SRUTI The India Music & Dance Society A Publication of SRUTI Volume 1, Issue 3 Summer 1998

Board of Directors From the President’s Desk President Sudhakar Rao Dear Sruti Supporter, 610-277-1607 As we take a break from our concert series, I would like to take this opportunity to reflect on the Vice President just concluded concert season. We had a very successful Spring season with two excellent instru- Prabhakar Chitrapu mental concerts by Dr. Ramani on flute and G.J.R Krishnan on and equally exciting vocal 215-616-0486 concerts by Sanjay Subramaniam and T.M.Krishna. I hope those of you who attended the concerts enjoyed them and would continue to support us with your presence at future concerts. Recording Secretary Poornima Narayan We have an impressive line up for the Fall season which includes a Bharatanatyam performance 215-493-9091 by Shoba Sharma, a vocal concert by Sudha Raghunathan and an instrumental concert by Chitravina Corresponding Secretary Ravikiran. The dates for these concerts are published in this newsletter. I hope you will mark the A. Srinivasa Reddy program dates on your calendar and attend these concerts with your friends. 215-576-1392 On another programming note, we had mentioned in our earlier newsletter about the possibility of Treasurer conducting a workshop on ‘ Appreciation’ with Chitravina Ravikiran. Due to time Usha Balasubramanian constraints we are unable to have the workshop this summer. We have rescheduled it for the early 215-699-2827 part of next year. The details of the workshop will be sent to you as soon as they are finalized.

Members at Large Santi Kanumalla I am extremely pleased to report that Sruti has recently been the recipient of a number of grants 610-277-8955 from Philadelphia based organizations to support our programs. On behalf of the Board of Directors N.V. Raman and members of Sruti, I would like to express my deepest appreciation to CoreStates Bank, the 302-421-9392 Philadelphia Music Project, Stockton-Rush-Bartol Foundation and Lockheed Martin Corporation for their generous contributions to Sruti. The continued support from these organizations will go a long Resource Committee way in establishing Sruti as the premier organization for presenting and dance Ramana Kanumalla programs in this area. I would also like to thank the Resources Committee of Sruti for an (Chairperson) excellent effort in helping us secure these grants. 610-277-8955 Dinakar Subramanian Vasanthi Raghavan, our recording secretary, has resigned from the Board of Directors as she has 610-962-0526 P. Swaminathan relocated to the west coast with her family. I would like to thank her for serving Sruti and wish the 215-643-2145 Raghavan family success. The BOD has nominated Poornima Narayan to take over as the recording secretary for the remainder of the term of this Board. Library Committee UPCOMING SRUTI EVENTS Uma Prabhakar (Chairperson) I wish you all a great summer and hope to see you at our next program. 215-616-0486 Dance Performance By Shobha Sharma - September 19, 1998 Rama Gundurao SudhaVkaor Rcaol Recital By Sudha Raghunathan - October 11, 1998 610-292-8120 For Board of Directors. M.M. Subramaniam Chitravina Concert By Ravi Kiran - November 7, 1998 610-275-5627 Viji Swaminathan 215-643-2145 CONTENTS ♦ From the President’s Desk ♦ Guru Brahma, Guru Vishnu. Article By Santosh ♦ From the Editors Adipudi E- mail ♦ Upcoming SRUTI events ♦ Some facts about Chitravina ♦ [email protected] ♦ Resource Committee Report Upcoming Events ♦ ♦ Please visit our Web Site SRUTI Concert Reviews Community News ♦ [email protected]/~srutipa ∗ GJR Krishnan (Violin) ...... R. Jayaraman Quiz ♦ SRUTI Concert Tapes ∗ Sanjay Subramanian (Vocal).....Praba Subramaniam ♦ SRUTI Discussion Forum 1 From the Editors

