International Conference at Annamalai University on Dance, Music and Media in the 20th and 21st Centuries

International Conference at Annamalai University on Dance, Music and Media in the 20th and 21st Centuries

Feb 6 – 7 2018

The Department of Music, Faculty of Fine Arts, Annamalai University is organizing a two – day International Conference on ‘Dance, Music and Media in the 20th and 21st Centuries’. The two-day International Conference will focus on tracing out the growth and development of Dance and Music with the help of Media during the 20th and 21st Centuries. Simultaneously, it will analyze the way the perception of the two arts has undergone a tremendous change due to the powerful influence of media and the contemporary performance scene. It will bring to limelight how media such as cinema, television, radio, newspapers, magazines, CDs, computers and Internet have paved the way for allowing the expression and expansion of individual ideas, opinions and identities in the fields of Dance and Music.

For detailed information about the seminar and to view the registration form, please download the brochure from

Some details about the conference are given below:

Sub-Themes for the Conference

  1. Role of websites in traditional arts
  2. Influence of media in music and dance
  3. Learning dance and music through print media such as magazines, journals, dailies and others.
  4. Dance and Music in Literature
  5. Dance and Music for peaceful life
  6. Changes of traditional values in 20th and 21st centuries in the field of Dance and Music
  7. Any other theme related to the conference can be taken for paper presentation

Thrust Areas

  1. Various postures of dance in ABHINAYATHARPANAM and NATYASASTHRAM
  2. Critical analysis of dance movements and rhythmical structure of TOLKAPPIYAM
  3. Portrayal of dance and music in PANCHAMARABU and KOOTHANOOL
  4. Images of dance and music in SILAPATHIKARAM and SANGEETHA RATHNAKARAM
  6. Critical analysis of LAYA and rhythmical structure of THALA DEEPIKAI

Abstracts & Research paper Submission

A research article, not exceeding four pages, in hard and soft copies shall be turned in along with the filled in Registration Form to the Organizing Secretary on or before 15.01.2018. The participants are required to send their abstracts on or before 12.01.2018. Papers can be presented either in Tamil or English. The participants are requested to prepare their articles in MS Word format, with 1.5 spaces in font size 12 in Bambini and Times New Roman font for Tamil and English respectively. Both abstracts and full papers are to be sent to the email id

Important Dates

Dates of Seminar: 6th and 7th February 2018

Last date for Submission of Abstracts: 12th January 2018

Last date for Submission of Full Length Papers: 15th January 2018

Address for Correspondence

Dr. A. Chitra, Ph.D.,

Assistant Professor of Nattuvangam

Conference Organizing Secretary

Department of Music, Annamalai University

Annamalai Nagar – 608 002


In case of queries, please write to the above email address or contact the Conference Organizing Secretary at the following mobile phone numbers:

  • 9486870039/9444150657/9976740791/94489100378

Any queries to about the Conference will not be entertained.




National Seminar at Central University, Tamil Nadu, Feb 5 – 6, 2018

The Department of Music and Fine Arts, The Central University of Tamil Nadu, Thiruvarur is organizing a two – day National Seminar on the Contribution of Trinity to Karnataka Music. This Seminar would be highly significant, since, Thiruvarur is the birth place of the Trinity and 2017-18 marks the completion of 250 years of the birth of the great Saint poet and one among the Trinity namely, Sri Tyagaraja. Further, this would be first National Seminar on Music being organised by the Department of Music and Fine arts of the Central University of Tamil Nadu. The Seminar on music would primarily consist of Research Paper presentations by Faculty members and Scholars. The main objective of the Seminar is to bring out the musical aspects in the compositions of Trinity, in order to understand their contribution to the development of Karnataka Music.

For detailed information about the seminar and to view the registration form, please download the brochure from

Some details about the seminar are given below:

Themes for Research Papers

The Seminar is devoted to the Contribution of Music Trinity; the main focus would be on the musical contribution of one among the trinity or the three composers together. Research papers can be supplemented with music demonstrations, live and recorded. The sub-themes of the papers are:

