Mysurina Chinnari Sangeeta
The Kings of Mysore – Wodeyars encouraged several art forms including music. They not only inspired musicians to compose songs for occasions and events but also to compose songs specially for children. We will be selecting a few of these songs to children in the workshop.
The Workshop will be concluded with a concert accompanied by instruments.
Dr. Meera Rajaram Pranesh and her team of artists will be conducting the
workshop. Dr. Meera is a musician and musicologist who is known for her work on music in the Wodeyar’s courts among other projects.
Duration – Every Saturday from Nov-23 to Jan-24; 10 AM – 11:30 AM
Venue - Vanamala Center for Art and Culture Trust's premises (final concert
venue to be disclosed later)
Google Maps - https://maps.app.goo.gl/pv2zVuSfXo9th9Dg8
ACADEMIC SESSION by Dr.Meera Rajaram Pranesh at sixth Music Conference of Malleshwaram Sangeetha Sabha Trust (R) on 20-12-2024, Time 11:30am to 1:00pm
Subject: REFERENCES OF TANTRA ASPECTS IN SRI MUTTUSWAMY DIKSHITAR'S DEVI KRUTHIS
Dr. Meera Rajaram Pranesh delivered a stellar lecture–demonstration on “References of Tantra Aspects in Sri Muttuswamy Dikshitar’s Devi Kritis” at the sixth Music Conference of Malleshwaram Sangeetha Sabha. She highlighted the multidimensional Tantric elements embedded in Dikshitar’s compositions, emphasising his stature as a versatile composer deeply adept in tantra, mantra and yantra traditions. His mastery in these esoteric streams, she noted, is vividly reflected in works like the Kamalamba Navavarana series—where each of the nine kritis is believed to be as potent as performing a physical pooja.
She further elaborated on several rare compositions such as Nabhomani and Renukadevi in Kannada Bangala, demonstrating how Dikshitar encoded philosophical depth, spiritual symbolism, and intricate musical architecture within his kritis. She was ably supported on vocals by her students, Dr. Shivashankari J. and Dr. Ragini Sanath.
Untold History of Shyama Shastry and Muthuswamy Dikshitar - Upcoming event
Vanamala Center for Art and Culture is presenting a study circle from 14th of November 2022 to 19th of November 2022.
In this study circle, Dr B. M. Sundaram, an eminent musicologist, will talk about several lesser-known facets of Sri Shyama Shastry and Sri Muttuswamy Dikshitar's early life, work and legacy. The lectures will delve into details about the authenticity of their compositions, pathantaras, shishya parampars and explanationsof select krutis. Students and performers of music and dance, and researchers will find the study circle useful in expanding their knowledge, while connoisseurs will discover many interesting facts about the Saintcomposer and his compositions.
Dr. B. M. Sundaram is an eminent scholar and composer of Indian Music. He has been doing extensive research at Saraswati Mahal library, Tanjavur, since 1953. He has authored a number of books and articles on a variety of different topics, edited and translated several works- all this is proof of his scholarship across different disciplines. He is a music composer and an expert in multiple languages. He has received many titles and awards such as Kala Bharati, Kalaimamani, etc.
Registration Process:
The registration fee has to be transferred to the bank account given below, and the transaction receipt has to be submitted in the
Google Forms link: https://forms.gle/1y4gkSTaHY1k6mfX8
The Zoom links for the sessions will be shared with the registered
participants.
Bank Details:
Vanamala Center for Art and Culture
A/C No: 0024104000314398
IFSC: IBKL0000024
E-Certificates will be given to participants
Sadguru Sri Tyagaraja : An Untold History - J Shivashankari
Vanamala Center for Art and Culture as a part of its Bharatiya Samskriti Darshana-20 series, organized an online study circle by the eminent Musician Musicologist Dr. B.M.Sundaram for six days, from 14th to 19th May 2022. It was a one-hour session, where Sundaram Sir spoke on various unknown aspects and facts on the life and contribution of Saint Tyagaraja. The clarifications and discussions which took place at the end of each session was even more interesting, showing the enthusiastic participation of the scholars present.
The first day was a grand start by Sundaram Sir which was about the year and place of birth of Tyagaraja – the differences found in different sources. The fact that Tyagaraja was born in Tiruvayyaru was revealed by Sir who personally visited that house with the help of the former’s grand-daughter-in-law. He said that the place was later made as a Vedic pāṭaśala. Sir gave many examples from Tyagaraja’s kṛti-s themselves to demonstrate this fact, i.e., the birth-place of Tyagaraja as Tiruvayyaru.
