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 https://www.facebook.com/pg/ISMESARC/about/?ref=page_internal
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 http://niasconsciousnesscentre.com/beyond-rasa-seminar-2017.html.
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 http://ignca.gov.in/invitations/29112017_International_Confrence_Under_BVP_Information.pdf for further details.
For queries, please write to firstname.lastname@example.org or contact Mr. Arun Kumar (9013051165/8368388489).
Any queries to email@example.com 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 http://www.indiaifa.org/programmes/arts-education.html for more details.
Please address your application or any queries to firstname.lastname@example.org 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 email@example.com 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 https://pothi.com/pothi/book/ebook-m-siddhartha-bhatt-mathematics-rhythm-structures-karnatic-percussion-mridanga-and-dance :
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.
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.
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
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:
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#. goo.gl/UqG2Lv
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:
- Full text and notation of all of Sri Narasimham’s compositions in Kannada, Devanagari and English
- Some compositions have audio files that can be downloaded
- Meanings of the compositions in English
- Foot notes written by the composer himself for some of his compositions
- Information about the composers other contributions to music
C] Websites pertaining to Haridāsa songs:
- The following website pertains to the Samagra Dasa Sahitya project by Directorate of Kannada and Culture, Govt. of Karnataka – http://dasasahitya.kannadasiri.co.in/home.asp?case=HOME&city=MSIL
- This is a large online collection of Hardāsa songs with lyrics. There are videos for some songs – https://dasasahitya.net/
- The website http://madhwapracharavedike.weebly.com :
- The following page contains lyrics of Haridāsa songs in English, Kannada, Sanskrit, Tamil and Telugu scripts – http://madhwapracharavedike.weebly.com/hari-dasa-sahitya-pdf.html
- The following page contains audio files of some Haridāsa songs – http://madhwapracharavedike.weebly.com/hari-dasa-sahitya-mp3.html
V] Updates to Music Research Websites
A] Updates to the website musicresearch.in (mr.in)
The website musicresearch.in (mr.in) is in the process of being merged with musicresearchlibrary.net (MRL). The MR.in menu currently appears in the home page. The MR.in 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 mr.in will be merged with MRL in due course.
B] Updates to the website musicresearchlibrary.net (MRL)
Following are new additions in MRL in May 2017 – Dec 2017:
1] Articles in English:
|2] Articles in Hindi:
3] Articles in Tamiz:
4] Books in English:
|5] Books in Tamiz:|
6] Manuscript Catalogues:
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 musicresearchlibrary.net
The Tables of Content for the following periodicals for issues pertaining to May 2017 – Dec 2017 have been added in the website:
- Samakalika Sangeetham – http://musicresearchlibrary.net/omeka/samakalika-sangeetham
- Ganakala – http://musicresearchlibrary.net/omeka/ganakala
- Sangita Kalavihara – http://musicresearchlibrary.net/omeka/sangita-kalavihara
- Sangita – http://musicresearchlibrary.net/omeka/sangita
- Sruti – http://musicresearchlibrary.net/omeka/sruti
- Shanmukha – http://musicresearchlibrary.net/omeka/shanmukha
Arati Rao, Vidya Jayaraman and N. Ramanathan