Yuva Bharati Based in Bhubaneshwar, India

Total Page:16

File Type:pdf, Size:1020Kb

Yuva Bharati Based in Bhubaneshwar, India Padmashri Ileana Citaristi Ileana Citaristi is an Italian-born Odissi and Chhau dancer, and dance instructor Yuva Bharati based in Bhubaneshwar, India. She was awarded the 43rd National Film Awards for Best Choreography for Yugant in 1995 and became, in 2006, the first dancer Presents of foreign origin to be conferred the Padma Shri for her contributions to Odissi. Bharatanatyam by Apoorva Jayaraman and Citaristi studied Odissi under Guru Kelucharan Mohapatra and started her own Odissi by Padmashri Ileana Citaristi school of dance in 1994. Citaristi is also an exponent of the Mayurbhanj Chhau, which she learnt under the tutelage of Guru Hari Nayak and holds the title of an October 24th , 2015, 3:00 pm acharya of Chhau from the Sangeet Mahavidyalya of Bhubaneswar. She Shiridi Sai Parivar, Milpitas founded the Art Vision Academi in 1996, which acts as a platform for sharing ideas between various artistic forms such as theatre, music, dance and www.yuvabharati.org painting. The Academi also conducts classes in Odissi and Chhau. Alarippu by Apoorva Misram * Alarippu Composed by: Aadith Seshadri Dance Composition - Priyadarsini Govind Apoorva will commence her recital with a sloka in praise of Lord Muruga in tamil from Kandar Alangaram, followed by a unique Alarippu in Misram (7-beat cycle) overlaid with Thirupugazh verses enumerating the glory of Lord Muruga. While the verses on Muruga are penned by Arunagirinadhar, the Alarippu has been specially composed by Sri Aadith Seshadri and has been choreographed by Smt Priyadarsini Govind. Daru Varnam by Apoorva Ragam – Khamas * Talam – Adi Music - Mutthaiah Bhagavathar Choreography - Priyadarsini Govind The mainstay of Apoorva’s recital this afternoon is the well-known Daru Varnam Maathey, describing the beauty and splendour of the mother goddess Meenakshi and daughter of King Malayadwaja Pandyan. Devi is the mother of Vinayaka and Guha. She is the destroyer of the demons Chanda and Munda. Adorned with the crescent-moon, she is the dark beauty. The chitta swaram or mukthayi swaram is the highlight of the Daru Varnam. It comprises of swaras, syllables and lyrics in different speeds and jathis. Mangala Charan by Ileana Citaristi Music :Sri Ghanashyama Panda Ileana begins the concert with ‘mangala charana’. After the ‘puspanjali’ and ‘bhumi pranam’ or salutation to Mother Earth, the dancer pays homage to Surya, the Creator and Destroyer, who is effulgent like a red hibiscus flower, riding gloriously on his chariot, first among the nine planets. The ‘mangala charan’ ends with a triple salutation, above the head to the Gods, in front of the face to the Guru and in front of the chest to the public. Pallavi by Ileana CItaristi ‘Dasa Mahavidya’ or the ‘ten forms of supreme knowledge’ depict the ten Raga: Krishna Kedar Music: Sri Ramesh Chandra Das incarnations of Devi according to the tantric school of Indian philosophy. In this The pallavi is an item of ‘nritta’ or pure dance where lyrical music is interwoven item each form of Devi is presented through a brief visualization of her into the fabric of body movements. It is a soft blossoming of music and dance mythical origin followed by the description of her anthropomorphic form. The ending in a crescendo. It is a creative elaboration which flows along and ten incarnations are: heightens the unique character of a raga using rhythmic variations and cyclic Kali : the ‘black goddess’, patterns. This pallavi is set to 3 variations of rhythmical cycles of 14 matra or Tara : ‘who guides us across the sansara’, counts. Tripura Sundari : ‘who is lovely in the three worlds’, Bhuvaneswari :‘ whose body is the world’, Tulsidas Bhajan Thumak Chalath Ramachandra by Apoorva Chinnamasta : ‘the self-decapitated