Vol.73 2002

ISSN.
0970-3101
THE JOURNAL
OF
THE MUSIC ACADEMY
MADRAS
DEVOTED TO THE ADVANCEMENT OF THE

SCIENCE AND ART OF MUSIC
Vol. LXXV 2002
“I dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun;
(but) where my bhaktas sing, there be I, Narada !”
Narada Bhakti Sutra
PLATINUM JUBILEE YEAR
Edited by
T .T . VASU
Editorial Assistance
NANDINI RAMANI
T h e M u sic A ca d em y , M a d ra s
New 168 (Old 306), T.T.K. Road, Madras - 600 014.
e-mail : musicacademy@vsnl.com
Annual Subscription-Inland Rs.70/- Foreign : $ 3
All correspondence relating to the journal should be addressed
and all books etc., intended for it should be sent in duplicate to the
Editor, The Journal of the Music Academy, New 168 (Old 306),
T.T.K. Road, Chennai - 600 014.
Articles on music and dance are accepted for publication on the

recommendation of the Editor. The Editor reserves the right to
accept or reject any articles without assigning reasons.
Manuscripts should be legibly written or preferably, type written

(double spaced and on one side of the paper only) and should be
signed by the writer (giving his or her address in full.)
The Editor of the Journal is not responsible for the views expressed
by contributors in their articles.
1— — ■ — — — ■— —
Statement about ownership and other particulars regarding
THE JOURNAL OF THE MUSIC ACADEMY
CHENNAI
FORM IV
(See Rule 8)
Place of Publication The Music Academy,

Chennai-14.
Periodicity of its publication Once a year.
Printer’s Name G. Kannan
Nationality Indian
Address 3/3, P.V. Koil Street
3rd Lane, Mylapore,
Chennai-4.
Publisher’s Name Sri. T.T. Vasu
Nationality Indian
Address New 168 (Old 306), T.T.K. Road
Chennai - 600 004.
Name and address of The Music Academy
individuals who own the New 168 (Old 306), T.T.K. Road
newspaper and partners or Chennai - 600 004.
shareholders holding more
than one percent of the total
capital
I, T.T. Vasu, hereby declare that the particulars given are true to
the best of my knowledge and belief.
Dated : Sd/
(T.T. VASU)
(Signature of the publisher)
CONTENTS
1. Editor’s Note
2. The LXXV Madras Music Conference-Official Report
3. Summary of Papers presented in the Conference
4. The Sadas
5. Geeta, Taya, Alapa

-Smt. R.S. Jayalakshmi & Sri. B. Balasubramaniam
6. Jatiswara / Swarajati
—. Dr. Ritha Raj an
ly The suitability of the different types of Rhythms and Talas for

different Musical Compositions
- Sangita Kala Acharya Prof. S.R. Janakiraman
8. Mahabharata in Tiruppugah
- Valayapatti R. Krishnan
9. Layam in Musicological Perspective

- Dr. S.A.K. Durga
10. Connotation of Kriti and Padam

- Dr. Pappu R. Venugopal Rao
11. Musical Reference in Tiruvisaippa and

Tiruppallandu - the 9th Tirumurai
- Dr. Pramila Gurumurthi
12. Rare & Unique Contribution of Tacchur Singaracharya Bros.

- Akella Sri Mallikarjuna Sarma
13. Book-Reviews
E D IT O R 'S N O T E
I am extremely delighted to write this note on the happy occasion of

the Platinum Jubilee of The Music Academy, the foremost among cultural
organisations of South India which has been far and widely acclaimed for its
unique contribution to the world of scholarsihp through its publication of the
Annual Journal. The Journal of the Academy has been a great source of
invaluable research material to students and researchers, musicians and
musicologists in the past seven decades and more.
The present volume contains informative articles presented in this year's

morning conference sessions which focussed on the theme of Musical Forms;
the Raga-Lakshana discussion as in the previous year, forms an important part
of this collection. As usual this annual publication features the summary of the
papers presented during the conference this year, apart from some of the
interesting lectures by well-known experts and scholars which will provide the
reader a deep insight into the academic activities of this noble institution.
I am sure all those deeply involved in the study of music, will find this
volume immensely useful and that the contribution of this Academy in this
sphere of music will ever be cherished by them.
(T.T. VASU)
THE 75th ANNUAL MUSIC CONFERENCE
OFFICIAL REPORT
The Opening Day
14th December, 2001
The 75th Annual Conference of the Music Academy, Madras, was

held in the T.T.Krishnamachari Auditorium in the premises of the
Academy, New 168 (Old 306), T.T.K. Road, Chennai - 600 014, from
14th December to 1st January 2002. The Conference was presided over
by Umayalpuram Sri K. Sivaraman.
The Hon’ble Chief Justice, Thiru.B. Subhashan Reddy, inaugurated

the Conference, which marked the commencement of the Platinum Jubilee
of year of the Academy’ Music Festival.
On his arrival at the premises of the Academy, the Hon’ble Chief

Justice Thiru.B. Subhashan Reddy was received by Sri.T.T. Vasu,
President of the Academy, and introduced to the President of the
Conference and Members of the Executive Committee. The distinguished
guest was then taken to the Auditorium of the Academy where the inaugural
function began with the invocation by Smt. Revathi Subramanian and Dr.
Manjula Sriram, Staff of the Teacher’s College of Music, of the Music
Academy.
The President of the Academy, Sri.T.T.Vasu, then welcomed the

distinguished guests and the public. In his address Sri.T.T. Vasu said :
Hon’ble Justice Sri. Subhashan Reddy, Chief Justice of the Madras

High Court, Vidwan Umayalpuram Sivaraman, Members of the Academy’s
Advisory Committee. Vidvans and Vidushis, distinguished invitees, ladies
and gentlemen:
2 THE JOURNAL OF THE MUSIC ACADEMY [Vol. LXXV
With great pleasure I extend to all of you a hearty welcome to the

inauguration of the 7 5th Annual Conference of this Academy which marks
its Platinum Jubilee. The fact that this institution has been able to render
purposeful service to our performing arts for 7 5 years without a break,
bears testimony to the solid foundation laid in 1927 by its founding fathers
and the unique tradition which is being followed by us ever since. Despite
the fact that cultural activities in Chennai are increasing year after year by
leaps and bounds, the Music Academy’s programmes continue to be
appreciated by elite audiences and discerning lovers of music and dance.
I extend a warm welcome to Hon’ble Sri Subhashan Reddy, Chief

Justice of the Madras High Court and thank him for so kindly agreeing to
inaugurate this conference. Justice Reddy has had a distinguished career
as a lawyer and judge. As an advocate, he commanded extensive practice
covering all branches of law, constitutional, civil, criminal, revenue,
taxation, etc. He was elevated as Judge of the Andhra Pradesh High court
in 1991 and was appointed as Chief Justice of the Madras High Court in
September this year.
Apart from being an eminent jurist, Justice Reddy is a lover of

literature, particularly poetry, and a connoiseur of music. I understand
that he has a rare collection of recordings of veterans of the past. It is the
participation of scholars like him that lends relevance to functions like
this.
This 75th conference will be p resid e d over by Vidwan

Umayalpuram Sri K. Sivaraman after his election which will take place
shortly. The village of Umayalpuram in Thanjavur District has been a cradle
of music from the time of Thyagaraja. Two of his chosen disciples, Krishna
Bhagavatar and Sundara Bhagavatar, learnt directly from him and
preserved an extentive repertoire of their Guru’s compositions. It is no
wonder that, hailing from this village, Sivaraman, who holds a degree of
law, chose percussion as his special field in Carnatic music. If he had
pursued the legal career, he would have probably played a ‘Thani
2002] THE 75th ANNUAL MUSIC CONFERENCE OFFICIAL REPORT 3
Avarthanam’ to Justice Reddy today. Umayalpuram Sivaraman underwent

training in Mridangam from a galaxy of masters - Arupadi Natesa Iyer,
Tanjore Vaidyanatha Iyer, Kumbakonam Rangu Iyengar and Palghat Mani
Iyer.
In addition to being a top-ranking player on the instrument,

Sivaraman developed new techniques, innovations and methods to enrich
the art of playing the Mridangam. He has widely travelled in countries
abroad and is the recipient of numerous titles and honours. Needless to
say, the proceedings of this conference will greatly benefit by his knowledge
and experience.
In view of the special importance of this conference, we are

presenting a Platinum Jubilee Award to Smt. Kamala Lakshminarayan, a
renowed exponent of Bharata Natyam. Making her debut in the dance field
as ’Baby Kamala’, she studied under Vazhuvur Ramayya Pillai and
emerged as one of the finest dancers in the field. This Academy presented
her recital in its annual festival in 1947 and since then Kamala has never
looked back. Her achievements are too numerous to be mentioned here.
During her long career, she has been honoured by the Sangeet Natak
Akademi, Government of India and other institutions. The Films Division
has prepared a documentary on her. This Academy takes pride in
honouring such an eminent artiste like her on this occasion.
We are also honouring four distinguished artistes, three of them

musicians and one, a danseuse.
Vidwan Kumbhakonam Rajappa Iyer, who will be receiving the title

of ’Sangita Kala Acharya’ is a veteran Mridangam Vidwan, originally
trained by Alaganambi Pillai and Rangu Iyengar. But his flair is for teaching.
He gave up his performing career and opened a percussion school at
Madras five decades ago. The disciples trained by him, some of whom are
leading percussionists today, are legion and they are grateful to their Guru
for shaping them.
Smt. Sulochana Pattabhiraman, who will be receiving a similar title,

richly deserves the honour. After learning vocal music from several
competent teachers, she received the finishing touches from Guruji
Semmangudi Srinivasa Iyer. She also studied musicology and later turned
her attention to teaching disciples who will form the next generation of
musicians. She specialises in training devotional groups. Her ‘Dakshina
Gana Surabhi’ serial in the All India Radio was so popular that it had to be
repeated again. We recently honoured her with the Bodhaka Award.
The Academy has selected Vidwan V. Thiagarajan, distinuished

violinist, for receiving the T.T.K. Award this year. He belongs to a family
of eminent violonists, the patriarch of which was Srikantayya. His father,
Sangita Kalanidhi Papa Sri. K.S. Venkataramiah was renowned Violonist
of the last century with a style all his own. Thiagarajan studied from both
his grandfather and father and made his debut at Tiruvaiyaru in 1947. He
served as a Visiting Professor at the Wesleyan University, U.S.A. for three
years and later as staff Assistant in the All India Radio, Chennai. Thiagarajan
is noted for his purity of style and melodic rendering which are the
hallmarks of his family. He is very popular and has been accompanying all
the great vocalists in the field.
Another Recipient of the T.T.K. Award this year is Smt. Nirmala
Ramachandran, a well-known danseuse, who is rendering dedicated
service to the art for neatly five decades. She is a distinguished exponent
of the Pandanallur style which she learnt directly from Guru Chokkalingam
Pillai. She had special training in Abhinaya from Mylapore Gowri Ammal
who also taught her padams and javalis. With a degree in music from the
Madras University, Nirmala is a fine singer as well and an all-rounder in
the sphere of Bharata Natyam. While at Moscow, she taught Bharata
Natyam to Russian girls and popularised the art in that country.
With his usual munificence, Sri Suresh Krishna, Chairman and
Managing Director, Sundaram Fasteners Ltd., sponsored the annual Spirit
of Youth Series which was held during October last, featuring 10 dancers,
8 vocalists and 2 in stru m en talists. Best dancers, vocalists and
instrumentalists in this series were awarded the special prizes.
The Academy plans to celebrate the Platinum Jubilee as a year

long event that will include Concerts, Lecture-Demonstrations and
Workshops. As part of the celebrations, a special Commemoration Volume
containing valuable articles from journals of 1930-40, is being brought
out with financial support from Sri R. Kalidas, member and son of our
former Secretary, Dr. V. Raghavan. This publication will be released here
and will be available for sale shortly.
On this special occasion, the Academy acknowledges the donation

of rare collection of books and original manuscripts pertaining to Harikatha
and M usic from the library of Sangita Kalanidhi Em bar Sri
Vijayaraghavachariar, made possible at the efforts of our Secretary. Smt.
Nandini Ramani. Suitable action would be taken to make use of this
collection in fostering the art-form of Harikatha for posterity.
With advancement of technological devices, the Academy enters

the network system. Now, the Academy has its own Website which will
be launched by the Hon’ble Chief Justice in a shortwhile from now.
The Academy is happy to inform the Members that our Library will
be open between 8 a.m. and 12 noon on all days during the Festival; audio
booths situated inside the Library will be functioning for the benefit of
listeners who would like to avail of this opportunity of listening to the CDs
and cassettes from our archival collection. A nominal daily fee will be
collected for using any of these facilities.
Before I conclude, I thank you all, our most respected Members,

Rasikas and well-wishers of the Academy, whose continued support and
interest in its growth and activities, have been the perennial source of our
strentgth and integrity. Generations of devoted members have associated
themselves with this great institution to serve and make it flourish from
strength to strength. I wish you all a very happy music season on this special
occasion of our Platinum Jubilee.
Thank you one and all.

After the inaugural address of the chief guest, Sangita Kalanidhi

Smt. R. Vedavalli proposed Umayalpuram Sri.K.Sivaraman to be the
President of the 75th conference. The proposal was seconded and
supported by Sangita Kalanidhi Sri.T.K.Govinda Rao. Umayalpuram Sri
K. Sivaraman then delivered his Presidential Address.
Presidential Address
Hon’ble Justice Sri. Subhashan Reddy, Sri. T.T. Vasu, President of

the Music Academy, M embers of the governing body of the Music
Academy, Vidwans, Vidushis, Ladies and gentlemen.
At the outset, I would like to convey my namaskarams to you all. I

thank Sri T.T. Vasu, President of the Music Academy, and members of
the governing body of the Music Academy for having chosen me to preside
over the 75th annual conference and concerts of this premier institution. I
participated in the Silver Jubilee conference of the Music Academy, held
in 1952. I am, indeed, happy to preside over the Platinum Jubilee
conference and concerts of the Music Academy, being held this year.
I consider that this rare honour which has been bestowed upon me
is also an honour done to my village, Umayalpuram, famous for Carnatic
music, to the great and immortal Maha vidwans of this village, to the
Mrudangam, the uncrowned king in the world of percussion, to my revered
parents and grandmother, whom I worship as the veritable Gods in human
form, to my four illustratious Gurus - Poojyasri Arupathi Sri Natesa Iyer,
Thanjavoor Sri Vaidyanatha Iyer, Palghat Sri Mani Iyer and Sakkottai Sri
Rangu Iyengar, who shine forever as the brightest luminaries in the art of
Mrudangam, to the great legends of Carnatic music whom I accompanied
for a number of years and whose benign blessings, support, encouragement
and affection placed me in the orbit of fame and name in the field of Carnatic
music, and lastly, to all the Mrudangam vidwans, who with dedication and
devotion propagate this wonderful art by their skilled display.
From the time of Vedas to the present age of Information and

Technology, great souls and scholars alike have showered lot of praise on
this divine instrument. I have taken an abiding interest to develop deep
into the mysteries of this art and for the last 30 years, I have been doing
Lecture-D em onstrations in India and abroad and writing articles to
disseminate this invaluable knowledge among rasikas as well as the
audience in the west. From among many of the projects related to the art
of mrudangam, I would like to spell out a few things, which need lot of
thrust and the ways to get the desired results in future.
World renowned scientist, Dr. Albert Einstein, who was a great

thinker and philosopher, observed that he was not at all surprised about
the phenomenon around him; what surprised him was the thought behind
God in creating such fantastic things. I apply the same principle to this
great instrument, which has been given to us by the Creator, who has
blessed the mrudangam to create a rich variety of variegated, captivating
and intoxicating sounds, which is wholesome, soothing and refreshing. If
only we probe into the Why and W herefore of the creation of this
instrument, this life will not be enough for us to unravel the hidden facts of
the mrudangam. However, to make one’s life purposeful and to add further
glory to this great instrument and art, I place before the august gathering,
some details worthy of consideration and which need focus and
encouragement from scientists, Central and State Governments, patrons,
business houses, C.L.R.I., I.I.T., Universities, The Music Academy and
like minded organisations to achive the desired results.
The right and left side drumheads are moulded by skilled artisans
for the mrudangam. Sometimes, small errors like unequal tension on some
sides, known as Thaggu and Echchu, on the right side drumhead, do
happen. To err is human; but to prevent such errors during moulding, I
invented a Mechanical Jig and was rewarded with considerable, amount
of success. This area provides lot of opportunities for young talents to do
further research.
Seasoned logs of Jackwood and other varieties have become scarce

these days, in addition to the paucity of specialised artisans who make
mrudangam shell, the resonator. Reduction of weight, increasing the
internal volume of space and its resultant advantages for more Nada, to
have correct and specific measurements, to give more protection to these
musical instruments from plausible risks, these factors have rather impelled
me in the persuit of introducing fibre glass mrudangam to the world of
percussion. The tonal qualities of the fibre glass mrudangam almost
equalled that of the wooden counterpart. I feel that some of our percussion
instruments can well worth being manufactured in fibre glass. This, I
believe, is a path breaking experiment, which will help future generation
of musical fraternity.
Present day mrudangams are so heavy as compared to instruments

of yester years. There is a general feeling that more the weight, the more
sound production in mrudangam and this is, according to me, incorrect.
As there is height, weight ratio for human beings, similarly the same
principle has to be applied for musical instruments also. I honestly feel
that there ought to be more light and shade varieties of Nada production in
the techniques of mrudangam playing, rather then putting more weight in
this instrument.
The black patch which one finds usually on the right side drumhead
of mrudangam goes by several names, such as Karanai, Marundu, Sadam,
Choru etc., and this black patch is responsible for giving out very beautiful
tonal varieties. When analysed, the rare com bination of Iron and
Manganese is responsible for these sweet sounds. Mother earth had been
supplying this material. Due to constant playing and some other factors,
this black patch withers away, some quickly too, to the chagrin of
mrudangam artists. If only this black patch remains for a longer period
with good Nada, it will be a boon to the mrudangam artistes, who can play
number of concerts without any doubt. This subject requires lot of
investigation and research.
Instead of regular skins and hides, the westerners have begun to

use synthetic material for their different drums with success. The renowned
instrument makers in the world like Remo, Zildjian, Latin percussion, Pearl
and Evans have introduced several new varieties of this synthetic material
for their drums and they are all now very popular. We may as well, with
advantage, take the cue from these recent innovations from the west and
use such types for mrudangam and other percussion instruments, which
normally use untanned skins and hides. But it has to be seen how far these
synthetic material will give the desired Nada, when once this is put to use.
Dr. C.V. Raman had written a very interesting and scholarly article
on the harmonies of the mrudangam. I have analysed the relationship of
certain important notes Vis-a-Vis the harmonics, the sweet overtones and
some other varieties of Nada whose presence give a wholesome effect to
the mrudangam. These details I have been explaining to the rasikas all
over the globe for several years. The explanation of rhythm is absolutely
necessary for the audience to understand this high voltage art.
I should attribute the reason for such activities of mine in this

direction to the great Mahakavi Kalidasa.
FRT: 7Tg>: II
He says : “ Don’t think that every thing in the old order is good;
same way, do not criticize things that are new. Whoever takes the best
from the old and new, he alone is considered to be worldly wise” .
Coming as it does from no less then the avatar of Goddess

Saraswathi, Mahakavi Kalidasa, this statement is valid for all ages and
countries.
As the principles and precepts of our Sanathana Dharma serve as

the beacon light of knowledge and guidance for the entire mankind, so
also, our carnatic music, which has a vast repertoire of Ragas and Talas,
serves as the bedrock for all other music systems, which we also enjoy to
day. In recent times, some of the well known musicians and composers
from the west have taken deep interest to understand the nuances of our
music and as a result of which, some of our ragas and talas have been
incorporated in their concerts and symphonies. Many of them have been
visiting South India to understand and learn this wonderful art.
There are certain trends here, which are not quite satisfactory. As
compared to the position occupied by Tabla in Hindustani music, the status,
rights and duties assigned to the mrudangain and its responsibilities in a
concert are so unique that this instrument, mrudangam, occupies a seat of
honour in carnatic music programmes. Vidwans, Rasikas and Organisers
of South Indian music are well aware of this fact.
There is always a separate department, head of department, the

grade of a professor and the like for Tabla in North India in private
institutions, music colleges, and at university level also. In addition to this,
the musicians and patrons in North India take special interest to see that
there are separate departments for some of their very important branches
of music. The same principle must be applied in South India wherein
separate department for mrudangam should be established with professors,
head of department, department for research and development, provision
for getting decorate etc. in private institutions, music colleges and in
universities. The powers that be and patrons should come forward with
definite proposals to make them a reality. There after, other percussion
instruments can also be included to this movement, so that it will be helpful
to aspiring students of music.
For quite a number of years, I had been discussing a proposal with

some important members of the universities in South India that some of
the reputed musicians who wish to get a decorate in music are not able to
fulfil their ambition because, they do not posses a degree in music, be it
vocal or instrumental, from any college or university in the south. I think it
is high time the authorities of the universities should change the rules and
give exemption for renowned musicians to register for getting doctorate
in music.
Nowadays, mrudangam artistes are travelling to all important

centers in India and abroad. Journey involves so much as risks in
transporting delicate instruments and in so far as mrudangam is concerned,
nearly 29 years back, in 1972 to be precise, I introduced a carry bag,
made of Rexin, then in waterproof material to my mrudangam fraternity,
when I visited Malaysia and Singapore. This bag is now very popular with
mrudangam artistes, Later on, I tried fibre glass boxes, containers for much
more safety for transportation of these musical instruments for local as
well as abroad trips. There is still more room to modernise this idea further.
The Music Academy has started “ The Thanjavoor Vaidyanatha Iyer

School for Percussion’’ six years back in the name of my guru and I am the
Director for this school. I am extremely happy that many devoted and
dedicated students are learning mrudangam in this school. I congratulate
the authorities of the Music Academy for starting this school, devoted to
the art of percussion.
There are workshops, camps and the like for Tennis, Soccer,
Badminton, Cricket, Swimming etc. at periodic intervals to groom young
talents and the wards are greatly benefited by the expert advice and
suggestions given by very famous players, who are invited for such
assignments. Like wise, experts in all branches of music must be invited
for camps and workshops and give intense training to aspiring students on
different topics like, voice culture, tonal modulation, fingering techniques,
stance, sitting postures, sound production, memorising methods, handling
of instruments, history and science of the relevant instruments etc. This
type of training will go a long way in shaping the talents of the students and
also paves the way for a new crop of wonderful musicians for the future.
When it comes to the techniques of playing the instruments, one

style is known as “ Gayaki style” and the other is “ Instrum ental
Virtuosity” . Of these two, Gayaki style is considered to be the best and
generally, great instrumentalists prefer to follow the Gayaki style. If there

is happy wedlock of the Gayaki style and instrumental virtuosity in an
instrumentalist, his style will be popular and very much appreciated by
the musicians as well as the audience. Mrudangam playing techniques are
no exception to this rule and great mrudangam artistes of yester years had
followed this principle. I have developed my mrudangam Bani along these
lines.
Teaching this art and making the students to understand the nuances
is a science by itself. Initially, I teach my students to play well for talas,
then I train them to accom pany for V arnam s, K ritis, N iraval,
Swaraprasthara etc. and then I impart to them the techniques to adapt and
embellish the recital, based on each musician’s vidwat and style. The prime
duty of a mrudangam artiste is to extend full support to the musician, to
cleverly observe the day to day needs of the vocalist or instrumentalist in
the recital, then fashion h is/h e r m rudangam playing to suit the
requirements of the occasion. When once the right type of atmosphere is
established, audience and other musicians will join hands in praising his/
her talents as a mrudangam artiste of high quality. These fine attributes
will lead the mrudangam artiste on the happy sojourn towards achieving a
sublime level of excellence.
Thani Avarthanam is only Extension of the song. The mrudangam

artiste has to understand in a split second, the tempo of the song, its
structure, the time slot allotted to the programme, the needs of the musician
on that day, his own imprompt reflexes, vocalist’s or instumentalist’s Nada
and its intensity, etc. All these faculties should become his second nature,
so that he can plan his mrudangam solo in a grand manner, which must at
once attract the rasikas as well as the cognoscenti. Then alone an
appreciation of this nature is expressed by the musicians and, rasikas, “ the
mrudangam sang today; the mrudangam vidwan’s playing was superb,
incredible etc.” .
The prerequisite for a mrudangam artiste to enjoy this state of

happiness and share this joy with others will be experienced only, when
he (the mrudangam artiste) chooses to become the rasika of the main
artiste. “ Charity begins at home” . If the mrudangam artiste merges and
becomes one with the intensity of the Nada and the Rasa, produced by the
vocalist or instrumentalist, his fingers, by reflux action, will only produce
that amount of Nada necessary for the occasion. This, I speak from my
personal experience.
The appreciation reaches a high degree of excellence when the

principle “ Silence is also music” is applied. Silence (visranti) enhances
the value of music itself. There ought to be the principle of silence in
mrudangam playing also; but when, where and how to employ this silence
or pause largely depends on one’s great experience and abundance of
knowledge, insight and erudition. Lot of analytical listening to artistes of
great merit helps to achieve this faculty.
Yet another important duty of the mrudangam artiste is to create

such fine opportunities in a concert as to bring out the best talents from his
other laya vidwans (Upa pakkavadyams). The percentage of audience
appreciation for such noble acts of camaraderie between artistes will
generally be on a very high level. If the artistes are friendly and appreciate
each others art, the level of the concert not only goes up, but the support
and encouragement given by the audience also goes up simultaneously.
Among percussion instruments in the world, using skins and hides,

there is none to equal the mrudangam and this is a known fact. Its
adaptability, range, nada, versatility and the like have given the mrudangam
the pride of place and its sublime height of excellence. I have been extolling
the greatness of mrudangam thus for a number of years. “ The mrudangam
is the king of percussion and Queen of melody” .
The participation of mrudangam now in Jugalbandhi Concerts, Jazz,

Fusion etc. is on the increase in a large scale and this is a welcome sign
and happy news for all of us. The audience throughout the globe have
begun to realise the great potentialities of the mrudangam, because of its
exposure in such concerts.
The reception and fine appreciation I got from my participation in

such World class organisations as Kosa Camp, Percussive Art Society
and the like and the keen interest and interaction exhibited to me by
renowned drummers of the west to learn this percussive art of South India
are ample proof of the popularity of the mrudangam and its art in the west.
The programmes of this nature definitely get a special face lift and a high
degree artistic excellence, when mrudangam participates in such concerts.
All things absolutely need proper exposure, advertisement and

marketing in today’s high tech society; even the so called best range of
goods is no exception to this rule. This prevailing law of to-day is also
applicable in so far as marketing of our carnatic music is concerned in the
world arena. It is the prime duty of all musicians and music organisations
to work hard to get international recognition for our divine carnatic music
and to achieve this goal, I feel that the valuable support of the central and
sta te g o v ern m en ts, the M usic A cadem y and other like m inded
organisations are very essential and important.
I offer my pranams at the lotus feet of the Almighty, the very

embodiment of Nada, who has blessed me with a Bani of mrudangam
playing, which is based on the techniques of my revered gurus and also
deeply rooted in tradition. I have fashioned and developed my Bani with
new techniques, very suitable and attractive for vocal and instrumental
music, mrudangam solos, Tala Vadya Kutcheris, Jugalbandhis, Jazz,
Fusion concerts and the like.
I am happy that my style of m rudangam playing finds wide

appreciation and worthy of emulation by laya vidwans of Carnatic and
Hindusthani music, up-coming artistes, and famous drummers from the
west. I am also indebted to God to have blessed me in full the whole
hearted praise, affection and love, the rasikas world over shower on me
for my mrudangam Bani and musical career.
Long Live Artistes,
Long Live Carnatic Music.
VOTE OF THANKS
Sri. M.S.Venkataraman, Secretary, of the Music Academy proposed

a vote of thanks, at the conclusion of the inaugural function.
CONFERENCE SOUVENIR
The Souvenir of the Conference which was brought on the opening

day carried out the usual annotated programmes of the whole conference
and the concerts, the usual illustrated supplement and an account of the
Academy and its activities. It also carried interesting articles on music.
PLATINUM JUBILEE SPECIAL COMMEMORATION VOLUME
The beginning of the Platinum Jubilee celebrations was marked with

the release of a Special Commemoration Volume, containing valuable
articles on music, its theory and practice, compiled from the previuos
Journals of the Academy covering a period of ten years from 1930-40.
These writing by stalwarts of yester years have been a perennial source of
information to students, researchers and scholars in the field of music.
The Academy plans to bring out similar volumes in the years to come to
cater to the constant need of the academicians and students. This volume
is priced at Rs.200/- per copy.
THE MUSIC ACADEMY, MADRAS
75TH ANNUAL CONFERENCE
at the KASTURISRINIVASAN HALL
15-12-2001 to 01-10-2002, Daily from 8.00 a.m. to 10.30 a.m.
President: Vidvan Umayalpuram Sri K. Sivaraman

Agenda of the Conference
SATURDAY 1 5-12-2001
8.00 a.m: Kantimati Santhanam Group Shodasa Ganapati Dhyanam
8.30 a.m. Dr. M.B. Vedavalli Ugaboga, Suladi and Vachanas
9.30 a.m. Kum. S. Manjulamma Harikatha in Sankrit - "Seetha Kalyanam"
(P.B. Sarvarayulugaru Endowment)
SUNDAY 1 6-12-2001
8.00 a.m. Sankara Ganamrutham- Irai Paamalai
R.S. Venkatamaran & Group
(Disciples of Thanjavur Sankara Iyer)
8.30 a.m. Dr. Nagalakshmi Suryanarayan Post Trinity Composers
Composers from Karnataka
(Sri Ramanarayana Sarma Endowment)
9-30 a.m. Dr. R.S. Santhakumari Compositions of T. Lakshmana Pillai
(Nachimuthu Gounder Rukmani
Amman Charitable Trust in memory
of Rukmani Nachimuthu Gounder)
MONDAY 17-12-2001
8-00 a.m. Champa Kumar Group Tiruppugazh - "Aarupadai Veedu"
8-30 a.m. Smt. R.S. Jayalakshmi Geeta, Taya, Alapana
Sri. B. Balasubrahmaniyam
9-30 a.m. Dr. Ritha Rajan Jatiswara/Swa rajati
TUESDAY 18-12-2001
8-00 a.m. "Subhasruti" Song on Goddess Durga
Dr. Mathangi Ramakrishnan Group
8-30 a.m. Ms MA. Bhageerati Musical Prabandas
9-30 a.m. Sangita Kalanidhi Papa Venkataramiah Centenary Celebrations
THE 75th ANNUAL MUSICAL CONFERENCE 17
WEDNESDAY 19-12-2001
8-00 a.m. Naadhamuni Bhajan Sangh— Stuti Manjari
Sri. H. Ramakrishnan & Group
8-30 a.m. Smt. Madhavi Rojagopal Compositions of "Kumara Ettendra"
(Chellammal Natarojon Endowment lecture)
9-30 a.m. Ms. Lakshmi Viswanathan Dance Lecture Demonstration-
"The Romance and Ragas of Padams"
THURSDAY 20-12-2001
8-00 a.m. Sri 8. Ramamoorthi Rao & Group Sri Purandaradasa Compositions
8-30 a.m. Ms. Sangeeta Isvaran Dance Lecture Demonstration
"The Ramayana in performing Arts
of Southeast Asia—comparison with
respect to the Thai, Cambodian and
Indonesian Traditions"
9-30 a.m. Mr. Fabrizio Cassol The Greatness of Carnatic Music-
Melody and Rhythm and its adaptability to
Jazz, Fusion concert in the west
FRIDAY 21-12-2001
8-00 a.m. Sumangal Group Jayadeva's Ashtapadi songs
8-30 a.m. Sri Sriram Parasuram Kriti Structure—A detailed analysis
(Alamelu Narayana Soma Award)
9-30 a.m. Sangita Kalanidhi Sri B. Rajam Iyer Twenty two Srutis in Raga Bhairavi
SATURDAY 22-12-2001
8-00 a.m. Geetha Nivedana Trust Sri Ramadootam Sirasa Namami
8-30 a.m. Sangita Kola Acharya The suitability of the different types
Prof. S.R. Janakiraman of Talas for different types of
Musical compositions.
9-30 a.m. Dr. Prameela Gurumurthy Musical references in Tiruvisaippa and
Tiruppallandu (Nachimuthu Gounder
Rukmini Animal Charitable Trust Endowment)
SUNDAY 23*12-2001
8-00 a.m. Sunadam Group Pasurams
Smt. Suguna Purushotaman
8-30 a.m. Valayapatti R. Krishnan Mahabharata in Tiruppugazh
(M. Ganesa Iyer Birth Centenary Memorial
Lecture)
9-30 a.m. Smt. Vidya Shankar Tala Anubhavas of the Trinity
MONDAY 24-12-2001
8-00 a.m. Sri Tripurasundari Sametha Tevaram songs
Sri Adipureeswora Tevara
Potasalai Group
8-30 a.m. Dr. S.A.K. Durga Layam in Musicolotjjcal perspective
(Brinda Varadarajan Memorial Lecture}
9-30 a.m. Smt. Suguna Purushothaman and Trinity and other compositions
Disciples (T.S. Sabesa Iyer Endowment for
Bodhaka Award
TUESDAY 25-12-2001
8-00 a.m. Devaganavali Group Tarangams of Sri Narayana Teertha
8-30 a.m. Sri 8.R. Kumar Moovar Tevaram - Tirugnanasambandar

