A Rhythm of His Own V

Total Page:16

File Type:pdf, Size:1020Kb

A Rhythm of His Own V COVER STORY KARAIKUDI MANI A rhythm of his own V. Karpagalakshmi Ramanatha Iyer, who had learnt music from Mazhavarayanendal Subbarama Bhagavatar as well as Swaminatha Iyer of Ganapati Agraharam, was a keen music enthusiast, well-versed in the bhajanai paddhati. Their home in Karaikudi was right opposite Ariyakudi Ramanuja Iyengar’s. In fact, Iyengar’s disciples K.V. Narayanaswamy and B. Rajam Iyer regularly partook of the simple breakfast of pazhaiyadu or rice soaked overnight in water and buttermilk, at Ramanatha Iyer’s household. The Nagarathars of Chettinad often sponsored concerts by the leading vidwans at Karaikudi; Ramanatha Iyer not only did not miss a single concert but also cultivated the friendship of the musicians and invited them home. It was but natural for Mani to be initiated into Carnatic music by his father, that too as early as at the age of three. By the time he was four, Mani had learnt all five of Tyagaraja’s Pancharatna kritis. In the month of Margazhi, father and son regularly woke up at the crack of dawn to join the bhajanai at the Koppudai Amman temple. During temple festivals, Ramanatha Iyer carried young Mani aloft on his shoulders to watch nagaswara vidwans Karukurichi Arunachalam and Vedaranyam Vedamurthy and tavil artist Nachiarkoil Raghava Pillai lead the procession around the four mada veedis – the streets around the temple. It was ridangam maestro Mani was born on during these processions, which began at nine at night and 11 September 1945 in Karaikudi, Tamil Nadu. often went on into the early hours of the morning after, MHis father T. Ramanatha Iyer, who hailed from that Ramanatha Iyer discovered that his son had a penchant Ganapati Agraharam near Kumbakonam, taught English for rhythm. Perched on his father’s shoulders, Mani kept and mathematics at the Sri Meenakshi Sundareswarar High perfect time to the beat of the tavil – on his father’s head! School, Karaikudi. His mother R. Pattammal belonged to Budalur, and was related to well-known gottuvadyam Ramanatha Iyer arranged for Mani to learn mridangam vidwan Budalur Krishnamurthy Sastri. from Karaikudi Rangu Iyengar, a disciple of Karaikudi Muthu Iyer, and chalked out a rigorous daily routine for Master Mani’s mridangam debut at Pudukotai Krishnamoorthy’s him: Mani was woken up at five veena concert in Karaikudi Rangu Iyengar every morning to practise vocal music and mridangam and then study, for forty five minutes each; it was only afterwards that he was given his morning refreshment. As an incentive, he received pocket money of a quarter anna every week to watch a movie. Ramanatha Iyer bought mridangams of different srutis for Mani and 20 l SRUTI April 2016 Mani playing the mridangam with U.R. Chandra and Kamakoti Bai (vocal) and With his mother Kunnakudi Sarada (violin). His father is seated behind him. made him accompany the concerts broadcast twice daily by All India mridanga vidwan Thinniyam Venkatarama Radio, Tiruchi. Each concert lasted an hour and a half, and it was Iyer’s house. Ramanatha Iyer, who knew quite a challenge to play to pre-recorded music, but young Mani rose Venkatarama Iyer, once took his son there, to it gamely as he could sing and was familiar with many of the kritis hoping for a few advanced lessons. However, played. all Mani learnt were errands and household chores, not music. When Mani was about seven, the renowned devotional singer Pithukuli Murugadas visited Karaikudi to perform at the kumbhabhishekam of It was around this time that their famous the Siva temple there. Staying at Ramanatha Iyer’s house, he noticed neighbour Ariyakudi suggested that Mani the array of mridangams there and suggested that Mani play along with attend the Tyagaraja Aradhana at Devakotai him at his bhajanai the next day. That is how ‘Master Mani’ came to (customarily held right after the festival accompany Pithukuli Murugadas along with the regular percussionist at Tiruvaiyaru). Ariyakudi even offered to Sikkil Vadivelu. The concerts began only around 9.30 pm, Mani often introduce him to the maestro Palghat Mani fell asleep and had to be woken up by Murugadas who would slip a Iyer at an opportune moment. At the Devakotai toffee into his mouth. Mani admits that he often pretended to sleep just Aradhana, the first four of the Pancharatna so he could get that toffee! kritis had been sung but young Mani was yet to play. Just as he was beginning to grow When he was all of eight, Master Mani performed his first full-fledged anxious, Ariyakudi sought Palghat Mani concert. With his guru Rangu Iyengar on the khanjira and Karaikudi Iyer’s permission for the young man to exhibit Ramanathan on the violin, he accompanied the veena playing of his talent. None of the well-known mridanga Pudukotai Krishnamoorthy and his guru Srinivasan at the Koppudai vidwans present was