- Mr. N. Subramanian...Dr. V. PREMALATHA Assistant Professor in the Department of Performing Arts,...

/ --------------------------------------------------------------------------------------------------------------------------- VISSN . 0970-3101

J o u r n a lo f

Wc\t ^ u s t c (Acabemg J f fa h ra sD evoted to the A dvancem ent o f the Science and Art o f M usic

Vol. 81 2010

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" / dw ell n o t in Vaikunta, nor in the hearts o f Yogins, n o t in the Sun/

(hut) where m y B haktas sing, there he I, Narada /"

Narada Bhakti Sutra

ED ITO R

P a p p u V e n u g o p a la R a o

THE MUSIC ACADEMY MADRASNew No. 168 (Old No. 306), T.T.K. Road, Chennai 600 014.

Email [email protected]

Website www.musicacademymadras.in

mailto:[email protected]

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Copyright © The Music Academy Madras December 2010

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All Correspondence relating to the journal should be addressed and all books, etc., intended for it should be sent in duplicate to the Editor, The Journal of the Music Academy Madras, New 168, T.T.K. Road, Chennai 600 014.

Articles on music and dance are accepted for publication on the recommendation of the Editor. The Editor reserves the right to accept or reject any articles without assigning reasons.

Manuscripts / soft copies should be sent to the editor either by courier or by email to [email protected]

The Editor of the Journal is not responsible for the views expressed by contributors in their articles.

J f

Price Rs. 150/- US $ 12

Published by N. Murali on behalf The Music Academy Madras at New No. 168, TTK Road, Royapettah, Chennai 600 014. Typeset by Compuprint, Chennai 600 086 and Printed by N. Subramanian at Sudarsan Graphics Offset Press, 14, Neelakanta Mehta Street, T. Nagar, Chennai 600 014. Editor Pappu Venugopala Rao.

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nJ Ip

E D IT O R IA L BO ARD

Dr. P ap p u V enugopala Rao (Editor}

Sri. N. M urali, President (Ex. Officio)

Dr. M ala th i R angasw am i

Dr. C h ith ra M adhavan

Dr. S.A.K. D urga

Dr. N. R am anathan

Sri. V. Sriram

M rs. S u ja th a V ijayaraghavan

*1_______________________________________________________________________ jF

CONTENT

1. Our Contributors 7

2. Editor’s Note 11

3. 83rd Annual Conference & Concerts - December 2009

Welcome Address by Sri. N. Murali, President 13

Inaugural address by Sri. Viswanathan Anand 19

Speech of Sri. Valayapatti AR Subramaniam 22

Welcome address by Sri. N. Murali, President at the Sadas 26

Speech by Hon’ble Sri. P. Chidambaram 30

Awardees 2009 34

Note on Dance Festival 40

4. Proceedings of the Conference 2009 41

5. Allied R3ga-s

Smt. R.Vedavalli 62

Smt. Seeta Rajan 68

Sri. V. Subrahmaniam 73

Sri. T.M. Krishna 79

6. Different versions of TySgaraja Klrtana-s - Smt. Ritha Rajan 93

7. Easy, innovative and effective methods in teaching Karnataka Music - 102Sri. Akella Mallikharjuna Sarma

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THE MUSIC ACADEMY • JOURNAL 2010 • VOLUME 81

8. Musics of East Asia - China Japan and Korea - Dr. S.A.K. Durga 108

9. Rare J5vali-s in Rare Taja-s - Sri. Shreekantham Nagendra Shastry 113

10. Dance Music of Kalakshetra - Dr. Gowri Ramnarayan 116

11. Studies on Skin Covered Instruments - Dr. N. Somanathan 129

12. On the Applicability of the Ancient Sruti Scheme to the Current Fixed- 135Tonic .Variable-Interval Mela System - Dr. Madhu Mohan Komaragiri

13. BrhadlSvara Temple, TanjSvQr- Dr. Chithra Madhavan 144

14. Unpublished compositions of Margadarsi $g$ayyaiigar - Dr. V. Premalatha 150

15. Book Reviews and New Arrivals 161

16. Obituary 167

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bJ b

OUR CONTRIBUTORSDr. CHITHRA MADHAVAN an erudite scholar, an articulate speaker and a very strong adherent of tradition, obtained her M.A. Degree in Indian History with first rank in 1988 from the University of Madras. In 1989 she received her M.Phil Degree from the same University. Subsequently, she obtained her Ph.D. degree in Ancient History and Archaeology from the University of Mysore in 1999. Her Doctoral dissertation has been published as a book entitled “History and Culture of Tamil Nadu-Vol J.” She has authored many books on various temples. She has been a recipient of many Fellowships and awards. An ardent devotee of Sri Ranganatha and a faithful student of the doyen in the field of Archeology, Prof. K.V. Raman, she is an executive committee member of The Music Academy

DR. S. A. K. DURGA is a musicologist and ethnomusicologist. She is the founder of the Centre for Ethnomusicology based in Chennai. She learnt music from her mother, Lalithabai, initially and later from Tirukkodikaval Venkatarama Iyer and Madurai Mani Iyer. She had her advanced training from Sangita Kalanidhis, Prof.T. Viswanathan and Dr.M. Balamuralikrishna. She learnt Hindustani classical music from Ustad Mohammed Munnawar.

She completed her doctorate in ethnomusicology at the Wesleyan University, USA and later carried out a comparative study of Gregorian and Vedic chants and Tevaram hymns as a part of her post-doctoral research work at the Yale University. She is a member of the Advisory Committee of The Music academy.

Dr. GOWRI RAMNARAYAN, Deputy Editor, The Hindu, has been writing on music, dance, cinema and literature for over 20 years. She has authored children's books, biography; translated the works of Marathi playwright Vijay Tendulkar and the Tamil writer Kalki Krishnamurti; served as a member of the Fipresci Jury of critics at international film festivals (London, Oslo, Venice, Valladolid, Locarno, Mumbai). As a playwright and a theatre director, she has crafted an original genre with music as a parallel text in drama, winning national recognition (Mahindra Excellence in Theatre Award) for Best Innovative Music and commendation for Best Play. An alumnus of Kalakshetra, Gowri had been vocal accompanist to Sangita Kalanidhi M.S.Subbulakshmi for 16 years.

VidvSn T M . KRISHNA a vocalist with a difference who makes an indelible impression on the listeners. After initial tutelage under Sri. B. Seetharama Sharma, underwent special

___________ ________________________________________________________________P

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3* lpR&gam Tanam Pallavi grooming under the renowned Chengalpet Ranganthan. He also received advanced training from the late Semmangudi Srinivasa Iyer. He has worked with Vijay Siva, Sanjay Subramaniam and other younger scholars/ musicians.

In 2007, he co-authored and published a book with Bombay Jayashri titled "Voices Within", the first coffee-table book of its kind, on the legends of Carnatic music. He has been featured in the Carnatic Concert Movie ‘Margazhi Raagam’ along with Bombay Jayashri in 2008.

Dr. MADHU MOHAN KOMARAGIRI, secured Diploma and a gold medal in MA music, and obtained PhD from the Madras University for his fundamental research on Pitch Analysis. He is trained in both Carnatic and Hindustani classical music from leading teachers. He is an experienced performing artist in Carnatic vocal music. He has several seminal research publications to his credit. He has also released music albums in different genres. He is an electrical design engineer with the nuclear power industry in Canada and is a licensed professional engineer [P.Eng] in Ontario, Canada.

Prof. AKELLA MALLIKHARJUNA SARMA of Hyderabad, a violinist and disciple of Nedunuri Krishnamurthy, the retired as Principal of Government Music College, Hyderabad in 1996. He has done yeoman service by way of teaching, supervising institutions, offering free workshop to propagate Carnatic music, and also innovating teaching methods and preparing material. He is a recipient of the TOC award from the Music Academy in 2009.

Vidwan SHREEKANTHAM NAGENDRA SHASTRY, a musician with impeccable credentials. An accomplished vocalist, scholar, and an authority on jSvali-s, he hails from the legendary Chintalapalli family which had direct disciples of TySgarSja and the asthana vidvan-s for eight centuries at some of India’s greatest royal courts including that of Kr$nad£varaya and the Mysore Maharaja-s. A very rare combination of scholarship in different fields, oratory and music all in one.

Dr. V. PREMALATHA Assistant Professor in the Department of Performing Arts, Sri Venkateswara University, Tirupati. Study of Music manuscripts has been her ipain area of research. She was the recipient of the National Fellowship in Arts - Music (Junior) awarded by the Sangeet Natak Akademi (2003-05). She has presented research papers at various seminars and Conferences and some have been published in leading journals. She is now handling a Major Research Project funded by the UGC, surveying and documenting the Music manuscripts of the Oriental Research institute, S V University, Tirupati

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oJ IpDr. RITHA RAJ AN hails from a family in which almost every member is an accomplished singer. She learnt music from Ramanathapuram Sri Krishnan and Mrs. T. Brinda, two of the most respected musicians in the Karnataka tradition. She is known for her vast repertoire of klrtana-s, padam-s and tamiz songs and can sing almost every klrtana of TyBgaraja. Her of TySgarilja's songs have been archived by the Sampradaya. She retired as the Professor and Head of Music Dept Queen Mary’s College and is presently the Academic Coordinator for the Advanced School of Carnatic Music of The Music Academy and its Advisory Committee member.

Sangita Kala Acharya Smt. SEETHA RAJAN, initially disciple of Sri Kittamani Iyer, subsequently a disciple of ‘Sangeeta Pitamaha’ Sri Semmangudi Srinivasier, She learnt Hindustani vocal music from Sri Bhim Shankar Rao in Hyderabad. Smt. Seetha Rajan is a seasoned performer, respected teacher and proficient musicologist and her concerts and lecture demonstrations have been appreciated widely. She has also been involved in teaching at The Music Academy and the Kalakshetra Foundation. She is a member of the Advisory Committee of The Music Academy, Chennai. Her creation of Bala Brundam Sangita Gurukulam, an institution of quality, is a milestone in her service to music.

Dr. N SOMANATHAN, Narayanasastry Somanathan is a Scientist Eli, (Senior Assistant Director), Polymer Laboratory, Central Leather Research Institute, a double doctorate in Chemistry - Biophysics and Humanities - Science from The University of Madras. He has been working as a Freelance researcher in Indian musicology for the past 30 years, interlinking the science and Humanities (fine arts and music) and has published papers on "Studies on Tavil", "Scientific studies on Kanjira" "Classification and Materials for percussion instruments" etc.,

Sangita Kala Acharya V SUBRAHMANIAM is one of the senior most disciples of Sangita Kalanidhi Sri Semangudi Srinivasa Iyer and reflects his style in life and music.He has been a member of the Advisory Committee of The Music Academy. A dedicated teacher, a devoted disciple, a fine musician whose adherence to tradition makes him what he is. He has co-authored a book on his guru along with Sri. V.Sriram.

Sangita Kalanidhi Smt R. VEDAVALLI, musician, musicologist a great teacher and a performer and speaker, came under the tutelage of Mudikondan Venkatarama Iyer fom a very young age. In 2000, she received the award of the Sangeetha Kalanidhi. She has been associated with the Academy first as a student and then served in the Teacher's College of Music for several years. Presently she is the Director of the Advanced School of Carnatic Music of The Music Academy. She had special training in Padam-s and Javali-s with T. Muktha, and in Pallavi-s with Mudikondan Venkatarama Iyer.

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d Ip

EDITOR S NOTE

I extend a warm welcome to the readers of the 2010 Journal. As in the last two years, with a very supportive and scholarly editorial board, we have made every effort to improve

the quality of the Journal. As a result, the readers will see two types of articles; those which formed the text of the lecture demonstrations presented during the morning sessions in December 2009 and the other, the pure articles.

In the former category there are four articles on allied raga-s by Sangita Kalanidhi Smt. R. Vedavalli, Sangita Kala Acharyas, Vidvan Sri. V.Subrahmaniam and Vidu$i Smt. Seetha Rajan and Vidvan Sri T.M. Krishna.

There are six more articles in this category on varied topics by eminent scholars dealing with very interesting subjects.

In the second category we have two articles by two dynamic young scholars, one on the Applicability of the Ancient Sruti Scheme to the Current Fix^d-Tonic, Variable-Interval Mefa System by Madhu Mohan Komaragiri and another by Dr. Chithra Madhavan on The Brhadlsvara Temple, its contribution to and influence on music and dance, commemorating the thousand years of the Tanjore Big Temple.

In this journal you will also find a few hitherto unpublished compositions of MSrgadarsi SesayyaiigSr. These have been collected from manuscripts by Dr. V. Premalatha.

Apart from these we have the other usual materials covering the inaugural function of the December Season and the Sadas, namely, the speeches delivered by the distinguished dignitaries, Sangita Kalanidhi of the year Vidvan Sri Valayapatti AR Subramaniam and the President of The Music Academy Sri. N. Murali; the details of the deliberations of the morning lecture demonstrations; information about the events of the annual dance festival, book reviews and many more.

The President Sri. N. Murali has been a constant source of inspiration, so have been the other members of the executive committee.

The Editorial Board is grateful to all the contributors. It acknowledges the cooperation of Ms. R. Latha, Research Assistant at The Music Academy, who has been helpful in incorporating the diacritical marks and proof reading.

I am sure readers will find this year’s journal interesting and useful with more number of articles than last year. Please feel free to write to me at [email protected]

Pappu Venugopala Rao Editor

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83rd Annual Conference and ConcertsTuesday, 15th December 2009

Welcome address by Shri N. M urali, President

Shri Viswanathan Anand, Vidvan Valayapatti Shri AR. Subramaniam other awardees of this year, Sangita Kalanidhis, Vidvans and Vidushis, members of The Music Academy,

distinguished invitees, ladies and gentlemen,

On behalf of The Music Academy, I have immense pleasure in extending a very warm welcome to everyone of you to this Inaugural function of the 83rd Annual Conference and Concerts.

I extend a very special welcome to our Chief Guest, Shri Viswanathan Anand, World Chess Champion. This year the Academy breaks new ground on quite a few counts. This is the first time ever in the annals of its 80 year old history that a sportsperson is inaugurating our annual festival. Shri Viswanathan Anand is also the youngest person in the last seventy years to inaugurate our annual event even after turning forty just a couple of days ago.

It is most fitting that one of the most admired sporting icons of the country is inaugurating it. ‘Vishy’ Anand is a prodigy who has fully lived up to his talent and promise in achieving consistent and biggest successes for India in individual sport.

The genius of Anand has left the connoisseurs around the world awe struck and simultaneously his amazing achievements have set off a chess revolution in our country. He has been the one big inspiration for young talent to take up this extremely challenging game in our country with four junior Grandmasters, apart from 12 other GMs already emerging. After becoming India’s first Grandmaster at the age of eighteen, Shri Viswanathan Anand has mastered the time-tested Soviet system of training. His accomplishments have been truly magnificent and some of the major highlights are: World Junior Champion in 1987, became India’s first grandmaster in 1987; World Champion in 2000, 2007 and 2008; only player in the 122 year history of World Championship to win in three different formats - knockout, tournament and match. Only the fourth player - after Gary Kasparov (Russia), Vladimir Kramnik (Russia) and Veselin Topalov (Bulgaria) to cross the international rating of 2800; remained in the top three ranked players in the world for over 10 years from 1997 to September 2008; continues to be in the world’s top 10 list since July 1991; chosen for the prestigious Chess Oscar for 1997, 1998, 2003, 2004 and 2007; first recipient of the Rajiv Gandhi Khel Ratna Award (1991-92), Recipient of the Padma Vibhushan (2007), Padma Bhushan (2000) and Padma Shri (1987).

The crowning glory came in October 2008 when he scripted a new chapter in the 122- year history of the World Chess title contests by beating Russian challenger Vladimir Kramnik with a round to spare and thus becoming the first player from outside the erstwhile Soviet

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Union region - after the legendary Bobby Fischer in 1972 - to wear the champion’s crown with a victory in the match-play format.

This sporting hero is not resting on his laurels. He is learning new skills and doing things that he has not done or tried for a long time. One of the reasons for his unparalleled consistency is the enjoyment he derives from playing the game and his childlike enthusiasm for the game. This genial sporting giant is the epitome of poise, dignity and humility and a true role model.

The significance of this chess maestro inaugurating the 83rd Conference and Concerts also lies in the similarity between chess and music in some respects. Both appear to be physically passive as far as the performance goes. But there is a great deal of dynamism and activity of the mind happening. The pre-requisites for both are sound knowledge with an intellectual dimension and the application of that stored knowledge, and a lot of preparation and planning. Both involve creative ideas and also on the spot creativity and quick reflexes to come back on course when needed. To an extent, whatever the preparation and strategy, a great performer on the stage or a champion player on the chess board is guided by intuition or ‘an immediate insight’ The Grandmaster title in chess can be likened to our Sangita Kalanidhi Award.

Music finds a special place among Viswanathan Anand’s interests. We are indeed grateful to him for spontaneously and graciously agreeing to inaugurate our annual event in the midst of his busy preparations for an extremely important World Championship match against Bulgarian Veselin Topalov in April 2010.

The Margazhi music festival is a special part of Chennai’s cultural landscape and has over the last eight decades grown into one of the largest such festivals in the world. The Music Academy can take credit for pioneering this festival, which has gone from strength to strength, with an ever increasing number of participating organizations, undiluted by the sheer explosion in numbers. The beauty of it all is that it has managed to retain the purity, the core classical values and exllence of our great tradition of music.

This year’s festival is in many ways a continuation of last year’s highly successful one and also comes against the backdrop of a challenging economic environment whose worst impact seems to have been left behind. Happily this year’s festival also coincides with some clear signs of an economic recovery and might well be the harbinger of cheer in these difficult times.

The festival’s increasing success over the recent years has been largely due to the tremendous support and co-operation of our members and rasikas and above all the artistes and the unflinching and sustained support of our sponsors and advertisers. The active involvement and exemplary team work shown by our colleagues on the Executive Committee needs to be

— — — — THE MUSIC ACADEMY • JOURNAL 2010 • VOLUME 81 — —

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specially highlighted. So many committed and selfless volunteers along with a handful of our own dedicated staff make the season what it is. This year we will all strive even harder to make this another memorable season.

As members have seen and experienced, the ongoing and phased infrastructure upgradation and modernization programme during the last four years has created vastly enhanced facilities and ambience resulting in a heightened and more enjoyable listening experience and comfort. All this has been possible through the large-hearted and spontaneous generosity of the wonderful donors who thought it worthwhile to support this pre-eminent institution of which the whole cultural and arts community can be justly proud. We have earlier acknowledged every single donor for enabling an undertaking of this nature.

Significant improvements to infrastructure have continued since last year’s annual conference and concerts as well. Functionally, a new 320 KVA Generator has been installed to ensure that we are self- reliant in power that is so essential in an environment of power shortages and cuts.

To make the Academy’s external environment more beautiful with some greenery, saplings have been planted along the compound wall through the help and initiative of the forest department. Landscaping and horticulture have also been taken up to lend natural beauty and colour to the campus.

A major, comprehensive project for greatly transforming and contemporarizing the decades-old stage with appurtenances and its lighting arrangements has just been completed. The stage now has in-built lighting and other facilities for a variety of programmes. This major project involving different agencies has been completed in record time under the expert guidance and supervision of our fine architect Mr. P.T.Krishnan. Mr. Krishnan has brought to bear his tremendous commitment, expertise and interest in restoring and upgrading heritage buildings, to our on-going modernization works as a measure of his labour of love and passion. A modernization work of this scale has been possible in good measure through the generous sponsorship of the Kalpathi family whom we had earlier acknowledged. A modem, and nice looking canopy made of tensile membrane has been installed in the cafeteria for the benefit of members and rasikas.

The outpouring of goodwill and spontaneous generosity towards this great institution continues undiminished. Just a few days ago we have received a handsome donation from Smt. Mallika Srinivasan towards our on-going infrastructural upgradation and modernization programme. Smt. Mallika Srinivasan has also generously come forward to sponsor “The Indira Sivasailam Endowment Concert” by an outstanding musician annually during Navarathri starting from next year. This will be a fitting tribute to the memory of her mother, Smt. Indira Sivasailam, who was an ardent camatic music rasika and a big patron and supporter of The

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Music Academy over the years. The musician rendering the concert will also be honoured with the “Indira Sivasailam Endowment medal”

The last couple of years has also seen a resurgence of academic activities at the Academy. We have just republished the three volume “Raga Lakshna”, authored by the reputed musicologist and musician, Shri S.RJanakiraman. This re-edited third edition of the book was released on November 13, 2009. Simultaneously, the quality of the content of the prestigious Journal of the Academy is being enhanced with the help of the Editorial Board under the editor Dr. Pappu Venugopala Rao.

A high quality book profusely enriched with photographs and very well-written and beautifully designed and printed, on the glorious history of the Academy has just been brought out. The authors of the book “Four Score and More - the History of The Music Academy Madras” are the well-known music historian and writer, Shri V.Sriram and Dr. Malathi Rangaswami, one of our Secretaries. They have worked hard to bring out a kaleidoscopic account of the glorious history of the Academy with the help of official documentation and other archival material and also making the institution come alive through stories and anecdotes. This collector’s volume was released by Dr. C.Rangarajan, Chairman, Prime Minister’s Economic Advisory Council at a special function on December 11, 2009. Sangita Kalanidhis Shri R.K.Srikantan and Smt. R.Vedavalli received the first copies. It is available to members at a special price of Rs.1200/- and to all others at a concessional price of Rs.1800/- during the season. Following the function, a special GNB Centenary Concert was rendered by his eminent disciple Vidvan Trichur Shri V.Ramachandran.

“Four Score and More” commemorates eighty years of one of India’s foremost cultural institutions. As the Music Academy marches ahead, in its quest to meet the expectations of future generations, this will prove an invaluable account of the saga of sacrifices and all that went into its making, its eventful journey and its present pre-eminence.

A high quality book of this kind richly illustrated by photographs taken from various sources is not possible to bring out without sponsorship support which has come in good measure from Shri R.Srinivasan, one of our Vice Presidents whom we gratefully acknowledge.

During the season, The Music Academy confers special honours on outstanding individuals who have contributed immensely to the preservation and enrichment of the fine tradition of classical fine arts. This year the Academy is proud to have chosen for its prestigious Sangita Kalanidhi title a tavil vidvan for the first time ever in its eight decade long history. Tavil maestro Valayapatti Shri AR. Subramaniam will preside over the conference and receive the title of Sangita Kalanidhi at the Sadas on January 1, 2010.

This also represents another peak for percussion itself as this is the first time the Academy is recognising with its highest honour a percussion instrument other than the mridangam. The Academy has thus come a very long way from its stance during its early

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years that upa-pakkavadyams were not necessary for a concert and were in fact allowed in a concert only after 1947.

Most deservedly the highest recognition for the first time by the Academy for upa- pakkavadyam goes to tavil maestro Valayapatti Shri AR. Subramaniam. His name has become synonymous with the instrument itself.

Valayapatti, as he is fondly referred to in the field of music began his music training on nagaswaram under guidance of his father nagaswaram Vidvan Shri PL. Arumugam at the age of nine. His training on the tavil began subsequently with his elder brother Valayapatti Palanivel and Mannargudi Rajagopala Pillai, a disciple of Needamangalam Meenakshisundaram Pillai. He gave his debut performance on the tavil at the age of twelve at a nagaswaram concert held at the Mannargudi Sri Vidya Rajagopalaswami temple. In a career spanning over 60 years, he has accompanied numerous top-ranking nagaswaram artistes.

Valayapatti has pioneered tavil accompaniment for violin, vocal and Bharatanatyam performances. He has participated in percussion ensembles and has the honour of being the first tavil artiste to record a solo performance for a recording company. He has also organized tavil ensembles, on occasions with 100-200 instruments performing simultaneously. He organizes a music and dance festival every year under the banner of Valayapatti Nadalaya Trust.

He is the recipient of several titles, awards and accolades. His mastery over tavil has come in for high praise from such stalwarts as Sri Palghat Mani Iyer, Sri Semmangudi Srinivasa Iyer, Sri Chembai Vaidyanatha Bhagavathar, Smt. M.S.Subbulakshmi, Smt. MLV, Dr. M.Balamuralikrishna and Smt. Balasaraswathi. Shri Semmangudi even described him as “Nandhi Incarnate”

In recognition of his pioneering efforts and his service to Carnatic music and in particular to the enrichment of tala and laya, The Music Academy Madras takes special pride and pleasure in the choice of Vidvan Valayapatti Shri AR Subramaniam for its highest award.

Commencing from the year 2005, THE HINDU instituted an annual award of Rs.l lakh in the memory of the legendary Shrimathi M.S.Subbulakshmi to be given to the Sangita Kalanidhi elect at the inaugural function. Shri Viswanathan Anand will be giving away the “Sangita Kalanidhi M.S.Subbulakshmi Award” to Vidvan Valayapatti Shri AR .Subramaniam later today.

The Sangita Kala Acharya Award goes to Veena Vidvan Trivandrum Shri R.Venkataraman and to Bharatanatyam Guru Smt. N.S Jayalakshmi. Both have contributed tremendously to their respective disciplines.

The two recipients of the TTK Memorial award are the exponent of the percussive art of Konnakkol, Vidvan Trichy Shri R.Thayumanavan and violinist Vidvan Shri Akella Mallikarjuna

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Sharma. Their meritorious contribution to Carnatic music is being recognized by The Music Academy.

The Musicologist Award which was introduced last year would go to Shri B.M.Sundaram, the eminent musicologist and scholar.

These five awardees will also get “The T.T.Vasu Memorial Award” which is a significant cash award instituted by the family of late Shri T.T.Vasu two years ago.

As in the recent years we are presenting in this year’s programme over 80 performances featuring stalwarts as well as young and promising artistes who are all set to give their best at the Academy’s hallowed, and just renovated stage.

An earnest attempt has been made by the Convenor of the Experts’ Advisory Committee, Dr. Pappu Venugopala Rao with the help of the eminent members of that committee to bring back the'flavour, depth, variety and high standards of the morning conference sessions of our vintage years. This year’s programme builds on the success of last year’s widely appreciated sessions and promises to be even more interesting. A heartening feature deserving a special mention is the inclusion of younger, top performing musicians into this academic mainstream.

Shri P.Chidambaram, Honourable Union Home Minister has kindly consented to preside over the Sadas on January 1, 2010 and confer the awards.

The fourth edition of our highly successful Dance Festival is being held between January 3 and January 9, 2010.

The birth centenary of two stalwarts of the past who have enriched our glorious tradition of classical fine arts is being observed in the current year. Sangita Kalanidhi Shri G.N.Balasubramaniam or GNB as he was universally known, was a giant among musicians and also a composer. We salute his unforgettable contribution and support to The Music Academy throughout his brilliant career. We also salute the contribution of Sangita Kalanidhi Shri Embar Vijayaraghavachariar, a doyen among Harikatha exponents who too was a long standing supporter of the Academy. This year the world of music lost a very great Carnatic vocalist- Sangita Kalanidhi Smt. D.K.Pattammal whose long association and support to The Music Academy is a matter of pride for all of us. Sangita Kalanidhi laureate of 2007, mridangam maestro Sri Palghat Raghu also left us earlier this year and we honour his memory.

On behalf of our entire team, I wish you all a very enjoyable and soulful music season and a dance festival and a happy and much brighter New Year.

Thank you

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Inauguration of the Annual Music Festival83rd ANNUAL CONFERENCE AND CONCERTS

The Music Academy, MadrasTuesday, 15th December 2009

by Shri. V isw anathan Anand

Good evening ladies and gentleman. It is a feeling of humility to stand before such an illustrious gathering of the greats of Carnatic music and the performing arts.

I have watched many a speaker at opening ceremony of a chess tournament trying to connect chess and politics with the king, queen and bishop indulging in the wildest palace intrigues. I am glad to try to connect the artistic side of chess with music here today.

Chennai in December is not only special because of the weather but also because of the kutcheri season. It is a time for the city to be abuzz to the vibrant culture of music and dance. The Music Academy has always been a front runner of preserving and promoting the fine arts. They strive to put the artiste and their talent on a wider platform, recognising all aspects of a performance.

This year particularly the Academy will bestow the Sangita Kalanidhi award on Vidwan Valayapati AR. Subramaniam, a celebrated thavil artiste. Thus conferring this award for the first time to an thavil Vidvan. Although vidvans of nadaswaram have received this title the accompanists have rarely been considered. He will also receive the M.S. Subbulakshmi award, instituted by THE HINDU.

Allow me to extend my hearty congratulations to the Vidvan on this title and also on the completion of sixty years in music. In his career he has become synonymous with the thavil. The thavil is one of our ancient instruments used in auspicious gatherings and temple festivities. His mastery makes it look effortless but hides behind it a steely determination and hours of perseverance. As a child he learnt the nuances by accompanying his fathef and brother. He learnt by watching, listening and never complaining. This kind of discipline and determination is very inspiring. In spite of performing in more than ten thousand concerts he maintains a child like curiosity and passion in learning more of the thavil and its full potential.

Both in chess and music you see that an exposure at an early age is important. Only after that can one determine a prodigy and their talent. In my family no one had achieved greatness in chess but there was an atmosphere that encouraged it. When you read about the great musicians you always find they had an exposure to the art from childhood and looked up to someone at close quarters in most cases their own family members for inspiration. Similarly

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in chess you see that you discover by chance that a child shows an aptitude for the game. In my case I saw my siblings play and later on my mother discovered that it was more than mere curiosity for chess. It is important that children are given a chance to discover latent talents. We never know when and where the next music or chess genius resides.

Children should be exposed to the arts at an early stage. I have seen children who are exposed to chess, develop certain skills that complement academics. Similarly learning music and the performing arts can only strengthen the Indian roots and make children more open to imbibing cultural influences. It is said that when a mother sings to her unborn child in the womb the foetus responds. Such is the strength of music in developing a child’s personality. I see that there are many young artistes who are able to hold their own among the established luminaries in the field. Both youth with its fresh outlook and older artistes with their wealth of perspective collaborate in taking music to new heights.

Chess went through a change when it embraced technology. We had to make the game relevant to the times it was to be played. Formats became shorter and players try to go beyond the board, albeit sometimes infamously. Chess has to be in constant contact with the broader public. Similarly, music has also adapted to the times. It has taken in influences from other cultures. For instance, the use of western instruments has been adapted to the Carnatic music style and then used in Carnatic music as its own all the while retaining the essence and soul of the music. Performing moved from the temple to sabhas and now web casts. So the way music is perceived and performed has also changed. We see constant collaborations between artists of different forms of music. Especially using new elements like a piano or a cello to give a new dimension to an existing art form. Similarly in chess I see that when I stop experimenting or stop wanting to learn the freshness with which you approach the game is lost. Although we play the same pieces the approach has to be kept different to make it interesting not only for an audience but also keep the performer or the player interested in giving their best.

Musicians give a lot of performances during the music season, but they have to give off their best and make each one unique. When I play long tournaments, I have to strive to keep the spark for every game. However, such effort usually forces rivals to work harder to keep up. I often use music to relax before a game, I wonder how musicians cope with the pressure, perhaps they could unwind with a game of chess.

The Academy in its 83rd Annual Conference has always been an integral part of the changes in the world of music and the performing arts. It has provided a platform for experimenting and change but retaining its quintessential self. The auditorium in itself under the stewardship of President N. Murali has made listening to music a higher pleasure. The Academy goes beyond just performance and tries to be the knowledge source for the rasika. The digitising of music archives provides a ready reckoner to the rich past of music. In chess

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too we have a database of past games that help in creating novel moves in the future. A historical perspective is very important for future development.

Technology and the Internet have helped people like me to become more acquainted with music and its principles. We have been able.to reach a wider audience and even take it to distant shores. It has made music more accessible and easier to explore. Apart from that, archiving and easy access of data is something that helps priceless works remain untarnished with the passage of time.

Although computers and technology do help in understanding and propagation of the art, the human angle and the intensity of the performance is always what draws a person to the artist’s soul. Each artiste interprets their relationship in a different way and that is what makes each one of them unique. Interestingly I was reading about a few musicians who write blogs. I was quite tickled to read that how they practise for hours for a kutcheri but always when the curtains open and you see the audience for a fleeting moment you don’t know what to sing or how the performance will go. Similarly when I practise, minutes before a game I don’t know what I want to play or how the result will be, but funnily when I make the first move something inside you calms down and the rest of the moves flow like music.

In chess we deal with eight major pieces and in music there are seven notes. What gets created from that is maths, art and works of beauty. Although understanding chess and music is complex appreciating it doesn’t need a language. There are times before a game when I can feel my heart beat and the mind is full of worries. Many a times at this moment I reach out for music and listen to a song or an instrumental rendition. You don’t take in the words, nor the intricacies but at the end of it you feel uplifted. That’s what all of us try to create a piece of beauty that can be appreciated by all.

I would like to thank Mr. N. Murali and all the committee members of The Music Academy for inviting me and I wish all the performing artistes and rasikas an enjoyable music season.

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WELCOME ADDRESS OFS h ri. N . M u ra li , President

The Music Academy, Madras

at the SAD AS, January 1, 2010

Shri P.Chidambaram, Honourable Union Home Minister, Sangita Kalanidhi awardee Vidvan Valayapatti Shri AR. Subramaniam, other awardees of this year, Sangita Kalanidhis, Vidvans

and Vidushis, members of The Music Academy and other rasikas, ladies and gentlemen,

I have great pleasure in extending a very warm welcome to every one of you to this Sadas and in offering my best wishes for a happy and bright New Year.

It is our special honour and delight to have Shri P. Chidambaram, Hon’ble Union Home Minister preside over the Sadas this evening and confer the awards.

After a brilliant academic record both in Chennai and later in Harvard University where he did his M.B.A., Shri Chidambaram enrolled as a lawyer and made a distinct mark in his legal career. However, the world where he has made an even bigger mark is far removed from academics or law and it is the world of politics which, in fact, has been enriched by

his presence.

Starting as a member of AICC in 1972, he became President of Youth Congress, Tamil Nadu between 1973-76, was elected first time to the Lok Sabha in 1984, became Joint Secretary, AICC in 1985; joined the Government as Union Deputy Minister, Commerce in September 1985 signalling a long, glorious and unfinished innings that has spanned very important portfolios; Was Union Minister of State, Personnel, Public Grievances and Pensions 1986-89 (Internal Security), Union Minister of State, Commerce (Independent charge) in 1991-92 and 1995-96; Union Cabinet Minister, Finance 1996-98 and Union Cabinet Minister, Finance, May 2004- November 2008; Became Union Home Minister just days after the horrendous 26/11 terrorist attack in Mumbai in 2008. He currently is the Union Cabinet Minister, Home Affairs. He is also in his 7th term as member, Lok Sabha.

Among his major accomplishments is the 1996-97 Union Budget which is still considered a dream budget and a watershed in India’s Economic Reforms history in recognition of which he was rated as Asia’s best Finance Minister by the London based financial magazine Euromoney. To Shri Chidambaram also goes the credit of doing away with several red-tape oriented regulations and boosting Indian exports as Union Commerce Minister.

He has already brought to bear a refreshing dynamism and a proactive, professional and systems based approach to the Home Ministry where he has been at the helm for just over a

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year. However, in this extremely important and critical portfolio he is called upon to address such challenges and issues as terrorism, naxal violence, regionalism and above all, the current Telengana turmoil. The minister with a sharp intellect has just articulated his broad vision for a new architecture for India’s security which would mark a thorough and radical departure from the present structure.

For Shri Chidambaram, however, it is not all work and politics. He is a trustee of the Rajiv Gandhi Foundation and Ilakhiya Chintanai (Literary association), Chennai. His special interest is modem literature in general and Tamil literature in particular. He is a voracious reader and is also interested in such sports as badminton, chess and tennis. He looks every inch an erudite scholar that he is. I thank Shri Chidambaram for taking time off from his punishing schedule to honour us by his presence today.

Like all good things, this remarkable festival spread over the last eighteen days comes to an end today. It has indeed provided a veritable feast of soulful music by various artistes. Particularly, heartwarming was the pristine vintage music of the veteran stalwarts. Mention has to be made here of two timeless musicians - Octogenerian Sangita Kalanidhi Shri Nedunuri Krishnamurti who incredibly gave his 55th concert at the Academy and Sangita Kalanidhi Shri R.K.Srikantan, who turns ninety in a few days and who gave an unforgettable concert. What marks out the two legends is their unfailing adherence to classicism and their sustainability of the highest quality of music over such a long period without any interruption.

Without exaggeration, it is one of the best seasons we have had for the sheer variety and quality of performances, for the overwhelming response from members and rasikas, for the enthusiastic audience turnout for concert after concert even spilling over on some days to the mini auditorium for LCD screening, for the sense of joy and satisfaction experienced by our enlightened audience, for the wonderful performance of all the artistes at the concerts and the musicologists and scholars at the morning academic sessions, for the generous support of our sponsors and advertisers and for the whole organizing team including the volunteers who worked selflessly and tirelessly.

Coming to today’s function, I offer my warmest felicitations and congratulations to this year’s recipient of the prestigious Sangita Kalanidhi award, the tavil maestro Vidvan Valayapatti Shri AR. Subramaniam about whom I spoke in detail on the inaugural day. I reiterate our pride and happiness at giving the Academy’s highest recognition for the first time in its history for a percussion instrument other than mridangam, in the shape of the Sangita Kalanidhi title to Shri Valayapatti AR .Subramaniam whose name has become synonymous with tavil. I must point out a remarkable coincidence in the participation of the Honourable Minister at this function. Our Sangita Kalanidhi awardee hails from the same district which forms part of the constituency of Shri Chidambaram. Of course, as elections are some years away, the model code of conduct cannot apply!

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I must also express my appreciation for Shri Valayapatti’s qualities of simplicity and spontaneity while presiding over the morning academic sessions which were maiked by depth, a wide variety of subjects discussed and highly interactive participation by members of the Experts’ Advisory Committee as well as the discerning audience. Shri Valayapatti’s virtuosity on the tavil was in ample evidence in his scintillating concert earlier this week.

1 offer my warmest felicitations to the other major award winners - Sangita Kala Acharya awardees Veena Vidvan Trivandrum Shri R.Venkataraman and Dance Guru Smt. N.S Jayalakshmi, recipients of “TTK Award” Trichy Shri R.Thayumanavan and Shri Akella Mallikarjuna Sharma and Shri B M.Sundaram who is receiving our Musicologist Award which was instituted from last year. I also congratulate the artistes who would be receiving prizes for performances during the season.

As pointed out at the Inauguration, the ongoing infrastructure modernization and upgradation programme has created a vastly enhanced ambience resulting in heightened and more enjoyable listening experience and comfort. Our objective is to maintain the heritage value of this auditorium while at the same time contemporarising and upgrading the infrastructure and other facilities. I have earlier acknowledged individually the wonderful donors and all those enabling this phased programme. I must add here that it is indeed heartening that the stream of goodwill and spontaneous generosity flowing in the direction of this great institution like that of music itself, has not dried up or reduced one bit in its intensity, even in these times of global warming and climate change. As mentioned by me at the inauguration, a couple of days before the start of the season we received a very handsome donation from Smt. Mallika Srinivasan towards our modernization programme. Even when the season was in progress, we have received a significant donation from Mr. Narayan Anand representing Veda Corporate Advisors Pvt. Ltd., as initial contribution to the Academy’s Corpus Fund being set-up for the sake of helping indigent musicians.

In the context of the vastly changed security perception and environment, it will certainly be music to the ears of the Hon’ble Union Home Minister, when I say that the Academy has been the first and probably the only auditorium of its kind in this city to put in place security measures like having metal detectors at entry points and installing CCTV cameras.

1 wish to point out that the emphasis on infrastructure improvements by no means reduces the importance being given to artistic and academic activities. In fact, we have redoubled our efforts in this direction with the expert guidance of Dr. Pappu Venugopala Rao, one of our secretaries, himself a musicologist and scholar and with the help of other eminent experts. Plans are already under consideration for programmes through the year like in-depth academic workshops, lecture demonstrations and even music appreciation sessions.

The Academy’s role as the pre-eminent institution for preserving and strengthening our fine tradition of classical fine arts is expected to get even bigger and wider in the years

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to come for which we continue to seek the unstinted participation and support of members, artistes, rasikas, well wishers and friends.

Before I end, let me invite you to stay back after this function to listen to a special 1-1/2 hours concert “LAYA RAAGA SANGAMAM” by ‘Sthree Thaal Tharang’ an all women’s ensemble featuring Smt. Sukkanya Ramgopal and party.

Finally, I would also encourage you to attend the fourth edition of our Dance Festival that would be held from January 3rd to January 9th, 2010.

Thank you veiy much

— < S ^

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■ ■ ■ THE MUSIC ACADEMY • JOURNAL 2010 • VOLUME 81 — - - ■

31


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33


Awardees 2009 Sangita Kalanidhi Award

Valayapatti Shri AR. Subramaniam

President of the Conference

Bom in 1941 at Valayapatti, Pudukottai District to Nagalakshmi Ammal and nagaswaram Vidvan PL Arumugam, AR Subramaniam began his musical training under his father’s guidance at the age of nine on the nagaswaram. His training on the Tavil began subsequently with his elder brother Valayapatti Palanivel and Mannargudi Rajagopala Pillai, a disciple of Needamangalam Meenakshisundaram Pillai. When he was twelve, he gave his debut performance on the tavil at a nagaswaram concert held at the Mannargudi Sri Vidya Rajagopalaswami temple. He then embarked on the career of a tavil artiste and has accompanied numerous top-ranking

nagaswaram artistes.

Valayapatti, as he is fondly referred to in the field of music, has pioneered tavil accompaniment for violin, vocal and Bharatanatyam performances. He has participated in percussion ensembles and has the honour of being the first tavil artiste to record a solo performance for a commercial label. He has also organised tavil ensembles, on occasions with 100-200 instruments performing simultaneously. He organises a music and dance festival each year during the December Season, which he does under the banner of the Valayapatti

Nadalaya Tmst.

Valayapatti is the recipient of several titles, awards and accolades. In recognition of his service to music and in particular to the enrichment of tala and laya, The Music Academy Madras is proud to confer Sangita Kalanidhi on him. It also places on record that this is the first time that a tavil artiste is being honoured with this title.