(Nachimuthu Gounder Rukmini Ammal
Charitable Trust in memory of
P. Nachimuthu Gounder)
9-30 a.m. Dr. Pappu Venogopala Rao Connotation of Kriti and Podam
WEDNESDAY 26-12-2001
8-00 a.m. Lakshmi Hariharan Group Songs on Mangadu Amman
8-30 a.m. Dr. A. Manavalan Nalayira Divya Prabandham its evolutional

and Progress
(Nachimuthu Gounder Rukmini Ammal
Charitable Trust in memory of K. Palani
Gounder)
9-30 a.m. Sangita Kalanidhi Sangatis in Compositions

Dr. Mani Krishnaswami
assisted by Smt. Suguna Varadachari
THURSDAY 27-12-2001
8-00 a.m. Sangita Aalayam Group Bhajans in different languages
8-30 a.m. Dr. M. Narmada Raga Oriented Compositions
9-30 a.m. Bangalore K. Venkatram Rhythmic innovations for Percussion

Ensembles
2002] THE 75th ANNUAL MUSICAL CONFERENCE 19
FRIDAY 28-12-2001
8-00 a.m. Brihat Kaiyon Group Rama Nataka Kirtanas of
Arunachala Kavirayar
8- 30 a.m. Special Facets of Mridanga Construction
Kumbhakonam M. Rajappa Iyer
and Contemporary Playing technique.
9- 30 a.m. Smt. Nirmala Ramachandran Dance-Lecture Demonstration
Aesthetics of Pandanallur Tradition
-Nritta, Nrityo and Abhinaya
SATURDAY 29-12-2001
8-00 a.m. Meera Kedarnathan Group Verses of Sri Adi Sankara &
Mahakavi Kalidasa
8-30 a.m. Dr. Harold Powers Verbal and Musical rhythms
(Dr. V. Raghavan Shastyabdapoorthy
Endowment)
9-30 a.m. Sangita Kalanidhi Smt. R. Vedavalli Pallavi Singing
SUNDAY 30-12-2001
8-00 a.m. Sri Ganapati Sachchidananda Compositions of Sri Ganapathi
Trust Ashram Group Sachidananda Swami
8-30 a.m. Smt. Sulochana Paftabhi Raman Ekaika Krifi Ragas
9-30 a.m. Umayalpuram Sri K. Sivaraman Laya Dhara - My Rhythmic compositions
MONDAY 31-12-2001
8-00 a.m. Sivan Arts Academy Devotional songs of various composers
8-30 o.m. Rako Lakshana - Lesser from known ragas / Allied ragas - Discussions
to 10-30 a.m. 1. Sangita Kalanidhi Dr. Mani Krishnaswami
2. Sangita Kalanidhi Dr. N. Ramani
3. Prof. S.R. Janakiroman
4. Dr. N. Ramanathan
5. Sri V. Subrahmanyam
TUESDAY 1-1-2002
8-00 a.m. Students of The Teacher's Krishna Ganam
College of Music,
Music Academy
8-30 a.m. Summing up of Conference Proceedings and Open house,
to 10-30 a.m.
SUM M ARY O F PAPERS PRESEN TED
IN TH E C O N FER EN C E
Dec 15th 2001
With the President of the 75th Annual Conference, Umayalpuram

Sri K. Sivaraman in the Chair, the morning session of the Music Academy
commenced with the devotional rendering of Shodasa Ganapathi Dhyana
Kritis, by Smt. Kanthimathi Santhanam Group, composed by Kavi
Thanjavur Sri. Sundaresa Sarma, (Sri Ramananda Saraswati).
At the outset, Smt. Nandini Ramani, Convenor of the Conference
introduced the highlights of this year’s Conference session and mentioned
that this year the focus will be on the theme of Musical Forms. The
presentations by experts will include also two visiting foreign delegates,
Dr. Harold Powers, Scholar-Musicians from the Princeton University,
U.S. A. and a long time associate of the Music Academy, and Mr. Fabricio
Cassol, a close associate of Umayalpuram K. Sivaraman in his collaborative
ventures. A panal discussion on Raga Lakshana as in the previous year
would form ar -----1— ‘ this year’s session also.
abhogas and Vachanas
The fir elivered by Dr. M.B. Vedavalli on Suladi,
Ugabhogas, a vhich come under the main theme of the'
conference, n le speaker mentioned that these are unique
contributions of Karnataka, to Music. She mentioned that Suladis and
Ugabhogas are the works of Dasakutas, while the Vachanas are that of
Sivasaranas of the Virasaiva cult.
While expalining in detail about each form, Dr M.B. Vedavalli said
that Suladi has a musical structure similar to that of Gita, but is of a higher
standard, aiming at Ultimate Salvation. The speaker gave suitable
illustrations of Suladi, Ugabhogas and Vachanas, while tracing their
evolution and analysing their structure, content and import. The distinct
characteristics of each form was explained. Composers of these three forms
were mentioned while dwelling on their content and Tala structures,
particularly of the Suladis. Different sections of the suladis contain different
tempo. Thandaiyaagi of Vyasaraya, with its different sections set to
different tala structure was demonstrated, apart from some others.
SUMMARY OF PAPERS PRESENTED IN THE CONFERENCE 21
Ugabhogas were mentioned as containing devotional, and ethical

values and were mostly used in Bhajana Sampradaya. Anthya Prasa and
Dwithiya Akshara Prasa are prevalent in these and they are easy to set
music to. Well known example Tamburi Meetidava, was sung and it was
mentioned that Ugabhogas are generally sung as Viruttams.
Speaking of Vachanas of the Sivsaranas, the speaker mentioned that
they are expressions of individual, philosophical thoughts of the composers.
They contain simple prose like lyric, with prevalence of proverbs and
literary expressions and do not adhere to the rules of Metre. Vachanadalli,
well-known example was illustrated.
Sangita Kalanidhi Sri B. Rajam Iyer, Dr. Pappu Venugopala Rao,
Dr. N. Ramanathan, Dr. V.V. Srivatsa and P. Vasanthkumar, sought
clarifications, pertaining to certain explanations given by the speaker.
Harikatha
Under P.B. Sarvarayulugaru Endowment, Kumari S. Manjulamma,
trained at Sri Sarvaraya Harikatha Patasala, Kapileswaram, presented a
Sanskrit Harikatha exposition of Sri Seetha Kalyanam, as the second part
of the morning sessions.
Dec 16th 2001
The second day’s morning session began with Irai Pamalai, a
devotional offering consisting of the compositions of well known musician-
composer, Thanjavur Sankara Iyer, rendered by his disciples led by Vali
Valam R.S. Venkataraman.
Post Trinity Composers
The first presentation under Sri. Ramanarayana Sarma Endowment
for Post Trinity Composers, instituted by Dr. M.G. Varadarajan, was
presented by Dr. Nagalakshmi Suryanarayana, Musician and Musicologist
from Mysore, on the contribution of the well known Royal Patron-
Composer Sri Jayachamarajendra Wodeyar of Mysore and of Sri. Ponniah
Pillai, descendant of the Tanjore Quartett. The speaker described the varied
branches of learning of the Maharaja and mentioned that he had composed
around 94 kritis, which are endowed with musical, literary and lyrical
embellishments and have been set to rare and new ragas with different
tala structures. They contain devotional and philosophical ideas. The name
of the raga is usually included in the lyric, as found in the kritis of
Muthuswami Dikshitar, who inspired the Maharaja. Dr. Nagalakshmi
assisted by Smt. R am a and Smt. M anjula, from M ysore, gave
demonstration of the kritis, Lambodara Pahimam (Narayana Gowlai). Sri
Ranganathaya Pahimam (Kalyana Vasantham, the last composition of the
Maharaja) and others. Following this Dr. Nagalakshmi briefly traced the
musical lineage of the Thanjavur Quartette and mentioned the compositions
of K. Ponniah Pillai and pointed out his Navaratnamalika Kriti on Goddess
Bruhannayaki. The speaker then described the format of the composition
of Ponniah Pillai, as having the Ragamudra (Mahadevamanohari), Kshetra
mudra (Krupa Joodavamma), Samashti Charana (Maya teeta), etc. and
sang the Kriti Amba Neelambari. Prof. S.R. Janakiraman, complimented
the speaker and said that mentioning the Moorchana Kramam for each
raga would help to ascertain facets of that raga in that particular Varga.
M.B. Vedavalli said the Swaraprasthara Sagara mentions the Arohana and
Avarohana order, wherein the raga Jayasam vardhani employed by
Maharaja Jayachamaraja Wodeyar finds a place.
Compositions of T. Lakshmana Pillai
The following presentation under Nachimuthu Gounder Rukmini
Ammal Trust, an endowment made by Dr. N. Mahalingam, Dr. R.S.
Santhakumari, musician and former Head of the Music Department, P.S.G.
College of Arts and Sciences, Coimbatore., dealt with the compositions
ofT. Lakshmana Pillai (born 1864), a lesser known composer from Kerala.
The speaker said that Lakshmana Pillai composed songs with lofty ideas
for social life of human race and their upliftment, which are relevant even
today. He did not compose on any particular deity but on the all-pervasive
nature of the Almighty. The speaker gave an account of different
com positions of Lakshm ana Pillai (Alai M anam e, Iduvo Karunai,
Ekkalattilum, En Solium, Vayilada Maade) and demonstrated some of
them. Further she said that Lakshmana Pillai was regarded for his musical
skill by p ro m inent p erso n s like T agore, Sarojini N aidu,
U.Ve. Swaminatha Iyer and Tiger Varadachariar. In all, there are about
80 compositions of this composer that are available and the speaker
mentioned a kriti of his, in the raga Amarasenapriya (Hamsanadam) -
2002) SUMMARY OF PAPERS PRESENTED IN THE CONFERENCE 23
(Attram Illatha Adisayame). Pathamadai Krishnan, Ranganatha Iyer,

Sthanu Sastri, Appu Iyer, Bhanumathi, Madras Mohanambal, C. Saraswati
Bai were some of his disciples. The speaker said that the composer had
documented various information on music and musicians of his times and
he was also the Head of the Tamil Music Department at the Annamalai
University for sometime.
Dr. S.A.K. Durga complimented the speaker. Sangita Kalanidhi
R. Vedavalli sought clarification about the raga Amarasenapriya.
Umayalpuram Sri. K. Sivaraman, President of the Conference
thanked both the speakers of the morning session.
Dec 17th 2001
The third day’s session commenced with the devotional offering of
Tiruppugazh compositions focussing on Arupadai Veedu by Champa
Kumar & group.
Geeta, Taya, Alapa
Smt. R.S. Jayalakshmi and B. Balasubramanian of the Music
Department of the Madras University, gave a presentation relating to the
theme of the Conference - musical forms. Gitam, Tayam and Aalapam,
varieties, which are important forms of musical, were taken up for
discussion. At the outset, Smt. R.S. Jayalakshm i m entioned the
classification given in Chaturdandi Prakasika for the above and Prabandha
and quoted Natya Sastra referring the term Gitam as Gitakam, a usage
prevalent with different meanings in the same period. For Aalapa, B.
Balasubramanian quoted an early reference in Silappadhikaram and Sangita
Ratnakaram. The classification of Aalapa (Aakshiptika, Vardhani, Nyasa)
as referred by several treatises, including Sangita Sudha which gives
another name for this (Aayattam, Raga Vardhani and Sthayi). Further the
speaker mentioned about a Mss, collected by Shahaji (1684-171 1) and
edited by K. Vasudeva Sastri which does not indicate any notations for
these classifications. The work quotes nine samples of ragas and gives
classification of Gaatra Dandi (vocal) and Jantra Dandi (instrumental).
According to this text the classification of Alapana is different from what
is practised today, the speaker said. The Sangita Sudha mentions
Aakshiptika with syllables Num Thom, leading to the singing of the swara
first and when the elaboration of the raga based on this.
Treatises that give reference to the musical composition, Tayam,
were mentioned. Details of the structure of Tayam (only 3 muktayis) as
referred in the work, Gana Bhaskaram, were discussed, while speaking
on the textual references of this form.
Gitam is classified into two types according to Sangita Sampradaya
Pradarsini, one with two sections (Udgraham and Abhogam) and the other
with three (along with mudra kandam). While discussing the format of
Gitam in the ancient days, the speaker mentioned that it was as extensive
as a song, with usual and ragas (Guntakriya, Gumma Kambhoji, Saamanta,
Maaruva etc.) and different tala structures. Antari is a small passage
occuring in the Gitam. Lakshana and Lakshya Gitas were explained. The
former one having technical terms like Sruti, Jaati, Vaadi and Anuvaadi
were explained. Javada and Antari, the inter sections of the Gita were also
discussed in detail. While B. Balasubramaniam illustrated examples of
Aalapa (Gaatra Dandi), R.S. Jayalakshmi played on the Veena (Jantra
Dandi).
Prof. S.R. Janakiraman made his observation on this presentation.
Chenglepet Ranganathan explained the m ode of singing Tanam with
the term s Anantham and Anandam - meaning Endless and Blissful.
Dr. R.S. Shantakumari mentioned about a Chitta Tana.
Jatiswaram and Swarcyati
As part of the next p resentation, Dr. Ritha Rajan, Head of
Department, Queen Mary’s College, presented a lec-dem on Jatisvaram
and Svarajati. The speaker said both these forms are originally musical
forms for dance and discussed in detail the origin the evolution and the
modification that have occurred in the process, for these two forms.
The Tanjore Quartett have made the major contribution in the

sphere of Jatiswaram. Its rhythmic structure, focus in the Jeeva swara and
the prolonged swara section at the beginning, starting on Tara Sthayi Shadja
for m usical appeal, w ere discussed. She quoted the w ritings of
2002] SUMMARY OF PAPERS PRESENTED IN THE CONFERENCE 25
Dr. V. Raghavan and Prof. Sambamoorthy for highlighting some of the

characteristics of this musical form. In the earlier days it was only jati
recitation. Sabda pallavi was the name given to this (South Indian Music
Vol. II). Several well known jatiswarams including the Poorvikalyani
Sankeerna Nadai Jatisvaram, a masterpiece performed by the illustrious
T. Balasaraswati and the one taught by Tirugokaranam Ranganayaki
Ammal and several others were demonstrated. Jatiswarams are considered
as important compositions for specialising in laya aspects and building up
of rhythmic combinations. The speaker also mentioned other composers
of Jatisvaram.
While speaking about Svarajati, Dr. Ritha, referred to the article on

this topic written by Dr. N. Ramanathan, Head of the Music Department,
Madras University, as the main source of information. She explained the
different aspects of this musical form and quoted composers of Svarajatis
and examples (Emandayanara-Huseni etc.) were sung. Referring to the
Svarajatis of Sri Syama Sastri (Bhairavi and Yadukulakambhoji), the
speaker underlined the order and proportion in Swara and Sahitya, the
identical rhythmic structure in Pallavi and melody within the swara sections
(Kalushahaarini). Other Svarajatis (Nee Arulayo etc.) were mentioned.
The rhythmic combinations of three and five, were predominantly used
by Tyagaraja and Syama sastri.
Speaking on this subject, Prof. S.R. Janakiraman, mentioned

Sadaya Ika of the Quartett. Dr. N. Ramanathan, Dr. Jayasitalakshmi,
Dr. V.V. S'rivatsa made their observations on this topic.
Umayalpuram K. Sivaraman complimented the speakers of this

session.
Dec 18th 2001
With the President of the Conference Umayalpuram K. Sivaraman

in the Chair, the fourth day’s session commenced with the devotional
rendering of songs by various composers on Goddess Durga, by Subhasruti
Group of Dr. Mathangi Ramakrishnan.
Musical Prabandhas
The first lecture presentation was given by M.A. Bhageerathi,

lecturer, Music D epartm ent of Queen M ary’s College on Musical
Prabandhas. The speaker at first dealt with the origin and characteristics
of the Prabandhas, which belong to the Nibaddha Qana variety, having
the classification of Dhaatu and Anga. Following this, four types of Dhaatu
(Udgraaham, Melapakam, Dhruvam and Abhogam) were explained in
detail. The features of the Angas (Swaram, Prutha, Pada, Tenaka, Pata)
were also described. The different varieties of Prabandhas (Medhini,
Anandini, Deepani, Paavani and Taraavali) which are also known by the
other names, Sruti, Neethi, Senai, Kavitha, Champu, Uttama and Adhama
Prabandhas, ragas used in Prabandhas, their tala structures and the
different textual references were all explained. Sriranga Prabandham and
Uma Tilaka Prabandham were illustrated.
Sangita Kalanidhi PAPA SRI. K.S. VENKATARAMIAH CENTENARY
As part of the morning session, the Centenary of Violinist Papa Sri.

K.S. Venkatramiah was observed. Sri T.T. Vasu, President, Sri C.V.
Narasimhan, Chairman of the Conference Committee, Veteran Violinist
Sangita Kalanidhi Sri. T.N. Krishnan and C onference President,
Umayalpuram Sri. K. Sivaramar this occasion and offered
their tributes to the stalwart. T 1by a musical tribute by
T.N. Krishnan at the main hall c lemy.
De
The fifth day’s session conference sessions began with Sruti Manjari,
by Nadamuni Bhajan Sangh of H. Ramakrishnan-comprising compositions
of Kumaramangalam Srinivasaraghavan.
Compositions of Kumara Ettendra
Under the Chellammal Natarajan Endowment instituted by Dr. M.G.
Varadarajan, Smt. Madhavi Rajagopal, musician and musicologist from
Bangalore, gave a lecture demonstration on the compositions of Kumara
Ettendra (Jagadveera Ramkumara Eddappa Maharaja of Ettayapuram).
At the outset, the speaker the traced the origin of the rulers as Nayakar
Zamindars or Chandragiri (15th - 19th century). The ancestors of Ettendra
and details of their family and the family name (Ettappa, their native place
Ettupuram), were discussed. Focussing on Kumara Ettendra, who is
regarded on par with other well known Royal Patrons like'Swati Tirunal
and Jayachamaraja W odeyar, the speaker said, that thirteen of his
compositions in Sanskrit, are available. The ragas used (Suddha Madhyama
Ragas), simple structure and inclusion of chitta swaras (in 10 kritis at the
end of charana section, as mentioned in Sangita Sampradaya Pradarsini,)
were pointed out. Out of the thirteen, nine are addressed to Lord
Karthikeya (family deity of the rulers) and four on other deities (Vinayaka,
Shiva, Narayana and Devi). The kritis are set mostly in Madhyama kala
and reveal a strong influence of Sri Muthuswami Dikshitar on the composer,
especially, with regard to Vibhakti kirtanas, raga and kshetra mudras.
Madhavi demonstrated the following - Shadaadhara Tatva Vinayaka (Sri
Ragam), Paramaananda Saara Prabhava in Bhairavi, (Presence of Raga
Mudra, Bheejakshara Mantras, Sollukattu starting with Tat Dhi Thom Nam
and scope for N iraval and sw ara), Ashtanga Yoga Prabhava, in
Sankarabharanam (first swara of the chitta swara repeated Srootovah
type). Nikhilananda Nitya Swaroopa in Saveri (starting with Gandhara)
on Vishnu. Finally the speaker compared Karunanda Chatura in Nilambari
to Amba N eelayatakshi of D ikshitar and concluded with
Sivanandarajayogaprakasa in Raga Surati.
Dr. N. Ramanathan, sought clarification for the rules of sollukattu
adopted in the compositions. Dr. V.V. Srivatsa and Sanjay Subramanian
made their observations. Umayalpuram K. Sivaraman complimented the
speaker and pointed out the easy flow of laya em bedded in the
compositions.
The Romance and Ragas of Padams
The following dance lecture demonstration was presented by
Lakshmi Viswanathan, Bharatanatyam artist, centering around the
im portance the ragas and moods in Padam compositions in dance
repertoire. The speaker mentioned that the tempo and the raga of the
Padam enhance the mood and spirit and bring in the proper ambience to
convey the theme suitably. Based on this view, the speaker described the
varied sentiments of Padams and the scope that they offer for wide
interpretations, to express the them e from varied angles. Suitable
illustrations were demonstrated.
Umayalpuram K. Sivaraman thanked the speaker.
Dec. 20th 2001
T o d a y ’s session com m enced with devotional singing of
Purandaradasa’s compositions by B. Ramamurthi Rao & group.
Ramayana in Performing Arts of South East Asia
Ramayana in Performing Arts of South East Asia with focus on a
comparitive analysis of The Thai, Cambodian and Indonesian Traditions
was presented by Sangita Isvaran. Research Scholar, A.S.I.A. Fellow’s
program and Bharatanatyam artist in the first part of the session. Sangita,
at the outset mentioned the extent of the Ramayana story in different parts
of South East Asia which is mingled in their local cultures as well as in the
scene of Perform ing Arts. These perform ing traditions have been
developed in the Royal Courts. The various adaptations of the Epic with
reference to the practises, their influence in social behaviour, religion and
the geography of these three places, were discussed. The speaker
mentioned the different forms of performing traditions of the Ramayana
story, prevalent in the above places and made an analysis of the dance
movements, characters and the mode of communication, while drawing a
parallel and contrast of these with the system of the Natya Sastra. Further,
the hand gestures, the central mood, the basic posture which resemble to
those mentioned in the Natya Sastra and prevalent in the performing style
of Bharatanatyam tradition, were highlighted. The basic learning process,
concept of tempo (first and second speed) with constant movement, and
difference stances of different characters were explained. Continuity in
assignment of roles to individuals, details of war scenes, new characters
introduced to recreate the tradition were also discussed in detail. Sangita
demonstrated specific characters and their movements accompanied with
recorded excerpts, apart from exhibiting the different samples of costume,
that play a vital role in the dance depictions.
Melody and Rhythm - their adaptability for fusion music

In the second part of the session, Mr. Fabrizio Cassol, well known
musician and Saxophone player and close collaborator of the conference
President, spoke on the specialities and adaptability of the nuances of
Carnatic music with specific focus on aspects of its melody and rhythm,
for Jazz and fusion concerts of the West. Mr. Fabrizio dealt with certain
Ragas (Kanakangi, Nasikabhushani, Ratnangi) with reference to their main
notes and explained the different approaches in improvising based on their
scale and producing the required sangatis to incorporate into fusion music.
Further based on the different rhythmical structures, the speaker
demonstrated improvised elaboration through the instrument to explain
the adaptability of these aspects.
Umayalpuram K. Sivaraman complimented both the presenters of
the day.
Dec. 21st 2001
Friday’s session (Dec. 21st) commenced with the rendering of
Jayadeva’s Ashtapadi songs rendered by Surmangal group.
Mridanga - the prime laya instrument and its construction
Following this, this y e a r’s Sangita Kala Acharya Awardee
Kumbhakonam Sri. K. Rajappa Iyer, spoke on the importance of Mridanga
as the main among Tala instruments and explained the varied aspects in
its construction. He dealt with the different components that is required
for making the instrument, mainly the type of wood and other essential
materials. Further he described the specialities in the technique of great
stalwarts like, Tekka (Jhatka Vandi Babu Rao), Pharan mixed with Chapu
(Rangu Iyengar) - demonstrated by K.R. Ganesh, Azhaga Nambi Pillai
(exact representation of the singing pattern), Pudukkottai Dakshinamurthy
Pillai (unique status in K anjira and M ridangam ), Um ayalpuram
Kothandarama Iyer (speciality in Sollu), Palani Subramania Pillai (Gumki)
and Palghat Mani Iyer (exponent of improvised Tani). The speaker
mentioned Thanjavur Vaidyanatha Iyer as one who formalised the teaching
process and Rangu Iyengar as an exponent of different talas and composer
of M ora (m ixture of two jaa tis) and K orvais. O ther prom inent
percussionists like Narayanaswamy Appa, Das Swamigal, Thanjavur
Pakkiri, Thanjavur Ram adas Rao, Siva Vadivel Pillai, Tinniyam
Venkatarama Iyer and Karaikudi Muthu Iyer were mentioned. The speaker
also mentioned the technique of Arai Chapu, an important feature in
Mridangam technique.
Umayalpuram K. Sivaraman, President of the Conference thanked
the speaker and his son K.R. Ganesh and added his observation on the
components of Mridangam and the necessity to maintain the height and
weight ratio in its manufacturing.
The concept of 22 Srutis in Raga Bhairavi
Sangita Kalanidhi Sri. B. Rajam Iyer, in the second session of the
morning, spoke on 22 srutis in Raga Bhairavi, an innovative approach
attem pted by him. At the outset the speaker referred to the Sangita
Sampradaya Pradarsini of Subbrama Dikshitar, who has made a mention
that all the 22 srutis can be found in passages of Raga Bhairavi. The speaker
explained textual definitions of usage in the intricate aspects of this Raga
and illustrated the different sancharas of Bhairavi through certain prominent
kritis. The speaker described the vast scope of the raga to contain in itself
the subtle srutis. The employment of different gamaka oriented sancharas
also will give scope for identifying such details. The speaker explained
this idea of Sukshma Srutis which is to be conceived in mind and linked
through proper sancharas and delineation of the raga, by just touching the
specific notes and without establishing at that stage a permanent position
(sthana) for that particular Swara.
T he session w as in te rac tiv e with o b servations from
P. Vasanthkumar, Sanjay Subramanian (query regarding Prati Madhyama
- whether given in Sangita Sampradaya Pradarshini) Prof. S.R. Janakiraman
(on Swaratvam according to Dattila, possible only within the range) and
Sangita Kalanidhi Sri. T.K. Govinda Rao’s mention of Purva Prasiddha
Ragas and 72 Mela karta, (which is only a scale system). Dr. N. Ramanathan
said the swara, swara sthana and sruti are three theoretical entities and
are different forms of swara. Sangita Kalanidhi Smt. R. Vedavalli
emphasized that the Moorchanaakara is the main concept and added that
theory and practical are different from each other.
Dec. 22nd 2001
Different types of Rhythms and Talas for different musical
compositions
The session o pened w ith a devotional rendering titled
Sri Ramadootam Sirasa Namami by Gita Nivedana Trust.
Sangita Kala Acharya Prof. S.R. Janakiraman, Senior Musician,
Musicologist and Member, Advisory Committee, presented the first lec-
dem of the morning. His chosen topic was suitability of the different types
of Rhythms and Talas for musical compositions. At the outset the speaker
gave textual references to the terms Tala and Laya, as part of the eight
aspects of Music. He further said Sabda and Chandas are inseparable. Even
Slokas and Viruttams have a certain underlying laya. He mentioned
different types of Chandas (Sardoola, Anushtubh). An ideal music is one
that has melodical rhythm and rhythmical melody, the speaker said. He
stated that the laya does not require tala but tala must have laya. The term
Gati has been prevalent earlier to the talas and the rhythmic origin can be
traced to the Vedic period. While mentioning the origin, concept and
development of Suladi Sapta Talas, the speaker stressed the basic note of
three akshara prescribed for any tala. It was mentioned that every tala
structure is found in the kritis of Sri Tyagaraja. The speaker explained
certain talas with examples (Chitra Tara and Chitra Tama). Post Trinity
com posers used K handa T rip u ta and T isra T riputa talas. The
characteristics of Lakshana (laborious, less sung, Madhyalaya) Lakshya
(simple, Ati Chitra Tara and Madhya tala) Gitas were pointed out. Features
of Tana Varna, Kriti (Athitha, Anagatha beginnings to mark the tempo),
Desadi, andMadhyadi (used in Javalis) were all explained.
New Cassette Release
As part of this morning session, The Music Academy in colloboration
with Saregama Ltd., released an Audio Cassettee titled Guru Guha Vani,
containing the compositions of Sri Muthuswami Dikshitar sung by
Smt. M.S. Subbulakshm i, com piled from its archival collection.

Sri T.T. Vasu presided and released the cassette and the first copy was
received by Sri. C.V. N arasim han, Chairm an of the C onference
Committee. A copy of the cassette was presented to the Conference
President Umayalpuram Sri. K. Sivaraman.
Musical references in Tiruvisaippa and Tiruppallandu
Following this, Dr. Pram eela G urum urthy, from the Music
Department, The Madras University, spoke about the musical references
in Tiruvisai Paa and Tiruppalaandu of the Ninth Tirumurai, under the
Nachimuthu Gounder Rukmini Ammal Trust. At the outset the speaker
explained the order of twelve Tirumurai (collection of Saivite songs) songs
and the order of their ritualistic rendering. Prameela mentioned an ancient
song reference which quotes the names of the nine composers of Tirumurai.
Further, she mentioned the holy places where the songs were sung and
dem onstrated some of them . Songs on Thillai (Pancham appann-21
Padigams), Tiruvidaikazhi (abundant with Nayika Nayaka Bhava) and
compositions of Tirumaligai Tevar, Kandaradittar, Paranthaka Chozar and
Karuvur Tevar (Gandhara Pann) were quoted. The musical instruments
(Yazh, Parai, Dundubhi, Kinnaram, Muzhavam, Veena and Silambu) and
musical references (Aalathi) referred in the above compositions were
highlighted. While Tiruvisai Paa songs are all set in Ananda Bhairavi, the
Tiruppallandu is mentioned as sung in Saalarapaani (still under research),
but sung in Anand Bhairavi in practice. The Navasandhi is announced as
sung in Saalarapaani even now at Sri Kapaleeswarar Temple.
Dr. S.A.K. Durga observed that Saalarapaani is referred as Naattam
in Pancha Marabu. Umayalpuram K. Sivaraman complimented both the
speakers of the morning session.
Dec. 23rd 2001
The Sunday’s session commenced with the rendering Pasuram songs
by Sunaadam Group of Suguna Purushottaman.
Mahabharatam in Tiruppugazh compositions
Under M. G anesa Iyer Centenary Endow m ent, Valayapettai
R. Krishnan, gave a lecture demonstration on the references of the epic of

M ahabharatam in Tiruppugazh com positions, T.V. Sundaravalli
accompanied him for musical rendering. The speaker mentioned the
references for the word Tiruppugazh in different ancient texts and said
that Sri Arunagirinathar composed Tiruppugazh in 14th century. The
number of Tiruppugazh songs available are 1329. Various Tiruppugazh
songs depicting episodes from Mahabharatam and special references along
with the inbuilt Chandam structures focussed as found, were explained
with musical rendering.
Prof. S.R. Janakiraman made his observation on the rhythmic

structure of Tiruppugazh.
Talaanubhava of the Trinity
The following presentation was by Vidya Shankar, senior musician

and musicologist who focussed on the Tala Anubhava in the compositions
of Trinity. The introductory part of this lecture dealt with the aspects of
laya in Tala, leading to the culmination of Bhava, Raga and Tala in
compositions. The speaker further dealt with certain compositions of the
Trinity and analysed the concept of Tala in them. Suitable examples to
explain the above point were demonstrated. Focus on the kritis of Syama
Sastri (Mayamma), the harmonious blend of syllabic and melodic structures
in them and the mode of seven beats made easy by the composer, and
those of Sri Muthuswami Dikshitar (diction, majesty in swara and sahitya,
prasa and anuprasa usage, methodical proportion of nuances in tala and
the in between Madhya nadai before shifting from Madhya kala to Dhruta
kala) - e.g. palayamam Bruhadeeswara were explained. While speaking
of the kritis of Sri Tyagaraja, the speaker highlighted their vast scope,
constant under current of Sarva Laghu, spontaneity, simplicity, lofty
philosophical ideas and the identity of Aarohana and Avarohana right at
the start. Several examples of this composer were sung with the pallavi
section (vocal assistance by M.A. Bhageerathi and others).
B. Rajam Iyer and Dr. N. Ramanathan made their observations.

