As part of International Women’s Day celebrations, ‘Veena’ Doreswamy Iyengar Memorial Trust had organised a three-day music festival 6 to 8 March in Bengaluru, featuring eminent women vocalists. The festival was inaugurated by the Jeeyar of the Yathiraj Mutt, who also extended his blessings to the festival by providing use of the auditorium.

Among the various compositions notated in the Sangeeta Sampradaya Pradarsini, the ragamalikas are interesting and intriguing. Among the composers belonging to the family of Ramaswami Dikshitar, Subbarama Dikshitar has employed this musical form extensively.

When we are gratefully celebrating the birth centenary of vidwans B.V. Raman and B.V. Lakshmanan, I join the host of their fortunate disciples in paying my humble pranams to them. I was privileged to be a student of B.V. Lakshmanan for about five years when I was doing my B.A., followed by two years of Masters in Music.

The Music Academy had allocated two slots for violin concerts (A. Kanyakumari, Lalgudi G.J.R. Krishnan and Vijayalakshmi), three for veena (Jayanthi Kumaresh, N. Ananthanarayanan, Ramana Balachandran) and one for flute (J.B. Sruthi Sagar) in the instrumental music category.

Every country, sometimes every region in a country, has its own style of music. Such exposure to varied genres of music during her Masters and Post Masters Fellowship studies at Berklee College of Music, led to the growth of Apoorva Krishna’s fascination for the concept of chords and the realm of harmonies in Western music.