nine compositions, some, namely, Sarojadalanetri - Sankarabharana, Marivere - Anandabhairavi, Nannu brova lalitha- lalita raga are very popular. This paper would focus on the the Meenakshi Navaratnamalika compositions of Syama Sastri, delaing with the specialities, ragabhava, raga handled and tala usage.

Madhu.M Profile: Learning music under the tutelage of Sri.Tamarakkadu Govindan Namboodiri. He has done his MA in Music from Kerala University and is pursuing his Ph.D in Music from Kerala University under the guidance of Dr.Bhavana.T M.

Research Scholar, University of Kerala

The dimensions of raga application in the compositions of Trinity Abstract: The Carnatic music trinity Sri.Thayagaraja swamy, Sri.Muthuswami Dikshitar and Sri.Shyama shastri have enriched the ocean of Carnatic music by their vast and immortal compositions that they set in many ragas. The melodious beauty and wide scope of ragas have been executed to its maximum in each of the compositions of the trinities. It is through their immortal compositions that the music lovers came to know the real essence and versatile beauty of the ragas. It is during the time of the trinities and through their creations that the musicians started to use the ragas and the manodharma in a more glorified way as it is been used now. Each of the trinity had their own unique versatility and style in applying the ragas in their compositions. Their vast knowledge in the ragas are revealed through their compositions. My presentation in the National seminar aims at giving an idea on the versatility and the unique styles of ragas usage by the trinity.

Manjula Surendra Profile: „A‟ Grade artist on the AIR Bangalore, performing all over India and abroad since 30 yrs. Practicing under the tutelage of Vid. D. Balakrishna, son and disciple of Sangita Kalanidhi, Padmabhushana Dr. Mysore. V. Doreswamy Iyengar. MA (music) from the University of Madras, M.Phil from Jain University and pursuing Ph.D. at the Bangalore University. Visiting faculty at the Department of Performing Arts, Bangalore University. Musician, Visiting Faculty, Banglore University Group compositions Muttuswamy Dikshita with special reference to Guruguha Vibhakti Krtis

Abstract: The period of 1750 AD to 1850 AD was the golden period when the musical trinity enriched the Karnatik music with their immortal pieces of musical expressions in the form of compositions which even to this day are performed with reverence.

This paper is a study of group compositions of one of the Trinity, Sri Muthuswamy Dikshitar (1775- 1835). Dikshitar sahitya in essence is a hymn of praise, an invocation to one or the other deity, consolidation of ancient wisdom with technical references to the yoga, tantra and mantra. His songs incorporated details of local customs, traditions of the shrine, and descriptions of the expression in the local deity. After his return from Varanasi, Dikshitar first visited Tiruttani and while in meditation saw the God Kumara come in the form of an elderly person and vanish into the sanctum sanctorum which led to the first kritis of Sri Muthuswamy Dikshitar, set of 8 kritis on the God kumara, who had blessed Govinda Dikshitar with a genius like Muthuswamy Dikshitar.

The group kritis of Dikshitar are compositions dedicated to Tyagaraja, Kamalamba, and other deities within the Tyagaraja‟s big temple and those in different parts of the town of Tirurvarur. The author proposes to make a study from the musical perspective highlighting the uniqueness and the richness of the content in terms of melody, rhythm, significance and other relevant findings, with special reference to Guruguha vibhakti krtis.

Meenakshi.S Profile: Hails from a highly traditional family in Madurai. She has done her UG and PG in Music in Sri Sathguru Sangeetha Vidyalayam, Madurai. She has completed her M. Phil from Mother Teresa University and DMT from Tamil University, Thanjavur. She has passed the S.L.E.T exam conducted by Bharathidasan university. She is a performer of Flute since childhood. At present, she is a Lecturer in Violin at the RLMATM College, Madurai. She is pursuing her Ph.D. in Music at Tamil Nadu Music and Fine Arts University, Chennai. Lecturer (Violin), RLMATM College, Madurai

Shri Thiyagarajar and Shri Muthusamy Dikshitar’ s Shiva Kritis – A comparative analysis

Abstract: A comparative analysis of the Structure, Raga bhava, Rhythmic pattern and Meaning of the Kritis on Lord Shiva composed by the contemporary musicians of 18th and 19th centuries, Shri Thiyagarajar and Shri Muthuswamy Dikshitar.

Nagaranjini Profile: Senior Research Fellow in the Department of Performing Arts, Bangalore University. A Performing and graded artist of All India Radio. Gold medalist in M.A. Music. Persuing PhD under the title „Integrated approach to Indian Music with respect to the aesthetic synthesis of Gamakas‟ under the guidance of Dr.B.M.Jayashree.

Senior Research Fellow, Bangalore University Audava Sampoorna Ragas–An analysis through the compositions of Trinity

Abstract: The vast realm of Indian Classical Music is enriched with a plethora of ragas of varied characteristics. Out of the many kinds, Audava Sampoorna Ragas fall into the Varjya Sampoorna category. In general, Varjya Sampoorna means that the ascending order of notes, or Arohana, will not have one or 37

more notes as compared to the parent; the descending order of notes, or Avarohana, will be the same as the parent raga. Audava Sampoorna means that the Arohana will have 2 notes less compared to the parent raga; the Avarohana will be the same as the parent raga. These ragas have an innate quality of completeness like the parent raga as well as an individuality of their own because of the Varjya. This paper tries to discuss the various aesthetic aspects of Audava Sampoorna ragas which include Abheri, Arabhi, Bilahari, Kedaragowla etc. It also tries to identify the special prayogas of these ragas in general and also critically analyses how the various compositions of the trinity have utilised these ragas. It would also, in a way, be a study of the evolution of these ragas under the trinity. Any room for improvisations would also be highlighted.

Narayanaswamy J Profile: Completed M.A.in Music from S V University. Currently working as a part time teacher in The Athena School, Ananthapuram, Andhra Pradesh.

PG student, Part time School teacher, Ananthapuram

APPRECIATION OF THE SONG “SARI EVVARAMMA” OF SYAMA SASTRI IN THE RAGA BHAIRAVI

Abstract: Syama Sastri is one among the trinity of Karnataka Music. He has composed many compositions in the Raga Bhairavi and one among them is “Sari Evvaramma” set to Khanda Jaati Jhampatala. This song contains many special aspects relating to the melodic and rhythmic content. The present paper will deal with the study of this song in term of textual, melodic and rhythmic contents.