Umayalpuram Sivaraman complimented both the speakers.
Dec. 24th 2001

W ith the P resid en t of the C o n feren ce, U m ayalpuram
Sri. K. Sivaram an in the C hair, Sri T riu p u rasu n d ari Sam etha
Sri Adipureeswara Tevara Patasalai group led by Saidai Sri Natarajan,
rendered Tevaram songs at the commencement of the tenth day’s session.
Layam in Musicological perspective
Under Brinda Varadarajan Memorial lecture, Dr. S.A.K. Durga,
eminent musician and ethnomusicologist, spoke on the Aspect of Layam
in Musicological Perspective. At the outset Dr. Durga described layam
and its varied connotations (Sanskrit) and its major components - the tempo
and the rhythm. In music the term Layam is defined as tempo which is
inseparable from rhythm. The speaker described laya as the interval of
time between the beats and the movement in time. Layam is the tempo of
the rhythm which has three major divisions - slow (Vilambita), medium
(Madhya) and fast (Dhruta). Thus the term layam includes both rhythm
and tempo which are created by uniformly measured flow of the duration
of Kaala (time). The speaker also gave several meanings of the term Layam.
The term rhythm (measured reoccurrence, stress, beat, accent or motion),
its definition in its larger sense providing a background for the musical
applicatin of the rhythmical principle, the perception of time (Layam) as
the fundamental factor in music were all mentioned. The terms Nadam
(musical sound) created by the periodic vibrations of the sound waves
and the noise (non-periodic vibration) and the Laya based nature of Nadam,
were explained. Rhythm as a division of time division and a recurrence of
attention and the perception of Gati, were described suitably. Further the
speaker said that the flow of time is calibrated (tempo or laya). Based on
the small or large calibration, the tempos are defined. The speaker also
explained the undivided part of time called Akshara or unit. Free rhythm
(when it is not sharp and becomes loose) was suitably illustrated. The
description of the formation of the tala cycle, by various rhythmic patterns
created out of rhythmic syllables (solkattu or jati) which are always
consonants was dealt with. Appropriate examples were presented. The
characteristics of various steps of rhythm s with both accented and
unaccented beats, are essential and interwoven in the melodic structuring
of musical compositions. Suitable pieces were demonstrated (dependent

on the raga, swara oriented ragas, sangatis and gamakas). While explaining
free style of rhythm (Tappa-folk), alapana in Nagaswara, the ten features
of tala (Cyclic and unique for Indian musical system), cross rhythm (in
drumming), poly rhythm (outside the frame). Bali Gamelon music (for
contrasting and confluencing of rhythms), Monkey chant (Bali Ramayana
tradition) and African speaking drums were all the other special features
explained in this lecture. Dr. N. Ramanathan, Prof. S.R. Janakiraman made
their observations. Umayalpuram K. Sivaraman while making his remarks,
mentioned about talking drums (Edakka) of Kerala and the names of
Pallavur Appu Maarar and Kunju Kuttan who are well known exponents
in this field.
T.S. Sabhesa Iyer Endowment Award for a Bodhaka
As part of the second lecture, Under the T.S. Sabesa Iyer
Endowment for Bodhaka Award, Smt. Suguna Purushotaman, who has
been chosen for this award (Best Teacher), presented her disciples in
rendering the compositions of the Trinity and others.
Dec. 25th 2001

Devaganavali group of Vidushi R. Vedavalli rendered Tarangams
of Sri Narayana Tirtha at the commencement of the eleventh day’s morning
sessions.
Tirugnanasambandar Tevaram
' The first lecture was by Sri. B.R. Kumar, Deputy Director General,
A.I.R. and Doordarshan on Tirugnanasambandar and his devotional hymns
(Nachimuthu Gounder Rukmini Ammal Charitable Trust Endowment).
The speaker referred to these devotional songs known as Pathigams. About
8700 lines of these are at present available. Thodudaya Sevian, Thodor
Kathinan and Thodudaya Kathinan, as well as few others beginning with
the word Thodu, and the respective holy shrines were explained with
appropriate visual projection of slides. Tiruttani Swamianatha Oduvar,
V ocalist Jayanthi M ohan and accom panists from Prasar Bharati
demonstrated the hymns.
Connotation of Kriti and Padam

The second lec-dem was by Dr. Pappu Venugopala Rao, Regional
Director, American Institute of Indian Studies and Member, Advisory
Committee, on the Connotation of Kriti and Padam. The speaker explained
that the vast variety of compositions in Carnatic Music broadly fall under
Padam, Kriti, Keertana and Samkeertana. He then traced the origin,
evolution, etymology, definition and their changing connotaions over a
period of time. Further the speaker analysed the compositions of different
composers of Padam and Kriti with reference to their basic structure,
musical excellence, content, the modes of devotion dealt with and their
varied nuances. Smt. Vijayalakshmi Subramaniam gave vocal rendering
of select compositions.
Dec. 26th 2001

The morning session commenced with the devotional rendering of
songs on Mangadu Amman by Smt. Lakshmi Hariharan and group.
Nalayira Divya Prabandham
The first lecture was by Dr. M anavalan on Nalayira Divya
Prabandham - Its evolution and progress under the Nachimuthu Gounder
Rukmani Amman Charitable Trust Endowment. The speaker traced the
origin of Tamil Bhakti literature (between the 7th and 9th centuries), the
collection of the Nalayiram, their social impact, and their contribution to
Tamil culture, were discussed.
Sangatis in Musical Compositions

Vidushi Mani Krishnaswami presented the second lecture on
Sangatis in M usical C om positions. She explained sangatis as
embelishments employed for enhancing the melody and in bringing out
the form of the raga. They also serve to emphasise further on the intricacies
of the raga. Sangatis which are integral part of the composition were
discussed with reference to their origin, scope and universality.
Enhancement of the mood (in Padams and Javalis) and for underlining
the laya co n ten t of the m usical com positions, are som e of the
important features of sangatis. Sangita Kalanidhi Sri. T.K. Govinda Rao,
Prof. S.R. Janakiram an, Sri.Sanjay Subramaniam and Chingelput

Sri.Ranganathan made their observations on this presentation.
Dec. 27th 2001
On the 27th morning the session began with the rendering of Bhajans
in different languages by Sangita Aalayam group.
Raga Oriented Compositions
The first part of the session dealt with a lec-dem on Raga oriented
compositions by Dr. Narmada, well known musician and violonist. At the
outset the speaker mentioned the musical value in the Indian system, and
the im agination and em otional experience of the raga. The three
classifications of raga-those surviving by pure notes, those that are bhava
oriented and those that are sangati oriented were explained by the speaker
with suitable illustrations using different compositions.
Prof. S.R. Janakiraman suggested that an attempt could have been
made to highlight the raga content of musical compositions such as Kriti,
Padam, Javali etc. T.M. Krishna, well known musician sought clarification
on Marga Hindolam, referred by the speaker.
Percussion ensemble
Second part of the morning was devoted to a laya oriented
dem onstration by Bangalore K. Venkataraman, well known senior
percussionist along with a percussion ensemble consisting of Kalvathi
Avadhoot and H. Geetha (Vocal), V. Krishna (Mridangam), Anoor
Ananthakrishna Sarma (Dolu), G. Guru Prasanna (Kanjira), B.S. Arun
Kumar (.Drums), Uday Raj Karpurkar (Tabla), B.C. Manjunath (Konakkol),
all of who were from Bangalore. The speaker mentioned that Mridanga is
the foremost among percussive instruments and explained the thematic
content of his presentation which foucssed on the role of different
instruments in a percussion ensemble. Viriboni Varnam and Panchajanya
(rhythmical pattern in five ragas and five nadais) were taken up for
demonstration to exhibit the technique and the nuances employed in
bringing out the liveliness of rhythmical aspects in such attempts.
Umayalpuram K. Sivaraman complimented the speker and the group
of percussionists for their well coordinated effort.
Dec. 28th 2001

Brihad Kalyan Group of Brhaddhwani Centre presented Arunachala
Kavirayar’s Rama Nataka Kirtanas at the commencement of the session.
The format of Kriti as a Musical form
Sriram Parasuram , well known musician and violinist in both
Carnatic and Hindustani systems spoke on the format of Kriti with a detailed
analysis on its structure. The speaker then explained that the kriti is a
crystalised form of transm ission of musical concert. The kriti is a
continuance of a compositional tradition, the speaker said. The origin of
this musical form is not known. Only its evolution and the progress could
be discussed. The structural aspects, its analysis, the available range, the
infinite possibilities and examples of earlier contemporary kritis were all
discussed with appropriate illustrations. The Purvanga, the Madhyanga
and the Utharanga and Kala (Trikalam) and the Makuta (were Chittaswara)
were the different aspects of Kriti format taken up for analysis by this
speaker.
Aesthetics of Pandanallur Bharatanatyam Tradition - its nuances
This y e a r’s T.T.K. A w ardee, Smt. N irm ala R am achandran,
exponent of Pandanallur dance tradition presented a lec-dem on the
nuances of Nritta and abhinaya in her chosen tradition. The speaker
explained the basic position, adavu structure and rhythmical patterns, and
presented while discussing about the details of the technique excerpts ‘from
pure dance sections of a Varnam and Swarajai, gesticulation and nuances
of abhinaya (as learn t from M ylapore G ow ri A m m al)’ suitable
d em o n stratio n s w ere p rese n ted by S reelatha V inod (student of
D hananjayans) and two of N irm ala’s sen io r disciples. N irm ala
demonstrated a Padam, with vocal assistance from Nalini Ramprasad and
S.S.R. Krishnan (Mridangam).
Dec. 29th 2001
The morning session on 29th commenced with rendition of verses
of Sri Adi Sankara and M ahakavi Kalidasa by students of M eera
Kedaranathan.
Verbal and Musical Rhythms

Under Dr. V. Raghavan Shashtyabdhapurti Endowment, Dr. Harold
Powers, well known scholar, musician and musicologist and formerly of
Princeton and Harvard Universites, gave a lec-dem on the durational,
accentual and syllabic rhythms in 19th century vocal music. The speaker
at first explained his understanding of the syllabic durations which are
linked to the musical rhythms of long and short notes as fitted to the talas
of Carnatic music. Further he dealt with the Verbal and Musical rhythms
in the Sanksrit and Telugu kirtanams (of Dikshitar and Tyagaraja) that he
studied with Dr. Raghavan during his stay in early 60s. He also spoke about
his attention to the interface of similar rhythms in Italian Opera, his lifetime
study. Dr. Powers continued on analysing certain kinds of rhythmic
structures and demonstrated the role of syllabic counting and word
boundaries in lyric verse for Italian verse, based on strong and weak stress.
Desadi and Misra Chapu tala as dealt by Tyagaraja was taken up for
analysis.
Pallavi Singing
The second presentation was on Pallavi singing by Sangita Kalanidhi
Smt. R. Vedavalli. At the outset the speaker explained Manodharma
Sangita, the origin of the word Pallavi and the evolution of this form. She
quoted textual references while referring to the evolution and progress in
the format of Pallavi singing. The speaker further discussed at length the
structure of Pallavi, its components, the methodology, the different
intricate nuances in its execution, the complex tala usages and the varieties
of Pallavi, giving suitable demonstrations.
B. R ajam Iyer, Sanjay Subram aniam , T.M. K rishna,
Dr. T. Viswanathan (about historical evidence on the origin of Pallavi) of
Wesleyan University and P. Vasanthakumar made their observations.
Umayalapuram K. Sivaraman complimented both the speakers of the
morning.
Dec. 30th 2001
On 30th Sri Ganapathi Satchidanand Ashram Group sang devotional
songs of Swamiji.
40 THE JOURNAL OF THE MUSIC ACADEMY fVol. LXXV
Ekaikaraga Kritis
This year’s Sangita Kala Acharya Awardee, Vidushi Sulochana
Pattabhiraman, gave a lec-dem on Ekaika Raga Kritis. At the outset the
speaker said that no distinction is made on the Melakarta ragas of Akalanka
and Venkatamakhin’s systems, despite marginal structural differences. The
existence of an exclusive raga in a composition of a composer, is classified
as Ekaika Raga Kritis. Examples of Ragas as mentioned above used by
Tyagaraja (Aparadhamula-Rasali, Manasa-Vardhani), Syama Sastri (Devi
Brova-Chintamani) and Muthuswami Dikshitar (Ardhanareeswaram-
Kum udakriya and Sri G uruguham urte-U daya Ravichandrika) were
demonstrated by Vidushi Shyamala Venkateswaran, Prema Rangarajan,
Bhagyalakshmi Suresh and Sudha Raja.
Conference President’s lec-dem - Laya Dhara
The P resident of this y e a r’s C o n feren ce, U m ayalpuram

Sri. K. Sivaraman presented Laya Dhara, consisting of his own rhythmic
compositions. Sri Sivaram an was assisted by his disciples Neyveli
Narayanan and Erode Nagarajan. The speaker, mentioned the names of
his illustrious teachers, particularly Sakkottai Rangu Iyengar and explained
his teaching methodology. The names of Thanjavur Narayanaswamy Appa
and Krishnamurthy Rao were highlighted. While explaining the matchless
status of rhythmical nuances employed by stalwarts of yesteryears, the
speaker mentioned about Mora-Korvai and compared it to Chakradhar of
the North Indian System. He explained different moras that he has created
and demonstrated them. Varieties of Jati mixtures (Misra Chapu and
Khanda), the sollu (with focus shifted from each point), the korvai
completion in 3, the symmetry of patterns, the technique of Arai Chapu,
the Yatis used in Moras (example Damaru Yati in Khanda Gati without
Khanda underlining the tala structure) and same korvai in 3 gatis and 3
tempos, were all explained and suitably demonstrated by Sivaraman.
Sangita Kalanidhi Sri. N. Ramani and Smt. R. Vedavalli, members,

Advisory Committee complimented the creative works of Umayalpuram
K. Sivaraman.
Dec. 31st 2001
The 31 st morning’s session commenced with Sivan Arts Academy’s

rendering of devotional songs of various composers led by Neeraja
Badrinath.
Following this, the two sessions of the morning were devoted to

Raga Lakshana discussion. The Ragas taken up were Ananda Bhairavi,
Ritigowla, Surati, Kedaragowla, Narayanagowla and Ahiri. The discussions
were handled by a panel of musicians and musicologists of the Academy
which included Prof. S.R. Janakiraman, N. Ramani, Mani Krishnaswami,
Dr. N. Ramanathan and V. Subramaniam. Each Raga analysis was followed
by an interactive session, with the participation of advisory committee
members and the public. Dr. V. V. Srivatsa, Convenor, co-ordinated these
sessions. Following is a report of the two sessions devoted to this subject
and the resolutions passed thereafter :
Six ragas were chosen for in-depth study and discussions during
the Annual Conference 2001, they begin Kedaragowla. Narayana Gowla,
Surati, Reetigowla, Ananda Bhairavi and Ahiri. The panelists were Prof.
S.R. Janakiraman, Dr. N. Ramanathan, Sangita Kalanidhi Dr. Mani
Krishnaswami, Sangita Kalanidhi Dr. N. Ramani and Shri. V. Subramanian.
Kedaragowla, textually linked to the Khamboji Mela, is an Audava

Sam poorna Raga and is a prom inent derivative of the 28th Mela.
Kedaragowla is known for its Rakti-value and suits many types of musical
forms. The Rishabha Swara, in this Raga, is of the Mrudu Kampita type
and Nishada, a favoured nyaasa-swara, play salient roles. Gandhara and
Dhaivata are relatively weak swaras. The essence of this Raga is seen in
the range between Madhya Sthayi Panchama and Tara Sthayi Madhyama.
Narayana Gowla and Surati are proximate / allied Ragas to

Kedaragowla. In Narayana gowla, Rishabha, Madhyama and Dhaivata are
the major swaras. In Arohana, the Dhaivata is in a Vakra placement, always
rendered as “ ni-dha-ni-sa” : The Vakra pattern “ ri-ga-ri-sa” in the
Avarohana, distinguishes this Raga from Kedaragowla and Surati.
Surati is an Audava-Sampoorna Raga, with a Vakra phrase “ ma-

ga-pa-m a-ri” in the Avarohana. Rishabha Madhyama and Nishada are
the dominant swaras of this Raga. Surati is best relished when set to medium
tempo. Deergha Dhaivata swara is seldom used.
Reetigowla is ascribed to the Bhairavi Mela’. Gandhara, Madhyama

and Nishada are the Jeeva-swaras of this Raga. Some phrases of this Raga
are found in Raga Ananda Bhairavi, as well. The Chatushruti Dhaivata
swara dominates this Raga and the Shuddha Dhaivata is rarely used.
Rendition of this Raga without Shuddha Dhaivata is recommended. The
extension upto the Panchama swara in the Mandara sthayi, is the primary
distinguishing factor vis-a-vis Raga Ananda Bhairavi.
The sanchara ’pa-dha-Sa‘ is the mark of identification of Raga

Ananda Bhairavi. The Gandhara is not distinctly Sadharana Gandhara.
Traces of Antara Gandhara, usually in tandem with Shuddha Madhyama
are found-which is an ingestion from folklore. Madhyama and Panchama
are strong swaras. Chatushruti Dhaivata is the dominant Dhaivata and use
of Shuddha Dhaivata is limited. As the dominant Dhaivata Swara is the
Chatushruti Dhaivata, in Ragas Reetigowla and Ananda Bhairavi, it would
be apt to classify them as derivates of the 22nd Mela.
The Gandhara Swara appears in many forms in Raga Ahiri. Its level
varies from Sadharana to Antaraa Gandhara, including intermediate levels.
The Dhaivata Swara in this Raga is not easily definable. The traditional
Kaishiki Nishada acquires Alpa-Kampana, veering towards the Kakali type.
On consideration, it was opined that the dominant Gandhara is the Antara
Gandhara, seen sometimes as Prantyantara Gandhara and not as Sadharana
Gandhara. The major Dhaivata is ’Shuddha Dhaivata’. Only Kaishiki
Nishada should be used. Earlier, the experts’ view was that Raga Ahiri is a
derivative of the 14th Mela, which decision was modified later, to make it
a derivative of the 8th Mela. As Antara Gandhara is the factor, status-
quo-ante is restored and the decision reversed to the original view - that
Raga Ahiri is a derivative of the 14th Mela.
RESOLUTION
R a g a : Ananda Bhairavi
Ananda Bhairavi, a Raga with reasonable antiquity, is ascribed to
the Bhairavi Mela in several textual references. Classification and
derivation is of secondary importance, when compared to the melodic
effects of this Raga, in which the role of the constituent Swaras is worthy
of examination.
The Vakra-Sanchara ‘pa-dha-pa-Sa’ in the ascending scale is
considered as a mark of identificatiomof Raga Ananda Bhairavi. The
Dhaivata Swara in this sanchara is certainly not the Shuddha Dhaivata and
is proximate to the Chatushruti Dhaivata. When the phrase ‘paa-dha pa-
m a’ is rendered, the Chatushruti Dhaivata appears to sound like ‘paa-ni-
pa-ma’. In the Avarohana order, “ Sa-ni-dha-pa” , the Dhaivata is clearly
of the Chatushruti type. The usage of Shuddha Dhaivata is seen in prayogas
like “ ga-ma-pa-dhaa-dha-ga’. Nevertheless, the dominant Dhaivata swara
is the Chatushruti Dhaivata.
The Gandhara swara is not distinctly, the Sadharana Gandhara. It
is found to be always in tandem with the Madhyama swara. Traces of
Antara Gandhara are found in contemporary renditions, in phrases like
‘sa-ga-ga-ma’ and ‘ma-ga-ga-ma’. Antara Gandhara was not used by major
composers and this is an ingestion or intrusion from folklore.
The Rishabha swara is a weak note and its deergha-prayoga is very
limited. The Madhyama swara is relatively strong and can appear as a
Deergha Kajnpita swara in the Avarohana Krama. Panchama is a stronger
note than Madhyama and is more dominant as a graha or nyasa Swara
than the Madhyama swara. The use of Kakali Nishada is not recommended.
The treatment of the Gandhara swara in phrases like ‘sa-ga-ri-ga-
ma’ and ‘ma-ga-ri-ga-ma’ should be carefully noted, as this treatment
distinguishes Ananda Bhairavi. In Ananda Bhairavi, sanchara in the
Mandara sthayi is to be limited to the Nishada swara and should not touch
the Dhaivata level. The phrase “ sa-ni-dha-ni-sa-ri-sa” is to be avoided.
The prayoga “ pa-ni-ni-Sa” is found in some established compositions
and can be accepted. However, ‘pa-dha-ni-Sa” is to be strictly avoided.
As the Chatushruti Dhaivata is the dominant swara and the use of

the Shuddha Dhaivata very limited, it is appropriate to classify Ananda
Bhairavi under the 22nd Mela, duly treating Shuddha Dhaivata as the
singular anya-swara of this Raga.
R a g a : Reetigowla
Raga Reetigowla is ascribed to the Bhairavi Mela. Govindacharya
has classified this Raga under the 20th Mela. The proximity of Raga
Reetigowla to Raga Ananda Bhairavi is noticeable, which, however, has
not diluted its Swaroopa-Lakshana.
“ Sa-ga-ri-ga-ma” is a sanchara common to Reetigowla and Ananda
Bhairavi. The treatment of the Gandhara in passages like “ Sa-ga-ri-ga-
ma’’ and “ ma-ga-ri-ga-ma’’ is a distinction betwen these Ragas. Another
common phrase, still distinguishable, is ‘Sa-ga-ga-ma” Raga Reetigowla
can be identified by means of the passage “ ga-ma-pa-ma-ga-ri-sa” .
Gandhara, Madhyama and Nishada are Jeeva-Swaras in Raga
Reetigowla. Rishabha and M adhyama are not ideal Nyasa swaras.
Panchama is a feebler swara than in Ananda Bhairavi. No swara, in
Reetigowla is of the Deergha-Kampita type. The tendency to use Gandhara
as a Deergha-Kampita swara is not favoured. The position of Rishabha in
some phrases like “ ri-sa-ga-ri” and “ sa-ri-ri-dha-sa” should be noted
with care. The phrase “ pa-dha-ni-dha-m a-ga-ri” is present in Raga
Reetigowla.
Reetigowla is dominated by the Chatushruti Dhaivata swara. The
presence of Shuddha Dhaivata is seen only in some phrases like “ pa-dha-
dha-ma” or “ pa-dha-pa-m a” . Rendition of Reetigowla without Shuddha
Dhaivata is recommended.
Phrases like “ ni-pa-ni-ni-Sa” and “ ma-ni-ni-Sa” pinpoint Raga
Reetigowla. However, the phrase “ ni-pa-ni-ni-Sa” shoule be restricted
to the Mandara Sthayi only. Reetigowla extends right upto the Panchama
swara in the Mandara Sthayi, which distinguishes it from Ananda Bhairavi.
As Chatushruti Dhaivata is the singular, if not, dominant Dhaivata
swara, it is apt to classify Raga Reetigowla under the 22nd Mela.
R a g a : Kedaragowla
Textually linked to the Kam bhoji M ela, K edaragow la was
considered as one of the prominent derivatives of that Mela. However,
Subbarama Dikshitar rates Kedara Gowla as the 28th Mela, under the
Kanakambari scheme. Kedara Gowla is an Audava-Sampoorna Raga with
Chat^shruti Rishabha, Antara Gandhara, Chatushruti Dhaivata and
Kaishiki Nishada as constituent swaras with the exclusion of Gandhara
and Dhaivata in the Arohana Krama.
In this Raga, the Rishabha is of the Mrudu-Kampita type, as
visualised in phrases like “ ma-ga-ri” . In this Raga, it is an ideal Graha
and Nyasa swara and plays a significant role. Gandhara and Dhaivata are
weak swaras, however, without limitation in usage. Gandhara usually is
tagged on to Rishabha and Dhaivata, either with Nishada or Panchama.
However, in the Sanchara “ ri-gaa-ri-sa” , the Gandhara appears as a
Deergha note; similarly, in the phrase “ ma-pa-dhaa-pa” , the Dhaivata
appears as a Deergha-note. A noteworthy phrase of this Raga is “ ni-dha-
dha-pa-m a-ga-ga-ri” , as it accom m odates Deergha Dhaivata and
Gandhara. Gandhara and Dhaivata are not used as Nyasa swaras.
Madhyama swara is a vital link but also not an ideal Nyasa swara.
Nishada plays an important role, especially in prayogas like “ ni-ni-
Sa” and “ ni-Sa-Ri-Ma-Ga-Ri” . Nishada is a favoured Graha Swara.
Raga Kedara Gowla is well known for its Rakti element and suits
many types of musical forms. Its essence is seen in the range between
Madhyasthayi Panchama and Tarasthayi Madhyama. In the Mandarasthayi,
descent upto the Panchama swara is allowed. Some special phrases are
“ ma-ga-sa” and “ ri-pa-ma-ga-sa” .
Kedaragowla is considereed to be an auspicious Raga.
R a g a : Narayanagowla
Raga Narayanagowla belongs to the Kambhoji Mela and is an
Ubhaya Vakra Shadaya - Sampoorna Raga. The generally accepted
Arohana - Avarohana scale is as follows :
Arohana : sa-ri-ma-pa-ni-dha-ni-Sa
Avarohana : Sa-ni-dha-pa-ma-ga-ri-ga-ri-sa
Rishabha, Madhyama and Dhaivata are the major swaras of this

Raga and appear as Deergah-types. These three swaras are favoured as
Graha swaras and most compositions start with Rishabha or the Madhyama
swara. The Nishada swara can also be used as a Graha swara and is used
thus in a Varna in this Raga. The Gandhara swara is not insignificant but
has lesser importance than the other swaras. Vishesha prayogas like “ ga-
m a-ga-m a-ri” are used in some compositions. The use of Deergha
Dhaivata as G raha sw ara is well illustrated in the Anupallavi of a
composition.
Another delectable phrase in this Raga is “ ma-pa-dha-maa” which
is used quite often. A unique prayoga is “ Sa-ni-ni-dha-dha-pa” in the
Mandarasthayi range. The Raga is well suited to cover a two-octave span,
ranging from Mandarasthayi Panchama to Tarasthayi Madhyama.
The presence of the Dhaivata in the Arohana, in a Vakra setting,
distinguishes Narayanagowla from Kedaragowla. It is always advisable to
follow the pattern “ ma-ga-ri-ga-ri-sa” in the descending order, to avoid
phraseal similarity with Kedaragowla. The sanchara “ m a-ga-ri-sa” is
found in a Varna in this Raga, which seems unavoidable.
Tanam rendition is a forte of this Raga, which is rated as a Ghana
Raga of the second cycle. Well suited for medium-tempo, even slow-tempo
compositions do shine. In Raganubhava, Narayanagowla has an element
of mystic and differs from the experience gained from listening to
Kedaragowla.
Mention must be made of the Varna ‘maguva ninne’, by ‘Veena
Kuppaiyyar, which covers all representative phrases of this Raga.
R a g a : Surati
Surati, considered as an auspicious or “ Mangalakara” Raga belongs

to a group attached to the Kambhoji Mela. The fine nuances of this Raga
are best discerned and learnt from renditions.
As Audava-Vakra-Sampoorna Raga, Surati is distinguished by virtue

of the sanchara ‘ma-ga-pa-ma-ri-sa’ in the descending scale. Rishabha,
Madhyama and Nishada are the main swaras of this Raga. The Rishabha
oscillates much more than in Ragas Kedaragowla. The Gandhara and

Dhaivata swaras tend to go in tandem with the Madhyama and Nishada
swaras respectively. Deergha Dhaivata swara is rarely used and one
composer has used it in many kritis. In the prayoga ‘ri-ma-pa-ni-ni’, the
Kaishiki Nishada swara appears as of the Kampita type. The swara
prasthara “ m a-ni-dha-pa” exhibits a Madhyama-swara of the hyper-
shuddha Madhyama variety. “ Ri-Sa-nidha’ are special prayogas. In reality,
‘ni-dha’ sounds like ‘ni-ni’, giving scope for false notes. Another such
example is ‘m a-ga’ which will sound like ‘ma-ma-ga’.
The Rishabha Swara is of the Deergha type. ‘Ri-ra-Sa’ is a unique

and specific phrase. The sanchara ‘pa-ni-dha-ni-Sa’ has to be scruplously
avoided. The Sanchara ‘Sa-ni-dha-pa-ma-ga-ri-sa’ inaKrama-sampoorna
manner, is found in a Varna. The Vakra in the Avarohana is the hall-mark
of Raga Surati. The Raga is best relished when set to medium tempo though
slow tempo is also accommodated with equal felicity.
The phrase ‘saa-ri-ma-pa’ without extension to Nishada, rendered
properly is enough to pinpoint this Raga.
Raga : Ahiri
An ancient melodic type which defies definition even unto-date,

Ahiri infuses an ele'ment of emptiness or pathos when rendered or heard.
Tradition dissuaded repeated rendition of this Raga. At best, it was
frequently heard. Ahiri is a Raga with sampoorna swaras in both the
Arohana and the Avarohana, with Vakra sancharas, the scales being :
Arohana : sa-ri-sa-gaa-ma-pa-dha-ni-sa
Avarohana : Sa-ni-dha-ni-dha-pa-ma-ga-ri-sa
The Gandhara swara of this Raga is a matter of debate. In the
sanchara ‘sa-ga-ma-pa’ it is closer to Sadharana Gandhara. In the phrases
‘ga-ma-ri-ma-ga-ri-sa’ we hear the Antara Gandhara. The sancharas ‘pa-
ma-ga-ma’ and ‘sa-ri-sa-ga-ma’ throws up a Gandhara between Sadharana
and Antara Gandharas.
The Dhaivata swara also causes confusion. In the sanchara ‘dha-
ni-dhaa-pa’, the second Dhaivata, deergha in nature, is a shade above
Shuddha Dhaivata. The Dhaivata in the sanchara ’pa-ni-Sa-ni-dha’ appears

to be closer to the Chatushruti type. In the phrase “ da-ni-dhaa-pa” the
Dhaivata is not definable easily.
The Nishada swara also contributes to the elusiveness of this Raga.
In passages ‘pa-dha-ni-ni-Sa’, ‘ni-Sa-ni-Sa-Ri-Sa\ the Nishada is of the
Kaishiki variety. Kaishiki Nishada acquires Alpa Kampana in some cases.
Some musicians render ‘Sa-ni-dha’ with a Nishada veering to the Kakali
type.
One school permits usage of even Chaturshruti Rishabha. Hence,
there is a view that two Rishabhas, two Gandharas, two Dhaivatas and
two Nishadas can be used.
The dominant Gandhara is Antara Gandhara, seen sometimes as
Pratyantara G andhara but never is Sadharana G andhara. The real
Gandhara is Pratyantara Antara Gandhara. The major Dhaivata is Shuddha
Dhaivata, perhaps sounding at a marginal hyper-shruti level. Nishada is
only of the Kaishiki type. These factors show that Ahiri is closer to the
14th Mela, albeit with swara-sthanas of in exactitude.
Ahiri was first considered, by the Music Academy, to be a derivative
of the 14th Mela. On reconsideration at a later date, it was deemed to be a
Janya of the 8th Mela. Status-quo-ante, reversion to the first decision of
being classified as a derivative of the 14th Mela, is suggested.
1st JAN, 2002
Concluding Session
At the com m encem ent of concluding session of the morning

conference, students of the Teacher’s College of Music of The Music
Academy presented devotional rendering of songs on Lord Krishna.
The summing up session was coordinated by Dr.V.V.Srivatsa,

Convenor. Members of the Advisory Committee participated and made
their observations on the different presentations in the morning conference.
2002J SUMMARY OF PAPERS PRESENTED IN THE CONFERENCE 49
An open house with audience participation followed. Umayalpuram

Conference President Sri. K. Sivaraman gave his speech and thanked the
members of the advisory committee and Rasikas who attended the
sessions. He also expressed his thanks to the President and members of
the Executive Committee. Convenor Dr. V.V. Srivatsa proposed a vote of
thanks.
TH E SADAS
The Sadas of the 7 5th Conference was held in the T.T.K. Auditorium
of The Music Academy on 1st January 2002 at 5.00 p.m. with Sri.
P.Shankar, I.A.S., Chief Secretary of Tamil Nadu in the Chair. The
proceedings commenced with prayer by students of the Teacher’s College
of Music. The Sadas convoked by Sri M.S. Pattabhiraman, Vice President
of The Music Academy. The President of The Music Academy Sri
T.T.Vasu welcomed the chief guest, musicians and distinguished members
of the audience.
T hen the P re sid e n t of the C onference U m ayalpuram

Sri. K.Sivaraman was presented by Smt. Nandini Ramani, Secretary of
The Music Academy.
The President of the Sadas, then conferred the title of Sangita

Kalanidhi on Umayalpuram Sri. K. Sivaraman and presented him the Sanad
& insignia of the title.
Sangita Kalanidhi
Umayalpuram SRI. K. SIVARAMAN
Born on 17.12.1935, at Kumbhakonam, in Thanjavur District, to Smt.