willing to lend Mani his Amman temple in Karaikudi. instrument, so Palghat Mani Iyer gave him his An ardent aficionado of Carnatic music and a tireless promoter of own and asked him to perform. The maestro’s talent, it was Ramanatha Iyer who had first recommended the violinist was a heavy kappi vadyam which Mani was Kunnakudi Vaidyanathan to senior vidwans at the Pudukotai Narasimha not quite used to, yet he managed to play well Jayanti concerts, and organised Flute Mali’s concerts at his school, for the kriti Endaro mahanubhavulu. ensuring that students paid an entry fee of three quarters of an anna. It Afterwards, when Ariyakudi escorted the boy was said that he attended concerts in Karaikudi holding his son with to Palghat Mani Iyer and recommended that he one hand and carrying a small mridangam in the other. If Mani got to teach him, the maestro advised him to complete play and the main percussionist lost his place as a result, Ramanatha his schooling first. The next time Palghat Iyer was quick to compensate the vidwan by giving him Rs. 5 out of Mani Iyer visited Karaikudi, Ramanatha Iyer the Rs. 10 paid to young Mani. informed him that his son had completed his Mani recalls being scolded by his teachers for his frequent absences SSLC. This time, the maestro said that since from school in order to play at concerts. Later on, of course, they the boy was educated, he was likely to be ill were to realise how wrong they had been in this. He was encouraged at ease waiting upon a guru and attending to in his fledgling career by the Nagarathars. Swatantra Party leader his personal needs in the manner of a sishya in Sa. Ganesan, Tamil patron Raya Chokkalingam, and music aficionados gurukulavasam. Sensing that he was possibly Narayanan Chettiar and Thirunavukkarasu Chettiar, all supported and being evasive, Ramanatha Iyer did not pursue promoted the youngster. After every concert, he was presented a gold the topic further and left it at that. coin. Soon he collected as many as 55 such coins. Meanwhile, having completed his SSLC Mani and his family often spent their summer holidays at Madras with in 1961, Mani joined Alagappa College, his mother’s sister at Nallathambi Mudali Street, Triplicane, close to Karaikudi. At that juncture, ghatam maestro 21 l SRUTI April 2016 Vinayakram, on a visit to Karaikudi to accompany and Musiri Subramania Iyer. Mani won the first prize Ariyakudi at a concert, was invited home by Ramanatha for percussion, followed by Mullaikudi Sriramamurthy Iyer. When Vinayakram learnt about Mani, he suggested as runner-up. The winners in other categories that year that he be sent to Madras to learn mridangam from included violinist L. Subramaniam (whom Mani would his father Harihara Sarma, who had started a school. later accompany regularly), and vocalist Rajeswari – a Earlier, Mani had spent some time at the Theosophical visually challenged singer from Kumbakonam. Society, Madras, where his sister’s husband Krishnamurthy worked as chief pharmacist. Despite the restrictions on Mani also won a Government of India scholarship to the campus, Mani had been granted special permission pursue music full-time under the tutelage of to practise on the mridangam for a couple of hours every K.M. Vaidyanathan, another disciple of Harihara Sarma. day. In those days, Kalakshetra, where vidwans of the With this, he quit college studies once and for all. The calibre of Mysore Vasudevachar, Karaikudi Sambasiva scholarship amount of Rs. 250 (of which Rs. 150 went Iyer and Vittala Iyer taught, was situated within the to the teacher), along with his earnings from concerts, Theosophical Society campus. Once Rukmini Devi was enough to assure him a decent living. Presently, Arundale herself came to consult Krishnamurthy, heard Ramanatha Iyer and Pattammal sold their house in Mani play and advised him to join Kalakshetra. However, Karaikudi and joined their son at Madras. this idea did not find much favour with Ramanatha K.M. Vaidyanathan Iyer, who had his reservations about Kalakshetra’s K.M. Vaidyanathan may have co-educational system. It was then that he acted on been an established ghatam artist, Vinayakram’s offer and Mani went on to learn from but the guidance he gave Mani Harihara Sarma. on the norms to follow and the means of composing new Harihara Sarma was impressed enough to promise to permutations on the mridangam teach Mani all that he had learnt from Tanjavur proved invaluable. “Like Vaidyanatha Iyer; at the same time, he believed that kindling the wick of an oil Mani’s fingering technique had to be reinvented from lamp, he nurtured and deepened scratch. “You are already playing so many concerts,” my skills. Before every new he said, “so don’t lose heart that you need to start all over concert, he taught me new ideas again.” Mani spent days, and often nights, at Sarma’s and nuances to suit the artist household, learning his art afresh.
