The Hindu, December 27, 2013 | Read the full article with photos here >>
TRIBUTE To the genius T.N. Rajarathinam Pillai, whose nagaswaram melodies are timeless. RUPA GOPAL
In this part, I quote from my recording with S. RAJAM on TNR, done in early 2007.
“Carnatic music grew because of the nagaswaram. Our art originated in the temples — especially, dance and nagaswaram. During the daily three-time worship at temples, the nagaswaram would be played all the times.
Source: Our own PIED PIPER – The Hindu
Address : http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/our-own-pied-piper/article5505258.ece
Date Visited: Sat Feb 01 2014 11:28:42 GMT+0100 (CET)
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B. Kolappan, The Hindu, Chennai, December 22, 2013
With the disintegration of feudalism, Carnatic music, once confined to the precincts of temples and royal durbar halls, stepped out and started filling concert halls. While some music forms such as Mallari, inextricably linked with the rituals of temples and festivals, are still in vogue, others such as Odam, Yecharikkai and Odakkuru have more or less disappeared. […]
Yecharikkai is also played in Vishnu temples when the deity is taken inside the sanctorum after the procession. In earlier times, the devadasis of the temple would perform the ritual of warding off the evil eye after which the nagaswaram player would play this musical form.
“Yecharikkai is played in Saveri set to tisra nadai,” said Mr. Subramaniam. Mr. Chinnathambia Pillai said it could also be played in Yadukula Kambhoji and Ahiri. […]
But in many temples, these rituals are no longer followed,” said Mr. Subramaniam.
Source: Ancient sounds of temple music fade – The Hindu
Address : http://www.thehindu.com/news/cities/chennai/ancient-sounds-of-temple-music-fade/article5487577.ece
Date Visited: Sat Feb 01 2014 11:40:33 GMT+0100 (CET)