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Sangita Kala Acharya Award

Trivandrum R. Venkataraman

Bom on 31st August 1938, at Cheranmahadevi to Ramasubba Sastrigal and Kamakshi Ammal, Venkataraman began training in vocal music at the age of four under his father’s guidance. At the age of eight he began learning Veena from Lakshmi G Krishnan and later apprenticed himself under Sangita Kalanidhi K.S. Narayanaswami. Joining the Swati Tirunal College of Music at Trivandrum, he was guided in vocal music by Sangita Kalanidhi Semmangudi Srinivasa Iyer and Sangita Kala Acharya C.S. Krishna Iyer. After graduation he became Assistant Professor for Veena at the college. He joined AIR Trivandrum in 1964 and served there till his retirement in 1996.

He has given numerous performances and was also a member of the veena-violin-venu trio along with Lalgudi G Jayaraman and Sangita Kalanidhi N. Ramani. Venkataraman has been training a number of students in vocal music and on the veena. At present, he is the Director for Veena at the Teachers’ College of Music run by The Music Academy Madras. The Academy with great pleasure confers on him the title of Sangita Kala Acharya.

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Sangita Kala Acharya Award

N. S. Jayalakshmi

Bom in Timvaiyam on 15th June, 1933, to Navanitam Sarangapani Iyengar and Champakammal, Jayalakshmi or Jaya Teacher as she is more popularly known, became a disciple of Rukmini Devi Arundale at Kalakshetra. As a student, she came under the guidance of stalwarts such as Karaikkal Saradambal, Mylapore Gowri and Dhandayudhapam Pillai. She also acquired a diploma in music and B.A. degree in English and History. Jayalakshmi was involved in several of the dance productions of Kalakshetra even during Rukmini Devi’s lifetime. Her essaying of the role of the Kurathi in Kutrala Kuravanji is considered unsurpassed. She later became a teacher at Kalakshetra and helped in the shaping of several youngsters, many of whom later became well-known names in the world of dance. Jayalakshmi’s scholarship in dance theory is recognised by several universities and cultural organisations in India and abroad and they have utilised her services. She continues to remain a much sought after teacher. The Music Academy Madras takes pleasure in conferring on her the title of Sangita Kala Acharya.

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TTK Memorial Award

Trichy R. Thayumanavan

Bom on 11th September 1931 at Kottaiyur near Kumbakonam to violin Vidvan Kottaiyur Raju and Thaiyalnayagi. R Thayumanavan began training as a mridangam artiste under Sangita Kala Acharya Kumbakonam M Rajappa Iyer and later had his tutelage under Pudukottai M.V. Dakshinamurthy, a disciple of Pudukottai Dakshinamurthy Pillai. He acquired proficiency on the mridangam, the kanjira and in the oral percussive art of konnakol. Today, he is one of the few exponents of the art of konnakol. In his career as a percussionist he has accompanied several Carnatic giants and Harikatha exponents, ranging from Sangita Kalanidhi Ariyakkudi T Ramanuja Iyengar to Sangita Kalanidhi Embar S Viyaraghavachariar.

Having worked as a mndangam artiste at the All India Radio, Trichy, Thayumanavan has since retired and founded the Gurupriya Laya Vidyalaya, a school for percussion. He has received several awards and titles. He is the author of a biography of Pudukottai Dakshinamurthi Pillai and has also constructed a temple in latter’s memory. The Music Academy Madras is proud to present him the TTK Memorial Award for 2009.

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TTK Memorial Award

Akella Mallikharjuna Sarma

Born on 15th June 1938, at Mummidivaram to Aswatthanarayana Murty and Kanakam, Mallikharjuna Sarma was initially trained on the violin by his father and by PP Somayajulu. He later apprenticed himself under Sangita Kalanidhi Nedunuri Krishnamurthi.

Having qualified with government diplomas in vocal and instrumental music, he joined the Government College of Music and Dance, Hyderabad in 1961, as a lecturer. He became the Principal in 1984 and retired from there in 1996. During these years, he regularly gave vocal and violin performances on the All India Radio and participated in music symposia besides being a concert artiste. He was also involved as an examiner and in the setting of examination papers for several Universities. Sarma is the author of several books and has written numerous papers and articles which have been published in magazines and journals. He is involved in giving free lecture-demonstrations and in conducting workshops in order to further the cause of Carnatic music. The Music Academy Madras is proud to present him the TTK Memorial Award for 2009.

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Musicologist Award

B M . Sundaram

Bom on 10th October, 1934, B.M. Sundaram had his initial training in music from Melattur Narayanaswami Iyer, Vaiyacheri Janakirama Iyer and K Rama Iyer. Graduating with a Bachelor of Arts degree in Economics, he also trained for seven years in music under Sangita Kalanidhi M. Balamuralikrishna. While acquiring proficiency in various forms of music, he found his true calling in music research which he first took up in 1953.

A polyglot, B.M. Sundaram has edited several works based on manuscripts in the Saraswati Mahal Library, Thanjavur. He has written biographies of several great Carnatic artistes of the past and is a much sought after speaker in symposia, both in India and abroad. Sundaram has set to music over 600 songs and has created 67 compositions himself, inclusive of vamams and kritis in various languages. He held the position of Music Producer and Music Composer at the All India Radio, Puducherry. In recognition of his services in music research, The Music Academy Madras is proud to present him the Musicologist Award for 2009.

Citations - written by Sri V. Sriram

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Music Academy Dance Festival 2010The fourth dance festival of the Music Academy was held from 3rd January

to 9th January, 2010. It was inaugurated by Mr. Andrew T. Simkin, Consul General, Consulate General of the United States of America, Chennai. Mr. N. Murali, President, Music Academy, gave the welcome address. Mr. Sieedhar Potarazu, the main sponsor of the festival spoke at the inauguration.

The festival featured thirteen solo dances and seven group presentations. The morning sessions had young artists Aishwarya Nityananda, N. Srikanth, Kirti Ramgopal, Gayatri Balagurunathan, Purvadhanasree and Lavanya Ananth. Three of them were winners of the Spirit of Youth Awards of The Music Academy. Purvadhanasree presented Vilasini Natyam of Andhra, which was featured for the first time at the Academy.

Alarmel Valli, Priyadarsini Govind, Malavika Sarukkai, Narthaki Nataraj and Sheejith Krishna presented solo Bharatanatyam recitals in the evening while Gouri Sharma Tripathi and Sujata Mohapatra presented solo Kathak and Odissi performances respectively.

Among the group presentations Bhanumathi’s Nrityakalamandiram and Kalakshetra represented Bharatanatyam. Kalakshetra performed Subramanya Bharathi’s Panchali Sapatham. The troupes of Madhavi Mudgal and Sharmila Biswas presented Odissi and Kathak was represented by Kathak Kendra of New Delhi. Priti Patel’s troupe Anjika presented Manipuri and the Melattur Bhagavatamela troupe presented Krishna Jananam - Kamsa vadham.

A brochure with photos of the dancers and programme details and articles was released on the occasion.

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MORNING SESSIONS AT THE MUSIC ACADEMY

December 16, 2009The first day of the morning lecture demonstration sessions chaired by the Sangita

Kalanidhi designate Vidvan Valayapatti AR. Subramaniam started with devotional music.

The Academy conducted a day long devotional music competition in September this year under an endowment by Rukmani Arts, instituted by Smt. Aruna Ranganathan in which, 33 groups took part with about 200 participants. Isai Mazalai group won the first prize and Balabpidam Gurukulam group won the second prize.

The winners Isai Mazalai group consisting of all young musicians rendered devotional music on the first day. The group had vocalists, Kalpalathika, Brinda Manikavachakam, Arulpriya Manikavachakam, Adityanarayanan and Dikshita, accompanied on the violin by Shyam and on the Mridangam by Ashwini.

This was followed by unveiling the portraits of Tajjapaka AnnamScarya and Sarasvati Bai. Sri. V. Sriram spoke about Sarasvati Bai and Sri. Pappu Venugopala Rao spoke about Annamacarya. Sri. N. Murali, the president of The Music Academy unveiled the portraits in the presence of Valayapatti Sri. AR. Subramaniam.

Role of Upa Pakka Vadyam-s in conceitsThe first lecture demonstration was about the Role of Upapakka vadyam-s in Concerts

presented by Sri V. Krishna and his team from Bangalore. Krishna began his lecture demonstration with a general introduction to pakka vadyam-s and upa pakka vadyam-s. He divided his presentation into two parts. In the first part he dealt with each of the upa pakka vadyam-s, Kanjira, Ghatam and Morching, their independent stature, history, evolution, their names, place and form in various countries in the world. He then let each of die artists demonstrate on the instrument the usual rhythmic phrases, the sarva laghu patterns and other permutations of rhythms. He mentioned the names of the treatises which talk for the first time about each of the upa pakka vadyam-s. He also mentioned the stalwarts of upa pakka vadyam-s who contributed to the enrichment of their stature in camatic music. First it was Guruprasanna who demonstrated on the Kanjira; then Ghatam player Giridhar Udupa played the Ghatam. G. Rajasekhar who demonstrated on Morching showed how breathing, lips and tongue help in proper accentuation of rhythmic patterns. He also showed how Morchings of other countries like Russia, Germany and Japan are used. In the second part of the presentation Krishna demonstrated the role of upa pakka vadyam-s in concerts. He began his presentation with a Varnam to show how the upa pakka vadyam-s join a little later in Varlam. They join, as madhyama kalam begins though there is no rule to do so. Upa pakka vadyam-s embellish the concert as they come in and go out at ciflasvardm. Later the vocalist Ravikiran rendered a lqti to

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show how unobtrusively upa pakka vadyam-s join the mridangam. Finally the song ‘Devi brova samayam’ in Cintamani was rendered to show how the upa pakka vadyam-s join the Mridangam in a vijamba kala composition. Krishna wanted to also present a niraval and kanakku in svara prastara but couldn’t do so due to lack of time. He appealed to the audience and organizers to give due recognition to upa pakka vadyam-s and upa pakka vadyam artists.

Pappu Venugopala Rao felt that the term pakka vadyam itself is linguistically and etymologically erroneous and the term upa pakka vadyam is doubly wrong. He suggested the Mridangam be called as pradhana lay a vadyam and the others as sahakara laya vadyam-s. Experts Committee member Prof. Trichy Sankran complimented the speaker and mentioned the classification of musical instruments of Natya Sastra. He said sometimes being ‘profound silence’ is the best way of accompanying. Prof. T.R. Subramaniam also complimented the speaker and his accompanists. The session ended with the complimenting remarks by Vidvan Valayapatti AR. Subramaniam.

December 17, 2009The second day proceedings of The Music academy morning lecture demonstrations

started with an invocation ‘Raga Sudharasa’ in Andojika a composition of Tyagaraja svami rendered by Raginisri and Revathi Kumar, disciples of Sangita Kalacharya Smt. Sulochana Pattabhiraman.

Kota DrumsThe first lecture demonstration was on Kota Drums by Prof. Richard Wolf of Harvard

University. Richard had worked on ‘Of God and Death: Music in ritual and everyday life. A musical ethnography of the Kotas of south India’ for his Ph.D. Dissertation, at the University of Illinois at Urbana-Champaign. He studied many languages including Tamil, Urdu/Hindi, Kota, Persian, French, German and Telugu. He has been a student of Vina under the tutelage of Vidu$i Ranganayaki and gave several performances.

Richard presented a lecture demonstration on ‘The Kotas and their Music’ The Kotas are an adivasi community of less than 2,000 persons, who reside in seven villages on the NTlgiri plateau in Tamil Nadu. They speak their own language, 'Kota', which broke off from a common ancestor of Tamil and Malayalam at least 2,000 years ago. They also have an elaborate system of religious rituals that includes the performance of particular melodies and dances at particular moments. The main Kota instruments are kol (double reed), tabatk (frame drum or tambattai in Tamil), dobar and kinvar (cylindrical drums), and kob (brass horn). In this presentation, Richard Wolf presented the outlines of this ritual-musical system and explained some of the challenges Kotas face in learning this repertoire and maintaining it in the face of changing economic circumstances.


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Richard was ably assisted by eight male musicians and a female singer from Kota to demonstrate their music live. He also presented some video clips and showed some details using a power point presentation.

Sangita Kalanidhi Smt. R Vedavalli complimented the speaker and the musicians. She wanted to know whether they had only one rhythmic pattern for different occasions. The Kota musicians responded by demonstrating various types of rhythmic patterns.

Laya Visesam in the compositions of MummQrtiThe next lecture demonstration by Sangita kalacharya Prof. B. Krishnamurty on ‘Laya

Visesam in the compositions of MummQrti’ Krishnamurty had been a student of several eminent Guru-s including Musiri Subramanya Iyer, Mudikondan Venkatarama Iyer apart from his own brother B.S. Rajam Iyer. He had special training under Umaiyalpuram Rajagopala Iyer, a direct descendent of Tyagaraja.

Though he was supposed to speak on Trinity’s Laya vise$am, he confined himself only to Tyagaraja’s compositions. He demonstrated compositions in different Laya patterns, Khantjam, Caturasram, Trisram and how in many compositions, gaps are introduced in laya structure. He presented the song ‘srTrama rama’ in Saveri, ‘rama sltarama’ in Balahamsa, ‘sundara dasaratha nandana’ in Kapi, ‘dandamu pettenura’ in Balahamsa, ‘sltapati kavavayya’ in Sankarabharanam, ‘manasa sancarare’ in Punnagavaraji, ‘kslrasagaravihara’ in Anandabhairavi, ‘varalTla ganalola’ in Sankarabharanam and ‘rama rama rama’ in Mohanam. Except three compositions in Capu, Jhampa, and Trisralaghu, all compositions demonstrated were set to Adi taja. Expert committee members Dr. N. Ramanathan and Sangita Kalanidhi Smt. R. Vedavalli wondered whether these songs were originally rendered the way they were demonstrated by Krishnamurthy. The type of nisada used in Kslrasagaravihara was a matter of contention when Prof Ritha Rajan, another Advisory Committee member, mentioned that some publications carry this composition under Rltigaula. The session ended with Pappu Venugopala Rao complimenting the speaker of the day.

December 18, 2009

The third day morning sessions started with a prayer ‘saradg vlnavadang’ of Papanasam Sivan in Dgvagandhari by Sivapriya, disciple of Sangita Kalanidhi Smt. R.Vedavalli.

Music Therapy

The first lecture was on Music Therapy by Dr. Suvama Nalapat, Retd Prof &HOD Pathology. She has many medical publications to her credit, and she is an expert in telepathology. Of her publications, ‘Without a Stumble: A book on the Spirituality of Music’

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gives an introduction to Music therapy. Ragacikitsa, Music therapy in management, education and administration, and Nadalayasindhu (Ragacikitsamrtam) are her other works.

She made a very enlightening power point presentation in which she said, Music therapy, though as ancient as the Indian culture itself, is a comparatively new discipline in modem India. It should be viewed as integrated medicine, person-oriented and Family medicine. She drew parallels between Ayurveda and Ragacikitsa, Svara is considered a dravya because it has length, height and volume, with the 4th dimension Kala or time built into it and when sung with bhava and rasa it reaches beyond the four-dimensions and transcends further. Being part of NadalayayOga, Ragacikitsa incorporates principles of Raga. Any musician who aspires to do substantial work in music therapy should know the physics of Ragacikitsa. She substantiated her statements by giving examples from her own experiments and experience in Ragacikitsa. She concluded by saying, music is an ocean and medicine is an ocean too.

Advisory Committee Members, Sangita Kalanidhi R. Vedavalli, Prof. S.A.K. Durga, Prof. T.R. Subramaniam and Vidvan Valayapatti AR. Subramaniam complimented the speaker.

BrhaddesiThe second lecture on Matanga Muni’s Brhaddesi was delivered by Prof. Anil Behari

Beohar, Professor and Head of the Department of Musicology, I.K.S. University, Khairagarh. He had worked in major and minor research projects of University Grants Commission, Sangeet Natak Academy and NIVH Dehradun. He guided a number of M.Phil and Ph.D. scholars successfully for completing their research work. Of his Publications: Brhaddesi (in two volumes) and Sangita Kaladhara (translation) made very lasting impressions in the field of music and musicology.

He made a power point presentation in which he systematically presented all aspects related to the treatise and its contents. He talked of the manuscripts, publications and translations of Brhaddesi, its authorship, references in later treatises, other works attributed to Matanga before actually discussing the content of Brhaddesi. He discussed in detail the chapterisation and the missing chapters. He made an effort to retrieve the missing links in Brhaddesi from the quotations given by the authors of later treatises in their works. He made a detailed analysis of the topics dealt within Brhaddesi with references and cross references from other works. He defined and discussed in detail the way the terms Desi, Nada, Sruti, Svara-Sruti relationship, Grama, MOrchana, Jati, Tana, Varna, Alankara, Raga, Tala and many other terms were dealt with.

He was profusely complimented by the members of the Experts Committee and Vidvan Valayapatti AR. Subramaniam.

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December 19, 2009The morning sessions began with an invocation ‘sveta ganapatim’ in

RagacOtjamaiji of Muttusvami Dlk$itar by Ms. Mangala Ravi, disciple of Sangita Kalacharya Prof. S.R. Janakiraman.

Sahaji Maharaja’s contribution to Carnatic musicThe first lecture demonstration was presented by Smt. Madhavi Rajagopalan on ‘The

Contribution of Sahaji Maharaja to Carnatic Music.’ Madhavi Rajagopalan presented her lecture with the help of a power point presentation. King Sahaji was the eldest son of Ekoji Maharaja, who founded the Maratha dynasty in Tanjore. Sahaji was a great scholar, poet and composer who was well versed in Telugu, Marathi, Sanskrit, Persian and Hindi. He earned the title of “Abhinava Bhoja” due to his patronage of arts and literature.

Sahaji Maharaja’s contribution to music fall under three main categoriesDramatic and poetic works: He has written almost 23 yaksagana-s in Telugu, the

court language, musical compositions like pada-s, daru-s, ragamalika-s and klrtana-s. He has composed nearly 208 pada-s in rakti and ghana raga-s on snigSra, bhakti and vairagya themes. They are collectively known as “TySgesa Pada-s” composed in Marathi, Telugu and Sanskrit. He authored a treatise dealing with the science of music and raga laksana-s in which he dealt with 20 meja-s and 100 janya raga-s.

Out of all the various musical forms composed by Sahaji, Madhavi Rajagopal demonstrated ‘karimukha harasuta’ in Nata, a Sallamu Darn in Kalyani raga, a Caturdasa Bhuvana Anuraga Ragamalika in 14 raga-s, one in each line, set to adi taja, a Jakkini Daru in Bilahari raga, a Saptasagara sujadi prabandha Ilia daru with nayaka mudra, in 7 gauja raga-s, a manipravaja pada in Telugu, Marathi and Tamil in Kamas and concluded with a Tyagesa pada in Tfrji.

The presentation and demonstration were complimented by the members of the Experts Committee, Dr. Ramanathan and Vidvan Valayapatti AR. Subramaniam.

Allied Raga-sThis year The Academy had scheduled four lecture demonstrations by four eminent

scholars/ musicians on some allied raga-s. First in that series was the lecture demonstration on Kalyani-Sankarabharanam; Arabhi-Devagandhari-Sama-Kedaragaula by Sangita Kalanidhi Smt. R. Vedavalli.

A detailed article by Sangita Kalanidhi Smt. R. Vedavalli on her lecture demonstration is published elsewhere in this journal.

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December 20, 2009The lecture demonstration sessions began with an invocation by Saswathi Prabhu, disciple

of Vidvan Lalgudi Jayaraman with 'ganamQrte' of Tyagaraja Svami in the raga GanamOrti.

Different versions in the compositions of TyagarajaThe first lecture was by Prof. Ritha Rajan on pathantara-s in Tyagaraja’s compositions.

In Tyagaraja klrtana-s which form the bulk of Karnataka music, pathantara is a much-discussed subject. While the various lineages of Tyagaraja’s disciples had acquired good repertory and good versions of his compositions, three of the lineages, viz. the Valajapet, the Umaiyalpuram and the Tillaisthanam, were identified and Ritha Rajan made an in-depth analysis of the pathantara of these main si$ya parampara-s, both in their oral and textual traditions.

She demonstrated different version for the same composition in the same raga, ta|a - ‘paripOrnakama’ in Purvakalyani raga sung differently by the Umaiyalpuram and the Valajapet traditions.

Ritha Rajan then presented compositions with changes in raga laksana and raga name. The raga for the composition ‘lqpSlavala’ is Nadatarangini and the mQrchana is ‘s p m r g r s- s p n d p m g r s’ in the Valajapet tradition. In the Umaiyalpuram tradition, the raga for the same song is ‘Nadavarangini and the svara movement i s ' s P m n d n s - s p n d p m g r s ’

She presented variations in the three schools of versions for even less heard compositions like ‘ennajlu tirigeti’ in the raga Majavasn which is sung the same way in the Valajapet and Tillaisthanam traditions with pallavi, anupallavi and carana but differently by the Umaiyalpuram school with different music and with pallavi and carana alone.

Ritha Rajan threw light on different format for some of the compositions seen in these three schools, ‘mitri bhagyame’ in the raga Kharaharapriya sung in adi ta)a orukalai in the Umaiyalpuram tradition is sung in Madhyadi type in the Tillaisthanam tradition.

‘Vidulaku mrokkeda’ in Mayamalavagaula raga is a changed version of Madhyadi, with the later part of the carana sung as an apparent madhyama kala according to the Umaiyalpuram school. In Valajapet school, the song is a madhyadi type.

The Kapi raga compositions of Tyagaraja were originally sung in the South Indian raga Kapi (called Karnataka Kapi) a mixture of the raga-s Darbar and Kapi.e.g. ‘anyayamu seyakura’ and ‘edini bahubala’, ‘athade dhanyudura’ and ‘cfltamurare’ Nauka caritram Nowadays the first two compositions are sung in Hindustani Kapi, a desya raga and in Darbar respectively. However in ‘inta saukhyamanine’ though sung in Kapi raga, phrases suggesting Darbar raga are also found.

Ritha Rajan then took up compositions where Tala changes are seen. ‘RamanTvadu’ in Kalyani raga was originally sung in Adi taja, but changed to Adi tisra gati later.

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Presently it is very rare to find a typical Triputa tala Ksetrayya pada - like construction in Tyagaraja compositions as in ‘mahita pravfddha’ in KambhOji and ‘etula kapadutuvO’ in Ahiri raga-s.

She concluded her lecture demonstration with ‘nlpada pankajamula’ in Begada raga where there is different music for each carana in Valajapet tradition.

Advisory Committee members, Prof. S.R. Janakiraman, Prof. T.R. Subramaniam and Vidvan Valayapatti AR. Subramaniam complimented the speaker for her brilliant and analytical presentation. A detailed article by Ritha Rajan is published else where in this journal.

Bhairavam, Sahana, Kannada, GaurivelavaH, Dhamavati in the specific context of the Dlksitar Sampradaya, with special reference to SSP

The second lecture demonstration was by Sri. T.M. Krishna on the five raga-s listed for discussion, were taken up in two groups. Bhairavam, Sahana and Kannada were in one group representing raga-s that had been handled by both Muttusvami Dlksitar and Tyagaraja. However the melodic form differed in the two schools. For the entire discussion, SangTta Sampradaya Pradarsini (SSP) of Subbarama Dlksitar was taken as the authentic document to represent the Dlk$itar School.

Advisory Committee Members and Vidvan Valayapatti AR. Subramaniam complimented the speaker. A detailed article by Vidvan T.M. Krishna on these raga-s is published elsewhere in this journal.

December 21, 2009The morning session began with an invocation Abhaiiga ‘omkara pradhanarQpa

ganesa’ of Tukaram in Mohanam raga by Savitha Sriram, disciple of Sangita Kalacharya P.S. Narayanaswamy.

The Raga-s of Post-Trinity period with dual namesThe first lecture was by Dr. M.B. Vedavalli on Raga-s of Post Trinity period with

dual names. She mentioned that the emergence of Kfti has an important place in Carnatic Music. Many books have been published from 1900 to now with the arOhana and avarohana for these raga-s. Among the compositions that we find for the last 100 years there are about 13 raga-s which have similar laksana and are referred to with two names are even three names sometimes. They are: AnandarQpa KOkila, Bhujangini Kokilam, Divyabharanam

Risipriya, Gfianappon - Kalyanadayini, JanasammOdini - Dardari, Kalika Mattimaravaji, Sallapam - Surya, Samantadlparam - Nutanagauja, Saradapriya - Ratipatipriya, Sarangatarangini

Vivahapriya, Tandavam - Vasantacandrika and Ormika - Suddha.

Dr. M.B. Vedavalli with the help of Lalitha Sampathkumar demonstrated a few songs in Samantadlpakam, NOtanagauja, Sarangatarangini, Vivahapriya, Ormika and Suddha.

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Expert committee member Dr. B.M. Sundaram wondered when a raga is established with one name, what was the need for the later composers to give those raga-s another name. Vidvan Valayapatti AR. Subramaniam complimented the speaker.

Hindustani and Karnataka Music Styles with reference to Aesthetics and Gamaka-s

Vidvan T.V. Gopalakrishnan presented the second lecture demonstration on Hindustani and Karnataka Music Styles with reference to Aesthetics and Gamaka-s.

He spent the first half an hour, presenting audio clips of stalwarts of Hindustani and Carnatic music who sang Hindustani music. He presented audio clips of Fiaz Khan, Kareem Khan, Paluskar, Bade Ghulam Ali Khan, Gangubai Hangal, Roshan Ara Begam, Chembai Vaidyanatha Bhagavatar, Ariyakudi Ramanuja Iyengar, G.N. Balasubramanian, Balamurali Krishna, Voleti Venkatesvarulu, Begam Praveen Sultan and many others.

Then in the second half he spoke briefly about the fundamentals and foundation of both the systems and intonation and phonetics in both the styles. He demonstrated a few of the Hindustani raga-s. Expert committee member Prof. T.R. Subramaniam felt that the Purvikalyani sung in full format is known as Gamanasramam. Vidvan Chengalpattu Ranganathan and Vidvan P.S. Narayanasamy complimented the speaker. The session concluded with Vidvan Valayapatti AR. Subramaniam complimenting Sn. T.V. Gopalakrishnan.

December 22, 2009The morning sessions began with ‘SarasTruha Nayane’ in Am|tavar§ini a composition

of Tyagaraja Svami rendered by Smitha Madhav disciple of Sangeetha Kalacharya Nookala Chinna Sathyanarayana.

G.N. Blasubramanian compositions and StyleVidu$i A. Kanyakumari disciple of Smt. M.L. Vasanthakumari who herself was a disciple

of §rr. G.N. Balasubramanian presented a lecture demonstration on G.N. Balasubramanian compositions and style. Kanyakumari started her lecture demonstration with a few biographical details of G.N. Balasubramanian. He gave his first performance at the age of 18 as a substitute to Musiri Subramania Iyer at Kapallsvarar Koil. He revolutionized the field of music with Nadasvaram bani. His voice was flexible at all levels and whatever raga he handled he did it with ease. His Sangati-s and Gamaka-s made him a legend in the field and he received encomiums during his time from many.

Sruti bhedam is one of the most significant components of his contribution to the field of music, later propagated by his disciple M.L.V. His diction and lyrical clarity made him popular. GNB also made Ragam Tanam Pallavi popular.

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Kanyakumari then demonstrated about ten of his compositions in different Raga-s. She demonstrated ‘nTdayarada’ in AndOjika raga and showed how varjya prayOga-s are incorporated by him. She demonstrated ‘smana rahite’ in Mecakalyani, ‘enta ninnu’ in Candrahasitam, ‘NT Padame Gati’ in Nalinakanti, ‘Kamala Carane’ in Amrtabehag, ‘Santatamu’ in Valaci, ‘mamakuleSvaram’ in Tttji highlighting the ciUasvara prayOga-s, svarak$ara-s and other nuances where necessary. Kanyakumari then took up demonstration of two of his compositions in Yadukulakambhdji and Sivasakti on the Violin.

She was ably assisted by Embar Kannan on violin, Rajeev and Giridhar on vocal. Expert committee members Dr. N. Ramanathan, Prof. T.R. Subramanian and a couple of people from the audience complimented the speaker. Vidvan Valayapatti AR. Subramaniam remembered his association with MLV while complimenting Kanyakumari.

Panca MarabuDr. R. Kausalya from TiruvaiySru presented a lecture demonstration on the ‘Panca

Marabu’ with the help of a power-point presentation. Panca Marabu is an extensive treatise on music and dance of Sangam period. It deals with five key aspects of music and dance hence the name.

Tamil language is three fold viz., Iyal, Isai and Natakam. Since music had a place of pride in old Tamil society, there must have been works on the science of music. Though we have lost most of them, we come to know of the rich heritage of ancient Tamil Music from the commentary on Cilappatikaram by ‘Adiyaricku Nallar’ They have quoted profusely verses on various aspects of Tamil Music. The only such book that is available now on ancient Tamil Music is ‘Panca Marabu’ written by Cerai Arivanar. As the name denotes, it has 5 chapters. Out of them three are devoted to music and two to dance. Though there have been doubts raised about the work, its contents reveal its greatness. The work defines Isai (Music) and Pan - the equivalent of the Raga. The book explains the varieties of Yaz, the number of strings and the kind of wood that was used to make them. It also gives the materials that were used to make the Vangiyam (Flute) and percussion instruments; the quality of wood used is also given. Kausalya mentioned that the treatise carries the fundamental svara-s and their scales arrived at and the classification of the Pan-s have also been dealt with in detail. It throws light on the factors to be taken into consideration by music composers while setting music to a composition which is applicable to performers of music and dance too. In short, the work is a treasure of information on ancient Tamil Music. Kausalya concluded with the hope that future scholars will undertake further research to understand its greatness and richness.

Advisory Committee member Prof. T.R. Subramaniam wondered why such a classical Tamil treatise has a Samskfta word Panca in its name. Dr. B.M. Sundaram said that the word panca exists in Tamil, with which Pappu Venugopala Rao disagreed. Vidvan Valayapatti AR. Subramaniam complimented the speaker in his concluding remarks.

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December 23, 2009The morning session began with an invocation by Saranya disciple of Vidu$i Suguna

Purushottaman, with a composition of Muttusvami Dlk$itar 'budhamSsrayami satatam' in the raga Natakurinji.

Tunes of Nandanar Carittiram collected by T. ViswanathanVidvan. B. Balasubramanian from Wesleyan University, USA, presented a lecture

demonstration on tunes of Nandanar Carittiram collected by T. Viswanathan. He discussed in detail Gopalakrsna Bharati’s Nandanar Carittiram and its various tunes, music, story and different kinds of musical forms in it. It was first published in 1861 by a French administrative collector. There are a number of notations found for the songs. In 1893 A.M. Chinnasamy Mudliyar published notations for forty-two songs. Seventeen of them are original tunes and twenty-five are of different tunes. In 1932 M.S. Ramaswamy published it with tunes. Balasubramanian said that there are many changes in raga-s and taja-s and gave a reference of Mudikondan Venkatrama Iyer’s article in The Music Academy journal of 1935. Many additions had crept in during the course of time. In 1971 S. Ramanathan published two books on Nandanar Carittiram, one with notation another without notation. Tanjavur Viswanathan made a complete study of raga-s and taja-s of Nandanar Carittiram and notated the entire text with footnotes mentioning variations wherever found. Totally there are one hundred and thirty compositions notated by him. Balu demonstrated the Nondi Cindu ‘pazanamarunganai’ in Punnagavaraji in Misralaghu. He mentioned that four different tunes are available and demonstrated a couple of them. Balasubramanian then demonstrated, ‘thirunajai pOvan’ in Cencuruti, whereas, the original text shows it in Kamas. He demonstrated ‘sivaloka nathanai’ in Cencuruti. ‘vazimaraittu’ in Najakurinji, ‘mukti ajikkum tirumOlasthaname’ in Purvikalyani. He concluded his talk by paying tributes to Tanjavur Viswanathan. Balasubramanian’s lecture demonstration explicitly reflected his research.

Expert committee members P.S. Narayanasamy and T.R. Subramanian, complimented the speaker while S.A.K. Durga offered to share the copies of the Nandanar Carittiram text with notation she had in her possession. Vidvan Valayapatti AR. Subramaniam while complimenting Balasubramanian recollected M.M. Mariappa’s performance of Nandanar Carittiram.

Dvi Tala AvadhanamVidu$i Suguna Purushothaman gave a lecture demonstration of teaching and practice

of Dvi Taja Avadhanam. Dvi Taja Avadhanam is a feat of maintaining two different taja-s simultaneously with both the hands while singing. The composition chosen may range from simple Svaravali to complex Pallavi-s. The chosen two taja-s are normally of same number of aksara-s, though they may differ in their Anga-s, Jati and/or Gati. The Eduppu or the starting point of a song vis-a-vis the taja may vary so that the Arudi falls at the same place for aesthetics.

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Suguna accompanied by three of her students Gayatri, Nandini and Saranya presented different permutations and combinations of taja-s for different kind of compositions, beginning from Svaravaji to Tiruppugaz. She mentioned that she was introduced to Dvi Taja Avadhanam by her Guru late Mfdanga Vidvan Tinniyam Venkatarama Iyer. Suguna Purushothaman invited vidu$i Suguna Vardachari to come to the dais and both of them presented a pallavi with Tisra ROpakam Misra gati on one hand and Tisra Triputa Khanda gati on the other hand having a total of 35 Ak$ara-s ( 7 x 5 and 5 x 7 ) .

Dr. Pappu Venugopala Rao supplemented by giving the etymological meaning of the word Avadhanam and explaining how it came from Veda-s to literature to dance and into music. Prof. S.R. Janakiraman complimented Suguna Purushottaman profusely. Vidvan Valayapati AR. Subramaniam expressed happiness at Suguna Purushottaman and her disciples' amazing performance.

December 24, 2009The morning lecture demonstration started with an invocation by Usha Rangarajan

disciple of Prof. Ritha Rajan. She presented ‘Jaya Jaya Janaka Sute’ in Saveri raga, a composition of Krsnasamayya.

Properties of Skin covered instruments with special reference to TavilThe first lecture was presented by Dr. N. Somanathan, of Central Leather Research

Institute, Chennai. Somanathan said that basically there are three components that he dealt with in his lecture: classification of drums, contribution of skin to drums and the special reference to Tavil. In the modem classification of all the music instruments, he mentioned that they are divided as chordohpones, aerophones, membrophones, idiophones and electrophones. The membrophones are further divided into four as Tubular drums, Kettle drums, Friction drums and Synthesizers. In another classification, percussion instruments are classified as pitched and un-pitched instruments.

Drum played a major role in ancient Tamil society. Sangam literature and particularly Silappadikaram is a treasure of information in this aspect. Parica Marabu lists thirty different varieties of drums. They are classified as Vanmai, Menmai and Samam drums.

Drums are extensively used for all occasions. He showed tabular forms describing different aspects of drums. Old Tamil classification is based only on the shape of drums. Somanathan spoke of single layer skin drums and multi layer skin drums. Tavil is an instrument where the she - goat skin is used. He gave dimension of Tavil and mentioned that the first ever reference to Tavil was made in Thiruppugazh. He concluded by saying a combination of Resonance, Leather and Wood create sound. Expert committee member Dr. N. Ramanathan complimented the speaker.

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Layam - AlayamThe lecture demonstration Layam - Alayam was presented by this year Sangita Kalanidhi

designate Vidvan Valayapatti AR. Subramaniam. He began his lecture demonstration with fifteen minutes of video clips consisting of his tributes to M.S. Subbulakshmi with two hundred one Tavils, his association and concerts with Kunnakkudi Vaidyanathan, his Nadalaya award presentations by Kalaifiar Karunanidhi and his presentation of Nadamum Nattiyamum with actress dancer Shobana. This was followed by his lecture demonstration on the two aspects Layam and Alayam. He attempted to trace the concept of Mangaja Vadyam attributed to Nadasvaram and Ta\ il. Then he demonstrated a Mallari in Gamblranaflai where his disciple Haribabu from Thirupati played Nadasvaram and he played Tavil. Valayapatti himself played a Tani and concluded the lecture demonstration. Sangita Kalanidhi Nedunuri Krishnamurthy congratulated Valayapatti and complimented him for being nominated to the award of Sangita Kalanidhi.

December 25, 2009The morning session began with an invocation by Krithika disciple of Vidvan Lalgudi

Jayaraman with the composition of GNB ‘Santatamu Ninne’ in Valaji.

My association with GNBVidvan Lalgudi Jayaraman assisted by his son Lalgudi GJ.R. Knshnan presented a

lecture demonstration on “G.N. Balasubramanian - My association” In commemoration of the centenary celebrations of GNB this is one of the programmes organized by the Music Academy. Jayaraman spoke the first few words and his son presented the rest of the lecture on his behalf. His association with GNB dated back to 1948 and continued till GNB passed away in 1965. He mentioned that he was presenting his lecture as a token of gratitude to him, because GNB influenced his music very much. GNB was a raga specialist with Nadasvaram baQi as his style. He made the Carnatic concert platform fashionable and sophisticated, with his imposing presence. He gave importance to aesthetics without compromising the classical roots. Krishnan played a recording of GNB and Lalgudi to demonstrate the jaru-s and gamaka-s in their presentation. It was followed by the demonstration of Kalyani of GNB and Lalgudi’s response on the Violin. There is a particular specialty attached to his presentation of svara-s, which is marked by absolute clarity and absence of any confusion. That also gives us an idea how to present svara-singing dropping $adja and pancama. He demonstrated a Pantuvaraji and a Saveri piece to substantiate this. GNB sang RTP in some rare raga-s or some minor raga-s like Malavi, AndOjika, CencukambhOji. Initially he used to attempt Graha bhedam but dropped it due to criticism in later years. His raga alapana reflects the ease with which he could present the picture of a raga. When Lalgudi started composing tillana-s of which one in Vasanta was his first, he performed it for GNB and received encomiums from him. GNB had a very special way of singing pallavi-s not very complicated yet pleasing the audience. Two

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of the very often sung popular pallavi-s by him ‘dalarathabala’ and 'ganalola* were mentioned and the former demonstrated. With many more nostalgic experiences between them and the inadvertent discordant note in their relationship for a while during GNB’s last days, Lalgudi concluded his lecture by mentioning that his association with GNB on that day completed exactly 61 years. At the end of his lecture demonstration, Lalgudi honored the Sangita Kalanidhi designate Valayapatti AR. Subramaniam with a shawl.

Kedaram, NllZLmbari and NagadhvaniThe second lecture demonstration was by Vidu$i Seetha Rajan. She presented a very

lucid and scientific analysis of the three raga-s Kedaram, Nllambari and Nagadhvani.

A detailed article about these raga-s by Vidu$i Seetha Rajan is published elsewhere in the journal.

December 26,2009The morning session began with an invocation ‘adi£ankara padanT in PQvikalyani of

Periyasami TQran, by Apama, a disciple of Prof. S.A.K. Durga.

Dance Music of Kalakshetra

Papanasam Sivan - Tiger Varadacari - Mysore VasudevacarDr. Gowri Ramanarayan presented a lecture demonstration ably assisted by musicians

and students of Kalakshetra on three music composers, Tiger Varadacari, Mysore Vasudevacar and Papanasam Sivan.

Gowri began her lecture by saying, it was an attempt to look at the contribution of three music composers who not only created extraordinary music for the Kalakshetra productions, but whose scores continue to provide definitive examples for all subsequent attempts in this direction. If Rukmini Devi was a pioneering revivalist in shaping the dance drama genre as we know it today, the music composers for these works too were supreme innovators in their field.

Interspersing her presentation with interesting anecdotes about the three, she traced how Tiger was introduced to Rukmini Devi and joined Kalakshetra. Kum&rasambhavam (1947) was first of his music compositions and the singers then presented how ‘astyuttarasySm’ the $10ka describing the Himalayan mountain range was set to N&ftai by him. He chose raga-s and kalapramSna-s to reflect the contrast of austerity and grandeur that marks Kalidasa’s kavya.

Papanasam &ivan composed the music for several dance dramas. Among them his “Atrial” shines like a jewel. His expert handling of the most traditional raga-s for the melding of bhava and artha, remains an astonishing feat of ripe classicism. He composed music for the school song, ‘dfivi VasantC’ addressed to Dr. Annie Besant which was demonstrated. Then

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followed two pieces from AndaJ can tram, Anda) patra pravesam in Madhyamavati and Vacaspati raga-s that was sung and ‘karpQram narumO’ in Mukhari which included abhinaya too.

Sivan’s “Kannappar Kuravanji”(1962) shows him at home in the world of tribals. He makes classical raga-s serve new purposes and uses folk tunes with flair. From this dance drama, two pieces were demonstrated, ‘varum varum’ by the musicians and a Bhairavi raga composition depicting the climax in dance.

Rukmini Devi’s magnum opus, the six part Ramayapa series, testifies to her holistic approach where choreography, music, lighting, costume, backdrop, as also the use of spatial and temporal dimensions, combine to paint every level of existence—gods, demons, animals, birds and humans. To empower this vast range of beings, Mysore Vasudevachar used raga-s from rakti to vivadi. He even created his own raga-s. His music played a phenomenal role in evoking character and sentiment. Portions of RamSyana left incomplete by him were later set to music by his grandson Rajaram and Bhagavatula Seetharama Sarma.

The very first sloka-s, ‘tapasvadhyaya niratam’ were set to Athana and a Begada daruvu were demonstrated. Ravana’s failure at the Slta Svayamvaram set to Gambhlranattai was shown in dance. In Rama Vanagamanam Vasudevacar employed a new raga Cittabhramari to show the illusory state of Dasaratha’s mind, which was ably demonstrated in dance. He also used a raga known as Gangalahari to show Rama crossing the river and Naganandini to depict the altitude of the mountain range which was amazingly set to choreography by Rukmini Devi.

All three musicians had been, at various times, resident guru-s in Kalakshetra and the architectonic quality of their musical vision make the Kalakshetra dance dramas come alive with an impact strong and subtle. The Kalakshetra musicians and dancers helped Gowri immensely in presenting an indelible lecture demonstration on the dance music of Kalakshetra. Advisory Committee members complimented the speaker, the musicians and the dancers.

December 27, 2009

The morning sessions began with an invocation ‘saslruhasana priye’ in Nata, a composition of Puliyur Doraiswamy Iyer, by Maithreyi, a disciple of Sangita Kalacharya P.S. Narayanaswamy.

