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Shyama Shastri Compositions of Shyama Shastri

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Compositions of Shyama Shastri. 1. akhilANDeshvari. raga: karnATakakApi. Adi tALA. P: akhilANDEshvari durusuga brOvumu A: nikhila tApahAriNi bhuvilOna ninu mincina vArevarunnArammA C1: mANikyamayamaiyunna mandira madhya vAsinI alivENI shrI shambhunAthuni rANI varamIyavE gIrvANI mAyammA C2: ambOruha sambhava harishankara akhila munIndra pUjitA ati gambhIrA dInarakSaNI gadA nA moralanu vinalEdA C3: O ambA ninu nammina nApai inta parAmugamEla vinu shyAmakrSNutA cinta dIrci sAmrAjyamIyavE vEgamE 2. Adinamunci. raga: Anandabhairavi. tripuTa tALA. P: Adinamunci pogaDi pogaDi Ashrayinci nI mahimalanu pADalEdA A: Adi shakti nIvani (namminAnu) nammina nannu Adarinca dayalEdA C1: ahibhUSaNuni rANI purANI bhavAnI alikula vENI AshrtarENI ambuja lOcanI shyAmakrSNa pAlita jananI akhilalOka pAvanI shyAmaLAmbikE varadE abhaya dAnamIyavE 3. O jagadamba. raga: Anandabhairavi. Adi tALA. P: O jagadamba nanu (amba) nIvu javamuna brOvu amba A: I jagati gatiyena janulaku mari tEjamuna rAja vinutayau rAjamukhI sarOja nayana suguNa rAjarAjita kAmAkSi (svara) pa ma ga ri sa *ni sa ma ga ri sa *ni sa ga ri *ni sa gA gA ma pa dha pa ma ga ma pA dha pa mA ga ri ga ma pa mA ga ri sa sA ni dha pa pA , ma ga ri sA , ma ga ma sA sa pA pa mA pa ni pa ma pa ma ga ri ga ga mA ; ; *ni *ni sa ga ga ma ga ri *ni sA sa pA pa mA pa ni pa ma pa ma ga ri ga ga mA , pa mA , pa mA , pa ga ri ma ga pa ma mA pa ma ga ri sA ga ri , *ni sa sa pa pa mA pa ni pa ma pa ma ga ri ga ga mA ; ; *ni *ni sa dha pa ma ga ri sA C1: kanna talli nAdu centaninta kannaDa salupaga tagunA ninnu nE nammiyunna vADugadA nannokani brOcuTa karudA anni bhuvanambulu gAcEvu prasanna mUrti annapUra varadA vinnapampu vinnavinci sannidhi vipanna bhaya vimOcana daurEya C2: jAlamEla shailabAla tALajAlanu jananI ninnuvinA pAlanArthamuga vErE deivamula lOlamatiyai nammitinA nIlanutA shIlamu nE neccaTanainagAna gAnalOla hrdayA nIlakaNTha rANI ninnu nammitni nijambuga balikEdi dayacEsi C3: cancalAtmuDEnu Emi pUrva sancitamula salipitinO kanci kAmAkSi nEnu ninnu poDakAncitini sharaNu sharaNu nIvincukA cancalagati nA dEsanuncavammA shyAmakrSNa vinutA manci kIrti niccunaTTi dEvI manninci nAdaparAdhamula sahinci (svarasAhitya) varasitagiri nilayuni priya praNayini parAshakti manavini vinumA mariyAda lerugani duSprabhulu kOri vinutimpaga varambosagi 4. ennEramum un. raga: punnAgavarALi. tripuTa tALA. P: ennEramum un pAda kamala dhyAnam sheidu koNDunnai nambinEn nambinEn nambinEn A: ennai rakSikka shonnEn sonda maindan nAnallavO annai pinnaiyuNDO enakkuakhilANDEshvari shankari C1: Adi shakti undan mahimaiyai tudi sheyyalAgumO paraman mudalAna pErukkAdiyEparam jyOtiyE pankayak-kanniyE EdammA parAmukham sheyyak- kUDAdammA nI karuNaik-kaDalallavO C2: tAmarai mEl taNNir pOl tayangugirAyE endan mEl dayavu sheyya nallataruNamidE shivakAmiyE abhirAmiyE anudinamum un nAmamE japam allAdonrum nAn ariyEnana shonnEntAyE C3: nilavin varalAl alli malar nimirndu malaravillaiyO ennai nilattil vAzhavaitta annaiyE sanAtaniyE pugazhk-kaniyE mAniyE taniyEn enakk-aDaikkalam nEyamODu taruvadun kaDamaiyallavOtAyE 4: shyAmakrSNa sOdarI tudi sheyyAmal iruppEnO un pAdangaLai maravAmalirukka varam taruvAyE