MOTHER TERESA WOMEN’S UNIVERSITY KODAIKANAL DIRECTORATE OF DISTANCE EDUCATION M.A., Music | Year PAPER 1.2 Theory of MusicM.A.TYEAR MUSIC PAPER Il- THEORY OF MUSIC UNIT 4 Gitam¢ Sadharana, Gitam, Lakshana Gitam) '. Varnam (Tana Varnam, Pada Varnem) ©. Kirti Ckintna, Ket) Gira SBI OTB) SOME SpipuUOT YsOE + | (The union of music and words i said by the learned to consittegita) Gitas are the simplest of melodies. The term gita literally means ‘Song’ Dut in mosic it signifies @ particular type of composition, The masic ofthe site is simple melodic extension ofthe raga in which itis composed. Its tempo is ‘uniform. It is a continuos composition without the sections pallavi anupallavi and charme. ‘The gita is sung without repition feumn beginning to end. Some gitas have two sections (Khandikas) and some three, Some gitas are cocluded by repeating & portion of the opening part. Gitas are set in medium tempo. ‘There are ae sangats or variations and the flow of music is natural. Neither intericate combinations nor terse sancharas are found in its music. The raga svarupa is well brought out in ‘ech case, For each note of the dhatu, there is usually a syllable i the sahitya, ‘The theme of the sahitya is praise of God. (Gitas in praise of ‘musical luminaries and Acharyas aso exist: for ex the sapta tala gita in Nata raga beginning with the words: Gana vidya dhurandhara in praise of Vvenatasulbayya, by paidala Gorumusthi str), Sometimes meaningless Phrases like a iya, ti iya, a iyem, va iya, called matiuka padas are found interspersed in it, these quaint syllabes called gitalankare pharases lend a characteristic be auty to the sahitys of git, They are introduced for junamentation only, These syllables remind one of similar syllables, ‘occuring inthe sama genam,“These are instances of famous sanskrit slokas which have been deverly introduced as sahityas for sancharigits. The gita in Bhairavi raga, si Ramachandra and the gita in Nata raga Amirkalyeni aze well known examples. ‘There are gitas in sanskt, bhandira and kannada, ‘Students learn the gtss after @ course in the preliminary svara exercises and alankaras. ‘There are gitas in all the sapt tlas and their varieties. Ta the pre Iyagaraja period, many composers delighted in composing gitas. Gita are of to Kinds 1, Samanya gita and 2. Lakshana gta 1. Samanya git ‘Samanya git is the ordinary glta and is also called by other names as sadharana gita, Lakshya gta nd sanchari gta, “The points of lakshana mentioned shove fora gta hold good in the ease of the samanya gita. But ina lakshana gita, the sahitya, instead of being praise of god, enumerates in 60 many words, the fakshana of the rage, in ‘whieh it is composed giving amongest other details is varya and vakua svaras, graha, nyasa and amsa svaras its audava, shadava or sampurna character and lastly its parent rega, i i is a janya raga lakshana gia and the anya sveras, if any, if iti a bhashanga raga lakshana gta “There arclakshana gitas for most of the current ragas and for a few ‘obsolete ragas, ‘Thus Ragenga Raga lakshana gites are special class by themselves. ‘Raganga Raga lakshana gita: “The points of distinction between an ordinary gita and a lakshana gita have already been referred. We shall now take up the study of the structure and arrangement of the raganga raga lakshana gta.These gitas generally consist of three sections or khandas sutra khanda, ‘upanga khanda and bhashanga Khanda, In the sutra khan, the intial syllables of the sthityas of the avartas give the clue to the kinds of svaras taken by the ela FFor example, the initial syllables ofthe first setion of the lakshana gita in mayamalavagaula raga are: ra ga ma pa dha nu. From this, one is able to infer that the suddha