Dear Sruti Friends, UPCOMING SRUTI EVENTS FOR FALL’98 Thanks to the unreserved cooperation from several of you, the Library Dance Performance By Shoba Sharma Committee has been successful in (September 19, 1998) bringing out three fairly well stacked Vocal Recital By Sudha Raghunathan issues of Sruti Notes, including the (October 11, 1998) present one. The informal feedback we Chitravina Concert By Ravi Kiran received so far has been very encouraging too. Actually, a letter to the (November 7, 1998) Editors would be ideal! If you so wish, Please mark your calenders for these events. Details to follow. we can withhold your name at your request, but no anonymous letters please! The LC has adopted a guideline Resource Committee Report to disregard any such submissions in the future. The resource committee had a busy spring season preparing and submitting five

grant proposals. The committee along with the Board of Directors met with Walter As usual, this issue of Sruti Notes Barry Associates, independent consultants. Their services to SRUTI are funded by a contains our regular features including grant from the Pennsylvania Council on the Arts. They are preparing a research re- Association News, Upcoming Events port on a marketing strategy to help SRUTI expand its membership. and Reviews of the last three SRUTI concerts. We also have an original The following grant awards were received this year: article by Santosh Adipudi.

Award Amount Purpose In addition, we are introducing two Lockheed Martin Corporation $500.00 Concerts in 1998-1999 new features in the present issue. One is CoreStates Bank $3,000.00 Concerts in 1998 a Quiz on Classical Music and Dance, Philadelphia Music Project $3300.00 Workshop on Carnatic Music which we hope will become a regular Appreciation feature. Although the LC has put this Philadelphia Foundation $3,500.00 Concerts in 1998 together for this time, we hope that the Stockton-Rush-Bartol Foundation $2000.00 Workshop on Carnatic Music future quizzes will be from you. The Total Received $12300.00 second is a SRUTI Discussion Forum, which is meant to be essentially a Lockheed Martin is a new corporate donor to SRUTI. Award from the CoreStates bulletin board for YOU and by YOU. Bank (now First Union) is a repeat award: SRUTI has received this award or the past You can submit your questions relating three years in a row. This year’s award from Philadelphia Music Project is 30% to Classical Music and Dance (all those higher in value than last year’s award. Philadelphia Foundation award is a result of a you always wanted to know but were grant proposal submitted by the previous RC during the Fall of 1997. afraid to ask!) to this section. Anyone knowledgeable enough to shed insight We expect continued growth in external funding. During the Fall’98 we plan to is welcome to respond. apply to more foundations and corporations. The growth and success of SRUTI’s

future rests directly on the efforts of all of us and the results presented here are quite We hope you will enjoy reading this encouraging. issue of Sruti Notes. Have a great summer! Ramana Kanumalla

For the Resource Committee Uma Prabhakar For the Library Committee

Oops! We inadvertently missed out the some names from the list of acknowledgements that appeared in the last issue of Sruti Notes. We thank Dr. Ponnal Nambi for her help with the food arrangements at the Thyagaraja Aradhana (March 1998) and Mr. Vinit Khanna from the Overseas Keyboarding Services for his generous do- nation of the Coffee Maker to SRUTI through Mr. Ramana Kanumalla.

