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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. -
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. -
The Journal of the Music Academy Madras Devoted to the Advancement of the Science and Art of Music
The Journal of Music Academy Madras ISSN. 0970-3101 Publication by THE MUSIC ACADEMY MADRAS Sangita Sampradaya Pradarsini of Subbarama Dikshitar (Tamil) Part I, II & III each 150.00 Part – IV 50.00 Part – V 180.00 The Journal Sangita Sampradaya Pradarsini of Subbarama Dikshitar of (English) Volume – I 750.00 Volume – II 900.00 The Music Academy Madras Volume – III 900.00 Devoted to the Advancement of the Science and Art of Music Volume – IV 650.00 Volume – V 750.00 Vol. 89 2018 Appendix (A & B) Veena Seshannavin Uruppadigal (in Tamil) 250.00 ŸÊ„¢U fl‚ÊÁ◊ flÒ∑ȧá∆U Ÿ ÿÊÁªNÔUŒÿ ⁄UflÊÒ– Ragas of Sangita Saramrta – T.V. Subba Rao & ◊jQÊ— ÿòÊ ªÊÿÁãà ÃòÊ ÁÃDÊÁ◊ ŸÊ⁄UŒH Dr. S.R. Janakiraman (in English) 50.00 “I dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun; Lakshana Gitas – Dr. S.R. Janakiraman 50.00 (but) where my Bhaktas sing, there be I, Narada !” Narada Bhakti Sutra The Chaturdandi Prakasika of Venkatamakhin 50.00 (Sanskrit Text with supplement) E Krishna Iyer Centenary Issue 25.00 Professor Sambamoorthy, the Visionary Musicologist 150.00 By Brahma EDITOR Sriram V. Raga Lakshanangal – Dr. S.R. Janakiraman (in Tamil) Volume – I, II & III each 150.00 VOL. 89 – 2018 VOL. COMPUPRINT • 2811 6768 Published by N. Murali on behalf The Music Academy Madras at New No. 168, TTK Road, Royapettah, Chennai 600 014 and Printed by N. Subramanian at Sudarsan Graphics Offset Press, 14, Neelakanta Metha Street, T. Nagar, Chennai 600 014. Editor : V. Sriram. THE MUSIC ACADEMY MADRAS ISSN. -
SRUTI August 2011 Sruti South Indian Classical Music and Dance Monthly
l SRUTI August 2011 Sruti south indian classical music and dance monthly Issue 2 16 November 1983 It's with a sense of gratification at the warm reception given to the inaugural issue of SRUTI that we have prepared our second offering. The lead group of articles this time focusses on what has come to be called Tamil Isai. The principal article (p.4), researched and written by Anandhi Ramachandran, provides a retrospective analysis of the genesis and the controversial initial years of the Tamil Isai Movement, while a companion piece (p.8) by her offers a balance sheet of sorts on Tamil Isai Sangam, the institution set up to implement the movement's goals. The hymns composed by Tamil saints, known as Tevaram, form an important part of the musical heritage of the Tamils and a report on the interview conducted by Muthumeenakshi with an official of the Dharmapuram Adheenam Mutt throws considerable light on the hoary tradition of hymn- singing (p. 12). Rounding out the group is a Sruti Report (p. 11) on what prominent musicians have to say on Tamil compositions and what our chief has to say on whether the proponents of Tamil Isai and their opponents have served the listening public. The latter's analysis is presented in the first edition of an opinion column on music, which we call Bull's Eye. (p. 15); it will be a more or less regular feature. A companion column on dance is also envisaged. Giants have trodden the Carnatic earth, offering music sublime. We have plans to publish special articles about them from time to time. -
Dikshitar Parampara (Part 1)
