Explore >> The notion of a particular time prescribed for ragas (gāna kāla) plays a greater role in Hindustani music than for exponents of its southern counterpart where sārvakālika ragas prevail: ragas suited to any day or night time. A few ragas nevertheless continue to be associated with the moods indicated by song lyrics (notably …
Continue reading “Time theory in Vivekananda’s Concepts of Indian Classical Music”
“The greatest, most beautiful thing is compassion expressed through music” – Savithri Rajan Excerpt from: Tyagaraja and the Renewal of Tradition: Translations and Reflections by William Jackson (Delhi: Motilal Banarsidas, 1994), pp. 174-175https://search.worldcat.org/en/title/878687716 How does Savithri Rajan perceive Tyagaraja? She characterizes Tyagaraja as an heroic soul who was able to reach out through shared feelings …
Continue reading “Audio | “Dedication to her guru, Veena Dhanammal” by Savithri Rajan”
In Tanjore as a Seat of Music (pp. 420-426), S. Seetha explains the scope envisaged by Venkatamakhi when presenting his mela arrangement >> Venkatamakhi while justifying the derivation of 72 melakartas by permutation and combination interestingly remarks that countries are many with people having variety of tastes and it is to please them ragas have been …
