The Journal of the Music Academy Madras Devoted to the Advancement of the Science and Art of Music

Home , Kotilingam, Rudrapatnam Brothers, Sangita

The Journal of Music Academy Madras ISSN. 0970-3101

Publication by THE MUSIC ACADEMY MADRAS

Sangita Sampradaya Pradarsini of Subbarama Dikshitar (Tamil) Part I, II & III each 150.00 Part – IV 50.00 Part – V 180.00 The Journal Sangita Sampradaya Pradarsini of Subbarama Dikshitar of (English) Volume – I 750.00

Volume – II 900.00 The Music Academy Madras Volume – III 900.00 Devoted to the Advancement of the Science and Art of Music Volume – IV 650.00 Volume – V 750.00 Vol. 88 2017 Appendix (A & B)

Veena Seshannavin Uruppadigal (in Tamil) 250.00 ŸÊ„¢U fl‚ÊÁ◊ flÒ∑È§á∆U Ÿ ÿÊÁªNÔUŒÿ ⁄UflÊÒ– Ragas of Sangita Saramrta – T.V. Subba Rao & ◊jQÊ— ÿòÊ ªÊÿÁãÃ ÃòÊ ÁÃDÊÁ◊ ŸÊ⁄UŒH Dr. S.R. Janakiraman (in English) 50.00 “I dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun; Lakshana Gitas – Dr. S.R. Janakiraman 50.00 (but) where my Bhaktas sing, there be I, Narada !” Narada Bhakti Sutra The Chaturdandi Prakasika of Venkatamakhin 50.00 (Sanskrit Text with supplement)

E Krishna Iyer Centenary Issue 25.00

Professor Sambamoorthy, the Visionary Musicologist 150.00 By Brahma EDITOR V. Sriram Raga Lakshanangal – Dr. S.R. Janakiraman (in Tamil) Volume – I, II & III each 150.00 VOL. 88 – 2017 COMPUPRINT • 2811 6768

Published by N. Murali on behalf The Music Academy Madras at New No. 168, TTK Road, Royapettah, Chennai 600 014 and Printed by N. Subramanian at Sudarsan Graphics Offset Press, 14, Neelakanta Metha Street, T. Nagar, Chennai 600 014. Editor : V. Sriram. THE MUSIC ACADEMY MADRAS ISSN. 0970-3101 The Journal of The Music Academy Madras Devoted to the Advancement of the Science and Art of Music

Vol. 88 2017

“I dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun; (but) where my Bhaktas sing, there be I, Narada !”

Narada Bhakti Sutra

EDITOR V. Sriram

THE MUSIC ACADEMY MADRAS New No. 168 (Old No. 306), T.T.K. Road, Chennai 600 014. Email : [email protected] Website : www.musicacademymadras.in

All Correspondence relating to the journal should be addressed and all books, etc., intended for it should be sent in duplicate to the Editor, The Journal of the Music Academy Madras, New 168, T.T.K. Road, Chennai 600 014.

Articles on music and dance are accepted for publication on the recommendation of the Editor. The Editor reserves the right to accept or reject any articles without assigning reasons.

Manuscripts / soft copies should be sent to the editor either by courier or by email to [email protected]

The Editor of the Journal is not responsible for the views expressed by contributors in their articles.

Price : ` 150/- US $ 15

Published by N. Murali on behalf The Music Academy Madras at New No. 168, TTK Road, Royapettah, Chennai 600 014. Typeset by Compuprint, Chennai 600 086 and Printed by N. Subramanian at Sudarsan Graphics Offset Press, 14, Neelakanta Mehta Street, T. Nagar, Chennai 600 014. Editor : Sriram V.

MA Journal Inner 2017.indd 2 13/12/17 3:50 PM Statement about ownership and other particulars about newspaper “JOURNAL OF THE MUSIC ACADEMY MADRAS” to be published in the first issue every year after the last day of February Form IV (See Rule 8) 1. Place of Publication – New No. 168, T.T.K. Road Chennai 600 014 2. Periodicity of its publication – Annual 3. Printer’s Name – Sri. N. Subramanian Nationality – Indian (a) Whether a citizen of India ? – Yes (b) If a foreigner, the country of origin. – N/A Address – Sudarsan Graphics Offset Press 14, Neelakanta Mehta Street T Nagar, Chennai 600 017 4. Publisher’s Name – Sri. N. Murali Nationality – Indian (a) Whether a citizen of India ? – Yes (b) If a foreigner, the country of oirgin. – N/A Address – 260 A, T.T.K. Road, Alwarpet Chennai 600 018 5. Editor’s Name – Sri. V. Sriram Nationality – British (a) Whether a citizen of India ? – No (b) If a foreigner, the country of origin. – United Kingdom Address – 30/73, Kamarajar Salai RA Puram, Chennai 600 028 6. Names and addresses of individuals who own the newspaper and partners or shareholders holding more than one percent of the total capital – The Music Academy Madras I, N. Murali hereby declare that the particulars given above are true to the best of my knowledge and belief. Date: Dec. 15, 2017 N. Murali Signature of the Publisher

MA Journal Inner 2017.indd 3 13/12/17 3:50 PM EDITORIAL BOARD V. Sriram (Editor)

Sri. N. Murali, President (Ex. Officio) Dr. Ritha Rajan Dr. R.S. Jayalakshmi Dr. Meenakshi (Sumathi) Krishnan

MA Journal Inner 2017.indd 4 13/12/17 3:50 PM CONTENTS

1. Editor’s Note 7

2. 90th Annual Conference and Concerts

Report on Inauguration 9

Speech of Sangita Kalanidhi designate Kum A Kanyakumari 10

Report on Sadas 14

Awardees 2017 15

Morning Sessions at The Music Academy 22

3. Nine Compositions on Tyāgarāja, a compilation 40

4. ]BVÔ´VÖˆ[ ¬Ú]ÔÑ_ E‚Á¶¸k´∫Ô^ - Dr. R.S. ÿÖBÈ’t 66

5. Notational variations in Tyāgarāja’s compositions in the earlier publications – Dr. R. Hemalatha 76

6. The Uniqueness of Tyāgarāja’s Naukā Caritramu – Dr. Bhagavathi Yerramilli 88

7. Early Publications of Sri Tyāgarāja Swamy’s Compositions – Dr V.Premalatha 94

8. Karnāṭakā Music Concerts – form and content – Dr. Radha Bhaskar 101

9. Rhythmic Descent in Carnatic Music – Principles, Practice and Standardization – Mannarkoil J. Balaji 106

10. Book Review

Study of Gita Govinda – Dr. Meenakshi (Sumathi) Krishnan 117

Biography of T Balasaraswathi – Dr. R.S. Jayalakshmi 119

MA Journal Inner 2017.indd 5 13/12/17 3:50 PM MA Journal Inner 2017.indd 6 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

EDITOR’S NOTE

t is with a sense of trepidation that I write this, my first editor’s note, for the Journal of the Music Academy, Madras. This is the latest release of a publication that has been broughtI out without break for 90 long years and stalwarts such as Sangita Kalanidhi TV Subba Rao, Dr V Raghavan and Sangita Kala Acharya TS Parthasarathy have worked on it. In recent years, the Journal has been helmed by Dr VV Srivatsa and my immediate predecessor Dr Pappu Venugopala Rao, both of whom were Secretaries of the Music Academy. My task in bringing out this year’s Journal has been made easy for all of its content was sourced by Dr Pappu during his tenure with the institution. Last year saw the Carnatic music fraternity celebrate the 250th year of the birth of Tyagaraja, arguably the greatest composer in the art form. The Music Academy has in the past observed his death centenary in 1947 and his birth bi-centenary in 1967. In both those years, the morning sessions of the Annual Conferences were dedicated entirely to Tyagaraja’s works. In 2016 we decided that it was necessary that we not neglect other aspects of music too and so topics related to Tyagaraja were selected to occupy half the total number of morning sessions. The end result was still impressive, with a good corpus of papers being presented, with some lively discussions following them. The daily proceedings of the Annual Conference have been summarised in this Journal and a few of the papers presented have been featured as separate articles also. In this context the role that the Music Academy’s library has played in providing reference material has been highly commendable. Not only is it a repository of several books on music and dance, it is also home to some priceless first editions. These have all come in use to research the music of Tyagaraja and two articles featured in this Journal – the notational variations in the early publications of Tyagaraja kritis and the inclusion of chittaswarams in his kritis – have relied almost entirely on our library. With the present thrust that the Academy has given to cataloguing the books in its possession and also digitise some of its rare books, I am sure the library will be put to greater use in the years to come. This will in turn give rise to some very interesting presentations during future annual conferences. Using the resources of the library, we are also featuring in this Journal, nine songs of Tyagaraja, created by latter day composers. Barring one which is a free verse, the others are given here with notation.

MA Journal Inner 2017.indd 7 13/12/17 3:50 PM In keeping with the pattern of the 90th Annual Conference, this Journal too includes a couple of articles on topics not focusing on Tyagaraja. These pertain to the changing concert pattern and also the concept of rhythmic descent, which adds such charm to percussive interludes in Carnatic performances. The latter in particular is a little known aspect of our art and deserves highlighting, a task well suited to a Journal like ours.

I would be very happy to receive feedback on the way this Journal has been produced and request that comments if any be please sent to [email protected]

I wish you a happy 2018 and before that, a wonderful December participating in the 91st Annual Conference and Concerts of the Music Academy. I place on record my heartfelt thanks to all members of the Editorial Board who have helped in putting this Journal together. Music Academy Sriram V December 15, 2017

MA Journal Inner 2017.indd 8 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

90th Annual Conference and Concerts Thursday, 15th December, 2016 Report on Inauguration

he Union Minister of State for Commerce and Industry Nirmala Sitharaman paid encomiums to Tamil Nadu’s culture of encouraging and appreciating excellence, particularly in classical musicT while inaugurating the Music Academy’s 90th Annual Conference and Concerts on Thursday, December 15, 2016. She also said language had never been a barrier for this. She narrated well-known stories from the lives of three great persons — saint-composer Tyagaraja, composer Gopalakrishna Bharathi and ‘Tamizh Thatha’ U.Ve. Swaminatha Iyer — which showed that music was all inclusive. Ms. Sitharaman said no other music festival could be likened to the city’s Margazhi season in which over 1,500 concerts happen within 15 days. She presented the prestigious Sangita Kalanidhi M.S. Subbulakshmi Award instituted by The Hindu to Carnatic violinist A. Kanyakumari, the Sangitha Kalanidhi-elect for 2016. The award carried a cash prize of Rs. 1 lakh and a memento. The Minister released the Academy’s publication, Raga Nidhi (volume 2), a journal and a souvenir. The first copies of these were received by Ms. Kanyakumari, and Sangita Kalanidhi-s Sudha Raghunathan and Sanjay Subrahmanyan respectively. Prior to this, in keeping with the Academy’s tradition, Kum A Kanyakumari’s name was proposed as President of the 90th Annual Conference by Sangita Kalanidhi Sudha Raghunathan and seconded by Sangita Kalanidhi Sanjay Subrahmanyan. N. Murali, president, The Music Academy, said: “Our Carnatic musicians, young and established alike, take our music to different parts of the world, where people appreciate its greatness. They play a vital role in this global awareness and transmission of our precious heritage and art.” The year’s music festival, he said, had begun close on the trail of a devastating cyclone and under the shadow of the demise of Chief Minister Jayalalithaa. “Having been an accomplished artiste in her earlier years, she continued to remain an ardent connoisseur and supporter of the performing arts. The Music Academy enjoyed a special place in her heart and she inaugurated two of its annual music festivals — in 1991 and 2012,” he said. Sangita Kalanidhi designate Kum A Kanyakumari then addressed the audience. The text of her speech appears elsewhere in this Journal. A vote of thanks was proposed by V Srikanth, Secretary, Music Academy.

MA Journal Inner 2017.indd 9 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

90th Annual Conference and Concerts Speech of Sangita Kalanidhi designate Kum A Kanyakumari

amaskaram to the honourable Chief Guest of today, the Union Minister of State (Independent Ncharge) for Commerce & Industry Smt. Nirmala Sitharaman, the President of the Music Academy Sri N. Murali, the other Office Bearers and the Executive Members of the Sabha, distinguished guests, fellow musicians, rasikas and all the well-wishers. At the outset I express my deepest gratitude to all the Organising and the Executive Committee Members of this esteemed Academy who have unanimously selected me this year to be the recipient of this prestigious Sangita Kalanidhi award. This year being the 90th anniversary gives me immense joy and pleasure in reminiscing the great cultural heritage of the Music Academy. I sincerely believe that this is truly a blessing from my beloved parents Late Sri A.S. Ramaratnam and Late Smt. Jayalakshmi and the Lord of The Seven Hills, Sri Venkateswara. I also consider this as a blessing from my gurus Sri Ivaturi Vijayeswara Rao, Sangita Kalanidhi Sri M Chandrasekharan and Sangita Kalanidhi Smt M L Vasanthakumari. As I stand here today in front of you, I feel in my heart a great sense of contentment and happiness. I feel honoured to be the first woman violinist and also the first woman musician from the state of Andhra Pradesh to be receiving this award. This award is indeed a culmination of four aspects of my musical journey that I would like to reflect upon. My Late mother Smt Jayalakshmi was an AIR graded Veena artist. She initiated my siblings and me into music when we were very young, at Vizianagaram, Andhra Pradesh, where we lived. Vizianagaram has been a Carnatic music hub from the ancient times and I feel proud that my musical journey began from that renowned place. My first guru, the legendary Sri Ivaturi Vijayeswara Rao garu, identified my musical abilities quite early and laid a very strong foundation in all aspects of Carnatic music. He was an embodiment of hard work and discipline and he expected the same from his students. I enjoyed his teaching and imbibed his strict practice regime. I vividly remember the first time I attended MLV Amma’s concert in Vizianagaram. It wasan amazing performance. As a young girl I was totally amazed to watch the cheering and adoration MLV Amma received from the audience and I wondered if I could ever hope to perform on stage with a musician of such calibre. My father had a great love for music and always encouraged me. His decision to move my family to Madras was heavily influenced by his desire to help me further my knowledge and exposure. Shortly thereafter, I got an opportunity to continue learning from yet another great Vidwan Sangeetha Kalanidhi Sri M. Chandrasekharan. Under his guidance I learnt various nuances

MA Journal Inner 2017.indd 10 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

and techniques that greatly improved my abilities. It was during this time that I was awarded the senior central government scholarship. My career as an accompanist began in Vizianagaram where I accompanied many well known artists which continued after we moved to Chennai. Here I started accompanying Smt. Charumathi Ramachandran who is a disciple of MLV amma and also my senior in Queen Mary’s college where I graduated in BA Music. I also accompanied Bombay Sisters during that time who encouraged me immensely. In the year 1971, a big unexpected turning point took place in my musical journey. I was introduced to MLV Amma by Smt Charumati Ramachandran . That was the beginning of a 19 year long association with the legendary musician, mentor, advisor, friend and a mother-like figure who shaped me into a musician. She indeed looked after me like her own daughter. Through her I learnt various aspects, such as performing and presenting the essence of a raga, stage etiquette, audience interaction, travel and much, much, more. Throughout my musical career, I feel that it was this period that I cherish the most. Her concerts were very educative and I had never missed an opportunity to accompany her. As a performer, I have managed to find several different aspects that I enjoy. My education as an instrumentalist has enabled me to not only provide accompaniment to other artistes, but pursue my own journey as a solo performer. I have performed in jugalbandis with musicians from both north and south India, conducted orchestras of 100 instrumentalists and also formed an instrumental ensemble ‘Vadyalahari’. I also had the opportunity and blessing to accompany other stalwarts like Dr M Balamurali Krishna, Sri T.V. Gopalakrishnan, Sri N Ramani, Sikkil Sisters, Smt Sulochana Pattabhiraman, Smt Vedavalli, Smt Mani Krishnaswamy, Sri Kadri Gopalnath and others. I also played for prodigies such as Chitra veena Ravi Kiran and Mandolin U. Srinivas. Here I would like to convey my special thanks to ‘Padma Shri’ Kadri Gopalnath as we have been performing concerts worldwide for more than two decades as a team. I owe my deepest thanks to all these artistes who have supported me throughout my musical journey. I would also like to thank my siblings and family for their constant support. I also take this opportunity to thank all the Sabhas in Chennai, the rest of India and also all around the globe where I had performed in innumerable concerts. Many of these Sabhas within India and abroad honoured me with many titles and awards that encouraged me to work harder, perform better and strive for excellence. I also had a long association with CMANA, USA. In their inaugural concert 40 years ago in 1976, I accompanied MLV Amma and that happened to be my first visit to the US. Ever since I have been very frequently touring the US onconcert tours. I am very thankful to CMANA, USA for honouring me with the award and title SANGITA SAGARA during their 40th year celebrations this year. I would like to specially thank the Music Academy for whom I have been performing since early 1970s. And especially this year I feel very honoured as I have been conferred with the prestigious title SANGITA KALANIDHI by

MA Journal Inner 2017.indd 11 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

this esteemed organisation which I receive with all humility. I would also like to make a special mention of my association with the Music Academy which started when I won the first prize in Violin in their music competition. In 1971, I had an opportunity to accompany Smt Mani Krishnaswamy at the Academy. And from 1973 onwards, I regularly accompanied MLV Amma in all her concerts at the Academy. The Music Academy not only supported me as a solo artiste but also welcomed and encouraged my innovations. I presented ‘Vadyalahari’ ensemble concert in 1988 and later in 2000 performed a concert with 25 violinists. I really thank the Academy for its continued encouragement of progressive ideas and its continued support from the days of my youth. I also offer my sincere thanks to all my fellow artistes - Sri Mannargudi Easwaran, Sri Raja Rao, Sri K.V.Prasad, Sri Patri Satish Kumar, Sri Bangalore Pravin and Bangalore Rajashekhar to name a few, and other co-artistes with whom I was fortunate to have performed. They have been a constant source of inspiration and support to me. I would like to thank Smt. Brinda Venkatraman of Swamy Publications for providing Swamy’s hall whenever we needed it for rehearsing the ensemble concerts. I thank all those Rasikas, who enjoy my music and take time and effort to attend my concerts and wish me well. Finally, I would like to thank the media for being a huge source of confidence and inspiration through positive reviews and encouragement throughout my career. Every concert that an artiste performs is a challenge and is like an examination. At the same time it places a huge social responsibility on the performer to maintain the quality, purity and divinity of this great art form. Now, I would like to move on to the next important aspect of my journey which is Teaching : I must confess that teaching has been an equally fulfilling experience. Today I can claim with pride that a number of my students provide violin accompaniment to top ranking artistes every year in the December season, as well as performing throughout India and worldwide. I also have students who are not only violinists but also veena, guitar and keyboard players in India and abroad. I believe my teaching is unique in the sense that I teach my students vocally to widen their swara gyanam. I also insist that they listen to varied live concerts to increase their Kelvi Gyanam as I believe that this is a very important aspect of learning. I encourage them to perform and express themselves to achieve their full potential and guide them as and when required. My students are all very dedicated to music and I am very happy and blessed to have such a wonderful bunch of students who are very dedicated to their teacher also. The aspect that makes me feel complete as a musician is the creativity.

MA Journal Inner 2017.indd 12 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

It is a wonderful experience to create new ragas and express new ideas. I am happy to have created new ragas like Mahalakshmi, Bharat, Ganga, Godavari, Krishnaveni, Trimurti etc. I have also been blessed to have created, as part of Annamayya project of TTD, 7 other new ragas named after each of the 7 hills called Sapthagiri. These are the Sapthadri ragas. I am happy that the Music Academy invited me to present a Lec-Dem on these 7 ragas in 2013 and I am very thankful to the Academy. I have always believed in “Sangeeta gyanamu bhakti vina sanmaargamu kalade…”. The very essence of life is to be on a path that leads us to moksha. I am very fortunate to have chosen the path that Sadguru Thyagaraja had shown us. “aatmano gururAtmaiva”. The spiritual dimension of music is very unique to our culture and should be respected and treasured to uplift one and all. Violin as I see is a very versatile instrument and should be also projected more as a solo instrument instead of limiting it only to accompaniment. More opportunities should be provided for instrumentalists to project and harness their skills as solo performers. I sincerely request the organizers, fellow artistes and rasikas to view the violin as an instrument beyond accompaniment. Promoting instrumental concerts will unite people musically, overcoming language barriers and thereby creating an amicable environment. As Sadguru Thyagaraja said “nAda lOludai brahmAnanda mondave…”, attain highest bliss through nAdam. Sri Muthu Swami Deekshitar expresses that Devi herself enjoys the music of instruments “Sangeetha vAdya vinOdini…” in the krithi “Hiranmayeem lakshmeem” in lalitha ragam. I have dedicated all my life to music. Looking ahead, this title has given me an inspiration to continue my journey in music with renewed energy. I will continue to learn and research, teach and propagate, perform and maintain the purity at all times. I will also continue to create and explore new dimensions of this divine art. I conclude this, seeking your blessings and good wishes to help me accomplish my goals. I sincerely thank the Music Academy once again for bestowing me this honour and adding me to the list of eminent and accomplished luminary musicians. Thank you

MA Journal Inner 2017.indd 13 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

90th Annual Conference and Concerts Thursday, 15th December, 2016 Report on Sadas

he Sadas, the convocation of the Music Academy was held on January 1, 2017. Sri N Murali, President of the Music Academy welcomed the gathering. Sri MK Narayanan, diplomat andT former Governor of West Bengal was the Chief Guest and conferred the title of Sangita Kalanidhi on Kum A Kanyakumari. He also presented her with the medal and the birudu patra. Besides this, he conferred the title of Sangita Kala Acharya on the Rudrapatnam Brothers and Prof K Venkataramanan, the TTK Award on Dr Nirmala Sundararajan and M Kodilingam and the Musicologist Award on Dr R Kausalya. Prizes were also given to various performers of the music concerts held in December 2016. Sangita Kalanidhi R Vedavalli felicitated Sangita Kalanidhi A Kanyakumari while Sangita Kala Acharya Seetha Rajan felicitated the other awardees. In her speech, Sangita Kalanidhi A Kanyakumari spoke warmly of her experience of presiding over the 90th Annual Conference and Concerts and thanked all the office bearers and members of the Experts Committee of the Music Academy for making it a memorable experience. Sri N Ramji, Secretary, Music Academy, proposed a vote of thanks.

MA Journal Inner 2017.indd 14 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Awardees 2017 Sangita Kalanidhi Award

Kum. A. Kanyakumari Born on December 31, 1952, at Guntur to Jayalakshmi and A.S. Ramaratnam, A. Kanyakumari comes from a family steeped in music. Her mother was a trained veena artiste and her father a connoisseur of the art. It was therefore no surprise that Kanyakumari took to music from an early age, training first under Ivaturi Vijayeswara Rao at Vizianagaram. She later moved to Madras, now Chennai, where she learnt from the violin maestro Sangita Kalanidhi M. Chandrasekharan, thanks to a Central Government Cultural Scholarship. She graduated with a B.A. degree in music from the Queen Mary’s College at the same time. Even as she persued her concert career as a violinist, she was fortunate to be introduced in 1971 to Sangita Kalanidhi M.L. Vasanthakumari, known to her countless fans as MLV. There followed almost two decades of training under and accompanying MLV in her numerous concerts and this was the most definitive period in Kanyakumari’s art, a time that crystallised her performance style for all time to come. While she did accompany other artistes, it was as MLV’s accompanist that she became best known. She has since then evolved as a solo artiste, apart from accompanying a select few others in concerts. Kanyakumari is today known for her innovative approach to music on the violin, all the while strictly adhering to the tenets of classicism. She has fashioned programmes for violin ensembles, collaborated with other instrumentalists in various musical offerings and has also created seven new ragas, each being named after one of the seven hills of Tirumala. She has performed extensively in India and abroad and is one of the ambassadors of Carnatic music. Her efforts and contributions have been recognised by awards and titles, including the Padma Shri from the President of India in 2015. The Music Academy takes immense pleasure in conferring on her the Sangita Kalanidhi for 2016. It also places on record that she is the first lady violinist to receive this honour.

MA Journal Inner 2017.indd 15 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Sangita Kala Acharya Award

Rudrapatnam Brothers R.N. Thyagarajan and Dr. R.N. Tharanathan, popularly known as the Rudrapatnam Brothers, were born on July 15, 1943 and November 6, 1946 respectively, at Hassan, to Savitramma and R.K. Narayanaswamy. They come from a family known for its contributions to Carnatic music. The Brothers initially trained in music under their father, who was a disciple of Sangita Kalanidhi Musiri Subramania Iyer. They later learnt from their uncle R.K. Venkatarama Sastry, an eminent violinist and disciple of Sangita Kalanidhi T. Chowdiah. They gave their first concert performance in 1956. While pursuing their concert career thereafter, the Brothers built up their academic qualifications. R.N. Thyagarajan is an MSc in Mathematics who joined the All India Radio and retired as Deputy Director, Doordarshan Kendra Bangalore. R.N. Tharanathan holds a doctorate in Organic Chemistry and served at the Central Food Technological Research Institute, Mysore. In music, the Rudrapatnam Brothers are known for their extensive repertoire of compositions, their handling of ragas and their adherence to tradition. In recognition of their work, The Music Academy, Madras confers on them the title of Sangita Kala Acharya.

MA Journal Inner 2017.indd 16 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Sangita Kala Acharya Award

Professor K. Venkataramanan Born on February 4, 1936 in Padubidri Village of Udupi Taluk to K. Krishna Shastri and Bhageerathi, K. Venkataramanan moved to Thiruvananthapuram at an early age to pursue lessons in Carnatic music. There he enrolled at the Swati Tirunal Music College, where he came under the tutelage of Nellai T.V. Krishnamurthy, a disciple of Sangita Kalanidhi Harikesanallur L. Muthiah Bhagavatar. Having qualified with the Ganabhushanam and Sangita Vidwan diplomas from the college in 1958, he embarked on a career in music. In 1966, he stood first in the music competition conducted by the All India Radio, Thiruvananthapuram and received the medal and citation from Babu Rajendra Prasad, former President of India. Joining the Kerala Government service as a music teacher for high schools, Venkataramanan was later made a teacher at the Swati Tirunal College and he retired from there as Professor, in 1991. Professor Venkataramanan has set to music the works of the Haridasa Lakshminarayanappa and also tuned several songs in the Tulu language. He is also a much sought after guru in Kerala. The Music Academy takes pleasure in conferring on him the title of Sangita Kala Acharya.

MA Journal Inner 2017.indd 17 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

TTK Memorial Award

Dr. Nirmala Sundararajan Born on July 7, 1944 at Seshampatti in Dharmapuri District of Tamil Nadu to Rajammal and Born on August 15,1941 at Erode to Rukmini and Kuppuswami Iyengar, Nirmala had her initial training in music under MS Soundaram, a disciple of Sangita Kalanidhi Ariyakkudi T. Ramanuja Iyengar. In later years she trained under Ramnad Krishnan, P.N. Raghava Rao, Sangita Kala Acharya T. Mukta and Sangita Kalanidhi T.M. Thiyagarajan. She also qualified with a B.A. degree in Music from the University of Madras and later obtained a doctorate in music from the Indira Gandhi Sangit Vishwa Vidyalaya, Khairagarh for her thesis on Compositional Diversities in Carnatic Music. An ‘A Top’ grade artiste for All India Radio, Nirmala has been performing regularly at various concert venues in India and abroad. She has set to music several Divya Prabandhams and also the verses of Vedanta Desika. She is today much sought after for her repertoire of padams and javalis. The Music Academy, Madras confers its TTK Award for 2016 on her.

MA Journal Inner 2017.indd 18 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

TTK Memorial Award

M. Kodilingam Born on January 31, 1938 at Kumbhakonam to V. Masilamani Chettiar and Meenakshi Ammal, Kodilingam began training from an early age in the music of the Thevaram under noted exponent P. Sundaresan. While qualifying with a B.A. degree at Kumbhakonam, he, in parallel, acquired a rich repertoire of songs from the Silapadikaram, Kamba Ramayanam, Thevaram, Tiruppugazh, Divya Prabandham and the works of several great scholars in the Tamil language. A corporate career for over three decades did not prevent him from remaining active in the world of arts where he was much sought after as a performer, a teacher and a speaker. Since retirement, he has continued with his passion, performing at numerous venues in India and abroad, besides having regular programmes over the radio and the electronic media. Widely feted and recognised for bringing to the fore an oft-neglected aspect of our music, Kodilingam can be considered an evangelist for musical works in the Tamil language. The Music Academy, Madras confers its TTK Award for 2016 on him.

MA Journal Inner 2017.indd 19 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Musicologist Award

Dr. R. Kausalya Born on May 28, 1949 at Thanjavur to Rukmani and N. Ramachandran, Dr. Kausalya had her initial training in music under Venkatasubramanian, a grandson of Tillaisthanam Narasimha Bhagavatar, who was a disciple of Rama Iyengar, a prime disciple of Tyagaraja. She later studied music at the Rajah’s Music College, Thiruvaiyaru, where she came to be taught by musicians such as Sangita Kalanidhi K.P. Sivanandam and Sarada, Karaikkudi Vasantha, Sangita Kalanidhi Chittoor Subramania Pillai, Srivanchiam K. Ramachandra Iyer, Srirangam V.S. Krishnamoorthy Rao and T.V. Namachivayam. She trained in musicology under Prof R.V. Krishnan and Sangita Kala Acharya T.S. Parthasarathy. She later obtained her doctorate in music from the Bharatidasan University. Dr. Kausalya joined the teaching faculty at the Rajah’s Music College, Thiruvaiyaru in 1971, from where she retired as the Principal. She has carved a name for herself as a musicologist, presenting papers and lecture demonstrations at conferences and seminars. Since retirement, she also runs Marabu Foundation, an initiative that aims to teach music and Indian value systems to all, irrespective of caste, gender or economic status. The Music Academy confers on her its Musicologist Award for 2016.

MA Journal Inner 2017.indd 20 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Natya Kala Acharya Award – 2017

Malavika Sarukkai Born on 15th June 1959 in Mumbai to Saroja Kamakshi and Vasu Gopalan Sarukkai. Under her mother’s guidance she had the privilege of training in Bharata Natyam with renowned gurus- Guru Kalyana Sundaram, Guru Rajarathnam and Guru Kalanidhi Narayanan. Intense and extraordinary are the qualities that distinguish Malavika Sarukkai‘s dancing. With her artistic mastery and technique she commands a presence on the world stage. She is acclaimed for her creative dance choreographies, which transport the viewer to the heart beat of dance, taking dance beyond specific geographies. Over the last three decades Malavika Sarukkai has contributed a large body of original work. This is a result of her sustained and passionate investigation to expand the vocabulary of Bharata Natyam. Her choreographies characterized by an insightful mind reflect the effortless coming together of the incandescent beauty of dance and the energized articulation of a contemporary mind. In recognition of her intellectual depth, she was invited to deliver the prestigious Coomaraswamy Memorial Lecture in Mumbai. A film entitled ‘The Unseen Sequence’ directed by Sumantra Ghoshal has been made celebrating her distinctive intellectual and path breaking approach to dance. Malavika Sarukkai has received many accolades and awards. Padma Shri from the President of India in 2003, SNA Award 2002 from the Central Sangeet Natak Akademi, Delhi, Kalaimamani from the Government of Tamilnadu in 1994, amongst many others. The Music Academy, Madras takes pride in conferring the title of Natya Kala Acharya for 2017.

MA Journal Inner 2017.indd 21 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Morning Sessions at The Music Academy

16 December 2016 The first day of the lecture demonstrations began with a devotional music rendition by the senior students of the Advanced School of Carnatic Music.

Design structures and devices in Tyāgarāja’s compositions The first lecture-demonstration by Dr. Sriram Parasuram was commemorative of the 250th year of Tyāgarāja and titled ‘Design structures and devices in Tyāgarāja’s compositions’. The presentation commenced with a rendition of ‘nannu kanna talli’ in the rāga kēsari. The speaker mentioned that the kṛti form was established by the trinity which was followed by all later vāggēykāra-s. Dr. Sriram Parasuram then outlined the basic structure of the kṛti-s of Tyāgarāja and spoke of the general melodic idea portrayed in each of the sections. He then elaborated the many devices used by Tyāgarāja; the continuity between the pallavi and anupallavi, the use of similar words as commencing sāhitya, the syllabic movement in the caraṇa sections and the portrayal of the rāga svarūpa in the different sections were all explained with examples. Dr. Sriram then spoke of the variety in the structure of Tyāgarāja’s compositions from simple to complex. He emphasised the fact that each composition allowed scope for elaboration in the form of saṅgati-s and other embellishments. He reiterated this point by stating that the open-ended nature of Tyāgarāja’s compositions lent itself to be moulded according to the style of each artiste without affecting the basic musical structure. The speaker further talked about how the musical thought and melodic ideas in a particular rāga were envisaged differently in various compositions. The use of svarākṣara, prāsa and the handling of dēśādi tāla were explained with examples. Dr. Sriram also spoke of Tyāgarāja’s adept handling of rare rāga-s and vivādi rāga-s and concluded by stating that Tyāgarāja was able to ‘catch’ the rāga which was the most important compositional device used by the saint. Dr. Pappu Venugopla Rao and Sangita Kalanidhi Smt R. Vedavalli congratulated the speaker after which the session ended with comments and compliments of Sangita Kalanidhi designate Kum. A. Kanyakumari.

