Doordarshan television 07/10/2019
T.R.Sundaresan Mridangam & Konnakkol, M.A.Sundareswaran Violin, Papanasam Sethuraman Kanjira, Trichy Murali Ghatam, A.S.Krishnan Morsing, Rama Sundareswaran Tampura. | More about T.R.Sundaresan >>
Related post
“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance >>
Related post
“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance >>
Yet another proof and a delightful one (if any were needed), that
“Music is the purest form of art, and therefore the most direct expression of beauty, with a form and spirit which is one, and simple, and least encumbered with anything extraneous. … No one of its notes is final, yet each reflects the infinite.” – Rabindranath Tagore (Sadhana, the Realisation of Life)
Related
Audio tip | JA Jayanth’s grandfather and guru TS Sankaran live at Kalakshetra >>
Related post
“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance >>
Gudu Gudu makes wonderful listening, time and again. A rendition by Sreevidhya Chandramouli along with her husband and son as part of their ongoing KaraikudiVoyage.
This song encapsulates the healing power of music waiting to be brought into practice on a more regular base for being rooted in tradition at its very best.
Source: Full text of “Poems Subramania Bharati” (National Council of Educational Research and Training, 1982), pp. 147-151 in the text version provided by Archive.org; and from p. 160 in the embedded version displayed above.
* The fortune teller is traditionally depicted as shaking a small hourglass-shaped drum called kudukuduppai in Tamil, and as damaru across India. Two beads attached to it by strings produce the characteristic rattling “kudu kudu” sound evoked in this poem as harbinger of a bright future for all.
Bharati was determined to abolish the caste system in India. He selected an untouchable boy, to prove his principle of “equality” to the society.
Learn more from the Annotated Biography (with a National Historical Background) published by his granddaughter Dr. S. Vijaya Bharati >>
When Bharati’s vision as a poet went to work upon the sober knowledge of national and world affairs derived from his journalistic labors, the result was compelling political poetry of a kind that is rarely found in twentieth-century literature – with, fittingly enough, Russian literature being a notable exception.
Mira T. Sundara Rajan in “Subramania Bharati — The Eternal Revolutionary” (The Hindu, 12 September 2017)
https://www.thehindu.com/news/national/subramania-bharati-the-eternal-revolutionary/article19670435.ece
(The author is a great-granddaughter of Mahakavi Bharati. She holds a DPhil from Oxford University, where her research involved the study of Russian law and history. A wealth of information about the poet may be found on his granddaughter’s blog, https://subramaniabharati.com)
Subramanya Bharathiyar is a renowned poet from Southern India. … His poetry is known for its appeal to the liberty and strength of the people. … His national integration songs earned him the title “DEsiya Kavi” (National Poet). He composed Tamil keertanais on love, devotion, fearlessness, mysticism. | Learn more on karnatik.com >>
For background information on places like Karaikudi, Ettayapuram (the poet’s birthplace) and Chennai (where he died), explore the musical map created for this course. | Tips for using the interactive Carnaticstudent-map >>
Technical support
No Google Custom Search window or media contents visible on this page? Then try these steps: (1) switch from “Reader” to regular viewing; (2) in your browser’s Security settings select “Enable JavaScript”; (3) check Google support for browsers and devices | More tips >>
Related post
“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance >>
Carnatic Wave is an aural journey into the Karaikudi Veena tradition, a centuries old practice of Southern Indian classical music being carried on by a group of musicians in Portland, Oregon. This short documentary offers a glimpse into their world of Carnatic music, highlighting the importance and challenge of teaching traditional art forms in our modern society. – Documentary maker David Van Auken
Related post
“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance >>
More about TR Sundaresan >>
Related post
“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance >>
JA Jayant performs for Indian Arts Connection’s Breath of Life fundraising concert to buy oxygen concentrators to help with Indias 2nd wave of COVID.
He is accompanied by B Ananthakrishnan on the Violin, NC Bharadwaj on Mridangam and S Karthick on Ghatam.
Donations accepted
https://www.crowdfunder.co.uk/breath-…
Audio tip | JA Jayanth’s grandfather and guru TS Sankaran live at Kalakshetra >>
Related post
Thyagaraja Aradhana 2021 – Live on 2nd Feb – 7:30am IST #ThyagarajaAradhana #2021 #pancharathnam
Sannidi Academy of Music and Arts, (SAMA) a nonprofit organaisation established in the year 2011 by carnatic musician T.R. Sundaresan. Sannidi, helps young talents to come together and also provides them a platform for team work, learning and performing. Sannidi Academy of Music and Arts welcome all like minded musicians and artists to come forward and be a part of its future endeavors.
More information: https://thyagarajaaradhana2021.wordpress.com
Concert on 31.12.2020 by Vidwan J.A.Jayanth – Flute, Vidwan L.Ramakrishnan – Violin , Vidwan N.C.Bharadwaj – Mridangam , and Vidwan Chandrasekara Sharma – Ghatam. For Daily Informations refer to Our Blog : https://naadainbam.wordpress.com/
Jayanth, still in his late twenties, is the most recognisable and sought after flautist in contemporary Carnatic music who also commands a considerable cross-over following in India and abroad. He’s a prime time performer in Chennai’s prestigious Sabhas and also a regular fixture in Indian musical festivals in Europe and the US. He enthrals his audiences with an arresting gayaki style, riveting wizardry on his instrument, and rare musical wisdom. | Read the full interview by G Pramod Kumar on Jayanth’s musical background, the Carnatic bamboo flute, and the challenges it poses in the Indian Express (December 12, 2020) >>
Tip: for reviews, reports and other information in the Indian press, use the custom search field seen below
List of periodicals included and technical support >>
Audio tip | JA Jayanth’s grandfather and guru TS Sankaran live at Kalakshetra >>
Related post
“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance >>
Akshara Samskriti is the daughter of Carnatic musician Kiranavali and scientist-philosopher, Vidyasankar Sundaresan. This video was recorded on Nov 1, 2013, when Akshara was 4 years old. It was originally in multiple parts for educational video compilation, and has been put together as a single video here.
The 72 Melakartas are regarded as the parent scales in Carnatic music and serve the purpose of grouping similar sounding ragas/scales in the same category. It also helps create new scales which can then potentially evolve into full-bodied ragas.
The idea of classifying ragas that sound similar has existed over many centuries and were taken to a more definitive stage by 17th century musicologist Venkatamakhin. It was fine tuned further by Govinda to its present and more popular form. Nevertheless, the Melas propounded by Venkatamakhin continue to stay in vogue primarily through the compositions of well-known Carnatic composer, Muttuswami Dikshitar.
More on and from Kiranavali Vidyasankar: www.kiranavali.net >>
The world of sound is a tiny bubble in the silence of the infinite. The universe has its own language of gesture; it talks in the voice of pictures and dance. Every object in the world proclaims in the dumb signal of lines and colours, the fact that it is not a mere logical abstraction or a mere thing of use, but it is unique in itself, it carries the miracle of its existence.–Rabindranath Tagore quoted by Dinkar Kowshik in
Doodled Fancy, Visva-Bharati, Santiniketan 1999, p. 8
Related post
“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance >>
