ISSN. 0970-3101 THE JOURNAL Of THE MUSIC ACADEMY MADRAS Devoted to the Advancement of the Science and Art of Music
Vol. LXXIV 2003
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“I dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun; (but) where my Bhaktas sing, there be /, N arada !”
Narada Bhakti Sutra
EDITORIAL BOARD
Dr. V.V. Srivatsa (Editor) N. Murali, President (Ex. Officio) Dr. Malathi Rangaswami (Convenor) Sulochana Pattabhi Raman Lakshmi Viswanathan Dr. SA.K. Durga Dr. Pappu Venugopala Rao V. Sriram
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JOURNAL OF THE MUSIC ACADEMY MADRAS
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JOURNAL OF THE MUSIC ACADEMY MADRAS
Date: Nov. 2007
Dr. V V Srivatsa Signature of the Publisher CONTENTS
Pages » Editor's Desk 7
1. The 76th Annual Music Conference & Concerts - Official Report 8
» 2. Speech of the Conference President 9
3. Profile of Awardees for the year 2002 14 r 4. Photographs of Awardees 17
5. Summary of Papers 18
6. Gamakas By Sangita Kalanidhi R. Vedavalli 26
7. Contribution of Tamil to Classicism of Kamatic Music Dr. Premeela Gurumurthy 32 i 8. Contribution of Kannada to Classicism of Karnataka Music R. Sathyanarayana 51
9. Bhakthi, as expressed by Sri Thyagaraja and Maharaja Swati Tirunal through their compositions 36
10. Two Compositions of Dr. M. Balamuralikrishna Two Compositions of Dr. V.V. Srivatsa with Notation 63
11. Release of TTK Centenary Commemorative Stamp 71
12. Obituary 72
CO EDITORIAL COMMITTEE CONVENOR S NOTE i / h e Music Academy, Madras is happy to bring out the Journals of C. the 2002, 2003 and 2004 Conferences, the publication of which was held up due to unavoidable circumstances. The issues are brought out in one bound unit. To ensure continuity the journals are numbered separately.
All the Journals have reports o f the Conferences and research articles of interest presented at the morning sessions o f the conference. The Conference o f 2002 marked the end o f the Platinum Jubilee Year of the Music Academy. The conference was inaugurated by Honble President o f India Dr. A.P.J. ABDUL KALAM.
The 2004 conference deserves special mention as it was dedicated to the memory of Bharata Ratna Sangita Kalanidhi M.S. SUBBULAKSHMI who was very closely associated with the Music Academy. That year, being the Centenary year of the publication o f Sangita Sampradaya Pradarsini o f Subbarama Dikshitar, the Experts at the conference sessions dealt with subjects related to it.
With effectfrom this Journal, two notated compositions ofVaggeyakkara Awardees will be incorporated in the Journal.
Every care has been taken to cover the proceedings comprehensively to the satisfaction o f musicians, scholars, researchers and rasikas. ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------
THE 76th ANNUAL MUSIC CONFERENCE 6torek6B>eoc 6nxfl)& $ dtifarnfa ODtaHjitflor 76 aigj b iD&gpirisirCipOT tflsjEtgb apQsir^iflsdr CONCERTS - OFFICIAL REPORT dianrseiflar &-a>jr 15.12.2002
The 76th Annual Conference of the Music Academy, Madras was held in the T.T.K. rsiMervaarnb, Auditorium at the premises of the Music Academy, Madras from 15th December 2002 Qu(£LD@luL!]}rr)(3jrfliu ggesrrr§l)u$l G&qhyQrrm (3loot><5 @ . ^ugiGO&eumb to 1st January 2003. The conference was presided over by Vidushis Sikkil Sisters 0 Smt. Kunjumani and Smt. Neela. £§)/5£ e£lg>6u£ &GX)U6mu&> Q ip tb u t— rffffeuSlp ^ i euQjjib $(nj T.T. eurrm~° ^euri& G lerr ujthtryth His Excellency the President of India Dr. A.P.J. Abdul Kalam inaugurated the xlcttctt rffrfeurrSl&iQerT, eSl^surrasrsiGsn, eSlgcurruDst&afi&Gerr LDrhrrmb Gl&dtranasr rn&rr petSl&u conference, which marked the end of the Platinum Jubilee Year of Academy’s music Qu(TF)iX)3i9iQsrT, njLDervarrrru).
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Professor §>($. ffmhu{if>rfg>§l QffmsoeSlujgj Gurreo uenerflff ^tpts6ir>^ff(§$ffGff (ajtpemeoff 6S>ff\iSl6Q Qffnfpi^ ffi ^ e u riff($$&($ ^rieugiang) 6U6fTttffff60mX>. ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS Profile of Awardees for the year 2002 He was later trained by Sangita Kalanidhi Dr. S. Pinakapani. Sri Nookala is the founder of the Vishwa Kala Parishad, a centre for the Sangita Kalanidhi promotion and propagation of Carnatic and has trained several hundreds of students. The Music Academy recognises his service by conferring the title of Sikkil Sisters Sangita Kala Acharya on him. The Sikkil Sisters, Kunjumani and Neela come from a strong musical lineage. Professor TR Subramaniam Their father Azhiyur Natesa Iyer was a mridanga vidwan. Bom in Sikkil on 15th June 1930, Kunjumani leamt the flute from the age of eight from her uncle, the Well known as TRS in music circles, Sri TR Subramaniam approaches music flautist Azhiyur Narayanaswami Iyer. Her debut took place when she was nine and from an intellectual point of view. Holding a Masters Degree in English Literature, in 1942, at the age of twelve she was awarded the title “Venu Gana Praveena” he was one of the outstanding students of the batch of 1951 from the then Central by the Maharaja of Mysore. College of Carnatic Music where he was taught by veterans such as Sangita Kalanidhis T Brinda and Musiri Subramania Iyer. Known as a musician and a Sikkil Neela was bom on 6th September 1940 and began training on the flute musicologist, he was teacher at the Music Department, Delhi University for over from an early age. She began giving independent performances from the age of 30 years. seven. The sisters began giving concerts together from 1962 and have become prominent flautists since then. Top ranking artistes at the AIR, they have given Sri TRS is also a composer of Vamams, Chittaswarams, Tilianas, Kritis and performances in India and abroad. They have been awarded best performance Pallavis. He is a very well known teacher who has taught all his students without prizes frequently by the Music Academy which now takes pride in conferring the taking a fee. He has been widely recognised and awarded by various organisations title of Sangita Kalanidhi on them. It is of significance that this is the first time in the country and the Music Academy confers the title of Sangita Kala Acharya in the annals of the Academy that women flautists are being recognised. It is also on him. the first time that a duo is being jointly conferred the title. TTK Aw ard Sangita Kala Acharya Dharmapuram P Swaminathan Kalpakam Swaminathan Bom at Nannilam on 29th May 1923 to Panchanada Mudaliar and Parvathi, Bom in Sethalapatti Village in Thanjavur District, Kalpakam Swaminathan was Swaminathan joined the Dharmapuram Mutt at the age of 12. He trained under initiated at the age of eight into the realms of music by her mother Abhayambal. R Velyudha Oduvar and acquired an extensive repertoire of the Thevaram and She continued her training in vocal and instrumental music under stalwarts such as other devotional hymns in Tamil. Later he joined the Sangita Bhushanam course Ananthakrishna Iyer, Sangita Kalanidhi Musiri Subramania Iyer, Sangita Kalanidhi at the Annamalai University where he was taught by Sangita Kalanidhi Chittoor Budalur Krishnamurthy Sastrigal and Sangita Kalanidhi T.L. Venkatarama Iyer. Subramania Pillai. Qualifying with a first class, he trained for a few more years under Madurai Subramania Mudaliar. Known today as a veteran Vainika and a true representative of the Thanjavur style of playing the instrument, she is a widely respected teacher. The Music His career as a hymnodist has spanned six decades and he has been broadcasting Academy takes pride in conferring the title of Sangita Kala Acharya on her. over the AIR since 1952 besides releasing several discs and cassettes. His work has been widely recognised and several awards have come his way. The Music Nookala Chinna Sathyanarayana Academy honours him with the TTK Award this year. Hailing from Anakapalle in Andhra Pradesh, Nookala Chinna Sathyanarayana TK Kalyanasundaram Pillai is a revered performer, a renowned musicologist and the author of several books on music. At the age of five he apprenticed under Mangalampalli Pattabhiramiah Bom into a family which has been known for its lineage of Nattuvanars, Thanjavur who taught him the violin. He was later taught by Sangita Kalanidhi Dwaram K Kalyanasundaram Pillai is one of the most respected Bharata Natyam gums of our Venkataswami Naidu when the latter was at the Maharajah’s College, Vizianagaram. times. Son of the lateT.P. Kuppiah Pillai, the family has been honoured by the royal ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS courts of Baroda, Mysore and Ramanathapuram. Kalyanasundaram Pillai learnt the art Photographs of Awardees from his father, his brother Mahal ingam Pillai, his brother-in-law, A.T. Govindaraja Pillai and sister Karunambal. His debut was at the age of four in the Kumbheswara Swami Temple in Kumbhakonam. Pillai has also trained in vocal music under A.S. Panchapakesa Iyer and the mridangam under Raghunatha Iyer. The family established the Sri Raja Rajeswari Bharatanatya Kala Mandir in 1945 in Mumbai and Pillai has been training students in the art in that city from the 1960s. The Music Academy takes pride in conferring the TTK Award on him this year. Sangita Kalanidhis Sikkil Sisters Sangita Kala Acharya Kalyanapuram Aravamudan Kalpakam Swaminathan Hailing from Tiruvayyaru, Kalyanapuram Aravamudan learnt the Vedas and the Prabandhams from his father Nathamuni Ranganatha Iyengar. He learnt the Sampradaya Granthas from HH Srirangam Srimad Andavan Vedanta Ramanuja Maha Desikan. He is stated to be the only disciple of Sangita Kalanidhi Embar S. Vijayaraghavachariar. Giving up a senior position in a multinational, Sri Aravamudan took to the field of Harikatha a decade ago. His vast knowledge of Sanskrit, Tamil and the scriptures has ensured that his discourses are rich in content thereby ensuring a Sangita Kala Acharya Sangita Kala Acharya great following. The Music Academy is happy to confer the TTK Award on him Nookala Chinna Satyanarayana Porf. T.R. Subramaniam this year. TTK Awardees Kalyanapuram Aravamudan ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ Summary of Papers Presented at the Conference Dr. Gnanambikai Kulendran, Professor Emeritus, Department of Music, Tamil University, Thanjavur, made the second presentation of this morning, under an 16th December 2002 Endowment of the Nachimuthu Gounder Rukmini Ammal Trust. Dr. Gnanambikai focused on the uniqueness of the compositions of the Sirkazhi Moovar, Muthu With the conference President, Vidushi Sikkil. V. Kunjumani in the chair, the Tandavar, Marimutha Pillai and Arunachala Kavirayar - musical trinity of Sirkazhi morning sessions of the 76th Conference of the Music Academy, got under way - and their musical output. The devotional content of their compositions was dealt as the Brihad Kalyan Group of Brihaddhwani rendered Sri Ganesa Ghana raga with by the speaker in detail with illustrations. Panchaka kritis of Sri Muthuswami Dikshitar with devotion. Dr. V.V. Srivatsa, Convenor of the morning conference, welcomed the gathering and introduced the 18th December 2002 theme of the year’s conference - “Classicism in Carnatic Music.” The third day’s session began with devotional music by Geeta Nivedana Trust, The first presenter of the inaugural session was Dr. Premeela Gurumurti of consisting of the compositions of Sri Sadasiva Brahmendra. the Department of Indian Music of the Madras University, who gave a lecture- demonstration on the contribution of Tamil to classicism in Carnatic music. The first lecture of the morning was by K. N. Srinivasan on Swaraantya Ragas (Brinda Varadarajan Memorial Endowment by Dr. M. G. Varadarajan) followed by Musical references from ancient Tamil literature, the in between period devoid a Sanskrit Harikatha exposition on the Dasavatara, by the students of the Sarvaraya of a clear musical system, the Tevara and Divya Prabandham period, which led Harikatha Patasala, under the Endowment of P. B. Sarvarayulugaru. to major contributions to music and literature were all explained by the speaker with suitable illustrations, establishing both the musical and literary contribution 19th December 2002 of Tamil to classicism. Prof. S.R. Janakiraman, member, Advisory Council and The days proceedings began with devotional music by Sri Annamacharya the conference President made their observations. Vamsheekula Sankeertana Seva Mandali. The first presentation was made by Under the Dr. V. Raghavan Sashtiabdapoorti Endowment, a dance lec-dem was Subhashini Parthasarathi, musician and researcher on the compositions of 19th presented featuring Ms. PS. Sathi Devi on Nangiar Koothu, an integral part of Century composer, Tiruvarur Ramaswamy Pillai (1798-1852) under an endowment Kudiyattam, the Sanskrit theatre tradition. The presenter, who has worked with of Nachimuthu Gounder Rukmini Ammal Trust. Mentioning that source material some of the doyens of the tradition like Maani Madhava Chakyar, has made on the composer was scarce, Subhashini briefly traced the early life and musical her own new choreography and performance manual (Aattaprakaram) for the career of the composer. She referred to the five compositions that are available traditional theme of Ramayana, titled, “Sree Ramacharitam Nangiar Koothu.” and analysed them with reference to their content, structure, tempo, melodic beauty In her lecture (read by Margi Rama Iyer), Sathi explained the methodology, and usage of swarakshara passages. The songs Ekkalattilum and Sri Kamakshi choreography, Nirvahana (Enactment) and the different nuances of the technique. were presented. The use of prosody and alliteration (Yati and Praasa) was also She demonstrated a Nirvahana of Sree Krishna charitam and a detailed enactment explained. The composers signature was Vedapureeswari, referring to the Goddess of a Sanskrit verse from Sree Rama Charitam, focusing on the Swayamvara of Sita. of Vaideeswaran Koil. The speaker mentioned that Ramaswamy Pillai was called Aimmozhippulavar (skilled in five languages) by the Dharmapura Adheenakarta. 17th December 2002 B. M. Sundaram, member, Advisory Council, who had given the speaker the The second day’s session began with the rendering of Oothukkadu Navaavarana necessary information on the composer, explained that he was able to gather these Kritis by Kanakamma Natarajan and Party. details and the notation of the compositions from one Ambika Dasar, disciple of The first lecture was delivered by Dr. Radha Venkatachalam, Faculty of the Music Ramaswamy Pillai. Department, Delhi University, on the subject of Raga Aalapana techniques. The second lecture was by Dr. Pappu R. Venugopala Rao, well-known Sanskrit At the outset, the speaker gave the definition of the term Aalapana and outlined scholar, writer and Director, American Institute of Indian Studies (Chennai), on the its characteristics. Textual references relating to the technique, application of contribution of Sanskrit to classicism in Carnatic music. Tracing at first the Natya the technique for different ragas, and other details like the durational aspect of Sastra as the major source of reference for musical and dance terms, the speaker Aalapana were discussed at length by the speaker. pointed to the different treatises on music (Bruhaddesi, Sangita Ratnakara, Chatur ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ Dandi prakasika, Narada Siksha, Sangita Sudha, Meladhikara Lakshana, etc.) and is essential while choosing the apt place for rendition in all the above aspects. their impact on the origin and evolution of Carnatic music. He traced the gradual growth and involvement in acquiring and sharpening of The speaker then made an analysis of the various composers and their the knowledge pertaining to these areas from the past, to the present and to the compositions in Sanskrit that have enriched Carnatic music (Jayadeva, Lila Sukha, future. After analyzing several factors that contribute or enhance the aspects of Annamacharya, Bhadrachala Ramadasa, Sri Muthuswami Dikshitar, Ghanam manodharma in the specified area, the speaker said that our Carnatic music system Seenayya, Margadarsi Sesha Ayyangar). Vijayalakshmi Subramanyam rendered has been open enough to receive the new, retain the old and renew technique into the songs. a finer blend with the advancement of knowledge. The second presentation by Prof. Dr. M.A. Venkatakrishnan, Head of the Dept, 20th December 2002 of Vaishnavism, University of Madras, focused on the Perumal Tirumozhi of Saint The events began with the rendering of Tevara Padigams by Sri Tripurasundari Kulasekara. This is a collection of 90 verses in Tamil. Saint Kulasekara expresses Sameta Adipureeshwarar Tevara Paatasala. Dharumapuram P. Swaminathan, in his verses a complete surrender to Lord Krishna of Tirukkannappuram, whom recipient of the TTK Award this year, spoke on Sundarar Tevaram under the he envisaged only as Rama. The unique greatness of Perumal Thirumozhi can endowment of P. Nachimuthu Gounder Rukmini Ammal Charitable Trust. The be seen from the fact that the invocatory verse for this was composed by Saint speaker defined the word Tevaram as a worshipful method of adoring the Divine. Ramanuja himself. He explained that the compositions of Sambandar are known as Tirukkadai Kaappu 22nd December 2002 (4147 songs), Appar’s as Tevaram (3066) and those of Sundarar as Tiruppaattu (1200), all of which are commonly known as Tevaram. The speaker bolstered The morning sessions began with the rendering of Navagraha Kirtana his speech with suitable illustrations (Pitha Pirai Soodi etc.) and explained the Mala, comprising compositions of N.S. Chidambaram, by Subhasruti Group of devotional aspects of the compositions. Dr. Mathangi Ramakrishnan. Under the Ramanarayana Sharma Memorial Endowment of Dr. M.G. Varadarajan, Dr. S.A.K. Durga, well-known musician, As part of the morning session, a VCD on the 72 Melakarta talas by Sangita scholar and ethnomusicologist, spoke on musical instruments as tools of Kalanidhi Dr. T.K. Murthy was released. T.T. Vasu, president of the Music experimental research. She spoke of Organology, an ethno-music term used for Academy released the VCD; and the first copy was received by Sangita Kala denoting the study of musical instruments. Durga then spoke about the Dhruva Acharya Kumbhakonam S. Rajappa Iyer. After the release function, Dr. Murthy Veena and Cala Veena in Bharata’s period, and the theory of 22 srutis proved on demonstrated mohara and korvai for certain ragas (Kanakangi and Natakapriya) the basis of these veenas. with pallavis “Unadu Paadame” and “Mahima Teliya Tarama” set in them by T.N. Seshagopalan. Murthy demonstrated a few more moharas and korvais for Vadapalani Arumuga Oduvar presented Tiruppugazhin Seermai under an some of the talas. In his speech earlier, he referred to the 35 talas (moharas and endowment in memory of M. Ganesa Iyer. The speaker gave a detailed study of korvais copied from old manuscripts by Sri B. M. Sundaram), Navasandhi talas the Chandas, lyrical beauties, and rhythmic intricacies, use of alien words, the (moharas should not be done for these, keeping in mind their ritualistic importance variety of divinities quoted, moral values found therein. Some of the miracles as per traditional practice), and the Chanda talas or the talas of Tiruppugazh. Prior ascribed to the Tiruppugazh hymns were discussed and suitably illustrated. to the lec-dem, clippings from the VCD were shown. 23rd December 2002 21st December 2002 The eighth day’s session commenced with devotional songs addressed to Lord Sreyas Group presented Tiruvallikkeni Parthan Mahimai songs to mark the Narayana, by Vijayalakshmi and group. Prof. Enrique Camara from the Department commencement of the proceedings. The first lec-dem, on manodharma in Carnatic of Ethnomusicology, University of Valladohd, Venezuela, presented a paper on Music was presented by Prof. T.R. Subramaniam, musician and musicologist and hybridisation in Latin American music. The varied facets of this music and the recipient of this year’s Sangita Kala Acharya Award. He then focussed on the features that it has absorbed from other systems and the blended techniques in aspect of elaborative technique in rendering of ragam, kalpanaswara, neraval, current practice were explained with suitable video clippings of music and dance tanarn and pallavi. The speaker stressed that propriety on the part of the musician trends based on hybridised musical scores. THE MUSIC ACADEMY MADRAS THE MUSIC ACADEMY MADRAS The second lec-dem of the morning was on the compositions of Pallavi Gopala Sarma Memorial Endowment. He spoke of Sanskrit nirupanas and highlighted the Iyer by Prof. B. Krishnamurti, musician and former Principal of the Tamil Nadu different musical compositions used in Harikatha expositions. He traced the origin Government Music College, under an endowment of Dr. M.G. Varadarajan in and evolution of Harikatha as an art form during the Maratha rule in Thanjavur memory of Chellammal Natrajan. Prof. B. Krishnamurti referred to the Sampradya and explained the synthesis of the Keerthan mode propagated by Ramchand Pradarsini of Subbarama Dikshitar, which mentions Pallavi Gopala Iyer as having Moregaonkao Baba (1855) and that of Krishna Bhagavatar who devised 135 lived during the period of King Amarasimha (1788-1798) and Raja Serfoji (1799- stories for narration. Prominent composers of Sanskrit nirupanas like Jagannatha 1832). Further citing information given in the same publication, the speaker said Pandita, Chitrakavi Sivaramakrishna Bhagavatar, Mangudi Saptarishi Bhagavatar, that three Ata tala vamams and eight kritis of the composer are available to us. Harikesavanallur Muthiah Bhagavatar, Thanjavur Sundaresa Sarma, Swaminatha Some of the charana swaras of the vamams which are not sung; the uniqueness of Athreya and others were mentioned. the kritis (ragabhava and special emphasis on usages with reference to each raga), Contemporary themes and forms in Bharatanatayam was the focus of the the Ateeta eduppu (in kritis) and the signatuie Venkata, used by the composer lecture-demonstration presented by Sujatha Vijayaraghavan. She was supported were all discussed at length. by Rhaadha (nattuvangam and choreography), Sumitra Nitin (danct,, Sunanda Narayanan (vocal), Dhananjayan (mridangam), and N. Sikhamani (violin). 24th December 2002 The presentation highlighted the mode of adaptation of contemporary poetry The contribution of Kannada language to classicism in Carnatic music was for Bharatanatyam repertoire. The selection included two kritis, composed and set elaborated by Prof. R. Satyanarayana, musicologist from Karnataka. A complete to music by Sujatha Vijayaraghavan (one on environmental pollution addressed to format of the Carnatic repertoire in Kannada, comprising Gita, Swrajati, Pada Lord Neelakanta, and the other, a “Pudukkavithai” on trees by Vairamuthu). A third Varna in Mukhari, a Kriti with a chittaswara, the work of Tipanaadi (author of number was on the demolition of the Babri Masjid and its fall out, and seeking Hanumathprabhava), a Javali of Raghunathayya, (Guru of Vasudevacharya), and the grace of Lord Rama, while the fourth item dealt with a Tamil translation of a a tillana were taken up and illustrated (by S. Nandakumara). Haiku poem by Japanese poet Matsuo Basho, elaborated with suitable sancharis. R. Vedavalli, made a presentation on the beauty of gamakas in Carnatic music. 27th December 2002 Sumitra Vasudev, her disciple gave vocal support for the demonstrative part of the presentation. The veteran musician underlined the fact that gamaka is a unique and In his lecture, Dr. Krishnamurti Srinivas, renowned neurologist, explained the extraordinary feature of Carnatic music. Citing the term Vali quoted in Sangita different illnesses considered as specific occupational risks for performing artistes, Sampradaya Pradarsini, as closer to the term gamaka, Vedavalli mentioned the 10 and showed illustrations by means of a slide presentation. types of gamakas and stressed that the gamaka contributes to ranjakatvam by the Bangalore K. Venkatram, ghatam artist and Director, Percussive Arts Centre, way in which they link swaras. Bangalore, along with daughter and musician Kalavati Avadhoot gave a lec-dem on the compositions of violin maestro T. Chowdiah (1894-1967). 25th December 2002 Both sessions were devoted to Raga Lakshana discussion. The panelists were 28th December 2002 Prof. T. N. Krishnan, Prof. S. R. Janakiraman, Chingleput Ranganathan, Prof. B. This year’s Sangita Kala Acharya designate, Kalpakam Swaminathan, Krishnamurthi and V. Subrahmanyam. The ragas taken up for discussion were assisted by Ethirajamma, disciple and staff of Kalakshetra, gave a presentation Bhairavi, Manji, Poomachandrika, Janaranjani, Darbar and Nayaki. On the same on the musical embellishments in veena technique. After defining the aspect of day a CD titled, Sangita Sagara, by V. Subrahmanyam was released. Semmangudi manodharma in our musical system, Kalpakam Swaminathan illustrated suitably to Srinivasa Iyer participated. explain the different modes of playing on the veena with regard to tanam, neraval and kalpanaswaras, using different meettu patterns. 26th December 2002 Veena Vidhushi Rajalakshmi Narayanan, winner of this year’s Bodhaka (best An informative session on Harikatha was presented by N. Srinivasan, Sanskrit teacher) Award instituted by G. N. Dandapani, in memory of his guru T. S. Sabesa Pandit, Saraswati Mahal Library, Thanjavur, under the Alamelu Ramanarayana Iyer, presented with her disciples the compositions of the Trinity. THE MUSIC ACADEMY MADRAS THE MUSIC ACADEMY MADRAS 29th December 2002 T.R. Subramaniam and Nookala Chinna Satyanarayana received the title ‘Sangita G. Raj Narayan of Bangalore, artist and innovator of electronic instruments Kala Acharya’. The awards carried a medal and a citation. Dharmapuram P. gave a demonstration of his innovation, the Sampled Tone Digital veena, which Swaminathan, T.K. Kalyanasundaram Pillai and Kalyanapuram Aravamudan, produces a synthesised sound of the veena, using a digital sample of a conventional received the TTK Award. veena. The speaker explained the features of the instrument and the scope it allows The Kanchi Sankaracharya, Jayendra Saraswathi, conferred the title Carnatic for exploring more creativity in playing. Further, the advantages of such a modem ‘Sangeetha Seva Rathnam’ on the academy president, T.T. Vasu, in recognition of instrument were highlighted. his efforts to promote Carnatic music. The contribution of Malayalam language to classicism of Carnatic music The Kanchi Acharya said Carnatic music, which instilled bhakti in people put was explained by Dr. Omana Kutti, Head of the Department of Music, Kerala them on the right path, should be promoted. He paid tributes to the academy for its University. services in promoting traditional arts. The Kanchi Acharya, Vijayendra Saraswathi, said the country had the unique honour of preserving ‘sastras and sampradayas’. 30th December 2002 Sri. T.N. Krishnan stressed the need for artistes to perform with deep involvement. Prof. S. R. Janakiraman, renowned musician, musicologist and Principal, Sri. Vasu was among others who spoke. Teacher’s College of Music of the Music Academy, gave a lecture-demonstration on the study of different treatises on music like Natya Sastra, Dattilam, Sangita Samaya Sara, Sangita Ratnakara, Swaramelakalanidhi, Sangita Sampradaya • • 9 6 9 9 9 • * Pradarsini and other major works. Nookala Chinna Satyanarayana, well-known musician, musicologist and founder of the Viswa Kala Parishad, enlightened listeners on the contribution of Telugu towards classicism in Carnatic music. 31st December 2002 This year’s T.T.K. award recipient, T.K. Kalyanasundaram Pillai of Sri Raja Rajeswari Bharat a Natyalaya, Mumbai, traced the dance lineage of Panchapakesa Nattuvanar, to which Kalyanasundaram Pillai belongs. The technique of this dance tradition as handed down through generations of nattuvanars like T.K. Kuppiah Pillai, father of Kalyanasundaram Pillai, his elder son, T.K. Mahalingam Pillai, his son-in-law A.T. Govindaraja Pillai and daughter Karunambal was highlighted. The recipients of this year’s Sangita Kalanidhi title, Sikkil Sisters, V. Kunjumani, V. Neela, presented a lecture demonstration on the glory and unique features of the flute, and its contribution towards the enhancement of the musical values. 1st January 2003 The Sadas of the Music Academy was held in the evening at 4.30 pm marking the culmination of the 76th annual conference. Sangita Kalanidhi T.N. Krishnan presided and conferred titles on nine musicians in recognition of their distinguished service to Carnatic music. Flautists, Sikkil sisters, Kunjumani and Neela, were conferred the title ‘Sangita Kalanidhi’. Sangita Kala Acharya was conferred on Kalpakam Swaminathan, —------[ID------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ Gamakas Gamakam is a very unique aspect of our music, one could also call it extraordinary and special. I will share whatever I have understood and learnt about gamakas in lecdem presented at the morning academic session of the my experience. My firm opinion is that we learn from our preceptors and that is the 76th Annual Conference on 24.12.02 at The Music Academy, Madras only way to imbibe the finer aspects of music including gamakas. A Gamaka is often defined as an ornament or “embellishment” but perhaps such a definition is quite B y Sangita Kalanidhi R. Vedavalli inadequate, to the extent that they suggest something incidental added on to what is Nam askaram fundamental, for gamaka is itself a fundamental element of a raga. The topic that is the subject of my talk this morning is “Gamakam” in Carnatic Gamaka performs an integral, rather than decorative function in our system of music. This unique aspect that is so vital for our music is what differentiates the way Carnatic music. Theoretically, one can define a svara simply as a scale, but in practice Carnatic music is rendered from other systems of music. While I plan to approach a svara is properly defined only when taking into consideration the gamaka associated the subject from a practical point of view, I will begin with a brief overview of its with it. Gamaka is what gives a raga its unique character. Thus svara and gamaka historical perspective. are intimately intertwined. Samgadeva, a thirteenth century musicologist lists fifteen gamakas in his The gamakas, are the subtle shades of a tone, delicate nuances and inflections Sangitaratnakara, the most important musical treatise of India’s medieval period. around a note that please and inspire the listener. The gamakas are not arbitrarily Sarangadeva describes many of his gamakas in terms of their execution on the vina, attached to a note, instead they are an integral part and grow out of it. but so little is known now about the actual sound of this period’s music that musicians How gamakas bring forth the essence of a raga is what we will see today. We will can only generally interpret Sarangadeva’s definitions and understand it in the go with the more recent work, the Sangita Sampradaya Pradarshini of Subbarama perspective of today’s music. The Sangita Ratnakara of Samgadeva defines gamaka Dikshitar. There is a gamaka called vali mentioned in the book. That is a gamaka as: that is very close to what I am going to explain today. “svarasya kampO gamakah srOtra citta sukh5vahah The 72 mela scheme that we have is a boon that we have inherited from our tasya bhedastu tiripah sphuritah kampitastatha” musical predecessors. They have created it so perfectly that there is no room for confusion or doubt. These melakarthas are basically a permutation and combination Following this a list of types of gamakas such as Una, andolita, vali, ahata etc is of notes. How we breathe life into these notes really brings out the raga. We can given but what is most important is the line which mentions the joy that gamakam look at the mere scale of Sankarabharanam, Mayamalavagaula or Todi and see how creates in the minds of the listeners. It is an experience shared by both the singer to form them into ragas. If the notes of Todi are sung as plain notes without any and the listener. oscillation, it will sound like Sindhu bhairavi and very close to Hindustani music. The Vina was the instrument used for demonstration and explanation of musical This is because Hindustani music uses more of flat notes. terms. A major advance in the written description of gamakas came in Somanatha’s One can realize that plain notes are sung as a scale and the same notes sung with RagaVibodha (1609). He lists 23 symbols for use in vina notation. Somanatha oscillation or gamakas form as a raga. We can identify the raga Todi only when the describes the execution, vadana-bheda of the corresponding gamakas in the vina. svaras are sung with gamakam. The life of a raga lies really in the gamakas. Sangita Sampradaya Pradarsini (1904) written by Subbarama Diksitar is a Ragas may be classified as gamaka pradhana ragas and svara pradhana ragas. treasury of compositions in the family tradition of Muttuswami Diksitar (1775-1835). In the case of svarapradhana ragas like Malavi and Kadanakutuhalam, it will not Subbarama Diksitar’s work attempted to reconcile the 15 gamakas of the written be possible to introduce gamakas. What has to be observed is the movement of the theoretical tradition with ten from the oral tradition. In other words, he lists 15 notes, the varjam and vakram, in other words what has to be adhered to here is the gamakas but assigns symbols to only ten of them. Thus it becomes quite clear that succession of notes and the prayogas. One did not do a raga elaboration in such ragas the oral tradition of primary importance and that is what the focus will be on in this in those days however great a vidvan. Alapana was sung for ‘periya’ or big ragas lecture demonstration which had ample scope for elaboration or for rakthi ragas. ------1 27 |------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ Again we can look at raga alapana in different ragas in two ways : (i) how ragas ragas like Gaula, Sourashtram, Chakravakam and Saveri. In Gaula , the phrase pmgmr may be differentiated by some typical phrases and (ii) how the same note may be has a rishabam that is almost ekasruti.. It is very close to the shadjam. In Saveri the rendered differently based on the raga. rishabham does not have too much of an entity. In Mayamalavagaula, one can hold a If you look at the classification of the melas, the first half of the octave is common bold flat antara gandharam. Though Nadanamakriya is almost like Mayamalavagaula, to many ragas. Do we then rely on the latter half to be sung before the raga is the flat gandharam does not have a place in the raga.. The svara sthanas may be the identified? We should be able to bring out the feel of the raga without having to sing same, but how do we differentiate the ragas? It is only through gamakas. all the svaras that a raga takes. This is where gamakas come in handy and they help Also the position of the svara :n the same raga may vary depending on the us out. Let us take the example of a single common svara, say for instance suddha phrase that is being sung.. For instance, In Sankarabharanam, the phrase srgmm, the rishabham. This rishabham occurs in many ragas. Sometimes it may be oscillated, oscillating madhyamam is close to the Gandharam while the real svara sthanam of the sometimes held at a position slightly higher or lower than the svara sthana, sometimes suddha madhyamam is much higher. While singing a raga alapana, such an oscillating it may be rendered flat. madhyamam indicates that one may sing below that svara or weave patterns around Parsvadeva in his Sangita Samayasara gives a beautiful definition of gamakas. that svara.it would help singing within that range fora while. Singing this madhyamam while ascending to higher notes may not be comfortable or apt although it may still Svasrutisthana sambhutam chhayam srutyantarasrayam be within that raga. In such a case, the gamakam would keep the madhyamam closer SvarOyadgamayed gTte gamakOasou nirupitab to the panchamam and the ascent will be much smoother! A demonstration of the A note often oscillates between its own svara sthana and the next, in fact it various shades of madhyamam in Sankarabharanam will make it much clearer. borrows shades of the next svara and this is referred to as gamakam in Carnatic music. Let us take Kalyani for instance. The Kalyani gandharam is usually held with Sometimes we find that a particular raga seems to elude us even though we a gamakam, that is the sampradayam. The Kalyani gandharam is not held flat. The hold the specified notes. Here it is important to understand that some notes have to moment the note is oscillated, it has the sound of mg, mg, mg, Curiously it does not be stressed and others held flat depending on the following note. Take for instance reach upto the pratimadhyamam which is the note for this raga. In a gamaka, the next Harikambodi which takes the Chatusruti dhaivatam and Kaisiki nishadam. A raised sruti is usually touched by the note. Kalyani as a raga can be shown even without dhaivatam will automatically push the nishadam higher and the beauty of the raga reaching the pratimadhyamam by just producing an oscillating gandharam. A flat will be lost whereas one can raise the d in Sankarabharanam as it takes the kakali gandharam will automatically have shades of Sankarabharanam. Just the gandharam nishadam. The moment the dhaivatam is stressed a little,it borrows from kaishiki with or without a gamakam differentiates the two ragas. The life of the raga exists nishadam and it will be hard to sing a kaishiki nishadam after that svara. A flat within a single note. dhaivatam will automatically lead to kaisiki nishadam. In the case of the above ragas, One more point to be noted is that if one svara is oscillated, then as a rule the the nishadam was different and the rest of the notes were the same. svara adjacent to it is usually held flat. For instance if the kalyani gandharam is Let us take two ragas which have the same notes within a range such as Bhairavi oscillated, then the rishabham is held flat and vice versa with Sankarabharanam. Thus and Kharaharapriya and see how gamakam makes a difference to their very existence. ragas have their uniqueness and there can be no doubt as to the identity of the raga. The phrase rgmp in both are sung differently. Kharaharapriya takes flat notes whereas There are examples in kritis such as “Enduku peddala” which has an oscillating in the raga Bhairavi, the madhyamam is sung with some emphasis. The moment a rishabham followed by a flat gandharam right at the outset. “B/tajare re chitha" in flat madhyamam is held, the chatusruti rishabham will follow automatically and bring Kalyani has an oscillating gandharam. Our gurus have taught us how to use these Kharaharapriya along with it. gamakas in different ragas. All we have to do is to keep it in mind while singing so that the listener does not have to wonder about the raga that is being sung. Adhering There are such subtle nuances that make so much difference.If there is so much in to this might help an inexperienced singer from slipping into shades of another raga the little that I have mentioned, imagine how much more there is to gamakas. It is like while doing an alapana. Understanding gamakas will facilitate going into the depths the unfathomable ocean. If one is able to find a svara sthana, be one with that perfect of a raga with singing with involvement. This is a path that can be followed. note, there is a sense of bliss and a total oblivion at that time. It is quite inexplicable Let us see how the same single svara has different hues in different ragas. Take but at the same time it is an experience to be felt. It is a kind of sakshatkaram. It for instance suddha rishabham- it is present in Mayamalavagaula, Todi and other is said that Ramakrishna Paramahamsa and Ramana experienced Brahmananda or ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------went into a trance. We do not know what that may have meant but certainly there is whereas in Navaroj one can descend up to the pancamam. However today this subtle Brahmanandam in our music. We have to look at our music in that way. difference has been overlooked by many and Kurunji and Navaroj have merged just We can search for subtle nuances in our music. We can find the answer in many as Manji and Bhairavi have. Muthuswami Dikshitar has clearly shown both ragas. of the compositions of great vaggeyakaras. Although it is true that kritis may not The very first line of the Navaroj kriti Hastivadanaya comes down to the mandra be sung in the same way by