one’, Ragam - Misra Kamas * Talam - Tisra Nadai * Bhairavi : ‘the fierce one’, Lyrics - Tulsidas * Dance Composition - Priyadarsini Govind Dhumavati : ‘born out of smoke’, This unique composition by Saint Poet Tulsi Das addresses Lord Rama as a baby Bagalamukhi :‘the paralyzer’, and describes him through the eyes of his mother. Set to a lilting tune, the Matangi : ‘whose limbs are intoxicated’ and bhajan tenderly extols how the mother enjoys her child taking his first steps. Kamala : ‘the lotus goddess’. Rama laughs sweetly even when he trips and falls over. Admiring the dignified form of little Rama the poet exclaims - who can be equal Rama, but Rama Artists himself! Apoorva Jayaraman Abhinaya - Sharanam by Ileana Citaristi Music: Sri Gopal Panda Dr. Apoorva Jayaraman considered among the best of the upcoming Three women from three different religions with a similar message: no sin is generation of dancers in India had the unique privilege of training under too big in front of God’s merciful eyes. Mary Magdalena of the Christian Priyadarsini Govind over the past 13 years. She has undergone intensive and religion, Amrapalli of the Buddhist dharma and Pingala from the Hindu specialised training in abhinaya under Padmabhushan Smt Kalanidhi Narayan. Bhagavata are three prostitutes who find refuge in the mercy of God. Mary is Apoorva is a dancer, artist, choreographer and teacher, working under various saved from the public stone pelting by Jesus who challenges the accusers by banners in India, USA and Europe. asking: who, among you, is without sin, throw the first stone! Amrapalli finds refuge at Buddha’s feet who accepts her as his disciple in spite of her dubious She was featured as a prominent soloist in more than 10 of a series of past. Pingala realizes the futility of her lustful waiting for her rich client when international dance DVDs produced by Kalakriya earning her a special she discovers that Krishna, her real lover, is already in her heart. recognition and acclaim among connoisseurs from around the globe. She has performed in Chennai’s most prestigious Sabhas, and has had the honor of Thillana by Apoorva regularly performing under the auspices of Milapfest (UK) and Akademi UK. She Dance Composition - Priyadarsini Govind was awarded the Nritya Ratna Best Dancer of the Year (UK) Award in 2013 Ragam Poornachandrika Talam Adi Music - Poochi Srinivasa Iyengar jointly by Milpafest and the Arts Council UK and also the Natya Ratna Award Kavadi Chindu : Nrindranda Mayil * Talam Khanda Chapu 2014 by Trinity Arts Festival. Music Composition - Oothukadu Venkatasubbayyar Apoorva will conclude her recital with a Thillana in Ragam Poornachandrika. Apoorva is also an astrophysicist with a Doctoral degree in Astronomy at This will be followed by a Kavadi chindhu - "Nindrantha mayil" – a meditative University of Cambridge, having completed her Masters in Physics from Oxford piece in Tamil composed by Oothukadu Venkatasubbayyar, in praise of Lord University (Trinity College). Krishna. Dasa Mahavidya Choreography : Dr. Ileana Citaristi Music : Pandit Ramahari Das and Guru Bonomali Maharana .
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Department of Indian Music Name of the PG Degree Program
    Department of Indian Music Name of the PG Degree Program: M.A. Indian Music First Semester FPAC101 Foundation Course in Performance – 1 (Practical) C 4 FPAC102 Kalpita Sangita 1 (Practical) C 4 FPAC103 Manodharma Sangita 1 (Practical) C 4 FPAC114 Historical and Theoretical Concepts of Fine Arts – 1 C 4 ( Theory) FPAE101 Elective Paper 1 - Devotional Music - Regional Forms of South India E 3 (Practical) FPAE105 Elective Paper 2 - Compositions of Muttusvami Dikshitar (Practical) E 3 Soft Skills Languages (Sanskrit and Telugu)1 S 2 Second Semester FPAC105 Foundation Course in Performance – 2 (Practical) C 4 FPAC107 