for students and lovers of Carnatic music
In Tanjore as a Seat of Music (pp. 420-426), S. Seetha explains the scope envisaged by Venkatamakhi when presenting his mela arrangement >> Venkatamakhi while justifying the derivation of 72 melakartas by permutation and combination interestingly remarks that countries are many with people having variety of tastes and it is to please them ragas have been … Read more
Swipe to view all the 16 slides in order to understand how 12 svara positions are distributed across the 72 melas. To learn more, read the following explanations and view another slide series >> Source © Ludwig Pesch | Creative Commons License >> A scale – mēla in Carnatic or thāt in Hindustani music – … Read more
By N S Ramachandran (University of Madras, 1938) | Compositions >> Gamaka has been defined by Sarngadeva and others as the ornamentation of a note by shaking it. But evidence from their works can be cited to show that the idea of gamaka is more extensive than the connotation of this definition; it has been … Read more
Vina: Dr R S Jayalakshmi & Charulatha Chandrasekar Mridangam: Kalaimamani Sri TR Sundaresan >> Live lecture-recital at Arkay Convention Center (Chennai) on 17 October 2025 organized by Madhuradhwani *Ekaika kriti raga refers to a “single song raga” though additional songs or kritis may, of course, have been added later on. In 1996 senior musicologist and … Read more
Many years in the making, the present monograph is a tribute to two great musicians, fondly remembered by their heirs and audiences just as the many experts consulted by its author, Dr. Pia Srinivasan (1931-2022). She remained steadfast in her commitment even if their rare insights had to be shared posthumously. For her and her … Read more
A scholarly tribute to D.K. Jayaraman & T. Sankara Iyer by Pia Srinivasan Buonomo >>
The above exercise is inspired by the eminent violin duo Lalgudi G.J.R. Krishnan & Lalgudi Vijayalakshmi rendering a varnam by their late father Lalgudi Shri. G Jayaraman: raagam: valaci (valaji), 16 cakravAkam janyaAa: S G3 P D2 N2 S | Av: S N2 D2 P G3 S
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
raagam: vasantA 17 sUryakAntam janyaAa: S M1 G3 M1 D2 N3 S | Av: S N3 D2 M1 G3 R1 S Having but 6 notes (instead of 7), this type of raga pattern is traditionally classified as being “derived” (janya) from a melakarta raga. Text books refer to any raga limited to 6 notes as … Read more
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