VEDAVALLI SPEAKS Sangita Kalanidhi R. Vedavalli is not only one of the most accomplished of our vocalists, she is also among the foremost thinkers of Carnatic music today with a mind as insightful and uncluttered as her music. Sruti is delighted to share her thoughts on a variety of topics with its readers. Dikshitar parampara (Part 1) n musical parlance the name ‘Dikshitar’ instantly brings to our mind the illustrious saint-composer Muthuswami Dikshitar who, as a pioneer Icomposer, musician and poet in the field of Carnatic music, remains unparalleled even today. The literary beauty and depth of content in perfect proportion with the subtleties and aesthetics of our music are the hallmarks of his compositions. A striking thing about Dikshitar is the glorious parampara or lineage associated with him. His father, Ramaswami Dikshitar, and brothers Chinnaswami and Baluswami were all accomplished musicians and composers. And Subbarama Dikshitar, a grandson (and adopted son) of Baluswami Dikshitar, inherited the musical prowess of his father, paternal uncle and grandfather, and made an indelible mark in the world of music with his monumental work, Sangeeta Sampradaya Pradarsini. This parampara is unique in that it is a combination of ‘vamsa parampara’ or family lineage and ‘sishya parampara’ or lineage of disciples. Such a glorious lineage, spanning over three generations with each member equally proficient and knowledgeable is a very rare occurrence. This article is an attempt to bring out more information on this great lineage, with emphasis on the life and works of the Dikshitars other than Muthuswami Dikshitar. Ramaswami Dikshitar was born in 1735 AD. -
Mars 2011 Perspectives
Cover_French:Layout 1 17/03/11 11:14 AM Page 1 INDEVOL N° 25 – 1ER MARS 2011 PERSPECTIVES SOMMAIRE ARTICLE EN COUVERTURE Pourquoi L’inde est folle de cricket ESSAI L’importance d’être Sachin CULTURE Chennai en saison VOYAGE Îles Andaman et Nicobar INTERVIEW Arpita Singh, Arts et Esprits Calender_French:Layout 1 17/03/11 11:18 AM Page 2 UN MOIS EN INDE MARS-AVRIL 2011 19 Mars 6-8 Avril Dangs Darbar Festival de Mewar Participez au festival de Cet évènement est un Dangs Darbar avec ses véritable plaisir pour les yeux. danses fascinantes, ses Il se compose de chants, de pièces de théâtre et ses danses, de processions, de chants. Pendant le festival, musique religieuse et de feux les femmes portent des d’artifice. Le festival a une robes traditionnelles aux signification particulière pour couleurs vives et de lourds les femmes. bijoux en argent. Lieu: Udaipur, Rajasthan Lieu: Ahwa, Gujarat 19 Mars 3 Avril Mi-avril Festival d’Elephanta Nenmara Vallangi Vela Festival de Chithirai Profitez d’une soirée de Un évènement annuel à Le Festival de Chithirai représentations de danse Kerala, les célébrations constitue l’une des classique indienne et débutent par la cérémonie célébrations les plus admirez le caractère traditionnelle du hissage du importantes de Madurai. Il grandiose des sculptures des drapeau, au cours de reconstitue le mariage de grottes d’Elephanta. laquelle 30 éléphants sont Lord Shiva et de la déesse Lieu: Ile d’Elephanta, alignés sous des baldaquins Meenakshi. Mumbai richement décorés. Lieu: Temple de Lieu: Palakkad, Kerala Meenakshi, Madurai, Tamil Nadu 5 Avril 9-10 Avril Attuvela Mahotsavam Shad Suk Mynsiem Attuvela Mahotsavam est un Shad Suk Mynsiem ou la « magnifique festival de l’eau. -
Carnatic Vocals and Instrumental Syllabus Levels 1-10
IndianRaga Certification Carnatic Vocals and Instrumental Curriculum A IndianRaga Certification The new gold standard in Indian Classical Music IndianRaga’s new certification program is the first ever structured, coherent, fair assessment mechanism to certify performers of Indian Classical Music at various levels of training and performance. A. Basis for assessment B Assessment of candidates to be based on technical principles combined with the ability to perform. B. Panel of assessors Holistic assessment of each candidate by a panel of accomplished musicians. C. Standardized Testing Online video-based mechanism eliminates bias and delivers an unparalleled test-taking experience. C Advantages of getting certified What How 1. Recognition of musical skills . Syllabus will test Levels 1 through 