Styles of Vina PlayingSmt. Jayanthi Kumasresh presented a lecture demonstration on Styles of VTna Playing.

Jayanthi began with a description of the Sarasvati Vina which has been in vogue for the last three hundred years. She classified the basic styles based on the geographical regions as Karntaka, Tamilnadu, Andhra and Kerala styles. Interestingly for the other instruments the styles are classified by great masters rather than geographical regions.

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Karnataka style is known as Mysore style. She enlisted some great VTna Vidvan-s like Vina Seshanna, Doraiswamy Iyengar and many others associated with the royal court of the Vodayars. Though each one of them may have his own individual styles, they all come under the Mysore category. The salient features of this style are enunciated as elaborate right hand use, meetu oriented, using nails instead of plectrums, split fingering technique and using a sharper tone etc., and then she described the structure of Mysore Vina. She played a video clip of Vidvan Balakrishna, son of Sri Doraiswamy Iyengar to demonstrate the Mysore barii.

She moved on to TanjavOr style and described it as a banyan tree with several branches. She further classified it as Gayaki style, Karaikkudi style, individual style and Balachander style. She gave detailed analysis of each of the styles and demonstrated video or audio clips representing each of them. Some of the clips shown were of Brindamma, Sivanandam, Pichumani Iyer and her guru, Padmavati Anantha Gopalan representing the Gayaki style, Karaikkudi Sambasiva Iyer representing the Karaikkudi style and clips of Rajeswari Padmanabhan. After showing clips of the vlna playing of S. Balachander, she showed pictures of his Vina and emphasized the modifications and structural changes made by him.

She described Andhra bapi as a very sweet style and listed some of the great Vainika-s, Vina Venkataramanayya, Emani Sankara Sastri, Chittibabu and others. Andhra style has a very elaborate right hand technique. She showed some clips of Sankara sastri and Chittibabu to highlight the characteristics of the bani.

She then gave an overview of the Kerala style and listed some great Vainika-s of the style. She said Vainika-s from the Kerala style claim that they follow the Gayaki style of Tanjavur.

She concluded by saying that the regional styles are not any more relevant these days with the artists taking whatever they feel is good, from each of the bani-s and developing their own style. She mentioned the role of technology and media in shaping the style of each vainika in modern days. She concluded with the statement ‘Tradition is addition’

Advisory Committee members Prof. S.R. Janakiraman, Dr. N. Ramanthan, Dr. M.B. Vedavalli and this year’s Sangita Kalacharya selectee Trivandrum Venkataraman supplemented with some additional information and complimented Jayanthi on her brilliant lecture demonstration.

Music of East Asia - China, Japan and KoreaThe second lecture demonstration was presented by Dr. S.A.K. Durga on ‘Music of East

Asia - China, Japan and Korea’. Asian musics have an ancient tradition and these three East Asian Countries- China, Japan and Korea- have their melodic music similar to India. They have the classical music besides devotional and folk styles.

Durga in her presentation focused on their musical concepts and brought out many commonalities with Indian Music. It is interesting that Western music has spread widely in

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almost every nation in the world and she wondered how Asian music is not known much even in neighboring Asian countries.

Durga then spoke about the mythological origin of music, musical concepts, scales, tunes, rhythm, musical forms, musical instruments and the history of performing tradition of these three East Asian nations which show many commonalities with Indian Music. She also highlighted how the great tradition of Asian music reflects in the Indian music tradition. She spoke of the origin, evolution and development of music in these three nations and showed how music has been influenced and patronized by religion, inside and outside the royal courts. She divided music into four areas, vocal music, instrumental music, dance music and theatre music. She stressed the importance of how voice culture varies in all these three countries. She mentioned how musical instruments are classified, showed pictures of some of them with the help of a power point presentation, played music of some instruments of these countries and herself sang the music of these countries to show how close yet how different their singing is from the Indian Music.

Expert committee members appreciated her endeavor and complimented her.

December 28, 2009The morning sessions began with an invocation by Dikshita, disciple of Sangita

Kalacharya Prof. T.R. Subramaniam. She rendered ‘tatvamariya tarama’ a composition of Papanasami Sivan in RltTgaula raga.

Rltigauja-Anandabhairavi, NarSyanagauja-SuratiSangita Kalacharya V Subramaniam presented a lecture demonstration on RTtigaula -

Anandabhairavi, Narayanagau(a - Surati sets of raga-s, assisted by Jyothi and Bhavana.

Sangita Kalacharya V Subramaniam's article on these raga-s is published elsewhere in this journal.

Nazrul GltiDr. Lipika Dasgupta from Benaras Hindu University presented a lecture demonstration

on the compositions of Kazi Nazrul Islam of Bangladesh. He was a Dramatist, Essayist, Novelist, a composer and Music Director, He almost created a system of music which is known after his name.

His first music teacher was his Uncle Bazle Kareem and later he learnt music under Ustad Kadir Baksh, Ustad Manju Sahab, Ustad Zaminuddin Khan and others.

Nazrul wrote 37 kinds of songs and his songs may be divided as Kavya Sanglt, Rtu Sanglt, Prem Sanglt, Raga Pradhan Git, Patriotic Music, Action Songs, Agricultural Songs,

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Devotional Songs, Folk Songs and Islamic Git. She performed a few songs belonging to different categories, in raga-s Chayanat, Ahirbhairav, Miyamalhar, Nllambari, §ivaranjani, etc.,

Lipika said that Nazrul created 17 new raga-s and mentioned their names; Arun Bhairav, Rudra Bhairav, A$a Bhairav i, Shivani Bhairavi, Raktahans Sarang, Sandhyamanasi, Vankuntala, Udasi Bhairav, Sarikari, YOgini, Sivsarasvati, Nirjhari, ROpmanjari, Arunmanjari, Devyani, Doloncapa and Mlnak$i. Nazrul also created 6 new Tala-s.

Though it is said that Nazrul composed about 4500 songs, only 900 songs with notation are available.

Lipika mentioned that Nazrul was an extraordinary music composer whose influence is felt all over in the music of Bangladesh. She concluded with a song in his tribute. Advisory Committee member Prof. SA.K. Durga complimented the speaker for her lucid presentation.

December 29, 2009Sangita Kalanidhi R.K. Sreekantan's disciple, Aishwarya Raghavan’s invocation, a Mira

Bhajan set the tone for the morning sessions.

Samaveda - SangitaHema Ramadurai a doctoral student working on Samaveda and Sangita spoke on the

subject.

Out of the four Veda-s, Sama veda takes the pride of recording the entire scale of seven notes. All the other Veda-s namely Rig, Yajur and Atharvana are chanted whereas Sama veda is sung.

“samavedadidam gTtam sanjagraha pitamahah” - says Sarngadeva in Sangita Ratnakara, which means that Brahma, perceived music from Samaveda. The greatness of Samaveda is found mentioned in Purana-s, Gita, etc. Lord Kftna says in GTta, “vedanam samavedo’smi” - of all Veda-s, I am Samaveda.

The Indian music cherishes its origin in Samaveda. Samavedic scale is considered as the primordial scale. The present day music is a fully developed art music, which has been improving for centuries from the Vedic period. She showed with the help of a power point presentation how the seven notes and even the 22 §ruti-s have their origin in Sama veda. She emphasized that the present day musical concepts such as the Scale, Raga, Tala, Gamaka, etc have a parallel in Samaveda and demonstrated all of these concepts. She showed how even the notation has its origin in Samaveda chanting. She employed some audio and video clips to substantiate some of her inferences.

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The lecture explicitly attempted to postulate that Samav6da forms the nucleus of the present day Indian music.

Safiyana KalamIt is a wonderful coincidence that the Academy chose to have a lecture demonstration

on Sufi music immediately after a lecture on S&maveda and Sanglta. Dr. Sudha Sahgal from Agra presented a very informative and melodious lecture demonstration on Sflfiyflna Kalam.

Sudha Sahgal started her lecture defining the terms Sofi and Kalam. A Sflfi is one who does not separate himself from others by opinion or dogma and who realizes the heart as the Shrine of God. The word or Qual announced by Sufi is called “Sflfiyana Kalam". Sofi poetry has been written in many languages both for private and devotional reading & singing and as lyrics for music played during worship. Persian poetry did have an enormous influence on SOfi poetry throughout the Islamic world. She mentioned some of the great Sufi poets like Farid - ud - Din Attar, Hazrat Nizamuddin Aulia, Sultan Bahu Shah, Baba Sheikh Farid, Ahmad Jami, Shah Hussain, Amir Khusrow.

Then she gave four prominent varieties of Sflfiyana Kalam, Hamd, Nat Sofiyana Kalam and Rang and demonstiated kalam-s in each of them.

‘Hamd’ is a poem or song in praise of Allah usually written in Arabic, Persian, Punjabi or Urdu. She presented, ‘Teri Hamd ki nahim inteha’. Nat is a poetry that specifically praises Prophet Muhammad. She sang a Nat, ‘mangaton ko sultan banaya’.

Sudha then defined and classified the kalam-s of three great Sofi-s, Baba Farid (Punjab), Baba Bulle Shah (Punjab) and Amir Khusrow (Delhi). After giving brief biographic details of the three saints she presented their songs. She spoke of the rich folk based repertoire in the Sufiyana Kalam-s and demonstrated a couple of them and moved on to the most popular Amir Khushrow an iconic figure in the cultural history of the Indian subcontinent and a Sflfi mystic. She presented a very popular lyric, ‘chap tilak sab chlnl re mOse naina milake’ and some couplets of Khushrow. She presented some semi-classical songs in this realm, some songs in classical raga-s such as Todi, Bhairav and Sahana and concluded her lecture demonstration with a Rang. Rang is a kind of poetry which is sung at the end of ‘Mehfil - e - Sama’.

Advisory Committee members and Vidvan Valayapatti AR. Subramaniam complimented Sudha Sahgal.

December 30, 2009‘ Amba paradevate’ in Rudrapriya raga, a composition of K^nasamayya sung by Srividya

Ganeshan and Sruti Subramaniam, disciples of Sangita Kalacharya Chengalput Ranganathan set the tone for the lecture demonstrations on December 30.

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Catur-strT-ratna: The four women legends of camatic music- Brinda-Muktha, M.S. Subbulakshmi, D.K. Pattammal and M.L. Vasanthakumari

Charumathi Ramachandran, a disciple of MLV made a presentation on the topic with the help of a power point presentation. She introduced the topic by playing an audio clip of each one of them. She then showed photographs of their family members, spoke of their lineages, their early years in the field of music, their guru-s, bani-s and special features of their music. She demonstrated many audio clips of some stalwarts of yesteryears, from Ariyakkudi to Bade Gulam Ali Khan who she thinks influenced their music.

Charumathi also spoke about their stint in movies and their film music. She played some audio clips of each of them to highlight the characteristics of their music. She attempted to analyse the important features of their music. She concluded by saying each one of them is known to have popularized a composer or a type of compositions, Brinda- Mukta popularized, Padam-s of Ksetrayya and Javaji-s, Pattammal known for her speacialisation of Dlk$itar’s compositions, MLV for Puranadara Dasar and MS for Annamacarya.

Dr. N. Ramanthan felt that of Brinda - Mukta style, one singing svaram and another sahityam was rather unpalatable. Vidvan-s Chengalpat Ranganathan and Valayapatti AR. Subramaniam narrated their reminiscences.

Adhyatma Ramayana Sariklrtana-s -influence on TyagarajaThe second lecture demonstration was on the influence of Adhyatma Ramayana

Sanklrtana-s on Tyagaraja Svami. It was presented by the Malladi Brothers, Sriram Prasad and Ravi Kumar.

Munipalle Subrahmanya Kavi (1730 -1780) who composed Adhyatma Ramayana SankTrtana-s is a forerunner in the lyrical beauty, rhythmic patterns, figures of speeches and alliterations we find in later composers. Tyagaraja Svami (1767-1847) was evidently influenced by many of the Adhyatma Ramayana compositions, in content as well as musical structure claimed the Malladi Brothers. To substantiate their argument they demonstrated some of the Adhyatma Ramayana kTrtanam-s and their seeming reflections in the repertoire of Tyagaraja Svami compositions.

There are 104 compositions in Adhyatma Ramayana for which 58 raga-s have been employed. The compositions reflect an unusual quality and exhibit the raga svarflpa even in the very first few lines of the pallavi. Malladi brothers claimed that these were sung by Tyagaraja’s mother and hence Tyagaraja’s music could have influenced by their music.

They demonstrated some compositions from the Adhyatma Ramayana, like ‘andamuga T katha vinavfl’ in Kanada, ‘vinavg sarvani’ in Bflgada, ‘c£ri vinave sauri caritamu’ in Surafi to show the inherent melody, lyrical beauty and the alliterations embedded in the compositions of Adhyatma Ramayana. They drew parallels between some of these with those of Tyagaraja.

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Vidvan-s S.R. Janakiraman, Chengalpat Ranaganathan and Valayapatti AR. Subramaniam complimented the speakers but T.M. Krishna and a few others disagreed with them for lack of evidence to substantiate their arguments to prove the influence of Adhyatma RSmSyana

SankTrtana-s on Tyagaraja’s compositions.

December 31, 2009Balabpidam SangTta Gurukulam presented a half hour devotional music. This was

followed by two brilliant lecture demonstrations on the last day of the Lecture Demonstration

series at The Music Academy.

Rare Javaji-s in Rare Taja-sShreekantham Nagendra Shastry who hails from Cintalapajji lineage which has about 800

years of music history presented a lecture demonstration on Rare Javaji-s in Rare Taja-s.

In his introduction Sastry said that the Indian Classical Music is gifted with many compositions depicting God as ‘Nayaka’ and devotee as ‘Nayika’. Such compositions are available in the form of Padam-s and Javaji-s, which were very popular in olden days but of late, the popularity of these compositions has declined because these contain ‘erotics’ as the

main ingredient.

He presented some Javaji-s, most of which are new and unfamiliar even to well known musicians and as such even one tenth of the existing Javaji-s he claimed are not available in

printed form.

Some of the composers of these rare Javaji-s have adopted very rare taja-s like ‘KOkilapriya Taja’, ‘Lila Taja’ etc., which have been referred to in the treatises like SangTta Ratnakara. These tala-s consist of $acjaiiga-s and exist in the list of 108 taja-s. The Javali-s he chose to demonstrate were of composers like Trunapuru$a, Aliya Lihgaraja of Mysore,

Surapura Anandadasa etc.

With this background he demonstrated some hitherto unpublished Javaji-s available in the manuscripts especially in the possession of the ‘Cintalapafli Parampara’. He demonstrated some Javaji-s like, ‘EmC Mayaladi’, ‘Emi Manci Sukhamura’, ‘Mariyada Intainaleda’, ‘Sarasaku Biguvelane’ etc., and some in very rare taja-s and raga-s like the Panca Gaula Sapta Taja Javaji which was composed in five gauja raga-s and in all the seven taja-s. The only Kannada composition presented was ‘vaibhava nodi sakhi’ in Cencuruji in KOkilapriya taja.

The lecture demonstration provided rare glimpses into a world of aesthetics and he concluded it by saying he had about 500 unpublished Javaji-s in his possession.

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Easy, innovative and effective methods in teaching Karnataka Music with special reference to Svarakalpana and Ragalapana

Prof. Akella Mallikarjuna Sarma, recipient of the TTK Award from The Music Academy this year, presented a lecture demonstration on how to teach music using easy and innovative methods.

In his introduction Sarma said the teaching of SangTta has undergone several changes in the past few decades. Unfortunately there have not been any methods to enable faster learning of SangTta. Hence, the need of the hour is to facilitate a quicker process of learning which is in tandem with qualitative music. Several experiments have been conducted in this direction and in the process, certain novel, easy, innovative and effective methods have t>een evolved by him and he demonstrated his methods with appropriate examples.

He highlighted the importance of Laya and Sruti as the core components of SangTta. He explained his postulate and the methods which have been devised to train and equip aspirants of music towards production of quality music. Accordingly, the student is first put through the LAYA TEST and if qualified, he/she will be further subjected to the §RUTI TEST. Jati alankara-s have been formulated and are taught to students initially. Consequently, the aspirants are initiated to sing the preliminary exercises simultaneously playing on Casio MA-150 instrument along with Metronome beats. Later they are taught Svara Alankara-s followed by the gTta-s. Later taja aiiga-s are introduced and the items learnt are sung accordingly in three degrees of speed. Subsequently, crucial laya excercises are taught on one hand while varna-s are introduced on the other hand, with symbolised kampita-s and gamaka-s. All of these have teen compiled in an mp3 CD. A unique feature of this method is that it enables students to sing intricate Svarakalpana even before the completion of vama-’s. Unlike conventional teaching, this method not only quickens the learning process but also makes the student independent. This method enables a student render svarakalpana and ragalapana within a span of six months.

Sarma moved on to svarakalpana and ragalapana and said that they are the main features of ManOdharma SangTta. Unfortunately, ragalapana has always remained an enigma for students. Contrary to popular belief, ragalapana can be taught by way of notation. The notations of 36 raga-s along with symbols of gamaka-s have teen provided in this book along with audio clippings. The use of electronic gadgets will enable listening of sangati-s repeatedly. Sarma said that this helps the students render crucial/complex Sangati-s and later improvise on their own. This unique approach to ManOdharma SangTta has produced amazing and gratifying results. Thus this method, he claimed emphatically, is time-bound and result-oriented.

Vidvan Valayapatti AR. Subramaniam complimented the speakers.

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Allied R&ga-S- Arabhi, Devagandhari, Sama And KedSragauja

R.Vedavalli

jnananandamayam devam nirmalasphatikalqtim I adharam sarvavidyanam hayagnvamupasmahe II

Sir GurubhyOnamah. In this 83rd Annual Conference, the lak$ana-s of some raga-s have been taken up for discussion. These types of discussions have been held in the past by many stalwarts of yesteryears and have been documented. This has come down to us as a continuous tradition, which we must surely be aware of whether we follow it to the letter or not. It is even said that, the heated discussions and decisions in the morning conference, are often violated in the concert in the evening. This view that theoretical and practical aspects in music are wide apart is one; the other is that, though differences may arise in course of time, lak$ya or the practical aspect must adhere to the lak$ana or the theoretical aspect. These two parallel thoughts have existed all through the history of music. Still, it may be said that knowing and following lak$aQa is the better option. Another important thing as far as music is concerned is that, this duty of knowing, following and protecting our tradition lies not only with musicians but also with rasika-s and organizers. In the case of rasika-s, though it is not necessary for them to know the grammar to be able to appreciate the music, and they just need to sit back, enjoy the music and applaud the artist. Witnessing such discussions helps them to recognize and applaud only good music. For that matter, in this respect, teachers and students have a greater responsibility in preserving good music, teachers to know and teach only good music, and students to be aware and determined to pursue only good music.

This subject, dealing with raga-s and their lak$ana-s is a little difficult and needs an introduction, in order to comprehend the depth of the topic fully.

Though there are many ancient texts that record the various aspects of music and raga-s, they are not helpful in knowing how the music was actually practised. It is only during the period of the Trinity or a little before them that there is a record of raga-s along with their forms, as they were sung at that time. Even these we find, have changed in the course of time. These changes may be of two types - inevitable and inflicted. The former type of changes, occur naturally in the process of transmission of the music from one person to another. As is evident from the name itself, these changes cannot be avoided because practical music is an oral tradition handed down in a guru-$i$ya parampara through generations, and is hence dependent on many factors involved in the process of transmission. For e.g. If a guru has many $isya-s, each one will sing accordine to their strengths and limitations, which naturally results in slight variations in the musical style and content. The extent of the variation increases when each of these $i$ya-s passes on the music to their sisya-s and so on. These changes are usually slow and gradual. The latter type of changes is those that are inflicted and occur when practitioners

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of music make few alterations on purpose. If these practitioners are well-versed in the grammar of music also, the changes made by them may be valuable and sometimes even corrective in nature. But the problem arises when changes are made by those, who are commendable musicians but not sound in the grammar of music and hence may even deviate from the lak$aija principles. And when these types of changes are transmitted through generations, the gap between the original and the one in vogue increases resulting in an incompatibility of lak$ya and lak$aQa. To, avoid this, it is good to be aware of the lak$ana and what we are singing.

Analysing the theoretical and practical aspects of a few raga-s can further help us understand the relationship between laksya and lak$ana.

Raga-s may be of two types- svarQpa or form based and svara or scale based. It is probable that the later me)a i.e the sampOrna meja system gave rise to scale-based raga-s. Before that, it seems that though raga-s had well-defined scales, they were conceived and elaborated on the basis of the form, built on the scale, ornamented by various patterns, gamaka-s, etc., which made each raga unique and in fact, these constituted the grammar of the raga. My guru SangTta Kalanidhi Mudikondan Venkatarama Aiyar believed that raga-s should be conceived on the basis of their svarQpa only. He always encouraged students to look beyond the arOhaga- avarOhana of a raga, for many raga-s in our system of music are not confined to the arOhana- avrOhana krama and have many prayOga-s that do not form a part of that krama. It is true that raga-s and their characteristics have undergone changes in the course of time and hence, it is not viable to sing them according to the lak$ana-s laid down in the ancient treatises. But the question now is that whether musicians and musicologists in the present time would be able to hand down to posterity a well-rooted system, analyzing and establishing the various aspects of music. Raga-s are the elixirs of music. They form the base for all types of creativity that we have in our music today. Hence, it is important for us to be clear about their identities, for which we need the aid of gamaka-s. Gamaka is the oscillation of a note. It may be said that these gamaka-s are responsible in making a scale into a raga (that which pleases). In the case of allied raga-s, gamaka-s are the main differentiating features that help to know one allied raga from the other. Raga-s may be allied in different ways- (i) they may have similar forms (ii) they may be janya-s of the same meja (iii) they may have similar arOhana-avarOhana or identical prayOga-s in them. Now, let us see examples of some well-known allied raga-s and understand how their identities are established through variations in gamaka-s and pray5ga-s.

Kalyani and Sankarabharanam: The first two raga-s taken up here are Kalyani and Sankarabharanam. According to the scale of these two, madhyama, which is prati-madhyama for Kalyani and suddha-madhyama for Sankarabharanam, is the only differentiator, while all the other svara-s are the same. But with the aid of gamaka-s, we can establish their identities even without singing the madhyama. If gandhara is oscillated for a while, we are involuntarily led to follow it up with a Kalyani phrase; when gandhara is sung plain and majestic and with a slight oscillation in ri$abha, the form of Sankarabharanam instantly comes to the mind. This

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is svarQpa lak$ana and knowing this is svarQpa jnanam. Such principles that help in the use of gamaka-s and retain the identities of raga-s, have been laid down by earlier scholar-musicians and illustrated in the varna-s and kjti-s of great vaggeyakara-s. It is our duty to protect them as they are, embellish them only in the right way and not according to an individual’s whim and fancy, as these reflect the form and other characteristics of raga-s and serve as invaluable illustrations of the grammar of the raga-s. This responsibility rests with musicians as well as teachers of music, who have to be aware of what they sing and be careful about what they teach. For, if the teachers are not well-informed, it results in certain deviations that may not be very obvious in the beginning but ultimately result in serious and far-reaching changes. For example, in the glta ‘sn gananatha’ the line ‘ambasuta amaravinuta’ begins with ri§abha and goes up to madhyama. Here, though it is actually suddha ri$abha, it is sung in catuSruti risabha sthana and although Malahari does not have catusruti risabha. This shift of sthana is almost imperceptible here and even to the ear it may not sound out of place now, but if this practice is not corrected, it will become a problem later, while singing alapana, etc. in that raga. These types of errors can be avoided if there is a little more of awareness.

MadhyamSvati and Srtrfigam: Madhyamavati’s arOhana-avarOhana is, sa ri ma pa ni sa - sa ni pa ma ri sa. For §iTragam while arOhana is same, ‘ri ga ri sa’ is found in avarohana and in Dikshitar’s school, we find ‘pa dha ni pa ma’ Though the difference between these two raga-s is in the prayOga-s, they can be established through gamaka variations itself. For Madhyamavati, ri$abha is oscillated well. If risabha is plain and gandhara follows, it is Snragam. Another raga that is allied to these is Bpidavani. It has the same arohana, but in avar5hana, the phrase ‘ri ga sa’ is extensively used by Tyagaraja, whereas in Dikshitar’s school though gandhara is used in the avarohana, it is found in phrases ‘ga ri sa’ or ‘ga ri ri sa’ and sparsely. Now this Bpidavani has assumed a totally different form carrying the flavour of its North-Indian counterpart. The kakali ni$ada which is used now is not found in the schools of both Tyagaraja and Dlk$itar.

Bhairavi and MSnji: There may be varied opinions about the identities of these raga-s, but here I would like to talk about them briefly in accordance with my understanding based on the grammar and practice. The Sanglta Sampradaya Pradarsini, which is an authentic record of the music of that time, a large part of which has been handed down and is in vogue even today, lays down Bhairavi’s lak$ana as having suddha dhaivata usages in abundance and catuSruti dhaivata only in two or three prayOga-s; i.e., in most prayOga-s in the latter half of the arohana. Even for ‘pa dha ni sa’ suddha dha or trisruti dha is only ordained. Catusruti dha is used only in the phrases ‘ni dha ni sa’ and ‘sa ni dha ni sa’. This is how Bhairavi was sung in the last century and is being sung even now by some. For Manji, catusruti dhaivata is used as a plain note in the arOhana. It was said that Manji is lost and Bhairavi is only prevalent. But now it seems as if Bhairavi is lost because, what is prevalent is the form of Manji but in the name of Bhairavi. Hence if we try and sing more of suddha dhaivata prayOga-s in Bhairavi and plain

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catusruti dhaivata for Manji, we will be able to retain their identities to a large extent.

Bauji, Rfivagupti and Bhupfi|a: There has always been a great confusion in the scales of these raga-s. Bauji is sung, but it is given the name BhQpa)a. Sometimes even Revagupti is sung in the name of BhQpala. Musicians seem to be at a loss to say which of these is lost. But since Bauji or Revagupti are sung even though in the name of BhQpala, it can be said that BhQpala is affected the most. Bauli has sa ri ga pa dha sa - sa ni dha pa ga ri sa; Suddha risabha, antara gandhara, Suddha dhaivata and kakali ni$ada in the avarohana. Revagupti has the same svara-s sans the kakali nisada in avarohana. BhQpala has sa ri ga pa dha sa - sa dha pa ga ri sa with Suddha ri$abha, sadharana gandhara, Suddha dhaivata. As the sadharana gandhara is followed directly by pancama and not madhyama, its position has to be sung very carefully, so that it does not get raised.

Kurinji and NavarOj: This is another set of twin raga-s where confusion exists about the identities and grammar. There are doubts regarding the extent of these two. Muttusvami DTksitar has composed kfli-s in both these raga-s, carefully incorporating all details regarding their lak$ana in music. With the aid of such compositions, Subbarama Dlk$itar in his Sanglta Sampradaya Pradarsini clearly gives the lak§ana-s of these two raga-s. For Kurinji, the ni$ada is elongated with a slight oscillation, always near the Madhya $a<Jja sthana, and the prayOga usually ends in sadja like in ‘sa ni ni, sa’. In the prayOga ‘sa ni \pa, sa’ pancama is used, that too only once. In Kurinji, pancama is used very sparsely and the prayOga starts from $a<Jja, comes to nisada which is oscillated slightly near $a<Jja sthana itself, quickly comes down to pancama as a jaru and then goes back to sadja plainly even without jaru. In NavarOj, pancama is not alpa and is used frequently. And the prayOga is ‘sa ni dha ni ni \pa, dha, ni, sa ri, sa sa’. As opposed to Kurinji, the ni$ada is sung flatly in its own sthana, followed by pancama, beginning from the ni$ada itself is dragged down directly from the ni$ada sthana to the pancama sthana and elongated. After holding the note there, it goes to dha, ni and sa gradually.

Arabhi, DSvagfindhfiri, Sflma and KSd&ragau|a: Among these four allied raga-s, some are janya-s of the 28th meja HarikambhOji and some of the 29th meja Sankarabharanam. Hence, the latter half may differ but irrespective of whether they are janya-s of 28th or 29th meja-s, the former half, i.e., from sadja to pancama is identical for all of them. We shall now discuss how the identities of these raga-s can be established within the former half itself with the aid of gamaka-s and prayOga vis£§a-s. For all these raga-s madhayama is a very important note and is found to anchor many of the salient prayOga-s in all of them. But for one raga the madhyama is short and for another it is long, etc.

Arabhi: In Arabhi, gandhara does not have a perceptible sthana at all. It is completely dependent on the madhyama. ‘pa pa ma ga ri’ - here the gandhara is sung almost in madhyama’s place itself. It is not brought down to its sthana fully nor is it elongated. All through it has a very minute place - pa ma ga ri - dha pa, - sa ni dha ri ri,. In Arabhi the ri$abha should

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not be oscillated. In the upper octave plain ri$abha is easily sung, but in the lower octave, nowadays there is a tendency to oscillate the ri$abha which is not to be done. Let us see Arabhi’s svarQpa as found in krti-s. In the krti ‘sri sarasvati’, ‘sarasvati’ concludes in ri$abha which is straightaway held as a flat note or is brought down quickly as a jaru from ‘ma ga’ to ri and then held plainly- ‘pa pa ma, ga ri’, ‘pa pa ma, ga \ri’

Devagandhari: The lower risabha which is plain in Arabhi, when oscillated, brings Devagandhari into the picture immediately. This is why svarOpa laksanam is very important. Observe the phrase ‘ri ga ma, ga ri’ in devagandhari krti ‘ksitija ramanam, as opposed to ‘ri, ma ga ri’ in Arabhi. In the former there is a slow glide from one svara to the next, in the course of the phrase. This is characteristic of Devagandhari. In the latter the svara-s succeed one another rapidly in a very straightforward and flat manner. This is Arabhi.

Another feature is the kalapramana. While Devagandhari is best suited for slow tempo, Arabhi is brought out well in fast tempo. If the kalapramana-s are changed or reversed, the svarQpa of the raga-s will be lost.

Sama: In Sama, let us first see the krti ‘guruguhaya’ The svara-s are mostly held as plain notes and gentle oscillations. There is a striking abundance of janta prayoga-s - ‘pa, pa - pa ma ma, - ma ga ga ri sa ri, - ri ma pa dha, dha - dha pa ma, ma ga ga ri sa ri’ The beauty and greatness of our music is that, even though all the notes are plain in this raga, except for the gamaka-s ordained for janta prayoga-s, this Sama has a lilting melody.

Kedaragauja: Kedaragauja, the fourth in the above-mentioned group of raga-s is a beautiful rakti raga In the krti ‘bhagavata sevalo’ observe the phrase ‘pa pa ma ga ma ri’ Here, the gandhara comes down to risabha, touching madhyama. Actually this prayoga in Kedaragauja, is very subtle and cannot be notated precisely. There is not a single krti in this raga that does not have this phrase probably because it lends more beauty to the already pleasing Kedaragauja.

Another important factor in these raga-s is the preceding and succeeding phrases that play a major role in deciding the propriety of the principal phrase. The .difference in gamaka-s

and prayoga-s and other characteristics of these raga-s can be understood better only if one keeps practising and singing these, keeping in mind the above-mentioned laksana-s. For students

who feel that while singing, they slip from one raga to another quite easily and imperceptibly,

I would say it can surely be prevented if they keep these points in mind. For, all it requires is awareness about these subtleties.

Just as teachers have a great responsibility to pass on good music to the student, so

also, musicians who practice this performing art have a greater responsibility to present only that music which is right, good and well-researched. For, rasika-s, always come with a belief

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that they are going to hear good music and it is the foremost duty of the musician on stage

to fulfill this belief for which these lak$aua-s serve as guidelines.

In fact, as a musician I would say that, while singing a raga again and again, if even

one svarasth&na falls perfectly in tune, the joy bom out of that vision is immeasurable. I feel that ‘trance' in yoga, or direct experience (pratyak$anubhava) is the same as what a nadOpBsaka

attains when he is able to visualize and experience the perfection of even one svarasthana.

It is our good fortune that we have had composer-musicians who have experienced this bliss and their music which is an expression of this bliss, is available to us today. Such is the glory

of our sangltam. This is the reason why I normally tell rasika-s and students not to deviate from good music even if it might be difficult to comprehend in the beginning. Also, we must understand that our music is not so easy, that it cannot be mastered in just 3 years of study;

while for other subjects we spend twelve or more years for basic study and another 3 or 5

more years in specialised study, after which one may say that one has mastered the subject reasonably well. Music is in fact a life-long sSdhana and its inner secrets can be unearthed

only by those who approach it with reverence and pursue it with dedication.

Discussing R3ga lak$ana and lak$ya is a vast topic and each of these raga-s can be

taken up and dealt with individually.

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K£d&ram, NHSmbari, NagadhvaniSeetha Rajan

Every raga in our system of music has its own individuality and characteristic features. To comprehend this, both Lak$ya Ghana and Lak$ana Paricaya are essential. Lak$ya denotes understanding of the aesthetic picture of a raga from the rendering of various compositions and creative delineation by great vidvan-s. Lak$aoa is the documentation of Lak$ya recorded over a period of time. Knowledge of Lak$ana of a raga helps one to get an idea of the basic structure, the changes the raga has undergone in course of time and the different versions if there be any. This, combined with a keen perception of the characteristic phrases and the behaviour of svara-s in different contexts is useful in getting a picture of the individuality of a raga and also in comparing it with raga-s with some similar features. The raga-s being dealt with today are Kedaram, NTlambari and Nagadhvani - all belonging to the 29th Mela - DhTra-Sarikarabharanam.

KedaramRaga Kedaram helps create a brisk and lively atmosphere which is probably why many

vidvan-s commence their concerts with this raga. The Navaragamalika Varna - ‘valaci vacci’ starts with Kedaram. One gets a feel of the raga right in the opening phrase ‘P N S;’ which also clearly indicates the lower range of the raga The importance of this particular phrase can be seen in the fact that several composers have chosen this as the opening phrase for their songs. For example, ‘ Ananda natana prakasam’ of Muttusvami Dlk§itar, ‘Rama nlpai tanaku’ of Tyagaraja, ‘Samayamide nannu brova’ of Patnam Subramania Aiyar, ‘Bhajana seyave manasa’ of Anai Aiya all start with this phrase.

In the following phrase in the varna, ‘s n s r s s n n ’, nisada is rendered as ‘sn - sn’, wherein the $adja and nisada components are of almost equal duration. From the 4s m g m’ prayOga, it is clear that there is no scope for a straight ‘s r g m’ in Kedaram. The dapi prayOga-s, vadi samvadi poruttam-s (smg - psn) and the pratyahata prayOga-s (pp mm gg it

sn) are all incorporated in these two lines. The combination of plain notes with medium tempo makes this a madhyamakala pradhana raga , suitable for singing of Tana, which is why it finds a place in the Dvitlya Ghana raga pancakam.

In current practice, the arOhana avarOhana of Kedaram is:-

‘s m g m p n s - s n p m g r s ’

Dhaivata is varjya in this raga , but some 18th century treatises like Sangraha Cudamaiji and later books like, Ganabhaskaramu, Sanglta Sara Sangrahamu etc have included dhaivata in the avarOhana ( S n p m g m d m g r s ) . The use of dhaivata is seen in a varna (vanajalOcana nlpai - Khanda ata, Composer unknown, Ref: The Journal of The Music Academy, 1964) in

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the prayOga-s ‘s n p m m d m g’ and ‘g m d m g r ' In the phrase ‘pn Pm’ the ni$ada is noticeably soft. In an instrument it is only dhaivata sthana. It is possible that the prayOga ‘gm pn P m’ was once perceived as ‘gm d P m ’

Another phrase ‘s r r G s’, an essential part of Kedaram today, is not to be seen in any of the compositions of major vaggeyakara-s. The krti ‘ananda natana prakasam’ as seen in the Sanglta Sampradaya Pradarsini of Subbarama DTksitar does not have this prayOga. But the same krti in Sundaram Aiyar’s DTk$itar Klrtana Mala, which was published 50 years later contains this prayOga. On a study of the krti-s of Tyagaraja also, it does seem probable that he had not used this phrase. This thought is further strengthened by the fact that even Valajapet Venkataramana Bhagavatar, in his Kedara varna ‘Sami nl padamula” does not use this prayOga anywhere. Yet another point is that the phrase ‘s r r G s’ is seen in some vama-s and kfti-s composed by recent composers, from which one can infer that this phrase is a relatively recent addition to the raga and has been accepted and authenticated by musicians and composers.

‘s g m’, a rare phrase is seen in some varna-s of Valajapet Venkataramana Bhagavatar, T.M. Thyagarajan, Tiger Varadacari and Vina Se$anna. Subbarama Dlk$itar mentions that the phrase ‘s g m p m g r g r / M g r S ’ is found in the laksana glta. Another important phrase ‘g m P n \ M g r S’ where the madhyama is rendered with a jaru from ni$ada is found in a number of places in the krti ‘ananda natana prakasam’

There are many references to raga Kedaram in several treatises. Sanglta Ratnakara mentions a ‘Prathama Kedaram’, ‘DvitTya Kedaram’, and ‘Tritlya Kedaram’ SadragachandrOdaya of Pundarika Vithala mentions Kedaram as a Mela. There is an interesting lak$ana gita in Kedaram given by GOvinda in Sangraha Cfldamani. The versions of $ahaji (Ragalak$anamu) and Tulajaji (Sanglta Saramrta) are somewhat closer to that prevailing today. They mention that dhaivata is varjya and madhyama is vakra. In the Sankarabharana lak$ana gita ‘Ripubala’ of Muddu Venkatamakhin, Raga Kedaram is listed under the bha$ariga janya-s of Sankarabharanam. Subbarama DTk§itar follows Muddu Venkatamakhin in saying that Kedaram is a bha$ariga raga, but there is no anya svara found anywhere to substantiate this. In Hindustani music, there is a raga ‘Kedar’ which is a janya of Kalyan That and sounds like our present day HamTr Kalyani.

NUdmbariIn Indian music, raga-s are not just a collection of notes. Anusvara-s and gamaka-s

play a huge part in bringing out the svarQpa of the raga. NTlambari theoretically speaking has the same notes as Kedaram but the flavour of the raga is very different. A simple phrase ‘S P $ ’ sung with the characteristic jaru can bring out the individuality of NTlambari. Muttusvami DTksitar commences the krti ‘siddhlSvaraya namaste’ with this unique phrase.

The name ‘NTlambari’, finds mention in an early treatise SangTta Makaranda of Narada

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(7-9th cent. AD). Sanglta Parijata of AhObala and RagatatvavibOdha of Srinivasa (Both 17th Cent AD) classify Nllambari under the 22nd Mela, which is being followed in Hindustani Music in current practice. Nllambari as per the above mentioned texts, takes svarasthana-s quite different from what is in vogue today in camatic Music. Interestingly, some aspects of the raga mentioned in the lak$ana slOka are still being followed. The expressions ‘ wiH»Tt$<r [bahukampamanOhara] and [$a<Jjat pahcama udganampancamat sa-svarO punah] are very much relevant to Nllambari of today.

Nllambari, as a raga belonging to Sahkarabharana meja is seen in the work of Muddu Venkatamakhin (First quarter of 18th Cent.). Even he seems to have had a little bit of confusion. He has classified Nllambari as a rakti raga and bha$anga janya of the 28th Mela, but has described the raga under the 29th Mela. The aesthetic form of Nllambari in the Sanglta Sampradaya Pradarsini seems to be the closest to current practice. Though Subbarama Dlksitar generally follows Venkatamakhin in raga classification, he clearly gives Nllambari as a bha$ariga janya of the 29th Me)a with the arOhana avarOhana

‘S r g m M p d p n n S n d n S - S n p M g r g S ’

The noteworthy points given by Subbarama Dlksitar in the laksana of this raga are that there are no sancara-s below mandra sthayi nisada and that this raga should be understood and sung with laksya ghana - [glyate laksyavedibhih],

A different thought emerged with the Sangraha CQdamani of Govindacarya (1750-1800) where Nllambari is classified as an upahga janya of 28th Mela Harikambhoji. Some later works like Sanglta Sara Sangrahamu by Tiruvehkata Kavi (1800AD) and Maha Bharata CQdamani (18- 19th AD) follow Sangraha CQdamani in this aspect. It is seen that $ahaji (Ragalaksanamu 1684-1711 AD) and Tulajaji (Sanglta Sararrqta 1729-1735 AD) have not mentioned a raga with the name Nllambari

However it is clear that the aesthetic picture of Nllambari is way beyond boundaries of the arOhana avarOhana format. The sadja pahcama bhava, strong gandhara and the oscillations of madhyama - all lend to a very soothing and calming effect which is probably the reason for its being an effective lullaby raga. The strains of Nllambari must have been prevalent in the music of the common folk. The 47th pan i.e Megha-raga-kurinji has been equated to NTlambari as per the findings of the pan-araicci-kuzu. Tiru-gfiana-sambandar has composed the ‘Mazai- pattu’ and Manikkavacakar has composed TirupponnQsal in Megha-raga-kurinji.

Tyagaraja seems to have adopted Nllambari as used in traditional music. The tunes used in his Divyanama or Lali type of songs are simple in content. Muttusvami Dlksitar has treated Nllambari as a major rakti raga, which accounts for the number of compositions and their expansive structure, for example, ‘amba nllayatak$i\ siddhTsvaraya namaste’ and

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‘tyagarajam bhaje’ham. Syama Sastri has composed a kfti ‘BrOvavamma’ in Nllambari. Another kfti ‘Spigara lahari’ of Lingaraj Urs is also popular.