vishabba, antara gandhera, suddha madhyama, suddha padapan Ka ja the first charan ofthe kr, Ninu ving gat ana 5 um jagana (Kalyani “Adi of Subbaraya Sat “The first etugada svata of the Kambhoji vara, beginning wilh the words (Ni da oii da pa ga ma ni si yunnadt Bora chp Ws ws ool uplingd ()Nisarise mana fase we “Manipiavala rit in Bhairavi raga 30Svarakshara leters may occur singly or in twos, threes, fours or fives. They should by theméclves or in combination with ordinary leters; preceding or following give rise to an ineligible mesning. Figured Svaraksharas ‘These are found in some compositions. Herein the same svarakshara phrase ocours a number of times ina section of the composition’. For instance in the Kamalakshi varna (Kambhoji raga ~ Jhampa tala) of Kundrakkudi Krishnayyar, the Svarakshara phrase Dani occurs 5 times in the second ettugada svara In the kati Jagadisvari (Mohane raga ~ Adi tala) the note dha in the vara sahitya occurs asa figured svarakshara, In the Pankajakshipal Varna (Kambhojt rags ~ Adi tala) of Maha ‘Valdyanaiba Ayyar ‘the svarakshara phrase, Gama Gama occurs twice in the second etugada svara CLASSIFICATION Svaraksharas may be classified into: (2) Sudha, wherein the sahitya leters are exactly lke the sola eters Le the identity ofthe sabitya syllable in regard to the consonant anid the ‘vowel ending of the solfa letter remaining inact. ‘The examples mentioned above are all instances of sudha svaraksharas, (2) Suchita, wherein the sahitya leters instead of being exactly like solfe letters differ slightly from them. The svarakshara beauty is however suggested though not tothe same degree as in the previous cases. Suchitasvaraksharas may be clasifed into: ~ (2) Where the identical consonant ofthe svara letter occurs but the vowel alone is changed, ‘Example: The phrase ‘Durusuga’ in the pallai of the krtt of Syama ast in Saveri raga: - aom om og (©) Where the identiesl vowel ending oocurs but like ~ sounding consonant occurs in the place of the correct consonant. For example, the opening phrase ‘Kamalambam’in the kriti of Muthuswamy Dikshitar in Kalyani raga, Here the word “Kamala"is sung tothe music of ga ma pa “The svar Kamakshi in Bhairavi raga of Syama Sati contains another example. In the frst avarta of the fifth charana, the syllable tas sung tothe svara lets, da: Po dpmer Pa taka mu lame (©) Wherein there is change in both the vowel ending and the consonant 3. Instances. of suddha: Suchita (combination of Suddha and suchits) ‘Svaraksharas are also common. Examples: The opening phrase ‘Sarasaksha‘of ‘Sati Tirunal’s kit in Pantovarall raga: @ srs oa Sarasa sha In the pallavi of the Krit, saroja dalanetti (Sankara bharana rage) we find another example: Op mgr Hi magi 4, Misra svaraksharas ae instances wherein non-svarskshara slablesccur in between svarakshara syllables. The kambhoji Varna “Pankajakshi pai”contains ‘many examples of this type ‘There are compositions beginning with svaraksheras; Examples: The Varna sa ri ga da ni pai, in Mohana raga, Adi tala of Karvetnager Govindasamayya. 32“The euugada pallavis ofthe following varas begin with svaraksharas 1. Bra napai_ (Todi ~ Adi)~ Dani matalu 2.Jalajaksha. (Elamsadhvani- Adi) Nise ti dora 3. Chalamela (Sankerabharana ~ Ata) —Papa Jat 4. Pankaakshi pai (Kambhoji~ Adi) ~ Ni dani pai 5. Sami nine (Pantuvarali~ Adi) ~ Padast 6, Sami daya (Kedaragaula ~ Adi) ~ Nise dora Since in vamas, the ettugeda pallai is sung at the conclusion of each citugada svara, the listener is frequenly reminded of the omamental ‘commencement ofthe ettugadapallav ‘Table XVIMI- Other examples of Svarkharas [Name f tie wong and the | Raga @ Tala | Svarakshara part section wherein it occurs @ Sac 1. Eman neni mahi Svarasaitya