Music examples – external sources

Violin recital at the The Small Theatre (Sittrarangam)

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As daughter and pupil of Sangita Kalanidhi Dwaram Venkataswamy Naidu, Dwaram Mangathayaru (1937 – 2022) is remembered for representing a distinguished lineage of South Indian violinists. Mastery of the violin early in life enabled her to enhance the performances others irrespective of their seniority, style or temperament. A recipient of many prestigious awards, she is … Read more

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

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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 … Read more

Video | Tyagaraja’s ekaika raga kritis – lecture recital by Dr R S Jayalakshmi (vina)

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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

Birdsong in Indian music: “A rich tapestry that intertwines music, poetry and nature”

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Read “How images of birds enliven Indian classical music” by Chitra Srikrishna (Scroll, 2 February 2025) along with images and YouTube contents:https://scroll.in/article/1077488/how-images-of-birds-enliven-indian-classical-music Bhakti poet Andal, Marathi mystic Dhyaneshwar and Tamil poet Subramania Bharati have all used birds as rich metaphorical devices. Both the Carnatic and Hindustani classical traditions are filled with the songs of birds. … Read more

Flow | The right tempo or “kalapramanam”

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If there is a single feature of Carnatic music to account for its mesmerizing effect on listeners it may well be a feature known as kalapramanam: practicing rhythm (laya)1 and performing in the the “right tempo”2 (kālapramānam) which, once chosen, remains even (until the piece is concluded). Adopting it as part of regular practice enables … Read more