2. Qualitative concepts of 10 to evaluate assessment of level of accomplishment Indian Classical progress at 3. Encouragement of various levels of commitment Music and ability towards music. to perform training and 4. Presentation of credentials for performance musical or academic profile. A B D C A. Levels 1, 2, 3 B. Levels 4,5,6 Understanding the different levels. - Initial levels of training - Ability to render ragas - Understanding of basic with easy We have grouped the concepts - Sufficient practice on - Ability to identify ragas levels into four groups: her/his own A, B, C and D. These - Exposure to live performances levels correspond to Beginner, Beginner +, D. Levels 9 & 10 Intermediate and C. Levels 7 & 8 Advanced. See to the - Highest level -
Carnatic Music
SL. No. : OP Jlflo Æ⁄√ÀÊ-V⁄◊⁄ —⁄MSÊ¿ : 31 + 31 ] CCE PR [ Jlflo »⁄flfl¶√}⁄ Æ⁄‚¥lV⁄◊⁄ —⁄MSÊ¿ : 8 Total No. of Questions : 31 + 31 ] [ Total No. of Printed Pages : 8 BΔ«M•⁄ O⁄}⁄°¬“ —⁄MOÊfi}⁄ —⁄MSÊ¿ : 98-E Code No. : 98-E …Œ⁄æ⁄fl : O⁄´¤%lO⁄ —⁄MWfi}⁄ / ’M•⁄‡—¤§¨ —⁄MWfi}⁄ — À¤—⁄° …∫¤V⁄ Subject : CARNATIC MUSIC / HINDUSTANI MUSIC — THEORY (‘ʇ—⁄ Æ⁄p⁄¿O⁄√»⁄fl / New Syllabus) (Æ⁄‚¥´⁄¡¤»⁄~%}⁄ S¤—⁄W @∫⁄¥¿£% / Private Repeater) (BMW«ŒÈ ∫¤Œ¤M}⁄¡⁄ / English Version) (O⁄´¤%lO⁄ —⁄MWfi}⁄ @¢⁄»¤ ’M•⁄‡—¤§¨V⁄◊⁄Δ« æ⁄·¤»⁄‚¥•¤•⁄¡⁄‡ JM•⁄´⁄fl- AæÊflQ »⁄·¤tOʇ◊⁄flŸ»⁄‚¥•⁄fl) ¶´¤MO⁄ : 21. 06. 2017 ] [ Date : 21. 06. 2017 —⁄»⁄flæ⁄fl : »⁄fl®¤¿‘⁄- 2-00 ¬M•⁄ —⁄MeÊ 5-15 ¡⁄»⁄¡ÊVÊ ] [ Time : 2-00 P.M. to 5-15 P.M. V⁄¬Œ⁄r @MO⁄V⁄◊⁄fl : 50 ] [ Max. Marks : 50 General Instructions to the Candidate : }Ê¡Êæ⁄flƒfl BΔ« O⁄}⁄°¬“ 1. This Question Paper consists of 31 + 31 objective and subjective types of questions. Æ⁄~√OÊæ⁄fl´⁄fl- 2. This question paper has been sealed by reverse jacket. You have to cut on Æ⁄√ÀÊ- the right side to open the paper at the time of commencement of the examination. Check whether all the pages of the question paper are intact. TEAR HERE TO OPEN THETEAR HERE TO OPENQUESTION PAPER 3. Follow the instructions given against both the objective and subjective types of questions. 4. Figures in the right hand margin indicate maximum marks for the question. 5. The maximum time to answer the paper is given at the top of the question www.careerindia.compaper. It includes 15 minutes for reading the question paper. -
The Journal of the Music Academy Devoted to the Advancement of the Science and Art of Music
THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC VOL. LXIX 1998 jus swift I f^ h Itftif $1 v ii i "I dwell not in Vaikuntha, nor in the hearts o f Yogins nor in the Sun; (but) where my bhaktas sing, there be I, Narada!" Edited by T.S. PARTHASARATHY The Music Academy, Madras 306, T.T.K. Road, Madras - 600 014. Annual Subscription - Inland Rs. 50/- Foreign $ 3-00 ....................... .............. .... OURSELVES This journal is published as an Annual. All correspondence relating to the journal should be ad dressed and all books etc., intended for it should be sent to the Editor, The Journal of the Music Academy, 306, T.T.K. Road, Chennai - 600 014. Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, type written (double-spaced and on one side of the paper only) and should be signed by the writer (giving.his or her address in full) The Editor of the Journal is not responsible for the views expressed by contributors in their articles. i —. -.— — CONTENTS No. Page 1. The 71 st Madras Music Conference........................... » Official Report 2. Advisory Committee Meetings.......................................... 13 3. The Sadas........................................................................... 47 4. Problems in editing the Krti-s of Muddusvami Dikshita........................................................ 57 N. Ramanathan......................................................... 5. Kamalamba Navavarana Kritis of Muthusvami Dikshita.........................................................97 T.S. Parthasarathy 5. Abhinavagupta on Cha. ia Vritta and Dhruva.............. 10^ Subhadra Chaudhary 6. The Contribution of the Travancore royal family to performing arts.............................................................. -
