DOCSLIB.ORG

December 2019 (Special Edition on Veena Dhanammal)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
December 2019 (Special Edition on Veena Dhanammal) LalithaLalitha KalaKala TaranginiTarangini Premier Quarterly Music Magazine from Premier SriQuarterly Rama Lalitha Music KalaMagazine Mandira from Sri Rama Lalitha Kala Mandira Volume 2019, Issue 2 June 2019 Volume 2019, Issue 4 December 2019 Special Edition on Veena Dhanammal Prof. GS Ramanujan honoured Prof. GS Ramanujan, senior Mridangam and Ghatam exponent from Mysore was conferred the title “Swaralayashrunga” from Suswaralaya College of Music, Bangalore during their 20th Anniversary function on 01 November 2019 at Pathi Sabhangana, NR Colony, Bangalore. Prof. GS Ramanujan is the grandson of our founder Late Sri G Vedanta Iyengar. Senior Mridangist Srimushnam Raja Rao did the honours in the presence of the packed audience. Left to Right - Kalavathy Avadhooth (who was also honoured), Prof. GS Ramanujan, Vid. Srimushnam Raja Rao, Vid. M Vasudeva Rao, Senior Mridangist of Karnataka and Shri. Subramanya Jois, Sr. Advocate. December 2019 SRLKM in association with AIR, Bangalore is embarking on a unique program that will deal with why does a specific kriti Shri. R Rangaramanuja Iyengar, respected musicologist and a liked by rasikas? What is special about it? How has the kriti teacher says “To HER, Music is no vehicle for solid, sensuous evolved over time and the way it is presented today, Are enjoyment, but a medium of communication with the soul”. there kritis that are deeply rooted to a specific bhani/style or The person is none other than “Veena Dhanammal” (1867– an individual artist? The unique program will include a talk 1938) who is the foundation on which our current Karnatic as well as rendering. It is quite possible something like this is Music stands today. Veena in front of her name signifying her being attempted for the first time. This is planned to be exceptional ability with the instrument and the school (bh- aired soon in the year 2020. ani) in her name is a manifestation of the pioneering work Violin Vidwan TT Srinivasan son of Late Violin Vidwan TS she did. She is synonymous with tradition, repertoire, aesthet- Tatachar shares a very interesting life sketch of Sangita ics, and everything that is our music today. The current Kalanidhi Rallapalli Ananthakrishna Sharma a doyen from edition of Lalitha Kala Tarangini is dedicated to this legend Karnataka. This is a must read for the youngsters. who is an exceptional representation from the Golden Age of Karnatic music. A lot has been written about Veena Lalitha Kala Tarangini has purposefully served its cause for Dhanammal by experts like Shri. R Rangaramanuja