Recommended publications
  • USER MANUAL Artiste: M.S
    248. Anu Dinamunu Artistes: M.S. Subbulakshmi & Radha Vishwanathan Composer: Ramanathapuram Srinivasa Iyengar 249. Naraveshabhushana Artiste: M.S. Subbulakshmi Lyricist: Traditional Music Director: Kadayanallur S. Venkataraman 250. Manju Nihar Artistes: M.S. Subbulakshmi & Radha Vishwanathan Composer: Annamalai Reddiar 251. Muzhudai Unarndavar USER MANUAL Artiste: M.S. Subbulakshmi Composer: Athma visit www.saregama.com/carvaanmini to download the entire songlist 44 239. Sirai Aarum Artistes: M.S. Subbulakshmi & Radha Vishwanathan Composer: Thirugnana Sambandar 240. Sada Saranga Nayane Artiste: M.S. Subbulakshmi Composer: Mysore H. Yoganarasimham 241. Vanajaakshi 1. Overview - Buttons and Ports 3 Artiste: M.S. Subbulakshmi Composer: Traditional 242. Tum Ho Jag Ke 2. Modes 5 Artiste: M.S. Subbulakshmi Lyricist: Ustad Mohd. Dilshad Khan Music Director: Kadayanallur S. Venkataraman 3. Playback Status Light 8 243. Ko Va Rago Vadito Artiste: M.S. Subbulakshmi Lyricist: Mysore H Yoganarasimham 4. Battery 8 Music Director: Gurunanak Shabad, P.S.Srinivasa Rao 244. Mere To Giridhar Artistes: M.S. Subbulakshmi & Gowri Ramanarayanan 5. Safety Handling 8 Composer: Meera 245. Varuga Varugave 6. Warranty Overview 10 Artistes: M.S. Subbulakshmi & Radha Vishwanathan Composer: Ambujam Krishna 246. Sai Charan Ma 7. Song List 18 Artiste: M.S. Subbulakshmi Lyricist: Suresh Dalal Music Director: Ashit Desai 247. Dinudanenu Devuduvu Nivu Artistes: M.S. Subbulakshmi & Radha Vishwanathan Composer: Annamacharya 2 43 231. Oru Thram Saravana Bhava Artiste: M.S. Subbulakshmi Overview - Buttons and Ports Lyricist: Traditional Music Director: Kadayanallur S. Venkataraman 232. Maanilathai Vaazha Vaika Artiste: M.S. Subbulakshmi Lyricist: Kalki R.Krishnamurthy Music Director: Kadayanallur S. Venkataraman 233. Nee Saati Daivamu Artistes: M.S. Subbulakshmi & Radha Vishwanathan Previous Composer: Muthuswami Dikshitar 234.