Mukhasi~ Adi | Sarga divamu 2, Paripovalera aval | ‘Anupallai Bilahari~Rupaka | dari gana (b) Suchits Tanayani brova: Pallavi Bhairavi Adi ta yuri ( Suda ~ Suehita:~ 1. Sambasivayanave ‘Khamas— Adi | saesareku ‘Svarjt last charana 2. Ninn sevinchins: Yaak pdesarass yoemamu Charana tambo chap (@ Misra svarakshara Pusat (van) Kamo Adi_—_| Maka ova atia | { ‘Table XIX Examples of Svarakshara passages: 4 T o o 1 Sankarabharana raga | Adi ala mobeoeld US lweotenst Baw saute bans ‘eos ||” SsaDP-pd ppmg arsa sudgu.ruvin pads [malarial ni da zum srgmPgrS ndN ssSll 3aya ea pani vay mana] 2Bilsher rags ‘Adi tala Ssn DP-pd Pmg rssn sad gu ru pada pan ka ja mula ma |sress-re Pmg repd | sani ga dhya nin chi na varlv Segarsss rend ppd sa. 10 pya sam pada lant pon di sRsaDP-pd apMG rgpd sam, gi tao. ‘vida lava dure | SsnD8; + Hl sad gu. ru. | "The av OF decorating musical compostions with svaraksahara fy an old fone, Rarely entire musical compositions are found to consist of svaraksharas, Ramaswamy Dikshitar's Vara “ sa si ga” in Todi raga, Adi tala isa clasic ‘example. This composition is styled a svaraks shara vars ‘Svarartha isthe earlier name for svarakshara Svaraksharas have to be reckoned only on the basic tune of the composition. It is possible that in a song, a note or a group of sofa letters ‘occurring in the sabitya and which is not on the face of it, a svarakshara may tum out to be a svarakshara in the course ofthe niraval ofthe concemed theme ‘The last charana of the krt, Saroja dla netsi (Xeankarabharana raga — Adi tala) furnishes good example. Inthe opening phrase, Samagana vinodini, the first three syllables do not form svaraksharas but become svaraksharas when sung tothe following music inthe course of niraval. S,mGgmG,mG sama ganavi no din ‘A Svarakshara pllavi like Sariga pega ichchene, is not fit for niraval, since tin the course of the niraval the theme has to be sung to the music of other notes and the svarakshara character of the pallavi sabitya will get obliterated, Svarakshara beauty has not found a place in compositions in western MGane svaraksharas and Kavita svarashars: Some poets hve atempled io Sente verses with words constituted of soia syllables. Though this isa ‘rach of cite Kavitvaoromatewritng, itis not of musical value, ince ech ‘eres cannot be sung in any ofthe recognized rages. The phrases will by tet “Se nature involve a number of artifical datu prayogas. Such passages are Graham means the place of the staring of music in the Tala Vartam. This is of 2 kinds 1, Sama Graham 2. Vishama Graham ‘When the music begins together with Talam, itis called Sama Graham. For example, in the Kriti "Neeye Manamagizhyodu” (Kalyani) , we have this ‘Sama Graham, To express this graphically Taam Boginning of Keiti Vishamna Graham is of 2 Kinds 1. Anagata Graham, 2. Atita Graham 100 ‘xWhen the music begins after the alam itis called Anagata Graham; ‘when the music begins before the Taam iti called Atta Graham, The Pallavi, ‘Anupallavi and Charanam of Ata Tala Varams and many Kritis like ““Gnanamusagaratha"(Purvi-kalyani) have Anagata Graham, To express this srephicaly y ‘Anngata Graham Talam Beginning of Kxth ‘Atita Graham of Kit Tala < > Examples of Atita. graham are rather are : the Keiti “Sivagama ‘Sundai"(Mukhari) has Atita Graham = (Adi-1 Kalai. Palla sess sdeDPL cee Siva P mORS:RiM| Pis5|siDPI ge... ma Sunda i--+ --Siva Jali Jat means division. Here we speak enly abou the divisions of Laghu, which are 5: 1 Trisra Lage 2. Chatorasra Laghu 1013. Khande Ligh 4, Misra Laghu 5. Sankima Laghu ‘We have already seen that the Sapa Talams (7) become 35 Talams owing tothe 5 variations ofthe Laghu. ati “This relates to the various rhythmic pattens ofa Talam. There are 6 kinds of