Kamalambal and Dr. P. Kasi Viswanatha Iyer, who him self was an
accomplished musician. Sivaraman started training in Mridangam at a
tender age, in the strict Gurukula discipline, Arupathi Sri. Natesa Iyer,
Thanjavur Sri. Vaidyanatha Iyer, Palghat Sri Mani Iyer and Sakkottai Sri
THE SADAS 51
Rangu Iyengar were the four illustrious teachers who guided Sivaraman
over a periodof fifteen years. As a boy of ten, Sivaraman gave his maiden
performance at Sri Kalahateeswara Swami temple at Kumbhakonam.
During the past five and more decades of his artistic career, Sivaraman
has accompanied a galaxy of maestros of the past and the forefront artists
of the present, thus occupying a unique status in the world of percussive
arts. His musical training under Kallidaikurichi Sri. Mahadeva Bhagavatar
has added an extra dimension to his percussive skill. Sivaraman’s new
techniques, innovations, creativity, solo renditions, jugalbandhi, jazz and
fusion performances have earned him a matchless reputation that is far
and wide.
A graduate in Law, Sivaraman is acclaimed for his research-oriented

Lecture demonstrations, focussing on the intricacies of the Mridangam
technique, as well as the analysis and improvements to the different parts
of the instrument to enhance all aspects of this percussive art. His inimitable
style, his innumerable performances, and the unique status he has brought
for the instrument both in India and abroad, have won for him countless
titles, awards and honours, noteworthy among them being. Padmasri form
the Govt, of India, Sangeet Natak Akademi award, National Citizens’ award
from the President of India, and Kalaimamani from the Govt, of Tamihadu,
apart from the title of Asthana Vidwan from His Holiness of both Kanchi
Mutt, and Sringeri Mutt.
Sri. Sivaraman has been imparting his unique technique for over several
decades, to students from far and near, and around the globe, thereby,
strengthening the continuation of his great tradition. His association with
the Academy over the last five decades, has culminated into the setting up
of a Percussive Arts entire, since the past six years, affiliated to this
institution in the name of his Guru, Thanjavur Sri Vaidyanatha Iyer, where
he trains aspiring students in his Sampradaya.
The Academy takes pleasure in honouring this Grand Master of

Rhythms with the title of Sangita Kalanidhi.
Dr. V.V. Srivatsa, Secretary, then presented Kum bhakonam

Sri. M. Rajappa Iyer, who received the title of Sangita Kala Acharya.
Sangita Kala Acharya
Kumbhakonam Sri M. RAJAPPA IYER
Bom in 1916 at Kumbhakonam in Thanjavur District, Rajappa

Iyer underwent training in the gurukula discipline, from two legends
of those times from Kumbhakonam, Sri Alganambia Pillai, and Sri.
Rangu Iyengar for over tan years. Rajappa Iyer is equally well-
v ersed in th e a rt o f G hatam . For over th re e d e c a d e s, he
accompanied several prominent musicians on both the instruments.
For over five decades now, Rajappa Iyer has been conducting
a school for Mridangam and Ghatam. He is well-known for his style
of teaching which includes a systematised procedure, with focus on
the nuances of fingering technique and aspects of creativity, essential
for embellishing the concert pattern in the field of teaching, Rajappa
Iyer is much regarded for his contribution to the field of percussive
arts by training innumerable disciples, many of whom are in the
forefront.
The Academy takes pleasure in honouring this unique teacher

par excellence with the award of Sangita Kala Acharya.
2002] THE SADAS 53
Sri M.S. Venkatraman, Secretary, The Music Academy presented

Smt. Sulochana Pattabhiraman, who received the title of Sangita Kala
Acharya.
Sangita Kala Acharya
Smt. SULOCHANA PATTABHIRAMAN

Born in 1931 at T richirapalli, to Sri K. Satagopan
and Smt. Pattammal, Sulochana Pattabhiraman, began her musical training
from the age of five, with stalwarts like Srirangam Veena Sri. Govinda
Iyengar, S angeeta Bhushanam Sri. R.V. Subrahm aniam , Vidvan
Sri. M.A. K alyanakrishna B hagavatar, Vidvan Sri Sattur.
A.G. Subram aniam , Vidvan. Sri. S. K alyanaram an and Vidvan
Sri.N. Balasubrahmaniam who honed her innate skills to attain considerable
levels. Under Sangeeta Kalanidhi Sri. Semmangudi Srinivasa Iyer,
Sulochana received further training to embellish her musical knowledge
to reach higher standards of perfection.
Sulochana Pattabhiraman, a multi faceted artist, is an “ A” grade
performer of the All India Radio with which she has been associated from
the age of eight. As a teacher, Sulochana is acclaimed for her dedicated
work in shaping many a young and senior artists, many of whom are well-
known performers presently. Sulochana is credited with several musical,
thematic productions on stage, in the Radio and Doordarshan, presented
with her team of disciples. She is associated with several music
organisations and is a member of audition panels. Among many of her
achievements as a musicologist, the Dakshina Gana Surabhi, a recent
project for the archives of Prasar Bharati speaks of her deep commitment
to the propagation of South Indian musical heritage. Sulochana is a fine
blend of Tradition and Innovation based on the firm pristine principles of

Carnatic music.
T he A cadem y w hich earlier b esto w ed on Smt. Sulochana
Pattabhiraman, the Bodhaka Award given to a Best Teacher, takes pleasure
in adorning her now with the title of Sangita Kala Aclârya.
Sri. C.V. Kartik Narayanan, Vice President of The Music Academy,
presented Sri. V. Thiagarajan who received the T.T.K. Award.
T.T.K. MEMORIAL AWARD
Sri V. THYAGARAJAN
Bom on 18.12.1927, at Alathur in Trichirapalli district, as the
son of the veteran violinist, Sangita Kalanidhi Papa K.S. Venkataramiah
and Smt. Akhilandam ammal. Initiated into the art of Violin playing by
his grandfather Sri. K.N.Srikantiah, a well-known violinist of his times.
Later Tyagarajan continued further training under his father, who was a
disciple of the M alaikottai Sri Govindasw am y Pillai. Thyagarajan
accompanied his father in his concerts, and played for several leading
m usicians o f yester years as well as prom inent m usicians of the
present.
Sri. Thyagarajan has been serving the cause of Carnatic Music
for five decades. Has travelled widely for concerts and teaching at well
known Universities in the U.S.A., particularly the Wesleyan University
at C onnecticut. His accom panim ent and L.P. R ecords m ade with
Sangita Kalanidhi Sri. T. Viswanathan, Jon B. Higgins and Sri. Ramnad
Krishnan, have been widely appreciated. Sri. Thyagarajan’s technique
2002] THE SADAS 55
com bines w ithin itself a graceful, m elodious touch coated with

tranquility.
Sri. Thyagarajan is a top grade artist of the All India Radio, who
is featured regularly in A.I.R. and Doordarshan. He served in A.I.R. as
staff artist from 1973-87. A recipient of the title of Kalaimamani from
the Govt, of Tamilnadu, Sri Thyagarajan was appointed the Asthana
Vidwan of Kanchi Kamakoti Peetam in 1991. He continues the Violin
tradition of his family to future generation by training young aspiring
students. The Academy feels happy to bestow on Sri. Thyagarajan, the
T.T.K. Award for Excellence.
Dr. Mano Bhaktavatsala, Vice President, The Music Academy
presented Smt. Nirmala Ramachandran who received the T.T.K. Award.
T.T.K. MEMORIAL AWARD
Smt. NIRMALA RAMACHANDRAN

Born on 9th February 1936 at Madras to Sri. Viswanathan and Smt.
Sivakamu, Smt. Nirmala Ramachandran, is a veteran dancer following the
Pandanallur tradition. Nirmala has had the unique privilege of learning
directly under the traditional Nattuvanar Pandanallur Sri. Chockalingam
Pillai and later continued with yet another stalwart Tiruvalaputtur
Sri. K. Swaminatha Pillai.
In Vocal Carnatic Music, Nirmala has been trained under Sangita
Kalanidhi Sri. K.V. Narayanaswamy, Vidwan Sri. B. Krishnamurthi and
Sangita Kala Acharya Smt. T. Mukta. Her extended training in Music, along
with an academic background of having a Bachelor’s degree in Music from
the Madras University, has helped her to dwell deeply into the nuances of
abhinaya, for which she had special training with the legendary Mylapore
Gowri Ammal, who taught her a number of Padams and Javalis.
Nirmala’s interests are multifaceted branching out into the fields of
Music, Dance and Drama. Nirmala has worked under the eminent scholar
Dr. V. Raghavan, for a research project on the Theatre forms of India,
done on behalf of the National School of Drama, New Delhi, back in the
sixties. She has also played lead roles in the Sanskrit Drama productions
of Dr. Raghavan. Nirmala has participated in several Sem inars and
presented papers and lecture demonstrations.
Nirm ala continues the Pandanallur tradition by teaching and
performing. Her services to this field of Fine Art is marked with yet another
sincere effort of promoting our culture through dance in other countries
particularly Russia.
Nirmala’s approach to her art reveals a true sense commitment in
fostering a grand oral tradition like that of Pandanallur that still survives
through true representatives as herself. The Academy takes pleasure in
honouring Smt. Nirmala Ram achandran with the T.T.K. Award for
Excellence in her chosen field.
Ms. Lakshmi Viswanathan, Vice President, The Music Academy,
presented Smt. Kamala Lakshminarayanan who received the Special
Platinum Jubilee Award.
Smt. KAMALA
Matchless Exponent o f the Vazhu voor Bani
In the field of Bharatanatyam, Kamala is one of the

earliest pioneers and is considered a sparkling role model
a
for many young aspirants to take up this dance par excellence
of South India. Kamala’s enchanting technique is a blend of
vibrance and brilliance that could electrify the world of art
lovers. Her supple physique could bring out the varied
intricacies of the art form with vigour. K am ala’s early
m orning w ith the renow ned tea c h e r K attu m an n ar Koil Sri
Muthukumarappa Pillai and later her long years of performing career as
2002] THE SADAS 57
an illustrious disciple of the veteran Nattuvanar Vazhuvoor Sri K. Ramiah

Pillai, combined with her innate skill, made a deep impact in the cultural
scene of India. H er dance sequences for films becam e im m ortal
presentations that still stand testimony to her outstanding contribution to
Traditional Performing Arts of South India.
Kamala is a fine musician having learnt Carnatic Music from

stalwarts like Ramnad Krishnan; her talent to assimilate and express the
excellences of the musical and dance traditions through her performances,
brought her universal acclaim. Continuously, for over two decades she
performed for The Music Academy and captivated the connoisseurs of art
through her memorable performances. Kamala can be described as one
of India’s brilliant Cultural Ambassadors. Her countless performances
within and outside the country, for distinguished dignitaries and for
prestigious festivals have won for her far and wide reputation. Kamala is
credited with several dance-ballet productions. As a teacher, she has
created innumerable followers for Vazhuvoor tradition. She has been
honoured with several awards, most prominently the Padma Bhushan from
the Govt, of India and the Kalaimamani from Govt, of Tamilnadu. The
Music Academy honours this magnificient dancer with the unique Platinum
Jubilee award for her outstanding contribution.
The Vaggeyakara Award instituted by the family of Vaggeyakara Nerur
Sri Srinivasachariar was given to Mannargudi Sri Sambasiva Bhagavatar..
The C.V. Narasimhan Award for a senior violonist in the name of
Sangita Kalanidhi Papa Sri. Venkataramiah to a senior violonist was given
to Vidushi T. Rukmini.
After the award cerem ony, Sangita Kalanidhi Umayalpuram

Sri. K. Sivaraman gave his speech in which he thanked the Academy for
the honour conferred on him and also all the Vidwans, Vidhushis and
Rasikas who made the conference and the festival, a grand success.
Following this, was a brief address by the chief guest of the sadas.
Thereafter Smt. Malathi Rangaswamy, Vice President, The Music

Academy proposed a vote of thanks.
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JATISVARAM / SVARAJATI
Dr. Ritha R^jan

Jatisvaram and Svarajati are dance forms associated with the
Bharatanatyam concert repertoire. These are infact old dance forms being
adopted from the earlier yakshagana-s. In the yakshagana-s jatisvaram is
usually followed shortly by a svarajati or vice versa. In the Kuchipudi dance
dramas and in the Bhagavata mela nataka-s, svarajati-s were popular, what
we find in the present Bharatanatyam repertoire as handed down by the
Tanjavur Quartet is, a more or less similarly structured Svarajati form as
found in the Bhagavata Melanataka-s, and the jatisvaram form with a
modified structure. It is interesting that these forms have always existed
together though of late, svarajati form has been dropped from the
Bharatanatyam concert and the Pada varnam has taken its place. In
structure and development svarajati is superior to jatisvaram. It is also a
longer composition.
Jatisvaram is the second item in the Bharatanatyam concert. There
is no sahitya and the item is sung with solfa syllables. Jatisvaram is a form
made of jati or solkattu patterns presented in svara form. The Tanjavur
Q uartet w ere well know n com posers of the jatisvaram form for
Bharatanatya. We find jatisvaram forms specially meant for dance, in the
dance repertoire of the Tanjavur Q uartet.1 There are about 15 to 20
jatisvaram-s composed by the Quartet and their descendants. The following
is an example of jatisvaram composed by the Tanjavur Quartet.
R aga: Saveri Tala: Tisra Ekam
S ; ; 9 R S || D ; P M G R S; ; ; N P || S R M P D R ||
s t g S g r s n d p m II P d s n d p m g r s r | |
s D r S P M d P II n D f S n d p m p d || S
D ; ; ; N D || P M G R M P II D ; ; ; R S ||
GRS D , R s ||
D ; ; ; P M || G R S R M P || Dnd p m g r m p d n | |
D r s g r s d n d g r II
JATISVARAM / SVARAJATI 69
s D P Mg r s r m p II i n d g r s n d P m P d || S
S ; y > y II r R s n d s S n d p d D n d mg
R d s r II
S ; y y y ; II
r S m R P M d P ll n D r S n d pm Pd||
s r g r g S f r s n d II P d r s r D s n d pm || g R m
Pdg R s n d II
f S n d P m g r m pd|| s
From the above example, it is seen that jatisvaram is a composition

sung with solfa syllables. It has sections and the first section is repeated
after each subsequent section. There is a rhythmic frame work underlying
the composition. There is focus on the important svara (jiva svara) of the
raga in the third section. The last section has some detailed phrases with
conspicuous pauses (karvai) and ends with a kind of a specific rhythmic
pattern.
Jatisvaram opens up with prolonged svara-s in the first section and

gains movement in the next section. Usually the jatisvaram-s composed
by the Tanjavur Quartet start with the tara sthayi sadja svara. The last
section also starts with tara sthayi sadja. This is perhaps to enhance the
musical appeal. The compass covered by the Jatisvaram is from mandra
sthayi dhaivata to tara sthayi gandhara.
It is said that the Jatisvaram-s were previously recited as plain jati-

s w ithout m usic. In the book on B haratanatyam , authored by
T. Balasaraswati and Dr. V. Raghavan, it is given that some of the very
senior nattuvanar-s (dance teachers) remembered to have heard the
composition just recited as jati-s. Prof. P. Sambamoorthy in his “ History
of Indian Music” (Pages 67 & 68 1960 edn) says that there used to be
svara and jati in the earlier jatisvaram. “ Though the pallavi, anupallavi
and parts of carana-s, were intended to be sung to jati-s, later this practice
was given up and the composition came to be sung to solfa syllables” . In

South Indian Music Vol II (7th edn 1968 Page 44) he refers to more or less
a similar form by the name sabda pallavi and gives an example starting as
“ tarijhem taka” in athana raga, adi tala (Page 44 7th Edn. 1968). I had
learnt a composition from the late Tirugokarnam Ranganayaki Ammal (a
very senior dance teacher and mridangam artist being the disciple of
Pudukottai Dakshinamurthi Pillai). She called it svarajati and taught her
dance students after the jatisvaram and before sabdam.
The raga is athana and tala is caturasram as m entioned by

Ranganayaki Ammal. The composition consists of jati-s and svara-s and
has the sections pallavi, anupallvi and caranam as follows.
Svarajati in the raga athana tala-caturasram
Composer’s name not given.

Pallavi
Dhlm tarn tadana dhim tadhim rm
R, S, r s r m p tadhinginatom || Dhlm ||
Anupallavi
Tam tadhlmta n s r m f s h s D
r M r s tanamtakita s r m p r || Dhim ||
Carana
N p M p d r s n p m tanatajam
N s R m tanatajham p n p D
jhanuta S s jhnaku jeku ddR
tadhittalarigu takajham dhittalaiigu
takjam talangu taka || Dhim ||
In the book “ the Dance compositions of the Tanjavur Q uartet”

(Page 3 HI edition 1992) the first jatisvaram in the raga todi in adi tala is
given with the jati structure along with svara-s. It is believed that the
compositions once recited as jati-s, were later set to music by the Tanjavur
2002J JATI SVARA M / SVARAJATI 71
Quartet themselves or by their immediate descendants. This must have

been by the end of the 19th century, because Subbarama Dikshitar in
Sangria Sampradaya Pradarsini (1904) says that the jatisvaram has the
sections pallavi anupallavi and caranam. Descriptions of the jatisvaram
form are given by Subbarama Dikshitar and later by K. Ponniah Pillai in
his book “ Isai Iyal” . Subbarama Dikshitar himself had composed a
jatisvaram in the raga Yamuna Kalyani (Iman). This jatisvaram is not a
dance type. It is more like an art musical form. It is structured with good
svara combinations and svara patterns characteristic of the raga. It does
not exactly appear like a form with a rhythmic mould like the dance
jatisvaram. The compass of the composition extends to mandra sthayi
pancama, which is deliberately used to highlight the raga.
With regard to the laksana of the jatisvaram, Subbarama Dikshitar

says that it is useful for natya; it has only dhatu for pallavi, anupallavi and
carana; the third svara (section) has the jiva svara of the respective raga as
graha svara (the third section starts with the jiva svara of the raga).
K. Ponniah Pillai says that the jatisvaram takes the second place in
the art of dancing. It is based on solkattu (jati). The solkattu-s are presented
in svara form as pallavi and anupallavi. It can be rendered vocally and
played on the mridangam as a jati form. In its last svara (last section) the
second part is highlighted by the jiva svara and the vadi svara of the raga in
vilambakala. Jatisvaram-s are aids to improve the svara and laya knowledge
of the students. They are also useful for practice on the vina.
The reason for my emphasis on the descriptions of Subbarama

Dikshitar and K. Ponniah Pillai is that though a simple composition with
only svara s, the jatisvaram has the conventional structural design. The
pallavi anupallavi and carana are not mere sections but important stages
of development of rhythmic ideas, in conformity with the science of dance.
The rhythmic ideas are presented in an intelligble manner through the
medium of svara-s. Interestingly, in almost all the old printed books and
in the hand written manuscripts, there is no indication of the presence of
72 THE JOURNAL OF THE MUSIC ACADEMY (Vol. LXXV
the anga-s namely pallavi, anupallavi, caranam. The regular occurrence

of the first svara letter of the first section after the completion of each
section (as previously seen in the notation of Saveri raga jatisvaram) is the
only clue to take the first section as pallavi and repeat it. In Sanglta
sampradaya pradarsini also, the Yamuna Kalyani jatisyaram is just given
as a composition with sections without mention of pallavi, anupallavi etc.,
Prof. P. Sambamoorthy in South Indian Music Vol II mentions the anga-s
for jatisvaram.
The pallavi or the first section of the jatisvaram opens with a

prolonged tara sadja svara in almost all the dance jatisvaram-s. There is
another significant pause with another prolonged svara which falls at the
exact centre of the pallavi, creating a sound, musical statement.
Example : The Kalyani raga jatisvaram of the Tanjavur Quartet in

tisra eka tala - Pallavi.
S ; ; N D P | D M G R N R | S ; ; NR G |
MG MP D N|j
Example : The jatisvaram in the raga cakravakam in tisra eka tala - Pallavi
S ; ; S N D | P ; M G ; R | S ; ; D N S | ;
G M P D N ||
The anupallavi or the second section is usually a contrast to the first

section. There is crisp movement with simple rhythmic patterns.
Example : Anupallavi of the Kalyani jatisvaram
S g r s n r s n d p m | P d Nd pm G ; |
R g M - g r s n d n s | dnsrg s r g m p d n | |
The music of the anupallavi presents a downward movement from

the tarasthayi in the first stage and closes with an upward movement in
2002] JATISVARAM / SVARAJATI 73
order to join the pallavi which starts with tarasthayi shadja. It is the carana
or the third section of the jatisvaram which invariably starts with the
jlvasvara and there is a special treatment of the jivasvara.
Example : The section carana or the third section in the kalyani

jatisvaram.
D , n d p d n d d p n | D, n s d n p d mpn |
D , pmgr mgrsn| D , n srgm pdnp |
M pdn P D n s r | S.............................
Carana or the third section in the cakravakam jatisvaram
D ; ; N D P | M G R G M P |
D; ; N $ D | N P D M P N |
D; ; ; ; N S | R G ; R S N |
D nd pd pmgrsn | D n srg mpdndp |
D n s r g m G r s n | D , N s rgmpdn j|
Ponniah Pillai describes an extra feature in the last part, of the last
section of jatisvaram. This is the presentation of jlva and vadi svara-s in
vilambakala.
Example : the last portion of the last section the kalyani jatisvaram
S ; ; ; ' n g r s ! N ; ; ; d r s n | D; ; ;
pndm
p ; ; ; mpdn |...............
Incidentally, these long svara-s occur in the descending order.

Usually there are two or three carana-s in a jatisvaram. In raga-s like kalyani
and khamas, even two important jlva svara-s are given focus in two different
sections in the same composition. Dhaivata svara is taken as the jlvasvara
and the graha svara in the third sections of many jatisvarams e.g*. jatisvaram-s
in todi, khamas, athana, saveri, cakravakam, kalyani, vasanta, hemavati
and purvakalyani. But there are also exceptions. In the third section of the
jatisvaram in the raga sankarabharanam in tiSra eka tala, madhyama svara
is the graha svara and nisada is the graha svara in the third section of the
bhakavi raga jatisvaram.
As already pointed out, in many printed books the sections are not
specified as pallavi, anupallavi and caranam, while giving the notation for
jatisvaram. The first svara letter of the first section appears after the
completionof each section, after the double bar sign (||).
The pallavi or the first section of the jatisvaram usually consists of

dhlrga or stretched svara-s. This kind of pallavi structure provides a good
basic rhythmic structure giving high scope for presenting new rhythmic
patterns through sequences of various dance movements. The basic
structure continues to be there at the background being repeatedly
musically.
In the beginning itself, after two or three rounds of the first section,
a tlrmanam or a well set rhythmic presentation of jati-s with an assertive
ending is performed. After the tlrmanam, the pallavi is still repeated a
number of times with more nritta varities.
In the jatisvaram, the development of rhythmic ideas is organised

and never too complex. Especially in the compositions of the Tanjavur
Quartet, we find this kind of compositional treatment. The basic rhythmic
structure is simple and flexible providing good scope for creating breath
taking rhythmic patterns and combinations skillfully executed by the
dancer.
The largest collection ofjatisvaram-s in print is from the descendants

of the Tanjavur Quartet. They are a class by themselves with melodic
beauty and both distinct and concealed rhythmic ideas woven into the form.
There is a jatisvaram in the raga purvakalyani in sankirna nadai adi

tala, composed by K. Ponniah Pillai specially for T. Balasaraswathi,
Purvakalyani Jatisvaram sankirna nadai aditala
Pallavi (8 beats with 9 pulses for each beat = 8 * 9 = 72pulses)
s ; ; D - ’ S N D P - M D M g -
, R S D ; 1 s ; ; R g - > R S 9 1
G R S R g - 9 M p D P II S
Anupallavi
S r G f s d r - s n d s n d P m g -
M d P s n d P - n d m g d m g r S 1
g r s r d S r g - r S d g r g m g 1
; m g r s r g r - P m P > m P d P 1
Carana
1. D n d n P d m P - g m r g s r g m P -
D d P s n r s r - g r s n d n d P m 1
D n d m g r s n - D s r g m P d P 1
r s n d P P > d m - g r S » g m d P II s
2. S s n d n d P - d P m P m g r S -
9 s R g r G m - g M P m P d P 1
r S n d P m P d - , ; n D m g r 1 s d
s ; d S-
r g m P m G m d II
s r G d s R P d S m P D g m - P r g M
s r g -
m P d P s n r s r I
n d g r s n d r s - n d P M s n d P 1
m n d m
g r S s - r g m P - g m pd p 1!
The sariklrna nadai is employed as 4 5 for each beat, on this

76 THE JOURNAL OF THE MUSIC ACADEMY fVol. LXXV
sankirna rhythmic basis, the composer has formed the rhythmic structure
of the jatisvaram with good rhythmic ideas and subtle intricate patterns.
The intricate patterns can be demonstrated better when the artist enjoys a
good familiarity with the composition after intensive practice. In the pallavi
the opening svara and the assertive ending svara falling on the first beat of
the first drutam are both tara sthayi sadja with a duration of 3 pulses each
- a compositional device characteristic of the Tanjavur Quartet. The first
part of the pallavi has 3 phrases of 5 pulses value. The phrases are presented
as svara-s with pauses in between and move cross rhythmically. The second
part of pallavi in the two drutam-s consists of simple phrases of 3 pulses
presenting a smooth rhythmic flow. Short pairs of rhythmic designs with
closely knit svara-s form the anupallavi section. There is also a consecutive
presentation svara-s of the 9 pulses of the beat as 5 + 4 and 4 + 5.
Anupallavi
2nd finger count 3rd finger count
M d P s n d p / n d m g - d m g r s
5-------4-------
Further the 5 pulses part in 4 + 5 is variously given as
d m g r s = 5, d S r g = 5
, m p d p = 5
The third section or the carana starts with dhaivata followed by

conspicuous repetition of dhaivata. It is interesting that it is dhaivata which
receives the special attention and not gandhara or pancama which are more
powerful svara-s in the raga Purvakalyani.
This speaks for the choice of the composers of the Tanjavur Quartet
tradition who seem to have a special liking for presenting dhaivata as
graha svara for the third section in a num ber of jatisvaram -s.
The third section of the Purvakalyani jatisvaram has a comparatively

smooth rhythmic flow with accented dhaivata svara at the beginning fo
the alternate beats in the laghu and then continuously figuring on the first
drutam beats. The last drutam portion has a short but inspiring rhythmic
ending.
r s n d P , d m| g r S , g m d p | | s
while singing it presents a crisp muktayi as follows
r s n d P,
d m g r S,
g m d p | S ||
The second carana or the 4th section opens with four phrases of 3
pulses S , snd ndp d p m ..................
This is follow ed by varities of p h rases of 4 pulses like

s R g r G m g M pm which can also be sung as s R g r G m
g M p.......etc. Thus creating a cross rhythmic effect. The last drutam of
the first avarta has three sanklrna (9 pulses) phrases which are separated
by the presence of prolonged svara-s of 4 pulses.
r S n d p m p d , ;
n D m g r sd s , ;
d S r g m p m G m d
The last avarta has once again phrases of 4 pulses going both with
and across the tala movement and ends with a final striking rhythmic
conclusion as
g r s n d - r s n d p M
s n d p m -n d m g r S
s r g m p ; g m p d p || S ||
Thus the jatisvaram-s composed by the Tanjavur Quartet and their

descendants have the unique rhythm ic patterns which fit into the
composition naturally and artistically. The music is also of high quality.

With a good grip of laya and with good practice, jatisvaram-s like the one
in purvakalyani raga can be rendered very effectively with expected and
unexpected rhythmic presentations with proper accentuation. Jatisvaram-
s like the one in purvakalyani raga are interesting challenges not only to
the dancer, but also to the musician.
There is an old book titled Sanglta Bharata Natya Sara Sangraham

or Sabha ranjita cintamani, published by one Gangaimuthu Pillai of Madurai
who lived in Tirunelveli (Circa 1898). The author has given sahitya-s for
the Tanjavur Quartet’s jatisvaram-s. Some of them are in Tamil, while
some of them are in Telugu languge. For the Bhairavi jatisvaram, the
solkattu or jati is given with svara-s below. Then the same jatisvaram is
given with svara-s with corresponding sahitya. This proves that the dance
jatisvaram was initially composed with a rhythmic mould into which svara-
s were fitted later. Addition of sahitya is of course of later process.
Jatisvaram-s find an important place in the printed books of the

first part of the 20th century. In Balamrtam’ published by S. Renganatha
Iyer in the M alayalam language at Tiruvananthapuram in 1917, 6
jatisvaram-s of the Tanjavur Quartet and Swati Tirunal are given with
notation. The form is called Svarajit; and not jatisvaram. All of them seem
to be dance types only. From the states of Andhra and Karnataka also
music books had come out with inclusion of notations of jatisvaram-s meant
only for singing.
These books refer to the jatisvaram as svarajati. There is a rare

jatisvaram (called svarajati) in the raga Kannada in adi tala in the book.
Sangita Sastra Pravesa Dayini in Kannada language, published by one B.
Venkata Krishnappa in the year 1926. The jatisvaram-s (svarajati-s) of
Vina seshanna and Vina Subbanna reflect a characteristic Mysore Vina
style. They are very long compositions meant for playing or practicing the
Vina. These compositions have a different treatment of pallavi with three
or more variations at the second half of the avarta.
Example : Excerpts from the pallavi of the jatisvara (svarajati) of

Vina Seshanna in kharaharapriya raga, adi tala.
1. M, g , R n S, d | n s r g [[
2. M ,g , R n S, n s | R s r G r g | |
3. M, g , R n S, r g | r s n - d n s r g | |
4. M, g , R n S, m g | r s n - d n s r g | |
In Andhra, jatisvaram-s were called svara - pallavi’s. They were

famous in the courts of Vijayanagaram and Bobbli, played by vainika-s
and also preserved in manuscripts.
Thus we find that the musical forms consisting only svara-s were
composed not exclusively for dance, but also for vocal and instrumental
music. In the course of time the word jatisvaram meant any composition
with only svara-s, whether it was dance, instrumental or vocal type.
Jatisvaram-s composed by musicians and vainika-s were svara based, while
those composed by Natyacarya-s were adavu based.
On account of the simple, yet qualitative music and good rhythmic

flow, many jatisvaram-s are taught to music students. South India, in the
19th century had a kind of exposure to western music with political
interactions between the British and the people of the various regions.
The western music bands functioning at Tanjavur, Mysore and Chennai
and also the popularity of the instrument harmonium among private tutors
may also bp attributed as reasons for the emergence of a number of later
jatisvaram forms venturing fanciful svara combinations as in S r G P D S
N D in bilahari.
We shall now take up the svarajati form. I acknowledge that I

could study this form w ith a m ore analytical approach, thanks
to Dr. N. Ram anathan’s unpublished paper ‘Musical aspects of the
svarajati-s of Syama Sastri”
The term svarajati is more familiar because it was used in loose

sense for both jatisvaram and svarajati. The word svarajati at once reminds
us of Syama Sastri’s three svarajati-s in the raga-s Bhairavi, Yadukula

Kambhoji and Todi. The svarajati-s of Syama Sastri are learnt as advanced
musical compositions. They belong to art music and there are no jati-s
present in the compositions. We are also aware of a different type of
svarajati-s. Some of them are very popular among the music students like
‘Raravenu gopapala’ in the raga Bilahari (which is infact the sahityam for
thejatisvaram S r G P D S N D in Bilahari raga mentioned elsewhere),
‘Sam basiva y a n a v e ’ in Kham as raga and “ R avem em aguva” in
Anandabhairavi raga. Compared to Syama Sastri’s svarajati-s, the above
svarajati-s are very simple technical forms meant only for students. Even
here, the Huseni raga svarajati of Paccimiriyam Adippayya in rupaka tala
we do not find jati-s.
There are svarajati-s given in the Sangita Sampradaya Pradarsini.

the huseni raga svarajati of Pachimiriyam Adippayya in rupaka tala given
in the Sangita Sampradaya Pradarsini has jati portions in the muktayi svara
which is sung after the pallavi and anupallavi. With the presence of jati-s
with svara-s in the muktayi, the form was called svarajati. Svarajati was
popular in the dance drama s of Andhra. It was also introduced in the
bhagavata mela nataka-s. It is said that Melattur Virabhadrayya of the 18th
century was the architect of the form svarajati. Dr. V. Raghavan in his
article “ the Huseni svarajati” published in the journal of the Music
Academy (1946 Vol XVII) has reproduced a svarajati of Virabhadrayya in
Huseni raga which he had copied from the manuscripts of the Tanjavur
Saraswati Mahal library. This seems to be the oldest svarajati available.
The svarajati is in adi tala and in praise of Varadarajaswami, the deity of
Melattur, Tanjavur district. The svarajati starts with the carana section
with 12-svara sahitya-s including the carana. The pallavi anupallavi and a
short muktayi, with svara-s and jati-s are found after the carana section.
The carana and the following svara sahitya-s form the bulk of the
com position. The nam e achyutavarada figures and it is said to be
Virabhadrayya’s mudra or signature.
2002] JATISVARAM / SVARAJATI
The Huseni svarajati of Virabhadrayya seems to have been the

model for later svarajati-s. Also the raga Huseni has been favoured by the
later composers. There are two more svarajati-s in Huseni raga in rupaka
tala. The svarajati “ emandayanara” is already mentioned. There is another
svarajati in the same tune starting with the words “ emayaladira” . It is
said that “ emayaladira” was composed by Virabhadrayya himself. The
svarajati “ emandayanara” given by Subbarama Dikshitar, was popular in
Melattur Bhagavata mela nataka Subbarama Dikshitar has left a note saying
that the sahitya for this svarajati of Pachimiriyam Adippayya was composed
by M elattur Venkatarama Sastri. Keeping the Huseni raga svarajati
“ emandayanara” as model, Subbarama Dikshitar set tune in Khamas raga
for the text ‘mamogalagiri’ in svarajati form, in the dance drama Valli
Bharatam in Tamizh. The entire text was composed by Kadigai Namasivaya
Pulavar and music was set by Subbarama Dikshitar. This Tamizh svarajati
is given in notation in the Sangita Sampradaya Pradarsini..M elattur
Virabhadrayya seems to have composed another svarajati in the raga
mohana beginning with the words ‘modi seya mera gadani’, without jati-
s. The composition just consists of a pallavi and seven svara sahitya-s. We
do not know whether this particular composition was a source of inspiration
for Syama Sastri.
The Husenisvarajati ‘emayaladira’ is very popular in dance concerts.
Let us go through Subbarama Dikshitar’s description of the two

types of svarajati-s.
Svarajati type I - A composition in madhyama kala with erotic text.