Iyengar, the last 7 years and entering into 2020 which will be our etc. but we at SRLKM consider that our effort is not com- 25th edition. We have covered doyens of music from plete unless such a pioneer is presented in Lalitha Kala Karnataka and other states apart from technical articles. Tarangini. We keep hearing from knowledgeable readers who consider the magazine worth preserving for posterity. We plan to Sri Rama Lalitha Kala Mandira has charted out a 26 days bring out a special edition for our silver jubilee edition. (26 concerts) festival to celebrate 65th years of our service to music. Top ranking musicians and also established musi- I wish our readers a very happy new year 2020. cians knocking at the doors to fame will be performing. Anand S Details of the same is available in the centre spread sheet. It is quite possible that a music festival of this magnitude is Contributors - CP Chikkanna, Vidwan KS Kalidas, Rajani happening in Bangalore for the first time. As always SRLKM Arjun Shankar, Vidwan TT Srinivasan, Ravi and Sridhar, Ra- is expecting the rasikas to attend in large numbers and jashree Yogananda, Anagha Yoganand. make it a grand success. Photo Courtesy - Paniraj, The Hindu archives, Personal Kalaimamani G Harishankar, the wizard on the Kanjira who collection of TT Srinivasan, Personal Collections of Ravi and made his Kanjira do all the talking is a giant whose remem- Sridhar, Personal collections of Late RK Srikantan and their brance day is celebrated by his admirers across the country family, Personal collections of GV Krishnaprasad, Collections in February. Current day Kanjira artistes are indebted to him from Nadasurabhi Cultural Association, The Madras Music for revolutionising the instrument and he is somebody who Academy achieves. gave Kanjira a special place in our music. As a mark of our respect and tribute, we have included a special article on Visit us online @ www.srlkmandira.org and share your Harishankar ji by a senior mridangam Vidwan KS Kalidas. feedback at [email protected] Sri Rama Lalitha Kala Mandira (SRLKM) founded by Shri. All Rights Reserved- All articles, photographs and material G Vedanta Iyengar in the year 1955 is rendering yeomen appearing in this magazine whether in whole or part is service in the field of music. In addition to music classes, copyright of Sri Rama Lalitha Kala Mandira exclusively. No music concerts are held all through the year. The significant part of this magazine should be reproduced or stored in festivals are Sankranti and Spring music festivals. Mandira any form without prior consent. While Rama Lalitha Kala also takes pride in conducting music awareness program, Mandira takes all the care to verify the correctness of music