LIST of COMPOSITIONS in RAGA VARALI Courtesy : SHRI.LAKSHMAN RAGDE
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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. -
Perfect Guru
Perfect Guru By H. H. Krishna Chaitanya Swami 1 Table of contents Introduction Chapter 1 Who can be called a guru? Chapter 2 Qualities and activities of guru. Chapter 3 Indra lost heaven by offending his spiritual master. Dedicated to His Divine Grace A.C. Bhaktivedanta Swami Srila Prabhupada and Bhakti Svarupa Damodara Swami Srila Sripada Introducion Introduction A guru is one who disseminates transcendental knowledge among his disciples with reference to distinction of matter, spirit and Supreme Spirit, Godhead. Many teachers have tried to be gurus, but not all of them could become a guru for want of necessary qualification. To be a guru, one must be able to protect his disciples from falling down into the repeated cycle of birth, death, old age, and disease by associating the disciple with God in yoga. Guru teaches mainstream yoga practices, given in the scriptures, which unites the disciple with the Supreme Lord. A Guru does not manifest magic, gold, siddhis. He neither watch TV serials nor digital movies, and certainly does none of the prohibited acts viz. eat betel nuts, smoke ganja, and travel for amusement, eat meat, drink alcohol, has close association with females, nor gamble. He cannot be identified from a long beard and curly long hair with golden turban, a clever disguise to attract the followers. The goal of a guru is not to render dry social services in the form of hospitals and schools unless it is strongly connected to the Supreme Lord Krishna. He does not wear gold and diamond ornaments on his body, does not dance with his female disciples. -
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. -
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. -
The Secrets of Shiva
Dr. Shuddhananda Bharati The Secrets of Shiva ASSA Editions Editor’s Notes The Secrets of Shiva A gorgeous presentation written by Shud - dhananda Bharati on Shiva, unquestioned deity of human knowledge. Lord Shiva has the gift and power to unite us to his spiritual strength, cleanse our past, to teach us and guide us in our evolu - tion and personal development. His creative and destructive energy of the ego leads us into the light. As the alchemist according to our progress, He heals our wounds, removes our worries and sows in us the joy and happiness of being, while leading us in our inner quest for the divine in us. He offers us the chance to find out. In this book, I would also like to introduce you to two great personalities of ancient India. Firstly, it is Muthuswamy Dikshitar, blessed by Lord Muruga, he was an ocean of music – a rare musician. He was the - 7- Natha Jyothi who got grace of Goddess Shakti and gave birth to innumerable godly songs. It is 178 years since Dikshitar breathed his last on a Diwali Day and mingled in Natha Jyothi. All Sangeetha Vidvans (musicians) must celebrate the Diwali fes - tival, especially Dikshitar Day; his keerthanas must be sung in every house - hold. I express our thanks to Yogi Shud - dhananda Bharati who wrote this small work on the history of Dikshitar. Secondly, it is Dayananda. In his small work titled Rishi Dayananda, the author speaks about the history of the Father of Navbarath Dayananda and the principles of Arya Samaj in brief. -
Pahi Rama Ramayanucu-Kharaharapriya
