DOCSLIB.ORG

Location Accessibility Contact Time Dates

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Location Accessibility Contact Time Dates Panchayath/ Municipality/ Kattappana Block panchayat Corporation LOCATION District Idukki Nearest Town/ Vandanmedu Junction – 800 m Landmark/ Junction Nearest Bus statio Amayar Bus Stop – 2 Km Nearest Railway Kottayam Railway Station - 125 Km statio ACCESSIBILITY Nearest Airport Cochin International Airport - 130 Km Sree Mahaganapathy Temple Vandamedu Idukki Kerala 685551 CONTACT Phone: +91-4868 -288 061 DATES FREQUENCY DURATION TIME February – March Annual 4 Days ABOUT THE FESTIVAL (Legend/History/Myth) Inside the Vandanmedu Ganapathy Temple , sila idol of Lord Ganapaty is of sitting pose with two arms, the right hand is folded and left hand having modakam and with the pose of taking it with His own trunk. All other idols are made of sila. Lord Ayyappa in sitting pose, Sree Vana Durga of mirror type and Nagas in sitting pose with raised hood and the idol of Rakshas. Earlier Vandanmedu had thick forests with tribal settlements. The legend says that once two hunters, belonging to the tribal class, when passing through the place while hunting saw an idol on a small rock protected by a hooded serpent. On return, they saw the same idol protected by serpent and reported the matter to the Ooru Mooppan, the tribal leader. On his order, they drove away the serpents with great difficulty and brought the idol to the Mooppan. Within a short while, the residence of Mooppan was surrounded by elephants and snakes. The Mooppan and his consort got frightened and ordered the hunters to take back the idol to its original position. Once the idol was restored to its original position, the elephants and serpents suddenly disappeared. Till early 1990 an old descendent of the Mooppan visited the place on Trikkartika day and lighted a lamp and offered vazhipads, which substantiates the origin of the temple.The structures of the Vandanmedu Ganapathy Temple include sreekovil with mukha-mandapam, namaskara mandapam, chuttambalam, Nadapandal with valiya balikkal, sub-shrines, dhwajam, pradakshina-vazhi, anakottil, gopuram and alankara-gopuram. The chuttambalam built in 2000 has doors on all sides. Local Approximately 10000 RELEVANCE- NO. OF PEOPLE (Local / National / International) PARTICIPATED EVENTS/PROGRAMS DESCRIPTION (How festival is celebrated) Kudamattam Ceremony, the elephants parade with percussion music, is the major attraction of the festival. The elephants are decorated with gold plated Caparisons (Nettipattam), Bells (Mani), and Necklaces. People mounted on the elephants hold Tinselled Silk Parasols (Muttukuda) up high, swaying White Tufts (Venchamaram) and Peacock Elephants Parade Feather Fans (Alavattam) to the rhythm of the Panchari Percussion Music Melam.Panchari Melam or Panchari, a percussion Chenda Melam ensemble, one of the major forms of Chenda Melam (Ethnic drum ensemble), the best-known and most popular Kshetram Vadyam (Temple Percussion) genre, performed during temple festivals in Kerala. Four instruments are used in Panchari Melam - Chenda, Ilathalam (smaller version of cymbals), Kombu and Kuzhal. .
Load more

Recommended publications
  • A Synonym to Conservation of Intangible Cultural Heritage: Folkland, International Centre for Folklore and Culture, Heading for Its 30Th Anniversary
    A Synonym to Conservation of Intangible Cultural Heritage: Folkland, International Centre for Folklore and Culture, Heading for Its 30th Anniversary V. Jayarajan Folkland, International Centre for Folklore and Culture Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture. Since its inception in 1989, Folkland has passed through various phases of growth into a cultural organization with a global presence. As stated above, Folkland has delved deep into the fields of stage performance, production, documentation, and research, besides the preservation of folk art and culture. It has strived hard and treads the untrodden path with a clear motto of preservation and inculcation of old folk and cultural values in our society. Folkland has a veritable collection of folk songs, folk art forms, riddles, fables, myths, etc. that are on the verge of extinction. This collection has been recorded and archived well for scholastic endeavors and posterity. As such, Folkland defines itself as follows: 1. An international center for folklore and culture. 2. A cultural organization with clearly defined objectives and targets for research and the promotion of folk arts. Folkland has branched out and reached far and wide into almost every nook and corner of the world. The center has been credited with organizing many a festival on folk arts or workshop on folklore, culture, linguistics, etc.
