Shri Kamalamba Jayati
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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. -
Note Staff Symbol Carnatic Name Hindustani Name Chakra Sa C
The Indian Scale & Comparison with Western Staff Notations: The vowel 'a' is pronounced as 'a' in 'father', the vowel 'i' as 'ee' in 'feet', in the Sa-Ri-Ga Scale In this scale, a high note (swara) will be indicated by a dot over it and a note in the lower octave will be indicated by a dot under it. Hindustani Chakra Note Staff Symbol Carnatic Name Name MulAadhar Sa C - Natural Shadaj Shadaj (Base of spine) Shuddha Swadhishthan ri D - flat Komal ri Rishabh (Genitals) Chatushruti Ri D - Natural Shudhh Ri Rishabh Sadharana Manipur ga E - Flat Komal ga Gandhara (Navel & Solar Antara Plexus) Ga E - Natural Shudhh Ga Gandhara Shudhh Shudhh Anahat Ma F - Natural Madhyam Madhyam (Heart) Tivra ma F - Sharp Prati Madhyam Madhyam Vishudhh Pa G - Natural Panchama Panchama (Throat) Shuddha Ajna dha A - Flat Komal Dhaivat Dhaivata (Third eye) Chatushruti Shudhh Dha A - Natural Dhaivata Dhaivat ni B - Flat Kaisiki Nishada Komal Nishad Sahsaar Ni B - Natural Kakali Nishada Shudhh Nishad (Crown of head) Så C - Natural Shadaja Shadaj Property of www.SarodSitar.com Copyright © 2010 Not to be copied or shared without permission. Short description of Few Popular Raags :: Sanskrut (Sanskrit) pronunciation is Raag and NOT Raga (Alphabetical) Aroha Timing Name of Raag (Karnataki Details Avroha Resemblance) Mood Vadi, Samvadi (Main Swaras) It is a old raag obtained by the combination of two raags, Ahiri Sa ri Ga Ma Pa Ga Ma Dha ni Så Ahir Bhairav Morning & Bhairav. It belongs to the Bhairav Thaat. Its first part (poorvang) has the Bhairav ang and the second part has kafi or Så ni Dha Pa Ma Ga ri Sa (Chakravaka) serious, devotional harpriya ang. -
Syllabus for Post Graduate Programme in Music
1 Appendix to U.O.No.Acad/C1/13058/2020, dated 10.12.2020 KANNUR UNIVERSITY SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: MA MUSIC DEPARTMENT OF MUSIC KANNUR UNIVERSITY SWAMI ANANDA THEERTHA CAMPUS EDAT PO, PAYYANUR PIN: 670327 2 SYLLABUS FOR POST GRADUATE PROGRAMME IN MUSIC UNDER CHOICE BASED CREDIT SEMESTER SYSTEM FROM 2020 ADMISSION NAME OF THE DEPARTMENT: DEPARTMENT OF MUSIC NAME OF THE PROGRAMME: M A (MUSIC) ABOUT THE DEPARTMENT. The Department of Music, Kannur University was established in 2002. Department offers MA Music programme and PhD. So far 17 batches of students have passed out from this Department. This Department is the only institution offering PG programme in Music in Malabar area of Kerala. The Department is functioning at Swami Ananda Theertha Campus, Kannur University, Edat, Payyanur. The Department has a well-equipped library with more than 1800 books and subscription to over 10 Journals on Music. We have gooddigital collection of recordings of well-known musicians. The Department also possesses variety of musical instruments such as Tambura, Veena, Violin, Mridangam, Key board, Harmonium etc. The Department is active in the research of various facets of music. So far 7 scholars have been awarded Ph D and two Ph D thesis are under evaluation. Department of Music conducts Seminars, Lecture programmes and Music concerts. Department of Music has conducted seminars and workshops in collaboration with Indira Gandhi National Centre for the Arts-New Delhi, All India Radio, Zonal Cultural Centre under the Ministry of Culture, Government of India, and Folklore Academy, Kannur. -
Rakti in Raga and Laya