Transliteration–Telugu _______________________________________________________ Transliteration as per Modified Harvard-Kyoto (HK) Convention (including Telugu letters – Short e, Short o) - a A i I u U R RR lR lRR e E ai o O au M (H or :) (e – short | E – Long | o – short | O – Long) k kh g gh n/G c ch j jh n/J (jn – as in jnAna) T Th D Dh N t th d dh n p ph b bh m y r l L v S sh s h pAhi rAma rAmayanucu-kharaharapriya In the kRti ‘pAhi rAma rAmayanucu’ – rAga kharaharapriya, SrI tyAgarAja describes the compassion of the Lord towards his devotess and pleads for the same towards him too. P pAhi rAma rAma(y)anucu bhajana sEyavE C1 kanikarambu kalgi 1sItA kAntuni kanagA manasu ranjilla palkE madana janakuDu (pAhi) C2 2valvalu diddi saumitri valaci nilvagA kaluva rEkulanu kEru kanula jUcenu (pAhi) C3 bharatuD(A) vELa karagi karagi nilvagA karamu paTTi kaugilincE varaduD(a)ppuDu (pAhi) C4 3caNDa SatrughnuD(a)ppuD4(a)khaNDa vRttitOn- (u)NDa santasillE kOdaNDa rAmuDu (pAhi) C5 manasu telisi kalasi hanumantuD(u)NDagA canuvu mATal(A)Duc(u)NDE sArvabhaumuDu (pAhi) C6 5vIri karuNa kaligi(y)epuDu velasi(y)undunO sAramaina bhakticE san-nutintunO (pAhi) C7 6dharm(A)rtha kAma 7mOksha 8dAnam(E)lanE 9marmam(e)ruga lEni 10indra Sarmam(E)lanE (pAhi) C8 bAga karuNa jEsi(y)epuDu bhavyam(o)sagunO tyAgarAju 11cEyi paTTi dayanu brOcunO (pAhi) Gist Chant the names of Lord repeating ‘protect me, O Lord rAma, O Lord rAma’. 1. When sItA looked at her beloved with kindness, SrI rAma spoke to her to the exultation of her mind. -
Sri Ramakrishna & His Disciples in Orissa
Preface Pilgrimage places like Varanasi, Prayag, Haridwar and Vrindavan have always got prominent place in any pilgrimage of the devotees and its importance is well known. Many mythological stories are associated to these places. Though Orissa had many temples, historical places and natural scenic beauty spot, but it did not get so much prominence. This may be due to the lack of connectivity. Buddhism and Jainism flourished there followed by Shaivaism and Vainavism. After reading the lives of Sri Chaitanya, Sri Ramakrishna, Holy Mother and direct disciples we come to know the importance and spiritual significance of these places. Holy Mother and many disciples of Sri Ramakrishna had great time in Orissa. Many are blessed here by the vision of Lord Jagannath or the Master. The lives of these great souls had shown us a way to visit these places with spiritual consciousness and devotion. Unless we read the life of Sri Chaitanya we will not understand the life of Sri Ramakrishna properly. Similarly unless we study the chapter in the lives of these great souls in Orissa we will not be able to understand and appreciate the significance of these places. If we go on pilgrimage to Orissa with same spirit and devotion as shown by these great souls, we are sure to be benefited spiritually. This collection will put the light on the Orissa chapter in the lives of these great souls and will inspire the devotees to read more about their lives in details. This will also help the devotees to go to pilgrimage in Orissa and strengthen their devotion. -
Tyagaraja Aradhana 2007 S R U T I the India Music & Dance Society
SRUTI, The India Music & Dance Society Board of Directors President Ramana Kanumalla 610-277-8955 President-elect C. Nataraj 610-687-4565 Treasurer Venkat Kilambi 610-631-2291 Tyagaraja Aradhana Secretary Sridhar Santhanam 2007 610-831-1806 Director, Resources & Development Uma Prabhakar 215-616-0486 Director, Publications & Outreach Vidyasankar Sundaresan 215-310-1783 Director, Marketing & Publicity Srinivas Pothukuchi 215-364-2089 Director 1 Revathi Sivakumar 215-661-8521 Director 2 Ravi Pillutla 610-539-8686 COMMITTEES Resources & Development Publications & Outreach Uma Prabhakar Vidyasankar Sundaresan 215-616-0486 215-310-1783 C. Nataraj Raman Visweswaran 610-687-4565 610-647-7822 Ramaa Nathan Rungun Nathan 610-668-3691 610-668-3691 Usha Balasubramanian S R U T I 215-699-2827 Venkat Kilambi The India Music & Dance Society 610-631-2291 Philadelphia, PA About the Artistes of the Evening Jayalakshmi Sekhar learnt music from her father, C. S. Krishnaswamy, and