    [Show full text]
  • Particulars of Some Temples of Kerala Contents Particulars of Some
    Particulars of some temples of Kerala Contents Particulars of some temples of Kerala .............................................. 1 Introduction ............................................................................................... 9 Temples of Kerala ................................................................................. 10 Temples of Kerala- an over view .................................................... 16 1. Achan Koil Dharma Sastha ...................................................... 23 2. Alathiyur Perumthiri(Hanuman) koil ................................. 24 3. Randu Moorthi temple of Alathur......................................... 27 4. Ambalappuzha Krishnan temple ........................................... 28 5. Amedha Saptha Mathruka Temple ....................................... 31 6. Ananteswar temple of Manjeswar ........................................ 35 7. Anchumana temple , Padivattam, Edapalli....................... 36 8. Aranmula Parthasarathy Temple ......................................... 38 9. Arathil Bhagawathi temple ..................................................... 41 10. Arpuda Narayana temple, Thirukodithaanam ................. 45 11. Aryankavu Dharma Sastha ...................................................... 47 12. Athingal Bhairavi temple ......................................................... 48 13. Attukkal BHagawathy Kshethram, Trivandrum ............. 50 14. Ayilur Akhileswaran (Shiva) and Sri Krishna temples ...........................................................................................................
    [Show full text]
  • PONNANI PEPPER PROJECT History Ponnani Is Popularly Known As “The Mecca of Kerala”
    PONNANI PEPPER PROJECT HISTORY Ponnani is popularly known as “the Mecca of Kerala”. As an ancient harbour city, it was a major trading hub in the Malabar region, the northernmost end of the state. There are many tales that try to explain how the place got its name. According to one, the prominent Brahmin family of Azhvancherry Thambrakkal once held sway over the land. During their heydays, they offered ponnu aana [elephants made of gold] to the temples, and this gave the land the name “Ponnani”. According to another, due to trade, ponnu [gold] from the Arab lands reached India for the first time at this place, and thus caused it to be named “Ponnani”. It is believed that a place that is referred to as “Tyndis” in the Greek book titled Periplus of the Erythraean Sea is Ponnani. However historians have not been able to establish the exact location of Tyndis beyond doubt. Nor has any archaeological evidence been recovered to confirm this belief. Politically too, Ponnani had great importance in the past. The Zamorins (rulers of Calicut) considered Ponnani as their second headquarters. When Tipu Sultan invaded Kerala in 1766, Ponnani was annexed to the Mysore kingdom. Later when the British colonized the land, Ponnani came under the Bombay Province for a brief interval of time. Still later, it was annexed Malabar and was considered part of the Madras Province for one-and-a-half centuries. Until 1861, Ponnani was the headquarters of Koottanad taluk, and with the formation of the state of Kerala in 1956, it became a taluk in Palakkad district.
    [Show full text]
  • 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]
  • Création Musicale Et Politique Culturelle. Christine Guillebaud
    Création musicale et politique culturelle. Christine Guillebaud To cite this version: Christine Guillebaud. Création musicale et politique culturelle. : Ethnographie de festivals au Kerala (Inde du Sud). M. Solomos et J. Bouet. Musique et globalisation. Musicologie-Ethnomusicologie, L’Harmattan, pp.157-172, 2011, Musique-Philosophie. halshs-01053939 HAL Id: halshs-01053939 https://halshs.archives-ouvertes.fr/halshs-01053939 Submitted on 4 Aug 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Musique et globalisation : musicologie - ethnomusicologie hal-00770185, version 1 - 8 Jan 2013 COLLECTION MUSIQUE-PHILOSOPHIE dirigée par Makis Solomos, Antonia Soulez, Horacio Vaggione Des philosophes le reconnaissent maintenant : la musique est plus qu’un objet à penser, elle suscite l’analyse, offre à la pensée constructive un terrain d’investigation où le geste compositionnel mobilise la pensée conceptuelle, où les notions musicales configurent des possibilités de relations. Paradigme à questionner, la musique s’impose à l’oreille philo- sophique. De leur côté, les musiciens n’ont rien à craindre de la force du concept. Penser la musique selon ses catégories propres réclame dès lors une approche philosophico-musicale.