all. Certain changes may have crept in because of the pancamam. Tyagaraja too has composed in both Kurunji and Navaroj but what has nature of the voice or for convenience in voice production. However, if we look at happened is that the popular “Sita Kalyanam” which was originally in Kurunji has certain vamams or some big compositions which have remained relatively unchanged, been converted to Navaroj. “Napali Srirama" fortunately continues to be sung in we may unearth a wealth of information about the raga. It is often that popular Navaroj. compositions have undergone the transformation whereas rare pieces have remained There are many such ragas and I have shown you just a few. To end on an relatively untouched. auspicious note, I would like to show the difference between Madhyamavati and Sriragam. One can differentiate based on the rishabham. Usually the Madhyamavati Kritis of the mummurti have the essence of ragas. When we learn a kriti, it rishabham is oscillated while the Sriragam rishabham is held flat. This is to allow would be a good idea to look into the nuances of the raga as well. for the flow of the gandharam in Sriragam. Muthuswami dikshitar employed the pdn The myriad shades of the Todi gandhara are shown explicitly in the chitta swaram prayogam in Sriragam, perhaps to differentiate it from Madhyamavati. of the kriti ‘Gajavadana sammodita veera' composed by Kumara Ettendra. The Gamakas are very crucial in achieving the desired impact of a raga. Singing or gandhara varies with the different phrases but each of those phrases is so typical of playing the same kind of gamaka throughout, makes it dull and monotonous. A happy Todi raga. While singing an alapana too the same kind of variety is seen based on combination and intertwining of the various gamakas is what is wanted. Knowingly, the phrase. It is possible that the Chatusruti rishabaham has crept into Todi because and very often unknowingly, musicians in general, make use of the several gamakas. of the oscillation on the gandharam. The nishadam in Todi too has a different range But a good musician knows exactly when to use a particular gamaka and how to use based on the ascending or descending phrase that is being sung. it to advantage. This is possible when one learns from an experienced Guru. Ragas such as Ritigaula or Anandabhairavi are quite similar in the range of I thank the Music Academy Madras for having given me the opportunity to share shadjam to pancamam. It is not that the phrase pnns has to be sung before Ritigaula my learning and experience about gamakas. My namaskaram and sincere thanks to can be identified. The difference can be made in the gamaka on the gandharam itself. It the members of the Experts’ Committee and all the rasikas present here today. can be shown through the oscillation and the frequency of oscillation. Anandabhairavi does not have sancharam below the mandra nishadam. This is to retain its identity as different from that of Ritigaula. Again in the madhyasthayi Ritigaula has the mnns ••• 9 Q 9 ® • • and not pnns (this occurs only in the mandra sthayi) prayogam so that confusion with Ananda bhairavi does not arise. Let us look at a cluster of ragas like Kedaragaula, Arabhi, Devagandhari, Sama, and Surati. These ragas uniformly have the same svara sthanam between sadjam and pancamam. But the differing of the ragas can be shown with gamakas keeping within this range of svaras. This can be done with absolute clarity. A demonstration of phrases will show the difference between these ragas. In Arabhi the gandharam has no place, it is expressed close to the madhyamam. Suruti too has no place for gandharam. On the descent it sounds like mr touching the gandharam briefly. Thus gamakas give shape and life and shape to many ragas. In yet other ragas, there may be less emphasis on gamakas and the difference may be prayoga based such as Kurunji and Navaroj. Kurunji has no sancharam below the mandra nishadam ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ Contribution of Tamil to Classicism of Karnatic Music lengthening and shortening of syllabus are allowed in music when the text of a song get secondary importance due to the primary place given to melody which is Dr. Premeela Gurumurthy an important aspect which is relevant even today, referred to as “Padaccheda”. Professir and Head, Dept, of Music, University of Madras Tolkappiyam in the Agathinai section (III - Ahat - 18) speaks of the nucleus of each land. The God of the region, food, animals, vegetation, birds, drum and The concept of Muthamizh consists of “Iyal, Isai and Natakam, the literature, Harp are all referred to as Karupoorul. The drum and Harp that is the Parai and music and theatrical arts. It is interesting to note that the language itself contains yazh are important as a different variety of Parai and Yazh have been assigned these three segments. However also whether it is literature, music or drama the to the four types of Land viz., Kurinchi, Mullai, Marudam and Neidal, the hills, language also plays a vital role. South Indian classical music has always been forests, agricultural lands and the coastal area respectively. The Parai at that period based on the oral tradition where compositions of many Vaggeyakaras in various represented all the percussive instruments and the Yazh the stringed variety. Such languages have been landed down to the growth of the vast repertoire. When it classifications are commonly seen in ancient Greece. comes to music the literary sources are of two types one is the rich source of compositions and the other being the musicological literature. It is important to note that it is the literary sources along with the oral living tradition which have preserved a musical culture each contributing to the other and each helping to preserve one another for prosperity. The third element is the Musical Reference in Tamil Literature human effort, intelligence and creativity that keeps it going and above all the Tolkappiyam divine grace inherent in everything which has always inspired great works of art, literature and performance. Tolkappiyam is an ancient treatise on tamil grammar. However it is interesting to note that the author has referred to the term ‘Isai’ meaning both sound used In Tolkappiyam there are references to songs such as Pannathi, Pi si and Paripadal for speech and music. Isai is also referred as ‘Osai’, Here one is reminded of or Paripattu. Vannam is the term which is equated to the chandas. Twenty types the Tiruttandakam of Appar ‘Osai oli elaan anaai Neeye’, giving the two subtle of vannam have been described. Panar, Kuttar, Padini and Viraliyr professional differences of Osai could be termed as loud and oli as subtle all being attributed artistes were associated with chieftains and they helped him to carry messages to Lord Siva being manifested in the form of sound as Nada brahman, sung by of peace to his beloved. Such chieftains and kings have always patronised the Saint Tayagaraja as “Nadatanum anisam Sankaram”. Panars and their family who were given gifts, lands, elephants and golden flowers regarding which there are many references in the Sangam works. The reference in Tolkappiyam “Ahattezhu vali isai” (1:102) is explained as the sound produced from Muladhara. Aham - inside the body - Ezhu that which Cilappatikaram is coming upward vali - air - isai - sound or music. This is the methodology This is one among the five Perum or mighty kappiyams or Epics in Tamil. The regarding the production of sound. story of the anklet and its identity. Clilanbu- the anklet and Adikaram the chapter. In the phrase, ‘Narambin Marai’ meaning the tradition of the Naranbu, string Here the term Adikaram could also mean that which or who holds the right over of the Yazh which is a synonym to the tradition of Music, Tolkappiyar makes the Cilambu in question whether Kannagi or the Queen of the Pandyan King. It an important point to say that “Alapirandu uyirttalum ottrisai Needalum” a short revolves around the mistaken identity of the anklet. That is for the story but a syllable could be elongated and a long syllable could be shortened in the art Musician or Musicologist or a dancer is more interested in the valuable information of music called “Isaiyodu Sivaniya Narambin Marai”, meaning the art of music written by the illustrious author Ilanko Adigal on music and dance. coming together with the stringed (instrument) tradition. The word Marai could Out of the thirty chapters of Cilappatikaram nearly fifteen contain references also mean the aspect of music a Veda or that which is hidden in the sound of to music and instruments. Arumpada urai and Adiyarkkunallar urai are the two the string - the inherent note or the system. This quotation ‘Alabirandu’ (Nool commentaries again containing a lot of information on fine arts. - 33) ends by a phrase ‘enmanar pulavar’ thereby he says so is the verdict of the scholars before me or my time. This conveys that there existed a tradition Adiyarkkunallar a commentator lists out the works on fine Arts which were in vogue during his time used by him as reference. It is a pity that except the of music well defined during the period of Tolkappiyar himself. The concept of ------THE MUSIC ACADEMY MADRAS ■■ ------THE MUSIC ACADEMY MADRAS ------ Panchamarabu, Baratarsenapatiyan and Kuttanul the rest are lost. At least we have There are four methods of deriving scales or Palais. Ayam (linear), Caturam the names of the works such as Perunarai, Perumkurugu, Pancha Bharatiyam, Isai (square), Trikonam (traingular) and Vattam (Circular). Of these Adiyarkkunallar Nunukkam, Indira Kaliyaam and Madivanar Nataka Tamil. Therefore a primary mentions the Vattappalai in detail. literary epic the Cilappatikaram becomes a secondary source to know the Ancient A circle is drawn with four cardinal points East West, South and North. In each musical history when the above mentioned precious sources of treatises have been of the four angles two more lines are drawn thus making the twelve signs of the lost. The researchers are depending on the Sangam works such as the Ettutokai Zodiac. Taurus is fixed in the East. The twelve represent the 12 Svrasthanas of and Pattuppattu again where references are abundant. Music and dance were these seven are located in the Zodiac. interwoven closely with the life of the people, be it in the Palace, places of workship or in the society at large. Rasi Narambu . i In Cilappatikaram the two characters Madhavi and Kovalan were drawn to each Tulam Kural (sa) other by their artistic virtuosity. Madhavi a dancer was the embodiment of dance, Viruccikam music and beauty (adal, padal azhagu ondrilum kuraivu padamal - all three were Tanucu Tuttam (ri) in equal proportion not one lesser than the other). While speaking about Madhavi Makaram the nature of Music, dance, the qualities of a teacher of music, (vocal, flute, Kumbam Kaikkilai (ga) Harp, drum) dance are described by Ilanko. The types of dances, Palai and Pan derivation, varieties of Yazh and the technique of play, the percussion instruments, Minam Uzhai (ma) the variety of musical compositions and the technical terms related to music and Metam dance all make an interesting and fascinating study. Itapam Ili (pa) Mitunam Adal asiriyan or the dance teacher Katakam Vilari (da) He should know the Desi and the Marga (the secular and the orthodox) Cimmam Taram (ni) types of kuttu, and the eleven types of Adal, [such as Alliyam, Kudaikotti, Kudam, Pandarangam, Malladam, Tudi, Kadai, Pedu, Marakkal, and Pavai - as Kanni listed in Panchamarabu the body movement, songs, rhythnic setting along with Seven notes shown in a Zodiac of 12 Signs stands testimony to the ancients instrumentation. He should also know the rules regarding the single hand, double awareness of the 12 Semi tones in an'octave. Of these Taram is the first to hand gestures along with foot movements and the Kuravai and Van dances. appear. In taram - Uzhai, in Uzhai kural and in kural - Ili, and in Ili-Tuttam and Similarly the requisites are given for the musicians and instrumentalists. One in Tuttam -Vilari and in Vilari Kaikkilai are bom. Uzhai is the 5th note at the 8th is made to wonder the sophistication of the yesteryears and the vastness of the sign from Taram. All are the 5th notes and at the 8th sign from the note in which knowledge the artisans acquired which is described in a work belonging to the they are bom. Such progression is called the Ilikramam meaning progressing by 2nd century A.D. the fifths. The seven scales or Palai-s were derived from Palaiyazh by shifting the kural As for the Yazh or Harp, mention is made of Periyazh, Makarayazh, Cakotayaz in two ways valamurai (clockwise) and Idamurai (anti-clockwise). The system of and Cengottiyazh having 21, 19, 14 and 7 strings respectively. The seven palai-s scales described above is described in the Aycciyar-Kuravai. Scholars like Prof. or scales are derived by the new tradition called Vamburu Marabu and the older P. Sambamurthy. Dr. S. Ramanathan, Vipulananda Adikal, Abraham Panditar and tradition called Tondrupadu Murai. Placing the twelve notes on the 12 houses Vi.Pa.Ka Sundaram have all written in detail giving their interpretations. of the Zodiac is found only in ancient Tamil Music scientifically explained by the commentators and mentioned by Ilanko which is a highlight indeed. Here Musical Forus: astrology, astronomy and music go hand in hand. That too the formation of the The epic itself is described by the author as Urai idai itta Pattudai Ceyyul notes is used to explain the concept of Kural-Tirupu or the modal shift of tonic meaning comprising of prose interspersed with musical verse. Mangala Vazhtu where various scales are derived. Arangetrukkadai contains all this and more. ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------:------ padal is invocatory sung in praise of moon, sun and rain. The types of varippadal However what has not changed is that in Cilappatikaram there is a phrase used are Kanal Van, in praise of sea and Arruvari in praise of river. Apart from which says “Kuzhal Vazhi Ninradu Yazhe” meaning that it was the flute which these there are Sattru vari, Mugamil vari, Nilai van, Murivari, Tinainilai vari, always showed the path to the Yazh as the pitch of a flute is constant where as Sayal vari, Mayarrutinai Nilai Vari etc. the strings could go out of tune. The checking point is always a wind instrument and even today the Pitch pipe does the job of what Kuzhal did in ancient times. The well known composition “Vadavaraiyai M attakki” sung by Sangita One has to follow the wind instrument even now. Kalanidhi M.S. Subhalakshmi is a song from the Ayichiyar kuravai titled as Munnilai Paraval. The section Muruvakum Eradiyan is titled as Padarkkai The Ettuttokai Paraval. Paraval here means to praise. Vadavaraiyai is an example of how prose The eighteen works of the Sawrgam Literature, the Ettutokai and the Pattuppattu is interwover with poetry in Cilappatikaram. The text sounds easy and modem contain many important references and have contributed in great deal to the in usage but it actually belongs to the Sangam Period and is quite melodical to ancient Tamil Musicology. These works depict the lives of the people, their habits, render as well. This is an aspect of a classic where language, melody and poetry profession and their artistic pursuits conveying a clear picture of the society at produces joy at all times. that time. The Musical instruments in Cilappatikaram The Ettuthokai: The anthology of Eight works are Nattrinai, Kuruntokai, It is amazing to note that this work names nearly 108 instruments. Some used Ainkurunuru, Paditrupattu, Paripadal, Kalittokai, Akananuru and for vocal music, some solo instruments, others used for vocal music, some solo Purananuru. instruments others used for dance and drama. These were made of metal, wood, Nattrinai leather, bamboo and guts were used for strings therefore the term narambu (vein). Even today guts are used in violin. Flutes were made of bamboo, sandal wood, The Panars or professional wandering musicians played the Padumalaippalai bronze and ebony. Thirty varieties of drums are given. Muzhavu is the term used in their Siriyazh, (a yazh having lesser strings). The shepherds known as kovalar for a big drum. This is of various types such as Aga Muzhavu a superior variety played on the Ambal and Kondrai Kuzhal. The Kuttar played on the Muzhavu. The or indoor perhaps. Agappuramuzhavu, Pura muzhavu, Purappura Muzhavu, etc. Marasu was sounded during weddings. References to Tannumai, Parai, Tondakam are other varieties. Nan Muzhavu was used to indicate the hours of the day and and Siruparai the rhythmic instruments find mention. The instrument called Pampai Kalai Muzhavu was to wake up the king. The instruments were not only used for used in folk music even today is also referred to. purposes but were used for hunting, conveying messages, during war, to announce Kuruntokai victory, in the retinue of kings to name a few. References to all these are available in the ssangam classics. Murasu was given the pride of place and used for war, In this work Yazh, Kuzhal, Muzhavu, Murasu, Parai, Tondakam, Padalai, are sacrifice and to declare judgement. mentioned. The small stick used to beat the drum is called Kunil. The women living in the hilly area are called as Kurappenkal. They sing the Vallaippadal The technical terms used for music, dance and theatre is another interesting area and Ulakkaipadal while doing their household work. The veinkuzhal sound is where one studies about the terminology of the past regarding musical concepts, compared with that of the Vakka bird. In the fields the Kodicciyar women sound instruments, technique of play or usage, musicology and the names of musical the instrument called Kulir to drive away the parrots to protect the grain. forms, pans, the artisans etc. There is a fund of such terminology which have given way to later words in many other languages due to the changing times and It is inspired by Bhakti or love, in a mood of inspiration out of an emotion. civilisations. Today as the art progresses, technology has taken over bringing in This work describes the three areas of Madurai, the river Vaikai, Tirumaliruncholai various terminology and method of playing. The Yazh, the Tambura, Sruti Box and Tirupparankundram. Therefore 22 songs are in praise of either, Vaikai, Tirumal and the electronic Tambura can be cited as the chronological growth. The Yazh or Sevvel. (O^ayGevcir) The speciality here is that the composer of the song, the however is still prevelant in many countries which has been in vogue in almost all music and the Pan are given at the end of each song. It is interesting to note that the ancient civilisations. It is still used in western music as a period instrument. during the Sangam Period there was a custom of a poet composing the text of ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ a song, a musician creating the tune and Pans used are Palaiyazh, Notiram and that of the string struck in a harp etc. There are also references to the dragon Gandharam. Expertise in Poetry and Music have been different which later merged fly’s sound compared to the Kuzhal. Term such as Palliyam is referred to an into one during the Bhakti Period. Paripadal deals with games pertaining to hilly orchestra Pal-mony-iyam - instrument. It sould be noted that iyan is a term used region and water sports. for a musical instrument and iyam is used for literature, slight variations in the Kalittokai: Kali and Paripadal are musical compositions belonging to the terminology. Many references are given to Palliyam and Inniyam (sweet sounding Sendurai Marga, is the definition given by Nachinarkiniyar, a commentator of orchestra) in the Sangam works. the Tolkappiyam. Chendanar’s Divakaram (18th Century) and pingalai Nigandu (12th Century) Similarly Purananuru and Akananuru describes the details of war and household are two lexicons in Tamil containing references, to Music. Kalladam a work life respectively. The interesting aspect regarding language is that in Tamil literary belonging to the 6th century A.D also contains valuable information regarding works of the Sangam period each type of the sound of instrument is described Yazh, and modal shift of Tonic. There is also a mention of Lord Siva rendering comparing it with that of nature like the waterfall, the thunder, the sound of the the Alatti of the Sadari Pan to save Panabadra an episode in the Tiruvilayadal peacock to differentiate the timbre and tone. Purana. Such references are also found in Pattuppattu. PattuPattu Ainkurunuru Similar to the Ettutogai the ten works collectively known as Pattupattu contain This is so named as it contains five hundred short verses. Murasu, Tattai, valuable information regarding the Paanar, Pan, musical concepts and instruments. Tannumai, Aripparai, Ambal Kuzhal, Siriyazh, Muzhavu are referred in this work. The ten works are Tirumurugatrupadai, Porunaraatruppadai, Cirupaanaatrupadai, The Siriyazhpanar play the Mullaippan which is equated to todays Mohana Raga. Perumpaanaatrupadai, Mullai Paattu, Madurai Kanchi, Nedunalvaadai, the Mullaipan is that which was played by the shepherds living in the Mullai Kurinjipaattu, Pattinappaalai, Malaipadukadam. region or the forest area. Aatruppadai Padittrupattu A unique culture is revealed in the collection of Pattupattu called Aatruppadai - The vannam meaning chandam is described. Sorcirvannam, Ozhukuvannam prevalent among the paanars. The term Aatruppadai means to guide - aatrupaduttudal and the terms used for tala such as Centukku, Vanchitukku are referred to. Periyazh - to lead (aaru-path; paduttudal- to lead one towards it). During the Sangam period having more strings, the Valampuri conch, Muzhavu, Tannumai, Padalai, Tumbu, a paanan who performed in the presence of a king gets his rewards and while Palaippan, and the Tunangai Kuttu (a type of dance similar to that which is done returning if he meets another paanan on the way he narrates his experience and in he form of those possessed) are mentioned in this work. details of gifts and helps the others to show him the way to benevolent patrons. Paripadal This very healthy cultural exchange is revealed through the Pattupattu literature and it also epics the wandering musicians helping nature to one and another. The paripadal is a type of a song mentioned in Tolkappiyam, This work contains that type of composition entirely and hence the name. This is a type of poetry Thirumurugaatruppadai which contains many types of poems all in one due to it giving importance to A work by Nakkirar contains references to shrines of Lord Muruga such music and the strict rules of poetry have been relaxed. This is in praise of God or as Thirupparankunram, Thirucheeralaivai, Thiruvaavinankudi, Thiruveragam deals with love-poetry or Aka-suvai. Parinduvaru Vadu Paripadal is the definition and Pazhamudircholai. In Thirumurugaatruppadai the concept of aatruppadai is meaning which shows the intelligent way of conveying the tonal colour of each slightly different in which the patron is Lord Muruga, the seeker is the soul, instrument through literature. For example various drums have different tones. and the guide is the preceptor. Therefore here the seeker is not after materialistic One is described to the thunder, the other to the sound of the ocean, the other to wealth. The concept of Jivatma, Guru and Paramatma is embedded here. Musical the water fall that roars. A wind instrument is smillar to the call of a peacock. instruments such as the wind variety, conch, murasu, tondacirupara, muzhavu and The other is like the sound made by an elephant. The bee’s buzzing tone is like the Kurinjipan have been mentioned. THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ Porunaraatruppadai of women who are in trance. It is also said that this is a genre of dance which attributes the deeds of women to spirit like entities. In an interesting reference the The suffix aatruppadai reveals that four such works of Pattupattu are of the recitation in of the Brahmins are compared with the buzzing sound of the Dragon aatruppadai variety where the lives of Porunar are described in this work. This Fly. Pan marudam was played on the yaazh and an orchestra comprising of yaazh, work is attributed to the poet Mudattaama-kanniyaar who was patronised by the voice and muzhavu is mentioned. While describing the murasu at times the skin Chola King Karikaalperuvalattaan (&rf)&rr Perumpaanatruppadai This has been composed by Kapilar. This describes the musical tradition of the hilly area. The Kovalan or the Shepherds play on the aambal Kuzhal in the The perumpaanam is the one who plays on the Periyaazh. Thondaman evening. Naivalam is mentioned as a derivative of Palai Pan. In Kurinji paattu a Ilanthirayankural Kanchi has been praised by a poet called Kadiyalur Vuttiram reference is given to women dancing on a rope to the accompaniment of rhythmic Kannanaar. In this work parts of the yazh. Kurinji pan being played on Vilyaizh, instruments, which reminds one of todays street play, Palai, pan played on Venkuzhal Tannumani, Murasu, the dark holes of the flute due to seasoning on the fire have been mentioned. Such a present techniqqe adopted Pattinappalai in the flute is revealed as an ancient method from a literary source which is the This has been composed by Kadiyalur Uruttinan kannanaar in praise of the vital contribution of the language. Chola King Karikaal peruvalattaan. The music of the maddalam, yaazh, kuzhal, muzhavu, murasu and tudi are described. As this deals with the people of the Mullaippaattu Neithal region or the coastal area a description is given regarding as to how they This has been authored by Nappudanaar son of Ponvaaniganaar belonging to enjoy the full moon night with song and drramatic events “paadal orthum nadaga Kaviripompattinam. The hero who goes to war comes back victorious. His wife nayanthum vennilavin payan tuyitttum” 113-114. In the following lines different who suffered from his separation is listening to his victory which is being sung words are used for the various tones of the musical instruments. by her tozhi or friend. Many instruments such as Vayir, Conch being sounded together and the buzzing sound of the bees equated to the sound of the yaazh and “Kuzhal agava yaazh murala the sound of the waves being musical are being referred to. muzhavu adira murasu iyamba” 156 - 157 Madurai Kanchi Malaipadukadaam Maangudi Marudanaar sang this work in praise of Paandian Neduncezian. This was authored by Iraniyamuttattu perumkunroor perumkausikanaar in praise There has been a variety of Koothu called Thunangaikoothu depicting the dance of palkunrakottattu senganmaathuvel nannarceinannan. As this deals with guiding the koothar - the dramatist music is given a lot of importance. Therefore this ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ work is also known as koothar aatrupadai. Women sang the vallaipaadal during 28 Srg mpdn yenunj satta ezhuttal pounding tthe Tinai grain. The pan kanchi belonging to the Sangam period was variparanda kanmadavaai vaikkat terivariya sung to soothen the pain off the soldiers which was rendered by the Kodicheer Ezhisaiyun tonrumidanulle pan pirakkum women and while singing the neem leaves were used as cure. Culmudalaai Suttattulai Panchamarabu It is explained as while the music is bom from the vangiyam or flute it is known assrgmpdn meaning as Ezhisai or seven notes, out of which the This is an important treatise writer by Cerai Arivanar who has referred to reference to Pandiyan Tirumaran in Isaimarabu-verse - 7 while referring to the pan is bom. yazhas. There is a verse which defines the birth of Pan and the method in which it Periyazh pinnu makaraj cakodamudan manifests. Cirpoli senkodu ceppinarat - tarpolinda 51. Paavodinaitta isaiyendraar Pannendrar Manna Tirumara Vankudar Komane Yinna Mulave Sila. Tovaap peruntan mettanum-pSva yeduttal mudalavirunankum pannir (It reads as though he is addressing it to the king.) Belongs to the third Sangam. padutta maiyat pannendru paar. This an excellent work written in detail regarding aspects of music, dance and other related subjects which were referred to by Adiyarkkunallar while he wrote That which merges with poetry is isai or music - (Pavodinaittal Isai endrar) the commentary for Silappatikaran. Many other treatises dealing with dance and they say - The eight tana-s(or sthanas) meaning centres of the body or regions. music written in Tamil have been lost but Panchamarabu is available to us. (1) Head (2) throat (3) Chest (4) nose (5) lip (6) teeth (7) tongue (8) end of The term literature is known as Iyal in Tamil. Iyal consists of five segments the tongue (uvula) (Talai, Midaru, nenchu, mOkku, udadu, pal, nakku, annakku.) Ezhuttu (letter) Sol (word) Porul (meaning) Yappu (Prosody) Ani (Aesthetics). eduttal mudala virunankum means the eight kriyas of creating the sound variations Similarly the Pancha Marabu a treatise on Fine Arts represents the Five (Pancha) called as Eduttal, Paduttal, Nalidal, Kampittal, Kutilam, Oli, Uruttu, Takku which Marabu (traditions), Isai (Music) Muzhavu (Percussion) Kuttu (theatre) Avinayam are sound variations created in conjunction with the eight regions of the body. (Abhinaya) or Vinaya and Talam (Rhythm). These are known as Isaimarabu, All together create pan. Pannudal and therefore it is called as Pan, a deed done Vacciya Marabu, Nirutta Marabu, Avinaya Marabu and Tala Marabu. Each chapter to produce the sound. One can equate it to the Nada Utpatti. has many sub divisions. In the Isai Marabu, the yazh (harp) and its varieties, the wood used and the Other Important details in Panchamarabu parts of the instrument, the number of strings, (narambu-gut) the technique of The Isaimarabu explains the seven palai-s (scale) and the derivatives - Pan-s. play, Palai (scale) and the Pans have been expalined. One hundred and three Pans Here the Vattappalai is mentioned where the 12 houses of the Zodiac are given have been referred to. The other areas are the vangiya or wind instruments and the where the twelve notes are placed. The 103 Pans are classified as Perum Pankal 16, Kanda Marabu which deals with the human voice and the musical forms the dos Tarappan - 1 Palaitiram - 20, Kurinchitiram - 32, Marutatiram - 16, Cevvazhitiram ad donts for the singers known as guna and dosha are discussed. This is just an - 16, Paiyul Kanchi - 1, Padumalai - 1 and the total being 103. example to reveal the indepth study and material which is vast that is available in Pancha Marabu. The Venba metre is used. It is said that Arivanar had also written The concept of Alapana is known as Alatti in which the consonants and vowels two other works known as Panuvartokai and Aintokai. Panchamarabu consists of are used. The role of language is not only important in compositions. Even in two hundred and forty venba-s. Some of the verses defining musical concepts are the abstract form of Alatti syllables matter. Tenna, Tena, Tennathena are used. given below as examples from the work, One should use kuril (short) and Nedil (long) syllables, known as Accu (,^/<&s0 In the Vangiya Marabu of Isai Marabu the 28th verse describes the music of and Paranai {unrrm 44 Isai Marabu Tolkappiyam mentions that an original work could be marred by a bad translation “Kunrak kuril aindum koda Nedil aindum similar to good varam singing becoming mediocre by bad accompaniment. Ninranda Mannakaram Tavvodu - Nanraka Mudal valiyayinum yappinat citaiyum Nilattal ettum Nidanattal Ninriyanga Vallon punara varam ponre (Tol : Marabiyal 108) Alattiyam Enrari.” Varam punartal is to join the varam singing by an accompanying instrument. Alatti is of three types Kattalatti, (sung with Accu along with tala) This varappadal attained it’s glory in the hands of the Tevara Muvar or the Niravalatti sung with dance (Kuttu) Tevaram Trinity. Tirujnanasambandar is considered the youngest composer who sang at the age of three who has blessed with divine milk by the Godders of Panna Iatti concentrates on the Pan in particular Cindu, Tripadam, Savalai, Sama, Sirkazhi. He lived upto 16 years but has sung in many types of poetic forms such Padam, Sendurai, Vendurai, Devapan and Vannam are the musical compositions as Tirumalaimatru (Palin drome), Tiruttalacati, Ekapadam, Tiruvezhukottrirukkai, mentioned by Arivanar. Naladimelvaippu, Tiruvirukkukural Iradimelvaippu, Tiruvyanakam, etc to name a few. He has sung in twenty one pans. Pancha Marabu is a store house of material which has preserved our traditions of music, dance and instruments along with various sub-divisions in Venba a Tiruvnavukkarasar has compoed in metres known as Tirunerisai, Tirukuruntokai, metre that which is said to be a difficult variety of Tamil Poetry. Thus poetry Tiruviruttam and Tiruttandagam. Sundaramurthy Nayanar has sung the of the language preserved the musical history of the Ancient Tamils enshrined Tiruttondattokai listing out the sixty names of the Nayanmar-s. This later enabled in Panchamarabu of Arivanar of Chearai a Sangam classical treatise, wich has Nambiandar Nambi to compose the Tiruttondar Tiruandadi and later was developed preserved a heritage of artistic wealth. into the Tiruttondar Puranam by Sekkizhar. The Oduvar tradition which was systamatised by King Raja Raja Chola creating The Panniru Tirumurai of the twelve sacred books of saivism. endowments has preserved the Panniru Tirumurai and the Pan System. The Saiva Music composition in Tamil Language temples and mutts have preserved this literary forms and the tradition of Tevaram After the sangam age the Bhakti era begins with the A1 wars and the Nayanmars. Music. Today the Tevarams are also performed as concerts and the listeners enjoy Saivaite tradition along with many poetic variety and the Pans were systematised the lyrical and the melodic excellence. Other literary works like Manimekalai, and congregational work ship was propagated by the Nayanmars. Perunkadai, Civaka Cintamani Udayanakumara Kauyam and Yasodara Kavyam have many references to music concepts and musical instruments. Among the twelve tirumurai - s the first three contain the works of Tirujuanasambandar who hailed from Sirgazhi. The 4th, 5th, and 6th consist The Nalayira Divya Prabandham of Tirunavukkarasar’s poem, the 7th Tirumurai comprises of the songs of From the 5th Century A.D language played an important role through the Sundaramurthy Nayanar. The 8th Tirmurai is the work of Manikkavacagar the advent of the Vaishnavaite Saints and the Saiva Nayanmars. They poured out Tiruvacagam and the Tirukkovaiyar. The ninth Tirumurai is the TiruvisSippa their heart in the form of excellent poetic forms rendered in Pans and various and Tiruppallandu of nine poets. The Tenth is Tirumular’s Tirumandiram. The talas. They not only propagated devotion but also enriched the language and the eleventh Tirumurai is a collection of various poems of eleven poets including musical tradition. Karaikkal Ammaiyar. The Twelfth is the Tiruttondar Puranam or Periyapuranam of Sekkizhar. The works of Alwars The varam or the varappadal is so called as it follows the medium pace, the The “Aruliccheyal” or the Divyaprbandham numbering four thousand are second variety of the four degrees of speed Mudandai, Varam, Kudai and Tiral. composed by the twelve alwars. Poykai alwar bom in Kanchipuram, Tiruvehka Varappadal is said to be rich in melody and text. References to Varam are found composed the first Tiruvandadi. Bhutatalwar belonged to Kadalmallai composed in Cilappatikaram as ‘Varam padum toriya Madandai which reveals that varam was the second Tiruvandadi. Peyalvar bom in Mylapore wrote the third andadi. a popular musical form, invocatory in nature sung by senior women musicians at Tirumazhisai Alwar who belonged to Tirumazhisai wrote both Naanmukan the beginning of the event of Madhavi’s dance. Tiruvandadi and the Tiruchanda Virutttam. ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ Nammazhvar who came from Tirukkuruhur composed the Tiruviruttam, known is given in the “Koil Ozhuku” a record of the Srirangam Temple. The practice of as the essence of the Rigveda and the Periya Tiruvandadi, Tiruvasiriyam and the wearing them and performing the Arayar Sevai happens even today. It forms an Tiruvaimozhi. Madura Kavi hailing from Tirukkolur sang only in praise of his guru important part of the Sodasa Upacara, the sixteen rituals performed in temples. Nammalvar and that too one song known as “Kanninun Siruttambu”. Kulasekhara Alwar bom in Tiruvanchikalam in the Chera century sang the Perumal Tirumozhi Many Pans and musical instruments have been mentioned in these prabandhans. in praise of Rama. Periyalwar or Vishnuchittar hailed from Srivilliputtur sang the The Nalayira Divya Prabandham have been handed down and has been in usage Pallandu considering him as the mother of Lord Krishna and hence the name from 5th Century A.D. The entire hymns and the commentaries on them are a Periyalwar. He also composed the Tirumozhi. treasure to the language, music and culture. The other type of literaiy works to be mentioned are the Pillaitamil, Kalambakam, Satakam, Malai, Andadi, Pallu, Andal the daughter of Periyalwar sang the Tiruppavai and the Nachiyar Kuravanji, Nondicindu, Cindu, etc. Tirumozhi. The Tiruppugazh or Arunagirinatha belonging to the 15th Century were sung Tondradippodi Alwar bom at Tirumandangudi composed the Tirumalai and mainly in praise of Lord Muruga. Arunagiri was a contemporary of the Emperor of Tiruppallierhuchi. Tiruppanalwar sang the song Amalanadippiran and he came Vijayanagar the Prauda Devaraja II. This is referred to by him in his Tiruppugazh from Uraiyur. ‘Adalacedanarada’, as “Prauda deva marajan”. Being proficient in both Tamil and Tirukkarayalur is the birth place of Tirumangaiyalwar who composed the Periya Sanskrit his poetry is in the Manipravala style. ‘Tiru’ means divine or beauty and Pugazh means praise. His poems are called as the examples of the vannams Tirumozhi, Tirukkuruntandakan, Tiruneduntandakam, Tiruezhukkutrirukkai Siriya Tirumadal and Periya Tirumadal. seen in Tolkappiyam. These are rhythmic structured hymns closely following a pattern of Chandam known as “Chanda Kuzhippu”. Arunagiri is given the title of The above mentioned poetic forms are known as the Dravida Vedam and the ‘Candapavalaperuman’. He is also the author of Kandaranubhuti, Kandarandadi recitation done by the Vaishnava scholars lead the procession followed by the and Kandaralankaram which are very rich in literary excellence. Tiruppugazh do deity, thereby giving the pride of place to the Nalayira Divyaprabandham. The not have any sections but consist of 4,8,12,16 or more lines set to a patticular sonorovs method of the recitation is a speciality where the language and the rthythmic style. musical tones create a very special devotional atmosphere. The Tancol or Tongal occurs at the end of the first, second or the third line. Apart from this stylised recitation the hymns are also sung in the pans such as Mudimdakurinji, Serundi, Indalam, Takka ragam, Nattam, Pazhantakkaragam, An example of a Tiruppugazh and the Chanda Kuzhippu. Panchamam, Kaisikam, Palaiyazh, Nattaragam, Nattapadai, Viyandan, Kolli, Niramaya Puradana Parapara Varamrta Puranirmai, Sikamaram, Kamaran, Takkesi, Kurinji, Gandharam and Panchuram. Nirakula Ciratika Prabhaiyaki The talas used are Ezhotttu, Idaiyottu, Nadaiyottu, Onbadottu. The ottu word could Tanatana tanatana tanatana tanatana mean the way in which the cymbals are used to depict the tala and the names tanatana tanatana tanatana suggests the seven beat, nine beat, stressing the middle beat and the nadai or count. Prabhaiyaki is the Tongal which enables one to give a pause as the poem is packed with words without a break strictly following the Chandas. The Nalayira Divya Prabandham were revived by sage Nadamuni who arranged them in the order that is prevelant today. His nephews Melaiagattalvar and kizhai Arunagirinatha’s poetry stands out as a special genre in musical repetrire. It is agatalwar rendered these rhymns in the temples which paved the away to the a treat for not only musicians but also to Mrdangan Maestros who played seperate ‘Arayarsevai’ a method of singing, dancing and narrating in front of the deity Tani avartana for the various rhythmic structures as they do not follow a tala happening on particular days of the year. It is believed that the Lord himself used normally but are called as anga tala depending on the combination that has blessed then with the titles “Manavalapperumal araiyar” and Nadavinodaaraiyar been chosen by the composer himself. These can be set in 35, 108 or 112 talas. giving them the headgear and shawl known as Tongal Parivattam. This information If Tevaram are a repository of Pans the Tiruppugazh are that of Tala patterns. THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ The Kirtana Form Bharatha Senaapatheeyam Muttutandavar is considered the first to have composed Tamil Kirtanams and This was brought out by the U.V Swaminatha Iyer publication in 1958. This also Padams is praise of Lord Siva. He too hailed from Sirkazhi, and was inspired deals mainly with dance but contains information on music, tala, raga etc. Parts by the Lord of Chidambaram and his songs are in praise of Him. of work is not available. The Kirtana is also derived from Keerthi or praise. The Kirtana with Pallavi, Mahabharata Choodamani Anupallavi, and Charana sections are common to all languages. It is Annamacharya This is also a publication from the U.V. Swaminatha Iyer library brought out who is given the credit of introducing this form and from poetry a transition came in 1955. The name of the author and the period is unknown. In the preface it says to the area of musical forms where the Sahitya became simpler and the music that the “Mahabharatam” is the original of this adaptation but however it is not getting lofty. a translation and the author says that he has referred to many other treatises to Marimuttapillai belonged to Tillaividamgan who has composed many kirtanas write this. In the music section the swaras, palai, srutis, dasavida gamakams, vadi- and other literary works like Tutu, (gugi) Kuravanji, Nondi Natakam, Puliyur samvadi are all discussed. This work contains information on music and dance. Venba etc. He has also written many songs in the Nindastuti called vanjaka Caccaputa Venba pugalci. Outwardly it might look as though one is teasing the Lord but it is a form of praise. This is an old tradition found in Tevaram and other forms. Madhura The author of this work and his time is not known. In this the structure of 108 Bhakti or Bridal mysticism has also been an area of literary style of worship. The talas has been explained. 