Coming to the behaviour of notes in Nllambari, sadja is a very important amsa and graha svara. Many kjti-s like ‘amba nllayataksi’, ‘uyyalalugavaiyya’, ‘lali yugave’, ‘nlke dayaraka’ etc commence with sadja. Nisada is sung with kampita as ‘S,n S,n’ as sadja and nisada are intertwined. When nisada is sung as hrasva, it almost sounds like sadja i.e. ‘g m p n s’ sounds like ‘g m p s s’

In the phrase ‘s n d n s’ dhaivata is sung with nokku and its position is slightly higher. The same dhaivata occurs in a plain manner when sung with kaisiki nisada in the phrase ‘g m p d n d’ Madhyama is the most important note in Nllambari There are many different ways in which the madhyama is employed. In the phrase ‘p g M’ the dlrgha madhyama is sung as ‘Gmg gM,’; it is sung plain in the phrase ‘r g m p’; in the phrase ‘p m p S n’ madhyama is rendered with nokku and in ‘g m p M g’ madhyama is rendered as ‘pmM’ with sphuritam. Gandhara is a plain and stable note which gives strength to the raga. sadja takes the support of gandhara and is rendered with a jaru from gandhara In the phrase ‘S r s n N’ risabha sounds more like gandhara ‘S g s n N’ In the ascent ‘S r g M’ risabha is sung with a push from sadja. The anya svara kaisiki nisada has been used very subtly and sparingly by Muttusvami Dlksitar. His disciple Ponnaiyya PiJJai has composed the famous Iqti ‘amba nllambari’ in which there is profuse usage of kaisiki nisada.

Although a rakti raga, not svara oriented, Nllambari has been beautifully conceptualized in svara form yet retaining its aesthetic beauty, by some eminent composers of our times. (Varna-s byVidvan-s Lalgudi Jayaraman, Citravlna Ravikiran etc.)

NdgadhvaniNagadhvani bears similarity to Nllambari in its scale structure. Rarely sung today,

this raga seems to have enjoyed considerable importance a few centuries ago. Mention of Nagadhvani is found from the time of Sanglta Makaranda of Narada (7-9th Cent AD). Sanglta Ratnakara mentions Nagadhvani as an Adhuna prasiddha bhasanga raga. Svarameja-Kalanidhi and Raga-vibOdha place Nagadhvani under the 34th Meja (Kannadagada / Kamatagauda Mela). However Sahaji and Tujajaji classify it as a bhasanga raga under the 28th Mela - Harikambhoji. Muddu Venkatamakhin gives it as an upanga janya of the 29th Mela (Ref: As seen in the upanga khanda of the Sankarabharana laksana gTta). Subbarama Dlksitar follows Muddu Venkatamakhin in his laksana of Nagadhvani with the arohana avarohana as: ‘S r g s m g m p d n s - S n d n p m g r g s ’

Though ‘p d n s’ prayOga is given in the arohana format, Subbarama Dlksitar mentions that ‘p n d n s’ is more in use. Another prominent phrase seen in the Sanglta Sampradaya Pradarsini is ‘r g s’. An authentic version of Muttusvami Dikshitar’s conception of Nagadhvani

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in his ‘$adragamalika’- ‘Panjacandrabimba’ (PQnjacandrika, Narayani, SarasvatimanOhari, §uddhavasanta, Hamsadhvani, Nagadhvani) matches the one in current practice. We find one ktfi of Muttusvami Dlk$itar ‘BrhadlSvaram’ in Sundaram Aiyar’s Dlk$itar Klrtana Mala, where the shape of Nagadhvani seems to deviate quite a bit from that found in the Sanglta Sampradaya PradarSini. Another kfti in Nagadhvani from which we get a complete understanding of the contours of the raga is ‘SiT lalitam’ - a composition of Mysore Jayacamaraja VodaySr. The shape of this raga as understood today is:-

‘s r s m g m p n d n s - s n d n P m g r g S’

It is clear that ‘p n d n s’ and ‘s n d n s’ are prayOga-s characteristic of Nagadhvani whereas in Nllambari , ‘p n N s’ and ‘s n d n $ n p’ are in vogue.

Although Kedaram, Ndambari and Nagadhvani are vaiga raga-s possessing the same svarasthana-s, their handling requires a deep insight. Kedaram is a much sought after raga due to its innate ability to generate a bright and pleasant ambience. NTlambari because of its sedate and tranquil nature evolved into a famous rakti raga that fascinates any listener. In case of Nagadhvani, it is to be seen in times to come whether this raga would find a more popular place in camatic Music.

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Anandabhairavi - RltigaujaV. Subrahmaniam

AnandabhairaviAnandabhairavi is a popular raga of the Camatic Music system in which all the major

composers have created compositions. The beginnings of this raga could be traced to the medieval times and very much in vogue in the folklore of those days still continuing to occupy the folk scene of the present. Musical History indicates that Anandabhairavi was a well-established raga in the pre-trinity period. Through the Trinity and their contemporary composers, Anandabhairavi assumed its well-defined form that is in vogue today.

The term ‘Ananda’ means bliss and ‘Bhairavi’ means awesome and the combination of these two terms may appear incongruous. Anandabhairavi raga is a very pleasant raga. In the recent past some interesting research work was undertaken on the therapeutic properties of the raga-s of camatic music and in that Anandabhairavi was listed as one which could reduce Blood Pressure. Anyway Anandabhairavi is a highly pleasing and soothing raga.

The original traditional categorization of this raga is as a bha$ahga janya raga of Nafabhairavi the 20th me|akartha raga. This aspect can be examined closely after analysing the svara structure of the raga. The arOhana and avarOhana of this raga are:-

ArOhana:- Sa Ga Ri Ga Ma Pa Da Pa Sa AvarOhana:- Sa Ni Da Pa Ma Ga Ri Sa

It has thus a Vakra SancSra in the ArOhaqa and a SampOrna in the AvarOhana. The svara-s are:-§adja, catusruti ri$abha, sadharana gandhara, Suddha madhyama, pancama, catuSruti dhaivata, kaisiki ni§ada. In the avarOhana also the same svarasthana-s are touched. This raga assumes ‘Bha$ahgatva’ on account of the use of more than one anya svara. The three anya svara-s are: suddha dhaivata, antara gandhara and kakali ni§ada and these svara-s occur only in prayOga-s and not in the regular arOhana and avarOhana. Suddha dhaivata is used in the prayOga-s -

Ga Ma Pa DaDa Ga Da Pa Ma Ga Ri.

The antara gandhara usage in the prayOga Pa Ma Ga Ga Ma is found in the Cittasvaram of Syama Sastri’s composition ‘Marivere Gati Evaramma’. In the Carapam of ‘0 Jagadamba’ of the same composer, antara gandhara usage is found in the passage - ‘Anni bhuvanambulaku’ Muttusvami DTk$itar and Tyagaraja have not used antara gandhara in any of their compositions.

Kakali nisada PrayOga-s such as Sa Ni Da Ni Sa is very rare and it can be considered irrelevant for Anandabhairavi. Even without any of these anya svara usages Anandabhairavi

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retains all its grandeur and beauty not in any way losing it’s individual identity. The use of suddha dhaivata appropriately enhances the aesthetic melody of this raga.

From the above analysis of the svara structures, it clearly emerges that the dhaivata which is almost always used is catusruti and not suddha dhaivata, the svara of the melakarta raga Natabhairavi. This being so it would be more appropriate to classify this raga as the janya of the 22nd melakarta Kharaharapriya and not as a janya of Natabhairavi.

The range of Anandabhairavi below the adhara sadja i.e. madhya sthayi sadja is only upto the ni$ada below this sadja i.e mandra sthayi nisada - Sa Nee Sa. Below this, sancara such as Sa Ni Da Pa would be against Anandabhairavi laksana and is prohibited.

The gandhara in Anandabhairavi is almost always rendered as an oscillated note - ‘Ga Ri Gaa Ma Pa’ when this portion is handled in ragalapana.

Madhyama is used as a plain note but contextually undergoes oscillation - In Sa Ga Ri Ga Ma-it is plain and in ‘Ni Da Pa Ma-Pa Sa Ni Da Pa Ma’, Ma is oscillated. Da is used as a plain note when the Da used is Catusruti - as in Ni Da Pa. But when suddha dhaivata is used it always gets oscillated. Ga Ma Pa Da Da.

In Anandabhairavi the catusruti dhaivata position is always higher than it’s svasthana almost in the kaisiki nisada sthana. Pa Da Pa Ma- Ma Pa Ni Da Pa Pa-Pa Da Pa Sa.

The cittasvaram of ‘marivere gati evaramma’ is rendered thus Paa Da Pa Ma Ga and not as Paa ni Pa Ma Ga. Da attains its catusruti position only when rendered thus: Ni Da Da Pa.

Certain important praydga-s of Anandabhairavi lend embellishment to the rdga

1. Sa Sa Paa Pa Sa Sa Paa Pa. This prayOga is seen in the A{a tala varnam of Vina Kuppaiyar.

2. Sa Ga Ma Paa

3. Saa Paa Saa - This is a rare usage

4. Ga Ma Pa Daa Da. §uddha dhaivata occurs only in this PrayOga.

The following r8ga-s could be categorized as the Allied Rdga-s of Anandabhairavi

1. Rltigau)a: The svara sthana-s of Anandabhairavi and Rltigaula are the same and in the arOhaija the ‘pflrva bhaga’ of both the raga-s are similar. ‘Sa Ga Ri Ga Ma’ and ‘Pa Ma Ga Ri Sa’ in avarOhapa krama are common to both. Careful rendition of this phrasing could reveal the identity of the raga-s clearly.

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For Anandabhairavi ‘Pa Ma Ga Ri Sa’ and for Rltigau|a ‘Pa Ma Ga Ri Sa’. The Ri could be elevated and muffled with gandhara. For Anandabhairavi the gandhara is well qscillated ‘Sa Ga Ri Gaa’. RTtigau|a should be rendered with minimum of Ga to avoid any Suggestion of Anandabhairavi. Any lengthy usage of ‘Ga’ should be with a plain ‘Ga’ to avoid the affinity to Anandabhairavi

2. M&dhavamandhari: This is another allied raga to Anandabhairavi. Here also the first half of the arOhana for both the raga-s are similar - Sa Ga Ri Ga Ma - as this raga is not normally chosen for alapana because of it’s restrictive structure, the possibility of crossing over to Anandabhairavi may not occur.

3. HusCni: The common prayOga that is possible between Anandabhairavi and Huseni is 'Sa Pa Sa'. ‘Syama Sastri’ has composed a klrtana in Anandabhairavi opening with this phrase ‘Pahi srT girirajasute’. Even though in the context of this klrtana this seems suitable to Anandabhairavi this prayOga is more in consonance with Huseni. Sa Sa Pa Pa Sa Sa Ri Sa Ni Da Pa Ma Pa Da Ni Pa Da Pa Ma Pa Ma Ga Ri Sa. It would be, therefore, advisable to avoid this in Anandabhairavi

Ri§abha, madhyama, pancama and sadja could be termed as nyasa svara-s of this raga which would be revealed in the alapana of this raga. The scope for ManOdharma in this raga is medium level neither too vast nor too limited.

Rltigau|aIn the camatic music sysytem Rltigaula is a raga of prominence. Tyagaraja Svami has

authored a number of pieces in Rltigaula. Muttusvami Dlk$itar, Subbaraya Sastri and Svati Tirunal have composed pieces in Rltigaula. It can be undoubtedly concluded that Rltigaula raga settled with its unambiguous structure only from the period of the Trinity.

Looking at the History of Rltigaula the raga finds mention in Vidyaranya’s works in the 13th century. This is known from the references made by GOvinda Dlk$itar as the original text of Sage Vidyaranya, SangTta Sara is not available. Subsequent literature on music also deals with Rltigaula raga but the structure is not clear cut. The dhaivata mentioned is Suddha which has no relevance now. Nari-Rltigaula assumed melakarta status in Venkafamakhin’s scheme as a predecessor of Natabhairavi with suddha dhaivata. Thus even though the raga dates back to the 13th century Rltigaula has undergone structural and conceptual changes until it settled down during the Trinity period.

Rltigaula is conceived as a derivative - Janya raga of the 22nd melakarta Kharaharapriya. The structure of the raga is as follows:

ArOhana:- Sa Ga Ri Ga Ma Ni Ni Sa AvarOhapa:- Sa Ni Da ma Ga Ma Pa Ma Ga Ri Sa

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It is an Ubhaya Vakra Janya raga of Kharaharapriya. In the arOhana, pancama and dhaivata are avoided. The svara sthana-s are those of the karta raga - $adja, catusruti ri$abha, sadharana gandhara, suddha madhyama, pancama, catusruti dhaivata and kaisiki ni$ada.

Special mention has to be made about the handling of risabha and dhaivata, Da in RTtigaula. Both these are weak svara-s of Rltigau}a. Ri sounds clearly in its svarasthana only in the arOhana krama - Sa Ga Ri Ga Ma. In the avarOhana krama prayOga-s Ri gets elevated sticking to gandhara - Ma Ga Ri Sa - Ni Sa Ga Ri Sa. Similarly, Dhaivatam also contextually gets elevated and sticks to Ni - Sa Ni Da Ma clear-cut svarasthana renditions of Da also occur in Rltigauja such as - Sa Ni Da Ma, Ni Da Ma, NI NI Dha Dha Ma.

An analysis of the gamaka patterns would reveal that Rltigaula does not allow major oscillative gamaka-s. Risabha is always a plain note in RTtigaula. Gandhara gets a punchy upward movement when rendered in the arOhana Krama. Sa Ga Ri Ga Ma. It is plainly used in prayOga-s such as Sa Ga Ga Ri Sa. Sa Gaa Ga Maa - Ga Ma Pa Ma Ga Ri Sa. In avarOhana krama Ga is invariably used plainly. Ga undergoes slight gamaka oscillation in the prayOga ‘Sa Ga Ri Gaa Ma’. A longer pause in Ga with oscillation gives the impression of Anandabhairavi. ‘Sa Ga Ri Gaaa’ dTrgha prayOga of gandhara in RTtigaula raga is to be minimised.

Madhyama is a plain straight note in RTtigaula. Dhaivata again is a plain note. Ni$ada is used both as a plain note and with gamaka according to context. Ga Ma Ni Ni Sa - Sa Ni Da Ma Ni Ni Sa. These are plain ni$ada prayOga-s. Whereas in ‘Ga Ma Nee Nee Da Ma; Ga Ma Nee Ni Ma Nee Ni’ the Ni is stretched upwards from madhyama, Ni assumes oscillation upwards in prayOga-s like ‘Sa Nee Sa Ga Ri Sa Nee - Nee Ri Sa’.

Aesthetic gamaka-s and anusvara patterns spring out of imagination, i.e. manOdharma, when RTtigaula raga is handled. Oscillations suggestive of other allied Raga-s of RTtigaula, especially Anandabhairavi are to be totally avoided.

Here are some of the prayOga-s of RTtigaula that add aesthetic appeal to the raga

Sa Ga Gaa Ma

Saa Ni Pa Pa Ni Ni Sa

The second prayOga above is used normally only in the mandra sthayi. The inclusion of pancama in the arOhana krama is not done in the madhya sthayi

Ma Pa Da Ni Da Ma Ga Ri Sa

Sa Ni Ni Da Ni Sa

This prayOga is used in the compositions of Subbaraya Sastri and of Tyagaraja Svami which authenticate it and makes it acceptable for RTtigaula. In ‘Janani Ninnu Vina’;

Sa Ni Dhaa Ni Sa - Sa Ni Da Ma

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Thri Io................................. ka

And in Tyagaraja Svami’s - ‘Dvaitamu Sukhama’:

Ni Ni Sa Ni Da Ni Da Ni Sa Sa Ni Sa

Caitanya Mavinu - - Sar... va Sa................................ k$i.

In imaginative handling of the raga a number of melodious PrayOga-s emerge not in anyway marring the RTtigaula lak$aoa.

The svara-s which are nyasa svara-s are §acjja, madhyama and ni$ada.

The composition in RTtigaula range from vamam-s to klrtana-s and all the major composers have created pieces in RTtigaula. The afa tala vamam of Vina Kuppaiyar encompasses all the facets of this raga.

Rltigauja has been included as one of the raga-s of the DvitTya Ghana Pancakam and it is one of the seven raga-s ending with Gaula - which are 1. Gauja, 2. RTtigaula, 3. Kannacjagauja,4. Narayagagaula, 5. Kedaragaula, 6. PQrvagaula and 7. Chhayagauja. RTtigaula is a rakthi raga of great melodic appeal requiring deft handling .The raga has ample scope for being rendered as a major raga but the full aesthetic appeal of the raga cannot be brought forth with just svara combinations. The contours of the raga have to be well assimilated before attempting an alapana or kalpanasvara renditions for an effective impact.

Looking around for allied raga-s of RTtigaula, Anandabhairavi could be counted as the closest. The pflrvariga of the arOhana of both the raga-s is ‘Sa Ga Ri Ga Ma’. Clear distinction can be brought out by correct handling of the gamaka-s of both the raga-s giving them their individual characteristics. In Anandabhairavi, the gandhara undergoes wide gamaka movement in dTrgha prayOga-s in the arOhana krama. Anandabhairavi goes thus: Sa Ga Ri Gaaa Ma Ga Ri Gaa.

In RTtigaula halting in Ga with a wide moving gamaka is to be avoided. If at all a small oscillation can be given to Ga without over lengthening ‘Sa Ga Ri Gaa - Ma Ni Da ma Ga Ri Gaa’ instead of ‘Gaaa’, which is clearly Anandabhairavi.

The use of ri$abha also gives the raga-s their distinct characteristics.

Anandabhairavi Ma Ga Ree Ri Ga Ri Sa

Ma Ga Ree Ga Ma Ga Ree Ga Ri Sa

RTtigaula : Ma Ga Ri Sa Ga Ri Sa.

RTtigaula Ma Ga Ri Sa as Ma Ga Ri Sa - a lengthy Reee is avoided.

Anandabhairavi has no Sancara below mandra sthayi ni$ada. RTtigaula on the other hand goes below, such as Sa Ni Da Ma Ni Ni Saa - Sa Ni Pa Ni Ni Sa.

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While rendering Rltigaula it is possible to tread into Srtrafijani also. While dhaivata is an important svara of SiTranjani, ni$ada assumes importance in Rltigaula .

Daa Da Daa Da Da Ni Da Ma Maa Ga Ri Ga Ma Da Da. Da Ni Da Ma Ga Ri Sa - all these are Srlranjani clearly.

If the focus is shifted from Da to Ni, the same prayOga-s would give a Rltigaula flavour. Ni Nee Da Ma Ga Ma Ni Nee Da Ma. The use of Nee in this way, is very important in Rltigaula. Lengthy Dlrgha Dhaivata is totally incongruous for Rltigaula. ‘Ga Ma Da, Sa Ni Da Da’ these ‘Da’ based usages are to be eschewed in Rltigaula. Dhaivata itself is often rendered touching Ni in Rltigaula. Ni Da Ni Ma Ni Da Maa Nee Ni Daa Ma. Rltigaula is a more bhava oriented raga, whereas Srtranjani is a faster tempo raga.

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Bhairavam, Sahdna, Kannada, Gauriv£|&va|i and Dh&mavati in the specific context of

the Dlksitar Sampradaya with special reference to Saiiglta Sampradaya Pradarsini

T M , Krishna

To many the Sahglta Sampradaya Pradarsini of Subbrama Dik$itar (henceforth ‘SSP’) is a written document which is not related to an oral form. This understanding is incorrect. It should be understood as a documentation of an oral tradition. Subbarama Dlksitar documented his oral tradition. Secondly what makes this document a treasure house of knowledege is the way the history of raga-s, Subbarama DTk$i tar’s own learning and understanding of his tradition and his understanding of the contemporary practice documented in SSP.

When we take up any raga in SSP we see that there are three stages to it. In the gTta (which is attributed to Muddu Veiikatamakhin) we see an older version of the raga. We also see that he takes care to mention any changes that have occurred and whether there is any other sampradaya of the same raga in existence. In the notation of the kfli-s we can see Subbarama Dlksitar’s own learning and sampradayam and finally in his own sancari we find usages from all the krti-s, gTtam and varna-s given. Therefore it’s almost as if Subbarama DTk$itar has given all the possible usage of the raga in the sancari.

Some examplesSarasvatimanOhari: In his note on the raga, Subbarama DTk$itar has mentioned that

there is another sampradaya where the nisada used is kaisiki whereas in his sampradaya it is kakali. Therefore his awareness of another sampradaya and also its details is very evident.

Purvavar&|i: This raga actually is gandhara and ni$ada varjam in the arOhana, but in the gTtam we would find two interesting prayOga-s DNS and NNGGRM. Subbarama Dlk$itar has not altered the gTtam to suite the raga lak$ana description. In fact in his note, he mentions that the gTtam has this pray Ogam, but is not found anywhere else. He also does not consider it a mistake but accepts that these may have existed. But in the krti this prayOgam is not seen (therefore the version he learnt did not have it). Most interestingly in the sancari he makes sure that he uses the prayOgam DNS just once. By doing this he has acknowledged his respect for the past and at the same time accepted the fact that it has changed; a wonderful understanding of the past and present. So one has to understand SSP beyond the text, as something that gives us an insight into music of its times and a link to the past.

Raga-s Bhairavam, Sahana, KannadaThe above raga-s have the following in common -

1. All of them have krti-s both by Muttusvami Dlk$itar and Tyagaraja

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2. The raga lak§ana in both traditions are different

3. All these raga-s have an anya svara, atleast in the Dlk$itar sampradaya.

4. Today in all these raga-s the anya svara has either become the dominant note or the natural note.

5. The raga lak§ana-s post the Sariglta Sampradaya PradarSini have merged and today are in tune with that of the Tyagaraja parampara

These three raga-s are representatives of many other ragam-s which have gone through the same process of change in the last century and moved towards the lak§ana as per Tyagaraja’s lqti-s and I would like to establish that their lak$ana was actually quite different before this happened.

BhairavamIn order to put SSP in context let us first look at these raga-s as described in older

texts.

SadragacandrOdaya (Pundarikavifiithala): Dhaivata - amsa, graha, nyasa svara; sampQnia (the word sampQma here only means that all the seven svara-s are found); Hijeja m0|a - This will correspond to the 14th Mela in the 72 Mela Scheme.This means that the raga has Suddha ri$abha, antara gandhara, suddha madhyama, Buddha dhaivata, kaiSiki ni$ada.

Rasa Kaumudi (Sffkantha): $a<jja - graha, amsa, nyasa svara; Mela - Malavagau)a, this would correspond to the 15th mela. This means that the ni$ada must be kakali. Kaisiki ni$ada has moved to kakali ni$ada.

Raga VibOdha (SOmanatha): Dhaivata - graha, amsa svara-s; $adja - nyasa svara; ri$abha, gandhara, madhyama, dhaivata, ni$ada - suddha svara-s; Therefore kakali ni$3da is absent. Therefore this will correspond to Bhairavam being a janya of Mela 14.

Sanglta Parijatam: Dhaivata - graha svara; madhyama - nyasa svara; gandhara and ni$ada - tlvra svara-s; dhaivata - KOmal; no ri$abha and pancama.

Beyond these we don’t see any mention of this raga in works like Svaramela Kalanidhi, Sangita sudha, Caturdandl Prakasika, Raga lak$ana of Sahaji and Sanglta Saramtta.

The next text where you see description of this raga is the Raga Lak$anamu of Muddu Venkatamakhin: $a<Jja - graha svara; sampQma; bha$anga raga put under 16th Mela (Toya vegavahini), This means that the raga has pancasruti dhaivata and kaisiki ni$ada.

Therefore, through history we find that the raga is put under the 14th, 15th and finally the 16th mela which means that it has had the kaiSiki and kakali ni$ada-s and suddha and pancasruti dhaivata-s according to different texts.

■ THE MUSIC ACADEMY • JOURNAL 2010 • VOLUME 81 —

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The beauty of the sanglta sampradaya pradarSini is the fact that you can almost see the his toned journey of a raga in it. If we look at the notation of ‘Kalabhairavam’, we find the use of both the dhaivata-s and the ni$ada-s though this raga is placed under Me)a 16. Therefore Subbarama Dlk$itar has not only accepted its present classification under the 16th mela but also kept intact within it, the remnants of the changes in the past.

The raga lak§ana in SSP gives the mQrchana as sampQma, the ragaas janya of the 16th raganga raga TOya-Vegavahini with the madhyama to be considered to have ranjakatvam. In fact we see this svara repeated in the avarOhana krama. The avarOhana is ni$ada varjam. Bhairavam is given as bhasanga, sampQrna, defya raga with §adja as the graha svara. This is followed by the mention of the jTva svara prayOga-s and the examples for prayOga-s incorporating kaiSiki, kakali ni$ada and Suddha daivata. It should be understood here that the initial mQrchana and prayOga examples only give us a glimpse into the possibilities in the raga and are not to be considered exhaustive. In order to understand the raga completely we need to analyse all the compositions, tana and sancari given in a raga.

Among all the exmples for prayOga-s that are given, we find that two prayOga-s SADy r x

M GR and SDMPMGRS are not found in any composition or saficari.

When we analyse the notations of the kfti-s and saficari-s we find some very interesting things. We find the prayOga-s n Dn, S\G, S/G, MDn P, P\G are some of the phrases that are extensively used.

The usage of suddha dhaivata is very limited. We only find 5 varieties of the usage out of which one is found only in the kfti ‘Patitapavana’

The prayOga-spdm, mdm appear four times in ’Kalabhairavam’ and once in ’Patitapavana’. The prayOga sbD with the Suddha dhaivata appears only once in both lqti-s. From this we need to understand it is a very rare usage. Very importantly ‘sa’ combines only with the mandra sthayi dhaivatha and always with a dlrgha dhaivatha.

The usage of kakali ni§3da is very interesting. We find multiple usages but the following phrases are extensively used - S#ns, #ng rs, sinrs, sdtins, pd#ns, stingr, #nsrs. We also find that there is no prayOga that descends from rara sthayi §acjja to madhya sthayi paficama with the touch of kakali ni$ada; it is always kaisiki ni§ada. We also find that in pancama vaija prayOga-s like rndns only the kaiSiki ni§ada is used.

There are also many phrases incorporating both ni§ada-s. This is not found anywhere in the kjti ‘Kalabhairavam’ of Muttusvami Dlk$itar but only in the other kjti ‘Patitapavana’ and in the sancari. Some of them are:

Stindnhipm

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S\D#n\Dns

s#nnls#nd snrs

rSn d#NP; Qsns

Its also very important to understand the role of the anusvaram and the gamaka symbols in order to understand the raga.

In all descents from tara sthayi $adja to madhya sthayi paficama we find that never is there a prayOga where there is a direct descent of sdp though the avarOha is sdpm. There is always either an anusvaram of ‘n’ after the ‘D’ or an orikai on the ‘D’ therefore it makes the prayOga always sd(n)p. Also it must be noted that the ni$3da after the dhaivatha is always an anusvaram. So it has to be sung as an anusvaram. It is very important to understand these aspects to understand the mlodic form of the raga.

An interesting aspect is that a prayaga incorporating anya-svara, cannot be rendered by substituting it with the svaklyasvara. But in SSP we find that the understanding is a little different. Basically the prayOga-s where the anya svaram can be used are specified. But there in an allowance for the natural note to be used in the same prayOga. For example you could have a prayOga like snrs both as snrs or s#nrs. This gives us interpretative flexibility which is missing today.

‘§iT visvan&tham’ which is found in the anubandham and has two avartana-s in Bhairavam also follows these rules.

Now, when we look at the publications post the SangTta Sampradaya PradarSini, we find that in most texts there seems to be a lot of confusion. Tyagaraja kfti-s and the lak§ana-s as per that system had become very popular ever since early time due to the publications of the books by the Taccflr Brothers’, and Cinnasvami Mudaliyar and of the Journals. We must also take into consideration the fact that many disciples of the Tyagaraja si$ya parampara were famous harikatha exponents and concert singers making that sampradaya were very popular. Therefore gradually after SSP we see a shift in the raga lak$ana-s of the Dlk$itar sampradaya and these raga-s have been made more in tune with those of the Tyagaraja sampradaya.

In the notations given in the Dlk$ita Klrtanamala by Sundaram Aiyar and the notation written by Mahadeva Aiyar we find that the domination of ni§ada completely shifting to kakali. Its important to note that there are no gamaka symbols in either notations. Both these notations are almost identical.The usage of kaisiki ni$ada is reduced to a large extent. In fact in the notation, we find that there are eight places where kakali ni$ada is used in Sundaram Aiyar’s notation and ten times in Mahadeva Bhagavatar’s notation. But the places of the use of the kakali ni$ada have also changed in comparison with SSP. This change competely changes the colour of the raga. The use of suddha dhaivata is completely omitted. We also

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find that there is descent like #/iDP which is never found in SSP. Another interesting phrase which has changed is mdm which has been changed to r#ndp. When we put all these changes together we find that the aesthetics of bhairavam moves very much away from the Dlk$itar sampradaya and gets closer to the Bhairavam of Tyagaraja school.

Another sign of some confusion is the fact that though Sundaram Aiyar has listed Bhairavam as a janya of mela 17 (Chayavati) which means the raga has kakali ni$ada as the natural note and kai&iki ni§ada as the anya svaram, his anya svaram symbols are given for the kakali ni$ada which contradicts its position as a janya of mela 17. Also, the lack of gamaka symbols creates problems, as in many places a svaram which has to be treated only as anusvaram gets treated as a svaram with sthanam; for example mGm G becomes MGMG.

Bhairavam as in the other tradition can be traced from Sangraha Cfldamani where it is given as a janya of SQryakantam (mela 17). In the TaccOr publications we find that it completely fits with the Sangraha CQdamani.

A study of the kfti ‘Mariyadagadaiyya’ makes interesting reading. In the Tacctlr notation we find that there is use of ni$adam in descent. No sdpmgr phrases are found. The phrase pmDNS seems to be a very dominant phrase. We also find phrases like d#ns#nd#nd and ssGM and sGmDp.

In SangTta Sara Sangrahamu - edition 1913 we find that this kfti uses a lot of pmr in pharses. Also there is no mpdn prayOga, only pmdns which makes the raga sound very similar to Saura§tram. We also find the prayOga sd#np which again does not fit into the krama of sdpmgrs.

K.V. Srinivasa Aiyangar’s notation is very different from the above notations. His notation seems to follow the krama rules completely. He has made the notation completely fit the srgmpdns - sdpmgrs. Therefore there are no prayOga-s with indp. One imporatant aspect is the fact that in many places where the SangTta Sara Sangrahamu had given pmr this seems to have changed to pmgr.

In the recordings that we have, we find that the versions seem to ignore the notation of K.V. Srinivasa Aiyangar and follow the older notations. These versions have some very unusual prayOga-s which are not found in the notations and some seem to have been prayOga-s that have become morphed through different interpretations. One interesting phrase is S#nrsnS#ndNd which has been interpreted in so many ways that sometimes the ‘D ’ sounds like $at$ruti dhaivata or the phrase sounds exactly like Saura$tram with both ni$adam-s being used. In fact today’s Bhairavam in the Tyagaraja sampradaya sounds almost exactly like Saura§fram except for some phrases like mpDM.

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SahSnSSahana seems to be quite a new raga in our tradition and therefore there are not many

references about it.

Raga Lak$ana (Muddu Venkatamakhin): sampOrna; $a<Jjam - graha svaram; goes around paficamam in ascent; Janya of 22nd Mela - §n

As a janya of mela 22 Sahana has only the sadharana gandhara. In the SangTta Sampradaya PradarSini we find that it is given as a janya of §rT but also permits antara gandhara as an anya svaram. The mQrchana in SSP is SrgmpmdnS - nndpmggRgrs. Ni$ada, ri$abha and gandhara are considered as jiva svara-s. In fact there is a special mention of dlrgha ni$adam and gandharam.

The phrase that is very common today in Sahana is PM#GMR. In the SangTta Sampradaya PradarSini we find the same phrase with the sadharana gandhara. Secondly if the gandhara is sung exactly as per the gamaka would it make the raga sound very close to the Kanada of today. This is mainly because the gandhara is sung on the sthana with a vali and orikai on them. Thirdly the phrase is always given as G G R making the madhyama only an anusvara. This is very different from singing the phrase as GMR and giving the madhyama a full svara status. We also find that the phrase NSD (sung today) is almost always given as N N D making the $a<Jja an anusvara. In both these cases the phrsaes sound very different when we treat a svara as an anusvara.

It is also important to note here that the way sadharana gandhara-s and kaiSiki ni$ada-s are sung today is completely changed especially since they are preceded by a catusruti ri$abha or catusruti dhaivatha respectively. In both cases the gandhara and ni$ada are always sung from the ri$abha or dhaivata with a nokku. In Sahana of SSP we find that a lot of gandhara and ni$ada is sung on the sthana which is very unusual today.

The usage of the gandhara as an anya svara is very interesting. We find that it is used in many ways but the prayOga-s Pdtgmp, P\r#gmp, rrtigmp, sr#gmp seem to be most used. There are also some prayOga-s like Mtigrgrgs, PmltgrlgrS and GhntigRgrS where both the gandhara-s are found. It important to note that the antara gandhara is never used while ascending to tara sthayi §adjam or while descending to madhya sthayi $adjam. Here also we do find the occasional use of antara gandhara-s along with the natural note i.e., sadharana gandhara.

The melodic ascent in Sahana is always PMDNS. We never find MPDNS and there is never a descending as SND. Even if there is a phrase like SNNDD there is always orikai on the ni$ada giving it a touch of $a<jja before the descent to dhaivata. We also find that while descending to madhya sthayi $adjam, RGRS is predominantly used.

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Some intersting phrases in the compositionsKamalambikayab - rm P

ISanadi - rmgs, sd\M, sMm,

Vasi vasi - SdRrM

Tana varna - R gmpmdpMG r, PgR

Some later textsDlk$ita Klrtana Prakasikai (Nafaraja Sundaram PiUai): We find Sahana given as a janya

of Kedaragaula (28) in this text which means it has antara gandhara as the primary note.

The first intersting issue here is regarding the indexing. We find that this text has followed SSP completely in terms of how the raga-s are ordered and even the order of the Muttusvami Dik$itar kjti-s given within each raga. In fact all the kjti-s given in the text are only the ones that are there in SSP except for one ktfi (mahaganapatim vande in Tfkji). When it comes to Sahana there is an interesting point. After SrTraga, its janya-s are given i.e. Manirahgu, Madhyamavati, Darbar, Nayaki and Sahana. Sahana is given but as a janya of raganga raga 28 though it appears soon after nayaki. In fact Kedaragaula the 28th raganga raga itself is given only after Sahana. This is very odd and seems to indicate some confusion regarding Sahana being a janya of 22 or 28.

The notation of the kjti 'Isanadi' is exactly the same as in SSP but with antara gandhara.

The same kfti in DTk$itar Klrtana Mala of Kallidaikuricci Sundaram Aiyar gives us another example of these shifts. Here he gives Sahana as a janya of 22 without any indications of antara gandhara prayOga-s. This makes it very confusing as even phrases that are given as antara gandhara in SSP now have to be sung as sadharana gandhara. The pallavi also has 3 sangati-s. There are some notational changes that have no impact on the lak$aoa but some which do, like in the line ‘pasahkusek$u\ SSP notation reads *P SgRS’ but this book gives it as SSgRS. Simalarly in the line ‘pancasumabana’ the notation has changed from ‘Rrgm grs’ to lRrgm rg RS.’

The fact that all books after SSP did not use gamaka symbols has affected ther

interpretation of phrases. So phrases like SfD now get interpreted as a direct descent from ni$ada to dhaivata.

Guruguha Ganampta Var$ini - 1936 (Vedanta Bhagavatar and Anantakftoa Aiyar): If we take a look at the notation of ‘kamalambikayam’ given in this text, we find that Sahana here is given as a janya of 22 and since this book does not give symbols for anya svaram we don’t know what the author intended. One important change we see happening here is in the

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x xphrase ‘G G’ (extensively used in SSP) is now given as ‘m,g GAf therefore a podi svaram is slowly becoming a full svara.

Sundaram Ayar in this context mentions this Sahana raga as a janya of 28. This contradicts conflicting the status given to Sahana, when the kjti ‘Isanadi’ was notated. Here we see the entrance of the phrase SNDP which probably happened because the orikai symbol over the ni$ada is missing (these books don’t give gamaka symbols). Also all the phrases that are ‘SDND’ in SSP have been changed to ‘SNSD’. Similarly ‘DndP’ has become dsndP.

A kjti ’Abhayambayam’ which is not found in SSP, is given by Sundaram Aiyar and as a janya of 22 with some ‘MRS’ phrases.

In the rendition by Smt. Kalpagam Svaminathan we find that all the gandhara-s used are antara in nature except in one prayOga 'rmgr S ’ where we hear a shade of sadharana gandhara. Also a phrase which is widely used today nsrGrR, is heard. This is not found at all in SSP. Its also important to note that it is difficult to sing this phrase with sadharana gandhara.

In the Saiigraha CQdamani, Sahana is given as a janya of HarikambhOji mela; ni$ada - nyasa, amsa, graha svara; srgmpmdns - sndpmgmr

In the lak$ana gTta we find the phrase sdndpmgmrgr used extensively.

Text of the gltam given in the TaccOr Siiigaracaryulu book says that the raga has a kampita gandhara, dligha madhyama and vakra ni$ada.

The kfti ‘giripainelakonna’ given in it does not have any SND in descent, its only NNSD. Also the phrase RGMPDNSR is found here.The notation of ‘Raghupate Rama’ by the authors has an interesting phrase in the pallavi ndPDNSR which later seems to have changed to dpMDNSR in Cinnasvami Mudaliyar’s notation. Both these notations have similar akara phrases in the anupallavi.

SangMnubhava Sara Sangraham - 1913 edition: ‘giripainelakonna’ - Here you find the appearance of SND PMNNDNS which is there in the TaccOr text is present. But rgmpdnsr phrase is not there.

In K.V. Srinivasa Aiyangar’s Sanglta Rasarnavam we find that the notation is almost the same as in SangTtanubhava Sara Sangraham. We find SND phrases which is a change from TaccOr. Also we see that the RGMPDNSR in ‘giripainelakonna’ has changed to pMDNS. Overall this notation matches the modem Sahana and the singing version of the lqti.

One other book Sn Venkafesvara Tana Varnam by C.S. Kr$nasvami Aiyar has given the avarOhanam of Sahana as SNDPMGRS. There are also some very unusual prayOgam-s like MGGRS which are not found in any other book belonging to Tyagaraja sampradaya.

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KannadaRaga Lak$ana' - SahajT Desi raga; rakti raga; janya of KambhOji mela; SampOrna

(means that it has all the seven notes). Both in ascent and descent it does not take a straight course. Some examples of melodic phrases given are

m g m p m I D n s n RC

s n s I D p m D n s n I R f

This seems very similar to the Kannada of today except that we will have to sing it with kaisiki ni$ada.

Sanglta Saramrta - Tujaja: Follows Sahaji except that one prayOga given as sa ri ga ma pa da ni sa ri ni sa is different.

Raga Lak$ana - Muddu Venka(amakhin: Bhasanga raga; Janya of 28th mela; Ri$abham very rare in ascent

SSP gives the mOrchana as srgmpDns - snDpmGrs. Its imporatant also to understand that the mOrchana in SSP is only indicative of the svara-s that the raga has and does not define the structure of their usage.

Janya of 28th ragafiga raga - Hari-Kedaragaula; bha$anga raga; sampOrna, $a<Jja graham; risabham is allowed in arOhana in some places; dhaivata and risabha give maximum ranjana. We do find the usage of kakali nisadam as an anya svara.

Looking at the compositions we find the following points:1. Many prayOgam-s given in the gltam are not found anywhere else therefore they

must be very old. Some other interesting phrases in other compositions include SmdP in ‘artidlrcinanu’ or the rare srgm in the sancari.

2. With regards to the nisada there is an interesting issue. In the notation of SSP we find that the dhaivata in most places is given as svara without gamaka when it is followed by the ni§ada. Today we sing the dhaivata with kampitam (as understood today) or nokku this automatically makes us increase the sruti of the following svara nisada. This could be one of the reasons why this raga completely transformed all the nisada-s to kakali.

3. The kakali nisada is only found in pray5ga-s around the §adja like d#ns, s#ns, r#ns. Again we also do find these phrases with the natural note which is kaisiki ni$ada.

4. The descent is always SDP. Again to highlight the importance of gamaka symbols. . . Y

we find that the prayOga SDP is always notated as SDnP or SDP. The ni§ada that

1 mentioned as 'kanatja'

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is touched is kaiSiki. An orikai on dhaivata can only touch upon kaiSiki ni$ada. Therefore any such phrase can never have a kakali ni§ada. Similarly the praydga GmRs always has madhyama as an anusvaram. Even when PGRS is given we find

. Y Y

an orikai on the gandharam hence a touch of madhyama. We find SNDP but only with a orikkai on the ni$ada and dhaivata making it SNsDnP.

In Sundaram Aiyar’s notation Kannada is given as a janya of 28th me la with no indication of anya svara. This means that the whole kfti will have only kaisiki nisada. The lack of gamaka symbols again makes some phrases very different, as for instance, the missing orikai on the dhaivata in the phrase SDP. In some phrases seen here, there has been an attempt to notate the gamaka symbols of SSP in a phrase like ml DP as MmDP. There are some extra sangati-s given in this version of the Iqti. There is also a prayOgam snDpm which is never found in SSP. Again for the line ‘Vikasapriya’ ( in the madhyamakalam) the notation has changed from mDDDDns to pDDDns. There is no pdns in SSP. Again a lack of gamaka signs has changed what should be PGRS to a straight PGRS.

Another kfti which is not found in SSP ‘gTticakra’ is given again as a janya of meja 28 without any indication for kakali ni$ada as an anya svara.

Mahadeva Bhagavatar’s version of the same kfti gives Kannada as a janya of 29th meja but has retained the phrase DNP which makes it sound very different or we must be expected to understand it as kaiSiki ni$ada.

In the two renditions by Smt. Kalpagam Svaminathan and SrT. Semmangudi Srinivasaiyar we find that they are very similar. Both renditions have ni$ada as kakali but in Semmangudi Srinivasaiyar’s version we find that in the line ‘sOmasakannata’ the nisada is closer to kaisikini$ada. In Kalpagam Svaminathan’s version the prayOga Srgm is found in the line ‘kOmalakara’ One another version of this kfti by Smt. T. Brinda has some very unusual phrases like pmgrs, srgmPmP and S#ndp.

Sangraha CQd^mani: Janya of DhTra-Sankarabharanam - 29th meja; sadjam - nyasa, arhSa, graham; Its not straight in ascent, srgmpmdns - sdpmpgmr

SangTta Sara Sangrahamu: Janya of 29th meja; Grsrgmpmdns - sdpmpgmrs

Mahabharata CQdamani follows the SangTta Sara Sangrahamu.

