Sruti Magazine articles reproduced with permission. All rights reserved. www.sruti.com
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In the history of south Indian performing arts, there perhaps exists no parallel to the case of M.K. Thyagaraja Bhagavatar (1910 - 1959) where the tremendous popularity of one facet of an artist is matched by a near oblivion of another.
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Sruti spoke to on music instruments—their history, about the recent trends which several instrumentalists and all of playing styles and pointers on how have had a considerable impact on them consistently expressed the to appreciate instrumental music.
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- R. Vedavalli Mysore Vasudevachar, who was a guru-bandhu of Poochi Iyengar, has written in detail about him in his book. Salem Chellam Iyengar, son of Salem Doraiswami Iyengar, who was a disciple of Poochi Iyengar, has also written in…
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- Vidya Raja A lot has been written about the relation between mathematics and music. Music training and its impact on the brain—as a catalyst in improving mathematical ability — is intriguing, especially during early childhood. Music…
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Carnatic music has been evolving, probably, from the time it took its roots in south India. The evolution involves forms of compositions, usage of ragas, introduction of new ragas, themes of compositions, concerts, formats, duration, emphasis and more.
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In the third and concluding part of this series on the monumental composition of Maha Vaidyanatha Sivan, let us look into some of the aspects of the melody of this ragamalika. In the first two articles on the melaragamalika, we analysed the structural and lyrical features of the composition.
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Manoj Siva is a disciplined musician trained under Kumbakonam Rajappa Iyer and Palghat Raghu. His style is replete with sunadam during accompaniment for kritis and his tani avartanams are marked with technical brilliance.
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With increasing concert opportunities, T.A.S. Mani started accompanying many senior artists. Browsing through photo albums of his concerts is like walking through a portrait gallery of leading musicians of the past.
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Music Forum, in association with The Music Academy, organised a mega workshop titled ‘Yuva Rasika’, for school students, at The Music Academy, Madras, on 31 August 2019. Now an annual feature, Yuva Rasika has become a sought after event for school students. Twenty schools from across the city, and as far as from Vellore and Sholingur, participated.
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As mentioned in the September issue of Sruti, the language employed in this ragamalika is Sanskrit. The sahitya for each raga section extends to two avartas of Adi tala. The name of each of the 72 melakarta ragas is embedded very skillfully and beautifully in the respective sahitya portions.
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A first-generation performing artist, Amritha Murali, born on 16 July 1982 to Rama and G. Murali, is an established vocalist and an accomplished violinist. Amritha continued to do both comfortably until recently when she decided to concentrate on her solo performances as a vocalist and also to resolve this identity crisis of whether she is a violinist or vocalist.
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The Melaragamalika is a masterpiece and one of the longest compositions in the repertoire of Carnatic music. Though the Ragatalamalika of Ramaswami Dikshitar is popularly known as the ‘108 Ragatalamalika’, only 62 raga sections of that composition are available to us today.