113 talas have bean mentioned in his work. Beginning emotional appeal of such text and the mood depicted by suitable melody began with Caccaputam, Caacaputam, the five marga talas originated from the five to gain popularity with the forms composed for dance especially. faces of Shiva. The six to the 113th, ie the 108 talas have been enumerated by Agatthiyar. Musical forms such as Padavama, Tillana, Alarippu, Sabdam etc in not only Tamil but in Telugu and Sanskrit. The Yazhnool Ramaswamy Sivan, Ghanam Krishna Iyer, Papavinasa Mudaliar, Koteesvara Another important treatise on Yazh was written by Swamy Vipulananda, Iyer, Ramalinga Swami (Arutpa and other poetical forms) Papanasam Sivan, his published by the Tanjavur Karandai Tamil Sangam, in 1947. It consists of a guru Neelakanta Sivan, T. Lakshmana Pillai, Sarva Samaya Samarasa Kirtanas preface, parts of Yazh, the strings, Palais and their derivation, Pans, Tevaram, of Mayavaram Vedarayakan Pillai and many others like Periyasami Tooran have and other details. contributed in large measures. The Siddhar Padalgal contain mystic philosophical ideas. The Karunamrta Sagaran This is a magnum opus of Abraham Panditar who lived in Tanjai published this Kavadichindu work in 1917. This work consists of 1346 pages and has been divided into four Annamalai Reddiyar’s Kavadi Chindu, the Patriotic songs of Subramanya parts. The first part contains the musical history of the ancient period and also lists many names of composers. The second part discusses the concept off 24 Srutis Bharatiyar called as Mahakavi belong to special category each carving his own niche. propounded by the author. The third part deals with Pan and its classification, in a chronological manner. The fourth section deals with the four Palai’s such as Bharata Chaathiram Ayam (Linear) Cathuram (square) Trikonam (Triangular) Vattam (circle) along with varieties of Yazh, the human form and the Yazh structure etc. This work was published in 1952 by the Thanjai Karanthai Tamil Changam. The author Arapatha Naavalar belonged to Tirupperunthuras. Apart from the Tamil Treatises on Music preface, there are four chapters dealing with Bhava, Raga, Tala and miscellanneous. Since this work refers to Sangita Ratnakara it might have been written after 13th Apart from these many other works on music and musicology have been written Century. by scholars of merit. ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ The language and music are best enjoyed in vocal music. In the human voice Contribution of Kannada to Classicism of Karnataka Music apart from he linguistic appeal and the melodic beauty lies another dimension, the emotional potrayal through the delicate shades of the modulation of words and R. Sathyanarayana raga nuances, in different timbre of voices. The highest sophistication of Kamatic The word ‘classical’ lexically refers to the highest class or rank especially in music Music has been achieved through the oral tradtion which is the only system of and literature. It was used originally and chiefly for the Post-Roman or Greek authors classical music which contains the very large repertoire in not only Tamil but in in literature or to the best masters in music. It means chaste, refined, restrained, Sanskrit, Telugu, Kannada and Malayalam composed by various great composers in keeping with classical arts. It also means traditionally accepted or established. each creating his or her style and variety in poetry and prose. The prosodical Classicism means a classical idiom in literature, music etc. It further means a principle marvels created in the Sahitya have kept growing century after century expanding or tendency marked by beauty of form, good taste, restraint and clarity as opposed the horizons of human creativity. The contribution of the musicians starting from to romanticism. In western musical parlance, it is used for works-which have held the panars upto now have carried on this hoary tradition from one generation their place as masterpieces in general, esteem for a considerable time. It is also used to another and thereby helping in the preservation and propagation of a unique genre. approximately to new works, which conform to this type and style. It is generally applied to works in the late 18th cent. AD in forms such as instrumental works in Conclusion the sonata form and opera composed according to received traditions. In this sense, it is used as the opposite of romantic. For the purpose of this presentation, 1 adopt Language and music have enriched not only the classical music arena but the foregoing lexical meaning of a principle or tendency in music marked by beauty also devotional music, theatre, dance, folk and popular music. It is the texture of of form, good taste, restraint and clarity. By Karnataka music -also spelled kamatic, the language that will result in the genre of music which is like the flower and or camatic -1 refer collectively to the art music traditionally practised and performed it fragrance. Bhanachathiram, Bharatasenapatiyam, Mahabharata, Choodamani, in terms of traditionally accepted repertoire, as distinct from folk music, sugama Caccaputa Venba, Yazhnool and K Sangaram. sangita, religious music etc. Music and language have a community of origin viz. sound and rhythm. As a consequence, they have many similarities. Two among these are relevant to this paper. • • • C $ 9 • • . The first is the well-known linguistic phenomenon called speech melody. It is within common experience that every language-as spoken by the natives, reveals a sing-song character which may be called its melody. It is a band-spectrum of miniscule Intervals, linked into continuous stream of miniscule tone inflexions, which are analogous on a macro-scale to gamaka. Each line in the spectrum is analogous to an individual’s peculiarity in speaking, similar to vaikrtadhvani of the Sphotasiddhanta. Dialectical recensions of a language have speech melodies, which vary within narrow limits of the general speech melody of the language. Speech melody is a product of the collective consciousness of a linguistic group and is its characteristic manifestation. It is inextricably entwined with a characteristic speech rhythm also. These are being now studied as fuzzy phenomena in ASR (Automatic Speech Recognition) in the field of artificial intelligence (AI). Speech melody and speech rhythm, depending on the nature of the phonemal content and their combinatorial peculiarities contribute to the euphony of the language, which is an important factor contributing to the musicality of a language. Of course, euphony is a relative term and is a matter of habituation and taste. Nevertheless, some comparison of extremes may be made between say, Jayadeva Sarasvati’s ‘komalakantapadavSli’ and Bana’s literary style. THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ The second similarity is the curvature of tone, which in music is called gamaka. Many of these relate to the word content of the song. Thus vyakta is explicitness This is emphasised so much that music is sometimes described as the language of svara, syntactical construction, pOrna has metrical structure, words, raga, svara of emotions. In any case, there is no fine art. except literature, which has such and full-bodied gamakas; prasanna is instantaneous intelligibility; sukumara is vocal overwhelming affiliation to the spoken word than music, be it art music, light classical, tenderness; alankara has a range of three registers; sama is even distribution of syllabic folk, film or religious, in all cultures. This is because music has the ability to suggest, content, tempo and register; surakta is the fusion of vTna, voice and flute; and, $lak$na indicate, support, augment or emphasize word meanings in an emotional environment. is smoothness of high and low notes rendered in the three tempi; enunciation of words It acquires this ability because of an inherent quality of sound viz. curvature, which in a high clear pitch is vikr$ta; madhurya is popular appeal, grace and sweetness. takes the form of gamaka and kaku. These are useful when exaggerated, in simulating The faults are : inconsistency with worldly usage, Sastra, the Veda (or fundamental moods, feelings and emotions to some extent. Musical sound offers, even at the pitch) and contemporaneity. Other faults are: extraneity to the art. disorder, wrong sacrifice of its own expressive autonomy, an attractive medium for the conveyance of meaning, vulgarity and ambiguity. verbal meaning. Music is then reduced to its secondary function as a vehicle; but then, this is for music, an important, ancient function coeval with the samaveda. In fact, Pandarika Vitthala further says in his Nartananimaya: the non-verbal expression of music in a Karnataka music concert is somewhat less Mqq'hi cblciiqhi <*r*uq ------THE MUSIC ACADEMY MADRAS ------| ------THE MUSIC ACADEMY MADRAS ------carrying the composer’s signature, is performed. Repetition of a segment like a pallavi i The languages in which Indian musical forms were composed and performed before or the anupallavi after every other segment is not a fault but a structural principle. | Indian music dichotomized into the northern and southern recensions were samskrta, Repetition of anupallavi in the music in the second half of the stanza is not a fault | prakrta, saura$tra, saurasenT, magadhi, and apabhramsa. The vernaculars in which but a distinguishing musical style. Rhyming is used sometimes as point of renewal in songs were composed were kannada, telugu, and tamil. bhandirabha§a was specially the taldavarta. Such differences could be multiplied. Therefore, there is now a need f created and used for music compositions from the 12th to the 18th cent. AD. Among the to restate the literary criteria and norms for the matu content of Karnataka music. 1 de$T languages, the most songs were composed in karnatabha$a. These are described Karnataka music songs are composed and performed today in Sanskrit, telugu, i in early musicological treatises. The earliest are from Matangamuni (BrhadddSeT 650 tamil, kannada, and malayalam and to a much lesser extent in manipravalam and -700 AD) and include kanda, varna, varnasara, ela, kaivata, Sukasarika, Sukacanacu hindi. Kannada is a member of the Dravidian group of languages. It shares many and caturanga. Nanyadeva (1097-1143; Bharatabh3$ya) describes more than 25 song common features with them, differs with them from the Aryan languages, and has f forms in kannada; many varieties of ela, dvipadi, madhumadhava, varna, ranarnga, many distinguishing features of its own in phonemal content, nominal, pronominal, | mrgam&aka, tryambaka, tri vi§ta, bhavatri vikrama, trikota, krsodara, caturubhuja, vijaya, verbal affixes and processes, syntactical and other grammatical features. For example, ^ caturyuga, pitamaha, caturasra, catuscarana, caturmukha, pancahana and pancabana. its alphabet consists of 47 letters, includes e (s>), o (eo), u (era), Ja (tf), and omits the r I Sarvajna SomeSvara III (Manasollasa 1121 AD) describes tripadT, catuspadT, satpadl, f (adja), lr(°e)), IF (Hra), sa (zf), $a (stf), anusvara, upadhmanTya, jihhvamullya of | many varieties of ela, kanda, sukasarika and vicitra. Samgadeva (SangTtaratnakara, the Sanskrit alphabet; originally, it also omitted aspirates except in the sama-samskrta } c. 1240 AD) describes kanda (29 varieties), varna, varnasara, tripadT, catuSpadT, §atpadT, words. It omitted the diphthonga. ai and au also. Its nouns operate with three genders, [ as well as the salagasOdas. Jagadekamalla and ParSvadeva also delineate these and two numbers, and five inflexions (vibhakti). Its ad-jectival terms can be used for ^ similar prabandhas. qualifying adverb and nouns. The verbs may be positivised and negativised by simple [ (Musical illustrations were given by Sangitavidwan R.S. Nandakumar) processes. Kannada has evolved in three phases called old, middle and modem. It has i borrowed freely from Sanskrit english, tamil and other languages. It has added some \ words to Sanskrit. Kesiraja, the most renowned Kannada grammarian of the 13 cent, ( • • • 9 Q 9 • • • summarises in his sabdamanidarpanam, the distinguishing features of Kannada rtifctfrisksxiao soarff xterisrf aaotoo ria&xfoxj. o&o - 0 O') - 0 1 2d ^ O ^ 0 rt Q 0 4 <> ^ ? u cfigfrTft SjfcRTtjI flRlRl I T 4 cFT ET cZJZT #F^cf - f Rll^ricclR ilfd cftvivjn ♦ A more detailed account is beyond the scope of the present paper. It suffices to t mention here that the vacanas of sivasaranas (12th cent. AD +) and poetry from epic poets (10th cent. AD +) are performed in ragas of Karnataka music, while the songs of Sivasaranas and haridasas (14th -15th cent. AD +) are performed in the classical ■1> ragas and talas of Karnataka music. . ------1 55 h ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ t o In simple terms Bhakttu denotes Move’ born out of reverence especially when it is directed towards God. In a sloka of Sivananda Lahari Adi Shankara describes Bhakthi, as expressed by SRI THYAGARAJA and MAHARAJA SWATI Bhakthi TIRUNAL through their compositions. 'cTeT B y V. Subramanyam ddl Gur (Sastras) scriptures have categorised human desires or human goals into four : Dharma, Artha, Karma and Moksha. These are termed ffa That which is desired by human beings is Purushartha. “Dharma” denotes the desire to lead a Dharmie life as stipulated in the vedas and also appropriate desire to In this world as the ripe seeds of the Angola tree fall to the earth and without external do Charity. Artha means the desire to acquire wealth in accordance with the norms aid reach the tree itself, as the iron needles naturally get attracted and attached to the laid forth by Dharma. For the maintenance of one’s life acquisition of wealth is magnet, as the chaste woman - Pathivratha - to her husband as the creeper reaches and unavoidable.The desire for pleasure, enjoyment and entertainment comes under the holds on to the tree it get attached to as the river to the ocean, the mind of man when next Purushartha “Kama”. The fourth Purushartha is Moksha which means liberation it unswervingly gets attached to the Lotus feet of Lord Shiva it is Bhakthi. Bhakthi from the cycle of birth and death, Among the Purusharthas, Moksha pervades every human activity. It runs through Karma (action) Upasana and Jnana like occupies the highest order - Prime of place. The option of choosing the Purushartha a string running through a garland of beads HfrmwiIW’ . It would be interestng is to entirely left to the free will of the individual. The wise and emotionally mature to note that our sastras have a mantra or sloka for every human activity from WTrW11! would target moksha as the ultimate goal of life pursuiting the other Purusharthas when getting up at dawn to a suitable one at bedtime the underlying theme being only to the extent necessary for minimum worldly transactions and such persons are Bhakthi to the Lord. a small number. The majority pursue Artha and Kama getting bogged down deeper The first step of Bhakthi is worship of God almighty. This external worship into the mundane life with the entailing trials and tribulations. matures in to inner adoration which is indicative of the sprouting or real Bhakthi A study of Thyagarajas life clearly reveals that at no point of time he had any which flowers into intense devine love. This leads to the joy of closeness between inclination for Artha and Kama. Leading an austere life depending on alms he the devotee - Bhaktha and the devine and the joy of closeness passing into the bless received from his “Unchavritte” his attention was always focussed on “Aradhana” of union. of his Ishtadwata, Srirama and singing His praise paving the way for his ultimate The development of Bhakthi is based on the belief that God is not an abstraction, liberation. Maharaja Swati Tirunal as a ruler of Travancore had no desire about Artha a mere impersonality but is manifested in the world and is deeply imbedded in us and Kama, as he was in the midst of plenty. The Royal Composer was a great Bhaktha and thus making possible a personal relationship for the Bhaktha with God. When of Lord Padmanabha his Kuladevata and as the Travancore Tradition goes he was the Bhaktha approaches God through human emotions, response is received by the ruling the kingdom on behalf of Lord padmanabha as his dasa. Even today the head true devotee. This aspect can be clearly seen from the kritis of Thyagaraja in some of the Travancore Royal family is known as Padmanabha Dasa. Swati Tirunal was he pleads to God, he intreats, he Cajoles, he surrenders, he praises, he rebuke and never attracted to the pomp and pleasure of Royal life. Apart from the burden of ruling so on. Bhakthi aims making divine the human Bhaktha. his kingdom and taking are of his subjects and then welfare his mind was focussd on Padmanabha, involving himself in spiritual pursuits and his ultimate aim pitched on The music compositions of our system are largely emotional outpourings of various the highest Purushartha “Moksha”. Both these compsers were “Mumukhus”- meaning forms of Bhakthi of the devotee. Composer towards the Almighty. Thyagaraja in his persons with intense desire aimed at the ultimate goal of life - Moksha. Dhanyasi piece clearly enumerates that musical insight devoid of devotion is valueless in the attrainment of Salvation. The music, with devotion, practiced by Bhaktas like, Adi Shankara Bhagavatpada in Viveka Chudamani says UlHiwi Brungi, Natesa, Anjaneya, Agasthya, Matanga and Narada vouch this. Thyagaraja who 7TfN^T (Sloka 32) “Among the recources for attainment of Moksha Bhakthi is the can distinguish righteous-ness and wrongfulness and who is aware that this world is greatest of them”. Both the composers being it is little wonder why they were ardent Bhaktas. nothing but maya and who is capable of conquering the six internal enemies kama, krodha etc. is well aware of this. — ------1 57 |------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ In the seventh chapter of the Bhagavat Gita Lord Krishna says:- addresses Ananthapadmanabha who is reclining of the Coiled serpent as “Muktida” ITT ‘3RT: - meaning the given of Mukti and seeking the Lords blessings in this direction. -3TRTf *iiPi ^ HTcT^'T II Thyagarajas Jnani Bhakthi which is indirective of the having reached the blissful stage of Jnana or supreme knowledge is expressed in the Kriti “Paramathmudu” in Ch. VII Sloka - 16. vagadhishwari wherein he says that Para mathamathe Lord is shining gloriously in Oh Arjuna, four types of pious men worship me; the dismissed, the enquirer, everything, in all the species creation made of the five elements fire, air, earth,water wealth seeker and the Knower. and space animals, birds, mountain, trees and in the good and the bad and holy The above classification of Bhakthi is based on the desire of the devotee. Aartha devotees as Thyagaraja. Bhakthi is the devotion directed towards God seeking protection at the time of distress. In the Bhagavatam Nine aspects of expression of Bhakthi are enumerated Artharthi Bhakthi seeks wealth and prosperity from the Lord. A Jijnasus Bhaktha STcpiT cblRH Craves for enlightenment of the ultimate truth - Brahman and Jnani Bhaktha directs ^TFT W f II his Bhaktha towards himself as he is a person who has understood and realised that he is God. At this level the person would have no desires. known as “Navarathnamala Keertanam” Swathi Thirunal has composed nine Continuous Contemplation of one selfsessential mature is said to be bhaktha. This compostions expressing the Nava Vidha Bhakthi given in this sloka - Even though stage of bhakthi is designated Bhakthi of the highest order. not as a malika Thyagaraja has expressed the same aspects of Bhakthi through his The driving force of most of Thyagaraja’s and Swati Tirunals Compositions various compositions. has been Sartha Bhakthi seeking the Almighty’s help and protect ion at all times. The following are the nine gems in the Malika created by Swati Tirunal. When Thyagaraja lost the idol of Srirama which he was worshipping everyday he - Bhavatheeyakathabhinavasudhayam in the Raga was in great destress and he appeals to Rama in the Kamatakas behag composition 1. Sravanam Bhairavi - Adi Tala. Nenenduvedkudura to help him in recovering the Idol. In the Manjari Raga piece Patti Viduva Radoo Thyagaraja prays to Sri Rama not to let go of his protective 2. Keerthanam - Tavaka Namam Subhadam Prajapani - in hand which has been guiding him from his birth. Swati Tirunal through many of his Kedaragowla - Jhampa Tala. compositions appeals to the Almighty to save him from the ocean of Samsara. 3. Smaranam - Sathatham Samomaraneeha Sarasaksha Bhavantham Artharthi Bhakthi, seeking wealth and prosperity from God, had no relevance for - Needambari Misra Chapu Tala. either Thyagaraja or Swati Tirunal. Thiagaraja spumed wealth as evidenced in his famous Kalyani Composition which he sang when the ruler of Tanjore-invited him 4. Padaseranam - Pankajaksha Tava Sevam - in Todi Raga Rupaka to his court to sing his grave promising high monetary compensation, Thyagaraja Tala. asks in that composition Nidhi Chala Sukhama whether wealth is the giver of true 5. Archanam - Aaradhayami - in Bilahari Ragam Misra Chapu Tala. happiness or the presence of Rama, Clearly indicating his mental focus on Rama Bhakthi and not an Artharthi Bhakthi. 6. Vandanam - Vande Deva Deva - Begada Ragam Rupaka Tala. That both the great composers were Jijnasu Bhakthas is expressed through many 7. Dasyam - Paramapurusha Nanu Karma in Ahiri Ragam - Misra of their Compositions. Mokshamu Galada in Saramathi one in which Thyagaraja's Chapu Tala. desire for Moksha is clearly evident. In this piece he asks the Lord whether Moksha is possible on this earth for those who are not Jeevanmuktas, to those who have 8. Sakhyam - Bhavathi Viswasom6 - in Mukhari Raga, Misra no genuine bhakthi or wisdom. In Seethavara Sangeetha Jnanamg in Devagandhari, Chapu Tala. Thyagaraja says that one must be blessed by Brahma with Sangeetha Jnanam to be 9. Athma Nivedanam - Deva Deva Kalpayam - in Nadhanamakriya Raga, qualified to become a Jnanmukta which is the goal as declared in the Bhagavat Gita Rupaka Tala. and Upanishads. In the Sankarabharana Composition “Bhakta Parayana” Swati Tirunal THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ Some of the compositions of Thyagaraja which could be classified under worships consort of Lakshmi, Padmanabha to the feet that danced on the hood Navavidhabhakthi are: of the great serpant Kalia which feet kept rhythm when you were playing the flute tantalising the world with its divine melody, whih are worshiped by Shiva, 1. Sravanam Ramakathasudharasapanamu - in Madhyamavati Raja, Sanaka Brahma, Devendra, which give Moksha and which destroy sorrows of Adi Tala. Samsara I pay obeisence. 2. Keerthanam Elavataramethikontivo - in Mukhari Raga, Adi Tala. 4. The Prince Composer Padmanabha Dasa in his Mukhari Raja Kriti falling 3. Smaranam Smarane Sukhamu - in Jana Ranjani Raga - Adi Tala. under “Sakhyam” addressing Padmanabha prays for unwavering deep faith in the Lord who is the reliever of the various tribulations of life, an epitome 4. Pada Sevanam Sri Rama Padama - in Amrutavahini Raga - Adi Tala. of happiness, Padmanabha great Bhaktas such as Parikshit, Uddhava, Akrura 5. Archanam Rara Sita Manohara in Raga Hindolavasantham who crossed the ocean of Samsara through yoifr grace and in you let me have Rupaka Tala - Tulasi Bilva Kedaragorila Raga Adi deep unsuspecting faith. Tala. Dhyana Avahanadi Sodasophachara pooja kramas have been included by Thyagaraja 6. Vandanam Vandanamu Raghu Nandana in Sahana - Aditala. in his compositions especially in his Divyanama kritis. 7. Dasyam Thavadasoham - in Punnagavarali Raga Adi Tala. Maharaja Swati Tirunal has composed many Padams and Javalis in almost all of them the Nayika pines over her separation from the Nayaka Lord Padmanabha 8. Sakhyam Chelimini Jalajakshu - Yadukula Kamuhoji Raga - again reflecting the aspect of Viraha Bhakthi. Adi Tala. Numerous subtle aspects of Bhakthi have been expressed through their 9. Atmanevedanam Makelara Vicharamu Ragam Ravichandrika Adi compositions by both the composers and a detailed analysis of these would be time Tala. consuming and therefore beyond the preview of this paper. Being great Bhakthas both the composers through their musice that is “Nadayoga” From the above compositions of both the composers I shall now choose a few for rendition giving their meanings also. have been focussing their mind ony on God through out their lives and as Lord Krishna says in the VIII Chapter of the Bhagavat Geta 1. In Ramakatha sudharasapanamu the Madhyamavati Kriti coming under Sravanam Thyagaraja says that the story of Rama who had come to earth with Sita, Lakshmana, Bharat ha and others is neetar which when consumed # 1 : bestows on the listener - consumer - a kingdom. It would bestow on one the four Purusharthas. Being an abode of Courage and bliss it would serve him as Remembering Me always one who has dedicated his mind and understanding to a boat to cross the burning ocean of samsara and destroy the evils of Kali. me shall reach Me alone undoubtedly. 2. Coming under Smaranam is the Janararjani piece of Thyagaraja where he says that the very remembrance of Ramas name is joy for those bom as human AlddIHfM fa-SH i ^FfSPUTi 3frT B.G. Ch VII Sloka 3 beings. Does not listening to Rama Nama and filling the heart with His form Among thousands of men there will just be one here or there striving for spirital cause love to be bom. The pure hearted Thyagaraya is always engaged in perfection. From among the aspirants so striving one perchance knows Me in truth recalling His name. - thus declares Lord Krishna in the Bhagavat Gita. 3. In the begada raga krithi of Swati Tirunal “Vande Deva Deva grouped under ^ “Vandanam” the Composer Says I pay obeisance at your Lotus feet of Deva Deva, the rectar and pollen emanating from which the river Mandakini WTFtfF B.G. Ch IX Sloka 27 ------1 60 |------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ Again Krishna says, Oh! Son of Kunte! 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A l3 . 0 urr et6l.fi II gjl ria rrfiiuSleu mafsl urf)urre& usoevafil Release of TTK Centenary Commemorative Stamp urr; umcrr iDrrprr 1 pu pmfleiv puuprru ldit rflervrflpewrr; II UfTIT OJ - £ - / U ~ £775 $rr - id ai. . II 'TTK was a man of compassion' 4 am.prferorr urr; I urrpu wniDrrprr, up rflerwrvp wrflp ewrfkn II By Our Special Correspondent urr - ddp urr 1 rj . . . . 0 U®J gj-iDmi. ..as O T ii II Chennai, Dec. 31. A commemorative stamp in honour of the former Union (urrrreut&l) Finance Minister, T.T. Krishnamachari was released by the Chief Postmaster - General, Tamilnadu Circle, U. Srinivasa Raghavan, at the Music Academy today. ubfepiusbsusifil Mr. Srinivasa Raghavan, described TTK as a man with compassion, who was iDrrurrprr prrsivrrervrr 1 prrervrremrr prrervrr pervprrupurr ldit II instrumental in introducing the family pension and social security schemes for prfl . prjrr . §> 1 &1 : « S) QJlh. sr& . . «af). . . II Central Government employees. The former Undersecretary - General of the 3 3 3 3 2 4 iDrrurrprr prrmrrerorr 1 ibrfibrrrf prr, sh> p srvrr; II United Nations, C.V. Narasimhan, who received the first cover, said it was a fitting tribute to Krishnamachari, who had left a “stamp of class” for the nation’s prfl prrrr . £ ) / §r. * . ^QJih sr6l . asH II 3 4 industrial progress. A man with a vision, he was the forerunner of the country’s rfibrfeim prrp&vprr 1 umorr, urr,prr, iDrrrf rflperorr II industrial revolution and his progressive outlook laid the foundation for industrial prrmaj U 0 . . / £ « % LDIT, Cflft . fidfl II 4 growth. Semmangudi Srinivasa Iyer said the present academy hall was a living 6t\)rr,prr.iDrr,rf urr, ldit, prrprr; 1 ewrfl Lbrrrfl smiv ervpiDrflp etvrrrfliD II monument to the late TTK. He recalled his close association with the late Union m . g>mrr rrfslGiDrr 1 pi rra rrpiu$)GO &a$urfl urr&Sasfl II Minister T.T. Vasu, son of TTK, thanked all those who had helped to bring out (urrrieu$) the stamp. ^/TtiooilD urr; uiDprr prrpu 1 uprru LDiTLorr IDtfl pervrrermvrr; II iDp p . a g*rr 1 . . . ID . $mrr . erv$ II 3 3 anvrrprr LDrrrf urrurr 1 iDrrurrprr pUUpiTU LDrf) rflpervrr II id p ssrg 9St8> 1 QJ> £ > & &rr. . . . p£j). ld . m II 3 3 urrunurr, id prrprr 1 prrup prflerorrprr upurr ldit, uprr II ld6wsBldit / aiuprS . . . rj ID . UJ p ILj$ II urr, up puiDrr rf; 1 prr ervrr.rf! Lcrr ervrnf prrervrrervrr II LD(T . . pm . © / ID QpiD . aroearj tLj OJ f&> II 3 LbpiULD &>rrsvih arorrpiDrrrfl urriDLDprr 1 iDpero iDirurru LDUp ervrrmeivrr II amrriD&rrasr eBGevrraSlstfl 1 mpiu ysfeupero smmpiu eurrer&esfl II The Chief Postmaster-General, U. Srinivasa Raghavan, releasing a commemorative stamp in prrptDprr 1 prfleiv prru iDULDrr, pewrrrfkD II tfibrfeb) honour of T.T. Krishnamachari at the Music Academy in Chennai on Tuesday. Looking on prriD^u c&LDriar&etffi 1 prr . p ■5/t o t Qu . p driQmrr$i • i fi 9 V/ 9 9 * ' ------THE MUSIC ACADEMY MADRAS ------ISSN. 0970-3101 Obituary THE JOURNAL The Music Academy, Madras, reports with a deep sense of Sorrow the passing away of the following Vidvans during the year 2002 o f THE MUSIC ACADEMY MADRAS Sangita Kalanidhi Smt. MANI KRISHNASWAMY (V ocal) Sangita Kalanidhi Sri. K.V. NARAYANASWAMY (V ocal) Devoted to the Advancement of the Science and Art of Music Sangita Kalanidhi Sri. T. VISVANATHAN (F lu te ) Vol. LXXV 2004 w f a T5fh • • c 9 0 9 ••• * T ^ tT5T: HKlPd W t frTBff^T '^TTT^ II “/ dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun; (hut) where my Bhaktas sing, there be / , N arada !” Narada Bhakti Sutra EDITORIAL BOARD Dr. V.V. Srivatsa (Editor) N. Murali, President (Ex. Officio) Dr. Malathi Rangaswami (Convenor) Sulochana Pattabhi Raman Lakshmi Viswanathan Dr. SA.K. Durga Dr. Pappu Venugopala Rao 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 ANNUAL SUBSCRIPTION - INLAND Rs. 150 FOREIGN US $ 5 OD CONTENTS Pages 1. Inaugural Report of Annual Conferences & Concerts 2003 77 I 2. Address of the Conference President Sri. T.V. Sankaranarayanan 78 * 3 All Correspondence relating to the journal should be addressed and I 3. Profile of Awardees 81 f all books etc., intended for it should be sent in duplicate to the Editor, 1 The Journal of the Music Academy Madras, New 168 (Old 306), ) 4. Meetings of the Advisory Committee 86 T.T.K. Road, Chennai 600 014. > Articles on music and dance are accepted for publication on the Tala-Dasa-Pranas and the Musicological problems 5 recommendation of the Editor. The Editor reserves the right to accept in present day Tala system Dr. N. Ramanthan 98 fj. or reject any articles without assigning reasons. Natya Sastra - Music Chapters Manuscripts should be legibly written or preferably, type written * V Dr. Pappu Venugopala Rao 122 (double spaced and on one side of the paper only) and should be signed l by the writer (giving his or her address in full. ) Indian Music and Chandas 128 The Editor of the Journal is not responsible for the views expressed i. by contributors in their articles. Two Compositions of Tanjavur Sankara Iyer and Two Compositions of Madurai T. Srinivasan 133 4 1 1 Obituary 141 f ( l f i ( y i INAUGURAL REPORT OF { ANNUAL CONFERENCES b CONCERTS 2003 \ y f* f he 77th Annual Conference of The Music Academy Madras was C_ held between 18th December 2003 and 1st January 2004 at the i T T Krishnamachari Auditorium at the Academy premises. The conference was inaugurated by Sri B K Krishnaraja Vanavarayar, Chairman, Bharatiya Vidya Bhavan , Coimbatore Kendra and Chairman, Indian Cotton Mills 1 i Federation. The President of the Academy Sri. T.T. Vasu received the Chief i Guest and escorted him to the dais and the function started with an invocation. i The President welcomed the Chief Guest Sri B K Krishnaraja Vanavarayar i who delivered his inaugural address. Sangita Vidvan Sri T V Sankaranarayanan was elected to preside over the 77th Annaul Conference of The Music Academy Madras. 4 THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ 6frora>ar atxiifep 6Si$>6B$) &en>uu5lefr erebeorreuibifiljixg)u> Gmeorrs, prrdsr erdrtpiib euessnii<§ii) erriisdr ^eoGlfiiueuu>rresr G&rreBrbpedleir &(n>enu, £TfiBr«0 Lf urflypemLDrr&a Stent—&$l(njuueB>p prrdrr ^euGleurT^ *ear(tptb juessnf^ t . 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Q«u0 fgmurflQmrrs,# Gleiugi mrrQuq^ih Geuptjfiliijiis ^eni—p^rrrr. ^fajrf fiii&£>$@lGeoGuj $enetr$§i erdsr^jent—iu Lcmurr ydf usgienp uoesri) ^iLsturjetiifsiGetTa, &r5j&!g>£$/barr&(]l6u ei/rrypfig/, c.si)«lc « u ^ 0 «0 u> prrdsr erdrrenrreo qpis^p^euenrj ^euq^ent—iu urrenfieniu ^f^rrrrusrr^S Gl$rrem®U), (SurrrQrpiLb tL$$LcrjTT0iQ]Lb s_armpwasar &meo ------1 78 1------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ aQ$ujrrrTp§ls €r6Brgpj6s>i— tu ereoeorru Qu 0 «j)ld«(ct$ *3I$go M.A. uv^ssts Q sm m m u uGUsumeos sips (tppesreviAiL/tA, 'outstanding grade'-ih sumii^Uueueh. Q&manasrS) $i£lLp$rT® ^ t j s (gjanss seugy/rrfhtSIcu ‘etvmiSs, eSlgeurrebr’ uiLi— uuuj.uiSleo {ipmn)i $misu u^ssmisar eurrmi£)£ G^rShueum. Qsevr«s>mu5lepi6rrerr ^ G p s swuserReo T.V. Sankaranarayanan Qjem&u GurriLupsaRw seorkgii Qsrreisr® uev urfiss^ib, (tpsSliuiArrs $[5$ eB^ea^smu, Gsmenost obenudsr j^rtiLsk) GstrestewiLisf., Qsmemvr$ piA^ens# & mis Lb <$fjRltu Bom on 7th March 1945 at Mayiladuthurai, Nagapatnam District, Tamil Nadu, (Lpasrjpj Qjt— mistiRgpjib (tpompi StWLpfjrrsse^enu urflsrrsu Quppeuerr. s&Gsrflsierpib Q siuujs, Sankaranarayanan was highly influenced in his formative years by the music of his sieumiSlLjQuujQfTG^ s is Qsrremuf_(r^^ srrsvg^ieo erebremast iAsm {IT} ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ THE MUSIC ACADEMY madras THE MUSIC ACADEMY madras ' 1 * > Seventyseventh Conference - 2003 Seventyseventh Conference - 2003 — - - S SANGITA KALA ACHARYA SANGITA KALA ACHARYA M.S. Anantharaman Adyar K. Lakshman Bom on 26th August 1924, Shri Anantharaman underwent Gurukula-training Bom on 16th December 1933, Adyar K. Lakshman joined Kalakshetra at the age under his illustrious father, Parur Sundaram Iyer. The Parur family represents Indian of ten and began his training in music and dance under a host of vidwans. Rukmini Music in its totality. Anantharaman is the inheritor of his father’s mastery of both Devi, a shrewd judge of latent potential, encouraged him to specialise in all aspects the Kamatic and Hindustani music system. Apart from being an accompanist to the of dance. Lakshman was fortunate to be groomed by many veterans. He graduated widest range of musical maestros, from the legendary Ariyakudi Ramanuja Iyengar, to in Bharatanatyam, Kamatic Music and Nattuvangam in 1954 and got a post-graduate present day stalwarts and upcoming musicians, Anantharaman is also an accomplished diploma in 1956. His quest for learning led to his learning to play the Mridangam soloist. He has performed extensivclv in violin-duo concerts with his brother, Sangita and to learn Kathakali from great teachers. Lakshman served the faculty of fine arts Kalanidhi M.S. Gopalakrishnan. He has accompanied legends of Hindustani Music at Kalakshetra. like Omkamath Thakur arid Ratanjankar. Rukmini Devi cast Lakshman in many dance-dramas, thus providing him practical Anantharaman holds a degree in Mathematics and a diploma in Indian Music. experience. Lakshman’s artistic horizons broadened and prepared him for a Future Recognised as a teacher with exceptional pedagogic merit, he served the Tamil Nadu as a Gum and as a Composer, Government College of Music for twentyone years, rising to be a Professor. Lakshman was associated with Vyjayantimala Bali’s dance school, Natyalaya, for The music of Anantharaman is steeped in the best tradition, Anantharaman’s a decade. He set up his own school, Bharata Choodamani, in 1969. The work of this playing technique is unmistakably special and his bowing is unique. So are the school of dance has been of a consistently high standard, duly keeping the technique subtle nuances of melody and his fluent exploration of the gamut of notes, even sound and adhering to the traditional framework set by Kalakshetra. He has produced rare Ragas. over a hundred dancers from this school, many of whom are well-established. He is a creative teacher, with originality and inspiration. He is a Gum with a busy schedule, Anantharaman is a musician who is modest to a fault, who is generous in his including long stints abroad. praise of aspiring young talent. He is the recipient of a host of awards, including the Sangeet Natak Akademi award and the Kalaimamani award of the Tamil Nadu The Music Academy recognises Adyar Lakshman’s stellar role: in Bharatanatyam Government. with the Sangita Kala Acharya award. ------1 83 |------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS THE MUSIC ACADEMY madras THE MUSIC ACADEMY madras f ' > * ■ < Seventyseventh Conference - 2003 Seventyseventh Conference ■ 2003 ------j TTK MEMORIAL AWARD TTK MEMORIAL AWARD Guruvayur Dorai Semponnarkoil S.R.D. Vaidyanathan Guruvayur Dorai was bom on July 2nd 1935. His first performance was as Bom on March 15th, 1935, Vaidyanathan belongs to a family of hereditary accompanist to the great Chembai Vaidyanatha Bhagavatar in 1943. Dorai hails from a Nagaswaram vidwans. His father Dakshinamurthy Pillai and his grandfather family of musicians, his sister being the late Guruvayur Ponnammal. His early training Ramaswami Pillai were both widely acclaimed artists. Vaidyanathan’s apprenticeship was under Palghat Subba Iyer and E.P. Narayana Pisharody before he came under the included stints under Vazhuvur Ramaswami Pillai, Mayuram Ramu Pillai and great Palani Subrahmanya Pillai. Dorai has been a leading accompanist to just about A.K. Ganesa Pillai. Along with his brother Muthukumaraswami, Vaidyanathan blazed every eminent musician in South India. His technique has been the envy of many who a trail as a leading Nagaswaram duo, whose diary was filled with engagements ranging have tried to emulate him. The vibrancy of the sound he creates as well as his perfect from temples, sabhas and weddings all twelve months of the year. anticipation of the musical nuances have been admirable. Various albums by leading musicians feature Dorai as the accompanist. Without losing any of the intricacies The brothers toured abroad in South East Asia and were specially invited to play of playing the mridangam, he has introduced many an impressive sound which has at the wedding of a Malaysian prince. earned a place for him in international forums of percussion instruments. He has Vaidyanathan has served as instructor for decades at the Annamalai University cut several discs for world music labels in Europe, and participated in international in Chidambaram. He is a specialist in “Othi Melam” and “Mallari” and has the music festivals. distinction of performing the difficult “Ashtaavadhana”. His musical expertise is Apart from his nationwide tours, he has performed abroad on several concert extensive in repertoire. He is also a treasure house of Tamil Padams. tours from the fifties. Notable among these are tours with grand masters like Veena S. Balachander and M.S.Subbulakshmi, and the festivals of India in the USA and The Music Academy honours Sri Vaidyanathan with the TTK award. USSR. He has also been a visiting professor at the University of Washington, Seattle, USA, and Western Michigan University, Kalamazoo, USA. He has received the Kalaimamani and innumerable other titles for his expertise and popularity as a mridangam vidwan. His contribution to music has also been suitably recognized by the Kanchi Kamakoti Peetam and the Ahobila Matam. He is being honoured with the TTK award by the Music Academy. THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ Meetings of the Advisory Committee His Kritis are in Telugu and Devamaamas in Kannada. The speaker presented a very clear demonstration and lecture about the multifaceted genius of Mysore 19th December 2003 Seshanna. The proceedings of the 77th Conference and Experts Sessions commenced T.V Ramprasad sang some of his compositions and D. Balakrishna rendered with devotional music by Sri Tripurasundaree Sameta Adipureeshwarar Tevara some of the special compositions ideally suited for a Vainika presenting the Paatashala rendering Tevara Padikamgal. intricate nuances of Veena Seshanna’s performing techniques. THE FIRST sessions of the morning conference started with a lecture on Sangita Kalanidhi Sri T.K. Govinda Rao commended the presentation. Tiruppugazh and Thevaram, an analytical study, highlighting their structural significance. Dr. Suresh explained audava raagaas and khanda gati that suit 20th December 2003 Thevaram hymns. He started with a demonstration of “Todudaiya Seviyan” Sri Annamacharya Vamseekula Annamacharya Seva Mandali / Trust rendered Tirugnaanasambandhar’s composition in Gambhira naatai, a pentatonic raga in some soul stirring Annamacharya Samkeertanas. khandachaapu taalam. He demonstrated also in Aadi taala as is sung today by many. In connection with Rukmini Devi Centenary, Prof. A. Janardhan & party Dr. Suresh cited similarities between Tiruppugazh verses and Tevaaram. presented a Lecture Demonstration on ‘Choreographic Specialities of Rukmini According to him, Saint Arunagirinathar, who composed Tiruppugazh considered Devi’. Thirugnanasambandhar as his Guru, but at times differed in style of the Thevaram Rukmini Devi and Kalakshetra are synonymous. Prof. A Janardhanan, senior bard in his own lyrics. He drew the attention of the audience to the names of the faculty member of the Kalakshetra, presented a demonstration with the help of 10 panns (raga structures) adopted in Thevaram that are followed even today and students highlighting the choreographic nuances of Rukmini Devi. mentioned that the Vaishnavite’s Divya Prabandha has no indication of any such Rukmini Devi made optimum use of Bharatanatyam in drama by weaving the panns. The latter are simply recited and never sung. The chandas (prosodic) element Kathakali element into the style. She took great care of every minute aspect of in Tiruppugazh verses is profound and while the language of Thevaram hymns is the stage, costume, curtains, colour schemes and utilization of the stage space. She chaste Tamil, the language in Tiruppugazh verses is considered manipravala since produced 26 major productions. The lecture and demonstration revolved around there are many Sanskrit words employed by Arunagirinathar. The phala shruti - these productions of which five different items were presented. Depending on the benefits bestowed on the readers/listeners, type of conclusion is found in Tevaaram number of dancers on the stage, she used bilateral symmetry, trilateral symmetry, hymns and not in Tiruppugazh. quadrilateral symmetry and at times asymmetry, Prof. Janardanan said. While The lecture demonstration was generally received well. Vidwan B.M Sundaram adhering to the tradition, she did not confine herself to just one style of dance. Her and musician Vedavalli offered their comments. choreography gave emphatic importance to each dancer on the stage, irrespective Sri Mysore Subrahmanya assisted by Sri D.Balakrishna and Sri T.V. Ramprasad of the number of dancers. presented a lecture demonstration on compositions of Veena Seshanna. Kalakshetra staff presented the nattuvangam and music, and ten students Veena Seshanna was a colossus who reached the pinnacle of glory during the presented the dance bringing Rukmini Devi’s flavour in letter and spirit. In the first half of the 20th century as the Asthana Vidwan of Mysore court. He was evening the students of Kalakshetra presented a full-length dance drama to mark an innovative performer of the veena. Mysore Subramanya, great grandson of the centenary year of Rukmini Devi Arundale. Sri Seshanna, presented the lecture demonstration with a lot of material, both The second lecture demonstration in the morning was presented by Vidwan biographical and musical. Seshanna, he said, composed 11 swarajatis, nine vamas, Adyar Lakshman & Party on ‘Rhythmic Dimensions in Dance Compositions’ 11 kirtanas and five Devamaamas apart from 17 scintillating tillanas. He employed very dtomplicated talas like Sankeema Triputa Taala and Khanda Mathya Taala, Sri Adyar Lakshman, who receives the Sangita Kalacharya Award this year, for his Svarajatis and Vamas. Among his tillanas, the one in raga Jenjuti is very presented a lecture demonstration highlighting his contribution to the field of popular. Many of his tillanas are in Misra Chaapu and in Chaturasra Triputa taalas Bharatanatyam. Though there are many dance teachers who are inclined to compose with elevating eduppus. dance dramas, Adyar Lakshman proudly adheres to the solo tradition. ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ He has infused new rhythmic passages into existing compositions and employed The president of the morning conference T. V. Sankaranarayanan expressed his difficult taalas, complicated jatis and comprehensive sancharis into Bharatanatyam, gratitude to Shyamala Venkateswaran for her illuminating lecture and melodious which have a significant stamp of his own. The highlight of the many items demonstration. She was accompanied by her students in the demonstration and demonstrated during his lecture, was a Jatisvaram in Vasantha composed in two Jaya Sekhar on the veena. R. Sathyanarayana of Mysore gave an impressive lecture speeds. on the relationship between meter and music, assisted by his son Nandakumar, who A Mallari in Sankeema triputa taalam, followed by Aananda Natana Prakasam, presented a few slokas and compositions. Dr. Sathyanarayana began his lecture in the same raga of Muthuswami Dikshitar, where charanams were interspersed with two verses, one in praise of Sangita equating Nada with Siva from the Sangita with intricate jatis was presented. The Mallari here was also set to Kedaram, Ratnakara, and the other in praise of Chandas from Abhinava Gupta’s commentary which otherwise is usually set to Gambhira Naata. He had chosen a Subburama on the Natya Sastra. He defined chandas, laya and sangita, and showed how they Dikshitar’s vamam in Khamas to demonstrate sanchari bhaava in anupallavi. are interdependent. The very fact that all the treaties on music were written in While the former was demonstrated by Roja Kannan, the latter was explained metrical form is in itself a proof of the important place of Chandas in sangita, and performed by Jayanthi Subramaniam. He concluded the demonstration with he added. a recorded tillana in raaga Mohanam, set to music by Sri Madurai M. Krishnan, Then he emphasised how some prosodic elements and technical terms have been thus covering all prominent components of a solo Bharatanatyam performance. borrowed to describe the various components of talas. He stressed the importance This was performed with western instruments like xylophone, saxophone recorder of ganas and the effects of their usage in the beginning of a composition, as is etc by musicians from Vienna. the practice in literature. In the musical parlance, there are prabandhas, which derive their name from the meter in which they are composed. He stressed that 21st December 2003 singers should respect the yati, sandhi and splitting of samasa. The words in a Sunaadam group rendered some select compositions of Arunachalakavi. composition can be split only in accordance with Chandas so that their music intelligibility enhances. Nandakumar demonstrated a sloka from Saundarya Lahari, Under Chellammal Palani Gounder Endowment, Smt. Shyamala Venkateswaran a prabhanda, a krauncha pada and a composition of Tyagaraja and Muthuswami presented a Lecture Demonstration on ‘Compositions of Arunachalakavi’ (Seerkazhi Dikshitar. This was followed by a lively discussion on different prosodic elements Moovar). Tackling her subject, 'Compositions Of Sri Arunachala Kavi,’ Shyamala and their relation to music in which Dr. Ramanathan, Prof. Harold Powers and Venkateswaran began the lecture by comparing the Rama Nataka of Arunachala Dr. Srivatsa expressed their opinions. Kavi with the Laghunayasa in Krishna Yajur Veda. Most of the lecture revolved around the story of Rama and how it was either different or similar to Valmiki 22nd December 2003 Ramayana. The day began with the rendering of Compositions of Koteeshwara Ayyar by While Vishnu descended on the earth as Rama, several other Gods took various Brhaddhvani. other incarnations along with him. This was described in the composition Avataaram Cheydiduveer..., traditionally sung in Mohanam but presented in Jhonpuri. Sangita Kalacharya. Sri. S.Rajam presented a Lecture Demonstration on ‘Compositions of Koteeshwara Ayyar’ under Rukmini Nacchimuthu Gounder It was followed by Arunachala Kavi’s description of Rama as the Ultimate, Endowment. Parabrahman in 'parabrahma swaroopan Raman’ in Gowlipantu. Generally there are no exaggerations in the story of Rama written by others but Arunachala Sangita Kalacharya S. Rajam is considered to be the one who made Koteswara Kavi finds exaggeration in everything, in the Putrakaameshti of Dasaratha, in Ayyar’s compositions popular and propagated them. Koteswara Ayyar composed his queens conceiving after they consume the pudding, in Rama and Lakshmana in all 72 Melakarta ragas and enriched the Tamil repertoire in Carnatic music. He accompanying Viswamitra to destroy the demons and even in Rama breaking scrupulously followed the lines of the Trinity and composed in Tamil. S. Rajam, the Siva’s bow. This was presented followed by a composition 'eppadi manam with the help of four of his disciples, presented six compositions of Koteswara tunindado swamy’ in Huseni before Rama going to the forests. Ayyar and demonstrated how they are fit to be sung in concerts, and how neraval ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ The Bodhaka Award which goes to an eminent teacher of music will be and swaram can be incorporated in those. In most of his compositions, Koteswara conferred upon Vidwan, Tiruvarur S. Latchappa Pillai this year. He will be the Ayyar gave the raga mudra and his own mudra as “Kavi Kunjara dasa” because he first Nagaswara Vidwan to receive this honour. His disciples presented a brief was the disciple and grandson of Kavi Kunjara Bharati. Vidwan B. M. Sundaram concert with compositions from the Trinity. later corrected the common misconception by stating that he was not Kavi Kunjara Bharati’s grandson. He was married to his granddaughter, and therefore 24th December 2003 probably can be called his grandson. Rajam emphasised that Vivadi ragas are not Karanaranjani a group of musicians rendered select compositions of Bhadrachala untouchable. Vivadi is a quality and not a demerit. Ramadas. Sangita Kalacharya Prof. S.R. Janakiraman under Brinda Varadarajan Endowment Prof. R.V.Krishnan, son of Venna Varadiah presented a Lecture Demonstration presented a Lecture Demonstration on ‘Analysis of Sahitya in Compositions’. on ‘Compositions of Veena Varadiah’. Prof. S. R. Janakiraman, scholar, musicologist, and a musician, presented Veena Varadiah (1877-1952) was a great composer of Vamams, Lakshana different forms of compositions sung in Carnatic music and demonstrated how Geetas using sahitya and kritis. His disciple and son, Prof. R. V. Krishnan, they are easily identifiable with the sahitya, the lyrical content in them. He began presented the lecture and demonstration with the help of Poomapragna Rao, Uttara his lecture demonstration with three compositions in praise of Annamacharya, Kumar and Shailaja. They demonstrated two vamams in Kanada and Aananda Tyagaraja and Muthuswami Dikshitar respectively. He ably demonstrated the three Bhairavi, and a Kriti in Kalyani. Noticeably, antharagaandhara was employed in dimensional nature, literary content, metrical structure and melodic dimensions Aananda Bhairavi. of musical compositions. He quoted extensively from treatises in support of each Sangita Kalacharya and Vaggeyakara Thanjavur Sankara Iyer came specially of his statements. He repeatedly emphasised the important place of sahitya in to present a Lakshana Geetam in Maayamalava Gowla. There are evidences to musical compositions. He presented a lakshana gitam in Udaya Ravichandrika, show that there were composers who set sahitya to swaraavali before Varadiah. a jatisvaram, a svarajati, a taana vama and emphasised in each of these, their Thaaseepuram Venkatapati and Azhagiya Singaracharyulu were some of them. structure, their text and the way they are to be sung. He said that the difference Veena Varadiah used a raga called Nootana Gowla, which was expected to be between a kriti and keertana is imaginary, and that it is neither substantially real presented but was not. Dr. M. B Vedavalli offered comments and president of the nor really substantial. year, T. V. Sankaranarayanan commended the efforts of Prof. Krishnan to present 23rd December 2003 and popularise his father’s compositions. Nagaswara Vidwan, Semponnaarkovil S.R.D.Vaidyanathan, presented a Lecture Demonstration on “Rakti Melam’. Compositions of Narayana Theertha were rendered by a group of singers under the banner Subhodayam. Unique to the nagaswaram tradition, Rakti Mela is almost a form of art that is slowly, but definitely receding into oblivion. A passage is taken in misra, trisra Veteran Musician Vedavalli presented an extensive lecture on Tiruchhanda of chaturasra and rendered in all the three tempos in which we find a shift of Viruttam of Tirumazhisai Azhwar. She dwelt upon the biographic details and the “eduppu” in each section. Vidwan Vaidyanathan played a Rakti Mela in Raga gave examples from the 120 verses composed by him. He is also known as Kamboji which was crisp and heard with rapt attention. The septuagenarian, Sri Bhaktisaara who underwent stints in various religions before he was converted Vaidyanathan, who is going to receive the prestigious TTK award this year, was as Vaishnavite by Periyazhwar. Vedavalli highlighted some of the compositions complimented by Vidwan B. M. Sundaram for his excellent lecture demonstration of Tirumazhisai Azhwar and said that the author was fond of employing numbers and adherence to tradition. in his compositions with intricate meanings and there are a number of verses to substantiate it. She talked about the second letter concordance in these 25th December 2003 compositions, the praasa element. Vedavalli said that these verses are set to tunes Disciples of Sangita Kalanidhi Smt. R.Vedavalli rendered Ashtapadis of and are rendered in structured music. It was more of a lecture than a demonstration Jayadeva under the banner Devaganavali Trust. because Mrs. Vedavalli was giving anecdotes from the life of the Azhwar. Though briefly, some of the paasurams demonstrated in Bhairavi, Sindhu Bhairavi and Sri. S.Gopakumar presented a Lecture Demonstration a percussion Surati were very appealing. Vedavalli was assisted by V. Sumitra. instrument created by him. Arumukhanam is a percussion instrument, created by ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ S. Gopa Kumar, fitted on an arc shaped steel frame. There are six faces of greatness. Chitraveena Ravi Kumar, grandson of Narayana Iyengar, gave a lecture mridangam. The six faces represent low pitch, high pitch, madhyama, tara shadja, and demonstration about his contribution to the filed of Carnatic music in general panchama and shadja. A disciple of Sangita Kalanidhi T. K. Murthy, Gopa Kumar and gottuvadyam in particular. has determination, enthusiasm, creativity and imagination in making this instrument. He played the record of Narayana Iyengar in Charumati. The alaapana, though He demonstrated the basic fingering on the instrument and showed how it can be constrained by time, encapsulated the beauty of the raga. Left handed technique, used in different situations. He demonstrated a Navaraagamalika Vamam, Kirtana, continuity, plucking style, speed and clarity are hallmarks of Narayana Iyengar’s Kaavadi Chindu, Meera bhajan and a folk song. He concluded his demonstration style of playing the instrument, now known as Chitra Veena. He brought the with a soio. All the six faces are detachable. The only problem seems to be to instrument as close to vocal style as possible. In the movement of the slide, he keep the sruti all the time for all the six components of the instrument. However, it was an interesting experiment. showed a tremendous innovation. Because he lived at a time when there were no mikes, Narayana Iyengar had to resort to high pitch. In other stringed instruments, Gopa Kumar was complimented for his effort by the eminent mridanga Vidwan, normally one string is plucked at a time. Narayana Iyengar used sympathetic Vellore Ramabhadran. strings below the instrument which is a major innovation. It worked like a built- ‘Art of Accompaniment’ was the topic of Lecture Demonstration for Vidwan in tambura with the instrument. Sri.T.V.Gopalakrishnan. Often termed as a multifaceted personality and a versatile Narayana Iyengar standardised the string arrangement and influenced stalwarts genius, T. V. G. in his lecture emphasised the need for scrupulous adherence of his times to either follow his technique on other instruments or take to of principles and adaptability for an accompanying artist. A percussionist should Gottuvadyam. He experimented with different kinds of slides made out of different have the basic knowledge of swara, laya, taala, saahitya, kalpana, creativity and material and finally settled with slide made of bison horn. He was a court musician concentration. He said that different techniques are to be followed for different kinds of Trivandrum and Mysore. Ravi Kiran, a child prodigy himself, made full justice of compositions. To substantiate he played the records of Chembai Vaidyanatha to the articulated lecture and crisp and relevant demonstration. Iyyer, accompanied by Palghat Mani Iyyer in Todi, recorded in 1930, and M.D Ramanathan in Kedaram. He demonstrated a recorded version of a neraval of Under Chellammal Natarajan Memorial Endowment, Sri. T.K.V. Chembai with Palghat Mani Iyer and Madurai Mani Iyer, accompanied by Palani Ramanujacharyulu presented ‘Compositions of Sri. N.Ch. Krishnamacharyulu.’ Subrahmanya Pillai. In the post Ramadas period, there have been many vaggeyakaras, such as Ghanti While all these were recorded demonstrations, he was assisted by Palghat Chandrashekara Shastri, Draksharama Venkateshwara Shastri and Swamulakotta Ramprasad, Mani lyyer’s grandson, with a kriti, a vamam and a jaavali. In (Samalkot) Bhayankarachari. Vaggeyakaras of relatively recent vintage include each case, TVG showed how delicately and balancingly the mridangam should Ogirala Veeraraghava Shastri and possibly, Devulapalli Krishna Shastri. Shri Nallan accompany a vocalist. Chakravarti Krishnamacharyulu is a living Vaggeyakara. Shri Krishnamacharyulu is a melange of music, musicology and compositional ability. His compositions 26th December 2003 are testimony of his mastery over Telugu and Sanskrit, as well as his skill to blend Maatu and Dhaatu. Some of his compositions have unique structures. For Smt. Kanthimathy Santhanam & Party rendered devotional compositions of example a “Garbh Kriti”, set to Raga Shuddha Dhanyashi, is a composition Gopalakrishna Bharati. set to Adi Tala with inbuilt passages in two or more talas. The catholicity of In connection with Gottuvadyam Narayana Ayyangar Centenary, Chitraveena Shri Krishnamacharyulu can be visualized from the fact that he has dedicated his N.Narasimhan and Chitraveena N.Ravikiran presented a Lecture Demonstration compositions to a pantheon of divinities, despite his being a Vaishnavite. Some on ‘Uniqueness of Gottuvadyam, Narayana Ayyangar’s Bani’. of his compositions in various ragas were demonstrated. Narayana Iyengar (1903-1959) was a pioneer and trendsetter in the field of gottuvadyam. Most of his recordings are not available. Some of his live concerts 27th December 2003 are with AIR Bangalore, Tiruchi and Madras. A handful of his 72rpm records Compositions of Ambjuam Krishna were rendered by Gita Nivedana Trust. recorded between 1928-1930 are available. These are only suggestive of his Prof. N. Ramanathan presented a lecture demonstration on ‘Tala Dasa Prana’ ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS Tala is the time framework within which music, drumming and dancing are created, individually or collectively. And 'TsladaSaprSna’ refers to ten prana-s or Chapters of the Naatyashaastra describe theoretical and practical aspects of ten vital aspects of tala. These are - vocal and instrumental music. Bharata deals with three aspects of music- “Svara” (the note),”Aatodya”(instrument) and “Gaana”(the song). Describing music, 1. Kala 2. Marga 3. Kriya 4. Anga 5. Graha Bharata divides “Gandharva” into three categories pure music, instrumental music 6. Jati 7. Kala 8. Laya 9. Yati 10. Prastara and vocal music. Terms like Svara, Shruti, Graama, Moorchana, Taana, Sthaana, Jaati, Dhaatu and Vritti are defined by Bharata. Bharata identifies eighteen Jaatis Although tala has been a part of almost all the musical systems of India except (melodies) and classifies seven under Shadja-graama and the remaining eleven Samagana, the concept of taladasaprana itself seems to have arrived only in the 16th under madhyama-graama. Instruments are classified as stringed, wind, solid and century and is seen described in texts like SangltasQryOdaya of Lak§mTnar3yana, percussion instruments. Taala is dealt with, by Bharata, in a separate chapter. Songs SahgTtadarpana of DamOdara, RasakaumudT of SrTkantha, SarigTtaparijata of are referred to as Padas and Dhruvaas and 64 types of songs were identified. AhObala and SarigTtamakaranda of Narada. And, among the ten prana-s mentioned Bharata has also dealt with voice culture. He has identified infirmities and defects above, not all the ten names have existed from the early period. For instance, the of human voices. Defective voice should not be used in singing. One limitation term 'Kriya’ is seen to be used for the first time in AbhinavabharatT commentary on of the Natyashastra is that Bharata has dealt only with musical aspects related to Natyasastra and is adopted by all later authors. And the usage of the terms 'anga’ dance. and 'jati’ is seen only from the time of the texts that speak of 'taladasaprana’. While amazing at the terminological clarity of Bharata, the ambit and concepts Although the ten terms are spoken of as the 'prana-s’ of tala, they differ with of some terms propounded by him have undergone radical change, in course of regard to their actual nature of describing an aspect of tala. For instance, kala, time. Nanyadeva’s commentary on Naatya-Shastra does indicate interpretative marga, kriya, anga, jati, laya and yati relate either to the actions or to the time terminological divergence. interval between actions that manifest tala. The term kala is used in two different senses. Graha on the other hand does not pertain purely to tala but rather speaks The lecture was presented under the Prof. V.Raghavan Shastiabdaipoorti of the connection between tala with music. Finally, prastara, is not describing any Endowment. aspect of tala but rather speaks of the derivation of possible number tala-s from a prototype. 28th December 2003 This paper is not going to take up the description of the ten prana-s from a Purandara Dasa Devaranamas were presented by Skanda Priya, a group of historical perspective but would rather go into the meaning of these terms as singers. they relate to contemporary music. For instance, the present day textbooks define The Ragalakshana session this year was dedicated to dealing with the following 'marga’ very differently and the term is rarely used by musicians. And again one Ragas by the Vidwans mentioned against their names: of the most important concept, namely, that of 'gati’ seems to be missing in the ten 1. Raga Kamatak Bihag - Shri.V. Subramanian prana-s and the term 'gati’ as such seems to make an appearance only in the 19th or 20th century. The paper will also take up certain musicological problems that 2. Raga Dilipaka - Sangita Kalanidhi Smt. R. Vedavalli are met with in the present day system of tala, as for instance, in the use of terms 3. Raga Yadukulakambhoji - Sangita Kalanidhi Shri. T.K. Govinda Rao ‘ak§ara’ and matra that would come under the prana ‘kala’ and the understanding 4. Raga Kalyana Vasanta - Sangita Kalacharya of ‘laghu’ and 'druta’ under ‘anga’. Smt. Sulochana Pattabhiraman Dr. Pappu Venugopala Rao presented a lecture using multimedia presentation 5. Raga Gowlipantu - Shri. B. Krishna Murthy on ‘Music Chapters in Natya Sastra.’ The “Naatyashaastra”of Bharata is considered to be the oldest Lakshana- 29th December 2003 Grantha. Seven The morning sessions began with rendering of Papanasam Sivan’s compositions by Smt. Kamala Santhanam & Party. ------THE MUSIC ACADEMY MADRAS ______------THE MUSIC ACADEMY MADRAS ------ M.S. ANANTHARAMAN, octogenarian maestro presented a lecture Durai received the TTK award from the Music Academy this Year. The students demonstration on violin techniques. His father, Parur Sundaram Iyer, was a of Sri Sarvaraya Harikatha Pathashala, Kapileshwaram, Andhra Pradesh, performed trendsetter and a pioneer in what is today known as the Parur Style of playing a dance drama entitled Dashaavataara in Sanskrit under Sri P.B. Sarvarayulu Garu violin. Anantharaman spoke at length about his and his family’s association with Endowment. stalwarts in the field of music. He said his father was instrumental in taking violin to the North Indian music. He demonstrated the Dwaram style of bowing 31st December 2003 and talked of Papa Venkatramiah’s style, Kumbakonam Rajamanickam’s style and Smt. Raja Ramachandran & Party presented Mutthuswamy Dikshitar’s Mysore Chaudiah’s style. He said, today there are only five styles of Dwaram, compositions. Parur, Chandrasekhar, T.N Krishnan and Lalgudi. None can go beyond these Vidwan B. Krishna Murthy presented a highly inspiring lecture demonstration schools. He was assisted by his sons Sundareswaran and Krishnaswami. They on some rare Tillanas. Nandini Ramani gave an introduction about the origin and demonstrated the effects of playing on one string in the typical Parur style. A evolution of Tillanas. She said Mellatur Veerabhadraiah was the first composer brief taanam interlude in raga Shankarabharanam was rendered. of Tillana. There are Tillanas which have sollu-katta and svara in the beginning Anantharaman received the Sangita Kalacharya award from the Academy this and saahitya at the end. There are also some with saahitya in the beginning. She year. listed some major Tillana composers like Swati Tirunal, the Thanjavur Quartette, Sangeeta and Vedanta — this is a topic that is not new and has been emphasised Maha Vaidyanatha Iyer, Patnam Subrahmanya Iyer, Kundrakkudi Krishna Iyer, by both composers and critiques, many times in many ways. Sangeeta is a means Ramanathapuram Srinivasa Iyengar and others. Krishnamurthy demonstrated nine for salvation. rare Tillanas. It is derived from Saama Veda and is considered an Upa Veda. Sangita Kalanidhi V. Shriram, engineer-businessman, Music Historian and an articulate speaker B. Rajam Iyer who gave a lecture demonstration on this subject, rendered a with a passion for music, presented on multimedia some important locations in composition of Dikshitar on the attributes of Brahman in raga Poomapanchama. Chennai credited with musical heritage. He covered a period of about five decades, He quoted from one of the Navavama kritis of Dikshitar and demonstrated a up to 1930. It was a commendable effort to document history and to preserve the cluster of Tyagaraja’s compositions in Sankarabharam and “Aanandeshwarena” glory of the past, for the future. of Dikshitar in Aananda Bhairavi. Rajam Iyer’s presentation is reflective of the views of a musician on Aadhyatma vidya and Nadopasana. 1st January 2004 Sadas 30th December 2003 2 Presided over by Saangitha Kalanidhi Dr. M. Balamurali Krishna. The Sukhaganam Music Trust rendered compositions of Shyama Sastry. 2 2 2 2 The last day of the morning session began with the students from the Teacher’s Guruvayur Durai, a disciple of Palani Subramania Pillai, is more a man of College of Music of the Music Academy presenting some rarely sung compositions action. His lecture and demonstration made full justice to every aspect of playing of Saint Thyagaraja Swamy. Mridangam. The tonal purity, the adherence to gumki technique, the placement and strokes with individual fingers and using the full palm were demonstrated As was the practice, the conference and the morning lecture demonstration with clarity and confidence. He highlighted the specialties in Pudukottai style and series ended on January 1, with a summing up session with the members of the showed how an accompanist should play, following the vocalist and how both Expert Committee on the dais and the President of the year T.V. Sankaranarayanan should mutually inspire each other. He rendered Konnakkol sollus for some special in the Chair. Moharas and had his disciples play them on the mridangam. His humour, his efficiency, simplicity, adherence to tradition and authenticity, all contributed richly to the lecture demonstration, where not even a fraction of a second is wasted. • • 9 fiOO ^ ' * ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ Tala-DaSa-Prana and the Musicological problems Again when we look at the term ‘space’ we find that it is understood or defined in present day Tala system. in terms of the absence of an object. It is not a concrete entity. While an ‘object’ is perceived through the sense of sight and touch, space would denote the absence N. Ram anthan of the object. Tala is the time framework within which music, drumming and dancing are On the same lines, time is not an entity that we perceive through our sense created, individually or collectively. And ‘TaladaSaprana’ refers to ten prana-s or organs. It is known through the absence of an event or action. The term for action ten vital aspects of tala. These are - is ‘Kriya’ and the term for time is ‘Kala’. Kriya itself is defined by Bhartrhari 1. Kala 2. Marga 3. Kriya 4. Anga 5. Graha thus - “Whenever something, finished or unfinished is presented as something to be accomplished, it is called ‘action’, because of its having assumed the form of 6. Jati 7. Kala 8. Laya 9. Yati 10. Prastara sequence”. (Subramania Iyer, 1974:1) The element of non-action or rest helps link Although tala has been a part of almost all the musical systems of India except two successive actions or events arid creates the illusion of time. The intervening Samagana, the concept of taladaSaprana itself seems to have arrived only in the period of rest connects the two actions by calling them first, second and so on. 16th century and is seen described in texts like SangTtasOryOdaya of Lak§mTnarayajia The reason why the nature of time had to be gone into is that, tala too is (l,48cd-160), SarigTtadarpana of DamOdara (631-717), RasakaumudT of SrTkantha an embodiment of time and is created through actions separated by absence of (4,94-138), SangTtaparijata of AhObala (2,3,5-95)) and SarigTtamakaranda of Narada action or non-action. In tala we create or simulate time through actions of hands, (2,3,51-100). And, among the ten prana-s mentioned above, not all the ten names which today include beating of the palm, throwing the hand with the palm facing have existed from the early period. For instance, the term ‘Kriya’ is seen to be upwards and moving the fingers of the hand. These actions interspersed with rests used for the first time in the AbhinavabharatT commentary on NatyaSastra (AB that contribute to link the actions, collectively form a time span. And in reality it on NS vol.4. p. 151,1.3) and is adopted by all later authors. And the usage of is the period of non-action or the interval between actions, that is time and that the terms ‘anga’ and ‘jati’ is seen only from the time of the texts that speak of becomes the basis of time measurement. A common example from our daily life is ‘taladaSaprana’. Finally one of the most important concepts of today, namely, that the notion of the time unit ‘second’, which is known as the period of non-action of ‘gati’ seems to be conspicuously absent in the ten prana-s and the term ‘gati’ or interval between the ‘ding’ and the ‘dong’ in a pendulum clock or between as such seems to make an appearance only in the 19th or 20th century. the successive appearances of the ‘colon’ sign, two black dots of Liquid Crystal This paper is not going to take up the description of the ten prana-s from a Display (LCD) in a digital watch. Coming to music, in an Aditala, there are eight historical perspective but would rather go into the meaning of these terms as actions, namely, a Tattu, movements of little finger, ring finger, middle finger, they relate to contemporary music. However a brief note on the ten terms would again a tattu, a vlccu, a tattu and finally a vTccu. Normally we find that after the end of the last action, that is the vTccu, the tala is concluded by a tattu again. The be useful before some of the important issues can be taken up. And even before eight actions are separated by intervals or periods of non-action. There would be that we need to be clear about what aspect of music that we are exactly dealing eight intervals or eight small time spans of the extension of the eight kriya-s. It with. is the interval between the two kriya-s, that forms the fundamental unit of time What is Tala? Tala is time. How is it time? Or else what is time? measurement and which is referred to variously as ak$ara, ak$ara-kala or matra. Time is a very difficult concept to define in a positive way. A musician and as a non-physicist I would perhaps look at time as not a positive /concrete entity In the case of music, however, we come across two kinds of events that express but as a negative /abstract one. For instance, when we look at the term called the existence of time. One is time expressed by the actions of hands and the other is by the musical structure or the melodic line itself. For instance, in a varnam, ‘interval’ in the context of sound, we find that it is defined only as the absence of we come across melodic stresses of svara-s interspersed with rests, also referred sound. In a vibrating object between two different frequencies absence of sound is to as pulses, which create time. In a kTrtana, the rests and svara-s do not reveal a referred to as interval. Thus ‘interval’ is defined as the absence of sound, which perceptible periodicity or rhythm, except when we are singing the madhyamakala- is a negative way of saying it. While ‘sound’ is perceived through the sense of sahityam passage. In tavil and mrdarigam too the syllables interspersed with rests hearing or through ear, interval would refer to a sound not heard. express time as do the stamping of feet on the ground or the movement of hands, ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ eyes and other limbs in dance. This is why tala is said to be the basis of all these Now in the last five years or so the Talometre of the Radel system has three arts, Music (gTta), Drumming (vadya) and dancing (nrtta) -- gTtam vadyam also incorporated the digital display of the number of ‘ticks’ per minute in the tatha nrttam yatastale prati$thitam. (SR 5,2cd) rendering of a tala. The Madras University in its audio lesson material for the Coming back to the ten prana-s of tala, we find that most of these terms are Correspondence Course has started indicating this kalapramana of the tala. For related to one or the other of the two basic aspects of time, namely, action (kriya) instance the orukajaki aditala would normally have 60 to 70 kriya-s in one and rest (visranti). For instance, kriya denotes the aspect of action. Kala, marga, minute or approximately one kriya per second. In other words each kriya in any anga, jati, laya and yati relate to the interval between actions that manifest tala. of the 35 tala-s will have a duration of approximately one second in its normal The term kala is used in two different senses one denoting ‘action’ and the other madhyamakalam state. The rendu-kajai will have 30 to 40 and nalu-ka|ai 20 or ‘interval’. Graha on the other hand does not pertain purely to tala but rather speaks so. Misracapu is conceived of as Tisra-triputa tala rendered at a tempo of 120 to of the connection between tala and music. Finally, prastara, is not describing 140 with the 2, 3, 5 and 7th kriya-s muted. any aspect of tala but speaks of the derivation of possible number tala-s from a The need to standardise the kalapramana of the tala will be realised when we prototype. Let us take them up one by one. observe that the kTrtana “SrT dumdurge” in SrTranjanT by Muttusvami DTk$itar has been rendered by the Violinists Sri Ganesh and Sri Kumaresh in Khandacapu tala, 1. Kala by Smt. Prema Rangarajan in Oru-kajai Khanda-eka talam, while in the tradition Kala is literally time. And we have seen that ‘kala’ is time created through of Kallidaikuricci Sri Mahadeva Bhagavatar, it is rendered in Repdu-kalai Khanda- actions of hands. But as an element of tala-dasa-prana, kala deals with standardising eka talam. Of course it is true that if the tala is rendered fast it still does not the time units used in music, sometimes with reference to the time used in day- mean that the song too is being rendered fast and vice-versa. In this case however to-day life. For instance, Bharata standardises the time units like laghu, druta and the song too was fast when rendered in Khandacapu and in oru-kajai khapda-eka pluta used in his time with reference to the spoken syllables. He conceives of a tala. hypothetical reference time-unit called matra, which he equates with the time taken Some issues relating to kala will be taken up in the later part of this paper. for uttering five short syllables (panca-hrasvak§ara-s) (NS 31,4). As is evident, time taken to utter five short syllables is not a very precise measure and this is a 2. Marga rather approximation based standardisation. However the de$T tradition did bring Marga is really an extension of the previous prana ‘kala’ as understood in in the time-units of daily life without using the hypothetical matra unit. It starts the system of Bharata (NS.31,6-7) and Dattila (Datt 116-117). Marga, literally with k$ana as the smallest time unit and goes on to higher ones like, lava, ka§tha, meaning ‘the way or path’, characterises the different ways of rendering a tala nime§a, kala, truti and then to anudruta, druta, laghu, guru etc. (SDar 638-641) on basis of the elongating durations of the time units. For instance, when the This consciousness of having to standardise tala units is by and large missing duration of laghu is one matra or that of guru is two matra-s, the marga is said in today’s music and musicology. For instance, when a song is prescribed to be to be ‘citra’. But in the next marga, that is, vrtti or vartika marga the duration rendered in oru-kajai aditala or in miSracapu tala, there is no mention regarding becomes doubled, in other words, laghu would be of two matra-s and guru of the kalapramana or tempo in which it is to be rendered. That aspect is expected four matra-s. to be preserved in oral tradition. A.M.Chinnaswamy Mudaliyar (1893:37) did take a step in this direction and indicated the Metronome number for the quarter note The original notion of marga is totally absent today. Sambamurti (1963:170- or crochet. Hence at least with reference to the songs he notated, we have an 171) writes, “This element relates to the rhythmical construction of musical idea of the kalapramana in which the song must have been rendered by him. composition and helps a person to reckon the tala accurately. It is independent Rangaramanuja Ayyangar in his book ‘Carnatic Music Pallavi Tradition’, when of the tempo of a composition. It also helps in the writing of pieces in correct presenting each pallavi, gives the total duration of an avarta of the tala in terms notation. What constitutes the unit number of svaras for a talakshara is made of seconds (AyyangarRR 1970:1). Thus Oru-kajai Aditala is said to have a total clear by the Marga of the piece.” This is certainly not the sense in which the duration of eight seconds for one avarta. Some of the Long Playing records term was used either in the tradition of Bharata or of Matanga. This concept as releases of Karnataka music from the West do indicate the Metronome numbers outlined by Sambamurti is not far removed from the one of ‘Gati’ or ‘Nadai’ and against the song. although the concept as used by Sambamurti is a very useful one, we rarely find ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ any book on notation in recent times mentioning the marga of a composition or or apudrutam, the first kriya is a tattu and this is followed by as many nih§abda a music teacher using this term. Further the same concept appears to have been kriya-s as are required to complete the duration value of a tala. projected under the term ‘Kajai’ in books like ‘SangTtanubhava-sara-sangraham’ Conceptually we have a lot of problems. First of all when ahga is understood (AyyangarP 1913:6), where the author uses the terms ‘kal-kajai cavukkam’, ‘arai- as a limb of a tala, then all the five kinds of laghu, namely, Tryacera, Caturaoera, kalai cavukkam’ and ‘oru-kajai cavukkam’ etc. to denote the 2, 4 and 8 svara-s Khanda, MiSra and SankTrpa should be shown as ahga-s. This, most of the respectively occurring in one kriya.of the tala (198-253). textbooks do not do so. Secondly, as pointed out above laghu should not be understood in the sense in which it was used in the system of Bharata. Laghu is 3. Kriyd meaningful only if its duration is half of that of guru. And this would be valid As mentioned in the commencement of this paper, the term ‘Kriya’ is not only for catura£ra-jati laghu. Again talking of five kinds of laghu itself is a very employed in the Gandharva tradition by Bharata or Dattila. Even Matanga does not amusing kind of situation. It is like talking of five kinds of ‘inch’ or five kinds appear to have used this term in his BrhaddeST. Abhinavagupta, the commentator of ‘centimetre’. And when it comes to a basis and a unit of measurement one on NatyaSastra seems to be the first scholar to use this term. The earlier term cannot accept variability in a measure. Even assuming that like a teaspoonful of used by Dattila was ‘Kala’ (Datt. 113cd-l 14;). Bharata (NS 31,1) uses the term sugar, laghu is not a very precise measure, still one cannot speak of a variety of ‘pata’ to denote ‘sasabda-kriya’ and ‘kala’ to denote ‘nihSabda-kriya’ and does laghu, namely, sahkTrpa-jati which is bigger than a guru, a case of the teaspoon not appear to use a common term to convey the sense of kriya. However in NS being bigger than a tablespoon. Terminologically, our theory at present, is in a 31,5ab the term kala may have been used in the general sense of an ‘action’. Kriya disorganised state. We are confronted with five kinds of ‘laghu’ but each one is as already referred to earlier, denotes action of hands and is the most important technically an ahga and hence it would be wrong to treat them as five varieties aspect of tala since it is kriya that primarily manifests tala. And today there are of ‘laghu’. As for instance, Kharujajati laghu is very much an ahga of Atatala. three kinds of kriya, Tattu (beat), VTccu (wave of the hand) and the movement of Hence the textbooks should at least take note of the five laghu-s as five ahga-s different fingers called ‘viral epnikkai’. when describing ‘Ahga’. 