workshops, Lecture demonstrations etc. Entry to all information, it is quite possible that there could be an oc- program conducted by the Mandira is free as the aim of casional inaccuracy in our publication. the institution is to enable everyone to listen to the best of Magazine Committee the music and to propagate Karnatic Classical Music. Editor - Anand S “Lalitha Kala Tarangini" publication is fostered by Sri Rama Senior Associates: Neela Ramgopal, KS Kalidas, Dr. Mysore Lalitha Kala Mandira, disseminates knowledge in the area M Manjunath, Rajashree Yogananda, and Dr. Rama V of Karnatak Classical Music and bring to light talent and Bennur. excellence in this area. We believe this is just another step towards preserving and promoting this great Indian fine Printed and published by GV Krishna Prasad on behalf of art. Sri Rama Lalitha Kala Mandira, CA No. 28, 9th Main Road, Near Banashankari II Stage Post office, Banashankari II Stage, Bangalore 560070, Karnataka, India. Lalitha Kala Tarangini - Sep 2019 1 ²æà dAiÀÄZÁªÀÄgÁeÉÃAzÀæ MqÉAiÀÄgï CªÀgÀ ¨sÁªÀavÀæzÉÆA¢UÉ 7£Éà ªÀµÀðzÀ ¸ÀAaPÉAiÀÄ D¢AiÀiÁV «dÈA©¹zÉ. M¼ÀV£À ¥ÀÅlUÀ¼À°è gÁ¼Àî¥À½î C£ÀAvÀPÀȵÀÚ ±ÀªÀÄð, «ÃuÉ gÁeÁgÁAiÀÄgÀÄ, ©.«.PÉ. ±Á¹Ûç, dAiÀÄZÁªÀÄgÁeÉÃAzÀæ MqÉAiÀÄgï CªÀgÀ ¨sÁªÀavÀæUÀ¼ÀÄ, ¸ÀégÀªÀÄÆwð «.J£ï. gÁªïgÉÆqÀ£É ¦nÃ®Ä Dgï.Dgï. PÉñÀªÀªÀÄÆwð, ªÀÄÈzÀAUÀ «zÁé£ï JA.J¸ï. gÁªÀÄAiÀÄå, «zÁé£ï ºÉZï.¦. gÁªÀiÁZÁgï, «zÁé£ï ¸ÉÆøÀ¯É ±ÉõÀVjzÁ¸ï EªÀgÀ dªÀiÁªÀuÉ £ÀªÀÄä£Àß »A¢£ÀªÀgÀ ¸ÀägÀuÉUÉ £ÁA¢ ºÁrzÉ. EªÉ®èzÀgÀ eÉÆvÉeÉÆvÉAiÀÄ°èAiÉÄà ²æà gÁªÀÄ ®°vÀ PÀ¯ÁªÀÄA¢gÀzÀ gÀƪÁj ªÉÃzÁAvÀ CAiÀÄåAUÁgï gÀªÀgÀ Vidwan HS Venugopal, a senior flutist was honoured by M ¸ÀägÀuÉ ¸ÀªÀÄAiÉÆÃavÀ, ¸ÀAzÀ¨sÀðªÁVzÉ. ¸ÀAVÃvÀ¯ÉÆÃPÀPÉÌ A Narasimhachar Music Foundation on 08th November PÀ®±À«lÖAvÉ ¸ÀAVÃvÀ ¸ÁªÀiÁæfÕ JA.J¸ï. at Bangalore Gayana Samaja in the august presence of ¸ÀħÄâ®Që÷äAiÀĪÀgÀ ¥ÀÅvÀܽ C£ÁªÀgÀt¢AzÀ Sri Sri Sri Yathiraja Narayana Ramanuja Jeeyar Erà ¸ÀAVÃvÀ¯ÉÆÃPÀzÀ d£ÀvÉ ¤ªÀÄUÉ, ¤ªÀÄä ¥Àj±ÀæªÀÄPÉÌ vÀ¯É¨ÁVzÉ. Content ºÉaÑUÉ ©A©¸À®Ä £Á£ÀÄ ±ÀPÀÛ£À®è. 04 Nadanavaneetha (ಾದ ನವೕತ) «±Áé¸ÀUÀ¼ÉÆA¢UÉ, 05 Navaratri at SRLKM ¤ªÀÄäªÀ£Éà CzÀ 06 G Harishankar, the Kanjira wizard (£Á. gÁeÁgÁªï) 08 HH Jayachamarajendra Wadiyar Centenary PÁAiÀÄð¤ªÁðºÀPÀ læ¹²æà ºÀjzÁ¸À ¦ÃoÀ, year Program «ÃgÀ¨sÀzÀæ£ÀUÀgÀ, 09 Veena Dhanammal - Saraswati Incarnate ªÀÄļÀ¨ÁV®Ä 21 Veena Dhanammal - Family Tree To Shri. Krishnaprasad, 24 Himamshu reminiscences Kadri It is beautiful, informative and worth preserving. 25 Gayathri Venkataraghavan at SRLKM Congratulations. 