    [Show full text]
  • Kuzhalmannam Ratholsavam Lekshmi Narayana Temple
    KUZHALMANNAM RATHOLSAVAM LEKSHMI NARAYANA TEMPLE Panchayath/ Municipality/ Alathur Corporation LOCATION District Palakkad Nearest Town/ Chami Iyer High school- 450 m Landmark/ Junction Periyapalam Mosque – 1 km Nearest Bus station Chandrapura bus stop – 1.9 km Nearest Railway Pudunagaram railway station – 13 km station ACCESSIBILITY Nearest Airport Coimbatore International Airport- 72km Kuzhalmannam Agraharam, Kuzhalmannam gramam, Kuzhalmannam, Palakkad Dist. CONTACT Kerala -678702 DATES FREQUENCY DURATION TIME October (Kanni) Annual 7 days ABOUT THE FESTIVAL (Legend/History/Myth) Kuzhalmannam Agraharam, a Kerala Iyer Tamil Brahmin gramam is one among agraharam s (gramams) of Palakkad district. The residents of this agraharam are mainly Tamil Brahmins, commonly called as Kerala Iyers who migrated from Tamilnadu more than 300 years ago. Situated in the heart of the agraharam, this ancient temple is considered as the jewel for its beautiful workmanship. The entrance to the temple is through a Mukha Mantapam. The carving of GajaLakshmi, the pillars and various scroll work on the ceiling give an elegant look. The main Prathishta is Lord Narayana along with Lakshmi, the goddess of plenty and prosperity. Here Lakshmi is sitting on Lord Narayana's left thigh. Lakshmi Narayana Swami the presiding deity of the agraharam has been showering on his devotees with beautiful blessings. He is reputed for the blessings for Santhanabhagyam. The floors of the Namaskara Mantapam are built in white marble. The temple SreeKovil wears a decorated look with Granite flooring. The front side of the SreeKovil, Sopanam and Sreekovil doors is covered with beautifully designed brass sheets. Sreekovil doors are covered with Ashtalakshmi figures. In April 2004, the temples of this agraharam were renovated and a Kumbhabhishekam was conducted in a grand way.
    [Show full text]
  • Carnatic Music (Melodic Instrumental) (Code No
    (B) CARNATIC MUSIC (MELODIC INSTRUMENTAL) (CODE NO. 032) CLASS–XI: (THEORY)(2019-20) One theory paper Total Marks: 100 2 Hours Marks : 30 Theory: A. History and Theory of Indian Music 1. (a) An outline knowledge of the following Lakshana Grandhas Silappadikaram, Natyasastra, Sangita Ratnakara and Chaturdandi Prakasika. (b) Short life sketch and contributions of the following:- Veena Dhanammal, flute Saraba Sastry, Rajamanikkam Pillai, Tirukkodi Kaval Krishna lyer (violin) Rajaratnam Pillai (Nagasvaram), Thyagaraja, Syamasastry, Muthuswamy Deekshitar, Veena Seshanna. (c) Brief study of the musical forms: Geetam and its varieties; Varnam – Padavarnam – Daruvarna Svarajati, Kriti/Kirtana and Padam 2. Definition and explanation of the following terms: Nada, Sruti, Svara, Vadi, Vivadi:, Samvadi, Anuvadi, Amsa & Nyasa, Jaati, Raga, Tala, Jati, Yati, Suladisapta talas, Nadai, Arohana, Avarohana. 3. Candidates should be able to write in notation the Varnam in the prescribed ragas. 4. Lakshanas of the ragas prescribed. 5. Talas Prescribed: Adi, Roopaka, Misra Chapu and Khanda Chapu. A brief study of Suladi Saptatalas. 6. A brief introduction to Manodhama Sangitam CLASS–XI (PRACTICAL) One Practical Paper Marks: 70 B. Practical Activities 1. Ragas Prescribed: Mayamalavagowla, Sankarabharana, Kharaharapriya, Kalyani, Kambhoji, Madhyamavati, Arabhi, Pantuvarali Kedaragaula, Vasanta, Anandabharavi, Kanada, Dhanyasi. 2. Varnams (atleast three) in Aditala in two degree of speed. 3. Kriti/Kirtana in each of the prescribed ragas, covering the main Talas Adi, Rupakam and Chapu. 4. Brief alapana of the ragas prescribed. 5. Technique of playing niraval and kalpana svaras in Adi, and Rupaka talas in two degrees of speed. 6. The candidate should be able to produce all the gamakas pertaining to the chosen instrument.