  1. Contribution of Trinity to Karnataka Music
  2. Treatment of different kinds of raga-s by each of them
  3. Tala-s figuring in the compositions of Trinity
  4. Types of compositions / Musical Forms composed by Trinity
  5. Organization &Structure of Musical Forms (Krti / Kirtana / Svarajati / Ragamalika etc.) of Trinity
  6. Melodic  and  Rhythmic  organisation  of  Trinity’s  compositions
  7. Appreciation of any one composition of Trinity
  8. Group Krti-s of Trinity
  9. Pathantara-s in the Compositions of Trinity
  10. Comparative analysis of the Compositions of Trinity
  11. Sources for the Compositions of Trinity
  12. Influence of Trinity on the Composers of 20th century
  13. Impact of early composers on Trinity
  14. Trinity Compositions in Bhajana tradition and Harikatha Kalakshepa
  15. Trinity Compositions in Bharatanatya and other dance forms
  16. And any other topic related to the main theme

It is hereby specified that papers on the biographical details and emphasizing on sahitya component alone, could be avoided. On the other hand, musical input is appreciated.

Abstracts & Research paper Submission Abstracts  not  exceeding  200  words,  with  the  Author’s  name,  address,  contact  mobile  number, email id and a brief profile not exceeding 50 words, should be sent on or before 31st December 2017. Abstracts & Full Length Papers are to be sent to: All research papers will be published as the Proceedings of the National 
Seminar in the Digital form – an eBook with ISBN registration

Important Dates

Dates of Seminar: 5th and 6th February 2018

Last date for Submission of Abstracts: 31st December 2017

Last date for Submission of Full Length Papers: 31st January 2018

Director of the Seminar

Dr. V Premalatha,

Associate Professor & Head Department of Music and Fine Arts

School of Performing Arts and Fine Arts

Central University of Tamil Nadu

Thiruvarur – 610005

Ph: 04366 – 277373

In case of queries, please write to or contact the Seminar Organizing Committee members at the following phone numbers:

  • Dr. V. Premalatha Mobile: 94882 80866, 995 995 9666
  • Dr. R. Sivaraman, Mobile: 97894 40664

Any queries to about the seminar will not be entertained.

Music Research Newsletter – 42

Music Research News Letter -42



I] Seminars and Events

1) South Asia Regional Conference 2017 Conference of the ISME:

The International Society for Music Education (ISME), is a worldwide organisation for music educators, affiliated to the International Music Council and UNESCO, with a presence in over 80 countries around the world. ISME conducted The South Asia Regional Conference 2017, in Bengaluru, India, between 27th and 29th November 2017 at the National Institute of Advanced Studies (NIAS), IISc Campus and saw the participation of several international scholars, musicians and music educators.

For more details, please visit the Facebook page

2) Seminar: ‘Beyond the Rasa Theory: New Directions in understanding the Natyasastra’:

Indira Gandhi National Centre for the Arts, Regional Centre, Bengaluru & National Institute of Advanced Studies (NIAS), Bengaluru are conducting a joint seminar ‘Beyond the Rasa Theory: New Directions in understanding the Natyasastra’ on the 8th of December, 2017 at NIAS, IISc campus, Bengaluru. This seminar, by connecting Indian aesthetics, psychology and cognitive sciences will explore new frontiers of interdisciplinary investigation into the Natyasastra. It will attempt to prominently place the classical value, imagination and experience of the Natyasastra by focusing on the text, theory and experience of rasa with the goal of building and bridging contemporaneity in psychology, cognitive sciences and Indian aesthetic traditions. 

For more details, please visit the website

3) International Conference: ‘DEMETRIOS GALANOS AND HIS LEGACY: Indo-Greek scholarship 1795-2018’:

An international conference is being organized by Dr. Bharat Gupt under the ‘Bharat Vidya Prayojana’ project of Indira Gandhi National Centre for the Arts (IGNCA) titled “DEMETRIOS GALANOS AND HIS LEGACY: Indo-Greek scholarship 1795-2018” in two places, New Delhi (on 3rd and 4th February, 2018) and at Bharat Adhyayana Kendra of BHU, Varanasi (8th, 9th, 10th Feb 2018). The IIC, New Delhi, Bharat Adhyayana Kendra of BHU, Varanasi, Indo-Hellenic Friendship League, New Delhi and Embassy of Greece are active collaborators in the event.

The IGNCA has undertaken to revive the memory of Demetrios Galanos (1760–1833), the Greek Indologist, to further focus on an age long tradition of scholarly and creative exchanges between India and Greece by several academics and artists both Indian and Greek, in modern times. It is also proposed to invite some Greek musicians who will present their art at dedicated concerts, in addition to giving presentations in lecture-demonstration style. The specific aim of the events is to review and record the cultural contributions of Greeks and Indians from Galanos to the present.