26 Eminent Guru Centenarian RK Srikantan 31 Thevaaram Prof. Mysore V Subramanya 34 Veena Dhanammal 37 Life of Rallapalli Ananthakrishna Sharma ¸À£Áä£Àå ²æà PÀȵÀÚ¥Àæ¸Ázï CªÀjUÉ, 43 Karnataka Sangeetha Mathematics Work- vÀªÀÄä ¸ÀA¸ÉÜAiÀÄ ¸É¥ÉÖA§gï 2019gÀ vÉæ ʪÀiÁ¹PÀ ¸ÀAaPÉ shop "®°vÀ PÀ¯Á vÀgÀAVtÂ" PÉʸÉÃj ¸ÀAvÉÆõÀªÁVgÀÄvÀÛzÉ. PÀ¯Á¥ÉÇõÀPÀgÁVzÀÝ gÁd²ð ²æà dAiÀÄZÁªÀÄgÁeÉÃAzÀæ MqÉAiÀÄgï CªÀgÀ£ÀÄß £É£À¦¸ÀĪÀ ¸ÀAaPÉAiÀiÁV g À P Á ë P À ª À Z À z À ° è £ À C ª À g À ¨ s Á ª À a v À æ ª À Å avÁÛPÀ±ÀðPÀªÁVgÀÄvÀÛzÉ. CªÀgÀ PÀÄlÄA§zÀ ºÁUÀÆ ¸ÁªÀðd¤PÀ ¸À¨sÉUÀ¼À ªÀĺÀvÀézÀ ¸À¤ßªÉñÀUÀ¼À ¨sÁªÀavÀæUÀ¼ÀÄ ºÁUÀÆ vÀvÀìA§AzsÀzÀ «ªÀgÀuÉUÀ¼ÀÄ G¥ÀAiÀÄÄPÀÛªÁzÀªÀÅUÀ¼ÁVªÉ. gÀPÁë PÀªÀZÀzÉƼÀV£À ¸ÀAVÃvÀ PÀ¯Á ¸ÁªÀiÁæfÕ qÁ|| JA.J¸ï. ¸ÀħÄâ®Që÷ä DwäÃAiÀÄgÁzÀ ²æà PÀȵÀÚ¥Àæ¸Ázï CªÀjUÉ ªÀAzÀ£ÉUÀ¼ÀÄ. vÀªÀÄä ¥ÀjPÀ®à£ÉAiÀÄ "®°vÀ PÀ¯Á vÀgÀAVtÂ"AiÀÄ «±ÉõÀ gÀªÀgÀ ²¯Á¥æwªÉÄ C£ÁªÀgÀtUÉÆArgÀĪÀ !"ವ$%&'ವ( ¸ÀAaPÉAiÀÄ ªÀÄÄR¥ÀÅlªÀÅ £ÀªÀÄä £Ár£À PÀtät ¸ÀºÀ ¨sÁªÀ¥ÀÇtðªÁVzÀÄÝ ¥ÀævÀåPÀë zÀ±Àð£ÀªÀÅ PÀ¯Á©ªÀiÁ¤UÀ½UÉ®è ¸ÀAvÀ¸ÀzÁAiÀÄPÀªÁVgÀÄvÀÛzÉ. Lalitha Kala Tarangini - Sep 2019 2 ತಮ »jAiÀÄgÀÄ £ÉngÖÀĪÀ "PÀ¯Á" ¸À¹AiÀÄ£ÀÄß ¤µ×É ºÁUÀÆ C©ªÀiÁ£À¢AzÀ ¤ÃªÉ®ègÀÆ ºÉªÀÄägÀªÁV ¨É¼É¹¢ÝÃj. vÀvÀàjuÁªÀÄ »jAiÀÄ ªÀÄvÀÄÛ PÀ¯Á«zÀgÀÄUÀ½UÉ £ÉgÀ¼ÁV G¥ÀAiÀÄÄPÀÛªÁV ¥ÉÇæÃvÁìºÀzÁAiÀÄPÀªÁV ¸ÉÃªÉ ¸À°è¸ÀÄwÛgÀĪÀÅzÀÄ §ºÀ¼À ±ÁèWÀ¤ÃAiÀĪÁVgÀÄvÀÛzÉ. zÉêÀVj ²æà ªÉAPÀmÉñÀégÀ zÉêÀ¸ÁÜ£ÀzÀ°è £ÀqÉAiÀÄĪÀ ²æà vÁåUÀgÁdgÀ ªÀÄvÀÄÛ ²æà ¥ÀÅgÀAzÀgÀzÁ¸ÀgÀ DgÁzsÀ£Á ªÀĺÉÆÃvÀìªÀPÉÌ ¥Àæw ªÀµÀðªÀÇ vÀ«ÄäAzÀ zÉÆgÀPÀÄwÛgÀĪÀ ¸ÀºÀPÁgÀªÀÅ ¥Àæ±ÀA¸ÁºÀð. vÀªÉÄä®ègÀ C£ÀĨsÀªÀ ºÁUÀÆ D¸ÀQÛ PÀ¯Á¸ÉêÉAiÀÄ£ÀÄß C£ÀªÀgÀvÀ £ÀqÉzÀÄ ¸ÀA¸ÉÜAiÀÄ QÃwð ªÀÈ¢Þ¸ÀÄwÛgÀ¯ÉAzÀÄ ¨sÀUÀªÀAvÀ£À°è ¥Áæyð¸ÀÄvÉÛãÉ. vÀªÀÄä «±Áé¹ Our Upcoming n.J¸ï. zÀvÁÛvÉæÃAiÀÄ Programmes 05 - 25 The Bangalore Gayana Samaja To the Editor, January 2020 Music Festival Concerts at Bengaluru 5.30 pm Gayana Samaja I just finished reading the 2 part article on Dikshi- tar and Divya Desams by Smt.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Complete List of Books in Library Acc No Author Title of Book Subject Publisher Year R.No
    Complete List of Books in Library Acc No Author Title of book Subject Publisher Year R.No. 1 Satkari Mookerjee The Jaina Philosophy of PHIL Bharat Jaina Parisat 8/A1 Non-Absolutism 3 Swami Nikilananda Ramakrishna PER/BIO Rider & Co. 17/B2 4 Selwyn Gurney Champion Readings From World ECO `Watts & Co., London 14/B2 & Dorothy Short Religion 6 Bhupendra Datta Swami Vivekananda PER/BIO Nababharat Pub., 17/A3 Calcutta 7 H.D. Lewis The Principal Upanisads PHIL George Allen & Unwin 8/A1 14 Jawaherlal Nehru Buddhist Texts PHIL Bruno Cassirer 8/A1 15 Bhagwat Saran Women In Rgveda PHIL Nada Kishore & Bros., 8/A1 Benares. 