sukha shyAmaLE nitya kalyANI tAmadamini sheidAl nAnippO tAnguvEnO tAyE akhilANDEshvarI 5. Emani migula. raga: tODi. Adi tALA. P: Emani migula varNintu I mahini nE nI mahimalu A: sAmaja gamanA dharamasamvardhanI (ambA) surulaku nI mAya teliyalEru shAmbhavI nI mahAtyamatishayamu C1: nIraja lOcanA lOkamulO nalupina lOkulu dhanyulairikA nalugurilO sAramatI nanu dayatO kAnci karuNincumu talli ninu neranammiti cAlA mahAlIla galigina shakti santatamu nIvE santOSavatI C2: O jananI karuNi bhavapriyA vinumavani Om anina janma sAphalyamAyE nIdu kathalanu vini O mOhAvrtalaiyunna janulanu talli ipuDu brOvumu O rAjAdhi rAjEndra makuTa paTali maNi viracitapadA C3: kanjana dAntuni kAmitA shubha caritA prasanna vadanA ghana krpA sahitA shyAmakrSNa cintA giri tanayA pancanada kAvEri tIramuna nivasincE umA pancApakEsha muninutA haimavati parAshakti 6. ennEramum un nAmam. raga: pUrvikalyANi. tripuTa tALA. P: ennEramum un nAmam uraippadE an nEmam annaiyE A: punnakaiyuDan kaN pArttennai eppOdum mannippadum nIyE en tAyE C1: EnammA tAmadamEnammA ennai rakSikka unakku bhAramA un ninaivE en nEmamallavO unnuLLam karaiyavum nAn shollavO C2: anbuDan unnai nAn aDaikkalamaDaindEn akhilANDEshvarI abhirAmasundarI anaittum arinda Adi shakti nIyE aravaNaittennai Adari shyAmakrSNa sOdarI 7. kanaka shaila . raga: punnAgavarALi. Adi tALA. P: kanaka shaila vihAriNi (ambA) shrI kAmakOTibAlE sushIlE A: vanaja bhava harinutE dEvi hima girijE lalitE satatam vinatam mAm paripAlaya shankara vanitE sati mahA tripurasundari C1: kambu kaNThi kanja sadrsha vadanE karirAja gamanE maNi sadanE shambara vidAri tOSiNi shiva shankari sadA madhura bhASiNi C2: caNDa muNDa khaNDana paNDitEkSu daNDa kOdaNDa maNDitapANi puNDarIka nayanArcitapadE tripura vAsini shivE hara vilAsini C3: shyAmaLAmbikE bhavAbdhi taraNE shyAmakrSNa paripAlita janani kAmitArtha phaladAyikE kAmAkSi sakala lOka sAkSI 8. karuNa jUDavamma. raga: varALi. cApu tALA. P: karuNa jUDavammA vinavammA shrtajana kalpavallI mA tallI mAtallI A: marakatAngi pancanadEshu rANi madhuravANi dharmasamvardhani C1: nAradamulanu mahArAjulani pogaDi durAshacE tirigi vEsAri ilalO virAjamukhi nIvu dayatO kApADi birAna varamIyavE girirAja sutA nIvu C2: umA bhuvini nIku samAnamevaru bhAramA rakSincuTaku abhimAnamu lEdani kumAruDu gadA nEnu ipuDu abhayamIyavE kumAra janani nIvu mAnavAtIta gadA C3: udAra guNavati gadA sAmagAnanutA sadA nutijEri nI padAmbujamula nI dAsuni moravinavA samayamidE sadAshivuni dIna janArcitE 4: udAramuganu avatArametti jagamunu sudhAkarunivalE ranjimpa jEyu nI padAmbuja nammi ninnE bhajinci sadA shyAmakrSNa jEsina bhAgyamE 9. karuNa jUDa. raga: shrI. tALA: Adi. P: karuNa jUDa ninnu nammina vADanugadA inta parAkElanamma A: sarasijAsana mAdhava sanunata caraNA brhannAyaki vEgamE C1: dIna janAvana mUrtini nIvani nEnu ninnu neranammitini gAna vinOdini ghana nibha vENi kAmita phaladA samayamidE C2: nI mahima atishayambulanu nentani nE jeppudunu O lalitA hEmapAngi himagiri put ri mahEshvari girIsha ramaNi nI C3: shyAmakrSNa paripAlini shUlini sAmaja gamanA kundaradanA tAmasambu iTu sEyaka nA paritApamulanu pariharincina nIvu 10. karuNAnidhi ilalO. raga: tODi. tALA: tisram. P: karuNAnidhi ilalO nIvanucunu kanna tallI vEDukoNTini nI sharaNaNTini A: aruNAmbuda nibha caraNA (ambA) suramuni sharaNAnandESTha dAyaki shrI brhannAyaki C1: gAna vinOdini nI mahimAdishayambula entaTi vADanu taramA brOva tAmasamiTu jEsitE ara nimiSamaina tALa jAla nammA mAyammA C2: pAmara pAlini pAvani nIvu gadA nI pAdamE gatiyani namminAnu kOmala mrdu bhASiNi ghana sadrsha vENi shyAmakrSNa sOdari gOkarNEshvaruni rANi 11. kAmAkSi amba anudinamu (svarajati). raga: bhairavi. cApu tALA. P: kAmAkSi amba anudinamu maravakanE nI pAdamulE dikkanucu nammitini shrI kanci C1: kundaradanA kuvalaya nayanA tallI rakSincu kambugaLa nIrada cikurA vidu vadanA mAyammA C2: kumbha kuca mada matta gaja gama padma bhava hari shambhu nutapadA shankari nIvu nA cittalu vEvEga dIrcammA vinammA C3: bhaktajana kalpalatikA karuNAlayA sadayA giri tanayA kAvavE sharaNAgatuDu gadA tAmasamu sEyaka varamosagu C4: pAtakamulanu dIrci nI pada bhakti santatamIyavE pAvanI gadA moravinavA parAkElanammA vinammA C5: durita hAriNi sadA nata phaladAyakiyani birudu bhuvilO galigina doreyanucu vEdamulu moraliDaganu C6: nI pavana nilayA sura samudayA kara vidrta kuvalayA mada danuja vAraNa mrgEndrA ashrita kaluSa dahana ghanA aparimita vaibhavamugala nI smaraNa madilO dalacina janAdulaku bahu sampadala niccE vipuDu mAkabhayamIyavE C7: shyAmakrSNa sahOdari shivashankari paramEshvarI hari harAdulaku nI mahimalu gaNimpa taramA sutuDambAyabhimAnamu lEdA nApai dEvI parAkEla brOvavE ipuDu shrI bhairavI 12. kAmAkSi karuNAkaTAkSi (gItam). raga: paraju. tripuTa tALA. kAmAkSi karuNAkaTAkSi kAmAkSi lOka sAkSiNi kAmAkSi karuNAkaTAkSi kAmAkSi mAm pAhi bangAru kAmakOTi pIThagatE kAmita phaladAyikE kAmAkSi mAm pAhi kanci kAmAkSi mAm pAhi pankajadaLa lOcanE sankaTa bhaya mOcanE shankari mAm pAhi shivashankari mAm pAhi shyAmakrSNa pAlita janani sAmagAna vinOdini shyAmaLE mAm pAhi shuka shyAmaLE mAm pAhi 13. kAmAkSi nAtO. raga: bEgaDa. Adi tALA. P: kAmAkSi nAtO vAdA dayalEdA kAmAkSi nannokani brOcuTa bhAramA bangAru A: tAmasamu jEsitE nE tALanammA nI nAma pArAyaNamu vina vEDitinammA mAyammA C: shyAmakrSNa sOdarI tallI (ambA) shuka shyAmaLE ninnE kOriyunnAnammA mAyammanni nE dalaci dalaci mATimATiki kannIru viDuva lEdA ambA nIvu mATADakuNDina nE tALalEnammA nI biDDanu lAlincavE doDDatallivE kAmAdula capala citta pAmaruDai tirigi tirigi ilalO kAmita kathalu vini vini vEsAri nEnu EmAr pOtunA 14. kAmAkSi nIdu padayugamu. raga: yadukulakAmbhOji. cApu tALA. P: kAmAkSi nIdu padayugamu sthiramaninE nammiyunnAnu nA cintalellanu dIrcammA C1: amba nanu brOva (jagadamba nanu brOva) samayamu vinumA patita pAvanigA C2: anudinamu sharaNamani ninnu vEDukoniyuNDE sutuDammA sadaya C3: sarasijAsana harIsha vinutapAdA nAtO vAdA C4: kamaladaLa sama nayana kacajita ghanA shashivara nibhavadana C5: mAnavatI ninu sadA dalacina mAnavulakella phalamosagE birudugala dEvatayani nE vinabaDi nIvE gatiyanucu C6: pAvani puraharuNi ramaNi pArvatI sakala jananI pAtakamulanu vaDigA dIrci varamosagunu C7: kanaka giri sadana ninu golicina janamulaku dinadinamu shubhamosagE vani shrutulu moraliDagA moralu vini vini vini C8: bAla kisalaya caraNA nimiSamu tALanika vini madagaja gamanA tAmasamu sEyakanE nannipuDu brOvumu vinava girisutA C9: kunda mukuLa radA sura brnda vinutapadA bhuvilO varadAyakigadA nA moralu cEvulaku vinava girisutA C10: nIvalanE galadA
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    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.
  • Folk Hinduism in West Bengal