Please click on the link for further details.

For queries, please write to or contact Mr. Arun Kumar  (9013051165/8368388489).

Any queries to will not be entertained.

II] Request for Proposals

India Foundation for the Arts (IFA) invites project proposals for arts education from government school teachers in Karnataka, for their schools. This call for application falls under the Kali Kalisu initiative that aims to forge collaborations between teachers, local artists, and the school community.

The Application Deadline is January 12, 2018. Draft proposals may be sent on or before December 23, 2017.

Please visit the website for more details.  

Please address your application or any queries to or write to:

Krishnamurthy T N
Programme Executive, Arts Education
India Foundation for the Arts,
‘Apurva’, No 259, Ground Floor, 4th Cross,
Raj Mahal Vilas 2nd Stage, 2nd Block,
Bangalore – 560 094
Phone: 080 2341 4681 / 82

Any queries to will not be entertained. 

I] Book Releases

A] ‘Mathematics of rhythm structures of Karnatic percussion- mridanga and dance’ (ebook) by M. Siddharta Bhatt

The description and details of the book given below have been taken from the url  :

The book is written with the primary aim of presenting the generic construction of Mohras (penultimate faran based rhythm structures) and Mukthayas (terminating rhythm structures) of Karnatic percussion from the basic building blocks (sequence strings) with illustration through sufficient examples of how to go about them. The basics of thekas (rhythmic beats), farans or urutals (rapid drum rolls), punctuations (resonant pauses), khalis (blanks) and Ta Dhi° Gi Na Thom strings (slow speed urutals) are described. The concepts of Talas (music meter or claps), akshara jati (string size), nadai (string size per beat), aksharas (syllables or pulses), matras (beats), avartana (cycle), kala (tempo), etc. are portrayed. The acoustics, structure, shruti (base pitch), raw sounds, strokes and konnakol (verbal rendering) of Karnatic mridanga are depicted. Tempo modulation and landing points of resolution are also explained.
In the introductory chapter the historical developments, list of books written on mridanga, roll call of honour, list of percussionists, Padma and Sahitya award winners is enumerated. Some issues of the percussion fraternity are also show caused. 

Type: e-book
Genre: Music
Language: English
Price: Rs.100.00

The book can be purchased on-line from the above website.

B] ‘Apurva Raga-s formulated by ‘Harikesanallur’ Dr. L. Muthiah Bhagavatar’ by Dr. Vyzarsu Balasubrahmanyam

We would like to thank Dr. Vyzarsu Balasubrahmanyam for providing us the following details of the book:

About the Book:

Amongst the post Trinity composers, Harikesanallur Dr. L. Muthiah Bhagavatar has the credit of having composed the largest number of compositions, numbering nearly 400. He has composed not only in popular raga-s but also in some rare and apurva raga-s. While some of these apurva raga-s were his own creations, the others were known by names earlier, but given a definite shape for the first time by him through his compositions.

The book, ‘Apurva Raga-s formulated by Harikesanallur Dr. L. Muthiah Bhagavatar, is a critical analysis of the Composer’s contribution to Carnatic Music in the form of revival and creation of these rare raga-s and the compositions written in them. The subject matter is in the nature of a detailed study about the various aspects of Raga-s and the treatment of these Raga-s through many of his compositions. The appendix contains the notations of these compositions transliterated to English from the books in Tamil script as published by the Indian Music Publishing House, Madras.

Publication Details:

This book has been published by ‘Bhairavi Sangeeta Academy’ in the year 2017 at Hyderabad and costs Rs.500/-. It is available at the address given below:

Bhairavi Sangeeta Academy, 102, Vertex Paradigm,

Nandini Hotel Building, Opp. Shankar Mutt

Nallakunta, HYDERABAD – 500044

Phone: 9866786829


About the Author:

‘Sangeetacharya’ Dr. Vyzarsu Balasubrahmanyam, armed with 2 Doctoral degrees in Carnatic Music (Vocal), is an eminent Musician, Musicologist, Composer and Guru who has been highly acclaimed, nationally and internationally, for making commendable contribution to various facets of music.