VEDAVALLI SPEAKS Sangita Kalanidhi R. Vedavalli is not only one of the most accomplished of our vocalists, she is also among the foremost thinkers of Carnatic music today with a mind as insightful and uncluttered as her music. Sruti is delighted to share her thoughts on a variety of topics with its readers. Rakti in raga and laya Rakti in raga and laya’ is a swara-oriented as against gamaka- complex theme which covers a oriented raga-s. There is a section variety of aspects. Attempts have of exponents which fears that ‘been made to interpret rakti in the tradition of gamaka-oriented different ways. The origin of the singing is giving way to swara- word ‘rakti’ is hard to trace, but the oriented renditions. term is used commonly to denote a manner of singing that is of a Yo asau Dhwaniviseshastu highly appreciated quality. It swaravamavibhooshitaha carries with it a sense of intense ranjako janachittaanaam involvement or engagement. Rakti Sankarabharanam or Bhairavi? rasa raga udaahritaha is derived from the root word Tyagaraja did not compose these ‘ranj’ – ranjayati iti ragaha, ranjayati kriti-s as a cluster under the There is a reference to ‘dhwani- iti raktihi. That which is pleasing, category of ghana raga-s. Older visesha’ in this sloka from Brihaddcsi. which engages the mind joyfully texts record these five songs merely Scholars have suggested that may be called rakti. The term rakti dhwanivisesha may be taken th as Tyagaraja’ s compositions and is not found in pre-17 century not as the Pancharatna kriti-s. Not to connote sruti and that its texts like Niruktam, Vyjayanti and only are these raga-s unsuitable for integration with music ensures a Amarakosam. -
The Gana Alankaras in Karnatic Music Compositions
www.ijcrt.org © 2020 IJCRT | Volume 8, Issue 7 July 2020 | ISSN: 2320-2882 THE GANA ALANKARAS IN KARNATIC MUSIC COMPOSITIONS Vinod K K Kochi, Kerala, India Abstract : As the name implies Alankaras are the factors of Kritis (classical songs) or ganas, which adorn the musical compositions. So, these are known as ‘Ganalankaras’. There are different types of Ganalankaras. The great composers of Karnatic music used varieties of the alankaras regularly as their signature in the compositions. The alankaras enhance the beauty of a kriti to a large extent. This article deals with the major Ganalankaras used by the great composers of Karnatic music. Index words : - Gana-alankaras, Sangathis, Chittaswaras, Madhyamakala sahitya, Swrakshara, Swarasahitya, Cholkkettu swara, Cholkkettu swara sahitya, Yathi. INTRODUCTION Alankaras are parts of musical compositions which provide attractive musical variations in the structure of the compositions. They produce a refreshing effect on singers or musicians and to the listeners alike when it is heard or rendered. The main types of ganalankaras found in the kritis of eminent Vaggeyakaras are Sangathis, Chittaswaras, Madhyamakala sahitya, Swrakshara, Swarasahitya, Cholkkettu swara, Cholkkettu swara sahitya and Yathi. Many great vaggeyakaras – [the composers who create both ‘vag’ and ‘geya” or sahitya and swara or lyrics and tunes of classical compositions] - have their own special area of expertise in the realm of alankaras. We can see the types of the above ganalankaras in detail. Various types of Gana Alankaras 1. Sangathis Sangathis are the variations given to the tune of lines of a kriti or these are the step by step musical changes given to the dhatu of a song when repeating the same line. -
CARNATIC MUSIC (CODE – 032) CLASS – X (Melodic Instrument) 2020 – 21 Marking Scheme
CARNATIC MUSIC (CODE – 032) CLASS – X (Melodic Instrument) 2020 – 21 Marking Scheme Time - 2 hrs. Max. Marks : 30 Part A Multiple Choice Questions: Attempts any of 15 Question all are of Equal Marks : 1. Raga Abhogi is Janya of a) Karaharapriya 2. 72 Melakarta Scheme has c) 12 Chakras 3. Identify AbhyasaGhanam form the following d) Gitam 4. Idenfity the VarjyaSwaras in Raga SuddoSaveri b) GhanDharam – NishanDham 5. Raga Harikambhoji is a d) Sampoorna Raga 6. Identify popular vidilist from the following b) M. S. Gopala Krishnan 7. Find out the string instrument which has frets d) Veena 8. Raga Mohanam is an d) Audava – Audava Raga 9. Alankaras are set to d) 7 Talas 10 Mela Number of Raga Maya MalawaGoula d) 15 11. Identify the famous flutist d) T R. Mahalingam 12. RupakaTala has AksharaKals b) 6 13. Indentify composer of Navagrehakritis c) MuthuswaniDikshitan 14. Essential angas of kriti are a) Pallavi-Anuppallavi- Charanam b) Pallavi –multifplecharanma c) Pallavi – MukkyiSwaram d) Pallavi – Charanam 15. Raga SuddaDeven is Janya of a) Sankarabharanam 16. Composer of Famous GhanePanchartnaKritis – identify a) Thyagaraja 17. Find out most important accompanying instrument for a vocal concert b) Mridangam 18. A musical form set to different ragas c) Ragamalika 19. Identify dance from of music b) Tillana 20. Raga Sri Ranjani is Janya of a) Karahara Priya 21. Find out the popular Vena artist d) S. Bala Chander Part B Answer any five questions. All questions carry equal marks 5X3 = 15 1. Gitam : Gitam are the simplest musical form. The term “Gita” means song it is melodic extension of raga in which it is composed. -
