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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 2 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] 4 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. 5 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) 6 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.
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    SACHI, Society for Art & Cultural Heritage of India in collaboration with The Department of Religious Studies and Center for South Asia at Stanford University Invites You to Join an Illustrated Talk cum Dance on Thyagaraja Ramayanam presented by Ananda Shankar Jayant India's eminent Bharatanatyam dance artist and leading choreographer Thursday, Nov. 13, 2014, 7 p.m. Cummings Art Bldg., Classroom ART 2 435 Lausen Mall, Stanford University (corner of History Bldg., and Lausen Mall) Free Admission and Open to the Public; Recommended parking, around the Oval ‘As long as the mountains stand and rivers flow on earth, so long shall remain the legend of Ramayana.’ Sri Rama and the Ramayana have inspired seers and scholars across eons and centuries. It is a story that transcends space and time - a tale of love, devotion, and sacrifice. Rama's story has been written, interpreted and commented upon by mystic sages, poets and musicians, and by the Bhakta (devotee) with utmost reverence and ecstatic devotion. Telling and re-telling the Ramayana has not tired the storyteller, the listener or the viewer! While the essential story of the Ramayana remains the same, its various interpretations through the ages, represent a great diversity in the way the story and its characters are presented. In 1986 the artist Ananda Shankar choreographed and performed the Thyagaraja Ramayanam which explored the character of Rama through the vision of the poet saint Thyagaraja In an all time favorite work for the artist, Ananda will introduce and discuss select episodes/songs from the Ramayana as visualized by Thyagaraja and portray some in visual dance format set to Thyagaraja's music with select Valmiki Ramayana shlokas in enacting roles from the epic story.