II] Links to websites:

A] Recordings:

The following links are being presented in order to highlight some interesting features of the music of a few yesteryear instrumental artistes:

1) Artiste: RK Srinivasamurthy, song: ‘Ōḍi bārayya’ in rāga bhairavi, ādi tāla

About the artiste: Vidwan R K Srinivasa Murthy (1935 – ), a Vaiṇika was the eldest son and disciple of Vidwan Sri. R. S. Keshavamurthy (1903 – 1982), Āsthāna Vidvān of the Mysuru court. Sri Keshavamurthy was the main disciple of legendary Vidwan ‘Veene’ Subbanna (1854 – 1939).

About the recording: The ālāpana playing is characterized by a profusion of strong mīṭu-s and fast phrases played by splitting of fingers. An example of this is the set of fast phrases starting with ‘r g M g r g r s n d n s r s R g m g r’ at 1.39. The effect of gamaka-s like orikai, sphuritam and ravai seems to be accomplished by splitting of fingers – for example in the phrase ‘R G M P d p p M p m g r ‘ starting at 9.33, an ‘orikai’ gamaka-like effect is felt on the svara ‘ma’ by the splitting of fingers and not by pulling the string laterally. Some gamaka-s are also played by pulling of the string. A couple of phrases that seem unusual are heard – ‘m m N p d N d p – P n d p d P m G’ with only śuddha ‘dha’ (and no catuḥśruti ‘dha’ in ‘p d N’) is heard starting at 9.08 and an elongated catuḥśruti ‘dha’ is heard in the phrase ‘P D p d N’ in the caraṇa of the song at 13.37.

2) Artiste: Budalur Krishnamurthy Sastrigal, song: ‘amba kāmākṣi’ in rāga bhairavi, miśra chāpu tāla

About the artiste: Budalur Krishnamurthy Sastrigal (1894-1978) was a gōṭṭuvādyam vidwan and the disciple of the disciple of the legendary musician of the 19th century – Koneri  Rajapuram  Vaidyanatha  Iyer.

About the recording: The gōṭṭuvādyam uses a sliding bar for pitch variation. The hissing sound that is normally generated when the bar slides over the string seems to have been very dexterously suppressed by the artist. The artist is able to make the melodic expression very close to that of a Vīṇā, for example at 4.02, the effect of the ‘orikai’ gamaka on ‘ma’ seems to be heard in the phrases ‘P m g R s’. The bhairavi in his playing, with regard to the handling of svara-s like ga, ma and (sud)dha, display some melodic shades that seem to have undergone transformation in the subsequent years. For example, in the phrase ‘S r g m p’ and ‘g m P d n s’ at 2.00 and 5.43 respectively. In the phrases ‘n s r g m P – s r g m p D’, starting from 9.13. The śuddha ‘dha’ is played with a shake in the phrases ‘N N d P’ and ‘ s n d p’ at 4.01 and 5.47 respectively. In the phrase ‘D n S’, there is a jāru gamaka starting from ‘ni’, this is seen at 8.52, 9.40 and 9.50.

3) a) Veene Raja Rao and Veene Gopala Rao, song ‘praṇatārthi hara’ in rāga jhenjūṭi, khaṇḍa tripuṭa tāla

About the artistes: Veene Raja Rao (L. Raja Rao, 1909 – 1979) and Veene Gopala Rao (L. Gopala Rao, 1917 – 1968) where the sons and disciples of Vidwan Bhairavi Lakshimnarayanappa (1878 – 1934).

About the recording: We find that the sāraṇi string on the Veena is tuned to the pitch G. The composition and ālāpana have been played on madhyama śruti, as is the present-day convention for this rāga. The ālapana has a profusion of soft strokes and fast phrases played by splitting of fingers (e.g. those starting with ‘g m g r G at 0.38 . Gamaka-s such as sphurita (e.g . at 1.09 in the phrase ‘r g g m m P’), ravai (e.g. at 0.27, in the phrase ‘D s R s’, the anusvara ‘ga’ heard on ‘ri’, at 3.36, in the phrase ‘M d p M G’ – anusvara ‘pa’ heard on the second ‘ma’, and pratyāghāta (e.g. 3.18 – r g m g g r r s) are accomplished by splitting of the fingers and placing them on different frets.

b) Veene Raja Rao, song ‘Māyātītā svarūpiṇi’ in rāga māyāmāḷavagauḷa, rūpaka tāla

About the recording: The playing style is similar to that of the jhenjūṭi song rendering with much finger- splitting, but the pitch of the sāraṇi string has been reduced to D#.

