DOCSLIB.ORG

Ifuthuswaffld Dikshitar Bi-Centenary Volume the JOURNAL THE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Ifuthuswaffld Dikshitar Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XLVII 1976 Parts I-IV -** ‘—r* • Mjn*. ■ ■ i TOTfa f r qtfagtf ^ i “I dwell not in Vaikunfha, nor in the hearts ofYoglns nor In the Saa ; (bat) where my bhaktas sing, there be 1, Narada 1 ” Edited by T. S. PARTHASARATHY 1979 The Music Academy Madras 306, Mowbray's Road, Madras - 600014 Annual Subscription-Inland - Rs.12 ; Foreign $ 3.00 Muthuswami Dikshitar Bi-Centetfiry Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XLVII 1976 Parts I-IV H i TOTfa ^ ^ I V$CtFT ^ IS “I dwell not in Vaiknn(ha, nor in the hearts of Yogins nor in the Snn ; (but) where my bhaktas sing, there be 1, Narada ! Edited by T. S. PARTHASARATHY 1979 The Music Academy Madras 306, Mowbray’s Road, Madras - 600014 Annual Subscription-Inland • Rs. 12.; Foreign $ 3.00 PUBLICATIONS OF THE MOMD ACADEMY Tamil, 1971 6 Some Rare and Unpublished Kirtanas of Mysore Sadasiva Rao, Tamil, Ssuskrjt and English, 1970... 4 Songs of Mysore Sadasiva Rao with Notation in Tamil.*. 4 Oarbhapuri Kirtanas with Notation .in Tamil, 1968 .» 4 Mazhavai Chidambara Bharati’s songs Ai with Notation in Tamil, 1965 ...y'i 4 Kritis of Pallavi Seshayyar with Notation in Tamil 19681 12 Four Rare Compositions of Veena Subbanna of Mysore'1 with Notation in Tamil, 1965 " v.. 4 Abhinaya Navanita (Dance) Tamil, 1961 ...*« 2 Abhinaya Sara Samputa (Dance) Tamil, 1961 ... 4 Nottu Svara Sahityas of Sri Muttuswamy Dikshitar with Sanskrit text and Notation in Tamil, 1977 ... 3 Tyagaraja Album : Tamil & English, 1967 ... 1 Index (in Tamil) of the Dikshitar Kritis Sung in the Concerts ofthe Muthuswamy Dikshitar Birth Bi-Centenary Conference ... 1 Index of the Articles on Music and Dance in Souvenirs of the Academy’s Annual Conferences from the beginning - English 2 SYAMA SASTRI-Pictorial Album ..; 1 Bibliography 1 8 8 8 8 88 888 88 8S8 8 8 888 Journal of the Music Academy : Volumes available Vol. XXXin (1962) to XXXVIII (1967) Vol. XLin (1972), XLV (1974), XLVI (1975) India Rs. 8/- each Foreign . $ 2 each Souvenir for 1967, 1969 to 1975 and 1977, 1978 Rs. 2 each „ 1962 and 1965 with colour plates of 5 composers Rs. 3 each (Packing and forwarding extra) OURSELVES From this Volume viz Vol. XLVII onwards, this Journal 'will be published as an Annual. All correspondence should be address^ to SriT. S. Partha- ^arathy, Editor, Journal of the Music Acadeiny, Madras-600014. Articles on subjects of music and dance are accepted for pub­ lication on the understanding that they are contributed solely to 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 bd 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 Sri T. S. Parthasarathy- Editor. JOURNAL COMMITTEE OF THE MUSIC ACADEMY 1. Sri T. S. Parthasarathy — Editor 2. Sri T. S. Rangarajan 3. Prof. S. Ramanathan 4. Sri Sandhyavandanam Srinivasa Rao l ' 5r! o V Rajagopalan } Secretaries of the Music 6. Sn R. Ranganathan 1 . 7. Sri S. Natarajan i Academy - Ex-officio 8. Sri S. Ramaswamy ••• Executive Trustee of the Music Academy Although, owing to unavoidable reasons, the publication of this Journal has fallen into arrears, the material required for its issues up to the Madras Music Conference of 1978 had been collec­ ted by Dr. V. Raghavan, the former Editor. Subsequent volumes o f this Journal will appear in the near future. CONTENTS Page The XLIXth Annual Conference of the Music Academy, M adras: Official Report ... 1 .A Comparative Study of the Raga Forms portrayed in the Kritis of Dikshitar and Tyagaraja: * S. R. Janakiramart ... 56 Dikshitar and Karnataka and Hindustani Paddhatis : Sandhyavandanam Srinivasa Rao ... 66 Muthuswami Dikshitar and Kerala ; Dr. S. Venkitasubramonia Iyer ... 72 A Broad Account of the Spread of Dikshitar’s Kirtanas in Karnataka Desa : Vidwan N. Chennakesavayya ... 77 Raga-mudras in Dikshitar’s Compositions : S. Seshadri ... 82 Tala Set Up in Dikshitar’s Compositions (Tamil): K. C. Tyagarajan ... 88 Sri Muthuswami Dikshitar and Other Sanskrit Composers (Tamil): K. V. Srikanthan ... 95 The Four Vivadi Dosha Svara Couplets and How Dikshitar deals with Them : Dr. T. S. Ramakrishnan ... 105 CONTENTS Bagp- Muthuswamy Dikfiflitar and Venkatamakhin’s Tradition : Dr. Sita 116- Dr. V. Raghavan : His Scholarship & Services : K. Chandrasekharan I S t Obituary : Dr. V, Raghavan : by T. S. Parthusarathy 156 Supplement: A Comparative Study of the Ragatattvavibodha of Srinivasa and the Sangita Parijata of Ahobala by Dr. D. B. Kshirasagar M. A. Ph. D. Sangit Parvin, Jodhpur ... 