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Melody is an experience, says Bombay Jayashri By Sudha Jagannathan
Vocalist Bombay Jayashri was at her eloquent best when she presented a lecture-cum-demonstration concert for Brhaddvani at Sivagami Pethachi Auditorium here on December 17, 2010.
Innovate but don't deviate from Sampradaya, R.K.Shrikantan tells Carnatic musicians By Sudha Jagannathan
Sampradaya, a three-decade-old Carnatic music documentation organization, began a new series titled `Samvadha' (dialogue) by organizing a face-to-face conversation with veteran Carnatic vocal singer, R.K.Srikantan.
Sri Kamalamba Jayati in Ahiri, a Dikshitar's masterpiece By Vidya Subramanian
Each of the Kamalamba Navavarana kritis of Shri Muthuswami Dikshitar is a masterpiece in its own right. This article attempts to highlight some unique attributes of the 9th avarana kriti, Sri Kamalamba Jayati, in Raagam Ahiri and set to Rupaka talam.
Sri Shyama Shastry's swarajathi - a primer on Bhairavi By Vidya Subramanian
This article attempts to study Sri Shyama Shastry's masterpiece swarajathi beginning with the lyrics, "Kamakshi anudinamu.". This composition is set to Misra chapu thalam and has a sedate kala pramanam or tempo.
Apoorva Ramayana of Tyagaraja By Ramakrishna Easwaran
Valmiki's epic has been embellished by generations of poets and story-tellers. Tyagaraja, who delighted in diving in the ocean of Ramakatha, has brought out some unique pearls of this tale.
A fresh take on Bharathanatyam By Sangeetha Shyam
Here is a new take on Bharathanatyam by Dr.M. Balamuralikrishna. In his composition "Na Jaaney Thava Dhyaanam Vina" in rag Hamir Kalyani, Dr.Balamuralikrishna gives a unique interpretation of the word "Bharatha" in "Bharathanatyam."
Oothukkadu Venkata Kavi, a sakala kala musician By K.T.Jagannathan
It was a chill December morning. That did not prevent musically-inclined - from lay persons to stalwarts - to queue up to the Mini Hall at The Music Academy. They had all trooped in to discover an answer to an `existential issue'.
The Month of Margazhi and Tiruppavai Tradition By Vidya Subramanian
The collection of 30 verses known as the Tiruppavai is traditionally rendered during the Tamizh month of Margazhi (mid December-mid January). The Tiruppavai verses were composed by Andal - the only female Azhwar and one of the greatest devotees of Lord Vishnu.
Krishna Leela Tarangini - a musical beauty By Sudha Jagannathan
Tarangam is the name given to the musical composition "Krishna Leela Tarangini" composed by Narayana Theertha in the form of Gaya Nataka (musical play). Narayana Teertha was an ardent devotee of Sri Krishna. He had composed several songs on Krishna, delving into Madurya Bhakti.
When the Lord helps Jayadeva. By Sudha Jagannathan
There is an interesting tale about Geeta Govindam (Astapadi), a composition of Jayadeva. A great devotee of Lord Krishna, Jayadeva goes into wild imagination and pens a piece.
Navavaranams -A Study Of Oottukkadu Venkata Kavi And Dikshitar By Chitravina N.Ravikiran
The Navavarana pooja forms the mantric-tantric ritualistic part of Devi worship, associated with the Srichakra pooja. An avarana may be understood as a covering, a veil that must be removed in order to reach the supreme Shakti, residing at the centre point (bindu).
Saint Thyagaraja - A Great Composer And A Trend-Setter By T.M. Sivaraman
What more can a mere mortal like me have to say that has not already been said by eminent musicians and musicologist on the great Saint of Thiruvarur?
Raaga Time By Sudha Jagannathan
Ragas are classified according to the day, night or seasons. This classification is strictly followed by Hindustani musicians.
Dikshitar's insight into astrology and science By Sudha Jagannathan
Muthuswamy Dikshitar is well known for his specialized compositions on various deities. One such group of compositions is on the nine planets (Navagraha kritis). These kritis demonstrate Dikshitar's skill in Sanskrit, as he brought out the raga mudra (symbol) in a few kriti.