Karnataka State Dr. Ganghubai Hangul Music and Performing Arts
Karnataka State Dr. Ganghubai Hangul Music and Performing Arts University, Mysore JLB Road, Near Ashoka Circle, Lakshmipuram, Mysuru -570004 Ph: 0821-2402141, Fax: 0821- 2402114 BA Syllabus (CBCS ) Mridanga B.A. I SEMESTER Theory Paper Topic : Talas and Percussion Instruments in Carnatic Music Unit : 1 Introduction to Carnatic Music a. Origin and development b. Distinction with other forms of Classical Music Unit : 2 Introduction to Percussion instruments of Carnatic Music a. Mridanga, Kharjira, Ghata, Morsing and Dolu (Thavil) b. Introduction to the parts of Mridanga Unit : 3 Tala a. Historical background, definitions and difference with Laya b. Jaathis and Types Unit : 4 Shadangas of Tala a. Knowledge of akshara Kaala in Shadangas b. Kriyas representing the shadangas Karnataka State Dr. Ganghubai Hangul Music and Performing Arts University, Mysore JLB Road, Near Ashoka Circle, Lakshmipuram, Mysuru -570004 Ph: 0821-2402141, Fax: 0821- 2402114 BA Syllabus (CBCS) Mridanga B.A. I SEMESTER Practical Paper Topic : Paatakshara and Varase Unit : 1 Bala Paataksharas – Aditala a. Introduction to method of Playing Meetu, Chapu, Arachapu and Olachapu. b. “ Tha – Dhi – Thom – Nam” bala Paataksharas to be Practiced Reciting and Playing in three speeds of Aditala Unit : 2 Bala Paataksharas – Suladi Saptatalas a. “ Tha – Dhi – Thom – Nam” Bala Paataksharas to be Practiced Reciting and Playing in three speeds of Suladi Saptatalas. Unit : 3 Balavarase – Aditala a. Introduction to 3,4,5,6,7 and 8 letter words. b. Reciting and Playing of Bala Varase in three speeds of Aditala (as one akshara per count) Unit : 4 Balavarase – Suladi Saptatalas a. Reciting and Playing of Bala Varase in three speeds of Suladi Saptatalas ( as one akshra per count ) Karnataka State Dr. -
CARNATIC MUSIC / HINDUSTANI MUSIC — THEORY ( / New Syllabus ) / Regular Repeater ( / English Version )
CCE RR — 560 003 KARNATAKA SECONDARY EDUCATION EXAMINATION BOARD, MALLESWARAM, BANGALORE – 560 003 2017 S. S. L. C. EXAMINATION, JUNE, 2017 MODEL ANSWERS : 21. 06. 2017 ] : 98-E Date : 21. 06. 2017 ] CODE NO. : 98-E / — Subject : CARNATIC MUSIC / HINDUSTANI MUSIC — THEORY ( / New Syllabus ) / Regular Repeater ( / English Version ) [ : 40 [ Max. Marks : 40 Qn. Nos. Value Points Total ( CARNATIC MUSIC ) I. Multiple Choice : 8 × 1 = 8 1. B — Dheera Shankarabharana 1 2. A — Hamsadhwani 1 3. D — Ektala 1 4. B — Flute 1 5. B — Alankara 1 6. A — Malahari 1 7. B — Violin 1 8. D — Mohana. 1 RR-XXVI-8045 [ Turn over 98-E 2 CCE RR Qn. Nos. Value Points Total II. Answer the following questions in a sentence each : 8 × 1 = 8 9. "Purandara Vitala" is the Ankita of Purandaradasa. 1 10. There are two kinds of swaras. 1 11. Audava is a raga with five swaras both in Arohana and Avarohana. 1 12. The symbol of Anudruta is ''. 1 13. The Prakruthi swaras are S, P (Shadja, Panchama). 1 14. There are five Jathis in Laghu. 1 15. Kambhoji, Bhairavi, Bilahari, Khamaj etc. 1 Refer to the student's answer and consider any one Bhashanga raga. 16. Two Aksharas are there in a Druta. 1 III. Answer the following questions in two to three sentences each : 7 × 2 = 14 17. Mandra sthayi varase : The swara commences in descending order from the tara shadja. While writing the notation the dots will be placed below the swaras. Tara sthayi varase : The swara commences from Madhya sthayi nishada in arohana krama. -
Ifuthuswaffld Dikshitar Bi-Centenary Volume the JOURNAL THE
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 ..