for students and lovers of Carnatic music
We are aware that the ultimate aim of every composer and musician is to achieve the coalescence, the essential factors of classical music namely bhava, raga and tala. We know bhava literally means, expression, the expression of existence. In a composition, bhava encompasses the aspects rasa, raga1 and laya and for a musical composition to … Read more
Whatever one’s personal background and aspirations may be, Carnatic music bamains a quest for undiluted aesthetic experience (rasa).1 Three basic concepts are essential for daily practice as well as proper appreciation: rāga (tuneful rendition with minute intervals and rich in embellishments), tāla (rhythmic order marked by mathematical precision), and bhāva (expression of thoughts and emotions). To … Read more
Raga, Tala and Pedagogy: On the First Steps in Carnatic Music by Jeremy Woodruff The system by which any music is taught is the key to what is preserved, and how, in a musical tradition. I chose to research the basics of instruction in South India,both as an entry point for some practical knowledge on … Read more
Carnatic music, the art music of South India, is locally known as karnātaka sangītam. According to V. Sriram, an authority on the recent history of this music, a popular interpretation of karnataka sangitam is derived from the Tamil words karna (“ear”) and ata (a word used to express surprise): “that which haunts the ear.” Carnatic … Read more
S. Rajam (1919-2010) is credited with defining the visual identity of South India’s classical music. The present recording was made at his Mylapore home on 12 December 1997 when rehearsing for a lecture-demonstration; an annual event serving to highlight rare facets of South Indian (Carnatic) music. More about this recording & Sangita Kalasikhamani S. Rajam >> Total … Read more