Dikshitar Parampara (Part 1)
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The Music Academy, Madras 115-E, Mowbray’S Road
Tyagaraja Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XXXIX 1968 Parts MV srri erarfa i “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada l ” EDITBD BY V. RAGHAVAN, M.A., p h .d . 1968 THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription—Inland Rs. 4. Foreign 8 sh. iI i & ADVERTISEMENT CHARGES ►j COVER PAGES: Full Page Half Page Back (outside) Rs. 25 Rs. 13 Front (inside) 20 11 Back (Do.) „ 30 „ 16 INSIDE PAGES: 1st page (after cover) „ 18 „ io Other pages (each) „ 15 „ 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special positions and special rates on application. e iX NOTICE All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal Of the Music Academy, Madras-14. « Articles on subjects of music and dance are accepted for mblication on the understanding that they are contributed solely o the Journal of the Music Academy. All manuscripts should be legibly written or preferably type written (double spaced—on one side of the paper only) and should >e signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan Editor. Pages. -
1 ; Mahatma Gandhi University B. A. Music Programme(Vocal
1 ; MAHATMA GANDHI UNIVERSITY B. A. MUSIC PROGRAMME(VOCAL) COURSE DETAILS Sem Course Title Hrs/ Cred Exam Hrs. Total Week it Practical 30 mts Credit Theory 3 hrs. Common Course – 1 5 4 3 Common Course – 2 4 3 3 I Common Course – 3 4 4 3 20 Core Course – 1 (Practical) 7 4 30 mts 1st Complementary – 1 (Instrument) 3 3 Practical 30 mts 2nd Complementary – 1 (Theory) 2 2 3 Common Course – 4 5 4 3 Common Course – 5 4 3 3 II Common Course – 6 4 4 3 20 Core Course – 2 (Practical) 7 4 30 mts 1st Complementary – 2 (Instrument) 3 3 Practical 30 mts 2nd Complementary – 2 (Theory) 2 2 3 Common Course – 7 5 4 3 Common Course – 8 5 4 3 III Core Course – 3 (Theory) 3 4 3 19 Core Course – 4 (Practical) 7 3 30 mts 1st Complementary – 3 (Instrument) 3 2 Practical 30 mts 2nd Complementary – 3 (Theory) 2 2 3 Common Course – 9 5 4 3 Common Course – 10 5 4 3 IV Core Course – 5 (Theory) 3 4 3 19 Core Course – 6 (Practical) 7 3 30 mts 1st Complementary – 4 (Instrument) 3 2 Practical 30 mts 2nd Complementary – 4 (Theory) 2 2 3 Core Course – 7 (Theory) 4 4 3 Core Course – 8 (Practical) 6 4 30 mts V Core Course – 9 (Practical) 5 4 30 mts 21 Core Course – 10 (Practical) 5 4 30 mts Open Course – 1 (Practical/Theory) 3 4 Practical 30 mts Theory 3 hrs Course Work/ Project Work – 1 2 1 Core Course – 11 (Theory) 4 4 3 Core Course – 12 (Practical) 6 4 30 mts VI Core Course – 13 (Practical) 5 4 30 mts 21 Core Course – 14 (Practical) 5 4 30 mts Elective (Practical/Theory) 3 4 Practical 30 mts Theory 3 hrs Course Work/ Project Work – 2 2 1 Total 150 120 120 Core & Complementary 104 hrs 82 credits Common Course 46 hrs 38 credits Practical examination will be conducted at the end of each semester 2 MAHATMA GANDHI UNIVERSITY B. -
Lalgudi's Compositions, 21St Century Masterpieces
Lalgudi ’s compositions, 21st century masterpieces - Carnatic Music News - Darbar for cl ... Page 1 of 2 Music Academy to hold singing competion GO Top Most Lalgudi’s compositions, 21st century masterpieces Stories Viewed An engaging dialogue between By Vidya Subramanian www.vidyasubramanian.com flute & mandolin Akademi Ratna for Lalgudi CHENNAI, September 16: My guru, Padmabhushan G.Jayaraman Winning mind share, the Bombay Lalgudi Shri Jayaraman, is one of the most gifted and Jayashri way versatile musicians of this century. His genius has Music is a continuous process innumerable facets. With his warm and self-effacing of learning personality and total commitment to his art, he shares his Music has to be approached deep knowledge with readiness. with modesty Avoid easy route to concert stage Lalgudi Sir is a globally acclaimed musician, composer and When they bow,Ganesh & teacher. His 80th birthday celebration on September 18 Kumaresh