B] Websites with historical information related to musical personalities:

1) The following website is dedicated to Sri T.B. Narasimhachar (Apri 15, 1915 – Nov 23, 1988), a music critic from Bengaluru who wrote music reviews under the pen name ‘Sāragrāhi’ – meaning connoisseur in Sanskrit).

Sri Narasimhachar was also one of the founders and the first secretary of the Malleswaram Sangeetha Sabha in Begaluru. The website contains historical information that may be of interest to musicians, researchers and music lovers.

2) The following website is dedicated to preserving and propagating the compositions of Sri Yoga Narasimham (1897 – 1971)

It has the following features:

  1. Full text and notation of all of Sri Narasimham’s compositions in Kannada, Devanagari and English
  2. Some compositions have audio files that can be downloaded
  3. Meanings of the compositions in English
  4. Foot notes written by the composer himself for some of his compositions
  5. Information about the composers other contributions to music

C] Websites pertaining to Haridāsa songs:

  1. The following website pertains to the Samagra Dasa Sahitya project by Directorate of Kannada and Culture, Govt. of Karnataka –
  2. This is a large online collection of Hardāsa songs with lyrics. There are videos for some songs –
  3. The website :
    • The following page contains lyrics of Haridāsa songs in English, Kannada, Sanskrit, Tamil and Telugu scripts –
    • The following page contains audio files of some Haridāsa songs –


V] Updates to Music Research Websites

A] Updates to the website (

The website ( is in the process of being merged with (MRL). The menu currently appears in the home page. The menu shall house research publications / links of a few veteran / eminent scholars and also house unpublished research contributions and publications that have been revised and submitted to MRL. All other contents of will be merged with MRL in due course.

B] Updates to the website (MRL)

Following are new additions in MRL in May 2017 – Dec 2017:

1] Articles in English:

AE-SandhyaShree-Teaching Methods-AkellaMSharma-NaadNartan-2017-0343
2] Articles in Hindi:





3] Articles in Tamiz:


4] Books in English:

5] Books in Tamiz:

6] Manuscript Catalogues:


7] Indexes:


8] Manuscripts:


9] Periodicals:

The following zip files contain several issues of periodicals, and replace the earlier individual issues placed on the website:


10] Source Texts:


11] Teaching Materials:

The following zip files replace the earlier individual files placed on the website:

12] Information about Periodicals (Journals and Magazines) in

The Tables of Content for the following periodicals for issues pertaining to May 2017 – Dec 2017 have been added in the website:

  • Samakalika Sangeetham –
  • Ganakala –
  • Sangita Kalavihara –
  • Sangita –
  • Sruti –
  • Shanmukha –

Arati Rao, Vidya Jayaraman and N. Ramanathan


Music Research Newsletter 41

Music Research News Letter -41



I] Featured Exhibit

The second in the series of the feature in our website – ‘Featured Exhibit’ is ‘Saṅgitaratnākara’.Saṅgītaratnākara is a 13th century text on ‘Saṅgīta’ written by Śārṅgadēva at Dēvagiri (present day Daulatabad in Maharashtra). Exhibit: Saṅgitaratnākara.

In Saṅgītaratnākara, Saṅgīta is defined as an art form that combines ‘Gītam’ (melodic structures created by voice and stringed and wind instruments), ‘Vādyam’ (syllabic structures created by skin covered instruments) and ‘Nṛttam’ (visual forms created by movements of the various limbs of the human body).

 II] Seminars and Events 

Seminar on Saṅgitaratnākara.

A seminar on the ‘Codification of the Textual and Oral practices of Śārṅgadēva’ was conducted by Bharatiya Vidya Bhavan, Delhi Kendra on the 27th and 28th of April 2017. The keynote address was given by Dr. K.D. Tripathi. The following papers were :

  • Anibaddha Gāna – Śārṅgadēva’s Exposition vis-à-vis Performance Practice Today – Krishna Bisht
  • Discovering Links with Oral Traditions of Dhrupad – Ritwik Sanyal
  • Understanding Saṅgitaratnākara’s Nartana Adhyāya through the prism of Kathak – Shovana Narayan
  • The Application of Swara scales from Vēda to Śārṅgadēva – Indrani Chakravathi
  • Impact of SR on Persian Works on Indian Musicology – An Exploratory View Point – Najma Parveen Ahmad
  • Before and After Śārṅgadēva’s Influence on the Concept and Practice of ‘Alaap’ – Richard Widdess
  • Possibilities of Exploring Lasyangas and Gharghara Through Present Day Odissi and Kathak – Parwati Dutta
  • A comparative study of Sālagasūḍa lakṣaṇa-s as seen in the Saṅgītaratnākara with Suḷādi notations of Thanjavur manuscripts – Arati Rao