Niranjana Srinivasan, Profile: Dr. Disciple of Smt. Lalitha Sivakumar (the illustrious DKP bani) for the past 20 years till now. B-high graded artist from the All India Radio, Chennai. Recipient of the YUVA KALA BHARATI award from the Bharat Kalachar for the year 2015 and many more awards, prizes, accolades from various sabhas and organisations in the field of Carnatic music.

Asssistant Professor (on contract) TamilNadu Music and fine Arts University , Chennai

Melodic Aspects of Kamalāmbā Navāvaraṇa Kṛti-s of Śrī Muttusvāmi Dīkṣitar Abstract: The festival of Navarātri is dedicated to the three Goddess of Hindu Mythology namely Durga, Lakṣmi and Sarasvati. In this context, Muttusvāmi Dīkṣitar has composed Navāvaraṇa Kṛti-s on Goddess Kamalāmbā which contains the essence of mantra, tantra and yantra śāstra-s alongside with multifaceted musical intricacies which would be the topic I have chosen to present, emphasising on its melodic aspects and technical details.

Poorna Vaidhyanathan Profile: A graduate in Fine Arts (Visual Arts) from Stella Maris College, Chennai and PG from University of Madras. Has submitted the thesis towards Ph.D. at S V University, Tirupati. My initial training started in 1977 from Sri Nagaraja – a disciple of Lalgudi Sri G Jayaraman and a disciple of Smt T Rukmini since 1989. A Grade artist of AIR. Has been performing

across the globe – both solo concerts and as accompaniment on Violin. Lecturer in Violin, S V Has won several prizes from leading music sabhas. College of Music and Wife of Mridangam Artiste „Kalaimamani‟ and „Sangeet Natak Akademi Dance, Tirupati Awardee‟ Sri J. Vaidhyanathan (son of Sangita Kalanidhi Late Sri D K Jayaraman). Elder Brother is Vijay Siva, the noted carnatic vocalist and younger brother is Manoj Siva – the noted Mridangam Artiste.

Trinity Compositions as presented by the Legend Smt D K Pattammal Abstract: Style in any art form including music is the distinctive stamp or signature attributed to an individual‟s expression. Apart from various other elements, the presentation of a composition, of which most important are those of the Trinity, also becomes an important aspect of one‟s style. Though there are several pāṭhāntara-s that have been evolved since the time of the Trinity, a few of them stand out, till date, as authentic versions. „Padma Vibhushan‟ Smt D K Pattammal was known for her rendition of Kṛti-s with the aspects of Sahitya Suddham being a highlight. In my presentation on „Contribution of Trinity to Karnataka Music‟, with the help of available recordings, I would like to bring out the distinctness in various trinity compositions as passed down to us by D K Pattammal which she had learnt from very authentic sources. I propose to highlight the following aspects of D K Pattammal‟s rendition of the Trinity compositions: 1) The Trinity compositions handled in a concert by Smt D K Pattammal i.e. selection of Kṛti-s, how often were they rendered, the proportion to other compositions, etc. 2) Some unique features differentiating D K Pattammal‟s rendition from the way other musicians render the same Kṛti-s. 3) The scope of Manōdharma aspects challenged in the Trinity compositions.

Prasanth V Kaimal Profile: Completed P.G in music in the year 2015 from Kerala University. Now doing my PhD under Dr Bhavana T.M in Music Department Thiruvananthapuram. Doing Vocal concerts for the last 24 years.

Research Scholar, University of Kerala

“A Day With Thyagaraja” - A tribute to Saint Thyagaraja by Dr. S Ramanathan Abstract: Dr.S.Ramanathan,was an eminent musician and also a sparkling gem in the early 19th century. He popularized many rare Thyagaraja compositions through his magnificent bani. ’Varalandu’(„Gurjari’), ’Vinanasakoni’ (Prathapavarali), ’Bhajanaseyavada’(Atana), ’Aragimbave’(Thodi), ’Ennugamanasu kurani’ (Neelambari), ’Karunasudumayya’ (saranga) were some of the rare Thyagaraja krithis which he used to sing in his concerts, on a regular basis. His articles like Thyagaraja ramayanam, A day with Thyagaraja, Pre trinity composers” etc are examples of his extra ordinary knowledge in music.

“A Day With Thyagaraja” was a demonstration programme by Dr S Ramanathan through which he pictured a day of Saint Thyagaraja. In this research paper I would like to go through this great lecture demo by Dr Ramanathan who was the disciple of maestros like Tiger Varadachari. Dr Ramanathan was trying to convey the greatness of Saint Thyagaraja and his devotion to Lord Rama. In this demonstration Dr Ramanathan explains how Saint Thyagaraja started his day, his morning routine, his interaction with disciples, the practice of “Unjavrithi”, his affection with the common man etc. This helped the new generation musicians to identify the divine life of Thyagaraja.

Radha.A Profile: Obtained Masters degree in Music and currently pursuing Ph.D. at Sri Padmavati Mahila Visva Vidyalayam, Tirupati

Research Scholar, Sri Padmavati Mahila Visvavidyalayam, Tirupati

Comparative Analysis Of Trinity Compositions Abstract: Sri Tyagaraja: In his song SWARA RAGA SUDHA RASA, Tyagaraja says that bakthi combined with ambrosial rasa of swara and raga is itself heaven and salvation. In NIDHI CHALA SUKHAMA RAMUNI SANNIDHI SEVA SUKHAMA (KALYANI), he underlines that god‟s presence is greater treasure. we may cite the well-known Athana piece YELA NEEDAYA RADHU in which except the pallavi line here and the RA RA in the opening charana, the whole composition is in Sanskrit.