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SRUTI CONCERT REVIEWS

GJR Krishnan’s Violin Nanubrovu Ramaneeya nama” was also considerably. Concert rendered in and Saranga and other ragas. The keerthanam “ His Todi, in which he rendered R Jayaraman Srinivasa Thiruvengadamudyan”, com- Thagaraja’s well known Kaddanu posed by Papanasam Sivam, brought the variki, was embellished with some The violin concert of GJR Krishnan on audience to a sublime mood. It was fol- beautiful panchama varga prayogas. May 16, 1998 began with a in lowed by popular Keerthanam He delivered an elaborate neraval for Bauli composed by Lalgudi Jayara- Venkatachala Nilayam. Then a Bhajan in Niddura Nirakarinchi and included man. It is one among the ragas tradition- Misramandu was rendered. The song Chi- the kuraippu in the kalpana ally rendered in the early morning . The nam chiru kiliye was appreciated by the swarams. Earlier, during a well- listeners were put in proper mood to fol- audience with a continued applause. We rendered alapana in Shankarabha- low the concert. The next was had Thirupugaz in raga Amirkalyani fol- ranam, he impressed me by singing a Rama Bakthi Samrajya in Raga lowed by Thillana in Raga Goula. The seldom heard kriti Bagumeera of Suddhabangala. The Bhakti element concert concluded with another Thillana in Vennai Kuppu Iyer. The neraval moved the rasikas. The Kalpana Swaram Mohana . The Thillanas were swift, and kalpana swarams for Nilavan- was crisp and elaborate reminding one of brilliant and sparkling. yamu were noteworthy. the Great Madurai Mani Iyer. Vellore Ramabhadran accompanied Sanjay began with the famous Then Sri GJR Krishnan played Krishnan with his effortless mastery. The Ata tala varanam ‘Viriboni’ “Ananda nadamadu var Thalli” a Tamil was so pleasing, one was re- of Pachimiriam Adiyappayya. This song composed by Neelakanda Sivam in minded of Thyagaraja Krithi “ Sogasuga piece set the mood for the next 31/4 the raga Poorvikalyani. The neraval in Mridanga Talamu”. Sri Nagarajan playing hours. He then offered a crisp Sam- “Kallalum Villalum” indicated the mas- ably supported the artist. hashti kriti Vallabha tery of the instrument. The next piece in nayaksya of Dikshitar in Begada Kambhodi is one among the Lalgudi Sri R. Jayaraman is a lawyer in Tanjore, ragam, followed by a brief alapana Pancha Ratnams of Thyagaraja. Even by Tamil Nadu, India, who was visiting his in ragam and the the first stroke of the bow, the artist fully daughter Mrs. Usha Balasubramanium rather rare kriti of Thyagaraja Neeke delineated the majesty of the raga Kamb- (the current treasurer of SRUTI). He has teliyaka. I say rare because Thyaga- hodi. The alapana was pleasing and all keen interest in Carnatic music as well as raja has not composed many in details were efficiently rendered. The in its history. this raga. He followed this kriti with next song was a Purandara dasa Kriti in Papanasam Sivam’s short piece Raga Kalyana Vasantham. The esoteric Chittam Irangadadenaiya in the raga significance of this raga brought im- Sahana. mense pleasure to the rasikas. The choice of the raga and the kri- In the next piece, “Enthumadho Entha- An Evening of Mesmerizing Mu- sic By Sanjay Subramanian tis showed that Sanjay is very much sogaso” by Thyagaraja in raga Binduma- molded in the classical mode. This lini, the violinist exposed subtle nuances spirit was evidenced throughout the in kalpana swara. This was followed by Praba Subramaniam concert. Putnam Subramanya Iyer’s composition in Hamsadhwani. It was a fast and in- In the more than 11 years of SRUTI’s All the ragas so far were in suddha vigorating rendering. The alapana in existence, I have never reviewed a concert. madhyama, so I was rather expecting Todi was rendered strictly according to But when Uma Prabhakar requested that I a prati madhyama raga for RTP. sampradaya. The Kirtanam Krishnam review Sanjay Subramaian’s concert, I However, he surprised me by taking Bhaja Manasa by Sri Muthuswamy Dik- jumped at the opportunity without hesita- raga Mohana for RTP (a madhyama shithar was the crowning jewel of the tion. Sanjay is one of my favorites among varja raga). It was undeniably beau- concert. He also rendered a composition the up and coming artists. Those who at- tiful with all the difficult brigas and of Thyagaraja in raga Manoranjani. tended his performance for SRUTI in 1995 gamakas, and of course along with surely remember the beautiful Mayamalava that came all of his Anga Seshtai The Ragam Thanam was in Gowla of that day. And if you heard his 30 (body gestures)! Only natural, I sup- Raga . The Thanam was swift and May 1998 for SRUTI, I am sure you will pose, when someone has to bring out poignant. The Pallavi “Ramabhirama agree with me that he has since improved all those difficult prayogas! He sang