    [Show full text]
  • Music in South India – Kerala a Smithsonian Folkways Lesson Designed By: Lum Chee Hoo University of Washington
    Music in South India – Kerala A Smithsonian Folkways Lesson Designed by: Lum Chee Hoo University of Washington Summary: Talk about the geography, language, and culture of Kerala in South India using story songs, dance dramas, and rhythms. Introduce students to specific artists and instruments important to Kerala's musical traditions. Suggested Grade Levels: 9-12 Country: India Region: Asia Culture Group: Kerala Genre: Indian Instruments: Voice Language: Malayalam Co-Curricular Areas: Social Studies National Standards: 6, 9 Prerequisites: None Objectives: Learn about culture of Kerala group, including music, dance, and language Materials: “Idakka” from Music from South India- Kerala (FW04365) http://www.folkways.si.edu/tr-ankaran-nambudiri-and-pm-narayana- mara/idakka/world/music/track/smithsonian “Nala Charitam,” Music from South India- Kerala (FW04365) http://www.folkways.si.edu/mep-pillai-and-gopinathan-nayar-k-damodaran- pannikar-and-vasudeva-poduwal-mankulam-vishnu-nambudiri-and-kudama-ur- karunakaran-nayar/kathakai-nala-charitam/world/music/track/smithsonian “Panchawadyam” from Music from South India- Kerala (FW04365) http://www.folkways.si.edu/instrumental/panchawadyam/world/music/track/s mithsonian http://www.folkways.si.edu/narayana-mara-and- party/panchawadyam/world/music/track/smithsonian Liner notes from Music from South India- Kerala (FW04365) http://media.smithsonianfolkways.org/liner_notes/folkways/FW04365.pdf The JVC video anthology of world music and dance: South Asia I, India, Track 11- 2 (Kathakali-dance-drama: Dryodana vadham from the Mohabharata DVD - Vanaprastham: The last dance (1999). Director: Shaji N. Karun. Vanguard Cinema. ASIN: B000066C7A Map of South India Pictures of instruments: from liner notes and Music in South India: Experiencing music, expressing culture Lesson Segments: 1.
    [Show full text]
  • Szcc Annual Report 2016-2017
    ANNUAL ACTIVITY REPORT 2016-2017 The South Zone Cultural Centre at Thanjavur, Tamil Nadu was established as a Society under the Ministry of Culture, Government of India, came into existence on 31st January 1986 with the objective to integrate people of India through Culture, art and heritage. The Centre has jurisdiction over the states of Andhra Pradesh, Telangana, Karnataka, Kerala, Tamil Nadu and Union Territories of Andaman and Nicobar Islands, Lakshadweep and Puducherry. During the year 2016-17 SZCC, in association with the Member States, has arranged around 169 programmes. More than 10,414 artistes from various parts of the country have been paid for their participation in various programmes conducted during the year. These programmes could be conducted successfully with the active participation and support of each Member State. Some of the programmes organised are highlighted below: ANNUAL ACTIVITY REPORT AND REVIEW OF THE PROGRAMMES CONDUCTED DURING THE YEAR 2016-2017 During the Year 2016-17 the South Zone Cultural Centre, Thanjavur has conducted 169 Cultural Programmes in which 10414 artistes have participated. The following is a comparative statement of programmes conducted in various States/Union Territories during the last 7 years. Sl. 2010- 2011- 2012- 2013- 2014- 2015- 2016- State/UT No 11 12 13 14 15 2016 2017 01 Andaman &Nicobar Islands 1 1 1 5 2 01 01 02 Andhra Pradesh 1 3 3 7 4 07 07 03 Karnataka 1 4 4 9 20 09 17 04 Kerala 5 3 6 27 25 14 11 05 Lakshadweep 1 1 0 0 1 0 0 06 Puducherry 5 2 7 18 10 21 22 07 Tamil Nadu 26 51 71 70 86 110 92 08 Telangana 0 0 0 0 1 04 05 09 Other Zones 4 0 3 9 10 11 14 10 Programmes Abroad 0 0 0 5 1 0 0 Total 44 65 95 150 160 177 169 Further, the number of artistes from the Member States and also from other States performed in various programmes organised by SZCC during the past 7 years is shown below 175 Artistes from Member States performed during the years from 2010-2011 to 2016-2017 2015-2016 2016-2017 Sl.