    [Show full text]
  • Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan
    Table of Contents From the Publications & Outreach Committee ..................................... Lakshmi Radhakrishnan ............ 1 From the President’s Desk ...................................................................... Balaji Raghothaman .................. 2 Connect with SRUTI ............................................................................................................................ 4 SRUTI at 30 – Some reflections…………………………………. ........... Mani, Dinakar, Uma & Balaji .. 5 A Mellifluous Ode to Devi by Sikkil Gurucharan & Anil Srinivasan… .. Kamakshi Mallikarjun ............. 11 Concert – Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan ..... 14 A Grand Violin Trio Concert ................................................................... Sneha Ramesh Mani ................ 16 What is in a raga’s identity – label or the notes?? ................................... P. Swaminathan ...................... 18 Saayujya by T.M.Krishna & Priyadarsini Govind ................................... Toni Shapiro-Phim .................. 20 And the Oscar goes to …… Kaapi – Bombay Jayashree Concert .......... P. Sivakumar ......................... 24 Saarangi – Harsh Narayan ...................................................................... Allyn Miner ........................... 26 Lec-Dem on Bharat Ratna MS Subbulakshmi by RK Shriramkumar .... Prabhakar Chitrapu ................ 28 Bala Bhavam – Bharatanatyam by Rumya Venkateshwaran ................. Roopa Nayak ......................... 33 Dr. M. Balamurali
    [Show full text]
  • 38 Tirunelveli Parliamentary Constituency
    List of Polling Stations for 224 Tirunelveli Assembly Segment within the 38 Tirunelveli Parliamentary Constituency Location and name of Polling Whether for All Voters or Men only Sl.No Part No building in which Polling Polling Areas station No. or Women only Station located 1 2 3 4 5 6 Manur Panchayat Union 1.UkkiranKottai (R.V), UkkiranKottai (P) Mottaiyanoor South Street , 2.UkkiranKottai (R.V), 1 1 1 Primary School, Eastern UkkiranKottai (P) Mottaiyanoor Main Road. , 3.UkkiranKottai (R.V), UkkiranKottai (P) ALL VOTERS Portion, Mottaiyanoor Marakudi Rastha East Portion. , 99.OVERSEAS ELECTORS OVERSEAS ELECTORS 1.UkkiranKottai (R.V), UkkiranKottai (P) Marakudi Rastha Main Road. , 2.UkkiranKottai Manur Panchayat Union (R.V), UkkiranKottai (P) Marakudi Rastha East Partion. , 3.UkkiranKottai (R.V), 2 2 2 Primary School, Western ALL VOTERS UkkiranKottai (P) Marakudi Rastha Main Road. , 4.UkkiranKottai (R.V), UkkiranKottai (P) Portion, Mottaiyanoor. Valveechu Rastha. , 99.OVERSEAS ELECTORS OVERSEAS ELECTORS 1.UkkiranKottai (R.V), UkkiranKottai (P) South Street , 2.UkkiranKottai (R.V), UkkiranKottai (P) Middle Street, North Street , 3.UkkiranKottai (R.V),UkkiranKottai (P) St.Peter Hr.Sec.School, Sampoothu. , 4.UkkiranKottai (R.V),UkkiranKottai (P) Main Road 1. , 5.UkkiranKottai 3 3 3 GoldenJubilee Block (west (R.V), UkkiranKottai (P) North Street. , 6.Ukkirankottai (R.V), Ukkirankottai (P) Main Road MAIN Portion) Ukkirankottai. (North Portion, South Portion). , 7.UkkiranKottai (R.V), UkkiranKottai (P) Main Road , South Portion. , 8.UkkiranKottai (R.V), UkkiranKottai (P) Main Road 2 , 99.OVERSEAS ELECTORS OVERSEAS ELECTORS 1.UkkiranKottai (R.V), UkkiranKottai (P) South Street , 2.UkkiranKottai (R.V), UkkiranKottai (P) Middle Street, North Street , 3.UkkiranKottai (R.V),UkkiranKottai St.Peter Hr.Sec.School, (P) Sampoothu.