Tablā in Farukhabad Gharana The second lecture demonstration of the day was by Pandit Abhijit Banerjee on ‘Tablā in Farukhabad Gharānā’. The artiste began with a pēśkār that was popularised by Ustad Ahmed Jan Phirakwa Khan. He then outlined the structure and the various parts of the tablā and explained the difference in the tone of the instrument which varied according to the region in which it was made. Pt. Abhijit Banerjee then spoke of the playing techniques of tablā and mentioned that the sounds and syllables were adapted from the pakhāvaj. The speaker then dealt with the Delhi gharānā, which was known as the ‘band bāj’ due to the closed playing techniques adopted. The concept

MA Journal Inner 2017.indd 22 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

of kāidā which is attributed to this gharānā, was explained interspersed with demonstrations of the same. The details regarding Ajrārā gharānā, which developed in Ajrāra located between Delhi and Lucknow were explained with demonstrations. Next, Pt. Abhijit Banerjee spoke about the ‘pūrab bāj’ that evolved in Lucknow which was also known as ‘khulā bāj’ denoting the open playing techniques used. The differences in playing techniques were outlined and demonstrated. The Banaras bāj, which evolved from the Lucknow gharānā was discussed thereafter with similar explanation regarding the playing techniques. Pt. Banerjee then spoke of the Farukhabad gharānā to which he belonged and mentioned that this gharānā also evolved as an off-shoot of the Lucknow bāj. The speaker stated that this gharānā was started by Akāsā, a Hindu exponent in Rajasthan and named a few famous exponents of the gharānā namely Haji Vilayat Hussain, Ahmed Jan Phirakwa and Aamir Hussain Khan. The various playing techniques, the compositional forms and tihāi-s exclusive to this gharānā were all explained in detail with demonstrations. Pt. Abhijit Banerjee mentioned that the pēśkār-s of this gharānā have been imbibed by several artistes belonging to other gharānā-s. The speaker concluded with a demonstration of one of the compositions of the Farukhabad gharānā. Dr. Pappu Venugopala Rao offered his compliments after which Sangita Kalanidhi Prof. Trichy Sankaran complemented the speaker and also noted the role of the Middle East in promoting tablā as a major instrument in Indian Music. The session concluded with congratulatory remarks of Sangita Kalanidhi designate Kum. A. Kanyakumari.

17 December 2016 The day began with a Devotional Music rendition by the Junior Students of the Advanced School of Carnatic Music.

Music of the Māṅganiyārs ‘Music of the Maṅganiyārs’ was presented by Sri Kuldeep Kothari, with a troupe of musicians from Rajasthan. Among the performers were singers Anwar Khan Saheb, Kachra Khan Saheb, Bikhe Khan Saheb, Mulla Khan Saheb, along with Dehra Khan on the kamaicā, Kheta Khan on the khartāl and Feroz Khan on the ḍhōlak. Sri Kuldeep Kothari began the presentation by stating that the Māṅganiyārs were folk musicians from western parts of Rajasthan, namely Jaisalmer, Barmer, Jalor and Bikaner, who have inherited the art form through family tradition. The speaker explained that their repertoire usually revolved around depicting life events like birth and death, the various festivals and nuances of family relationships. He then spoke of the instruments which were unique to this tradition, consisting of the kamaicā which was an unfretted lute, the wooden clappers khartāl, and the ḍhōlak which was a two-sided percussion instrument. The speaker mentioned that the rāga system in Maṅganiyār music was different from North Indian Classical music though the names of certain rāga-s were similar. He also spoke of some rāga-s which were exclusive to the Māṅganiyār repertoire. Sri Kuldeep then handed over the presentation

MA Journal Inner 2017.indd 23 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

to the artistes, who explained the manner in which the Māṅganiyārs learnt the art form and the mode of rendition of rāga-s. The artistes then took turns in presenting various compositions, while explaining the context. Dr. Pappu Venugopala Rao congratulated all the artistes for their soulful rendition and expressed that the endeavour was to bring different music dimensions from all regions.

18 December 2016 The morning began with a prayer by Harini Krishnan.

Sangita Kalanidhi Vidvān S.Ramanathan Centenary Lecture–Demonstration – His contribution to Carnatic Music The speaker for the first session was Sri K.S.Raghunathan, popularly known as HMV Raghu, who presented a commemorative lecture demonstration for the birth centenary of his Guru and father-in-law, Sangita Kalanidhi Dr. S Ramanthan. The speaker explained in detail about Dr. S.Ramanathan’s life, presenting three facets –musician, musicologist and Guru. He went on to describe how a young Ramanathan being a school topper chose to pursue music as a profession. Sri Raghu mentioned that Dr. Ramanathan learnt from Sangita Kalanidhi ‘Tiger’ Varadachari and traced his musical lineage to the Trinity of Carnatic Music. The speaker stated that Dr. Ramanathan performed together with his brother Sri S.Natarajan during his early years and they were known as Pudukottai brothers. Dr. Ramanathan’s expertise on the vīṇa was also described and an excerpt of tānam in nāṭṭai rāga was played. Sri Raghu played a few audio and video recordings and highlighted the scholarly musicianship of Dr. Ramanathan. The role of Dr. Ramanathan as a musicologist, his tenure in the Wesleyan University and his contribution to the field of music research was emphasised. The speaker shared how the doyen was known forhis thematic concerts and lecture-demonstrations, one such being ‘A Day with Tyāgarāja’. A few snippets of his lecture demonstrations were played. Sri Raghu also outlined the compositions that were tuned by S.Ramanathan as well as his own compositions. The speaker then delineated the role of S. Ramanathan as a Guru and presented details of the various students and family members who carried forward the legacy of the doyen. The speaker concluded his presentation by highlighting the multifaceted personality of Dr. S.Ramanathan who dedicated his life to music. Dr. Pappu Venugopala Rao complimented the speaker after which Dr. Ritha Rajan and Dr. B.M. Sundaram shared their experiences. The session concluded with compliments of Sangita Kalanidhi designate Kum. A. Kanyakumari

Pallavi – structure, components, approach and presentation The second lecture demonstration for the day was by Sri Neyveli R. Santhanagopalan on the structure, components, approach and presentation of pallavi. The speaker began by stating that pallavi denoted pada-laya-vinyāsam and explained the structure of the pallavi form through

MA Journal Inner 2017.indd 24 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

a demonstration of his own composition. The structure of the pallavi, the eḍuppu, arudi and theme of sāhitya were explained and the speaker demonstrated a few impromptu pallavi-s as examples. Sri Santhanagopalan expressed that pallavi-s could be composed from kṛti-s and stated that the structure of the pallavi should be simple to enable singing of elaborate niraval. The speaker then demonstrated many pallavi-s while explaining the various aspects to be considered while constructing a pallavi. He illustrated a few exercises for students to gain good control over tāla. The session concluded with compliments and comments of Dr. Pappu Venugopala Rao, Dr. B.M. Sundaram, Dr. R.S.Jayalakshmi and final remarks by Sangita Kalanidhi designate Kum. A. Kanyakumari.

19 December 2016 The day began with a prayer sung by Aishwarya and Ramya.

Yakṣagāna - Dance and Music The only lecture-demonstration for the day was about the dance and music of Yakṣagāna, presented by Sri Keremane Shivananda Hegde. Along with him on the dais were singer Sri Ananth Hegde, Sri Parameshwara Hegde on the maddaḷa and Sri Sridhar Gowda on the cheṇḍa. Sri Sadashiva Bhat, Sri Chandrashekhar and Sri Nakula Gowda were the dancers portraying characters, and assisting them on the presentation was Sri Sridhar Hegde. The presentation began with a gaṇēśa stuti in nāṭi rāga. The speaker briefly outlined the history of Yakṣagāna, and then spoke of the classification of the theatre form in Karnataka into two main stylesmūḍalapāya namely‘ ’ and ‘paḍuvalapāya’. The latter was further split into three types called ‘tenkutiṭṭu’, ‘baḍagutiṭṭu’ and ‘baḍābaḍagutiṭṭu’ that arose from the different regions in Karnataka. Sri Shivananda Hegde also explained how they differ in their renditions, with the focus being on dialogues, nṛtta or abhinaya. The speaker then described the historical background of Yakṣagāna, and mentioned that the art form flourished during the Vijayanagara Empire, after which different forms of Yakṣagāna evolved in Karnataka, Tamil Nadu and Andhra Pradesh. He also stated that Yakṣagāna was earlier known by different names such as ‘āṭa’, ‘bāyalāṭa’ and ‘daśāvatāra āṭa’. The practice of pūrvaraṅga both off-stage and on-stage, the various instruments used and the make-up procedure for different characters in a Yakṣagāna performance were explained. The speaker further expounded the 7 tāla-s and 32 rāga-s in their system. A few demonstrations of ‘mōhini rukmāṅgada sannivēśa’, ‘vālī mōkṣa’, ‘karṇa arjuna’, were performed by the artistes. The speaker used a power point presentation to display some photographs of different productions, the characters and the make-up used after which the lecture–demonstration concluded with a maṅgaḷam. Dr. Pappu Venugopala Rao congratulated the artistes, and added some thoughts on the concept of ‘pūrvaraṅga’ as explained in the Nāṭyaśāstra. On request from the audience, the speaker

MA Journal Inner 2017.indd 25 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

demonstrated the different types of ‘walking styles’ of Yakṣagāna, with specific reference to the context of war. The session ended with compliments by Sangita Kalanidhi designate Kum. A. Kanyakumari.

20 December 2016 The morning session began with a prayer sung by Bhuvanaja.

Notational Variations in the earlier publications of Tyāgarāja’s compositions The first lecture demonstration for the day was on ‘Notational Variations in the earlier publications of Tyāgarāja’s Compositions’ by Dr. R. Hemalatha. The speaker mentioned that the study confined to the music publications belonging to the pre-1940 period beginning with the earliest publication ‘Saṅgīta Sarvārtha Sāra Saṅgrahamu’, by Vīṇa Rāmānuja (1859) up to Gānabhāskaramu of K.V.Srinivasa Iyengar (1934). She gave details of the various publications and the number of compositions of Tyāgarāja available in each of the books. Dr. Hemalatha mentioned that there were 350 kṛti-s available with notation and classified the variations seen in the various publications into four sections namely tāla, rāga, melody and variations with current practice. She then explained the variations in each of these categories with examples. Dr. Hemalatha highlighted the differences seen with regard to the order of caraṇa-s in the pancaratna kṛti-s of Tyāgarāja as seen in various publications and made an observation that the ciṭṭasvara-s for the varāḷi pañcaratna kṛti were seen in texts only after 1933. The speaker concluded by stating that while there were minor differences seen between the publications; most of the variations were seen with regard to renditions in current practice. Dr. Pappu Venugopala Rao complimented the speaker. Dr. B.M. Sundaram mentioned that it was Tanjore Panchapakesa Bhagavatar who had composed svara-s for the caraṇa-s of the varāḷi pañcaratna kṛti. There were few queries and comments by other scholars like Dr. Premeela Gurumurthy, Dr. M.B.Vedavalli, Dr. R.S.Jayalakshmi, Sri V.Sriram and Dr. Sumathi Krishnan after which the session ended with concluding compliments from Sangita Kalanidhi designate Kum. A. Kanyakumari.

Pāṭhāntara-s in the compositions of Tyāgarāja The next presentation was by Dr. Ritha Rajan on the Pāṭhāntara-s in the compositions of Tyāgarāja. She was assisted by Praveena who aided with the power point presentation. The speaker began by explaining the etymological meaning for the term pāṭhāntara as pāṭha antara or ‘another reading’. Dr. Ritha Rajan added that in today’s context, the word is also used informally to denote stock or collection of kṛti-s, and also to refer to a particular version of rendition. With regard to Tyāgarāja’s compositions, the speaker explained about the three eminent pāṭhāntara-s of Vālājapet, Umayāḷpuram and Thillaisthānam that came into being through the disciples of Tyagaraja namely; Vālājapet Veṅkaṭaramaṇa Bhāgavatar, the Umayāḷpuram brothers and Thillaisthanam Rāma Iyengar

MA Journal Inner 2017.indd 26 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

respectively. The speaker mentioned that there was a common pāṭhāntara for certain kṛti-s which was followed by all the disciples and a specific stock which was exclusive to each of the lineages. The characteristic features seen in the kṛti-s belonging to the common pāṭhāntara were outlined with examples. In the specific stock, Dr. Ritha Rajan mentioned the kṛti-s which were exclusive to each pāṭhāntara as well as the presence of different versions for the same kṛti-s. The specialised techniques employed in each pāṭhāntara were explained; the saṅgati development in the Umayāḷpuram school, the prominence for tāra ṣaḍja in the Vālājapet school were some of the aspects outlined by the speaker with suitable illustrations. Dr. Ritha Rajan concluded by stating that there were changes made to suit the concert platform which led to an alteration in the format of many kṛti-s. The session concluded with compliments of Dr. Pappu Venugopala Rao followed by comments by Sri B.M.Sundaram, Dr. M.B.Vedavalli and concluding remarks by Sangita Kalanidhi designate Kum. A. Kanyakumari.

21 December 2016 The morning session began with a prayer sung by Shwethambari and Shruthi Kumar.

Saṅgīta Candrikai The first session for the day was by Dr. Rama Kousalya, who was the musicologist awardee of the year. She was assisted by her disciple Smt. Madhuvanthi. The lecture was on the lakṣaṇagrantha Saṅgīta Candrikai which was written and published in the year 1902, by Māṇikka Mudaliyār. Dr. Rama Kausalya stated that the author had mentioned in the text that this work was written in Tamil for easy reference, since most texts in those days were in Telugu or Sanskrit. The speaker stated that Māṇikka Mudaliyar had taken great effort to make the text content as accessible as possible, by simplifying every subject in it. Dr. Rama Kausalya then outlined the contents of the book which had three main parts; svara prakaraṇam, tāla prakaraṇam and pāṭa prakaraṇam. The speaker then outlined the contents of each chapter. The first chapter svara prakaraṇam deals with the seven svara-s, twelve and sixteen svarasthāna-s, saptasvara bhēda-s, daśavidha gamaka-s, construction of vīṇa mēḷa, svara prastāra and so on. The speaker mentioned that different classifications of rāga-s were discussed under the heading ‘rāga bhēdaṅgaḷ’, followed by the 72 mēlakartha rāga-s, and a list of different janya rāga-s with their classification. The second chapter, ‘tāla prakaraṇam’ deals with the tāla daśa prāṇa-s, the different aṅga-s, and a list of 7, 35 and 175 tāla-s with an alaṅkara for each tāla. Alaṅkara-s were also given for the 108 tāla-s, followed by tāla prastāra. The final segment is pāṭa‘ prakaraṇam’, where notations for tēvāram, tiruppugaẓ hymns were found, other than the author’s own compositions. Dr. Rama Kausalya mentioned that the author had given explanation for the gamaka-s to be employed and though the

MA Journal Inner 2017.indd 27 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

notation system in the book was not perfect, the manner of writing notation was interesting. The speaker concluded by stating that the author had simplified the contents of the book incorporating many illustrations in a manner that could be understood by everyone. Dr. Pappu Venugopala Rao congratulated the speaker and expressed that Saṅgīta Candrikai took a back seat with the entry of the Saṅgīta Sampradāya Pradarṣini which was published two years later. The session concluded with comments and remarks by Dr. Ritha Rajan, Sangita Kala Acharya Smt. Seetha Rajan, Sangita Kalanidhi Sri Sanjay Subramanyam and final remarks by Sangita Kalanidhi designate Kum. A. Kanyakumari.

Evolution of the Carnatic Concert Dr. Kiranavali Vidyasankar presented the second lecture on the topic ‘Evolution in Carnatic Concert’. Introducing the fact that planning a concert should showcase the work of one’s predecessors, the speaker brought to light that the first person to sing a Carnatic concert in modern format was Coimbatore Raghava Iyer, accompanied by a vīṇā and mṛdangam. She stated that the concert format was said to be structured during the time of Ariyakudi Ramanuja Iyengar. Dr. Kiranavali stated that a notable shift happened during the 1800-s from manōdharmam-oriented concerts, making more space for compositions to be included during recitals. She outlined the basic format followed in a concert which combined variety and contrast in many aspects like rāga, tāla, compositional forms, composers, tempo, language, creative elements and so on. The speaker mentioned that there were many influencing factors which led to the current concert format; the compositions of the trinity gaining importance, change in patronage and audience and a need to provide a common platform combining different elements. The speaker outlined three concert eras; pre-Ariyakudi, Ariyakudi and his contemporaries and the current concert format. She then gave samples of concert lists of a few eminent artistes like Sangita Kalanidhis Ariyakudi Ramanuja Iyengar, Madurai Mani Iyer, Sangita Kalanidhi T Brinda & Sangita Kala Acharya T Mukta, Sangita Kalanidhi M.S.Subbulakshmi, Flute Mali, Sangita Kalanidhi T. Chowdiah, T N.Rajarathnam Pillai, Sangita Kalanidhi K.S.Narayanaswami and Sangita Kalanidhi Dwaram Venkataswamy Naidu highlighting the various planning methods adopted by them. Dr. Kiranavali concluded stating that the responsibility of students and artists in portraying tradition was important, as it will be carried forward to the next generation. Dr Pappu Venugopala Rao complimented the speaker and observed that pre-Trinity compositions have taken a back seat during concerts. Sangita Kalanidhi Prof. Trichy Shankaran added his views on changes in the art of accompaniment over time. The session concluded with compliments of Sangita Kalanidhi designate Kum. A. Kanyakumari.

22 December 2016 The day began with a prayer by Pavithra and Rohini.

MA Journal Inner 2017.indd 28 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Araiyar Sēvai - The Mystic Music, Dance & Drama Tradition of Srirangam The first session of the day was a lecture demonstration by Prof. K. Madhusudhanan on Araiyar Sēvai, the mystic music, dance & drama tradition of Srirangam. He began the session by explaining that the araiyar-s were a community of male dancers who were married to the Lord. He then traced the history of araiyar-s to the āẓvār-s and spoke of the nālāyira divya prabandam compiled by Nāthamunigaḷ. Prof. Madhusudhanan stressed the fact that araiyar sēvai was performed for the Lord alone and the presence of other audience was incidental. He further explained that the pāsuram-s were performed for the Lord with music and dance along with commentary. Prof. Madhusudhanan detailed the many attributes of an araiyar and the protocol to be followed for their daily routine to enter the temple and perform. The structure of the araiyar sēvai was then outlined with a demonstration of the pāsuram ‘kīcu kīcendru’. The various accessories used in the performance like the cymbals, the araiyar kullāi were explained. The speaker played videos of some performances of araiyar sēvai after which he concluded his lecture by stressing the need for awareness of this art form and his willingness to teach the sēvai to the public. The session concluded with compliments and comments from Dr. Pappu Venugopala Rao, Sri N Gopalaswami, Sri Veejay Sai and concluding remarks by Sangita Kalanidhi designate Kum. A. Kanyakumari.

Voice Culture with special reference to Carnatic Music The second session of the day was by Dr. Shyamala Vinod on Voice Culture with special reference to Carnatic Music. She began the session by explaining the physiology and mechanism of the vocal system. Dr. Shyamala mentioned the influence of language, shape of the resonators and vocal space on the tonal quality of the voice. She spoke of voxology, which is the science of non-clinical treatment of the vocal chords. The speaker then explained the need for every singer to identify their correct vocal space, which would determine the facility and stamina of the voice. Dr. Shyamala detailed the basic principles to be followed on how the vocal energy gets curtailed and reverts to the vocal chords when the neck is stressed and on the intrusion of the jaw. She elucidated the importance of prāṇāyāma, physical exercise and ‘akāra’ to improve breathe control and consequently, prevent cracks while singing. She detailed the importance of regular practice and controlled silence to maintain the elasticity of vocal chords. Dr. Shyamala explained the internal and external hazards to the vocal system leading to nodules, polyps and wastage. She prescribed the care and maintenance procedure following such complications through modifications in food habits, hygiene and voice rest. Dr. Pappu Venugopala Rao offered his compliments after which there were some queries and comments by Dr. M.B. Vedavalli, Sri Neyveli Santhanagopalan, Dr. Sumathi Krishnan, Dr. Kiranavali Vidyasankar and some audience members. The session ended with compliments and comments from Sangita Kalanidhi designate Kum. A.Kanyakumari.

MA Journal Inner 2017.indd 29 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

23 December 2016 The day began with prayer by Madhu Iyer.

Earlier Publications of Tyāgarāja’s Compositions The first session of the day was by Dr. V. Premalatha on the Earlier Publications of Tyāgarāja. The speaker began the session with a brief introduction about Tyāgarāja and explained the propagation of his compositions through the lineage of disciples in oral tradition and the manuscripts and publications in written tradition. Dr. Premalatha listed the various publications containing the compositions of Tyāgarāja with details of author, year of publication and whether the book contained only the text of the compositions or notations. She mentioned that while certain books exclusively contained the compositions of Tyāgarāja, some others presented the compositions of other vāggēyakāra-s too. Dr. Premalatha then took up the publications which presented only the sāhitya of Tyāgarāja’s compositions and pointed out the differences in the format of presentation compared to present day publications. The speaker next dealt with the publications containing notation of Tyāgarāja’s compositions and outlined the significant features in the presentation of notation. Dr. Premalatha made an observation that most of the early publications were printed in Chennai though the authors were from different places. The contribution of the various patrons in enabling these publications was also mentioned. Dr. Premalatha concluded by stating that an in depth study of these early publications would provide significant information and the practice of recording music in the form of written publication was indeed noteworthy. The session concluded with comments and compliments from Dr. Pappu Venugopala Rao, Dr. Ritha Rajan and Sangita Kalanidhi designate Kum. A.Kanyakumari.

Tyāgarāja and Bhadrācala Rāmadās The second presentation for the day was a lecture demonstration on Tyāgarāja and Bhadrācala Rāmadās by Vidūṣi Manda Sudharani. The speaker began her lecture with a brief history about the lives of both vāggēyakāra-s. Speaking about Bhadrācala Rāmadāsa, Manda Sudharani stated that he had composed in Telugu and Sanskrit and his compositions were suitable for congregational singing. The similarity with regard to the lyrical style and sāhitya usage between both composers was highlighted with examples. The speaker then cited many examples where Tyāgarāja referred to Rāmadāsa in his compositions and stated that Tyāgarāja was definitely influenced by Bhadrācala Rāmadāsa. Manda Sudharani then rendered excerpts from various compositions of Bhadrācala Rāmadāsa explaining the meaning and highlighting the emotional content in his compositions. The speaker further outlined the works of Annamaiya, Kṣētrajña and Purandara Dāsa. The theme of Rāma bhakti in the compositions of Rāmadāsa and Tyāgarāja was emphasised. Smt. Manda Sudharani reiterated the need for everyone to understand the sāhitya and emote it through the form of music.

MA Journal Inner 2017.indd 30 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Dr. Pappu Venugopala Rao explained the striking similarities in the construction and the structure of compositions of the two great composers. The session concluded with compliments of Sangita Kalanidhi designate Kum. A. Kanyakumari.

24 December 2016 The morning session commenced with a prayer by Bhavya Hari.

Dr. S.Ramanathan’s ‘A Day With Tyāgarāja’ The first lecture of the day on ‘Dr. S. Ramanathan’s A Day With Tyāgarāja’ was presented by Smt. S. Sowmya. The speaker began with a rendition of ‘nādatanumaniśam’ and explained her Guru’s conception and purpose of making such presentations in order for the audience to experience the feeling of spending a day with Satguru Tyāgarāja. She spoke of the manner of presentation of Sangita Kalanidhi Dr. S.Ramanathan who explained the journey of Tyāgarāja in the form of a story and his subtle humour and gripping narration were touched upon by the speaker. Dr. S. Sowmya described the daily routine of Tyāgarāja by rendering many kṛti-s, some of them being; ‘mēlukōvaiya’ to awaken Lord Rāma, ‘heccarikagā rā rā’, ‘sītā kalyāṇa’, ‘nāpāli’, ‘patitula brōcē’, maṅgalam in nādanāmakriya, pavvaḷimpu, ‘śobhānē’, ‘kṣīrasāgara’ and so on. She expressed the ease with which Dr. S.Ramanathan handled allied rāga-s, the comparisons he made with folk music and the interesting anecdotes that he shared through the course of his presentation. The session concluded with compliments from Dr. Pappu Venugopala Rao, Sangita Kalanidhi Smt. Sudha Ragunathan, and Sangita Kalanidhi designate Kum. A. Kanyakumari.

The voyage of music - Shaping a musician and music for instruments The second lecture demonstration was by Sangita Kalanidhi Designate Vidushi A. Kanyakumari who shared her experience in the music field. She was assisted by her students. The speaker began her talk by expressing her views on how to become a musician, the role of parents and the importance of choosing a Guru. An orchestral piece in rāga cārukēsi was performed. This was followed by a piece in rāga trimūrti containing three svara-s (ṣaḍja, madhyama and dhaivata), which was a creation of the artiste herself. The speaker then played audio clips of music composed by her for major cricket tournaments in 2011. Kum. Kanyakumari expressed that the compositions portrayed myriad emotions through different rāga-s. The speaker then demonstrated another composition in a rāga created by her to celebrate the 50th year of Indian Independence namely ‘bhārat’, which was a janya of śaṅkarābharaṇa. Kum. Kanyakumari concluded by stating that the possibilities of creating music in various instruments were endless and the uniqueness of musical instruments should be understood and supported by all. The session concluded with compliments from Dr. Pappu Venugopala Rao and Sangita Kalanidhi Prof. Trichy Sankaran.

MA Journal Inner 2017.indd 31 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

25 December 2016 The morning session began with a prayer by Rathnaprabha.

Tēvāram - its devotional and musical aspects The first lecture of the day was by Vidwan Kotilingam on the devotional and musical aspects of Tēvāram. The speaker began his lecture with a rendition of a tēvāram of Jñānasambandar ‘kaṇkāṭum mudalānum’. Sri Kotilingam mentioned the historical period during which tēvāram-s were composed and the role of Nambiyāṇḍār Nambi in compiling the ‘panniru tirumurai’. The contents of the panniru tirumurai were listed and the speaker stated that Nambiyāṇḍār nambi purāṇam was a major source of reference from which many aspects regarding the tirumurai could be gleaned. Sri Kotilingam mentioned that the compositions of Tirujñānasambandar formed the first three tirumurai-s and were known as ‘tirukaḍaikkāppu’, the fourth, fifth and sixth tirumurai-s contained the compositions of Appar which were known as ‘tēvāram’ and the seventh tirumurai contained the songs of Sundarar which were termed as ‘tiruppāṭṭu’. He further stated that the songs of these three saints have come to be jointly known as ‘tēvāram’. Sri Kotilingam discussed the three modes of classification namely paṇmuṛai, talamuṛai and varalāṛṛumuṛai. The 24 paṇ-s used in tēvāram were listed and the rāga equivalents for the paṇ-s were outlined. The speaker stated that while the paṇ-s were mentioned in the panniru tirumurai, there was no mention of tāla. The various poetic metres and embellishments employed by the saints were explained with examples. The speaker demonstrated a few tēvāram-s while explaining the meaning. Dr. Pappu Venugopala Rao thanked the speaker for a wonderful lecture demonstration. Dr. Ritha Rajan raised a query regarding araṅgan muṛai and Sri B.M. Sundaram shared his thoughts on the topic after which the session concluded with compliments by Sangita Kalanidhi designate Kum. A. Kanyakumari.

Veena Dhanammal - 150 years Commemorative Lecture Demonstration - Her Contribution to Carnatic Music The second session of the day was on Veena Dhanammal’s contribution to Carnatic Music by Vidvān Citravīṇā Ravikiran. The speaker began the lecture by stating that there were not many recordings of Dhanammal’s music available and one had to rely more on the references made about her music by other artistes. Sri Ravikiran stated that Veena Dhanammal collected repertoire from many sources and spoke of her steadfastness in preserving the repertoire. The speaker mentioned that Dhanammal interacted with many artistes and composers of her era which thus enabled a wide repertoire. The speaker touched upon the illustrious family of Dhanammal and highlighted the several ancestors and descendants who excelled in music and dance. Sri Ravikiran emphasised the fact that the entire Dhanammal family strove to preserve tradition and they were committed to the art without being concerned about displaying their prowess. The speaker described how Dhanammal, being an instrumentalist, influenced the course of vocal music in her era and spoke

MA Journal Inner 2017.indd 32 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

of the numerous musicians who came to listen to her in the chamber concerts at her residence. The speaker described her authority on Kṣētrajña padam-s that she mastered under the tutelage of Padam Balakrishna Das. Sri Ravikiran spoke of the musical nuances, the slow kālapramāṇa and different dimensions that the Dhanmmal family brought to Carnatic Music and stressed the prominence of viśrānti in their music. The speaker talked about the expertise of Sangita Kalanidhi T.Brinda and played a few recordings to highlight the minute details in her music. The speaker dwelled on the family’s inclination to retain the inherent aesthetic quality of the compositions. The session concluded with compliments and comments from Dr. Pappu Venugopala Rao, Dr. M.B. Vedavalli, Sangita Kalanidhi Prof. Trichy Sankaran and Sangita Kalanidhi designate Kum. A. Kanyakumari.

26 December 2016 The day commenced with a prayer song by Sai Shruthi and T.S.K. Mounika.

Safeguarding Cambodian shadow puppet theatre through audio-visual documentation The first session of the day, by Tarada Yoshitaka, dealt with the safe guarding ofthe Cambodian shadow puppetry. The speaker began by explaining the form called ‘Sbaek Thomm’, which began with the battle between the white and black monkey. An introductory short film explaining the shadow art culture was played. The making of the puppets, the musical instruments used and the role of the narrators, musicians and the puppeteers were all explained in detail. The speaker stated that this art form faded during the Khmer Rouge due to political turmoil, where many musicians and artists were killed. He further mentioned that efforts were taken to revive this theatre form in the late 20th century. Sri Tarada Yoshitaka emphasised the uniqueness of this particular theatre form as the puppeteers performed both behind and in front of the screen. The speaker concluded the lecture by expressing his desire to introduce as many people to the art form as possible. He also donated a copy of the videos and books about this art form to the Music Academy Library. Dr. Pappu Venugopala Rao complimented the speaker after which Sri B.M. Sundaram commented on the variations in the Cambodian version of the Ramayana from the Indian Version. The session ended with compliments of Sangita Kalanidhi designate Kum. A. Kanyakumari.

The svara or rāga in the rendering of text in Kūḍiyāṭṭam The second session of the day was about Kūḍiyāṭṭam by Sri Venu and Smt. Kapila Venu, assisted by Sri Rajiv on percussion. Sri Venu began by stating that kūḍiyāṭṭam was the sole surviving classical Sanskrit theatre of Kerala, which has a two thousand year old theatre-tradition. A brief introduction of the art form was made after which the speaker listed the various techniques used; namely āṅgika, vācika, āhārya, and sātvika. The speaker mentioned that a kūḍiyaṭṭam performance

MA Journal Inner 2017.indd 33 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

was a long drawn-out affair, spread over many days. He also explained that the complete story of Rāmāyaṇa was depicted through hand gestures in this particular art form. Sri Venu explained that rāga in kūḍiyāṭṭam denoted emotion and had no connection with the rāga-s of Carnatic Music. This was followed by demonstrations by Smt. Kapila Venu who enacted and sang different rāga-s used, while Sri Venu explained the context of usage. The session ended with comments and compliments of Sangita Kalanidhi designate Kum. A. Kanyakumari.

27 December 2017 Gāna Viṣāradā Biḍāram Kṛṣṇappā - 150 years commemorative lecture demonstration The first session of the day was a commemorative lecture celebrating 150 years of Biḍārām Kṛṣṇappā by Bangalore Sri S. Shankar, who was assisted by his son Ramani. The speaker began the lecture by giving biographical details of Biḍārām Kṛṣṇappā and the difficult times faced by Kṛṣṇappā’s family during his childhood. Sri Shankar mentioned that Kṛṣṇappā learnt from Karur Ramaswamy, as well as other guru-s like Vīṇa Śēṣaṇṇā. The speaker mentioned that the title ‘Gāna Viśārada’ was bestowed on Kṛṣṇappā by the Mysore Maharaja. Sri Shankar then went on to detail out the persona of Kṛṣṇappā making him much loved amidst musicians and music lovers and then listed the prime disciples of Biḍārām Kṛṣṇappā, such as Bangalore Nagaratnamma, Sangita Kalanidhis T. Chowdiah, Rallapalli Ananthakrishna Sarma, and so on. Interesting facts and anecdotes were shared by the speaker and a few audio clips of Krishnappa were played. Sri Shankar mentioned the efforts taken by Kṛṣṇappā to build a unique temple for Lord Rama amidst much hardship and detailed the structure of this temple located in Mysore. The compositions of Biḍārām Kṛṣṇappā were discussed with a few demonstrations and the speaker mentioned that the mudra ‘kṛṣṇa’ was used in all compositions. The speaker stated that there was a debate regarding the compositions of Biḍārām Kṛṣṇappā as it was opined by scholars that the mātu was composed by Sangita Kalanidhi Rallapalli Ananthakrishna Sharma and dhātu by Kṛṣṇappā. Comments and compliments were offered by Dr. Pappu Venugopala Rao, and expert committee members Sri B.M.Sundaram, Dr. M.B. Vedavalli, Dr. Ritha Rajan, and Sri V. Sriram. The session concluded with comments of Sangita Kalanidhi designate Kum. A. Kanyakumari.