    [Show full text]
  • The Humanitarian Initiatives
    ® THE HUMANITARIAN INITIATIVES OF SRI MATA AMRITANANDAMAYI DEVI (MATA AMRITANANDAMAYI MATH) embracing the world ® is a global network of charitable projects conceived by the Mata Amritanandamayi Math (an NGO with Special Consultative Status to the United Nations) www.embracingtheworld.org © 2003 - 2013 Mata Amritanandamayi Mission Trust, Amritapuri, Kollam, 690525, India. All rights reserved. No part of this publication may be stored in a retrieval system, transmitted, reproduced, transcribed or translated into any language, in any form, by any means without prior agreement and written permission of the publisher. Edition 12, January 2013 Amma | 06 Disaster Relief | 15 Empowering Women | 34 Building Homes | 38 Community Outreach | 45 Care Homes for Children | 51 Public Health | 56 Education for Everyone | 59 Research for a Better World | 66 Healthcare | 73 Fighting Hunger | 82 Green Initiatives | 85 Amrita Institutions | 88 my religion Contacts | 95 is love Amma The world should know that a life dedicated to selfless love and service is possible. Amma Amma’s Life Amma was born in a remote coastal village in Amma was deeply affected by the profound Each of Embracing the World’s projects has Kerala, South India in 1953. Even as a small suffering she witnessed. According to Hindu- been initiated in response to the needs of girl, she drew attention with the many hours she ism, the suffering of the individual is due to the world’s poor who have come to unburden spent in deep meditation on the seashore. She his or her own karma — the results of actions their hearts to Amma and cry on her shoulder.
    [Show full text]
  • T>HE JOURNAL MUSIC ACADEMY
    T>HE JOURNAL OF Y < r f . MUSIC ACADEMY MADRAS A QUARTERLY IrGHTED TO THE ADVANCEMENT OF THE SCIENCE ' AND ART OF MUSIC XXXVIII 1967 Part.' I-IV ir w > \ dwell not in Vaikuntha, nor in the hearts of Yogins, ^n- the Sun; (but) where my Bhaktas sing, there L ^ Narada ! ” ) EDITED BY v. RAGHAVAN, M.A., p h .d . 1967 PUBLISHED BY 1US1C ACADEMY, MADRAS a to to 115-E, MOWBRAY’S ROAD, MADRAS-14 bscription—Inland Rs. 4. Foreign 8 sh. X \ \ !• ADVERTISEMENT CHARGES \ COVER PAGES: Full Page Half Page i BaCk (outside) Rs. 25 Rs. 13 Front (inside) 99 20 .. 11. BaCk (Do.) 30 *# ” J6 INSIDE PAGES: i 1st page (after Cover) 99 18 io Other pages (eaCh) 99 15 .. 9 PreferenCe will be given (o advertisers of musiCal ® instruments and books and other artistic wares. V Special positions and speCial rates on appliCation. t NOTICE All correspondence should be addressed to Dr. V. Ragb Editor, Journal of the MusiC ACademy, Madras-14. Articles on subjects of musiC and dance are accepte publication on the understanding that they are Contributed to the Journal of the MusiC ACademy. f. AIT manuscripts should be legibly written or preferabl; written (double spaced—on one side of the paper only) and be sigoed by the writer (giving his address in full). I The Editor of the Journal is not responsible for tb expressed by individual contributors. AH books, advertisement moneys and cheques du> intended for the Journal should be sent to Dr. V, B Editor. CONTENTS Page T XLth Madras MusiC Conference, 1966 OffiCial Report ..
    [Show full text]
  • Ritual Music and Hindu Rituals of Kerala by Rolf Killius
    Ritual Music And Hindu Rituals Of Kerala By Rolf Killius Ritual Music And Hindu Rituals Of Kerala By Rolf Killius.PDF - Are you searching for by Rolf Killius Ritual Music And Hindu Rituals Of Kerala Books? Now, you will be happy that at this time Ritual Music And Hindu Rituals Of Kerala By Rolf Killius PDF is available at our online library. With our complete resources, you could find by Rolf Killius Ritual Music And Hindu Rituals Of Kerala PDF or just found any kind of Books for your readings everyday. You could find and download any books you like and save it into your disk without any problem at all. There is a lot of books, user manual, or guidebook that related to Ritual Music And Hindu Rituals Of Kerala By Rolf Killius PDF, such as : Hindu wedding - wikipedia, the free encyclopedia The rituals and process in a Hindu wedding vary often in the form of a formal procession with dancing and music. Weddings by religion; Marriage in Hinduism [PDF] Repairing Bridge Substructures: Report.pdf Theyyam - wikipedia, the free encyclopedia Different branches of mainstream Hindu religion such as Shaktism, Killius, Rolf (2006), Ritual Music and Hindu Rituals of Theyyam A Ritual Dance of Kerala [PDF] Smile When You're Lying: Confessions Of A Rogue Travel Writer.pdf Smithsonian folkways - ritual music of kerala Kerala ritual music as represented here is from the Thrissur district of These combine rituals performed in the temple as well as Rolf Killius - Recorder; [PDF] INFP: Understanding & Relating With The Healer.pdf 9788188827077 - ritual music and hindu rituals of Ritual Music and Hindu Rituals of Kerala de Rolf Killius y una selecci n similar de libros antiguos, raros y agotados disponibles ahora en Iberlibro.com.