Has the sections pallavi, anupallavi and caranam. A muktayi, with equal
divisions of jati-s and svara-s is sung. This muktayi, ends with the pata or
jati ‘tadhinginatom’. After the muktayi, the pallavi is sung. There is also
sahitya for the muktayi. The carana of the svarajati has 4 sections. The
first section of the carana is sung as dhatu i.e. svara form. This is followed
by the first carana svara. After this, the sahitya of the first section of the
carana is sung followed by the sahitya for the first carana svara. The same
procedure is followed for the rest of the carana svara - sahitya-s. After
singing all the svara sahitya-s the remaining sections of the carana (the
2nd, 3rd & 4th sections or lines) are sung as done in the cauka varnam.
(This is like the anubandham in the varna, which leads back to the pallavi).
Studying the available old svarajati-s along with Subbaram a

Dikshitar’s notes it is found that we do not have even a single old type of
svarajati, which justifies his entire description of the form. The four sections
of carana-s are not found in any old svarajati. All of them (with the exception
of the mohana svarajati) have muktayi-s with jati and svara, but none of
them have four sections for the carana. There is no sahitya for the muktayi
in the Huseni raga svarajati given by Subbarama Dikshitar in Sangita
Sampradaya Pradarsini and also in the Huseni svarajati from the Saraswati
Mahal manuscripts edited by Dr. V. Raghavan. About 9 svarajati-s of the
Tanjavur Quartet of and the descendants have been publised. One of them
is modeled after Syama Sastri’s svarajati type (Gopala lola in Dhanyasi
raga Aditala by Ponniah) and it can not be called a dance composition.
The piece in athana raga in tisra eka tala is given as svarajati by mistake. It
is only the athana jatisvaram of the Quartet supplemented with Sahitya.
The svarajati-s of the Quartet in the raga-s todi, yadukulakambhoji,
cakravakam (aditala), huseni and the kambhoji svarajati by Ponniah Pillai
have sv a ra jati and sahitya in the muktayi. The svarajati-s in sahana and
cakravakam (rupaka tala) have only svara and jati for the muktayi. The
other svarajati in the raga cakravakam in rendu kalai adi tala sounds like a
krti in the pallavi and anupallavi portions with a characteristic beginning
after 3 counts.
The older svarajati form or the svarajati type I is in madhyamakala,

a characteristic feature of the form. Many of them are in tisra eka or rupaka
tala. The muktayi was composed with the first phase with only long svara-
s, the second phase in madhayama kala and the third phase in durita kala
and ended with the jati phrase tadhinginatom. The caranam was sung in a
faster tempo in a svarajati.
It is said that the older svarajati-s resembled the other dance from
pada varnam and that is fell into disuse due to the popularity of the
Padavarnam because two similar forms could not exist side by side. But it
looks that the svarajati and the padavarnam are two distinct dance forms
with their unique structure. The presence of the anga-s pallavi, anupallavi,
muktayi, carana and svara sahitya-s is the common feature in the forms.
The very beginning of the svarajati is in madhyamakala and the carana is
further accelerated. There is more text in the svarajati. The padavarna or
cauka varna is in slow tempo (caukakala) and this tempo is maintained
throughout. Compared to the svarajati, there is less text in the padavarnam.
The carana of the svarajati starts with long notes with corresponding long
sahitya syllables in the first avarta and gains movement in the following
avarta-s. Also the carana in many svarajati-s takes more number of avarta-
s than the carana in a padavarnam. The first carana svara in the padavarnam
also has usually only long svara-s and corresponding long text syllables
for the entire avarta. The carana and the first carana svara sahitya in a
padavarnam are of equal size. On the contrary, the first svara sahitya in a
svarajati has lesser number of avarta-s. Jati-s are absent in a padavarnam.
The graha svara-s in the svara sahitya-s of a svarajati are always in the
ascending order. But this is not a regular feature in a padavarnam. We do
not know why Subbarama Dikshitar did not mention this important aspect
of the svarajati in his description. In an old svarajati, there is also structural
similarity between the beginning parts of the carana and the last svara
sahitya. (See for example the huseni and the khamas svarajatis-).
While svarajati was very popular in dance drama s and Bhagavata

mela nataka-s which were all group performances for a large audience,
the padavarnam came to be considered more appropriate for solo dance
performances for a comparatively limited audience. Padavarnam is a more
relaxed corhposition and can afford more classical treatment than the
svarajati. Another interesting factor is that the solo bharatanatyam recitals
are usually given by women artists and in such cases, padavarnam with its
slow tempo and certain other features resembling a padam is found more
suitable. Like the rendu kalai krti in a music concert the padavarnam is
the central item in a dance concert. In the early stages, svarajati-s were
also included in bharatanatya recitals. The very fact that the Tanjavur
Quartet themselves composed svarajati-s proves this. But slowly svarajati-
s disappeared from the Bharatanatyam platform. Svarajati-s were more
suitable for dance drama-s like Bhagavata mela nataka-s wherein the brisk
madhyamakala form could be excecuted with all its vigour and charm by
the male dancers.
Let us turn our attention to the other type of svarajati which

Subbarama Dikshitar speaks of as follows :
Svarajati type II
There are certain svarajati-s wherein jati groups form the central
core of the composition. The jati groups are presented in svara form along
with the sahitya. The graha svara-s of the svara sahitya-s are in the arohana
krama in accordance with the murchana of the raga. Sometimes, the krama
or order of graha svara-s of svara sahitya-s are in the avorohana krama.
The matu or text is devotional. The matu of the first section of the svarajati
is like a pallavi.
The svarajati-s of syama sastri in the raga-s bhairavi and yadukula

kambhoji in misra capu tala come under the category of svarajati type EL
These svarajati-s have a jati based format which is presented as svara-s
with appropriate sahitya. The graha svara-s of the svara sahitya-s are in
the arohana krama. The matu is devotional. The first section is complete
like the pallavi section of a composition in terms of both dhatu and matu.
As pointed out by Dr. N. Ramanathan, the ascending order of the

graha svara-s in the svara sahitya-s is already found in the old svarajati-s
type I (though not mentioned by Subbarama Dikshitar). It is not something
new introduced in the second type of svarajati. It is also highly probable as
Dr. N. Ramanathan says that the svarajati form floated by Syama Sastri is
almost similar to the carana part of the old svarajati with modifications
which m ade the composition as an art musical form. With change of
kalapramana as slow and concentrating more on melodic richness with a

plain bhakti text, the new svarajati form came into vogue.
There is a jatisvaram in misra capu tala in sahkarabharana rSga
com posed by the Tanjavur Q uartet. The beginning portion of this
jatisvaram, when sung in a slower kalapramana, has a striking similarity
to the beginning parts of the pallavis of Syama Sastri’s bhairavi and
yadukulakambhoji svarajati-s.
s ; ,. D | N ; , D | P sankarabharanam jatisvaram
N ; ,■ P | : : , P|........................ bhairavi svarajati

K a .. ma.. kshi I
S ; ,, P | ; ; , d 1 s
Ka ma.. kshi ni
K a .. ma.. ..kshini - yadukula kambhoji svarajati
Dr. N. Ramanathan is of the opinion that the todi svarajati of Syama

Sastri seems to be the odd one out as certain important similar features
found with the other two svarajati-s are absent here. There is no proper
ascending order for the graha svara-s in the svara sahitya-s of the todi
svarajati and a planned gradual musical development is also missing in the
svara sahitya-s.
The Bhairavi and Yadukulakambhoji svarajati-s of Syama Sastri

have architectonic order and proportion. For example in the Bhairavi
svarajati the pallavi consists of 8 avarta-s and has a complete structure of
dhatu and matu. Following it, the 8 svara sahitya-s have 4, 4, 8, 8, 8, 8,
16, 16 avarta-s each. The first two svara sahitya-s are shorter than the
carana, a feature borrowed from the old svarajati form. The same feature
is found in the yadukula kambhoji svarajati also.
The pallavi-s of the bhairavi and yadukulakambhoji svarajati-s have
almost identical rhythmic structure. Also certain svara sahitya-s have
similar structure in both the forms. In the Bhairavi svarajati, out of the 8
svara sahitya-s, from the 5th svara sahitya onwards the number of melodic
pauses considerably increase. There are also sub divisions of melody with
in the sections. In the yadukula kambhoji svarajati, there are four svara
sahitya-s with 4 avarta-s each and five svara sahitya-s with 8 avarta-s each.
Keeping in mind, the limitations of the raga yadukula kambhoji, Syama
Sastri has restricted the maximum number of avarta+s to 10 in the last
svara sahitya. Like the Bhairavi svarajati, the yadukula kambhoji svarajati
also has inner melodic sections in longer svara sahitya-s.
Syama sastri presented a unique style of presenting long svara-s
with khanda karvai or misra karvai in the last svara sahitya of bhairavi
svarajati.
d n S , y y g r
para me.. . swari
5 -----
r 5 i— i
g m G | rT > s n II S , ; p m II P . ; D ||
sutudam ma.. Abhi ma . .. namu le . . . da
.napai de vi...........
There is a an argument that calling these compositions of Syama

Sastri as svarajati is a misnomer because jati-s are totally absent in the
composition. I would like to emphasis that Syama Sastri’s bhairavi
and yadukula kambhoji compositions should also be called svarajati-s. The
jati-s may not be outwardly present, but they form the very nucleus of the
entire composition. As Subbarama Dikshitar said the jati groups are
em bedded within (svara sam uham una garbha m unducukoni). The
compositions throb with jati pulses.
There is a svarajati in Tamiz language, composed by K. Ponniah

Pillai in bhairavi raga aditala. Here, the grahasvara-s in the svara sahitya-s
are presented in the descending order (avarohana krama). This is the only
example of its kind.
In modern times, the sriraga svarajati of R. Venugopal can be cited
as an example for svarajati type II. I think that Syama Sastri’s compositions
have an undercurrent of dance rhythm. His guru Sangita Swami was a
natyam exponent and learning from this guru at a young age had probably
left certain deep impressions and ideas in the disciple’s mind, based on
which, he would later mould his compositions. Subbarama Dikshitar says
that Syama Sastri-s compositions should be sung with a proper grip and
assertiveness. Syama Sastri’s rhythmic techniques have created unique
rhythmic movements in his compositions. In capu tala, Syama Sastri’s
remarkable exploitation of khanda phrases ie. phrases with 5 pulses, by
way of starting the composition after the lapse of 5 counts and by providing
apt pauses of duration of 5 counts made the tala receive an altogether
different dimension. In Desadi, Tyagaraja adopted the technique of starting
the composition after 3 counts and introducing another pause of 3 counts
in the centre part of the composition. The recurrence of start after 3 counts
and later inserting a pause with 3 counts gave a special gait and lilt to the
tala. Similarly in capu tala of 3 + 4, a syncopated time measure, the
technique of starting the composition after 5 counts, and giving in between
the composition, a pause of 5 counts, and thus repeating this kind of
rhythmic pattern brings out a special effect for the tala. A simple pallavi in
caputala will justify this.
Pallavi in natabhairavi raga, misra capu tala -3 + 4
5 counts 5 counts
9 9 ; P d | n S D N 1 s , ; R 1
... ven kata rama na.... san
s S s n r s | d n d p m pd II n S
kala hara natiru pati ven kata
Syama Sastri had made extraordinary use of khanda karvai-s in capu
tala. Misra and Sankilrna pauses also came in very handy for him. Both
Syama Sastri and Tyagaraja made use of rhythmic combinations of 3 and
5 in aditala, of course in their distinct ways. Tyagaraja has used various

types of combinations of 3 and 5 in aditala and created typical exciting
devotional rhythms. With the same 3 and 5 combinations Syama Sastri
could arrive at a different style which suggested a subtle dance rhythm.
Following Syama Sastri a number of composers have tried their
hands at the new type of svarajati. But many of compositions have not
reached the quality and perfection found in Syama Sastri’s creations. Of
couse of a few svarajati-s like nltugala in kalyani raga aditala and the Tamiz
bhairavi svarajati of K. Ponniah Pillai have aesthetic richness. Many of the
later svarajati-s can be called only technical forms meant for students.
There are many long svarajati compositions available in print, which are
yet to see their day.
The jatisvaram-s and svarajati-s have played a remarkable role in

the enrichment of the krti compositions especially in the adoption of
additional features called the decorative anga-s. Except the sangati feature,
the rest like citta-svara, svarakshara, svara sahitya, solkattu svara-s have
been conveniently borrow ed and added to kriti-s as supplem entary
portions.
E oeggoos
2002] 89
BIBILIOGRAPHY
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Trivandrum Govt. Press
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The South Indian Music Publishing
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Sabha, Mysore Veena Seshanna
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S. Seetha Tanjore as a seat of Music

University of Madras
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Veena Subbanna
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2002] BIBILIOGRAPHY 91
Vijaya Sankara Kali Natana samvada

natakam of Saha Maharaja (M.Phil.
Disseration, Dept, of Music,
University of Madras, 2000)
From The Journals of the Music Academy :
‘The Huseni Svarajati’ by Dr. V. Raghavan

Page 149 Year 1946 Vol. XVD
‘A New Svarajati’ edited by

Merattur Balu Bhagavatar
Page 189 Year 1955 Vol.XXVI
‘Jatisvaram and Svarajati’ by

S.R. Jayasitalakshmi
Page 168 Year 1989 Vol. LX
RH YTHM S A ND TA LA S SUITABLE FO R D IFFER EN T
M U SIC A L CO M PO SITION S
Sangita Kala Acharya Prof. S.R. Janakiraman
I. Introduction :
Importance of Rhythm and Tala in musical compositions is beyond

estimation. What m eter is to poetry, Tala is to musical compositions. A
blend of melodical rhythm and rhythmical melody is one of the chief
requisites of ideal music. Of rhythm and melody neither should dominate
to the detriment of the other. According to Bharatha’s conception melody
and rhythm -- sabda and chandas are something inseparable one from the
other.
“ Chandohino nas sabdosthi

nachchandas sabdavarjithah”
The perfect confluence of swara, pada and tala has been defined as
Gandharva. It could be the other way too. Bhava, Raga and Tala have
connoted sangeetha.
Our ancients have distinguished subtly between laya and tala when
they proclaimed “ Bhavascha raga tala ucha srutilaya samanvitha” . Laya
or abstract rhythm could be traced to times immemorial. Tala was much
later in origin. Analysis of ever flowing rhythm into definite solid structures
results in Tala.
Tala is time scale -- scaling of time. Time is rhythm and scale is

Tala. Note scale is raga and time scale is tala. The scale may be correct yet
the raga may not be rendered correctly. So too the tala may be correctly
reckoned - - the sequence of angas and their manipulation, execution etc.,
but the timing of reckoning may not be precise and that is called Avalaya
which has its parallel in Apaswara.
RHYTHMS AND TALAS COMPOSITIONS 93
II. A Brief History of the Talas :
Suladi sapta talas are much later in origin. The traditional and the
classical 108 Talas have appeared much earlier. As a matter of fact anything
like a list of talas is to be seen firstly only in Dattila’s Dattilam, and Sangita
Makaranda of Narada, the first to be traced to 2nd Cent B.C. and the latter
to 7 - 9th centuries A.D. Even Bharatha did not furnish any list of talas
though he refers to Margi Talas and a few other talas of the later 108 list.
They are only random lists and do not furnish any regular series governed
by any principle and scheme.
HI. Introduction :
The numerals 1, 2, 4 have got their significant role in music. The

geometrical progression of 1 ,2 ,4 marks the dvigunatva seen in the relative
degrees of speed - - prathama, dvitiya, tritiya kalas and octave progressions
-- M andra, M adhya and Tara. These numbers give the clue to the
conception of ‘Gatis and Jatis \ Gatis are earlier in conception and Jati
later, having reference to the laghu. The angas figuring in the suladi sapta
talas are:-
Anudhrutha - 1 akshara - time or duration
Dhrutha - 2 aksharas - time or duration
Laghu - 4 aksharas - time or duration
The more complicated angas guru, plutas, kakapada figure in the

ancient lists of talas were left out in the suladi sapta talas. The aksharakala
value of the above three angas are again derivable from out of the basic
and fundamental angas of Anudhrutha, Dhrutha & laghu. It is only in the
Suladi sapta talas the laghu has variable duration in accordance with its
Jati. In earlier periods the Laghu was only Chaturasra jati. The suladi sapta
talas could be traced to the 15th & 16th centuries A.D. In Purandaradasa’s
suladis, suladi sapta talas are employed. Hence the name. Annamacharya’s
Desi suladi is a single composition in Telugu incorporating the traditional

order of the sapta tala. The composition is a ragamalika too.
The suladi sapta talas have been dealt with by Venkatamakhin in

his Chaturdandi Prakasika giving illustration of the alankaras therefor.
Venkatamakhin added one more tala Jhompata which corresponds to
Chaturasra Triputa or the popularly known as Adi Tala. Ahobala too
mentions the Sapta Tala Alankaras giving Indraneela, Mahavajra, Nirdosha,
Seera, Kokila, Aavarta and Sadananda.
The advent of Jati for the laghu gave rise to the further expansion of
the Suladi Sapta Talas.
IV. SURVIVAL OF THE FITTEST :
There may be plethora of amazing and amusing note scales and

time scales. But the law of the survival of the fittest governs both the realms
of melody and rhythm. Only such ragas appealing to the aesthetic sense
survives. Thus even among the Sapta Talas with their further varieties got
out of laghu jati bhedas’ the following choice talas have alone survived
and been adopted by the composers for compositional purposes. They
are:-
1. Triputa (Trisra)
2. Chaturasra Triputa (Adi)
3. Khanda Triputa
4. Misra Triputa
5. Rupaka
6. Misra Jhampa
7. Khanda Jhampa
8. Khanda Ata
9. Chaturasra Ata
10. Eka -- (Chaturasra)
2002] RHYTHMS AND TALAS. COMPOSITIONS 95
11. Trisra Eka

12. KhandaEka
13. Chaturasra Dhruva
Sankirna Jati or Sankirna gati have not been favoured for musical
compositions. Desadi and Madhayadi Talas are not self existing and
independent talas in the true sense of the term.
Lakshya gitas and Lakshana gitas would be only in Ati Chitra Tama
Marga, to be sung in medium tempo (Madhya laya). They will usually be
in ‘Suladi sapta talas We have a rare instance of a Lakshya gita in
Simhanandana tala in Sankarabharanam.
Tana Varnas in Adi, Ata and Jhampa talas would normally be set
only in Chitra Tara Marga. Tana varnas ought to be sung only in medium
tempo to keep up the Tana Riti -- Tana Saili or the gait characteristic of
Tana rendering.
Chowka Varnas are to be sung in Chowka Kala or slow tempo and

would be normally found in Chitra Tama or Ati Chitra Tama.
E.g. Sami Enthani Delupudura -- Surati -- Rupaka -- Subbarama

D eekshitar : set in All Chitra Tama M arga, where during the time
progression, each tala count takes one hrasva swara in the basic tempo of
the composition. But the Chitta swara and the Charana swaras along with
their Sahitya would be in Madhyama Kala, relatively. This Varna and
Enthani Ne Delupudura in Khamas (Rupaka -- Subbarama Deekshitar)
are examples. If the above varnas are sung, reckoning in Trisra Eka Tala,
the marga would become Chitra Tama Marga. Emaguva in Dhanyasi (Adi
-- Mysore Sadasiva Rao) is an example for a Chowka Varna set in Chitra
Tama Marga, each tala count taking two hrasva swaras.
What has been mentioned above would hold good for the different
Chowka Varnas.
Kriti compositions may be set in all the three margas - - Chitra Tara,
Chitra Tama and Ati Chitra Tama. Kritis may be in Vilamba laya and
Madhya Laya. Some kritis may be sung in druta laya too (may be out of
recognition or approval).
Thyagarqja’s K ritis set in Adi Tala, medium tempo, commencing

after the lapse of three sub-units from the commencement of the tala proper
and which could suitably and conveniently be sung, reckoning Desadi Tala,
would invariably be in Chitra Tama Marga. Such Kritis would usually be
in Madhya laya.
Examples :
Makelara Ravichandrika
Marugelara Jayantasri
Sri Raghukula Hamsadhvani
Chalamelara Marga Hindola
Orajupu Kannadagoula
Raghunayaka Hamsadhvani
Kalalanerchina Deepakam
Samukananilva Kokilavarali
above mentioned Orajupa, Kalalanerchina, Samukana would do

better to be sung in tempo slightly lesser than the usual M adhya Laya.
(Perhaps ‘Madhya Vilam ba’).
Kritis set in Adi Tala but required to be sung somewhat in a slow

tem po, com m encing a fter the lapse of two sub-u n its from the
commencement of the tala proper, and which could conveniently be sung
reckoning Madhayadi Tala, would be found to be set in Chitra Tara Marga.
(Each tala count taking 4 hrasva swaras in the rhythmic construction).
Examples :
Swararagasudha - Sankarabharana
Endukupeddala - Sankarabharana
Mokshamu - Saramathi
Merusamana - Mayamalavagaula
Some more examples of Tyagarajas kritis set in these two margas :
Examples :
Mariyadagadura (Chitra Tama) - Sankarabharanam

Nijamarmamulanu (Chitra Tama) - Umabharanam
Yochana (Chitra Tama) - Durbar
Niravathi sukhada (Chitra Tama) - Ravichandrika
K ritis like C hakkaniraja, K aruvelpulu, M arim arininne and

Evarimata though set in Chitra Tama Marga, required to be sung in a fairly
slow tempo. The ‘Madhyama Kala Sahitya 'found in kritis Dorakuna and
D arinitelusukonti give the necessary clue to the Marga of those
compositions.
Thyagaraja’s kritis in Rupaka tala :
If the tala is reckoned as Trisra Eka or Rupaka Chapu (two beats

and one waving, though it is to be considered far from correct), the marga
would be Chitra Tama Marga. But on the other hand, if the Rupaka Tala is
reckoned as Anga Tala with one Dhruta and the Chatusralaghu and that
too covering every two avartas of the kriti (kriya vidhana rupaka) the marga
would be Ati Chitra Tama Marga. However, in Tyagaraja’s kritis sung
reckoning Anga Rupaka Tala, the construction could conveniently be
changed into Chitra Tama Marga. In which case the number of Avarthas
would become just half. In which case the kriti will pick up some aesthetic
weight.
Exam ples:
Tulasidala Mayamalavagoula
Kalaharana Suddhasaveri
Manasayetulortune Malayamarutham
Manasa Vardhani
Nibhakti Jayamanohari
Durmarga Ranjani
In Thyagaraja’s kritis sung reckoning chapu (misra chapu, khanda

chapu) talas, the construction is to be taken as Ati Chitra Tama. Some of
them may be required to be sung in a little slow tempo as in Endudaginado
(Todi), Emichesite (Todi), Endundi (Durbar), Tholijanma (Bilahari -
Khanda chapu) is to be sung in a little fast tem po. Pakkalanilabadi
(Karaharapriya) is to be sung in a tempo in between the two.
In D iksh ita r’s k ritis of original authorship and stamp of maturity

and scholarship, set in Adi, Ata, Khanda Eka and Jhampa talas, some would
be in Chitra Tama Marga and some in Ati Chitra Tama Marga, to be
rendered only in Chowka Kala. Madhyama kala sahityas should apparently
be clear and unambiguous. Otherwise they would lead to an uncertainty
whether such kritis have Madhyama kala sahityas at all. As a matter of
fact, many kritis of Deekshitar may be found to have Madhyama kala
sahitya, depending upon the mode of reckoning. E.g. Kamalabike (Todi),
Kam alam bam (Kalyani), M eenakshisundaram (G am akakriya). The
Madhyama kala sahithyas present in Dikshitar’s kritis give the necessary
clue to decide the marga of the composition.
Dikshitar’s kritis in Misra Eka should be rendered reckoning only

Misra Eka tala and not in Misra Chapu. They would be only in Ati Chitra
Tama Marga. This should not be speeded up rendering chapu (Misra).
Examples
Bhajare - Kalyani
Akshayalingavibho - Sankarabharana
Anandeshwarena - Anandhabhairavi
Kamalamba - Anandhabhairavi
Krishnananda - Gowlipantu
Sri Balasubramanyaagacha - Bilahari
The kritis set in Khanda Eka should not be speeded up and rendered
reckoning khanda chapu.
Example :
Pavanaatmaja - Nata
Deekshitar’s kritis in Rupaka Tala would be found set in Ati Chitra

Tama Marga reckoning as Anga Tala
Exam ples:
Nirajakshi - Hindola
Hatakeswara - Bilahari
Chetasri - Dvijavanti
Jambupate - Yamuna Kalyani
The same is not the case with regard to the kritis in Tisra Eka and
Khanda Eka Talas. They would be in Chitra Tama Marga.
Examples :
Kamalambike - Todi
Veenapustaka - Vegavahini
All this is to prove that the three margas Chitra Tara, Chitra Tama
and Ati Chitra Tama are not necessarily the relatively progressing pratama,
dvitiya and tritiya kalas or vilamba, madhya and drutha layas respectively,
which in other words are the slow, medium and fast tempos.
Kshetragna Padas in Triputa Tala are set in Ati Chitra Tama marga
without perhaps any exception. Padas of other composers are found in
other talas as well. Sarangapani’s pada (known as Venugopala pada)
‘Upamuga ne jeyu 'in Yadukulakambhoji - - Jampa Tala - - is in Chitra Tama
Marga. Padas need not necessarily be in Chowka Kala. Kshetragna padas
sung in ‘Vilamba or Chowka ka la ’may be later interpolations. Padas in
Tamil are found both in Chowka laya and M adhya Laya and in the popular
talas like Adi and Rupaka.
Thevarams and Divyaprabhandhams :
To go back to the earlier periods of Musical History we have the

Thevara hymns, as the earliest musical compositions. Here only the Panns
are given and not the talas, though the metrical structure of the hymns
would admit of simple tala structures and rhythmic structures -- like Adi,
Rupaka, Triputa, Khanda Chapu and Misra Chapu etc. The Nalayiradivya
prabhandams also sail in the same boat.
In the case of ‘Ashtapadis’ we find the specific Raga and Tala for
the compositions. In this case also the three, five, seven time rhythms and
the talas Adi, Rupaka etc., are again seen in profusion. The Tarangas of
Narayana Theertha are conveniently set again to popular time measures,
not to speak of Bhadrachala Ramadoss of the 17th Century A.D.
Arunagirinathar reigns supreme in the realms of rhythms and talas.

Many talas named and unnamed, known and unknown are to be seen in
the domain of Tirupugazh. ‘Vahuppu’ songs of Arunagirinathar are marvels
of splendid rhythmic structures.
Ragamalikas, Javalis and Tillanas :
Ragamalikas could be traced to medieval prabhandas. A good

number of prabhandas have been set in terse time measures and further
some Prabhandas like ‘Panchataleswaram ’ are Ragamalikas too. It is
2002] RHYTHMS AND TALAS COMPOSITIONS 101
needless to say that the Suladis are the true representatives of the ‘Suladi
Sapta Talas’.
Either Javali or Tillana is a composition chiefly in medium tempo.

