A musical tribute to Prof. S. A. Srinivasan by Karaikudi Voyage – Sreevidhya Chandramouli (vocal & vina)

Vocal with vina accompaniment: Sreevidhya & Chandramouli (Karaikudi Bani)

Dr. Srinivasa Ayya Srinivasan, a dear friend of ours, and an Indologist at University of Hamburg, Germany, passed away on May 2nd, 2019. Our thoughts and prayers are with his wife, Pia Srinivasan, who was a student of late Rajeswari Padmanabhan. We pay homage to his great soul with a few of his favorite compositions on voice and Veena.

  • To listen and view photos on youtube, click here >>
  • Find the lyrics* sung in the tribute by Dhvani in the search window seen below or click here >>
  • Visit Dhvani’s homepage >>

Dhvani was formed to Preserve, Explore & Disseminate Indian art and cultural heritage. As a grassroots organization devoted to expanding knowledge in our community, Dhvani fulfills the need to inculcate an integrated understanding of art in Indian culture as well as other cultures.

Compositions heard as part of the Karaikudi Voyage tribute

  1. Paripalaya – Ritigaula – Adi tala – Tyagaraja
  2. Ramapahi meghasyama – Kapi – Adi tala – Tyagaraja
  3. Amba nilayatakshi – Nilambari – Adi tala – Muttusvami Dikshitar

Find song lyrics by typing any of the above in the search window:

S.A. Srinivasan (2011)
Prof. Dr. S.A. Srinivasan
18.09.1932 – 02.05.2019
Acknowledgement
Deutsch: Tributes by colleagues (in German)

Find publications by Prof. A.S. Srinivasan (search for Srinivasa Ayya Srinivasan) on worlcat.org:

Select titles

Search for an item in libraries near you:
WorldCat.org >>
 

Hinduismus und ökologische Ethik: Einige Bemerkungen
http://www.worldcat.org/oclc/900603864 | Details in German (Vienna University) >>

The goddess Māriyammaṉ in music and in sociology of religion
by Pia Srinivasan Buonomo; Srinivasa Ayya Srinivasan
http://www.worldcat.org/oclc/247408025
Open access version (text and audio files discussed):
https://archive.org/details/mariyamman-in-music

On the composition of the Nāṭyaśāstra
http://www.worldcat.org/oclc/499646888

Studies in the Rāma story : on the irretrievable loss of Vālmīki’s original and the operation of the received text as seen in some versions of the Vālin-Sugrīva episode
http://www.worldcat.org/oclc/560465987

Nonviolence and holistically environmental ethics : gropings while reading Samayadivākaravāman̲amun̲i on Nīlakēci
http://www.worldcat.org/oclc/929910155 / http://www.worldcat.org/oclc/899297850

Search a reservoir of Indian theses: Shodhganga, “a platform for research students to deposit their Ph.D. theses – Open access

e.g. search for “Shodhganga Carnatic music”, “Shodhganga veena”, “Shodhganga bamboo flute”, “Shodhganga Indian music education”, “Shodhganga music bani”, “Shodhganga percussion instrument” in the search field below:

Track missing details for search results

  • To trace the source document of any separate chapter listed among the search results hosted on Shodhganga’s server, look for its “handle” number: e.g. “138940” from the URL (in search for more publishing details): http://shodhganga.inflibnet.ac.in/handle/10603/138940
  • Copy-paste the second part of this “handle” number (e.g. 138940) into the How to Cite window in order to trace the document’s publishing data on the Shodhganga website http://shodhganga.inflibnet.ac.in.
  • e.g.  “handle” number 138940 refers to “The influence of Nagaswaram on Karnataka classical vocal music”, Researcher: Radhika Balakrishnan, Guide: Sreelatha, R. N., University of Mysore, Completed Date: 2016, University of College Fine Arts
  • Browse and download any chapter from the Shodhganga server.
  • For advanced search options directly consult the Shodhganga website: http://shodhganga.inflibnet.ac.in:8080/jspui/subject-search

Note: search results appear without much delay. More patience is needed for consulting the Shodhganga website (waiting time varies depending on the hour of the day).