In the gTtam given in the publication by the TaccQr Singaracaryulu Brothers we find that there is a lot of use of SRMPMDD.

The lak$ana gTtam (ripubala’ given in the Oriental Music in European Notation by Cinnasvami Mudaliyar for DhTra-sankarabharanam has Kannada given as its upanga janya, but the version in SSP for the ragaiiga raga Sankarabharanam does not mention Kannada.

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The notation of the kfti ‘bhajare bhajamanasa’ in the book of TaccOr is very similar to how the Kannada kfti is sung today, except for a couple of changes as for instance, the phrase MPDJV,S being rendered today as MDNS. The k|ti ‘intakante’ again on the whole1 is very similar to the version sung today except for some places like where ‘Potasagulepanika’ the usage of SrgM has been removed and in the line ‘bettinalugurilo’, the phrase sdrjidns has also been changed.

As you can see, all the above three raga-s clearly had a very different and distinct identity till SSP. Its also clear that post SangTta Sampradaya Pradarsini there has been a period of flux where the writers have not been sure on how to treat these raga-s. Hence slowly they were transformed to conform to the Tyagaraja sampradaya. We also find that the lack of gamaka symbols in later notations has also led to more complications in our understanding. The changes in our gamaka orientations too have further complicated the situation.

The next two raga-s, Gaurivejavaji & Dhamavati have some factors in common

1. Both have only Dlksitar krti-s in them.

2. These raga-s did not undergo a laksana change even after SSP, probably because they had no necessity to conform to another version of the raga.

3. There is only one lqti in this raga in the 20th century.

4. Both these raga-s have undergone changes in the last twenty years.

Gaurivelava|iThis is a very old raga and finds mention right from the Svarameja Kalanidhi. In texts

like the Svarameja Kalanidhi, Ragata]a Cintamani, SangTta Sudha and the Caturdandi Prakasika we find that this raga is given as a janya of Sriraga but there are some differences among these texts with regards to the svara-s present in the raga.

In the Raga Laksana of Sahaji we find that it continues to be a janya of Sri but does not have ni$ada in ascent.

Its only in the SangTta Saramrta does this raga acquire the status of a meja and the ni§ada is also moved upto the kakali ni$ada. Hence this raga has - sa<jja, madhyama, pancama- suddha svara; ri$abha, daivatha - pancasruti; gandhara - sadharana, ni§ada - kakali; pancama- nyasa, amsa, graham; bha$ariga

In the SangTta Saramrta we do find a number of phrases with a double gandhara, e.g., srggr and even a number of double dhaivata phrases.

Raga Lak$ana - Muddu Veiikajamakhin: 23rd Mela; Here the raga is given as not having gandhara and ni$ada in ascent; dhaivata - gratia svara.

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In SSP we find that the mOrchana given is Srggsrmmpdds - sndpmggrs. Dhaivata - graham; madhyama, dhaivata, gandhara - jlva svara-s; vis€$a prayOga - srggS

From the notation of tana and saficari we find the following

1. In the gltam all the gandhara-s are double and many of the madhyama and dhaivata also are given as double. In the gltam and tanam we find that all the melodic movements ascending from sadja to madhya sthayi pancama are either SPM - smmp or SP with no prayoga-s of RM.

2. Both the risabha and the ni$ada do not really have much of a standing in this raga. Most of the descents to madhya sthayi sadja are with devoid of madhyama phrases as for instance, PGGR. Similarly we do find a number of occurrences of SDDP though there SNDP can also occur.

3. There is never even one instance of the phrase PDNS, it is always PDS.

The notation of Sundaram Aiyar for this kyti has the lak$ana intact but has extra sangati-s and the cittasvaram given is totally different from the one in the SangTta Sampradaya Pradarsini.

In recent years we find that this krti has been completely changed to GaurimanOhari, thus removing all the above characteristics of this raga and destroying its identity.

DhamavatiDhamavati is found only in the SangTta Sampradaya Pradarsini.

MOrchana -srgmpdns - sndpmgrs. Visesa prayOga-s - sgrgmp, dpmpds, Dgrs Sdpmgrs

Points from the notations and sancari1. We find that the ascent from the §adja to madhyama is always sgrg and never srg.

All through we find that the ascent to the tara sthayi sadja is always through pds, pps or even pdnds, but never pdns. In the krti ‘parandhamavati’ the phrase sndmp is extensively used. Also the descent from tara sthayi $a<Jja has along with sndp, also phrases such as sp - sdp. We also find an extensive use of the phrase of pggr.

2. Its very clear from the above that this raga is very different from Dharmavati. Unfortunately this composition has been today structured to fit Dharmavati thus destroying the very identity of Dhamavati.

3. As we see both the above raga-s, though they do not have another idendity in the Tyagaraja tradition, have been transformed to the corresponding mejakarta-s of the Tyagaraja tradition, namely GaurimanOhari and Dharmavati.

— — — THE MUSIC ACADEMY • JOURNAL 2010 • VOLUME 81 —

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ConclusionA study of the above two sets of raga-s namely Bhairavam - Sahana - Kannada and

Gaurive)ava|i - Dhamavati brings us to the following conclusions -

1. These raga-s very clearly indicate to us how raga-s have been changed in such a way that the melodic image of the DTksitar tradition has almost disappeared.

2. There is no necessity to unify the two systems and we can very well have two identities for a raga existing simultaneously, one in the DTksitar sampradaya and another in the Tyagaraja sampradaya.

3. It is also important to understand that the laksana-s that we get from the SangTta Sampradaya Pradarsini have a history and can be clearly cross referred to older texts. Hence it is a document of seminal importance.

4. There is an urgent need to us to try and retrace our steps.

ReferencesSangTta Sampradaya Pradarsini

SangTta Sampradaya Pradarsini

Oriental Music in European Notation

DTksitar Klrttam Prakasika

Guruguha Ganamftavarsini

DTksitar KTrtanamala

Raga Laksanasarigraha

Caturdandi Prakasika of Venkatamakhin

Raga Lak$anamu of Sahaji Maharaja

GanOndusOkharam

Gayakasiddhanjanam

SangTta Sara Sangrahamu

SangTta Rasarnavam

Adi Tyagaraja kTrtanangal

- Subbarama DTksitar (Telugu) - 1904

- (Tamil) - Music Academy

- Cinnasvami Mudaliyar

- Natarajasundaram Pifiai -1936

- Vendanta Bhagavatar and Anantakrsna Aiyar - 1936

- A. Sundaram Aiyar

- Hema Ramanathan

- ed. R. Sathyanarayana

- ed. Seetha - 1990

- Taccflr Singaracaryulu

- TaccOr Singaracaryulu

- 1915 ed.

- K.V. SiTnivasa Aiyangar

- K.V. Sffnivasa Aiyangar

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Tyagaraja Htfayam - K.V. Srinivasa AiyangSr

SiT V en k a ta Tana Varpam - C S Krepasvami Aiyar

Notations collected from N. Ramanathan and Hema Ramanathan

RecordingsKalpagam Swaminathan (I would like to thank her for recording the compositions for me)

Semmangudi SrinivaSier

M.S. Subbuulakshmi

M L. Vasanthakumari

T. Brinda

Ramnad Krishnan

I would like to thank Dr. N. Ramanathan, Smt. Hema Ramanathan and

Dr. R.S. Jayalakshmi for their guidance. I would also like to thank Ms. R. Latha for her help

in getting relevant material for this presentation.

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Different Versions of ly&gar&ja Klrtana-sRitha Rajan

Tyagaraja klrtana-s were essentially spontaneous, transmitted through oral tradition. Except for only one of his direct disciples, others had not written musical notations for the klrtana-s during the composer’s lifetime. Even the notations recorded by the direct disciple Valajapet Kftpasvami Bhagavatar are helpful only with regard to the authenticity of the raga-s, r3ga lak$apa-s and tala-s. The musical structure as per these notations is not very precise and can provide only a rough guidance. Due to these reasons and most importantly due to passage of time with a different musical trend, there have been changes in the music of Tyagaraja klrtana-s. These changes are of different kinds. There are klrtana-s wherein changes have taken place in the raga itself as in the k&tana ‘vallagadanaka’ which is sung in Sarikarabharapam as well as in HarikambhOji. In certain klrtana-s as in ’raga sudharasa’, the name of the raga is both AndOjika and MayQradhvani, while the lak$ana remains the same. In some cases, the same raga has different lak$ana-s in different traditions as in the case of raga HindOlam. Almost all the klrtana-s composed in Kapi raga of Karpataka music tradition, have been changed to the de§ya raga - Hindustani Kapi. There are also ta]a changes. For example, the klrtana ‘siggumali’ is sung in Adi taja by one tradition and in jhampa tala by two other traditions. Differences in textual readings are also found but not given much importance by the musicians. It is mostly the raga or die raga lak$apa that has changed in many klrtana-s which should be considered as a normal type of change that happened during the course of time, being common to all the traditions.

The topic of changes in Tyagaraja klrtana-s had been very much discussed in the past. As early as 1892, A.M. Cinnasvami Mudaliyar in his ’Oriental Music in European Notation’ stated that Tyagaraja klrtana-s had undergone many changes. The same complaint was echoed in ‘SrT Tyagarajasvami Klrtanalu’ published by Tillaisthanam Narasimha Bhagavatar (1908) and later in ’SrT TyagabrahmOpani$ad’ written by Valajapet KJC. Ramasvami Bhagavatar (1934) and in the popular music magazine of yesteryears “Sanglta Abhimani” (1937). During the Madras Music Academy’s Music Conferences’ morning discussions on raga-s and raga lak$apa-s, Tyagaraja klrtana-s were always referred to. Even about seven years back, there had been concerned discussions on distortion of Tyagaraja’s music (The Hindu Feb. 21&28, 2003 entertainment), which accused the musicians for ’having scant regard for the composer and his songs’. All these charges focus more on changes in raga-s and raga lak$apa-s, which seems to be conspicuous in many klrtana-s. Based on this, it is ultimately resolved that altogether Tyagaraja klrtana-s have different versions.

In Karpataka Music, the period immediately before and after Tyagaraja had been very crucial in terms of different musical ambiances and situations which resulted in impacting changes in musical fashion and trend. There was a growing interest in the seventy two mejakarta-s and

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the prolific new raga-s with more scale orientations derived from the melakarta-s. Less familiar melakarta-s like CarukeSi and Vakulabharapam, and vivadl melakarta-s like GanamQrti and NasikabhQ$aqi came into circulation. This sudden spurt of newly acquainted raga-s captured much attention. While it is doubted whether tyagaraja himself had composed in melakarta-s like $aomukhapriya and Caruke&i, it is also believed that some of his klrtana-s in well known raga-s were deliberately changed to the nearest new melakarta raga-s. For instance, many past musicians believed that the klrtana ‘canitodi’ was originally sung only in Kamas raga, but later purposely changed to HarikambhOji. Likewise many new raga-s were attributed to tyagaraja. There is a firm conviction that tyagaraja did not compose in many of the alleged vinta raga-s. A number of such new raga-s with their fanciful names have been waived as contributions of certain over-enthusiastic musicians.

The raga and raga lak$ana differences in tyagaraja klrtana-s came earlier and were purely musicology related. Another important change that one perceives in certain tyagaraja kTrtana-s and which can be fairly called a later development, was the change in musical setting as in the klrtana-s ‘paripQrna kama’ or ‘vidhulaku’, or the change in musical format as found in the klrtana-s ‘menu jQci’, ‘sundari nT divya’ or ‘inta kannanandamemi’ In fact this area was more interesting and fascinating to practicing musicians since it is all about the way the music of the klrtana was honed and circulated in the music circles. There are also historical and sociological factors behind such musical format changes. They bring to light, the background of different musical interpretations to the klrtana-s given by different traditions. The word ‘pathantara’ or version attains its real significance only in this context. The process of pathantara or standardization of tyagaraja kTrtana-s seems to have started even during the composer’s time with his support and encouragement (A.M. Cinnasvami Mudaliyar 1893, P. SambamQrti 2002). It continued in his si$ya parampara-s. Expertise in standardizing the music of the klrtana-s and presenting them in good authentic versions meant a coveted specialization for any zealous musician, especially for one who belonged to a well established ancestry of disciples. In the past there were three such prominent lineages of disciples of tyagaraja viz. the Valajapet $i$ya parampara, the Umaiyalpuram &i$ya parampara and the Tillaisthanam $i$ya parampara. These parampara-s avidly preserved and transmitted the tyagaraja repertory and the authentic versions of tyagaraja kirtana-s

Certain misconceptions:There are many misconceptions and overstatements regarding the changes that occurred

in tyagaraja klrtana-s. The most obvious are as follows.

a) The misconception that all tyagaraja klrtana-s have changed and have versionsIt is broadly believed that all tyagaraja klrtana-s have been subjected to changes

and sung in different versions. Detailed studies of the renderings of tyagaraja klrtana-s in the parampara-s defy this statement. About hundred and odd tyagaraja klrtana-s are sung

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essentially in the same way. These klrtana-s which reflect a general compositional style were probably the common repertory that tyagaraja taught to all the disciples. Some examples are, ‘marugelara’, ‘Tvasudha’, ‘cakkani raja’ and ‘darini telusukonti’

Apart from the common repertory, each parampara had its own special repertory of exclusive klrtana-s and popular versions. Presently we can identify two sets of such special repertories - one from the Umaiyalpuram parampara and the other from the Valajapet parampara. Exclusive kTrtana-s, are those available only at a single special repertory. They do not have versions, e.g, the exclusive klrtana ‘kanulutakani’ from the Umaiyalpuram special repertory and the exclusive klrtana ‘buddhiradu’ from the Valajapet special repertory. Thus kTrtana-s of the common repertory and the exclusive kTrtana-s of the two special repertories do not have versions.

The Umaiyalpuram collection also includes most of the Tillaisthanam repertory, which according to musicians had merged with that of the Umaiyalpuram even at a very early stage.

Besides the common repertory and the special repertory, the parampara-s also had less popular versions in their collection. Many of them became outdated.

b) There are many versions for the same klrtana which exist simultaneouslyIt is also loosely believed that there are many versions for the same klrtana which

exist at the same time. This is also an exaggeration. Usually if a klrtana has versions, it has only two, one being the popular version and the other being the less popular version. The versions are always from the two prominent sources the Umaiyalpuram and the Valajapet. For example there are two versions for the klrtana ‘dvaitamu sukhama’. The popular version of ‘dvaitamu sukhama’ is that of the Umaiyalpuram tradition. The less popular version of ‘dvaitamu sukhama’ is that of the Valajapet one. Similarly there are two versions for the kTrtana ‘vehkatesa ninnu’, the popular and the less popular. The popular version of ‘veiikatesa ninnu’ is the Valajapet one and the less popular version is Umaiyalpuram. Very rarely one of the versions is available at a third source. Even here, the other version is either from the Umaiyalpuram source or from the Valajapet source. Here are some examples for this exceptional case. There are two versions for the kTrtana ‘evarQra ninu vina’. The popular version which all of us are very familiar with, is from the Umaiyalpuram tradition. There is almost an unknown version of this klrtana sourced by the Tillaisthanam tradition. Similarly the version of the kTrtana ‘mahita pravfddha’ that we are familiar with, is from the collection of the Lalgu<}i lineage. There is the other unsung version of the same klrtana found in the Umaiyalpuram collection. The familiar version of ‘nlvera kula dhanamu’ is from the Valajapet special repertory. Its counterpart, the unfamiliar version of the same klrtana is available at the Tillaisthanam collection.

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The parampara-s never competed with each other to popularize their klrtana versions simultaneously. Having maintained a strong and continuous musical tradition, they respected each other and did not trespass into each other’s stylistic domain. For example once the Umaiyalpuram klrtana version of ‘etavunara’ became more popular, the Valajapet version of ‘etavunara’ gradually disappeared from the scene. Likewise, it was Valajapet’s grand version of ‘mamava satatam’that became popular and the nondescript version of the same klrtana in the Umaiyalpuram tradition was slowly discarded by that parampara.

When the version of a particular parampara was not accepted by the musicians, it became less popular and slowly faded out.

A klrtana version is always evaluated by a judicious musician,*only by its rich musical content and its high musical quality arrived through adept and competent calibration and not by differences in mere raga or raga lak§aga. For example it does not matter much for a musician if the raga Banga)a (28/29) is sung with kaisiki ni$ada or with kakali ni$ada as per the two versions. Likewise there is not much for him to reflect on the two versions of the hindola raga klrtana-s (8 or 20/22) sung with different dhaivata-s.

c) Non discrimination between changes and versionsAs given earlier, there were notable changes in many Tyagaraja klrtana-s, especially with

regard to raga-s, and raga lak$ana-s. These changes were natural and unavoidable as it was a period of intense musical activity. They were common to all the lineages and were accepted in the course of time. For example it is said that all the klrtana-s in the raga Pantuvaraji were originally sung with sadharana gandhara. Long back it was changed to antara gandhara. Likewise all the kTrtana-s that were earlier set in the raga DeSyat&Ji were subsequently changed to raga tfrji. These changes have come to stay and are not to be taken as versions. The musicians use the term version only as a different musical interpretation of a particular klrtana. It is music, its format and arrangement that mean more to a musician than a mere change of raga, raga lak$ana or tala.

Bhajana forms and concert versionsTyagaraja klrtana-s were mostly sung with inspiration at the moment during his daily

pQja and uncavjtti bhajana. His klrtana-s were basically bhajana types. The typical features of Tyagaraja klrtana-s namely the repetitive music, the interspersed madhyamakala sarigati-s at different musical stages (as in the pallavi of ‘cakkani raja’) and presenting music which runs counter to the tala (especially in adi tala), are all adaptations of the bhajana music. These features can be found even in the advanced klrtana-s popularly sung in music concerts There are many Tyagaraja klrtana-s whose simple bhajana forms are available, as in the case of ‘inta kannanandamemi’, ‘kori vaccitinayya’, ‘menu jQci’ and ‘yuktamu gadu. The present renditions of these k&tana-s that we hear in music concerts are re-organized versions. Tyagaraja klrtana-s

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became very popular even during his times and slowly replaced the time honoured Ragam Tanam Pallavi in the music concerts. This practice became intense by the beginning of the 20th century and continues even to this day. It has gone to the extent that presenting a Tyagaraja klrtana with elaborate raga alapana, neraval and kalpana svara followed by tani avartanam on the mfdangam gives the musician the same satisfaction and contentment of having sung an elaborate ragam tanam pallavi. The music concerts with more priority to Tyagaraja kTrtana-s have thus attained a different outlook containing many of the vibrant bhajana / harikatha elements, like the importance given to exciting cross rhythmic support, fascination for madhyama kala and the intense team spirit being given preference than individual contribution.

Credit goes to Tyagaraja kTrtana-s for having made Karnataka music highly composition oriented. Tyagaraja’s compositional style has come to stay with a powerful impact on all the later compositions and even on some of the compositions of his contemporaries Muttusvami Dlksitar and Syama Sastri.

Versions of the Valajapet and Umaiyalpuram traditionsTo find out the genesis of any Tyagaraja kTrtana, one has to refer to the two important

sources the Valajapet and the Umaiyalpuram. The Valajapet disciples of Tyagaraja namely Valajapet Venkataramana Bhagavatar and his son Valajapet K^nasvami Bhagavatar had acquired the largest collection of the kTrtana-s. Krsnasvami Bhagavatar had recorded the kTrtana-s with musical notation. These notations are collectively called the Valajapet manuscripts. Famous versions of Tyagaraja kTrtana-s from the Valajapet collection are ‘nTvera kuladhanamu’, ‘venkatesa ninnu’ ‘nTvanti daivamunu’(Todi) and ‘eti janmamidi’ Generally it is the exclusive kTrtana-s of the Valajapet special repertory like ‘ranidi radu’, ‘paritapamu’, ‘tanavari tanamu’ and ‘mummOrtulu’ which are more familiar than the versions.

The Valajapet renditions of Tyagaraja kTrtana-s have their distinctive features as follows.

a) They are simple in musical structure like examples ‘parulanu vedanu’, ‘vinave 0 manasa’, ‘varasikhi vahana’ ‘nija marmamulanu’ and ‘manavini vinuma’ wherein the murchana or the raga scale is evident at the very outset.

b) There is a profuse use of phrases of pratyahata gamaka like sn nd dp, gr rs sn nd, dp pm mg gr and so on. Some examples for this category are ‘ranidi radu’, ‘paraku nTkelara’ and ‘kjpa jOcufaku’ The kTrtana ‘ranidi radu’ is constructed with such phrases occurring in the entire composition.

c) In many kTrtana-s certain fondness for some specific musical phrases is noticed. These are phrases SR - srG - rgM as in the version of ‘kaddanuvariki’, RM - rmP - mpN... as in the version of ‘venkatesa ninnu’, and again SR- srG- rgM... and PD- pdN... in the exclusive kTrtana ‘nadaci nacjaci’

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d) There is a marked repetition of a musical phrase twice in succession in many klrtana-s. In the exclusive kTrtana ‘vinata suta vahana’ (jayantasena). there is such a repetition as ‘mpdp mpdp’ in the basic musical structure of the pallavi. In the version of ‘vidulaku’ it is as ‘gmpm gmpm’ for the third sangati in the pallavi. Also phrases like ‘rgrg-pdpd’ etc are spotted quite considerably as in the versions of ‘sugunamule’ and ‘gltarthamu’

e) One can easily identify a kTrtana from the Valajapet source at the very commencement. Almost all of them start either with tara sthayi §adja or subsequently reach tara sthayi sadja, as the first musical statement of the song progresses. Very rarely we do not find this device as in ‘kfpajOcutaku’. But even here the third sangati has a substantial halt on tara $a<jja.

In many Valajapet versions there are generally a few obvious over-dwellings in the tara sthayi and sometimes as the music progresses gradually to higher svara-s, there is a sudden deliberate leap to further higher svara-s as in ‘vidulaku’ ‘paripOrriakama’, and ‘paraku nTkelara’. These seem to be kinds of archaic musical practices.

f) There are only limited numbers of sangati-s in the Valajapet versions of Tyagaraja klrtana-s. It was only while singing advanced kirtana-s of the common repertory like ‘cakkani raja’ or ‘darini telusu konli’, the Valajapet musician presented a number of sangati-s. For example, there are very few sangati-s in the Valajapet version of ’kaddanuvariki’, when compared to the Umaiyajpuram version of the same kTrtana.

g) The general kalapramana of the versions of other kTrtana-s is comparatively faster. For example one will be surprised to hear the kTrtana ‘rama nannu brOvara’ sung in an unusually fast tempo. The Umaiyalpuram version of the same kTrtana is sung only at a moderate kalapramana. The Valajapet renditions still retain many of such older bhajana lineaments.

On the whole the Valajapet renditions feature many old musical usages which have been kept intact even today by the very few followers of the tradition. The over all music structure of many kTrtana-s does not suggest any contrived or manipulated musical arrangement e.g., the version of ‘paripOrnakama’ or ‘daridapuleka’ Thus one cannot but wonder perhaps this was how Tyagaraja had originally sung with inspiration on the moment! The Valajapet parampara’s versions of Tyagaraja klrtana-s give a better idea of how they were earlier sung. But at the same time there are also problems because such renditions are so antiquated and lack contemporariness. They can only be preserved as worthy archives.

It was vidvan KancTpuram Nayana Pijjai who gave much publicity to Tyagaraja kTrtana-s of the Valajapet collection by popularising them as conert versions. He alone popularised at

least about one hundred and fifty kTrtana-s of the Valajapet collection of exclusive kTrtana-s and kTrtana versions. Certain kTrtana versions of the parampara rendered by Nayana Pi)]ai such as ‘mamava satatam’, ‘nTvera kuladhanamu’, ‘venkatesa ninnu’, and ‘kaddanuvariki’ were acclaimed to be highly aesthetic.

The Umaiyalpuram versionsThe special repertory of th Umaiyalpuram sisya parampara of Tyagaraja is remarkable

with a large number of popular versions and exclusive kTrtana-s. There are almost as many popular versions as the exclusive ones which speak for the noteworthy dynamism and strength of the tradition and its transmitting power. The following are the unique features of the Umaiyajpuram renditions.

a) The Umaiyajpuram versions of Tyagaraja kTrtana-s are mostly concert types

b) Even the basic music structure in the Umaiyajpuram version is complex as seen in the kTrtana’ mati matiki juci’ This is due to the fondness for interspersing more madhyamakala in the musical structure. There is another version of the same kTrtana in the Tillaisthanam tradition which has a very simple music structure.

c) There are many kTrtana-s of advanced type with a number of sangati-s. Sangati specialization is unique to Umaiyajpuram. Even for a very simple kTrtana there are a few sangati-s in an Umaiyajpuram version as seen in ‘kuvalaya daja nayana’ There is a version of this kTrtana in the bhajana format in the Valajapet collection which is sung as only one section (eka dhatu). Graded sangati-s, concluding sangati-s and climax sangati-s are very special to Umaiyajpuram versions. Graded sangati-s are usually found in any kTrtana from the Umaiyajpuram parampara. The version of ‘dinamanivamsa’ has a typical concluding sangati at the close of the pallavi section which effectively joins it to the commencement of the song. Climax sangati-s in the Umaiyajpuram versions are so complex, which present music entirely different from the basic music structure. The climax sangati of the Umaiyajpuram version of the kTrtana ‘vidulaku’ is a good example.

d) There is more variety in the Umaiyajpuram versions. The parampara has paid equal attention in standardising simple, intermediate and advanced kTrtana-s.

e) There are many kTrtana versions and exclusive kTrtana-s in rendu kajai adi tala e.g., ‘rama bana’, ‘kanna talli’, ‘kaftu jesinavu’ and ‘adigadu bhajana’

f) The overall music structure of the Umaiyajpuram versions are not abstract as in the Valajapet versions but suggest planned musical arrangement. They are ideal concert versions moulded with appropriate musical format and sangati-s to facilitate an appealing cross rhythmic accompaniment by the mfdangam.

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A note on the parampara-s’ exposure to societyWhile the Valajapet musicians were selective and conservative in adapting themselves

to changing musical tastes and values in the society, the Umaiyalpuram musicians were more modem in their outlook and could adapt smoothly to changing times. The Valajapet musicians confined mostly to Valajapet and other places in the North Arcot area like KancTpuram, Vellore and Chittoor. Though at times they visited Madras (the present Chennai), which was evolving as an important Karnataka music center next to Tanjavur, they never migrated to Madras like all the later Umaiyalpuram musicians. Even in Madras they used to visit areas like George Town and Paris Comer which were mainly business centers. Many Valajapet musicians’ main profession (including that of the direct disciples of Tyagaraja) was silk trade. Music was more of a passion for them. Thus they had preferred to preserve and safeguard their music repertory.

The Umaiyalpuram musicians including Umaiyalpuram Krsnna Bhagavatar and Sundara Bhagavatar, the direct disciples of Tyagaraja had visited Madras frequently. All the later musicians of the parampara settled down in Mylapore at Madras as either performers or teachers. Mylapore hence became an active music center. There was an unbroken chain of disciples in this parampara which was very enthusiastic to spread its Tyagaraja repertory by performing, teaching and publishing the klrtana-s with notation in the leading Tamil weekly, ‘Svadesamitran’ in the thirties and forties of the 20th century.

Versions with certain stylistic approachesOccasionally there had been earnest attempts to render a few Tyagaraja klrtana-s as a

complete art music form with a stylistic approach as seen in ‘mamava satatam’, ‘buddhi radu’ and ‘nlvera kuladhanamu’ by Nayana Piljai and the family members of the Vina Dhanammaj family and as seen in the klrtana-s ‘citra ratna maya’ sung by Maharajapuram Visvanatha Aiyar and in ‘dvaitamu sukhama’ sung by Semmangudi Srinivasa Aiyar. This brings in a third category of Tyagaraja klrtana versions namely the art music versions, the other two categories being the bhajana forms and the concert versions.

References• Cinnasvami Mudaliyar A. M (1892) Oriental Music in European Notation, Ave Maria

press, Madras

• Kodandarama Aiyar T.P (1913 edition) Bhagavat Bhajana Paddhati (telugu)

• Narasimha Bhagavatar (1908) Tyagarajasvami Kirtanalu (telugu), Dowden and Co,

Madras

• C.K.Reetha (1987) Pajhantara-s in the compositions of the musical Trinity,

unpublished thesis, University of Madras.


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• P. Sambamurti (2002 edition) Great Composers Book II Tyagaraja, The Indian Music Publishing House, Chennai.

| • T.V. Subba Rao (1951) Rare and Unpublished Klrtanam-s of Tyagaraja, Andhra GanaKala Parishat, Rajamundry

• Copy of the Valajapet collection of 170 Tyagaraja klrtana-s with Notation (telugu)

from the Govt. Oriental Manuscripts Library, Chennai (courtesy N. Ramanathan)

• Personal notebooks of the Valajapet musicians Vellore Gambi Rangayya, Chittoor

Subramanya Pijjai and of the ancestors of Ritha Rajan (author)

• The Umaiyalpuram paper manuscripts with the Sanglta Nataka Sangam, Chennai

• Personal notebooks of the Umaiyalpuram musicians Melakkaveri RamamQrti Aiyar

and Maruthuvakkudi Rajagopala Aiyar

• Personal notebook of T. Srinivasa Raghavan of the Tillaisthanam parampara

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Easy, Innovative and Effective Methods In Teaching Karnataka Music

Akella Mallikharjuna Sarnia

Having worked as a music teacher for nearly four decades, I have realized the pros and cons of the conventional teaching methodology. Post retirement I realized that I had committed several mistakes in my teaching career. On reflecting upon past mistakes, I felt that there was a dire need for a scientific method of teaching, which facilitates quicker and efficient teaching / learning of music. After retirement in 1996,1 gave up my active artistic-life as a professional Violinist and continued my experiments and found many encouraging easy methods in teaching, making the process of teaching ‘TIME-BOUND AND RESULT ORIENTED’, unlike in the past. On introspection and extensive experiments, I realized that the defect lies not so much in learning but in teaching. I also found that, mainly, there are two kinds of methods of teaching and they are 1. quantitative-teaching and 2. qualitative-teaching.

I also felt that most of the teaching methods practiced today are quantitative in nature, wherein the student is taught several items right from the preliminary exercises to the Kfti-s, which mostly enhances the ability to memorize items. Not much is taught with respect to Ragalapana and Svarakalpana barring a few exceptions. This calls for a more analytical approach in teaching ManOdharma SangTta. As the crux of our music is manOdharma sanglta, lot of our efforts must go into these two aspects. Contrary to popular belief, Svarakalpana can be taught through easy-muktayi-s by which drill they can easily sing svarakalpana on their own. This drill of svarakalpana also paves way for Ragalapana. By extensive experiments it has been proved that even ragalapana can be taught to students by way of notation, the basis of which comes from learning Ktti-s with symbolized notations and also with the ability to write notations precisely. Thus, it is also essential to sharpen the creative abilities of the aspirants so that they can sing svarakalpana and ragalapana on their own. Based on these aspects I have evolved a teaching methodology which I believe is qualitative in nature and formulated certain teaching methods wherein the aspirants’ rhythmical abilities are enhanced leading to effortless and free-flowing Svarakalpana along with providing insight into developing ragalapana techniques and honing of skills with respect to manOdharma sanglta.

On analysis, I have arrived at the conclusion that primarily 8 Saraji-svara-s, 4 Janta- svara-s, 3 Dafu-svara-s along with the 7 Alankara-s are sufficient. Later, 6'GTta-s including a Lak$ana-gTta covering all the 12 notes devoid of Gamaka-s and 9 Varna-s coupled with a Svarajati covering all the oscillations of notes, are taught. This enables the student to learn Ktti-s later on his own, with minimum assistance from the teacher. The logic behind choosing the seriatim of raga-s of Varna-s is to encompass maximum number of oscillations that exist

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in our music. Here, it is very important to note that though the teacher is instrumental in learning, this method enables the student to become independent, a quality, which is essential to develop and nurture one’s own creative abilities.

As you all are aware, Sruti and Laya are the core components of music. While Sruti gives pleasure to the listeners, laya sharpens the brilliance and instills self-confidence and helps increase the rhythmical abilities in the aspirant. Hence, the rhythmical instinct of the aspirant must first be put to test and only if he qualifies, he should further be subjected to the Sruti test. The aspirant’s rhythmical abilities must be further sharpened by initiating him to play with two cane sticks in tandem with the rhythmical music of Casio-MA-150 in both caturasra and trisra-gati-s, as Gati is pivotal and more crucial in strengthening laya than jati.

At this point, I would like to bring out that there have been modifications of anga-s of some of the alankara-s in the past. As per taja-s furnished in Ragatajacintamani, Dhruva-tala which was originally furnished as ‘1 S O’ was later modified as ‘10 11’; Jhampa-taja which was originally furnished as ‘0 U 1’ was later modified as ‘1 U O’; Triputa-taja which was originally furnished as ‘0 0 0 U’ was later modified as ‘1 0 O’; Ata-tala which was originally furnished as ‘1 0 0 1’ was later modified as ‘1 1 0 0 ’ and Eka-taja which was originally furnished as ‘0’ was later modified as ‘1’

On analysis, we now find that the logic behind teaching the preliminary exercises, saraji-svara-s, janta-svara-s and datu-svara-s in Adi-taja is to give acquaintance with respective notes, laya, tajanga-s and their jati. In the same manner, the logic behind teaching Alankara-s is not providing mere acquaintance with longer taja-s as relatively short tala-s are prescribed despite the availability of much longer taja-s.

With respect to jati-s, while 5 jati-s are prescribed, one is an even-jati and the remaining four are odd-jati-s pointing out the importance of odd-jati-s. More over, sanklrna-jati has wantonly been omitted in these alankara-s obviously indicating that it is less significant as three trisra-s can easily be accommodated in a sankTmam. Now, we have the more crucial aspect of taja, which is the Gati. As gati is pivotal in strengthening of laya and more crucial than laya, it is essential to equip the students with the ability to render exercises both in caturasra and trisra-gati-s.

At this juncture, it is very important to note Sarngadeva’s definition of kriya. He has defined it in the ‘Tajadhyaya” of SangTta Ratnakara, as follows:

“pancalaghvaksaroccaramitah matrOha kathyate”

The matra is taken as the total duration of uttering the five short syllables ‘ka, ca, ta, ta and pa’ Since laghu (short) syllables are involved, the span is called Laghu. This is approximately of the duration of a second.

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“Nimlsakalo matra kathyate” - Kalanidhi (commentary of Kallinatha) on Sarngadeva’s SangTta Ratnakara, 5.15 (Gods are called ‘animisa-s’ because they do not blink; others are ‘nimisa-s’ because their eyes open and close).

This is also equated to “nimisakala” i.e., the time required to close and open the eyes naturally. This is taken roughly equal to a second and so matra roughly corresponds to the objective duration of a second.

But, unfortunately, a list of terms like ksana, lava, kastha, caturbhaga etc., have replaced the above mentioned definitions of kriya by many of the present authors confusing the aspirants. Now the duration of kriya as prescribed by Sanigadeva/Kallinatha is revived to remove the confusion and also to make it more precise.

In contemporary practice, we also notice that there are four implications in learning alankara-s and they are, l.Laya 2.Taja 3.Uttering the solfa-syllables like s-r-g-m-p-d-n and 4.Singing the solfa-syllables with their respective sounds. In order to simplify the learning process of these alankara-s and also to strengthen the rhythmical abilities of the aspirants, for the first time in the history, jati-alankara-s have been formulated based only on Laya.

Once, I accompanied Late SangTta Kalanidhi Cittur Subramanya Pijjai in a concert. Unlike any other artist, I found that he used to render Ta)a with both hands i.e., he rendered the kriya with his right hand and used alternate beats with his left hand for the sake of balance. By many experiments I found that the alternate left hand beat with the right hand beat immensely helps the aspirant in strengthening the rhythmical abilities of the aspirant and included in all the rhythmical exercises right from the first day of the music-lesson.

Thus, the left hand beat is introduced right from the first day of the lesson. In order to simplify further, the seriatim of alankara-s has also been modified so as to start with the shorter tala i.e., Eka of 4-units and proceed towards longer taja-s i.e., ROpaka of 6-units, Mathya of 10-units, Dhruva of 14-units, Jhampa of. 10-units and Ata of 14-units. Lastly, Triputa of 7-units, the only Tala having odd-number of units is introduced. To make it easier to the aspirant, these 7 Alankara-s are further divided into two groups. The first group of 4 Alankara-s comprises of Eka Tala-4-units, ROpaka Tala-6-units, Ma(hya Taja- 10-units, Dhruva Taja-14-units which have short units only and the second group of 3 Alankara-s being, Jhampa Tala-10-units, Ata Tala-14-units and Triputa Tala-7-units have both longer and odd-units.

Based on several experiments, I have found that each and every musician must indispensably get acquaintance with the least odd-gati which is trisra-gati among the four odd-gatis along with the caturasra-gati and hence the alank^ra-s must be rendered in both caturasra and trisra-gati-s.

Keeping all the above in view, the aspirant should be initiated to render the jati- alankara-s, formulated for the first time in the history, with the alternate beats of both the hands

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@ 120 bpm of the in-built Metronome of Casio-MA-150. In order to gain control over laya, the aspirant must be equipped to render the same, both in Caturasra and Trisra-gati-s. Hence he will be initiated to regularly render special-laya-exercises of 24 kinds which begin with the rendering of jati alankara-s with both hands and proceed to the more complex exercises, eg., rendering of trisra, khanda and misra jati-s in Adi taja (caturasra-gati) at 8-units per two seconds with the right hand only.

While .the aspirant is trained to render these exercises on one hand, he/she will be initiated into music on the other. The aspirant is required to play the 1st sarafi-svara with four notes first and later with two followed by independent rendering of notes i.e.

1. ssss I nrr I gggg I mmmm I pppp I dddd I nnnn I ssss I

2. ss I rr I gg I mm I pp I dd I nn I ss I

3. s l r l g l m l p l d l n l s l

This is practiced in order to familiarize aspirants with the notes and also to reinforce every note.

The aspirant is expected to play on the Casio in order to gain acquaintance with plain notes. The preliminary exercises are prescribed in Sankarlbharana-raga as most of the notes in its scale are independent unlike in Mayamajavagaula-raga. This helps the aspirant identify and distinguish notes. Hence, he should start by playing the keys of Saiikarabharana-raga. The pitch of his/her voice can also be selected by operating the ‘transpose’ key of Casio-MA-150. Later, he/she should also be initiated to sing svara and akara while playing the notes. Some of the Laya-exercises are also available in the playlists of ‘Youtube-msakella’s channel' for the benefit of the aspirants.

Here, it is very important to note that practicing along with the in-built-rhythm of Metronome and fixed notes of Casio-MA-150 helps the aspirant a lot without letting him/her go off-track in the absence of the teacher.

Next, he should be initiated to proceed in the same manner playing and singing svara and akara along with the remaining 7 saraji-svaras, 4 janta-svara-s of 2 notes and 3 datu-svara-s.

While the aspirant makes a regular drill of rendering the jati-alankara-s right from the first day of the lesson, he should also be initiated to render the Svara-alankara-s in HamsavinOdini- raga, first in caturasra-gati and later in trisra-gati in matra-kala i.e., 4-units per each second, with both the hands alternatively, wherever necessary, along with the beats of the Metronome but without talanga-s. The alankara-s are prescribed in the pancama-varja-raga, HamsavinOdini so as to enable rendering of three speeds in even number of avarta-s such 8 ,4 and 2 avarta-s unlike in the traditional method wherein the Alankara-s constitute 10 avarta-s each and require 10, 5 ahd 2Vi avarta-s, to be rendered in three degrees of speed respectively.

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After the invention and inclusion of Kfti-s/Klrtana-s etc., I believe, the Glta-s seem to have lost much significance. Hence the Glta-s should be taught to familiarize the aspirants with the 12 notes and thus, the aspirant should be initiated to learn 6 Glta-s including one Laksana-glta and a Svarapallavi on his own, by playing them on the Casio and singing them along with svara, akara and sahitya. On completion of Glta-s, the aspirant should be initiated to render all the items, without gamaka-s, in 3 degrees of speed along with talanga-s.

Further, he should also be initiated to play and sing all these preliminary exercises in 32 non-vivadi meja-s to get good acquaintance with all these 12 notes.

In our music, 15 kinds of oscillations called Pancadasa-gamaka-s are furnished in the old texts, which are not at all sufficient to cater to our present-day needs. Unfortunately no fruitful attempts have ever been made in standardizing all the available oscillations of our music, even in the interest of our students and teachers. I was compelled to work hard on these lines and could successfully categorize and symbolize all of them to provide the aspirant and teacher, a better understanding. In this process, I could symbolize 60 kinds of oscillations of notes among which the Kaisiki-nisada itself occupied 27 kinds.

Before starting Varna-s, the aspirant must be enlightened with the general application of oscillations of notes. While initiating the aspirant learn the 9 Varna-s in the raga-s, Natakuranji, Kambhoji, Darbar, Saiikarabharanam, Kalyani, Begada, TOdi, Saveri and Bhairavi and a Svarajati in Bhairavi, all the respective oscillations of each item must be demonstrated at one note per each second with every minute detail. The aspirant should be instructed to listen to and sing all of them in the same seriatim as provided in the CD so that he gets proper acquaintance with all the oscillations of notes and proceeds further to learning Kfti-s on his' own with minimum assistance from his teacher.

The duration of imparting and learning these ten items, could vary from one individual to another. However, a brilliant and hardworking student may complete learning them in three months time provided he/she is properly guided by an efficient teacher. An average student may complete learning the same within a year and proceed to learning Kfti-s. Subsequently, he/she will be able to render a brief ragalapana and svarakalpana, in a span of six months. However, it will not take more than 3 years to teach all the technicalities of music but the success of the aspirant mostly depends upon his/her own abilities and perseverance.