    [Show full text]
  • Senior School Curriculum 2017-18
    SENIOR SCHOOL CURRICULUM 2017-18 VOLUME - III Music and Dance for Class XII Central Board of Secondary Education “Shiksha Sadan”, 17, Rouse Avenue, New Delhi – 110 002 / Telephone : +91-11-23237780 /Website : www.cbseacademic.in Downloaded from: www.cbseportal.com Courtesy : CBSE Senior School Curriculum 2017 - 18 Volume - III CBSE, Delhi – 110092 March, 2017 Copies: Price: ` This book or part thereof may not be reproduced by any person or Agency in any manner Published by: The Secretary, CBSE Printed by: Multi Graphics, 8A/101, WEA Karol Bagh, New Delhi – 110 005, Phone: 25783846 Printed by: II Downloaded from: www.cbseportal.com Courtesy : CBSE CONTENTS Page No. Music and Dance Syllabus (i) Carnatic Music 1 (a) Carnatic Music (Vocal) 2 (b) Carnatic Music (Melodic Instrument) 6 (c) Carnatic Music (Percussion Instrumental) 10 (ii) Hindustani Music 15 (a) Hindustani Music (Vocal) 16 (b) Hindustani Music (Melodic Instrument) 19 (c) Hindustani Music (Percussion Instrumental) 22 (iii) (a) Dances 25 (a) Kathak 27 (b) Bharatnatyam 32 (c) Kuchipudi 36 (d) Odissi 38 (e) Manipuri 42 (f) Kathakali 46 (g) Mohiniyattam 49 III Downloaded from: www.cbseportal.com Courtesy : CBSE SENIOR SCHOOL CURRICULUM 2017-18 VOLUME III (i) Carnatic Music Effective from the academic session 2017–2018 for Classes–XI and XII 1 Downloaded from: www.cbseportal.com Courtesy : CBSE (A) CARNATIC MUSIC (VOCAL): (CODE NO. 031) CLASS–XII (2017-18): (THEORY) One Theory Paper Total Marks: 100 3 Hours Marks: 30 72 Periods Theory: A. History and Theory of Indian Music 1. (a) Brief history of Carnatic music with special reference to Sangita Saramrita, Sangita Sampradaya Pradarsini, Svaramelakalanidhi, Raga Vibodham, Brihaddesi.
    [Show full text]
  • Police Matters: the Everyday State and Caste Politics in South India, 19001975 by Radha Kumar
    PolICe atter P olice M a tte rs T he v eryday tate and aste Politics in South India, 1900–1975 • R a dha Kumar Cornell unIerIt Pre IthaCa an lonon Copyright 2021 by Cornell University The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https:creativecommons.orglicensesby-nc-nd4.0. To use this book, or parts of this book, in any way not covered by the license, please contact Cornell University Press, Sage House, 512 East State Street, Ithaca, New ork 14850. Visit our website at cornellpress.cornell.edu. First published 2021 by Cornell University Press Library of Congress Cataloging-in-Publication Data Names: Kumar, Radha, 1981 author. Title: Police matters: the everyday state and caste politics in south India, 19001975 by Radha Kumar. Description: Ithaca New ork: Cornell University Press, 2021 Includes bibliographical references and index. Identifiers: LCCN 2021005664 (print) LCCN 2021005665 (ebook) ISBN 9781501761065 (paperback) ISBN 9781501760860 (pdf) ISBN 9781501760877 (epub) Subjects: LCSH: Police—India—Tamil Nadu—History—20th century. Law enforcement—India—Tamil Nadu—History—20th century. Caste— Political aspects—India—Tamil Nadu—History. Police-community relations—India—Tamil Nadu—History—20th century. Caste-based discrimination—India—Tamil Nadu—History—20th century. Classification: LCC HV8249.T3 K86 2021 (print) LCC HV8249.T3 (ebook) DDC 363.20954820904—dc23 LC record available at https:lccn.loc.gov2021005664 LC ebook record available at https:lccn.loc.gov2021005665 Cover image: The Car en Route, Srivilliputtur, c. 1935. The British Library Board, Carleston Collection: Album of Snapshot Views in South India, Photo 6281 (40).