37-38 Noth : The name Shri P. L. Deshmukh, Vice-President of the S. N. Akademi, appearing on page 3 should read as Shri P. L. Deshpande. SRI MUTHUSWAM1 DIKSHITAR (1775—1835) * sr| m w ^Fr^ragfqqti THE MEMORIAL MANDAPA AT THE SITE WHERE DIKSHITAR’S HOUSE STOOD IN VADAMBOKKI STREET AT TIRUVARUR LORD TYAGARAJA THE DEITY AT TIRUVARUR one of the main inspirations of Muthuswami Dikshitar MUTHUSWAMI DIKSH1TAR SAMADHI MANDAPAM AT ETTAYAPURAM D r. V. RAGHAVAN, M.A, Ph.D, ( 1 9 0 8 — 19 7 9 ) SECRETARY, MADRAS MUSIC ACADEMY. MANAGING EDITOR OF THIS JOURNAL FROM 1934 TO 1940. JOINT EDITOR FROM 1940 - 1958. SOLE EDITOR FROM 1958 - 1979. THE XLIXth MADRAS MtlSlC CONFERENCE OFFICIAL REPORT Tfae Opening Day 2 \st December, 1975 jr The XLIXth Annual Conference of the Music Academy,. Madras, was held in the T. T. Krishnamachari Auditorium in the- premises of the Academy, 306, Mowbray’s Road, Madras-14, from 21st December 1975 to 1st January 1976. In accordance with a resolution passed by the Executive Committee* the Con­ ference, which was held in honour of the Birth Bi-centenary of Sri Muthuswami Dikshitar, was conducted without electing a President as was done on the occasion Of the Tyagaraja Bi-centen­ ary and Tyagaraja Samadhi Centenary Conferences. The Conference was inaugurated by Dr. Kalaignar Karuna- nidhi, Chief Minister of Tamil Nadu. On his arrival at the premises of the Academy, Dr. Kalaignar Karunanidhi was recei- ved by Sri T. S. Rajam, President of the Academy and the Secretaries and was introduced to the members of the Executive and Experts’ Committees of the Academy. There was then a group photo with him, the President and Members of the Executive and Experts’ Committees. The distinguished guest was then taken to- the auditorium of the Academy where the inaugural function began with singing of prayer by Smt. Mani Krishnaswami. Messages Sri T. V. Rajagopalan, Secretary, then read the following messages received for the success of the XLIXth Conference. The President of India , sent his best wishes for the success of the Conference and continued progress of the Music Academy. The Vice-President of India sent his best wishes. 2 THE JOURNAL OF THE MADRAS MUSIC ACADEMY [Vol. XLVII The Prime Minister of India sent her good wishes for the success of the XLIXth Conference of the Music Academy, Madras. The following Governors of States sent messages: Sri. K. K. Shah, Governor of Tamil Nadu\ The Governor of Karnataka, Sri Sukhadia, said : “For nearly SO years the Academy has been the premier institu­ tion for Music and Dance in the South and the foremost institution in the country representing the Karnataka tradition. Upholding the correct, classical standards, bringing together leading experts all over the country and abroad for discussions, seminars and scholarly discourses and encouraging young artistes and in many ways the Music Academy has performed services of inestimable value for the preservation of Indian culture.” Sri. M. Chenna Reddi, Governor of Uttar Pradesh, said : “ The verdict of Indian culture is to propound the gospel of ’“Satyam, givam, Sundaram” and right from the age of Bharata music was employed to disseminate spiritual knowledge. Whenever Arts and Artistes succumbed to personal and material gains, moral degradation of the whole society follows. Let our Artistes therefore keep within the framework of our cultural heritage.” The Governor of Haryana and the LL Governor of Pondi- -chery had sent messages. Prof. Nurul Hasan, Minister for Education, New Delhi, said : -“It is gratifying to note that the 49th Conference will be dedicated to Sri Muthuswami Dikshitar, the Bi-centenary of whose birth is being celebrated this year and whose outstanding contributions to Indian Classical Music are universally acknowledged. What gives me great pleasure is to know that competitions will be held and efforts will be made to discover new talent among our junior musicians with a view to giving them encouragement. The Conference is thus a national event.” PtS. I-IV ] THE XLIXth MADRAS MUSIC CONFERENCE 3 The Honourable Sri. C. Subramaniam said in bis message that ire was glad to note that the Conference was celebrated as the- Birth Bi-centenary of Sri Mtrthuswami Dikshitar. The Hon’ble Sri T. A. Pai said : “ It is proper that the Academy celebrates the Bi-centenary of the famous composer Sri M uthvsiuni Dikshitar. The Music Academy is doing useful service in arranging for competitions and encouraging young musicians, besides being the forum for exchange of thoughts and ideas, among Experts in Music”. Messages bad been received from Hon’ble Dr. Karan Singh and the Chief Ministers of Kerala and Gujarat. Sri K. P. S. Menon, President, Central Sangeet Natak Akademi said that the Academy’s Conference was always the event of the year in the world of Music and Drama and that this year it will have a special significance because it synchronised with the Bi-centenary of Sri Muthuswami Dikshitar and the programmes are elaborate and wellthought out.
Recommended publications
  • The Music Academy, Madras 115-E, Mowbray’S Road