Musical Structure of Padams The second lecture demonstration was by Dr. Nirmala Soundarajan on the Musical Structure of Padams. The speaker began by outlining details about the term ‘pada’ and stated that the theme of sāhitya in this musical form was based on śrṅgāra rasa. Dr. Nirmala mentioned that there was no

MA Journal Inner 2017.indd 34 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

documented structure for the musical nuances of padam-s and emphasised the contribution of the Vīṇa Dhanammal family in preserving this form. She further explained the salient characteristics in padam-s like dhātu repetition, the structure of pallavi-anupallavi-multiple caraṇa-s and the use of jāru and anusvara-s with apt demonstrations for all aspects. Dr. Nirmala stated that the musical flow of padam was similar to a rāga ālāpana where a detailed picturisation of the rāga could be perceived and also mentioned that the kālapramāṇa was generally slow, though interspersed with madhyamakāla phrases. The speaker concluded the session with a padam in suraṭi rāga and welcomed youngsters to learn and popularize the art of padam singing. The session ended with compliments and comments of Dr. Pappu Venugopala Rao, Sri B.M.Sundaram, Sangita Kalanidhi Trichur V Ramachandran, P Vasanthkumar, Suguna Varadachari and concluded with remarks of Sangita Kalanidhi designate Kum. A. Kanyakumari.

28 December 2016 The morning lecture sessions began with a prayer by Krupa Lakshmi.

Ciṭṭasvaram-s in the compositions of Tyāgarāja The first session of the day was by Dr. R.S. Jayalakshmi on theCiṭṭasvaram-s topic‘ in the compositions of Tyāgarāja’. Dr. Jayalakshmi was assisted by her student Kum. R.S. Shankari. The speaker commenced her lecture by stating that there were ciṭṭasvara passages available for 150 compositions of Tyāgarāja and reiterated the fact that these passages were not composed by the saint himself and were later additions, though they have become an integral part of the compositions. Dr. Jayalakshmi mentioned that she had taken the cittasvara passages appearing in early music publications and stated there were variations seen in a few cittasvara passages in different publications. She mentioned that the focus in various cittasvara passages was different; some being rāga prayōga oriented or pattern oriented, some ending with a kōrvai and some bearing many long kārvai-s. Dr. Jayalakshmi explained the various patterns in the cittasvarams in the pañcaratna kṛti-s of Tyāgarāja. She then demonstrated ciṭṭasvara passages from various kṛti-s like ‘mariyāda gādurā’ in śaṅkarābharaṇam, ‘darini telusukoṇṭi’ in śuddha sāvēri, ‘ī vasudhā’ in sahāna, ‘mā jānaki’ in kāmbhōji, ‘endudāgināḍo’ and ‘tappi bratiki’ in tōḍi, to name a few and also explained the salient features in the passages and the variations seen in different notation sources. She also stated that the author for few ciṭṭasvara passages was mentioned in certain books. Dr. Jayalakshmi concluded by making an observation that the ciṭṭasvara passages seem to have been composed by instrumentalists as can be gleaned by the various svara patterns employed. Dr. Pappu Venugopala Rao complimented the speaker for a focused, analytical lecture. This was followed by comments and queries by Sri B.M. Sundaram, Dr. Ritha Rajan, Dr. M.B. Vedavalli, Sangita Kala Acharya Smt. Seetha Rajan, Sangita Kalanidhi Smt. R. Vedavalli, Sangita Kalanidhis Sri Trichur V Ramachandran and Sri Sanjay Subramanian after which the session ended with concluding remarks of Sangita Kalanidhi designate Kum. A. Kanyakumari.

MA Journal Inner 2017.indd 35 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Rare Kṛti-s of Tyāgarāja The second session of the day was by Vidvān Sri B.M. Sundaram on the topic ‘Rare kṛti-s of Tyāgarāja’. He was assisted by Smt. Namagiri Ramesh & Smt. Srividya Ramakrishnan. The speaker commenced the lecture by explaining that the term rare denoted that which is not popularly rendered today and stated that he learnt these kṛti-s from his Guru Sangita Kalanidhi M Balamuralikrishna. This was followed by a demonstration of few kṛti-s; ‘sāmiki sari’ in bēgaḍa, ‘sākṣilēdanacu’ in baṅgāla, ‘ēdāri sañcarinturā’ in śrutirañjani, ‘pāhimām hari’ in pañcamukhi, ‘ēhi trijagadīśa’ in sāraṅga, ‘balamu kulamu ēla rāma’ in sāvēri and ‘pēriḍi ninnu’ in kharaharapriya. The speaker also outlined the sources from which Balamuralikrishna learnt these kṛti-s. Dr. Pappu Venugopala Rao, Sangita Kalanidhis Smt. R.Vedavalli, Sri Trichur V Ramachandran and Sri Sanjay Subramanian offered their compliments after which the session concluded with comments of Sangita Kalanidhi designate Kum. A. Kanyakumari, who reminisced about her violin accompaniment for M Balamuralikrishna.

29th December 2016 The day began with a prayer song rendered by Ms.Hiranmayee.

Tyāgarāja’s Naukā Caritram The first lecture demonstration of the day was on Tyāgarāja’s Naukā Caritram, presented by Dr. Y. Bhagavathi. She was assisted by Mr. Thyagarajan and Dr. Radha. The speaker began by stating that Naukā Caritram was one of the three gēya nāṭaka-s composed by Tyāgarāja and the theme of this opera was said to be the composer’s imagination. Dr. Bhagavathi mentioned that there were works in Marathi and Bengali literature based on the same theme. She then went on to explain the contents of the opera which contained daru-s, padya-s and vacana-s. The speaker elaborated the contents of Naukā Caritram and the artists rendered excerpts from the compositions thereby presenting a nutshell of the entire opera. The different similes and proverbs used by Tyāgarāja were pointed out. Dr. Bhagavathi mentioned that while the padya-s and daru-s were descriptive, the vacana-s served as links from event to another. The artists then concluded with the maṅgaḷam of the opera in suraṭi rāga. Dr. Pappu Venugopala Rao complimented the speaker and also added that Saint Tyāgarāja was influenced by Pothana and his poetry as he belonged to the time of Maratha rulers. Further comments and compliments were made by the expert committee members Sri B.M. Sundaram, Dr. M.B. Vedavalli and Dr. Sumathi Krishnan.

Tyāgarāja’s Prahlāda Bhakti Vijayam The second session of the day was on the other opera of Tyāgarāja namely Prahlāda Bhakti Vijayam by Smt. Sailaja, who was assisted by Kum. Hiranmayee. The presentation began with

MA Journal Inner 2017.indd 36 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

the gaṇēśa kīrtana ‘śrī gaṇapatini’ in saurāṣṭra rāga. This was followed by an introduction to Prahlāda Bhakti Vijayam where the speaker explained that the opera was inspired by the story of Prahlāda where Tyāgarāja sees himself as Prahlāda and Lord Viṣṇu as Rāma. Smt. Sailaja then discussed the structure of the opera which contained five acts with various poetic structures like kanda padya, sīsa padya, dvipada, campakamālā, utpalamālā and so on other than the daru-s and kīrtana-s. Following this, Smt. Sailaja outlined the story of Prahlāda Bhakti Vijayam, and emphasised that the main theme of the opera was that of ‘bhakti’. The speaker then pointed out the changes that were seen in certain songs between the original version and renditions popular in the concert platform, which were rendered by Hiranmayee after which the demonstration concluded with a phala śruti. Dr. Pappu Venugopala Rao congratulated the speaker and mentioned that the absence of Narasimha in the story of Prahlāda Bhakti Vijayam was significant. The session then ended with compliments and comments by Dr. R.S. Jayalakshmi and Sri V.Sriram.

30 December 2016 The day began with a prayer song rendition by Vanitha Sidharth and Svarathmika.S

Melattur Bhāgavata Mēḷa - Music & History The morning session began with a lecture demonstration on Melattur Bhāgavata Mēḷa by Dr. Takako Inoue. The speaker began by describing the evolution and history of Melattur Bhāgavata mēḷa and mentioned that it is currently performed in the villages of Melaṭṭūr, Sāliyamaṅgaḷam and Tepperumānallūr. She divided her presentation into three contexts namely Historical, Practical and Religious. Dr. Takako mentioned that this art form was said to be present right from the Chola period, though the first reference to the term Bhāgavata mēḷa was seen only during the Marāthā period. The speaker then outlined the origin and development of this form and made comparisons with the different yakṣagāna traditions. Dr. Takako stated that the theme of the dramas presented in Bhāgavata mēḷa were based on different stories of Lord Viṣṇu, with Prahlāda Caritram being one of the most popular themes. The procedure for the performance of Bhāgavata mēḷa, the different characters and their roles, the content of the drama and the different groups that perform this art form in Melaṭṭūr were all explained by the speaker. The performance of this art form in the other villages was briefly discussed and short video clips of the same were presented. Dr. Takako concluded by describing the Melaṭṭūr Bhāgavata mēḷa as a combination of Bhakti and Entertainment through the art forms of dance, music and drama. Dr. Pappu Venugopala Rao complimented the speaker and also illuminated the similarities between Kuchupudi and Bhāgavata mēḷa. He also added that the original classical tradition of Bhāgavata mēḷa was retained only in Melattur. The session concluded with comments and compliments of Dr. Ritha Rajan and Sangita Kalanidhi designate Kum. A. Kanyakumari.

MA Journal Inner 2017.indd 37 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Manuscripts of Tyāgarāja’s compositions at Madurai Saurashtra Library The second session of the day was by Prof. Damodaran about the Manuscripts containing the compositions of Tyāgarāja at the Madurai Saurashtra library. He began his presentation by tracing the origin of the manuscripts and explained how these manuscripts reached the library through Vālājāpeṭ Krishnaswamy Bhagavatar and Vālājāpet Venkatrama Bhagavatar. The speaker mentioned that the manuscripts were catalogued by Akella Mallikarjuna Sharma and Veturi Anandamurthy in 2002. A power point presentation of the various palm leaf and paper manuscripts containing the compositions of Tyāgarāja was made with details of the script, number of pages and contents of each manuscript. Prof. Damodaran also mentioned that there was supposed to be one manuscript hand written by Saint Tyāgarāja, but unfortunately this manuscript was no longer traceable. He also mentioned that the Vālājāpeṭ paper manuscripts were available for perusal and shared details of the same. The speaker expressed that there were many such manuscripts in the Saurashtra library but the library authorities were unwilling to share it with the public and hence accessing these important manuscripts was extremely difficult. Dr. Pappu Venugopala Rao suggested that further efforts have to be made by interacting with the Saurashtra Library to facilitate the availability of these Manuscripts in the public domain. The expert committee members added their comments and compliments.

31 December 2016 The day began with the performance by C.R. Vaidhyanathan School of Music who were the runners up of the Devotional music competition conducted by the Music Academy.

Panel Discussion - Kharaharapriya and its Janya Rāga-s as handled by Tyāgarāja The morning session was a panel discussion by eminent vidvān-s and vidūṣi-s on the topic Kharaharapriya and its janya rāga-s as handled by Tyāgarāja. The panel consisted of Sangita Kalanindhi-s Dr. R.Vedavalli, Sri Trichur. V. Ramachandran, Smt. Saroja and Smt. Lalitha, Sri T.V.Gopalakrishnan, Smt. Sudha Raghunathan and Sangita Kala Acharya-s Smt. Suguna Varadachari and Smt. Seetha Rajan. Dr. Pappu Venugopala Rao initiated the panel discussion by giving an introduction to the topic and laying out the contours for further discussion. This was followed by the first round of discussion which began with Smt. Sudha Raghunathan, who gave the basic introduction to kharaharapriya rāga, pointing out the svara-s in the rāga, and listing out the number of kṛti-s. This was further continued by Smt. R.Vedavalli who stated that the popularity of kharaharapriya was due to compositions of Tyāgarāja and Sangita Kalanidhi Papanasam Sivan. She also waded into the controversy regarding the kṛti cētulāra śrṅgāra which was rendered earlier in kharaharapriya but changed later to bhairavi. Smt. Saroja and Smt. Lalitha listed a few janya rāga-s of kharaharapriya and expressed that learning the various kṛti-s of Tyāgarāja would enable a good understanding of the rāga. Smt. Suguna Varadachari brought out the nuances of a few

MA Journal Inner 2017.indd 38 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

janya rāga-s like dēvāmṛtavarṣini and mañjari and explained that Tyāgarāja captured the ārōhaṇa and avarōhaṇa structure of the rāga in the very first line of his compositions. Following this Smt. Seetha Rajan stated that many janya rāga-s existed before kharaharapriya was structured. She then classified the various janya rāga-s according to their nature. Sri T.V.Gopalakrishnan agreed to and reinstated the points of the others and mentioned that kharaharapriya was a rāga that could be rendered by everyone. Sri Trichur V. Ramachandran explained about how his guru Sangita Kalanidhi G.N.Balasubramanian handled the rāga. The second round was an interactive session between the panellists. Smt. R.Vedavalli demonstrated the usage of plain gāndhāra in kharaharapriya and stated that it is not prevalent today. The session concluded with discussions among the various speakers and ended with concluding remarks of Dr. Pappu Venugopala Rao.

1st January 2017 The day commenced with a group performance by students of C.R. Vaidhyanathan School of Music. They were the winners of the devotional music competition.

Open House Dr. Pappu Venugopala Rao gave an overview of the all lecture demonstrations which were presented during the season and opened the house for suggestions from expert committee members and the audience. The expert committee members consisting of Sangita Kalanidhi Smt. R.Vedavalli, Sangita Kala Acharya Smt. Suguna Varadachari, Dr. Ritha Rajan, Sri B.M Sundaram and Dr. M.B. Vedavalli, contributed their points. The speakers highlighted the perfect time management and organisation of the lectures and appreciated the variety of topics that were included in the morning sessions. One of the collective suggestions was to reduce the number of participants in the panel discussion in the forthcoming years. Following this, Dr. Pappu Venugopala Rao highlighted the reasons for particularly selecting certain topics presented during the lecture demonstrations. This was followed by comments and suggestions from the audience. Sangeetha Kalanidhi Designate Kum. Kanyakumari concluded the open house by appreciating and also thanking the President Sri N.Murali and Dr. Pappu Venugopala Rao for organising such knowledge filled sessions.

MA Journal Inner 2017.indd 39 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Nine Compositions on Tyāgarāja

n this 250th year of the composer, we publish nine compositions on Tyāgarāja himself. Details of Ithe pieces, their composers and the sources from which we have obtained them are given below: 1. Svāmiki sari – Dēvagāndhāri, Ādi – Mānambucchāvadi Venkatasubbayyar. Sourced from the Swadēśamitran Archives of 1932 where it was first published byī K rtanācārya CR Srinivasa Iyengar 2. Guru Caranam – Śankarābharanam, Ādi – Wālājahpet Venkataramana Bhāgavatar. Sourced from Satguru Śrī Tyāgarāja Swāmigaladu Prathama Śīḍar Śrīmad Venkataramana Bhāgavata Swāmigalin Swara Sāhityangal & Vāzhkai Varalāru, compiled by Śrīmad Venkataramana Bhāgavata Swāmigaḷ Jayanthi Committee, Ayyampettai, 1991 3. Sadguru Svāmiki – Rītigaula, Ādi – Rāmanāthapuram ‘Poochi’ Śrinivāsa Iyengār. Sourced from Compositions of Rāmanāthapuram Āsthāna Vidvān Śrīman “Poochi” Śrinivāsa Iyengār, (with notation) in Tamil Script, edited by ‘Gāna Bhāskara’ Sangīta Vidvān Sri Salem D Chellam Iyengar, published by Higginbothams Limited, Madras, 1982. 4. Śrīmadādi Tyāgarāja – Kalyāni, Rūpakam – Sangīta Kalānidhi Mysore Vāsudevāchār. Sourced from Swadeśamitran Archives of 1956. 5. Ini Namakkoru – Bilahari, Rūpakam – Kōtīśvara Iyer. Sourced from Kandagānāmudam Vol 1, The Madras Law Journal Press, Madras, 1932 6. Ittharaniyil Tyāgarāja – Bēgada, Cāpu – Sangīta Kalānidhi Papanāsam Śivan. Sourced from Brahmaśrī Papanāsam Śivan Avargalin Kīrtana Mālai, Part 3, compiled by Rukmini Ramani, sixth edition, Chennai, 2005. 7. Mānavakula Bhusana – Hindōlam, Miśra Jhampa – Sangīta Kalānidhi GN Balasubramaniam. Sourced from Compositions of Sangīta Kalānidhi GN Balasubramaniam Vol III, GNB Foundation, Chennai, 2005 8. Kākarlakalaśāmbōdhi – Verse by Dr V Raghavan. Sourced from Kavikōkila Mañjari, Vol 1, Booklet with two CDs Published by the Dr V Raghavan Centre for Performing Arts, Chennai, 2005 9. Tyāgarāja Gurum Āśrayē – Kēdāram, Rūpakam – MD Ramanathan. Lyrics and Notation given by Sangīta Kalānidhi Sanjay Subrahmanyan. We thank Dr. Meenakshi (Sumathi) Krishnan, Dr. Ritha Rajan, Dr. R.S. Jayalakshmi, Sumithra Vasudevan, Sweta Balasubramanian, and Aarthi & Archana for helping us with the transliteration, sourcing and notation. We thank Kavitha Devarajan for helping with diacritical marks – Editor

MA Journal Inner 2017.indd 40 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Svāmiki Sari Mānambucchāvadi Venkatasubbayyar

MA Journal Inner 2017.indd 41 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

÷´VÔD - º>kÔVÕ>Vˆ >V·D -g] (ƒ-ˆ, ∂-ÔV, à-\, √, ƒ-Á>, ÔV-W) √_Ès . ; ; ; >V Z ¸V ¸V ; ¿ ¸V ¸ W >V > ¿ > √V ; | ¸kV - t ˛ v ˆ |

; ; ; \V √V >V √\\V ; | \V \ Ô √ \ Z ; vV Z \ Ô || ®À - k - ´ | ™ k› à ||

Z ; vV Z vV ; v W. >. V vV ; Z vV Z ; ; ; | - ¸k´ ´V Ô à >V |

; ; √V \V √V ; ; W > | √\\V ; \ Ô Z Z ; W > √ \ || W-] ƒÕ › Ú | Á¶ - ™ - › BV Ô || . >V ; >V - >V Z ¸V ¸V ; >V ¿ ¸V ˆ ¸ W >V, > ¿ >√V ; | ´V - Ö ¸kV - t - ˛ v ˆ |

-do- || || ∂–√_Ès . . . ; ; ; ¸ W >V ¸V Z ; ; ; Z ; ¸V ˆ ¬-¬ DV ¬ | Ø - - t-ºÈV - – - v-Ô -È | . . . . . Z ; ¸V ˆ ¬ ˆ ¸ ¸V ¸V ; | ¸V >V ¸V ˆ ¸ >V; ; Z ¸V; || - Ö-– - K x | > x º>V || . ; ; ; >V Z ¸V ¸V ; ¿ ¸V ¸ W >V > ¿ > √V ; | ÿ√V Ô - ¶ - > ˛ - ™ - v› |

MA Journal Inner 2017.indd 42 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

; ; ; \V √V>V √\\V ; | \V \ Ô √ \ Z \V √V \ √ >V || ˇÏ - ›]-k - | Nâ E ™ ||

>V ; ; - (¸kVt˛)

ƒ´ÜD ; ; ; √V ; √V - √V ; ; ; ; √ √ \ Ô Z Z ; | ÔV -™-ºÈV K ÿ¶· - - |

; ; √V > √ \ √, \ >V >V ; | ¸ W >V > ¿ > √V - √ √ \ \V Ô || ÿk∫ - Ô - º¶ - | ák - Ú M - - - > - ™ - ||

ˆ v Z ; vV Z Z Z ˆ Ô Ô \V Ô Z ; ; v Ô ˆ v W. >. V | - ÔV - ™ x - º>V - √ - ´ - |

; ; ¿ vV Z vV Z ; | \V ÔV Z \V √V ; ; ; || k ƒ x - ÔV | ºÖ - E - || . . . ; ; ; ¸ W >V ¸V Z ; Z ; ; ; ¸V Z ¬ DV ¬ | \V - ™ -Ô- º™ - > - ™ - | . . . . . Z ; ¸V ˆ ¬ ˆ ¸ ¸V ¸V ; | >V ¸ ˆ ¸V >V; ; Z ¸V ; || - „Ú> B Ô | È - Á\™- || . ; ; ; >V Z ¸V ¸V ; ¿ ¸V ¿ >V > ¿ > √V ; | \Õ ] - ´ - x ™ |

; ; ; \V √V >V √ \ \V ; | \V \ Ô √ \ Z Z ; W > √ \ || –[ - à ÿÔV - | M - ™ - p › BV Ô ||

>V; >V | ´V Ö (¸kVt˛) |

MA Journal Inner 2017.indd 43 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Guru Caranam Wālājahpet Venkataramana Bhāgavatar ‡Ê¢∑§⁄UÊ÷⁄UáÊ◊˜Ô •ÊÁŒ ¬À‹flË ªÈL ø⁄UáÊ¢ ÷¡⁄U - „U ◊ÊŸ‚ ŒÈÁ⁄UÃ ªÈáÊ¢ àÿ¡⁄U •ŸÈ¬À‹flË ‡Ê⁄UáÊÊªÃ ¡Ÿ ŒÈÁ⁄UÃÊflÁ‹ ‚◊˜Ô- „U⁄UáÊ¢ ÷fl ‚Êª⁄U Ã⁄UáÊ¢ üÊË ø⁄UáÊ◊˜Ô v) ∑§Ê∑§‹Ê¸ãflÿ ¡‹Áœ ‡Ê‡ÊÊ∑¢§◊˜Ô ‡ÊÊ∑§ ÁŸ∑§⁄U ‚¢„U⁄U ÁflLŒÊV◊˜Ô ‹Ê∑§ÊŸÈª˝„U ∑§⁄U◊˜Ô •∑§‹¢∑§◊˜Ô üÊË ∑§ÊLáÿ ÁŸÁœ¢ ÁŸ‡‡∑¢§◊˜ÔH (ªÈL) w) ⁄UÊ◊ ’˝rÊÔ ‚ÈœË◊ÁáÊ ÃŸÿ◊˜Ô ⁄UÊ◊ ŸÊ◊ ¬Á⁄U¬ÍÁ⁄UÃ NUŒUÿ◊˜Ô ∑§Ê◊ ∑§ÊÁ≈U ‚ÈãŒ⁄U◊˜Ô •Ÿ¬Êÿ◊˜Ô ¬˝◊ ÷ÁQ ÿÈÃ ¡Ÿ ‚◊ÈŒÊÿ◊˜Ô H x) ŸÊ⁄UŒ ªÈL ∑§LáÊÊ ¬ÊòÊ¢ üÊË◊Ÿ˜Ô ŸÊ⁄UÊÿáÊ œÎÃ ÁŒ√ÿ ‚ÈªÊòÊ◊˜Ô ‚Ê⁄U‚ŸòÊ¢ ‡ÊÈ÷ øÁ⁄UòÊ◊˜Ô ¬⁄U◊ ¬ÁflòÊ¢ ’Èœ ¡Ÿ Á◊òÊ◊˜ÔH y) œÎÃª∂ ÃÈ‹‚Ë ◊ÁáÊ„UÊ⁄¢U ‚¢- ÃÃ¢ •ªÁáÊÃ ‚fl∑§ ¬Á⁄UflÊ⁄U◊˜Ô •ÃÈÁ‹Ã ŸÃ¡Ÿ ÃÃ ◊ãŒÊ⁄U◊˜Ô ‡ÊÃ ‚„Ud ∑§ËÃ¸Ÿ ∑È§ÁÃ œË⁄U◊˜ÔHÔ z) ⁄UÊ¡ ⁄UÊ¡ ¬Á⁄U¬ÈÁ¡Ã ø⁄UáÊ¢ ⁄UÊÁ¡Ã ¬@ÔŸŒ¬È⁄UÊ ÷⁄UáÊ◊˜Ô ¬ÍÁ¡Ã ÷Í‚È⁄U fl⁄U üÊË àÿÊª- ⁄UÊ¡ÊuÔUÿ •ŸÉÊ ‚ÊˇÊÊÃ˜Ô üÊËH (ªÈL) {) ‡Ê◊Œ◊ÊÁŒ cÊ≈˜UÔªÈáÊ ¬Á⁄U¬ÍáÊ¸◊˜Ô •Á◊Ã ªÊŸ ‡ÊÊSòÊÊÕ¸ ÁŸ¬ÍáÊ◊˜Ô •◊‹ ⁄UÊ◊øãº˝ ¬È⁄Ufl⁄U flV≈U - ⁄U◊áÊ ÷ÊªflÃ Áfl◊‹ NUÁŒSÕ◊˜ÔH

MA Journal Inner 2017.indd 44 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

ˇÏ›>Á™ ´VÔD - ƒ∫Ô´V√´ÜD g: vˆÔ\√>W¸ 29 >V·D - g] { ∂k: ¸W>√\Ôˆv √_Ès ; v Z ÔZ ÔV ; ÔVÔˆ | ÔV ; ; Ô\ | √V, \ \ÔÔˆ || z Ú ƒ´ÜD √Ö. | º´ º«. | \V . ™.v. || vW. v Z ÔZ ÔV ; ÔVÔˆ | ÔV ; ; Ô\ | √>V√ \ÔÔˆ || . . z Ú ƒ´ÜD √Ö. | º´ º«. | \V. . ™.v. || vW. v Z Ô\Ô ÔˆˆÔˆ v¿. | vV ; ; ˆÔ | \V \ÔÔˆ Ôˆ || . . m ˆ >z . ÜD . ›BÖ | º´ º«. | \V Â v. || vW. v Z Ô\Ô ÔˆˆÔˆ v¿. | vV ; ; >W | ¸W >√V \Ôˆ || . . m ˆ >z. ÜD . ›BÖ | º´ º«. | \V . Â.v || vW. v Z Ô\Ô ÔˆˆÔˆ v¿. | vˆÔ\√>W¸ | ¸W>√V \Ôˆ || . . m ˆ >z. ÜD . . ›BÖ | º´ ...... | º«. \V Â.v || vW. ¸ ¿ >√V \ÔˆÔˆ v¿. | vZv vV ; | ; ; ; ; || . . m ˆ >z ÜD . . ›BÖ | º´ . . . | ||

∂–√_Ès

; v\ ÔV\V √V√V , √√V | ; ÔÔ \V,> √\ | ÔV√\ \Ô ÔV || v´ ÜV. Ô > ÖÂ | mˆ >V . . . | k . . Ñ. . || . ; v\ ÔV\V √V√>V W¸V | ; ¸W ¬ˆ ¸V | ¸W>W ¸V; || v´ ÜV. Ô > . ÖÂ | mˆ >V . . . | k . . . Ñ . . || . . ; ¸V¸W >√\Ô \V √V√>VW¸V | ; ¸W¸V ˆ¬D¬ˆ¸¸V | ¸W>W ¸V ; || v ´ . ÜV . . . Ô > . ÖÂ | m . ˆ >V ...... | k . Ñ . vD || . . ; >V >V,ˆ ˆ¸¸V ; ¸W>V√V | >W¸W >√√V √\ | Ô\√>√ \Ôˆ || « ´- ÜD - . √ .kvV | Ô . ´ . > . . ´ . | ÜD . . p.. ||

vW. . . zÚƒ´ÜD

MA Journal Inner 2017.indd 45 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

ƒ´ÜD ; Ô\ >√V\ \ÔˆvV v¿. | ; √. vV v ¿. | vV Z ÔV Z || ÔV. Ô . . ÏÈV...[ kB | ÖÈ ] v | vV . ∫ÔD . || ; Ô\ >√√\ \ÔÔˆ ˆv vV | ; W. vV ˆvV | vW. >. W. vV ; || ºvV.Ô.W. Ô . ´. . . vD | «´ ∏Ú | >V . . . ∫ÔD || ; v\ ÔV\V √V√V , √√V | ; ÔÔ \V,> √\ | ÔV√\ \ÔÔV || ºÈV . ÔV. – . ¬´« | Ô´ \ . Ô . | ·D.. ÔD . . || ; v\ ÔV\V √V √>V W¸V | ; ¸W ¬ˆ ¸V | ¸W >W ¸V ; || ºÈV. ÔV. – . . ¬´« | Ô´ \. Ô | ·D . . ÔD || . . ; ¸V¸W >√\Ô \V √V √>VW¸V | ; ¸W¸V ˆ¬D¬ˆ¸¸V | ¸W>W ¸V ; || ºÈV . . ÔV . . . . – . . ¬´« | Ô . ´ \ . . . Ô . . . | ·D . . . ÔD || . . ; >V >V , ˆˆ¸¸V ; ¸W>V√V | >W¸W >√√V √\ | Ô\√>√ \Ôˆ || p ÔV . Úı . . B . W]D | W¸ . . v∫. . . | ÔD ...... || v W. . . zÚƒ´ÜD (÷mº√V_ \u≈ ƒ´Ü∫ÔÁ·© √V¶°D)

MA Journal Inner 2017.indd 46 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Sadguru Svāmiki Poochi’ Śrinivāsa Iyengār

MA Journal Inner 2017.indd 47 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88 || || || || || || || || || || || || ¸V¬ZW = . >V·D : g] (2 ÔÁ·) ¸ W > >V \V . Ô \V , - \ ˆ ºÈ . > M - W¸V,-W¸W>->V\V - ºk ...-{ . -\. - , \Ô√\Ôˆ - ºÈ >.M. . - ¸V;-ˆ . ;-{ \ , - ºÈ > M - >W-¸¬ˆ¬-D¬¬ˆ . -ºk. . . -{... \.™. . . = | | | | | | | | | | | | , ¬- . ¬-Z . -vÔˆÔ\Ô\W- v Ô ˆ - . . W . √V; , ,, . √V - W . W . - vV É • √\ÔVZ - Ô Ô\ WW ...... - ¸\ˆ..[›v- v W .... vV.É•.- ,, ¸Vˆ ¸ \ˆ[›v-ºk ... - ..... , - vV É • - \>√\Ôˆ-vW ...... ¸\.-ˆ.... , [›v- | | | | | | | | | | | | vÔˆ- . ; , Ô\,√>√\V, - Ô \ ˆ vV v ; , v›-z .. Ú ...¸kV . t ˛ - - Ô ÔV , - Ô \ √ √V ¸ W >V ... - v Õ > >. x. ÿ√V. Ô . É Ô-√\Ôˆ-vV;-W √\ÔˆÔV=ÔV\V-W>>V\V-Ô ™ ..vV=v.›.z.Ú . . .-¸kV.-. . . . -t...-˛. . . - ,, - v Õ > >. x. - ÿ√V. Ô . É \V√\-ÔˆÔV= ÔV\V-ˆ¸W>>\-Ô\√V>√-√\Ôˆ- ,, ™...vV. = v.›. z t˛- Ú-¸kV - ÔV,-Ô\√√V√V-√V¸W - W>V\ Ô ...- vÕ>>.x.-ÿ√V... - Ô . É ¸ W > \ Ô ˆ = vV . = (v›zÚ) ´VÔD : Z]ÿÔ·Á· 1. 2 3

MA Journal Inner 2017.indd 48 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88 || || || || || || || || || || || || - v Ôˆ Ô\√ . W . - v Ô ˆ ÔV \ = . ˆ Ô - \V \ = z - º√V.]âE = hÈ ¸V - ¬ DV √ . ˜ - â E. Ôˆ- Ô\-√VW>>\V,- ÿ¶·p.-›BV...Ô...- v ¸V W > \ - √V ¿ Á¶-∂ k > ˆâE = ¸V ¿ - √ . ˜ - â E. | | | | | | | | | | | | - . - . - . √ W . - vÔ . -W . ¸ ˆ . √V - W . v W . - W . √ . ´V . - ˜ _ È Ô \– W v v-Ô W k ´ ÂV >VD à ƒ´ÜD | | | | > \V - W ¸ ¿ - ´ . -vV YM - ;¸VWˆ¸V-¸W>V\V- ;v›. . . -√. ¬m- ˆv - ˆvW ¬ D - ¬V ˆ > \V - Ô \ W ¿ ´ . - vV YM | | | | | | | | ∂–√_Ès E‚¶V¸k´D

. - . W . W . W . ´ v x Ô- ˇ . > .-ƒV¸›´-\Ï - \xÈ– ; , = vV v - ¿; ¸ W ˆ > ; , = v› z Ü -p vV . . . - . . . . - ; , = ¸ v vV - ; , = v› z Ü . - p;vV . . - . . . .- ; , = D ¬ DV - Z vV ˆ¬ ¸ ¸W>V¿- ; , = v› . Ô ] . - ÿ√V . . . - Õ]...™- \V √ \ ÔV Z = ´V . Ö. = (v›zÚ) ÔV \ √> - \√ - Ô\Ôˆv - Ô - \ Ô ˆ = ÔV W > - ¸ ¬ \ Ô ˆ = (v›zÚ) \ W > - \ Ô ˆ Ô \kq>ºÈV-\ Ô ˆ v - ÿ\- √V ´ • p - √â ƒ Â > x ™ - Ô ˆ \ - W > -\V -Ôv 2 1

MA Journal Inner 2017.indd 49 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88 || || || || \ W > - ¸V = ¬Ú√z - √V ›Ú Á¶ = , W > \ - Ô = , k ™ p .- ›BV.Ô = | | | | ¸V W - > \ ¸ . W > \ - Ô ˆÔ k ä. - Ú– ÿBV¬Ô ˆ B yÕ›´ - √ ´ \ √V | | | | (E‚¶V¸k´D ºkÔD √VÉ - √_Ès ®|¬Ô°D =) ¸V - W>W¸ . D¬ˆ . ¬ D - ˆ . Ô \ W > - ˆ ¸V kq º> k - > ™ • ¶ z- p . W kV v W > ¸ - ˆ B ƒ x ™ - W ´ Õ > . ÔV ÿÖÕ]™ \V √ \ . ÔV Z = ´V . Ö. = (v›zÚ)