Yat: 1. Sama Yat Gopucheha Yati Srotovaha Yat Damaru Yat Meidanga Yati Vishama Yati Sama yati Heer we have a rhythmic pattem in which the Angams are of the same rmagnitide, We have an excellent example of this Yati in Kambhoji Padavamam “Pankajaksbi lat Etukada Svaram) : nndd—ppmm-ggrs-opds|mgmp-dpmp| érsa-pdssl In the above Avartam, we find the continuous grouping of 4 svarams ~ Which sin the pater of Sama Yati Gopuchcha Vath “Go” means a Cow; “Gopuchha” means Cow's tail, Here we have & ‘thythmie arrangements in which the beginning is broad and then we find the pattem narrowing down gradually ~as we find the cow's tail, Fr example, in 02‘Anandabhsiravi Kriti of Muthuswami Dikshitar we find the following Sahitya, Patter Tyaga Raja Yoga Vaibhavam ‘Aga Raja Yoga Vaibhevam ~ Raja Yoga Vaibhavam Yoga Vaibhavam . ‘Vaibhavam MW Bhavan Vam Another Simple example, Perabhayam Abhayam, Bayar Srotovaha Yat Here we have a river ~ lke rhythmic pattem which is just the converse of Gopuchcha Yat. The patter is such thatthe begining is narrow, and then ‘ we find it widening towards the end like a rver. Is interesting to note that °c “Muthuswarni Dikshitar has given an example of Srotovaha Yatt in the very same Keiti we have mentioned above Sam Prakasam ‘Tava Svarupe Prekasam Sakala tata svarupa prakasam, Siva Saktyad Sakalattvasvarupa prakasem ‘Another example from Ata Tala Sankarabherana Varnam: . “Chalamela"(End of Muktayi Suara) an pan mpdn empdn 0srempda stempdn Damaru Yath ‘Damaru is a drum — which is narrow atthe centre and widens out towards the 2 ends, The figure willbe as given below : | ‘This yati may be called @ combination of Gopuchcha Yati and Srotovaha Yati, The hythmic -svara pattem may be ike the following: -sndpm-gmpdns.-ndpmer -gmpdns ‘To take a simpler example, we may bring to mind the arangement of savers. in Marya Talam, 1, ° 1 srer sem Mridanga Yati This is just the converse ofthe previous Yat Iti inthe form of the famous percussion instrument Mridangam which is broad at the centre and narrows out towards the 2 ends. This may be called a combination of Srotovaha ‘Yati and Gopuchcha Yat. The figure will be as given below: vi jiu 108x We have an excellent example of Mridanga yati in the 2° Avartam of the lst Eitugada Svaram of Kambhoji Padvatnam “Panksjaskshi pdn-mpdn -gmpda—rgmpda-gmpdn-mpda-pdn Vishama Yati In this patern we find Angams without any definite order. For example we may take the following arrangements of Angams 1 Ulle 0 U LOT) 4142142 Layam Layam means speed or tempo. Generally 3 types of speed (Layam) are spoken of: 1. Vilambits Layam (slow speed) 2, Madhya Layam (Medium speed) 3, Druta Layam (Quick speed) Vilambita Layam is sometimes called Chowka Kalam, Some kits have been composéd in Chowka Kala; kets have been composed in Mhyama Kalam, Kalai ‘This word reers to the fractional unit of a Tala aksharam, This is of 3 Kinds. 1. Eka kala 2. Dvi Kalai 3, Chatush kal When we have just on Svaram foreach kriyal of Talam itis called Eke kali When we have 2 savarams for each kriyal of Talam it is ealled Dvi Kalai ‘When we have 4 svarams for each kriai of Talam it is called Chatush Kala 10sMargam ‘Margam means path. There are 6 paths in reckoning Talam accurtely. "These are known as “Shamargams". They are given below: [Name of Margam Matra ‘Svarams 1. Dakshina Margam 8 2 2, Vartka Margam 4 16 3. Chitra Margam 2 8 4. Chitratara Margar 1 4 ‘3.Chitrtama Marga, nn 2 6. Atichitratama Margar a 1 Out ofthe 6 Margams mentioned above, the frst 3 namely Dakshina, ‘Varta and Chitra Margams are used only in the sphere of Pallavi. The other 3 Margams, namely Chitratara, Chitratama and Ati Chitrtama Margams are used in Krtis and other musical forms. ‘Examples for ehitratara