Muthuswami Dikshitar: A special quality of Dikshitar music is its close affinity to the vina and its style, graces and nuances. The slow tempo and the rich gamakas of his songs are qualities derived from that instrument par excellence. The Pancha Linga Kirtanas, his five songs on the Gods representing the five elements of Earth,water,fire,air and Ether at the shrines Kanchi, Jambukesvara, Arunachala, Kalahasti and Chidambaram; the songs are CHINTAYA MAKANDHA MULA KANDHAM in Bhairavi, Jambu Pate in Yamuna Kalyani, Arunachalanatham in Saranga, Sri Kalahastisam in Husseni and Ananda natana prakasam in Kedara;

SRI SYAMASATRI; His Kriti-s show an obvious spontaneity and effortless ease. In a Thodi piece, 41

Vegamevacchi, he echoes Tyagaraja‟s Dhyaname Varamaina and says that beyond the Mother‟s Dhyanam, he know of no Mantra or Tantra. The simple repetitive address: Janani, Talli, Amma, Ninuvina gati, Namminanu. Raga Ananda Bhairavi appears to be his favourite. All the three celebrated composers were contemporaries. Tyagayya was the eldest and he blessed this earth with his life for the longest period, while the two others left it earlier. Of the three muttusvami Dikshitar was the youngest and he alone stuck to Thiruvarur for the longest time while Tyagayya left for Thiruvayyaru or the pancanada ksetra and Syama sastriar for tanjore proper.

This paper would deal with the compartitive note on the compositions of Trinity

Radhika.K.P Profile: Has completed M.A. and M.Phil in music and currently pursuing Ph.D. at S V University, Tirupati. Has been performing at various occasions in Tirupati and surrounding areas. The present paper is based on the study made during the M.Phil research.

Research Scholar, S V University, Tirupati Kambhoji Raga Kritis of Mutthuswamy Dikshita Abstract: Muthuswami dikshitar has composed many songs in different kinds of raga-s. Kambhoji is considered as one of the Major raga-s and has a great scope for elaboration in a concert. According to Sangita Sampradaya Pradarshini, it is learnt that Muttuswamy Dikshita has composed four kritis in the raga Kambhoji. Out of these, three are in atatala and one in rupaka tala.

In continuation of my M.Phil dissertation, I would like to present a paper on the Kambhoji raga krti-s of Muttuswamy Dikshita. Various aspects relating to the organisational and melodic structure of these four songs are dealt with. It is also attempted to analyse the types of phrases in this raga and Dikshita‟s treatment of Kambhoji in this paper for the seminar

Ragini.A.R Profile: B.E.in Electronics and communication (2000) and has done M.A in Karnatic music (2010). Graded artist of the AIR, Mysuru. Has performed at many places, including Cleveland, Ohio- US, TTD, Tirupathi for dāsa sāhithya project, and Bharathiya Vidya Bhavan. Presently pursuing M.Phil music at Jain university.

Research Scholar, Jain University, Bengaluru

Śrī Muttuswāmy Dīkshitar’s Compositions on unsung deities Abstract: This paper gives a description of the compositions of Srī. Muttuswāmy Dīkshitar, one of the greatest vāggeyakāra (composer) and the youngest of the trinities of Karnātak music. He composed stupendous compositions which reflect a grandeur, soaked in spirituality with a steady style and diction, soaked in the quintessence of Rāga bhāva, enriched with the gamakās (ornamentation), making his compositions mystic and perennial treasures. The sāhitya is mostly in Sanskrit, conveying the metaphysical truths enshrined in traditional temple worship, in varied rāgas of the asampūrna meLa paddhati and suLādi sapta tālas. Many of the compositions are an archival of rāga lakshaNas and give a window to the development of Karnātak music in the eighteenth century.An avid traveller, composing on deities on whom there were no compositions as Sandhyā, Ganga, Brahma, Pashupathinath, Shāsta, Māya, Rēnuka, Kuntala, Mātrbhootr and many more, he gave us single compositions on each of these deities in rare rāgas making them unique. These can be considered as kshētra kritis as they are based on various temples he visited and provide an insight into the various aspects of archeological, iconographical and spiritual heritage of those temples. This paper would briefly analyze the musical, lyrical nuances of three of such compositions on Sandhyā, Brahma and Rēnuka.

Ramaniah.B Profile: Completed Diploma in Vocal and Violin, and M.A -Music in Violin. Currently working as a music teacher in a private school in Kurnool, Andhra Pradesh.

Part time Music teacher in School, Kurnool 43

Raga swarupa in the kiritis of Sri Thiyagaraja (Telugu) Abstract: Sri Thyagaraja‟s kritis are considered as the best reflectors (mirrors) of many classical ragas. He has introduced the concept of sangati in his kritis, in order to bring out the structure of the raga. Thyagaraja has composed songs in many of the 72 melakarta ragas, rare ragas like Bahudari, Dipakam, Phalamanjari etc. He has given a complete melodic frame work for popular ragas like Sankarabharana, Todi, Kalyani and Bhairavi. In some ragas, he has composed a number of kritis with different grahaswaras. This paper would focus on the different raga -structure of Thyagaraja.

Ratheesh.P.R Profile:

Research Scholar at the Department of Music, Sree Sankaracharya University of Sanskrit, Kalady, Ernakulam, Kerala. Pursuing Ph.D.

Research Scholar, Sree Sankaracharya University of Sanskrit, Kalady

Abstract: The history of Carnatic music cannot be studied without the compositions of Trinity. Tyāgarāja, Muthuswāmi Dīkṣitar and Śyāma Śāstri, popularly known as the Trinity of Carnatic music, have contributed a lot by their various types of compositions in different rāgās. They combined their immense knowledge, deep spirituality and musicianship with an amasing sense of creativity and innovative spirit. This has made their contribution invaluable. The period they lived can be considered as the „golden age‟ in the history of South Indian classical music.

The vast repertoire of Carnatic music was nourished by the elegant compositions of Trinity. They have handled almost all major and minor rāgās already existed during their time and also composed kṛtis in new rāgās which they have invented. Tōḍi is one of the most important and powerful rāgās of Carnatic music. All the three composers have composed numerous kṛtis in this rāga. Among the Trinity, Tyagaraja had left behind the largest number of compositions in Tōḍi. Muthuswāmi Dīkṣitar and Śyāma Śāstri have also composed elegant compositions in Tōḍi rāga. This study intends to explore the peculiar features of 44

rāga Tōḍi revealed in the compositions of Trinity. It also analyses the musical as well as literary beauties incorporated in their kṛtis.