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a crisp Pallavi in Kanda jathi ata talam in artists before, although I had gathered ited impressive control over the kaala- Tisra Gathis, rendering it in three kalams pretty good reviews on them on the net pramaana. (speeds), followed by ragamalika as well as from other artists. swarams in , Saranga (this was Krishna then presented a Pallavi in Tis- the first pratimadhyama ragam, the sec- He started the concert with a varnam rajathi Triputa talam in various kaalams, ond being Hamirkalyani in the sloka ren- in Raga . His remarkable control which I think is quite a challenge! I was dition). Natakurunji and Behag. over laya was quite evident right from impressed by their strict adherence to the the beginning. His rendering in Raga traditional classical style with no unneces- Even the so-called Tukkadas he ren- Ravichandrika was good but the pace sary ‘crowd pleasing’ tactics. The swara dered afetr the pallavi were very classi- was quite high. I guess he was not yet kalpana that followed was up to the same cal and heavy: javal Nirupamana in Be- done with his ‘warm-up’ or wanted his standards and Arun Prakash following on hag, slokam Shantakaram in Yadukula laya control to settle in. His true colors he mridangam during the Pallavi was par- , Hamir Kalyani Surati and of being gifted with the knowledge of ticularly noteworthy. Sama, followed by Sivan’s Narayana in laya and melody came out with his ren- Sama raga. He concluded the concert dering of the raga Panthuvarali. His The RTP was followed by a mellow with Paras . style reminded me of KVN, especially rendering in raga Behag. The ragamalika his propensity to break into a swara kal- slokam was very well executed. The next Palghat Raghu’s Tani after the Todi pana at the end of almost every kriti, piece was ‘Govardhana Giridhari’ in raga kriti was excellent. Of course he is a though it did get a little irritating at Durbari. I was pleasantly surprised by the giant in mridangam playing, and he times! ragamalika that followed (Ninyako), espe- proved it during that performance. An- cially since he had just presented the slo- antakrishnan gave good support on the The swarajathi in Bhairavi was quite kam as a ragamalika. Maamava Pattabhi- violin. impressive, though the rendering by rama in raga Manirangu was very soulful. Gayatri on the violin was just passable. The concert would have been better pro- This concert was an affirmation of the The next composition in raga Amritha portioned had there been a little less statement of Rasikan, who wrote in his Behag was what got me going. It was a swara kalpana and the addition of a til- Sruti Ranjani review of Sanjay’s 1995 very calculated piece and once again, lana. concert that the future of Carnatic music Krishna’s control over laya as well as is safe in the hands of artists like Sanjay. bhaava was in full bloom. The violinist, Bombay Gayatri, was ex- Sanjay Subramanian does not posses a cellent in her accompaniment. Arun Pra- great voice. Despite this deficiency, in One of the main ragas of the concert, kash has a very good ear for following the my opinion, he surpasses any of the , was expertly handled. main artiste knowing when to tread soft youngsters in today’s Carnatic Music Krishna brought out all the intricate as- and when not to. He exhibited very good World! pects of Madhyamavati quite well. His control over the mridangam. For both experiments with the sanchaaras of this Gayatri and Arun Prakash, a few more Praba Subramaniam is an avid music raga were resoundingly successful. Arun years in the concert circuit should put enthusiast. She has served in various Kumar’s tani aavartanam was good. He them in the top notch bracket. All in all capacities in previous SRUTI commit- is surely a Vellore Ramabhadran in the this concert was a true treat not to be tees and continues to be a strong sup- making. missed. porter of this organization.. Next followed a crisp presentation of Praveen Dala is a Ph.D student at Chalamelara in raga MargaHindolam. Drexel University in the Department of True to the style of the vidwans of yore, Electrical Engineering. He is very inter- TM Krishna’s Vocal Concert Krishna then took up the RTP in raga ested in Carnatic music and regularly Praveen Dala Saveri (the same raga as that of the var- assists SRUTI by managing the sound nam). His presentation of Saveri was system during concerts. Music en- thusiasts of the well rounded and emotionally charged. Greater Philadelphia area had a great The sanchaaras were very clean and musical treat in T.M.Krishna’s vocal crisp. Gayatri really showed that she concert on June 20. He was accompa- was headed right to the top with with her nied on the violin by Bombay Gayatri Saveri. The Taana that Krishna and and on the mridangam by K. Arun Pra- Gayatri’s presented was extremely de- kash. I had not heard any of the featured tailed and well structured. They exhib-