4. A hga One other area which has still not been seriously attended to is the set of tala-s Again as mentioned earlier, the term anga is not seen in earlier works and which lie outside the set of 35, namely, MiSracapu, Khandacapu, Short-rOpaka and makes its appearance only from the time of the texts that describe the tala-dasa- DeSadi tala-s. The sections of time units in these tala-s have not been described in prana (SSur 1,49). ‘Anga’ literally would mean ‘limb’. And here it would have terms of ahga-s. In an earlier article (Ramanathan 1997:37-44) it has been pointed the notion of being a limb of tala. Tala is a span of time and ahga would be out by this author that there must be a rethinking on the definition of ahga and that time span which would be a portion of the bigger span, a time unit within of tala-s like miSracapu and khaodacapu. In that article it had been suggested that a tala. Textbooks list ‘laghu’, ‘druta’ and ‘anudruta’ as ariga-s figuring in present these two tala-s should be looked at as having the structures pluta + guru + guru day music. (§ S S) and guru + pluta (S S) respectively. The term ‘laghu’ and other terms like ‘guru’ and ‘pluta’ occur from very early 5. Graha times. Once again in the ancient works like NatyaSastra and Dattilam, the term Graha literally means ‘to catch or to grasp’. The term Graha as well as its ‘kala’ itself was used to denote these time units (Datt 124cd-125ab). ‘Laghu’ Tamiz equivalent ‘eduppu’ are in use. Similar to kriya, this term also does not seem was a span of time that was equal to one matra, ‘guru’ of two matra-s and pluta to have been used in the gandharva system of Bharata. The term in use then was of three. However all the three units were manifested by the action of only one ‘Pani’ (NS 31, 373; Datt. 152cd). Today ‘graha’ denotes merely the simultaneity or, kriya each, only the duration of the kriya differing. In spite of the centuries that the absence of simultaneity in the time of commencement of music and tala. When have gone past, the term ‘laghu’ still survives but has an enlarged time-span of the tala and music start simultaneously then the graha is called ‘sama’ otherwise four units. And by laghu we refer to the catura£ra-jati laghu, which is the default depending on which starts first the graha is designated as ‘anagata’ or ‘atTta’. Today laghu. Moreover now the four-unit laghu requires four kriya-s to manifest it, anagata-graha is that when the tala starts first and the song joins in later. Some although among them three are un-sounded kriya-s. In fact we must remember that issues regarding ‘graha’ will be taken up in the later part of this paper. when manifesting any of the anga-s through kriya-s, whether it be laghu, drutam THE MUSIC ACADEMY MADRAS THE MUSIC ACADEMY MADRAS 6. J&ti 8. Laya Jati, again, is a term that makes its appearance from the time of the texts Laya is again a very important term and relates to the most basic aspect of that describe the tala-dasa-prSria. Today ‘Jati’ points to the variability in the time tala, namely, to the interval between two successive kriya-s. It is also defined as unit Laghu and five kinds of laghu are spoken - catura§ra, tryaSra, khanda, misra the duration of a kriya. Actually Laya itself is tala (AB on NS vol.-4 p.285,1.20). and sankTma (SSur 1,148-155) These varieties refer to the number of matra-s in a It is tala in the sense that, what we refer to as time unit, namely, the period of laghu. And each matra requires one kriya each for manifesting it. Thus caturacera- non-action between two actions is nothing but laya. jati laghu is manifested by one ghata followed by three fingers, namely, little, ring and middle fingers being moved, making it a total of four kriya-s to manifest the Under the prana laya, three kinds of intervals are observed. If the laya in four time units. Thus laghu becomes a time span or section made up of 4, 3, 5, between the kriya-s in a tala is a medium interval then the tala is said to be 7 or 9 units. having madhyama-laya. If the interval is long it is vilamba-laya and if it is very short then it is druta-laya. Laghu is a problematic concept if one looks at the primary denotation of the term. Laghu by definition is a relative unit being half the value of guru and double The term laya has been in use from the time of the Gandharva system. The of drutam. And if one speaks of five types of laghu then obviously one should understanding of laya is perhaps the only thing that has not changed in history. have five kinds of guru-s and five kinds of drutam. This is not the case today. However in the Karnataka tradition the term laya is not used that commonly as is We shall go into this at a later stage. the other term, ‘kala-pramana’. The term ‘laya’ is more popular in the Hindustani system. Kalapramana is a term that occurs in Natyasastra (31,6cd) too and is 7. R a id synonymous with ‘laya’ and would literally refer to the ‘pramapa’ or dimension Two different concepts are represented by this term as we gather from the of the ‘kala’, kala referring to the interval between two successive kriya-s. descriptions in the different tala-daSa-prana texts. Most of the works like SangTta- darpana (702-706) and SahgTtaparijata (2,3,46-50), list a set of kriya-s, namely, 9. Yati Dhruvaka, SarpinT, Kr$ya, Padmini, Visarjita, Vik$ipta, Pataka and Patita. Other This term refers to the manner of change of laya. This term has been in use works like SangTta-sOryOdaya (1,107-131) and Ragatalacintamani (5,87-88) take from the time of Gandharva system. The change of laya can be seen to occur in up the description of the Ekakala (orukajai), Dvikala (rendu-ka|ai) and Catu?kala two ways, one within a tala and the other between two renderings of a tala. (nalu-kalai) varieties of tala. Books written in the earlier part of 20th century, a) The duration of different anga-s differ. For instance, the duration of guru is namely, SangTta-sampradaya-pradarsini of Subbarama DTk$itar (SSP;SLS p.40) greater than that of laghu (as a single unit) and of laghu greater than that and SangTta-svara-prastara-s3garamu of Nadamuni Pandita (p.575) speak of only of druta (as a single unit). So if a tala has the structure “Guru-Laghu-Druta” the varieties of Ekakala etc., under the prana ‘Kala’, which is what Sambamurti then the laya is gradually decreasing. In other words, the duration between (1963:176) and other textbook writers have also done. It is however important to successive kriya-s is decreasing (although the change in terms of speed is note here that Subbarama Dlk$itar mentions the prana as ‘Kala’ or ‘Kala’ and not increasing). When the laya is uniformly the same then it is referred to as sama as ‘Kaja’. Sambamurti too mentions it as ‘Kala’ while Nadamuni Panditar retains yati. If the laya is decreasing then it is srOtOgata-yati according to ancient texts ‘Ka|a’. Grammatically however if the prana were to refer to ‘Ekakala’, ‘Dvikala’ (and gOpuccha according to modem works). The opposite of this is gOpuccha and ‘Catuskala’ then it should be mentioned as ‘Kala’ and not as ‘Kala’. yati. Some of the medieval texts have indicated the form of yati visible in the The set of kriya-s Dhruvaka etc. are heard of only in the DsST system. They structures of various desT tala-s. (RJM p.160) came as additional kriya-s for sustaining the extension of the duration of laghu, Modem textbooks merely repeat what the medieval writers wrote. From guru etc. when marga of a tala changed from Citra to Vrtti and then to Dak$ina. contemporary music they have not cited examples. For instance, in misracapu These are not relevant today. They are not mentioned in the Gandharva system tala there are three kriya-s. The first kriya is longer in duration than the of Bharata and Dattila. Regarding Ekakala, Dvikala and Catu$kala forms of tala succeeding two. This would be a case of srOtOgata yati or Vi$ama yati. some issues will be discussed at a later part of this paper. ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ b) The other understanding of yati is as follows. When a tala is being rendered In the DesT system, where the most fundamental unit used for standardising in a particular laya and at a later point of time it is rendered in a relatively the tala units is ‘k$ana’, there is no mention of matra or aksara. Most of the druta laya then the yati is srOtOgatS. (See Ramanathan 1997:123) medieval works merely describe and present the structure of the De$T tala-s and do not mention the total duration value. However a few texts and the texts from Today this can be observed when in Pallavi, a feature called ‘pratilOma’ is Tamiz tradition, for instance, Talacamuttiram (p.38) and Caccaputavenba (p.2), done. It is a case of yati too. Modem textbooks do not appear to be aware of present the structure in terms of matra value, a matra being equal to the duration this aspect of yati. of laghu. While works upto Sangltaratnakara speak of three kinds of Yati - Sama, In the medieval period, with the arrival of the concept of Jati, the five laghu- SrOtOgata and Gopuccha, later works add varieties like Mrdanga, Pamaru / PipTlika s were distinguished in terms of the number of varna / ak$ara or syllables that and Vi §ama. were sung in one matra. Thus catura§ra-jati laghu was said to be of the value of Some issues regarding Yati will be taken up later. 4 ak$ara-s and khanda-jati laghu of the value of 5 ak$ara-s. But as we moved from the SQladi period to the modem, the laghu increased its dimension and each 10. Prastdra ak$ara of a laghu became a time unit by itself. Now within each ak$ara we are Prastara literally means ‘extension’. Although occurring in the Natyasastra singing 1, 2, 3, 4, 5 etc. number of syllables. Now the pulses within each ak$ara in the context of Chanda (NS 14,46-116) and not in the context of tala, tala is being referred to as matra. Hence the tables are now reversed. With ak$ara prastara has figured in all the musical traditions. In tala it deals with breaking of having been a sub-division of a matra, now we have reached a position where a time units like druta, laghu, guru etc. into smaller time units and thus deriving matra is a sub-division of akara. There is, of course, nothing wrong in using terms maximum possible number of tala patterns having that time value. In the present in these senses. context with the sense of laghu etc. having vanished, and the tala system having However we find some inconsistencies in the use of such terms. For instances moved away from DesT to SQladi, this praria seems to be unnecessary. Rangaramanuja Ayyangar (1970:1) describes Oru-kajai aditala as having a value Now we take up some of the terms that require deeper study in the modem of 32 ak$ara-s. Obviously the term ak$ara is being used as the inner sub-division context. of a tala unit. So the question is, which term is proper and suitable. To get into this question we have to understand the two concepts, namely, the tala time unit Kdla and the sub-division or pulse or inner stresses. Under that topic of Kala we iterated the need to standardise the duration of Tala-s in vogue today are of two kinds, those that have kriya-s of equal or the fundamental time unit. In addition we also have to identify and define the uniform duration and those having kriya-s of non-uniform duration. For instance, fundamental time unit of tala. Today two terms are in use, namely, ‘Ak$ara’ and all the tala-s in the 35 tala system and the Short-ROpaka and the DeSadi tala-s ‘Matra’. The term ‘Matra in the Gandharva system (Datt. 117cd & SR 5,16cd- have uniform interval between two successive kriya-s. The duration or interval 17ab) was more a hypothetical time unit used as a reference for standardising between two successive kriya-s is the basic or fundamental time unit. What name the time units, laghu, guru and pluta which actually played a role in structuring do we assign to it? We may call it one ak$ara or one matra. But the term ak$ara a tala. The tala system of Gandharva had two methods for calculating the time is more suited for describing a syllable of a text rather than for an abstract time value of a tala. If ,the tala was made up of different kinds of units like laghu, unit. Hence matra seems a better term suited to refer to a tala unit. gum and pluta, which was normally the case in the Ekakala form of a tala, as for instance, Caccatpufa (S S 1 S), the value was not computed in terms of numbers Ak§ara on the other hand is used in two senses. In a general sense it would but merely in terms of the time units, namely as guru-guru-laghu-pluta (NS 31,10). refer to a syllable or a letter. Thus, for instance, in the word ‘rama’, there are In the other forms of a tala, as for instance, Dvikala and Catu$kala, the time units two ak$ara-s or syllables, ‘ra’ and ‘ma’. But between these two syllables the first were all uniformly guru-s and hence the value was computed in terms of the total one being a long syllable, would be said to be of ‘two-matra’ duration while the number of guru-s and referred to as ‘so many’ kala-s. For instance, the dvikala second one would be said to be of ‘one-matra’ duration. Even grammar uses the form of Caccatputa consisted of eight guru-s (SS SS SS SS), was referred to as term matra to denote the duration of a letter. However to avoid confusion the term having a duration of 8 kala-s. ‘one-ak$ara’ may be used to refer to the duration of a short syllable and ‘two------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ ak$ara’ to the duration of a long syllable. But language or poetry has only syllables Perhaps the system had moved away from the De$T tala to SQladi. In the while music has tala as well as melodic stresses/ words. So to avoid confusion the SQladi, the only laghu and units of lower values figured. There was no guru or duration of tala kriya may be defined in terms of matra while the duration of the pluta. And the varieties of laghu that the tala-daSa-prana texts are talking about, syllables in dhatu / matu (sahitya) or may be defined in terms of ak$ara. appears to indicate not enlargement of the time duration of laghu into 4, 3, 5, 7 and 9 matra-s but singing of respective number of syllables within the same Thus aditala would be said to have a total duration of 8 matra-s in one avarta. duration. This again is akin to the gati of today. Thus in each jati variety, 4, 3, And if the flow of music is such that there are four syllables sung in one matra 5, 7 and 9 vama-s were respectively sung. For instance, in caturacera-laghu four then the total number of ak$ara-s would be 32 in one avarta. varna-s were sung. Now this time unit ‘matra’ would be applicable only when the tala is of the kind And when the change occurred from the SQladi system to the Pallavi / KTrtana in which all the kriya-s are of uniform duration. For instance, in the case of a tala tradition then the laghu must have undergone further enlargement in its magnitude. like MiSracapu where the three kriya-s are not of uniform duration the fundamental And the caturasrajati laghu must have enlarged or magnified to an extent where measure cannot be ‘matra. For instance, in misracapu the three kriya-s have a each sub-division became a time unit by itself because of which the catura$ra-jati proportional duration value in the order VA : 1 : 1 or 3:2:2. It is this proportional laghu came to require four kriya-s to manifest it. Thus the laghu could be said to value that is being, in an informal way, totalled to 7 by musicians and the tala is have changed from one-matra laghu to a four-matra laghu. However with regard to said to have a value of 7 matra-s. Such an attribution is technically wrong. This the physical mode of manifesting the four-matra time unit, this transformation from aspect has been dealt with in another paper. (Ramanathan 1997: 37-44) one-matra laghu to four-matra laghu did not introduce additional sasabda-kriya-s ja ti but only nitisabda-kriya-s. Thus for manifesting the caturasra-laghu we have one tattu and movement of three fingers starting with the little one. Similarly the five- The concept of Jati speaks of five varieties of Laghu and not of other units like matra laghu is manifested by one taftu and the movement of four fingers. druta or guru. This is a very uncomfortable development since laghu is a relative or proportional unit linked to guru and druta. Thus it is inferred that the Jati concept in the tala-da$a-praria texts must have denoted a kind of gati feature restricted to laghu alone. This must have accounted If we go into history we find that at one stage there was a change in laghu for the absence of the term gati among the tala pr3na-s. And since the concept of and then guru and druta too relatively changed. (K on SR 5, 261-262ab, pp. 176- Jati itself underwent change the need for a new term became necessary and from 177). According to Kallinatha normal laghu is the one, which has five ak§ara-s the 19th century onwards the term Gati / Nadai has come into use. I am not very or syllables in it, and there was another laghu in which four short syllables were certain when exactly this term came into use. sung and correspondingly two short syllables were sung in drutam and eight short syllables in guru. Singing five short syllables in one laghu is actually a premise One interesting point about Jati is that today it is prefixed to a tala as much based on Bharata’s definition of the temporal magnitude of laghu. Bharata used as it is prefixed to the laghu. Thus caturasra-jati Dhruva tala means that variety the ‘five short syllable’ yardstick only for standardising the time duration of laghu, of Dhruva tala in which the laghu is of the variety of catura$ra-jati. Thus the guru etc. In actual art music of Bharata, four short syllables were sung in one prefix denotes actually the jati of the laghu rather than that of a tala. Technically guru-unit of tala and two short syllables in one laghu-unit of tala. But in the D5§T ‘Jati’ is that of the laghu and not of the tala. But in the music texts from Kerala system things must have changed and laghu must have become a larger time unit tradition, in the context of tala, the term jati refers to the class to which the total and must have started accommodating four short syllables of matu. time value of a tala belongs. Thus a tala of the total matra value of 16 will belong to catura£ra-jati; 12 to trya$ra-jati; 9, 18 etc. to khanda-jati; 7, 14 etc. to Mi§ra; Now singing 4 short syllables in laghu, 8 in guru and 2 in druta or singing 6 5, 10, 15, etc. to sarikTrua-jati. (STL, pp. 94-96, SV & TV). This usage appears in laghu, 12 in guru and 3 in druta and so on is related to the aspect of ‘Gati’ more logical. or ‘Nadai’ of today. Thus the variation in laghu being referred to by Kallinatha is actually dealing with the aspect of gati. And by the time of the tala-dasa-prapa Raid texts the variation got restricted to laghu alone. It is not clear how this came to Ekakala, Dvikala and Catuskala forms of tala present a very interesting case happen. in history. They were very much part of the tala system of Bharata and Dattila’s ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS Gandharva. (NS 31,26; Datt. 125-135) But they seem to have disappeared in might be a difficult and challenging proposition from the tala point of view, if the the DeST system and surfaced again in the last 200 years or so. The three kala pallavi theme has too many words then neraval would be easy and elementary in forms were applied to a single tala as they are being done now. In the Gandharva nature. If only a pallavi like ‘parimalarafigapate! mam pahi’ or any other pallavi system, Ekakala was the basic form while dvikala was of double the duration. with not more than 15 to 16 syllables in its text is taken as the theme even in In dvikala form extra kriya-s were introduced, which were only nib$abda-s. The the 32 kalai, instead of a pallavi like ‘hare rama gOvinda murare ! mukunda Saure catuskala was again double the duration of dvikala and more nihSabda kriya-s murahara’ having 28 syllables, singing neraval in a melodious manner would be a were introduced. difficult proposition. Thus mere extension of the kajai of a tala one to two, four, eight, sixteen, thirty-two etc. does not make music very complex and challenging, The modem forms of Oru-kalai, Repdu-kajai and Nalu-kajai are not very different from the earlier ones. And these three forms are today applied only to durations in music too should get extended. the 35 tala-s and not to others, at least only to those tala-s in which all the kriya-s Yati are of uniform duration. However we come across differences in the interpretation Laya and Yati are two concepts that are observed in the tala line as well as and execution of this aspect of tala. in the melodic line. For instance, if laya is the interval between two successive Mariikka Mudaliyar (1902:134) understands the term kala in the sense of ‘gati’. kriya-s of a tala then the interval between two successive syllables of the sahitya Perufigujam Srinivasa Ayyangar, in his book SangTtanubhava-sara-sangraham too is laya. While the former may be called tala-laya, the latter may be called speaks of the three forms Ekakala, Dvikala and Catu§kala and in addition refers pada-laya or matu-laya. And so the change of laya within the sahitya syllables to Arai-kajai caukkam and Kal-kajai caukkam as pointed out above under the could also be called ‘yati’. prana ‘marga’. Subbarama DTk$itar (3,40) and Nadamuni Papdita (p.575) explain For instance, if the text of a song has the following words ‘karadhrtavTpa’, Ekakala as the form in which the kriya is of one ak$ara duration, Dvikala form the first four letters are hrasva or short and the last two dlrgha or long. There is being that in which the kriya is of two ak$ara duration and the duration being change from drutalaya to madhyalaya which is gOpuccha yati. four ak$ara-s in catu$kala. However the terms one ak$ara, two ak$ara-s etc. seem to have been used for denoting the dimension of the extension of the duration Again when there is a change in the sahitya of a song from samakalam to of the kriya rather than to denote the kriya being sub-divided into two kriya-s of madhyamakalam as we notice in the change in the following sahitya passage in one-ak$ara each as is being done today by some musicians. the song ‘vatapiganpatim bhaje’ham’, there is presence of ‘yati’. As stated in the earlier sentence, today we see some musicians using two 1 2 3 O V O V u kriya-s, namely by rendering the first kriya twice, to express the two ak$ara-s of Rendu-kajai. Other musicians do not render two kriya-s but sustain one kriya itself p a ra di ca tv a ri v a ga tm a ka for an extended duration. If introduction of extra kriya-s is considered wrong then the KalS-praria becomes similar to the Marga-prana of ancient period. And this p ra na va sv a ro pa va kra tu ndam understanding of kala could be applicable to tala-s like Misracapu and Kharidacapu too which is not being done at present. ni ra n ta ram ni thi la ca ndra k h a ndam If the introduction of additional kriya-s for sustaining the extra ak$ara-s is n d am acceptable then the picture would be fairly similar to what was existing in the ni ja va m a k a ra vi d h r te ksu d a tala of the Gandharva system. And if these forms are applied to MiSracapu and Khandacapu then the Rendu-ka|ai and Nalu-ka]ai varieties will be Tryasra-triputa and TryaSra-rOpaka tala-s respectively as has been discussed by this author elsewhere (Ramanathan 1997:37-44). kara .mbu japa .$a bT. ja. pQ. ram kalu savi do. ram. bho. ta. ka ram . One other issue is the popular reference to 8 kajai, 16 kajai, 32 kajai and even hara .di guru guha to. $ita bi. mbam ham sa. dhvani bhQ. $ita he. ram . bam . 64 kajai forms of tala and their having been used in Pallavi singing. Although this {777} ------THE MUSIC ACADEMY MADRAS ------______THE MUSIC ACADEMY MADRAS------ We notice in the above arrangement of sahitya syllables that, as compared to In the case of some kTrtana-s the presence of an3gata-graha seems to be the text of the samakalam, namely, “paradi catvSri .....ik$udandam” the duration merely incidental and occurs in just one of the sections, pallavi, anupallavi or between or laya of syllables in “karambuja .... herambam” is less. Thus there is a caranam. For instance in the song “dharmasamvardhani” of Muttusvami DTk$itar decrease of laya from samakalam to madhyamakalam which would be srOtOgata- in MadhyamavatT raga, the pallavi starts in samagraha but the anupallavi starts yati. after a delay of one matra. (SubbaramaD 1904:650) O Modem textbooks cite the example of ‘tyagaraja yOgavaibhavam’, namely, o u u tyagaraja yOgavaibhavam pallav i d h a rm a sam va rd h a nT agaraja yOgavaibhavam d a nu ja sam m a rd a nT raja yOgavaibhavam d h a ra d h a ra tm a je a je yOgavaibhavam d a y a ya m am pa hi pa hi vaibhavam a n u p allav i si ni bhavam ni rm a la hr d a ya ni va ni tya na nda vi la si ni vam ka rm a jn a na vi d h a yi ni for a kind of yati. In the above there is really no change of matu-laya or yati ka nksi ta rth a pra d a y« ni involved. There is only a decrease in the size of the successive phrases. This a n y o th e r could be at best be called ‘gOpuccha’ or ‘srOtOgata’ “alankara” but definitely not T h e an3gata-graha o f the anupallavi h o w e v e r d o e s n o t h a v e ‘yati’. At least the term yati cannot be used based on the definition applicable to significance in the building up of the over all structure of the composition and the prana of the tala. anagata graha does not recur in caranam. The purpose of anagata seems to be more for melodic reasons. Graha However in the case of another klrtana of Muttusvami DTk$itar Graha, although denoting, at a very basic level, the shift of the commencement ‘Ak§ayalingavibhO’ we do notice an an3gata-graha of one full matra which is of the song, either prior to the commencement of the tala or after it, appears consistently maintained, mainly in eveiy alternate avarta. (DTk$itarS 1904 : assume larger dimension. Its impact does not appear to cease after the song and 889 - 890) tala have commenced, I? 1 2 3 4 5 1 h 1 2 3 4 5 1 For instance, we observe that an3gata-graha (or even atTta) is primarily of p allav i two kinds, one where the song joins in after one or more complete matra-s of the a k sa ya li ng a .vi tala have elapsed and the other where the song commences after a fraction of a bhO sv a yam bhO matra. In the first type, the song starts along with a particular kriya and not in the a khi la n d a ko ti pra middle of a kriya or matra. For instance, most of the atatala varnam-s start two bhO pa hi sam bhO matra-s late and the song ‘endarO mahanubhavulu’ in Snragam starts one full matra an u p a lla v i later. In this kind of songs the anagata graha has practically no significance. For a k sa ra sva ru pa instance, if one were to start singing the ‘viribhOnT” variiam from the first matra a m i ta p ra ta pa of the Atatala one would not feel any difference or discomfort. The same would be a rO d h a v r $a va ha the case if one were to start singing ‘endarO mahanubhavulu’ from the first matra ha ja ga mO ha of Aditala. And we also see that the shift of graha is consistently maintained in The rest of the anupallavi is a madhyamakala-sahityam passage which gets each of the pallavi, anupallavi and caranam refrain except in the svara /sahityam into sama-graham. We generally see that irrespective of the composer, most of passages which have a sama-graha and this is true of both Atatala vamams and the songs that do not have a sama-graha get to sama-graha when they reach the the song in StTraga. {777} THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ madhyamakala-sShitya stage. Coming back to this song we find that consistently Now let us turn to the other kind of anagata-graha where the song starts fraction every line (not every avarta), has an anSgata-graha of one matra. This continues of a matra later. This is seen many of the songs of Tyagaraja, as for instance the even in caranam section. This is a kind of plan that we see underlying some songs songs in DeSadi and Madhyadi tala now rendered in aditala. If we sing the song of Muttusvami DTk$itar. The kTrtana, ‘SiT matrbhotam’, except for the opening line ‘teliyaleru rama’ in sama-graha we encounter a lot of discomfort. falls into this plan. This plan which is visible mainly in kTrtana-s in mi§ra-jati ekatalam, is also seen to be present in kTrtana-s of Tyagaraja set in Misra-capu l4 2 3 4 0 V 0 V talam, as for instance, ‘pakkala nilabadi’ in Kharaharapriya raga (cf. AyyaAgarKVS. anagata-graha 1927 : 176 - 180) and ‘manasu svadhTnamaina’ in the raga Safikarabharana (cf. , , te li ya le ru r a . . m a . bha kti m a rga AyyangarRR 1965 : 294 - 297). Only the structure of the pallavi and anupallavi m u . . n a are being given below although the structure is maintained in the carariam too. sa m a -g ra h a te li ya le ru ra . m a bha kti m a rg a m u . na 2 3 4 h 1 5 1 •7 1 2 3 4 5 p allav i Most of the kTrtana-s that were originally set in DeSadi tala and that are now pa k k a la ni la ba di being sung in Adi tala with +1 Vi (anagata)-eduppu, have by and large a standard g o li ce •di m u cc a ta arrangement for the distribution of the syllables of the text over the tala avarta.. ba g a d e Ipa ra There would be a syllable invariably on the 2nd half of the 2nd matra , 4th matra, da 6th matra and the 8th matra and again there would be one syllable on the 1st half a n u p allav i of 3rd matra, 5th matra, 7th matra and the 1st matra. cu kk a la ra y a ni KTrtana-s that were originally sung in madhyadi tala and later set in vilambakah ge ru mO .m u g a la aditala with + xh or anagata eduppu also have a very similar arrangement of su d a ti ST ta m m a sau syllables of the text distributed over the tala avarta. m i tri SrT ra m u nT ki ru The purpose in pointing this out is that the impact of graha does not stop with the commencement alone. It is seen to be affecting the whole avarta. In fact, 2 3 4 5 1 b 1 I7 1 2 3 4 5 graha seems to have been only an extension and enlargement of what is called p allav i ‘usi’ a feature in fast speed that is very commonly met with in Bharatanatyam m a n a su sv a dhT na and Harikathakalak$epam. m ai n a y a g h a nu ni ki m a ri The progression of a melody is very smooth when graha is ‘sama’. When it is m a n tra ta n tra m u le la sung with graha shifted by half then singing has to be a bit guarded. But when a n u p allav i the beat of a tala has sub-divisions of four ak$ara-s then the graha, which is a ta nu vu ta shift of !4 or 34 makes singing very tense. For instance, in the elementary laya nu ga d a ni e exercise of making a student sing the four syllables ta-ka-di-mi in Ekatalam with ficu v a ni ki ta pa graha shifting by quarter of a matra in each successive avarta a student would su se y a ne d a £a usually find the !4 and 34 very tough to sing. ra tha. ba la u 1 2 3 Although it might be possible to sing all these songs in sama-graha yet that ta k a di m i ta k a di mi ta ka di mi ta ka ta ki would upset a bigger organisational strategy which the composers appear to have ta ta ka di mi ta ka di mi ta ka di mi ta ka ta in mind, the discussion of which would be out of scope of this paper. Thus ki ta ta ka di mi ta ka di mi ta ka di mi ta ka anagata-graha which denotes a shift by a full matra/s does not appear to play a ta ki ta ta ka di m i ta ka di mi ta ka di mi ta very critical role in the temporal organisation of a song. We may not be able to ka ta ki ta ta k a di m i say the same for songs that start fraction of a matra later. GH} THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ Rendering the second and fourth rounds are generally felt by students to be We find in the above table that most of the traditional pallavi-s had similar difficult. And the extension of this is seen in the Pallavi too when we examine the traditional nalu-ka]ai pallavi-s which are sung with 3A anagata graha. format where with the 3A eduppu, the syllables mostly fell on the 14 position or the 3A position. At the point of arudi of course, a syllable coincided with the matra The text of these pallavi-s commencement. Thus the advanced standard of a pallavi was always associated 1. pan malarangapate ! mam pahi with one that had the 3A eduppu. And we notice that the impact of the graha is 2. mamadurai mTnak$T ! amba devT visible through out the avarta. 3. ganalolakarurialavala 4. mandahasavadana ! hare krspa If we take a normal xh idam anagata-eduppu pallavi the impact of this eduppu 5. devasenapate ! dayanidhe does seem to be effective in the rest of the avarta. e.g., 6. daSarathe ! karupapayOnidhe 7. nelata marulukontini vani pai U 1 2 3 ha re ra ma go vi nda '4 1 2 3 1. pa ri ma la ra nga pa O V 0 V 2. ms ma du rai mr na re mu ku nda sau re 3. gs na lo la ka ru 4. ma nda ha sa va da l4 1 2 3 5. de va se na pa ha ra 6. da sa ra the ka ru 7. However there is really no feeling of a tension of the Yi anagata-graha felt in the ne la ta ma ru lu ko nti music in the rest of the avarta, as is felt in the eduppu of 3A. In a half-idam pallavi 0 the graha alternates between emphasis on Vi and samam. The progression appears O V elementary. This is perhaps the reason that most of the pallavi-s of earlier days, I. te mam pa which had anagata-graha, preferred a 34-eduppu since an off-beat movement was 2. ksT a mba de felt in the entire avarta and not in the commencing portion alone. Of course when 3. na a la va rendered in a tala in nalu-kalai, a 34-eduppu pallavi will not have the tension one 4. na ha re kr associates with ‘usi’ but the overall graha displacement will be slow and grand. 5. te da ya ni Thus the concept of graha has a wider sense than merely denoting the non 6. na pa y5 ni coincidence of the commencement of tala and the song. The wider sense does 7. ni va ni pai seem to have been prevalent in the system of Gandharva of Bharata as we gather from the commentary of Abhinavagupta. (Ramanathan 1999:123-129) 2 3 1. hi Gati 2. VI Gati as stated above is not one of the terms included in the tala-da§a-prana-s. 3. la It means ‘movement’ or ‘gait’ and similar to graha it is a term that relates music 4. sna or melodic line to the tala movement. Thus if the number of svara-s sung in a 5. dhe time-unit of tala is 1, 2, 4 or 8 then the gait is said to be of catura$ra-gati. If the number of svara-s sung in a unit of tala is 3, 6, 12 etc. then it is tryaSra-gati. 6. dhe Similarly we have MiSra, Khanda and SankTrna gati-s which are self-explanatory. Thus there are five gati-s. ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS Although the term ‘gati’ only denotes the number of svara-s being rendered prevented us from giving a more serious definition to the non-35 tala-s. And in one time unit and may vary without the execution of the tala varying, writers when we realise that none of these four tala-s that are in use today, namely, adi, from 19th century onwards have expressed that variation of gati in the same tala ropaka-capu, miSracapu and khandacapu has been a part of the original sQladi gives rise to different tala-s. For instance, Aditala, when a song is being rendered tala-s, the need for a designing a new tala system appears to be an urgent need. in tiyaoera-gati is said to be of one kind and when it is used for another song in But then this need perhaps is more musicological than musical. khanda-gati it is said to be another. Thus the thirty-five tala-s have been expanded to 175 tala-s on the basis of gati-bheda. This is an erroneous notion and wrong References development. Change of gati does not bring about any change in a tala. For Primary works example if an aditala is being rendered by a Tala-metre then the singer can go ;d. Prem Lata Sharma assisted by Anil Behari Beohar, on singing svara-s and also change the gati from 2 to 3, to 4, 5, 6, 7, 8 and so talamula Sastra Series, Indira Gandhi National Centre BfhaddesT of BrD on, and the tala expressed in the tala-meter will go on unchanged. -or The Arts and Motilal Banarsidass, New Delhi. Matangamuni Vol.I Kalamulasastra Series no.8 1992 Vol.II Kalamulasastra Series no. 10, 1994 Gati and Nadai Finally we come to the old issue of ‘gati’ and ‘nadai’. They are taken as Caccaputvenba of ed. S.Dandapani DeSikar, pub: Dharmapura Adinam CV synonymous words. Some scholars interpret ‘nadai’ as denoting the different Varagunarfiman Dharmapuram, 1951. grouping of syllables or svaram-s without changing the gati. Thus ta-ka-di-mi would be caturaoera-nadai, ta-ka-ta-ki-fa would be khanda-nadai and so on. Thus in ed. K Sambasiva Sastri, Sri Setu Prasadamala Series XIV, Datt Dattilam of Dattilamuni the second avarta of the Aditala varnam in MOhana ragam we have the following Tiruvanantapuram, 1930. structure. with commentary of AbhinavabhSratT by I4 2340V0V AbhinavaguptficSrya, vol.ll (ch.s8-18) ed. M Ramakrishna Kavi, 1934. gpgg rs-rg rrsd- srgr- gpg-p dp-ds d,p-g dpgr NstyaSastra of NS/AB Bharatamuni vol.IV (Ch.s28-37) ed. M Ramakrishna Kavi and J S In the 32 ak$ara-s in one avarta, we have groupings of 6, 6, 4, 3, 3, 5, 5 Pade,1964. Oriental Institute, Baroda. svaram-s exhibiting different nadai-s. This would be the other interpretation of the term ‘nadai’ as different from ‘gati’. RagatalacintSmani of ed. T.V. Subba Rao, Government of Oriental Manuscripts RTC One possible reason for the evolving of this meaning of nadai as different from POlQri GOvindakavi Library, Madras 1952. ‘gati’ is the absence of any other term for denoting this concept. The term ‘jati’ has been used for denoting this concept, as for instance, when it is said, ‘khauda- RasakaumudT of ed. A N Jani, Oriental Institute, Baroda, 1963 RKau jati collu’ for a grouping of five and ‘mi§ra-jati collu’ for a grouping of seven. SrTkantha Perungujam SrTnivasa Ayyangar has used both these terms ‘nadai’ and ‘jati’ for Rasi kajana- manOl 1 asi ni - denoting groupings of 4, 3, 7 etc. (1913:18-94). RJM sara-sangrahabharata- pub. B.Venkataramayya, CTA Press, Mysore, 1908. Thus this paper has tried to stress that the ten prana-s are not as important in Sastra terms of their names but in terms of the concepts they stand for today. Relationship between some of the terms like Anga and Jati has to be gone into with greater SangTtadarpana of ed. by K Vasudeva Sastri, pub. in Tanjore Sarasvati Mahal SDar Library series, Tanjavur, 1952. seriousness. When talking in the context of present day music it would be wise DamOdara Pandita. to discard some of the earlier terms, laghu, guru etc. or use them in a meaningful way. Like the 72-mela system, the 35 tala prastara too has been accepted by the SangTtamakaranda of ed. M.R.Telang, Gaekwad Oriental Series - XVI, Baroda, SMak music world unquestioningly and this has created many problems musically and Narada 1920. musicologically. Presence of terms like laghu and druta in the 35 tala system has THE MUSIC ACADEMY MADRAS THE MUSIC ACADEMY MADRAS SangTtaparijata of pub. by R S Gondhalekara, Pune. 1898. SangTta-svaraprasatara-sagaramu, Author pub., Chennapuri Daurd Pandita,, Nadamuni Ahobala SPar Printing Press, 1914. with the commentaries Kalanidhi of Kallinatha and Sangrtaratnakara of Safigrtasudhakara of SimhabhOpala, vol.IH-ed. Pandita Ramanathan N Musical Forms in SangTtaratn3kara, Sampradaya, Chennai, 1999. Samgadeva Subrahmanya Sastri revised by S Sarada, 1986 pub. by SR Adyar Library and Research Centre, Madras. SangltasOryOdaya of Essays On Tala And Laya, Percussive Arts Centre, Bangalore. ed. KamtaprasadaTripathi, Indira Kala SangTta Ramanathan, N LaksminSrayana Visvavidyalaya, Khairagarh, 1986 SSur 1997 Talacamuttiram of South Indian Music, Book III (1964), Book IV (1963 ), by Indian ed. K.Vasudeva SastrT, Tanjore Saraswathi Mahal, Tanjor Sambamurti, P unknown authorship 1964. TCam Music Publishing House, Madras The Vakyapadlya of Bhartrhari, Chapter III, pt.ii, English Other works Subramania Iyer, K.A Translation with Exegetical Notes, Motilal Banarsidass, Delhi, 1974 Ayyangar, K.V.SrTnivSsa SrTTySgaraja Hfdayam vol.2, M.Adi & Com. Chennai-1, (1927) Manuscripts Paper Mss. no T 1085, Oriental Research Ayyangar, Perungulam South Indian Musical Guide or Sangltanubhava-sSra-sangraham, SarigTtavidhika! of Institute and Manuscripts Library, Kariavattom, SV Srinivasa Pt.l (1915) Pt. 2 (1913), The Sri Gana Vidya Press, Perungulam. unknown authorship Thiruvananthapuram. Carnatic Music Pallavi Tradition, author pub., Sait Colony, SvaratSladilaksanam Paper Mss. no 2023, Oriental Research Ayyangar, STL Egmore, Chennai, of unknown Institute and Manuscripts Library, Kariavattom, Rangaramanuja 1970. authorship Thi ru vananthapuram. Paper Mss. no 8959, Oriental Research Ayyangar, SrT Kfti Mani MSlai, author pub., Sait Colony, Egmore, Chennai, Talavidhanam of Institute and Manuscripts Library, Kariavattom, TV Rangaramanuja 1965. unknown authorship Thiruvananthapuram. Diksitar, SubbarSma SahgTta-sampradaya-pradarSinTof SubbarSma Diksitar, Pt. 1 & 2, Vidya Vilasini Press, Ettayapuram, 1904 Mudaliyar, Manikka Sahgltacandrikai, Chandrika Printers, Madras, 1902 Mudaliyar, A M Oriental Music in European Notation, author pub., Ave Maria Chinnaswami Press, Pudupet, Madras, 1893. 1 Presented as a paper on 27-12-2003, at the 77th Annua! Conference of the Music Academy. Madras, held at the Music Academy, Chennai from 19-12-2003 to 01-01-2004. ------THE MUSIC ACADEMY MADRAS ------:------THE MUSIC ACADEMY MADRAS ------ As we can see, out of these eleven aspects, three 8,9 and 10 deal with music. Natya Sastra - Music Chapters These three components are discussed in 7 chapters from the 28 to the 34. by Pappu Venugopala Rao The 28th chapter deals with the seven notes, Sruti-s, graama, muurchana and This is Prof. Raghavan’s endowment lecture and I am proud to deliver it fourth jaati. He classified musical instruments into four categories. He deals with the time in the last 20 years. My own Sanskrit Prof. Sri P. Sri Rama Murthy at Andhra stringed instruments in the 29th chapter, wind instruments in 30th chapter, the solid University was his student, that way Dr. Raghavan is my Guror Guruh., my teacher’s instruments, like the cymbals in the 31st chapter and percussion instruments in the teacher. Secondly there is an abundant lot of work that Dr. Raghavan himself did on 34th chapter. Bharata discusses the characteristics of instrumentalists, vocalists and the Sanskrit Drama and the Bharata’s Natya sastra, that way this is a topic that was voice culture, defective voices and defects in voices in 33rd chapter. He deals with very close to his heart. song in the 32nd and 33rd chapter. That is the distribution of the contents in the seven chapters that deal with music in Natya Sastra. Natya Sastra is probably one of the earliest and certainly one of the best treatises on Indian dramaturgy. Most people think that it deals only with dance but, Natya Now let us go into the details. Sastra deals not only with dance it deals also with prosody, poetics, music and such In all most all ancient treatises on music or dance or drama they invariably included other aspects which are interdependent and allied to each other. It contains 36/37 a few chapters on one another. Even in Sangeeta Ratnakara we have a chapter dealing chapters and 6000 verses and often known as Shatsahasri. There are 7 chapters dealing with dance. This is because they considered music as a comprehensive form of art, with Music beginning with the 28th. The date of Bharata has been a matter not yet which embraces vocal music, instrumental music and dance as we see from this conclusively proved. It varies from 4th century BC to 4th century AD, but scholars statement from the Sangeeta Ratnakara. We find similar statements in many other like Manmohan Gosh and Kane fixed Bharata’s time as between 1st Century BC to works as well. 2nd Century AD. Therefore Natya Sastra is at least 2000 years old. The eminence of Natya Sastra lies not in the fact that it was the first book on the subject but that Bharata deals with different kinds of songs in the 32nd chapter. A literary it was the comprehensive treatise. Therefore, the study of this treatise is essential composition with meaningful words conforming to the principles of music, svara for scholars as well as amateurs. What is interesting, however, is that the original and taala, is called a pada or a song called Gaandharva by Bharata.. Pada is again text of the famous treatise, the earliest was not completely available until just about classified into two, nibaddha - metered and anibaddha - irregular or unmetered. 100 years ago. And it took almost another 50 years for the whole text to be made Similarly there may be padas, which can be performed to a taala and do not conform available for further use. to a taala - sataala and ataala respectively. Then he goes on to define dhruvaa gaanam. Dhruvaa gaanam is invariably metered and that which conforms to taala Bharata says he took words from Rig Veda, music from Sama Veda, movements - metrical and rhythmical. The unmetered and unrhythmic padas have no place in and makeup from Yajur Veda and emotional acting from Aatharvana Veda. melodic songs; they can be played on instrumental music. There are eleven topics covered by Bharata in the Natya Sastra. They are: He divides Gandharva music into three categories, swaraatmaka, taalaatmaka and 1. Rasa padaatmaka. He lists 12 aspects of the Swaraatmaka Gandharva, pure music dealing 2. Bhaava or emotion with swara. 3. Abhinaya or histrionic expression The 12 aspects are: 4. Dharmi or school of acting Swaraascha srutayo graamo - murchanaah taana samyutaah 5. Vritti or mode of expression Staanam saadhharane chaiva- jaatayo ashta dasaiva cha 6. Pravritti or regional identity Vamnah chatvaara yevasyuh- alamkaaraascha dhaatavah.... vrittayah api 7. Siddhi or success of production Bharata then gives the names of the seven notes, sapta swaraas. 8. Svara or musical note According to their relations to sruthis (intervals between the notes) they are then 9. Aatoodya or instrument divided into four types- vaadi, samvaadi, vivaadi and anuvaadi and describes them 10. Gaana or song and under the Shadja grama and Madhyama grama. 11. Ranga or Theatre {HD THE MUSIC ACADEMY MADRAS THE MUSIC ACADEMY MADRAS Granias are groups of scales, shadja grama, madhyama grama, Matanga in fact takes credit for defining the raga system. The first ever inscriptional Bharata did not mention the third gandhaara grama. evidene on ragas was found in the Kudimiyamalai Pallava inscription of 7 century Bharat a amazingly enough gives the number of Sruthis as 22. AD where 7 grama ragas were mentioned, kaisika madhyama, kaisika, saadava, madhyama grama, shadja grama, panchama and saadhaarita. He knows that one day they would be singable. We don’t get the names of the 22 sruthis from him but he gives us the 22 sruthis in each grama. They are derived by Bharata has one complete chapter on Talas. The 31st chapter deals with taalas. an experiment that Bharata did with 2 vinas exactly identical in all respects including Taala or the time measurement is based on the basic unit of kaala. The exact time the timbre of their notes. While one of them is tuned and kept as the constant vina, the kaala takes is defined as - five nimeshas make one maatra and two or more unchanged known as Dhruva vina, the other was subjected to progressive reduction in maatra when they combine become kaala. Nimesha is the time taken to close the pitch successively. This second vina is known as variable vina or chala vina. Those eyelids. This does not correspond with the western concept of second. Secondly, there who are interested to know more about this may read Prof. Samba Murthy’s Book should be an interval of five nimeshas between kaalas. Bharata describes basically V pages 47-54. two types of taalas, cancatputa and caapaputa. Cancatputa is catuarasra taala and caapaputa is tryasra taala. There is also a misra taala or derived time measure which In ancient music, the 22 srutis were distributed over all the sapta svaras. But includes the qualities of both the time measures, cancatputa taala and caapaputa taala. later on, when sa and pa came to be regarded as avikruta svaras, changeless and Besides the above three taalas, there are two more derived taalas. not admitting of varieties, sa and pa took one sruti each and the remaining 20 srutis were distributed among the five notes. The 22 svaras are based on just intonation The Cancatputa or chaturasra taala is divided into yathaaksara, dvikaala and and they are not of equal temperament. The interval between one note and the other catushkaala. Each of these is twice as long as the preceding one i.e., yathaakshara is not equal. They can be demonstrated not successively but selectively. (Book IV is four kaalas, dvikaala is eight kaalas and catuskaala is sixteen kaalas. - South Indian Music - Samba Murthy) There are six types in tryasra taala. These are of three, six, twelve, twenty four, Bharata then describes 7 murchanas in each, shadja grama 7 and madhyama grama forty eight and ninety six kaalas. He says one who does not know taala is unfit to 7. Murchana is described as gradual aaroha and avaroha of the 7 notes. The word is either sing or play an instrument. derived from murch to increase or to pervade. Yastu taalam na jaanaati Bharata’s first murchana in each grama starts with the highest note and ends with Na sa gaataa na vaadakah the lowest. This is so because it was the Vedic tradition to do so. The 28th chapter, the first in the music chapters, begins with the classification of Matanga in Brihaddesi gives murchanas with 12 notes in addition to those with 7 notes. instruments. All instruments, anywhere in the world, invariably come under one of these classifications. Taanaas or patterns of notes are 84 in number, 49 of 6 swaras and 35 of 5 swaras. Then the most important aspect that Bharata treats is Jati, which is known later as Tata is stringed instrument under which he basically deals with viiNaa and the raga as Matanga says in his Brihaddesi. techniques of playing viiNaa. viiNaa is played with three different techniques, tattva, anugata and oogha. He also talks of nine stringed viiNaa and seven stringed viiNaa. Tathha cha aaha bharatamunih jaati sambhutatvaat grama raagaanaam iti. The nine stringed viiNaa is called vipancii and is played with a plectrum and the Nanya deva in the Bharata bhashya also expresses the same sentiment. seven stringed viiNaa is called citraviiNa and is played with the nails of the fingers. Jaatibhyo raga sambhava it muni vachanaat The technique of viiNaa play is described in 75 verses in the Natya Sastra. The Yazh Bharata deals with 18 jaatis, 7 from shadja grama and 11 from madhyama grama. was an ancient instrument of Dravidian origin and there are different varieties of them. There were many Tamil classics on music after Natya Sastra particularly the The former are suddha and are known by the swara names. These have all the seven notes and when one or more notes are dropped they are known as vikrita. Barata of Silappadikaaram. Yazh is mentioned in this work in the Chapter, Arangetru Gathai. the 18 given by Bharata 4 are sapta swara jaatis, 10 are pancha swara jaatis and the Under Susira or wind instruments, are dealt with primarily taking flute as remaining 4 are six swara jaatis. example. Flute is usually made out of bamboo, not necessarily and is called vamSii. He enlists 10 characteristics for the jaatis. Depending on the number of quartertones or Sruti-s, the notes of this instrument are {HU ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ of three varieties, dvika - two, trika - three and catushka - four, which are known as he divides dhruvaa gaanaas also as uttama - superior, madhyama - of middle merit ardhamukta - half open, kampamaana - pulsating and vyaktamukta or fully open. and adhama - inferior. Under the Ghana (solid) instruments, he gives the example of cymbal, made A dhruva sung at the entry time of a character is called Praveshiki Dhruvaa, sung usually in bronze, an instrument used for taala or time measure. at the time of exit of the character is called Naishkraamikee Dhruvaa. A Dhruvaa Avanaddha or percussion instruments are dealt with next. He says they are infinite employed in pure dance (Nrtta), when such dance steps are interrupted, is called in number. They are usually hollow instruments with the body open on one side or Aakshepi Dhruvaa. A song employed in diverting the attention of the audience from both the sides, covered with animal membrane that have uniform thickness. These the main rasa of the dance into appreciating another rasa of the moment is called are also called Pushkara Instruments. Swati the sage who made these instruments Praasaadiki Dhruvaa. Antaraa Dhruvaa is where the character is surcharged with initially was inspired by the sound of rain drops on a lotus leaf and created these emotion in situations such of swoon, grief, faint, extreme anger, intoxication etc. instruments, mridanga, panava, dardura and others. Bharata gives in detail, the rules He also emphasizes the kind of laya or rhythmic pattern to be employed in different governing play of pushkara instruments and the use of hand in making the strokes situations or different rasas. For example, he says Madhya laya - medium tempo on the percussion instruments, and exclusively deals with the minute details of play should be employed when pacifying another and making a request and recollecting of these instruments in Chapter 33. something at the first meeting with the beloved etc. Similarly, he says there should be Bharata deals with the mythological origin of musical instruments and he concludes accelerated tempo dhruta laya when the song depicts excitement, anger etc. Bharata this chapter on musical instruments with a note and a caution. There is no musical also describes the possible content and the kind of language that should be used in instrument that is not capable of being used in any form of dance drama. Depending a song based on the kind of characters. on the rasa and bhava portrayed the dominance or otherwise of an instrument is Apart from these varieties, he talks about the language, the meter, the theme, the decided. subject of the song, the procedure of the performance and then the qualities of the Vamas are of four kinds: Aarohi, Avarohi, Sthaayi and Sancari. Basically vama singer and the instrumentalist. He gives the qualities of a Guru, of Sishya. He says, and alankara are related to instrumental music. Alankaras embellishments depend on normally, women are more suited for singing and men for recitation. vama-s. 34 alankaras have been mentioned by Bharata and are said to be used in There are many characteristics listed by him, required for a singer and for even seven categories of songs like madraka, sapta giita vidhi instrumentalists. He concludes this chapter with the vocal defects in singers. Dhruvas are derived from various meters which he describes separately in chapter They are: 14. He talks about gurus, laghus, ganaas, different types of metrical compositions etc. There is an extensive description of vrttas or meters employed in different 1. Kapil a - gruffness or phlegm in the throat. Voice is unnatural kinds of dhruvaas, which almost runs to 200 verses in chapter 32. It is followed 2. Avyavastitha - voice is more or less stable. It does not raise high, does not by distribution of ganaas and maatras. Bharata deals with the occasion and rasas go low. in which the type of dhruvaa should be employed in about 12 verses. He classifies 3. Sandashta - the singer tightens his teeth and sings. dhruvaas into five based on their purpose in a dance drama. I need to emphasize 4. Kaakee - is the voice of a crow where the singer is unable to raise and if here that Bharata’s chapters on music are mostly confined to their usefulness with makes an effort to raise it becomes unpleasant to hear. respect to dance drama. He deals with those components pertinent to dance to the 5. Tumbaki - nasal extent that is necessary and does not extensively deal with them. I have made a humble effort to present, within the constraints of time, what Bharata Bharata devotes the entire chapter 32 for dhruvaa gaana. One veiy important said in Natya Sastra about music. This is not exhaustive. It is only representative. I aspect that he emphasizes is that when dhruvaa gaanaas are composed or sung, conclude this lecture demonstration with the words of Bharata - those who observe, we should keep in mind the nature of the theme, play and character, the rasa in music and dance the qualities and components discussed by Bharata in Natya and bhava, the time and place, the occasion, the age and state of mind of the Sastra, enjoy music and dance well in this life, will attain bliss, the state of character etc. To a certain extent this applies even to the field of music. As is Brahma and that of the Rishis. natural with most other topics discussed in alankara sastras and lakshana grandhas, • t 9 • • • - THE MUSIC ACADEMY MADRAS - THE MUSIC ACADEMY MADRAS Indian Music and Chandas Conceptual Bases R. Sathyanarayana Sangita and nrtya are intimately related to Chandas and have freely borrowed conceptual bases from the latter. Introduction a) All their theoretical texts are composed in well known metres. Any system may endure in time only by renewing its vital energy and resources b) Technical terms such as laghu, guru, pluta, matra, laya, pratyaya (nasnta, continuously and by existing in harmony with its environment i.e. by a process of uddhishata, sankhya, prastara) are common to both but in different continuous adaptation. This is true of Indian music also. Throughout its existence, connotation and applications. Bharatamuni employs prastara (schematic it has renewed its strengths, as well as inner and outer resources and has evolved tabulation of permutative possibilities) only in the context of chandas continuously by adapting itself to the changing parameters of its parent society. but the others in both. Marga and desi are also common to both. In Such evolution has been possible because of a process of experimentation, leaving recent times, the terms tala and sangati are interpenetrative in both. It is behind the archaic and the fossilised and by absorbing and assimilating new probable that the terms laghu, guru, pluta and matra are borrowals from sources, resources and forces. Evolution and expansion is possible because of Chandas; their respective quantities were initially the same in both. Tala such elasticity and adaptability. is borrowed from music into Chandas. Indian music has embraced from time to time by experimenting with cognate c) Prastara of Chandas has profoundly influenced music of the aesthetic expressions such as poetry and painting. Poetry is sung in verse, prose, varieties of Chanda pratyaya viz. prastara nasta, uddista, sankhyana, their mixture, or merely the poetic idea or poetic expression. Thus it has played ekadvyadilagakriya and adhvayooga, the last two are not found in music the role of a recitative (Kaya vacana or ‘gamaka’ art) and in a new modem form but the others function in music also in their original concepts. Some as ‘sugama sangita.’ Music has, in this way, served an additional or augmentative of the Chandas prastara mode occur in a different garb in tala prastara, role in bringing out more clearly and more effectively, the emotive element in word which has developed its own special twenty five varieties. meaning, often transcending the same through ‘dhvani’. Here its method is sonority and gamaka (tone curvature). The earliest reference to this is in Valmiki Ramayana. d) Yati (ceasura) of Chandas occurs in tala also, nearly in the same Indian music is employed in this way in all Indian languages, classical or folk. connotation. In associating itself with painting, music has drawn inspiration from the psychic Music theory six tala pratyaya means such as kriya and marga, added phenomenon of synaerthesia - true or pseudo and has built a bridge between two some five and refined them into taladasaprana. interdiscipline phenomena viz line - melodic line, curvature - gamaka, tone of colorer (painting) and colorer or tone (music). This has resulted in describing svara e) The eight syllabic triads (ganas) ma-ya-ra-sa-ta-ja-bha-na of Chandas are in sangitasastra. In its multiple dimensions such as colour (vama) and chandas used in naming and defining desitalas. (prosaty/metre). It has further resulted in an emotive parallelism between music 0 Composers occasionally employ syllabic or movaic clusters in composing and painting in the form of svara-paintings and raga-mala paintings. words to augment poetic expression. The phenomenal base of poetry is Chandas. If chandas is interpreted is rhythm, g) Chandas sastra entertains a convention that auspicious or inauspicious then it is a fundamental principle which governs all movement in the macrocosm effects would accrue if a given segment of the composition has such and the microcosm. It permeate all forms of aesthetic expression: music, dancing, and such gana at the beginning Sangitasastra has a parallel convention painting sculpture and architecture. (eg. Nartananir naya of Pandarika Vittala 3.2. 15-28). THE MUSIC ACADEMY MADRAS THE MUSIC ACADEMY MADRAS Ddminance of Verse Decline of Verse Music of ancient Indian Theatre was composed in songs called dhruva in An additional constraint of tala prescription in Chandaprabandhas makes the vfttas, as revealed in the Natyasastram of Bharatamuni, Music of the Samaveda problem musicality acute. If metrical prescription is vigorously followed, the is invariably set to words of Vedic metres. Secular music experimented with a composition is reduced to a yathakshara prabandha. If the tala prescription is compositional genre in which the word text was prescribed (niryuka) to specified vigorous, metrical structure is sacrificed. The only possible compromise is to metres in Sanskrit and other languages. A large proportion of song types regard the prescription as not applying simultaneously i.e. the composition is described in the major music treatises such as Shamgadev&s Sangitaratnakara performed first only as Chando-niryukta and then, separately as only talaniryukta. are classified into versified (padya), prose (gadyaja) and their mixture Some conciliation would be possible the deshi tala prescribed possessed a rhythmic (misraja-Champu). In fact, there is only one genre in Indian music which is structure corresponding to metrical structure. But this was not always done. The composed exclusively in prose viz. gadya (which has six varieties). reason was deshi talas had structural components (anga) such pluta and Kakapada which are alien to metres. Metrical and tala rhythms often run counter to each other One of the chief experiments of Indian music was with prescription viz. to in such musical compositions. There are problems relative to the performer and not find if or how much musicality could survive or flourish if restricted to specified so much to the composer. While inclusion of Chandas and tala was novel to Indian music parameters such as raga and tala and literary parameters such as specified music, it was received with enthusiasm and the number of such compositions language, metre and emotive content (rasa). The following were prescribed to be proliferated and reached a critical hunt in about the 13th century A.D. Their composed in the self named Sanskrit, Prakrit or other meters. performance grew smaller and smaller in course of time as their performers began 1. Ela 2. Dhenki 3. Jhombada 4. Rasaka to corners with the problems. An artist of a performing art, especially catering 5. Kanda (29 varieties) 6. HayaJaka 7. Dvipadi 8. Chakravala to large audiences prefers to combine effectiveness with relative simplicity and 9. Krauncapada 10. Arya 11. Gatha 12. Dvipatha avoidance of complexity both for his own sake and for the sake of his rasikas. If 13. Kalahamsa 14. Totoka 15. Dhata (Ghata) 16. Vrtha there is a choice between pleasing audiences through simplicity and pleasing them 17. Raga Kadamba 18. Tripadi 19. Chatushpadi 20. Shatpadi through scholarship or complexity. Most of them prefer the former coeval with 21. Vastu 22. Dandaka 23. Jhampata 24. Tri bhangi compositions flourishing with chandas with or without tala, there were available 25. Vadana 26. Charchan 27. Chanya 28. Paaddhadi also songs with tala and without tala. The latter highlights only one aspect of music 29. Rahadi 30. Mangalachara 31. Dhavala and 32. Mangala. and is therefore incomplete in respect of a temporal constant framework which serves as constant foil for a dynamic and progressive flux of rhythm. This is the Many of these were sung to prescribed or desired tala or talas. This raises a pertinent essential uniqueness of Indian music and this is why compositional type, in which question: Ready intelligibility of any phenomenon is proportional to the parity of tala is not dominant or absent are very few. It is for this reason that Karnataka speeds (velocity?) of the external event and the recepient’s consciousness. In metrical music, in its collective wisdom, dropped this experiment and retained Ugabhoga, expression, ready grasp demands close continguity, grouping and ceasura. In musical Shloka and Viruttam and such other musical forms which contain metric forms expression it demands these factors in melodic movement and rhythm progression. or elements as independent forms free of tala. For the same it retained songs like Metrical expression suffers in musicality if the svara-laya matches with it event by Vrthanama of the Haridasas which contains a succession of pure vrittas and pure event. If on the other hand if musical expression proceeds at its natural pace the charanas (with tala). compactness and densness of speech sounds, sine qua non of metrical expression sufffers. One way to solve this problem is to retain the metrical character by Role of Tala taught phrasing subject to the exigences of verse foot and ceasura and retain A few words on the role of tala in Karnataka music are relevant to this context. musicality by inserting musical phrases in between verse phrases and by retaining a Tala is a temporal device used in measuring the duration of music or dance event. recitative quality in the music applied to word phrases. In fact this is how Chandas It is a means of fixing every event in what it measures in the latter’s body in terms prabhandas were sung when free from the constraint of tala requirements. one or more moments in progression. Simultaneous events (created by different ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS entities such as performers or created by different kinds of events such as music, unaib : omiflgmbgLinft £fTcmj>: poetry, dance etc.) obtain their simultaneity because of their cooccurrence at a &iuri)n5)iLiaiiT : &g>&n6%)n ^rBia&uiuuiiV given single moment, which is fixed by tala. Similarly successivity of events of a usbsvdil single process may be marked in time by Tala. Both fixation and measurements are carried out in terms of its subdivisions called anga. These may be divided further (Lpq^arr fslQUMG) iL(n>&rr GfyemQparr into their unitary durations. Unlike phenomenal clocks based on the movements ^ miusvsos^l of extraterrestrial bodies such as the Sun, Moon and Stars, it is elastic and its magnitude may be determined at will by the performer. It provides a variety ^)06i/6Ufro/ii) Gpebruipetfi of patterns of its composition of angas, as moder, and its speeds, its extent by QgtuGuGiA rsLbiSIGetfresr dimunition or expansion. Thus it is a wholly organic, variable clock and may be 643/ lh adjusted to an inner time. Its constant, continuous repetition provides a constant mi_Ofl) ILdTAMlir pattern of a timeframe against which the series of events of music or dance in an ever changing progression. The content of these events e.g. tone, syllable or body & 6m(tpih L$rflGium apftrr movement may be varied in density to accommodate a large spectrum of aesthetic euq^aimu L/rfleumu and creative needs. All such variation, however acquire a rhythmic posture because $ pm eurnu ((y^arr) of their containment within a general rhythm frame despite their varying and scattered distribution within the tala cycle. This is a great advantage because it : 0LMUD allows a very useful flexibility and wide manipulation to both performer and urraib : 0 nsmD composer. Even though the choice is limited to seven tala models at the present usbsvsiSI time and their variations in duration, extent, speeds, tempi etc. they have proved more than adequate to both composer and performer to display their skills, 6rorren)rr 1 ifl;;; arrarr II II scholarships, aspirations and creative urges. 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Srivatsa (Editor) N. Murali, President (Ex. Officio) Dr. Malathi Rangaswami (Convenor) Sulochana Pattabhi Raman Lakshmi Viswanathan Dr. SA.K. Durga Dr. Pappu Venugopala Rao 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 ANNUAL SUBSCRIPTION - INLAND Rs. 150 FOREIGN US $ 5 CONTENTS Pages 1. Report of Annual Conferences & Concerts 2004 147 2. Speach of Conference President 148 3. Profile of Awardees 149 4. Meetings of the Advisory Committee 154 All Correspondence relating to the journal should be addressed and all books etc., intended for it should be sent in duplicate to the Editor, 5. A Review of Srj Thyagaraja Swamis Pancharathna Kritis with specific reference to notation in The Journal of the Music Academy Madras, New 168 (Old 306), Sangeetha Sampradaya Pradarsini T.T.K. Road, Chennai 600 014. Dr. S.A.K. Durga \^ \ Articles on music and dance are accepted for publication on the recommendation of the Editor. The Editor reserves the right to accept 6 . The Ragangaragas in the Sangita Sampradaya Pradarsini Dr. R. Hemalatha 166 or reject any articles without assigning reasons. Manuscripts should be legibly written or preferably, type written 7. Gamakas in Sangeetha Sampradaya Pradarsini 173 (double spaced and on one side of the paper only) and should be signed 8. Prabhandas by the writer (giving his or her address in full.) Dr. M.A. Bhagirathi x 80 The Editor of the Journal is not responsible for the views expressed by contributors in their articles. 9. Sangita Kalanidhi M.S.Subbulakshmi Lakshmi Vishwanathan 189 10. Gamakas Notation in Sangita Sampradaya Pradarsini Smt. Vidyashankar 191 8. Ragamalikas of Muthuswami Dikshitar Smt. Sulochana Pattabhi Raman 207 9. Notation for four Ragamalikas 209 10. Obituary 215 INAUGURAL REPORT OF ANNUAL CONFERENCES b CONCERTS 2004 he 78th Annual Conference of The Music Academy Madras was held 7between 19th December 2004 and 4th January 2005 at the T T Krishnamachari Auditorium at the Academy premises. The Conference was dedicated to the centenary year of publication of Subbarama Dikshitars Sangita Sampradaya Pradarsini and the Annual concerts were dedicated to the memory of Bharata Ratna Sangita Kalanidi M S Subbulakshmi. The conference was inaugurated by Honble Justice K S Bhaktavatsalam, Former Judge Madras and Karnataka High Courts and Chairman, Bharatiya Vidya Bhavan , Chennai Kendra. The President of the Academy received the Chief Guest and escorted him to the dais and the function started with an invocation. The President welcomed the Chief Guest and escorted him to the dais and the proceedings began with an invocation. Sri K S Bhaktavatsalam in his speech “Text of English speech as appearing in the Souvenir 2004 to appear” The Chief Guest summed up with an appeal to the musicians, both young and old to preserve the rich traditions, purity and glory of our classical music and pass it on to posterity. Sangita Vidwan Sri Vellore Ramabhadran was elected to preside over the 77th Annaul Conference of The Music Academy Madras. The Sodas was presided over by Padma Bhushan Dr S S Badrinath, Chairman, Medical Research Foundation, Sankara Nethralaya, Chennai. THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ 6)0ror&Dfflr € t o m & $ 6S lp € 8 $ m - m u THE MUSIC ACADEMY madras - > p i l sn)w8g> s S g o jg & m uuSlm 78ua ^ s m ® LL&rrrBmLup{b(§ gmsoeutyrrs* srsbrsnssr G g rrr$ Q g ® g g Q&turr) (3j(Lge£lmrr srm pm^smui, QprfleSIggjja Qarrsh^lGpm. iJili^srSla ^s>m—iB&i(§w srm&^LL 59 ^em® &nso a jl I l / ^ ^ rri— njja§l Q&nsmupqij&SlrQgj. 1945ih ^sm® mwsorruL^ifispjGfTsn R.R. Sabha Sundareswarar Hall-eSlso mrrsoiQQsmp etfemem sSlgeumm u$ K.S. Narayanaswamy Lorb^itb Sri. K.S. Sivaraman ^j6WT3>6ift Q « n w i ^ . 0 # 6) $ g i / . ersisr ajsrrrr&ffia® (ipso &mjsm atiggn $jsmp] srv/i/Sg asnso psoso sosnrfd^} ^tmi—pgjmsn^j. Gipspni) §\tr)uun$ eBmmi& ^jstn&g gjmrrjuSiso Vellore G. Ramabhodran cutugj LDfQfpjib ^ miueoib ^Sfujeupmp rflryLtuu Qupp 9 0 (ip>g>g> eotueurrguj sSgemrm \ ermSlp (tpsmrQiiSlso srm erm |§ ) € sw f sonipsSlso wspAa (tpupiurrg g >0 f$laip&&! 1975ii> ^smupso mi—rkggi. QsmsnmiB^jmsn Shri Ramabhadran has had the privilege of accompanying titans like Shri Chembai udf Shysfysm arrssr ffurr. &rrrf)ujgrf!ffi y s f Yagnarciman ^surraetfim urflrTj&tsmujrrev iB^gmig, Glueing, Vaidyanatha Bhagavatar, Shri Ariyakudi Ramanuja Iyengar, Shri Musiri Subbramanya urreodi&rr® y jf txxswf) g>iurt ^eun&sftm ^ 0 « apiiimetmeo "emiaSg (Qu.mLGnfi” erearp UL-i—gmgff Iyer and Shri M.D. Ramanathan. He provided percussion accompaniment over decades 0 L L t f Q&snrjsfilgg €ibueuib. mm$g> (Qi—uoesrfl uiLi—db grrsisr srmatg SHmi—gg Qpgdo ULLi—ih. i % ) @ to the redoubtable Dr. Semmangudi Srinivasa Ayyar. Qjg^iium mum ^ ifiLsb) QffnemmLup ^stfigg asoirffiamoewf) ulL l—lo (ajffiluLSh—gg&agi. The hallmark of his mridanga - playing is the Sukha-Bhava, the dexterity and srm9>(§ mmi&g 6isvrrr$$ Gurrmp urn ®S?0 £ / « f i rr, urrpmLQiasfr ^sm—ggrr^jib erm softness of his beats. He is well known for the "sarva-laghu" style of playing adopted &urT&(§(Lp€Bmri, StosSlgeurrmaen, sfilgjfsiflasrr, $)sm& sBiLir&5>n$9(T, ug^S^msiurTsrTif^m, sorrQmrrsSi, by him. He has amazing skills in conditioning a mridanga to any desired pitch, which QgrwnsoaarrLLfFl GurTssrpeurtaeifim madsQpw, ^gfjsijLb sresrenmr Gloq/jw £%)sm&u usmfissuug Qgrnsj is reminiscent of the wizardry of Tanjavur Narayanaswami Appa. tug Geo® Lb jqetfl&sii m§Bn}§i. Over sixty years of performance, Shri Ramabhadran has accompanied three ilsssr®ii> spq^Qpsnp m sii^g sBgjsug ffm u (^(tpsSlmrf lurrsuifA^Lb erm pmr$ ssvpg sumra&gstng generations of artists and continues to be sought after by contemporary musicians Q$rflefi)$gi& Q&rrsm® ^sm ® ^jssi&efilLpn ^jsmpsum ^(§srrrrso sTuQurrQggjib Gurrso §lpuun& of youthful vintage. pmi—Q up i3rrmTg>$uGumi>. He has received many titles and awards including the Sangeeta Natak Akademi Award. He has been a member of the Advisory Committee of the Music Academy for nearly twenty years. The title of Sangita Kalanidhi is being conferred on him for • * | § ^ 0 9 • • his long service, as well as for his individual excellence. ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ THE MUSIC ACADEMY madras THE MUSIC ACADEMY madras —" .. *■ /------■—■------— ------■— Seventy Eighth Conference - 2004 Seventy Eighth Conference - 2004 N > — SANGITA KALA ACHARYA AWARD SANGITA KALA ACHARYA Rukmini Rajagopalan Bom 1939, Shri V.P. Dhananjayan joined Kalakshetra, founded by Smt Rukmini Devi, when he was thirteen and learnt multiple forms of classical dances from maestros, including the legendary Shri T. K. Chandu Panikker. After completion of Bom on December 11, 1913, Smt. Rukmini Rajagopalan continued her musical his studies, he joined the faculty of Kalakshetra and served them for over fifteen pursuit despite marriage at a tender age. She came under the tutelage of Shri. years. He was the lead dancer in several dance-drama production of kalakshetra. Sambamoorthy and the legendary Shri. Parur Sundaram Iyer. Along with his wife Smt. Shantha Dhananjayan, also an alumnus of Kalakshetra, Smt. Rukmini Rajagopalan was an aficianado of the renditional style of Sangita he founded in 1958, a dance institute called the Bharata Kalanjali, which is the alma- Kalanidhi Shri. G.N. Balasubramaniam.She developed a style which is an amalgam mater of many leading dancers of the current era. The Bharata Kalanjali is standing of pristine purity and the innovative features of latter-day music. Smt. Rukmini testimony of the vision, integrity and cultural ethos of the Dhanjayans. Rajagopalan, thus, is a vital link between past and the present. Uncompromising on essential classical values, Shri Dhananjayan has blended She has imparted music to many students, prominent among them being Smt. several original adaptations with the classical style. He continues to perform along Sukanya Swaminathan, Smt. Indira Ramanathan, Smt. Sumitra Ratnam, Shri. Sanjay with his spouse. Subramaniam and Shri. Sri ram Gangadharan. Widely travelled, he has many overseas performances to his credit. Shri This nonagenarian virtuoso is the spouse of Late Shri. T.V. Rajagopalan, who has Dhananjayan is well qualified by virtue of the quality and quantum of disciples, to rendered yeoman service to the Music Academy, in multiple capacities. receive the award of Sangita Kalacharya. ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ THE MUSIC ACADEMY madras THE MUSIC ACADEMY madras r ••• ■. * Seventy Eighth Conference - 2004 Seventy Eighth Conference - 2004 > ■ / TTK MEMORIAL AWARD TTK MEMORIAL AWARD T.R. Balamani Anayampatti S. Ganeshan Bom December 1936, Smt. T.R. Balamani, had her primary musical induction A Septuagenarian artist, Shri Anayampatti S. Ganeshan is a fourth-generation performer under the guidance under Shri. Tirupunithura Narayana Bhagavatar, Subsequently, of the art of jalataranga. His father Shri K. Subbaiyer was Ashthana Vidwan of the she joined the Central College of Music, Madras, where she came under the tutelage Mysore Court. Shri Ganeshan imbibed this performing art from his father and from of the titan, Shri Musiri Subramania Iyer. Later, She learnt under Sangita Kalanidhi his two brothers Shri T.K. Govinda Rao and Shri K.S. Venkataraman. The Anayampatti family are pioneers who preserved the art of Jalataranga and Shri Having shifted to Mumbai, she served the faculty of Bharatiya Music and Arts Ganeshan is a worthy scion thereof. He has implemented many modifications to the Society for a decade. She is a much sought-after and respected teacher. She has a Jalataranga without affecting the tonal quality or pristine purity. very wide reperoire, encompassing many rare compositions. She is well known for Shri Ganeshan is also an accomplished violinist and has accompanied stalwarts of her method of teaching Neraval and Pallavis. yesteryears. He is also a vocalist. Shri Ganeshan has performed throughout India and Smt. Balamani is a teacher par-excellence and many of her disciples have made abroad, as well. His dedication and virtuosity is sincere. The Music Academy takes their mark in the realm of Kamatic Music pleasure in presenting Shri Ganeshan, the TTK Award. The TTK award being presented to her, supplements many titles and awards already received by her. ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS Meeting of the Advisory Committee 23rd December 2004 - Compositions of Periasami Thooran were presented by singers of Geetha 21st December 2004 Nivedana Trust. THE LAST minute turn of events has made the Music Academy festival possible. T. K. Govinda Rao gave a lecture demonstration on pada vamam, tana The Experts Committee which decides the lecture demonstration series in the vamam and chouka vamams from the "Sangeetha Sampradaya Pradarshini.” He morning session met for a couple of hours on December 18 morning and decided published a book of 50 vamams in 1979 and is collecting vamams now for a to dedicate the morning session to “Sangeetha Sampradaya Pradarshini” because further publication and claims a collection of around 400 vamams so far. There this year is its centenary. The festival at the Music Academy itself is dedicated to are 36 vamams in Sangeetha Sampradaya Pradarshini, one pada vamam, 22 tana the memory of M.S. Subbulakshmi. The morning sessions normally have 30 per vamams and 13 chouka vamams. Then, he demonstrated "Enthani ne Telupudu cent of endowment lectures, which were abandoned this year. Normally there will Ra,” the pada vamam in Khamas. He emphasised the importance of sahitya and the be two lectures everyday. But, due to lack of time and the focus on Sangeetha proportional importance to music. He demonstrated the chouka vamam in Suruti. Sampradaya Pradarshini, it was decided to have only one lecture-demonstration He gave examples of swara sahitya vamams in Mohana, Todi and Kedaragowla everyday of 90 minutes instead of two. Except for a few, the lectures are being delivered by the members of the Experts Committee themselves. and mentioned some of the vamams of Swati Tirunal. The morning sessions began with rendering of devotional songs on Ambal by 24th December 2004 singers belonging to Panchakshari Group. Smt Kanthimathy Santhanam & party presented devotional songs. The first lecture demonstration was presented by Prof. M.A. Bhageerathi on Prabandhas. She explained the origin of the word and how it occurred in various Ragangaraga and Gamaka as treated by Subbarama Dikshitar formed the subject treatises before Subbarama Deekshitar. There are six characteristics for prabandhas of the presentations by R. Hemalatha and R.S. Jayalakshmi. of which at least two must be present in a prabandha. The “Sangeeta Sampradaya Dr. N. Ramanathan introducing the topics explained that Ragangaraga was the Pradarshini’ has ten prabandhas of which five were demonstrated by Prof. term used by the scholars in the Dikshitar sampradaya to refer to the Melakarta Bhageerathi, including the Hamsadhwani prabandha composed by Ramaswami and out of the 72, many had been created to make the 72 mela scheme fully Deekshitar. functional. Sangita Kalanidhi Sri. B. Rajam Iyer presented a lecture demonstration on the Hemalatha discussed the approach of the scholars of the Ragangaraga school in “Pancha Bhuta Linga Kritis of Muthuswamy Dikshitar.” The five compositions formulating the arohana-avarohana. Dr. Jayalakshmi took up the eleven gamakas were “Chintaya Maakanda” in Bhairavi, “Jambupate” in Yaman, Arunachala and demonstrated the method of playing them on the veena as explained by nayakam in Saranga, “Sri Kalahasteesam” in Huseni and “Ananda Natana’’ in Subbarama Dikshitar. Kedara. Rajam Iyer devoted a considerable time tracing the sthala purana aspect of these five Saivite shrines. He was accompanied by Mullaivasal Chandramouli 25th December 2004 on the violin and K. R. Ganesh on the mridangam. Disciples of Sangita Kalanidhi Smt. R.Vedavalli presented Sadasiva Brahmendra 22nd December 2004 keertanas under the banner Devaganavali. Sukhagaanam group of singers rendered devotional songs. Dr. Pappu Venugopala Rao presented a lecture demonstration on Annamacharya’s compositions related to sevas performed at the Timmala temple with the help of ‘Rare compositions of Vedanayakam Pillai’ was the theme for the lecture a multi media presentation. He was assisted in demonstration by R Surya Rao. A demonstration presented by Sarojini Sundaresan. She demonstrated eight of his total of nine compositions of Annamacharya dealing with various sevas at Tirumala compositions to establish his secular credentials though he was a Christian. All the were demonstrated. eight compositions were in Tamil. She used multimedia to emphasise her talk. THE MUSIC ACADEMY MADRAS - THE MUSIC ACADEMY MADRAS 26th December 2004 28th December 2004 Compositions of Utukkadu Venkatasubba Kavi were rendered by singers of Lalith Gana Varshini group of singers presented some Tiruppugazh Sunaadam group. compositions. Smt.Vidhya Sankar presented a lecture demonstration on gamakas in Sangeetha Nirmala Ramachandran presented a lecture demonstration on padams and Sampradaya Pradarshini. With her experience and knowledge, she was very javalis. She belongs to a generation of dancers, who know literature and music effective and assertive in her lecture and demonstration. She has published three to perform dance. It was virtually more a concert of padams and javalis than a volumes of Shyama Sastri’s compositions with notations. She said that "Sangeetha lecture. She briefly introduced the topic saying that she learnt padams and javalis Sampradaya Pradarshini” with its gamaka notation established the art and science from Balasaraswathi’s mother Jayamma and Muktha amma. of gamakas. Notation is fairly a modem innovation. Subbarama Dikshitar explained She presented about 10 compositions in different ragas by different composers. the gamakas with veena technique. While she sang, she also demonstrated with abhinaya each line of the song. She demonstrated how gamakas of different shades are produced by one finger, double finger and right hand plucking of veena to produce the gamaka. 29th December 2004 Teachers and students of Shri Nadaananda Sangita Vidyalaya presented 27th December 2004 compositions of Shyama Sastry. Papanasam Sivan’s compositions were rendered by singers belonging to Vidwan B.V. Krishnamurthi gave a scintillating and thought-provoking lecture Kamaranjani Group. demonstration on neraval and pallavi. He gave definitions of pallavi and the Prof. S.A.K. Durga presented a lecture demonstration on the Ghana Raga evolution of the tradition of neraval in pallavi. Pancharathnams of Tyagaraja Swamy with reference to Sangeetha Sampradaya By preference, pallavis rendered in slow tempo have the inherent potential Pradarshini notation. for neraval than those in medium tempo. Krishnamurthi spoke about how he was She said the Varali composition is not found among the Pancharathna kritis of taught exposition of neraval in pallavi by his guru Mudikondan Venkatrama Iyer. Tyagaraja Swamy in the book. Only four are mentioned in Sangeetha Sampradaya Then for a very considerable time, he demonstrated efficiently Chinnaswamy Pradarshini and most of the version given differs from how they are performed Dikshitar’s composition “Ganalola Karunala vala.” today. She observed that in those days, these five might not have been termed as Ghana Raga Pancharathnams. She commenced her lecture with “Jagadananda He was accompanied by Mullaivasal Chandramouli on the violin and K. R. karaka” in Nata and showed how the order varies from what is practised today. Ganesh on the mridangam. One of his disciples, Pushkala read the script. There are also variations in swaras and swara sahityam. There are only nine charanams as against 10 performed today. 30th December 2004 She then took up the second one, “Duduka gala” and gave similar treatment. Shreyas group of singers presented some devotional songs. In the "Sangeetha Sampradaya Pradarshini,” the Sriraga composition, “Endaro T. V. Gopalakrishnan presented a lecture demonstration on “Tani Avartanam Mahanubhavulu” occupied the third position not the Aarabhi composition. Ensemble Techniques.” He commenced his lecture by playing a few recordings Again, there is variation in the order of swara sahitya from what is in practice of Mridangam Maestro Palghat Mani Iyer embedded with nadam even when today. The fourth one is “Sadhinchene” in Aarabhi. Dr. Durga said according to playing intricate “kanakku” patterns. TVG emphasised that melody and nadam Sangeetha Sampradaya Pradarshini and her own conviction, after every charanam, should never be sacrificed for the sake of handling complicated phrases in Tani “Sadhinchene” is repeated and not “Samayaniki Thagu Mataladi” as is in vogue Avartanams as this would make the listeners quite restive and the length of the mostly today. avartanas should be short and crisp not exceeding 20 minutes in a concert. Dr. Durga’s presentation had all the components of research and analysis. Not paying attention to these aspects is the reason for the rasikas leaving the Dr. Srivatsa, Prof. S.R. Janakiraman and others offered comments. auditorium during Tani sessions. ______THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS Varadarajan played on the violin, “Sri Venkatagirisa” in Surati of Muthuswamy which pleases and gives scope for expansion by definition. It is possible that it Deekshitar for which TVG demonstrated mridangam playing technique. With other may have come from the word anantam - eternal. percussion artistes, he played a couple of rounds of Tanis. She mentioned 10 types of tanam and demonstrated in her own style some In this ensemble the other participants were Sudarsan, Konnakkol and morsing, tanams while their intricate techniques were presented on the venna by Ramani. Amrit kanjira and Suresh ghatam. She felt that the major ragas are good for tanam and explained how the shades 31st December 2004 of tanam are seen in some of the compositions of Dikshitar and particularly those of ghana raga pancharatna kritis of Thyagaraja Swamy. Suswara Group of singers presented some devotional songs. Vidushi Sulochana Pattabhiraman with her students presented the ragamalikas She played a brief recording of Mudikondan Venkatrama Iyer in Shanmughapriya, in Dikshitar tradition. Ragamalikas have been in vogue from the 16th century, Bhairavi, Reetigowla and Athana. Her presentation and lucidity of expression in Purandara Dasa’s times. Ramaswami Dikshitar has composed ragamalikas on explaining the complicate intricacies and nuances of tanam has made the subject Venkateswara (48 Ragas and 108 Ragas). much more interesting and that much easier. Muthuswami Dikshitar has composed four important ragamalikas, Dasavatara 2nd January 2005 Ragamalika, in Ghana panchaka, one in dwitiya Ghana i.e. in Kedara. Matsyavatara in Nata, Koorma in Gowla, Varaha in Sri, Narasimha in Arabhi, Vamana in After the Devotional songs, Vidwan V. Subrahmaniam one of the senior most Varali, Parasurama. in Kedaram and the rest in Mangala ragas, Rama in Vasantha, disciples of Semmangudi presented an interesting lecture demonstration on the Balarama in Surati, Krishna in Saurashtra and the one on Venkateshwara in three swarajathis of Shyama Sastri. He began by raising some thought provoking Madhyamavati. questions. Is it appropriate to call these three majestic compositions “Swarajatis” Sulochana Pattabhiraman took up Pooma Chandra Bimba - on Kamalamba. only because they are structurally so? He felt that by the word swarajathi we In this Ragamalika all upanga ragas of Sankarabharana janyam are employed - think of the ones taught after geetams and those taken up for Bharatanatyam. Why Poomachandrika, Narayani, Saraswati Manohari, Suddha Vasantha, Hamsadwani Thygaraja Pancharathnams are not termed Swarajathis by the same token? and Nagadhwani. She then spoke about the Chaturdasa Ragamalika - on Viswanatha, All the three swarajatis of Shyama Sastry in Bhairavi, Yadukula Kambhoji Sri Viswanatham consisting of two parts, the first containing six ragas and the and Todi start in Mandra Sthayi, low pitch. The Swara jati in Bhairavi has eight second eight. charanams each one starting in the swaras of Bhairavi in the arohana karma, ascending notes in misra chapu talam.There is scope for neraval in the eighth charanam. The Swara jati in Yadukulakambhoji has eleven charanams of which 1st January 2005 only ten are found in the Sangeeta Sampradaya Pradarshini.. This is also in misra The morning devotional songs were rendered by Sangita Alayam group of chapu. singers on Krishna. Vidhushi R. Vedavalli presented a lecture demonstration on tanam in the The third and the last Swarajati is in Todi - Adi Talam It has six charanams. Mudikondan tradition. Small deviations in the text are seen in the version in Sangeeta Sampradaya Pradarshini and in the one published by Vidya Shankar. Semmangudi followed She dwelt briefly in her introductory remarks about various definitions of the latter version. All the three swarajatis were demonstrated by V. Subramaniam ragam, tanam and pallavi and how they constitute a sequence in vocal tradition with vocal support by his student Bhavna, accompanied by R.K. Sriramkumar on which is not necessarily followed by instrumentalists. the violin, and Vaidyanathan on the mridangam. In addition, "Mariyevare gati” She lamented that because of time constraints in the modem times, tanam is in Ananda Bhairavi, and "Mayamma” in Sri were also rendered with a couple not getting its due share and is shrinking. Tanam is always sung in medium tempo. of flashes of Sri Raga. She gave the etymological derivation of the word “tanam” and it is basically one THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ 3rd January 2005 A Review of Sri Thyagaraja Swami's Pancharathna Kritis Kulasekhara Azhwar’s Pasurams were rendered by singers belonging to with specific reference to notation in Subhsruti Group. Sangeetha Sampradaya Pradarsini Prof. S. R. Janakiraman presented a lecture demonstration on ragas exclusive to Sangita Sampradaya Pradarsini — Kalavati, Navaratna Vilasa, Amritavarshini, Dr. S.A.K. Durga 2004 Devaranji, Ragachoodamani, Marga Desi, Udayaravichandrika, Salanga Nata and Samanta. For each of these nine ragas, he gave, the ascending and descending Saint Thyagaraja as a Composer notes and demonstrated compositions from the “Sangita Sampradaya Pradarsini.” Saint Thyagaraja was bom on May 04th 1767 at Thiruvarur in Tanjore District. He began the lecture demonstration with Sweta Ganapathim in Ragachoodamani, His parents were Ramabrahmam and Sitamma. His grand father Giriraja Kavi, mangala devathe in Marga Desi, Shri Guruguha Moorthe in Udayaravichandrika, a poet and musician has composed many yakshaganas in Telugu. Thyagaraja Namaste paradevatae in Devaranji, Navaratna Vilasa Vibhava Prade in navaratna had studied Telugu and Sanskrit. His songs are in Telugu as well as Sanskrit. vilasam. He presented “Anandaamrita karshini” in Amritavarshini. For Kalavati, In Thygaraja’s ghanaraga pancharathna krities, the text of the song in Nattai he presented “Kalavati Kamalasana Yuvati.” While dealing with Salanga nata, beginning with the words “Jagadanandakaraka” is in Sanskrit. The other songs he said this is a raga of antiquity having textual tradition at least from the 15th are in Telugu. century and presented “Avyaja karuna katakshi.” He concluded with samantam by Thygaraja’s compositions are called as Thygopanishad and are widely learnt saying Annamacharya used it very extensively. Subburama Dikshitar felt that this and performed in concerts. His style is lucid and the raga bhava is well portrayed raga was difficult for vocalists but good for the veena. This was refuted by Prof. in every composition. He has also introduced many new ragas to the camatic Janakiraman. He demonstrated briefly Annamacharya’s “Shaja vaishnavachara music world. varatanula” and gave the complete demonstration of pranatharti haraya of Sangathies are his specialities of his krities. The text gives scope to sing with Dikshitar. sangathies which enrich raga bhava and sahitya bhava. The pancharathana krithi Udayaravichandrika and Amritavarshini are the two ragas which do not have in Nattai “Jagadanandakaraka” first line of the text admits twelve sangathis (refer gita and tana out of these nine ragas In his inimitable style, Prof. Janakiraman Anubhandam B Sangita Sampradaya Pradarsini of Subbarama Dikshitar vol.5 said Devaranji is a wonderful raga and wish the raga popularity. Another notable (1903)1453 p. The sangati’s in this nattai Pancharathnam is full of Raga bhava remark by him was about the navarathna vilasam. He said this raga should be and sahitya bhava. In sangita Sampradaya Pradarsini vol.5 (1903) Anubhandam given credit for not having been noticed by many. B only four compositions are published with sangathies except varali kriti (1453- 1469). 4th January 2005 Saint Thyagaraja, one of the pillars of Camatic Music has sung more than Students from Teachers’ College of Music of The Music academy presented 800 compositions many of them in praise of Sri Rama and some of them on devotional songs. other deities. He has written three operas, Nouka charitham, Prahalada Bhakthi The last lecture demonstration in the series was by the Sangita Kalanidhi Vijayam and Seetharama Vijayam among which Seetharama Vijayam is not designate Vellore Ramabhadran on how to play mridangam as an accompaniment available. Among his compositions, six hundred and seventy five compositions to the main artiste in a concert. Vellore Ramabhadran with his more than 60 are available in text form but in performing tradition only three hundred and sixty years of experience dealt with the topic with all the care it deserved. The grand five compositions are sung by musicians in practice. old man of Carnatic music, Semmangudi once complimented him. and said he Thyagaraja’s Pacharathnas are performed now in the five Ghana ragas, Nata, followed diligently and was like a faithful wife. Vellore Ramabhadran presided Goula Aarabhi, Varali and Sree ragas. These ragas are known as “Ghana” ragas. over the morning sessions and V.V. Srivatsa, offered introductory remarks and The term “Ghana” is used for “Tanam”. These five ragas are used to play the concluding compliments. tanam on the Veena from the past. There are also “Chitta Tanas” in these five . • i ^ (9 9 • • ragas as technical composition for veena. Since Nata, Goula, Aarabhi, Varali ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ and Sree ragas are used to play Tanam they are known as “Ghana” rag as. From the above order and the Varali raga composition ‘Kanakanaruchi’ is not found. It the time of Matanga’s “Ghana, Naya, Desya” ragas classification in his work is in the Anubandam B. pages 1453-1474. They are written as .’’Keerthanam”. “Bruhaddesi” which belongs to 8th Century A.D. these five ragas are known as There is no mention of ghana raga or Pancharathna ‘kriti’ or Keerthanam. “Ghana” ragas. It is not known why Varali Keerthanam does not find a place in Sangeetha Thygaraja’s Pancha rathanas or five gems belong to the category of group kritis. Sampradaya Pradarsini along with the other four Keerthanams. It may be assumed The name “Pancharatnam” is given by great performers of the past and not by that Varali composition was not known to many musicians at that period. After the Thyagaraja. The rathnas or gems are nine in number and called “Navarathna” group singing of the Pancharatnam at Thyagarajar’s Samadhi on the Pushya Bakula and there is no referance for in the name “Pancharathna” in any scriptures. The Panchami day every year as a ritual of offering homage to Saint Thyagaraja, the reason why performers named these five compositions as “Pancha Rathnam” can Varali composition was known to almost all the musicians. be assumed that each of the composition in this group is a “Rathnam” - or a Though it is known as ghana raga Pancharathnam, among musicians, the precious gem. The structure, text, and melody are unique and captivating in book published by Nanganallur Sri Thyagaraja Sangeetha Samajam with notation the five compostions and therefore they are known as Pancharathana Keertanas. by Semmangudi R Srinivasa Iyer gives the title as “Sri Thyagaraja Swamigalin There is also the interchange of the usage of the term “Keertana” and “kriti”. The Pancharatna Keerthanaigal“ not as ‘ghanaraga’ but as ‘Pancharathna Keertani’ in compositions are called Pancharatna Keertanas as well as Pancharatna krities. the year 1975. The “Pancharatna Keertanas” reveal Thyagaraja’s genius, his mastery over The first composition ‘Jagadananda Karaka’ in Nattai (1453 p) in Anubandam the sahitya and sangeetha and his philosophy. The format or structure of the B in Sangeetha Sampradaya Pradarsini) has twelve sangathis in first line of the Pancharatna Keertanas are different from his other compositions. There is pallavi, pallavi and five sangathis on the second line ‘Jaya Janaki Prana’. The Charanam is anupallavi and Swama Sahithyam in every compositions. The singing of swara given as “swara sahithyangal” from which are can understand that the Charanams and sahitya for the charanas is said to have come from the time the Pancharatnas are sung as swarasahithya. There are variations in the order of swarasahithya from are sung in his samadhi at Thiruvaiyar from the year by great musicians as a how they are sung today by musicians which follow the book of Semmangudi group performance (.’’Goshti Ganam” ). Sreenivasa Iyer published in 1976. The following order is found in Sangeetha The singing of Swaras in the same manner by all the musicians assures the same Sampradaya Pradarsini: “Patantara” of the madyamakala swara sahithya. There may be slight variations in 1. Amarataraka the melodic part Pallavi, Anupallavi and the charanam after the Swama Sahithyam - in the patantaram but all the Swama Sahithyam are sung in unison by the 2. Indra Neelamani performers. At the Bakula Panchamai day at Thyagarajar Samadhi at Thiruvariyaru, 3. Karadruta Subha in Tanjore District the group singing of the Pancharatna keertanas by Vidwans 4. Srushti Sthithyam and Vidushis transposes the listeners to a different world. The Pancharatnam 5. Pada vijida compositions are sung in the Thyagarajan's Samadhi at Thiruvaiyaru Pushya Bakula Panchamai day as a ritual for the worship of Thyagaraja’s Anniversary 6. Purana Purusha which is unique and no other composers anniversary is celebrated as Thyagaraja 7. Sajjanamana Swamigal’s uptodate. 8. Omkara Panchara 9. Aganitha gunagana Pancharatna Keerthanas in Sangita Samprayadaya Pradarsini In the present version the second Charana “Nigama Neeraja” is not found in (Part V Anubandam B) Sangitha Sampradaya Pradarsini. The fourth charanam is 'Padavijita’. The third In the work “Sangeetha Sampradaya Pradarsini” by Subbarama Dikshiter, Charanam is S.S.P “Purana Purusha” is sung as 9th Charanam. Thyagaraja’s four compositions ‘Jagadananda’ in Nattai, ‘Dudugugala’ in Goula, The second composition is ‘Dudukugala’ in goula raga is published in ‘Endaro’ in Sriraga and “Sadinchene’ in Aarabhi are published with notation in S.S.P (p.1459). The song does not have sangathis in Pallavi and Anupallavi. ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS The Charanam is given as Swarasahithyangal in the Sangeetha Sampradaya In the modem performing practice “Pathi tha Pavanu” is sung as fourth Pradarsini. swarasahithya, “Hariguna” is sung as fifth swarasahithya as found in Semmangudi Srinivasa Iyer’s book (1976). The order of the swarasahithyam is as follows in Sangeetha Sampradaya Pradarsini. The fourth composition in S.S.P. is “Sadinchene” in Aarabhi raga which 1. Sakala Bhootha in modem practice is performed as third composition of Pancharathnam. The 2. Chiruta Praya Charanam is given as “Samayaniki” followed by Swarasahithyam’s in the order. 3. Pradanamula 1. Devaki Vasudeva 4. Tanamadini 2. Rangesudu 5. Teliyani 3. Gopi Jana 6. Drushtiki 4. Vanitala 7. Chakkanimukha 5. Parama 8. Manava 6. Hare Ramachandra 9. Satulakai 7. Sree Venkatesa In the present performing tradition the ninth Swarahithyam 'Sakulakai’ is not There is no change in the order in the present tradition in swarashithyam. sung as the 9th Swarasahithyam but as ‘Charanam’ (Mudra Charanam). In the All the swarashithyas take Samayaniki as Upapallavi. At the end the first line samayaniki is followed by the Charanam words “Sad baktula’ and ends up with Swarasahithyam part, the first swarasahithyam is “Sree Vanitha” which does not the Pallavi “Sadinchene”. find a place in Sangeetha Sampradaya Pradarsni. It is given in the book by Semmangudi Srinivasa Iyer (1976). There is no change or alteration in the order of the swara sahithya or the mode of singing in the present performing tradition from the Sangeetha Sampradaya The Third composition figure as “Endaro Mahanubhavulu” in Sriraga in the Pradarsini in this composition only. Sangeetha Sampradaya Pradrasini and not the Aarabi Keertana “Sadinchene” as one performs as third composition in the “Pancharathnam”. In S.S.P, there are As Subbarama Dikshitar has not menitoned ghana raga Pancharathna Keertanas four sangathees on the Pallavi of “Endaro” . in his Sangetha Samradaya Pradarsini, the order of compositions figure as Nattai, Goula, Sree and Aarabhi and Varali does not figure as Pancharathna The Charana swara sahithyam is given first the “Premamu” the mudra charanam Keertanams. Varali Keertanam “Kanakanaruchi” has been published all the works of Thyagaraja which is in modem practice is sung as charanam at the concluding have come after Sangeetha Sampradaya Pradarsini. Therefore there is no question part after swarasahithyam. of authenticity about varali Keetanam of Thyagaraja as whether the composer The order of the swarasahithyam is given as follows: about is Thyagaraja or not. 1. Samagana The names “Pancharathnam” and “Ghana” raga Pancharathnam” have come 2. Manasa into use only from middle of the 20th Century. May be when they are sung 3. Saraguna as “Goshtiganam” at Thiruvaiyur Samadhi by great Vidwans and Vidushi-s. The 4. Hariguna Pancharathna Keertanas of Thyagaraja are monumental compositions. He is the 5. Pathitha greatest tone poet of humanity and his immortal compositions are soul stirring 6. Hoyalumeera with raga bhava and sahitya bhava. It can be said tha the structure or format of Pancharathna Keertanas are unique from the other compositional structure. They 7. Paramabhaghavata are veritable treasures of camatic music. 8. Nee menu Nama 9. Bhagavata •••••• ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ The Ragdngaraga-s in the Sahglta Sampradaya Pradarsini of CaturdandTprakasika. Even the Ragalak$anam of Muddu VenkatamakhT appears to keep a ragangaraga distinct from its meja, since any raga is mentioned as a Dr. R. Hemalatha janya of a meja and not of a ragangaraga. The term ‘Raganga’ denoting the meja-raga or the raga, which is the ‘name-giver’ Eventhough the term ‘Raganga’ is used for the first time in the Ragalak$anam, for the me|a, is first seen in the work ‘Ragalak$anam’ of Muddu VenkatamakhT, it is only in the SangTta-Samprad3ya-PradarSini of Subbarama DTk$itar (1904:3,30) printed as an appendix to the CaturdandTprakasika of VenkatamakhT published that the explanation for the term raganga is given. The explanation given by by the Madras Music Academy. After the formulation of the 72 meja scheme by Subbarama DTk$itar is as follows: VenkatamakhT, 19 mela-s alone were of use in classifying raga-s on the basis of “The Raganga-raga-s are those raga-s that are associated with the grama the svara-s these took. There were no raga-s which could be classed under the raga-s. These are sampOrna. These are janaka raga-s and are also mela-s. remaining 53. Venkatamakhi himself states that only these 19 meja-s have popular Subbarama DTk$itar in his SangTta-Sampradaya-PradarSini, under each raga-s employing them. After the period of Venkatamakhi, probably following ragafigaraga gives a lak$ana sloka, mOrcchana (comprising arOha-avarOha), a gTta his practice, other scholars must have referred to a meja with the name of the attributed to VenkatamakhT, a tana for some of the raga-s followed by one or most popular raga which was associated with it, and found / created raga-s, with more kTrtana-s of Muttusvami DTk$itar and also songs of other composers. The definite names, for the remaining 53. This must have resulted in the identification mOrcchana given under a raga-s sometimes does not coincide with the lak$ana of a meja with a particular raga. sloka and in some cases the prayOga-s found in the compositions do not reflect the It is in this period that the arOha-avarOha as a lak$ana of the raga emerged phrases suggested by the mOrcchana given. From a study of the mOrcchana and and this changed the definition of a melakarta. There developed two schools the compositions one gets a feeling that there seems to be an underlying formula of thought. One felt that a melakarta should have an arOha-avarOha in which in the formulation of the mOrcchana and in some cases the melodic progression either arOha-avarOha should be sampurna. The propounder of this seems to have of the compositions seem to follow an idea. been one Muddu Venkatamakhi, and this was followed by Muttusvami DTka§itar, In this study, to explain this fact, a set of ragangaraga-s is being taken up for Subbarama DTk$itar and others. This school used the term ‘ragangaraga’ to refer discussion. Among them some are vivadi raga-s and some non-vivadi. The reason to a melakarta. for taking up vivadi raga-s is that, Subbarama DTk§itar is the first author to refer The other school felt that in a melakarta, both the arOha and avarOha should to vivadi as a dO$a (demerit) and prescribes methods of overcoming the dO$a. be sampOrna and the svara-s should occur in a krama or regular order. It is not Hence it is imperative to see whether the arOha-avarOha and the compositions clear who the propounder of this view was, but this view is seen to be adopted given under the vivadi raga-s in the SangTtasampradayapradarSini help overcome in the book Sangraha-cDdamani of GOvinda. And in this school a melakarta was the dO$a. The vivadi raga-s taken up are those of the first and seventh cakra-s. The also known by the name ‘Meladhikara’. idea is to see if the principle followed in the vivadTraga-s with suddha-madhyama In these two schools raga-s were being created to make the 72 mela scheme raga-s are also maintained in those with prati-madhyama. functional. In the DTk$itar tradition or the Kanakambari system, 20 raga-s The non-vivadi raga-s taken up are those of the 10th cakra. These raga-s have mentioned in the previous texts were retained and 52 raga-s were created. In the svara-s catusruti-rsabha (pancasruti-r$abha) and sadharana gandhara and prati- the Kanakangi tradition six raga-s namely, TOdi, Ma|avagauja, Sankarabharanam, madhyama in common. These raga-s have been chosen to see if any common Nafta, Varaji and Kalyani all the other 66 raga-s were created. approach has been evolved for structuring the melodies. As said earlier, the term ragangaraga in the sense of a melakarta is seen for Viv&di r&ga-s the first time in the R3galak§anam portion appended to the CaturdandTprakasika of VenkatamakhT. Since VenkatamakhT has mentioned only 19 meja-s and he refers Subbarama DTk§itar, while explaining the vadi-vivadi rule states that, in the to a ragangaraga as a part of Grama raga-s, it is evident that the R3galak§anam combination of the svara-s suddha-r$abha and suddha-gandhara, the vivadi svara portion is that of Muddu VenkatamakhT and not that of VenkatamakhT, the author gandhara should be omitted in ascending movements. During the descending THE MUSIC ACADEMY MADRAS THE MUSIC ACADEMY MADRAS movements it should be rendered with the ‘digujaru’ gamaka (the second variety of Kumbhini : sa ga ri ga ma pa ni da ni Sa - Sa ni pa ma ga ri sa. ‘ullasita’ gamaka) and ‘oraiyika’ gamaka (the second variety of ‘kurula’ gamaka). Ravikriya : sa ga ri ga ma pa ni da ni Sa - Sa ni pa ma ga ri sa. Now let us see whether the formation of arOha-avarOha and the musical forms The main features of the arOha and avarOha of these raga-s are: given in SSP under these raga-s conform to the remedial measures stated by Subbarama DTk§itar. 1. Three of the raga-s namely DhalivaraH, Kumbhini and Ravikriya have their purvanga in the arOha as ‘s g r g m’. The raga Saugandhini has ‘s r m’, The rdga-s of the first and seventh cakra the raga JaganmOhanam has ‘s g m p’ and the raga NabhOmani has ‘s g r m’. The raga-s of the first cakra are kanakambari, Phenadyuti, Ganasamavarali, Bhanumati, ManOranjani and TanukTrti. These raga-s have the svara-s suddha- 2. In the avarOha, the raga-s all of them have a krama pOrvanga ‘mgr s’, r§abha, suddha-gandhara and suddha-madhyama in common. In this discussion the except for the janta gandhara in Dhalivaraji. pOrvanga alone is taken, since only in this portion the svara-s are common. Now, from the above details it can be summarised as follows: The arOha and avarOha of these raga-s are: The raga-s of first cakra omit gandhara in the arOha, whereas among the raga-s Kanakambari : sa ri ma pa da Sa - Sa ni, da pa ma ga, ri ri, sa. of seventh cakra, only Saugandhini omits gandhara. In the other raga-s except in Phenadyuti sa ri ma pa da da pa ni ni Sa - Sa ni da da pa ma ga ga ri sa. JaganmOhanam, r$abha is vakra (s g r g m). In the raga NabhOmani it is vakra (s Ganasamavarali sa ri ma pa da ni Sa - Sa ni da pa ma ga ri sa. g r m), but the gandhara is not repeated as in the raga-s DhalivarajT, Kumbhini Bhanumati sa, ri ma pa da ni Sa - Sa ni da pa ma ga, ri sa. and Ravikriya. In JaganmOhanam, it is ‘s g m p’ which is interesting because, it ManOranjani sa ri ma pa da ni, Sa - Sa ni da pa ma ri ga ri sa. omits r$abha and not the vivadT svara (gandhara). But Subbarama Dik$itar also TanukTrti sa ri ma pa ni Sa - Sa ni da ni pa ma ga ri sa. gives another remedy which is that the chaya of vadT, samvadT or the anuvadT svara can be given on the vivadT svara to make it pleasing. In that case, if the The main feature of the arOha and avarOha of the ragangaraga-s of the first r§abha is made vakra, it can be said that the gandhara will be slightly raised from cakra are: its position and it would have the chaya of the sadharana gandhara, and in turn 1. All of them omit gandhara in the arOha. the vivadi dOsa is rectified. 2. Regarding the sequence of svara-s in the pOrvanga part of the avarOha, it is With regard to the remedial measures given by Subbarama DTk$itar, the vivadi found that all of them have minor differences. For Kanakambari it is seen svara (suddha gandhara) is not vakra in the raga-s of the 7th cakra, whereas as ‘m g r r s’ (a combination of dTrgha and janta svara-s); for Phenadyuti the suddha rsabha is vakra in the above said three raga-s whereas the raga the gandhara is janta ‘m g g r s’; in Ganasamavarali and TanukTrti it is JaganmOhanam has ‘s g m p’ and in the compositions the phrase is seen and in krama ‘mgr s’; in Bhanumati it is dTrgha gandhara (m g , r s). Only in addition in the gTta the phrase ‘s g p p’ is seen which seems to be more interesting. the raga ManOranjani the pattern of svara-s is vakra ‘m r g r s’. In the kfti, the phrase ‘g r g m p’ is also seen. Another interesting point is The ragahgaraga-s figuring in the seventh cakra are that while giving the gamaka signs, Subbarama DTk$itar gives the ‘orayika’ sign above the gandhara while descending, but the ascending gandhara is not given Saugandhini (37), JaganmOhanam (38), Dhalivaraji, (39), any gamaka-sign. But the madhyama which follows the gandhara is given the NabhOmani (40), Kumbhini (41) and Ravikriya (42). ‘tirupa’ sign. The arOha and avarOha of these raga-s are: One interesting aspect about the vivadi raga-s (Chayanata, Varaji, Hejjaji, Saugandhini sa ri ma pa da Sa - Sa ni da pa ma ga ri sa. Samavaraji) which are mentioned in the earlier texts is that they have almost the JaganmOhanam sa ga ma pa da da ni Sa - Sa ni da pa ma ga ri sa. same laksana in the SahgTta-Sampradaya-Pradarsini. So it can be inferred that the Dhalivaraji sa ga ri ga ma pa da ni Sa - Sa ni da pa ma ga ga ri sa. Ragangaraga-s would have been formulated on the basis of the earlier texts and in NabhOmani sa ga ri ma pa da pa ni Sa - Sa ni da pa ma ga ri sa. turn Subbarama DTk?itar would have explained the vivadi dO$a and the remedy. ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ the arOha prescribed for the raga. Only in the raga-s ‘JaganmOhanam’ and Finally it can be said that the ragafigaraga-s cannot be rendered by having ‘Dhalivaraji’, ‘s g g p’(and ‘sgm p’) and ‘s g r g m p’ are respectively the arOha-avarOha as the base, but only after learning and understanding the seen in the ascending movements in addition to the above said phrases. compositions given under each raga. 4. The krti-s to some extent seem to follow the contour implied in the arOha and Now the similarities in the aroha and avarOha of the raga-s of the first and avarOha. In all the raga-s except in Dhalivaraji and Kumbhini, the phrases seventh cakra-s are as follows: given in the purvanga in the aroha are seen and in addition, phrases like The.raga Kanakambari and Saugandhini have the same set of arOha and avarOha ‘d g r g m p’ are seen (in Saugandhini and Dhalivaraji). One interesting except for the prayOga in the avarOha in the raga Kanakambari. point is that the phrases ‘s p p’ and ‘s pmp’ seen in the gTta and in the tana are not seen in the krti. In the raga Saugandhini the phrase ‘s r m p’ The pOrvafiga in the avarOha of all the raga-s is krama except in ManOranjani, is seen only in the svara passage. in which the gandhara is vakra. 5. In the sancari also phrases reflecting the aroha are seen and phrases ‘spm Thus the raga-s having the combination of Suddha-rsabha and Suddha-gandhara, p’ and ‘s p p’ are seen sparingly. have their arOha and avarOha structured in a manner that conforms to the ‘dO$a- nivarapa’ method prescribed by Subbarama DTk?itar. In other words, the raga-s The GTta-s and the Tana-s in these raga-s have a similar approach. Likewise of the first cakra omit the vivadT svara completely in arOha. In the raga-s of the krti-s and the sancari-s have a similar approach. The phrases that reflect the the seventh cakra, the vivadT svara is made vakra in four raga-s, and as already aroha and avarOha are seen more in the latter than in the gTta and in the tana. stated the vakra svara does not repeat in NabhOmapi. The raga Saugandhini Thus it can be stated that probably these compositions belong to an earlier period omits gandhara, whereas the raga JaganmOhanam omit r$abha. This is interesting and the krti and sancari should be from a later period that is after the formulation because, when the r$abha is omitted it would result in the misinterpretation of of the arOha-avarOha. suddha-gandhara as catuh(panca)oeruti-r?abha, since the positions of these two Now coming to the remedial measures given by Subbarama DTk$itar, as said svara-s are same. Regarding the avarOha, all of them except ManOranjani, have earlier, except in the gTta in the raga Bhanumati, the compositions in the other krama or straight phrase ‘m g r s’, whereas the raga ManOrafijani has ‘m r g raga-s of the first cakra, the phrase ‘s r m p’ given in the aroha is seen clearly. r s’. In this the avarOha does not indicate any gamaka sign, but in the raga-s In the gTta in Bhanumati raga, the phrase ‘s g g r m p’ is seen. Kanakambari and Bhanumati, the gandhara is given as dTrgha in order to facilitate Except in Dhalivaraji gTta, in all the other gTta-s, the phrase ‘s p p’ is seen. In an easy rendering of the vivadT svara. the gTta in the raga JaganmOhanam, the phrase ‘s g g p p’ is seen. Regarding the Now, how these raga-s of first and seventh cakra have been treated in the avarOha, the krama phrase is seen in the compositions and in the raga ManOranjani, compositions given in the SangTta-sampradaya-pradarsini of Subbarama DTk$itar the phrase ‘m r g r s’ is seen in the compositions. In the compositions in the can be explained as follows: raga-s of the seventh cakra, the phrases ‘p m p g r s’ and ‘pm p rg rs’is In all these raga-s, in the compositions, the phrases in the avarOha are seen seen in all the compositions. Regarding the gamaka given by Subbarama DTksitar, while descending, the gamaka sign is given only in the krti and in the sancari, clearly. and in which the gamaka sign for Orayika gamaka is given for gandhara while 1. In the raga-s of the first cakra, the pOrvaftga is seen clearly, except in the descending. But in this the gamaka sign is given by Subbarama DTk$itar and it Bhanumati raga gTta, whereas the phrase ‘s r m’ is not seen and only the may be inferred that the gamaka sign would have been given on the basis of the phrases ‘s g g r m’ and ‘p m r g r m’ are seen. remedial measures given. 