Rayaprolu Ramani, Dr. Profile: Completed Diploma and B.A in Music from Andhra University, Visakhapatnam and M.A. Music and Doctorate in Music from Sri Padmavati Mahila University, Tirupati. Presented Research papers in various Seminars. Working as Vocal Artist in the Annamacharya Project, since 2007.

Asst. Professor (contract) IIIT, Srikakulam Elaboration Of Raga Alapana With Shodasa Ganapati Krithis Of Mutthuswamy Dikshitar

Abstract: Mutthuswamy Dikshitar, who is one of the Sangitha Trimurthis is much more than a Vaggeyakara. He is multi-faceted with immense knowledge of Chaturvedas, Sri Vidya, and a tremendous Vainika. Even in the world of music he excelled in Hindustani and Western music apart from various forms of South Indian music. His contribution to Carnatic music itself is limitless. His works are termed as “Narikela Paka” as his compositions are challenging to render. He can compose complex Kritis such as Navavarana Kritis and Navagraha Krithis while at the same time he is also the composer of the Shodasa Ganapati Kritis, with simple raga elaborations. Shodasa Ganapati Kritis, describing the sixteen forms of Lord Ganesha are one of the famous group Krithis composed by him which can be easily understood by people. There are 19 Krithis as part of this group describing Ganapati as Maha Ganapati, Sweta Ganapati, Rakta Ganapati and so on. He used famous ragas such as Hamsadhvani, one of his own creations, Todi, Gaula, Sri, Chakravakam, Malahari, Begada, Nata, Shanmukhapriya, Aarabhi, Saveri, Navaroj, Jenjhuti, along with rare ragas such as Nata Narayani, Rudra Priya, Raga Chudamani, Isa Manohari, Kasi Ramakriya for these compositions. This paper elaborately talks about the melodic aspects of each of these Krithis and the

Salma Sodanapalli Profile: Completed PG in Music and pursuing Ph.D. in Karnataka Music at Sri Padmavati Mahila University, Tirupati, under the guidance of Prof. Dwaram V.J. Lakshmi garu.

Research Scholar, Sri Padmavati Mahila Visvavidyalayam, Tirupati Trimurtula Racana Shaili (Telugu) Abstract: Syama Sastri, Tyagaraja and Muttuswamy Dikshita are known as the Trinity of Karnataka Music. Each of them had contributed towards bhava, raga and tala, which are the main aspects of Bhartasastra. Syama sastri‟s compositions are compared to Kadalipaakam (banana), Tyagaraja‟s compositions to draksha paakam (grapes) and Dikshita‟s to naarikela (Coconut). This paper aims to analyse the style ofthese three great composers.

Sankar Ganesh.J Profile: Disciple of Dr. Cherthala K.N. Ranganatha Sharma, a postgraduate in Music from Sri Sathguru Sangeeta Vidyalayam, Madurai cleared NET & SLET in Music and presently pursuing Doctorate at Sri Venkateswara University Tirupati. Earlier, worked as a Lecturer in music in Tamilnadu Govt. Evening Music College, Madurai, & Kalai Kaviri College of fine arts,

Trichy. Also served as a music teacher in Jawahar Navodaya Vidyalaya Assistant Professor, S under Ministry of HRD in Car Nicobar Islands & Tumkur. Presently from V University, Tirupati 2007 serving as Assistant Professor in the Department of Performing Arts, Sri Venkateswara University, Tirupati.

Melodic magnificence of Raga Sankarabharana in select Vilambakala Kritis of Trinity Abstract: Dhīra Śankarābharaņam is the 29th mēļa of 72 mēļa scheme. It is a mēļakartha rāga and it is the 29th mēļa of both asampūrņa and sampūrņa mēļa pathathi. It is the 5th rāga of the 5th chakra, Bāņa – Mā. Technically it is mentioned in the name Dhīra Śankarābharaņam. Kriti is an important musical form of Carnatic music. “Kriti stands as example of absolute Music”1Kritis are melodic oriented and the

treatment of a rāga in Kriti-s is high in order. The beauty and various aspect of the rāga are unfolded with the decorative anga sangati which is the embellishment only seen in Kriti. In this important musical form, the angas like pallavi, anupallavi and caraņa are not only mere segments, the various stages and important aspects of a rāga are unfolded through these angas. Trinity of carnatic music was great in this Kriti form and they heaved this form to enormous heights. The music excellence and lyrical beauty is immense in their compositions.

Observing rāga Śankarābharaņam in Kritis, most of the popular kritis are composed in chowka kāla and madhyakāla. Especially in chowka kāla kriti-s the soul of this rāga is embellished with perfect and full vicinity of gamakas. This paper is intended to highlight the musical expressions and development of melody of raga Sankarabharana which is interwoven with the melodic structure of the following select compositions of trinity, “Swara rāga sudha” of Tyāgarāja “Sarōjadaļa nētri” of Śyāma Śāstri and “Akshayalingavibho” of Dīkshithar. This paper is to portray the musical eminence of trinity in handling this raga and unfurled its beauty through different angas of vilambakala kritis in raga Sankarabharana.

Sharanyaa Sriram Profile: An Electronics and Communications engineer and a Post Graduate degree in Music with high distinction. She is Pursuing research in Music at Jain University, Bengaluru.

She is a Carnatic Music Performer and has appeared and performed in various regional TV channels. She was the Lead Coordinator for a 100-member Carnatic Symphony at the 2014 Musician, Bengaluru Bengaluru Sangeet Utsav. She has also conducted several lec- dems and thematic presentations on topics of varied interest in carnatic music. With a penchant for the pen, Sharanya is a blogger on “Musical Musings”.

Vinta Raga-s of Tyagaraja with special reference to the Janya raga-s of Kharaharapriya Abstract: Tyagaraja has been undoubtedly the most influential composer in the annals of Carnatic music. Tyagaraja was a trend setter in the use of simple words for his compositions packed with immense bhava (emotion), aptly compared to “drAksha rasa”. He is the only composer to have attempted compositions in a vast number of ragas exceeding 200. Among them, around 83 ragas hadn‟t existed

before his times, which were classified by him as vinta ragas. „Vinta‟ in Telugu means rare or extraordinary. In the kritis-“Muchchata Brahmadulaku” in madhyamavati, “mithri baghyamu” in Kharaharapriya, we come across the term „vinta raga‟, wherein he specifically refers to the fascinating effect of alapana of these novel ragas.