In order to strengthen the rhythmical abilities and thus impart training in svarakalpana, I have collected many easy-muktayi-s in all popular ta]a-s from the ‘Mullapudi School of Mfdangam, Vizianagaram' and symbolized them. The mathematical element in these muktayi-s is simplified for the purpose of singing Svarakalpana easily. The aspirant gets reasonable acquaintance with the easy muktayi-s in the form of jati-s even before commencing Varna-s. While learning the §ankarabharana-varna, the aspirant should be initiated into singing easy- muktayi-s in svara-s along with jati-s, not merely in Saiikarabharana but also in other raga-s like Kalyani, Mayamalavagau)a, Mohan a, Suddhasaveri, Hamsadhvani, MadhyarnSvati etc., by which

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drill, his ability in singing svarakalpana on his own increases gradually. Consequently, singing all these easy-muktayi-s in akara enables the aspirant sing ragalapana also efficiently.

In the context of singing ragalapana, we must recollect the process of extracting ghee from milk. Just as mere collecting of large quantities of milk doesn’t help in extraction of ghee; mere learning of several compositions doesn’t help or suffice. Instead, the process of obtaining the raga from compositions must be learnt. Moreover, umpteen experiments revealed that repeated listening to the segmented sangati-s of the raga with a proper understanding of all the oscillations of notes along with sufficient knowledge of their application, is more effective in singing ragalapana than learning a number of compositions by heart in that raga. To begin with, segmented sangati-s of Sankarabharana-raga should be loaded into an mp3 player to enable the aspirant listen to it, repeatedly.

To cater to all these needs and also to be helpful to the aspirant I have brought out a mp3 CD, AMS Easy Methods-2007, in which, starting from the preliminary exercises up to Varna-s are furnished in 481 tracks with symbolized notation, sung by me and recorded in my CD along with different rhythmical exercises and defined oscillations of notes. This CD could be downloaded from http://www.sangeethamshare.org/chandra/AMS-Easy-Methods- 2007/. I have also penned a book, Sanglta Svarartga Sudha, containing easy-muktayi-s in six different tala-s and notated and symbolized alapana-s of 36 raga-s provided with another mp3 CD. For the first time, I have also written another book, Sanglta VidyabOdhini, which is the compilation of notations of nearly 70 lqti-s along with 3 mp3 CDs in which all these Kfti-s are sung conforming to the same notation.

To encourage traditional arts, the Central Government has long ago introduced a course of study in general education through ‘National Institute of Open Schooling (NIOS)’ in which the aspirants can spend much of their time in learning and practice of traditional arts and simultaneously study general subjects also during the remaining hours at their residences, appearing for the examinations privately. Presently, some of the candidates learning music seriously are choosing this system of examination and are qualifying in both academics and music.

At this juncture, I want to make a special mention, to all parents who are interested in exposing their kids to music. As per the experiments held by Mr. Roger Sperry, the Nobel Prize winner (1981), one of the four parts of the human brain positively responds to Music, Dance, Poetry, Acting, Singing, Painting, and Art & Culture only up to 6 years of age. So, it is always better to expose kids regularly right from their 6th month to the in-built rhythmical- instrumental-music of Casio-MA-150 pertaining to both caturasra and trisra-gati-s, in a well- disciplined manner.

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http://www.sangeethamshare.org/chandra/AMS-Easy-Methods-2007/

http://www.sangeethamshare.org/chandra/AMS-Easy-Methods-2007/


Musics of East Asia - China Japan and KoreaSAJK. Durga

Asian music and culture is reflected in Indian music and culture largely. The style of music is melodic in Asian music. In Japan and Korea, though the Chinese influence predominates, they retain their native tradition. India and China being ancient nations, acculturation did not take place much. Commonalities in scales and playing techniques, concepts of musical progressions are found in Indian music and in the musics of China, Japan and Korea.

It is widely known that western scales and western instruments are adopted in Carnatic music but not the scales of China or Japan or their musical instruments. The reason being the scales prevalent in Indian music are also used in Chinese music and Japanese music. Many of the music concepts such as the consonant dissonant relation of the notes, model shift of tonic and many others are alike.

Chinese music has a hoary past as that of ancient Indian Music from 500 BC. The history of classical music begins from folk tradition to devotional and into classical music in Indian and Asian musics. Ancient musical treatises of China speak about musical instruments, theory of music, compositions and other information about the patronage.

It is interesting to find as to how the first scale of Chinese Music which is a pentatonic scale is found with the concept of Cycle of Vth. Around 2697 B.C Ling Lun was sent by an emperor Huang to the western mountains to find the fundamental pitch through different lengths of bamboo pipes called Lu. The Story conveys three things.

It places the origin of music in western borders where many new musical concepts crossed over China.

The concern of the emperor to know the right fundamental pitch reflects indirectly the close connection of early Chinese music to rituals and extra musical life in China.

“Setting the proper fundamental pitch literally means putting music in tune with the various forces of the Universe” (Malm 146p)

Chou and Han dynasty writers used these pipes as the basis for an elaborate tone system that strongly influences Chinese music.

The Chinese tone system is cyclic contrary to the Indian tone system which is divisive. It was constructed from a cycle of tones generated by blowing across the tops of a set of tubes closed at one end and whose lengths were arranged in a set of mathematical proportion.

The pitch produced by the first tube was called Huang Chung or yellow Bell. It is the basic pitch. Additional tones were produced by constructing tube length of 3/2 and 4/3 from the length of the previous tube. The overblown fifth concept is followed by blowing the

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first tube one fifth higher (G) A tube Vi shorter than the first tube will produce the Vth note without over blowing.

Though they constructed 12 tubes, the first five tubes were only needed to illustrate the fundamental five tones (Wu Sheng). The first fundamental scale is pentatonic scale gotten from the cycle of fifth. The basic Chinese scale is sung with the solfa names Kung-Shang- Chicu or Chuch-Chih-Yu.

The sixth and seventh lu tones (F# and B) were called changing tones (Pien). They are used as passing tones for the pentatonic scales or to achieve modal changes within a basic five tone frame work. The five tone basic scales would be transposed putting the Kung on any of the 12 Lu pitches and constructed the five tone scale.

The Chinese had an orderly classification of musical instruments. These were classified under the so called “Eight Sounds” (Pa yon) system which is different from the instrumental classification of material with which they are made. Chinese had very ancient drums and bamboo instruments.

Chin, Pip’a , Sheng, Cheng are ancient musical instruments which are still played and enjoyed by people. Harps and plucked lute were popular. Huch in, Erhahu San hsien, yueh Chin, Panku are also still popular. Rattles of various shapes, Bamboo flutes, include the end blown Hsiao with the finger holes are widely used. Chinese female voice is extremely shrill and nasal whereas men’s voice is majestic and deep.

The generic terms for Chinese Opera is h_si ch’u. Peking opera is very famous in the West too - “Chinese opera includes instrumental music for dances, pantomimes and interludes as well as vocal recitatives, its characteristic music styles are found in arias. There are two general approaches for the setting of arias”

1) Lian Ch’u - standard pieces according to the moods

2) Pan Ch’iang - Stereotyped melodies depending on the dramatic situation.

The most common time beater Pan-ku or tempi and clappers are used as accompaniments for instrumental music and voice. The story is narrated with vocal music in various tempo

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according to the mood and situation. Pi’pa is commonly used plucked lute. Various sizes of cymbols (Pa) and thin knobbed gongs (lo) are commonly used in opera ensembles. The sheng mouth organ is also occasionally used melodically though it usually adds harmony in fourths and fifths.

The voice quality and range used in Peking Opera depend on the character portrayed. Female voices are high and thin. Military heroes use a very powerful voice. In terms of vocal music “traditional Chinese opera consists of recitatives with percussion interjection followed by appropriate arias” In peking opera there are standard aria melodies of different melodic pattern of thirty varieties.

The communist victory on mainland China in 1949 is of special interest. The triumphs of socialism and class struggle began to be used as themes. The nature of compositions in contemporary mainland China is reflected in the theme such as “The sacred war symphony” . “The yellow river concerto” and so on. The music of the west had a strong influence and the traditional Chinese music is preserved by the musicians and a few conservatives. “Nevertheless the overwhelming past and brilliant present of Chinese traditional music provide ample material for an appreciation of the musical genius of the Chinese people”.(Malm: 171/0)

The musics of Japan and Korea have the Chinese influence in their traditional music. In Japan folk music and dance and musical ensembles predominate as Japan has many islands. The Taiko drum which is barrel shaped with two tacked heads played with sticks and bamboo flutes and occasional small brass gang ensemble used in festivals and dance accompaniment is known as hayashi. The bamboo flute of the folk type is called takebue. Improvisation hardly exists in Japanese music but the festival music often seems improvisatory because of the Ornamentation of the melody by the flute and other instruments play the piece in different manner. Also Japan has many folk theatricals. The three stringed plucked shamisen lute accompany regional and occupational folk songs.

Japan’s two basic scales of folk music as well as other types of music after the coming of Shamison are the YO and IN. They both are pentatonic scales with two possible additional tones. They differ particularly in their use of half steps. The YO scale is basically an anhemitonic pentatonic resembling the North Indian scale Bhoop and the South Indian Mohanam scale while IN scale sounds more Japanese by its frequent use of half steps above the basic note and the fifth of the scale.

The Art tradition uses different two scales which are known as the Ryo and Ritsu which have come from Court music tradition. “The Ryo scale conforms to the traditional view of East Asian Pentatonicism but the Ritsu seems to imply something that may be indigenous, the greater use of half steps” (Malm: 189) Many scales are formed by transposition and modal shift of tonic.

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Gagaku is the famous ancient Court music of Japan. Gagaku means elegant music and it belong to the traditional theatres of Japan. The vocal and instrumental music have all been preserved in books - “Japanese Gagaku is still one of the rarest and oldest orchestral musics in the world”. If Gagaku accompanies dance it is known as Bugaku. William Malm writes that Music of the right was called Komagaku. It contained Korean and Manchurian based Music and the costume of its dancers emphasized green. Music of the left was called Togabu which contained music from China and India and featured red costumes” (19lp).

The famous instrumental music of Japan comes from Biwa, Koto and Shakuhachi, the lute, zither and wind instrument. The Shinto vocal music is of two types - songs of praise or petition (Torimono) and songs to entertain the Gods (Saibari). These songs are sung in unison chorus usually accompanied by a small flute Hichiriki and a bowed instrument and six stringed zither. The three percussion drums are Kotsuzumi, an hour glass shaped drum, O tsuzumi, another hour glass shaped drum and Taiko, round shaped drum placed on a Board and played with stick. The Shakuhachi wind instrument is used in Japanes Tea Ceremony which is very popular in Japan.

One of the first theatricals to flourish is the puppet theatre Bunraku. The three stringed plucked Shamisen lute is used to accompany the singer - narrator called gidayu bushi. The other theatre is the Kabuki, traditionally an all male theatre. One type of Kabuki music is the narrative type of music with melodramatic theme and dances.

It can be said that both ancient traditional music of Japan and also westernized modem Japanese music are available today for music lovers in the country.

Though Korea was under Chinese domination for long years it maintained its native culture and music. The surviving Court orchestral music reflect that Koreans have their indigenous music. The instrumental music predominates and number of similar string instruments of China and Japan are seen. The basic melodic instrument is the piri which is a bamboo flute. The Tackeum flute has the length of 74 centimeter and its membrane covered “buzzing hole” ,gives unusual richness.

The zither type stringed instrument of Korea is Kayakeum with twelve movable bridges, used to change the scale. The Korean zither, Koto of Japan and Cheng of China have the similar concepts and also look similar in many ways.

Hackeum is a bowed lute which has a unique construction. The curve of its neck, the insertion of the pegs and the attachment of the strings to the pegs are very special. When it is played in court music a cloth is hung from its pegs which hides the movement of the fingers on the strings.

Changko is Korean drum which is hour glass shaped. It is played with a stick on the right side and the hand on the left side.


Korean Court music is slow in tempo often beginning with a free rhythm. The modes in which court music is played is based on Chinese ancient pentatonic system. The basic scale is called U-Jo which resembles the scale of Durga of North Indian Classical music. This scale will be transposed up a fifth which is called Akshi-Jo. The third mode is called Kyemon-Jo which uses a different pentatonic arrangement with a flattened second note. The transposition of a fourth note of U-Jo mode is Korean musics fourth mode Pyong-Jo.

The court music of Korea, though little known or appreciated in its own country is considered as historical importance in East Asia for “it was the primary link between the Chinese and Japanese ancient traditions and it remains one of the very few living clues to the glories of the musics of the orient in former times.

The string ensembles for chamber music, classical vocal forms and narrative songs have been preserved from the dynastic periods of Korean history. The narrative form Pansori which is sung by a fan carrying narrator- dancer to the accompaniment of a puk, a barrel shaped drum or changko, is a popular communicative form. The most popular and wide spread narrative songs are the Japka ballads.

The ancient traditions of the Korean Music of the courts survive primarily through the efforts of the National Music Institute in Seoul and its North Korean counterpart.

The musics of the East Asia especially the Chinese Japanese and Korean have many commonalities with Indian musical concepts, musical instruments and music culture though not in voice quality of singers and musical forms.

ReferencesMalm, William. P. Music Cultures of the Pacific, the Near East and Asia, Englewood

Cliffs, New Jersey, Prentice - Hall

Malm, William. P. Japanese music and Musical instruments, Rutland, Vermant and

Tokyo, Charles E. Turttle

Liang, Tsai Ping, Chinese musical instruments and pictures, Taipei, Taiwan Chinese

classical Music Association

David Reek, Music of the Whole Earth, Charles Scribner’s Sons, New York.

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Rare Javali-s in Rare T£|a-sShreekantham Nagendra Shastry

PreambleRichness of Karnataka music is so vast that branches of this form are as yet to be

explored despite the contributions from several great scholars since 15th century. Various studies, researches have taken place in important aspects like ‘varna-s’, ‘kpi-s\ ‘pada-s’ etc, but Javali has not been given its due importance though it is one of the regulars in any concert.

“Rasamlmamsakara” and poet “Salva”(12th century) who is the author of the treatise “Rasa Ratnakara” quotes that “stfT rQpameva rQpam spigarameva rasam” i.e., the woman epitomizes beauty and only spigara is the actual rasa. Bharata muni says “Spigaranukritirya tu sa hasyastu praklrtitah”. It implies that Spigara rasa, at its peak leads to other rasa-s hence it can be inferred that all other rasa-s are byproducts of the former. The influence of Spigara is very significant in “Rasa sama$ti” We can see different manifestations of spigara rasa in javali-s.

Origin and meaningThe word “javali” itself sounds like a “desT” word and not originated from Samskp.

Scholars like Dr. Raghavan are of the opinion that javali is purely a Dravidian word. Probably belonging to kannada which is a cognate of Tamil. There are many references found in kannada literature about the usage of the word “javali”, even during the vijayanagara period. Noted kannada poet “Camarasa” (1400AD) who was in the court of DSvaraya the second of the sangama dynasty, in his work “Prabhulinga llle”, uses the word javali in the context of lewd Spigara or “nlca Spigara”. From the works of later period we may notice the usage of words like Javali, Javali, Jyavadi, Jevadi etc in the same context. Celivendala Gavirangadasa, a contemporary of this period [who also happens to be an ancestor of the author] has composed “£lara<JO”. This is an evidence for the existence of Javali in both literature and music.

Actually, javali originated during 15th century for describing renunciation (vairagya) and unison of atma and paramatma or Atmarati. Sri Mummadi Kr$naraja Vodayar himself has composed a vairagya javali

‘madi madi mfldhanade’

Vairagya Javali

Raga-KambOdhi Taja-Adi

erne mayaladi calu ne

pramadamaina modi

sami dacukonna dhanama telisinadi

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kama pralobhamu jesi kaftesinaveme, mayaladi

datuâlenintlo dasude

retiri padaknekkinatfu

e teraguna karuQincunu

adinci mavadinci

ememo bddhinci sokkinci

guri tappinci noppinceveme, mayaladi II

Lyrical content of the above javali appears like nlca gpigara sahitya, but a deep insight into the lyrics reveals its vedantic message, “mayaladi” refers to maya or adhyasa, ‘data’ is referred to atman and the word “dasa” to indriya-s. The gist here is that we should conquer indriya-s (vi$aya bhOga-s - wordly pleasures) else they conquer us so that sadhaka-s are deviated from their actual path.

The above vedantic concept can be inferred from the upama (simile) “datudaleninflo”

Later on vairagya became non prominent and naicya gained prominence resulting in demand but javali lost its characteristics. According to the author’s ancestors, apart from vairagya javaji-s there are java]i-s like prabhu Javali-s, nay aka pradhana java|i-s, nayaki pradhana javali-s, sQdadi Javali-s, guru-si$ya javali (struggle of a student who is in search of a real guru), English javali, pallavi javali etc. Ciedit for composing other forms of javali-s like dasavatara javali-s, raghavendra javali-s goes to Surapura Anandadasa (Kamalesa vi(hala). His javali-s were known as Surapura bani javali-s and he was called ‘Javali dasaru’. His style is a mixture of Karnataka and Hindustani forms of music. His javali-s became so famous that it influenced Sri Pattabhiramaiya to adopt the tune of Anandadasa’s ‘karedare barabaradS’ to ‘apadQnikulanaitine’ Many other java)ikara-s came after 15th century, few are mentioned in chronological order namely, Cikkadevaraja Vodayar, Anandadasa, Mummadi Kf$riaraja Vodayar, Mysore Sada£iva Rao, Tanjore Cinnaiya, VTpa Padmanabhaiya, Pattabhiramaiya, Dharmapuri Subbaiayaru, Trunapurisa (Hullahafli Ramanpa of Mysore), Devwjaiya, TaccQr brothers, VasudSvacar, KarQr Ramasvamappa, Candrasekhara âstri, Garalapuri âstri, A)iya Lingaraja etc. All the above information given by the author is inherited from his great grand father, asthana v id van. Cintalapalli Venkata Rao, who was the disciple of Pallavi $£§aiya, Mysore Sadasiva Rao, KarQr Ramasvamappa. Venkata Rao was well known for serenading Java]i-s and it had even influenced ladies of Royal families to dance to his javali-s which also invoked the wrath of kingsman and they had banned singing of javali-s in some of Rayalaseema Samsthanam-s. Vidvan VTna Padmanabhaiya, Pattabhiramaiya were good friends of Venkata Rao. Venkata Rao has written some information about Pattabhiramaiya but his information gives different perception about him. Pattabhiramaiya was Mulukanadu Brahmin, following Tamil

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customs. His ancestors came to talakadu (near Mysore) when COza-s invaded and captured Talakadu. Even now there is a sakha (branch) mutt of §rngeri in Talakadu. Even today Saivite Brahmins are living in Talakadu and Vaishnavites are settled in Belakavadi and Hemmige (near Mysore). Talakadu was earlier called by the name ‘talavanapura’. Talakadu Ganga-s were called ‘talavanapuradhinatha’ and ‘ta)avan€sa’ which has a mention in the Epigraphy of Camatica by B.LRice. The word ‘Vana’ in Samslqta ‘means’ ‘kadu’ in kannada, Talavana has become Talakadu. Therefore he and his ancestors were bom and brought up in Talakadu. He was working as a postmaster in Pandavapura near Talakadu. He learnt music from Vid. Vina Padmanabhaiya. Since his mother tongue was Telugu he had composed many javali-s in Telugu and taught the same to some of the dancers of Muguru near Talakadu. Even today Muguru is famous for dancers.

Jayamma, Jejamma, Subbamma etc were famous dancers of past years. These dancers belonged to the court of Camaraja Vodayar. On realizing about his knowledge, Vodayar invited and gave him a clerical job in Mysore palace. Pattabhiramaiya knew Dharmapuri Subbarao and Tanjore Cinnaiya very well. They later on popularized these javali-s. He had the pen name of talavana and also ‘cama’ as prabhumudra, which came to be wrongly pronounced as Syamaraja. Dharapunsa is also another pen name of Pattabhiramaiya. ‘Dhara’ has another synonym in Samskfta as ‘mahi’. Mysore kings were called ‘Mahipurisa’ and ‘MahTsura PuiTsa’. Many of the javali-s are recited even now without his ankita carana (pen name) even though ancestors of the author used to sing it with ankita carana, e.g., Calamelara in Natakuranji. Because of the above fact, scholars like Dr. Snpada Pinakapani have categorized these javali-s under unknown composers. We should not brand javali-s as laghu sanglta or semi classical since it possesses all characteristics required for a kjti. We can find rare raga-s and rare ta}a-s in these compositions. One may wonder about the necessity of going back to these rare tala-s when another tala system (suladi) is well established and followed widely. But the beauty and level of expertise is intact in these javali-s. It may also be noted that 3 of the talanga-s aijudruta, druta, laghu are part of the present sOladi system but remaining talanga-s namely, guru, pluta and kakapada are rejuvenated here.

In the post-Trinity period this practice of exploring past glory of rare tala-s was started. Ramanathapuram Srinivasa Aiyangar did this in Tillana-s [e.g., in the Lak§ml£a tala -24 matra-s] and similarly Mysore composers experimented them with the javali-s.

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Dance Music of Kalakshetra - Tiger Varadacariyar, Papanasam Sivan, Mysore Vasudevacar

Gowri Ramnarayan

May I thank The Music Academy for giving me this opportunity to speak, not only for myself, but for the many men and women of my generation who were privileged to be in Kalakshetra, at a time when some of the greatest sanglta vidvan-s of our times were part of the campus life. In the case of vidvan-s who had left Kalakshetra earlier, or passed away before this time, there were associates and direct disciples who could give us a taste of their music and talk endlessly about them.

Much, of what I am going to say today comes from the oral tradition, of having heard endless stories from people like Periya Sarada Teacher, Cinna Sarada Teacher, Padmasani Teacher, Kamalarani Teacher, my mother Anandi who was a Kalakshetra student and teacher, and of course, Sri Sankara Menon who was addressed as “Sir” by everyone at Kalakshetra, out of love and regard for his profound scholarship.

For today’s programme, vidvan Sri Sltarama $arma shared his experiences generously, as did dance guru-s Sri A. Janardhanan and Sri BalagOpal. Sri Saisankar who is singing today, also helped me with valuable suggestions.

Rukmini Devi herself, when in a good mood, was fond of narrating anecdotes about musicians with a terrific sense of humour. She often spoke with pride about her native village TiruvisanallOr being very close to Tyagaraja’s Tiruvaiyaru. She had never seen any dancer or dancing despite the fact that the sound of the taftukazi and ankle bells was often heard in a neighbouring house. She felt no curiosity even to investigate this phenomenon. But she had heard and loved all the great musicians from childhood.

When she heard about the morning raga lak$ana debates at The Music Academy, I believe Veena Dhanamma) quipped, with her family’s piercing brand of satire, “SangTtatta patti, pesaporangajame!” How much more sardonic she would have been about a lecture on dance without visual demonstration? I thank Srimati Leela Samson, Director, Kalakshetra on my behalf and on your behalf too. Without her approval and support this would have been a dry lecture, without the beauties and colours of the actual audio-visual demonstration of whatever is said in mere words. I am also very grateful to the musicians and dancers of Kalakshetra who have so readily agreed to participate in this event.

Kalakshetra entu connadum namakku, colaigal cuznda, marahgaladarnda, alaiyosaiyodu srutikattum calahgai olidan ninaivukku varugiradu. Bharatanatyam tan manadil toniugiradu.

If you were part of Kalakshetra especially in the earlier decades, what impressed you most was the presence of great musicians, and the stories about them. So many wonderful

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artistes, each with his own particular bani, strength and idiosyncracies - from Kalidasa Nllakan|a Aiyar and Vina Sambasiva Aiyar to Turaiyur RajagOpala Sarma and Pudukodu Kr§namurti.

I learnt so much about the great musicians from the great musicians who taught there - T.K. Ramasvami Aiyangar, M.D. Ramanathan, TuraiyQr RajagOpala $arma, BudalOr Krsnamflrti Sastrigaj... In case you are wonderstruck by this list - “Adeyappa! Ivvajavu periya jambavangahdam ivaj pattu kaffukondirukkiraja?” Let me tell you that every youngster who studied music attended their classes.

Yes, these seasoned vidvan-s taught the youngest students as well, and directly because Rukmini Devi believed that children must have exposure to the best. So, before we went to the Besant Theosophical High School at 8.30am, we had the incredible privilege of learning sarali-jantai-alankaram from someone like T.K. Ramasvami Aiyangar and varna from M.D. Ramanathan at the 7.15am class. These vidvan-s made the classes interesting in characteristic ways. MDR would say sing Hamsadhvani varna and launch a raga alapana... and forget all about us. BQdalur Krsnamurti Sastrigal would suggest endless datu patterns by pressing his snuffbox on the tambura string, and plucking out the svara-s in the first pattern, and then ask us to make up our own.

Tiger VaradacariyarKalakshetra was then situated in the woodland campus of the Theosophical Society,

almost inaccessible. The streets of Adyar saw few buses, hardly any cars. Bullock carts with straw bales would amble past, a kudirai vandi or two would trot on. Men in ve$ti-s and women in saris rode bicycles. Beyond Kalakshetra there was only the sea, Elliot’s Beach, bordered by casuarinas groves. In the quiet afternoons you could hear the sighing waves and the wind moaning through savukku and punnai tOppu.

How did so many extraordinary musicians get to this remote place in the back of beyond? How did they agree to teach children under mamaram and alamaram? I remember the famous story about Ghanam Krsna Aiyar who lived in Udaiyarpajaiyam patronized by Kacciranga Bhflpati. When the vidvan-s of his time made a trip to. see him in this remote spot, they remonstrated with him for wasting his time in so insignificant a place instead of in some big samasthanam or raja darbar. Krsna Aiyar would laugh and reply, “Kaccirangar cirakkambam pOdume!” This is what TuraiyQr RajagOpala $arma meant when he explained, “Rukmaniyamma sonnannu §ivan Sir inda adduvanakaftile irundar.” MDR disclosed, “Tigervajukku Rukminiyammanna ore mariyadai - devlnnu colluvar.” Rukmini Devi’s personality lured them, her sahfdayatva kept them there. None of them came for money. Anyway, there wasn’t any.

Rukmini Devi accepted nothing but the best in tradition. When the Sangita Siromani course was launched in Kalakshetra, Tiger quipped about the three concerts held at the Head

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quarters Hall of the Theosophical Society. Very few people attended it. “Ammavai parungO. Eppadi kace cerada kacceriya pattu vaccufta parungO!” The singers were MazavaiUyanendal Subbarama Bhagavatar, Mysore Vasudevacar and Tiger himself!

How did Tiger get to Kalakshetra? Apparently, someone going by the impossible name of Kozhi Mama brought him to the Theosophical Society and introduced him to President George Arundale and his wife Rukmini Devi. They hit it off rightaway, respecting each other’s artistic merit and commitment. Tiger became a fan of Se§amma Pafti, as Rukmini Devi’s mother was known, for her superb TanjavOr samayal. It seems he was childlike in nature and had a terrific sense of fun and mischief. He would sing folk songs with hilarious abhinaya between courses, one of them Attai’s favourite, “Nellu kuttara ponne ennai konjam pattuftu pOdi.” This anecdote brings out not only the human side of this great v id van, but the fact that he knew folk songs and folk metres. Se$amma Patti was also in charge of the hostel where Tiger became addicted to gOdumai dOsai, just like young Ramanathan, who arrived in Kalakshetra, recognised his fortune in meetings someone like Tiger and refused to be parted from him.

liger stayed on campus and sang whenever he felt like it, usually at odd times. Pointing to a flat stone in Besant Gardens, scholarly Sankara Menon would get dreamy eyed as he recalled, “Very often a Gandharvan sat here and sang here. We would stay as quiet as possible and drink in every note. Adu eppadidan paduvar amma! Karpanaikkeflada prayOganga], vandadu varama vandunde irukkum.” Tiger’s rasika-s included Everest Hotel Sundaram, who would often have Tiger sing at a late night session for an intimate throng. An insider said, “We didn’t tell Attai about these trips, She’d have been needlessly worried.”

Tiger loved watching Rukmipi Devi’s classes. “Consulted often about the worth of new compositions that Attai thought of choreographing, he would give his frank opinion, and then say, “Amma kai vacca adu sariyadan varum”. His admiration for Rukmini Devi made him compose a varpa in Vacaspati on her. Hardly anyone remembers it now. SiT. Unnikrishnan’s rendering of it at Kalakshetra made many delighted to know of its existence.

When Attai decided to choreograph her first dance drama, Kuuala Kuravanji, she approached Tiger to compose the music. It seems he said, “Ennaivida nanna idukku en tambi meftu pOduvan.” But Tiger did compose for Attai’s second dance drama later. So why not for this? The answer is probably that Kuravanji was an established dance genre being performed by <fcvadasi-s in temples and Tiger felt that K^namacariyar had a greater knowledge of dance music than he did.

So “PuliyOdarai” Kr$namacariyar arrived, a man with a big staff, and a limp. He was also known as Javali Kr$namacariyar, an interesting name for a musician of the grand school. Apparently he knew a lot about the dance and dance music as he was familiar with the performance of devadasi-s. The java)i expertise must have surely sprung from this association.

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Rukmini Devi’s idea was to look after musicians, give them quarters, hostel food or cooking provisions, even clothes. She left them free to teach or sing as they liked, knowing that genius cannot be trammeled. Kr$namacariyar spent 4-5 happy years in Kalakshetra, staying at what was later to become the office room at Besant Gardens, in the Theosophical Society cooking his own food, and sharing it with favourite students when in the mood to do so. Apparently his troublesome leg did not allow him to be even tempered but in the music he made he was free, carefree and blissful.

Kuuala Kuravanji made history as the first dance drama choreographed by Rukmini Devi in which she played Vasantavalli, who, when she sees Kuuala Nadar in a grand procession, falls in love with the Lord. Kurinji nilattu padal.

When I was a little girl, after a performance of Kurrala Kuravanji, Samskfta scholar and musicologist Periya Sarada Teacher referred to the Begada in the ragamalika sequence where women are roused to excitement as they run to see the Lord in procession. She asked me, “Inda Begadaiyil enna visesam?” I sang the lines but didn’t spot the “vise$am.”. Sarada Teacher said, “Don’t worry, even I didn’t get it until I wrote the notation. There is no ni$adam illaya?” And then 1 realised that Kjsnamacariyar’s Begada has no ni$adam! He said the raga didn’t need it. It seems he would sing Begada alapana with lengthy phrases minus the ni$adam and ask “Sa DHA pa ma ga n sa podume. Edukku oru anavasiya ni ange?” If you listen to his Begada in Kuuala Kuravanji, you will not even notice that it omits the ni$adam, what we consider a life-giving svara in Begada.

Kr$namacariyar also composed Kalakshetra’s signature tillana in Nafabhairavi for the student Anjali Hora’s arangerram, extolling Rukmini Devi “I vasudhald bharatasastramunu prabala baracufaku kalak§etramu... sthapinci palinci rukmini devi”

How could he or anybody else have imagined that the institute would have grown to such international eminence? Or that a packed hall would be moved not only to an ovation, but also to tears when, on Rukmini Devi’s eightieth birthday, this Nafabhairavi tillana was performed with phenomenal brilliance by today’s Kalakshetra director Leela Samson and guru C.V. Chandrasekhar, the same boy who played (a still-remembered) Manmatha in Kumarasambhavam, scored by Tiger?

After five years at Kalakshetra, Kr§namacariyar returned to Bangalore and died there. A weeping Tiger was taken by students to Central station where he asked for a “firebox” - and tried to smoke away his sorrow. “I have no one now, no one. And no one has my brother’s music now,” he said as he boarded the train.

Kuuala Kuravanji(1944) preserves Krsnamacariyar’s style. The music sounds fresh and pure'and fragrant like mountain honey, his Afhana and Anandabhairavi as gorgeous as the ebullient folk meftu-s he introduced for the kuratti and for the traditional vemjila padal. He

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was a musicologist and composer (his compositions were published by Kalakshetra in Gana Manjari Part I, with notation). He could himself make musical instruments and play the vTna, violin, mrdangam and ghatam. He knew raga lak$ana. Rukmini Devi used to say that his music was completely different from Tiger’s simhaganam, without kanakku fireworks or tala complexities which the former considered un-musical. Periya Sarada teacher said that he even conducted Kuravanji rehearsals, guiding the musicians to render his special gamaka-s just right, and showing abhinaya with expressions and gestures. It seems he was particularly adept at teaching the sprightliness demanded by the kuratti! His glances could be piercing, she said, adding that when he explained or demonstrated abhinaya, you could see mudra-s and bhava had to follow every nuance of the music, something you found in the very best hereditary temple dancers.

Tiger served as the Principal of the fledgeling Kalakshetra, for a princely salary of Rs 50 per month and living quarters. Attai knew how prestigious his presence on campus was for the institution. It seems she loved to learn music from him, and would now and then do so, with T.K. Ramasvami Aiyarigar playing the tambura, as Tiger taught her a song or two. Attai had a sweet voice, and could sing tunefully, in sruti. Tiger would start the song, and then midway break into alapana which Attai enjoyed with her whole mind and heart. Sometimes she forgot the sahitya, but Tiger would encourage her with his bhes and sabhas.

Tiger also composed a varna in raga Srlranjani for Attai to dance - the lyrics were by Samskrta Pandita Venkatacala Sastri. When Dr. Arundale and others thought that after the Kuravanji, Attai should next choreograph a great Samskrta work by Kalidasa, Attai chose Kumarasambhavam for its bhakti, that uplifting austerity after her own heart.

Attai knew that no one but Tiger could score for so panoramic a theme. She wanted the opening invocation to the Himalayas to have the vast sweep and height of the mountains themselves. She also wanted it to have a tanam effect. “Sabhas!” exclaimed Tiger, challenged and delighted by her ideas. The advent of Parvati into the yogic Siva’s presence had to be like a pada, and so Tiger shaped a KambOdi of imposing magnitude, leisurely and profound. Next when Siva appears disguised as an ascetic and denounces himself in nindastuti to tease her, Parvati breaks into a spirited defence of Siva’s glory which Tiger set to ati chaukam in Latarigi. Whenever Rukmini Devi talked about Tiger she would mention this Latangi, “Paramarthitoharam” as an incredible, inimitable composition. As a child I wondered at how Attai had the patience to compose dance to such a never-ending piece. Sankara Menon Sir looked at me pityingly and said, “One day you will grow to understand its greatness.”

Tiger’s methods as a composer were unique. Looking at the text written in Telugu script for him, he would start composing, tarigutadaiyillamal, with a preliminary hQnkaram. Periya Sarada and Kamalarani had to control their admiration for his inexhaustible creativity and notate on the spot. For Tiger could not repeat the line or sarigati! If asked to sing it again, he would sing something else, as he would have forgotten what he had composed earlier.

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Tiger suffered from stomach troubles and painful boils. Periya Sarada Teacher records that, “Occasionally, for personal reasons, he could not complete the work for the day, but would do extra work the next day to compensate.” What these personal reasons were we know. But even when thus weakened, he would continue composing, reclining on a mat, sitting up suddenly when a certain prayoga in the music inspired him.

Both music and dance, including the last minute tillana dam, were completed the day before Kumarasambhavam’s premiere at the Adyar Theatre, Theosophical Society, at the Besant Centenary Celebrations in 1947.

Tiger Varadacariyar’s music remains the merudanda of Kumarasambhavam (1947). He chose raga-s and kalapramana-s to reflect the contrasting austerity and grandeur that mark Kalidasa’s kavya. We are lucky that in the days when technology was not available, we have two dance dramas in Kalakshetra that record the stylistics and musical thought processes of these two extraordinary brothers in Carnatic music. Let us now see the magnificence of the Himalayan mountain range, imaged in Tiger’s Ghana paficaka raga-s. Let us also remember and salute Pasupati sir who did full justice to Tiger’s music in the old days with his vengala kural.

Astyuttarasy&m disi dSvadatma himalavOnama nagSdhiraja...

Papanasam SivanMusic was always the lifeblood of Kalakshetra. Rukmini Devi’s gum Pandanallur

Mlnaksisundaram Pijjai was such a fine singer that. Practically blind though she was, VTna Dhanamma! went to dance recitals that he conducted, saying characteristically, “SangTtam ketka pOren.”

Though every vidvan in Kalakshetra did not compose for dance, some did. Kalidasa NTlakantha Aiyar, a great laya expert with a great sense of humour, was part of the early phase of Kalakshetra. He could trace his maternal ancestry to Tyagaraja through Manambucavadi Venkatasubbaiyar. His memory is preserved in the svaram he composed for Kalakshetra’s pinnal kolaftam, and in the two swarams he composed for Rukmini Devi’s performance of “£n Pajjikondlrayya” The other two svara-s were composed by Mlnaksisundaram Pijjai. In those early days of adventure and discovery, when Ambu Panikkar, the first Kathakaji Acan in Kalakshetra taught this new genre, no one knew Kathakaji music and therefore Kalidasa Nllakanja Aiyar composed Carnatic music for “Sati Svayariivaram” and “Hariisa Damayanti” in which Attai played Dak$ayani and Damayanti respectively. The figure of Rukmini Devi placed before the kQttambalam in Kalakshetra shows her as the same Dak$ayani, with a garland of golden leaves and ornate waistband.

NTlakantha Aiyar came to Kalakshetra through Papanasam Sivan, and in turn, NTlakantha Aiyar managed to persuade the finicky Sambasiva Aiyar to join the institution, assuring him that he could preserve his own orthodox lifestyle, pOja and macji there. We saw Sambasiva

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Aiyar sitting on the tinpai with a plate of rice, picking out whole grains for ak$adai in his daily pQja. In the afternoons we saw him lying down on the same tinnai with the vlna across his chest, his hands continually playing on the perfectly tuned strings. On those occasions, I’ve never heard him strum anything but the ghana raga-s.

Kalakshetra always had musicians for principals, among whom were BOdalOr Kfsnamflrti Sastrigal and VTna SSmbasiva Aiyar. Both were men of few words and stringent discipline. While Bfldalflr composed the music for Kalakshetra’s beautiful prayer, Samba£iva Aiyar has composed the sahitya for the tillana in HindOjam, to be sung in two kalam-s and tisra na^ai.

Mylapore Gauri Amma] was an exquisite singer of padam-s and javaji-s. As a child I have seen her teach senior students and sing, making the soul of KambOdi shine as she sang “Bala vinave” in her aged, trembling voice.

We know that Rukmini Devi was a revivalist who learnt and taught sadir, renamed Bharatanatyam, at a time when it was considered an immoral entertainment and banned from the temples. We know that she was reviled and condemned for performing this so-called “devadasi” dance. But frail Papanasam Sivan had the guts to actually sing for Rukmini Devi’s performances. It seems Sivan would close his eyes when he sang the moving lines. For as long as he repeated the lines, Rukmini Devi was never at a loss for sancari-s. Most people remember his viruttam-s like “Anjalenra karatalam” which Attai too loved. On one occasion, it seems Attai would often sing and finish when he was too moved to continue.

Sivan, respected as Tamil Tyagayya, became a teacher at the Besant Theosophical School, then in the same campus as Kalakshetra. Headmaster Sankara Menon often found him sitting under some tree waiting for his students, none of whom turned up on time or always. One of them remembers being taught “Tirumagaj ulavum” for a whole year! He composed our school song “Devi Vasante” on Dr. Annie Besant who established “Ghana samarasa sanm2rga neri” and said “gnaala sammadam oru madam” Sivan conducted bhajanai at school on pQja days, including Bahujapancami when Tyagaraja’s portrait was taken in the singing procession.

Now we have the song “Devi Vasante”

I was not bom when Sivan was our school’s music teacher, but I have seen him often in Kalakshetra. Attai loved his music and would sit in rapture and listen to him sing what seemed to me then like incomprehensible sounds. His help was often sought, as when SiT Adyar Lakshman was deputed to learn the sanjTvini a$(apadi “CaruSlle priye” for Pu$pa (then) Makhijani’s arang6nam. Scholar K.S. Ramasvami Sastri, who suggested Kumarasambhavam, now said Attai should compose Jayadeva’s GTta GOvindam, which she did in 1959. Papan&am Sivan taught the traditional meftu-s he had learn as a young man from MarudAnallQr matham, which had been part of Radha-Kftpa bhajanai tradition in south India for two or three centuries. The rakti raga-s range from Saura$tram and Sarikarabharanam to Mukhari and Ahiri, blending

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beautifully with the liquid metres and mellifluous words of the gltikavya. Some might have been composed by Sivan himself, and the sollukaftu-svaram-s by Turaiyflr RajagOpala $arma who was teaching in Kalakshetra at that time.

May I be allowed to get slightly personal at this point as this is a dance drama that became a part of my young life? I was all of seven or eight, wearing the p2vadai cattai uniform of those times and interested only in climbing every tree in the campus and generally getting into mischief. But in the long afternoon breaks after lunch, Periya Sarada teacher enticed me with stories about Kftpa’s pranks, and taught me every single a§(apadi even as it was being learnt from Sivan and notated by Turaiyur Sir. She even told me the story in a way a seven year old could understand. I mention this only to give you an idea about the ambience in Kalakshetra at that time. Every one who studied there has a story as amazing as this experience of mine. Turaiyflr RajagOpala $arma, while composing music for Matsyavataram, used to look for victims among us children, calling one of us from our games to sing what he had composed, and sometimes teach us the verse. I still remember his slokam in Ramapriya “nflnam tvam bhagavan”.

divan’s next contribution is a Kalakshetra classic, and according to some, Rukmini Devi’s very best work. This is of course Anda] Caritram (1961). Azvargajai vi(Ja tamizai arpudamaga yaral kaiyaja mudiyum? Ovvoru p ap m tamiz moziyin inimaiyai sangltattil tOyttu amuda dharaiyflga pozigiradu. Sivanin sangltattirku ketka vemjuma? Sivan was again assisted by Turaiyflr Sir as verses from Periyazvar and Kodai Nacciyar were supplemented by Harisamaya Dipam and Guruparampara prabandham. We will now hear some of those gems.

First, Atrial’s ta la p “mapikkam kafti” in Nllambari from Divyasui Caritam

Then comes her arresting patra praveSam in Madhyamavati, “Temaruvum malarkodai vandal vanda]” by Vadivazagiya Nambidasan.

We follow with gorgeous songs describing the grandeur of Kf§na, ‘patti meyndadOr kareru’ in NavarOz, and ‘namamayiram’ in Vacaspati.