formally trained on the Veena under Pudukkottai Jayarama Iyer. Since 1994, to enhance her vocal CONTENTS (Gayaki) style of Veena playing, she has been receiving ad- vanced training from Sangita Kalanidhi Sripada Pinakapani. Editor’s Note 1 She is also proficient on the violin and flute and over the last ten years, has performed at major venues in India, USA, Es- Program 2 tonia, Germany, Australia, Malaysia and Singapore. She re- ceived the 1998 Gottuvadyam Narayana Iyengar Award from Acknowledgements 3 the Krishna Gana Sabha in Chennai in 1998 and the 2000 prize for Veena at the Sri Tyagaraja Festival in Tirupati. A Sloka on Tyagaraja Walajapet Venkataramana Bhagavatar 4 Suresh Ramachandran (Mridangam) is a disciple of Tiru- vaiyaru V. -
Modern-Baby-Names.Pdf
All about the best things on Hindu Names. BABY NAMES 2016 INDIAN HINDU BABY NAMES Share on Teweet on FACEBOOK TWITTER www.indianhindubaby.com Indian Hindu Baby Names 2016 www.indianhindubaby.com Table of Contents Baby boy names starting with A ............................................................................................................................... 4 Baby boy names starting with B ............................................................................................................................. 10 Baby boy names starting with C ............................................................................................................................. 12 Baby boy names starting with D ............................................................................................................................. 14 Baby boy names starting with E ............................................................................................................................. 18 Baby boy names starting with F .............................................................................................................................. 19 Baby boy names starting with G ............................................................................................................................. 19 Baby boy names starting with H ............................................................................................................................. 22 Baby boy names starting with I .............................................................................................................................. -
Poet Nightingale Bharathiyar to Us
Dr. Shuddhananda Bharati Poet Nightingale Subramaniya Bharathiyar Life story of Bharathiyar ASSA Editions Editor’s Notes Subramaniya Bharathiyar was born on 11 th December 1882 in Ettayapuram, which is now part of Thoothukudi District. He died on 11 th September 1921. Bharathiar was educated at a local high school where his talents as a poet were recognized even at the age of 11. He had a voracious appetite for learning ancient and contemporary Tamil literature and had a gifted intellect to derive astonishing truths from ancient poems. He was also one of the prominent leaders of the Indian independence movement. His national integration songs earned him the title “Desiya Kavi” (National Poet). His patriotic songs emphasize national - ism, unity of India, equality of men and the greatness of the Tamil language. It is a real and great pleasure for me to present this nice treatise on Poet Nightin - gale Bharathiyar to you. Thank you, Dr. Shuddhananda Bharati for having - 7- transmitted Poet Nightingale Bharathiyar to us. The first edition of this book is dated 1955 in Tamil. Christian Piaget Poet Nightingale Bharathiyar Song of Unity Unite. Unite, Unite, Oh Souls Unite and play your roles Unite in mind, unite in heart Unite in whole, unite in part Like words and tunes and sense in song Let East and West unite and live long Trees are many; the grove is one Branches are many: tree is one Shores are many; sea is one Limbs are many; body is one Bodies are many; self is one Stars are many; sky is one Flowers are many; honey is one Pages are many; -