sound distinct and September 19, 2010 at The Music Academy, Madras is Understand the science of music Future of voice science in India an event that all of us in the music fraternity are eagerly Listen to Tiruppavai and excitedly looking forward to. Each composition of my guru is a masterpiece in its own right. In this article, I attempt to highlight a few of these gems. Lalgudi Sir has composed in diverse compositional forms. His varnams and tillanas are legendary. He has also composed beautiful pieces in other musical forms such as kirtanams, swarajathis and jathiswarams. The fact that he does not use a mudra or signature term in his compositions bears testimony to his modesty. -
Carnatic Music Theory Year I
CARNATIC MUSIC THEORY YEAR I BASED ON THE SYLLABUS FOLLOWED BY GOVERNMENT MUSIC COLLEGES IN ANDHRA PRADESH AND TELANGANA FOR CERTIFICATE EXAMS HELD BY POTTI SRIRAMULU TELUGU UNIVERSITY ANANTH PATTABIRAMAN EDITION: 2.6 Latest edition can be downloaded from https://beautifulnote.com/theory Preface This text covers topics on Carnatic music required to clear the first year exams in Government music colleges in Andhra Pradesh and Telangana. Also, this is the first of four modules of theory as per Certificate in Music (Carnatic) examinations conducted by Potti Sriramulu Telugu University. So, if you are a music student from one of the above mentioned colleges, or preparing to appear for the university exam as a private candidate, you’ll find this useful. Though attempts are made to keep this text up-to-date with changes in the syllabus, students are strongly advised to consult the college or univer- sity and make sure all necessary topics are covered. This might also serve as an easy-to-follow introduction to Carnatic music for those who are generally interested in the system but not appearing for any particular examination. I’m grateful to my late guru, veteran violinist, Vidwan. Peri Srirama- murthy, for his guidance in preparing this document. Ananth Pattabiraman Editions First published in 2009, editions 2–2.2 in 2017, 2.3–2.5 in 2018, 2.6 in 2019. Latest edition available at https://beautifulnote.com/theory Copyright This work is copyrighted and is distributed under Creative Commons BY-NC-ND 4.0 license. You can make copies and share freely. -
Sri Kamalamba Nava Aavarana Kritis
Sri Kamalamba Nava Aavarana Kritis Out of his devotion to Sri Kamalamba, (one of the 64 Sakti Peethams in India), the celebrated deity at the famous Tyagaraja Temple in Tiruvarur and his compassion for all bhaktas, Sri Muthuswamy Dikshitar composed the Kamalamba Navavarana kritis, expounding in each of the nine kritis, the details of the each avarana of the Sri Chakra, including the devatas and the yoginis. Singing these kritis with devotion, sraddha and understanding would be the easy way to Sri Vidya Upasana. Kamala is one of the ten maha vidyas, the principle deities of the Shaktha tradition of Tantra. But, the Sri Kamalamba referred to by Sri Muthuswami Dikshitar in this set of kritis, is the Supreme Divine Mother herself. The immediate inspiration to Dikshitar was, of course, Sri Kamalamba (regarded one of the sixty-four Shakthi centers), the celebrated deity at the famous temple of Sri Tyagaraja and Sri Nilothpalambika in Tiruvavur. Sri Muthuswami Dikshitar follows the Smahara krama, the absorption path, of Sri Chakra puja and proceeds from the outer avarana towards the Bindu in the ninth avarana at the center of the Sri Chakra. At each avarana, he submits his salutation and worships the presiding deity, the yogini (secondary deity) and the attendant siddhis of that avarana; and describes the salient features of the avarana according to the Kadi School of the Dakshinamurthy tradition of Sri Vidya. It is in effect both worship and elucidation. Dikshitar had developed a fascination for composing a series of kritis on a composite theme, perhaps in an attempt to explore the various dimensions of the subject. -
