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The state of Andhra Pradesh has contributed many musicians of repute to the world of Carnatic music. Revathy Ratnaswamy was one such whose music was steeped in classicism and tradition.
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R. A. Ramamani is a multifaceted musician. Singing avadhana pallavis, providing dizzying vocals for Indo-Jazz bands, composing for jazz and fusion, running a music school, training scores of students in India and abroad in Carnatic music - she has done it all. This versatile artist turned seventy on 2 March 2020.
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The Vidwan R.K. Srikantan Trust celebrated the silver jubilee of its annual Sankranti Music Fest, along with the twin centenaries of Sangita Kalanidhi R.K. Srikantan, and the Maharaja of Mysore, Jayachamarajendra Wodeyar—famous composer and art patron.
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Veteran R.S. Jayalakshmi is a respected vainika, teacher and musicologist. She was initiated into music when she was just six years old. Jayalakshmi used to observe her older sister in music class, and had a natural flair for repeating all the lessons that she heard!
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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.