Manodharma Sangita 2 (Practical) C 4 FPAC115 Historical and Theoretical Concepts of Fine Arts – 2 ( Theory) C 4 FPAE111 Elective Paper 3 - Opera – Nauka Caritram (Practical) E 3 FPAE102 Elective Paper 4 - Nandanar caritram (Practical) E 3 FPAE104 Elective Paper 5 – Percussion Instruments (Theory) E 3 Soft Skills Languages (Kannada and Malayalam)2 S 2 Third Semester FPAC108 Foundation Course in Performance – 3 (Practical) C 4 FPAC106 Kalpita Sangita 2 (Practical) C 4 FPAC110 Alapana, Tanam & Pallavi – 1 (Practical) C 4 FPAC116 Advanced Theory – Music (Theory) C 4 FPAE106 Elective Paper 6 - Compositions of Syama Sastri (Practical) E 3 FPAE108 Elective Paper 7 - South Indian Art Music - An appreciation (Theory) E 3 UOMS145 Source Readings-Selected Verses and Passages from Tamiz Texts ( S 2 Theory) uom1001 Internship S 2 Fourth Semester FPAC117 Research Methodology (Theory) C 4 FPAC112 Project work and Viva Voce C 8 FPAC113 Alapana,
    [Show full text]
  • Dikshitar Parampara (Part 1)
    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. Dikshitar parampara (Part 1) n musical parlance the name ‘Dikshitar’ instantly brings to our mind the illustrious saint-composer Muthuswami Dikshitar who, as a pioneer Icomposer, musician and poet in the field of Carnatic music, remains unparalleled even today. The literary beauty and depth of content in perfect proportion with the subtleties and aesthetics of our music are the hallmarks of his compositions. A striking thing about Dikshitar is the glorious parampara or lineage associated with him. His father, Ramaswami Dikshitar, and brothers Chinnaswami and Baluswami were all accomplished musicians and composers. And Subbarama Dikshitar, a grandson (and adopted son) of Baluswami Dikshitar, inherited the musical prowess of his father, paternal uncle and grandfather, and made an indelible mark in the world of music with his monumental work, Sangeeta Sampradaya Pradarsini. This parampara is unique in that it is a combination of ‘vamsa parampara’ or family lineage and ‘sishya parampara’ or lineage of disciples. Such a glorious lineage, spanning over three generations with each member equally proficient and knowledgeable is a very rare occurrence. This article is an attempt to bring out more information on this great lineage, with emphasis on the life and works of the Dikshitars other than Muthuswami Dikshitar. Ramaswami Dikshitar was born in 1735 AD.
    [Show full text]
  • CHALAMELA (Durbar)
    VARNAM CHALAMELA Ragam: Durbar (22nd Mela Janyam) Talam: Adi Arohanam: S R2 M1 P D2 N2 S || Avarohanam: S N2 D2 P M1 R2 G2 G2 R2 S || Composer: Thiruvotriyur Thyagaiyyer Notation Courtesy: Apoorva Raghunandan Pallavi: ChalamEla jEsEvurA chAla nammina nApai Anupallavi: Valachiyunna nAthO vAdEla VEnu gOpAla dEva Charanam: Palukumu nAthO Meaning: Lord Venugopala, why do you wreak a grudge on me? Please shower your Grace upon this one who has ardently believed in you. Pallavi: P M R , G , G , R S R , N R S N | Cha- la - me- - - la - - - je - - - D P D N S R S R || P , M R G R S R || - - se - - - - - vu - - ra - - - - P M R G R S R M || P M , P D N S R | Cha - - - - - la - - nam - - - - - - N N , D D P D N | P M RG G R S R || Mi - - na - - na - - - - - pai - - - Anupallavi D N P D M P R M R P M R G G R S | Va- - - - - la - - - - - chi - - - M M R P P M D D | P M P D N N S , || yu - - - - - na - - na - - tho - - - P D P S N S R S R G G R S N S R | Va - -de - - la - - ve - - nu - - - S , , P , , D N | P M R G G R S R || Go - - pa - - la - - - de - - va - - Mukthayi Swaram: P M R G R S N R S R N S D P D N | S R S M R P M D | P D M P D N S , || D P D N S , R S R G G R S R N , | D P S S , P P , | D P M R G R S R || (Cha) Charanam: P , P , , D P M P D , P D , D R | Pa - lu - - ku - - - - - - - - - - N , N , D , P , | M R G , R S R M || Mu - - - - - - - na - - - tho - - - Chittai Swaram: 1.