III] Request for Proposals

Request for Proposals for IFA’s Arts Research Programme

India Foundation for the Arts (IFA) announces Request for Proposals for the Arts Research Programme. The Arts Research programme supports scholars, researchers, and practitioners to undertake research into the various histories and expressions of artistic practices in India. It seeks to foster wider perspectives, understandings, interpretations and engagements in the arts.

IFA invites proposals for our Arts Research programme from researchers and practitioners who are interested in undertaking research projects that investigate marginalised or relatively unexplored areas; intend to create spaces for dialogue between theory and practice; offer new readings/frameworks of artistic practices; and use interdisciplinary approaches to break new conceptual ground, among other things.

Deadline for the final proposal is June 15, 2017.

For more information, please contact

Tanveer Ajsi,

Programme Executive,

India Foundation for the Arts,

‘Apurva’, Ground floor, No 259, 4th Cross,

Raj Mahal Vilas, IInd Stage, IInd Block,

Bengaluru 560 094

Tel: +91 80 23414681/82



Any queries to will not be entertained.

IV] Announcements

A]  Academy for Dhrupad Music and Research ADMUR, Pune:

The fledgling academy ADMUR has been informally working on its objectives for the past two years.
1. Dhrupad & Dhammar rendition pedagogy
2. Research on all aspects of the musical form
3. Promote and Preserve the art’s pristine values

For more information about this academy, please visit the Facebook Page

B] Lectures on Nāṭyaśāstra at Kalakshetra

A series of 25 hours of lectures on Nāṭyaśāstra at Kalakshetra by Dr. Bharat Gupt, Former Faculty, Delhi University have been captured in 53 videos and are available on Youtube – the first of these can be viewed by clicking on the following link:

The lectures-interactions provided a detailed exposition of all the principles of performance in each of the 36 chapters of the Nāṭyaśāstra and related them to the present genres of performance such as plays, cinema and sculpture. The text and the ensuing discussion on it were made a springboard to analyze and contrast many classical ideas with Indian modernity not only in the area of performing arts but also in the approach to life as a whole.

Related paradigms of Hindu performance such as līlā, avatāra, caritra, gods as human, concepts of saguṇa and nirguṇa worship were closely related to the ethos of Nāṭyaśāstra performace. Limitations of religious cultures that do not allow mimesis of incarnation or depiction of holy lives were also discussed. Puritanic, secular or propagandist approaches to art, and drama in particular, were contrasted with the Vaiṣṇava ethos that allows full scope of depiction of the divine as human
and the human as divine.

V] Updates to Websites

A] Updates to the website (

Research articles have been added to and the details can be viewed on the home page of the website.

B] Updates to the website (MRL)

Following are new additions in MRL in February 2017 – May 2017

1] Bibliography:


2] Index:



3] Books:

Books in Bengali:






Books in English:








































Books in Kannada:

BkKn-BSChandrakala-Nijaguna-Svara- Sarita-0048




Books in Tamiz:




Books in Telugu:






4] Dissertations:


5] Periodicals:

184th- Sri-Swati-Thirunal-Jayanthi-Souvenir-1997


6] Source texts:

TxtKn-SathyanarayanaR-sangItaratnAkara-comm-nihSankahRdaya-1968-0001 (The earlier scanned images of the text spanning four files have been replaced by a single smaller file)










7] Manuscript Catalog:


8] Information about Periodicals (Journals and Magazines) in

The Tables of Content for the following periodicals for issues pertaining to Jan 2017 – May 2017 have been added in the website:

Arati Rao, Vidya Jayaraman and N. Ramanathan


Music Research Newsletter 40

Music Research News Letter -40



I] Featured Exhibit – ‘Music of Haridasas’

We have a new feature in our website – ‘Featured Exhibit’. We start with the exhibit of ‘Music of Haridasa-s’.

The Haridāsa movement emerged in South India in the 15th Century AD, with the main objective of propagating ‘Bhakti’ through devotional songs. However, the musical compositions of Haridāsa-s also brought about some seminal changes in South Indian music. The ‘Suḷadi Tāla-s’ employed in these compositions became very popular and were extensively used by other composers as well for the next few centuries.