Margam 1. Darin telusu (Sudhasaveri ~ Tyagaraje) 2. Meenakshi Memudam (Purvikalyani ~ Muthuswami Dikshitar) 3. Sarojadala (Sankarabharanam ~ Syama Sastr) Examples of Chitretama Margam 1. Raghunayaka (Hamsadhvani—"Tyagara) 2, LVasucha nivanti (Sa na - Tyagara) 3. Vatapiganapatim (Hamsadhvani - Muthuswamni Dikshita) ‘Examples for Atichitrtama Margam 1, Manasa etu (Malayamarutam ~Tyagaraj) 2. Sri Maha Ganapati (Gaulai ~ Muthuswaml Dikshitar) 3. Ramayika (Sahans 0 Patinam Subramaniya Ayyar) Generally Geethams are in Atichitratama Margam, 106Prastharam Prastharam means spreading out. Prastheram of a Tala Angam means spliting up of the Angam ito its possible component pars. Suppose we take ‘chatursra Laghu its prastharam willbe in the following 8 way. Met @u+u o 341 @o+0 ) O+U+U 242 2eled usu @U+O4U 143 14241 Mus+us0 @uU+U+U+U Lede? Lele1eL In conclusion we would like to confirm what late Prof. P. Sambamoorthi hnas said: “In the concept of the Tala Dasapranams, we have the root concepts ‘of time pursued to their logical limits. Some ofthese concepts are unknown to ‘other musical systems. The analysis of chythm has been caried to the fullest extend possible’ 107UNITS Prot. P. Sambamurthy ~ Musicologist 142.1901 - 23.10.1973, ‘He was a musicologist, teacher researcher, chronichler and practitioner. He was solely responsible forthe introduction of Carmatic music as the main subject fora degree cours. His Golden treasury of songs has many a rare keith ‘nit, Ris notated series must have been as useful then as it is now. In edition the had the onerous task of setting question papers and being an examiner. He ‘gave up a career as a performing artiste on the flute and violin in order to devote himself to his work as a musicologist. Sambamoorthy was bom on the 14% February 1901, His father was Pich Iyer and his mother Parvati Ammal. He belongs to the Tamil speaking Brahim community of south India. Expecting Ghanam Tirumalai Ayyar, 3 noted exponent of the Ghanam style of singing and a samasthana vidvan inthe court of saraboji none of his other patemal ancestors seem to have been ‘musicians of eminence. Many relatives of his on his mother's side were istinguished musicians. ‘At the time of his bith his father happened to be the station master of He lost his father in his fourth year and the task of brining up the child full tothe lot of his mother. He had Bitragunta, a Railway station in Nellore Dist two brothers and two elder sisters, Her mother told him stories from the Ramayana, Mahabharatha and the periya puranam and also taught him a number of songs. Even as a boy, he was invited to sing on the occasion of ‘mariage functions. He had his elementary school education in Arya patasls in ‘Thambu Chetty street, G-T., Madras and had his secondary education in the St Gabriel's High School, Madras, ‘One of the teachers of the Arya patasala was vengalatur subramaniya Iyer, who was a singer and a Mriudengam player. He performed bhajams inthe forthodox style regularly on New moon and full moon days. The young. Sambamoorthy was indvced to attend and to sing in these bhajens and this enabled him to barn all the songs to pertaining to the bhajana paddhatt, yor 10%In he schoo! anniversaries and other public fanetions held inthe schoo, he invariably figured asthe reciter ofa poem or contibuted some muse tem — ‘ute or the violin. Inthe 8.S.1.C. his optionals were Mathematics and Physics. He joined the Madras Christian college for his intermediate course. Even during the college career he used all his spare time to study music, After passing the Intermediate he joined the presidency college, Madras for his B.A., course and joined the Madras law college in July of the same year. In all the three colleges