T>HE JOURNAL MUSIC ACADEMY

Total Page:16

File Type:pdf, Size:1020Kb

T>HE JOURNAL MUSIC ACADEMY T>HE JOURNAL OF Y < r f . MUSIC ACADEMY MADRAS A QUARTERLY IrGHTED TO THE ADVANCEMENT OF THE SCIENCE ' AND ART OF MUSIC XXXVIII 1967 Part.' I-IV ir w > \ dwell not in Vaikuntha, nor in the hearts of Yogins, ^n- the Sun; (but) where my Bhaktas sing, there L ^ Narada ! ” ) EDITED BY v. RAGHAVAN, M.A., p h .d . 1967 PUBLISHED BY 1US1C ACADEMY, MADRAS a to to 115-E, MOWBRAY’S ROAD, MADRAS-14 bscription—Inland Rs. 4. Foreign 8 sh. X \ \ !• ADVERTISEMENT CHARGES \ COVER PAGES: Full Page Half Page i BaCk (outside) Rs. 25 Rs. 13 Front (inside) 99 20 .. 11. BaCk (Do.) 30 *# ” J6 INSIDE PAGES: i 1st page (after Cover) 99 18 io Other pages (eaCh) 99 15 .. 9 PreferenCe will be given (o advertisers of musiCal ® instruments and books and other artistic wares. V Special positions and speCial rates on appliCation. t NOTICE All correspondence should be addressed to Dr. V. Ragb Editor, Journal of the MusiC ACademy, Madras-14. Articles on subjects of musiC and dance are accepte publication on the understanding that they are Contributed to the Journal of the MusiC ACademy. f. AIT manuscripts should be legibly written or preferabl; written (double spaced—on one side of the paper only) and be sigoed by the writer (giving his address in full). I The Editor of the Journal is not responsible for tb expressed by individual contributors. AH books, advertisement moneys and cheques du> intended for the Journal should be sent to Dr. V, B Editor. CONTENTS Page T XLth Madras MusiC Conference, 1966 OffiCial Report ... ... 1— 58 T Music in the Chant of Sama Veda Hymns by“Dr. T. S. Ramakrishnan ... ... 59— 62 SLingappa’s Compositions by Sri V. Ramachandra Naidu ... 63— 71 Iims of India through the Ages by S. Krishnaswami, A.l.R. ... ... 72— 82 hayambaka by Sri L. S. Rajagopalan ... ... 83—102 ijiaritan Chant by Dr. Spector, New York ... 103—112 dmparative Study of Tala Systems of Hindustani * and Karnatak MusiC by Dr. S. N. Ratanjankar 113—129 he Place of Rhythm in Art by Prof. R. Srinivasan, Trivandrum 130—131 ,'erception of Rhythm by Dr. B. Chaitanya Deva ... ... 132—135 'he Panchavadya by iS. Venkitasubramonia Iyer ... 136—141 Two New Kritis of Sri Muthuswami Dikshitar by Veenai Vidvan A. Sundaram Iyer 142—150 Propriety of Dividing an OCtave into Twenty-two Srutis, Septimal Frequency Ratios and Twenty- two Sruti SCale by Dr. H. V. Modak ... ... 151—164 B o o k -R ev iew s : Psycho-acoustics of MusiC and SpeeCh: K. R. Raja­ gopalan, Sikh SaCred MusiC: V. R. ... 165—173 In Mbmoriam ... 174—175 ;HE XLth MADRAS MUSIC CONFERENCE 1966 OFFICIAL REPORT — r The Opening Day 18th December, 1966 The XLth ConferenCe and Music Festival of the Mad<^$~ siC ACademy were held in the Academy’s premises, 115-E, iwbrays Road, Royapettah, Madras-14 from 18th December 6 to 1st January 1967. * Vidvan Palghat Sri T. S. Mani Iyer presided over the t nferenCe and His ExCellenCy Sardar Ujjal Singh, Governor of dras opened the ConferenCe. There was a large audience and /.cademy’s Auditorium was filled with musiCians and musiC olars from all over India and also from foreign countries, ides Members of the Academy and special invitees. Opening FunCtion On arrival at the premises of the Academy, the Governor daf Ujjal Singh and Sardarini Ujjal Singh were reCeived by the ce-bearers of the Academy. He was introduced to the :sident of the Conference, other musicians and Members of the eCutive and Expert Committees of the Academy. After a group }to, the Governor was led to the Auditorium. The proceedings began with prayer by the students of the iChers* College of the Music ACademy. Messages ' Sri