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. -
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. -
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. -
Vol.74-76 2003-2005.Pdf
ISSN. 0970-3101 THE JOURNAL Of THE MUSIC ACADEMY MADRAS Devoted to the Advancement of the Science and Art of Music Vol. LXXIV 2003 ^ JllilPd frTBrf^ ^TTT^ II “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 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 Statement about ownership and other particulars about newspaper “JOURNAL OF THE MUSIC ACADEMY MADRAS” Chennai as required to be published under Section 19-D sub-section (B) of the Press and Registration Books Act read with rule 8 of the Registration of Newspapers (Central Rules) 1956. FORM IV JOURNAL OF THE MUSIC ACADEMY MADRAS Place of Publication Chennai All Correspondence relating to the journal should be addressed Periodicity of Publication and all books etc., intended for it should be sent in duplicate to the Annual Editor, The journal o f the Music Academy Madras, New 168 (Old 306), Printer Mr. N Subramanian T.T.K. Road, Chennai 600 014. 14, Neelakanta Mehta Street Articles on music and dance are accepted for publication on the T Nagar, Chennai 600 017 recommendation of the Editor. The Editor reserves the right to accept Publisher Dr. -
Carnatic Music Theory Year Ii
CARNATIC MUSIC THEORY YEAR II 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: 2.1 Latest edition can be downloaded from https://beautifulnote.com/theory Preface This text covers topics on Carnatic music required to clear the second year exams in Government music colleges in Andhra Pradesh and Telangana. Also, this is the second 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 2010, edition 2.0 in 2018, 2.1 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. Not for commercial use. Read https://creativecommons.org/licenses/by-nc-nd/4.0/ About the author Ananth Pattabiraman is a musician. -
Carnatic Column
Carnatic Music- Thyagaraja Aradhana By Smitha K. Prasad Dear readers, I’d like to wish you a happy, peaceful, prosperous and musical New Year 2014! The ringing in of the New Year brings with it one of the most famous annual Carnatic music festivals viz. the “Thyagaraja Aradhana” held in Thiruvaiyaru, Tamil Nadu. The “Thyagaraja Aradhana” festival occurs sometime during the months of January or February, depending on when the “Pushya Bahula Panchami” day occurs each year, as this is the day that the great composer saint Sri. Thyagaraja attained Samadhi (passed on). Thyagaraja (1767-1847) was one of the greatest composers in Carnatic music. Along with Sri. Muthuswami Dikshitar and Sri. Shyama Shastri, they formed the Trinity of Carnatic music. Sri. Thyagaraja was an extremely prolific composer- of the 24,000 compositions attributed to him, only about 700-800 are available to us today. Among the many great compositions by Thyagaraja, perhaps none is more famous than the set of Pancharatna krithis, which literally translates to five (pancha) gems (ratna). These krithis are composed in the Ghana ragas - Nata, Gowlai, Arabhi, Varali and Sri. Each of these compositions has both swara passages and corresponding sahithya and beautifully brings out the essence of the raga in which it has been composed. The aradhana at Thiruvaiyaru was initially started by Thyagraja’s disciples to commemorate the day that he attained Samadhi. Over the course of time, disagreements set in and two rival factions emerged to organize the aradhana with musicians aligning themselves with either of the competing groups. Unfortunately, women were not allowed to perform at the aradhana.