where he studied he continued to give flute items in variety entertainments and also took part in the Sanskrit and Tamil drama, Before joining the presidency college for the degree course, he worked as a clerk in the ‘Maumillan & Co., Madras fora year and this work incidentally provided him with a good opportunity to get into intimate touch with all aspects of Book ‘writing and publishing Prof. Sambamoorthy set up the Sangitha Vadyalaya, started by the All Indian Handierafis Board in 1956, He served there as an Honarary Director. It hs four sections 1, The Musical Insteuments workship 2, The Masical Instruments Gallery 3, Library Research section INSTRUMENTS PRODUCED AS A RESULT OF RESEARCH ¥e ‘Name of the Instrument] Deseripifon 193657 Pradarsena Vina ‘A Vina devised to explain the various musical laws, facts and ‘Automatic Tambura pheonomens, A Tambura fitted with an eleotie Seven Stringed Tambara | motor and operated, ‘This isthe replica ofthe instrument used by the great musician Shatkala ‘Automatic Tamura Govinda Mara in the 19% Century He [o91957-58 1958-59 ‘Automatic Tambura with External plucking Palmyra Double Violin case CChatur Dandi Tambura (Chaturmukha Tambura Bkanda Vina Composite SeutiBox Tala Yantra Dwi Dandi Tamura Grahabheda Dhurva Chala “An” proved model oF the Tambura already produced. Here the instrument may be made 10 stand vertically and the strings plucked automatically. Here the plucking ofthe strings is done externally Violin cases are usually made of cither leather or plywood or compressed cardboard, For the fist time violin cases are made out of palmyra leaves. Nine leaves are paled one upon snother and glued ‘These cases are found tobe durable and stand weather conditions well. Tn one instrument with a single resonator four dandies are fixed for four tambures. The differeat systems of tuning adopted when jodi (pair) temburas are used can be emonsrated wit this instrument. ‘A tambura with four facess with a common resonator and dandi ‘This instrument has two resonators and has @ wooden ledges and steel frets, 4In this Srati Box one ean play any rut from 110 6 % ‘An instrument to reckon various talas and this is opersted by clectcty. The instrament is fited im1959-60, 1960-61 1961-62. 1962.63 ‘Panchvadyamy Saw dust vina Saw Dust Tamura ‘Swayambu Sri Box: ‘Snake shaped Nagaswaram Laghu Vina Phone Srui Box Samashti Seu Box Pushkaram ‘Nalika Murai Midget Tambura ‘with an elecrie motor, There are separate dises forthe several talas and the required dise is serewed on to the instrument and palyed. A Tambura with two dandies. Herein five different instruments are combined in one instrument. ‘A vina wherein the shell and the ‘ross bar are made of Saw Dust. ‘A Tambura made out saw: dust, Herein a bamboo basket is taken ‘and the outer and inner sides are ‘lued with saw dust. This is used as Resonator. Herein reeds answering to the harmonic series of notes are screwed on and the pheonomena of swayambu svaras explained. ‘A nagaswaram out of the ‘conventional Acha wood in the shape of a snake was made with a view to compare its tone colour With the conventional nagaswarar, ‘A Small size of vin which is portable and handy. It has 5 strings and 14 fies, This is also concemty worthy and can be used to play lasscal music ‘A Siti box fited with @ conical orn inside: na‘An improved wodel of srl box Darpana Gottuvadyam | with indigenous reeds, Herein pitches ranging from 1-6 4 are 1960-61, availble. Laghu Gotavadyam A three faced percussion instruments, ‘A flute played through a tube which produced the edge ones are produced, It is easy for practicing. A Tambura with a wooden resonator in the shape of a eylinder and bamboo dani. AA gottuvadyam fitted with a long. rior