    [Show full text]
  • Download (12MB)
    10.18132/LFZE.2012.21 Liszt Ferenc Zeneművészeti Egyetem 28. számú művészet- és művelődéstörténeti tudományok besorolású doktori iskola KELET-ÁZSIAI DUPLANÁDAS HANGSZEREK ÉS A HICHIRIKI HASZNÁLATA A 20. SZÁZADI ÉS A KORTÁRS ZENÉBEN SALVI NÓRA TÉMAVEZETŐ: JENEY ZOLTÁN DLA DOKTORI ÉRTEKEZÉS 2011 10.18132/LFZE.2012.21 SALVI NÓRA KELET-ÁZSIAI DUPLANÁDAS HANGSZEREK ÉS A HICHIRIKI HASZNÁLATA A 20. SZÁZADI ÉS A KORTÁRS ZENÉBEN DLA DOKTORI ÉRTEKEZÉS 2011 Absztrakt A disszertáció megírásában a fő motiváció a hiánypótlás volt, hiszen a kelet-ázsiai régió duplanádas hangszereiről nincs átfogó, ismeretterjesztő tudományos munka sem magyarul, sem más nyelveken. A hozzáférhető irodalom a teljes témának csak egyes részeit öleli fel és többnyire valamelyik kelet-ázsiai nyelven íródott. A disszertáció második felében a hichiriki (japán duplanádas hangszer) és a kortárs zene viszonya kerül bemutatásra, mely szintén aktuális és eleddig fel nem dolgozott téma. A hichiriki olyan hangszer, mely nagyjából eredeti formájában maradt fenn a 7. századtól napjainkig. A hagyomány előírja, hogy a viszonylag szűk repertoárt pontosan milyen módon kell előadni, és ez az előadásmód több száz éve gyakorlatilag változatlannak tekinthető. Felmerül a kérdés, hogy egy ilyen hangszer képes-e a megújulásra, integrálható-e a 20. századi és a kortárs zenébe. A dolgozat első részében a hozzáférhető szakirodalom segítségével a szerző áttekintést nyújt a duplanádas hangszerekről, bemutatja a két alapvető duplanádas hangszertípust, a hengeres és kúpos furatú duplanádas hangszereket, majd részletesen ismerteti a kelet-ázsiai régió duplanádas hangszereit és kitér a hangszerek akusztikus tulajdonságaira is. A dolgozat második részéhez a szerző összegyűjtötte a fellelhető, hichiriki-re íródott 20. századi és kortárs darabok kottáit és hangfelvételeit, és ezek elemzésével mutat rá a hangszerjáték új vonásaira.
    [Show full text]
  • Classification of Indian Musical Instruments with the General
    Classification of Indian Musical Instruments With the general background and perspective of the entire field of Indian Instrumental Music as explained in previous chapters, this study will now proceed towards a brief description of Indian Musical Instruments. Musical Instruments of all kinds and categories were invented by the exponents of the different times and places, but for the technical purposes a systematic-classification of these instruments was deemed necessary from the ancient time. The classification prevalent those days was formulated in India at least two thousands years ago. The first reference is in the Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya Vadya’ for musical instruments. The term Atodhya is explained earlier than in Amarkosa and Bharata might have adopted it. References: Some references with respect to classification of Indian Musical Instruments are listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’. Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata, Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas, whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have classified the musical instruments under four heads: 1 Fundamentals of Indian Music, Dr. Swatantra Sharma , p-86 53 i. Tata (String Instruments) ii. Avanaddha (Instruments covered with membrane) iii. Sushira (Wind Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck against one another, such as Cymbals).
    [Show full text]