Most of the vinta ragas are janya ragas. Tyagaraja and kharaharapriya are so synonymous that it wouldn‟t be an exaggeration to say that, today‟s existence of this absolutely magnificent raga is purely due to the saint‟s compositions. The three canonical kritis, “chakkani rAja mArgamu”, “rAma nI samAnamevaru” and “pakkAla nilabaDi” bring forth the magnificence of this raga in all its splendour. Tyagaraja has also composed a number of compositions in many janya ragas of kharaharapriya. Among them are a few vinta ragas or rare ragas which were brought to life by Tyagaraja. A few of these ragas have retained their ekaika (one and only) status, meaning that no other composer has dwelt with these ragas.

This paper attempts to throw light on the vinta ragas which are janya ragas of Kharaharapriya and the saint‟s immortal compositions in these ragas.

Shilpa Shashidhar Profile: B.E. in Electrical and Electronic engineering; M.A. in Music from Bangalore University and a “B High” graded artist of AIR. Has been performing in many places in India and on Doordarshan. Has been training students to learn music.

Musician, Bengaluru

Unique features of Sri Muttuswamy Dikshitar’s compositions Abstract: Among the trinity, Sri Muttuswamy Dikshitar‟s compositions stand out with several unique features which is worth an analysis and study. An understanding of his style helps us appreciate the different aspects and perspectives behind his every composition. 1. Context and Scope The distinct characteristics in his compositions can be examined under the following headings:  Raga 1. He followed and retained the traditional grandeur of Asampoorna mela paddhati. 2. His handling of ragas from the North Indian style. 3. His usage of different gamakas and techniques to bring out the beauty of raga.  Tala 48

How he has employed only suladi sapta talas in his compositions to the exclusion of Chapu and other talas prevalent.  Laya or Kalapramanam His compositions have an optimum Madhya laya for rendition. Knowledge of this is of utmost importance.  Sahithya 1. Influence of his knowledge in astrology, astronomy and other sciences on his compositions. 2. Prosody and lyrical beauty in his compositions.  Structure/form Compositions such as Chaturdashamalika, Samasti charana kritis which have a special compositional structure. The wholesome understanding of Sri Muttuswmy Dikshitar‟s composition is as challenging as it is rewarding. He gives many insights into the handling of a vivadi, vakra, mela, bhashyanga or janya raga. An investigation of his composition brings one a few steps closer to his vision and gives one the confidence and grasp for its effective rendition. His compositions are a reference and guide into the art of classical music.

Shyla R K Profile: Completed graduation and post-graduation in Music from the Government College, Chittur, Palakkad, Kerala and was secured University Rank at both levels. Qualified in UGC NET with JRF. Presently doing Ph.D. under Dr. Latha Varma [Retd Principal-Sri Sathguru Sangeetha Vidyalayam College of Music and Research Centre- Madurai]. Research Scholar, Performing concerts, and singing for music albums too. SSSV, Madurai Thyagaraja krithis revealing the secrets of Nadayoga

Abstract: As far as music and musicians are concerned the study and practice of Nadayoga is most relevant. Thyagaraja has dealt with, through music, different aspects such as spirituality, ethics, value of satsanga, condemnation of hypocrisy and so on. Having lived the life of a sage, His prime focus was Nadopasana, and this made his krithis unique of its kind. With His personal spiritual experiences Thyagaraja has shared the ultimate secrets of Nadayoga in some of His kritis. This secret is the backbone of music.

In this article it is proposed to make a study of those krithis along with their musical features as well. 49

This understanding of the absolute truth behind music is vital for a person who is blessed in his life to be a musician. By knowing the various aspects of Nadayoga and practising them a musician can commune with greater depths of spirituality through music, there by creating a much better version of his own music. This will help to make a good impact in music world and even beyond. This study aims to help a musical aspirant to delve deep into the spiritual treasures of music which is imparted to the world by a Nadayogi Himself.

Sivagowri S Profile: Completed her PG in Music from the University of Madras and Ph.D. from the Tamil University, Thanjavur, in the year 2014. Has learnt Music from Kalaimamani Smt. Suguna Purushothaman. Has been performing Karnatic music concerts and Tevaram concerts in various parts of India and abroad.

Visiting Faculty, CUTN

Madhyama Kala sahitya in the compositions of Muttuswamy Dikshita Abstract: Muttuswami Dikshita has composed many Krti-s in various raga-s and tala-s. One of the important features in his Krti-s is the Madhyama kala sahitya. The present paper proposes to focus on the salient features of one of the this decorative anga of Krti-s of Dikshita. It would deal with the structural and organizational format of the madhyama kala sahitya and the its influence on later ocmposers.

Siva Kumar.N Profile: Completed PG in Music from S V University, Tirupati. Presently working in a private school, near Krishnagiri. A vocalist and Nagasvaram player.

PG Student, Krishnagiri Select Tyagaraja compositions in which melody is appropriate for playing in instruments

Abstract: Among the South Indian music composers Trinity composers of Carnatic music were significant composers. The composing styles of compositions were unique and varied with different ragas and talas. Especially the musical composition Kriti composed by them are composed with notation and 50

ideal for vocal rendering. Though the compositions of trinity are meant for vocal music some of the kritis and its tunes of Trinity are very much suitable for instrumental music than vocal. Among the trinity Sri Tyagaraja composed many popular Kritis which are still practiced mainly by instrumentalists. Some of the following compositions are noteworthy.

1. Abeeshta varada- Hamsadwani – Adi 2. Manavyalakim- Nalinakanthi – Adi 3. Nadaloludai – Kalyanavasantham – Rupakam 4. Nannu kanna – Kannadagowla – Adi 5. Needayaradha- Vasanthabhairavi - Rupaka 6. Vara narada – Vijayasri – Adi 7. Shobillu Saptaswara- Jaganmohini – Rupaka 8. Ganamurthe – Ganamurthi – Adi 9. Sashivadana – Chandrajyoti – Adi 10. Pariyachakama- Vanaspati – Rupakam

This paper intended to highlight the musical aspects of the above kritis and the raga it is composed of Sri Tyagaraja which are feasible for instrumental music.