Exhibit: ‘Music of Haridasas’

II] Profiles from

We would like to showcase selected profiles from academia that contain  research papers:

  1. Richard Widdess, Department of Music, SOAS, University of London.

His Specialisms
 are: Musicology of South Asia, including history, theory, analysis and social context of music in North India and Nepal; music and religion in South Asia; analysis of world music; music cognition, performance and meaning in oral traditions.
The papers and other publications of Prof. Widdess can be viewed at

  1. Saskia Kersenboom, Theatre Studies, University of Amsterdam. Her academic interests concern the performing arts and their global, Intercultural Translation. Her background in Linguistics, Theatre Studies and Cultural Anthropology includes longstanding training and performance practice in dance and music. The work of Dr. Kersenboom can be viewed at

III] Dissertations defendedOn November 17th 2016, Ajay Srinivasamurthy and Sankalp Gulati defend their PhD thesis, both carried out in the context of the CompMusic project. CompMusic is a research project funded by the European Research Council (ERC grant agreement 267583) and coordinated by Xavier Serra from the Music Technology Group of the Universitat Pompeu Fabra in Barcelona (Spain). It aims to advance in the automatic description of music by emphasizing cultural specificity, carrying research within the field of music information processing with a domain knowledge approach. The project focuses on five music traditions of the world: Hindustani (North India), Carnatic (South India), Turkish-makam (Turkey), Arab-Andalusian (Maghreb), and Beijing Opera (China).

Below are the details of the dissertations:

Ajay Srinivasamurthy: “A Data-driver Bayesian Approach to Automatic Rhythm Analysis of Indian Art Music”.

Thesis Committee: Simon Dixon (QMUL), Geoffroy Peeters (IRCAM) and Juan Pablo Bello (NYU)

The Thesis document, Abstract and Thesis presentation slides can be viewd at the companion page:

Sankalp Gulati: “Computational Approaches for Melodic Description in Indian Art Music Corpora”

Thesis Committee: Juan Pablo Bello (NYU), Emilia Gómez (UPF) and Barış Bozkurt (Koç Univ.)

The Thesis document, Abstract and Thesis presentation slides can be viewd at the companion page: the companion page:

IV] Updates to the website (MRL)

Following are new additions in MRL in October 2016 – January 2017

A] Articles:



B] Index:


C] Books:

Books in Tamiz:




Books in Telugu:





D] Information about Periodicals (Journals and Magazines) in

The Tables of Content for the following periodicals for issues pertaining to Oct 2016 – Jan 2017 have been added in the website:

V] National Seminar to commemorate the 1000th year of Acharya Abhinavagupta

Indira Gandhi National Centre for the Arts, New Delhi (IGNCA), Kalakshetra Foundation, Chennai and Bharat-Illango Foundation for Asian Culture, Chennai (BIFAC) jointly organized a National Seminar to commemorate the 1000th year of Acharya Abhinavagupta on the 24th and 25th of January, 2017. On the second day, the 25th of January, 2017, there were paper presentations on Natya by Dr. Padma Sugavanam, Dr. G. Sankaranarayanan, Dr. Jayashree Rajagopalan and Dr. N. Ramanathan. Following are the youtube links for the Natya sessions:

VI] International Consortium on Cognition and Culture

IGNCA Bengaluru and National Institute for Advanced Studies are jointly launching a first-of -its-kind academic consortium on culture and cognition. The consortium will serve an academic apparatus to foster interdisciplinary scholarship at the intersection of culture and cognition and serve as an inter-institutional platform for capacity building, advocacy and policy-making.…

The consortium invites applications for ‘Kalaatmika Research Initiative – NIAS-IGNCA Short-term Internship Programme’ with the vision of recruiting the brightest of young scholars to gain research experience with faculty associated with the consortium.

Applications are invited from the brightest minds of India!…/1FgO3qTvRH0NpefxxOlVK8NOD5O0…/edit

VII] Joint Conference on Feb 25th and 26th, 2017:

Sri Shanmukhananda Bharatiya Sangeetha Vidyalaya is holding a joint conference along with South Indian Education Society’s college of Arts, Science & Commerce, on “Indian Music : Cultural & Philosophical Perspective” on Feb 25 & 26, 2017 at the Department of Philosophy, University of Mumbai, Kalina.