College of William and Mary Department of Economics Working Paper Number 137
The Labor/Land Ratio and India’s Caste System Harriet Orcutt Duleep (Thomas Jefferson Program in Public Policy, College of William and Mary and IZA- Institute for the Study of Labor) College of William and Mary Department of Economics Working Paper Number 137 March 2013 COLLEGE OF WILLIAM AND MARY DEPARTMENT OF ECONOMICS WORKING PAPER # 137 March 2013 The Labor/Land Ratio and India’s Caste System Abstract This paper proposes that India’s caste system and involuntary labor were joint responses by a nonworking landowning class to a low labor/land ratio in which the rules of the caste system supported the institution of involuntary labor. The hypothesis is tested in two ways: longitudinally, with data from ancient religious texts, and cross-sectionally, with twentieth-century statistics on regional population/land ratios linked to anthropological measures of caste-system rigidity. Both the longitudinal and cross-sectional evidence suggest that the labor/land ratio affected the caste system’s development, persistence, and rigidity over time and across regions of India. JEL Codes: J47, J1, J30, N3, Z13 Keywords: labor-to-land ratio, population, involuntary labor, immobility, value of life, marginal product of labor, market wage Harriet Duleep Thomas Jefferson Program in Public Policy College of William and Mary Williamsburg VA 23187-8795 [email protected] The Labor/Land Ratio and India’s Caste System I. Background Several scholars have observed that, historically, the caste system was more rigid in south India than in other parts of India. In the 1930’s, Gunther (1939, p. 378) described south India as the “...home of Hinduism in its most intensive form...virtually a disease... -
Unit 1 Reconstructing Ancient Society with Special
Harappan Civilisation and UNIT 1 RECONSTRUCTING ANCIENT Other Chalcolithic SOCIETY WITH SPECIAL Cultures REFERENCE TO SOURCES Structure 1.0 Introduction 1.1 Sources 1.1.1 Epigraphy 1.1.2 Numismatics 1.1.3 Archaeology 1.1.4 Literature 1.2 Interpretation 1.3 The Ancient Society: Anthropological Readings 1.4 Nature of Archaeology 1.5 Textual Sources 1.6 Summary 1.7 Glossary 1.8 Exercises 1.0 INTRODUCTION The primary objective of this unit is to acquaint the learner with the interpretations of the sources that reveal the nature of the ancient society. We therefore need to define the meaning of the term ‘ancient society’ to begin with and then move on to define a loose chronology in the context of the sources and their readings. It would also be useful to have an understanding about the various readings of the sources, a kind of a historiography of the interpretative regime. In order to facilitate a better understanding this unit is divided into five sections. In the introduction we have discussed the range of interpretations that are deployed on the sources and often the sources also become interpretative in nature. The complexity of the sources has also been dealt with in the same context. The new section then discusses the ancient society and what it means. This discussion is spread across the regions and the varying sources that range from archaeology to oral traditions. The last section then gives some concluding remarks. 1.1 SOURCES Here we introduce you to different kinds of sources that help us reconstruct the social structure. -
2008 President-Elect - S
52 SRUTI BOARD OF DIRECTORS SRUTI DAY President - C. Nataraj December 2008 President-elect - S. Vidyasankar Treasurer - Venkat Kilambi Director of Resources & Development - Ramaa Nathan Director of Publications & Outreach - Vijaya Viswanathan Director of Marketing & Publicity - Srinivas Pothukuchi Director 1 - Revathi Sivakumar Director 2 Seetha Ayyalasomayajula Resource Committee - Ramaa Nathan, Uma Prabhakar, C. Nataraj, Vidyashankar Sundaresan, and Venkat Kilambi Sruti web site managed by V V Raman S R U T I The India Music & Dance Society Philadelphia, PA 2 51 Editor’s Note Welcome to our