    [Show full text]
  • Glossary of Carnatic Terms
    karnATik glossary http://www.karnatik.com Glossary Of Carnatic Music Brought to you by karnATik http://www.karnatik.com created by rani Copyright rani. All rights reserved. 1 of 1 karnATik glossary http://www.karnatik.com Glossary: A aadi - a common taaLa, which is catusra jaati tripuTa taaLa. It has 8 beats, with a catusra laghu (beat and 3 finger counts = 4) and then two drutams (beat and wave times 2 = 4). It may be also performed with double the beats per cycle, giving 16 beats. aaditya - the 12th and last cakra, with melakartas that have M2, R3, and G3, comprising numbers 67-72 aahatam - a gamaka or decoration of a note which takes the form of 2 consecutive notes, such as SR RG GM MP ... aalaapanai - one of the manOdharma sangeetam forms, same as raaga (2) aananta - meaning "peace" or "ultimate happiness," this is the word used in singing of taanam aandOLam - a gamaka or decoration of a note which takes the form of going upand down in sequence, as in SRSG, SRSM, SRSP ... aarati - a song or ritual performed with a flame and/or turmeric to drive away evil spirits. Aarati songs are usually in mangaLa raagas aarOha - the ascending scale of a raga (S R G ...), consisting of 4, 5, 6, or 7 notes. aatta varnam - another name for a pada varnam aavartana - one cycle through the rhythm or taaLa. For example, in aadi tala, one aavartanam is 8 beats. Two aavartanas are 16, etc. abhyaasa gaanam - a type of music which is often used in practice or musical exercise.
    [Show full text]
  • History and Theory of Indian Music Lakshanas of the Ragas Prescribed
    CARNATIC MUSIC (MELODIC INSTRUMENTAL) (CODE NO. 032) CLASS–XI: (2021-22) Term-I Theory Marks – 15 A History and Theory of Indian music Number of Periods I. An outline knowledge of the following Lakshana Grandhas (i) Natyasastra and Chaturdandi Prakasika 4 Short life sketch and contributions of the following: - Tyagaraja, (ii) Shyama Shastry and Muthuswamy Dikshitar, 3 Brief study of the musical forms: Geetam and its varieties; (iii) And Varnam. 3 Definition and explanation of the following terms: Nada, Sruti, Swara- II. Vadi, Vivadi, Samvadi, Anuvadi, Amsa and Nyasa Swaras. 3 Lakshanas of the ragas prescribed: III. Mayamalavagoula, Sankarabharanam, Arabhi, Kanada, and 4 Madhyamavati Talas Prescribed: Adi, Roopaka, Misra & Khanta Chapu IV. A brief study of Suladi Sapta talas. 3 Total Periods 20 Term -I Practical Marks -25 B Periods I. Ragas Prescribed: Mayamalavagoula, Sankarabharanam, Arabhi, Kanada and Madhyamavati. II. One Varnam in Adi tala in two degrees of speed. 15 III. Kriti /Kirtana in Adi and Roopaka tala in prescribed ragas. 10 IV. Techniques of playing Kalpana Swaras in Kritis taught in adi and Roopka talas. In two degrees of speed. 15 V. The candidate should be able to produce only important Gamakas pertaining to the Chosen instrument. 10 Total Periods 50 Format of Examination I. Recitation of Varnam in two degree of speed. 6 II. Presentation of Kritis in the prescribed ragas in syllubas 8 III. Ability to play Kalpanaswaras in Kritis taught. 5 IV. Ability to play important Gamakas pertaining to chosen 6 instrument Total Marks 25 Internal Assessment – 10 Marks Total Marks – Theory + Practical + IA – 50 Marks Term-II Theory Marks – 15 A History and Theory of Indian Music No.