Sivaraman R, Dr. Profile: Completed PG and Ph.D. in music from the Tamil University, Thanjavur. Has been conducting private music classes at Pondicherry and presently serving as an Assistant Professor (on Contract) at the Department of Music and Fine Arts, School of Performing Arts and Fine Arts, Central University of Tamil Nadu, Thiruvarur.

Assistant Professor (On contract) CUTN

“Swaminatha paripalayasumam” of Muttuswamy Dikshita – a study

Abstract: Sri Syama sastri, Sri Tyagaraja swamy and Sri Muthuswamy Dikshitha are called as Karnatic Music Trinity in the history of South Indian Classical Music. They have given a specific structure to the melodic forms, the raga-s and the musical forms like Krti, Ragamalika and Svarajati. Sri Muthuswamy Dikshithar, along with the melody nd tala, had utilized the greatness of Sanksrit language in presenting his compositions. Further he has also intelligently introduced the vedic, philosophical ideas of Indian culture and Mythology in his compositions. This paper would present a brief note on the krti in Naata Raga and set to Aditala, which starts with "Swaminātha paripālayāsumām". 51

Sriranjitha C Profile: A research scholar from Bangalore University, Performing Arts Department. Doing research in dance under the guidance of Dr.S.N.Susheela.

Research Scholar, Bangalore University, Bengaluru

Depiction of nayika bhava in Sri Thyagaraja's opera Naukacharitham Abstract: Fine arts such as dance, music etc showcases our rich cultural heritage. According to Bharata, Natya is composed of music, dance and drama. Each form was interrelated. Gradually, dance, music and drama grew in a separate tangent with each discipline undergoing transformative changes. The field of Carnatic music too witnessed such radical changes.

During the Eighteenth century, a revolution of sorts was brought about by three of the greatest composer- musicians famously known as the Trinity of Carnatic music, Tyagaraja, Shyama Shastri and Muttuswamy Dikshitar. They were composer-musicians par excellence known for their distinct style and unique approach. The trio is credited with innumerable compositions. A multitude of these have been adapted into nritya bandhas. Bhakthi is the predominant rasa in these compositions. However, there are elements of shringara too. Saint Tyagaraja‟s musical play, Nauka Charitram, an exceptional work depicting the boat ride on the Yamuna by Gopis along with Krishna is frequently adapted into Bharatanatyam. It has twenty Kruthis detailing various aspects of shrungara. According to Natyashastra, Shringara arises out of pure, unadulterated love. Dressing up with ornaments and garlands for the beloved, reveling in the beauty of nature, enjoying music also constitute shringara. Through this article, we intend to explore the elements of Shringara as envisaged by the Saint composer.

Srilatha. K Profile: Has completed her M.A. in Music from Sri Padmavati Mahila Visvavidyalayam, Tirupati. A student of Dr R K Srikanthan, Vidwan A Sadasivam, Bengaluru. A Musician, Teacher and a freelance writer

Musician, Bengaluru

Yadukula Kambhoji - Insights from the Trinity Abstract: Yadukula Kambhoji is a raga with ancient origins, traced to Sevvazhi paNN. Subbarama Dikshita points out that it is also called Yerukala Kambhoji - a reference to its folk origins from the Yerukala tribe. Pada-s from the pre-Trinity era and compositions of the Trinity in the svarajati, kRti and kIrtana formats are all available in this raga. The Carnatic Trinity are credited with having played a key role in fleshing out the lakSya pradhAna raga that is Yadukula Kambhoji.

The aim of the paper is to understand the direction provided by the Trinity for this raga. It does this by studying some of their compositions and comparing them with significant pre-Trinity and post-Trinity compositions in Yadukula Kambhoji. Aspects of laya, tALa, sancAra-s, gamaka-s and range are highlighted with the help of vocal presentation, recordings.

The study finds that despite the clear direction provided by the Trinity and many later composers and grammarians, certain non-conforming/archaic phrases are surviving in practice. A bigger picture that this case study of Yadukula Kambhoji tries to outline is that of a) the co-existence of different versions of the same raga and b) the limitations of studying a raga exclusively through either lakshya or lakshana.

Shubhamangala.G.K Profile: Currently perusing Research at the Department of Performing Arts in Bangalore University. Gold medallist in M.A. Music and B.A.Music. B-high grade artiste in Karnatic Music Vocal and Devaranama, All India Radio. Bangalore.

Researcher, Bangalore University, Bengaluru 53

A Study on Neelothpalaamba Navaavarana Krithis of Muthu Swamy Deekshithar Abstract: Sri Muthuswamy Deekshithar an outstanding composer of 18th Century has immensely contributed to the world of Carnatic Classical Music. His compositions are rich in Grammar, Aesthetics, Astrology and Divinity. One of such compositional set is the “Neelothpalaamba Navaavarana Krithis”. The word Neelothpala means blue lotus which blooms during night. Neela also means blue which highlights one of the trigunas of Devi i.e. Thamasika Guna. Neelothpalaamba is one of the wives of Lord Thyagaraja Swamy, Thiruvaarur. Deekshithar calls Kamalaamba as Yogashakthi and Neelothpalaamba as Bhogashakthi. The terms “Nithyashudha, Mulakutatraya Kalebara, Satchidaananda Rupini” etc. of Lalitha Sahasranaamam are noticed. The krithis are composed in all 7 Vibhakathi‟s and Sambhodana Prathama Vibhakathi which covers the grammatical aspect.

Inspired by Sri Shankaracharya‟s Soundaryalahari, Deekshithar has composed these krithis on Nine Aavaranaas of Srichakara and we can notice the specific chakra mentioned in that particular krithi for example: Trilokya Mohana Chakra in “Neelothpalaambike Nithya” in Chaayagowla Raaga, Rogahara Chakra in “Neelothpalaamba Jayathi” in Narayanagowla Raaga etc. Deekshithar has used Gowla series of Raaga-s which is originated from Gowdadesham now called Bengal in which Devi is worshiped mainly, which is an interesting fact.