year end event, Sruti Day. This is- sue of Sruti Ranjani carries articles by some of our young- Solution to Jumble sters, who have achieved certain significant milestones in their journeys as performing artists of classical music and dance. Apart from this, our adult members have contrib- uted interesting articles that you are certain to enjoy along C O P with some puzzles and a couple of reviews of past Sruti concerts. Again, many thanks to all for taking the time to V E R S E write for this issue. H A P P Y Thanks, O D O R D E M O N S Vijaya Viswanathan 610-640-5375 C O M P O S E R’S CONTENTS DAY 1. Program - 3 2. About the Artists 3 3. Articles by members of the community 4 4. Puzzles 48 50 3 PROGRAM 2:00 PM General Body Meeting and Elections to 2009- 2010 Board (open to Sruti members only) 3:30 PM Snack Break 4:00 PM Carnatic Flute Concert by Shri V. -
Jayanti Celebrations of the Trinity
NEWS & NOTES Jayanti celebrations of the trinity he Tyagaraja aradhana at Tiruvaiyaru on Bahula TPanchami day which usually occurs in December/ January, is almost like a musical mela. Scores of musicians and rasikas from all over the world congregate at the bard’s samadhi on the banks of the river Kaveri and pay homage to him over four days. The same cannot be said about his birthday which falls in early May. Nevertheless, Sri Thiagaraja Vidwath Samajam, Chennai organises special abhishekam and pooja on Tyagaraja’s jayanti along with the rendering of the Pancharatna kritis at his samadhi in Tiruvaiyaru. Sangita Kalanidhi T.K. Govinda Rao took the initiative to organise this celebration, and vidwans used to offer akhanda ganam on that day; but that does Bombay Jayashri with students and accompanists at the Tyagaraja jayanti not happen any longer, though some concerts are held on the occasion. advice of the Kanchi Paramacharya, conducted for a few days in which The jayanti does not attract as much have also been organising similar well known artists perform. crowd as the aradhana, but devoted programmes for many years. Dr. Rama Kausalya, musician, musicians and rasikas do assemble to All these provide a filip to the musicologist, teacher and former pay homage to the saint composer. Mummoortigal Vizha celebrating Principal of Tiruvaiyaru Music Tiruvarur is the birthplace of the birthdays of the Carnatic music College, through her Marabu the music trinity—Tyagaraja, trinity which fall fairly close to one Foundation, Tillaisthanam, has Muthuswami Dikshitar, Syama another—Muthuswami Dikshitar on been conducting the jayanti of Sastry—and their houses are 24 March, Syama Sastry on 26 April Syama Sastry. -
Bpa Music (Veena)
UNIVERSITY OF KERALA COURSE STRUCTURE AND SYLLABI FOR BACHELOR OF PERFORMING ARTS DEGREE IN MUSIC (VEENA) BPA MUSIC (VEENA) Career related First Degree Programme UNDER FACULTY OF FINE ARTS CHOICE BASED-CREDIT-SYSTEM (CBCS) As per Schedule 2(a) of the CBCS Regulations Outcome Based Teaching, Learning and Evaluation (2021 Admissions onwards) Programme Outcome The scheme and syllabus covered will lead the learner to the essence of the subject in graduate level and also help them to acquire knowledge with the up- to-date demands of the field of music. This curriculum ensures the continuous training in the practical as well as the theoretical aspects of music. It also aims a strong foundation of music to the learners which enable them to apply it in the advanced mode of learning. After transacting various modules of the programme, the learner will be able to- Identify the outcome-oriented approach in the curriculum Observe the theoretical as well as practical areas of music which were included in the curriculum Adapt multi-cultural competence Acquire disciplinary knowledge in music Interpret music and musicology Apply the theoretical aspect in practical music Identify the structure of the musical forms Demonstrate ragas, talas and musical forms Differentiate ragas and apply improvisation Perform music with accompaniments 2 General Structure for the Career related Degree Programme of Bachelor of Performing Arts in Music – BPA Music (VEENA) BPA Music-Work and Credit Distribution Sem Course title Instructional Credit Ety. Evaluation Total . No hours/week Exam (in Marks) credit duration Internal Uty. P L Marks exam EN:1111.3 Eng Lang –I 5 3 3 hours 20 80 SK:1111.3 Additional Language – I (Sanskrit) 5 3 3 hours 20 80 VE:1121 Foundation Course-I (Core) (Theory) 5 3 3 hours 20 80 16 I VE:1171 Vocational Course-I 1hr/Can 5 3 80 (Practical) d 20 MU:1131. -