4 Letter to the Editors relationship between the Guru and days when the student-teacher relation- Sishya of times past. The reverence, ship was more than just a teacher writ- As “Vani” pointed out in her letter to worship, and adulation of those disci- ing information on a blackboard and the the recent SrutiNotes (Vol 1, No. 2), ples for their Guru was matched only by student copying it, the days when the Thyagaraja Aradhana was indeed enjoy- the equal love and affection showered Guru was no less than God personified, able and it was wonderful to see so by the Guru on his disciples. Such a we as a society must renew our commit- many children participate with great en- mutually beneficial relationship is lost ment to the teacher as a central figure in thusiasm. I heard from many that the in these times. Those were the times shaping the future of our children and children out-performed the gown-ups! that the Guru was the very personifica- in helping each student reach his/her Considering that it’s primarily an occa- tion of God. That is why in the scrip- potential; the hiring practices in our sion for anyone to pay their tribute to tures it is written: schools must reinforce this new think- Thyagaraja, and children deserve all the ing so as to create an environment con- encouragement in the world, I think we Guru Brahma, Guru Vishnu ducive to the development of this strong should not restrict children’s participa- Gurudevo Maheswara bond. If, and only if there is that com- tion in any way. If time is an issue we Guru Sakshath Para Brahma mitment from everyone involved should look into other solutions like im- Thasmi Sree Gurave Namaha (teachers, parents and students), can we posing strict time restrictions, encourag- truly make "Guru Brahma Guru Vishnu ing group participation, restricting eve- In those times students lived in the Guru Devo Maheswara" true once ryone to present only one item or even Gurukulam and literally mimicked the more. I hope that I can be a part of the limiting adult participation. Encourag- actions of their Guru. Every aspect, movement to restore that ancient phi- ing children to learn and perform Indian every facet of a student's character was losophy - Aaachaarya devobhava. music in this strange environment is cer- directly molded by his/her Guru. The tainly an important aspect of SRUTI, I teachings of the Guru far transcended Santosh Adipudi is well known to our believe. Do we really want to get car- Math, Science, Social Studies, and Lit- members. He is a frequent contributor ried away by “Sruti standards” and erature. The students learned tolerance, to SRUTI publications and has given make Aradhana more enjoyable at the discipline, perseverance, patience, re- vocal music performances at several cost of children? spect - morals and values that made SRUTI events. -Akasavani. each student a more complete human being. This is an aspect of our culture The Library committee welcomes feed- and heritage that has been allowed to back/comments from our readers. decay.