They again favour only talas like Desadi, Madhyadhi, Adi and Rupaka
talas. Of course, Maha Vaidyanatha Iyer has composed a Tillana in
‘Simhananda Tala’. That could perhaps be out of a feat of intellectual
imaginative fancy. Some times Javalis are also set in Chowka Kala or
Vilamba Kala. The Javali in Jenjuti ‘Pranasakhutitu 'is a splendid example.
Similarly we have rarely a Tillana set to slow tempo, ‘Nadrudeem deem’
in Sankarabharanam ofMoolaivadam Rangaswamy ofSrirangam.
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BCX5SSOG8
LA YAM IN MUSICOLOGICAL PERSPECTIVE
Dr. S.A.K. Durga

The term “ Layam” has several connotations in Sanskrit including
one which signifies harmonious equanimity. In music, the term Layam is
defined as Tempo which is associated with rhythm. The oft quoted saying
“ Sruti Mata and Layah Pita” signifies that Pitch is mother and Rhythm is
father. This emphasies that for good music both pitch and rhythm are of
equal importance like both mother and father are important for a person.
The Laya stands for the interval of time between the beats and
movement in time. It stands for rhythm which is always associated with
tem po. In o th er w o rd s tem po and rhythm are in te rre la te d and
inseparable. “ Layam” is the tempo of the rhythm which has three major
divisions of tempo-slow tem po or vilambita Laya. Medium tempo of
Madhya Laya and fast tem po or Druta Laya. Thus the term “ Layam”
means both rhythm and tempo created by the even measured flow of the
uniform duration o f‘Kala’ ; Rhythm is movement characterized by regular,
measured or harmonius recurrence of stress, beat, accent or motion.
Tempo can be perceived only when there is a motion. This definition in its
larger sense will serve as a background for the musical application of the
rhythmic principle.
Layam or the perception of time is a very fundamental factor in
music. The musical sound or “ Naadam” itself is created by the periodic
vibration of the sound waves and the non-periodic vibration is called noise.
Thus the “ Naadam” or musical sound is layam based. Rhythm is a pattern
in the time wherein a set of distinguishable phenomenon occur at certain
specified intervals. It is not a mere division of time but a recurrence of
attention.
For example the Metronom is set for ticking and when an accent or
stress is given at a specified interval on the ticks, attention is focussed at
these instants and keep the other ticks at the background. Thus the pattern
of rhythm is identified by a recurrence of attention. By the arrangement of
the recurrent points of attention the gad is perceived.
(Demonstration with Metronome)
LAYAM IN MUSICOLOGICAL PERSPECTIVE 111
Just as sounds too close in pitch cannot be distinguished, so also

beats coming too fast after one another cannot be perceived as different.
Scientifically, it is found that sounds separated by less than 1/20 sec. are
not perceived and it must be about 1/2 second between two sounds to
give a sensation to differentiate. For the perception of rhythm, beasts must
be at the slowest 3 beats in two seconds and at the fastest about 8 beats
per second.
The flow of time is calibrated. This calibration is what is called the
tempo or laya. If the unit of calibration is small, one feels the passage of
time as quick or fast which is the Druta Laya. If the unit of calibration is
large, one feels the passage of time as slow which is Vilamba laya. If the
unit of calibration is neither small nor large, the passage of time is felt as
medium and is the madhya laya. The tempo of rhythm is therefore broadly
classified into Vilamba, Madhya and Druta laya-s.
Rhythm is a periodic concentration of attention and also a process

in which the nucleus of attention is separated by undivided parts of time.
This undivided part of time is called akshara or unit. To create the nucleus
of attention, certain acoustic adjuncts are used which should be noises.
All these adjuncts are instantaneous and the more instantaneous the
nucleus, clearer the rhythmic feeling. When the rhythm is not perceived
sharp and becomes loose it is known as free rhythm (Demo - folk song).
Rhythmically speaking, noises are instantaneous. They are used as

acoustic adjuncts for breaking the current of time. That is why the rhythm
syllables or solkattuox Jatisaxe. always consonants which are noises. (Demo
of solkattu). These acoustic adjuncts quantasize the time in a rhythmic
cycle or Tala. Various rhythmic patterns are created by arranging the
rhythmic syllables or Jatis in a definite pattern to form a Tala cycle.
(Demonstration : Karnatak, Hindusthani and Western rhythmic

syllables with accents)
Though rhythm consists of regular occurance of accented and

unaccented beats, it is the unaccented beats that give character to the
rhythm and make the differentiation between various types of rhythms. A
series of accents with no intervening or lack of stresses would present a

monotonus pounding and would fail to have any rhythmic significance.
Therefore to have the rhythmic variations both accented and unaccented
beats are essential. According to Sarngadeva, the interval between two
%
kriya-s or the rest adhering to kriya is Laya. (Sangita Ratnakara) (15-43-
48). The tempo is interrelated with rhythm. In the musical compositions
of Indian music both the vilambita or slow and madhya or medium tempo
are interwoven in their melodic structuring. This phenomenon can be found
in all types of melodic forms but the focus of the laya either vilambita or
madhya in the melodic structure differs.
Demo : 1) Tanavarnam - more of madhya laya
2) K riti - The slow and medium tempo phrases will be

found depending on the Raga it is composed of, as
some of the ragas shine more in slow tempo and some
shine in medium tempo or madhyamakala (Demo).
Fast tempo or Druta laya occurs mainly in Sangatis'm. Kritis(D em o).
Tempo can be perceived even in the singing of Gamaka. The ornament
Gamaka is a movement of the microtones of the swara in lower and upper
motion with a particular tempo (Demo).
The tempo of the musical composition in Indian Music is not marked
by the composers as Indian music is learnt through oral tradition and the
com posers did not write their compositions with notation unlike the
com posers of w estern music. In Indian music the com positions are
performed in the tempo according to the Rasa and Bhava of the Raga and
Sahitya, besides the performer’s own decision according to his/her concept
of aesthetics in the presentation. In the west, the tempo of the composition
is given by the composer himself by using a symbol at the beginning of his
musical work placed above the first staff as MM d = 120. The MM refers
to M aczel’s Metronome and sometimes the MM is omitted but just the
note value and rate is given as d = 80 as the performer must execute the
composition in the exact tempo as prescribed by the composer. The second
type of indicating the tempo in the west is the use of tempo terminologies
2002] LAYAM IN MUSICOLOGICAL PERSPECTIVE 113
which are in Italian such as Andante-slow, Moderate - Moderate tempo

Allegro - fast etc. These terminologies for the tempo will give freedom to
the performers and conductors to be approximate with the tempo and not
exact as the previous one. In Indian music both free rhythm and measured
rhythm figure and they are used in the performances of carnatic and
Hindusthani tradition. The musical form viruttam or a sloka is sung with
free rhythm. Interestingly, when the viruttam or sloka is followed by a
musical piece with measured rhythm, the tempo of the form which was
rendered with free rhythm is maintained in the following composition either
exactly or m ore close to the tempo of the free rhythm part (Demo)
Demo : Kamatak and Hindusthani Music
Sloka followed by a composition - Kruti
(Karnatak Tappa form) (Hindusthani)
In a Nagaswaram concert, the rhythm accompaniment Tavil is

performed during the Alapana in Nagaswaram to help the time or tempo
or the free rhythm tempo of the Alapana. Tavil is also performed in the
spaces that are left by the Nagaswaram player in the course of Alapana.
When the historical aspect of Lay am and Tala are traced the origin
of Indian classical music dates back to Vedic times. Though the Tala
concept did not exist at the vedic period, the rhythm is perceived as there
is meter in the vedic text. Gandharva was the classical music of the ancient
period and music was used mainly in dance and theatre. It is in Gandharva,
the Tala concept is first recognised The Tala concept is dealt with in the
Sanskrit, telugu and tamil treatises in Music and wherever Tala-s are
discussed, the rhythm is also dealt with as Laya is one of the Dasa Prana-
s of Tala.
^FTT^ft Tmf: t a il lift =F?IT?ra:
When rhythm is perceived, the tempo also come into existence and
the calibration of rhythm paves the way for Tala. Tala is a pattern of a
cycle - a repetative rhythmic pattern. It can be said that Tala concept is
unique for Indian music.
In Gandharva, the musical form Gitaka-s have sections which are

described in terms of Tala structures. Abhinavaguptha in his Abhinava
Bharati says that Kala does not have an identity without laya.
^ rPT f«FTT
and he further adds that Laya which is the rest adhering to a Kriya
represents the time-units which combine to form a Tala and laya itself
stands for Tala
cTO: eTTcT:................
The Talas of Dhruva songs are referred to as Layas and Layatala-s.

The Bhanga, Upabhanga and Vibhanga varieties of Tala-s which are
m entioned in Dhruva songs are called Laya-s, Abhinavaguptha in
Abhinavabharati says that the term Laya is extended to the songs which
are based on Laya tala-s (Abhinavabharati Vol. IV p.286 1:11 and Bharata
Bhashya folio 316.
The laya of a tala is distinguished from the laya connected with the
Sahithya or text of the composition or Prabhanda. When the text of the
song changes its tempo between the syllables, the duration between the
text changes. This duration is also called laya and termed as Pada-laya.
The Madhyamakala Sahithya part in a composition brings the change in
the laya of the text. The singing of second Kala or Dugun in Indian music
changes the laya of the text (Demo). Kriti (Madhyamakala Sahithya part)
and Drupad (Dugun).
Rhythm is musical structure achieves a new dimension when the

percussion instrument accompanies the melody. In accompanying the
music part, the rhythmic pattern “ Sarvalaghu” and cross-rhythm are
resorted to make the melodic part of the performer lively and more
enhanced. Cross rhythm is “ the simultaneous use of conflicting rhythm
pattern three against four” . In other words when the drummer accompanies
a rhythm of four in the melodic line, he shifts the accents in such a manner
2002] LAYAM IN MUSICOLOGICAL PERSPECTIVE 115
that the rhythm pattern in the drumming is different from that in the melodic
line. Cross rhythm is found in the drum accompaniment in carnatic music
more than in Hindusthan music.
In the west poly rhythm is performed. The kettle drums are used as
drum accompaniment for orchestra and dance music. Poly rhythm is
defined (Willie Apel’s Harvard dictionary) as the “ the simultaneous use
of strongly contrasted rhythm in different parts of the musical fabric. In a
sense all centrapuntal or polyphanic music is purely polyrhythmic since
rhythmic variety in simultaneous parts more than anything else gives the
voice parts of the individuality that is essential to polyphonic style’’.
There are two types of poly rhythm
1. Contrasting rhythm within the same scheme of accents

(meter)
2. Contrasting rhythm involving a conflict of accents.
3. Poly rhythm sounds more like cross-rhythm.
In other music cultures too rhythm plays an important role. Special

mention needs to be made on African and Indonesian Music cultures.
The most outstanding feature of African music is the complexity of

rhythmic structure. In African rhythm, the rhythm movement will carry
varied beat patterns which is opposed to Indian rhythm where the parts
are controlled by one common beat pattern such as chaturasra or Tisra or
Khanda etc. except variance of N adaipattern at special forms like Nadai
Pallavi-s. In Africa the drum is played with a purpose. The drums are known
as talking drums. They are supposed to speak when it is played. When
drums speak, they try to imitate the natural rise and fall of the voice used
in speaking in other words the vocal inflections. For ex. to play Ko Fi two
drums are used. Male drum for low note [Ko] and female drum for high
note [Fi] Persons born on Fridays are named as Kofi. Wo Ho Te Sen means
How are you “ is performed on the two drums as Wo (1) Ho (2) Te (1) Sen
(2) which sounds to Indian listener as ta ka di mi.
African rhythm is called “ Hemioli” (Demo). I play examples of

African rhythm and talking drums of Africa from Zaire and Nigeria (Demo).
The relay rhythm concept is also present in African drumming. Demo :
Uganda drums performance.
In Indonesian music, Gamelan is a generic term for a musical

ensemble. It may vary in size from a few instruments to over 75. Bonang
marks the time which belongs to Knobbed gong family in three sizes.
Kethuk, Kenong, Kempul and gong are the rhythmic instruments. Frame
drums are also used. Polyphonic stratification is the typical type of rhythm
exclusively to gamelon music.
Demo : Music of gamelon ensemble from Bali.
An example of Poly rhythm in the song “ Tamillingam” called

Bum ble bee in Baliness music. The relay rhythm can be perceived in the
Monkey chant. The relay rhythm in Monkey chant is the voice rhythm.
Every music culture in the world has different kinds of rhythmic

perceptions and variations. But the concept of Tala which is Laya based is
unique for Indian Music. There are many music treatises in different
vernacular languages which deal with Tala exclusively.
The greatness of Indian Music has found full expression not only in
melodic aspect in the Raga system but also in the rhythmic sphere. Tala-s.
It is no exaggeration to say that the rhythmic excellence and developments
in Indian music stand supreme among the world music cultures. This
phenom enon therefore m akes possible for Indian drum m ers to be
com fortable in performing in the “ Fusion” presentations with the
drummers of any other music cultures just as the sophisticated Raga system
of Indian Music enables Indian music performer to understand the melodies
2002] LAYAM IN MUSICOLOG1CAL PERSPECTIVE 117
of any world music culture with the scales and melodic patterns of Indian
Raga System.
Indian laya-s and tala-s are very many in number and highly
complicated which makes the performers of other world music cultures
wonder with joy whenever they listen the performance of drumming of
great drummers and laya untricacies in musical parlance shown by the
music performers, voice and instrumental.
so os so oa
TALAANUBHAVA OF THE MUSIC TRINITY
by
Vidushi Smt. Vidya Sankar
Respected President of the Conference, Vidwan Umayalpuram

Sri. Sivaraman, musicians, musicologists, music lovers and friends.
I thank the authorities of the Madras Music Academy for allotting

me a lecture demonstration during the morning sessions of this year’s
annual conference. My topic is ‘Talaanubhava of the Music Trinity’.
Music constitutes melody and rhythm. Often, the term tala is

identified with rhythm. So, at the outset, I wish to share my thoughts with
you on the concept of rhythm.
Rhythm is a component of the Cosmic where-in Space & Time

pervade. Rhythm is basic to life. The heartbeat is a rhythm, which affects
life in all forms. So also, the revolution of the earth, the cycle of seasons,
the kala-chakra, are all limitless and endless time-punctuated systems
conditioned by the regularity of occurrences. These may be in free rhythm
or in measured rhythm.
In our terminology, rhythm is laya. The word laya is derived from

the root lai to move. So, laya means movement. The variations of this
manifestation of movements fall under the categories :
Vilambita or slow,
Maddhyama or medium and Drutam or fast.
The measurement of these speeds is tala. Tala is the yardstick of

measurement of time in our music and is reckoned with the presentation
of finger counts, beat and wave of the hand.
The first letters of Tandava and Lasya coin the word tala:
Tandava is the dance of Lord Shiva and

TALAANUBHAVA OF THE MUSIC TRINITY 119
Lasya, the dance of his consort Shakti.
Hence, tala is a blend of two personified rhythms, static and

dynamic, one providing power and the other adding tenderness to it. Thus
tala is a combination of
energy and grace

grandeur and delicacy
discipline and freedom.
Such duality in co-existence, or the dynamic balancing of seemingly

opposite principles like freedom and control is universal. Fritz Schumachu,
the author of ‘Small is Beautiful’ terms it antimony. In view of the noble
origins and m otifs, care should be taken to ensure that physical
demonstration of tala should be done sedately and gracefully, creating a
pleasing effect on the minds of people. Speaking of the pleasing effect on
the minds of the people. I am reminded on the oft-quoted verse of Matanga
in his Bruhaddesi, on the definition of raga:
A free translation would be -- That which is distinct in tone,

embellished with swaras and other nunaces, and that which is pleasing to
the minds of the people is accepted as raga.
If I am allow ed the liberty and extended forbearance to an

octogenarian, I wish to offer a modification to this couplet to give the
definition of tala:
xTcTTd - 4 ^ ||
That which is bereft of noise, adorned withylaf/sand other nuances,

and that which is pleasing to the minds of people is tala.
(‘dhvani - viheena in the place of dhvani - visesha and jati-varna-

vibhoshitah in the place of svara-varna-vibhushitah and tala in the place
of raga)
In Carnatic Music, the holistic or the harmonious fusion of the

fundamental elements,
Bhava, which conveys emotions of thoughts,
Raga, the melodic mode of expression and
Tala, the rhythmic presentation
give rise to rasaanubhava, raagaanubhava and talaanubhava.
Anubhava is the knowledge of experience accumulated through

direct perception and not through memory. It is an unbroken chain in
adherence to tradition. Great seers, scientists, philosophers, poets and
composers have handed down their rich experiences to scholars and artists,
who in turn transmit them to students and listeners.
In their chiseled compositions, the music trinity, Syama Sastry,

Tyagaraja and Muthuswami Dikshitar have expressed their experiences
in the aesthetic blend of the basic elements bhava, raga and tala. Each one
of these vaakgeyakaras has established a distinct style of their own by
taking each one of these elements as the fulcrum. In Tyagaraja, bhava,
acts as the central force, for Dikshitar, raga and for Sastry, tala.
Talaanubhavais the culmination or sublimation of tala with the inter

twined expositions of bhava and raga. I shall now proceed with some
illustrations from the compositions of the trinity, with demonstration on
the Vina and voice.
Taking the very first composition ‘Janani’ of Syama Sastry set to

Adi-tala in Saveri-raga, the last phrase of the anupallavi ‘jayasaalini’ is
fitted in the short span of three units rendered as
P D PM - D D -------------------- as 3 x 2 sub units;

Ja ya saa li ni
further as P dn - P dm - D D -------------------------- as 3 x 4 sub units; and

still further with embellishments nelivu, odukkaland sedukkal, as
2002] TALAANUBHAVA OF THE MUSIC TRINITY 121
p, D, dpm -, D d -.........................as 3 * 4 sub units.

Preceding this phrase is a compound word ‘sakala-jana-paritaapa-
paapa-harani’. The placing of the inherent padasas sakalajana, paritaapa,
paapaharani is awesom e beauty. In the easy flow of melody, these
placements seem hidden. The padas&rc. placed in the positions of ‘Aidam,
Viidam and }/4idam respectively.
paapaharini---------- --------- Aidant at the start of laghu;
paritaapaapapapahaarini----- %/da/nofthe previous finger count;
Sakalajana paritaapa
paapahaarini.......................... - Vridam of the still previous finger
count)
This avarta starting with the powerful word ‘Dhanujavairinuthae’

followed by the compound word ‘sakalajana-paritaapa-paapaharini’,
ending with the simple word ‘jayasaalini’ culminates with thepallavi'Janani
nathajana-paripaalini pahimaam, Bhavani, Bhavani, Bhavani’.
Dhanujovd .ri note .sakda janapari taapa pa apahaa R id Jaya saalid

Jana n ii.. •» MM ,,/Paa pahaa Rini iaya saaiini
Jana n ii.. • ••• «pari taapa paa pahaa Rini iaya saalini
Jana n ii.. ,sakala jana pari taapa paa pahaa Rini iaya saaiini
Jana nii.. • ••• „nata ianapari paalini Pahima am Bhavaa
nii.. , Bhavaa nii.. , Bhavaa nii.. mm , trilo ..ka
Jana n ii.. .... ,loka Jana nii.. mm MM
In an avarta, a kaarvai or elongation of the last syllable creates a

pause for a few seconds. This silence itself is music. This enriches and
enhances the atmosphere of melody by giving emphasis on the phrase that
follows, with the expressions through bhavaand raga. This aspect is present
in the very first line of Sastry’s first composition, illustrated above.
I shall give a more typical example of this nature from the charana
of a vilambita k ritiDevi Meena-netri in raga Sankarabharana:
; Baa laa nee ve gati yani-amba

; Baa laa nee ve gati yani ninne
; staalaa nam mina naa pai
; paraa kae la daya jeyvu neekkidi
; mae laa div vaa la
Sastry captures the sw arupa of th e raga-iiom s at

commencement of the composition within the first half avarta, crowning
it with an arudi on the dot of drutam :
; P,m mgG M ;pm P dn S ; ........

De. .. vi Mee. na nae tri........
Starting with very similar m atu and datu, ie. sahitya and swara, the
raga Kambhodi is established in the opening lines of the kriti Devi nee
padasaarasa, crowning the phrase with swaraakshara ‘pa da saa’ giving
no room for any doubt in raga lakshana\
; P dmmgG M ;pD p D pd S ; -----

De. .. vi nee .. pada Saarasamule
Generally, one takes vilambita -kala when oriented with te/a-patterns

to be inlaid with jerky phrases. Sastry in his tala -dominated compositions
proves that such statements are false.
The basic impulse in Sastry’s music is his ardent devotion to the

Mother Goddess. He approaches Her as a child demanding his rightful
share of M other’s love. His handling of £a/a-patterns laden with Bhava-
purita-sahitya reflects this approach. This is why we call Sastry’s music as
tala-oriented, dipped in bigusu, with beautiful expressions and sancharas.
In a face-to-face talk, Sastry pleads for Her grace, in a calm manner;
‘Mayamma yani nae pilachitae naato maatlada rada ?’
Could you not converse with me when I call you as my Mother?

‘Nyayamaa Meenakshikkidi’
Is it fair on your part, Meenakshiamma !

He assures his surrender unto Her:
‘Ninnuvina vere gati yavarunnaaru’
Without you, who is my resort ?
He leans back to Her, and calls Her:
Mayammaa------------------------------------
How long can a child prolong this sedated imploring pace ?
With a mercurical splash, he quickens to a faster tempo in the
charana:
‘Sarasijabha va -hari-har-a -nutae Sulalite------
A remarkable feature of Sastry’s compositions is the matching of

the mathu and datu ie the sahitya with its corresponding swara-structure.
With absolute ease, he establishes a perfect harmony with the syllabic
duration with the melodic duration of the phrases.
He stabilizes this feature by adopting khanda, tisra, misra orsankirna

phrases.
(Khanda) 1 2 3 4 5 —> pa da yu ga mu,

ne ra nammiti,
anu di na mu,
ma ra va ka nae.
Two groups of five —> Bangaru Kamakshi
Two groups of six - * Jayamangalam, Subha mangalam
Two groups of seven - » Ninu nammi yundaka,
sramapada valaena.
123456789 -¥ Hridayamu battu konu
Ending with 5 + 6 + 7 Kalyani raga varna-gmydn
Gmpdn srgmpdn.
Sastry’s dexterity in expressing this pattern of rhythmic structures

has won him the prime place among the composers of swarajatis. In its
m iniature form , the structure of the sw arajati is transform ed to a
swarasahitya-arga in most of his kritis. This technique was adopted and

followed by his son and disciple. I shall wind up this by the illustration of
a swarasahitya of Syama Sastry’s \aiah-raga-kriti in chapu tala,
P ;d P m g r G M D ,
Naa .ma na vi vi nu De vi Nee
gr - s Gr g m
ya ni nam mi naa nu
dmd N S G r G sf n S
maa yam ma ve ga me karu na ju
n d P d P m Gr
da va mmaban gaa ru bomma
Muthuswami Dikshitar’s medium of expression is the majestic vedic
language -- Sanskrit. Its dignity and grandeur is totally mirrored in his
flawless compositions. His diction is a lexicon. He establishes a perfect
unison of the rhyme of sahitya with the rhythm of tala. W hether it be a
simple k ritlse t toRupaka-tala, orKhanda Eka Tala, or a long drawn one
in Jhampa or Ata Tala, the phrases simple or compound in the sahitya tun
parallel to the tala-patterns. If we notate Dikshitar’s kritis only with tala-
divisions, we will observe how this is done with absolute metronomic
precision.
For illustrations, we will take up a kriti in Nayaki raga set to rupaka

tala:-
Paa laya maam Bruha dee swara
vilasi ta-Tan nja puree .shva ra
dee na ja naa vana san .kara

daa na va sura say veta vara
Gana vi dya pra desvra maanita guruguha sodara

paa lita bhuva Nae swa Ra
bragan nna yakee Mano .ha Ra
divaa .ka raa G n isa si nae tra
daa na ne puna Mahay .swa Ra
sannu taananda kara Para mesvara subhakara Harahara
Here, we see the sonorous rhyming w o rd s----- Bruhadeeswara,

Bhuvaneswara, Maheswara, Pureeshwara, Pradeshwara, Sodara etc.
Generally, there is a notion that rupakatala in a line should be 2, 4

or 8 avartas. But vaggaeyakaras have made exception. Dikshitar often uses
6 avartas for rupakain a line and Syama Sastry uses 7 avartasiox chaputala.
As an illustration in Dikshitar, I wish to render on the vina, the Saveri-
raga-kriti‘kari-kalabha-mukham’. Here th e pallaviconsists of 4 + 2 or 6
avartas, and for anupallavi, 4 + 2 again but the last two avartas are in
madhyamakala. In charana, he gives two sets of three avartas and this
kandika is repeated again followed by 4 avartas in madhyamakala.
Pallavi Avartas
Karikalabhamukham dundiganaesam bhajare Re chitta 4

Kaveri-thata-sthitam saaveri-raga-nutam +2 = 6
Anupallavi
Hari-hayaadi sakala-devathaaradhitha padaambujam 4

Girijaa-tanujam vijita-manasijam guruguhagrajam +2 = 6
Charanam
Mooladhara-chathurdala-pankaja-maddhyastham 3
Modaka-hastam munijana-hrit-kamalastham 3
Phaala-chandram sumukham karunaa-saandram 3

Paasankusa-dharam padma-karam sundaram 3
Neela-greeva-kumaaram Neerada shobha-akaaram 2

Paalita-bhaktam dheeram apaaram vaaram vaaram 2
Next, we would follow the charana of the Vega vaahini -kriti Vina -
pustaka-dhaarini, set to khanda-eka
paraadyakhila-sabda-swarupaavakaasam powmamee-chandrikaadhavala-
samkaasam
karaaravindam kalyana-bhaasham kanaka-champakadaama-bhoosha-
visheshaam
nirantaram bhakta-jihvaagara-vaasaam nikhila-prapancha-sankosa-
vikaasaam
naraadhamaanana-viloka-sokaapahaam nara-hari-guruguha-poojitaa-
vigrahaam
Dikshitar’s creations can be term ed as vibhakti-m ala--....... . a

garland of case-endings. The beautiful epithets, the vivid descriptions with
minute details of clear prosody and disciplined rhythm follow one another
in a garland strung in a meticulous manner. For example, surrendering to
the Goddess Saraswathi, he sees Her as ‘bhakta-jihvaagra-vaasaam’ as
the resident in the tip of the tongue of the devotees, ‘nikhila-prapancha-
sankosa-vikaasaam’ as one who blossoms or puts to sleep the entire
universe. All these words are closed with truth and devotion.
Apart from the praasa, anupraasa in complete avartas, we see the

rhyming patterns of the sahitya in the half avartas and the following quarter
avartas. This beauty flows in a natural m anner in all his kritis. Dlustrations
for these are galore but now we would just see the beauties in the charana
of Dharmasamvardhini in Maddhyamavati raga and hte maddhyama-kala-
sahitya in the charana of Mooladhara-chakra-vinayaka in Sriraga, both
set to Adi -talar.-
Charana of Dharmasamvardhini
Maadhava-sodari sundari madhyamavati sankari
maadhurya-vaak-vijrumbhini mahadeve -kutumbini
sadhujana-chittarnjani saasvata-guruguha-janani
bodharupini niranjani bhuvaneasa-durita-bhanjani
paadaja-visva-vilaasini panchanadeesollasini
veda-saastra-viswaasini vidhi-hari-hara-prakaasini
M aadhyama-kala-sahitya in Mooladhara
vikata-shad-sata-swaasaadhikaara vichitraakaara bhaktopakara
akalanka-vibhaaswara-vigneswara vara-hara-guruguha-sodara
lambodara
As an example of long compounds extending over two avartas, we

could experience the nuances in the charana of the Bhairavi Navaavarana
kirti in Bhairavi raga set to Jhampa-te/a. We shall just read the tamil
translation of the text of this composition and observe the charanayonion:-
naadamaya-sukshmarupa-sarvasiddhi-prdaadidasa-saktyaaraadhita-murtae---- ssro-
traadi-dasakaranaatmaka-kulakowlikaadi-bahuvidhopaasita-kirtae----- a-
bheda-nitya-suddha-bhuddha-mukta-sacchidaanandamaya-paramaadvaita-spurtae
aadi-maddhyanta-rahitaaprameya-guruguha-modita-sarvaartha-saadhaka-purtae
Moolaadi-navaadhaara-vyavrutta-dasadhvani-bhedagnya-yogi-brinda-samrakshinyaa
Annadi-maaya-vidya-kaarya-kaarana-vinoda-karana-patutara-kataakshavikshinya
From Dikshitar’s compositions, we learn the proportional manner

in the handling of Vilambita and M adhyama-kalas. The madhyamakaala
sahityas rendered at the end of anupallaviand charana and sometimes in
the pal/avj itself, open our eyes towards this aspect.
Apart from this, the elaboration of a raga in graded measures forms

a vital part in his kritis. We can analyse this factor in all his longer kritis.
For illustration, I shall take up the charana of the Kambodi-Xr/tf ‘Kasi
Visveshwara’ set to ata-tala:-
We shall proceed with khandika by khandika (i.e.) a section

consisting of two avartas. The raga-alaapana-paddhatiis followed step by
step starting from the adhaara -shadja proceeding in graded measures and
winding up with madhyamakaala-sancharas. Here, the talanubhava is felt
by the exact proportional allotment to each of the graded step of the
elaboration.
Starting from the adaarasadja and tracking back to it is the first step: -
Bhavaroha-hara-chatura- vaidyalinga- vibho.
Next, importance is given to mandra-sthayae; from shadja, going

lower down to m andrapancham a, the section steadily settles in the
panchama of the m adhya-sthayi, to develop further gradually encircling
the panchama of the m addhya-sthayi:-
Bhadradaayakaambojakara vibho
With a glide to the adhaarashadja, and again with a forward slide to

the tender oscillating kaishika-nishadha followed by the pure trisruthi-
dhaivata with sancharasmounting to the region of tarasadja is welcomed.
Ku valayaadi -pancha vadana - svay amboo:-
Further, elaboration upto taramadyamaretracing to adhaarasadja.-
Kushtarogaapa-gartha-thirtha-sambho.
Like a summary, lively passage follows starting from the shadja and
reverting back to the shadja, as a prelude to madhyama-kala. This passage
also stands as a model for the intermediate section in the development of
niraval, (a form of kalpana-sangita) b etw een the vilam bita and
madhyamakala:-
Ravi-sasi-vanhi-netra sucharitra visaalakshi-kalatra

Kavi-janaadi-sannuti-paatra kamaniya-gaatra chinmaatra.
Lastly, the madhyam a-kala passage crowns to so far elaborated

passage in vilambita -kala, Generally, the raga-alapana is rounded off with
madhyamakala-sancharas transversing freely through the octaves. In this

passage, the elaboration starts from the lower octave and expands up to
the higher one with a beautiful finale to take the pallaviof the kriti:-
B huvana-bharana-bhoothaganapatae bhava-hara-nata-vidhi-
sreepatae
S h iv a -g u ru g u h a -ja n a k a -p a s u p a ta e n a v a -m a n iv ila a s ita -

chitsabhapatae.
Thus, in Dikshitar’s depiction of te/a-structures, we see how he has

handled the totality of raga, bhavaand sahityaeffectively, proceeding in a
methodical, meticulous manner.
Now we shall enter another mighty ocean, Sri Tyagaraja, the

Sadguru. Undoubtedly, Tyagaraja is the greatest among our teachers and
preachers. He is so very impressive because of his simple style, sincerity,
and spontaneity. He gives us so much about the theory and practice of
music in a capsule-form. The truth about his simplicity in his methods and
approach is the flow of the constant under-current of sarva laghuin all his
compositions. Even children will clap their hands in perfect rhythm and
they respond to Tyagaraja kritis.
Profound thoughts are expressed clearly in a short easy manner.

Within a short span of two avartas he makes statements like ‘Tatva-
meruga-tarama’. The raga taken for this is ‘Garuda-dhvani’. The melody
for these words runs as — sa da pa ga ri sa -- re ga maa pa da ni. This is
avaroha-aroha-krama of the raga Garudadhvani (sa ri ga ma pa da ni sa -
- sa da pa ga ri sa). The reverse form of Garuda-dhvani is the raga Bila-
hari (Sa ri ga pa da sa -- sa ni da pa ma ga ri sa). This is explicity apparent
in the kriti ‘kanukontini Sri Ramachandra’ - ga pa da sa sa -- sa ni da pa
ma ga ri. Raga-lakshana is established at the very commencement of
compositions.
Let us hear some illustrations :

R aga Kriti S w aras o f the In feren c e M ela
op en in g line A ro h a A varoha (N o)
G aru d ad h w an i T a tv am eru g a Sdpgrs Srgpds S an k arab h a ran a

ta ra m a a p a ra rg M - p d N Sdpgrs (29)
B ilahari K anukontini gpDsS Srgpds S an k a ra b h a ra n a

S riram ach an d ra SndP m gr s n d p m grs (29)
Jay an tasri M aru k elara d m P m gs Sgmdn s T odi

0 R aghava n sg m D (d n sn d n ) S n d mp m g s (8)
Jin g ala A naath u d an u g an u p S n d p G R SrgmpS N atabhairavai

R am ani g m p dn d d Sn p d m g rs (20)
U m ab h a ra n a N ijam arm alanu rgmpDD mndn S r g m p d - m n d n s H arikam bodi
T e lesin a-v a arik i $ n d p G gm R S n pm g m r s (28)
Jan aran jan i V idajaladura m p N Sd Srgmpadpns S an k arab h a ran a
N aa m a n asu pmrgmPd Sdpm r -gmrs (29)
The songs are so simple and crisp, they are taught to beginners.
Many of Tyagaraja’s compositions of the format --
m mgg m P (seetaa pa thae)
Here in Adi- Tala, after 6 units, the phrase begins, whose last letter
is long drawn falling on the start of the drutam.
We shall now hear a continuous string of the first line of some of the
compositions of this format
see .taa .pa they .naa .ma na su Naa
aa .na .nda saa •ga ra may
yae nta ve .du koo .ndu .raa .gha Vaa
maa .kay .la raa .vi chaa .ra M u.
ma .na vya .la kim .cha raa .da Day
maa •jaa .na kee .cha ta pa .tta Ka.
sri .maa .ni nee .ma .noo .ha Raa
day .vaa .di dey .va sada .si va.
• vi .na raa .da naa .ma na .V
•aa ra gi .mpa vay

• bro va bhaa .ra maa .ra ghu raa Maa.
• ka nu ko .nti nee .sree Rama chan dra
• sri .kaa .nta nee .ya da ba laa
• ooh ra ju .pu juu .ki din ya .ya Maa.
• ma ru kay .la raa .oh .raa •gha Vaa.
• ra ghu naa .ya ka .nee .paa .da Yuga.
• chi nna naa Ta nee .chai .ba tti Tivi.
• na nnubhroo Va nee .in nkataa .ma Samaa
• saa .rva bhow Bhowma saa kay ta ra .ma
• ae nta bha gya mu ma
•• • ve revva Ray
As embelishments in kritis, introduction of sangatis is a gift of

Tyagaraja; so also the sw ara-sahitya-anga by Syama Sastry and
maddhyama-kala-sahitya by Muthuswami Dikshitar.
Sangatis heighten the raga-bhava and artha-bhava in kritis.
They are done in graded measures within a definite span in an avarta.