    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.
  • Syllabus for Post Graduate Programme in Music

    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.
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle

    John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle

    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
  • 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.
  • The Inner Light: the Beatles, India, Gurus, and the Legacy

    The Inner Light: the Beatles, India, Gurus, and the Legacy

    The Inner Light: The Beatles, India, Gurus, and the Legacy John Covach Institute for Popular Music, University of Rochester Arthur Satz Department of Music Eastman School of Music Main Points The Beatles’ “road to India” is mostly navigated by George Harrison John Lennon was also enthusiastic, Paul somewhat, Ringo not so much Harrison’s “road to India” can be divided into two kinds of influence: Musical influences—the actual sounds and structures of Indian music Philosophical and spiritual influences—elements that influence lyrics and lifestyle The musical influences begin in April 1965, become focused in fall 1966, and extend to mid 1968 The philosophical influences begin in late 1966 and continue through the rest of Harrison’s life Note: Harrison began using LSD in the spring of 1965 and discontinued in August 1967 Songs by other Beatles, Lennon especially, also reflect Indian influences The Three “Indian” songs of George Harrison “Love You To” recorded April 1966, released on Revolver, August 1966 “Within You Without You” recorded March, April 1967, released on Sgt Pepper, June 1967 “The Inner Light” recorded January, February 1968, released as b-side to “Lady Madonna,” March 1968 Three Aspects of “Indian” characteristics Use of some aspect of Indian philosophy or spirituality in the lyrics Use of Indian musical instruments Use of Indian musical features (rhythmic patterns, drone, texture, melodic elements) Musical Influences Ravi Shankar is principal influence on Harrison, though he does not enter the picture until mid 1966 April 1965: Beatles film restaurant scene for Help! Harrison falls in love with the sitar, buys one cheap Summer 1965: Beatles in LA hear about Shankar from McGuinn, Crosby (meet Elvis, discuss Yogananda) October 1965: “Norwegian Wood” recorded, released in December on Rubber Soul.
  • CARNATIC MUSIC (CODE – 032) CLASS – X (Melodic Instrument) 2020 – 21 Marking Scheme