While it is somewhat utopian to ex- pect such perfect teaching and interac- Guru Brahma, Guru Vishnu tion in today's fast paced, technology driven schooling, the breadth of influ- Santosh Adipudi ence that a teacher has on a student Some Facts About Chitravina

these days is sorely disappointing. In The , more commonly "A Guru's job is a professional one, the name of specialization, students called the Chitravina these days, is a just like that of a doctor or a lawyer; but nowadays commonly have six to eight twenty-one stringed, long necked lute. the relationship of a teacher with his teachers per school day. Therefore, Unlike the traditional or the pupil is much more; it is a sacred and even if teachers were to have that moti- Saraswati , the chitravina is fret- special bond akin to that of a mother vation to go beyond what is required, less. The fretless nature of the instru- and her child. A teacher's job is not a they rarely have enough time. In many ment makes it the closest instrument to job - it is an expression of love and cases, even that motivation is absent, as vocal standards. Probably one of the care." -- Swami Dayananda Saraswati we seldom see teachers willing to lead oldest instruments in the world, the chi- their students by example. Even worse, travina is seldom performed today, and I think of the word 'Guru' and visions the teachers themselves are found often Sri Ravikiran remains not only its most of Ekalavya cutting off his thumb as to be lacking in morals - day after day significant proponent, but also its undis- Guru Dakshina for his guru Dronacha- we see yet another example of teachers puted master. Perhaps the fretless na- rya, Swami Vivekananda doing 'pranam' on the picket lines or under arrest. Is ture of this instrument has inspired the to Sri Ramakrishna Paramahamsa after this the type of learning environment Hawaiians to play the guitar with a being initiated as a disciple in the order, that fosters a strong teacher-student re- ‘slide’, which then influenced Blues and Sishyas of Sri Thyagaraja fervently lationship? singers in the Mississippi Delta. writing down on talapatras each and every composition of their Guru flash If we are to reverse this situation; if before me. One can but envy the sacred we are to bring back the days of old, the

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¡ ¢ £ ¤ ¥ ¦ § ¨ © £ ©  Upcoming Events dering of 'Evarura'in Mohana and 'Hecharikagarara' in Yadukula Kamb- hoji drew repeated applauses. Telugu Association of Greater The following recorded music tapes are available for distribution among Delaware Valley (TADGV) will be Anusha Bala was awarded first the patrons of SRUTI. To receive any presenting the annual Deepavali/Dussera place for her flute recital at the Tri of these tapes, please contact Viji program on October 10 at the County Junior Music Festival held in Swaminathan at (215)-643-2145. The PennBrook Middle School, North Delaware County on May 17 1998. year of the concert and the number of Wales. For more information, please Anusha is the daughter of Drs. E and cassettes (within parentheses) are call Janardhana Rao Allada at 610-362- M. Balasubramanian (Manju and given. Prices for Sruti members 9182. Bala), who are long time SRUTI pa- (unless noted otherwise) are: $10 for a trons. two-cassette set and $15 for a three- Triveni is arranging a vocal concert cassette set. Non-members should add by Mysore N. Srinath on August 22, $2 to the cost of each set. Please add 1998, at the Berlin Temple. For more ??? QUIZ ??? $2.00 per concert for shipping & han- information, please call Dr. Ram Murthy LC Staff dling. (215-295-1980) or Prasad Bhargava (609-751-8837) or Bharathi Sena (609- Please call, or send e-mail to any 1. Dr. M. Balamuralikrishna (Vocal) 778-0278). one of the Library Committee mem- 1989 (2) Purna Chandar (violin), B. Bala- bers with your answers to the follow- sai (flute), Dara Appala Srinivas Triveni is also organising the annual (mridangam). ing questions. Gowri-Ganesha pooja on September 12 2. Dr. M. Balamuralikrishna (Vocal) & 1998, at the Kresson Middle School, 1. Some musicians handle some ragas 1990 (3) Pandit Bhimsen Joshi (Vocal) Vorhees, NJ. with such special effect that the name Solo & of the raga becomes a moniker, e.g. CIO News: The festival of India at Todi Sitaramayya. The well known 3. Dr. M. Balamurali Krishna (vocal) Penn’s Landing is scheduled for Satur- composer Patnam Subramanya Iyer 1991 (3) Raghavendra Rao (violin) Solo day, August 22, 1998 from 12 noon to 8 was also a prominent musician in his & Jugalbandi, Dara Appala Srinivas times. Infact his handling of a well (Mridangam), Pandit Hariprasad Chaurasia pm. (flute), Anuradha Chaurasia (), known raga was so famous that the Madan Misra () name of the raga became a moniker for him. What was this raga? 4. Lalgudi G. Jayaraman (Violin), 1993 Community News (2) G.J.R. Krishnan & J. Vijaylakshmi 2. Why was the composer/musician Trichy Sankaran (Mridangam) inayakaram