Subrahmanyam K Profile: Completed PG in Music and a certificate course in Temple Culture from Rashtriya Sanskrit Vidyapeet, Tirupati. Composed music for 4 albums - Tholidaivam, Ayyappa Gana Sudha, Bhaktitarangalu, Muktimandaralu, Sivoham (Telefilm). Script writer for Annammayya Kshetradarshini, Pallegovindam - serials telecast in SVBC and also about 70 single episodes like Sankranti Shobha, Maavoori Sankranti, Vinayakachaviti, Alayadarshini telecast in SVBC. Working as an Empanelled Vocal Artist , in Annamacharya Project, T.T.D, Tirupati. Teaching Music (Online). Vocal artist, TTD, Working as a Reporter (Cultural) in Andhrajyoti National Telugu Daily in Tirupati Tirupati Edition.

Sri Thyagaraja - The Unique Composer Abstract: One among the Trinity, Sri Thyagaraja is considered as a unique composer. In his compositions the three aspects namely sangita, sahitya and bhakthi are blend together like a Triveni Sangama. His compositions are very simple and are compared to draksha-rasa. He has given the refined structure to the musical form called kriti and has designed the melody for melakarta ragas like Harikambhoji, 54

Kharaharapriya, Denuka and rare ragas like Chenchu-kambhoji, Jingla, Subhoshini and Manoranjani. He has composed not only kritis but also divyanaama kirtanas, utsava sampradhaya kirtanas, kshetra kirtanas and geya natakas. His compositions carry philosophical ideas with high values. He seems to have imbibed from the legends like Vyasa, Valmiki, Prahlada, Potana, Purandaradasa, Bhadrachala Ramdasa and so on. In this paper I wish to deal with the greatness of Sri Thyagaraja.

Sudheer. C.V Profile: Has completed PG and M.Phil from the University of Madras. Pursuing Research at Vellore Institute of Technology, Vellore. Also has a Diploma in Sound Engineering. Has produced albums with Sankar Mahadevan, K J Yesudass, Hariharan, K S Chitra and others. Currently serving as Asst Professor at VIT, Vellore

Assistant Professor, VIT, Vellore

Compositions of Trinity: Style difference s in the compositions of different schools Abstract: The most popular Krithis in Carnatic Music are composed by the Trinity. This paper is an attempt to analyze the changes that have happened or are happening to the compositions when it is handled in line with different schools and different exponents. In Eastern music, written compositions have their own limitations even if it is with notation. There are no audio records of these compositions; the only available sources are the old notations and the popular Baani–s we follow. For eg. Walajapet Venkataramana Bhagavathar‟s lineage follows one style and same compositions are sung in different styles by artists following some other schools. Because we don‟t have the original composition from the composer‟s mouth, we cannot say which version of these compositions is original. Most of the compositions would have come across an evolutionary process and what we listen today must be a product of this evolution. Lack of proper recording facility in that age is the reason for the lack of clarity on this. The method of recording was either Staff notation or the Swara notations. Both have their own limitations when it comes to Eastern music.

Most of the western music pieces are notated in staff notation and are well preserved because the compositions were created as staff notation first and then rendered/played. All the compositions are scale oriented, so preserving it by notation would not have been a big challenge. But in eastern music, the music is more dynamic and the gamaka prayoga-s are not easy to convert into a written pattern. After the period of trinities, their direct disciples would have popularized the compositions with what all they got from their gurus and they would have taught it to their Sishyas. Transferring a piece by word of mouth provides much scope for alterations/improvisations than a scripted one. After few 55

generations people would have started doubting the authenticity of some compositions and would have tried to get the scripts from manuscripts libraries and would have tried to make small alterations and tried to sing it with the help of the notations and establish that to be the original version of the krithi-s.

We can understand the evolution of a composition happening in a short span of time of around 40 to 50 years. Like how people are singing different sangathis for the same compositions.

Original compositions are the personal asset of the composer. Others have no right to change it as per their convenience and talent. In our music, we have enough areas to show case their talent. But rendering the composition in its original way is a responsibility of the performer and by doing that he or she is respecting the composer.

The main purpose of this paper is to think and preserve at least the oldest available audio recordings of trinity‟s compositions and preserve it for the future generations for reference.

Syam Kumar.R Profile: Has completed PG in Music and currently pursuing Ph.D on the “Relation between Melody, Text and Tala in select compositions of Syama Sastri”, at S V University, Tirupati. Graded artist of the Annamacharya Project of the Tirumala Tirupati Devasthanams, Tirupati.

Research Scholar, S V University, Tirupati

A study of “Ninnu vina gamari” of Syama Sastri Abstract: Syamasastri, Thyagaraja and Muttuswamy Dikshita are together known as the Trinity of Karnataka Music. The contribution of trinity to music is immense. Among them, Syama Sastri appears to have composed lesser number of compositions. But his compositions are very tough to learn and perform. His kritis and Swarajatis are very popular in the music world. In his compositions the aspect of tala (rhythm) gets more significance. He has handled different kinds of tala-s like, Adi tala (1 kalai & 2 kalai), rupaka tala, Chapu tala and some of the 35 tala-s. Chapu tala-s are said to be eminently handled in his compositions. He has composed many compositions in this tala. He has also introduced viloma chapu tala in his compositions, in which the structure is reversed. This paper is to high light the rhythm and musical aspects of the kriti “Ninnu Vinagamari”, in Purvi Kalyani raga set to viloma chaputalam.

Udhaya Bhaskar.J Profile Has completed PG in Music and currently pursuing Ph.D on the topic, Music as a catalyst to enrich the lives of select group of People, at S V University, Tirupati. Graded artist of the Annamacharya Project of the Tirumala Tirupati Devasthanams, Tirupati.