15 Bhagwat Saran Upadhya Women in Rgveda LIT 9/B1 16 A.P. Karmarkar The Religions of India PHIL Mira Publishing Lonavla 8/A1 House 17 Shri Krishna Menon Atma-Darshan PHIL Sri Vidya Samiti 8/A1 Atmananda 20 Henri de Lubac S.J. Aspects of Budhism PHIL sheed & ward 8/A1 21 J.M. Sanyal The Shrimad Bhagabatam PHIL Dhirendra Nath Bose 8/A2 22 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam VolI 23 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vo.l III 24 J.M. Sanyal The Shrimad Bhagabatam PHIL Oriental Pub. 8/A2 25 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vol.V 26 Mahadev Desai The Gospel of Selfless G/REL Navijvan Press 14/B2 Action 28 Shankar Shankar's Children Art FIC/NOV Yamuna Shankar 2/A2 Number Volume 28 29 Nil The Adyar Library Bulletin LIT The Adyar Library and 9/B2 Research Centre 30 Fraser & Edwards Life And Teaching of PER/BIO Christian Literature 17/A3 Tukaram Society for India 40 Monier Williams Hinduism PHIL Susil Gupta (India) Ltd.
    [Show full text]
  • Mahendra Singh Dhoni Exemplified the Small-Town Spirit and the Killer Instinct of Jharkhand by Ullekh NP
    www.openthemagazine.com 50 31 AUGUST /2020 OPEN VOLUME 12 ISSUE 34 31 AUGUST 2020 CONTENTS 31 AUGUST 2020 7 8 9 14 16 18 LOCOMOTIF INDRAPRASTHA MUMBAI NOTEBOOK SOFT POWER WHISPERER OPEN ESSAY Who’s afraid of By Virendra Kapoor By Anil Dharker The Gandhi Purana By Jayanta Ghosal The tree of life Facebook? By Makarand R Paranjape By Srinivas Reddy By S Prasannarajan S E AG IM Y 22 THE LEGEND AND LEGACY OF TT E G MAHENDRA SINGH DHONI A cricket icon calls it a day By Lhendup G Bhutia 30 A WORKING CLASS HERO He smiled as he killed by Tunku Varadarajan 32 CAPTAIN INDIA It is the second most important job in the country and only the few able to withstand 22 its pressures leave a legacy By Madhavankutty Pillai 36 DHONI CHIC The cricket story began in Ranchi but the cultural phenomenon became pan-Indian By Kaveree Bamzai 40 THE PASSION OF THE BOY FROM RANCHI Mahendra Singh Dhoni exemplified the small-town spirit and the killer instinct of Jharkhand By Ullekh NP 44 44 The Man and the Mission The new J&K Lt Governor Manoj Sinha’s first task is to reach out and regain public confidence 48 By Amita Shah 48 Letter from Washington A Devi in the Oval? By James Astill 54 58 64 66 EKTA KAPOOR 2.0 IMPERIAL INHERITANCE STAGE TO PAGE NOT PEOPLE LIKE US Her once venerated domestic Has the empire been the default model On its 60th anniversary, Bangalore Little Streaming blockbusters goddesses and happy homes are no for global governance? Theatre produces a collection of all its By Rajeev Masand longer picture-perfect By Zareer Masani plays performed over the decades By Kaveree Bamzai By Parshathy J Nath Cover photograph Rohit Chawla 4 31 AUGUST 2020 OPEN MAIL [email protected] EDITOR S Prasannarajan LETTER OF THE WEEK MANAGING EDITOR PR Ramesh C EXECUTIVE EDITOR Ullekh NP Congratulations and thanks to Open for such a wide EDITOR-AT-LARGE Siddharth Singh DEPUTY EDITORS Madhavankutty Pillai range of brilliant writing in its Freedom Issue (August (Mumbai Bureau Chief), 24th, 2020).