Ramanathapuram Srinivasa Iyengar (), V. Nagarajan (Khanjira) Wedding Bells: Harish Ai- known as Poochi Srinivasa Iyengar? yar, son of Drs. Ponnal and 5. N. Ramani (Flute), 1989 (2) N. Muralidharan (Violin), S. Raja Rao Nambi Aiyar was married to 3. Who was the composer credited (Mridangam) Seetha, daughter of Mr. & Mrs. with “creating” the popular raga Ham- Shivashankar, in Cayoga Falls, Cleve- sadhwani? 6. N. Ramani (Flute), 1992 (2) land, on May 17, 1998. Ponnal and Kanyakumari (Violin), Guruvayor Dorai Nambi are supporters of Sruti. 4. Harikesanallur Muthiah Bhaga- (Mridangam) vathar has “created” a raga whose aro- New Arrival: Renuka and hana/avarohana does not take either 7. Dr. C. Chittibabu (Veena), 1994 (2) Ramesh Adiraju are the proud Madhyama or Panchama. Thus the N. Somayajulu (Mridangam), U.K. Naray- parents of a baby boy - voicing of these swaras does not re- anaswamy (Ghatam)

Suhaas was born on April 22, quire joining the lips. What is the 8. U. Srinivas (Mandolin), 1990 (2) 1998. Renuka served as Presi- name of this raga? Sikkil Bhaskaran (Violin), Palghat Raghu dent of SRUTI during 1994-1995. (Mridangam) 5. The great contemporary musician/ Pratima Adipudi gave a one hour composer Balamurali Krishna has 9. U. Srinivas, 1993 (2) P. S. Rama- vocal concert on 3/7/98, at the York- “created” a raga with only three murthy (Violin), K. V. Prasad town Thyagaraja Aradhana in York- swaras. What is the name of the raga (Mridangam) town, NY. She was accompanied by and what are the arohana/avarohana of this raga? 10. Sudha Raghunathan (Vocal), 1992 (3) Arun Ramamurthy on violin and Ganesh V. V. Ravi (Violin), T. Vaidyanathan Ramnarayanan on mridangam. Her ren- (Mridangam)

6 31. Sanjay Subramaniam (Vocal), 1995 (2) 11. Maharajapuram Santhanam & Srinivasan (Vocal),1989 (2) R.K. Sriramkumar (Violin), K. Arun Prakash (Mridangam) Nagai Muralidharan (Violin),Vellore Ramabadhran (Mridangam) 32. Vani Satish (Vocal), 1995 (2) 12. T.N.Seshagopalan (Vocal), 1992 (2) Satish (Violin), Mahesh Krishnamurthy (Mridangam) G. Chandramouli (Violin), Neyveli Narayanan (Mridangam) 33. Nithyasree (Vocal), 1996 (2) 13. Nedunuri Krishnamurthi, 1991 (2) (Violin), Siva Kumar (Mridangam) Thiruparkadal S. Veeraraghavan, Padmasri Umayalpuram K. Sivara- man 34. M.S. Sheela (Vocal), 1996 (3) Nalina Mohan (Violin), Anoor Ananthakrishna Sharma 14. Saroja & () (Vocal), 1989 (3) (Mridangam), Sukanya Ramgopal (Ghatam) M. Narasimhamurthi (Violin), T. Narendran (Mridangam), M. Govin- darajan (Ghatam) 35. Jayanthi & Padmavathi (Veena Duet), 1996 (2)