R. Ranganathan, Secretary, then read the messages eived for the suCCess of the Conference. Dr. S. Radhakrishnan, President of India sent his best wishes : the suCCess of the Conference. He said, “ The President is ^d to know that the 40th Annual ConferenCe of the Madras isiC ACademy will be held from the 18th December 1966. He (ds his best wishes for its success.” .'D r. Zakir Hussain, Vice-President of India, said in his ^ssage: 2 THH JOURNAL OV THB MADRAS MUSIC ACADEMY [VOL. XXXVIII " I am glad to know that the 40th Annual Conference of the Madras MusiC Academy will be held from the 18th of December. I send my best wishes for the suCCess of the Conference." His Highness, Maharaja Jaya Chamaraja Wadiar wrote : " I am extremely happy to know that the 40th Conference of the MusiC ACademy will be held from the 18th December 1966 to the 1st of January 1967 and Sardar Ujjal Singh, Governor of Madras will be opening the Conference. I wish the Madras MusiC Academy all suCcess." Their Excellencies Sri Biswanath Das, Governor of U. P., Sri Nityananda Kanungo, Governor of Gujarat, and Sri V. V. Giri, Governor of Mysore, sent messages. Sri Nityanand Kanungo, Governor of Gujarat, said in the Course of his message: " My Congratulations to MusiC ACademy on its excellent activities and all good wishes for suCCess of its Fortieth Conference." '■■■■ Sri V. V. Giri, Governor of Mysore, said in his message: I am glad that the 40th Annual Conference of the Madras MusiC ACademy is being celebrated on the 18th. I know the excellent work which your ACademy is rendering and during December it provides many treats to the people of Madras. In faCt, people from other parts of South also come to Madras all the way to hear and enjoy the musiC. I am sure in the coming years your ACademy will grow from strength to strength. I send my best wishes for the suCCess of your Annual Conference." ‘ - The Hon’ble Sri M. Bhaktavatsalam, Chief Minister of Madras, writes:— "The Music ACademy has, sinCe its inception, functioned as the repository of the best musiC and danCe traditions of Tamil Nad. No wonder the annual musiC festival of the ACademy is being looked forward to by all lovers of musiC and dance in the City of Madras. I have no doubt that the 40th Annual Conference of the MusiC ACademy will help preserve and foster our rich heritage.” PtS. I-IV] THE Xl.th MADRAS music conference 3 The following Ministers at the Centre sent messages: Sri O. V. Alagesan, Sri C. R. Pattabhiraman, Sri D. Sanjee- viah, Sri K. L. Rao, the Deputy Minister for Iron and Steel, and the Deputy Minister for Health. Hon’ble Sri S. Nijalingappa, Chief Minister of Mysore, an & Sri B. V. Jatti and Sri M. V. Rama Rao, Ministers of Mysore, and Sri M. R. Appa Rao and Sri M. N. Lakshminarasiah, Ministers of Andhra Pradesh, sent their good wishes. The Hon’ble Sri R. Venkalaranian, Minister of Industries, Madras, who inaugurated the previous year’s ConferenCe said in his message : “ The MusiC ACademy has a loDg and continuous re­ cord of serviCe in preserving the purity and tradition of Karnatic Music. Vidvan Sri Palghat Mani Iyer, the most outstanding percussion instrumentalist, has made original and distinguished Contribution by the mastery of his technique and it is but fitting that the Governor should inaugurate this Session.” Sri N. S. S. Manradiar, Minister for Co-operation, Madras, referred to the unfailing annual budget for ClassiCal musiC and danCe with whiCh the MusiC ACademy has established for itself a position of preeminence in the field of Fine Arts and wishes all suCCess to this year’s Conference. The Hon’ble Sri S. Chella Pandian Conveyed his good wishes to the Academy. Sri S. N. Mozumdar, Vice-Chairman, Central