We had circulated an announcement about this seminar earlier. Please note that the venue has changed to Somaiya Engineering Auditorium, Vidya Vihar, Mumbai 400077

For more information, please write to the organizers of the conference at the following email address: 
Any queries sent to will not be entertained.

VIII] Financial Assistance for Publishing Books:

  • The English and Foreign Languages University, Lucknow Campus offers financial assistance to authors. Further details about this can be seen at:
  • The Central Institute of Indian Languages offers financial assistance for book publication. Further details about this can be viewed at:

IX] Book Announcements:

  1. i) ‘Saṅgītaratnākara of Śārgadēva – A Study’ by R.Rangaramanuja Ayyangar, 2nd Ed., 2016, 558 pages, Hardcover

The second (revised) edition of Sri R. Rangaramanuja Ayyangar’s critical, analytical study of the classic has now been published by Vipanci Charitable Trust, Mumbai. Sri Ayyangar had written that the primary objective of his study of Sagītaratnākara was ‘to trace the development of Carnatic Music through various stages and locate the landmarks clearly’ and was ‘ not a translation, but a critical survey of the formidable array of musical data in the classic to assess their contribution to the development of Carnatic Music.’

The new edition, incorporates diacritical markings and includes several new facets based on contemporary studies. This book carries fresh, creative interpretations of the concepts of Tāla Prastāra; Naṣṭa and Uddiṣṭa methods; and Mēru charts.

Details of the book are available on the website . The various concepts of Tāla Prastāra etc., along with working examples, may be seen through this link: /ver3/sr_concepts.php.

  1. ii) 1950 varai tamizil veḷivanduḷḷa icai nūlgaḷ – by Dr. G. Leelavathy.

This book is in Tamiz . The English translation of the title is: ‘Music publications in Tamiz till 1950.’. Below are the details of the book:

Publisher: Sri Jnanananda Krpa, Chennai

Price: Rs. 500/-

Available with: Karnatic Music Book Centre, Chennai

iii) The Nayikas of Annamacharya: an interpretation for dance by Dr. Anupama Kylash.

Annamacharya or Annamayya is among the first hymnographers in Telugu. He is said to have composed over 32,000 songs out of which only 12,000 are available today. Though his songs have been adapted for dance, they are not yet as popularly chosen for Abhinaya, as those of some later Pada composers.

This book is an extract from the doctoral thesis of Dr. Anupama Kylash. The book contains four chapters which deal with the heroine or Nayika prototypes in the songs of Annamacharya and their adaptability to dance interpretation. In the process, the author has tried to look at the vast wealth of classifications provided in our ancient treatises on Alankara Shastra or Poetics, and have used these classifications as a backdrop or setting for the songs of Annamacharya enumerated upon here.

Below are the details of the book:

Price: Rs. 750/-

Copies can be had from:

Dr. Anupama Kylash

G-1, Phase-1, Metro Palmgrove Apartments,

Somajiguda, Hyderabad – 82

Mobile: +91 98482 37538


X] Launch of the App Shaale Abhyas:

Shaale Abhyas is an app which is a a practice tool for Carnatic music. It provides is a growing library of Carnatic (South Indian) music solos that music enthusiasts can enjoy listening to, percussionists / accompanists can practice along with. The following video gives more details about this app:

Further information can be obtained by contacting the Shaale team on +91-9886887106 or writing to or

XI] Launch of the website

This website is a platform for sharing and learning Karnatic Music. It has many notations, audio and video links, information about raga-s and tāla-s and articles. Users have a facility to share the Internet links their favorite audio/video links for kriti, raga, and tala renditions.

The following link gives 2-minute video tours for this website:

For more information, please write to e-mail: or contact Srikar at +91-9916135143

X] Obituary: Dr. S.A.K. Durga (1940-2016)

Demise of musician-scholar Dr. SAK Durga, in November 2016 has been a great loss to the academic world of music.

After learning Karnataka music from eminent musicians and also pursuing degree courses in music, Dr. Durga joined the position of Lecturer at the Department of Indian Music, University of Madras. After a few years she left for USA to pursue advanced studies. On return she set up her own Centre for Ethnomusicology in Chennai. She was quite active doing research and guidance and enthusiastically collaborated with many individuals and music institutions.

For more details about her please access –

Arati Rao, Vidya Jayaraman and N. Ramanathan