    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.
  • Dance Troupe

    Dance Troupe

    DANCE TROUPE The mission of our college ‘Blooming Humanity through Arts’ is disseminated by our institution through the program ‘Dance troupe’ globally for the past 39 years. It started on 27.12.1978 with the classical and folk dances of India and also dance dramas. The 1000th troupe programme was done on 13.01.2002 in the presence of the former Tamilnadu Chief-minister Dr.M.Kalaignar. It is also of great pride to say that soon the dance troupe will be performing its 3000thprogramme. KalaiKaviri performs dances not only to raga and thala but also performs dances with important didactic themes to reach the audience. Dances are performed with the following themes: Spirituality, Humanity, Social development, Moral values, Awareness, Religious morals and Patriotism. The troupe performs mainly in rural and remote areas to create awareness among the public. Irrespective of religion, caste and creed talented students from different backgrounds are selected, trained professionally for the troupe dances. This helps in the growth of the student’s individuality and also showcases their talent. The syllabus and dance items which students learn in their class are highly motivating for them to do a performance in the dance troupe. Main advantages of performing in a dance troupe include losing stage fear, sense of timing and rhythm, learning make-up techniques, costume selection and designing and helps building self-confidence in oneself. A student gets the opportunity to perform different roles and styles for example, classical, Indian folk and drama roles, hence by quick costume and role changes one’s concentration power increases.
  • Measuring the Cultural Evolution of Music: with Case Studies of British-American and Japanese Folk, Art, and Popular Music

    Measuring the Cultural Evolution of Music: with Case Studies of British-American and Japanese Folk, Art, and Popular Music

    Measuring the cultural evolution of music: With case studies of British-American and Japanese folk, art, and popular music Patrick Evan SAVAGE This is an English version of my Japanese Ph.D. dissertation (Ph.D. conferred on March 27, 2017). The final Japanese version of record was deposited in the Japanese National Diet Library in June 2017. #2314910 Ph.D. entrance year: 2014 2016 academic year Tokyo University of the Arts, Department of Musicology Ph.D. dissertation Supervisor： UEMURA Yukio Supervisory committee： TSUKAHARA Yasuko MARUI Atsushi Hugh DE FERRANTI i English abstract Student number： 2314910 Name： Patrick Evan SAVAGE Title： Measuring the cultural evolution of music: With case studies of British-American and Japanese folk, art, and popular music Darwin's theory of evolution provided striking explanatory power that has come to unify biology and has been successfully extended to various social sciences. In this dissertation, I demonstrate how cultural evolutionary theory may also hold promise for explaining diverse musical phenomena, using a series of quantitative case studies from a variety of cultures and genres to demonstrate general laws governing musical change. Chapter one describes previous research and debates regarding music and cultural evolution. Drawing on major advances in the scientific understanding of cultural evolution over the past three decades, I clarify persistent misconceptions about the roles of genes and progress in definitions of evolution, showing that neither is required or assumed. I go on to review older and recent literature relevant to musical evolution at a variety of levels, from Lomax's macroevolutionary interpretation of global patterns of song-style to microevolutionary mechanisms by which minute melodic variations give rise to large tune families.
  • Carnatic Music Theory Year I

    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

    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

    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

    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.