MA Journal Inner 2017.indd 50 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Śrīmadādi Tyāgarāja Sangīta Kalānidhi Mysore Vāsudevāchār

∑§ÀÿÊáÊË M§¬∑§◊˜Ô ¬À‹ﬂË

H üÊË◊ŒÊÁŒàÿÊª⁄UÊ¡ªÈL ﬂ⁄¢U Ÿ◊Êêÿ„U◊˜Ô H

•ŸÈ¬À‹ﬂË

H ÷ÍÁ◊¡Ê⁄U◊áÊø⁄UáÊ∑§◊‹÷¡ŸœÈ⁄Uãœ⁄U◊˜Ô H

ø⁄UáÊ◊˜Ô

H ‚∑§‹‹Ê∑§‚¢‚ÁflÃ‚XËÃ‚ÊÁ„Uàÿ‚Ê⁄U÷Á⁄UÃ H ‚È‹Á‹Ã¬Œ‚ê◊›Ÿ‚ê‡ÊÊÁ÷Ã H H ‚VËÃ¸Ÿ‚È⁄UøŸ‚◊È¬ÊÁ¡¸Ã‚à∑§ËÁÃ¸◊˜Ô H ‚È⁄U◊ÈÁŸfl⁄U∑§ÊLáÿ‚Ü¡ÊÃ‚ÈôÊÊŸ◊˜Ô H H ‚Ê◊ªÊŸ‹Ê‹flÊ‚ÈŒflNUŒÿ‚ÈÁSÕÃ◊˜Ô H H ‚È¡ŸNUŒÿ¡‹Áœøãº˝◊◊‹flê‡Ê‚Ü¡ÊÃ◊˜Ô H

MA Journal Inner 2017.indd 51 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

´VÔD : Ô_BVË >V·D: ‘√ÔD

√_Ès . . , ¸ | ¸¸V¸ || ¸W>ˆ | ¸ˆ ¸W>V √\ || , p | \ >V ] || ›BV... | Ô. ´V. . . Ö . || . . . √ W >V | Z ¸V ; ¸V || ¸W¬ˆ | ¸W >ˆ ¸W >√ || z . Ú. | k ´D . Â. || \VD... | B. «D . . . . || . . >W¸ | ¸ ¸V ¸ || ¸W>ˆ | ¸ˆ ¸W >V√\ || . . p | \ >V ] || ›BV . . | Ô. ´V. . . Ö . ||

√W>V | ¿¸V ;; || z.Ú. | k´D ... ||

∂–√_Ès . . ; ¸V | ¸W>√\ÔV, ||Ô\ | > W ˆ ˆ || . Ø . | t. ÖV. . . . ||´\ | Ü ƒ ´ Ü || . . . . . ¸V Z | ¬V¬ˆ ¸V¸V ||ˆ ˆ ¸ W | >√ \√ >W ¸ˆ || Ô \ | È. √. Ö.™. ||m.´Õ. | . . > ´D . . . || . . . . . ; ¸V | ¸W >√ \ÔV, ||\>>\ | ÔV W ˆ ˆ W Z || . Ø . | t. . ÖV . . .. ||´.\ | Ü ƒ. .´ Ü || . . . . ¸ˆ¬D | ©D ¬ˆ ¸V ¸V ||¬ˆ ¸W | >√ \√> W¸ˆ || Ô . \ . | È. √ . Ö . ™ . ||m . ´D | . . . >. ´ D ... || . ¬ ˆ . . . (p\>V])

MA Journal Inner 2017.indd 52 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

ƒ´ÜD

; √ Ô | , \ √V √ || \ > W > | > W ¸W >√ √V || vÔ | È ºÈVÔ || vD . . . | ºv . . . s . > . ||

√\√> | √> √\ ÔV Z || Ô\Ô\ | Z Ô\√V √V || v∫ . . | . . ˇ . . > || vV . . . | N . ›B || . >\ | Ô \ > W || ¸ˆ ¿ | W¸>V >W√V || vV. | ´ √ ˆ > || q È | o . > √ . > . ||

\√>W | ¸W W> √V√\ || Ô\\ˆ | Ô\√V >W¸V || vD... | º\ . . ·™ . || vD . . . | ºƒV . .∏. >. || \›B\ ÔVÈD . . ˆ ˆ ¸W | > √ > > √ \ Ô ˆ || \ Ô √ \ | >√ ¸W>W¸V || v∫ˇÏ | ›>™q´ƒ™ v x || √VÏ . . . | ˜> v›ˇÏ›]D || . . . ¸ ˆ ¬ ˆ | ¸W >Wˆ W>√ || > W > √ | \ Ô √ ˆ Ô \ √V || q´xM | k´ ÔV.Úı B || vâÖV. | . > q¬ QV.™D || . . . . √\Ô> | >√ ¿> Z ¸ || ¸ ˆ ¬ ˆ | ¸W > W ¸ Z , || vV\ÔV | .™ ºÈVÈkVq || º>.k.„Ú | >B q. ¸]>D || . . . . . ˆ ¬ ˆ D | ¬ˆ ¸W>W¸W || ¬ˆ ¸¸ | W > > √ \ Ô \ √ || qÖ™„Ú | >B ÖÈ]ƒÕ›´ || \\ÈkD | . ƒ vâ . ÖV > D ||

>W . . . . . E‚Á¶ ¸k´D ; ¸ ˆ | Wˆ W√ >W>\ || √Ô\ˆ | Ô\ W .> >V; . || \ÔˆW | > VˆÔ \W>V || W>\Ô | \> ¬ˆ W >Wˆ || ...... >¬ˆ W . | Z >ˆ W >\V || \Ôˆ-D. | ¬ˆ Wˆ >¬Vˆ || ¸ .W >ˆ | , ¸W> √>W¸ || ˆ-\√> | W¸-ˆÔ \√>W || ¸ˆ (p \>V])

MA Journal Inner 2017.indd 53 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Ini Namakkoru Kōtīśvara Iyer ÷´VÔD: ∏È«ˆ >V·D: ‘√ÔD

√_Ès ÷M Â\¬ÿÔVÚ ÔkÁÈ• tÁÈ ®[ÆD ÷[√º\ - \™º\ (÷M)

∂–√_Ès AM> ›BVÔ´VÖ ¸kVt ÂD Ô™s_ kÕm ÔV‚E >Õ>V_ (÷M)

ƒ´ÜD 1. ÔÕ>Ïk ÔV™ ºÈVÈ Ô™ ÊÈ ›BVÔ´VÖV qÕ>´Ï ºvÁk Ôı¶ ÂD q˛Ï>º\ q˛Ï>D (÷M) 2. ´VÔ Ôs´VÖ ›BVÔ ´VÖ \«V´VÖ[ kVÔ >VÔºk kÕmÔÕ>Ú^ >Õ> >VºÈ ÂD√VÈ[ √VºÈ (÷M) 3. √VkÈ zâƒ´ >Vv ÂVkÈ[ ÂVD ›BVÔ´VÖ ÔVkÈ[ ∂Ú”D ÿ√uº≈Vº\ ºƒkÈ∫ ÿÔVÉBV[ ∂Ú·V_ (÷M)

MA Journal Inner 2017.indd 54 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88 || || || || || || || || , W >√ \Ô √> \ ™ º\ ÔV √V >V E >Õ > >V_ ÔV √V Ô ´V ÖV ¸W>√\Ô√> | | | | | | | | ¸V ; º\ >√\V ÔV ‚ Z ; ›BV \Ô√> >D || || || || || || || ||

. Z ¸V >V √ √V . √V >V ; ÆD ÷[ √ ¸V ¸ W>V√V s_ k Õm ÔV , ˆ vV Ê È ˆ ˛Ï> º\q˛Ï | | | | | | | |

. ˆ ; ÔV ; ®[ ; > Ô ™ ; vˆ Ô™ ,,, > q || || || || || || || || ƒ´ÜD √_Ès ∂–√_Ès √\ Ôˆ vV ÁÈ • t ¸V ¸ W > √ >V Ö ¸ kV t ÂD Z √ \ Ô ˆ vV ™ ºÈV È ¸V W >V √ ÁkÔı ¶ ÂD | | | | | | | |

. ˆ ¬ . ˆ >√\Ô Ô k ¸ ´V >√ \Ô ÔV ¸V ; ºv || || || || || || || || ¸V ¿ >V √V Â \¬ ÿÔVÚ √V >V ¸V > ›BV Ô √V ; >Ï k √V >V ¸V > ´Ï | | | | | | | | ¸V ÷ M (¸V) (÷) ; \Ô AM (¸V) (÷) ; ˆÔ ÔÕ ; \Ô qÕ (¸V) (÷) z§©A:- \u≈ ƒ´Ü∫ÔÁ·•D ÷º> \V]ˆ √V¶ºkıÉBm.

MA Journal Inner 2017.indd 55 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Ittharaniyil Tyāgarāja Sangīta Kalānidhi Papanāsam Śivan ÷´VÔD: º√Ô¶V >V·D: ƒVA

√_Ès ÷› >´Ël_ ›BVÔ ´VÖ v› zÚ ¸kVt¬ ˛ÁÜ ÿBkÏ (÷›)

∂–√_Ès E›> xÚ˛ Èl›m ¢>V´\ÜÁÜ m]›m E›´ v∫ˇ› ∂DÚ> >VÁ´ ÿ√VaÕ>kÏ ∂]ÈtµÕ>kÏ (÷M)

ƒ´ÜD >™¬ÿÔ™ ŒÚ √B[ÔÚ>V vÔÈ c√ÔV´D - ´V\ ¸kVtÁB √˜¬zD pkV_*˛ xMkÏ ∂k>V´D. \™¬ ÔkÁÈ•¶[ √k©∏ËBÔÈ \m´ÔsÁ>Ô^ c>°D v›>\Ï kVµsºÈ ´z√]ÁB•D ÂV´>Á´•D >ˆL›> c›>\Ï (>´Ë) √_Ès Ô\√ | >√ | > W || > √V | \V | ÔV || >´Ë | l_. | ›BV. || Ô ´V | Ö | v› ||

\√\ÔZ | vÔ | Z || Ô \ >√\V | ÔˆvV | , √ || z.Ú.. | ¸kV. | t¬ || ˛ÁÜ ÿB . . | kÏ | ÷› ||

Ô\√ | >√ | ˆ ¸ ¿ || > √V | √\\V | >V || >´Ë | l_. | ›BV || Ô ´V | Ö | v› ||

\√\ÔZ | vÔ | Z || Ô¸W >√\Ô | ˆ vV | W>>√ || z.Ú.. | ¸kV. | t¬ || ˛ÁÜ ÿB . . | kÏ | ÷› . . ||

MA Journal Inner 2017.indd 56 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Ô\√ | > √ | ˆ¸ W¸ || >√ \√>W | , > √V | √\ÔV || >´Ë | l _ | ›BV . . || Ô . ´V . . | Ö . | v› ||

\√\ÔZ | vÔ | Z || Ô¸W >√\Ô | ˆ vV | ; || z.Ú.. | ¸kV. | t¬ || ˛ÁÜ ÿB . . | k Ï | . . || ∂–√_Ès | ¸V || | E› || . W √ > | √ √ | Z || ¸V , | ¸V | ¸W¸V || > x Ú | ˛ È | l› || m | ¢ | >V . . ||

. . . . ¬ ¬DZ | ¸ ¸¬ | ˆ¸W¸ || √>V√ , | ; | ˆ ˆ ¸V || ´ \.Ü | Á™m. | ]› . . || m . . | . . | E› . . ||

. . . ¸W √ > | √ √ | D¬Z || ¸V , | W¸ˆ ¬ | ˆ ¸W¸ || > xÚ | ˛ È | l›.. || m . . | ¢ . . . | >V ... ||

. . ¬ˆ ©D¬ˆ | ¸ ¸ | ˆ ¸W¸ || √>V√ , | ; | \V || ´ \. Ü | Á™ m | ]› ... || m . . | . . | E› . . ||

> \V | \ÔÔV | \V || √>√ | ¸V | ¸ √> || ´ v∫ | ˇ . . | > || ∂x> | \V | ˆ ÿ√V ||

. ˆ ¸¿ > | √V, Ô | \ > || >√\√ Ôˆ | vV | W>>√ || aÕ . > | kÏ ∂ | ] È || tµÕ . > | kÏ | ÷› . || (>´Ël_)

MA Journal Inner 2017.indd 57 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

ƒ´ÜD \ >V | √\ | ÔˆÔV || Ô\V>√\ | Ôˆ | vV || >™¬ | ÿÔ™ | Œ.Ú || √. B[. | ÔÚ | >V ||

v Ô ˆ | Ô \ | >V || √V . | , √ | > √ || v Ô È | c √ | ÔV || ´D | ´V | . \ ||

. √\ÔV \ | √ > | √ > || ˆ ¸W¸ >√ | \√ Ô | ˆv || ¸ kV.t | ÁB √ | ˜¬ zD || p . . . kV_ | . . * | . ˛ ||

v Ô ˆ | Ô \ | >√\√ || ÔˆvV , | ; | ; || xMkÏ | ∂k | >V . . . || ´D . | . . | . . ||

W > √ | √\ÔV | Ôˆ ÔV || \ > √ | \ >√ | ÔˆvV || \™¬ Ô | k.ÁÈ | •.¶[ || √k© ∏ | ËB. | Ô . È ||

. \ Ô \ | √ > ¿ | > √ || > ˆ ¸W>√ | ¸V | ¸ ¸ || \ m ´ | Ô . s | Á>Ô^ || c . > . °D | v› | > \ Ï ||

. . . √ > √ | ¸V | ¬ˆ || ¬ˆ ©D ¬ˆ | ¸V | >ˆ || kVµs | ºÈ | ´z || √ . ] . ÁB | •D | ÂV . ||

. ¸ˆ ¸W>V | √V | \ > || √V \ | ÔV | √\Ôˆ || ´ > Á´ | •D | > ˆ || E›> | c› | >. \Ï. || (>´Ël_)

MA Journal Inner 2017.indd 58 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Mānavakula Bhusana Sangīta Kalānidhi GN Balasubramaniam

MA Journal Inner 2017.indd 59 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

÷´VÔD: NÕº>V·D >V·D: t¸´ÖD√ √_Ès 1. \V; ¿>V \VÔV\V; ÔVvVvV; ;v v | W. >. ¿. | vV; \V ÔV || \V. ™k. z.È.Ø. ≠Ü. p .. ›BV | . . Ô. | ´V . . Ö. ||

2. \V,W W>\V\Ô\V Ô\>Ô\VÔvV \\ÔvVvv | W. >. ¿. | vV; \V ÔV || \V. ™ k.z.È. Ø . . ≠Ü. p . . ›BV | . . Ô. | ´V . . Ö. ||

3. \V,W W>\VÔ\>W ¸W>\ÔVvV \\ÔvV, vv | W. >. ¿. | vV,vV W. vV || \V. ™ k.z.È. Ø . ≠Ü. p . . . ›BV | . . Ô. | ´V . Ö. ∂v. ||

a. \V; ÔV>V; >\>V¿ ¸V; ¸W¿>V >W | ¸W>V | \V>\ÔvW. v || \V. .™v∫.ˇ . . >. vV.. N..›B W. | A ÜV | .. ¬º´ ..ƒ ||

b. \Ô>\ÔV>V; >W¸W>V Ô\>Wv¬W¸W>¬¬ | ¸W>W | >\Ô\ÔvW. v || \V. . ™v∫.ˇ . . >. vV . . . N. .›B W. | A ÜV | .. ¬º´ ..ƒ || (\V)

∂–√_Ès 1. >V; \V>W¸V¸V; ¿ ¿ ¸V ; ¸V W¸¬V | ¸V¸W | >\>W¸V¸V || \V .™ ¿ . . B . v.›> E› . . > √. ¬. | m È | z.ÁÂ. .™ ||

2. >W¸W>\>W¸V¸V; ¬V ¿ ¸V; ¸VW¸¬V | ¸V¸W | >\>W¸V¸V || \V . ™ . ¿ . .B . v.›> E› . > √. ¬. | m.È. | z.ÁÂ. .™ ||

¸V; DV¬V;¸V W>¿ W¬¸V¿ >W ¸W>W | >V \V | Ô\W>\ÔvÔ || ÔV . ™.s...›B ÁÔ. .k_. .B ÿ\V v. z . | ™. Ã | h . .∏.™. || (\V)

MA Journal Inner 2017.indd 60 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

ƒ´ÜD \V; ÔV\VÔVvV ; vW. vV ; ÔVvV>. V ; | ¿. >. V | ¿. vVvV; || p... ÂV .´.>VD. . à. Á¶.. >.B.º>V | Â. k. | >. ˆD. E ... ||

ÔV; Ô\ÔVvV vvW. >. ¿. vV; ÔV¿. vVvV | \V ÔV | vV ÔV ; ÔV || \V...™V ...√. \V . . . ™.›kÕ..>.ˆ. A.ÿÈ_ | È. Ö. | . . lD . . E. ||

\V ; >V ÔV\V \V¿ \V ¿ >V\V ;\VÔV | vV ¿. | vV\VÔV\V || QV. .™V.Ï.áE. ºÈV.. v. Ô.È.ÔÏ..\.x. | È. –. | ÿ>.ND.E. ||

¿; >VW>\VÔV ÔV\V>V ÔV\V >V¿ WW | >>\V | \Ô\V¿ >V || p.ÂV. .m.M. ®_. .È. A.|. x.™.vV | . . ´. | √. ˜D. E. ||

1. >V; \V>W¸V¸V; ¿ ¿ ¸V ¸V ¸V W¸¬V | ¸V¸W | >\>W¸V¸V || ÔV. .™.Ö. ™. .>V√. \ Ü ƒ p . . | ´V \V | . . . DÚ>. ||

. 2. >W¸W>\>W¸V¸V ; ¿¸V¬V ¿ ¸V W¸¬V | ¸W>\ | >W¸¬¸V¸V || ÔV. ™ Ö ™. . >V√ \ Ü ƒ. p . . | ´V . . | \V. . DÚ >. ||

¸V; D¬¸V ; ¸WW>¿ >W¬¸VW >W¸W>W | >V \V | Ô\W>\ÔvÔ || √V. .™V.Ï. . . Ü.k. ¿ q>V.. ›Ú . .iÉ | ºƒ . . | Ô_. . ˛. ™. ||

\›B\ÔVÈD v\ÔvVW. v\Ô\ \W>\V>W¸W¸ W¸¬¸W>\ > | W¸ >V | W >\Ôv v\Ô || ∞. ™ÂVƒ ™ÂV \ ÖV™˛.√]ÔV. \ y ™Ö™N>©º´ | \ ÔV | ™ ´vV©] ºvV\ || (\V)

MA Journal Inner 2017.indd 61 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Kākarlakalaśāmbōdhi Verse by Dr V Raghavan

∑§Ê∑§‹¸∑§‹‡ÊÊê÷Áœ⁄UÊ¡º˝Ê∑§Ê‚ÈœÊ∑§⁄U◊˜Ô– ⁄UÊ◊’˝rÊÔÊÿ¸ÃŸÿ¢ ⁄UÊ◊’˝rÊÔ⁄UÃ¢ ‚ŒÊH ôÊÊŸflÒ⁄UÊÇÿ‚ÁjÁQ øÊÁ⁄UòÊ ¬˝ÁÃ¬ÊŒ∑Ò§—– ŸÊŒÊŸÈ‚ãœÊŸ ‹ÿÊŒ˜Ô¡Ëflã◊ÈÁQ ¬˝ŒÊÿ∑Ò§—H ªËÃ ¡ËflÊŸÈ÷ÍÃÒp ∑§ËÁÃ¸ŸÒ— ∑§ËÁÃ ÷Ê‚È⁄ÒU—– ⁄UÊ¡ãÃ◊◊⁄¢U àÿÊª’˝rÊÔÊÅÿ¢ ‚Œ˜ÔªÈ⁄¢U ŸÈ◊—H

MA Journal Inner 2017.indd 62 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Tyāgarāja Gurum Āśrayē MD Ramanathan

∑§ŒÊ⁄U◊˜Ô˜ L ¬∑§◊˜Ô ¬À‹flË àÿÊª⁄UÊ¡ ªÈL ◊˜Ô •ÊüÊÿ ‚ŒÊ ◊ÈŒÊ üÊË •ŸÈ¬À‹flË ŸÊª⁄UÊ¡ ‡ÊÿŸ ŒÊ‚◊˜Ô ⁄UÊª÷Êfl ‹ÿÊÀ‹Ê‚◊˜Ô ‚Ê◊ ªÊŸ ‚åÃ Sfl⁄U ‚à‚¢ªËÃÊflÊ‚¢ üÊË H (àÿÊª⁄UÊ¡) ø⁄UáÊ◊˜Ô fl⁄U ¬@ŸŒ ˇÊòÊ◊˜Ô fl⁄U ŸÊ⁄UŒÊflÃÊ⁄U◊˜Ô Sfl⁄U ⁄UÊª ‚ÈœÊ ⁄U‚ ÿÈÃ ‚¢∑§ËÃ¸ŸÊœÊ⁄U◊˜Ô fl⁄U ∑§ŒÊ⁄UÊlÁπ‹ ⁄UÊª ⁄UàŸ ◊ÊÁ‹∑§◊˜Ô ¬⁄U◊ ÷ÄÃ ÿÊÁªfl⁄U◊˜Ô fl⁄UŒ ŒÊ‚ ‚ãŸÈÃ◊˜Ô

MA Journal Inner 2017.indd 63 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

´VÔ3D : ºÔ>V´D >V·D : ‘√ÔD √_Ès 1. vW. √. V √.VvV ; vV | Ô\√V √\Ô\ Ôˆvˆ || | || ›BV Ô3 ´V Ö z3ÚD g¸ ´

ZÔV vV ; ; vV | vV; vVvV; vˆ || | || ºB v >3V x>3V p

2. vW. √.V √.VvV ; vV | Ô\√W ¸W√\ Ôˆvˆ || | || ›BV Ô3 ´V Ö z3 ÚD g¸ ´ . ZÔV vV; ; , ˆ | ¸W√W √\Ô \Ôˆvˆ || | || ºB v >3V x >3V p (›BVÔ3´VÖ)

∂–√_Ès vV; \VÔV ; \V | √V¸V ¸V¸V ; ¸V || | || ÂV Ô3 ´V Ö ƒ B ™ >V vD . . . ¸V; DV ¬V ; Z | ¸V ˆ ¬V ¸ ¸ Z ¸ ¸V || | || ´V Ô3 √4V k È ºBV _ ÈV vD . . . ¸V; DV ¬V ; Z | ¸Z ¸ ¸ˆ ¸W √V\V || | || vV \ Ô3V ™ v© > ¸k´

Ô\√W W√V\ \ÔVˆ | vZv vV; ;vˆ || | || v›v∫ ˇ3 >V kV vD p (›BVÔ3´VÖ)

MA Journal Inner 2017.indd 64 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

ƒ´ÜD ; Ô\ √V; √V √V | √V; √V; √V; || k´ √â ƒ ™ | > º≥› ´D ||

; Ô\ √V¸V ¿ √V | , \Ôˆ vVZ vV; || | || k´ ÂV ´ >V3 k >V ´D . ; Ô\V √¸V ¸V ¿ | ¸V; ¸V Z ¸V ¸V || | || ¸k´ ´V Ô3 q >4V ´ v • >

; √W W¸VW √WW√ | ,\ \ÔVˆ vZvvV || | || v∫ ˇÏ› > ™V >4V ´D

W. √. vV vV √\Ô ˆvv | vV\ ÔV\ √W \√V, || | || k ´ ºÔ >3V ´V›4 B˛2È ÂVÔ3 ´›™ \V oÔD . \Ô\ √¸¸ ¸D ¬ ˆ¸V | √¸W √V\ ÔVˆ vvV || | || √´\ √4¬ > ºBV ˛3k´D k´>3 >3Vv v[ –>D (›BVÔ3´VÖ) E‚¶¸k´D . vV, √ V, vV, √V | ¸V, ˆ ¸ W √V, \Ôˆ || . . vV ; ; ; ; , ˆ | ¸W√W√\Ô\ Ôˆvˆ || vv\ÔVˆ vv√\V√ | Ô\W√V W\√¸¿¸ || . . ¸¸D¬Vˆ¸Vˆ ¸V W | √VW √V\ ÔV\√V, || vv\Ô \VÔ\ √\√V | \√W√ ¿ √√¸W¸V || . . . ¸¸D¬ ¬ˆ ˆ ¸ ¸W√ˆ | ¸W√W √\Ô\ √V; || . . . ¸¸D¬ DV¬V , Z , | ¸V , ¿ , √V, ¬V ˆ || . . , ¸V ¿ √V¬ˆ ¸W√ | , ˆ ¸W √\V-\ Ôˆvˆ ||

MA Journal Inner 2017.indd 65 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

]BVÔ´VÖˆ[ ¬Ú]ÔÑ_ E‚Á¶¸k´∫Ô^ Dr. R.S. ÿÖBÈ’t Õ> gF°Ô‚|Á´ÁB ®ømk>uz 1859 x>_ 1950 kÁ´ ÿkÑBV™ A›>Ô∫Ô^ ÷>V[ x¬˛B g>V´\VÔ ®|›m^º·[. ]BVÔ´VÖÏ ®Õ> ˇÏ›>Á™¬zD E‚Á¶¸k´D ∂Á\¬Ôs_ÁÈ ®[√m WáƒBD. ÷Ú©∏–D ∂k´m Ê¶ÏÔ^ ÷Bu§B E‚Á¶¸k´∫Ô^ ∂kÏ ÔVÈ›]ºÈºB ÷Bu≈©√‚ÉÚ¬ÔÈVD ®™›º>V[Æ˛≈m. ÷Á> ]BVÔ´VÖÏ ∂∫ˇÔˆ›mD ÷Ú¬ÔÈVD. ]BVÔ´VÖˆ[ √âƒ´›™∫Ô^ ∂k´m ¸k´vVN›B›m¶[ ∂Á\¬Ô©√‚¶m >V[. k´VÑl_ ÔÚ›m ºkÆ√V| ÷Ú©∏–D \u≈ ÂV[z √âƒ´›™∫Ô^ ∂k´m √Á¶©A>V[. ÷ku§_ ∂kÏ ÁÔBVı|^· ¸k´ ∂Á\©A ∂k´m E‚Á¶¸k´ ]≈Á\ÁB ÂVD ∂§B c>°˛≈m. c>V´Ü›]uz Œ[Æ ÿƒV_k>V™V_ ÂV‚Á¶ √âƒ´›™›]_ ""√ √V W √ \ W √ \ \V √ \ Ô \ ˆ'' ®[≈ ¸k´©√z]l_ >yD> >Ô]t ®[≈ pattern ∂Õ> ¸k´D xøkmD ÁÔBV·©√‚ÉÚ©√mD, ∂>uz vVN›BxD ∂º> ÿ>Vz©∏_ ∂Á\Õm^·mD ∂k´m ]≈Á\ÁB ÔV‚|˛≈m. ]BVÔ´VÖˆ[ ˇÏ›>Á™Ô^ vVN›B\VÔ c^· A›>Ô∫ÔÑKD k´VÑ >s´ \u≈ku§uz ¸k´D c^·m. ÷Õ> Ô‚|Á´ ®ømk>uz ∞≈›>Vw 20 A›>Ô∫Ô^ √VÏ›º>[. ÷Ák ∂Á™›mD 1859-_ ÷ÚÕm 1951 kÁ´ ÿkÑkÕ>Ák. ÷ku§_ ÿ√ÚD √VÈV™Ák ÿ>K∫z ÿ\Val_ ®ø>©√‚¶Ák. x>[ x>o_ 1859_ ÿkÑBV™ A›>ÔD ""v∫ˇ> vÏkVÏ›> vV´v∫¬´«x'' ®[≈ ÿ√BÚ¶[ ÿ>K∫z ÿ\Val_ ÿkÑBV™m. ÷Á> TÁÜ ´V\V–ÖV ∂kÏÔ^ ®ø]•^·VÏ. \u≈ A›>Ô∫Ô^ 1. v∫ˇ> vÏkVÏ›> vV´v∫¬´«x -1859 TÁÜ ´V\V–ÖV 2. ÔVBÔºÈVƒ™D 3. ÔVº™ÕmºƒÔ´D 4. ÔVBÔ√VˆÖV>D >áÛÏ ƒºÔV>´ÏÔ^ 1902-1938 5. ÔVBÔE›>Vâƒ™D 6. v∫ˇ> ÔÈVW] 7. ¸k´ \âƒˆ 8. Oriental Music in European Notation - A.M. E[™ƒVt x>oBVÏ - 1893

MA Journal Inner 2017.indd 66 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

9. v∫ˇ> ¸kBD º√V]M - T.M. ÿk∫Ôº¶v vV¸›ˆÔ^ - 1892 10. ]BVÔ´VÖ ˇÏ›>™VK - \VË¬Ô ÿ\V>ÈVÚ - 1885 11. ]BV´VÖ ˇÏ›>™VK - Â´LD«√VÔk>Ï - 1908 12. ÔVÕ>Ïk Ô_√k_o - 1912 13. v∫ˇ> ¸k´©´¸>V´ vVÔ´x ÂV>xM √ıÉ>Ï - 1914 14. ∏´>\V©BVv A¸>Ôx - à©√´V\yH>Ï - 1905 15. v∫ˇ>V–√kvV´v∫¬´«x - 1917 16. ƒ∫ˇ> ¬Ú] >Ï√Üx - 1923 17. ÔV™√V¸Ô´x - KVS - 1934

¸k´>V· z§©A (Notation) ®ømkmD 1850¬z ∏≈z>V[ ÿ>V¶∫˛Bm. ∂>Vkm A›>Ô\VÔ ÿkÑkÕ> ¸k´>V· z§©A ÷Õ> ÔVÈÔ‚¶›]_ >V[. ∂]KD Â\¬z¬ ˛Á¶›m^· A›>ÔD TÁÜ ´V\V–ÖVs–Á¶Bm ®™ÈVD. ÷Õ> ÔVÈÔ‚¶›]_ Ì¶ ˇÏ›>Á™ÔÑ[ vVN›BD \‚|D ®ø>©√‚| ÿkÑBV™ A›>Ô∫Ô”D c^·™. ÷ÀkÁÔ A›>Ô∫ÔÑKD E‚Á¶¸k´D ÿÔV|¬Ô©√‚|^·™. g™V_ ∂]_ ¸>Vl A^Ñ, ÔVÏÁkÔ^ >V· ∂Á¶BV·D ÷_ÈV\_ >V[ EÈ A›>Ô∫Ô^ E‚Á¶¸k´›Á> ÿÔV|›m^·™. ∞≈›>Vw 50 ]BVÔ´VÖÏ ˇÏ›>Á™Ô”¬z E‚Á¶¸k´D ˛Á¶›>™. ÷Õ> 50 ˇÏ›>™∫ÔÑ[ E‚Á¶¸k´∫ÔÁ· gF° ÿƒF>]_ 1859D gıÉoÚÕm ÷[Æ kÁ´ ∂]ÔD \V≈V\_ ÷Ú¬zD E‚Á¶¸k´∫Ô^ EÈ c^·™. g´∏ ´VÔ›]_ g]>V·›]_ c^· ]BVÔ´VÖˆ[ ¬Ú] ""ƒVÈ Ô_ÈÈV|'' ®[≈ ¬Ú]l[ E‚Á¶ ¸k´D ÷[ÆD c^·m. x>o_ >uº√Vm √V¶©√|D E‚Á¶¸k´D.

¸V,. ¸>√. √√\Ôˆˆvvˆ> | vV, vˆ\√> | √ ˆ \√>\√> || ¸ˆD¬ˆ ¸ˆ¸ W>>√>¸¸ˆ | >¸√>¸ ˆ\√> - vˆ - >. vvˆ\ || 1885 \VË¬Ô ÿ\V>ÈVÚ ÿkÑl‚|^· ]BVÔ´VÖˆ[ ˇÏ›>Á™Ô^ ®[≈ ÿ>K∫z A›>Ô›]_ √È ¬Ú]Ô”¬z vVN›BD \‚|D ÿÔV|¬Ô©√‚|^·m. ""ƒVÈÔ_È'' ¬Ú]¬z \‚|D vVN›B›]uz ÷Á¶l_ ¸k´D ÿÔV|¬Ô√‚|^·m. ∂Õ> E‚Á¶¸k´D. ¸V, ¸>√ √V\Ôˆ \Ôˆvˆ | v>. V vZ \√ | > - vˆ \√>¸> || ZD¬ˆ - ¸¸ˆ - >>¸ - \√>¸ˆ | >¸√>¸ \√> | ˆ\√ - vˆ\√> || ÷Õ> E‚Á¶¸k´D √È A›>Ô∫ÔÑ_ ÿÔV|¬Ô©√‚|^·m. ÔVBÔ√VˆÖV>D - 1877, ÔVB™ ÔVBÃ Ö™√VˆÖV>x - 1878, ÔV™√V¸Ô´x - 1934 KV pMkVv ∂FB∫ÔVÏ, ÿÖFNÕ - 1947 º√V[≈ ÷[–D EÈ A›>Ô∫ÔÑKD ÷º> E‚Á¶¸k´D >V[ c^·m. >uÔVÈ›]_ √V¶©√|D E‚Á¶¸k´D WÁ≈B \Vu≈©√‚|^·m.