Sangeet Nataka Akademi, said in his message: “ The very fact that this will be the 40th session speaks volumes. I do not know of any other ConferenCe related to the three arts whiCh has met year after year, served its purpose and served so suCCessfully. The two features of your Conference have speCial Connotation—the reveal­ ing of young talent and the other to identify the affinities between the Karnatic and the Hindustani Music.” Dr. V. K. Narayana Menon, Director-General, All-India Radio, referred to the high standards whiCh the ACademy had already set for itself and wished that the Institution would keep up those standards, ' 4 THB JOURNAL OF THB MADRAS MUSIC "ACADBMY [VOL. XXXVII Prof. M- S. Thacker of the Planning Commission sent h| best wishes. Sri C. V- Narasimhan, Chief of the Cabinet of U.N., Newl York, said in his message that in honouring Mani Iyer the Musiy ACademy was honouring a person who was not only a musical genu* in the true sense of the word but also a person of deep humilit>Jj He was pleased that the 40th Conference would be presided bif this outstanding artist who had brought credit to the musidj tradition in India and abroad. 9 ; Mrs. Henry Cowell, wife of the composer who had founded *5 prize for Mridangam in the ACademy, sent her heartiest greetings* and admiration to the ACademy and her respectful salutations to the Governor of Madras who was opening the Conference. She referred to her late husband's interest in Mridangam and the appropriateness of South India’s foremost Mridangam Vidvan presiding over this session and sent him her respectful greetings.^ Prof. Willard Rhodes of the Music Department of Columbia^ University who participated in the previous, year’s ConferenCe® and was attached to the ACademy in his further studies on Indian; MusiC, said in his message that his experienCe of the 39th Conference had been a memorable one and had added a new dimension to his understanding and appreciation of the music ol India.
Recommended publications
  • A Synonym to Conservation of Intangible Cultural Heritage: Folkland, International Centre for Folklore and Culture, Heading for Its 30Th Anniversary
    A Synonym to Conservation of Intangible Cultural Heritage: Folkland, International Centre for Folklore and Culture, Heading for Its 30th Anniversary V. Jayarajan Folkland, International Centre for Folklore and Culture Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture. Since its inception in 1989, Folkland has passed through various phases of growth into a cultural organization with a global presence. As stated above, Folkland has delved deep into the fields of stage performance, production, documentation, and research, besides the preservation of folk art and culture. It has strived hard and treads the untrodden path with a clear motto of preservation and inculcation of old folk and cultural values in our society. Folkland has a veritable collection of folk songs, folk art forms, riddles, fables, myths, etc. that are on the verge of extinction. This collection has been recorded and archived well for scholastic endeavors and posterity. As such, Folkland defines itself as follows: 1. An international center for folklore and culture. 2. A cultural organization with clearly defined objectives and targets for research and the promotion of folk arts. Folkland has branched out and reached far and wide into almost every nook and corner of the world. The center has been credited with organizing many a festival on folk arts or workshop on folklore, culture, linguistics, etc.
    [Show full text]
  • Music Initiative Jka Peer - Reviewed Journal of Music
    VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc.
