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
We must understand India today in the light of its rich, long argumentative tradition [while] appreciating not only the richness of India’s diversity but its need for toleration. – Nobel Awardee Amartya Sen >> Source: “International Day Commemorating the Victims of Acts of Violence Based on Religion or Belief”URL: https://www.un.org/en/observances/religious-based-violence-victims-dayDate Visited: 15 August 2023 Even … Read more
By choosing an octave based on G# or A for basic “Sa”, all types of voice will be able to join in comfortably. This is demonstrated by a noted singer and vocal guru, Dr. Nookala Chinnasatyanarana: for this audio lesson1 he chose G# as basic “sa” to enable male and female voices to practice together; … 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
The Sabha itself was a product of colonial times. When the patronage of royalty and aristocracy was vital for the survival of the arts, a new city like Madras posed challenges – the ruling elite was English and had no intention to support artistes. The aristocracy, namely the dubashes or translators, provided the necessary support … Read more