Carnatic Music Primer
A KARNATIC MUSIC PRIMER P. Sriram PUBLISHED BY The Carnatic Music Association of North America, Inc. ABOUT THE AUTHOR Dr. Parthasarathy Sriram, is an aerospace engineer, with a bachelor’s degree from IIT, Madras (1982) and a Ph.D. from Georgia Institute of Technology where is currently a research engineer in the Dept. of Aerospace Engineering. The preface written by Dr. Sriram speaks of why he wrote this monograph. At present Dr. Sriram is looking after the affairs of the provisionally recognized South Eastern chapter of the Carnatic Music Association of North America in Atlanta, Georgia. CMANA is very privileged to publish this scientific approach to Carnatic Music written by a young student of music. © copyright by CMANA, 375 Ridgewood Ave, Paramus, New Jersey 1990 Price: $3.00 Table of Contents Preface...........................................................................................................................i Introduction .................................................................................................................1 Swaras and Swarasthanas..........................................................................................5 Ragas.............................................................................................................................10 The Melakarta Scheme ...............................................................................................12 Janya Ragas .................................................................................................................23 -
Jagadguru Sri Jayendra Saraswathi Swamiji an Offering
JAGADGURU SRI JAYENDRA SARASWATHI SWAMIJI AN OFFERING ॎश्रीगु셁भ्योनमः P.R.KANNAN,M.Tech. Navi Mumbai Released during the SAHASRADINA SATHABHISHEKAMCELEBRATIONS of Jagadguru Sri JAYENDRA SARASWATHI SWAMIJI Sankaracharya of Moolamnaya Kanchi Kamakoti Peetham Kanchipuram August 2016 Page 2 of 152 भक्तिर्ज्ञानंक्तिनीक्ततःशमदमसक्तितंमञनसंतुक्तियुिं प्रर्ज्ञक्तिेक्ततसिंशुभगुणक्तिभिञऐक्तिकञमुक्तममकञश्च। प्रञप्ञःश्रीकञमकोटीमठ-क्तिमलगुरोयास्यपञदञर्ानञन्मे तस्यश्रीपञदपेभितुकृक्ततररयंपुमपमञलञसमञनञ॥ May this garland of flowers adorn the lotus feet of the ever-pure Guru of Sri Kamakoti Matham, whose worship has bestowed on me devotion, supreme experience, humility, control of sense organs and thought, contented mind, awareness, knowledge and all glorious and auspicious qualities for life here and hereafter. Acknowledgements: This compilation derives information from many sources including, chiefly „Kanchi Kosh‟ published on 31st March 2004 by Kanchi Kamakoti Jagadguru Sri Jayendra Saraswati Swamiji Peetarohana Swarna Jayanti Mahotsav Trust, „Sri Jayendra Vijayam‟ (in Tamil) – parts 1 and 2 by Sri M.Jaya Senthilnathan, published by Sri Kanchi Kamakoti Peetham, and „Jayendra Vani‟ – Vol. I and II published in 2003 by Kanchi Kamakoti Jagadguru Sri Jayendra Saraswati Swamiji Peetarohana Swarna Jayanti Mahotsav Trust. The author expresses his gratitude for all the assistance obtained in putting together this compilation. Author: P.R. Kannan, M.Tech., Navi Mumbai. Mob: 9860750020; email: [email protected] Page 3 of 152 P.R.Kannan of Navi Mumbai, our Srimatham‟s very dear disciple, has been rendering valuable service by translating many books from Itihasas, Puranas and Smritis into Tamil and English as instructed by Sri Acharya Swamiji and publishing them in Internet and many spiritual magazines.