    [Show full text]
  • June 2018 (Special Edition on Ganakaladhara Madurai Mani Iyer)
    Lalitha Kala Tarangini Premier Quarterly Music Magazine from Sri Rama Lalitha Kala Mandira Volume 2018, Issue 2 June 2018 Sangeetha Kalarathna Titte Krishna Iyengar RR Keshavamurthy - The Lion of Karnataka DK Pattammal the Immortal legend Indian Music Experience (IME) Special Edition on Madurai Mani Iyer Raga Laya Prabha award felicitation Sri Rama Lalitha Kala Mandira awarded “Raaga Laya Prabha” on 13th May 2018 to Aditi B Prahalad (Vocal), BK Raghu (Violin) and Akshay Anand (Mridangam) who are the upcoming youngsters from Bangalore. This award is to commemorate the memory of the Founder-Director, Karnataka Kalashree GV Ranganayakamma, Vidushi GV Neela and her Sister, Founder-patron and Veena artiste Dr. GV Vijayalakshmi. The award carries a cash prize of Rs. Twenty Five Thousand and a citation. The award function was followed by a concert of Abhishek Raghuram (Vocal). B Vittal Rangan (Violin), NC Bharadwaj (Mridanga) and Guruprasanna (Kanjra) in presence of a capacity crowd. Left to Right Standing - Sri DR Srikantaiah - President, Akshay Anand, Sri GV Krishna Prasad - Hon. Secretary, Vidushi Neela Ramgopal,Vidwan Abhishek Raghuram, Aditi B Prahalad, BK Raghu June 2018 Titte Krishna Iyengar and RR Keshavamurthy. I am sure they will be an inspiration to the youngsters. Ganakaladhara Madurai Mani Iyer (MMI) shone like a jewel during the golden period of Karnatak music. He, Music world celebrated the centenary year of DK Pattam- along with GN Balasubramaniam (GN Sir) revolutionised mal a doyen in her own right on March 19, 2019. Vice karnatak music so much so that we talk about music in President of India, Shri M Venkaiah Naidu inaugurated the terms of before MMI, GN Sir and after MMI and GN Sir.
    [Show full text]
  • The Journal of the Music Academy Madras Devoted to the Advancement of the Science and Art of Music
    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. 89 2018 Appendix (A & B) Veena Seshannavin Uruppadigal (in Tamil) 250.00 ŸÊ„¢U fl‚ÊÁ◊ flÒ∑ȧá∆U Ÿ ÿÊÁªNÔUŒÿ ⁄UflÊÒ– Ragas of Sangita Saramrta – T.V. Subba Rao & ◊jQÊ— ÿòÊ ªÊÿÁãà 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 Sriram V. Raga Lakshanangal – Dr. S.R. Janakiraman (in Tamil) Volume – I, II & III each 150.00 VOL. 89 – 2018 VOL. 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.
    [Show full text]
  • Resettlement Plan: Tirunelveli Underground Sewerage System
    Resettlement Plan Document stage: Draft for Consultation Project Number: 49107-004 May 2018 IND: Tamil Nadu Urban Flagship Investment Program – Tirunelveli Underground Sewerage System (Phase II) Prepared by Tirunelveli City Municipal Corporation of the Government of Tamil Nadu for the Asian Development Bank. CURRENCY EQUIVALENTS (as of 11 May 2018) Currency Unit – Indian rupee (₹) ₹1.00 = $0.0149 $1.00 = ₹67.090 ABBREVIATIONS ADB – Asian Development Bank ASO – assistant safeguards officer BPL – below poverty line CMSC – construction, management and supervision consultant CMWSSB – Chennai Metro Water Supply and Sewerage Board EUP – enter upon permission FGD – focus group discussion GIAC – Governance Improvement and Awareness Consultant GoTN – Government of Tamil Nadu GRC – grievance redress committee GRM – grievance redress mechanism IPP – indigenous peoples plan MAWS – Municipal Administration and Water Supply Department NOC – no objection certificate PIU – program implementation unit PMU – program management unit PWD – Public Works Department RCC – reinforced cement concrete RFCTLARR – Right to Fair Compensation and Transparency in Land Acquisition, Rehabilitation and Resettlement R&R – resettlement and rehabilitation ROW – right-of-way SIA – social impact assessment SPO - social project officer SPS – Safeguard Policy Statement SRSE – Social and Resettlement Safeguard Expert STP – sewage treatment plant TNUFIP – Tamil Nadu Urban Flagship Investment Program TNUIFSL – Tamil Nadu Urban Infrastructure Financial Services Ltd. TWADB – Tamil Nadu Water Supply and Drainage Board UGSS – underground sewerage system ULB – urban local body NOTE In this report, "$" refers to US dollars. This resettlement plan is a document of the borrower. The views expressed herein do not necessarily represent those of ADB's Board of Directors, Management, or staff, and may be preliminary in nature.