Research Scholar, S V University, Tirupati

Raga Ranjaka phrases in the compositions of Muttuswamy Dikshita in Bhairavi raga Abtract: Muttuswami Dikshitar is the youngest of the music Trinity and was Born in the Year 1776 in Thiruvarur. He has Composed Krtis, Ragamalikas etc. His Krtis are mostly set in Vilambakala. They are filled with dense melodic Content. In the present an attempt is made to identify the different raga ranjaka phrases that are found in the following Krtis set in Bhairavi Raga, composed by Mutthuswamy Dikshita. 1. Cintayama kandamula 2. Balagopala palayasumam 3. Sri kamalambayah 4. Aryan Abhayambam

Uma Kumar Profile: Graded artist of All India Radio (Vocal) has been under the tutelage of Prof.Mysore Nagamani Srinath for the past 17 years. She is a post graduate in Carnatic Music from Bangalore University and currently persuing Phd under Prof. Dr. S N Susheela, Bangalore University. She has passed Vidwat exam in Carnatic music conducted by the Karnataka Secondary Board in distinction. She has received scholar ship from

Karnataka Sangeetha Nrithya Academy for a period of 3 years for Light Researcher, Bangalore Classical music and Central scholarship from Ministry of Culture, New University, Bengaluru Delhi for a period of 2 years. She is also qualified the Sangeetha Koustubha exam conducted by Subbaramaiah Fine Arts, Bangalore. Currently as a part of research studies, she is undergoing training in Western Classical Music from Bangalore School Of Music. She has performed in esteemed sabhas and during the year 2016, she toured the United States of America and performed in various prestigious platforms. 57

Influence of Western Music on Tyagaraja and Muttuswamy Dikshita Abstract: During the later part of 18th century, the impact of Western music on the south Indian music became prominently visible in the course of its evolution. The main reason being Europe‟s expansion, the age of colonization and of course the Imperialism. According to the studies undertaken by Bruno Nettl, an ethnomusicologist from Czechoslavakia, the role of catalyst in introducing Western Music to all the Non western countries was played by Christian missionaries, soldiers, chaplains and diplomats.

Tyagaraja and Muthuswami Dikshitar, who were contemporaries, were exposed to western music in their own way. While Dikshitar had the opportunity to visit the British headquarters office and listen to the Western Band music as a result of which he composed Notuswaras, Tyagaraja heard the western music band group of Tulajaji II, ruler of tanjore and his entourage who spent their summer months in Tiruvayyaru. With this background, three of his compositions in Raga Shankarabharana (C major) are on the lines of Dikshitar‟s Notuswaras. All these compositions have flat notes, with less graces (gamakas) which resembles the orchestral Western Music.

Many of Tyagaraja‟s and Dikshitar‟s disciples had undergone training on western intruments mainly the Violin. Most of the compositions of Tyagaraja and Dikshitar became experimental pieces for the budding violin artists like Walajapet Krishna Bhagavatar, Vadivelu and Balu Swami Dikshitar (brother of Muthuswami dikshitar), Valadi Radha Krishna Iyer, A M Chinna swami Mudaliar. In turn, Tyagaraja and Dikshitar had an opportunity to hear many of the celtic tunes learnt by these disciples. These experiments became the stepping stone towards the present western instrumental orchestration and also influence of western music on South Indian music.

Varanasi Jyothsna Profile: Lakshmi She holds an MBA in Finance and a Doctorate in Music. Has been performing widely across the country and teaching music to students globally. Has been accredited with many awards and titles from various Sabhas. Also serving as Judge and Examiner for music examinations in Andhra Pradesh

Researcher, Hyderabad

Saint Tyagaraja and Hari kambhoji Abstract: One among the Trinity, master of krithi structure, versatility in his compositions Saint Tyagaraja is pioneer as a composer. His bhakti driven and raga enriched krithis makes learner and scholar to enjoy and enhance their musical experience according to the requirement of the end user (both from listeners perspective and for musical appreciation and knowledge).

Tyagaraja has composed good number of krithis in raga Harikambhoji. To name a few Avataaram enduku aayasam, Chani thodi tevey, Dinamani vamsa, Enduku nirdaya, Entha raani tanakentha poni, laali laali ani, Oka maata oka baanamu, vinatha sutha vahana..... The presentation actually deals with technical analysis of some of the krithis.

Veena K Murthy Profile: Pursuing her PhD in Carnatic Classical Music under Dr. B. M. Jayashree, Veena is a vocalist under the tutelage of Ganakalabhushana R. K. Padmanabha. She has performed at numerous Sabhas in India. Veena demonstrated the Simhanandana Tala at the Ganakala Parishat 2017 conference. She is an AIR Bangalore graded artist.

Researcher, Bangalore University, Bengaluru

Portrayal of ragas by Saint Tyagaraja and Sri Muthuswāmi Dikshitar Abstract: The 18th century is the „Golden Age‟ of Karnatak Classical Music; when the musical Trinity namely Saint Tyagaraja, Sri Muthuswāmi Dikshitar & Sri Syama Shastri flourished and enriched Karnatak Classical Music by their prolific compositions. Their Kritis of sublime devotional and spiritual music lyrics replete of rāga bhava and tāla intricacies are a reflection of their innovative genius.

A very interesting point to be observed about portrayal of raga in a composition is the difference in approach adopted by the great saint Tyagaraja and his contemporary Sri Dikshitar. While saint Tyagaraja adopted the 72 melakarta raga approach, Sri Dikshitar strictly adhered to the raganga raga scheme .On delving into the depths of the compositions of these composers, we observe a distinctly different style in the portrayal of any raga. For example, Shankarabharana manifests different colors in the hands of these two composers. Another outstanding concept that emerges with respect to the divergence of raga delineation is that a same raga (e.g. Abheri) has been handled with totally different scale structures altogether.

Hence a detailed investigation of the compositions of Saint Tyagaraja and Sri Muthuswāmi Dikshitar would unravel the varied portrayal of raga forms in all its richness and colors.

Vijayalakshmi.V Profile: Has obtained M.A. and M.Phil degrees in Music and pursuing part time research at Madurai Kamaraj University. Presently working as a visiting faculty for Music (Vocal) at the Department of Music and Fine Arts, CUTN. Also working as a part time teacher in Government High School, near Tiruvarur and handling home tuitions.

Visiting Faculty, CUTN

Muttuswamy Dikshita’s compositions on Lord Tyagaraja of Tiruvarur Abstract: Tiruvarur is a holy land where the three great personalities of Karnataka Music – the Trinity, Sri Tyagaraja, Sri Syama Sastri and Sri Muttuswamy DIkshita were born. The trinity has composed many songs in praise of Lord bringing out the technicalities of music. In this regard, Muttuswamy Dikshita has composed many kshetra krtis, of which the one on Lord Tyagaraja of Tiruvarur is noteworthy. There are 11 compositions of which eight are in accordance to the eight vibhakti-s. The present paper would deal with the melodic and technical aspects of the krti-s of Dikshita sung in praise of Lord Tyagaraja of Tiruvarur.

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