15. Ravi Kiran (Chitra Veena), 1994 (2) 36. Shashank (Flute), 1996 (2) P. Sunder Rajan (Violin), Vellore Ramabhadran (Mridangam) Gopinath (Violin), Satish Kumar (Mridangam), Tripunithira Radhak- rishnan (Ghatam) 16. K.V.Narayanaswamy (Vocal), 1993 (2) Nagai Muralidharan (Violin), Vellore Ramabhadran (Mridangam) 38. O.S. Thyagarajan (Vocal), 1997 (3) Srikanth Venkataraman (Violin), Srimushnam Raja Rao 17. (Saxaphone), 1987 (2) (Mridangam) T.S. Srinivasan (Violin), T.R. Ramakrishnan (Mridangam) 39. Balaji Shankar, 1997 (2) 18. T.V. Sankaranarayanan (Vocal), 1994 (2) Ganesh Prasad (Violin), Poongulam Subramaniam (Mridangam) T.K.V. Ramanujacharyulu (Violin), B. Harikumar (Mridangam) 40. T.N. Krishnan &Viji Krishnan Natarajan (Violin), 1997 (2) 19. Trichur V. Ramachandran (Vocal), 1992 (2) B. Harikumar (Mridangam), Vaikkom R. Gopalakrishnan (Ghatam) V. V. Ravi (Violin), S. V. Raja Rao (Mridangam) 41. Kadri Gopalanath (Saxophone), 1997 (2) 20. Lalgudi Srimathi Brahmanandam (Violin), 1990 (2) Kanyakumari (Violin), Guruvayur Durai (Mridangam) Prakash Rao (Mridangam) 42. N. Ramani (Flute)1998(2) Srikant Venkataraman (Violin) 21. Rudrapatnam Brothers (Vocal),1991 (2) Srimushnam Rajarao (Mridangam). R.N. Thyagarajan (Violin), R.N. Tharanathan (Mridangam) 43. Sanjay Subramanian (Vocal), 1998 (2) A. Anantha Krishnan - 22. T.K. Govinda Rao (Vocal), 1990 (2) Violin, Padmasri Palghat R. Raghu- Mridangam. N. Shashidhar (Violin), Satish Pathakota (Mridangam)

23. T. R. Subramanyam (Vocal), 1988 (3) Kannan (Violin), Trichur Mohan (Mridangam)

24. T. N. Bala (Vocal), 1994 (2) SRUTI DISCUSSION FORUM Sashidhar (Violin), Balachander & Murali (Mridangam) For sometime now, I have been trying to understand what mu- 25. S.P. Ramh (Vocal), 1994 (2) sical characteristics make up a raga. While the arohana and Shashidhar (Violin), Satish Pathakota (Mridangam) avarohana as well as the constituent notes are definitive of any raga, it is apparently true that there is more that distinuishes 26. Vijay Siva (Vocal), 1993 (2) one raga from another. Can someone tell me what precisely Shriram Kumar (Violin), J. Vaidhyanathan (mridangam) these other attributes may be.

-Question sent by Prabhakar Chitrapu. 27. Smt. Sheela Ramaswamy (Vocal), 1987 (2) K.S. Mani (Violin), M.S. Venkatesh (Mridangam)

28. Charumathi Ramachandran (Vocal), 1994 (2) M.S. Anantharaman (Violin), Skandaprasad (Mridangam)

29. (Vocal), 1995 (2) Please send your feedback/contributions to Uma Prabhakar, Vittal Ramamurthy (Violin), Palani Chakravarthy (Mridangam) at 135 Brochant Drive, BlueBell, PA 19422 or e-mail to

30. Sowmya (Vocal), 1995 (2) [email protected]. Narmada (Violin), Balaji (Mridangam)

7

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