stip and a mete scale. This enables the caleulation of Arequencies of notes in an accurate This is like the laghu vina in ‘appearance. The resonal is oval shaped, ‘Obsoleie insiramentsreconsirted and revived 1956-37] Sagoda Yazh During his tenure, he had coatinaous Interaction with the Union Government and wrote extensively on Indian music instruments in various publications ofthe different ministies, Prof. Sembamoorthy’s association with various institutions cannot be covered in on book. His contribution to the various organizations (both Government and non ~goverment) was all directed only at the betterment of Indian music and dance. This objective drove him to contribute articles, present pepe, give talks on various aspects of our music and dance, He was past of usalmost all major committees and conferences and s consultant with many organizations. Sambamoorthy and ALR ‘One of the organization with which he had a long association was the ALR. (All India Radio). All though his career Prof, Sambamoorthy contibuted to the ALR. in various ways. He presented papers (in English and Tami), ‘wrote script, produced Operas and was part of almost all major committees and conferences and a consultant with many organizations. ‘A detailed list of programmes and papers presented, including scripts “writen, is presented by Prof. R. Sambamoorthy. |. Narain Bhatkande, [New trends in presentation of Music Parandaradasa, ‘Syama Sas. ‘Vanolt Mandapon — Impressions of his tour of Russia, Produced ‘Pallki Seva Prabandhamn’ . Isai Edu ~*A day with syama Sassi" (Pail) (Reproduced inthis book) ‘Our Musical Heritage’ for A.LR, ~ Bangalore, Paper on Depiction of Rasas in Padams. 10.Lecture on Devotional music For taining light music producers. 1 Varieties of Ragamalikas in south Indian Music. 12. Musical accompaniments in Bharatanatyam, 13.Seript in English on Venkatamakhin's Chaturdandi Prakasika translated into Kannada ~for A.LR. -Bangalore — (Reproduced in this book) 14.Musie of Tyagaraja 15. Manufacture of Musical Instruments (Tamil) 16.*Oliyin Mayangal”Issaikkaruvi Eppadi Seivada' ~ (Tamil) Talk for Middle schools 17-Sangeesha sanchikei Isai Vadivangal (Tail) 18. Musical Feature ~ Thru Kutrala Kurvan? 19. Veena Vidwan ~ Sangameshwara shat ua20. Desiya Orumai Isai” Talkin Tari 21, Feature in Tamil for Middle schools ~ Senru Parporn 22. Bharatanatyam ~ Series of Talks 2. Bhakthi Kalsigal 24, Notes for Lucknow A.LR. ~Musical pills’s 25, Gotuvadyam 26, Veena 27. Music in Stones 28,0 Edu Pan Murai — Tamil 29, Development ~ Music Department in Madras Universty- Tami ‘Sambamoorthy the composer (On his return from Europe, he began to compose pieces on new lines and also revised some of his earlier compositions. Some of his compositions Dinaragamalika vaena Nisati samara (Manipeavala sti in Bhairavi) ‘Varagunalaya (Ksit in Kedaragaula rags) ‘Variations on a Theme (Bhairav raga), 1 2, 3. 4 'S. Sei Ryagaraa (Manipravala Kei in Vachaspati) 66. Ramachandra Nanou (Kit in Haridasapriya raga) 1. Paramatrauni (Kriti in Bhairavi raga), 8. Murchhonakaraka mela ragamalika ‘Vadya Prabandhas (Instrumental forms) 9. Miukha gitas (overtures) in Bhairavi, Yadukulakambhofi and Saurashra gas. 10.Marches in Kuntelovarli, Bilhari, Kedaram, Khiamss, Hamsadhveni, Garudadhvani, and Kheraharapiya ragas and a March with the Notices of the West minister clock chimes. 11. Dawa: Malayamaruta raga. Evening: Vasanta raga. usProfessor Sambamoorthy’s Publications South Indian Music book Ita Vi Dictionary of South Indian music and Musicians Vol. Ito Vol. HU ‘Great composers Book I & H History of Indian Music. ‘Teaching Music. Aids tothe teaching of Masi Elements of Wester Music for students of Indian Music. ‘The Flue, 1. 