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Classical Music

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M D Ramanathan: Kavi hridaya and the importance of sāhitya in Carnatic music

This article aims to discuss aspects of M D Ramanathan’s singing and discuss the importance of sāhitya (lyrics) in Carnatic music compositions. ಓದನ್ನು ಮುಂದುವರೆಸಿ

Edupu in Carnatic Music: Part 1

A textbook definition of edupu tells you that in Carnatic music, “the relationship between a kriti and its taaLa at the beginning of a kriti or a typical segment (stanza) of a kriti is defined by edupu”. In other words, edupu tells you whether the taaLa preceeds the kriti (anaagata graha) or the kriti preceeds the taaLa (ateeta graha). In essence, edupu is an interval of time at the beginning of a kriti where silence is music (no singing, no playing). Often the edupu defines a critical juncture in the saahitya of a kriti. ಓದನ್ನು ಮುಂದುವರೆಸಿ

Mighty at eighty: Umayalapuram Sivaraman

The South Indian percussion instrument Mridanga had many great exponents who brought the best out of its tonal and rhythmic qualities.  Many in my generation could not listen to the live concerts of Palghat Mani Iyer and his ilk.  The generation that came after the golden trio (PMI, PSP and CSM) really did live up … ಓದನ್ನು ಮುಂದುವರೆಸಿ

ನರ ಜನ್ಮ ಬಂದಾಗ, ನಾಲಿಗೆ ಇರುವಾಗ

ಯಾವುದೇ ಕಾರ್ಯ ಕ್ಷೇತ್ರದಲ್ಲಿ ಹಿಮಾಲಯದ ಎತ್ತರಕ್ಕೆ ನಿಲ್ಲುವ ಮಹಾನ್ ವ್ಯಕಿತ್ವ, ಪ್ರತಿಭೆಗಳು ಒಂದು ಶತಮಾನದಲ್ಲಿ ನಾಲ್ಕೈದು ಮಂದಿ ಸಿಕ್ಕರೆ ಹೆಚ್ಚು. ಅಷ್ಟು ಎತ್ತರಕ್ಕೆ ಹೋದ ಮೇಲೂ ಅಂಥ ಸಾಧಕರಿಗೆ ಇನ್ನೂ ಎತ್ತರಕ್ಕೆ ಬೆಳೆಯಬೇಕೆಂಬ ಹಂಬಲ ಇರುತ್ತದಲ್ಲಾ? ಅದು ಹೇಗೆ ಸಾಧ್ಯ? ಓದನ್ನು ಮುಂದುವರೆಸಿ

Pu Ti Narasimhachar (PuTiNa): Dreams and Carnatic Music (Part 2)

PuTiNa had a special longing for Carnatic music. He would dream of symphonies of abstract musical forms and he would wake up startled. To him, every imagination was real. ಓದನ್ನು ಮುಂದುವರೆಸಿ

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