Category archives: New ideas

Video | Triveni-A combination of “Muki-Prana” by TR Sundaresan

To watch this video, visit https://www.youtube.com/watch?v=1373ssBLT6Y >>

A combination of “Muki-Prana”
Ragam – Tanam – Pallavi
Concept and Pallavi lyrics by TR Sundaresan – Mridangam
Tuned and sung by S Srivathsan

TR Sundaresan, on the occasion of India’s celebration into the entry of the 76th year of Independence, brings this humble presentation as a dedication to the country. Through the journey of Independent India there have been many great musicians  who have contributed to  Indian Classical music and its rich tradition.

The late Dr Sri Mangalampalli Balamuralikrishna’s contribution is incredible to this field of Art. One among his contribution is the Tala System he invented through the  concept of ‘Muki’.  ‘MUKI’ gives a different form of 175 Talas to Carnatic Music apart from the existing 175 Talas.

‘Muki’ is applied over the ‘Kriya – Prana’ of Tala. The ‘Sashabhtha Kriyas of the Tala is explored with the relevent five different kinds of “Gathi” ( acknowledged by him as the ‘MUKI‘) and the Nishabtha Kriyas remain as 4 Mathras throughout the Tala cycle per Kriya.

On the event of Dr Balamurslikrishna’s  Anniversary TR Sundaresan takes the concept of ‘MUKI’ as a source of Inspiration to present a celebrating moment for the 76th year of Independent India. TR Sundaresan has taken the Ata Tala, which has two Lagu and two Drutams to explore this. The first Lagu with Tru Muki Trisra Jathi and the second Lagu with Pancha Muki in Kanda Jathi.

Two Drutams are set to Saptha Muki. In this Sundaresan has applied three different Mukis within the Tala Cycle and given a new Tala name called Triveni. This tala has 76 mathras per cycle to honor the 76th year of Independence. The lyrics for the Pallavi is written by Sundaresan himself to acknowledge Dr Balamuralikrisha on his remembrance day with the Tala Mudhra and Raga Mudhra to the lyrics. The lyrics are tuned by Vidwan S Srivatsan who will give vocal support for this Laya exploration.

Source: “Triveni-A combination of “Muki-Prana”
URL: https://www.youtube.com/watch?v=1373ssBLT6Y
Date Visited: 16 March 2023

[Bold typeface added above for emphasis]

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“Learning should be a source of joy” – V.V. Sadagopan on Music education

Audio source: singing by the author | Find details for “78RPM – V V Sadagopan” on Archive.org >>

It is a curious irony that we, who claim to “hear” our music,1 are less sensitive to tone quality than the Westerner who “sees” his music. Happy exceptions apart, musicians and listeners (especially of the South) are usually satisfied with some illusory pleasure, and do not care for the aesthetic joy – rasa – that music should give.

Text credit (excerpts seen above and below): Spirals and Circles by V.V. Sadagopan (1980) published in Sruti Magazine (print ed., Issue 9, July 1984), p. 7

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Viravanallur Vedantam Sadagopan was born on January 29, 1915, in an orthodox Vaishnavite family and spent his childhood and youth in Tirunelveli. He was a graduate and pursued a parallel vocation in music. He had his musical training under Namakkal Sesha Iyengar and Ariyakkudi Ramanuja Iyengar and became one of the most sought after musicians in the 1930s. At the height of his musical career he entered films and was hailed as Rudolf Valentino of the Indian screen. […]

VVS’s compositions include kritis, keerthanais, ragamaligais, padams, kili kanni and a series of Tirukkural keerthanais, wherein the Kural forms the pallavi and is elaborated in the anupallavi and charanam. As a music composer he has left behind a lasting legacy. […]

Music education for children became his passion and mission in later years. He called his integrative scheme of music education Tyagabharati, a term he had coined to epitomise the ideals of Tyagaraja and Subrahmanya Bharati. In this he struck an entirely new path, composing nursery rhymes in Tamil and Hindi, set to simple lilting tunes. […]

However the elders, comprising his friends and well wishers often stood perplexed, unable to comprehend the new role that this musical giant had donned. On April 10, 1980, he left Delhi by train, for Madras. He was seen alighting at Gudur, the next day. He has not been seen ever since. Rumours of sighting him in Varanasi and the Himalayas and consequent searches have yielded no results.

The mantle then fell on his devoted disciple Srirama Bharati, a visionary in his own right [who] passed away at a young age […]

Learn more about Singer, actor, writer and composer V. V. Sadagopan (The Hindu, 4 March 2005) >>

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References
  1. Here the author probably alludes to a metaphorical interpretation of karnātaka sangītam (today’s “Carnatic music”), one not to be taken literally even if invoked by some of his peers: understood as “classical music (sangītam) that surprises or haunts (ata) the ear (karna)”[↩]

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“Cosmic Order, Cosmic Play: An Indian Approach to Rhythmic Diversity”

Music by T.R. Sundaresan
Concept by Ludwig Pesch
Inspired by a conversation on the subject of ‘korvai’ with the late Sangita Vidwan S. Rajam

Cosmic_Order_Cosmic_Play-Ludwig_Pesch_KIT2001_webDownload

Originally published in 2001 by KIT Publishers in Rhythm, A Dance in Time by Elisabeth den Otter (ed.) in conjunction with the exhibition titled “Ritme, dans van de tijd” at the Tropenmuseum Amsterdam

View or download the above chapter in higher resolution | Download both of the above audio tracks on Archive.org >>

Find a higher resolution PDF-file of this article and download the above audio files here: Archive.org >>

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“Remove the barriers imposed by the music”: A tribute to a vital artistic tradition by T.M. Krishna

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A Southern music: The Karnatik story

By T.M. Krishna, HarperCollins, Rs 699

If a successful and busy Karnatic singer takes time off in order to write reflections on South Indian or “Karnatic” music, the book release function is bound to be met with considerable interest. […]

He pays tribute to the tambura (the tanpura) as “the life-giver, the soul of our music”. For Krishna, “it is the one instrument that can be said to hold within itself the very essence of classical music. So unobtrusive is this instrument, so self-effacing in its positioning on the stage and so tender of nature, that it is almost taken for granted.” Sadly, the tambura is rarely played “live” even during live concerts where it tends to be drowned by its electronic surrogate with devastating effect. Restoring its presence would seem indispensable in efforts such as those outlined under two chapter headings, “To Remove the Barriers Imposed by the Music” and “To Expand the Listenership of Karnatic Music”. The very concept of “fusion” is dismissed as a “lopsided idea of the music.” […]

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The fact that 15 out of 588 pages are assigned to an Index is welcome in view of the publisher’s ambition to provide readers with a “path-breaking overview of South Indian classical music.” A mere glance at the Contents page and Index proves that, as in his concerts, T.M. Krishna would take nothing for granted, starting with instructions titled “A Note on Reading”. […]

Source: Book review by Ludwig Pesch, The Telegraph (Calcutta)
Address : http://www.telegraphindia.com/1140228/jsp/opinion/story_18023416.jsp#.UxC3W16kAfl

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