    [Show full text]
  • Fusion Without Confusion Raga Basics Indian
    Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap".
    [Show full text]
  • Sadir, Bharatanatyam, Feminist Theory Sriv1dya
    ANOTHER STAGE IN THE LIFE OP THE NATION: SADIR, BHARATANATYAM, FEMINIST THEORY A THESIS SUBMITTED TO THE UNIVERSITY OF HYDERABAD FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE SCHOOL OF HUMANITIES SRIV1DYA NATARAJAN FEBRUARY, 1997 CERTIFICATE This is to certify that Ms. Srividya Natarajan worked under my supervision for the Ph.D. Degree in English. Her thesis entitled "Another Stage in the Life of the Nation: Sadir. Bharatanatyam. Feminist Theory" represents her own independent work at the University of Hyderabad. This work has not been submitted to any other institution for the award of any degree. Hyderabad Tejaswini Niranjana Date: 14-02-1997 Department of English School of Humanities University of Hyderabad Hyderabad February 12, 1997 This is to certify that I, Srividya Natarajan, have carried out the research embodied in the present thesis for the full period prescribed under Ph.D. ordinances of the University. I declare to the best of my knowledge that no part of this thesis was earlier submitted for the award of research degree of any University. To those special teachers from whose lives I have learnt more than from all my other education put together: Kittappa Vadhyar, Paati, Thatha, Paddu, Mythili, Nigel. i ACKNOWLEDGEMENTS In the course of five years of work on this thesis, I have piled up more debts than I can acknowledge in due measure. A fellowship from the University Grants Commission gave me leisure for full-time research; some of this time was spent among the stacks of the Tamil Nadu Archives, the Madras University Library, the Music Academy Library, the Adyar Library, the T.T.
    [Show full text]
  • The West Bengal College Service Commission State
    THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics.