72 Melakarta pocket guide. 10."Te melakarta anya Rags Scheme with an Explanatory chart and two appendices 11, Great musicians with ilustrations, Pera weeps 12, Pictures of famous composers and musicians. 13.Syama Sastry and other famous figures of South Indian Music. 14.A practical course in Kamatic musie book Ito II. 15.Kirtana Sangaram Book Ito V. 16, Tamil Songs. 17.Nauka Charitham, 18.Ceyyur Cengalvaraya Sastri Krtis with notation. 19.Pallaki Seva Prabandham of Shaji Maharaja with notation. 20 Indian Songs Vol. {10 V. 21, Bharata Siddhantam, 22.Golden treasury of Indian Songs, 23.indian melodies ia Staff notation. 24, Karnataka Sangita Vidvangal 25, Kaits of Pallavi Sesayyar 26. Kunakiu Kamaran Peril Kistanaigal, 2 Laya vadyas 28, Musical time chart — Explaining the scheme of 35 talas. 29.Namavali Satakam, 11630. New kr in Vacaspati Ragam 31 ‘Selection from Tamil composers Book 1 32, South Indian Music series primer. 3, Sratt Vadyas. 34. Tyagaraja 35. Grahabeda Pradarsini Honours and Titles Gandharva Veda Visharada — 1943 ~ Hindu Dharma Maha Mandal. ‘Sangeetha Kala Shikamani - 1946 Indian Fine Arts Society. ‘Sangeetha Shastra Ratnakara, Geeta Vadya Vinoda 5. Ts Perarignar. 5. Sangeetha Shastra Praveen ‘Sangeetha Katanidhi — 1972 3. Fellow Sangeet Akademi New Dethi 1. Chairman, Board of Studies in Andhra & Kerala Universities President of conference 1 2. 3. 4, Conference of Indian Fine Arts Society: 1946 “Tevaram Pann Conference: 1949, 1950, 1951. [Natya Kala Conference: 1952 ‘Music Academy: 1972 Tn all the three colleges where he studied, he continued to give flute ‘tems in variety entertainments and also took part in the Sanskrit and also took part in the Sanskrit ané Tamil dramas. He married Srimathi N.S. Anandavalli in Joly 1922, Mr. Baddn Krishniah very kindly agreed to give weekly lessons in violin playing to Professor Sambamoorthy. He leat the fundamentals of flute playing from Mr. Krishnamoorthy and made rapid progress. He used t0 carry the flute every evening tothe Beach and there practise and return home. uyHe learnt some of the aspects of fute playing from Ashtapurta Venkatrama Sastri who was a Lephen of the eminent flats, sarabha sasti, V. Flute players were rare in those days and Sambamoorthy used to be invited to give flute concent at small functions, tea parties, temple festivals and ‘marriages. He performed in the Rama Navami Utsavam at the Ramaswami Koil, and in the Navarathri festival in the Kelahastiwarar Temple, Madras. ‘These performances given him good experience and a certain amount of self- confidence. He attended many concerts of Hindustani andl Caranatic, He learnt a no ‘of compositions of Tyagaraja from Manantattai Durai Sami Iyer. In 1927 he was appinted part ~ ime Teacher of Music in the Bentinck Girls High School, Madras. Between 1928 and 1937 he was thus teaching ‘music in Six Institutions, From 1928 onwards Sambamoorthy had to give up his career as a profess and performer of music and concentrate on his teacher work. Prof, Sambamoorhy while in Europe had done an Extensive study on ‘orchestra music and compositions of orchestra. This give him the inspiration to evolve an Indian orchestra performing Indian Music, He performed: the ‘orchestra in many important functions and events. He gave lecture demonstrations in Rome, Munich, Berlin, Hamburg, Happenheiz, Colegue, Leipzig, Leyden, Brussels, London, Edinburgh, ‘Stockholm, Upsala and Prague, All these tours gave the Professor a complete understating of Western ‘Masi and on many oriental fom of music, He also researched during his {ours many indigenous instruments of Japan and Philipines. He experiences in ‘Burope also gave him ideas and methods to improve and structure of music ‘edveaton in Inca. us