They are tala punctuated. As pressed for time, I shall just mention the
names of a few kritis which hold this aspect
Chakkani-raja-margamu...................... Kharaharapriya
Endhu-dhagi-nado.................................Todi
N aa-jeeva-dhara.................................... Bilahari
M aa-janaki............................................. Kambodi
O Rangasayee.........................................Kambodi
Darini-telusu-konti...............................Suddhasaveri
etc., etc.
Lessons in sangatiso.it a prelude to neravai-singng. Here,adherence

to the positions of the words in a line is observed rather strictly. Also, the
procedure is from the simple to the complex.
The art of swara-kaJpana is excellently taught by Tyagaraja in some

simple to the complex.
Bro chae vaa raev a ra e ........ Ra ghu pa tae
M MR G; ring r S ; ; D N S RG
“ “ “ “ “ “ “ ni nnu vi naa
R G M D;
“ “ •* “ “ “ “ ‘“ Sri raam a nen aru n a

M MM dsnd
“ •• “ ........ . sakala loka n aayaka
r 8 m D N S n d
“ “ “ .......... ■
“ naravara nee sari
d n s d N; s n
It can be noted here, that in swara-kalpana, the swaras need not

end on this swara before the swara of the edupu (Note : ‘ninnuvina’ and
the following lines). Here, the pancharatna kritis can also be cited as
examples for swara-kalpana as the charanasaxe, rendered first with swara
passages and then only the sahitya for these lines.
Methods of teaching theory and practice of classical carnatic music

can be drawn by a careful analysis of the simple and longer compositions
of Sri Tyagaraja. Alongside with the expositions of the nuances of music,
philosophic truths and social problems of every day life are expounded
with examples, rhetoric questions, parables and proverbs.
The few com positions of the trinity which I have taken for
illustrations in this lecture demonstration, I have dealt mainly with tala-
aspects, though much can be added viewing from the angle of raga and
bhava.
In the study of Talanubhava of the three great composers who were

contemporaries of the 18th century referred to as the Musical Trinity, we
learn that Rasaanubhava, Ragaanubhava and Talanubhava are interwoven
in th eir com postions. The excellence of each com poser may be

predominant in one aspect more than the other, more in some compositions
than others; but it would be impossible to isolate rasa, raga and tala, from
the totality of the experience of feelings and emotions.
Can one split vaak (speech) and artha (meaning) or identify where
each of the three rivers flows at the Triveni-sangam ?
Thus, these composers lead us through the fragrant garden of sound

as it were, introducing us to Naadopaasana as the splendorous form of
Upaasana or sacred meditation, composure and calm.
To reach the Divine, we use the Divine Nada as a vehicle.
Tyagaraja unfolds to us the greatness of Naadopaasana and the

N aadopaskas in a kriti in Begada-raga. I shall conclude my lecture
demonstration with the rendition of the anu-pallavi of this meaningful
composition on the vina.
Vedoddharulu vedeateetulu
Visvmella nindiyundae vaarulu
Naadopaasanachae Sankara
Narayana-Vidulu velasiri manasa

Naadopaasana
£003 £008
CO N N O TA TIO N O F KRITI AND PADAM
Dr. Pappu Venugopala Rao
Composer and composition are terms that are often used to denote
an author and his work in music parlance. However, in Indian music these
terms are found to be inadequate. Vaggeyakara, one who authors the lyric
and sets it to music is a wider term with a greater connotation than just the
word composer. Similarly there are a vast variety of compositions - Padam,
Kriti, Keertana, Sankeertana and so on. The repertoire that we have today
in Carnatic Music broadly falls under one of these varieties. Apart from
these, there are many other, like Varnam, Javali, Tillana, Jatiswaram etc.,
which are beyond the scope of this lecture.
This lecture basically tries to explain these term s, their origin,

evolution, etymology, definition and their changing connotations over a
period of time.
Of all these terms, Padam, Kriti, Sankeertana, the oldest is Padam

and the earliest treatise to have defined it is Bharata’s Natyasastra; dated
around 2nd Century BC.
Bharata’s Natya Sastra defines Padam as..

Gaandharvam yan mayaa proktam swara tala padaatm akam
Padam tasya bhaved vastu swara taalanu bhavakam
Yat kinchidakshara kritam tat sarwam pada sanjnitam
Nibaddham cha anibaddham cha tat padam dwividham smritam
Gandharva comprises of Swara, Tala and Padam.

In this, Padam is evocative of swara and tala.
Any meaningful syllabic composition can be called a Padam.
It is of two kinds, Nibaddha (bound) and Anibaddha (unbound)
It can also be with tala or without tala.' N.S. XXXII, 25-27
Viewed from this, all music compositions can be broadly termed as

Padams.
CONNOTATION OF KRITI AND PADAM 135
The ancient treatises mention 6 components for a Prabandha; they

are.. Swaram, Birudam, Padam, Tenakam, Paatamand Talam. That which
deals with the description part is called the Padam in a Prabandha. Even
this is a broad definition, under which we can bring in any composition.
Kalidasa in one of the slokas in Meghaduta says.......
“M adgotrankam Virachita Padam Geyamudgaatu Kaamaa ”
The heroine sends a song, a padam describing the gotram, name

etc of the hero, which clearly indicates the tradition of calling a song as
phdam existent in ancient times.
Jayadeva’s compositions are called Ashtapadis which means

A shtaanam Padaanaam Sam aahaarah, a lyric which has 8
Charanams.
Here Padam means a charanam, not the whole composition.
Thyagaraja in
‘‘Saamayamu delisipunyam u laarginchani...
in Asaaveri says.....
“padam u Thyagaraajanutunipai gaanidi

paadiyem i, yedchitenem i......
What is the purpose of singing a Padam if it is not about the one that
Thyagaraja praises ?
This only proves that even in the days of Thyagaraja, any

composition used to be called as Padam, but the connotation, the definition,
the text and the context keep changing over a period of time.
Sanskrit is such a wonderful language that there can be a lot of

meanings for one word, sometimes they can even be mutually contradictory
or negative in sense to one another.
Padam can be a line, a stanza, a full composition etc, that is its

literary meaning. Padakavita Pitamaha, Annamacharya (1408-1503)
composed about 32,000 padams of which 14,328 are available to us today.
He authored a treatise or hymnody called Samkeertana Lakshanam in

Sanskrit. The original work is unfortunately not available but its faithful
Telugu tra n sla tio n by the sam e title , by his grand son C hinna
Tirumalacharya is available. It is here that we find a clear definition and
characteristics of a Padam.
He also says what other treatises say about the nibaddha and
anibaddha padas, but he goes a little further and defines, Pallavi, and
Charanam for the first time ever. There seems to be no Anupallavi in
A nnam ayyas’s tim e, it was probably in the very beginning of its
evolutionary stage. There are some scholars who enthusiastically split a
Pallavi and call the later part as Anupallavi.
According to this book, if a Charanam has four lines, Pallavi has 2

lines. Whatever is said in the Pallavi, only that bhava has to be expanded
in the Charanams. It should contain the mudra of the composer at the end.
Subbaram a D ikshitar defines a Padam as basically an erotic

composition, sung generally in vilamba kalam, with a pallavi, anupallavi
optionally and normally of 3 charanas, with the nayaka mudra in anupallavi
and or the third charanam. (vol I p 109)
Prof. Sam bam urthy says “ Padas are scholarly com positions,
originally used to signify a devotional song. It is in this sense that we walk
of the Kannada Padas of Purandara Dasa, Dasara padagal, and the tamil
Padams of Muttu Tandavar.
In the musical parlance of modern period, the term is restricted to

the type of composition which belongs to the sphere of dance-music and
which treats of the various aspects of nayaka-nayaki relationships. He adds
further and says “Although strictly a dance form, yet the padams are sung
in concerts of art music, on account of their musical excellence” .
I think this hits the nail at the right place and we can safely conclude
that a padam is an erotic composition.
2002] CONNOTATION OF KRITI AND PADAM 137
A composer who made full justice to Pada literature in this sense,

beyond any shadow of doubt is Kshetrayya. Let me present this beautiful
Padam of Kshetrayya in Bhairavi..
Do you still love me as in previous times ?

Why do you speak pleasingly in front of me ?
Oh, Muvaa gopala ! this is not right.
You don’t come even when I send word

Don’t hear when I call.
Don’t respond to my repeated appeals
Unable to bear my love for you
I think of you again and again but...
Do you still love me as in previous times ?
M undativale naa p a i nenarunnada naa saami. (p 167)
In the process of evolution of Carnatic music, next to Padam we

find the compositions known as Kirtana and Samkeertana.
In no other country in the world, we find art and religion as

intertwined as in India. Naturally therefore Sangeetam is considered as a
source of liberation.
In saramati, Thyagarja says.......

M okshamugaladaa bhuvilojeevanm uktulu gaani vaaralaku
Saakshaatkaara nee sadbhaktisangeetagnaana viheenulaku..
On this earth can th ere be m oksha for those who are not
jeevanmuktas ? to those with no real bhakti or to those who lack knowledge
of music.
Therefore alm ost all our com posers are great devotees who
employed music to sing the praise of the Lord. Music for them is just their
expression of devotion. There are composers who composed thousands
of compositions with indomitable devotion, without even mentioning their
nam e anyw here, even as mudra. Annamayya, Ram adas are some
examples.
In the nine fold Bhakti...
Sravanam, Kirtanam, Vishnoh Smaranam, Pada sevanam

Archanam, Vandanam, Dasyam, Sakhyam Atm a Nivedanam
The second step / variety is Kirtanam, singing the praise of the Lord.
The word Kirtana is derived from the verbal root.
K reet samsabdane, singing the auspicious qualities of the Lord is

Kirtana.
Kirtanam m unibhih proktam harer leelaa pragaayanam... say the

ancient texts.
We should also know here that there was a Bhakti movement in our
country spread over a period of 1000 years from 7 to 17 century AD,
which influenced almost every sphere of creative activity.
Upto a time when the number of erotic compositions began swelling,

Kirtana and Padam were synonymous.
Subbarama Dikshitar defines Kirtana as the composition which is

basically in praise of the Lord, with pallavi, anu pallavi and charanams,
the number of which is not definite. In the composition, if the pallavi is
one line, then the anupallavi has 2 and charanam has 4 lines. This is the
ratio between them. Though usually, Kirtanas as sung in vilambakala,
depending on the text and the context they are sung in medium tempo or
even fast tempo.
Though Annamacharya was the first to compose kirtanams of this

nature, his compositions were lying hidden in the hill temple of Tirumala
for over 400 years. Purandara Das’s Devara namas, Narayana Tirtha’s
Krishna Lila Tarangini and compositions of Bhadrachala Ramdas have
adhered to these definitions and were written with devotional fervor,
literary beauty and musical excellence.
C o n sid ered to be one of the very first to em ploy the raga

Anandabhairavi, Bhadrachala Ramdas left a very indelible influence on
Thyagaraswamy, not just by his devotionto Rama, but even as a composer.

Let us listen to a Ramadasu Kirtana in Ananda Bhairavi....
Paluke bangaara maayena..
Having understood the term Kirtana, we are confronted with another

term Samkirtana. The word is just a more specific, comprehensive and
complete form of Kirtana as the very derivation indicates....
Sarny ak kirtanam = samkirtanam.
It also means which is good for Saamoohika Kirtanam or group

singing. Some of the less musical, more devotional compositions have been
included in this category. But how do we decide what is less and what is
more, after all these are relative terms. Yes, that confusion still prevails
and does exist as we see further deep into the nomenclature and the
terminology. We will cross that a little later, as of now let me remind you
that Annamacharya is known as Padakavita Pitamaha, grandsire of Pada
compositions and Samkirtanacharya, one who professed the Samkirtana
compositions. The treatise on hymnody authored by him is entitled, as I
mentioned earlier, Samkeertana lakshanam.
The Vaggeyakaras known as the Tallapakam trinity (Annamacharya,

his son Pedda Tirumalacharya and grandson Chinna Tirumalacharya) are
also responsible for popularising the Bhajan Sampradaya through their
sam kirtana type of compositions. In fact Chinna Tirum alacharya’s
Todayamangalams are an ipso factor part of any full fledged Bhajan in
yester years. Thyagarajaswamy has used the same format in his Divyanama
Samkirtanas and some of the Utsava Sampradaya Kirtanas. Samkirtanas
have less musical intricacies, more devotional fervor and are inherent with
flexibilities cogenial for group singing.
We cannot skip Pada Kavita Pitamaha and Samkirtanacharya

Annamacharya’s compositions while speaking of Padams, Kirtanas and
Samkirtanas.
Let us listen to one of his very imposingly magnificent Sanskrit

compositions...
Bhavayam igopala balam .... in yamunakalyani.
Katighatita m ekhala khachita m anu ghantika

Patala ninadena vibhrajamanam
Kutila pada ghatita samkula sinjitena tam
Chatula natanaa amujjwala vilaasam.
Look at the rhythm embedded in the text of this song!
I have consciously presented this particular composition to drive

home the point that when there is a beautiful text, inherent with rhythm
and an inset mellifluousness, what is the dom inant factor in such a
composition... music or literature ? I am posing this question to prepare
ourselves to handle the term Kriti now.
This term that we take up in this lecdem, is more confusing than the
previous ones. Now let us talk about Kriti.
There is a school of thought which believes that the Kriti type of

compositions are composed firstly by the Trinity and it is more appropriate
to call most of their compositions Kritis rather than Keertanas. Then there
are musicologists who endeavoured to define these terms. There are some
who say Margadarsi Sesha Ayiengar, a Vaggeyakara earlier to trinity
composed the Kriti proto type.
The word Kriti is derived out of adding ktin affix to the Dhatu
Dukrunkarane....
Literally ‘y atkritam , ta tk ritih ’whatever is composed that can be

termed as kriti.
The Gita Govinda ends with the statement....

Iti Jayadeva Kritau......
In the Mukundamala at the end we find

Rajnaa kruta kritiriyam kulasekharena...
Annamacharya’s grandson, in one poem talks of his grandfather’s

compositions, as kritis.
Srutulai Saastramulai....
Generally a writer is called Kriti karta and one who receives it in

dedication is called Kriti bharta in literature.
It is difficult to exactly pinpoint from when this tradition of calling

some compositions as Kritis has come into existence.
T hyagarajasw am y em ploys the w ord K riti, in the fam ous

composition in Sree Ranjani where he enlists the requisites of a good Kriti.
Sogasugaa mridanga taalamu.....
Let us listen to this composition in Sree Ranjani, Roopakam.
A close and unbiased look reveals that Thyagarajaswamy was

speaking of a composition and not a Kriti in the connotaion that we use it
as of today ! He felt more comfortable with the term Keertana as can be
seen in several of his compositions where he uses the term m ore
frequently....
In Sri ragam, Endaro mahannubhaavulu he says...

Nee madi neringi santatambunanu guna bhajanaananda kerrtanamu
seyuvara
Lendaro mahaanu bhaavulu..
In Kalyani, Nidhi chaala sukhama....

Mamata bandhana yuta nara stuti sukhama
Sumati thyagaraja nutuni keertana sukhama...
In Aparaadhamula norva samayamu in Rasaali

Okani brova teliyanu
Keertana su satakamonarchukonna Thyagarajuni
In Todi, Daasratheee nee runamu deerpa

Bhakti mukti kalgunani keertanam ula bodhichina Thyagaraja
karaar chita....
In reetigaula,
Raga ratna maalika che....
Bhagavtottamulu gudi paade keertanamulata
Thyagaraju kadatera tarakamani chesina
Sata Raga ratna malika che.....
There are many m ore where the word Keertana is employed.

However, the term Kriti has come to stay and needs to be defined. Whoever
first used this term, musicologists have immediately found the necessity
to classify some as kritis and some as keertanas. Kriti is NOT defined by
Subbarama Dikshitar (18 3 9 - 1904) which makes it clear that this term is
a later invention, not known a hundred years ago ! I think the term may
not be more than 50-60 years old, since most musicological books written
prior to that have not attempted to deal with this term.
Kriti as it is now called can be described as :
A composition with a pallavi, anupallavi, one to 3 charanams or

even more. It is a very highly advanced musical form that constitutes a
Kriti.
In the pallavi, we find a sequence of lower notes, the anupallavi

presents the range and full scope of the raga followed by the first half of
the charanam where we find a calm rendering of the middle notes, then
the later half repeating the anupallavi pattern of notes. Some call this kind
of charanas as charananu pallavis or anucharanams.
This is one of the characteristics, not necessarily present in kritis of

all co m p o sers. T his is alm ost an exclusive m elodic p a tte rn in
Thyagarajaswamy’s kritis.
Let me present an example :

Bantu recti kolu vi, se t to Hamsanaadam.
Basically Sahitya takes a back seat and Sangeeta dominates in this

type of compositions. While the Sahitya constitutes the body, Music forms
the soul of the kritis.
Prof. Sambamurthy says ‘Kritis stand as examples of absolute music.

Kritis contain apt theme for developing niraval and kalpana swaras. They
bring out the best music of the composer and also the best of the talents of
the performer. Kriti gives an aesthetic experience and consists of many
decorative attributes like the chitta swaras, swara sahitya, sangatis,
gamakas, and more. Performers usually precede the presentation of a kriti
with an alapana. This helps both the performer and the listener to identify
the raga and prepare for the mood of the raga.
A Kriti can just have only 2 sections, a Pallavi and a Samashti

charanam, which substitutes for the usual anupallavi and charanam. Some
of Deekshitar’s compositions are very apt examples of this kind of kritis.
M rs. V ijayalakshm i will present M uthusw am y D ikshitar’s

Saraswathi V idhiyuvatee Samrakshatu maam sree... set to Hindolam.
When a kriti includes swara sahitya, the chitta swara is sung after
the anupallavi and the swara sahitya after the charanam. We can find
examples for this aspect from Shyama Satry’s compositions.
The portrayal of raga is of primary importance in Kriti, where

normally some rare and intricate ragas are employed. Since the text takes
a secondary position in a Kriti, it gives an inherent flexibility to the form
and makes it more convenient for solo instrumentalists as well.
In the Kirtanas we find easier ragas and more importance to the

text than the music. While kirtanas are necessarily devotional, Kritis need
not be only devotional. In spite of all these definitions and descriptions, it
is sometimes not easy to classify clearly some compositions into this or
that category. A composition sung without any embelishments and melodic
decorations becomes a Kirtana and when these components are added it
becomes a Kriti. Their textual structure is the same. Therefore one cannot
decide whether a composition is a Kirtana or Kriti unless one listens to the
composition itself. Whereas all other compositions can be easily identified
by their text, a Kriti cannot be.
There are a plenty of compositions, which scrape through these

definitions and hence it is not easy to demarcate the classifications with
clarity and assertion.
However, broadly we accept erotic compositions of dance music

as Padams subject to adherence to certain features like pallavi, optionally
anupallavi and charanams, with mudra either in the anupallavi or in the
3rd charanam.
We can also come to a broad understanding on the Kirtanas and

Samkirtanas; devotional compositions in this format-pallavi, anupallavi
optional and 2 or more charanams, with less importance to music as
Keertanas or Samkirtanas depending on the extent of devotional density
in the composition and adoptability to group singing respectively.
We may call a composition a Kriti, if it represents absolute music

and basically presents less importance to sahitya, more importance to
sangeeta and is pregnant with scope to explore the intricacies and nuances
of music.
I must of course mention a note of caution that these are not water
tight compartments and the lines between them are some times blurred
and sometimes delicately thin.
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sooggooa
RARE & UNIQUE CONTRIBUTION OF TACCHUR
SINGARACHARYA BROS.,
Akella Sri Mallikaijuna Sarma
All are aware that Tala also has Tala-dasha-pramas to define it like
Dashalakshanas of a Raga. But, unlike many of the Ragas having the origin
of different Melas, the origin of each and every Tala is having a fixed serial
number which is inter-linked with its form and which is available in the
10th element of ‘Prastara’ of Tala-dasha-pranas; Even though some Talas
are furnished along with their serial numbers even in the 13th century by
Parshvadeva in his Sangita Samayasara, most unfortunately, his successor
Nihshanka Sharngadeva who brought out a voluminous Sangita Ratnakara
did not furnish even a single Tala of his 120 Talas along with the serial
number though he had furnished more details of this element than any
other author. In spite of all this, ultimately, this important and interesting
element ‘Prastara’ has gradually waned out from the seen. Surprisingly
enough, in the annals of our music literature, while the Sangita Samayasara
was the first one of its kind in furnishing such serial numbers, the
Gayakalochanam, the fourth book written and published by Tacchur
Singaracharya Bros., in 1902, is the second one of its kind to do so and
there lies the rare contribution of these authors which is not known even
to the musicians of the present day as they all have lost the track of this
kind of knowledge .long long ago. In this work along with other general
topics the Tala chapter is also furnished from page 104 to 144 i.e., 40
pages.
The contribution made by Tacchur Singaracharya Bros., pertaining

to the popularly known topics of Karnataka music through their works
was already brought out recently through one of this previous journals.
But, having spent for more than 40 years in the extensive research of this
rarest topic ‘Talaprastara’ and, only by God’s grace, having become
blessed with all the latent secrets of this topic which have never been
brought out into light by any author of the past, I feel it is my duty to bring
out the rare and remarkable contribution of Tacchur Singaracharya Bros.,
pertaining to this un known topic which obviously proves their un
paralleled greatness in the annals of our music literature.
Like many other works on music though the usual Shodashangas

and the usual 101 Talas along with their names and Talaangas are furnished
in the first 10 pages of the Tala chapter of this work, an entirely new set of
Talas not only along with un-usual names and Talaangas but also with
some numbers in Telugu numerals are also furnished in the next 8 pages
and in the last 26 pages a number of tables with Telugu numerals and a
number of permutations pertaining to ‘Talaprastara’ are also furnished. In
regard to this ‘Tala chapter’, in particular, the authors contribution stands
remarkable as mentioned hereunder.
1. A new list of 158 un familiar Talas not only along with un-usual names
and Talangas but also along with fixed and authentic serial numbers are
furnished.
In the annals of our music literature serial numbers, at the first

instance, are furnished for 52 Talas pertaining to 108 Talas (among which
10 serial numbers are found incorrect with the help of the answering
method ‘Uddishta’ and for 2 Talas serial numbers only are furnished but
not the Talaangas at all) in Sangita Samayasara written by Parsvadeva of
13th century just before the Great Sangita Ratnakara.
In the annals of our music literature, even though the Sangita

Ratnakara is the first and the foremost treatise to bring out more details of
‘Talaprastara’ than any other work, most unfortunately, not even a single
serial num ber to any one of its Talas is furnished just to avoid the
embarrassment of furnishing incorrect serial numbers accidentally like
Parshvadeva. All other authors followed suit and ultimately the detail that
each and every rhythmical form consists of a fixed serial number on
mathematical basis has been waned out gradually to such extent that
presently nobody even believes at all that such number to any Tala exists
2002] RARE & UNIQUE........ SINGARACHARYA BROS. 157
or its form has an indispensable link with its serial number.
But, for the second instance, another list of 158 Talas, not only
along with new names and Talangas but also along with serial numbers,
was published by Tacchur Singaracharya Bros., in their ‘Gayakalochanam’
in 1902 among which 47 serial numbers are found incorrect and the
relevant correct serial numbers obtained through the answering method
‘Uddishta’ are furnished hereunder. In this list of Talas if the units of any
rhythmical form furnished by the author contradicts such form is given in
brackets and the correct one tallying with the serial number is given just
below the incorrect one diagonally and if both the serial number and the
rhythmical form does not tally each other the correct ones are furnished
diagonally to each other.
For example :
(i) the 41st Tala ‘Gandharvopakarini’, furnished by Tacchur Bros.,

was originally furnished with the incorrect total value of the series of
Talangas of 20-units instead of 24-units and so, the incorrect Talangas
are shown within brackets and the correct Talangas are given diagonally
to the serial number beneath the incorrect Talangas.
(ii) the serial number ‘ 1’ and the respective series of Talangas ‘0 0

1 01 ’ of the 10th Tala ‘Natanimani’, furnished by Tacchur Bros., contradict
each other and so, the correct series of Talangas i.e., ‘0 S’ of the
corresponding serial number i.e., ‘1’ and the correct serial number i.e.,
‘ 11’ of the corresponding series of Talangas ‘0 0 1 0 1’ are furnished just
below each diagonally.
Talas furnished in ‘Sangita Samayasara’ by Parshvadeva in 13th

Century
1. Prati - 5 - 100 (4 units)
2. Karanayati - 6 - 0000
3. Rati - 2 - IS (6 units)
4. Darpana - 3 - OOS
5. Madana - 4 - (00$)
SI
6. Hamsalila - 5 - n
ffl
7. Kudukka - 6 - oon
8. Varna - 15 - noo
9. Shat - 19 - 000000
10. Rajamriganka - 2 - OIS (7 units)
11. Simhalila 13 - 10001
12. Rajamartanda - 18 - SIO
13. Chatuh - 18 - SOOO
28 - SIO
14. Mattha - 4 - (n ssn ) (8 units)
(also called Udikshana) ns
15. Lalita - 5 - 00IS
16. Viravikarma - 7 - 100S
17. Ranga " - 8 - oooos
18. Gajalila - 13 - (mi)
nn
19. Rajavidyadhara - 43 - ISOO
20. Mallikamoda - 56 - noooo
21. Anandavardhana - 3 - 001$ (10 units)
22. Vishamakankala - 8 - ISS
23. Khandakankala - 9 - (00S)
OOSS
24. Dhenki - 10 - SIS
25. Mukunda - 14 - I00IS
26. Abhinandana - 21 - noos
27. Samakankala - 28 - SSI
28. Purnakankala - 33 - 0000SI
29. Tribhima - 2 - IS$ (12 units)
30. kokilapriya - 3 - SI
31. Udghatta - 8 - SSS
2002] RARE & UNIQUE. SINGARACHARYA BROS. 159
6 - 1001$
32. Tribhangi - 7 - nss
(also called Ratilila)
33. Chachaputa - 10 - sns
34. Kanduka - 11 - IIHS
35. Shrikirti - 19 - ssn
36. Nandana - 18 - I0000S*
37. Shrikandarpa - 25 - OIOSS*
(also called Parikrama)
38. Tryashravana - 33 - io o n s
35 - oorns
39. Vanamali - 60 - 0000I00S
- 46 - OOOOOIOS
40. Bindumali - 71 - so o o o s
41. Varnayati - 2 - n$$ ( 16 units)
42. Chanchaputa - 8 SSI$
43. Shriranga - 9 - n si$
44. Vijayananda - 20 - nsss
45. Shrotrimattha - 23 - snss
46. Simhanada - 28 ISSIS
47. Ananga - 31 - i$ n s
48. Jayamangala - 33 - nsns
49. Pratyanga - 63 sssn
50. Hamsanada - 330 - I$00$
132 - o oon on s
51. Rajachudamani - 450 - ooisiS
- 30 - I00I0000IS
52. Shatpitaputraka - 89 - $ISSI$ (24 uni'
EO OS SO 08
TALAS FURNISHED IN ‘GAYAKALOCHANAM’

by
Tacchur Singaracharya Bros., in 1902
Tala consisting of 1'/^Matras (6 units):

1. Nati 1 01
Talas consisting of 2 Matras (8 units) :
2. Natani 3 - 001
3. Nartana 5 - 100
Talas consisting of l xA - Matras (10 units):
4. Karamani 4* - 0001
5. Jayashri 1 - OS
6. Shrikari 3 - 101
Talas consisting of 3 Matras (12 units)
7. Natanajna - 3 - oos
8. Natyamani 8 1001
9. Natanamani 9 - 00001
Talas consisting of 3'/2 -Matras (14 units)
10. Natanimani 1 00101
11 - 0$
11. Natyajivi - 3 - 10S
12. Atitvarita 12 - 01001
13. Padadhvani 9 - SOI
Talas consisting of 4 - Matras (16 units)
14. Janavinuta - 26 - 100001
15. Vinodanatani 25 - 010001
16. Nartanapriya 20 I0I0I
17. Natanavinodi 8 oooos
18. Charanaghattani 21 - 000101
19. Shringarakari 22 - S001
Talas consisting of 4Vi - Matras (18 units)
20. Shrikalapriya 35 - 100101
21. Nartanavinodi 12 I000S
22. Sadanadamani 37 0S001
23. Karadeshavasani 43 - 0010001
24. Charanayugadhvani 36 0000101

25. Janasammodmi 3 00S01
30 000$
26. Shankarahladini 55 IOSOI
27. Layaparigrahini 56 - 000S0I
28. Bharatamunindravinuta 181 000010000
29. Padayugaghattani 65 - 1000I0I
30. Ghantanadamayi 67 $001
31. Karatadanadhvani 63 - 00I0I0I
32. Nandivadyavibhrama 151 - I0I0I00
Tala consisting of 5/4 - Matras (22 units)
33. Bhringinatanapriya - I ll S00I0I
34. Arjunanirmitangi 32 100I0S
35. Trilokasancharini - 95 - OIOSOI
36. Vilasitapadacharini 116 - 000000101
37. Divyakusumasayaki 115 I0000I0I
38. Nanajanakaramani 144 S00000I
Talas consisting of 6 - Matras (24 units)
39. Rajendrasammodini 172 S0S01
40. Natanadaomkarini - 174 - 00I0S0I
41. Gandharvopakarini 192 - (S0I01)
$0101
42. Chidambareshwaranatani 258 - (0I0I000I)
010100001
43. Vasudevanandini 166
o
o
44. Rasikajananumodini - 200 - 000010I0I

45. Rajarajaprasangi 49 10S0S
46. Kinnarabhamadarana 217 - I00S00I
47. Amarasannutajayashri 73 - 000I000S
48. Mridangavadyanukula 365 - 0I0S0I0
49. Hamsanandagamani 252 - $00001
Talas consisting of 614 •Matras (26 units)
50. Menakatmajapramodini 343 - I0S0I0I
51. Vadhujanashrayadhimani 361 0I0I0010I

52. Anandotsavadayini 355 $00101
53. Anangahridayantarangi 104 01000I0S
54. Shadvidhanatyanukarini 293 I00$0I
55. Kaliyavishadharabhedini 372 1000000101
56. Gangatarangashikharini 455 S0100001
57. Padayugavinyastamani 304 0000$01
294 0S0S0I
Talas consisting of 7 Mafras (28 units)
58. Rambhanatyanukulini - 613 SSOIOI
59. Tandavasampritikarini 617 I00S0I0I
60. Agastyanirmitamohini - 552 0I0I0S0I
61. Shivakamavaraprasadini - 334 00I00I0I0I
- 634 oio$ii
62. Medinijanasantoshini 557 10100S0I
63. Tripuranatakapremamani - 528 00I0$01
64. Uttarakanyakabhyasini 553 I00I0S0I
65. Anadinatyaprakashini 616 010S0I0I
66. Sahityarasanukulini 632 S00I0I0I
67. Gajamukhanatanasamvardhani 564 0000000S0I
68. Gajagaminipadayukta 155 OOIOSOS
69. Kantajanamanoharini - 559 S000S0I
70. Purandarvaraprabhamani - 635 - OIOOOIOIOI
Talas consisting of IV 2 - Matras (30 units)
71. Virinchynandasvarupini 1093 0SS010I
72. Gopikakridavilasini 1091 10$0101
73. Manmathakelikavilolini 1124 I00I0I0I0I
74. Atikathinanatanasvarupini 1135 000000I0I01
75. Venuganasamyuktamani 937 I0I0$0I
76. Munijananandapradayini 1092 000$0I01
77. Sanakasanandanasamtoshini 994 0000I00S01
78. Sangitaprabandhavardhani 1117 $010101
79. Sarasvatigaladvanamalini - 2307 01010100101
2069 - I0$01001
80. Hastavinyastakramavadini 2306 ■ I0$00I0I

2037 - 0I$0I00l
81. Narayanashankhanumodini 1970 - S00S0I0I
82. Gaurivallabhanirmitamani 2017 $0010101
83. Adibharatashastrapravinata 1974 I0000S0I0I
84. Ishvaraprasadajanitanipuna 2711 10I0I0000001
85. Tandavakrishnamurtinatanabhara 2680 - 100101000001
86. Sundaraganalasyacharini 1968 I010S0I01
87. Nartakadhijanahridayaranjani 2130 - I00I0000010I
88. Parabhikarasvadhinasulabhini 2582 (OOIOOSOOOO)
00I00S00001
89. Bhamamanipadavivardhani 630 - (SOOSOOSI)
SOOSOOS
90. Devasurahladopacharini 466 - so$os
91. Keshavapadambhojanusarana 2420 - I000$000I
92. Keralavanitapadasarasija 2584 - I0000S0000I
93. Ramalalamapadacharini 2511 - S0I0I0I0I
2011 OOSIOIOOOI
94. Indushekharatandavadambari 3148 - I0I00I0S0I
95. Ravanahastavadyanuragini 3517 - I00I0S0I0I
96. Ranajabherivadyabhayamkari 3640 - 0000$00I0I
97. Tilottamanghrisaroruhamodini 6601 - 0I0S0I00I01
98. Sangarapadaghattanashringarini 5383 - I0000I0$0I
99. Hanumadbharatalakshmanaprakashini 6443 - 00I000I0I0I01
100. Vishvambhararpitakaratalashoba 5681 - S010S0I0S
101. Naradadimunindrahridayasammodini 18344 - I0100I0000S0I
102. Shrigajagaminipadarunabhedakari 24250 IOOIOOSOOIOOI
24105 SS00I00I00I
103. Kaminijanapanchalasyahridimani 21333 I0100$00I0I
20833 - 0$0S000I0I
104. Kalyanotsavasamayochitavaranatyakarini-212685 - $00001000010101
105. Yamunatiravasabhamajanahridayamodini-2-22262 - OOSOIOSOOOOOIOI
164 THE JOURNAL OF THE MUSIC ACADEMY [V01. LXXV
Talas pertaining to Trisra Jati:

106. Guni 2 UO
107. Gunini 3 - UUO
108. Taanndavashri 4 - 0U1
109. Natyajnabhushana 60 • IU0U0
110. Devasuramodini 99 - IUIUO
111. Shringarini 9 - 1U0
112. Suranandini 15 - UIUO
113. Natanapramoda 11 UUOUI
114. Natyavinoda 5 IUI
115. Muniprasangi 6 - U0U1
116. Kalyanashilangi 4 IU$
117. Sadanandadayini 19 - UIU0U0
109 - 1001
118. Madhavanghrisaroruha (386) - 0UIU0U
195
119. Varabhajanasammodini 1237 - 0UIUUIU0
120. Venuvadyalilavinodini 3040 0U0UIU0U0
2518 OUIUUOUUUO
121. Gambhiravarasitarangeshunamni 498 - IUIUUIUI
1418 00IU0II
122. Simhendramadhyamabhushanangi 1449 - IU0UUU0UI
927 - U10IUI0
123. Dundubhivadyamani or 2690 - ou$uo
Pakshirajendrakriti 2168 IIOIUUO
124. Parameshanirmananamarupi 9264 - UUOUSUOUO
8742 - uuuoouuuuuouo
125. Parvatimanojatanamakarini 16479 - ouousuouo
126. Trisramishrakhandasankirnayukta 485 - 0U0U0UIUI
1405 I0U001I
127. Bhishanakarajanitanandanotsava 7548211 0U$UUU$U0
7446592 UUOUUOUOOSIIUO
128. AtyantasukshmamAdhyamakritisumo 10464 IU0U0U0U0U1
10862 - UUU0UUUUU00U1
129. Angajanatyanusaranakaramani 1174 0UUIUUU1UU0
9612 U00UIUU1I
130. Vedikamadyaikakshari 651 0UIUIU0

131. Garudapakshinamamani 9824 ouuSuuo
9302 UUOUUUOOOUUO
132. Deveshadisurapramodini 3514 Suuououo
31310 UOOOUUUUOII
133. Brahmadevanirmitakaramani 93352 ouououSuo
- 92856 oouuouuosuo
134. Devakritihamsakritimani 1748 0UUUIUUU0
- 848 UOIOOUUU
135. Rasakridavinodini 383 suouo
136. Rajivapushpamalakritisunada 3029 IU0UIU0U1
137. Shrikanthanatyamodanukula 367 - IUSUI
138. Kalharasumamalakritisubhadra (7633) - IUUSUUU
5891
139. Yantralokalokadivyaparakarini 26817 oususuo
26693 uooouuusuo
140. Jajisuketakimadhavisupunnagainalikangi 244668
IU0U1U0UIU0U1
242910 - UU1100I0U0UI
141. Shringarakarashobhitashrilakshmi 124467 - sssoouuu
katakshavikshamauda 6368486 - 1U00UUUUUUU00US
142. Natanajanavajrayudha 1258 - UUUUUUUUUIUO
143. Karacharanashabdakaramani 27529 - uuuuuSuuo
144. Suravarakinnaramuninuta 907 - uuuuouuuuuo
145. Bhikaradanujamadaharanamusala 5105 - ouuuuuuuuuuuuo
146. Purandarapriyakriyabhedanapramodini 203354 - u o u o u o u iu o u o u o
147. Angantarachaturshra 51 - IUUUUI
148. Mallayuddhasadhanapramoda 2411 - 0U0U0U0UI
889 osoouo
149. Vikatanatajanakuthari 191 UUUUUUUUUI
150. Vishamanatanapratapashekhari 3861 • uuuuuououo
4781 - uuuuuououuoo
151. Jagadvijayataranatanashekhari 4046 - uouuuuuuuuouo
4966 - uouuuuuuuuuoo
152. Vilasalolakaramani 9823 • uouSuuo

9301 - OOUUUOOOUUO
153. Ativishadharauragendrakarini 49914 - uuuuuuuuSuo
154. Pralayakaloddandachandamarutakarini - 1207856 - u u u S u o u o u iu o
155. Shriparamamunindrahridayahladakarini - 58541 - 0UUU0UUUIU0U0
156. Sankrandananandanavaraputra 733987 - uuou uuuouuouuouo
-satinatanapriya 731163 - IIUUUU0UIUUU0U0
157. Hamsaturangadidevatapriay 3847 - o u u iu o u o u o
4767 - o u u iu o u u o o
158. Achyptanatyanrityanartana 2874397 - ouuouououuuouuso
-vichitralayabrahmajnani 2367841 - u u o u S u o o u u u io
2. For the first time in the annals of our music literature, in the element of
Talaprastara, the figure ‘ 1’ is written in the left extreme of the 1st house of
‘Sankhya’ of all the tables of Akhanda-prastra and also for the lowest lines
of all the tables of Khanda -prastra which is unique in itself (refer the tables
2 & 3 of the item No. 3)
Prior to that a defective system called ‘Pratinidhi’ was furnished in

Sangita Ratnakara by Nihshanka Sharngadeva and the same was followed
by one and all later. While there is a single mode of writing the figures of
the tables of any Anga Sharngadeva, in support of his ‘Pratinidhi-system’,
had not only altered the mode of writing the figures of the table of Druta
(given below) but also consequently altered the answering methods of both
Nashta and Uddishta of this table thus driving the reader into utter
confusion.
3. For the first time in the annals of our music literature in all the
tables of Akhanda-prastara the ‘Mahapatala’, which is the total number of
all the Angas of all the different denominations, is also furnished.
Prior to that only ‘Patala’, which is the total number of the least
Angas only, was always furnished.
Exam ple:
1. Table of general-permutations of Chaturanga-prastara furnished in
Sangita Ratnakara
(with Sankhya & Patala)
1 2 3 4 5 6 7 8 9 10 11 12 13
1 2 3 6 10 19 33 60 106 191 340 610 1089
1 2 5 10 22 44 91 180 358 698 1360 2622 5041
2. Table of general-permutation of Chaturanga-prastara furnished in

Gayakalochanam
(with Sankhya, Patala & Mahapatala)
1 2 3 4 5 6 7 8 9 10 11 12 13
1 1 2 3 6 10 19 33 60 106 191 340 610 1089
1 2 5 10 22 44 91 180 358 698 1360 2622 5041
1 3 7 16 34 72 147 298 592 1169 2282 4431 8541
3. The modern table of general-permutation of Chaturanga-

prastara (with Sankhya & Mahapatala)
1 2 3 4 5 6 7 8 9 10 11 12 13
1 1 2 3 6 10 19 33 60 106 191 340 610 1089
1 3 7 16 34 72 147 298 592 1169 2282 4431 8541
Note : As the ‘Patala’ also includes in ‘Mahapatala’ and also the

inter-link between the ‘Sankhy & Mahapatala’ makes more important
meaningful and useful the ‘Patala’ has entirely been removed from the
modified 3rd table.
In all the tables above the figures of the top horizontal line indicates
the units of permutation i.e., I-druta-permutation, 2-drutas-permutation,
3-drutas-perm utation etc., and so on and the second horizontal line
consists of the figure of ‘Sankhya’, the total numbr of permutations

obtained in the process of permutation.
While the horizontal line of the 1s‘ and 2nd tables above consists of
the figure of ‘Patala’, the total number of the least Angas occured in the
process of permutation the fourth horizontal line of the 2nd table and the
third horizontal line of the modified 3rd table consist of the figure of
‘M ahapatala’, the total num ber of all the Angas of all the different
denominations occurred in the process of permutation. For example, as
per the 2nd table, the bold figure ‘8’ in the top horizontal line indicates the
8-druta-permutation in which the process of permutation starts with ‘I S’
in the 1s*permutation, the corresponding figure ‘60 ’ in the next horizontal
line is the ‘Sankhya’, the total number of permutations obtained in the
process of permutation, the corresponding figure, ‘ 180’ beneath in the
next horizontal line is the ‘Patala’, the total number of the least Angas i.e.,
Drutas occurred in the process of permutation and the corresponding figure
‘298’ beneath in the next horizontal line in the ‘M ahapatala’ the total
number of all the Angas of all the different denominations occurred in the
process of permutation.
4. For the first time in the annals of our music literature a numb
of tables bringing out the correct details of the different permutations
pertaining to both Chaturang^ -prastra and Panchanga-prastara are
furnished.
For the first time in the annals of our music literature the tables
pertaining to Chaturanga-prastara only are furnished in Sangita Ratnakara.
Among them, while the details of the Laghu-meru (table of Laghu), Guru-
meru (table of Guru) and Pluta-meru (table of Pluta) are written according
to the general norms the details of Druta-meru (table of Druta) and the
Samyoga-meru (table of Cominative-Angas) are altered creating confusion
to the readers.
In Gayakalochanam, the correct tables of not only Chaturanga-

prastara but all the tables of Panchanga-prastara also are furnished for the
first time in the annals of our music literature. Interestingly, for the first
time in the annals of our music literature, the table of Druta of Chaturanga-
prastara is also modified correctly by the Tacchur Bros., and furnished
basing upon the general norms of drawing the tables and writing the figures
of the tables.
1 1
1 1 11 12
1 1 9 10 54 65
1 1 7 8 35 44 147 200
1 1 5 6 20 37 70 104 220 357
1 1 3 4 9 14 25 44 63 125 153 336
1 1 2 2 5 4 12 7 26 13 56 24 118
1 2 3 4 5 6 7 8 9 10 11 12 13
The Druta-meru ‘A’ furnished above by Sharngadeva is not drawn

in accordance with the general procedure followed in writing the other
tables given by himself. While drawing the houses of this table Druta or
writing the figures of this table he did not follow the general norms at all.
As per the general norms, as furnished in ‘B’ below, the lowest horizontal
line of the Druta-meru should consist of 13 houses (as presently it is limited
to 13-Drutas-permutationonly), the 1st upper-horizontal-line should also
consist of 13 houses, the 2nd upper-horizontal-line should consist of 12
houses i.e., one house lesser than its immediate lower line starting from
the 2ndvertical line from the left side, the 3rdupper-horizontal-line should
consist of 11 houses i.e., one house lesser than its immediate lower line
starting from the 3rd vertical line, the 4th upper-horizontal-line should
starting from the 4th vertical line, the 5th upper-horizontal-line should
starting from the 5,h vertical line, the 6th upper-horizontal-line should
starting from the 6*h vertical line, the 7th upper-horizontal-line should
consist of 7 houses starting from the 7th vertical line, the 8th line should
consist of 2 houses starting from the 12th vertical line and the 13,h line
should consist of only 1 house starting from the 13,h vertical line. As per
the general norms the lowest line of any table of any independent Anga
should always consist of Sankhya (the total number of permutation) in
which the Anga of that particular table is absent and among the upper-
lines the 1st upper-line should consist of the Sankhya in which the Anga of
that p articular table occurs or ap p e ars only once in each of the
permutations, the 2nd upper-line should consist of the Sankhya in which
the Anga of that particular table occurs only twice in each of the
permutations, the 3rd upper-line is of 3-Angas containing-permutations,
the 4thupper-line is of 4-Angas containing permutations and so on. Thus,
this table of Druta should consist of the Sankhya of the Druta-devoid-
permutations (DDPs) only in the lowest line having correspondingly been
indicated with zero in the right extreme, I-Druta-containing permutations
(I-DCPs) in the 1st upper-line as indicated with the figure ‘I’ in the right
extreme, 2-DCPs in the 2nd upper-line as indicated with the figure ‘2’ in
the right extreme, 3-DCPs in the 3rd upper-line as indicated with the figure
‘3’ in the right extreme and so on as furnished in the table ‘B \ But,
Sharngadeva, without following the general norms, had removed all the
intervening zeros of this table and always mixturing the even and odd
figures of two lines each time mixed the lowest and the 1st upper-horizontal
lines and condensed as his lowest line, the 2nd & 3rd upper-horizontal as
his 151upper-horizontal-line starting from the 2ndvertical line, the 4th& 5,h
upper-horizontal lines, as his 2ndupper-horizontal-line starting from the
4th vertical line,the 6th & 7th upper-horizontal lines as his 3rd upper-
horizontal-line starting from the 6th vertical line, the 8th & 9,h upper-
horizontal-line as his 4thupper-horizontal-line starting from the 8thvertical
line, the 10th& 11th upper-horizontal-line as his 5th upper-horizontal-line
starting from the 10th vertical line and the 12th & 13,h upper-horizontal-
lines as his 6th upper-horizontal-line starting from the 12thvertical line.
Sharngadeva, though he had followed these general forms while drawing
the other tables of Laghu, Guru and Pluta, he did not follow them while
writing the figures of the table of Druta to merely support his ‘Pratinidhi-
system’ throwing the poor reader into utter confusion.
1 2 3 4 5 6 7 8 9 10 11 12 13
1 13
1 0 12
1 0 12 11
1 0 11 0 10
1 0 10 0 65 9
1 0 9 0 54 0 8
' 1 0 8 0 44 0 200 7
1 0 7 0 35 0 147 0 6
1 0 6 0 27 0 104 0 357 5
1 0 5 0 20 0 70 0 220 0 4
1 0 4 0 14 0 44 0 125 0 336 3
1 0 3 0 9 0 25 0 63 0 153 0 2
1 0 2 0 5 0 12 0 26 0 56 0 118 1
1 0 1 0 2 0 4 0 7 0 13 0 24 0 0
W hile an altered version of ‘Sam yoga-m eru’ is furnished by

Sharngadeva, though not incorrect, another kind of Samudayanga-meru,
which is only a duplication of all the tables of Khanda-prastara together, is
furnished is by Tacchur Bros., in place of the actual Samyoga-meru. This
Samudayanga-meru (A) is furnished below along with the incorrect
Samyoga-meru of Sharngadeva (B) and another correct Samyoga-meru
(C) modified by the author of the article for the benefit of the readers.
2002] RARE & UNIQUE........SINGARACHARYA BROS. 173
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BOOK REVIEW S
Bargit: A Musicological exploration, Jorhat, India. 2001

b y Dr. Pabitrapran Goswami
Price: Rs.350.00
This work by Dr. Pabitrapran Goswami is in invaluable contribution

for understanding the music or Bargit of Assam in North eastern frontier
of India. The author with his scholarly presentation of notation and analysis
has presented a systamatiesed information on 36 ragas and twenty two
talas used in the music of Bargit after having made a comparative analysis
of the notation of the specimens collected from 13 different Sattras
representing the upper, middle and lower part of Assam. This work is no
mean achievement for an individual scholar. The author’s methodology
in this work is praise worthy as it is both pragmatic and scientific.
The book consists of seven chapters including the introduction and

conclusion besides the Four Appendix which deals with Rag Malita
(Appendix ‘A’), Appendix ‘B’, an unpublished Bargit by Madhavadeva,
Appendix ‘C’ - Maps indicating the location of the Sattras from which the
specimens of the Ragas and Talas have been collected, Appendix ’D’ -
Full texts of the Bargits cited in Chapter - II and select bibliography.
Bargit are devotional songs which belong to Assam composed by

Srimanta Sankaradeva and his disciple Sri Madhavadeva during the late
15th cent and early 16th cent who were exponents of Vaishnavism. They
spread Vaishnavism through their compositions in Assam and popularised
the first two bhakthi margas ae Sravanam and Keertanam among the nine
kinds of Bhakthi Marg. Therefore Bargit songs are known as Namaprasanga
and Nama Samkeertana among the Sattras and in the village Namghara.
There are altogether 36 ragas which are different from the classical Ragas
or North and South India. They are set with special type of Talas which
are 22 in number. Since India is a vact country having many traditional
forms, Bargit songs are not known to many scholars in South India.
Chapter I, gives a detailed account of the Bargit songs and their

ragas and talas besides the instruments played with Bargit songs, their
performance style and the musical significance.
Chapter II describes the literary significance of the text of the Bargit
as they are lyrical and poetic compositions.
The notation of the Ragas collected from various Sattras with the
text, Tala description Dhrun and name of the singers with a conclusion of
summary of observation for each song are given Chapter III whereas
Chapter IV deals with Notation with scanning of the Talas collected from
different Sattras. Tala name and its three sections, the name of the player
and a summary of observation of each Tala are presented accurately and
precisely. It can be said that Chapters IB and IV reveal the author’s
scholarship and his methodological excellence. The notation follows the
Hindusthan style and they are simple to follow the melody and rhythm of
the songs. At the end of the Chapter IV, the author mentions the reason
for non inclusion of a few Talas.
Chapter V and VI present systamatic theories derived from the
Notation and analysis of the previous chapters 3 and 4 thus giving the reader
a sum up of the theories of the Bargit Ragas and Talas.
In the concluding Chapter VII deductions from the research study
of the author on Bargit songs are summarised effectively and the author
corrobarates the claim of the scholars and musicians as to the potentialities
of the Bargit for being developed as a separate stream of Indian classical
music.
This work is scholarly and useful to understand provincial music of
especially on Bargit genre of Assam. The notation and analysis of the ragas
and tala’s of Bargit songs are of high order as the author is himself a
performer of Bargit songs. The information on Bargit songs are given
elaborately besides the songs with notation. This valuable work needs to
be placed in every Music Library for the readers to understand the great
traditional Bargit songs of Assam of the North East Frontier state of India.
Dr. S.A.K. DURGA

2002] BOOK REVIEWS 177
VARNAM
Selected concert studies for the South Indian Lute
by Emmie Te Ntfenhuis
Published by : Sarasvati Bhavan,

Naarden, The Netherlands
When the art of Veena playing in the classical karnatik idiom is by

itself becoming a rarity, it is heart warming to come across the book under
review which will certainly be of immense delight to Veena players, rasikas
and students.
Many of us may not be aware of the various changes, the currently

handled ‘Sarasvati Veena’ has undergone over the last two centuries.
That the veena emerged from the Vedas has been vouched for by
Saint Tyagaraja in his Kaanada Raga Kriti “ Sri Narada’’.
The author has taken great pains in her introductory chapter to
interestingly describe the form of the Veena from the first to the sixth
century B.C. upto the presently handled Vina with the 7 strings, which all
Karnatik music lovers are familiar with. A very detailed chart spelling out
the names of the various parts of the Veena is sure to whet a veena player’s
appetite. That the names of the different parts of names of the instrument
have been given in Tamil, Telugu and Sanskrit is certainly very useful to
the Veena players of the Southern Indian states.
The terms used for the various techniques employed using the right
hand and left hand are clearly detailed benefitting all Vainikas.
The styles of Veena playing covering the Mysore style and the
Tanjore style have been dealt with, in a precise and compact manner.
No book on Veena would be complete without a reference to the

legendary Veena Dhanammal. The author has traced her artistic lineage
and has given adequate inputs, about her exclusive style, her Paataanthara
and her descendants.
The highly captivating style of the Karaikudi brothers also finds

mention for which the author is to be congratulated. Many of the current
day rasikas would not have had the fortune of listening to the famed
Karaikudi Brothers play on the Veena. For them it would be matter of a
great interest to read about their captivating style which has been very
crisply, dealt with.
The ‘Varnam’ an educational as well as a concert composition forms

is the m ain subject of this book. The au th o r, a very renow ned
Ethnomusicologist, a distinguished Dutch scholar, and a close associate
of The Music Academy for the past couple of decades, has made a very
detailed and deep analysis of the subject. Abundant information about the
structure of the Varnam form at covering the pallavi, anupallavi,
muktayisvara, charana and the ettukada svaras offers a very interesting
reading.
English translations for the lyrics of popular Tana Varnas like

Vanajakshi (Kalyani Raga, Adi Tala)
Intacaukaseya (Bilahari Raga, Adi Tala)
Intacalamu (Begada Raga, Adi Tala)
Calamelajese (Darbar Raga, Adi Tala)
Valacivacci (Navaragamalika, Adi Tala)
Evari Bodhana (Abhogi Raga, Adi Tala)
Ninnukori (Mohana Raga, Adi Tala)
Sami ninne (Sri Raga, Adi Tala)
add to the importance and value of the publication. The Melakarta chart
and the western notation for select Tana Varnams will certainly be of great
interest to students of music.
To add color photographs of a galaxy of great Veena Vidwans like

V. Doreswamy Iyengar, Ranganayaki Rajagopalan and others reveal the
author’s immense respect for our veterans and their grand techniques.
The book is accommpanied by two compact audio discs. These

contain few of the Sarali varisais and Janta varisais which are played very
meticulously by Vidwan Karaikudi Dr. S. Subramanian, keeping a focus
on the gamakas which are unique to Karnatik music and for Veena playing,
in particular.
The CD’s also contain Varnams rendered by eminent Veena players

like V. Doreswamy Iyengar, Ranganayaki Rajagopalan, R.S. Jayalakshmi,
D. Balakrishna, Jeyalakshmi Kalidas and K.G. Vijayakrishnan.
The jewel in the second CD is however the Kalyani Ata Tala varnam
‘Vanajakshi’ (Pallavi Gopala Iyer) which has been played by the late Savitri
Rajan who was fortunate to have learnt directly from Veena Dhanam. She
has been vocally supported in her Veena playing by yet another scion from
the Dhanammal family, Smt. T. Muktha.
This publication is a wholesome treat to lovers of music through its

dual focus on the textual and practical (Prayoga) aspects of Veena playing
Technique and is highly commendable; it is a must in the book collections
of music lovers and libraries.
P. VASANTH KUMAR
SEMIOSIS IN HINDUSTHANI MUSIC

Jose Luiz Martinez
Motilal Banarsidass Publishers Private Limited, Delhi, 2001 (First

Indian Edition)
The author Dr. Jose Luiz Martinez has studied Musicology and
Semiotics from the University of Helsinki, Finland and later Hindusthani
music performance'(Dhrupad and Tabla) and musicology in India. With
his background as a performer, composer, musicologist and semiotician
he is able to bring out this excellent work ‘‘Semiosis in Hindusthani Music” .
The semiotic perspective has never been even thought of by many Indian
Musicologists/Ethnomusicologists to study music. Semiosis is the “ process
by which all forms of signification occur “ (X111P) According to Charles
Peirce, one of the great pioneers in the field of semiotics, “ Semiosis is
carried out by signs which stand for an object or groups of objects and are
to be interpreted by some kind of mind” (XIVp). The author says that
“ Music is a sign of itself, and the various ways of organizing musical
material can be viewed as forms of semiosis” (XIVP). Based on this view
the author has presented this work with three main sections besides
Conclusion Bibliography and Index :
1. On Musicology, Ethnomusicology, Musical Semiotics and
Epistemology
2. A Peircean semiotic theory of music as applied to Hindusthani
Music
3. Hindusthani classical music and Rasa theory. A semiotic
interpretation.
In this work, the author points out in his preface that “ Interpretation,
Interpretant and Interpreter are used throughout this study in their semiotic
technical sense (XTVP). This work analyses and discusses the modes of
semiosis as present in Hindusthani music in detail which will be interesting
for scholars than performers.
As semiosis is the process by which all forms of signification occur,

the author begins this work with the topic “ The signification of Indian
Music” . The author discusses the signification of Hindusthani Music
broadly here and says that “ Indian musical thoughts and aesthetics are
brought forward into the contemporary world thereby conveying as a
semiotic Nama, Roopa and Kama triad” - its rich heritage, and contributing
its part to discussions of the semiotic web (4p). The first topic “ (Ethno)
musicology and Musical meaning” is studied with the views of John
Blacking, one of the foremost ethnomusicologists of the West and Allen
M erriam another ethnomusicologist whose perspectives are on the
anthropological view point. The author proceeds with the different cultural
and social perspectives of many ethnomusicologists of the west such as
Bruno Nettle, Charles Seeger and their views and symbolic behavior as
told in Meniam’s work to bring out the concept of semiosis in Music. The
second topic in the first section is “ Some theories of Musical semiotics” .
In this heading, the author says that his focus is on musical applications of
semiotic theory of Charles S. Peirce. He gives the semiotic theories of
various western writers and a few of the Indian scholars who have dealt
with signification in Indian music such as Deva and Viramani on Rasa theory
and Goswami. Semiosis is sign interpretation and is not primarily directed
to the reception of music but to musical interpretation “ in the sense of the
causation of musical phenomenon” . Musical semiosis can be said as the
point of departure for musical analysis. In the third title “ The place of
music in Pence’s classification of the sciences” , the author points out that
there are two types of semiotics - formal or Pure which is highly abstract
and theoritical domain and the other applied or descriptive semiotics which
is concerned with “ practical fields and pertains to issues in specific
disciplines or other areas of application” .
The semiotic theory of music is to investigate :
(1) the sign in itself (2) the sign related to its possible objects. 3.
The sign related to its possible interpretants according to the author to
understand musical phenomenon from a broad perspective. This theory

has been discussed broadly and explained in detail to follow the other two
sections of the work where the author analyses and interprets Hindusthani
music in the perspective of Peirce’s Semiotic theory.
The second edition is titled as “ A peircean Semiotic Theory of Music

as applied to Hindusthani classical music. It has three sub divisions -
(a) Music and Peirce’s phaneroscopy; phaneroscopy is the description of
the phaneren and by the phaneron “ according to Peirce. The theory is
explained in detail as “ the study of phaneroscopy is essential for the
comprehension of semiotics, for the latter is based completely on the
principals laid by the former” (55p) (b) The concept of musical sign and
semiotics, (c) Fields of semiotic enquiry.
Under the third division, three subtitles are given :
1. “ Intrinsic musical semiosis which deals with
a. Musical qualities
b. Music existents and replieas,
c. Musical legisigns.
2. “ Musical reference” where
a. Icons and iconic signs in music
b. Index and indexical reference
c. Symbols in music are dealt with and in the
3. “ Musical interpretation”
a. Perception b. Performance c. Musical intelligence and

composition are dealt with. They are discussed with musical examples in
staff notation. The second section makes the reader to understand the
perspective of semiosis more profoundly which the author explains in the
first section on the concept of semiotics, semiosis and its application and
2002] BOOK RKVIEWS 183
view of different authors on semiotics. The topics on voice qualities given

in ancient texts, Swara, Raga, Tala musical forms improvisation and other
aspects of Hindusthani music as interpreted by various Indian and Non
Indian scholars are critically analysed and discussed by the author which
makes the reader understand how the semiosis in Hindusthani Music is
brought out in this work.
The last subtitle “ Musical Interpretation” stands as one of the best

sections in this book where the author has shown as to how to interpret
the meaning of music in the semiotic perspective.
Before Conclusion, Bibiliography and Index, the author presents

the last and final section “Hindusthani Classical Music and the Raga theory.
A semiotic interpretation” . The author analyses the various Rasa theories
from the ancient works upto modern young scholars, unpublished
dissertations of twentieth century and has explored in the light of the
classical Indian aesthetic theory of Rasa in view of Peircean semiotics.
The author has very well said in the conclusion that any one intending to
analyze any kind of music needs theoretical tools. If the analysis evolves
into problems of signification, a semiotic theory of music has to be
considered.
This work by a non Indian author Dr. Jose Luiz Martinez on Indian
Classical Music - Hindusthani music in the prespective of semiosis is a
praisew orthy contribution to Indian music literature having a new
perspective semiosis - on Indian music which will be useful not only to
musicologists/ethnomusicologists but also to performers, composers and
listeners of Hindusthani music to interpret the meaning of music in a
scientific and epistemological manner. The analysis and discussion on the
various aspects of Hindusthani music in the perspective of semiotics are
commendable contribution to the music world.
Dr. S.A.K. Durga

Part* IV
Trie . Raganidhiby- 8. Subba Rao (In English) «
V o te w e -l „ # * / 40.00
40.00
45.00
Vbiume-tV 50.00
Ragasof Sangita Saramrta (English)
by T.V. Subba Rao and Dr. S.R. Janakiraman
Ragas Ukahanangal (in Tamil) by Dr. S.R. Janakiraman
80.00
50.00
Lakshana Gitas complied and edited by
Dr. S.R. Janakiraman 40.00
TheCbaturdandi Prakasika ofVenkatamakhin 10.00- w i
(Sanskrit Text with supplement)
Mazhavai Ctiidambara Bharati’s Song with
Notation in Tamil 5.00
M.S. The Queen of Song (Brochure in English) 40.00
D. K. Pattammal (Brochure in English) 25.00
Ariyakudi Ramanuja Iyengar Commemoration Volume 10.00
Musical Instruments (Brochure with pictures) 5.00
Index to articles published in the Music Academy Souvenirs 2.00
Report of the All India Music Conference 1927 Madras , ' 2.00
E. Krishna Iyer Centenary issue 10.00
* .. Special issue - Birth Centenaries 15.00
jllili
*. Thanjai Nalvar Natya Isai - Rare dance compositions
gig
(with Notation) of the Tanjore Quartette
byfsaiPemrignar, Natyacharya ThanjavurK.R Kittappa Pillai 100.00
i Special Brochure on Sangita Kalanidhi
Sri MusiriSubramania Iyer 25.00
JavalibySmt.’T Brinda 40.00 i
.5. Professor Sambamoorthy the Visionary Musicologist
^
by Brahma
........»..... : ........ ........................... ‘ *
______________________ „ 150.00
Printed at the Kayveekay Letter Prints, Chennai-600 004 and Published by
S*i T.T. Vasu for the Music Academy, New 168 (Old 306), T.T.K, Road, -
Royagettah, Cbeonri - 600014. e-mail tmi»cacademy#vaQ]lxodi

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ISSN.

DEVOTED TO THE ADVANCEMENT OF THE

Vol. LXXV 2002

PLATINUM JUBILEE YEAR

Articles on music and dance are accepted for publication on the

Manuscripts should be legibly written or preferably, type written

Place of Publication The Music Academy,

2. The LXXV Madras Music Conference-Official Report

3. Summary of Papers presented in the Conference

5. Geeta, Taya, Alapa

ly The suitability of the different types of Rhythms and Talas for

9. Layam in Musicological Perspective

10. Connotation of Kriti and Padam

11. Musical Reference in Tiruvisaippa and

12. Rare & Unique Contribution of Tacchur Singaracharya Bros.

I am extremely delighted to write this note on the happy occasion of

The present volume contains informative articles presented in this year's

The Opening Day

14th December, 2001

The 75th Annual Conference of the Music Academy, Madras, was

The Hon’ble Chief Justice, Thiru.B. Subhashan Reddy, inaugurated

On his arrival at the premises of the Academy, the Hon’ble Chief

The President of the Academy, Sri.T.T.Vasu, then welcomed the

Hon’ble Justice Sri. Subhashan Reddy, Chief Justice of the Madras

With great pleasure I extend to all of you a hearty welcome to the

I extend a warm welcome to Hon’ble Sri Subhashan Reddy, Chief

Apart from being an eminent jurist, Justice Reddy is a lover of

This 75th conference will be p resid e d over by Vidwan

Avarthanam’ to Justice Reddy today. Umayalpuram Sivaraman underwent

In addition to being a top-ranking player on the instrument,

In view of the special importance of this conference, we are

We are also honouring four distinguished artistes, three of them

Vidwan Kumbhakonam Rajappa Iyer, who will be receiving the title

Smt. Sulochana Pattabhiraman, who will be receiving a similar title,

The Academy has selected Vidwan V. Thiagarajan, distinuished

The Academy plans to celebrate the Platinum Jubilee as a year­

On this special occasion, the Academy acknowledges the donation

With advancement of technological devices, the Academy enters

Before I conclude, I thank you all, our most respected Members,

Thank you one and all.

After the inaugural address of the chief guest, Sangita Kalanidhi

Hon’ble Justice Sri. Subhashan Reddy, Sri. T.T. Vasu, President of

At the outset, I would like to convey my namaskarams to you all. I

From the time of Vedas to the present age of Information and

World renowned scientist, Dr. Albert Einstein, who was a great

Seasoned logs of Jackwood and other varieties have become scarce

Present day mrudangams are so heavy as compared to instruments

Instead of regular skins and hides, the westerners have begun to

I should attribute the reason for such activities of mine in this

Coming as it does from no less then the avatar of Goddess

As the principles and precepts of our Sanathana Dharma serve as

There is always a separate department, head of department, the

For quite a number of years, I had been discussing a proposal with

Nowadays, mrudangam artistes are travelling to all important

The Music Academy has started “ The Thanjavoor Vaidyanatha Iyer

When it comes to the techniques of playing the instruments, one

generally, great instrumentalists prefer to follow the Gayaki style. If there

Thani Avarthanam is only Extension of the song. The mrudangam

The prerequisite for a mrudangam artiste to enjoy this state of

The appreciation reaches a high degree of excellence when the

Yet another important duty of the mrudangam artiste is to create

Among percussion instruments in the world, using skins and hides,

The participation of mrudangam now in Jugalbandhi Concerts, Jazz,

The Academy plans to celebrate the Platinum Jubilee as a year