    [Show full text]
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Particulars of Some Temples of Kerala Contents Particulars of Some
    Particulars of some temples of Kerala Contents Particulars of some temples of Kerala .............................................. 1 Introduction ............................................................................................... 9 Temples of Kerala ................................................................................. 10 Temples of Kerala- an over view .................................................... 16 1. Achan Koil Dharma Sastha ...................................................... 23 2. Alathiyur Perumthiri(Hanuman) koil ................................. 24 3. Randu Moorthi temple of Alathur......................................... 27 4. Ambalappuzha Krishnan temple ........................................... 28 5. Amedha Saptha Mathruka Temple ....................................... 31 6. Ananteswar temple of Manjeswar ........................................ 35 7. Anchumana temple , Padivattam, Edapalli....................... 36 8. Aranmula Parthasarathy Temple ......................................... 38 9. Arathil Bhagawathi temple ..................................................... 41 10. Arpuda Narayana temple, Thirukodithaanam ................. 45 11. Aryankavu Dharma Sastha ...................................................... 47 12. Athingal Bhairavi temple ......................................................... 48 13. Attukkal BHagawathy Kshethram, Trivandrum ............. 50 14. Ayilur Akhileswaran (Shiva) and Sri Krishna temples ...........................................................................................................
    [Show full text]
  • Famous Indian Classical Musicians and Vocalists Free Static GK E-Book
    oliveboard FREE eBooks FAMOUS INDIAN CLASSICAL MUSICIANS & VOCALISTS For All Banking and Government Exams Famous Indian Classical Musicians and Vocalists Free static GK e-book Current Affairs and General Awareness section is one of the most important and high scoring sections of any competitive exam like SBI PO, SSC-CGL, IBPS Clerk, IBPS SO, etc. Therefore, we regularly provide you with Free Static GK and Current Affairs related E-books for your preparation. In this section, questions related to Famous Indian Classical Musicians and Vocalists have been asked. Hence it becomes very important for all the candidates to be aware about all the Famous Indian Classical Musicians and Vocalists. In all the Bank and Government exams, every mark counts and even 1 mark can be the difference between success and failure. Therefore, to help you get these important marks we have created a Free E-book on Famous Indian Classical Musicians and Vocalists. The list of all the Famous Indian Classical Musicians and Vocalists is given in the following pages of this Free E-book on Famous Indian Classical Musicians and Vocalists. Sample Questions - Q. Ustad Allah Rakha played which of the following Musical Instrument? (a) Sitar (b) Sarod (c) Surbahar (d) Tabla Answer: Option D – Tabla Q. L. Subramaniam is famous for playing _________. (a) Saxophone (b) Violin (c) Mridangam (d) Flute Answer: Option B – Violin Famous Indian Classical Musicians and Vocalists Free static GK e-book Famous Indian Classical Musicians and Vocalists. Name Instrument Music Style Hindustani
    [Show full text]
  • Durham Research Online
    Durham Research Online Deposited in DRO: 05 August 2016 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Leante, Laura (2009) 'Urban Myth : bhangra and the dhol craze in the UK.', in Music in motion : diversity and dialogue in Europe. Bielefeld: Transcript Verlag, pp. 191-207. Further information on publisher's website: http://www.transcript-verlag.de/978-3-8376-1074-1/ Publisher's copyright statement: This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk (revised version – November 2008) 1 “Urban myth”: bhangra and the dhol craze in the UK Bhangra is believed to have originated in western Punjab (in today’s Pakistan) as a rural male dance performed to the rhythm of the dhol, a large double-headed barrel drum, to celebrate the spring harvest.