    [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]
  • Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan
    Table of Contents From the Publications & Outreach Committee ..................................... Lakshmi Radhakrishnan ............ 1 From the President’s Desk ...................................................................... Balaji Raghothaman .................. 2 Connect with SRUTI ............................................................................................................................ 4 SRUTI at 30 – Some reflections…………………………………. ........... Mani, Dinakar, Uma & Balaji .. 5 A Mellifluous Ode to Devi by Sikkil Gurucharan & Anil Srinivasan… .. Kamakshi Mallikarjun ............. 11 Concert – Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan ..... 14 A Grand Violin Trio Concert ................................................................... Sneha Ramesh Mani ................ 16 What is in a raga’s identity – label or the notes?? ................................... P. Swaminathan ...................... 18 Saayujya by T.M.Krishna & Priyadarsini Govind ................................... Toni Shapiro-Phim .................. 20 And the Oscar goes to …… Kaapi – Bombay Jayashree Concert .......... P. Sivakumar ......................... 24 Saarangi – Harsh Narayan ...................................................................... Allyn Miner ........................... 26 Lec-Dem on Bharat Ratna MS Subbulakshmi by RK Shriramkumar .... Prabhakar Chitrapu ................ 28 Bala Bhavam – Bharatanatyam by Rumya Venkateshwaran ................. Roopa Nayak ......................... 33 Dr. M. Balamurali
    [Show full text]
  • Bharatanatyam: Eroticism, Devotion, and a Return to Tradition
    BHARATANATYAM: EROTICISM, DEVOTION, AND A RETURN TO TRADITION A THESIS Presented to The Faculty of the Department of Religion In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Taylor Steine May/2016 Page 1! of 34! Abstract The classical Indian dance style of Bharatanatyam evolved out of the sadir dance of the devadāsīs. Through the colonial period, the dance style underwent major changes and continues to evolve today. This paper aims to examine the elements of eroticism and devotion within both the sadir dance style and the contemporary Bharatanatyam. The erotic is viewed as a religious path to devotion and salvation in the Hindu religion and I will analyze why this eroticism is seen as religious and what makes it so vital to understanding and connecting with the divine, especially through the embodied practices of religious dance. Introduction Bharatanatyam is an Indian dance style that evolved from the sadir dance of devadāsīs. Sadir has been popular since roughly the 6th century. The original sadir dance form most likely originated in the area of Tamil Nadu in southern India and was used in part for temple rituals. Because of this connection to the ancient sadir dance, Bharatanatyam has historic traditional value. It began as a dance style performed in temples as ritual devotion to the gods. This original form of the style performed by the devadāsīs was inherently religious, as devadāsīs were women employed by the temple specifically to perform religious texts for the deities and for devotees. Because some sadir pieces were dances based on poems about kings and not deities, secularism does have a place in the dance form.
    [Show full text]
  • National Gallery of Modern Art New Delhi Government of India Vol 1 Issue 1 Jan 2012 Enews NGMA’S Newsletter Editorial Team From
    Newsletter JAN 2012 National Gallery of Modern Art New Delhi Government of India Vol 1 Issue 1 Jan 2012 enews NGMA’s Newsletter Editorial Team FroM Ella Datta the DIrector’s Tagore National Fellow for Cultural Research Desk Pranamita Borgohain Deputy Curator (Exhibition) Vintee Sain Update on the year’s activities Assistant Curator (Documentation) The NGMA, New Delhi has been awhirl with activities since the beginning of the year 2011. Kanika Kuthiala We decided to launch a quarterly newsletter to track the events for the friends of NGMA, Assistant Curator New Delhi, our well-wishers and patrons. The first issue however, will give an update of all the major events that took place over the year 2011. The year began with a bang with the th Monika Khanna Gulati, Sky Blue Design huge success of renowned sculptor Anish Kapoor’s exhibition. The 150 Birth Anniversary of Design Rabindranath Tagore, an outstanding creative genius, has acted as a trigger in accelerating our pace. NGMA is coordinating a major exhibition of close to hundred paintings and drawings Our very special thanks to Prof. Rajeev from the collection of NGMA as well as works from Kala Bhavana and Rabindra Bhavana of Lochan, Director NGMA without whose Visva Bharati in Santiniketan, West Bengal. The Exhibition ‘The Last Harvest: Rabindranath generous support this Newsletter would not Tagore’ is the first time that such a major exhibition of Rabindranath’s works is travelling to have been possible. Our Grateful thanks to all so many art centers in Europe and the USA as well as Seoul, Korea.