In the last song in this section, Periyazvar gets horrorstruck at seeing Kodai adorning herself with the garland meant for the Lord. He consoles his weeping daughter with fond endearments “Amma, kiliyC, mada mayile”, before explaining the greatness of Narityana in his avatara-s “tOvudaya mlnamai, amaiyai...”

divan’s lqti-s have been published by Kalakshetra as KTrtanai Malai. After Apdal Caritram, Papanasam Sivan scored the music for Kanpappar Kuravanji the very next year (1962), with assistance from Turaiyur RajagOpala §arma.

The story of Kappappar Nayanar was particularly appealing to both Sivan and Rukmipi Devi. Sivan felt the pathos of the bhakta intensely. For Attai, this dance drama gave a chance to do a different kind of choreography. Viewers feel the music to be reflective of forest life,

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tribal life and simple life. But the rSga-s are all rakti rSga-s and with ripe, rakti prayOga-s, and yet feel different. Sivan and $arma got together in Krsnamari Kuravanji (1971) to create the same effect. I remember how Tamil lovers and scholars like Ma Po Si, the famous actors the TKS Brothers §anmugam and Bhagavati, I think also Justice Maharajan, sat in the front row for both kuravahji-s, exclaiming aloud at lyric and music. Appa<Jiy£ sokki pOyifta.

Sanmugam even said that he had never heard such a mesmerising union of icai and mozi and Ma Po Si said that he understood what the term icaitamiz meant when he watched Kf$namari Kuravanji. Perhaps no other composer could have impacted in this manner. Wasn’t Sivan a Tamil vaggeyakara? His expert handling of the most traditional raga-s for the perfect melding of bhava and artha, remains an astonishing feat of ripe classicism.

Sivan and §arma once again collaborated in Sakuntalam (1967), as also in Matsya and KOrma Avataram (1974). In an institution when a huge project is taken up, there is a necessity for on-the-spot contributions. We have here §iT Sitarama $arma who has contributed many unacknowledged inputs to several Kalakshetra productions, including the gorgeous, gorgeous svara-s in Kurmavataram, where beauteous apsara-s arise from the ocean of milk.

We can recognize divan’s unmistakeable stamp in the Vijaya$rT composition “gOpurahgal idaiye”, “mukkannanai” in Sankarabharanam, “klz disai nadiye” in Bhairavi, and “kanpappa nT carfe poruttidu” in Pharas.

Mysore VdsudevacdrRukmini Devi produced many dance dramas but none captured public imagination

as did her six-part Ramayana series. Having seen lavish, elaborate productions of ballet and opera in Europe, she could visualize the splendours the dhvani kavya offered for both visual spectacle and spiritual upliftment. It surprises us to know that she toyed with ideas of Tulsi Ramayan scored by Pandit Omkamath Thakur, and Kamban’s epic by Sivan. But Tiger’s death and Vasudevacar’s presence tilted the scales towards Valmiki as the Mysore doyen was also a Samskrta scholar.

Mysore Vasudevacar came to Kalakshetra in 1953, the year Sambasiva Aiyar became principal. He was called Paccai Tatta because he wore a green shawl, distinct from civappu Tatta Sambasiva Aiyar, so called for his signature red shawl. Vasudevacar was diminutive in size, and, and shrunk even more with age. It seems Attai had heard of him first from Tiger who had extolled the Mysore asthana vidvan to Rukmini Devi as unequalled in lak$ana vidvat. Attai said later in an interview that she had imagined a man of dry intellect; and was astonished to hear in his music all the lak$ya qualities she valued; she was a-b-s-o-l-u-t-e-l-y thrilled by the bhava he brought to his compositions. You could clearly see her deep respect and affection for Vasudevacar at Kalakshetra, as Attai was always the first to help him up the steps or up the stage.

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An insider describes the difference between Tiger and Vasudevacar: while Tiger was childlike and easy going, Paccai Tatta was every inch a court musician. It is not that he was inaccessible, but he was polished in demeanour. Students fought for the honour of taking both on walks to the Adyar banyan tree every day. Tiger excelled in joviality, while Paccai Tatta had anecdotes and insights about music to share even though he was past 90 when he arrived at Kalakshetra.

Imagine the saubhagyam of the people having a great composer in their midst, singing and teaching his own krti-s, composing new kfti-s for them. My mother used to do the Varalaksmi puja at Kalakshetra and she said that once Tatta composed a special song for the occasion: “sn harivallabe”

To get Vasudevacar to Madras, Rukmini Devi had to use influence to first get his grandson Raja Rao transferred to AIR Madras. The small cottage on the way to Besant school housed the vidvan and his family. Grandson Raja Rao was renamed Rajaram by Vina Sambasiva Aiyar because the veteran vainika thought he (and indeed everybody else), should be named after a god, not a king. Years later, the same Rajaram was to serve as Principal and Director of Kalakshetra for many years including the difficult period of transition after the death of Rukmini Devi and Sankara Menon. He was passionately committed to his grandfather’s music.

Back in 1955, with Rajaram to notate and record the songs, the monumental work of composing the score for the Ramayana series began. My mother Anandi was present on Vijayadasami day 1954, when “tapasvadhyaya niratam” launched in Athana, the Ramayana as narrated by Lava and Kusa was sung by Rajaram Sir and D. Pasupati. It is difficult to imagine laconic Sambasiva Aiyar showing excitement, but I believe he spontaneously exclaimed after he heard the verses “Nan mattum maharajava irundenna inda oru paftukke ayiram katti varahan koduttiruppSn.” My mother also told me that there had been an earlier sombre version that Attai had explained was beautiful, but unsuitable for the dance.

Anyway, after this the going got smooth, and those who hear the music Slta Svayamvaram now are astonished at its dewy freshness, and its perfect melding of raga-bhava and artha-bhava. Attai used to say that only a great vaggeyakara could have understood Valmiki’s bhava and made it flow through his own bhava in shaping character and situation.

Periya Sarada Teacher records that in Slta Svayamvaram the music sometimes blended the kavivakya, or description by the poet, with dialogues. Attai found ingenious solutions to deal with this problem in her choreography. But the rest of the Ramayana did not pose this problem.

Rajaram Sir never tired of telling us about his grandfather’s approach to the Herculean task. Tatta said, “Raju, composing kjti-s is completely different from composing for dance,

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and even more different is it to compose for dance drama.” he would say. “The music in k|ti-s usually highlight bhakti. For dance you must approach bhava from a more complex point of view, give room and scope for the dancer’s interpretations. For dance drama the golden rule is — follow the character. You can’t go wrong. The character will lead you unerringly into the situation, mood, and interactions with others.”

We will now look at Slta Svayamvaram.

Some of the songs for this dance drama came in a rush of emotion. Others, I believe, took their time. Rajaram Sir mentioned how Tatta was troubled about the music for the slOkam ‘iyam slta mama suta’, where Janaka offers his daughter to Rama saying she will be your partner in dharma and follow you like a shadow always. The grandson was amazed, because Tatta had composed a fabulous darn in Begada on Dasaratha, without a single second thought, almost as if he was singing what he already knew! “Once it was well past midnight when Tatta called out Raju! Raju! Anxiously I rushed to his bedside and found him sitting up, wide awake. He said jubilantly, I got it. Take it down. And then he sang “iyam slta mama suta” in “HarikambOdi”. He finished and asked me, Raju, how is it? 1 said how can it be but wonderful?”

STtarama $arma Sir discloses that Tatta had composed most of the sollukaUu-s and jati-s himself. Of course, VasudSvacar remains unrivalled in composing svara-s.

Let us now listen to the same “tapasvadhyaya niratam”, the short version of the Ramayana related by lava and Kusa at Rama’s court, that Sambasiva Aiyar marveled at, followed by the B€gada daru on Dasaratha, “Qna $5dasa varsa” in Saved. In this piece, Dasaratha tells Visvamitra. “My son Rama, RajTvalOcana, is still a child, barely 16, not fit to undertake the task of killing demons in the forest. Take me instead.” The music communicates DaSaratha’s manObhava or mental state: his fear of going back on his word, which as a k$atriya is a shameful thing to do, of crossing Visvamitra’s will and provoking his anger, of being unable to convince the ri$i with his arguments, of sending Rama to dangers in the forest, of Rama’s being not strong enough to fight demons, of separation from his adored son. The song’s chowka pace and the handling of Saved raga enables a mature dancer to explore all these different shades of fear, hesitation and anxiety in a single song. There is a pleading note we cannot miss.

Now we will hear “kirn panO mama pita mama satru svarQpinam.”

We see another kind of fear in Slta at her svayamvaram. She is afraid that Rama will not be able to win her hand in mardage. And so she bewails her fate, asking, “Why is my own father my enemy? Why did he decide on so impossible a task as breaking this bow?”

Tatta’s use of Nathabhairavi is so apt here for the sentiment and situation. There is a sweetness here, a youthful lightness and naivet£, the tenderness of innocence, and we melt with the higher ri$abha and gandhara.

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The next song, “YSnaiva,” is a fabulous example of how an essentially simple tune becomes extraordinarily powerful because it is perfect for the character, action and situation. Tatta’s music to Mysore maharaja’s “Sri jalandara” , with its adbhuta cittasvaram dancing in merrily in a fast tempo without dlrgha notes (pppn mmmp gmgp mnpam and so on) has its own mood. The same GambhTra Naftai is used here for verses from the Ananda Ramayanam, introduced briefly for dramatic effect as this version has Ravana attending Slta Svayamvaram and failing to bend the bow. Since it is a Siva dhanus, Ravana, a Sivabhakta, is confident he can lift it up without any effort. Before touching the bow, he boasts of his might in having lifted Mount Kailasa itself and tossed it up and down in play. Vasudevacar’s raga too leaps with his arrogance, while the svara-s are perfect for Ravana’s menacing action replay. This sequence has Ravana appearing in a blood red Kathakaji costume, and using Kathakali movements. The music too takes on a larger than life form, especially in repetition, inviting reverberant percussion accompaniment.

Rukmini Devi’s magnum opus, the six-part Ramayana series, testifies to her holistic approach where choreography, music, lighting, costume, backdrop, use of spatial and temporal dimensions all combine to paint life on every level of existence—gods, demons, animals, birds and humans. To empower this vast range of beings, Mysore VasudCvacar used raga-s from rakti to vivadl, and even created his own. His music played a phenomenal role in evoking character and sentiment.

ConclusionRukmini Devi’s revivalist endeavours resulted in a significant formal innovation, what

is now known as the “Kalakshetra dance drama.” The genre is unimaginable without the contribution of these three great musicians who composed the scores. They not only created extraordinary music for Kalakshetra productions, but left exemplary scores for all subsequent attempts in this direction. They too were supreme innovators in their field.

May I summarise a few points in conclusion about the music we have discussed so far.

1. These works have a multi-dimensionality, a holistic approach where choreography, music, lighting, costume, backdrop, use of spatial and temporal dimensions all combine to paint life on every plane of existence, divine, human, and in the natural world.

2. To empower this vast range of representation, Tiger, Sivan and VasudSvacar have used raga-s from rakti to vivadi, the last composer even creating his own raga-s in order to so. Such music plays a phenomenal role in evoking character, action, and sentiment.

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3. These dance dramas require a different kind of singing, altogether different not only from concert music, but even from typical dance music. They demand vallinam and mellinam not only for the needs of the rag a, but for the needs of the lyric, the situation painted, and the feeling involved.

4. That is why the same raga in different situations has a distinct feeling of its own, a different svarQpa depending on character and situation. Sometimes Vasudevacar has used the same raga in conversation between characters, but varied the tala for each, to convey the intent of each.

5. The music inspires the choreography. The music visualizes the scene, even creates its lighting and emotive design.

6. Today there is a notion that in a dance drama the music has to be complex, packed with raga-s, and complicated rhythm patterns. From these Kalakshetra dance dramas we learn that rare raga-s need to be used only when the situation and character demand, and familiar raga-s can be made to reflect a thousand situations. KambOdi, for instance, is repeated frequently and sounds different each time.

7. If Rukmini Devi launched what is known as the “Kalakshetra dance drama”, setting standards for emulation, these great musicians not only created extraordinary music for her productions, but left exemplary scores for all subsequent attempts in this direction. They too were exemplars of innovation and role models in their field.

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Studies on Skin Covered InstrumentsN. Somanathan

Musical instruments are almost universal component of human culture. Archaeology has revealed pipes and whistles in the Paleolithic Period and clay drums and shell trumpets in the Neolithic Period. Development of the instruments is dependent on the interplay of four factors: available material, technological skills, mythic and symbolic preoccupations, and patterns of trade and migration. There are innumerable number of drums used in this country. These instruments have distinct names, shapes, construction, technique of playing and quality of tones. Common feature of these drums is that hides and skins are used in the construction of all drums.

In Samskfra, drums are called “avanaddha vadya-s”. Avanaddha means “to be covered”. Therefore an instrument wherein a vessel or a frame is covered with leather is an avanaddha vadya. Currently different types of classifications are followed in the world for membranophones. (drums).

In the second type, the drums are classified on the basis of determinate and indeterminate pitch as shown below

The type of instrument used for a specific purpose and it has the direct relationship with the tonal quality of the sound produced. In order to cope with the end use, the construction and the material used in these instruments has to be unique.

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The heritage and the superiority of Tamils can be understood on the basis of arts. Carikam literature and Tolkappiam helps to understand the civilization, culture and life pattern of early Tamils. In Tamil music, drums played a major role and for the drums, leather is used by Old Tamils to produce the sound. The information on drums suggests that mostly drums were used by Old Tamils to keep the timings in music apart from raising the tempo to that occasion. ‘Tala-s’ are the integral components of ‘pan, pa and papi’ Tala is also a component of dance viz. bhavam, pan and tala. More information can be obtained on drums of old Tamils in Tamil literature like perumpSanairuppatai, cirupaananuppatai, paripatal, kallatam etc.

‘Pancamarapu’, a Tamil book which speaks about the grammar of music and dance, gives details about instruments and the materials to be used for making specific types of drums. This old book gives the names of 30 drums of that period.

perikai patakam, itakkai utukkai

slrmiku mattajan callikai karapkai

timilai kutamuzhat takkai kanapparai

tamarukan tannumai tavil tatari

yantarimuzavotu cantira valaiyam

montai murase kanvitu tumbu

nicajan tutumai ciruparai yafakkam

acil takuniccam viraleru pakam

tokka vupanki tuti perum paxaiyeoa

mikka nQlOr viritturaittanare.

These drums are classified into different types of classifications like ‘vanmai, menmai, samam, talai, i(ai, katai, vTram’. Again in another type of classification, the drums are classified into ‘akamuzavu, pujamuzavu, purappura muzavu, panmai muzavu, nal muzavu, kalamuzavu’ In ‘vanmai muzavu’, 15 instruments are classified and in the ‘menmai’ group about 12 drums are shown. Maddajam, callari, patakam, karapkai are classified as ‘samam’ But the basis of this classification is not given. Other than the above 30 drums shown by pancamarapu, Tamil literature shows more than 20 drums apart from the above 30 drums.

On the basis of Tamil literature, it can be concluded that drums are used to convey the idea to others, to express the sentiments, in war front to activate the soldiers, apart from rituals like marriage and death. Analysis of the information on sounds of the drums clearly shows that the drum of specific type was used on the psychological base.

In order to understand the basis of Tamil classification of drums as shown above, a scientific study was done using the information available in Tamil literature on drums. In literature, a specific word or phrase is used to narrate the sound of this instrument. For example

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the words like “telirppa, aritta, karanku, atimta, aria”, are used to explain/denote the sound of the instrument ‘Tatari. 25 words which are used in literature to narrate the sound of different drums (referred in Tamil literature) are taken and its distribution to the total information tabulated. On this basis they are ranked. From this ranking, correlation coefficient between any two instruments was worked out using Spearman’s equation

R = 1 - (6ZD2 / n (n2 - 1)

Where; R-Spearman’s rank correlation coefficient, D-difference between two ranking, n-no. of observations (25). The obtained correlation coefficient values are shown in Table 1. When R = +1 then the instrument are directly related. When the values are around one then that two drums are well correlated and overlapping in terms of sound produced from the two drums. When R = 0, then there is no correlation between the two drum taken for comparison.

For example, in the case of the drum ‘tatari’, the obtained results show that (Table 1) takkai (0.778); itakkai (0.60); ciruppaiai (0.48); pambai (0.60); tannumai (0.43) are more correlated with tatari where as murasu (0.33); tudi (0.32); muzavu (0.22) are less correlated. It is interesting to note that ‘Takkai, itakai, tatari, tannumai’ are classified in ‘Pancamarapu’ in the same group. The results from the study authentically show that unlike in western classification which is based on shape, the old Tamil classification of the drums is based only on the sound produced from the drum, (the result overlap with the classicification of pancamarapu). The utility of the drums are also based on the basis of the sound produced from the drums. In the next phase of studies the ethno-musicological studies on the drums of old Tamils have been done and the current form of some of the drums was studied. The sounds of the currently existing drums (tatari equated to current tavil, ciruparai to kanjira, tannumai to mrdangam, kutamuza to pancamukha vadyam, muzavu to the mizavu (Kerala) etc.) were recorded and analyzed. These results also support and overlap with the pancamarapu classification.

It has been shown earlier that drums for different purposes have different size; shape and they are different in construction. Resonator column (size and shape), drum head and skin structure contribute for the rich quality of sound. Some of the currently used drums whose current tradition has an overlap with the literature information are shown in Fig. 1

(a) (b) (c)

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(d) (e) (f)

Fig. 1. Some of the drums which are in current use with different shape and drum head construction and leather (a) mizavu (goat skin); (b) pancamukha vatyam (deer skin); (c) Kanjiira (varanus skin); (d) tavil (she goat skin); (e) ifakai (stomach lining); (f) ufukai (stomach lining).

Table 1 Spearmann’s correlation coefficient (R) between the drums (on the basis of the

Tamil literature)

Muracu Iyam Tuti Cijuparai Parai Muzavu Tannumai

Muracu 0.524 0.167 0.169 0.220 0.544 0.007

Iyam 0.524 0.665 0.477 0.524 0.339 0.214

Tub 0.167 0.665 0.604 0.521 0.967 0.126

Cirupaiai 0.169 0.477 0.604 0.262 0.019 0.293

Paiai 0.220 0.524 0.521 0.262 0.887 0.235

Muzavu 0.544 0.339 0.097 0.019 0.089 0.218

Tannumai 0.007 0.214 0.126 0.293 0.235 0.218

Perikai 0.764 0.354 0.112 0.105 0.316 0.403 0.133___ \_____

Kinnai/tatari 0.329 0.403 0.320 0.479 0.379 0.219 0.432

Takkai 0.418 0.624 0.510 0.585 0.667 0.284 0.687

Itakkai 0.412 0.279 0.518 0.624 0.486 0.402 0.566

Kutamuzavu 0.265 0.484 0.358 0.412 0.283 0.269 0.476

Montai 0.251 0.549 0.443 0.437 0.555 0.460 0.476

Pampai 0.216 0.334 0.449 0.419 0.429 0.116 0.534

Table 1 contd

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PerikaiKinnai/Tatari

Takkai Itakkai Kutamuzhavu Mondai Pambai

Muracu 0.764 0.329 0.418 0.412 0.265 0.251 0.216

Iyam 0.354 0.403 0.624 0.279 0.484 0.549 0.334

Tup 0.112 0.320 0.500 0.518 0.358 0.443 0.449

Ciruparai 0.105 0.479 0.585 0.624 0.412 0.437 0.419

Paiai 0.316 0.379 0.667 0.486 0.283 0.555 0.429

Muzavu 0.403 0.219 0.284 0.402 0.269 0.460 0.116

Tannumai 0.133 0.432 0.687 0.566 0.476 0.476 0.534

Perigai 0.174 0.313 0.222 0.472 0.488 0.411

Kinnai/tatari 0.174 0.778 0.600 0.390 0.474 0.591

Takkai 0.313 0.778 0.822 0.540 0.706 0.582

Itakkai 0.222 0.600 0.822 0.715 0.639 0.527

Kutamuzavu 0.472 0.390 0.540 0.715 0.686 0.418

Montai 0.488 0.474 0.706 0.639 0.686 0.651

Pampai 0.411 0.591 0.582 0.527 0.418 0.651

In order to cope with the end use, the construction and the material used in the instrument has to be unique. For example, the leather used in the construction of the drum is different and specific type of leather is used for specific type of drum. The location of the skin and the age of the animal are also specific for a specific drum. For example, for ‘mizavu’, goat skin is used. The five faced drum ‘kutamuzavu’, deer skin (different locations of the skin for different faces which produce different sound from different faces) is used. Similarly the skin used for the different faces of ‘tavil’ is very selective. In the case of two faced drums with multi layered skins, the construction is unique. For e.g., in ‘mrdangam’ for right face, three leather layers with different sizes are used while for left head two layers of leather from cow hide are being used. In ‘Suddhamattalam’ of Kerala, right drum head is prepared with 4 layers of cow hide while left head is prepared with two layers of buffalo skin. One can understand the basics of using specific skins for specific drum heads on the basis of the microscopic structures of the skins. Varanaus skin (Fig. 2) which is used in kanjira (which is played along with twofaced multilayered mjdangam) has a unique orientation of the fibers, which helps

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to get more resonating sound with loudness comparable to that of mfdahgam. Similarly the structure of the stomach lining of cow, which is used in ‘utukku and i{akkai’ also support for the rich and special sound useful for raising our mind for the occasion.

F ig . 2 sc a n n in g e le c tro n m ic ro g ra p h s o f v a ra n u s (u sed in k a f l j i r a ) a n d s to m a c h lin in g o f co w (u sed in if a k k a i a n d u fu k k a i) sh o w in g p a ra l le l o r ie n ta t io n o f fib e rs

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In a nutshell, the studies on the skin covered instruments show that the Dravidian classification of drums is totally based on the sound and the utility is also based on the sound which is aided by the construction and shape of the resonator and drum head and the leather structure used in the drums. The total sound produced from the drums which is used for varied utilities can be understood as a collective contribution of RESONATOR + LEATHER+ WOOD.

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On the Applicability of the Ancient Sruti Scheme to the Current Fixed-Tonic, Variable-Interval Mela System

Madhu Mohan Komaragiri

IntroductionThe 2-vlna experiment1 of Bharata in his opus the N5tyas3stra demonstrates the relative

proportions of the seven svara-s in terms of sruti-s to be 4-3-2-4-4-3-2 for $a-Ri-Ga-Ma-Pa- Dha-Ni in the sadja-grama. The relative proportions in the madhyama-grama were shown to be 4-3-2-4-3-4-2. The total in either grama was 22 sruti-s. The theory of 22 sruti-s in the ancient Indian music was thus established. The 2-vlna experiment of Bharata formed the basis for the theory of 22 sruti-s.

Subsequent lak$nakara-s have reiterated the theory of 22 sruti-s. But they have rearranged the svara-s among the 22 sruti-s. And because they started with 22 sruti-s and rearranged the svara-s cyclically, they always obtained 22 sruti-s.

Modem musicologists freely adapted the western concepts of intonation and acoustics to the Indian music theory. Despite such radical adaptations, they continued to base their theories on the concept of the 2-vlna experiment of Bharata, which formed as it were the basis for the entire literature pertaining to the theory of 22 sruti-s. They worked out precise mathematical values for all the 22 sruti-s in terms of ratios with respect to the tonic Sa. They even based the current rSga system on these 22 sruti-s by placing them among the various raga-s.

In the ancient mQrchana system, different scales were obtained by shifting the tonic (adhara-svara) while the intervals of the seven svara-s were fixed. Gradually Indian music has undergone a paradigm shift in adopting the mela system. The current mela system is a fixed- tonic, variable-interval, twelve-svara system. Here, the different scales are generated simply by changing the interval, for example, from suddha r$abha to catuhsruti rsabha, with a fixed adhara-sadja.

This paper provides a conceptual analysis on the applicability of the ancient theory of 22 sruti-s to the current mela system with the 2-vlna experiment of Bharata as the basis. It gives a very brief sketch of the extant literature to present the necessary background, followed by the core analysis. The paper also briefly touches upon the factors germane to the pitching of the svara-s.

Past StudiesSir William Jones (in 17932) and Captain Augustus Willard (in 18343) were among the

first modem scholars to write on the octave divisions in Indian music (Jairazbhoy 2008: 349). Subsequent scholars have given the theory of 22 Sruti-s a mathematical treatment. Most of them

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freely adapted alien western concepts of tuning to the Sruti system and liberally applied the principles of acoustics to Indian music. The attempt was to show the continuity of the ancient Sruti system and to justify equivalence with Just intonation, conveniently ignoring the important fact that the consonance of the major third (Ga), which is essential for the Just intonation, was not considered as consonance in the NatyasSstra. In fact, Ga was considered as an anuvadl interval (Komaragiri 2005: 63). But both Indian and western scholars were taken in by such submissions. In quantifying 22 distinct pitches, these scholars incorrectly equated Sruti-s with svara-s. Bharata and the other ancient lak$nakara-s never said that sruti-s and svara-s were the same. The different steps in the 2-vTjia experiment between two svara-s were not usable as distinct svara-s. §ruti-s were not singable entities (Ramanathan N 1996: 4). The concept of Sruti had no existence in performance (ibid: 1).

The classification of the jati-s or later, of the raga-s was never based on the Sruti-s (Komaragiri 2005: 66). Levy had shown that the practice of raga music for the past 500 years or so has been based on tempered 12-tone systems (ibid: 92). Prominent post-SarigltaratnUkara lak$nakara-s4 have described raga-s in terms of 12 svara-s and not in terms of sruti-s. But by the time of VenkatamakhT,the idea of equating sruti-s with svara-s and locating them irfTSga1 - had taken root (ibid: 66). This had a damaging influence on subsequent theories.

The Gayan Samaja was established in Poona in the 1850s to deliberate upon the quantification of the sruti system for the Hindustani music. Later in the late 1920s, the Madras Music Academy pioneered a similar movement for the Karnataka music (Ramanathan N 1993: 35-36). Scholars have written extensively on the validity and quantification of the 22 sruti-s and even placed them among the various raga-s in vogue. The word ‘modem’ in this paper refers to the period from the late eighteenth century to the current times. Prominent scholars such as K. B. Deval, Ernest Clements, S. M. Tagore, Fox Strangways, Pingle, Abraham Pandithar, B. C. Deva, Alain Dani61ou, C. S. Ayyar, H. V. Modak, G. H. Ranade, F. Framjee, S. Ramanathan, P. Sambamurthy and several others have derived precise values for the 22 sruti-s from the natural harmonic series. Table A-l in Appendix A gives the typical values. Notable exceptions were N. Jairazbhoy, N. Ramanathan, H. Powers, Ratanjankar and a few others. These scholars have rejected the quantification of the 22 sruti-s and attributing such theories to Bharata.

Jairazbhoy, Stone, Mark Levy et al were among the first modem scholars to have approached this subject through empirical pitch analysis several decades ago. They showed that the theoretical values and the actual measured pitch values were at variance and that there is significant variation in the performance. Thus they questioned the continued usage of the theory of 22 sruti-s in the current-day practice of music. Their focus was primarily the Hindustani music. This paper however presents a systemic analysis based on the idea first proposed by Komaragiri (2005).

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The 2-VlnS Experiment with Changing IntervalsBharata applied the 2-vlna experiment to the fixed-interval, variable-tonic grama system,

with the following conditions:

1. The seven svara-s were organized with three different interval sizes; Sa, Ma and Pa were the largest, Ri and Dha were the next in size and, Ga and Ni were the smallest intervals. These intervals may be designated as A, B and C respectively so that A > B > C. The mathematical sign “>” means ‘greater than.’

2. The svara Ma was at the center of the saptaka and the saptaka was symmetrical about Ma in the $a<Jja-grama.

In the $a<jja-grama, the condition A > B > C was fixed. In this configuration, while performing the 2-vlna experiment, Ga & Ni merged with their lower svara-s in the second sarana (step) resulting in two sruti-s each, totaling 4 sruti-s. Likewise, Ri & Dha merged with their lower svara-s in the third sarana resulting in three sruti-s each, totaling 6 sruti-s. Finally, Sa, Ma and Pa merged with their lower svara-s in the fourth sarana resulting in four Sruti-s each, totaling 12 sruti-s. The total number of sruti-s from all the sarana-s was 22. Thus the 2-vlna experiment with the above configuration resulted in 22 sruti-s (Also see the explanatory note # 1). This sruti scheme worked flawlessly within the grama system.

But when the 2-vlna experiment is applied to the current fixed-tonic, variable-interval mela system, the resulting number of sruti-s is not consistently 22 as the condition A > B > C is violated. This of course applies to the modem raga system. The following hypothetical intervallic relationships and the resulting number of sruti-s the 2-vlna experiment will yield, illustrate this concept further:

A > B > C 22 Sruti-s

A > C > B 22 sruti-s

B > A > C 21 sruti-s

B > C > A 20 sruti-s

C > A > B 21 sruti-s

C > B > A 20 sruti-s

This simple exercise of changing the intervallic relations opens up possibilities hitherto unexplored. And such exploration is indeed realistic as the intervals do change in the current mela system.

The above concept may be illustrated further with actual values. For example, the following svara-s can form a saptaka. Refer to Table A-l in Appendix A.

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Ri = 32/27 or 6/5 ($at Sruti ftabha)

Ga = 5/4 or 81/64

Ma = 4/3

Pa = 3/2

Dha = 16/9 or 9/5 ($a( sruti dhaivata)

Ni = 15/8 or 243/128

The following possibilities exist. Ga at 5/4 can merge with Ri at 32/27. This amounts to 92 cents5. Ga at 5/4 can merge with Ri at 6/5. This amounts to 70 cents. Ga at 81/64 can merge with Ri at 32/27. This amounts to 112 cents. Ga at 81/64 can also merge with Ri at 6/5. This amounts to 92 cents. Therefore there are three possible reduction factors (intervals) forGa to merge with Ri and they are 70 cents, 92 cents and 112 cents (arranged in the ascendingorder). Likewise, there are three reduction factors for Ni to merge with Dha.

Similarly, there are two possible reduction factors for Sa to merge with Ni and Ma to merge with Ga; they are 90 cents and 112 cents. Continuing, Pa has only one possible reduction factor to merge with Ma and that is 204 cents.

Finally, Ri and Dha have two possible reduction factors to merge with Sa and Pa respectively; they are 294 cents and 316 cents. See the explanatory note # 5 for the cent value calculations. All the cent values are rounded off.

Out of the several possible saptaka arrangements, consider the following arrangement by selecting the first intervals consistently (i.e. 32/27, 5/4, 4/3, 3/2, 16/9 & 15/8):

Ga & Ni have 92 cents, Sa & Ma have 112 cents, Pa has 204 cents and Ri & Dha have 294 cents, totaling 1200 cents (octave). In this example, there are four different interval sizes.

With these four interval sizes, the 2-vlna experiment yields the following number ofsruti-s:

Sarana-1 0 svara-s times 1 = 0 sruti-s

SaranS-2 2 svara-s times 2 = 4 sruti-s


Sarana-4 1 svara-s times 4 = 4 Sruti-s


The total number of Sruti-s is 24 and not 22. If the first sarana is not counted, the totalA •number of Sruti-s would be only 17. This shows that the 2-vTna experiment with changing

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intervals does not always yield 22 Sruti-s. For unequal intervals, as the interval size varies, the 2-vlna experiment yields different number of Sruti-s for different intervallic configurations (svara arrangements), and for equal intervals or for intervals as mere positions, due to the cyclic process, the 2-vlna experiment always yields the same number of Sruti-s with which the experiment started, proving nothing in the process (Komaragiri 2005: Tables 2.1 to 2.19, 24-44).

The revelation of this simple truth is made possible because the analysis started with svara-s, as was done in the 2-vlna experiment and not with Sruti-s and therefore does not presuppose 22 Sruti-s. The entire experiment was based on the matching of the known svara-s.

But if one considers svara-s as so many Sruti-s away from other svara-s within the cyclic frame of 22 Sruti-s, this truth will never be revealed because reducing the number of Sruti-s of one svara will automatically increase the number of Sruti-s of the other svara, totaling 22 always (Komaragiri 2005: 49-51). Post-thirteenth century lak§nakSra-s have differed with each other in their placement of Suddha-vikjta svara-s within the 22-Sruti schematic, leading to inconsistencies when modem scholars assign pitch values to these positions (ibid: 52). This was precisely the mistake committed by these laksnakara-s, misleading the modem scholars. It is clear therefore that the ancient concept of sruti could not be extended to the current mela system.

In the variable-interval mela system, the number of sruti-s will vary depending upon the relative interval sizes as shown above. This is inevitable because in the ancient grama system, an N-sruti-ed interval (svara) did not contain N 1-sruti intervals.

Bharata illustrated the relative proportion of the svara-s with the help of the 2-vTna experiment. This was of course valid for the fixed-interval grama system. The concept of sruti operated within the context of the grama system. The number 22 was incidental to the 2-vTna experiment with the specific svara arrangement pertaining to the sacjja-grama, satisfying the condition A > B > C (Komaragiri 2005: 53-54).

The primary purpose of the measure (pramana6) of sruti was to differentiate the two grama-s; the difference being in the measure of the pancama. Abhinavagupta said grama vibhagartham€va sratiklrtanam (Ramanathan N 1996: 1). That is, sruti was said to have been used primarily to differentiate the two grama-s. In the mela system, with the dissolution of the grama-s, the operation and usage of the word sruti is no longer valid in its original intent.

Other FactorsIn real life, the actual pitch production and perception is quite complex although the

whole process happens seamlessly. The intricacy and the non-linearity in hearing combined with the complex neuro-physiological and psycho-physical cognition processes necessitate a

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flexible intonation that stretches beyond simple ratios. The empirical pitch analysis (Komaragiri 2005) clearly shows characteristic pitch profiles (svara movements) with significant variability in the intonation.

During the ancient times, the human ear was certainly the sole judge for determining the intervals. In fact, Abhinavagupta states that augmenting or diminishing a sound should be perceivable by the ear (SrOtragrahyasya) (Ramanathan N 1996: 2).

ConclusionIn the past, several scholars such as Jairazbhoy et al have shown the fallacy in the

quantification of the 22 Sruti-s by conducting empirical pitch measurements in the Hindustani idiom. This paper looks afresh for the first time at the issue and clearly shows that the ancient theory of 22 §ruti-s illustrated by Bharata through the 2-vTna experiment in the NatyaSastra is systemically not applicable to the current fixed-tonic, variable-interval mela system.

Explanatory Notes [for the superscripted numerals]1. The 2-vlna experiment of Bharata demonstrates the relative proportions between the 7

svara-s in terms of sruti-s, as 4-3-2-4-4-3-2 for Sa-Ri-Ga-Ma-Pa-Dha-Ni in the $a<jja- grama. That is, Sa was 4 sruti-s from (lower) Ni, Ri was 3 sruti-s from Sa and so on. The proportion between the svara-s in madhyama-grama was 4-3-2-4-3-4-2. The experiment was as follows. Two vlna-s were tuned identically to the svara-saptaka of the $adja-grama. The first vTna was kept unchanged throughout the experiment. The strings of the second vTna were lowered in tension, successively in four steps as follows. Step 1: the string tension was lowered in such a way that the pancama of $adja-grama matched with the pancama of the madhyama-grama. Bharata called this interval as Sruti. By lowering the pancama by a sruti, the second vTpa represented the madhyama-grama [4-3-2-4-3-4-2]. And by similarly lowering the tension in the rest of the strings [svara-s], the second vlna was tuned once again to the $a<jja-grama, but it was one sruti lower. Step 2: by lowering the tension in the strings again in the same way, Ga and Ni of the second vlna matched with Ri and Dha of the first vTna, which "was kept unchanged. Because of this svara-matching in the 2nd step, Ga and Ni were said to have 2 sruti-s each. Proceeding in the same manner, in Step 3: Ri and Dha of the second vTna matched up with Sa and Pa of the first vTna. Therefore, Ri and Dha were said to have 3 sruti-s each. And finally, in Step 4: Sa, Ma and Pa of the second vTna matched up with Ni, Ga and Ma of the first vTna, and thus Sa, Ma and Pa had 4 sruti-s each. Thus the total number of all the sruti-s was 22 (Abhinavagupta 1964: 20). It is pertinent to note here that the entire premise of the experiment was matching of the known svara-s and not Sruti-s.

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2. Sir William Jones published “On the Musical Modes of the Hindoos” in 1793.

3. Captain Augustus Willard published “A Treatise on the Music of Hindoostan” in 1834.

4. Prominent post-SangTtaratnakara lak$nakara-s such as Puntjarika Vifthala (SadragacandrOdaya), LOcana (Ragatarangini), AhObala (SangTtaparijata), Srinivasa (RagatattvavibOdha), Hfdaya Narayana (HrdayaprakaSa), SOmanatha (RagavibOdha) and VenkatamakhT (Caturdan<jIprakaSika) have described raga-s in terms of 12 semitones and not in terms of Sruti-s.

5. Cent is a unit of octave measurement. It divides each semitone into 100 equal parts and the octave into 1200 equal parts. This was introduced by Englishman, J. Ellis in the 19th century in the context of equal temperament. One cent, C = 2l/120° = and therefore N cents = 2N/1200. So to find the number of cents, N, in any frequency ratio, R, the formula to use is 3986 * Log R. [i.e., C = (1200/Log 2) * Log R]. For example, cents of Pa = 3986 * Log (3/2) ~ 702 cents, i.e., Since cents are logrithmic working with cents enables multiplication to be converted into addition. Table A-l in Appendix A gives the cent values of various musical intervals. As a further illustration, the distance (interval) between say, 5/4 and 32/27 can be calculated in cents as 3986 * Log [(5/4) / (32/27)] = 92 cents.

6. Pramana means a measure. In the 2-vIna experiment (see the note # 1 above) the first reduction was to match the pancama of the $adja-grilma with the pancama of the madhyama-grama. Bharata called this pramana (measure) as sruti (tat pramanaip srutih). This is unambiguous in the edition brought out in 1964 by the Oriental Institute, Baroda (page 20). Bharata did not coin the word pramana sruti. But some scholars have interpreted this as pramana Sruti citing the kasT edition of the Natyasastra (page 318). Later scholars like Acarya Bfhaspati and Prof. Sambamurthy have extended this further by formulating the different types of pramana sruti-s such as pramana, nyQna and pflma or, pramana, upa-mahatT and mahatT etc. Such a mention of three varieties of 1 sruti intervals is certainly not there in the Natyasastra.

Appendix ATable A-l: Commonly Accepted 22 Sruti Values

These 22 Sruti ratios are collated from various authors and are commonly accepted [count only two prati madhyama-s]. About 250 different values were worked out for the 22 Sruti-s by the various authors (Sathyanarayana 1970: 70). The values given below were also endorsed by the scholars at the Music Academy conference in 1929 (KomaragiriJ2005:

Appendix C, Page 1 of 5).

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Karpfltaka Svara Modern Values Cents[Rounded Off]

Suddha r$abha-l 256/243 90

Suddha r$abha-2 16/15 112

catuh Sruti r$abha-l 10/9 182

catuh sruti f$abha-2 9/8 204

sadharana gandhara-1 32/27 294

sadharana gandhara-2 6/5 316

antara gandhara-1 5/4 386

antara gandhara-2 81/64 408

Suddha madhyama-1 4/3 498

Suddha madhyama-2 27/20 520

prati madhyama-1 45/32 590



prati madhyama-4 / cyuta pancama 40/27 680

Pancama 3/2 702

suddha dhaivata-1 128/81 792

suddha dhaivata-2 8/5 814

catuh Sruti dhaivata-1 5/3 884

catuh Sruti dhaivata-2 27/16 906

kaiSiki nisada-1 16/9 996

kaisiki ni§Sda-2 9/5 1018

kakalT ni$ada-l 15/8 1088

kakalT ni$ada-2 243/128 1110

tara §adja 2/1 1200

ReferencesAbhinavagupta on N&fya&stra (1964). NatyasAstra of Bharatamuni with Commentary

Abhinavabharati by Abhinavaguptacarya. Vol. IV. Ed. Ramakrishna Kavi, M and Pade, J.S. Oriental Institute, Baroda (Gaekwad’s Oriental Series no. 145).

Jairazbhoy N (2008). “What Happened to Indian Music Theory? Indo-Occidentalism?”

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The Journal of the Society for Ethnomusicology, Vol 52, Number 3, Fall 2008, Pages: 349- 377.

Komaragiri Madhu Mohan (2005). Pitch Analysis in Karnataka Music - An Examination of Intonation and Modem Theories of 22 sruti-s. Doctoral Dissertation, Department of Indian Music, Madras University, India.

Ramanathan N (1993). “Musicology in India” Sangeet Natak Journal No. 110, Pages 31-41, New Delhi.

Ramanathan N (1996). “Understanding of Sruti in the Ancient, Medieval and Modem Periods” Sem-50 National Seminar on Perpetuation and preservation of Indian Classical Music. Historical Continuity - Gurukula Sampradaya organized by Janapriya Ganasabha, Warangal, A.P. 23 - 25 February 1996.

Sathyanarayana R (1970). “Sruti: The Scalic Foundation” Sangeet Natak Journal No. 17, Pages 58-74, India.

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Bfhadlsvara Temple, TanjavurChithra Madhavan

The BfhadTsvara (Rajarajesvaram) temple in TanjavOr, constructed in the reign of Rajaraja Cola I (985-1014 C.E.), one of India’s greatest emperors, was consecrated in 1010 C.E., and thus completes one thousand years of its existence in 2010 C.E. This Siva temple, also known, as Dak§inam€ru, has been in continual worship since its inception. This gigantic edifice, whose vimana rises to a height of 60.96 metres, is remarkable from the viewpoint of architecture, sculpture, painting and last but not the least, the numerous inscriptions on its walls which throw a flood of light on various facets of Cola history, especially the importance given to the fine-arts like music and dance.