    [Show full text]
  • News 21112019115636843Ch
    2019 \hw-_À 23 cmhnse 9.00 aWn¡v thZn : taev]-¯qÀ HmUn-täm-dnbw {]nb `à-P-\-§-sf, hniz-{]-kn-²-amb Kpcp-hm-bqÀ t£{X-¯nÂ, `à-P-\-§Ä AXy´w {hX-\n-jvT-tbmsS BN-cn-¡p¶ kpZn-\-amWv Kpcp-hm-bqÀ GIm-Z-in. Cs¡m-Ãs¯ Kpcp-hm-bqÀ GIm-Zin atlmÕhw Unkw-_À 8 (1195 hrÝnIw 22) Rmb-dm-gvN-bmWv. `K-hm³ {ioIrjvW³ alm-`m-cX-bp-²`qan-bn sh¨v AÀÖp-\\v `KhZvKoX D]-tZ-in-¨-Xnsâ kvac-W-bn "D°m\ GIm-Zin' F¶pw Adn-b-s¸-Sp¶ Cu kpZn\w KoXm-Zn-\-ambpw BN- cn-¨p-h-cp-¶p. At¶Znhkw t£{X-¯n tZhkzw hI-bmbn DZ-bm-kvX-a\-]q-P, hnti-jm ImgvNiothen F¶nh D m-bn-cn-¡p-¶-Xm-Wv. Zi-an-\m-fn KP-cm-P³ tIi-h³ A\p-kva-c-Whpw tZhkzw \S-¯n-h-cp-¶p. Kpcp-hm-bq-c-¸-t\mSv At`-Zy-amb lrZ-b-_Ôw kq£n-¡p-Ibpw ac-Ww-hsc F´p-Xs¶ {]bm-k-§- fp- m-bmepw Kpcp-hm-bqÀ GIm-Zin Znhkw apS-§msX Kpcp-hm-bq-cn-se¯n `K-hm\v kwKotXm-]mk\ sNbvX A\-izc IÀ®m-SI kwKoXN{IhÀ¯n {io. sNss¼ sshZy-\mY `mK-h-X-cpsS kvac-WmÀ°w Kpcp-hm-bq-À tZhkzw sNss¼ kwKo-tXm-Õhw 44- hÀjambn \S-¯n-h-cp-¶p. 45-þmw sNss¼ kwKo-tXm Õhw 2019 \hw_À 23 i\nbmgvN cmhnse 9.00\v ta¸-¯qÀ HmUn-täm-dn-b-¯nse sNss¼ kwKoXaÞ]- ¯n _lp.tIcf kwØm\ klIcW Sqdnkw tZhkzw hIp¸v a{´n {io.
    [Show full text]
  • 1 SRUTI August 2011
    1 z SRUTI August 2011 south indian classical music and dance magazine Issue 1 October 1983 Welcome to the brand new pages of SRUTI. In the tradition of a sutradhara, I have the pleasant task of telling you what lies in store for you. The lead group of articles on the phenomenon of Mandolin Srinivas shows that ours is a new kind of magazine. Not only do we bring you a fact-filled report on the musical prodigy (Are of Triumph: A Prodigy at Play, p.3) but we place his advent and achievement in perspective through three related articles: What Makes or Unmakes a Prodigy (p.4): The Twain Meet Again (p.7) and A Sextet of Sensations (p.12). Rounding out this lead group is a column by guest writer K.S. Mahadevan (p. 1 1) and a critique of Srinivas as a musician which appears elsewhere (p.42). In this inaugural issue, we also offer the first in a series of in-depth profiles of personalities of the world of South Indian classical music and dance – profiles of a kind you would not have encountered in any other magazine in India. The profile of D.K. Pattammal, under the caption Trailblazing Traditionalist (p.20) will be concluded in the November issue. Along with the profile . we offer this time a critical appreciation written by Contributing Editor K.S. Muthu- raman (p.36) and also an interview with Pattammal by another singer, Sita Rajan (On Pallavi Singing, p.38). Other music-related items are critiques with the unique SRUTI angle.
    [Show full text]
  • PONNANI PEPPER PROJECT History Ponnani Is Popularly Known As “The Mecca of Kerala”
    PONNANI PEPPER PROJECT HISTORY Ponnani is popularly known as “the Mecca of Kerala”. As an ancient harbour city, it was a major trading hub in the Malabar region, the northernmost end of the state. There are many tales that try to explain how the place got its name. According to one, the prominent Brahmin family of Azhvancherry Thambrakkal once held sway over the land. During their heydays, they offered ponnu aana [elephants made of gold] to the temples, and this gave the land the name “Ponnani”. According to another, due to trade, ponnu [gold] from the Arab lands reached India for the first time at this place, and thus caused it to be named “Ponnani”. It is believed that a place that is referred to as “Tyndis” in the Greek book titled Periplus of the Erythraean Sea is Ponnani. However historians have not been able to establish the exact location of Tyndis beyond doubt. Nor has any archaeological evidence been recovered to confirm this belief. Politically too, Ponnani had great importance in the past. The Zamorins (rulers of Calicut) considered Ponnani as their second headquarters. When Tipu Sultan invaded Kerala in 1766, Ponnani was annexed to the Mysore kingdom. Later when the British colonized the land, Ponnani came under the Bombay Province for a brief interval of time. Still later, it was annexed Malabar and was considered part of the Madras Province for one-and-a-half centuries. Until 1861, Ponnani was the headquarters of Koottanad taluk, and with the formation of the state of Kerala in 1956, it became a taluk in Palakkad district.