Tip | Online research library: Musicresearchlibrary.net

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“Sri Saraswathi Chakra”: Understanding the melodic concepts of Carnatic, Hindustani and Western with the help of an innovative 72 Melakarta wheel

Melakarta_72CHAKRA-LS_RameshMany Carnatic ragas have their counterparts in western Music […] L.S.Ramesh, a Post Graduate from the reputed Indian Institute of Technology-I.I.T.Madras, has designed an Innovative Carnatic Music chakra (Sri Saraswathi 72 Melakarta chakra). […] This chakra requires no prior knowledge and has been appreciated by Music legends Dr. Mangalampalli Balamuralikrishna,Prince Rama Varma, Shri. Garimella Balakrishna Prasad (Annamacharya project Director-Tirumala Tirupathi) and others.

MORE INFORMATION ON THE WEBSITE OF THE FACES MOVEMENT http://www.faces108.com >>

Mr. Ramesh and his wife Mrs. Sridevi use the money generated from sale of this Sri Saraswathi 72 Melakarta chart to help underprivileged children through FACES (Food, Aid, Clothing, Education, Shelter); a Service started by this couple.

E-Mail to faces108@gmail.com
Contact: 09445360139

The first Sabha of Madras

The Hindu, September 21, 2012

One of the earliest attempts to make the British appreciate Carnatic music was initiated by Gayan Samaj.

STEEPED IN HISTORY:Pachaiyappa's hall.

STEEPED IN HISTORY:Pachaiyappa’s hall.
Had the Madras Jubilee Gayan Samaj been around, it would have been 125 this year, though it began at least four years earlier under a different name. That certainly makes it the mother of all Sabhas that have been documented in the 373 years of Chennai.
The Samaj came into existence at a time when the British were taking an active if short-lived interest in Indian music. Books were being written, some of the early works being ‘Hindu Music’ by Captain N.A. Willard, ‘Musical Modes of the Hindus’ by Sir William Jones, ‘Sangeet’ by Francis Gladwin and ‘Oriental Music’ by W.C. Stafford. The absence of any form of documentation and the native methods of notation proved to be a major deterrent. The educated Indians began to seriously work on reducing Indian music to the Western form of notation often referred to as Staff Notation. It was their view that getting their music written in the Western format would encourage the English to appreciate the art form. Among the earliest such attempts were made by the Poona Gayan Samaj, one of the early organised bodies to sponsor music performances. […]
The Samaj also reduced some of its songs to Staff Notation and had the Madras Philharmonic Orchestra render them for Europeans on yet another occasion. In addition, it had Tennyson’s Ode to Queen Victoria translated into Sanskrit, set to music and performed for the benefit of an invited audience. […]
The Samaj came into existence at a time when the British were taking an active if short-lived interest in Indian music

Source: The Hindu : FEATURES / FRIDAY REVIEW : The first Sabha of Madras
Address : http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/article3920039.ece
Date Visited: Sat Sep 22 2012 16:11:11 GMT+0200 (CEST)

Paper and Lecture Recital – 15th International Conference of the Gesellschaft für Musikforschung Goettingen

Music | Musics. Structures and Processes
15th International Conference of the Gesellschaft für Musikforschung Goettingen
Paper and Lecture Recital by Ludwig Pesch & Manickam Yogeswaran

Unity in diversity, antiquity in contemporary practice? A fresh look at South Indian music

The music of South India or Carnatic music is an amalgam of regional traditions and practices and became increasingly codified in the past five centuries. Today it reaches global audiences while ancient roots are claimed even by those who cherish its association with musicians from other cultures – from Messiaen to Menuhin, from jazz to rock-fusion – throughout the 20th century. But how to account for its intrinsic qualities in a manner that makes sense to “non-Indian” ears and minds? More >>

Paper and Lecture Recital at the International Congress of the Gesellschaft für Musikforschung

Music | Musics. Structures and Processes
15th International Conference of the Gesellschaft für Musikforschung Goettingen

Title of the presentation by Manickam Yogeswaran & Ludwig Pesch: “Unity in diversity, antiquity in contemporary practice? A fresh look at South Indian music”

Read more >>