Historical InscriptionsIt is well-known that music (sangltam) and dance (nrtyam) were among the sixteen

(sOdasa) offerings (upacSra) given to the deity of the temples of India everyday in the ancient and medieval eras. The kings and other members of the royal family were in general great patrons of the fine arts and encouraged the performances of musicians and dancers. This was the case in the Cola era also. The numerous inscriptions, very neatly etched are seen mostly on the walls of this temple, especially the base of the main vimana, serve as a very important and authentic source to know about the flourishing condition of fine-arts in this temple. The majority of these historical epigraphs can be dated to the 11th century A.D. and are in the Tamil language and the Tamil script and also in the Grantha alphabet of the Cola times. Altogether there are sixty-four inscriptions of Rajaraja I, twenty-nine of his son and successor, Rajendra I (1012-1044 C.E.) and one each of the later Cola monarchs - Rajendra II (1052-1064 C.E.), KulOttunga I (1071-1122 C.E.) and Vikrama Cola (1118-1135 C.E.). Of the subsequent times, there are three inscriptions of a Pandyan king, two of Vijayanagara emperors, one each of Acyutappa Nay aka and Mallapa Nay aka and ten Marathi inscriptions. The Cola inscriptions, not only record the gifts made to this temple by way of metal images, gold jewellery encrusted with precious stones, silver vessels and land by the royal donors, but also register meticulous details like weights and measures, the way in which donations were made and received, the method in which worship was conducted, etc. Deserving of special mention is the calligraphic script in which the Cola epigraphs have been etched. Altogether, these lithic records are a mine of information about the way this temple was in times bygone, especially in the Cola era.

A very long inscription found on the outer side of the north enclosure of this temple is of very great interest to lovers of music and dance1. It is dated in the 29th regnal year of Rajaraja I and records an order of this monarch by which he assigned the produce of a certain extant of land to a number of men who had to perform various services in connection

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with the temple and to approximately four hundred women (talipepdir or tajipendugal) who had been transferred to the Rajarajesvaram temple from other temples in the Cola country (COla-nadu). To these employees of the temple shares (pangu) were allotted as allowance (nibandha). The value of each share, which consisted of the produce of one veli of land, was to be one hundred kalam of paddy, measured by the marakkal (measure) called 'Adavallan’, standardized and made equal to the royal standard called 'Rajakesari’ According to the Dictionnaire Tamoul-Francais, the modem equivalent of the veli is 26,755 square metres2. Incidentally, each of the gifts of Rajaraja I to the Tanjavur temple is stated

to have been weighed by the stone called Adavallan, called after the name of the main deity, Adavallan (also called Rajarajesvaram Udaiyar or Daksinameru Vijankar), the original name of the presiding deity of this temple.

Paragraphs three to forty-two of this lengthy epigraph contain a list of the names of the lady dancers whom Rajaraja I had appointed to serve in this temple. The names of some of these talented ladies are of great interest as they refer to sacred places and to royal personages. Some of these names are Rajarajl, Rajakesari and Ammon which are derived from the various names and titles of the reigning monarch, i.e. Rajaraja, Rajakesari and Arumoil. One of the ladies was called Kundavai, which is obviously after the name of the distinguished royal lady Kundavai, the elder sister of Rajaraja I for whom he had great respect. A few dancers are named after Cola queens like Sembiyao-madevi, Teooavao-madevi, Vanavao-madevi and Tiribhuvana- madevi. Some of the names of the dancers that occur very frequently are Maralaiccilambu, Umai and Kunjaramalll. Before the name of each of these tajippendir is prefixed the name of the temple or the name of the village where she had been attached before her transfer to the TanjavOr temple like Tiruvaiyaru, Tirumulattanam, Nangur, Tiruvalangadu, Vengadu, ArOr, Tiruvannaikaval, etc. Therefore it is possible to find out a large number of temples, mostly Saivite, which were in existence prior to the reign of Rajaraja I. More than two hundred and twenty tajippendir came from forty-four temples from seventeen famous places and others came from about fifty-two centres. From Tiruvarur, famous for its Siva temple dedicated to Tyagaraja Svami, fifty tajippendir came to Tanjavur.

Interestingly, some of them are called after Vaisnava shrines which are mentioned in the Nalayira Divya Prabandham like Arangam (Snrangam), Tiruvengadam (Tirumalai), Ali (Tiruvali) and Sikkurugur (Tirukkurugur). These ladies had to carry out various duties connected with the daily routine of the temple like cleaning the premises, working in the granaries, gathering flowers, etc. However, their main duty was to sing and dance in front of

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the deity during the daily rituals and also the festivals which were celebrated here. Elaborate arrangements were made for their residence in Tanjavur. Two new streets known as 'Terku’ and 'Vadakku Taliccheri’ (south and north temple streets), each in two rows, with approximately a hundred houses in each row were set apart for accommodating the tajipperujir who were also given remuneration in kind.

This invaluable inscription further states that if any of these tajipperujir emigrated or died, the nearest relations of such persons were to receive that allowance (kani) and do the work. If the nearest relations were not qualified, they (i.e., the nearest relations) were to select other qualified persons to let them do the work and to receive the allowance. If there were no near relations, the (other) incumbents of such appointments were to select qualified persons from those fit for such appointments and the person selected was to receive the allowance. Accordingly, the names of these persons were engraved on stone.

The latter portion of the same inscription provides a list of male servants attached to this temple. They were dance-teachers, musicians, accountants, parasol-bearers, lamp-lighters, potters, washer-men and many others. Six dance-masters were appointed and some of them were conferred titles such as Araiyan Sundarasoran alias Mummadi-Sora-Nirttamarayan, Kumarao Vadavayil alias Mummadi-Sofa Nirttapperaiyao, Araiyar Abhimaoatongao alias Arumori Nirttapperayao, etc. Four directors of drama were also appointed and bore titles such as Pancavan MadevT Nadagamayyao. Two musicians playing on instruments were also appointed one of whom had the title Nitya Vinodan Vadyamarayao, which incidentally was one of the many titles of Rajaraja I. In addition, there were other accomplished vocalists and instrumentalists including five singers, three players on a pipe called vangiyam, four others whose descriptions have been lost in the damaged part of the epigraph, but were instrumentalists as revealed by their titles - Irumudisoja Vadyamarayao and Mummudisoja Vadyamarayao, two players on the udukkai which is a small drum and two vlna specialists of whom one had a title Sembiyan Vlnai Adityao. In the case of this vainika, it is mentioned in this epigraph that if he died, the share should go to his uncle’s son married to his daughter. Other than these musicians, there were three people who chanted the hymns from the Vedas. There were also two persons who blew on the conch shell (muttirai sangu), one of whom came from the elephant regiment known as ‘Mummudi-soja-terinda-aoai-pagan’ and many instrumental accompanists for the main singer selected from the regiment called ‘Ajagiyasola-terinda-vajangai-velaikkarar’; one from the regiment called 'Ksatriya-sikhamani-terinda-valangai-velaikkSrar’; another from the regiment called ‘Satrubhujanga-terinda-vajangai-velaikkarar’ and ‘Vlrasola-anukkar’. A number of drummers are also mentioned among the list of instrumentalists, one of whom was from the Brahmakuttam temple in Tanjavur.

Devaram Hymns

The Saivite saints of the ancient Tamil country had composed hymns soaked in devotion (bhakti) about their chosen deity, Lord Siva. The Devaram also known as Tiruppadlyam are the

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first seven volumes of the Tirumurai which is a twelve-volume collection of Saivite devotional poetry in Tamil. These seven volumes contain the hymns of three most famous Saivite saints (called Nayaomar-s), namely Appar, Timjfianasambandar and Sundarar. The tradition of singing the Devaram hymns in Siva temples in the ancient Tamil country was there even in the eighth century C.E. as seen from the information provided by inscriptions in various places. However, there is an interesting tradition connecting Rajaraja I and the Devaram hymns. One of Rajaraja’s dreams was to recover all the Devaram hymns which remained hidden somewhere. He had heard about a great miracle that happened to a boy named Nambi Andar Nambi of a place called Tirunaraiyur (in the ancient Cola country) and hastened to request the latter to help recover the Tevaram hymns. Nambi, due to his divine prowess revealed that all the Devaram verses were in a pile of cadjan leaves in a room in the western prakara (circumambulatory passage) in the Nataraja temple in Cidambaram. The king and Nambi then went to this temple and requested the Tillai three-thousand (group of Brahmin priests of Tillai or Cidambaram) to open the room which was sealed. However, they replied that this could happen only if the great saints themselves were physically present on the occasion. Rajaraja then arranged for a celebration in honour of Tamil Nayanmar-s (Tamil Saivite saints) and brought their images to the front of the room. The seals then broke and the room opened. The pile of cadjan leaves was there, but covered with termites. However, a large number of hymns were recovered. Rajaraja I, thrilled with this monumental discovery, arranged for the recitation of these hymns in this great Siva temple in Tanjavur as seen from another inscription in this temple3. Forty-eight Pidarars or Tiruppadlyam-vinijapam sevars were appointed by him for singing these hymns in front of Lord Siva. Two musicians who played on a small drum and a big drum to keep the beat when they sang were also appointed. They were all paid generously and provision was also made for the appointment of their successors. The names of all the fifty musicians are found incised in this temple. This royal devotee of Siva had an image of Candrasekhara (Siva) made and practiced the Devaram hymns in front of this deity, which in his inscriptions, is called Tevaradevar. These fifty persons were to receive from the city treasury of the Lord, a daily allowance (nibandam) of three kuruni of paddy each, measured by the Adavallan. Provision was also made, in case the person died or emigrated, for a proper person to recite the Tiruppadlyam. In many other temples of the Cola era and subsequent times too, the practice of singing the Devaram hymns continued.

Rajaraja’s love of dance is also reflected in the numerous sculptures of dance-poses (karana-s) sculpted in this temple. These karana carvings are found in the corridor corresponding to the second storey of the vimana (above the main sanctum-sanctorum). There are altogether 108 karana-s enumerated in the Natyasastra of

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Dance sculptures

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Bharata. Although provision has been made in this temple for sculpting all the 108 karana-s, only 81 were actually carved. The remaining blocks of stone meant for sculpting the remaining 27 karana-s are left uncarved. It is not known why the work of sculpting the remaining 27 karana sculptures stopped. It is interesting to note that all the sculptures are of Lord Siva with four arms depicting the karana-s. The first karana depicted is that of Ta]apu$papu(a and the 81st is Sarpitam. Rajaraja I, his predecessors and successors were all staunch devotees of Lord Nataraja at Cidambaram (Kanaka Sabha). This was the first time that the karana-s were depicted as sculptures in temples of Tamil Nadu in a series. Later, such karana-s were sculpted on the gOpura-s of the Nataraja temple in Cidambaram. They are also seen on the gOpura of the Sarngapani temple in KumbakOnam.

Besides these karana sculptures, Rajaraja commissioned the making of many Nataraja images in stone and in metal. A beautiful granite sculpture of Nataraja is seen on the outer wall of the main vimana of the grand temple in Tanjavflr. The bronze images gifted to this temple are of a great number and have all been recorded in the inscriptions. These metallic images were donated by Rajaraja I, his elder sister Kundavai, his queens (Loka Mahadevi, Pancavan Mahadevi, Cola Mahadevi, PrthvI Mahadevi, TrailOkya Mah? devi, Abhimana Valliyar and Ilada Mahadevi), his son Rajendra, Rajaraja’s general and minisi r Kr$nan Ramao, many nobles and by guru Isana Siva Pandita. In all, sixty-six images of gold, silver, copper, bronze, brass and pancaloha (five metals of an amalgam of gold, silver, copper, zinc and tin) were donated to this temple. One among the many such images gifted by Rajaraja I to this temple was of A4avallan (Nataraja) made of gold. Another image of Adavallan made of copper was donated by his queen Cola Mahadeviyar. A bronze image of Nataraja (Adavallan) in the Tanjavflr temple, which has survived to this day is very much like the famous Tiruvalangadu Nataraja, considered to be a masterpiece of C0]a art, and now seen in the Government Museum in Chennai. Goddess Parvati seen next to the Nataraja image in Tanjavflr is also of the Cola times, referred to in the inscriptions as Uma ParamesvarT.

PaintingsMany murals of the Cola times of the 11th century C E. are seen on the walls of the

narrow passage around the main sanctum. These paintings were done using the fresco method which involves painting when the surface is still wet. As mentioned earlier, the Cola rulers were staunch devotees of Lord Nataraja at Cidambaram. One of these murals depicts the great Nataraja temple at Cidambaram with details such as the gold-plated roof (which was a donation to this temple by the Cola emperor Parflntaka I, the great-grandfather of Rajaraja I), the gOpuram-s (entrance-gateways to the temple) as they existed in the days of Rajaraja I, and the four walls of the temple-complex. Nataraja, the presiding deity of this temple is shown in His famous dance pose. Interestingly, depicted here is a royal figure, most likely Rajaraja I accompanied by three of his queens and also devotees, followers, attendants and soldiers.

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148


This magnificent Siva temple in Tanjavflr is a protected monument under the care of the Archaeological Survey of India and is, along with the Cola temples in GangaikondacOjapuram and Darasuram, inscribed in the World Heritage List by UNESCO as 'The Great Living Chola Temples’

References1. South Indian Inscriptions Vol.II, No.66

2. Ibid.

3. South Indian Inscriptions Vol.II, No .65


Unpublished Compositions of Miirgadarsi SesayyarigarDr. V. Premalatha1

Margadarsi Sesayyangar, a pre-trinity composer is considered as the path-finder of the krti form found in the South Indian Classical music. Among his compositions, sixty are said

to have been approved by Lord Ranganatha, of which only 39 songs have been published

till now. Thirteen hitherto unknown compositions of Sesayyangar have been discovered from

different palm-leaf and paper manuscripts and the texts of them are given below.

The following are the unpublished compositions with their manuscript sources.

Song RSga TSla Manuscript1. Hanumantam Kapi R1437a2. Jaya sugunalaya Bilahari R1437a,

T1946

3. Namami narayanam PunnagavaralT R1437a4. Pahi raghudvaha Madhyamavati adi R1437a5. Rama satyakama NayakT -R1437a,

Ms-VK6. Seve srT coranatham Darubaru adi R1437a,

Ms-VK7. Srlrama jayarama R1440a8. Narasimha bhavayami Bpidavana a(a R1437a,

saranga Ms-Vk9. Seveham Kedaragaula 1440a

10. Sltarama mam pahi Athana adi R157311. Paramapurusa bhavamOcana Ghantha cempata T194612. ParitOsita vasudhatanaya Pantuvarali T194613. Palaya srikbsalapuralaya Pantuvarali T1946

Manuscripts containing compositions of §€sayyang3r1. “KTrtanani” -R 1437a -Government Oriental Manuscripts Library, Chennai.

2. “DTk$ita kftayah” -R1440a, Government Oriental Manuscripts Library, Chennai.

3. “Tyagaraja klrtanalu” -R1573, Government Oriental Manuscripts Library, Chennai.

1. Extracted from the article - “compositions of Margadarsi &£§ayyangar - reassessment based on the newly discovered manuscripts,” published in kalakelpa, Journal of he Indria Gandhi National Centre for the Arts, New Delhi, Vol.l, No. 2, Jan 2004.

150

4. “§e$ayyangar klrtanam” -T1946, University Manuscripts Library, University of Kerala, Kariavattom, Trivandrum.

5. Photocopy of the paper manuscript from the Vina Kuppayyar family (Ms-VK), containing Tyagaraja klrtana-s, Department of Indian Music, University of Madras.

Text of the compositionsThe texts of the thirteen unpublished compositions are given here. Further additional

carana-s, including the mudra carana have been discovered for the famous song, “raiigapate”

in the raga Kapi. The entire text of this song is also furnished here. Wherever the songs are found in two manuscripts, the variants are given as footnotes. The text of the songs has not

been edited.

1. “hanumantam cintaye’ham” - Raga - Kapi

Pallavi

‘hanumantam cintaye’ham -pavana sata kumbharambhavanageham

Carana

1. atulitamustipraharadanta ksatajamurcchita dasagflvam pratibhatabhltiprada nijasainya satatamodakara sarnravam

2. kaladanda sankasa kumbhakarnasulavibhanjana stuta sauryambala bhaskarotbhasi divyausaddhi1 vausadhi sailanayanojvala dhairyam

3. pakari pramukha suparva sannuta stokanupama satgunabrndam srlkosala nagarTnayaka caritakarnitajanita nandam hanumantam

2. ujaya sugunalaya"-Raga -BilahariPallavi

jaya sugunalaya jayajaya hare srT nayana jaya srlnarasirpha

Carana

1. kanakakasipu vidajana canakarunya nidana srlnarasiipha2

2. sasadharakOtisadrsadTpte dlnasaranya srlnarasirpha

1 Text in dim writing; probably added later

2 This carana is missing in T1946; R 1437a gives only caranas 1,6 & 9

— THE MUSIC ACADEMY • JOURNAL 2010 • VOLUME 81 — —

151

3. dhanabhaktiniketana kaylnunandana [yadunandana] vandya siTnarasiiriha

4. madhavadajesS laghukarasrayanadhacarita SiTnarasiiriha

5. akhilamauni surasukhadayaka karanaravajala siTnarasiiriha

6. anavadyatapOdhana sanakasanandana vandya snnarasiipha

7. prakatabalasuranikaratibhay5na keradana srlnarasirpha

8. vitatakesarahata jaladmahOnnatarOpa snnarasiipha

9. duritatimira bhaskara kOsalapura naranatha snnarasiipha

3. “namami nardyanaip” - Raga - PunnagavaraflPallavi

namami narayanaip natavanaparayanaip ramamanoviharinam rathariga sankhadharinaip

Carana

1. santarn samadhanabhrantisantaip saradindu vadana I

kantaip kamalaramanikantaip kalyanagunavantam

vasavamukhanavantaip bhagavantaip santatasri tanandamanantaip sakaladanujakulatimira nisantam

2. devajita sarvapflrvadevaip . dTnavana svabhavaip - bhava sannuta prabhavarp bhavaharipadara- jTvaip jitarak$OganajTvarp jagadujjajTvamsnvadhfl hjdaya bhavita bhavaip - sevaka ghaghanakanana danavam

3. Tsaip yitanata padma desarp inakOp svapra kasaip kari rak§ana prakasaip kamanlyya divya desaip dgvadijita nirvesarp subha sandSsadesikaip natamunlsa manisaip divya buvanamOhana rarigesam

4. “pahi raghGdvaha” Raga - Madhyamavati - AdiPallavi

pahi raghQdvaha pavana tanayakara pankaja lajita padayugaja

carana

1. surataru gananibida pramadavana Qruvilasan manimandapa madhyS spuradindu kanta racita vedjkopari vara siiphasanasthita

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152


2. mapinOpura kanaka vasana kahci gupa vaijayantika kaustubha (-) kari kapa keyOra makara kupdala Sravapavatapisa makuta bhQ$ita

3. vasi$tha gautama kasyapa kausika vamadeva katyayana jabali sQyajna ka lasa sambhavadi tapasavarSpya nitya pQjita

4. tarapitanaya jambhavan vibhT$apa tarSyanifodavara nilanaja sarabha kumuda gaja gavaya vinata kesari pramukhamitya sevita

5. parama kjparasa pflritanayanapariga vlk$ana surak§itabuvana . (-) ni kara janaka rajakanya lak$manabharata satrughna virajita

6. kamala bhava pramukha maranikara karpya Ilia kOsalapuri nayaka . vimala jfiana balaisvarya Sakti vlryadi paramaguna kalita

5. “rama satya kama” Raga - NayakI -RupakaPallavi

rama satya kama pahimam . kddapdapape

Anupallavi

bhQmi tanujabhirama budhajanahitasarigrama3

Carana

1. bhuvana rak$anasTla4bhQri karupalavala kuvalayadalanlla guru vakya paripala

2. paricara harivara samOhapapa dahana5varivaha dviradahastatQlita baha vidajita tatakadeha

3. patita6 larikadesa bhavyagunamapi kO§a7 kOtisQryaprakasa8 kOsala nagaraniv£$a

3 R 1437a treats this also as pallavi4 Ms-VK -lola 55 Ms-Vk -gahana6 Ms-Vk -pajita7 Ms-Vk -kOSa8 Ms-VK -sankaSa


6. “s£v£ Sri cOran&tham” - RSga - Darubfiru - AdiPallavi

seve9 Sir cOranatham

Anupallavi

pavana jalatamraparni nitya vasaip -sff divya10 gunasanatham

Carana

1. paramadaya pupyanetram11 sir vaikundavallTkaJatraip - aridara12 vilasita karayugamambuja caranamalika13 bhO$ana §<3bhigatrarp14

2. loka sarnrak$anasllapi -alola manjuvanamalam bhlkarasura bhedadi ati jagarOkaip15 cikurasurucira nikalam16

3. darahasalasita17 vadanarp saundaryajita sahasramadanam - sarasijabhava bhava18purandara sura19nir jara vinutaqi kOsalapura sadanam

7. “Sri rama jaya rama”Pallavi

sir rama jaya rama jaya jaya rama sif kOsala puri sarva bhauma (sn rama)

Carana

1. tapanavaSa kalasambudhi divya candra tatakadi bhlkarakl gSndra

2. prapta vividha divyastra nikaya parihitagadeya savanantaraya

3. vaisallkavantanlyya saundarya varapadarenu pavita munibharyya

4. haradhanuda dajanambdita janaka rajasta sarigata sltapapi sarOja

5. jamadagni sutagarva timira khaddyOtasvagamanOt vojvalita saketa

9 Ms-VK -sCvyC10 R 1437a -vanajalatabhrapaqtata nitya vllsa divya

11 Ms-VK-punnanttra12 Ms-Vk -haridhara13 R1437a -caraqamamita14 R1437a adds - aridaravilasita auttraip15 R1437a-vibhCkadi jUgardkaip

16 R1437a-nitHlani17 Ms-Vk -darahasitasita

18 Ms-Vk -Siva19 Ms-Vk -mukha

154


6. stavya divya sugunalavala daSarathOkti paripalana Slla7. anugata sTtasumitra kumara -aSrita samanTyya tamasatlra8. mahanlyya karunapatra ni$ada bhflpa makipayita bandhura jatakalapa9. lausantaritajannu tanujaneja 10kanatO$ita bharatvaja

10. citrakotasailakrta parnaSala jlvasamajnOjita kapataka lola11. bharatakheda Samanavya hara paduka nihitaghana rajya bhara12. amita tapOnilayatri sammanya anusuyalarilqta vaidehi kanya13. daritaraudraviradha mahUngakatavaka darsanOsukasarabhariga14. abhaya pradana mOdita munijala yamiganya sutlk§ana darsana lola15. kalajarpita khadhgatrna sarasa ghanatara sObhi pancavatinivasa16. karitaghOra sQrpanakivirQpa kharadOsanadi khandanakjta capa17. prabala mancani$iapana dharyya prakkjta bandha macita gidravaryya18. candaka vandasura karavala sabari samarppita varaphala mula19. pampatatakakfta vinOda bhanujasakhya sanjata pramOda20. prabalakalita balavairisutanta pavanajakamita sTtavittantta21. abdivelakranta vanarasenarp aghO$ita vibhl$anabhayadana22. jalanidhimada vidajanacanabana janapavana setukarunadhurina23. arivlra kari rak$Ovinasa anivarya sauryya paribhOta larikesa24. i§ukhandita kumbhakarnOgrakaya iipdrajida damana saumitri sahaya25. daruna mQlabalada . danasaunda dasakanjha jTvapanOda pracanda26. akrQja . jita vibhl$ana mahadhikara havyavasana palita nijadara27. ajasivamukhyanataguna vara attajlvita vanacaravlra28. atula pu$paka samprapta ayOdhya anujamantri mitravirajya29. akalitadhruva paflabhiseka akhilaloka saiprak$apajagaraka30. bhaktavana krtam<Lnu$ave§a bhavyadaya paripO$ita sC$a

8. “narasiiphaip bhSvay&mi” - R iga - Bpndavana saranga - Afa tfilaPallavi

narasipiharp bhavayami

anupallavi20

bhavataranaip divyanamasmarapaip karOmi

1. parama bhagavata prahlada parismarana nimitta bhlkaralOhastaip -bharptarakrtaavirbhavaip dait£yaprakara ghOravanadavaip suvismayakara mahanubhavarp

devadevaip

20 R1437a treats this as pallavi only

155

2. k$idibharahiranyaka$ipu bhedana nirmita parasu nikarOpamita21 karanakharSlanikftaneka22 bujadandam.gaja jana sammtlrcchitadi23 sve tandarp24 - daityadhi25patikhandanasaundarp devadevam

3. ajasahkara purandaradi dCvavandya26 nijabhakta sandarsanlyya sfframanl27 bhajanTyydjvalagatraip srT kOsalapurajanesam28 trinStraip . kayadhrtanujakjta

stutipatraip devadevam29

—. ■■ - THE MUSIC ACADEMY • JOURNAL 2010 • VOLUME 81 ------------

9. “seveham rangarSmaiji”- Raga - Kedaragauja

Pallavi

seveham rangaramaip sadadCvabrnda maku^amaniganadldhiti nlrajita pada sarOjarp

Carana

1. stambha sahasra vilasita man{apantaramaniparyarikasukhasTnarp visvaksenaipsa makalitavirbhaviSath vairi vandanlyyarpana vadyaprameyanubhava sarrigangasaja parakala bhavanTyyaip niratisaya mahima se$arp£a sanjanita ramanuja muni bhajanlyyaip

2. chando vigrahavainateyarpsa jantlya vi$nucitta sevanlyyam sasikopchavi pancajanyaip sasanjata sarOjayati subhavyam aparimita dhyuti kaumOdakigadarpsa bhQtabhQta yOgibhavyam bddha rflpa nandakaipsa sambhQta maha dakhya munivijheyam

3. tejOmaja kaustubhapisa samavatlrpa kulasekharastavanTyyam SrTvatsaqiSa samutbhava gayaka sekhara jOgi vahana sugeyam- bhanukOp rucira sudaiianaipsa prabhava bhakti s2ra maunivandyarp vanamalikaipsa sanjata srT bhaktarighrlrenumuni cintanlyyam

21 Ms-Vk-rO$amita22 Ms-Vk-nikharalarikflanaka

23 Ms-Vk-gaijita samOdi24 Ms-Vk-danttu23 Ms-Vk-daiteyaidhi26 R1437a -dirvibhivya27 Ms-Vk-ramaqi28 Ms-VK -nlSaip29 Ms-VK -kayadbhutanujikftastutipa Srf dCvadCva

156


4. tirohita dravidannaya samuddhSrakanatha muni samadadanniyyam svlyya bha$ana 6ravana pranava srT kahci pQjanlyyam srT ramanuja muni dasagraja kQradi satata srayanlyyam asurabhayada ravaghandarpsaka vedanta desika samaradhanlyyam jayadapa kftirata rak$asaghana jaipyanila kosala pura dhaureyam

10. “sft£ rSma mSm pahi” - Raga - AthSna - AdiPallavi

sTta rSma mam pahi . tavakadasyam . kauttlhalamme dehi

Anupallavi

pata tanaya sQsrita duritasaip ghata damana paribhota danuja saha jata vadanajita sltakirana vi -khyata mahita gunajata satyarata

Carana

1. litiibhTvita pada mitrasQna sammOda dhatripala lalama sri raghuramaratri caranikara gOtra kuvisadhara -patrapatra samanetra gautama kajatra rak$aka pavitra vividha caritra vi...dha nuti patra bhakta -sTla

2. bhanuvarpsasu graganya -yQgijana saranya srinidhe kjpalavala -sauvama celadanadanti varayana varidana -mana deha tapnlsamana hara janakl satata sama raga vara -dana nirata muni mana sayatana

3. rakendu dharahasa -trilokdllasa saketa nagarindra -srT ramacandrasOkaharana sujanaika sarana valmlki sukfti paripaka rQpanata lokasukha kara loka sahitana{lka jata suraloka pati sevya

157


11. “paramapuru$a bhavamdcana” R&ga - Gha^fhS - CSmpafaPallavi

paramapuru$a bhavamOcana SrlgOpala sada paripalayamam

carana

1. dinakarahimakaralOcana munijana vinuta carita paripalayamam

2. nirupama gunagana sagararauka bhajanTyacarana paripalayamam

3. kavikula$a mahagahana dahana murajaladapavana paripalayamam

4. nikhilabhuvana bharana nipuna vara tapanlyavasana paripalayamam

5. muralTnada rasika manasa damOdaradhara paripalayamam

6. srikOsalapuravaranByaka se$asayana paripalayamam

7. sarasijabhava bhavaharihayamukha surasarvabhauma paripalayamam

12. “paritdsita vasudh&tanaya” rfiga-Pantuvarali -CempaPallavi

paritO$ita vasudhatanaya dhava pavanatanUdbhava mamava

Carana

1. bhanubhayapaha balyallla pannag&ana mahajava

2. tri§lr$agni varida dev&nta[ndha]ka timira tamarasabandhava

3. ghbrasiirihikambudajahghanila gb$padlkrta maharnava

4. ku(ilakampanabheka pannaga nikumbha kumbhikanthlrava

5. atibalayflpak^a SrlkuMa dhOmrak$akalakata bhava

6. khalajambumali phaqimayQra daSakantfia kinkaravanldana

7. srtkOsalanagarTsa dasasurasiddha sadhya vinuta hava

158

13. “pfilaya §rl kdsalapuralaya”-Raga -PantuvarSliPallavi

palaya Sri kOsalapuriUaya divyagunala palayabhijanavanalolaphalanayana capaviphalapravlna bhaktapalanaslla dalitasala

Carana

1. ghOradanujahirpsavisarada palitakhagavTra danidendrakumSra varanagamana siddhacarananuta bhavavidaranacarana klrtivistara

2. manavakulavardhana dTnavamardana lllamanava sarvajagannidana vanaravlrasevita dlnarak$akula sadannyQna raktasiiphasanasTna

3. tamarasalOcana sarvamarapO$ana raghurama ravikulambudhi sOma bhlma sannuta jalada£y&ma satyakama bhrgflrama sancita kTtivirama

4. hatakacela divyakiiTta kambugnva sulalata kamaniyerah kava^a tatakadamana lTlanafaka sQtradhara nisajaka bandhyakllakjplta

5. ahava nirjjitari sandOhavarjjitasa lObhamOha vara yOgicitta geha mOhanarQpa gunavaideha nandana (na) samupagrahana pulakita divya deha

“Rangapate pShim&m” RSga -KapiPallavi

--------------------- THE MUSIC ACADEMY • JOURNAL 2010 • VOLUME 81 —

Rangapate pahimam -sri rangapate

Anupallavi

marigajakara sangara vijayahgajanibha mOhananga gangajanaka garudaturanga bhavabhariga karunapanga dhrtarathahga

carana30

1. bfndavana lola anandakara susTla nanditamunijanapala nandakadhara sugunajala. mandaradhara kunda radana bpidaraka yOgi brndavandita mrda caranaravinda. kuruvinda dhara gOvindajanananda

2. parikeniha netra apannajana sumitra. parikajabhavanutipatra pahkaja sadana kajatra.Sarikarasakha kihkarajana sankata hara danuja jana-bha yarikara gOpTjana makaranka niSSarika srT vatsarika niskajarika

30 Carana numbers 3 ,4 & 5 have not figured in the earlier publications.

159


3. kuntlsutamOda akra ura vinuta pada cintitakSrya piasada santata murajT vinOda. antarahita danti varada santO$ita SObhitintaantaka bhayaharana suvtftanta ati&nta kaninasvanta ramakanta

4. lambajaka bala lambita bhQbhara kambfgalara jOviddra Sambarari manOvihSra .amba ramajildambara kanakambara rucira vitanu ruciravidambita jaladhara jagadavalamba &a£ibimbanana sukadamba nirvi<lamba

5. mancayita &§apravancita maqibhtl$a

ancita rntfutara bha$a kincita manuka vidoSa.

kuncita pina sanciya mukha manciya mamakOsalapura

kincita karana makinci nanci navimunci dhftavirinci suprapanci

160


Book ReviewN. Mammadu,

Tamil Isai Peragaradi (Sor Kalanjiyam) (Tamil)Ipnisai Ih ist, Madurai, 2010. Rs. 500.00

A dictionary on the terms used in Tamil isai is much needed at this hour. This work is well written with detailed meaning definition and explanation for the music terms. The vowels and consonants of Tamil language is taken in the order. The musical terms which fall in the order of vowels and consonants are defined. Besides the musical terms, the annotated dictionary defines the words used in Tamil grammar. Music teachers and students and the students of tamil literature will also benefit by this work.

This is the only Tamil Music dictionary which defines some of the Sanskrit terms too. The terms used in tamil grammar are given which will be useful for music students to understand the tamil text in the compositions, either poetry or prose.

Besides the music terminologies that are used in Tami music, the technical terms used in dance and theatres of.Tamilnadu are well explained and defined with examples. Some of the rare theatres and dances of Tamilnadu, musical instruments of Tamilnadu which have become obsolete and rare, and terms used in Tala varieties in Tamil Music are also defined and explained which add value for the work.

This annotated dictionary consists of four hundred and seventy four pages, one of the exhaustive works on Tamil music and dance to deal with terminologies which will be helpful for teachers and students; a valuable addition to the music world.

S A X . Durga

161


Rukmini Devi

Leela Samson; Penguin Books India Pvt. Ltd, 11, Community Centre, Panchsheel Park, New Delhi-110017. Rs. 550.

A gliding swan as a newly married girl, a vivacious presence as a dancer and a determined authority as a builder, Rukmini Devi's life is a dream-subject for a biography. Leela Samson has everything in her sachet: an enviable closeness with the founder of Kalakshetra, plenty of recorded material and innumerable narrators of ancient times including Sankara Menon and Padmasani. If the magic of the heroine's aura is missing in Rukmini Devi, one cannot blame Leela. If you live at the foothills of the Himalayas, you would never realise its grandeur!

Many facetsBut even the mundane recital of facts concerning Rukmini Devi is enough to keep one

absorbed. Her childhood and girlhood; the Theosophical background; the conservative Brahmin

teenager marrying a greying foreigner; the cultural dynamo retrieving music and dance drama

from oblivion; the lover of animal life; an engaging traveller; the dignified widow striving to

turn her husband's dreams into reality; the innovator; and the lover of humanity. There were

many inspiring facets to this priceless diamond and not the least was Rukmini Devi's lambent

conviction in the Masters of the Theosophical faith. Even the manner in which she bore;

the slings and arrows of outrageous fortune; had the heroic touch. A rich life, in every way.

uniortunately in a plan where every word is precious and must remain focussed on her subject,

Leela has tended to get in a crowd of expendable details. For example: the making of Holkar

College, Pudukkottai's history, Annie Besant's career and Theosophical Society controversies

not relevant to Rukmini.

For the rest, this is a welcome record of events spanning the whole of the 20th century.

Rukmini Devi seems to have been a Savitri when she refused to change her decision to marry

Dr. Arundale. Vyasa's Savitri had said that even if Satyavan had but one year to live, she would

not choose another. Rukmini said something akin to that: I would rather be happy for a short

time with someone I like, than be married to a young man and lead a long joylesslife.

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These flashes chosen by Leela reveal the reserves of courage which would be needed

later on when Rukmini had to face the fury of the orthodox for her revival of Bharatanatyam; and antagonism from the officials of the Theosophical Society after Dr. Arundale’s passing when she was forced to move her institutions to Tiruvanmiyur after the Dissociation Policy came into vogue. Salutations to Rukmini Devi for her dream and fortitude to make the vision come true.

Visuals

In an ashrama-atmosphere at Tiruvanmiyur, ancient epics like the Ramayana and Kumarasambava had a perfect backdrop. Leela's recreation of this space in Rukmini Devi's

life has come out very well. The sheaf of excellent photographs eloquently recaptures her presence: the self-possessed smile of a happy wife; the perfect execution of a Bharatanatyam pose; the concentration with which she is looking at construction plans; and the Madonna figurine she treasured.

The work is also welcome for an important quote that ought to be heard today by our

leaders when India's educational system is in a shambles. As the minister of education in the princely state of Indore, Dr. Arundale studied the prevalent system and said in 1923: If education were for living and not merely for livelihood; if education were for joy and happiness

and not merely for temporal success; if education were as much for wisdom and truth as it is for so-called facts; if education were for as much for the soul as it is supposed to be for

the mind; then indeed would the younger generation be well-equipped for life. Dr. Arundale

was a lucky teacher. He had at least one student whom he could shape to perfection on these lines. He did and gave the world Rukmini Devi.

Prema Nandakumar_____ _____ Courtesy The H indu

THE MUSIC ACADEMY • JOURNAL 2010 • VOLUME 81 - ____________

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Four Score & More

FourScore &More>e History of the Music Academy,

Madras

The History of the Music Academy, Madras: Sriram V. and Malathi Rangaswamy; Westland Limited, No. 307, Venkat Towers, Maduravoyil, Chennai-600095. Rs. 2000.

The way it is designed and written, this book has done full justice to the Music Academy’s service record spanning eight decades in the field of Indian classical arts, particularly Carnatic music and dance. The Academy has ascetically directed the destiny of the fine arts and stamped its triumphal march as the greatest single contribution to the cause of classical music. All those who have music in them and the Indian community of music professionals will remember with justifiable pride and gratitude the hospitality extended by it.

The Academy has not been without its share of vicissitudes. No doubt, as the poet sang, like a tall cliff that lifts its awful form and midway leaves the storm, the Academy took in its stride the phase of the Tamil Isai challenge and the legal tangle it got embroiled into more recently. In documenting these two major episodes, the authors, Sriram V. and Malathi Rangaswamy, have commendably held the scales even. In fact, a sense of fairness comes across distinctively in their accounts of not just these two but all events, even the minor ones.

VisionBehind the Academy’s magnificent achievement, as the book highlights, lies the far-

reaching vision of the early promoters with strong moorings in Indian culture. It is a matter of satisfaction that the ideals enunciated in the resolution of the founding fathers still inspire those who are steering the Academy today. This explains the pre-eminent stature the Academy has acquired and the esteem in which the public holds the institution.

The Academy has had its troubles and the causes varied from infighting among office- bearers to the idiosyncrasies of musicians and their tantrums and boycotts. When the Tamil Isai movement was in a state of frenzy, M.S. Subbulakshmi did not participate in the Academy series for a few years. Senior vidwans like Ariyakudi Ramanuja Iyengar, hurt by the perceived ill-treatment meted out to them, boycotted the function at which Jawaharlal Nehru laid the

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foundation for the Academy’s new building. There was also the tiff over Ariyakudi’s insistence on the Academy providing a concert slot for Dhanammal. Time always heals wounds.

On the ecstatic side is the account of Veena Dhanammal groping her way to hear T.N. Rajaratnam Pillai. The other one refers to the spell-binding soul-stirring music of Roshanara Begum.

Significant milestonesThe presidential years of K.V. Krishnaswamy Iyer and T.T. Vasu are significant landmarks

in the history of the Academy. It was during the latter’s regime that Semmangudi Srinivasa Iyer threw his weight about in the selection of Sangita Kalanidhis. After referring to one or two instances, the authors say: “Kalanidhi controversies abated somewhat though it became clear that anybody harbouring hopes of being so feted and ennobled definitely needed the blessings of the Pitamaha as Semmangudi was now styled.”

The whirligig of Time exerted its influence on the affairs of the Academy. Many sabhas sprang up and they diligently followed the Academy footsteps in the conduct of music festivals in December. Democratisation has necessarily made classical music and dance suffer in quality. Morning sessions of discussions and lec-dems have become a part of every sabha’s programmes. In a brief note under the heading “The fall of academics”, the authors note that the academic side became increasingly neglected in the 1990s and say, without mincing words, that “Slowly but steadily, the Academy was losing its grip over the scholarly side and was downgrading itself to the status of a mere sabha.”

A stunning display of photographs, a wide variety of snippets and a wealth of information on dance and Hindustani music add to the richness of the publication, but they have to go unnoticed because of space constraints. Still one aspect stands out. The Academy has maintained a gracious, unique balance between upholding tradition and adapting to changing times and tastes.

THE MUSIC ACADEMY • JOURNAL 2010 * VOLUME 81 — —

SVKCourtesy The Hindu

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List of booksThe Oxford Illustrated Companion to South Indian Classical Musicby Ludwig Pesch (English). [Oxford University Press, Rs. 1950]

Bharatanatyam Bhakta Guru M.K. Sarojaby Ashish Mohan Khokar [Ashish Mohan Khokar, Rs. 1100, US $ 60, E 50]

Ihe Grammar of Carnatic Music(with MP3) by K.G. Vijayakrishnan [Mouton de Gryter]

Solkattu Manual -An Introduction to the Rhythmic Language of south Indian music(with 2 DVDs) by David P. Nelson [Wesleyan University Press, price not mentioned]

Semmangudi Srinivasa Iyer (with CD)by V. Subrahmaniam and Sriram V [Westland Limited, Rs. 790]

Essentials of Musicology in South Indian Music (with CD) by Prof. S.R. Janakiraman [The Indian Music Publishing House, Rs. 460]

The Harmonium Handbookby Satyaki Kriaig Brockschmidt [New Age Books, Rs. 175]

MS & Radha, Saga of Steadfast Devotion by Gowri Ramnarayan [Wordcraft, Rs 708]

Girija, A Journey Through Ihumri by Yatindra Mishra,Translated by Madhu B Joshi, [Rupa, Rs 595]

V e d a n a y a k a S a s tr iy a r , M u n n o r - P in n a t iy a rby Cankai Turairaj Bhagavatar Vedanayaka Sastriyar [Sastriyar Ministries, Price not mentioned]

N ew M a n s io n s fo r M u s ic , P e r fo rm a n c e , P ed ag o g y , C rit ic ismby Lakshmi Subramanian (Esha Beteille, Orient Blackswan, Rs 425]

P e r iy a P u r a n a m E n a V a z h a n k u m T i r u to n d a r P u r a n a m , T e liv u ra iby Siva Chitrambalam [Mangai Puttaga Nilayam, Rs 450]

A n n a m a c h a ry a S a n k e e r ta n a S u d h a ,T ra n s la t io n a n d T ra n s l i te r a t io n o f 150 so n g s in to E n g lishby Dasu Damodara Rao [Dasu Govinda Rao, Rs 120]

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THE MUSI C ACADEMY • J OURNAL 2010 • VOLUME 81

Obituary

The Music Academy reports with a deep sense of sorrow, the passing away of the following music personalities during the year 2010.

Sangita Kala Acharya Vidvan Sri S. Rajam

Sangita Kala Acharya Vidvan Trivandram Sri. R. Venkataraman

Vidushi Smt. Vidya Sankar

Sri P. Obul Reddy, Vice-President, The Music Academy, Madras

Sri. S.V. Ramaswamy, Member, The Executive Committee,

The Music Academy, Madras

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Sangita Kalanidhi Vidushi. Sikkil Smt. Kunjumani

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