    Folk Hinduism in West Bengal

    1 Folk Hinduism in West Bengal In the rural areas of India, we see a variety of notions about the nature of gods and goddesses. They are not “high gods,” as we see in the pan-Indian brahmanical forms of Hinduism, but rather regional deities, intimately associated with villages and towns. Indeed, some would not be characterized as gods and goddesses by most people, for those supernatural entities given offerings and worship include ghosts, ancestors, water and plant essences, guardian spirits, and disease con- trollers. We see some overlap of tribal deities, the deities of non-Hindu or semi- Hindu villagers, with the village gods or gramadevatas of village Hinduism. These may be µeld or mountain spirits, or angry ghosts of women who died violent deaths. All of these may be seen in the large area of folk Hinduism. There is no sharp differentiation between the tribal deities, village deities, and gods and god- desses of brahmanical Hinduism. Rather than a polarity, we see a continuum, for these traditions worship many deities in common. Some themes that may be noted in the worship of folk gods and goddesses: Regionalism: These deities are associated with speciµc places, temples, µelds, and streams. The Kali of one village is not the same as the next village’s Kali. One Chandi gives good hunting, another Chandi cures disease. Goddesses are not pan-Indian; they are speciµc to a person’s tribal or caste group, ex- tended family, neighborhood, or village. Pragmatism: These deities are rarely worshiped in a spirit of pure and ab- stract devotion.
  • Contextual Water Targets Pilot Study Noyyal-Bhavani River Basin, India

    Contextual Water Targets Pilot Study Noyyal-Bhavani River Basin, India

    CONTEXTUAL WATER TARGETS PILOT STUDY NOYYAL-BHAVANI RIVER BASIN, INDIA May 2019 Ashoka Trust for Research in Ecology and the Environment (ATREE) 1 Bangalore, India This publication is based on the project report submitted to the Pacific Institute, USA as the result of the study on contextual water targets in the Noyyal-Bhavani river basin, India. Study duration: October 2018 to April 2019 Financial support: Pacific Institute, USA Additional financial support: World Wide Fund for Nature-India (WWF-India). Authors: Apoorva R., Rashmi Kulranjan, Choppakatla Lakshmi Pranuti, Vivek M., Veena Srinivasan Suggested Citation: R. Apoorva, Kulranjan, R., Pranuti, C. L., Vivek, M., and Srinivasan, V. 2019. Contextual Water Targets Pilot Study: Noyyal-Bhavani River Basin. Bengaluru. Ashoka Trust for Research in Ecology and the Environment (ATREE). Front-cover Photo Caption: Noyyal outflows from the Orathupalayam dam, which had become a reservoir of polluted water for years. Front-cover Photo Credit: Apoorva R. (2019) Back-cover Photo Caption: Untreated sewage in a drain flows towards the River Noyyal near Tiruppur city, Tamil Nadu Back-cover Photo Credit: Rashmi Kulranjan (2019) Acknowledgement: We are grateful to Mr. Ganesh Shinde from ATREE for his help and guidance related to land use classification and GIS maps in this project. We would like to thank all the participants of the project consultative meeting held in Coimbatore in March 2019 for sharing their ideas and contributing to the discussion. We are thankful to Ms. Upasana Sarraju for proofreading
  • M.A-Music-Vocal-Syllabus.Pdf