MA Journal Inner 2017.indd 67 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

√ÁwB A›>Ô∫ÔÑ_ ÔVÜ©√|D E‚Á¶¸k´›]_ ""¸W>'' ®[≈ ©´ºBVÔD ÷_ÁÈ. ]BVÔ´VÖˆ[ g´∏ √âƒ´›™›]KD ¸k´ vVN›B √z]l_ ""¸W>'' ®[≈ ©´ºBVÔD k´s_ÁÈ. ÷]oÚÕm "ƒVÈÔ_È' ¬Ú]l[ E‚Á¶¸k´D ]BVÔ´VÖˆ[ g´∏ÁB Œ›m^·m ®[√m ÿ>ˆ˛≈m. ]BVÔ´VÖˆ[ EiBÏÔ^ >V[ ÿ√ÚD√VÈV™ E‚Á¶¸k´∫ÔÁ· ÷Bu§•^·VÏÔ^ ®[√mD ÿ>ˆ˛≈m. ∂kÏÔ^ ]BVÔ´VÖˆ[ ´VÔ ∂Á\©Á√ ∂–ƒˆ›º> E‚Á¶¸k´D ÷Bu§ c^·m z§©∏¶›>¬Ô s≠B\VzD. ÷Õ> E‚Á¶¸k´›][ xÉ° ¸k´D Á>k>D. >uÔVÈ›]_ c^· E‚Á¶ ¸k´›][ xÉ° ¸k´D \›B\D. ÷´ı|º\ √âƒ\›]uz ÿ√VÚÕmD ¸k´D ®[√mD ∂§B©√¶ ºkı|D. N∫º>V· kvÕ>›]_ ""´V´V¢>V'' ®[≈ ‘√Ô >V· ¬Ú]¬zD ŒÚ E‚Á¶ ¸k´D ""v∫ˇ> vÏkVÏ›> vV´vV∫¬´«x''s_ ÿ>V¶∫˛ ÔVBÔ√VˆÖ>D, ]BVÔ´VÖ ˇÏ›>™VK º√V[≈ EÈ A›>∫ÔÑ_ c^·m. ÷Õ> E‚Á¶¸k´D \Vu≈º\ ∂Á¶BV\_ 1859 x>_ 1908 kÁ´ kÕ> A›>Ô∫ÔÑ_ c^·m. ƒ∫Ô´V√´Ü›]_ c^· ""\ˆBV>ÔVm´V'' ®[≈ g] >V· ¬Ú]¬zD √È A›>Ô∫ÔÑ_ E‚Á¶¸k´D c^·m. ÷Õ> E‚Á¶¸k´xD EÈ \Vu≈∫ÔÁ· ∂Á¶Õm^·m.

A.M. E[™ƒVt x>oBVˆ[ A›>Ô›]_ c^· E‚Á¶¸k´D SSPlKD (1905) ÷º> E‚Á¶¸k´D

√\√ÔV\ ˆÔ\ ÔVˆvW v> | ¿, √. V> W v | W vˆ W vˆÔ\ || ...... √>W¸V - ˆ¸¬ˆ ¸ D¸¬ˆ ¸W>W | ¸ˆ¸V - W>√V | \ÔˆvVˆÔ\ || ÔVBÔ √VˆÖVÔ›]_

√\√ÔV \ˆÔ\ ÔVˆv W. v. > | ¿. , vˆÔ >. W. | vˆÔ - W. W. vˆÔ\ || ÷Õ> E‚Á¶¸k´›][ x>_ gkÏ›>›][ ∏u√z]l_ \‚|D \Vu≈D c^·m. E[™ƒVt x>oBVÚ¬z ]BVÔ´VÖˆ[ EiBÏ kVÈVÖVº√‚Á¶ ÿk∫Ô¶´\Ü √VÔk>ˆ[ ∏^Á· kVÈVÖVº√‚Á¶ ˛ÚiÜ √VÔk>Ï >V[ ]BVÔ´VÖˆ[ ¬Ú]Ô”¬z ¸k´>V· z§©A (Notation) ÿÔV|›>VÏ ®[√Á> E[™ƒVt x>oBVº´ z§©∏‚|^·VÏ. gÁÔBV_ ÷Ák ÿk∫Ô¶´\Ü √VÔk>ˆ[ ºƒÔˆ©A ®[√m Â[z

MA Journal Inner 2017.indd 68 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

ÿ>ˆ˛≈m. kVÈVÖVº√‚Á¶ ÿk∫Ô¶´\Ü √VÔk>Ï, ˛ÚiÜ √VÔk>Ï ÷ÚkÚº\ √È E‚Á¶¸k´∫ÔÁ· ]BVÔ´VÖˆ[ ˛Ú]ÔÑ_ ÷ÁÜ›m^·™Ï ®[√mD E[™ƒVt x>oBVˆ[ A›>Ô›]_ ÷ÚÕm ÿ>ˆ˛≈m. 1910D gı| ÿkÑkÕm^· ƒ∫ˇ> s›BV>Ï√Üx ®[≈ A›>Ô›]_ ƒ∫Ô´V√´Ü›][ E‚Á¶¸k´D.

√\√ÔV\ ˆÔ\ÔVˆ vWv> | ¿ √V >Wvˆ | ÔWvˆ Ô\√> || ...... W¸ˆ ¸ ¬ˆ \¬ˆ ¸ W> ¿¸ˆ | ¸V¸V √>√V | \Ôˆv ,ˆÔ\ || 1916_ ÿkÑBV™ K.V. pMkVv ∂FB∫ÔVˆ[ v∫ˇ> ©´>VlM Part II-_

√\√ÔV \ˆÔ\ ÔVˆv W>W | vV, ˆvW> W | √.V, W vˆÔ\ || . . . . . √>W¸V √>Wv ZvW >W¸ | ¬Z¸W >ˆ ¸W | >√\Ô ˆÔ\ || ÷©√É EÈ \VÆ>_Ô”¶[ ÷Õ> ¬Ú]l[ E‚Á¶¸k´D 1893_ ÷ÚÕm 1916 kÁ´ kÕm^·m. v«V™V ´VÔ›]_ c^· ""~kq>V ¿kıÉ ÿ>Fkx'' ®[≈ g] >V· ¬Ú]¬zD √È A›>Ô∫ÔÑ_ E‚Á¶¸k´D ÔVÜ©√|˛≈m. ÔVBÔ E›>Vâƒ™D (1905)l_ c^· E‚Á¶¸k´D Z; ;ˆÔ \√ˆÔ \√>V | >√\ÔV\Z | Ôˆv ¿. ˆvW. | >. V >V;; >. W. vˆv ¿. ˆvW. | vV;; √ √ | V \Ô\ ZvW. | vvVv √√V√ \√>>V>>W | ¸¿¸ W¸>W | >√\>V>W¸ | . . . . . ˆ Z ¬Dˆ ¬ ˆ v ¿ >√\>W | ¸ˆ ¸ ¸V¸ √ | V √ˆÔ\ZvW. ||

v∫ˇ>¸k´ ©´¸>V´ vVÔ´x (1914), v>ˇÏ›>™ ¸k´VkÑ - 1911 C.S. ˛ÚiÜFBÏ g˛B A›>Ô∫ÔÑKD ÷>uz E‚Á¶¸k´D c^·m. ÷[ÆD ∂]Ô \Vu≈D ∂Á¶BV\_ √V¶©√|D E‚Á¶¸k´D ÷m. ÷©√É ∂]Ô \Vu≈D ∂Á¶BV> √È E‚Á¶¸k´∫Ô^ c^·™. ÔVDº√V˜ ´VÔ›]_ c^· ""\VÖV™˛'' ®[≈ g]>V·¬Ú]¬zD √È A›>Ô∫ÔÑ_ E‚Á¶¸k´D c^·m. ÔVBÔºÈVƒ™D, ÔVº™Õm ºƒÔ´D, ÔVÕ>Ïk Ô_√k_o, v∫ˇ>¸k´©´¸>V´ vVÔ´D, v∫ˇ>¬Ú] >Ï√Üx (1923) g˛B ®_ÈV A›>Ô∫ÔÑKD ÔVDº√V˜ \VÖV™˛¬z E§>·°D \Vu≈\Á¶BV> E‚Á¶¸k´D c^·m.

MA Journal Inner 2017.indd 69 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

;;; √W >W√> √\Ô\ | ˆ\Ô\. .ˆÔvˆ. | vW. >. √ . >.> .vv || ˆˆÔÔ \\-√> W>-√> \Ô√> | ˆ ¸¬ˆ D¬ˆ ¬ | ¸ˆ¸W >ˆ ¸W >√√>√\ (\VÖV™˛) g™V_ ÷[Æ ÷Õ> ¸k´D √V¶©√|k]_ÁÈ ®[√m z§©∏¶©√¶ ºkıÉB s≠BD. ÷º> ÔVDº√V˜ ˛Ú]¬z Á\ÛÏ kVàº>kVáƒVÏ ŒÚ E‚Á¶¸k´D ÷Bu§ c^·VÏ. ;;; \W >W√> \√\> . | √>\√. Ô\ .- .Ô√ | \√Ô\ ˆÔvˆ | Ô\√\ >√-\Ô √>¸W √>¸ˆ | ¬Dˆ ¬ ¸ˆ > ˆ | vW>√\Ôvˆ | Ô\√>√\ (\VÖV™˛) ÷Õ> E‚Á¶¸k´›]_ "¸W√>¸' ®[≈ ÔVÔo W≠V>©´ºBVÔD c^·m. A.M. E[™¸kVt x>oBVˆ[ A›>Ô›]_ "ÔVÚºk_A' ®[≈ Ô_BVË ´VÔ›]_ g]>V· ˛Ú]¬z E‚Á¶¸k´D c^·m. ÷Õ> ¬Ú]¬z 2 E‚Á¶ ¸k´∫Ô^ ÿÔV|›m ∂kuÁ≈ ÷Bu§BkÏÔÁ·•D z§©∏‚|^·VÏ. x>_ E‚Á¶¸k´D ˛ÚiÜ¸kVt √VÔkmK ®[Æ ÿÔV|›m^·VÏ. ÷´ı¶Vkm E‚Á¶¸k´D à©√´V\FBV ®™ ÿÔV|›m^·VÏ. ˛ÚiÜ¸kVt √VÔkmK ÷Bu§ c^· E‚Á¶¸k´D g] >V·›]_ 4 gkÏ›>D c^·m. à©√´V\FBVs[ E‚Á¶¸k´D 3 gkÏ›>D >V[ c^·m. ÷m uneven number gkÏ›>D ÷Ú©√>V_ not correct ®™ E[™vVt x>oBVº´ ∂É¬z§©A ÿÔV|›m^·VÏ. I svara - ˛ÚiÜ¸kVt √VÔkmK - Ô_BVË - ÔVÚºk_A - g] ¸Vˆ¿¸ >W¸V W>V√\√V | >VW>V√\Ô | \√V>\√Ôˆ. || vVW. ZvÔˆ. \VÔˆ√\>√. . | W>V¸W>√\. . Ô\√>W¸Z || >V, W¸ˆ. ¿, ¸ˆ ¬. W¸ˆ ¬ | D¬Vˆ ÔZ ¸ ˆ¸VW ¸W>√ . | >¿¸ˆ ¬ √>VW¸ˆ \√V> | W¸ - ˆÔV\√> - Ô\√>VWv ˆ || (vV; ¿ ÔV Ú svara - à©√´V\FBV II . ¸V, ˆ ¸W> ¸W>√>√\VÔ | \√> - ˆÔ\√ - vˆÔ\W. vˆÔ - >. || W vˆÔ\√>W ¸V¸VˆÔˆv ¿ ¿ vˆvW | . . . >V>VW¸W>√V>W>√\V √>√\ ÔV\V√>W¸ˆ ¬¸ˆ || . . . W¸>W√>\√Ô\ˆÔvˆ >W vˆÔ\√>W¸ˆ ¬ˆ ˆÔˆ ¸ . . . W¸ˆ ˆ ¸W>W¸¸W> ˆW>\ | Ôˆ>¿, vZ, Ô\V√>W || (ÔVÚ)

MA Journal Inner 2017.indd 70 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

÷]_ gkÏ›>›]_ ÷Á¶l_ ÷´ı¶VD ÔVÈ\VÔ E‚Á¶¸k´D ∂Á\Õm^·m. A.M. E[™vVt x>oBVˆ[ A›>Ô›]_ ""vˆ ®Àkº´'' ®[≈ p´âƒM ´VÔ ]BVÔ´VÖÏ ¬Ú]¬z (º>ƒV] >V·D) E‚Á¶¸k´D c^·m. ÷m BVÏ ÷Bu§B E‚Á¶¸k´D ®[≈ z§©A ÷_ÁÈ. ;; WW >\Vˆ Ô\Z | Ô-vˆW vVW > | W W v ¿ , ˆW || ...... vZÔ\V W>\>V >WW¸V | W>\V ,W>W | ¸V,ˆ ˆ ¬¸V || ¸VWW>\ (vˆ®Àkº´) ÷Õ> ´VÔ›]_ ]BVÔ´VÖˆ[ ¬Ú]ÔÑ_ \VˆÔVˆv ®[≈ ∏´ºBVÔ ∂Á\©A ∂]ÔD ÔVÜ©√|˛≈m. x›m¸kVt yH>Ï ¬Ú]lKD \ˆÔVˆv kÚ˛≈m. gÁÔBV_ p´âƒMl_ "\Ôˆv' ®[Æ kÚkm¶[ "\ˆÔˆv' ŒÚ x¬˛B\V™ ∏´ºBVÔD ®[√m ÿ>ˆ˛≈m. ÷Õ> ∏´ºBVÔD p´âƒM E‚Á¶¸k´›][ g´D√›]KD ÔVÜ©√|km. ]BVÔ´VÖÏ "\ˆÔˆv' ®[≈ ∏´ºBVÔ›Á> c√ºBV˛›>Á> ªÏ˜>© √|›m˛≈m.

A.M.C. A›>Ô›]_ ÿvVÔqÔVD DÚ>∫Ô>V·x ¬Ú]¬zD E‚Á¶¸k´D c^·m. ÷m ˛ÚiÜ¸kVt √VÔk>Ï ÷Bu§Bm. ÷Õ> E‚Á¶¸k´›]KD "\ˆÔˆv' ©´ºBVÔD >V[ c^·m. E‚Á¶¸k´∫ÔÑ_ ÷ÚÕm ]BVÔ´VÖˆ[ ´VÔ ∂Á\©Á√ ∂§B xÉ•D ®[√>uz p´âƒM ´VÔ ¬Ú]ÔÑ[ E‚Á¶¸k´∫Ô^ Â_È c>V´Ü∫Ô·V˛[≈™.

A.M.C.l_ º>VÉ ¬Ú] "">©∏©´]˛'' ®[≈ ‘√Ô >V· ¬Ú]¬z ŒÚ E‚Á¶ ¸k´D ˛ÚiÜ¸kVt √VÔk>´V_ ÷Bu≈©√‚¶m ®™ ÿÔV|¬Ô©√‚|^·m. . vˆ W¸ W>W> \Ôˆv | ÔˆvW >W vˆ Ô\Ôˆ | . .. . \Ôˆv >\Ôˆ ¸W>\ | ¬ˆ¬ˆ W>\Ô ˆv>. W. | vˆÔ\ Ôˆvˆ Ô\>W || ÷Õ> E‚Á¶¸k´D 5 gkÏ›>D c^·m. √âƒ\ kÏÖ E‚Á¶¸k´D. 5 gkÏ›>D ‘√Ô >V·›]_ ÷Ú©√m cE>\_È ®[Æ WÁ™›>>™V_ ÷Õ> E‚Á¶¸k´D gÆ gkÏ›>\VÔ ∏[™V_ kÕ> A›>Ô∫ÔÑ_ ∂Á\¬Ô©√‚|^·m. 1908_ ÿkÑBV™ Â´LD« √VÔk>ˆ[ A›>ÔD \uÆD ÿ√Ú∫z·D pWkVv ∂FB∫ÔVˆ[ A›>ÔD ÷´ıÉKD ˇµÔı¶ E‚Á¶¸k´D ÿÔV|¬Ô©√‚|^·m.

vZW vV>W √>\√ | Ô\VÔ ˆvˆW >W vˆ | . . . . . > W Ôˆ W > Ô\ W>\Ô | >W¬ˆ ˆ ¬ˆˆ W>>W | . . . . . >\Ô\ >W¬Z WˆW | , >W>V \>>V W>W ||

MA Journal Inner 2017.indd 71 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

÷m°D √âƒ\ kÏÖ E‚Á¶¸k´D, g™V_ xu§KD \Vu≈©√‚|^·m. ÷º> ¬Ú]¬z Âl™V∏^Á· ÷Bu§B ŒÚ E‚Á¶¸k´xD c^·m. . ¸V, ˆ - Wˆ ¸W>\>W | v¿>√ ÔVˆv >. VW. | vV, Ôˆ - W v ˆÔ\√> | \√VÔV\√V>¿ˆ | . . . vˆ ¬ ˆ W>>WˆW>\ | Ô\>\Ôˆ W. ˆ Ô\>W | ÔZW >\>W - ˆ¿> | \Ô\> - W>V\ Ô\>W || (>©∏©´]˛) ÷m ®‚| gkÏ›>D c^· E‚Á¶¸k´D. ∂º>V| "">yD >]∫˛Ü ÿ>VD' ®[Æ J[Æ ®‚|¶[ ºÔVÏÁk º√V[≈ ∂Á\©Á√ ÿÔVı|^·m. ∂º>V| ÷Õ> E‚Á¶¸k´›]_ √âƒ\D ÔVÜ©√|˛≈m. K.V. pWkVv ∂FB∫ÔVÏ ∞≈›>Vw 10 A›>Ô∫ÔÑ_ ]BVÔ´VÖÏ ¬Ú]ÔÁ· ÿkÑl‚|^·VÏ. 1900 x>_ 1924 kÁ´ ÷Õ> A›>Ô∫Ô^ ÿkÑkÕm^·™. 1. ÔV™√V¸Ô´x - 1900 2. ƒ∫ˇ> ©´>VlM - 1916 3. v∫ˇ> q>VDA] - 1917 4. ]BVÔ´VÖ „Ú>BD - J[Æ √VÔ∫Ô^ - 1922 5. ƒ∫ˇ> ´vVÏÜkD - 1924 ÷ÁkÔÑ_ ]BVÔ´VÖÏ ¬Ú]Ô^ √Èku§uz E‚Á¶¸k´D c^·™. ÷ku§_ ØÏÜƒÕ]ˆÔV ´VÔ›]_ g] >V·›]_ ÷Bu≈©√‚¶ ""ÿ>oL´V\'' ®[≈ ¬Ú]¬z K.V. pWkVv ∂FB∫ÔVÏ ∂kÏÔº· E‚Á¶¸k´D ÷Bu§•^·Á> ""˛´Õ>ÔÏ›>V'' ÷Bu§Bm ®™ z§©∏‚|^·VÏ. ÷Õ> E‚Á¶¸k´D ÷[Æ kÁ´ \V≈V\_ √V¶©√‚| kÚ˛≈m. 1911_ C.S. ˛ÚiÜFBˆ[ v>ˇÏ›>™ ¸k´VkÑ ®[≈ A›>Ô›]KD EÈ ¬Ú]Ô”¬z E‚Á¶¸k´D c^·™. z§©∏‚| ÿƒV_k>V™V_ ºÔ>V´D - \≈ºƒkV¶ÂV´V\ - g] º\V«™D - √k–> - g] ∂¶VÜV - √Ö™ºvB - ‘√ÔD 1912_ ÿkÑkÕ> ÔVÕ>Ïk Ô_√k_o ®[≈ A›>Ô›]KD E‚Á¶¸k´D ÔVÜ©√|˛≈m. ÷]_ ÖÔ[º\VNM ´VÔ ‘√Ô >V· ¬Ú]BV™ ºvV∏_K v©>¸k´ ®[≈ ¬Ú]¬z E‚Á¶¸k´D c^·m.

MA Journal Inner 2017.indd 72 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88 . . ¸W√V ˆ ¸W√. \Ôˆv. | WvÔV\√Ô\ √W¸ˆ | ¸¬V D¬ˆ ¸W√ˆ vV | W√ v¿√\Ô\V√W || ÷m ‘√Ô >V·›]_ 4 gkÏ›>D ∂Á\Õm^·m. ÷[Æ kw¬Ô›]_ c^· E‚Á¶¸k´D TÁÜ ÔVÁ´¬zÉ vVD√Ek ∂FBÏ ÷Bu§Bm. ÷m ÿ\V›>D 16 gkÏ›>›]_ ∂Á\Õm^·m. 1923_ ÿkÑBV™ ƒ∫ˇ>¬Ú] >Ï√Üx ®[≈ x–ÔıÉ √VvÔVÈ´VÀ ∂kÏÔ^ ÿkÑl‚|^· A›>Ô›]_ √È ]BVÔ´VÖÏ ¬Ú]Ô”¬z E‚Á¶¸k´D c^·™. ÷]_ EÈ √ÁwB E‚Á¶¸k´∫Ô^ ÿÔV|¬Ô©√‚ÉÚÕ>VKD, ∞≈›>Vw 10 º\u√‚¶ ¬Ú]Ô”¬z ˛´Õ>ÔÏ›>Vºk E‚Á¶¸k´D ÷Bu§ c^·VÏ. ÷kÏ ÷Bu§•^· EÈ E‚Á¶¸k´∫Ô^. 1. ÔVDº√V˜ - {´∫ÔƒVl - g] 2. c>B´sƒÕ›ˆÔV - ®Õ>ºÂÏE™ - g] 3. xÔVˆ - v´qÚ«ÂÂV - \›BV] 4. ÖBÕ> p - \ÚºÔÈ´V - g] 5. ˜∫ÔÈ - ∂™Vm¶– - g] 6. ÔV\¸ - Ê>V√º> - g] √ÁwB E‚Á¶ ¸k´∫Ô”D ÿÔV|¬Ô©√‚|^·™. c>V´Ü\VÔá ÿƒV_k>V™V_ 1. ÖÔ[º\VNM - ºvV∏_K - ‘√ÔD 2. ∂¶VÜV - √Ö™ºvB - ‘√ÔD 3. ƒ∫Ô´V√´ÜD - \ˆBV>ÔVm´V EÈ A›>∫ÔÑ_ Œº´ ŒÚ ¬Ú]¬z E‚Á¶ ¸k´D ÿÔV|¬Ô©√‚|^·m. g™V_ ÷Bu§BkÏ BVÏ ®[Æ z§©A ÷_ÁÈ. ÷>uz EÈ c>V´Ü∫Ô^ ""«VÏº\VMBV– √k v∫ˇ> ´›™x'' ®[≈ ""Ek´V\o∫ÔD'' ®[√k´V_ 1930_ ®ø>©√‚¶ A›>Ô›]_ Ô\V¸ ´VÔ›]_ c^· "qÖ™ äk™V' ®[≈ ‘√Ô>V· ¬Ú]¬z E‚Á¶¸k´D ÿÔV|¬Ô©√‚|^·m. v›BÂV´VBÜ JÏ›] ®[√k´V_ 1933_ ®ø>©√‚¶ ÔV™ÔÈV ƒÕ›ˆÔV ®[≈ A›>Ô›]_ «ˆÔVDº√V˜ ´VÔ›]_ ŒÔ\V¶ ŒÔ√VÜx ®[≈ ‘√Ô>V· ¬Ú], ˜∫ÔÈ ´VÔ›]_ "∂™Vm¶–' ®[≈ g]>V·¬ ¬Ú], ØÏÜ ƒÕ›ˆÔVs[ "ÿ>oL´V\' ¬Ú]¬z √ÁwB E‚Á¶ ¸k´D º√V[≈Ák•D ÿÔV|¬Ô©√‚|^·™. ÷©√É ÷[ÆkÁ´ √È ¬Ú]Ô”¬z E‚Á¶¸k´D ÷Bu≈©√‚|>V[ kÚ˛[≈™. ´∫Ô´V\V–Ö ∂FB∫ÔVÏ ®ø]•^· ""˛Ú] \Ë \VÁÈ'' ®[≈ A›>Ô›]_ √È ¬Ú]Ô”¬z E‚Á¶¸k´∫Ô^ c^·™. ÷ku§_ EÈ √wÁ\BV™Ák. √È ®©ÿ√Vøm BV´V_ ÷Bu≈©√‚¶m ®[≈ sk´D ÷_ÈV\_ ÔVÜ©√|˛[≈™.

MA Journal Inner 2017.indd 73 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

º\KD √È ¬Ú]Ô”¬z E‚Á¶¸k´∫Ô^ A›>Ô›]_ ÿkÑl¶©√¶V\_ zÚEiB √´D√Á´lKD kÕm^·™. ÷D\V]ˆ E‚Á¶¸k´∫Ô”¬z A›>Ô g>V´D ÷_ÁÈ. c>V´Ü\VÔá ÿƒV_k>V™V_ ÔVÁ´¬zÉ ƒVD√Ek ∂FBÏ, G.N. √VÈà©´\ıBD, √VÈx´Ñ ˛ÚiÜV ÷kÏÔ^ ÷Bu§B E‚Á¶¸k´∫ÔÁ·¬ Ì≈ÈVD. G.N. √VÈà©´\ıBD ÷Bu§B E‚Á¶¸k´D "k´´VÔÈB' ®[≈ ÿƒâàÔVDº√V˜ ¬Ú]¬z ŒÚ \z¶D ®[º≈ Ì≈ÈVD. EÈ ˛Ú]Ô^ √ˆ\Ñ¬Ô E‚Á¶ ¸k´∫Ô^ ÔV´Ü\VÔ ÷Ú¬˛[≈™ ®[Æ Ì¶ Ì≈ÈVD. ]BVÔ´VÖÏ ¬Ú]Ô”¬z E‚Á¶ ¸k´D ÷Bu§B s›kV[ÔÑ_ EÈÁ´ z§©∏¶ÈVD. 1. kVÈVÖVº√‚Á¶ ÿk∫Ô¶´\Ü √VÔk>Ï 2. kVÈVÖVº√‚Á¶ ˛ÚiÜ √VÔk>Ï 3. à©√´V\FBV 4. cÁ\BV^A´D ¸kVtÂV> nBÏ 5. Â´LD« √VÔk>Ï 6. x–ÔıÉ √VvÔVÈ ´VÀ 7. T.M. ÿk∫Ôº¶ƒ ƒV¸]ˆÔ^ 8. ºÔ.s. pWkVv ∂FB∫ÔVÏ 9. ]Ú¬ºÔVÉÔVk_ ˛ÚiÜFBÏ 10. ÔVÁ´¬zÉ ƒVD√Ek ∂FBÏ 11. √VÈx´Ñ ˛ÚiÜV 12. ÈV_zÉ ÿÖB´V\[ 13. ]ÚÁkBVÆ à©´\ıBD 14. G.N. √VÈà©´\ıBD ÷kÏÔÁ·›>s´ \uÆD √ÈÏ ÷Ú¬˛≈VÏÔ^. ]BVÔ´VÖÏ ¬Ú]ÔÑ_ c^· E‚Á¶¸k´∫ÔÁ· ®|›m ∂ku§[ ∂Á\©A >V·›]KD, >V·›][ ®|©∏KD, ´VÔ¸k‘√›Á> ÿkÑ©√|›mk]KD ®©√É c^·™ ®[Æ ŒÚ gFºk ÿƒF•D ∂·suz √È s≠B∫Ô^ ÷]_ c^·™. E‚Á¶¸k´∫ÔÁ· ÷Bu§BkÏÔ^ BVÏ ®[Æ Ôı¶§Õ>VºÈ ÿ√ˆB gFkVÔ ÷Ú¬zD. ÷Õ> gF°¬Ô‚|Á´¬ÔVÔ E‚Á¶¸k´∫ÔÁ· √VÏ›>]_ ˛Á¶›> s≠B∫Ô^ 1. ÿ√ÚD√VÈV™ E‚Á¶¸k´∫Ô^ Instrumentalist ÷Bu§BÁk ®™› º>V[Æ˛≈m. 2. ]BVÔ´VÖˆ[ EiBÏÔ^ √ÈÏ E‚Á¶¸k´D ÷Bu§•^·™Ï. 3. EÈ √ÁwB E‚Á¶ ¸k´∫Ô^ \Vu≈D ∂Á¶BV\_ ÷[Æ kÁ´ c^·™. c>V´Ü\VÔ, NÕº>V· kvÕ>D ´VÔ›]_ ∂Á\Õ> ""´V´V¢>V''

MA Journal Inner 2017.indd 74 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

¬Ú]ÁB¬ Ì≈ÈVD. ÷>[ E‚Á¶¸k´D 1859_ ÿkÑkÕ> ""ƒ∫ˇ> vÏkVÏ›> vV´ v∫¬´«x''s_ ÷ÚÕm \Vu≈D ÿ√≈V\_ c^·m. 4. ]BVÔ´VÖˆ[ ´VÔ ¸k‘√ º√V¬ÁÔ ∂–ƒˆ›m ÷Bu≈©√‚¶ E‚Á¶¸k´∫Ô^. c>V´Ü\VÔ - p´âƒMl_ ""ÿvVÔqÔ DÚ>∫Ô >V·x'', ""vˆ ®Àkº´'' g˛B ÷´ı| ¬Ú]Ô”¬zD E[™vVt x>oBVˆ[ A›>Ô›]_ E‚Á¶¸k´D c^·™. ÷´ıÉKº\ ""\Ôˆv'' ®[≈ ∏´ºBVÔ›Á> s¶ "\ˆÔˆvV' ®[≈ ∏´ºBVÔD ∂]ÔD c^·m. 5. Œº´ ¬Ú]¬z √È E‚Á¶ ¸k´∫Ô^. 6. ¬Ú]l[ ˛´«¸k´›Á> ∂§Õm ÿÔV^· E‚Á¶ ¸k´D ŒÚ g>V´D. 7. g], ‘√Ô >V·∫ÔÑ_ ∂Á\Õ> ¬Ú]ÔÑ_ >V[ E‚Á¶¸k´D ÔVÜ©√|˛≈m. 8. E‚Á¶¸k´∫ÔÑ_ J[Æ ÔVÏÁkÔ^, ´VÔ›]uz ÿ√VÚ›>\V™ Patterns ºÔVÏÁk º√V[≈ ∂Á\©AÔ^ ÔVÜ©√|˛[≈™. 9. g]>V· ŒÚÔÁ· ¬Ú]Ô”¬z 2 ∂_Èm 4 gkÏ›>›]_ E‚Á¶ ¸k´xD, ‘√Ô>V·›]_ 4 gkÏ›> E‚Á¶¸k´xD ÔVÜ©√|˛≈m. 10. t¸´ƒVA >V·›]_ c^· ¬Ú]Ô”¬z ∂]Ô\V™ E‚Á¶ ¸k´D ÷_ÁÈ. 11. √È √ÁwB E‚Á¶ ¸k´∫Ô^ ÷[Æ √V¶©√|k]_ÁÈ. g™V_ ÷[ÆD √È ]BVÔ´VÖÏ ¬Ú]Ô”¬z √ÈÏ E‚Á¶¸k´D ÷Bu§•^·VÏÔ^.

MA Journal Inner 2017.indd 75 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Notational variations in Tyāgarāja’s compositions in the earlier publications Dr. R. Hemalatha

he notations of Tyāgarāja’s compositions are available in the publications from the later part of the 19th century. Most of the earlier publications contain the compositions of Tyāgāraja apartT from the other composers. This paper tries to focus on the notational variations in the Tyāgrāja’s compositions in the earlier publications. The period before 1940 can be considered as the early Modern period (Ramanathan:1994) and the publications that came before 1940 are taken up for study. The first publication that contains the notations of Tyāgarāja’s compositions isthe Saṅgītasarvārttasārasaṅgrahamu of Vīṇa Rāmānuja. This was published in the year 1857. Incidentally this is the first publication on music to be published ever. There are 111 compositions of Tyāgarāja, of which the notation is available only for 21 compositions. As already mentioned, the publications that came before 1940 are taken up for study and therefore the Gānabhāskaramu of K V Śrīnivāsa Ayyaṅgār published in the year 1934 would be the final publication that has been taken up for study. Between Saṅgītasarvārttasārasaṅgrahamu and Gānabhāskaramu, the compositions of Tyāgarāja are available in 28 publications. The list of publications has been appended to this article. (Annexure 1) The variations are studies on the basis of the following • Variations in the rāga • Variations in the tāḷa • Variations with regard to current practice • Variations in the pañcaratna kṛti-s Even though it has been mentioned as Notational variations, the above categories are made as the variations with regard to the name of the rāga and tāḷa are considered to be of significance. The variations in melody with respect to the rāga have been taken up and the variations with regard to the saṅgati-s in a composition are not dealt in this paper, as it would be a separate topic to deal with. Even though the main focus is on the variations in the earlier publications, the last category, ‘variations with current practice’ has been included, as the notations of some of the compositions were similar in the earlier publications but the rendering of the compositions in the present day does not match with the notation in the publications. The fourth category ‘Variations in Pañcaratna kṛti-s’ focuses on the sequence of caraṇa-s in the kṛti-s which differs in the earlier publications and also with current practice. Now the categories mentioned above are taken up for discussion.