    [Show full text]
  • THE RECORD NEWS ======The Journal of the ‘Society of Indian Record Collectors’ ------ISSN 0971-7942 Volume: Annual - TRN 2011 ------S.I.R.C
    THE RECORD NEWS ============================================================= The journal of the ‘Society of Indian Record Collectors’ ------------------------------------------------------------------------ ISSN 0971-7942 Volume: Annual - TRN 2011 ------------------------------------------------------------------------ S.I.R.C. Units: Mumbai, Pune, Solapur, Nanded and Amravati ============================================================= Feature Articles Music of Mughal-e-Azam. Bai, Begum, Dasi, Devi and Jan’s on gramophone records, Spiritual message of Gandhiji, Lyricist Gandhiji, Parlophon records in Sri Lanka, The First playback singer in Malayalam Films 1 ‘The Record News’ Annual magazine of ‘Society of Indian Record Collectors’ [SIRC] {Established: 1990} -------------------------------------------------------------------------------------------- President Narayan Mulani Hon. Secretary Suresh Chandvankar Hon. Treasurer Krishnaraj Merchant ==================================================== Patron Member: Mr. Michael S. Kinnear, Australia -------------------------------------------------------------------------------------------- Honorary Members V. A. K. Ranga Rao, Chennai Harmandir Singh Hamraz, Kanpur -------------------------------------------------------------------------------------------- Membership Fee: [Inclusive of the journal subscription] Annual Membership Rs. 1,000 Overseas US $ 100 Life Membership Rs. 10,000 Overseas US $ 1,000 Annual term: July to June Members joining anytime during the year [July-June] pay the full
    [Show full text]
  • Economic and Cultural History of Tamilnadu from Sangam Age to 1800 C.E
    I - M.A. HISTORY Code No. 18KP1HO3 SOCIO – ECONOMIC AND CULTURAL HISTORY OF TAMILNADU FROM SANGAM AGE TO 1800 C.E. UNIT – I Sources The Literay Sources Sangam Period The consisted, of Tolkappiyam a Tamil grammar work, eight Anthologies (Ettutogai), the ten poems (Padinen kell kanakku ) the twin epics, Silappadikaram and Manimekalai and other poems. The sangam works dealt with the aharm and puram life of the people. To collect various information regarding politics, society, religion and economy of the sangam period, these works are useful. The sangam works were secular in character. Kallabhra period The religious works such as Tamil Navalar Charital,Periyapuranam and Yapperumkalam were religious oriented, they served little purpose. Pallava Period Devaram, written by Apper, simdarar and Sambandar gave references tot eh socio economic and the religious activities of the Pallava age. The religious oriented Nalayira Tivya Prabandam also provided materials to know the relation of the Pallavas with the contemporary rulers of South India. The Nandikkalambakam of Nandivarman III and Bharatavenba of Perumdevanar give a clear account of the political activities of Nandivarman III. The early pandya period Limited Tamil sources are available for the study of the early Pandyas. The Pandikkovai, the Periyapuranam, the Divya Suri Carita and the Guruparamparai throw light on the study of the Pandyas. The Chola Period The chola empire under Vijayalaya and his successors witnessed one of the progressive periods of literary and religious revival in south India The works of South Indian Vishnavism arranged by Nambi Andar Nambi provide amble information about the domination of Hindu religion in south India.
    [Show full text]