for students and lovers of Carnatic music
We are aware that the ultimate aim of every composer and musician is to achieve the coalescence, the essential factors of classical music namely bhava, raga and tala. We know bhava literally means, expression, the expression of existence. In a composition, bhava encompasses the aspects rasa, raga1 and laya and for a musical composition to … Read more
Custom SafeSearch – press and websites For up-to-date information from several leading periodicals and other websites, simply type one or several keywords such as a personal name or institution you want to learn more about (e.g. “carnatic”, “karnatak composer”, “hindustani musician”, “ragamalika”); optionally add a city or state (e.g. “Madurai singer”, “Karnataka violinist”, “Trivandrum music festival”, “Chennai music season”): … Read more
Gaining prominence Despite the many alternatives available today, fortunately we still get to see the tambura player on stage. In fact, the first thing many musicians do after accepting a concert date is to book their preferred tambura player. As more musicians show a renewed interest in the instrument, the tambura is experiencing a resurgence. … Read more
In this part, I quote from my recording with S. Rajam on T.N. Rajarathinam Pillai, done in early 2007 [brief excerpts] “Carnatic music grew because of the nagaswaram. Our art originated in the temples — especially, dance and nagaswaram. During the daily three-time worship at temples, the nagaswaram would be played all the times. Source: … Read more
One of the debated topics in Carnatic music is the deviation by musicians from the so-called ‘original’ pathantaram of kriti-s. This article is not an attempt to provide a conclusive answer to end the debate but a constructive provocation and an invitation for opening up the topic for a wider debate. […] While in matters … Read more