MA Journal Inner 2017.indd 76 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Variations in Rāga In this category, 64 kṛti-s are listed. The variations in the rāga can again be sub divided into four categories. A list of the kṛti-s that have variations in the rāga-s has been appended to his article. (Annexure 2) The variations in the rāga can be divided into four sub divisions: (a) Variations seen in the publications that give the text alone (b) The rāga name is different but the melody is somewhat similar. (c) The rāga name is same but the svarūpa of the rāga differs. (d) The rāga name is mentioned as Apurūpamu, that is, the name of the rāga is considered to be new. Now the above sub divisions would be taken up for study. (a) The name of the rāga is different in the publications that give notation and text respectively. For example the kṛti Aparādhamula is given as Rasāḷi in Ādi Tyāgarāja Hṛdayamu of K.V. Śrīnivāsa Ayyaṅgār whereas it is mentioned as Varāḷi in Tyāgarāja Kīrtanalu of Narasimha Bhāgavatar. In this the notation is available in the Ādi Tyāgarāja Hṛdayam whereas only the text is available in the Tyāgarāja Kīrtanalu of Narasimha Bhāgavatar. Since the melody of the kṛti in the rāga Varāḷi is not available it is not possible to analyse the different versions of this kṛti. (b) The rāga name differs and the notations are also available. Three compositions are taken up for discussion under this: The kṛti-s taken up for discussion are Cētulāra, Evarani and Raghuvīra. The kṛti Cētulāra is available in the rāga-s Naṭhabhairavi and Kharaharapriyā, the kṛti Evarani is available in three rāga-s Kharaharapriyā, Dēvāmṛtavarṣiṇi and Nādacintāmaṇi and the kṛti Raghuvīra is available in the rāga-s Husēni and Kharaharapriyā.

Cētulāra Naţhabhairavi Ādi SSSS-VR 1859 T Cētulāra Kharaharapriyā Ādi OMEN-AMC 1892 N Cētulāra Kharaharapriya Ādi GS-TB 1906 N Cētulāra Kharaharapriyā Ādi Ty Kirt - NB 1908 T Cētulāra Kharaharapriyā Ādi BBB-TPK 1913 T Cētulāra Kharaharapriyā Catuśra Tripuṭa SSPS-NP 1914 N Cētulāra Kharaharapriyā Ādi ATH-KVS 1922 N Cētulāra Nathabhairavi Ādi SRR-RI 1922 N Cētulāra Kharaharapriyā Ādi SK-TCT 1929 T Cētulāra Kharaharapriyā Ādi San.Sud-KVS 1917, 1929 N

MA Journal Inner 2017.indd 77 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

The kṛti, Cētulāra, the rāga name for which has been mentioned as Naṭhabhairavi in Saṅgītarājaraṅgom of Reṅganātha Ayyar. Whereas the books Oriental Music in European Notation of A M Cinnasāmi Mudaliār, Gāyaka siddhāñjanamu of Taccūru Brothers, Saṅgīta svaraprastārasāgaramu of Nādamuni Paṇḍita, and Ādi Tyāgarāja Hṛdayamu of K V Śrinivāsa Ayyaṅgār mention it as in the rāga Kharaharapriyā. The first line of the pallavi is taken up for discussion. The notation alone is given in the table below and the sāhityā is not included.

Name of the T 1 2 3 T V T V publication SRR , , ṡ , ṡ , ṡ n d p m , p d n , n d , n p , m p , , , , m p d n ATH , , ṡ , ṡ n d p m , p , d n , , d,nd p d d p p , , , , , , , m p GS ṡ ṡ , ṡ n d p m , p d n , d n n d p , d p p , m p , d , n n ṡ ṙ SSPS , , ṡ , ṡ , p n d p m , p , d n d,nd p m d , p p , , , , m p d n

From the notation of the first line given above, the pallavi starts after half akṣara as given in the notation in the publications Saṅgītarājaraṅgom, Ādi Tyāgarāja Hṛdayam and Saṅgītasvaraprastārasāgaramu whereas Gāyakasiddhāñjānamu gives a sama eḍuppu for the kṛti. It is interesting to note that even though Gāyakasiddhañjanamu gives the rāga as Kharaharapriyā, the notation seems to be different from that given in Ādi Tyāgarāja Hṛdayam and Saṅgītasvaraprastārasāgaramu. Moreover the notation in Saṅgītarājaraṅgōm seems to be similar even though it gives the rāga as Naṭhabhairavi. It would be of significance to note that in present day, the kṛti is rendered in Bhairavi whereas all the earlier publications mention it as in either Naṭhabhairavi or in Kharaharapriyā. The second kṛti taken up for discussion is Evarani for which the rāga is mentioned as Nādacintāmaṇi, Kharaharapriyā and Dēvāmṛtavarṣiṇi in different publications. The table below illustrates the publications that give this kṛti in different rāga-s and if the notation is available or only the text.

Evarani Dēvāmṛtavarṣiṇi Dēśādi Ty Kirt - NB 1908 T Evarani Nādacintāmaṇi Ādi SK-TB 1912 T Evarani Nādacintāmaṇi Ādi GK-RC 1912 N Evarani Dēvāmṛtavarṣiṇi Catuśra Tripuṭa SSPS-NP 1914 N Evarani Kharaharapriyā Ādi SRR-RI 1922 N Evarani Dēvāmṛtuvarṣiṇi Ādi SK-TCT 1929 T Evarani Kharaharapriyā Ādi GKC-AS 1933 N

MA Journal Inner 2017.indd 78 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

From the above table it is seen that the notations are available in all the three rāga-s. The first line of the Pallavi is illustrated in the table below:

Publication T 1 2 3 T V T V GK , , , n d n ṡ ṡ , , n , n , d p m g m n n n d n ṡ n ṡ , , , d n SSPS , , , n n n n , dnṡn d , n , dpmp , m m nd d,dn ṡ n ṡ , , , , , d,,n SRR , , , n n n n , dnṡn d , dnd,dpm, , , , m n d , n ṡ n ṡ , , , , , GKC , , , n d n ṡ , ṡ , , , n d d p p m pdn, ,,dnṡ,,n ṡ , , , , , ṡnnd From the notation given above, it can be said that even though the rāga name differs the melody seems to be similar. The Saṅgītasvaraprastārasāgaramu does not give the ārōha-avarōha whereas it mentions the rāga as a janya of 22nd mēḷa Kharaharapriyā. Gāndharvakalpavalli gives the ārōha and avaroha of Nādacintāmaṇi as ‘sa ri ga ma ni dha ni ṡa and ṡa ni dha pa ma ga ri sa’ under the 22nd mēḷa Kharaharapriyā. The notation given in Gānakalācandrikā has a phrase ‘p d n , , d n ṡ’ which suggests a krama phrase whereas in the other three books only the phrase ‘m n d n ṡ’ is seen. It is interesting to note that even though Saṅgītarājaraṅgōm gives the rāga name as Kharaharapriyā, the phrase ‘m n d n ṡ’ is seen in it. Even though the first line of the pallavi was illustrated with notation, while studying the phrases in the composition, it is found that the version given in Gānakalācandrikā differs whereas all the other versions are similar. For instance, the caraṇa line starts with the phrase ‘p m p ,’ in Gānakalācandrikā whereas it starts with the ‘p m d,’ in the other three books. Thus it can be said that versions of the kṛti in the rāga Nādacintāmaṇi in Gāndharvakalpavalli, Kharaharapriyā in Saṅgītarājaraṅgom and Dēvamṛtavarṣiṇi Saṅgītasvaraprastārasāgaramu seem to be similar, whereas the kharaharapriyā version given in Gānakalācandrikā seems to be different and has more krama phrases as in the rāga Kharaharapriyā. The third kṛti taken up for discussion is ‘Raghuvīra’ in the rāga Husēni. This kṛti has been given in the rāga Husēni in all the earlier texts whereas the publication ‘Rare and Unpublished Kīrtana-s of Tyāgarāja’ of T V Subbā Rao published in the year 1952, gives this kṛti in the rāga Kharaharapriyā. This version of the kṛti also has a ciṭṭasvara and it is interesting to note that there is variation in the sāhitya of the caraṇa as well. There is a note about the two versions in the Oriental Music in European Notation of A M Cinnasāmi Mudaliār (p 48) that Tyāgarāja himself composed two different versions and taught his students according to their requirement. Even though the Kharaharapriyā version is published in the year 1952 with notation, from the note given by A M Cinnasāmi Mudaliār, it is evident that he was aware of the two versions of this kṛti. (c) The third category taken up for discussion under the variations in the rāga is the name of the rāga does not differ where as the lakṣaṇa of the rāga differs. For instance the rāga Sāramati is given as a janya of the 22nd mēḷakarta Kharaharapriyā in Saṅgīta svara prastāra sāgaramu of Nādamuni Paṇḍita whereas K.V. Śrīnivāsa Ayyaṅgār and Reṅganātha Ayyar mention it as a janya of the 20th mēḷa Naṭhabhairavi. While analysing the

MA Journal Inner 2017.indd 79 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

notation it is found that the notations seem to be similar. Thus it can be said that even though the Notations are similar, since the rāga is mentioned as a janya of 22nd mēḷakarta Kharaharapriyā in the Saṅgītasvaraprastārasāgaramu, the difference in the dhaivata plays a significant role in the melody. (d) The last category mentioned under the variations in rāga is now taken up for discussion. In this category the name of the rāga itself is mentioned as Apurūpamu or Aparūpamu as it was considered that the name of the rāga itself was new and some of the publications which give the text alone mention this. For instance, the rāga for the kṛti Evarīkai is given as Apurūpamu in the publications Tyāgarāja Kīrtanalu of Tiruvīdhi Rāmānujayya and Tyāgarāja Kīrtanam of Taṅgavēlu Mudaliār. The Tyāgarāja Kīrtanam of Taṅgavēlu Mudaliār mentions the rāga name as Apurūpamu for the kṛti-s Ānandasāgara (Garuḍadhvani), Entavēḍu (Sarasvatimanōhari) and Evarīkai (Dēvamanōhari). However since this publication gives only the text, it is not possible to understand if there are any variations in the kṛti-s. Thus the four sub divisions mentioned under the variations in rāga were discussed above and it can be said that in the second and third categories the variations can be clearly understood whereas it is difficult to analyse the variations in the first and fourth sub division. Now the second category namely, the variations in tāḷa are taken up for discussion. Under this category, 154 kṛti-s can be listed. As mentioned under the variations in rāga, in the variations in the tāḷa also, there are variations in the publications that give the text alone and the publications that give the notation. Hence it is not possible to analyse the variations in the tāḷa. (a) The tāḷa name is mentioned as Ēka instead of Ādi. For instance, in the publication Tyāgarāja Kīrtanam of Taṅgavēlu Mudaliār, there is a note stating that to maintain uniformity, the kṛti-s are mentioned having set to Ēka tāḷa. In this publication, the kṛti-s set to Ādi tāḷa are all mentioned as set to Ēka tāḷa. (b) The tāḷa is mentioned as dēśādi or madhyādi for some kṛti-s which are mentioned as Ādi in some texts. Even though there is difference in the name of the tāḷa, the kṛti-s are rendered only in Ādi tāḷa rather than dēśādi or madhyādi. (Ritha:250). Apart from the variations mentioned above the variations in tāḷa also include • Tripuṭa and Cāpu • Jhampa and Miśra Jhampa • Rūpaka and Catuśra Rūpaka In these categories, it is seen that even if a kṛti is mentioned as set to Cāpu tāḷa, the notation markings suggest that it is Tripuṭa. Moreover it can be said that the difference between Tripuṭa and Cāpu lies in the kālapramāṇa, where Cāpu is considered to be a little faster than Tripuṭa tāḷa.

MA Journal Inner 2017.indd 80 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Regarding the Rūpaka tāḷa, it is Catuśra Rūpaka and there is no mention of the shorter version of the Rūpaka tāḷa which is in vogue today. Likewise there is no mention of the tāḷa khaṇḍa Cāpu and the kṛti-s like Gurulēka and Anupamaguṇāmbudhi are mentioned as set to Jhampa tāḷa and in the texts like Ādi Tyāgarāga Hṛdayam and Gānakalācandrikā, it is specifically mentioned as Miśra Jhampa and the notation is also available in miśra Jhampa. The publication Saṅgītarājaraṅgom mentions Anupamaguṇāmbudhi in tiśra Rūpaka and in the notation the tāḷa markings are given for Drutam and Laghu and it can be said that a faster rendering of this tāḷa would have paved the way for the kṛti being rendered in khaṇḍa cāpu to day. But it is not known how Miśra Jhampa became khaṇḍa cāpu, and the kṛti Dācukōvalēna set to miśra Jhampa tāḷa has not undergone a change and it can be said that probably the rāga Tōḍi and the placement of syllables did not allow the kṛti to be sung in Khaṇḍa Cāpu. The kṛti Rāma nīvādu in the rāga Kalyāṇi is set to Tiśra Laghu and not in Ādi Tāḷa (Tiśra gati) as it is sung today. Now the third category ‘variations with current practice’ is taken up for discussion. Before going into the variations in the versions of the kṛti-s with regard to present day practice, it would be of interest to look into the following statement in the foreword of the book “Srī Tyāgaraja Hṛdayam” of K.V.Srinivasa Ayyaṅgār published in 1922 - “The valuable compositions [of Tyāgarāja] have been mutilated beyond recognition by the musicians and singers of Southern India. And we also see that some of the kṛti-s are being sung in rāga-s different from those mentioned in the early books as shown below” (Ramanathan1994: 6).

Kṛti Rāga name in book Rāga in practice Mārubalka Ābhēri Śrīrañjani Paralōka Yamunā Mandāri Sujanajīvana Nāṭakuriñji Khamās

But K V Śrīnivāsa Ayyaṅgār himself gives the kṛti ‘Mārubalka’ in the rāga Śrīrañjani in his ‘Saṅgīta ratnāvaḷi’ in the year 1892 and again in Tyāgarāja Hṛdayam also it is mentioned as in rāga Śrīrañjani. The other two compositions are not available in the books of K V Śrīnivāsa Ayyaṅgār. Moreover, the notation for the kṛti ‘Paralōka’ is available only in Saṅgītarājaraṅgom in the rāga Mandāri. The other books which give the text also mention the rāga Mandāri for this composition. Regarding the kṛti ‘Sujana jīvana’, Tyāgarāja Kīrtanalu of Tiruvīdhi Rāmanujayya and Tyāgarāja Kīrtanam of Taṅgavēlu Mudaliār mention it as in the rāga Nāṭakurañji and these two books give only the notation. Even though the other books mention it as in the rāga Khamās, the notation is available in Saṅgītānanda Ratnākaramu of Tenmaṭam Brothers and Gānakalācandrika of Aripirāla Satyanārāyaṇa. Thus it can be said that the versions as mentioned by K V Śrīnivāsa Ayyaṅgār are not available even in the earlier publications. But the statement given by K V Śrīnivasa Ayyaṅgār suggests that the practice at that time itself had variations with the original form of the kṛti-s.

MA Journal Inner 2017.indd 81 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

With this introduction to this category, the ‘variations with the current practice’ of the kṛti-s with that given in the publications are taken up. Before going into the variations with regard to kṛti-s, it is interesting to note that the contour of some rāga-s mentioned in the publications has changed. For instance, the lakṣaṇa-s of the rāga-s Baṅgāḷa, Vasantā and Lalitā which have undergone a change are taken up for discussion. The rāga Baṅgāḷa has been mentioned as a janya of the 28th mēḷakarta Harikāmbhōji whereas in the present day practice, it is a janya of 29th mēḷakarta Dhīraśaṅkarābharaṇam. Regarding the rāga-s Vasantā and Lalitā, the kṛti-s given are Eṭladorikitivō and Sītamma respectively. The kṛti Eṭladorikitivō is available with notation in the books Oriental Music in European Notation and Ādi Tyāgarāja Hṛdayam. Both the books mention it as a janya of 15th mēḷakarta Māyāmāḷavagauḷa whereas in the present day the rāga Vasanta is a janya of 17th Mēḷakarta Sūryakāntam. The notation for the kṛti Sītamma is available in the books Oriental Music in European Notation, Prathamābhyāsapustakamu and Ādi Tyāgarāja Hṛdayam. The first two books mention the rāga Lalitā as a janya of Māyāmāḷavagauḷa and the ārōha and avarōha of the rāga is given as “s r s m d n ṡ - ṡ n d m g r s” (Oriental Music in European Notation) “s r s m g m m d n ṡ - ṡ n d m g r s (Prathambhyāsapustakamu) In the present day practice, even though the rāga Lalitā is a janya of the 15th Mēḷakarta, the gāndhāra is present in the ārōha in a krama manner rather than a vakra as given in Prathamābhyāsapustakamu or varja as given in the Oriental Music in European Notation. The Ādi Tyāgarāja Hṛdayam of K V Śrīnivāsa Ayyaṅgār mentions the rāga as a janya of the 17th mēḷakarta Sūryakāntam. The ārōha and avarōha given in this book is “s r g m d n ṡ - ṡ n d m g r s” While giving the rāga lakṣaṇa, there is a note stating that it is mentioned as a janya of 15th mēḷakarta by some people. While analysing the first āvarta in the Pallavi of this kṛti it is observed that Ādi Tyāgarāja Hṛdayam gives a krama phrase “s , r g , m” whereas the other two books give a gāndhāra varja phrase “s r s m , m”. Even though both the rāga-s are given as janya-s of the 15th mēḷakarta in the Oriental Music in European Notation and Prathamābhyāsapustakamu, the rāga Vasanta has krama phrase whereas the rāga Lalita has a vakra or varja gāndhāra. From these details and with the lakṣaṇa given in Ādi Tyāgarāja Hṛdayam, it can be said that the rāga Lalita mentioned in these books is similar to the rāga Vasanta of present day and vice versa. Apart from the variations in the rāga svarūpa, as said earlier the variations in the tāḷa are said to be there with regard to current practice. The tāḷa-s, Dēśādi, Madhyādi, Tripuṭa, Catuśra

MA Journal Inner 2017.indd 82 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Rūpaka and Jhampa have changed to Ādi tāḷa one and two kaḷai, Miśra Cāpu, shorter version of Rūpaka tāḷa and Khaṇḍa cāpu respectively. The tāḷa variations suggest that most of the tāḷa-s have been simplified and that by rendering a kṛti in the shorter version of a tāḷa as Cāpu, Rūpaka (of 3 akṣara-s instead of 6) and Khaṇḍa cāpu (2½ akṣara-s instead of 10 akṣara Jhampa tāḷa) will have an impact on the kālapramāṇa of the composition and the syllable placement in the kṛti. There are also variations with regard to the melody, that is, the present day rendering of melody varies with that given in the earlier publications For instance, in the notations available for the the kṛti ‘Vēṅkaṭēśa ninnu’ in the rāga Madhyamāvati, the first line of the pallavi commences with the phrase ‘ r r m p , p p ,’, whereas the kṛti starts off with the phrase ‘ṙ ṡ , ṡ , ṡ , , n n ṡ , n p ,’. The last category taken up for discussion is the ‘variations in the pañcaratna kṛti-s’. This category has been introduced in order to study when the term ‘pañcaratna kṛti-s’ was used first, the order of the kṛti-s and the sequence of the caraṇa-s in particular. The term ‘pañcaratna’ is first seen in the publication Saṅgītakalānidhi of Taccūru Brothers in the year 1912. Incidentally all the five kṛti-s are first seen only in this publication. The next publication which mentions the term ‘pañcaratna kṛti-‘s is the Saṅgīta Sudhāmbudhi of K V Śrīnivāsa Ayyaṅgār in the year 1917. Even though the ‘Oriental Music in European Notation’ is the first publication to give ‘Jagadānandakāraka’ only the Pallavi of this kṛti is available. The ‘Saṅgīta Vidyā Darpaṇamu’ of Veṅkaṭasvāmi Naiḍu and Sēthumādhava Rao gives the notation for the kṛti-s ‘Jagadānandakāraka, ‘Duḍukugala’ and ‘Sādiñcanē’ but since all the five kṛti-s are not available, it is not taken up for study. The order in which the five Kṛti-s are mentioned in the Saṅgītakalānidhi and Saṅgīta Sudhāmbudhi is as folllows: 1. Jagadānandakāraka – Nāṭa – Ādi 2. Duḍukugala – Gauḷa- Ādi 3. Sādiñcanē – Ārabhi – Ādi 4. Endarō mahānubhāvulu – Śrīrāga – Ādi 5. Kanakanarucirā – Varāḷi – Ādi Except ‘Kanakanarucirā’, the notation is available for the other four kṛti-s in Saṅgītakalānidhi. Moreover caraṇa-s that are in vogue today are not available in this publication. Apart from Pallavi, Anupallavi and Caraṇa, the sāhityā of ‘Kalakalamanu’ alone is available. In the Saṅgīta sudhāmbudhi, the sāhityā is available for seven caraṇa-s whereas the notation is available only for the Pallavi, Anupallavi and the caraṇa ‘Satatamu’. There is a note given by K V Śrīnivāsa Ayyaṅgār (p.246) where it is stated that after all the caraṇa-s are rendered with svara, the caraṇa ‘Kalakalamanu’ is rendered followed by ‘Satatamu’. This seems to be interesting because the caraṇa ‘Kalakalamanu’ is seen in the earlier publication ‘Saṅgītakalānidhi’ whereas

MA Journal Inner 2017.indd 83 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

the other caraṇa-s are not available. Moreover the notation or the svara-s for the other caraṇa-s are not available in this publication, but the note states that the other svara sāhitya-s. Regarding the other kṛti-s, there is no variation in the sequence of the caraṇa-s in ‘Sādiñcanē and ‘Endarō Mahāṅubhāvulu’ in these publications and it is also similar to that in vogue today, whereas the sequence of the caraṇa-s differs in ‘Jagadānadakāraka’ and ‘Duḍukugala’ with that of the current practice. While the sequence of the caraṇa-s of ‘Duḍukugala’ is similar in both the publications, in the current practice there are variations. Regarding the kṛti ‘Jagadānandakāraka’, in the Saṅgītakalānidhi eight caraṇa-s are available whereas Saṅgītasudhāmbudhi gives two more caraṇa-s. But the sequence of the caraṇa-s of both these kṛti-s differ with the current practice. The table below illustrates the sequence of caraṇa-s of these kṛti-s in the two publications.

Kṛti S.No Saṅgītakalānidhi Saṅgīta Sudhāmbudhi Jagadānandakāraka 1. Amaratāraka Amaratāraka 2. Indranīlamaṇi Indranīlamṇi- 3. Karadṛta Karadṛta 4. Sṛṣṭistidyanta Sṛṣṭistidyanta 5. Pādavijita Pādavijita 6. Sajjana Purāṇa 7. Ōmkāra Sajjana 8. Aganita Ōmkāra 9. - Aganita 10. - Nigamanīrajā Duḍukugala 1. Sakala Sakala 2. Cirutaprāyamula Cirutaprāyamula 3. Paradhana Paradhana 4. Tanamadini Tanamadini 5. Teliyani Teliyani 6. Dṛṣṭiki Dṛṣṭiki 7. Cakkani Cakkani 8. Mānava Mānava

MA Journal Inner 2017.indd 84 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

The following observations can be made with regard to the sequence of caraṇa-s of these two kṛti-s. Saṅgīta Sudhāmbudhi gives two more caraṇa-s for ‘Jagadānandakāraka’ and these two caraṇa-s are added after the 5th caraṇa ‘Pādavijita’. The other three caraṇa-s namely the 6th, 7th and 8th caraṇa-s that follow ‘Pādavijita’ in Saṅgītakalānidhi are seen as the 8th, 9th and 10th respectively. But both these sequences differ from that of today. Regarding ‘Duḍukugala’ the first caraṇa ‘Śrī vanitā’ that is sung today is not seen in both the publications. As said earlier, even though both these publications give a similar sequence of caraṇa-s, the sequence differs from that of today. The first publication to give all the pañcaratna kṛti-s with notation is the ‘Tyāgarājasvāmi kṛtulu’ of S A Rāmasvāmi Ayyar in the year 1933. In this publication also ‘Kanakanarucirā’ is given as the fifth kṛti. In this publication only, the sequence of the caraṇa-s of this kṛtiissame as that of today, even though it differs from that given in Saṅgīta Sudhāmbudhi. Moreover the notation for all the caraṇa-s is first available in this publication. Apart from the variation inthe sequence of caraṇa-s, the caraṇa ‘kalakala’ seen in Saṇgītasudhāmbudhi’ is given as ‘Taḷataḷa’. Regarding the kṛti ‘Jagadānadakāraka, the sequence of the caraṇa-s’ in this publication is different from what it is today. In the kṛti ‘Duḍukugala’ the caraṇa ‘Śrī vanitā’ is first seen in this publication. Thus with regard to the pañcaratna kṛti-s also, it can be said that the version of the pañcaratna kṛti-s that is in vogue today probably came during the later part of 20th century. From the four categories of variations discussed in this paper it can be said that to a larger extent the notations in the earlier publications (between 1857 and 1940) are similar and the variations are more with regard to the current practice. This seems to be interesting as the documented material itself has undergone change but it can be said that this may be due to presence of different siṣya parampara-s of Tyāgrāja and probably all the versions were not documented in the earlier publications. Moreover it can be said that the versions of many kṛti-s that are sung today evolved in the later part of the 20th century. ANNEXURES This article has two annexures. Annexure 1 includes the Name of the publication, author, year and number of Tyāgarāja kṛti-s contained in it. The Annexure 2 lists out the kṛti-s that have variations in the rāga-s.

References Chinnaswami Mudaliyar, A.M. Oriental Music in European Notation, Author publisher, Ave Maria Press, Madras, 1893. http://musicresearchlibrary.net/omeka/items/show/507 Basavappa, Vīṇa http://musicresearchlibrary.net/omeka/items/show/660

MA Journal Inner 2017.indd 85 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Dīkṣitar, Subbarāma Prathamābhyāsa Pustakamu, Vidyā Vilāsini Press, Eṭṭayapuram Samasthānam, Eṭṭaiyapuram.1905. Nādamuni Paṇḍita Saṅgītasvaraprastārasāgaramu, Author publisher, Chennai.1914. Narasimha Bhagavatar Tyāgarājasvāmi Kīrtanalu, ed.; pub. S.Nārāyaṇasvāmayya, Chennai, 1908 Ramanathan N Indian musicology in the early modern period A survey of the pre-1940 publications, 1994. http://musicresearch.in/ download.php?id=9&artname=article_9.zip Rāmānuja, Tiruvallikkēṇi, Vīṇā Saṅgītasarvārthasārasaṅgrahamu, Śrīlakṣmīnṛsiṃhavilāsa Mudrākṣaraśālā, Chennai, 1917 Rāmānuja Dāsa Tyāgarāja Kṛtulu,1885-0126, http://musicresearchlibrary.net/ omeka/items/show/1879. Rāmulu Ceṭṭi Gāndhrava Kalpavalli, 1929 http://musicresearchlibrary.net/omeka/items/show/608. Ritha Rajan ‘Pāṭāntara-s in Trinity Compositions’ Dissertation awarded PhD Degree, University of Madras, 1987

Ritha Rajan Analysis of Desadi and Madhyadi Tala-s, Journal of the Music Academy, 1999, pp.50-66 Renganathayyar S Saṅgītarājaraṅgam, Tiruvanantapuram, 1922 http://www.ibiblio.org/guruguha/MusicResearchLibrary/Books- Mal/BkMal-Renganathayyar-sangIta-rAjarangOm-1928-0010.pdf Śrīnivāsa Ayyaṅgār KV Saṅgīta-sudhāmbudhi, (Telugu) M Adi & Co., Madras 1917 Śrīnivāsa Ayyaṅgār, K.V Ādi Tyāgarājahṛdayam, M.Adi& Co, Chennai.1922. Śrīnivāsa Ayyaṅgār, K.V Gānabhāskaramu, M.Adi& Co, Chennai.1918. http://www.ibiblio.org/guruguha/MusicResearchLibrary/Books-Tel/ BkTe-SrinivasaAyyangar-GanaBhaskaramu-1934-0069.pdf Śrīnivāsa Ayyaṅgār, K.V. Śrī Tyāgarāja Hṛdayam (Tamil), M.Adi & Com. Chennai-1, vo..1- 1924, vol.23-1924, vol.3-1924. Śrīnivāsa Ayyaṅgār, K.V. Śrī Tyāgarāja Hṛdayam (Telugu), M.Adi & Com. Chennai-1, vol.1-1922, vol.2-1922, vol.3-1922. Subba Rao T.V. Rare and Unpublished Kīrtanams of Tyāgarāja, ed. Andhra Ganakala Parishat, Rajahmundry, 1951.

MA Journal Inner 2017.indd 86 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Taccūru, Singarācāryulu and Gāyakapārijātam or The second book in music, Printed and Cinna Singarācāryulu Published by Śaśilēkhā Mudrākṣaraśālā, Chennai 1927 Taccūru, Singarācāryulu and Saṅgītakalānidhi or The third book in music Printed and Cinna Singarācāryulu Published by Kalāratnākara Publishing House, Gānōllāsiniśālā, Chennai, 1912 Taccūru, Singarācāryulu and Gāyakalōcanam, Gānōllāsiniśālā, Chennai, 1902 Cinna Singarācāryulu http://www.ibiblio.org/guruguha/MusicResearchLibrary/Books-Tel/BkTe- TaccuruBros-gAyaka-lOcanamu-1902-Xrx-copy2-0113.pdf Taccūru, Singarācāryulu and Gāyakasiddhāñjanam I Part or The fifth book in music*, Cinna Singarācāryulu Printed and Published by Kalāratnākara Publishing House, Gānōllāsiniśālā, Chennai, 1905 Taccūru, Singarācāryulu and Gāyakasiddhāñjanam Part II or The fifth book in music, Cinna Singarācāryulu Printed and Published by Kalaratnakara Publishing House, Gānōllāsiniśālā, Chennai, 1905 http://www.ibiblio.org/guruguha/ MusicResearchLibrary/Books-Tel/BkTe-TaccuruBros-gAyaka- siddhAnjanam-Pt2-1905-Xrx-0084.pdf Taccūru, Singarācāryulu and Gānēnduśēkaram or The sixth book in the art of music, Printed Cinna Singarācāryulu and Published by Gānōllāsiniśālā, Chennai, 1912 Taccūru, Singarācāryulu and Śrībhagavatsārāmṛtam, Śaśilēkhā Mudrākṣaraśālā, Chennai, 1916 Cinna Singarācāryulu Tenamaṭam Brothers Saṅgītānanda Ratnākaramu, 1921 http://musicresearchlibrary.net/omeka/items/show/645 Tiger varadachārya Saṅgītapradāyini, 1916 http://musicresearchlibrary.net/omeka/items/show/674. Veṅkatēśasāstri, T.M. Saṅgīta svayambōdhini, Hindu Music Self Instructor, Author Publisher, Lawrance Institute Press, Chennai. 1892.

MA Journal Inner 2017.indd 87 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

The Uniqueness of Tyāgarāja’s Naukā Caritramu Dr. Bhagavathi Yerramilli

he two musical plays of Tyāgarāja namely Naukā Caritramu and Prahlāda Bhakti Vijayamu Tpresent stories conveyed through songs known as daru-s, poetic verses known as padya-s sung by the characters and through narrative passages known as vacana-s announced by a “Director” (Sūtradhāra). The form musical play has been referred to as “Gēyanāṭaka” by Scholars. The unpublished Biography of Tyāgarāja “Srīmat Tyāgarājasvāmi Caritram” written by Vālājāpet Krishnasvāmi Bhāgavatar refers to Naukā Caritramu as “Kīrtana Padya Rūpaka”. Tyāgarāja himself refers to his work in the final “Phalaṣṛti” as “Kathā”. It could hence be called Gēyakathā. I worked on Naukā Caritramu for my Ph.D dissertation and the various aspects like the form, theme, literary and musical aspects have been dealt with in the dissertation. In the appendix of my thesis I have given the edited text of Naukā Caritramu along with English Translation. Regarding the source of the theme of Naukā Caritramu different opinions have been expressed by Scholars. The theme is said to have been born out of Tyāgarāja’s own imagination and some scholars have put forward the opinion that it was derived from Bengali Literature. But during the course of my research study at Sarasvati Mahal Library, Tanjavur, I was able to collect many Marathi Manuscripts on this theme. They are as follows:- 1. Naukā Nirupaṇa - Ānandatanaya 2. Naukā Caritra - Vāmana 3. Naukā - Giridhara 4. Naukā Krīḍa - Viśvanātha Kavi 5. Naukā Nayana - Viṭṭhala

I have pointed out in my thesis that though Tyāgarāja drew inspiration from the Marathi works it was restricted to the theme alone and the content, form and presentation of Naukā Caritramu was fully his own original contribution. In this musical play, we see a quite different facet of the genius of Tyāgarāja. The padya-s occur here reveal his easy mastery over all the common metres of Telugu Poetry like Sīsa Padya, Kanda Padya, Dvipada, Utsāha, Utpalamāla, Campakamāla, Śārdūlavikṛīḍitam and also daru-s, vacana-s. He also exhibits remarkable skill in working up a climax by means of a Sīsa Padya, most appropriate for the situation. We have in Tyāgarāja, a rare combination of a musical genius who could clothe his beautiful creations in art of music, in equally beautiful language, thus making them a perennial source of inspiration and delight to generations of music lovers.

MA Journal Inner 2017.indd 88 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

During the course of my research I was able to secure the original paper manuscript of Naukā Caritramu of Tyāgarāja handwritten by Vālājāpet Venkaṭaramaṇa Bhāgavatar from Late Sri P K Rajagopala Ayyar. In this manuscript we find a chart giving details of the rāga-s in which each daru, padya and vacana should be rendered. Based on this chart rāga-s have been assigned to different padya-s and vacana-s and the entire Naukā Caritramu has been musically rendered. The rāga-s for padya-s and vacana-s has been selected in such a way that they fit with the rāga-s figuring in daru-s and the uniformity is maintained. For instance the padya-s and vacana-s before and after the 2nd daru “cūḍarē celulāra” in pantuvarāḷi have been sung in the same rāga. Before Tyāgarāja begins the story proper he has some preliminary verses in the form of invocation and dedication to God. The first six invocatory verses are given in Nāṭa Rāga.