    [Show full text]
  • Carnatic Vocals and Instrumental Syllabus Levels 1-10
    IndianRaga Certification Carnatic Vocals and Instrumental Curriculum A IndianRaga Certification The new gold standard in Indian Classical Music IndianRaga’s new certification program is the first ever structured, coherent, fair assessment mechanism to certify performers of Indian Classical Music at various levels of training and performance. A. Basis for assessment B Assessment of candidates to be based on technical principles combined with the ability to perform. B. Panel of assessors Holistic assessment of each candidate by a panel of accomplished musicians. C. Standardized Testing Online video-based mechanism eliminates bias and delivers an unparalleled test-taking experience. C Advantages of getting certified What How 1. Recognition of musical skills . Syllabus will test Levels 1 through 2. Qualitative concepts of 10 to evaluate assessment of level of accomplishment Indian Classical progress at 3. Encouragement of various levels of commitment Music and ability towards music. to perform training and 4. Presentation of credentials for performance musical or academic profile. A B D C A. Levels 1, 2, 3 B. Levels 4,5,6 Understanding the different levels. - Initial levels of training - Ability to render ragas - Understanding of basic with easy We have grouped the concepts - Sufficient practice on - Ability to identify ragas levels into four groups: her/his own A, B, C and D. These - Exposure to live performances levels correspond to Beginner, Beginner +, D. Levels 9 & 10 Intermediate and C. Levels 7 & 8 Advanced. See to the - Highest level
    [Show full text]
  • तमिलनाडु केन्द्रीय विश्िविद्यालय Electives for the Odd Semester Elec
    तमिलनाडु केन्द्रीय वि�िवि饍यालय CENTRAL UNIVERSITY OF TAMIL NADU (Established by an Act of Parliament, 2009) नीलक्‍कु डी परिसि /Neelakudi Campus, कंगलाꅍचेिी/Kangalancherry, ति셁वा셂ि/Thiruvarur- 610 005. SCHOOL OF PERFORMING AND FINE ARTS DEPARTMENT OF MUSIC Generic ELECTIVE COURSES IN MUSIC Electives for the Odd Semester Code Title Credits Eligibility MUSE01 Elements of Indian 3 Prior music knowledge is not required Music MUSE02 Karnataka Music for 3 Prior music knowledge is not required Beginners-Vocal MUSE03 Karnataka Music for 3 Prior music knowledge is not required Beginners- Veena MUSE04 Devotional and Patriotic 3 Basic music singing knowledge is required. registration is Songs based on personal interview MUSE08 Karnataka Music for 3 Students who had passed the Elective paper MUSE06 Beginners- Veena - offered by the Department of Music. Level -3 (or) Students who already possess the basic knowledge of Karnataka Music- Veena. For such Students, registration is based on personal interview. Electives for the Even Semester MUSE05 Karnataka Music Vocal 3 Students who had passed the Elective paper MUSE02 offered –Level – 2 by the Department of Music, CUTN. (Or) Students who already possess the basic knowledge of Karnataka Music. For such Students, registration is based on personal interview. MUSE06 Karnataka Music Veena 3 Students who had passed the Elective paper MUSE03 offered - Level - 2 by the Department of Music. (Or) Students who already possess the basic knowledge of Karnataka Music- Veena. For such Students, registration is based on personal interview. MUSE07 Karnataka Music 3 Students who had passed the Elective paper MUSE04 offered Compositions - Vocal by the Department of Music.
    [Show full text]
  • Ragas Are There? — P
    THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LXII 1991 mimumHHmMjUUMmBimMlIBBBBBBBlIBBBBUIlllIHlBW" ■■nBBBBBBBBBBBflBBBBBBBflBBBBBBBBBBBBM 5n? * jiffitfro to* i tr^TT to nrafci to firoiftr n “I dwell not in Vaikuntha, nor in the hearts of Yogins nor in the Sun; (but) where my bhaktas sing, there be I, Narada!” Edited by T. S. PARTHASARATHY The Music Academy, Madras 306, T.T.K. Road, Madras-600 014 Annual Subscription - Inland Rs.40: Foreign $ 3-00 V OURSELVES This Journal is published as an Annual. All correspondence relating to the Journal should be addressed and all books etc., intended for it should be sent to The Editor Journal of the Music Academy, 306, T.T.K. Road, Madras - 600 014. Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, typewritten (double-spaced and on one side of the paper only) and should be signed by the writter (giving his or her address in full.) The Editor of the Journal is not responsiblev«r for the views expressed by contributors in their articles. CONTENTS . PAGE y The 64th Madras Music Conference - Official Report — 1 Advisory Committee Meetings — 19 The Sadas — 52 Margadarsi Whom Swati Tirunal Followed — T.S. Parthasarathy — 72 Compositions of Ettayapuram Rulers -—Dr. Gowri Kuppuswamy & Dr. M. Hariharan — 82 Development of the Repertoire in Modern Bharata Natyam —-Annie-Marie Gaston (Anjali) — 95 Tana Varnam - Its Identity and Significance -—Lalita Ramakrishna — 135 How many Janya Ragas are there? — P.
    [Show full text]