2. In all these raga-s, in the pOrvanga, the phrases ‘s r g r s’ and ‘s g r s’ are Now we take up the non-vivadi raga-s, namely, the raga-s of the 10th cakra seen. namely the 55th Samaja, 56th Camara, 57th Sumadyuti, 58th Desisimharavam, 3. In all the gTta-s and tana-s, in the pOrvanga region of the ascending 59th Dhamavati and 60th Nisada. 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UtQ&tTQSTSSr rflaessr®, &p$em, euturrarrewnh, 13. OPibaveSw 14. £ 6 9 9 /1 _A 15. m ^ u i- 26. i Qeuprfi*® ^lu^uLiesH—iurrm goz/ffl «£//5/A/5/A6/r. im w 1. gj/Qj&sib 2. (ipiun0lt 3. Gprrasi^eo 17. prfk/miSl 18. QprreSlwrrenMi 19. A £ /T 6 n > s g 7 2 0 . efo€urjm£i& Qfiofisy, 4. Gprr^engtLftii Qurrq^esisnu^ih (Time & Resources) ^)L_i_u5)(5)^el), 5. Qeupn5l&3iafieir>iuu 21. y£o]rf$$4m 22. y^rteyeij?&,&* 6 urfipgeo. 25. eriturr 26. U £ £ l f l . J 27. tjrr^pio.3 28. G3rj\j§ 29. wm&eorr&np 30. £ 4 61/6TT 31. L D /5 /A 6 U 22. tysSl jBirdie enooiM r 33. GsorrsSl 34. Gi—r^eoevrfl 35. £ ?/ 5 ^ - / j £ , gjit&, u$rr§), G^rtuueni—, lurr&nmuuwi—, 0£)69)£ruu69>i_ arrsomLuosH— (LppoShuan. lo/tyta ynami&^ih ffleo urruppiEiasifieo arT6ssruuL-L.m. erQggi&aniL®: ermp LQJufofb OKDMMMir utjup$>ix> a/filrkGamsn a £7ytld /T/rAAfflfp/ib ld/b/A6U srm p urjuppu) m affiarr erm p 8,tjmn prT8>$S)§)}Lb urri—U LuLi—Gsr. (Qi—, «^si5), eSlup&rtemr crswyjj/ urjuppiiiaien qpompi ojanauuQti. (0>l_ uurruppisiaefT A££ (Qi—, errsu a (g>i_ erewgy jg)06i/69>AL/L/(5>ii>. e ^ u , (9i$ id uuu^nauM h 9t fab uuujfe^rHaM n n-££ii> upup$$$ [5ld<&@ j§)fiwgl/ £>eni—**uQujpiii> utyLsp^m*9tt S.S.P. uSlepjiA $mBip &l$ ajifassriEiaetr ^ijm ri—mb Sangita Kalanidhi M.S. Subbulakshmi (1916-2004). ut*^u9epui> Practical Course Book II - P.S. - PI42 Slasu—*Sl&trpasr. ^anau grrerra 8,nGssruu(3i&GsrrpQST. ^euptfiasr eSlojrjii) i3meu(nju>mpj : ^j**rreo^eo utyup^maenett Lakshmi Vishwanathan f£jtu(bt$uj6uri*erT. With a profound sense of irreparable loss, the Music Academy dedicated the 1. Qeumail—il£), 2. prTLDefoaimjSl fSiLSlptf, 3. G*mjD$ *mi*enryiuiuif ^jaarreo^eb Slant—*(§us seventy eighth conference and festival to the memory of Bharat Ratna, Sangita urju$<£t*i*en ^anwp^ianan ^jrr*iii*eiT. Kalanidhi, Dr. M.S. Subbulakshmi. The festival was inaugurated on December 19th r$m , Q*6fT6fr, surrmnfi, ^jjTiS), yaf, QiA&Quartaffi, ayn~u(S<3asfl. ptrtjmuansr Q*cnanatt, Qaatrcnatr, 2004, by Honourable Justice Sri. K.S.Bhaktavatsalam. 6UT)Lb**6uesf). Quenrerfl By a fortuitous circumstance, the internationally renowned painter, M.F. Hussain, an ardent admirer of M.S.Subbulakshmi and her music, had just unveiled his inimitable 3§IGrorTU)L-(LJii), ^larvrj prflqami— aj*ih (tp&jaShuasr. ^jeup^dtt 6^75 Slaoaupanp lunast $iuQurT(t£§i portrait painting of her, in Chennai, at the Lakshana gallery. By kind courtesy of urruf. eSlen*($SlQn)m. Mr. Hussain, and the gallery, this remarkable painting of the great “nightingale of 1. an*aurrtj urjurjjgih - ptttjmuam Q&arranart. Carnatic music”, adorned the stage of the Music Academy on the occasion of the 2. sLiDtr Sjlav* utjupfbih - (SLD&Querreifl. inaugural function. 3. - Qtmbff*eu(otf The first woman to receive the prestigious title of Sangita Kalanidhi, in 1968, CtDjDumreDai guoiaar. M.S. Subbulakshmi came to be universally perceived as the most revered musician 1. &rii&9> fibiSlrrgmu urjaiiWledl - *uutjmL of the nation. She was also the first artiste to be honoured with the highest national 2. Tanjore as a seat of Music - Dr. Seetha award, the Bharat Ratna, in 1998. It was a fitting crown for a great musician who had 3. The Chaturdandi Prakasika of Venkatamakhin received innumerable titles and awards for her long and unmatched service to music. 4. Musical forms in Sangita Ratnakara • N. Ramanathan From her first concert at the Music Academy in 1932 when she was only sixteen years 5. Nartana Nirnaya - Vol. II of Pandarika Vittala old, to the autumn years of her career, she not only enriched the institution with the 6. {bifiip S^aufiami*t*drt Q$rr(§£I 2 - ^amammLomaou udo*anab* wealth of her musical expertise, but also contributed her might to raise funds for the 7. A Practical Course in Karnatic Music Bool II - Prof P. Sambamurthy building of the present auditorium. The words of India’s Prime Minister Jawaharlal Nehru as he presided over M.S.’s concert when he laid the foundation stone for the auditorium are etched in gold in the history of Indian music. He repeated what he had said of M.S. earlier in Delhi : • • 9 ••• “..who am I a mere Prime Minister to say anything about a Queen, the queen of songs?” M.S. and her husband Sri.T. Sadasivam were lifelong friends of the Academy. Rather, one should say that they were part of the family of the Academy. Even when they were momentarily pre-occupied with the Tamil Isai movement in the forties, they always kept an eye - a supportive and committed eye - on the Academy. Without exaggeration, one can say that they were a power-house of influence on the course that Carnatic music would take right through the twentieth century. Many a Rasika would recall with awe, the dignity, grandeur and grace with which M.S. conducted ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------herself when she received the Sangita Kalanidhi title. She virtually opened the doors Gamakas Notation in Sangita Sampradaya for recognition of women musicians in a male dominated bastion. PRADARSINI One can recall vividly the graciousness with which M.S. and Sadasivam would be present at the Sadas of the Music Academy, year after year to applaud and bless Smt. Vidyashankar the Vidwan who received the Sangita Kalanidhi title. The choice of the theme for this year’s series of lecture demonstrations centering M.S.’s concerts generated not only funds for the Academy but also re-iterated around various aspects dealt in Subarama Dikshitar’s Sangita Sampradaya Pradarsini is the highest aesthetic values inherent in classical music. Whether she introduced the highly laudable - a homage celebrating the centenary year of the Pradarsini published largely unheard Mela Raga Chakras of Maha Vaidyanatha Iyer, a completely new in 1904. Annamacharya composition, or sang a simple Tamil spiritual ditty, she filled the air with the purity of melody, crispness of diction and total commitment to classicism. Pradarsini means exposition and Sampradaya tradition, and Sangita music. So, Every season that she sang, she introduced a hitherto unheard repertoire of the Trinity’s Sangita Sampradaya Pradarsini is an exposition of musical tradition. Dikshitar’s classic compositions. Her Sankarabharanam raga alapana was truly an adornment for Sampradaya Pradarsini is a highly valuable, exhaustive, monumental treasure gifted to the Academy’s stage. She would soar to great heights like an unbridled bird, and South Indian Music, in which he deals with various aspects such as lakshana, Iakshya, touch the heavens, taking her audience with her. Whether it was Tyagaraja’s “O theory, practice and the art and science of music. Rangasayee”, or Syama Sastri’s “Devi Brova”, M.S. gave each song her magical Notation is a fairly modem innovation. The origin of our music is traced back to touch, while the avid listeners of the Academy feasted on an experience of their the sama-veda. the hymns of the saman-chant were solemnly recited, listened to and life-time. Thus she set high standards for others to follow. absorbed in mind and heart following traditions of sruti and smriti. Sruti is that which is heard and Smriti is that is remembered. The were not written down. The musical presence of M.S. on the Academy’s stage lent the institution Veda-s unprecedented prestige throughout the twentieth century. Furthermore, it gave the Learning along this lip-ear method is rather difficult. In course of time, later student young aspirants of music pride in the fact that they were in the company of the and artists started to use notation as a guide to memory. Of course this had its own greatest. She was truly a source of inspiration for many musicians. As for rasikas, benefits. For it definitely enriched their knowledge and enlarged their repertoire. her music provided them spiritual bliss and unblemished joy. She lived for music, and generously contributed to many a worthy cause. The Academy dedicated its festival Coming to the notation part, I would like to say Subbarama Dikshitar has explained to her as a fitting tribute to one of the greatest legends of Indian music. the gamakas with vina technique, with one finger or two finger placement on the strings; he has explained these with notations, with gamakasigns. To capture the nuances of our classical music, scholars, musicians and musicologists have resorted to signs for music to be written down. • • t 9 Q 9 9 • • The gamakasigns are of great value to students and performers as it enhances their practical knowledge of how the Svara-s are handled. Hence notation is an important part in learning music. A boon of good fortune was bestowed on me by the tutelage under my gum Sri Syama Sastry, the great-grandson of the illustrious composer, Sri Syama Sastry. With affection and care, my gum taught me over a hundred compositions of the Sastry family. Smt. Vidyashankar, a musicologist and a well-known veena artiste is a direct disciple of Syama Sastri tradition. ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ It was highly inspiring. While learning, I was not allowed to take down in writing even Kampita means a shape or oscillation. So this is the beginning of the gamaka-scale. the sahitya, text of the compositions. With all innocence and zest of a sixteen-year-old Hence Dikshitar starts with Kampita Definition form the Pradarsini: college student, with paper and pencil in hand, I pleaded to let me jot down at least 1. aabtSpib. o&anasvruSleo gK?a»gpni) epri eh)ajrrewprrear$$eo em Passing on to the third variety of kampita, this is observed on the svara itself which The next gamaka is spurita brings out the raga bhava: (demostrated) Definition from the Pradarsini gaaga gaaga fWLfflpib : ^GrrrTQiDemSiSljLDUsrTiLJLj Gurr@Lb epeuQeurr(^ eiveurrrsiaeiflgjLb Bhava raga talamodini (in Kalyani kriti of Dikshitar) effenemuHleomiSleyiLb #nrfrr&§)evrTu5)es)iiii ^rjemt—rreugi erveur7£$eo ^uj-UUgiGeu ervLfrfl^LDrr^ib. eruuuf. Qiuerfleo, e&enemuSleo erv erv enmeniib Q/rnLevu— erveurrpempu iSlu)-a(8jii)Gung/ suL^leiSlrremev rgleyrrp This oscillation on ga itself gives the full svarupa, the essence of the raga Kalyani. effiLuf.§i]U) pQeSljeineo optlg) eSiLuf-gnib epGp arreogtjjleo eneuagia Qarreisr® (yxseo eyiLg erven rrg>6S)£ We need not go up or down. So, in notation, this gamaka can be represented with a i£iLi^. f£laprr$ e3L-i^.e&(i^^ib. &L-($ieSlrjaneo en_maeo p^leSIrreneo lclL($iQld®£&> i£iL($ii—drr single wave above the svara. Thus the three types of kampita: pQieSlpeneo eyiLgj effiLisj-eo ^uf-uugiGeu. QieueBgLcrraGeu mpp {§)0i L«b)l_ erveurj-ervyiflgiEjaesmu 1. From the higher note '— (Three waves), Gu&& QffiuiLjib efil$i5i&enerT Q&nerrai. 2. From the lower note - - (Two waves), 3. On the note itself - ^ (Single wave). erv erv (ipgetiltu ^Gprreyema&ipwibrTiueiityih ^priLeeu— erven rj ervLfrfl^iEixemerT eflemewniSleyjiii &mfrr$$eyiii) Gu&ibGungi <£/($)££ meuij$G$n($i Gu&ib. fL.<&npemu> ervi&em, rflewrfi, The last variety can be observed in the rishabha of madhyamavati-raga; ri rii ri: (jfi&ieSlptLrT&Geu mpp QjcnLatU— etvenijiEi^ierySi^uD ^rfilrhgi Q&rrerra. eivqffl$ib eraip Kamakshi lokasakshi (Syama Sastry) erv^rrevr^eo Gur^enm erersrp <$rt eSlaevuLDira# GlerTeogySlrDmiadT. Dharmasamvardini (Mutthuswamy Dikshitar) (As Bhagirathi reads, vina is played to describe the tapping of sa sa ri ri) Dikshitar Chelaluvameera (Tyagaraja) has explained this technique as vina-gamaka oriented. When you pull and tap, the jantasvara-gamaka is experienced. Dikshitar explains this in a beautiful way. Anupallavi of Alakalella Spurita actually means throbbing. Dikshitar gives the sign of three dots as in the sign therefore. As we use dots over the svara-s to denote the higher octave tara-sthayi- If we want to learn the exact structure of the gamaka-s we need to go no further than svara-s. We can join the three dots and give the sign as triangle A over the svara. the authentic versions of the mighty compositions of the musical trinity. From these, we can learn precisely what the gamaka-s are meant for and how they are administered. Later, Dikshitar says in pratyahata They are very expressive (demonstrate Madhyamavati rishabha; Alakalelladagagani) iSljpturr&idpii) (u itf>ujJ6i/nf,tb) : v ^iGuGjrran)mr&£ljt£>LLrT& eu($ii> speuQeurrQfj QjrriLem— Tyagaraja has immortalised this rishabha. If this rishabha in Madhyamavati - raga efvoi£r/5/ There are so many other pictures that flash in my mind: but I do not want to go The finger technique of skipping is described. Actually pratyahata is the reverse at a tangent to my topic. or avarohana form of spurita which is janta-svara in arohana form. Though we have ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS so much of presentation in the vina technique, the sound produced is the same. So, w erueupiii&etfidsr Q&rtaenauSlev ejx$ erueurrpemp ^l(Lp&$u (Glprr&Si) iShsj-uuQp $(iyuih *3ieoeygi we cannot call this a separate gamaka. Dikshitar gives a note later. Qprr&@ eTfaruuQiib. afcncraniSleo eru (p^eorrssr ^6uGrrrrQmmr eweurriEiaenen ojrT&lSi(§ub Quirrp*i w w w w w &-£rr/r«9«rii> : ($ eru arr), (rfl urr), ($ eru rfl & la uit), ($ eru rfl eru). v3 l$rt&&UuiTG0 tG lasv mevrjw ^ 1 $ ^ jiL u ld it ilju G u ^ ia . B-prrtjemib : eru rfl eru, $ «ru /#. ^jajafilgLcrr&Q oj iA pp QlcriLem— erveurj iS\rj$iurT&rT$mi9>es>etTU iSluf-a^iis. In Sankarabharana-raga, when we play sarigama, the ri is given just a distinct stress (demonstrated). This is nokku. The sign given is a beautifully written 'w'. We He says, a higher note is heard sometimes. I was pondering much over this as to see how his gamaka is played with two fingers. We can produce this by pulling with where we can get the higher svara in janta-prayoga. Later it struck me that in Adi-tala one finger also. But for aesthetic presentation, we need two fingers. I feel that the 'w' Kalyani varna, sa saa sanidari sa-ninidadapama, the second phrase ninidadapama- we letter-form is a very appropriate sign. This sign is presented over the svara as usual. play the second svara nini as niisani and da as daanida with the gamaka, touching In the next two gamaka-s, we have the introduction of anu-svara-s\ these are very the higher svara, pulling the in between sa and ni on the previous svara-s, ni and da important like the people who work back-stage. They give all strength and colour, but respectively. We do not play the phrase in the ordinary janta-svara-prayoga, touching do not appear on stage. Similarly these gamaka-s for which anu-svara-s, are provided, the lower note. So I concluded that this gamaka of janta-svara in avarohana-krama are not pronounced (demonstrated). When we say pa-ma there is another pa touching or the descending order comes with a gamaka-sambandha form. So the pratyagata in between the svara-s i.e., before reaching ma, a soft another pa is heard---- this can be represented with the sign of an inverted triangle over the svara "V". is anu-svara. Dikshitar, in his notation, presented this in a smaller type between the fA summed-up presentation of the vina technique of spurita and pratyahata: in two svara-s. Here I suggest this anu-svara is written just above the line (between the spurita, i.s., while playing the double notes in the ascending order, the second note svara-s) with its sign, as we do not pronounce the anu svara when going through is to be tapped; in playing sasa, the index finger is placed on the lower note nishada, the svara-line. The sign used for this gamaka-ravai is an inverted V letter over the and without lifting this finger, the middle finger is tapped on the shadja note while svara. plucking. In pratyahata while playing the double notes in the descending order the (i) jsmsu a erG&epiLA epri »rrerufirresrf,^e6lmrr^ i i£iL(S>i—esrrreugi ifiiLuf-etileoeurTiAevrrQjgi 8p Srjfienp technique is different. First the index finger is placed in the shadja note. This is QjL-gjieMi pQieBrjecrreu GeuaiAmu prsfianiu ifiiLQiaigi rreneu eresruu($itA. quickly skipped back to the lower nishada without lifting up the finger, while the AAA middle finger is tapped down for the second emphasis, while plucking in gamaka- B-pirposmA : uuiA,LALA a, rfliftao. sambhanda, the higher note is pulled with the two finger in the note.] With or without plucking, keeping the finger on the svarasthana fret, and then Here, the importance of gamaka-notation is felt; so also gamaka-sambhandhe and with a fast plucking, lifting up the finger which is on the in-between svara gives the janta-sambhandha varieties. gamaka-ravai. It is given with an inverted letter v as down. Here I would like to recall an incident which led me to thought provoking aspect The second gamaka with anu-svara is khandippu. of gamaka; in my young age, I had learnt the Suddhadhanyasi-varna of Sri Mutthia (ii) &6Btsnii-ULi V eparjpi, (Deafer® *3ieoeygi tyxmpi amsoaeifle6lriTfrf@i pnfdguih i£lL®l—&st §>(9 Bhagavatar from a book. Years later, I heard the rendition of this varna by the disciple *[T6ro$rT«sr$§le5lisgi erG&miii) 6^75 $ p &pdu$rresr$§ip<§ $)prBJ&) B.i—Gesr iSiLisf. epGpgyii> /fleoeomAQ) of the composer. In the second line of the pallavi, the phrase papa-mama-gaga- grCfegfuii> QevQprrqy dp &rjetu$rresr$$prg) i£iLis^wwmA&) ^piii^eugjGeu ^eisw^uq eTesruuQtA. sasa was rendered by him as panipa-mapama-gamaga-sagasa. I had practised this V V V phrase in the normal janta-svara-prayoga as papa-mama-gaga-sasa. Then I realised c_ <5r777«jwLb : uiA&,ua rfl, urfleru that this janta-svara phrase is presented with the gamaka of the higher note, which justified Dikshitar's explanation of pratyahata. I also realised the value of guru mukha- (iii) aewrq-UiSlm ^pefori—rreugi <3u$ la, GlaQo) « 6w rifL /L / « 0 Q&rmrreareSl&QiA Qjijsfar®, tpdirgu paatantara. ^leoeqgl prrar(§ &rjm&effleSl(rf)p$rT8i§yiiA i£iL($iL-m 6^9 ^ireru^rrenriSeiSIri^ir^ i &($$$£iii> fprf dp 9trjtt6jbrrm$$p(§ Qjpriidrear c_i_(5«ur $tii§luSleir prrpii) Q&rflrrgtirk Q^rflujrr^i(§d<§iAuq. n-i—Qeer The next, the simplest of all gamaka-s is nokku. It is just a stress; no oscillation. dSiLq-aiQarTefar® grrqrfisurT® GevQprrqy dip &rjeru$rTesT$gia(§ ^jprsiSlesr tu—Gerrr ifiiLuf-aQarrem® Gamaka-s need not always be with oscillations. This nokku is a straight pull. gnrtyGam® GevQprrqr, dp 8,rreiu8,rTesr&l9>ia>(§> aiq^euGg, aetisruj-ULSleirr tg^rjefori—rreugi (Su$iArT(§iA. (Bhagirathi reads the text:) (uu>/rf), (iAs/if), (atf/em). THE MUSIC ACADEMY MADRAS THE MUSIC ACADEMY MADRAS Khandippu ravai anu-svara. is similar to in the use of The suggestion of writing Ql&pag) (jfieoa<uLDrra firfurrrf, ^fL-rrem ir (LppeSltu tjn&mi&asmuunn&g,. Q ju u u f-u u iL i— Qpdsrrpi the sign above the svara line is followed here: demonstrated: When we play the &pui5lrrGturTaisi0ii§n)6i(j§ P i Q ju u u f. Q urfliu eueirterreyii, epty& rju t5lrjGturT&iii&<§njdi(g) D Q ju u u f. fflrfltu phrase ma ga pa ma rii in Surati-raga we do not play ga between ma and rii but euemeneyih ee>euA6iuuiLuf.(^uuem^4i &euedUnm&en. we are aware of the position of the gandhara when the rishabha is dropped from The next gamaka-s are the jaru-s. These are very common in Hindustani music. the madhyama so this in-between svara ga is the khandippu gamaka. Jaru is a slide. The ascending format or the slide going in the upward direction from In Sankarabharana-raga in the phrase gama-dapapa-risaa (demonstrated), we one svara to the higher is called yetra-jaru and that in the descending format, yeraka- have the khandippu on the svara ga before the slide from panchama to rishaba jaru. These jaru-s are represented by slant lines, going up and coming down. similarly in Saranga-raga (demonstrated), (i) 6jjbjDggrr(Jf)- / $p0 The next gamaka vali is also full of anu-svara-s. Dikshitar has given the sign for tugntjesmih : ero/rfl, erv/g, ero/u, ero/us, ero/$, ero/eio this gamaka as that of an arc of a semi-circle (n). In between there may be many svara-s; but they are not pronounced at all. In some He gives example for this gamaka in ragas ahiri punnagavarali (demonstrated). places we do not know from where the slide begins — starting from nabhi. (demonstrated) A whirl of svara-s is presented in circular or sliding movements. Vali mostly comes as in the starting of the kriti Oh Jagadamba (demonstrated); but we know exactly at the in chowka-kala phrases. The long drawn phrases are suitable for this Example end of the line; that the slide extends from ma to pa (demonstrated) here, the yetra-jaru(/) demonstrated in ragas ahiri and Punnagavarali. is from the madhyama. We can draw the slant line starting from ma upto pa. Sometimes susifl 6^0 oirrero^rrem^GeoGiu grj>f£)eis>iu euemeneurruj^ &Lprj)r$u i3uf.^gj epampi f^jfTem® ^eoeogi it is not from one svara alone; when we repeat the first line of anupallavi of Chandram Zymrip] &rreoaeifieisr &rreitwj eu(nju>uuf- Q&tueugj euetfhurr^u). bhaja in Asaveri raga, it is played as nisa sa. nisa comes in the higher speed so the (i) g>0 &rjui3rjGiurT&ii> fy-g/r ^feoeogi grTptgl $)!5& emgeugerogrrem^eo prsSjlemu §>0 lEiLi—rrs, yeraka-jaru(/) sign is given here. LBiLuf. Geu^usmu rgleyrTgih Gu&ibuuf. p ts^sm u (gjapdjg/ LD/p/uiq.tL/ib em&euaagi/a a eur^gii The next gamaka odukkal is explained in the phrase ga ga ri sa of the chittasvara &rj£$asr tfiiLesu—U GurrL-Geuem®iis. £ j)£ /i)0 @jeo&SltuLDtT0i Lfdsrmrr&eurrmifi (Lpge&tu rjrr&i 8figg,em of the Bhairavi ata-tala-vama (demonstrated). The light pull on the svara (here it is ri) stQ&rrrfl&esmu urrria&i. sometimes covers an oscillation; slight oscillation which resembles a throb manifests itself W X n in many of the gamaka-s. This is not like tremor of Western music (demonstrated). (ii) $ij6m® &rjui3rjG\urr9>w&. ero/r£l $ rfl $rr u. es>$eu$eio$rTesr$§)leo §>0 i£iLi—rrs, 6s)&jsu&)&)6s>3) Q^n4,(^i—m LEiLuf. ppGjlanuj &y>rbjpiai$eo $styrr$$es>$ g iiL u w m u s arremiSl^gus (i) X Qigii Gi&eoeroeurrpenp $£etveurjGrogrT6sr$(ji! Orikkai is a gamaka where the touch is from the lower svara as in the start of Prathyahatam - t3p&turTarT$U) the kriti Tulasidalamu in raga Mayamalavagowla (demonstrated): Nokku - G)/5/r«0 w ni da pa Ravai - rjrsmeu A Tu la si is played as nii pada mapa Khandippu - g,mruj.uq V Vali - sugiR n Tu la si Yetra-jaru - Gjfbrogrr® / (ti) tyiflenai. — t£iLQiL-ar 9 0 &rrib Qfmjpi Qjugieto&uSlfhr Yeraka-jaru - @lpi5i*grT($ \ ^uiSlujn&uQX&ibrreo stopeoamnw uev &patij&rmsrw&9sm ^§is,Siui3is^f^i Q hdiei@ qjG $ Odukkal X eprflsoa fT«mju@)ux. Orikkai a-$irtj9anb : cn> $ $ u u> * rfl erv The last gamaka tribhinnam is exclusively a gamaka employed in vina-playing This gamaka is represented with an inverted sign of the resembling a bird. GtlifliSPssrainb. {g)/5£> <#lo« u ) effevGssrQjrrfFlSigjtb ffiL\u$$ The next gamaka-s Dikshitar explains pertain to vocal music. He does not give Tri bhinna may be taken to mean broken or expanded. The three strings of the vina, sign for these, but explains the voice modulation in each one of them, how they are Shadja, lower panchama and mantra shadja are plucked one by one or simultaneously done with a closed mouth. We have heard these from vetevany vocalists like Chembai when svara-s are played, the fingers of the left hand are kept flat lying down and Vaidhyanatha Bhagavathar, Jayamma, the daughter of Vina Dhanammal M.D.R. and one plucking is done for all the three. This type of plucking gives the sonorous effect many others. of the instruments. The fingures of the left hand are kept flat on the svara-sthanas The gamaka-s are humpitam, Namitam, Mudritam. (demonstrated). fW iidPpii). 9 0 <»£7$£)q5)0£$/ /5OW0 , ^eusyg/ q (lq apisiaar 6uonrra(§Lh. ^eoGVgi In tana-playing these techniques are largely used (demonstrated). The same svara- p a a u u f- dv$miSlaja>[T4i@u) QB)^,ia&rrpr$G$rT® srrpioerT eurrpiu a_0«5)avL/ sthanas in the different strings bring out the unison of the svara-s in tetrachords. The Gurrw prrfifi*euenri&gua Qanston-rrSlQjih ^eoeogi Qme6l($^gi tympogia % 9 0 ® g / improvisation in tana playing demonstrated reveal the possibility of the usage of this Q&rTaBn— rrGlgiiu) Gu&ihuiq. Qfiueugi fUD^uAShjf&umtgjih. fyou ggrr(tf>aSlsbr Qu$Qu>. gamaka. The same or parallel svara phrase in the tetrachords given by the three strings (tpptflpih. surrsniu (tpu).aQarTGssr($i urr®o/£lw B.smi— rr(§ib (y>$rfl$u>rr(g)ib. enhance the raga-exposition. Imagination and improvisation bring in more symmetrical g)/5# suMitii &rTrfrT?@t*{§ cr«np Q&rreuajrrrtaerr. phrase.(demonstrated): rii-rii in the upper octave, as a parallel to the svara-phrases paa- paa in the panchama region and more patterns like ga ri ri and da pa pa; ni da pa pa as piri£l$th. fBrr$mi&foetT& rggp/naffl j£iiLup($$rTeiifK$turT@) urrQeugi ^siisvg/ dJeoemuSleo ma ga ri ri in different finger techniques in raga Bhairavi. Similarly in raga Arabhi as eiM$\uu$nasrGO 2.6ttn— tT(§ii) frrriii&eifim ,j/cn Demonstrated eroifri^ib tana-playing in ragas Bhairavi, Mayamalava-gowla, Arabhi, Varali and Sri. ^G prr^sysm a Slpininmu G umgib spsuQsimty ^p tL ant— srvsupriissifls^/Lb sSsnsmuSlsyrruSl^iib ■mtfrrSi&GUmiSlftfnb ^jpsm i—rrsugi srvsupg>$sv ^u p u u g iG su &vnrf\gui!Tgw. sruuui-Qujafisy, sffsnsmuSlsy Referred to different gamaka Demonstrations were provided by transparencies srvsrv srsmaniLb ^p iL a n i— sivsupgsngu i3upa(guD (Sung/ &lL($i eSl pansy rSlsiprrg s3iLisf.§nu> rr>($isSl pansy sipL—gpg affL-Uf-syiii) spQp arrsy£$sy onsuggia QarrafcrQ, (Lpgsy aft' $ sivsupgsng i£iLup ^Istprrg 1. Kampitam sSiLufe&(gSi(§u) &iL@i sSlpansy sri—rruisv pQfisSpsnsy mL-QQiLsrQiggi uM(5)i_c5r pQsBpansy QfL-gg 2. Sphuritam sffiLuf-sy ^ispuugjGsu. sffss>smuSl§gjib ffmfpg^^jiii ^® g g srvsupgQgrr® Gu&ib. 3. Pratyahatam MLgrrpsmu) : srvrfilatv, rflsrvrfl 4. Nokky 5. Ravai, Khandippu Sphuritam 6. Vali The three dots above the svara line have been replaced by a triangle 7. Yetrajaru, yerakajaru i8fTa»uiiTQina»ii) 8. Odukkal r*\suGrTrTsunsM3>§irTiLiLrT& su(gii> sj>suQsurT(§ ^piLani— stvsimrEi&srRspiLb Qjpsssn—rrsugi stvsupgang sffansmuSlsy ^uf-gg] surrffiuugiGsu LSlpgturrarrguimgub. sTUUUf-Qiussflsy, sffsnsmuSIsy srvsrv srdsnpj 9. Orikkai Ql!Di5j(§)ih ^jpiLsinL- siosupgangu iShpJ>(gibGungi @ii—giana auLQisfilpw inrrg$pin lEiLQi—asr sipiLgg srvgrrssrg^iso ansuggi &(Lpsrrsrr rfilsiprrg srvgrrasrggiag &L-®s&psv iSltpam® ^jpriiginQurr(i^Gg 10. Tribhinnam g(jj\sSlpsinsv lEiLQi—asr sipiLgg srvgrrasrg^isy ^upuGurr® ananas GsusmQuK Qjuuuj. ^upagin Gungi 11. Mudritam, Namitam, Misritam r§siprrg sbgrTssrgaiarg lS/dotst® sugg aiL®s£lpansy srQaaa Sii—ngj. sSsnsssruSlsv srvsrv (tpgsyrrasr ^suGrrrrsi/nsm QjpiLani— srvsupriiaansrr surr&agin QurrcLpgi ^i^rf^iurrsy ^jganGmsy stvsnpin 12. Gamaka - signs ^GjlgiiLuinrriuuGuain. Q-grrpsmti) : srvrflav, jjlavrff. a stb tS & ib (grfluLf : v A sSsnsmuSisy siG gsyiib sprt stvsupsrvgrTasTg$sv $ i —gi an&> sSlpsvaansrr sraisSgin ansuaa GsussttrQGuirT ^ais&giJb iBl-Q l-Ost smsuggj g ^a n iu ^aneuu§iGsu aibdlgLDrrgin. sjxg ^psivgrTstsrg^lGsy $ji—gl Pratyahatam e®>« #tLQ>i eSltjeneoiLjih pQsfil pansy up ib Qstfaian&ujmu snsug g i grr>$anuj ^isn& uug/ib n sm ® . The three inverted dots above the svara line are replaced by an inverted triangle tLgrrpsmiii : &rr £j)/5£ aihrilgGw ^stn&sp 6IJBIT&& aubiSIgib : (grfiuLf sivsnpii/astflsur GarfdsnauSsb span srvsupgang ^9f(i£>g^u iSlispuuGg ^(guin ^sosvgi Qgrrag 1. — ^ a n ^sif Gmsy &rr&i&leSlfiTfti\&,i STS5TUU@Lb. w w 2. ~~ $Cp *tTg&ls6lr$rkgi B-grrpsmii) : rfistva, rfknurr w w w fSistorfl&uiurr, rglsrvrflsrv 3. ~ ^sn& sif srvsupsrvgrrsarg^lGsyGuj (gr^uLg: w Kampitam The author has introduced two more variations, two waves and one wave Nokku : the letter w. No alteration in symbol THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ 1. USDQI e-$rrpessrib : ero/rfl, erv/a ero/ist, ero/u, ero/ero A 57Gpgryib &rf ^perv^rresr^eSlQ^rs^i ifiiL®i—eemaj£i i£ lL upe$ebevrru>6Vrreug/ 3>ip &p$est$ 0ff5)uq ; / esta r&®efilpeviTeo GevaiLirtu g p ^ e m u iEiL®eu^j pasted eresruu®ib. AAA 2. A jdamut®. a-$rrpessnb : uum, ililg, rflrflav \ GiApQ&rrdsresruupGuj i£iL®l-ost (Slow *p$§)a$($$$1 Sip &rra\&iar§ g)p/iitgpw {§)/d« 2. sobnjtuii n-grrpessrib : ero/rg, erv/p, eto/u, em/iL, emfa, em/eto V ^swvp/, Qjpessr® ^eoevg/ {Lpeargy &pi&iaeif)eiS)(ni!5girr£)epjib i£iL.®i—asr g >0 mrreimrresraiSleSn^i 0/zJ)L/Ly : \ ejG&espib ejxjjf Siip #p6h)$rT6BT$$rj)(§ QipmiSl s-L-Gesr lEiLup frhGtnestub rgleoeomceo erG&esuib Yetrajaru : upward slant line / Yerakajaru : downward slant line \ GeuQprTQ} » p ero ^rresr^p ^ lEiLupeoeorruteo QjrDi5i(g>6ugiGeu aessrupuL/ eresru® ib. V V yf Both symbols are shifted above the svara line B-grrpessnb : u ilg , uarfl, urflerv (§$un : V Ravai : inverted letter v, (A) Khandippu : surd (V) x®S/ Quteo emeuppesM!) eiveuperv prrenr&ifgieo djluf-uugi. Gu)eoeroeiip$eto$ Sgpetveupero^rretsr^ev effesteesruSleo i£L-®L-m iSluf-uugieytb, pn$mi&(§tf)& 1. LfdsrmfT&sujiTStf! : e ^ GpuiSlpQiurraub r£l$rr ^eoeo^t prrrgl £§)/5£ 6st$eugervgrresr^eo (gjffiluq : X $rs$esttu ^ 0 lElL i—IT^ iElL isp Geuawrriu rgleyrrpib Gu&ibuup £p$esttu (j^rLp^M impuispiyib ast&ed&Si&t&(§ eurr^i *»i®$£ &p$$aiT dSiLesti—u Gurri—Geueisr®ib. ^)^/D0 QjeoaShuiLrra Odukkal : Cross x, No change. Lfasresrrr^euprreg) (Lpgje6hu prra &rt$$esr siQ^mflaestetru urrri&a. 0nf)flDs 2. rftfShrflffl : Qjpessr® »pui5lp 1. ffjDjDSlT® Orikkai : bird in flight, No change / 6^0 .»/r^jS)aS>0 ff(ffl lEC.®i—an ^®3>&i Gu>eu s,rTj^i3>s,rrSiepiib ^feoeogi ^ 1® $$ $)passr®, (tpdsrjpi The author has recognised the reverse of this gamaka and assigned the inverted «$/«u«ug/ u-ia$rretoifrrmLrra er&pesmr 3rpggi&&rreugi Gi£>&)&rT4@i&(9) erjpipeo ejrprp grrqrj eresruu®ib. form of this symbol to it. THE MUSIC ACADEMY MADRAS THE MUSIC ACADEMY MADRAS ^riiSskoni) «Bfruft $ttt>£lj5[f)<5r prcr&uOTcftoMMMir {§);5£ aLoaub effmemeuirSla^ib atAiupf&eo rr(Qmm a-emt—rreugpamu ff)6offleo aumjisiaeifleo LLp&ttjutQ&ui wmjmft $rjj§i$6rf)eo ty$rreuQ$iT(rf) ap&wbrrm QiLiLuf.60 $L-§ima aiLQiGSlpmeoiurraigi, Sint. Sulochana Pattabhi Raman pQeBtjmsumrroigi ^Goeogi $[T6ssr(S> eSlrrsoam&TtLjib Garf^rreu^j uQamatumu ^fapaSlmaj ^ i a Qarrmsr® euevgjjma oSrrevrreu GmpQarrmm ^ipmpi fipfiamomLjU) tyGij LSiLL—rTaeurrSilepiu). $)ma Guu).ewEJ3, 2. jBirirfl^if) $img> 3. rf)£ri&ii) ^acnoijBiiir jjrTa&uDrrsfleD® GllGsu Qarrmm ainamaar ^peinr® Qpmjpj aeopai euQjjuauuf. Qaiupeo i£latf\a>QiLmuu(t)\ib. "iurr^Geun inmb urrgn” ^emrTeu^rrrjmaesm ^i^uum i—iurraa Qarrem® Ljijp^u^rrmif uev Mudrutam, Namitam, Misritam : exclusively for vocal music. uQjn~°&rrmT G^eu^pmarraaesmu umy-ujenetmir. ^imeuaetfleo “urrfGp Gan3uix>iLn'' (Qe/venrrrrdfiu^[ru)) No Symbol. They refer to voice modulation uriiagg (y3^iL/QfT6U6U0 ” (gmiurrSi) - $eueSlij6mQih iSlcruevLDirmemev. g>0 urrgrTfj&fiaetv ^erorraj^rrij mriiaen <*0 ^)(iyLb $(i$aSlpgi/. ^mrrev ^jestemurrajUD ejaijna s-(r^uuuf.aeh. ^sforreu^frrr pnaiLrreSlma Index of Gamaka signs in Pradarsini and Modifications and Additions epmevpu umi—pg, (Lpa>pasm yff (ip^ietoeumB GaQ^ih. — Kampitam aii)LSlgii> $1158) rrrTaLcrreSlmauSlev Qpgeo ^ mi arj’emriia^ih am (rnamae^e^nK ejmesnu prrmQ 8tjsmm]3><§(T)Lb } Sphuritam etVLjrflgib A V i£>mi$etT rrrrarsi&eifieo ^m iLp&idren&sr. lSit^ ld & *n;un gnrfrfleiD I srorQrglugn; un; I uiL&rflswfl tflasionrfleiti I etorflungnsttin;; II Klft afiODOIJBIT^lb Lfsfanu gerfhf- I --g§l-Gg> - rpn- I rjn— iu- esrf)- - I gib- -iSlGa -- II efilsioeupngasr ermpneo iL.eoai5iat§n)a(§ r£j$uf£i, 14 Gsonarsiaignjatoj sjppnu Guneo 14 pnaiiiasnma Qaneisn— pnaiLnsSlsna £3)0^ /. ^L-isirvsujih $)pg rrnaiLnsSlsna £3)0 unarhassma Qaneisn—gi. (tfigeo *Qpi pnamiaerr spqij unaib. iLpp 8 rflmarfl &iLUg ffleroiflu I eior£)ur£lgugiLuiLsrfl I sionrfliL sof! aiLugeiorfl I pnarriaetT Qipeisri—nib unaib epeuQeun(nj pnag^issr (Lpuf-sSlso, pnamasnsn eSGeonicn SlpiLg^ieo uni— ib&tfleion t£lrflei»r$gug II (yrfe&r) Geumr($iib. pnaiLnsBemauBeir (Lpuf.sSleo 14 pnamassrsn^ib sSlGsonuineSlso urn— GsusforQiib. $ hsi 9 0 av^esriLnssru uni—so. u^pnaib, Qaenemen, *Qpi5l, gni— - erebrp gnssr(§ aesrpnawasn st-snenesr. eupneifi ewirewa/0) iLGesrirpmifl @)6var>60. Qaernf, eosSlgn, snupemb Gurrmp ^i^rfeu pnaiitasrr a-menem. purree pnagQeo Gaeueoib utL*n urn gnun; I uu>gu u>n an iLn ; I swr£lsroarf sron $; I u n gn; gn if; II ertingnrjsssr anggnrr srosopgsngu unQiibuu). ^issuLgaierrerroi. ^rf -« w u so - I urr-g- & rj Gear- I sro-rj — snxu $- / w Gssrn- g® Grj- II (§Lflaass>pa GansSlsSleo tLssipujib iSIpnemesru uprfil ^sniLgggn(§ib. “sneugtueSlmia yurrsu” srssrsifHL $)i—g$so gpeiogifil QjstisoniLSO, Qjeu euehsrrsneo ai—nofigg ffleuiSlpnesiesru unuf-tugi IfhLi—sivsuirib etonetoiflaiL umaiLug I stvrflatL uldald ugrfleio I erorflaibrfleio Gofiguwa I rfliLaiLgiferorflgULL II (yriessr) anSlifcomfratiflii od^ Q $ Orgg suaggrr iLmiaenarjiLnesr Qsrosrrpnsyuj.rjih, eusroiig, sro^pu^, iLgiuiLneu$ pnamiasrr Qansssri— pnaiLnsSlema. an; uingn uniLn I gn i£ srvn gnr£; I gn; gn un; wn I guwn an if sron; II gnesr(§ apssrsrmasrr Qansssri—gn&) f§}6B>& Geug rrn&LLnsSlan&i srmurf. LDiiiasrr ^(f^^iunau unQib euLpaaib ^(^siSlp^i. Lfefy -i3 g agg I su srtig - Gg -- I Ljstir-i— if - a I eitigq^ a a Gp- II ------THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS SkLu.ebeuirih Sajipf^ujQiiT : Dr. mcenfl DiTflub : wfitbOuxiffiT ujgujuxi) 9rr,9 ld£>u iD9LD$n I eh)rfl&>rfl$u $uiDrf)9erv I 99 idid $$ rfl rfl rfl if 9 I ^rr«mb: <3}$ ervervnrfleh)flfiuiDrfl9iD II (^rfessr) uecsceiSl svmbsrv&suettfl ertihbGfnfnriiarT id$ uj euner&erf) - erv^eunerflesfl $ II urr; 9nif; un I 9n; $ un; $ I if; erv; ervrflun I urr 9n; if erorr; II em-HLgup unerflesrf) erv^uggesr Gunaflerfl (eSthGiDf^rj) *91 'll £H)ri-rfl&iD-uj I &n- 9 lot- ear I QiDiD-etvp-euesf? 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All the ragas in this composition sport the solfa notes of the 29th mela Dhirasankarabharanam. erv , , rfl , , 9 , 1 uiD9rfl erv, ervrfl 1 erv , , , 1 , , , , 9rrervrfl II erSlmG^p^ ld£ — iu- eun- —erSl erf------*9libu- etv , , rfl , , 9 , 1 uiD9ffl etv, ervrfl / &, rfl, erv , erv , 1 rfl, erv, rfl, 9 , II snSlibG^®^ $>rj Log) — iu- am- — er& erf- 6n)“° eurr- — et6) esrf) erv, rfl, 9 , id, 1 UID9, 9 , rfl, 1 , > ,tD U, 1 ULD9, rfl, etv, II erv id gi rj urr— eiflessB erv~°rr $ ear Gun— ofl esrf) eh) , , iff $, uid 1 rf$uu> 9rf>9rf) 1 ervrfgrfl erv,erv, 1 rfl, erv, rfl, 9 , II erSkb G^rpf, &,ij- id$>- - aj-eun- - - -etSi erf)-erv eun---- er6> erf erv, rfl, 9 , id. 1 u, $, rfl, erv, 1 , , rflrfl rflpuiD 1 rf&ULD 9rfl erv, II STU^LD, tj urr-- erflesrf) erv~° 7 g)-esT Gun— of) esrf) 9 rfl, eh) rflguiD 1 rglpuiD 9rf>9tfl 1 ervrfl^rfl erv, erv, 1 rfl, erv, rfl, 9 , II er&iD G$a)r& id$ - - tu-eurr------erSl erf)-erv~° eun- — erfl erf) etv, rfl, 9 , id, 1 u, fi, prflervifl 1 ,ervrfl(fl rflpULD 1 rflpuiD 9rflerv, II e rv id, g i rr urr— erfl esrf erv~° rjg-esr Gun— afl esrf) 1(er&tD) THE MUSIC ACADEMY MADRAS THE MUSIC ACADEMY MADRAS r4f$tylUGDG06)fil ,@iijfbr[51iiJ6uiT : Dr. pup, rfhfl , , 1 ervrflaeh) r£)pu u 1 iLpua .arflem II , , &rfl erorflerorfl 1 , , rflu) ,$ u, 1 arf!, ero rfl, ero, 1 , , rflero ,rfl u, 1 a , , , srflero, II ^ /S eOLfeuesr urflurr eti/enf) LDrretiledl - -&(iiju ffrr-eSlerfl ^ tbu QlDtfl ftfopif g ) 0 SUITS, 0 tb Gu pQpefar Gt—rr ^feurf SlL6S)L-6rV6UJlh , , rflu> ,u $, 1 eh), ,u , , lm>£ 1 , , <$1D , $UU) 1 Si, ,rfl , , ero, II *3l(Qeh eu G«U 6J §jlb 0 CB>rp tLjQpesm Gi—nQ^rreo effri «ru, ,rfl , ,ervrf) 1 SULSirfl SiLDULD 1 a, ,M , ,<$LC 1 UpULD Up$W II rfl, ,<$ rfleiorflp 1 rfl, ,rfl ervrflpu / p, ,eh) rflpuu) 1 u, ,u LD&rflerv II , , rfliD ,u $, 1 eior£l,u uaufleto 1 , , rfl ero , rflrflu 1 a, , , rfliL&rfl II erven), erv rflaiDU 1 , ms; rfl <$i4 u 1 mupu ,p$ew 1 uprfleh) rflixtup II fUDtfl ptopri ^j(peurfa <§tb Gu pQpessr Gt—rr ^ surf rflervrfla sunup / rflervrfla ibarfleh) 1 ,arfleh) r£l,eh)rfi 1 pu,iD arflervrfl II ero, rfl tx ,u $ u 1 rflero ,ib <$/fieri), 1 , , ifleio ,rfl u, 1 <$ , rflp uuwirfl II (er&ib) ^ / 0 eh eu§) (Seo- -er g ib 0 OVD iLj(ipeiiir Gi—rrQerreo effrt m m ($S>rfl) THE MUSIC ACADEMY MADRAS ------THE MUSIC ACADEMY MADRAS ------ r*fQ)iueo6vafil Obituary , , /Jp , , iba , rfl eh), 1 , , ,u> u, 1 fflmurgl ero/flarfl 1 eh)r£luLo arflerv, II *31rfl tueuebr ereifl tueuebr *3fUf- tueurta Si 6sf) tueuebr (emrfl) , , $2 »<*$ a2' 1 &2> ^ <*2' ^ 1 , , aiA ,$ u, 1 auLoa rflaerorfl II u> eneu LO ««T ijfr , , rflu) ,u$, 1 etv, , , rgluLLa 1 ,, rfla ,rfla, 1 erv, rfl, eru, , , II *3ienet) Loaerr anp pear *3 fenevai—d) g! uSlebr pnasr . . >u> u, 1 1 eh) i fi, 1 eh), eh), eh), eh), II $ 0)60 Qujrpii) £. cu (deb anu ueuebr ^ttfUu ueuebr , , ,IL U, 1 $,$, ero, ero, 1 , , arfl ,{£leh), 1 rfl, u, a, rfl, II r#emv Qutpiii) a. ei) S) eb anu ueuebr *31 tfHu u euebr , , a, , rfl ero, 1 eh), rfl, .^ ld, 1 u , rfliA ,u $, 1 eivtfluLO arflero, II r£ sv aem i_cin£ euGio aebr £j)0 ay 0 U) ep 0 eu Gp > > 1 eh), $, ,pwu 1 rfliLurgl etorflarfl 1 etorfluu) arflero, £ ev attor i_«iriS et)Gu>aebr g ) 0 a/ 0 ti> gi 0 at Gp wpujiAa/revib lou ,a rfleto,rfl 1 ,U> ID, UUU, / <5. {HU ) p H , , - tfefer;; •, a ; / , '. 1 """" 1 •------•------•■— - \ . - ^ * ✓ Publication by T H E MUSIC ACADEMY MADRAS Sangita Sampradaya Pradarsini of Subbarama Dikshitar (Tamil Script) Part I, II & III each 150.00 MV; Part — IV 50.00 Part — V 180.00 Raganidhi — B Subba Rao (in English) |S^.y/t'-t ^ C ’;..j ^r/>r - Volume - I 50.00 Volume - II 75.00 ■' Volume — III 75.00 Volume - IV 85.00 .:;> •,_•. ■ ^ 7 / Chaturdandi Prakasika of Venkatamakhi 10.00 W'J/' ' (Sanskrit Text with supplement) £77 £7: £ Krishna Iyer Centenary Issue 10.00 Professor Sambamoorthy, the Visionary Musicologist 150.00 By Brahma w J.;'__;______-___:______,______> Primed by Mr. N. Subramanian at Sudharsan Offset Press, 14, Neelakanta Mehta Street, T. Nagar, Chennai 600 017 and Published by Or. V.V. Srivatsa at The Music Academy Madras, (Old No. 306) New No. 168, T.T.K. Road, Royapettah, Chennai 600 014 on behalf of The Music Academy. Editor : Dr. V.V. Srivatsa COMPUPRtNT * 6768 2811 COMPUPRtNT&, everrrt&lemu, eresrssrrs$ $ turrsiA Qsiugi, (§®lbu G&eneuuSleo ^carearcar of the titan, Madurai Mani Iyer. Sankaranarayanan started singing with his uncle (yXLpeitgjLbrrs FF®u®£§iis Qsrr6m® erebrs(§ A-jnisismemiurrs ^jqnuug/ crcargi/ca)/—tu Qurfliu and father, at the age of fifteen. Concurrent with his academic education, including UrrS$)UJlA!T(§lL. degrees in Commerce and Law, his music training continued and blossomed. He opted for a full-time musical career, in the late sixties. Given his talent, this decision of QP$$ eSl^eummsert, ss eSl^ajrresrs&rr, Qierrib eSl$eunmsm, $jr$§hurr LcngiLb QaieifipiriLQis surr Sankaranarayanan was not merely wise, but a blessing as well, as he filled, in the void r£lrtQjn€i)S6rr, u^^rRsesisturr&nfserr, (gjans eSIuirflssrfserr, ermGweo urrs(ipui urPeifih meussien&r resultant from the demise of Madurai Mani Iyer. Sankaranarayanan is the inheritor of rjlflsu QurwjLDSserr erevGevrr^s^ib LDjpiuuptLjii) rsebrrrR QsneoeuG^rr®, GTsbrjpjih prrm A-iiiseh a style, which can justly be called the Madurai Mani “Bani” of singing. ^tebrLfS^iA ,$j)g!jei]S(§Lb urT^rjesm seifiA ^(^^iLjensnevmirse^Lb Gajem®w erempj ereoevrru) The passion of his mentor is evident in Sankaranarayanan’s singing. He has 6ueo6V eni)Qu(§LDmbr GsrreSliBp urrLjemeuu i3rjrrft$§is§\G(p
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,u rfl, 1 erorflum arflero, II *3irfl tueuebr eretd tueuebr tueurta Si eat) tueuebr Mannargudi SAMBASIVA BHAGAVATHAR