    [Show full text]
  • Palghat Mani Iyer.Pdf
    COVER STORY Palghat T.S. Mani Iyer (1912-1981) Sriram.V ometime in the 17th century, a Raja of Palghat is said to have invited many Brahmin families Sbelonging to the Tanjavur region to his principality. They were to inculcate learning and culture in the area. These families settled in 96 villages of Palghat district and greatly enriched the place. Many of their descendants rose to high positions in administration, business and other walks of life. Several shone as musicians. But the man who was to prefix the name of the district to his own name and make it synonymous with percussion was Mani Iyer, the mridanga maestro. Palghat T.S. Mani Iyer was born on 12th June 1912 at Pazhayanur, Tiruvilvamala Taluk, in Palghat District to Sesham Bhagavatar and Anandambal as their second son. The couple had many children of whom some died early with only two sons (Mani Iyer and a younger brother) and two daughters surviving into adulthood. Sesham Bhagavatar was a vocalist in the Harikatha troupe of Mukkai Sivaramakrishna Bhagavatar, a famous exponent of the art form. Mani was christened Ramaswami at birth— after his grandfather who was a school teacher besides being a good singer. Destined as it seemed Mani Iyer was to acquire fame Young Mani in the field of percussion, the forces that control fates could not have selected a better place for his birth. Tiruvilvamala, a village on the southern side of the Born for the Mridanga Bharatapuzha river, was well known for its Panchavadyam performers. ‘Maddalam’ Venkicchan and Konthai were famed practitioners of the percussive arts.
    [Show full text]
  • List of Empanelled Artist
    INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ
    [Show full text]
  • Theatrical Performativity of Ritualistic Music: an Embellishment of Rhythmic Ensemble Kellikottu
    International Journal of Humanities and Social Science Invention (IJHSSI) ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org ||Volume 10 Issue 4 Ser. II || April 2021 || PP 08-11 Theatrical Performativity of Ritualistic Music: An Embellishment of Rhythmic Ensemble Kellikottu Thomas Joe Research Scholar, Department of Theatre, Sree Sankaracharya Universiy of Sanskrit, Kalady --------------------------------------------------------------------------------------------------------------------------------------- Date of Submission: 20-03-2021 Date of Acceptance: 04-04-2021 --------------------------------------------------------------------------------------------------------------------------------------- I. INTRODUCTION Can we imagine that there will be people who are not interested in percussion tones. Rhythm is a law of the universe. If we examine the movements of our universe, we know that they all have a rhythmic movement. We can understand that musical instruments and arts are originated in the ancient period. If we look for the origin of these, we come to the time of primitive man. The creatures and birds always express their joy and happiness in dance. The peacock is always conscious of his beauty. Rhythm is the central point of every item, poetry, music, or dance and the human gets it by nature. A special raga is played for charming the snakes. Art is a performance that is closely related to sow a foundation of a culture. PERFORMANCE IN RITUAL Anything can be a performance, the way you use it the way you treat it. Believing yourself as an actor, performer, or laborer anything else makes you the same during the work. Religious belief is a reality in our society. The ritual performance of a community, the festivals, and celebrations happening in the spiritual space are all cultural beliefs and are certain reasons for the development of society.
    [Show full text]