    M.A-Music-Vocal-Syllabus.Pdf

    BANGALORE UNIVERSITY NAAC ACCREDITED WITH ‘A’ GRADE P.G. DEPARTMENT OF PERFORMING ARTS JNANABHARATHI, BANGALORE-560056 MUSIC SYLLABUS – M.A KARNATAKA MUSIC VOCAL AND INSTRUMENTAL (VEENA, VIOLIN AND FLUTE) CBCS SYSTEM- 2014 Dr. B.M. Jayashree. Professor of Music Chairperson, BOS (PG) M.A. KARNATAKA MUSIC VOCAL AND INSTRUMENTAL (VEENA, VIOLIN AND FLUTE) Semester scheme syllabus CBCS Scheme of Examination, continuous Evaluation and other Requirements: 1. ELIGIBILITY: A Degree with music vocal/instrumental as one of the optional subject with at least 50% in the concerned optional subject an merit internal among these applicant Of A Graduate with minimum of 50% marks secured in the senior grade examination in music (vocal/instrumental) conducted by secondary education board of Karnataka OR a graduate with a minimum of 50% marks secured in PG Diploma or 2 years diploma or 4 year certificate course in vocal/instrumental music conducted either by any recognized Universities of any state out side Karnataka or central institution/Universities Any degree with: a) Any certificate course in music b) All India Radio/Doordarshan gradation c) Any diploma in music or five years of learning certificate by any veteran musician d) Entrance test (practical) is compulsory for admission. 2. M.A. MUSIC course consists of four semesters. 3. First semester will have three theory paper (core), three practical papers (core) and one practical paper (soft core). 4. Second semester will have three theory papers (core), two practical papers (core), one is project work/Dissertation practical paper and one is practical paper (soft core) 5. Third semester will have two theory papers (core), three practical papers (core) and one is open Elective Practical paper 6.
  • South-Indian Images of Gods and Goddesses

    South-Indian Images of Gods and Goddesses

    ASIA II MB- • ! 00/ CORNELL UNIVERSITY* LIBRARY Date Due >Sf{JviVre > -&h—2 RftPP )9 -Af v^r- tjy J A j£ **'lr *7 i !! in ^_ fc-£r Pg&diJBii'* Cornell University Library NB 1001.K92 South-indian images of gods and goddesse 3 1924 022 943 447 AGENTS FOR THE SALE OF MADRAS GOVERNMENT PUBLICATIONS. IN INDIA. A. G. Barraud & Co. (Late A. J. Combridge & Co.)> Madras. R. Cambrav & Co., Calcutta. E. M. Gopalakrishna Kone, Pudumantapam, Madura. Higginbothams (Ltd.), Mount Road, Madras. V. Kalyanarama Iyer & Co., Esplanade, Madras. G. C. Loganatham Brothers, Madras. S. Murthv & Co., Madras. G. A. Natesan & Co., Madras. The Superintendent, Nazair Kanun Hind Press, Allahabad. P. R. Rama Iyer & Co., Madras. D. B. Taraporevala Sons & Co., Bombay. Thacker & Co. (Ltd.), Bombay. Thacker, Spink & Co., Calcutta. S. Vas & Co., Madras. S.P.C.K. Press, Madras. IN THE UNITED KINGDOM. B. H. Blackwell, 50 and 51, Broad Street, Oxford. Constable & Co., 10, Orange Street, Leicester Square, London, W.C. Deighton, Bell & Co. (Ltd.), Cambridge. \ T. Fisher Unwin (Ltd.), j, Adelphi Terrace, London, W.C. Grindlay & Co., 54, Parliament Street, London, S.W. Kegan Paul, Trench, Trubner & Co. (Ltd.), 68—74, iCarter Lane, London, E.C. and 25, Museum Street, London, W.C. Henry S. King & Co., 65, Cornhill, London, E.C. X P. S. King & Son, 2 and 4, Great Smith Street, Westminster, London, S.W.- Luzac & Co., 46, Great Russell Street, London, W.C. B. Quaritch, 11, Grafton Street, New Bond Street, London, W. W. Thacker & Co.^f*Cre<d Lane, London, E.O? *' Oliver and Boyd, Tweeddale Court, Edinburgh.