    [Show full text]
  • A History of Indian Music by the Same Author
    68253 > OUP 880 5-8-74 10,000 . OSMANIA UNIVERSITY LIBRARY Call No.' poa U Accession No. Author'P OU H Title H; This bookok should bHeturned on or befoAbefoifc the marked * ^^k^t' below, nfro . ] A HISTORY OF INDIAN MUSIC BY THE SAME AUTHOR On Music : 1. Historical Development of Indian Music (Awarded the Rabindra Prize in 1960). 2. Bharatiya Sangiter Itihasa (Sanglta O Samskriti), Vols. I & II. (Awarded the Stisir Memorial Prize In 1958). 3. Raga O Rupa (Melody and Form), Vols. I & II. 4. Dhrupada-mala (with Notations). 5. Sangite Rabindranath. 6. Sangita-sarasamgraha by Ghanashyama Narahari (edited). 7. Historical Study of Indian Music ( ....in the press). On Philosophy : 1. Philosophy of Progress and Perfection. (A Comparative Study) 2. Philosophy of the World and the Absolute. 3. Abhedananda-darshana. 4. Tirtharenu. Other Books : 1. Mana O Manusha. 2. Sri Durga (An Iconographical Study). 3. Christ the Saviour. u PQ O o VM o Si < |o l "" c 13 o U 'ij 15 1 I "S S 4-> > >-J 3 'C (J o I A HISTORY OF INDIAN MUSIC' b SWAMI PRAJNANANANDA VOLUME ONE ( Ancient Period ) RAMAKRISHNA VEDANTA MATH CALCUTTA : INDIA. Published by Swaxni Adytaanda Ramakrishna Vedanta Math, Calcutta-6. First Published in May, 1963 All Rights Reserved by Ramakrishna Vedanta Math, Calcutta. Printed by Benoy Ratan Sinha at Bharati Printing Works, 141, Vivekananda Road, Calcutta-6. Plates printed by Messrs. Bengal Autotype Co. Private Ltd. Cornwallis Street, Calcutta. DEDICATED TO SWAMI VIVEKANANDA AND HIS SPIRITUAL BROTHER SWAMI ABHEDANANDA PREFACE Before attempting to write an elaborate history of Indian Music, I had a mind to write a concise one for the students.
    [Show full text]
  • June 2018 (Special Edition on Ganakaladhara Madurai Mani Iyer)
    Lalitha Kala Tarangini Premier Quarterly Music Magazine from Sri Rama Lalitha Kala Mandira Volume 2018, Issue 2 June 2018 Sangeetha Kalarathna Titte Krishna Iyengar RR Keshavamurthy - The Lion of Karnataka DK Pattammal the Immortal legend Indian Music Experience (IME) Special Edition on Madurai Mani Iyer Raga Laya Prabha award felicitation Sri Rama Lalitha Kala Mandira awarded “Raaga Laya Prabha” on 13th May 2018 to Aditi B Prahalad (Vocal), BK Raghu (Violin) and Akshay Anand (Mridangam) who are the upcoming youngsters from Bangalore. This award is to commemorate the memory of the Founder-Director, Karnataka Kalashree GV Ranganayakamma, Vidushi GV Neela and her Sister, Founder-patron and Veena artiste Dr. GV Vijayalakshmi. The award carries a cash prize of Rs. Twenty Five Thousand and a citation. The award function was followed by a concert of Abhishek Raghuram (Vocal). B Vittal Rangan (Violin), NC Bharadwaj (Mridanga) and Guruprasanna (Kanjra) in presence of a capacity crowd. Left to Right Standing - Sri DR Srikantaiah - President, Akshay Anand, Sri GV Krishna Prasad - Hon. Secretary, Vidushi Neela Ramgopal,Vidwan Abhishek Raghuram, Aditi B Prahalad, BK Raghu June 2018 Titte Krishna Iyengar and RR Keshavamurthy. I am sure they will be an inspiration to the youngsters. Ganakaladhara Madurai Mani Iyer (MMI) shone like a jewel during the golden period of Karnatak music. He, Music world celebrated the centenary year of DK Pattam- along with GN Balasubramaniam (GN Sir) revolutionised mal a doyen in her own right on March 19, 2019. Vice karnatak music so much so that we talk about music in President of India, Shri M Venkaiah Naidu inaugurated the terms of before MMI, GN Sir and after MMI and GN Sir.
    [Show full text]