Panchadashee – 05 Mahavakya Vivekah
Swami Vidyaranya’s PANCHADASHEE – 05 MAHAVAKYA VIVEKAH Fixing the Meaning of the Great Sayings MODERN-DAY REFLECTIONS On a 13TH CENTURY VEDANTA CLASSIC by a South African Student TEXT Swami Gurubhaktananda 47.05 2018 A FOUNDATIONAL TEXT ON VEDANTA PHILOSOPHY PANCHADASHEE – An Anthology of 15 Texts by Swami Vidyaranyaji PART Chap TITLE OF TEXT ENGLISH TITLE No. No. Vers. 1 Tattwa Viveka Differentiation of the Supreme Reality 65 2 Maha Bhoota Viveka Differentiation of the Five Great Elements 109 3 Pancha Kosha Viveka Differentiation of the Five Sheaths 43 SAT: 4 Dvaita Viveka Differentiation of Duality in Creation 69 VIVEKA 5 Mahavakya Viveka Fixing the Meaning of the Great Sayings 8 Sub-Total A 294 6 Chitra Deepa The Picture Lamp 290 7 Tripti Deepa The Lamp of Perfect Satisfaction 298 8 Kootastha Deepa The Unchanging Lamp 76 CHIT: DEEPA 9 Dhyana Deepa The Lamp of Meditation 158 10 Nataka Deepa The Theatre Lamp 26 Sub-Total B 848 11 Yogananda The Bliss of Yoga 134 12 Atmananda The Bliss of the Self 90 13 Advaitananda The Bliss of Non-Duality 105 14 Vidyananda The Bliss of Knowledge 65 ANANDA: 15 Vishayananda The Bliss of Objects 35 Sub-Total C 429 WHOLE BOOK 1571 AN ACKNOWLEDGEMENT BY THE STUDENT/AUTHOR The Author wishes to acknowledge the “Home Study Course” offerred by the Chinmaya International Foundation (CIF) to students of Vedanta in any part of the world via an online Webinar service. These “Reflections” are based on material he has studied under this Course. CIF is an institute for Samskrit and Indology research, established in 1990 by Pujya Gurudev, Sri Swami Chinmayananda, with a vision of it being “a bridge between the past and the present, East and West, science and spirituality, and pundit and public.” CIF is located at the maternal home and hallowed birthplace of Adi Shankara, the great saint, philosopher and indefatigable champion of Advaita Vedanta, at Veliyanad, 35km north-east of Ernakulam, Kerala, India. -
Rama Nee Samana
Rama Nee Samana Ragam: Kharaharapriya (22nd Melakartha Ragam) https://en.wikipedia.org/wiki/Kharaharapriya ARO: S R2 G2 M1 P D2 N2 S || AVA: S N2 D2 P M1 G2 R2 S || Talam: Rupakam Composer: Tyagaraja Version: T. Rukmini (Similar to Semmangudi: https://www.youtube.com/watch?v=bXCbkdscRaM ) Lyrics / Meaning Courtesy: V. Govindan, Thyagaraja Vaibhavam: http://thyagaraja- vaibhavam.blogspot.com/2007/07/thyagaraja-kriti-rama-nee-samaanamu.html Youtube Class / Lesson: https://www.youtube.com/watch?v=XqAZU7M2Wc4 MP3 Class / Lesson: http://www.shivkumar.org/music/ramaneesamana-class.mp3 Pallavi: rAma nI samAnam(e)varu raghu vamS(O)ddhAraka Anupallavi: bhAmA maruvampu molaka bhakti(y)anu panjarapu ciluka (rAma) Charanam: paluku palukulaku tEne-(l)oluku mATal(A)Du sOdaralu gala hari tyAgarAja kula vibhUsha mRdu su-bhAsha (rAma) Meaning: Peerless (“samaana evaru”) Rama ! The Raghu race (“vamsa”) attained supremacy thanks to your advent therein. Your beloved Sita (“bhama”) is like a tender and fragrant creeper on your bosom. She is the parrot (“chiluka”) gracing the devotion (“bhakyanu”) to you. You have (“gala”) brothers (“sodharulu”) whose words (“mataladu”) drip with sweetness (“paluku palukulaku”) of honey (“thene”). We are privileged to have you as our family (“kula”) deity (“Vibhusha”). You are gentle and soft in speech (“Mrudusubhasha”). Pallavi: rAma nI samAnam(e)varu raghu vamS(O)ddhAraka Sahithyam: rAma nI samAnam(e)varu Meaning: O Lord Rama, Who (evaru) is equal (samAnamu) (samAnamevaru) to You (nI)? ; ; ; ; ; S || s n N D N S S || sa