Gist of the Story: Tyāgarāja gives in a nutshell the story of Naukā Caritramu in the following padya-s that Lord Krishna, in order to amuse the gōpi-s, performed “Līla” on the boat, to the delightful praises of other gods and which concisely sums ups the story of Naukā Caritramu.

Style of Story Presentation: The story of Naukā Caritramu has been presented through mainly the daru-s (21 in 13 rāga-s) and 47 padya-s and of course the 51 vacana-s also discharging their function of announcing the various events and linking up the one padya to the other or the padya to the daru, through prose. The presentation of the entire story of Naukā Caritramu could be roughly divided into 6 sections, with each successive section representing different stages in the building up of the story. We shall now see how Tyāgarāja has dexterously used the padya and daru forms and the vacana-s to build up the story and present it in an artistic way. 1. The story proper of Naukā Caritramu commences with a padya (citrambēmani). The setting is Gōkula and the scene shows the gōpi-s in an ecstatic state having been listening to accounts of the exploits of Krishna. At that moment Krishna in a happy mood takes out his flute and plays it to the enchantment of everyone. On hearing the nectar like music, the gōpi-s feel the intensity of separation from him and start looking for him. Krishna was, at that time, walking down the streets to buy jujube fruits. This is expressed in vacana. And the gopi-s thus were able to sight his brilliantly shining face. The gopi-s are greatly thrilled at having met him. The joyous mood of the gōpi-s is depicted in a daru (“Sṛṅgārincukoni” in Suraṭi rāga) which is the first daru in Naukā Caritramu. The daru pictures the gopi-s dressing up, teasing Krishna, and treating him as their favourite and generally the happy mood of the gōpi-s in walking down with Krishna. The place of their walk has beautiful scenery all round with flowery trees, swans, the bees droning on the lotus and finally the dark and shining Yamuna River, all of which are expressed through a padya and a daru in Pantuvarāḷi rāga. The description

MA Journal Inner 2017.indd 89 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

of river is detailed. The lotus, white sand dunes, the steps on the banks, the little waves, the date fruit, the parrots, the cuckoos are all painted with a poetical brush. 2. As they are enjoying the scenery in Yamuna the gōpi-s sight a shining silvery boat which looks very beautiful with the dark river in the background. Here the sighting of the boat is expressed in vacana. Suddenly an idea strikes them that they could go on the river and enjoy themselves but then on seeing Krishna they get into a dilemma whether to take him along or not. They are also worried about the costly ornaments he is wearing but at the same time do not want to be separated from him. This discussion among the gopi-s is presented through a daru in Yadukula Kāmbhōji (āḍa vārulella). At this juncture Krishna starts speaking for the first time in the story and he advises the gōpi-s that without the escort of a man, women should not venture out. The gopi-s retort by saying that as a man he has no business to speak to them in that way. Krishna then speaks of his supreme power which controls all activities in the world and which will protect the gōpi-s too. When the gōpi-s continues to distrust him, Krishna again warns them of the dangerous consequences that they would have to face if they went on the boat alone. The gōpi-s through a daru in Saurāṣṭra recount in great detail the pranks of Krishna with women and asks him how he could be trusted. Krishna on the other hand tells them that his omnipotence could carry them across not only these rivers but across even the ocean of births and deaths (i.e. carry them to mōkṣā). And in continuation through a daru in Saurāṣṭra retorts by recounting a number of events and his achievements, such as supporting the Mandara Mountain, getting back the Vēda-s, protecting the elephant king and slaying the serpent in the River Yamuna. 3. Convinced by his arguments that he should be taken along, the gōpi-s place him in the boat. Tyāgarāja gives a very picturesque description of the boat ride (through a padya and a daru in sāraṅga) in which the gōpi-s are singing, dancing and playing with Krishna. Their dresses and make up gradually get disturbed. And this description is continued in a padya. The joyous mood gets accelerated when Krishna manifests himself in multiple but identical forms and dances with each gōpi leading each one to imagine that it is only her that Krishna loves. This daru in bhairavi (tanayande prēma) describes Krishna’s play with the gōpi-s which being a divine sight draws the gods in the heavens too to witness and appreciate. The joy of the gōpi-s gradually turns into intoxication and pride. A gentle suggestion is given in the daru (enōmu nōcitimo) in Punnāgavarāḷi in which the gōpi-s attribute this joyous state of being with Krishna, to their earlier penances. They are over conscious about their beauty and youth and the way Krishna has fallen for them. 4. To assess their state of mind, Krishna while praising their “unparalleled beauty”, also gives them directions as to which side they must row the boat. Taking his compliments

MA Journal Inner 2017.indd 90 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

to be flattery and suspecting his motives the gōpi-s ignore his suggestions. They tell him that his tricks would not work. In the sāvēri daru “cālu cālu” they warn him not to try his mischiefs but be wise and enjoy their company. The height of their pride is reached when they start thinking that no one is equal to them in their beauty. They feel that just as the other gods like Brahma, Śiva and Viṣṇu had gone after beautiful women; Krishna too had become attracted by them. This has been expressed in Dēvagāndhāri daru “evaru manaku”. All this pride is a reaction to Krishna advising them on how to navigate the boat. So finally the gōpi-s tell Krishna that he does not have the capacity to navigate a boat but only to go after women, attract them and play around with them. 5. Feeling that pride has reached its apex, Krishna, with an idea to put an end to it, creates an illusion of thunderstorm, rain and flooding of the boat. Krishna’s wish is perceived by Indra and other gods in the heaven and they create rain and a hole in the boat for water to flow in. Shocked at seeing these sudden and unforeseen developments the gopi-s start wailing and calling out “O Hari!” They start praying to Yamuna River to save them from this calamity which upset their life and put them to shame in front of others and offer to sacrifice their lives for the safety of Krishna through a daruin Saurāṣṭra (alla kallōla). The gopi-s continue to regret having brought Krishna along with them on the ride, when he had been quite happy playing with the women in their houses and get worried thinking of ways to reach him safely to his mother (bāla bhāvamutōnu). Krishna too adding salt to the injury acts innocent and accuses them of having brought him forcefully and comments that women should never be trusted. The gōpi-s feel like the woman who has gathered honey from the tree but had split it all on the ground without having been able to drink it herself. This is expressed beautifully in a utpalamāla padya. To pacify the crying gōpi-s, Krishna advises them to plug the hole of the boat with their blouses which would stop the water from entering it. He tells them that everyone has to pay for his actions and even Lord Śiva cannot escape. In the Utsāha Padya he suggests a way to come out of their troubles. They start acting accordingly. Poor gōpi-s find that their blouses have been washed away by the force of the water getting into the boat and this increases their distress. 6. In great despair, the gōpi-s request Krishna to tell them a way to escape from this tragedy, they want him to demonstrate the fact that he is the “Supreme One”. At once Krishna comes out with another suggestion that they should take off their saris and put them in the hole. On hearing his suggestion, the gōpi-s feel very much ashamed and feel bad about the state to which they had been driven. They start hating themselves and even regret that they had taken birth as women. Krishna, on the other hand, asks them to stop their murmur and get down to action otherwise they would not reach the shore and the whole trip would end in their suicide. Denying his accusation that women are never to be trusted, the gōpi-s reassure him that they have complete faith in him. With

MA Journal Inner 2017.indd 91 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

implicit obedience they obey his suggestion taking it to be a Vēdic Commandment, as expressed through a daru in mōhana. They remove their saris and put them in the hole of the boat. But unfortunately their saris are also washed away by the force of the water. The situation having worsened, the gopi-s start seeking causes for their fate in the bad time they set out, in the destiny drafted by Brahma, in the curse of the gods. Not knowing any way to save themselves from the rising water and the sinking boat they make a complete surrender and decide to think of nothing else but the name of Lord Krishna. Finally Lord Krishna takes pity on the gōpi-s and advises them to cease crying, and meditate on Him with folded hands and closed eyes. The storm and rain stop, the gōpi-s get back their clothes and the boat reaches the place from where it started. Krishna shines as bright as the moon and the gopi-s immediately sing with joy forgetting their earlier sorrow. Tyāgarāja also gives a very poetic description of how Krishna stood shining amidst the gōpi-s. He compares the view with that of moon among the stars, Indra among the gods, the Nāyakamaṇi among the nine gems, Gajēndra among the herd of Elephants. So beautiful was the sight that Brahma, Rudra and other gods showered golden flowers on him. Having safely reached Krishna to his house, the gopi-s sing a daru in praise of Krishna which is the final piece giving an auspicious conclusion to the Naukā Caritramu. The gōpi-s praise his looks, gaits, his qualities and achievements and describe him as one who bestows happiness in this world and the other. The above account makes it clear that the major contribution in shaping the play comes from the padya- s and daru-s. The vacana-s except in the contexts where the information about Krishna walking with intention of buying some fruits and the sighting of the boat are given serve the purpose of linking the purport of one padya / daru to its succeeding form. Among the remaining we find that it is only through the padya-s the progress of the story is conveyed, be it Krishna requesting the gōpi-s to take him along; or Krishna kindling their pride; or conceiving a storm; or suggesting ways to avert the impending disaster; or the disappearing of the troubles. The conveying of these has been done in a very poetic way so that only on careful analysis do we realize how dexterously Tyāgarāja combines the information with similes, proverbs, allegories and carries the story forward. It is only the vacana-s that bring the reader back to questions of “what happened after that “? which of relatively lesser poetical interest. However the main task of conveying to the reader the feeling of the characters and the prevailing mood is the most difficult one and requires high poetical skill and for this Tyāgarāja has used the daru-s. And within each daru the number of sections encompassing the variety of description of the nature and its beauty, of the gopi-s and their sport, the feelings that transpire in

MA Journal Inner 2017.indd 92 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

them are so elaborately composed that Naukā Caritramu reveals Tyāgarāja as a genius in a different field, a field different from the areas of classical kṛti-s and devotional Utsavasampradāya and Divyanāma kīrtana-s. To sum up we see the multi-faceted genius of Tyāgarāja which reveals at once a kavi who is a master at composing gadya and padya, a vāggēyakāra who has the restraint and aesthetic conception for composing music for a Gēyakathā and a scholar of purāṇa-s and darṣana-s who is able to present with great felicity the gist of Bhāgavata and Bhagavad Gīta.

MA Journal Inner 2017.indd 93 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Early Publications of Sri Tyāgarāja Swamy’s Compositions (Dr V Premalatha)

ri Tyāgarāja is one among the Trinity of Karnāṭaka Music, who lived during 1767-1847. He has composed many Kṛti-s of different kinds, like short and simple with single caraṇa, or long and complex,S with multiple caraṇa-s. Some are set to simple tunes, whereas others have sophisticated melodic structures, with number of saṅgati-s. His songs are set to a variety of rāga-s and tāla-s. His creations are a treasured addition to South Indian Classical Music. Tyāgarāja is said to have taught his compositions to many of his disciples. Three lineages of his tradition are identified and each of them has a distinct characteristic feature. Most ofhis compositions were descended orally through his disciples and were documented initially in palm leaf and paper manuscripts. Later these were published as books. Tyāgarāja’s compositions were published from 1859 onwards. During the late 19th and 20th centuries, many books were brought out. This paper aims to present the nature of information in such early publications. It is also attempted to understand the significance of such early works in preserving the Saint’s compositions. A list of books published during 18th and 19th centuries, containing the compositions of Tyāgarāja and consulted for the present study is appended to this paper (See Annexure-1).

Early Publications of Tyāgarāja’s Compositions The earliest publication on music is the Saṅgīta Sarvārtha Sāra Saṅgrahamu of Vina Ramanuja dating to 1859. From then on, many books were printed in Telugu and later in Tamiz scripts too. It is noted that some books have seen multiple editions, like the Saṅgīta Sarvārtha Sāra Saṅgrahamu, which was published in the years, 1859, 1873, 1875, 1897, 1908 and 1917. With regard to the compositions of Tyāgarāja, the books can be classified as those containing only the text (Example: Gāyaka Pārijātamu of Taccuru Singaracharyulu) and those with notations for the songs (Example: Saṅgīta Svayam bodhini of T M Venkatesa Sastri). Further some of them like the Saṅgīta nuṇmaṇi mālai, were devoted wholly to the compositions of Tyāgarāja, while others like Bhagavat Bhajana Paddhati, by T P Kodandarama Ayyar contained the compositions of other composers too.

Books containing the Text of songs The earlier books present the text of the songs, in a continuous manner without sectional breaks. This resembles the mode of writing, generally followed in manuscripts. Details like the serial number of song, names of rāga, tāla, mēla number and type of composition are given for each of them. For example, Gāyaka Gāyani Jana Pārijātamu.

MA Journal Inner 2017.indd 94 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Figure 1: Gāyaka Gāyani Jana Pārijātamu In addition, the earlier books included some specific signs like |, ||, --, * etc., of which the first two denoted the end of sections, the hyphen seems to have denoted the aṅga-s within a tāla structure. The symbol, resembling a flower denoted the end of a song. In later works, one can find the sections like Pallavi, Anupallavi and Caraṇa, being indicated. Example, Saṅgīta nuṇmaṇi mālai.

Figure 2, Saṅgīta nuṇmaṇi mālai

Books containing Notation Saṅgīta svayam bodhini of T M Venkateswara Sastri, published in 1892, appears to be the earliest book that contains notation for Tyāgarāja’s compositions. As the title of the book suggests, it is a self-instructor. Following this, A M Cinnaswamy Mudaliyar’s Oriental Music in European Notation was published in 1893, which presented the compositions of Tyāgarāja in Roman, Telugu and Tamiz scripts and in staff (western) notation. This book was aimed at reaching the Western

MA Journal Inner 2017.indd 95 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

musicians. Some of the basic information like the serial number, names of rāga-s, tāla-s, ārōhaṇa- avarōhaṇa, mēla, janya etc., are found in it. This information is included in many later books.

Figure 3:Oriental Music in European Notation

Notable features in some early books • Gāyaka Gāyani Jana Pārijātamu and Saṅgīta nuṇmaṇi mālai, give the rāga of some songs as “ap(u)rūpa”, meaning rare or new. • In Narasimha Bhagavata’s Tyāgarāja Svami Kīrtanalu, the songs are arranged in the order of mēla-s and whenever a rāga is grouped under two mēla-s, the same has also been indicated. For example, “eṭla dorikitivo” in the rāga vasanta is grouped under mēla 17, whereas it is also noted as a janya of 15 (p.92). • Noting of the pallavi, anupallavi and caraṇa and serial number of the caraṇa-s are seen only at the end of the corresponding sections. • Variations in the readings and meanings of some words and phrases are marked in footnotes.

MA Journal Inner 2017.indd 96 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Figure 4: Tyāgarāja Swami Kīrtanalu

Figure 5: Dākṣinātya gānam • Some books present a same set of songs sequentially and follow a common stream of variations (errors, too) For example, “Sujana jīvana”, is placed under the rāga

MA Journal Inner 2017.indd 97 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Nāṭakuriñji in the books Tyāgarāja kṛtulu of Ramanuja dasa, Gāyaka Gāyani Jana Pārijātamu and Saṅgīta nuṇmaṇi mālai. The songs in these three books appear in the same sequential order and there should have existed a common source for such inherited errors. Incidentally Gāyaka Pārijātamu gives the same set of songs, without errors. • Compositions in the present day rāga Pantuvarāli are grouped under the 45th mēla by Narasimha Bhagavatar1. The same is noted in A M Cinnasami Mudaliyar’s book also. • Saṅgīta svayam bodhini assigns the rāga, Tōḍi for the song, “Teliyalēdu rāma” and not Dhēnuka. This book also specifies the , signs for indicating the svara varieties. For Kharaharapriyā, the sharp sign is used, probably to indicate the anusvara or a method of playing the svara on the Vīṇa. The author also specifies the repetition of the melody of anupallavi in the caraṇa with the term, “Varṇa meṭṭu”.

Unique aspects in Notated books There are some unique features in the books containing notations. For example, Saṅgīta svayam bodhini specifies some gamaka signs for the songs. Saṅgīta Sarvārtha Sāra Saṅgrahamu gives the notations for a few compositions of Tyāgarāja. The svara-s (dhātu) is given in the upper line and the corresponding text (mātu) below it. With regard to the variations in saṅgati-s, only those places where the variations occur (even a half or a quarter of an āvarta) are given. Another important aspect in the notation is the vowel extensions, being written along with the text.

Figure 6: Saṅgīta Sarvārtha Sāra Saṅgrahamu

Dākṣinātya gānam, Saṅgīta pradāyini, Saṅgītānanda ratnākaram give more number of saṅgati-s for the compositions, though there are differences between them.

1 Pantuvarāli is sung with the svara-s, equivalent to 51st mēla, Kāmavardhani, in present day

MA Journal Inner 2017.indd 98 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Figure 7: Dākṣinātya gānam Some books do not follow the exact count of tāla akṣara-s, but just present the sāhitya and the corresponding svara-s (Gānavidyā vinōdini). This appears to be a primitive method of denoting the music through notation. However, books like Saṅgīta sampradāya pradarśiṇi, Saṅgīta pradāyini etc. strictly adhere to the number of akṣara-s within a tālāṅga. Though Narasimha Bhagavata’s book gives only text, there are svara passages interspersed in some songs. Saṅgīta pradāyini gives viśēṣa sañcāra-s of the corresponding rāga, before the beginning of a song. Dākṣinātya gānam presents a brief lakṣaṇa of the rāga, pāṭhāntara-s, detailed meaning of the song, purport and connection with the mythological ideas, while notating the songs. From the preface of the books, it is learnt the authors and publishers of books intended to bring out the book for the following purposes: a. Intended for self-study (Saṅgīta svayam bodhini, Prathamābhyāsa prakaraṇamu, Gāna vidyāvinōdini) b. For students and musicians to learn the songs of the great composer (Tyāgarāja Kṛtulu) c. To learn the songs quickly and for the experts of saṅgīta and sāhitya (Saṅgītānanda ratnākaram) d. To present the songs in their “pure form” and preserve the compositions that are facing severe distortion and variation (Tyāgarāja svāmi kīrtanalu)

Conclusion The study of the early publications of Tyāgarāja’s compositions reveal many important aspects. In the process of transmission of the songs through oral tradition, there happened to be some variations and deviations, even within 50-70 years of Tyāgarāja attaining samādhi. Hence the authors had probably thought of preserving the songs and this resulted in the printing of books. The publication of many copies and editions of the books reflect the demand for the printed versions of the songs. Thus the books of the early period had a great role in preserving the compositions of Tyāgarāja. It is further observed that most of the books were printed from

MA Journal Inner 2017.indd 99 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

the presses situated in Chennai (Chennapuri / Madras), which again proves the role of the city in promoting music and printing, in the early 20th century. At the same time, besides the authors and musicians, the patronage extended to the publishers is also a noteworthy feature. Thus the early books of Tyāgarāja were highly beneficial to the contemporary musicians and students and proved a role model for later music publications of the 20th century.

Annexure – 1

List of Early books containing the Compositions of Tyagaraja and consulted for the study2 Text/ Title Author Year Language notation Sangita sarvartha sara Vina Ramanuja 1859/1917 T Tel sangrahamu Gayaka parijatamu Taccuru brothers 1877 T Tel Gayana gayani jana Parijatamu various scholars 1878 T Tel Tyagaraja Krtulu Ramanujadasa 1885 T Tel Sangitasvayambodhini T M Venkatesa Sastri 1892 N Tel Oriental Music in European A M Cinnaswami 1893 N Tel, Tam, Notation Mudaliyar Roman Sangita nunmanimalai Sadagopa Naidu 1903 T Tam Sangita sampradaya pradarshini Subbarama Dikshita 1904 N Tel Prathamabhyasa Pustakamu Subbarama Dikshita 1905 N Tel Tyagarajasvami Kirtanalu Narasimha Bhagavata 1908 T Tel Sangita sudhasangrahamu Munusami Naidu 1909 N Tel Sangita vidya darpanamu Venkataswami Naidu 1910 N Tel Bhagavat Bhajana Paddhati T P Kodandarama Iyer 1913 T Tel Gana vidya Vinodini Vina Basavappa 1915 N Tel Sangita Pradayini (pt-2) Vina varadachari, 1916 N Tam Vina Krishnamachari, K V Srinivasa Iyengar Sangitananda ratnakaram Tenmadam brothers 1917 N Tam Dakshinatya Ganam C R Srinivasa Iyengar [1917] N Tam

2 Copies of the books were obtained from www.musicresearchlibrary.net and from the Department of Indian Music, University of Madras, Chennai

100

MA Journal Inner 2017.indd 100 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Karnatakā Music Concerts – form and content Dr. Radha Bhaskar

rt in a broad sense is skill in making or doing. In this sense, there are many arts but the word fine arts is more often used in a specialized way to mean arts such as music, painting pictures, makingA sculptures etc. Things created as a result of such activity are supposed to be different from and more valuable and aesthetic than things that require mere craftsmanship or technical skill. Traditional fine arts include music, dance, painting, poetry etc. and today, architecture, photography, films and forms of modern dancing are also considered arts in this special sense. A piece of fine art is created deliberately for human experience. Thus, it is unique and cannot be replicated in the same form. A good art has the properties of order, measure, proportion, unity, simplicity and regularity. It is harmonious in nature. Works of art differ in important ways, some such as dramas and operas can tell us a story. Some such as music take time to unfold. Arts like sculptures come to us just as they left the hands of the creator. Other kinds like the orchestra are performed or interpreted. In the western context, a concert is defined as a “public performance of music, before an audience that has assembled for the purpose of listening to it.” A recital on the other hand, is a performance by a soloist with or without accompaniment. In western classical music, there is also a distinction between concert and chamber music where the latter is defined as “music written for and performed by a small ensemble, usually instrumental, with one performer on a part.” Thus, in the western parlance, the word “concert” would refer to an orchestral presentation on a large scale whereas the term “chamber music” indicates concerts of a smaller scale. In the Indian classical music context, the term concert refers to a main performer along with his set of accompanists. The terms programme, recital, performance, chamber music are all used to denote a concert of Indian classical music and there is no specific word in English for it. In the South Indian context, Kaccērī is the popular Tamil word for concerts. In all Kaccērī-s, there is a principal performer who may be a gāyaka (singer) or vādaka (performer on an instrument) and he will have accompaniments like violin, mrudangam, ghatam, kanjirā, mōrsing etc. kanjirā. In any live performance, we have the performer and the listener and the music which is presented, is the connecting factor between the two. A concert as seen today is a presentation of several items packed together in a coherent manner, so as to make it aesthetically pleasing to the listener. The compositions are featured along with various improvisatory materials like ālapana, neraval and swaram and the choice of what kind of improvisation will accompany a form depends on the main artist. The most striking feature of earlier concerts is the relative smallness of the number of pieces comprising it. Apart from the pallavī, only three or four pieces were sung in a full-length

101

MA Journal Inner 2017.indd 101 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

concert while the modern tendency has been to multiply the number rendered and also increase the variety. This change may be attributed to the change in the character of the audience which became more assorted with concerts being shifted from courts and private houses to auditoriums and public halls. An analysis of the contents of several concerts by various artists reveals that a typical concert is a display of several musical forms in different raga-s, tāla-s and kālapramanā-s. Again, compositions of several vaggēyakāra-s are presented to lend variety. Unlike a Hindusthani concert in which more than one piece is presented in the same raga in a single concert, repetition of raga is not seen in Karnataka music. There is of course a tradition of singing the varnam in the raga in which the rāgam tānam pallavī is to be sung. Apart from general concerts, the concept of thematic concerts is also much in vogue now. The compositions presented in the latter is nothing new compared to a general concert nor is there any novelty in terms of content but the idea is to give a different focus and dimension and draw the attention of listeners. Some of the themes featured include – concert based on the compositions of a particular composer like Thyāgaraja, Dikshitar, Shyāma Sastri, Gōpalakrishna Bharathi, Kōtiswara Iyer etc., concerts based on a particular raga like kalyāni, tōdi, bhairavī etc. where various forms in a single rāga are presented, themes like Tamil composers, rāgam tānam pallavī, songs on a particular deity like Rāma, Krishnā, Dēvī etc., songs commemorating festivals like ī Gōkulashtamī, Navarāthrī, Sivarāthrī etc., group compositions of a particular vaggēyakāra like ghana rāga pancharathnam of Thyāgaraja, navāvarnam of Muthuswamy Dikshitar, swarajathi-s of Shyāma Sāstri, themes like navarasās, navavidha bhakthī, patriotic songs, songs of composers hailing from a particular place like Mysōre, Tanjōre, concerts featuring only a particular form like varnam, padam, tillanā etc. Some unique themes have also been taken for concerts like the śatarāgamalikā pallavī by N.Ravikiran where he rendered a rāgam tānam pāllavi in hundred ragas. The formulation of themes in concerts has necessitated the artists to bring out more number of pieces; both popular and rare ones into their presentation. This has facilitated the expansion of compositional repertoire, which was limited when only general concerts were the norm. Noted music critic NM Narayanan has written in an article in The Hindu dated 31.8.1987about the importance of compositions in concerts. He says – “The crux of the Carnatic music concert is the great composition. Before the kirtana appeared on the scene, the pallavi was the kingpin of Carnatic music and spread itself all over the concert. As a concession to the novel form of music that it represented when the kirtana first appeared, is said that the Mahavidhwans of the past who were all pallavi exponents condescended to render what we now recognize as the major compositions of the Trinity as “Tukkadas” to enliven the end part of a cutcheri. Actually, the great compositions then filled the bill as the devotional like the bhajan in the concert of Hindusthani classical music. The musicians of those times really did not reckon with the destiny of the great kritis and kirtanas. The exclusive quality of the pallavi became a thing of the past

102

MA Journal Inner 2017.indd 102 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

when the traditional technical decoration of a theme line chosen from the song itself in extension of its rendition was discovered and later got firmly settled. The elaborate neraval and kalpana svaram mounted on the chosen theme line and their excellence made even the formal pallavi look redundant when it actually appeared in the concert. In the present day, the formal pallavi has become a rarity with numerous “pallavis” figuring in the course of a performance in the form of theme lines from song movements on which neraval and svaras are liberally mounted.” It may also be inferred that the focus of making concerts reach out to a wider audience and make it entertaining as well has made artists resort to presenting a variety of items ranging from serious classical music to lighter pieces. How the composition is used as a concert material will be discussed now. Composition as a form is rich in its significance. It is a melodic structure based on the material offered by a raga and bound by a tālā framework. The sections should be visible throughout the recital. Like any good work of art, the composition should be well knit internally to the vādi, samvādi, jīva and nyāsa swarās. Also, the composition serves as an aesthetic base for all the decorative elements i.e. manōdharmā or improvisations that precede or follow it. Keeping the composition and improvisations as the two basic components of a concert, we can analyse them on the following aspects- 1. The structure and placement of each compositional form in a concert 2. Treatment of compositions in terms of manōdharmā 3. The kriti as a dynamic form As regards the placement of the various forms in a concert, we see that some have a fixed position whereas some have a flexible position. For example, the varnam has a fixed position as the introductory piece, immaterial of what raga it is composed in. The kriti which forms the core material of concerts is found to be in featured anywhere in a concert. Forms like tillanā, ashtapadī etc. are presented towards the end of the concert. However, the final design of the concert will depend on the artist presenting it, based on his own aesthetics. It is interesting to note that in the performing genre, even other musical forms like ashtapadī, tarangam, dāsar padās etc. are modified to fit into the mould of a kriti with a pallavī-anupallavī- ċaranā format. These forms are cut short as in the concert context as the focus seems more on the musical content than on the sahithyā. Similarly in kriti-s with multiple ċaranāas, we see that mostly the mudra ċaranā is rendered and all the others are omitted. The forms which are sung as part of tukkadas include – virutam, padam, jāvalī, tēvaram, patriotic songs, tillanā, divyaprabandham, tarangam, ashtapadī, hindusthanī bhajan, abhang, kāvadi ċindu, utsava sampradāya kīrtanas, divyanamā kīrtanas, annamacharyā kīrtanas, folk songs, thiruppugazh etc.

103

MA Journal Inner 2017.indd 103 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

As for the treatment of compositions in terms of manōdharmā, there are two aspects – a) Working on the existing composition to make it a concert piece. b) Working with the composition and using it as a material for extending one’s manōdharmā. It may be observed that the composition in Karnataka music is most often not presented verbatim as created by the composer. It is ideally crafted and used as a tool to exhibit the artist’s technical skill. At this level, we see that artists mount compositions with sangati-s and subtle workmanship and alter the original form. Working on a composition thus implies considerable changes without altering the core structure. It may also be see that the artist uses the manōdharma material at his own discretion to a kriti, whereas he adopts a more methodical approach when presenting it a as part of rāgam tānam pallavī. The tukkadā pieces are seldom loaded with improvisatory material. The kriti-s as seen in Karnataka concerts are used to serve a wide function. They can range from being small to very expansive pieces. Unlike the Hindusthanī khyāl having a fixed form with a sthāyi and antharā, the kriti embraces various varieties. Thus, we can have – a) Small, medium and big kritis b) Slow, medium and fast paced kritis c) Kritis with the raga content presented in a nutshell, fairly detailed or expanded manner d) Kritis with variety in musical settings e) Kritis with no charanam, single or multiple charanas f) Kritis in various languages g) Kritis in common or rare ragas, heavy or light rāga-s h) Kritis in various tālā-s i) Kritis in various kālapramanā-s j) Kritis in various eduppu-s or commencing points k) Kritis with number of sangati-s l) Kritis with decorative angās like chittaswarā-s, swara sāhithyā, etc. Which kriti will be featured in a concert, where its placement will be and what kind of a treatment it will be given in terms of manōdharmā aspects depends on the artist and there is no written rule regarding this. Thus, the same kriti may be rendered unaided by mānodharmā or it may receive different levels of improvisations. This is quite in contrast to the Hindusthani system where rendering a composition implies inclusion of all improvisatory material which go with it.

104

MA Journal Inner 2017.indd 104 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

With regards to manōdharmā aspects, the following points may be made – It is only the rāgā factor that binds the ālapanā and tānam to a composition or pallavī but the other improvisatory forms i.e neraval and swaram are dependent on the composition for their material. Not being bound by tālā, the ālapanā form gives ample space for the artist to explore the raga’s contour in full measure. The artist makes a choice of the piece to which he would like to render ālāpanā. Again, the same raga when used for āapanā in different concerts by even the same artist need not ensure uniform treatment with respect to its form or the time allotted to it. Also, the concept of long and short ālapanā is relative and depends on the context and total duration of the concert. In neraval, apart from the commonality of the raga and tālā as shared with the composition, the lyrical material is also provided by the composition. Also, only certain lines seem suitable for neraval and the artist has to choose appropriately. As for kalpanā swarā-s, the composition supplies the homecoming point for it. There is a wide variety in its presentation from the simple to the most complex patterns. Rhythmical possibilities and intricate calculations are best explored in this form. Finally, the time duration of manōdharmā elements devoted to a piece depends on its positioning in the concert context, the nature of the raga and the total duration of the concert. Thus conventionally, one would see that the ‘main item’ in a concert gets elaborate treatment with respect to all the manōdharmā aspects and the time devoted to this piece is also maximum compared to other items. It could thus be said that the core of Karnataka concerts are the compositions and the improvisatory materials which include rāga ālāpanā, neraval and kalpanā swaram. How they will be arranged in a concert format will depend upon the aesthetics of the main artist, traditional factors and the duration and context of the performance. It is also seen that Karnataka concerts have acquired a design such that it is possible to render a composition as a form in itself and also use it variedly as a material for application and extension of an artist’s imagination and technical virtuosity.

105

MA Journal Inner 2017.indd 105 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Rhythmic Descent in Carnātic Music – Principles, Practice and Standardization Mannarkoil J. Balaji

Abstract Rhythmic Descent is called “Kuraippu” in Tamil and has been widely used in Carnātic Percussion Ensembles, swara passages by vocalists/instrumentalists and rhythmic interludes (Tani āvartana) during concerts. This article explores the principles, the practice and offers standardization methods for framing such descents uniform for all Tālas so that the application becomes easy for the students, practitioners and performers alike. Keywords: Rhythmic Descent, Kuraippu, Koraippu, Miśra Kuraippu, Khaṇda Kuraippu, Tiśra Kuraippu, Catuśra Kuraippu, Sankīrṇa Kuraippu, Cadential Forms, Karnātak Rhythm, Karnātic Percussion, Carnātic Percussion, Mridangam, Thani āvartanam, Percussion Solo, South Indian Rhythm. Introduction The rhythms of human music and dance are significantly more complex, more diverse, and more flexible than the rhythmic behaviors found in any other1 species. South Indian rhythm is replete with mathematical ideas, transformed into aesthetic brilliance through the creative imagination of several artistes at various times. This article explores one such important aspect called “Kuraippu or koraippu” which may be termed as Rhythmic Descent in Carnātic Music. The term “rhythmic descent” would be used in this article to refer to kuraippu.

Note on Transliteration I have followed the system as envisaged by Brown, Robert Edward, 1927 in his book “The MṚDANGA : A STUDY OF DRUMMING IN SOUTH INDI. VOLUME I: TEXT. VOLUME II: ONE HUNDRED AND FIFTY-TWO MṚDANGA LESSONS”, University of California, Los Angeles, Ph.D., 1965 Music pp: vii on Transliteration. What is rhythmic descent? A descent is something that reduces in number through a series of musical or rhythmic events. Rhythmic descent is also one such idea popularly used in Carnātic Music where the number of times a pattern is rendered for a rhythmic cycle is performed in reducing proportions.

Principles 1. Rhythmic descent is done when there are two or more instruments in a concert or an ensemble and it is done on turns, meaning each of the percussion instruments repeat, improvise and render the rhythmic descent following the same set of rules.

1 “Both Isochronous and Non-isochronous Metrical Subdivision Afford Precise and Stable Ensemble Entrainment : A Corpus study of Malian Jembe Drummig” – Rainer Polak, Justin London and Nori Jacoby in Front Neurosci.2016; 10 : 285 Published online 2016 Jan 28 doi : 10.3389/fnins.2016.00285 – PMCID4923149

106

MA Journal Inner 2017.indd 106 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

2. Rhythmic descent can be done for any Tāla following certain rules (see the next section for detailed explanation of the rules); 3. Rhythmic descent precedes Mora and Korvai; 4. It is rendered towards the end of an ensemble before all the instruments join to give a denouement;

Rules 1. For any Tāla, the total counts minus 1 would be the rhythmic pattern to be used for descent (this will be termed as “arrived pattern”). 2. The reduction of the patterns should be in the order of 8, 4, 2 and 1, which means that the “arrived pattern” has to be rendered 8 times and then 4 times and then twice and once, in that order. 3. For rendering “arrived pattern” in a rhythm cycle, the offset will be as follows: a. For rendering 8 times the arrived pattern leave two beats. b. For rendering 4 times the arrived pattern leave 1 beat. c. For rendering 2 times the arrived patter leave ½ of a beat (and render twice).

d. For rendering once, arrived pattern leave 1/4th of a beat (and render four times). 3. After stage 3 (d) above, “arrived pattern” is rendered continuously for a certain number of times and then rendered in Tiśra Gati to finish the rhythmic descent section ofa rhythm ensemble. 4. There is no restriction on the number of times each section of a descent could be played. For example rendition of arrived patterns for 8, 4, 2 and once could be repeated based on the imagination and creative ability of the artiste, though within the durational framework of the concert.

Practical Examples with reference to rules For example if we take a Tāla like “Ādi Tāla”, which has 8 beats per cycle, then “arrived pattern” for rhythmic descent will be 8 – 1 = 7, as per rule number 1. Hence for Ādi Tāla, “Miśra rhythmic descent” has to be used (popularly called “Miśra Kuraippu or Miśra Koraippu). As per rule number 2, “arrived pattern” of “7” needs to be rendered 8 times, 4 times, 2 times, and once, which is explained in the following box notation. Number 7 is rhythmically represented in the following ways:

107

MA Journal Inner 2017.indd 107 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Tha ka dhi mi tha ki ta Tha .dhi .gi na thom Tha .dhim .tha ki ta Tha .tha .kita thaka tha ri kita thom . (double Miśram)

Rule 3 (a) Arrived Pattern is 7; Leave 2 beats to render it 8 times as shown below.

Little Ring Middle Beat Beat Wave Beat Wave Finger Finger Finger Tha ka Tha ki ta/ Ka dhi mi Ki ta / tha Dhi mi Ta/ tha ka dhi mi tha tha ka tha ki dhi Mi tha ki Tha ka Tha ki ta Ka dhi mi Ki ta / tha Dhi mi Ta / tha Mi tha ta/ dhi mi / tha tha ka tha ki ka dhi ki ta

Table 1: Rule 3(a) of Miśra Rhythmic Descent

Rule 3 (b) Arrived pattern is 7; leave 1 beat and render it 4 times as shown below:

Little Ring Middle Beat Beat Wave Beat Wave Finger Finger Finger Tha ka Tha ki ta/ Ka dhi mi Ki ta / tha Dhi mi Ta/ tha ka Mi tha dhi mi tha tha ka tha ki dhi ki ta

Table 2: Rule 3(b) of Miśra Rhythmic Descent

Rule 3(c) Arrived Pattern is 7; leave ½ beat and it 2 times (repeat 2 times)

Little Ring Middle Beat Beat Wave Beat Wave Finger Finger Finger . ./ tha ka Dhi mi Ta / tha Mi tha Tha ./ tha Dhi mi Ta/ tha ka Mi tha tha ki ka dhi ki ta ka tha ki dhi ki ta

Table 3: Rule 3(C) of Miśra Rhythmic Descent At the 5th beat there is a “tha .” which takes up ½ unit of a beat, presuming there are 4 inner pulses per beat. Generally the first beat will be started as gap and the mid beat will be ended with a “Tha .” and then the descent is rendered again. “Tha .” at the 5th beat is a demarcation point for the other instrument to take clue and continue the rhythmic descent.

108

MA Journal Inner 2017.indd 108 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Rule 3 (d) Arrived pattern is 7; leave 1/4th of a beat and then render once (repeat 4 times)

Little Ring Middle Beat Beat Wave Beat Wave Finger Finger Finger . / tha ka Mi tha ki . tha ka Mi tha ki . tha ka Mi tha ki . tha ka Mi tha ki dhi ta/ dhi ta / dhi ta/ dhi ta/

Table 4: Rule 3(d) of Miśra Rhythmic Descent Upto this sage the descent will be played alternatively by the percussion instruments. Assuming that in a concert there is a mridangam and khanjira, playing the rhythmic descnt, then at each stage the rendition will be played alternatively. First the mridangam artiste renders the descent 8 times with his own creative style followed by khanjira artiste who may or may not repeat the idea rendered by the mridangam artiste but follows the general motif of the descent. This process of alternative playing continues till stage 3(d).

Rule No 4 After stage 3 (d), arrived pattern is continuously rendered upto a certain point in the Tāla and then finished off after rendering it in Tiśra gathi as explained below:

Little Ring Middle Beat Beat Wave Beat Wave Finger Finger Finger . tha ka Mi tha ki Tha ka Tha ki ta Ka dhi mi Ki ta / tha Dhi mi Ta/ tha ka dhi ta/ dhi mi /tha tha ka tha ki dhi Mi tha ki (T) tha ka Mi tha ki Ta/ tha ka Dhi mi Ki ta / tha Ka dhi mi Tha ki ta// ta// dhi tha Table 5: Prevalent ending for a rhythmic descent, in this case Miśra Rhythmic Descent As already mentioned, each of the above steps could be improvised further and rendered as many number of times, based on one’s imagination and creativity. 4 examples of the 1st stage descent is given below:

Little Ring Middle Beat Beat Wave Beat Wave Finger Finger Finger Tha ka Tha ki ta/ Ka dhi mi Ki ta / tha Dhi mi Ta/ tha ka dhi mi tha tha ka tha ki dhi Mi tha ki Tha ka Tha ki ta Dhi gi na Tha ka Gi na Ka dhi ku Dhi gi na ta/ dhi mi / tha thom tha dhi thom tha tha thom // Table: 6 (improvisation starts from 2nd cycle ring finger at 3/4th point)

109

MA Journal Inner 2017.indd 109 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Little Ring Middle Beat Beat Wave Beat Wave Finger Finger Finger Tha tha dhi gi Thom . / Dhim . Gi na . dhim . .dhim . na tha . tha dhi thom – tha tha Dhi gi ./ tha . . tha dhi Na thom Dhim . Gi na . dhim . Dhi gi na na thom dhim gi – tha . tha dhi thom- tha tha thom // Table 7: Improvisation in Miśra Descent using Sankīrṇa Patterns The above is using a simple logic of using patterns for 9 rendered six times as 1,2,3 with gap after rendering once and two times. Total will be 6 * 9 = 54 + 2 (for gaps) = 56 = 8 * 7. Next example includes a gati-bheda for the same example cited above. Last two patterns for 9 could be rendered in double speed Tiśra gathi.

Beat Little Ring Middle Finger Beat Wave Beat Wave Finger Finger Tha tha dhi gi na Thom . / Dhim . Gi na . dhim . .dhim . tha . tha dhi thom – tha tha Dhi gi na ./ tha . . tha dhi Na thom – . tha dhi Tha Gi na thom . tha dhi thom dhim gi (Double Tiśra) gi na .dhim . – tha . gi na tha . dhim thom - tha dhi dhim thom //

Table 8: Improvisation in Miśra Descent Last three double thisra of the Sankīrṇa Patterns could be improvised further as 8+9+10 also which is explained below (3 * 9 = 27 = 8 + 9 +10)

Little Ring Middle Beat Beat Wave Beat Wave Finger Finger Finger Tha tha dhi gi na Thom . / Dhim . Gi na . dhim . .dhim . tha . tha dhi thom – tha tha Dhi gi na ./ tha . . tha Na thom – Tha dhi gi . dhim . Na thom . tha dhi thom dhim dhi gi (Double Tiśra) na thom- tha dhi gi – tha . . gi na tha dhim . tha dhim thom //

Table 9: Improvisation in Tiśra Gathi Grouping of syllables at the last 3 could give us another improvisation as follows: 3 * 9 = 27 = 8 + 9 + 10 split as (3+5) + (4+5) + (5+5) = 27 = (3+4+5) + (5 + 5 + 5):

110

MA Journal Inner 2017.indd 110 13/12/17 3:50 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Little Ring Beat Middle Finger Beat Wave Beat Wave Finger Finger Tha tha dhi gi na Thom . Dhim . Gi na . dhim . .dhim . / tha . tha dhi thom – tha tha Dhi gi ./ tha . . tha Na thom – Tha . dhim . / Na thom- Thom – na thom dhim dhi gi (Double Tiśra) .dhim . tha dhi gi tha dhi tha dhi gi tha dhim . - –tha . gin a na thom // Table 10: Improvisation in Tiśra Gathi through grouping Using the above method, many improvisations could be made while rendering 8 times, 4 times and twice. Generally while rendering once, not many improvisations are made, keeping in mind the quick succession of renditions and alternation between various instruments. Also if the second artiste (a khanjira or a ghatam artiste) fails to understand and respond quickly the whole exercise of rhythmic descent will be lack lusture.

Application for other rhythm cycles The same principles and rules are applied for all the rhythmic cycles and if one scrupulously follows the rules, there will never be any mistake in renditions. Even impromptu improvisations are possible, provided the rules are understood clearly and unambiguously. The following table lists the “arrived pattern” for different random rhythm cycles:

S.no Generic name of the Total Counts Calculation Arrived Pattern Generic name Tāla (rhythm cycle) per cycle for rhythmic of Rhythmic descent Descent rendition 1 Miśra Jāti Jhampa 10 10 – 1 9 Sankīrṇa Tāla Kuraippu 2 Khaṇda Jāti Triputa 9 9 – 1 8 Double Catuśra Tāla Kuraippu 3 Tiśra Jāti Triputa Tāla 7 7 – 1 6 Double Tiśra & Miśra Cāpu Tāla Kuraippu 4 Rūpaka Tāla 6 6 – 1 5 Khaṇda Kuraippu 5 Khaṇda Cāpu Tāla 5 5 – 1 4 Catuśra Kuraippu 6 Catuśra Eka Tāla 4 4 – 1 3 Tiśra Kuraippu 7 Khaṇda Jhampa Tāla 8 8 – 1 7 Miśra Kuraippu Table 11: Sample Tālas and their rhythmic descent as per rules

111

MA Journal Inner 2017.indd 111 13/12/17 3:51 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Standardisation Process Upto Rule 3(d) the process is pretty much standardized for all Tālas and if we observe the rules of leaving 2 beats, 1 beat, ½ beat and ¼ beat and render the arrived pattern for the particular Tāla, then the patterns will complete the “rhythmic descent” process perfectly. In Carnātic Music any rhythmic idea should have a proper ending, according to traditional playing methods. On a close observation of the current practice used for “Ādi Tāla-Miśra Kuraippu” listed in Table 5, the ending is perfect and also gives a sense of finish to the rhythmic descent section. This being the case, any idea is perfect only when it is universally applicable to all the Tālas. The same principle cannot however, be applied for other Tālas. On a close observation of Table 5 the following facts are obvious: The “arrived pattern” 7 was rendered 5 times from 1/4th beat point and it was then rendered in “Tiśra Gathi” 3 times. The same logic would not work uniformly for other Tālas. Let us take Miśra Jāti Jhampa Tāla and follow the same rule adopted for Ādi Tāla and see if it fits in perfectly: Total counts per cycle for Miśra Jaati Jhampa Tāla = 10 Arrived Pattern 10-1 = 9 For Miśra Jāti Jhampa Tāla, the rhythmic descent would be “Sankīrṇa kuraippu”. In the following Table 12, the entire 8,4,2,1 is given and Rule No. 4, along the lines of the patterns rendered for Ādi Tāla, has been attempted. The rhythmic descent for 9 is given in the following table in entirety:

112

MA Journal Inner 2017.indd 112 13/12/17 3:51 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88 Wave . dhim . tha Dhi gi na thom // Dhi gi na thom // Dhi gi na thom // Dhi gi na thom// Thom / tha . dhim Beat Gi na thom – tha . dhim . tha . dhim . tha . dhim . tha . dhim . tha Tha dhi gi na Beat ti Jhampa Tāla, as it prolongs the Dhim . tha dhi Gi na thom – tha Gi na thom – tha Gi na thom – tha Na thom . tha Tha .dhim . ā to be given - which could be “tha . s Little Na thom – tha . Dhim . tha dhi Dhim . tha dhi Dhim . tha dhi . tha dhi gi Dhi gi na thom So on and so forth creating a loop of rendition for several cycles creating a redundancy. Thumb . tha dhi gi Na thom – tha . Na thom – tha . Tha . / tha . . tha . dhim . dhim . tha Dhi gi na thom/ Index Thom- tha . dhim . tha dhi gi . tha dhi gi Dhi gi na thom Dhi gi na thom Gi na thom/ tha . dhim . tha beat in Rule No: 4, it should be started on the beat itself and then the “arrived th Middle Tha dhi gi na Thom – tha . dhim Thom – tha . dhim . dhim . tha . dhim . tha Dhim . tha dhi Gi na thom/tha Tāla Rhythmic Descent in the last stage for Miśra J Ādi Ring Tha .dhim. Tha dhi gi na Tha dhi gi na Gi na thom – tha Na thom . tha Na thom/ tha . Dhim . tha dhi Table Table 12– Sankīrṇa Rhythmic Descent for Miśra Jāti Jhampa Tāla Little Tha .dhim . Tha .dhim . Dhim . tha dhi . tha dhi gi . tha dhi gi Na thom/ tha . Beat Dhi gi na thom . . tha . . tha . dhim . tha . dhim . tha dhi gi Instead of starting the “arrived pattern” after 1/4 pattern” should be rendered 4 times only. This also provides us starting another point angle of to a the Tāla). After rhythmic rendering descent the “arrived of pattern” 8,4,2,1 4 and times, two 0 beat (or . gaps the ./dhi need . . .” It is not possible to apply the logic of 1. Rule Rule No: 3(a) Rule No: 3(b) Rule No 3 (c) Rule No : 3 (d) Rule No:4 ending. Thus in order to provide a standardization at Rule the No:4, following which methods would could be be used: applicable to all the rhythm cycles in Carnatic Music,

113

MA Journal Inner 2017.indd 113 13/12/17 3:51 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88 Tha . . . Gi thom// na Dhi gi na thom // Dhi gi na thom // Dhi gi na thom// Wave . dhim . tha Dhi gi na thom // Dhi gi na thom// . tha dhi . dhim . tha . dhim . tha . dhim . tha Beat Gi thom – tha na . dhim . tha . dhim . tha Tha dhim . Gi thom – tha na Gi thom – tha na Na thom . tha Beat Dhim . tha dhi Gi thom – tha na Gi na thom/ tha Gi thom/ na Dhim . tha dhi Dhim . tha dhi . tha dhi gi Little Na thom – tha . Dhim . tha dhi Dhim . tha dhi . tha dhi Na thom – tha . Tha . tha . / . tha dhim . Thumb . tha dhi gi Na thom – tha . time. After rendering the “arrived pattern” in Tiśra Gathi for nd Na thom/ tha . Tha dhim . . tha dhi gi Dhi gi na thom Dhi gi na thom Index Thom- tha . dhim . tha dhi gi time and 2 st . tha dhi gi Gi na thom/ Thom – tha . dhim . dhim . tha . dhim . tha Middle Tha dhi gi na Thom – tha . dhim Thom/ Thom/ tha . dhim . tha dhi Tha dhi gi na Gi thom – tha na Na thom . tha Ring Tha .dhim. Tha dhi gi na Tha dhi gi Tha dhi gi na (T) tha . dhim Tha .dhim . Dhim . tha dhi . tha dhi gi Little Tha .dhim . Tha .dhim . Dhi . . . . . tha . . tha dhim . Beat Dhi gi na thom time the end point would be reached. rd Table Table 13: Application of standardization method to Sankīrṇa rhythmic descent in Miśra Jaati Jhampa Tāla After the gap of two beats, the “arrived pattern” has to be rendered in Tiśra Gathi, thrice. This completes the rhythmic descent Alternatively, instead of leaving a 2 beat gap after rendering 4 times, the “arrived pattern” in Tiśra Gathi can be taken straight gracefully and within the stipulated time cycle. away and insert a gap of “tha ki ta” in the between 3 1 The above is a universal principle applicable for all the Tālas and hence there will be a standardized “rhythmic descent” application 2. 3. Standardis-ed Rule No:4 Rules Rule No: 3(a) Rule No: 3(b) Rule No 3 (c) Rule No : 3 (d) for the entire Tāla system in Carnatic Music. The same example listed in Table 12 is used to illustrate the method of standardization:

114

MA Journal Inner 2017.indd 114 13/12/17 3:51 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88 Tāla with Ādi Wave / tha ka dhi Ta Mi tha ki ta // Mi tha ki ta // Mi tha ki ta // Mi tha ki ta / Tha . . . Tha ki ta // Ring Gi na thom – tha Dhi gi na thom// Dhi gi na thom// Dhi gi na thom // Dhi gi na thom // (T) tha dhi gi Gi na thom // Beat Dhi mi tha ki tha ka Ta/ dhi tha ka Ta/ dhi Ta / tha ka dhi . tha ka dhi Mi tha ki ta // Ka dhi mi Middle Na thom – tha dhi Gi na thom – tha Gi na thom – tha Gi na thom – tha Na thom . tha Dhi gin a thom // Ta ) tha dhi Wave Ki ta/ tha ka Dhi mi tha ki Dhi mi tha ki Dhi mi tha ki Mi tha ki ta / tha ka Ta/ dhi Ki ta / tha Little Thom – tha dhi gi Na thom – tha dhi Na thom – tha dhi Tha .// tha dhi . tha dhi gi Gi na thom/ tha Thom / (tha ki Beat Ka dhi mi tha Ki ta / tha ka Ki ta / tha ka Tha .// tha ka . tha ka dhi Dhi mi tha ki Dhi mi tha paka Tāla in the Standardized method: ū Tāla”. Table 14 gives Miśra Rhythmic Descent for Ādi Middle Tha ki ta/ tha Ka dhi tha mi Ka dhi tha mi Mi tha ki ta Mi tha ki ta / Ki ta / tha ka Ta/ tha ka Beat Tha dhi gi na Thom – tha dhi gi Thom – tha dhi gi Dhi gi na thom Dhi gi na thom Na thom/ tha dhi Dhi gi na Ring Tha ka dhi mi Tha ki ta tha / Tha ki ta tha / Ta / tha ka dhi . tha ka dhi Ka dhi mi tha Mi tha ki Table Table 14: Miśra rhythmic descent for Adhi Tāla Wave Tha dhi gi na Tha dhi gi na Gi na thom – tha Na thom . tha Thom/ tha dhi gi Ki ta) tha Table Table 15: Khaṇda Rhythmic Descent for Catuśra Jāti Rūpaka Tāla Little Tha ka dhi mi Tha ka dhi mi Dhi mi tha ki Mi tha ki ta / Tha ki ta tha / (T) tha ka dhi Beat Dhi gi na thom - . . / tha dhi . tha dhi gi Tha dhi gi na Na thom/ (tha Beat Mi tha ki ta/ . . tha ka . tha ka dhi Tha ka dhi mi Dhi . . . This standard principle is applicable for all Tālas including “ The following table gives example of Khaṇda rhythmic descent for R Rule Rule 3 (a) Rule 3 (b) Rule 3 (C) Rule 3 (d) Standardised Rule 4 Rules Rule 3(a) tyRule 3(b) Rule 3(c) Rule 3(d) Standardised Rule (4) with Gap in Tiśram the standardized approach:

115

MA Journal Inner 2017.indd 115 13/12/17 3:51 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Conclusion Rhythmic descents are an integral part of Carnātic Music percussion ensembles, whether by themselves, or as part of a concert. They are played towards the end of the percussion interlude, to lay emphasis on its effectiveness and importance. Rhythmic descents are followed by Mora and korvai (explanation of which is beyond the scope of this article) to bring the entire ensemble to a grand finale. This article has attempted at providing standardization in respect of playing the ‘Rhythmic Descent’- a feature popularly used in Carnātic Music, and can be termed as an endeavour not undertaken hitherto in music literature.

116

MA Journal Inner 2017.indd 116 13/12/17 3:51 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Book Review Gita Govinda of Jayadeva A Study in Sahitya and Natya Sharda Narayanan & Sujatha Mohan Publisher : Ambika Aksharavali – Chennai Price Rs. 950

s the title suggests, this book is an amalgam of the sahitya or literary beauty and Natya, as Atwo experts in the respective fields have come together to write this work. There are numerous works in Sanskrit a classical language but they are not accessible to everyone as the language becomes a barrier. Dr. Sharda Narayan with her literary background and a Ph.D in Sanskrit has a passion for the language and that drove her to delve deeper into this work. Gita Govinda is a lyrical drama and a favourite among musicians and dancers. Though many of the songs are commonly known, its literary brilliance and richness of expression are not so well known. Co- author Dr. Sujatha Mohan is a well recognised Bharatanatyam dancer who is known for her expertise in both theory and practice. As one listens to the poem, one is transported to a world of imagery and fragrance, of love and sport. For a dancer understanding each word and its import is important for abhinaya. The book first gives a literary perspective explaining the poetic efforts and embellishments including figures of speech.

117

MA Journal Inner 2017.indd 117 13/12/17 3:51 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

There is a section on the tradition of Natya in the book. This includes the grammar of music and dance, ragas used, explains the angika abhinaya mentioned in Natya Shastra and upholds Srngara as the most important and all pervading rasa. The section with translation and notes also has suggestions as to the kind of expression that may be used by the dancer. The directions in abhinaya help the dancer during performance paying attention to each and every word that is used. The text of the Gita Govinda with its 24 songs and 75 verses has been transliterated into English and this is useful for a person who cannot read the Devanagari script There is a detailed explanation of each sarga with the general meaning, the feelings of disappointment, anger, sorrow, reproach etc. of the nayika. Word by word meaning is also given to help the dancer understand the connotation. The text is given both in Sanskrit and in English. In Sarga I there is a song in Gauda Malava Raga. The explanation beneath gives Gauda as the old name for Orissa. Gauda is the old name for Bengal under the Sena and Pala Rulers. Utkal and Kalinga are names for Orissa. While parts of Orissa stretched into Bengal at one time, it is not mentioned anywhere that Gauda is Orissa. Again in Sarga VIII the song is mentioned to be in Bhairavi raga but the explanation given below talks about the Bhairava raga group that is sung before dawn and the early hours. The two ragas are unrelated and it could lead to some confusion. The appendix with the flower, fruit and tree names in the book make it very interesting for the reader to relate to the English names of flora and fauna from the Sanskrit names. The Gita Govinda transports one to the world of Radha and Krishna, a world where everything glows with the love of Radha and Krishna . It reminds us of beauty in nature, the wonder of creation and complete surrender to the Lord. The work is a welcome addition to ones collection of books. It brings us to the magical world of dance and music through the eyes of a Sanskrit scholar and a mature and expressive dancer. It makes the poetry much more meaningful and is a value addition to the world of literature and arts. Dr. Meenakshi (Sumathi) Krishnan

118

MA Journal Inner 2017.indd 118 13/12/17 3:51 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

Book Review Biography of T Balasaraswathi

பாலசரஸ㞵தி அவ쏍 கலை뿁믍 வா폍ퟁ믍 என㞱 தலைப்ꮿ쯍 தமிழி쯍 வெளியிடப்翍翁ள் இந் ꯁத்க믍, டக்ல எ믍.நை翍 ஆங்கலத்த쯍 வெளியிட் ꯁத்கத்தி தமிழாக்믍. தமிழி쯍 எ폁தப்翍翁ள் இந் ꯁத்க믍 இசை உலகி쟍埁믍 நா翍羿ய உலகி쟍埁믍 ஒ쏁 அறிய ப�ொக்கஷ믍 என்ற 埂றலா믍 இதை ஆங்கலத்த쯍 இ쏁ந鏁 ம�ொழி பெயர்த்தவர. ராமகி쏁ஷ㞣ன ம쟍쟁믍 அரவிந்த ஆகியவர்க.

ஒ쏁வ쎿ன வாழ்க் வரலாற்ற ம�ொழிபெயற்鏁 மிகퟁ믍 க羿னமான கா쎿ய믍. 믂லꏂலி쯍 இ쏁க埁믍 செய்தகள சிறி鏁믍 சிதையாம쯍 ம�ொழி பெய쏍த鏁ள்ளார் என்鏁 இந் ꯁத்கத்த ப羿க்கயி쯍 தெ쎿கிற鏁.

ஒ쏁 நா翍羿ய கலைஞ쎿ன வாழ்வ쯍 நடந் நிக폍ퟁகள எல்லாவற்뿁믍 ஒ쏁 நாடகமாகவே ப羿ப்பவர் க迍 믁ன்ன க�ொ迍翁வந鏁 நி쟁த்திவிட்டார.

ஒ쏁வ쎿ன பெய쏁믍 ꯁக폁ம்தா நமக埁த தெ쎿뿁믍. ஆனா쯍 அந் நிலைக埁 வ쏁வத쟍埁 믁ன அவர்க பட் கஷ்ங்க, அவர்க. கடந鏁 வந் பாதையி쯍 ஏற்பட இன்னல், 鏁யரங்க அவர鏁 ரஸிகர்쿁க்கோ மற㞱வர்쿁க்கோ தெ쎿வதில்ல. ஆனா쯍 இந் ꯁத்கத்தை ப羿க埁ம்போ鏁 இவை. யாퟁ믍 தெ쎿கிற鏁. பாலசரஸ㞵தி அவர்ளின வாழ்வ쯍 ஏற்ப்ப இன்னல்க ப羿க埁믍 ப�ொ폁鏁 கண்ளி쯍 நீ쏍 毁ரக்கி鏁. ஒ쏁 埁றிப்ꮿட் 埁லத்த쯍 இ쏁ந鏁 மரꯁ வழியி쯍 வந் ஒ쏁 கலையை க쟍쟁 தனக்கன ஒ쏁 இடத்த அடைந் பாலசரஸ㞵தி உண்மயிலேயே இறைவனின அ쏁ள பெற㞱 ஒ쏂 உன்த பெண்மண. அவ쏍 பயணித் பாதைகள அவ쏍 ஆ羿ய நா翍羿ய நிகழ்சகள,

119

MA Journal Inner 2017.indd 119 13/12/17 3:51 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

அவ쏁க埁 வாழ்வ쯍 鏁ன்ங்க வ쏁ம்போ鏁 அவ쏁க埁 பக் பலமாக இ쏁ந்தவர், அவரை ஊக埁வித்தவர், இப்羿 எல்ல விஷயங்கள뿁믍 ஒளிퟁ மறைவின்ற எ폁தி இ쏁ப்鏁 இந் ꯁத்கத்தி சிறப்ꮿ쟍埁 ஒ쏁 믁க்கய காரண믍. ப�ொ鏁வாக பிரபலங்ளின வாழ்வ쯍 நடந் கசப்பன நிக폍ퟁகள வெளிச்믍 ப�ோ翍翁காட்ப்டமாட்ட鏁.

ஆனா쯍 பல செய்தகள நம்ம ஆச்쎿யப்டퟁ믍 ஆனந்ப்டퟁ믍 வைக்கன㞱ன.

இந் ꯁத்கத்தி ஆசி쎿ய쏍 பாலா அவர்ளின மாணவன ம翍翁믍 அல், மகளை மணந் ம쏁மகꟁ믍 ஆவா쏍. பாலா அவர்ளின மகள ல翍毁மி அவர்க பாலா அவர்ளின 埂டவே இ쏁ந்த쏍. அவ쏁க埁த தெ쎿யாத விஷயங்க பாலா அவர்னின வாழ்க்யி쯍 நிச்ய믍 இ쏁க்믁羿.யா鏁. ஆகையா쯍 இந் ꯁத்கத்த쯍 வந鏁ள் செய்தக쿁க埁 ஆதாரமே தேவையில்ல.

இந் ꯁத்கத்த쯍 வணைீ தனம்மலின வாழ்க் வரலா쟁믍, அவர鏁 பரம்பரயி쯍 வந் ஒவ்வொ쏁வ쎿ன வரலா쟁믍 மிக வி쎿வாக க�ொ翁க்ப்翍翁ள்鏁. தனம்மா அவர்ளின வணைீ கச்ச쎿யை பற்றய விம쎿சன믍 믂ல믍 அக்கலத்த쯍 இ쏁ந் பத்த쎿க்க விம쎿சகர்க பற்ற அறிய믁羿கிற鏁. இப்羿 பல செய்தகள ப羿ப்பவர்க சிந்தக் வைக்கி鏁.

இந் ꯁத்கத்த쯍 பல ꯁதிய ச�ொற்க பயன்翁த்ப்翍翁ள்ன. தற்க, என்鏁 மந�ோதர்ம்க ஆ翁வதைக 埁றிக்கி鏁. விவரணை அபிநயத்தை 埁றிக்கி鏁. இ鏁 ப�ோன㞱 ச�ொற்க நா翍羿யத்தை பற்றயவை. இவை அழகாக இந் ꯁத்கத்த쯍 விளக்க鏁டன கையாளப்翍翁ள்ன.

பாலசரஸ㞵தியின பரதநா翍羿ய சிறபꯁ, தனித்ன்ம, அவ쏍 கையாண் இசை உ쏁வகைகள, ப�ோன㞱 விஷயங்க சிறப்பக விளக்ப்翍翁ள்ன.

அவ쏁க埁 இசையி쯍 இ쏁ந் ஈ翁பா翁, அவர鏁 க쟍쟁க்கொ翁க埁믍 திறமை 믁தலியன மிக தெளிவாக விளக்ப்翍翁ள்ன.

அவர்தா பரதநா翍羿யத்தி பெ쏁மையை உலகறியச செய்த쏍 என㞱 செய்த ந믍 எல்லோரை뿁믍 பெ쏁மைபட வைக்கி鏁.

அவ쏍 நடனமா羿ய பல வெளிநா翁கள, வாங்கய பட்ங்க, ꯁகைபடங்க 믂ல믍 தெ쎿யவ쏁கிற鏁.

அவர鏁 ꯁகைபடங்க ஒவ்வொன쟁믍 அவர鏁 ஆட்த்தி பிரதிபலிப்பக உள்鏁.

அவர鏁 வாழ்வ쯍 நிகழ்ந விஷயங்க மறைக்ப்டாம쯍 ச�ொல்ப்翍羿쏁ப்த쟍埁 ஒ쏁 சான쟁 எ鏁 என்ற쯍 எ믍. எஸ. 毁ப்ல埍ஷ் அவர்쿁믍, பாலசரஸ㞵தி அவர்쿁믍 மே쯍 நா翍翁 உடையி쯍 சிகரெ翍 பி羿ப்鏁 ப�ோ쯍 உள் ꯁகைப்ட믍 இந் ꯁத்க믍 உண்மையைய பட믍 பி羿த鏁க கா翍翁கிற鏁 என்பத தெளிퟁப翁த鏁கிற鏁.

120

MA Journal Inner 2017.indd 120 13/12/17 3:51 PM THE MUSIC ACADEMY • JOURNAL 2017 • VOLUME 88

பாலசரஸ㞵தி அவர்ளின வாழ்க் வரலா쟁டன, மதராஸ நதரத்தி வரலா쟁, தஞ்சퟂ쏍 பற்ற 埂쟁믍 ப埁தியி쯍 தஞ்ச அரசர்க பற்றய வரலா쟁 என பல விஷயங்க வி쎿வாக விளக்ப்翍翁ள்ன.

பாலசரஸ㞵தியை பாரா翍羿யவர்க, ச쟍쟁 நக்லாக விம쎿சித்தவர், பாலசரஸ㞵தியின அபிமானிகள, நண்பர் இப்羿 பலரைப பற்றய விஷயங்க இந் ꯁத்கத்த쯍 அடங்க뿁ள்தா쯍 அஅவர்களை பற்ற뿁믍 அறிய 믁羿கிற鏁. 埁றிப்பக ச�ொல㞵தானா쯍 쏁க்மண தேவி அ쏁ண்ட쯍 பற்றய செய்தகளைக 埂றலா믍.

ப羿ப்த쟍埁 வி쟁வி쟁ப்பகퟁ믍, ஆழமான க쏁த鏁க்கள விளக்க뿁믍, மனதை நெகிழ வைத鏁믍 எ폁தப்翍翁ள் இந் ꯁத்க믍 ஒ쏁 விலை மதிப்ப㞱 ஒ쏁 ப�ொக்கஷ믍 என்ற 埂றலா믍. Dr. R.S. Jayalakshmi

121

MA Journal Inner 2017.indd 121 13/12/17 3:51 PM The Journal of Music Academy Madras ISSN. 0970-3101

Publication by THE MUSIC ACADEMY MADRAS

Volume – II 900.00 The Music Academy Madras Volume – III 900.00 Devoted to the Advancement of the Science and Art of Music Volume – IV 650.00 Volume – V 750.00 Vol. 88 2017 Appendix (A & B)

E Krishna Iyer Centenary Issue 25.00