Another interesting factor in this lecture series, was the origin of Tyagaraja Ārādhana festival conducted in Tiruvayyaru. Sir explained the detailed history of the festival and how many music scholars tried hard to conduct the same. He also mentioned that the practice of singing pañca-ratna kṛti-s was a later addition and the name “ghana-rāga” for this set, was inappropriate. Swara-singing for these kṛti-s were also a later addition. In the kriti Sadhinchana, after every charana, pallavi has to be repeated not the phrase ‘samayiniki’ which is commonly rendered in the present days. He said that the notations for these kṛti-s differ from the original source and that “kanakanarucira” had only pallavi and one caraṇa and the rest was composed and included later.
Padaccheda was also an interesting aspect where Sundaram Sir strongly recommended that every musician had to know the proper pronunciation with meaning and then render the particular kṛti, including the pañca-ratna kṛti-s. He stressed on the importance of breath control in-between two words and maintaining the sāhitya bhāva without breaking a word.
He said that the aspect of neraval in Karnāṭak Music came from dance where they had to repeat the same sāhitya many times to show the sancāri bhāva. He also gave information on what type of compositions can be chosen for bharatanāṭyam. Not just the viḷamba-laya but the sāhitya must have sṛṅgāra bhāva or any other aspect of portrayal to be chosen for dance, he added.
Dr. B.M.Sundaram Sir, who gave these lectures, himself became a great role-model to all the scholars and researchers. His patience in explaining, listening to the questions and responding to it; his humble nature in respecting the art, artists and researchers; adaptability, where he learned to give lectures online at that ripe age of 80; the nature of giving all the information that he collected. He made the sessions so interactive and every musician, researcher in the audience thoroughly enjoyed his lectures. I think, as researchers and musicians, each and every one has a responsibility in carrying-forward this tradition to the future generations there-by retaining and promoting the antiquity of Karnāṭak Music History.
Here are a few pictures of the lectures and valuable response from the attendees.
Swara Madhuri Presentation of Swarajatis and Jatiswaras – 7
Vanamala Center for Art and Culture presents Swara Madhuri rendering of rare and few popular Jathi Svaras and Svarajatis by different composers under the direction of Dr.Meera Rajaram Pranesh. It was presented on the 17th of July 2005 at the Indian Institute of World Culture, Bangalore.
The swaras are the main components of a melody or rāga. These swaras have their origin in the Vedic period. These notes were perceived as if they have life in them and are given 32 qualities or lakṣaṇas like vamśa, jāti, vayōmāna and so on. The presentation of svaras which have their own melody, character and charm is Swara Madhuri. The presentation of Jatisvaras and Svarajatis.
These compositional forms fall under the abhyāsa gāna. They depict the complete picture of a particular rāga. After geetes, svarajatis and jatisvaras have complex sanchara-s of the rāga and the svaras are present in all the three stāyis. The usage of gamakas are introduced to a student with this musical form. These forms are filled with all prosodic and rhetorical beauties. Hence svarajatis and jatisvaras were chosen as the theme for the concert.
Vocal:
Dr.Meera Rajaram Pranesh, Dr.Archana Bhat, Sandhya Ram, Gowri Srinivas, Sowmya D.R, Pavithra, Tulasi B.R, Bhagavathi, Tejaswini, Shantala, Rachana, Shobha Sridhar, Parimala and Rajath.
Accompanying Artists:
Vidwans:
B.K Raghu – violin
N Rajkamal – Flute
Renuka Prasad – Mridanga
N.S Krishna Prasad – Ghata
A.S.N Swamy – Khanjira
This program will be uploaded in series, this video has one jatiswara: Todi
For the rendition of the Swarajatis and Jatiswaras visit our YouTube Channel: https://youtu.be/6DlVsQM6urQ
Swara Madhuri Presentation of Swarajatis and Jatiswaras – 6
Vanamala Center for Art and Culture presents Swara Madhuri rendering of rare and few popular Jathi Svaras and Svarajatis by different composers under the direction of Dr.Meera Rajaram Pranesh. It was presented on the 17th of July 2005 at the Indian Institute of World Culture, Bangalore.
The swaras are the main components of a melody or rāga. These swaras have their origin in the Vedic period. These notes were perceived as if they have life in them and are given 32 qualities or lakṣaṇas like vamśa, jāti, vayōmāna and so on. The presentation of svaras which have their own melody, character and charm is Swara Madhuri. The presentation of Jatisvaras and Svarajatis.
These compositional forms fall under the abhyāsa gāna. They depict the complete picture of a particular rāga. After geetes, svarajatis and jatisvaras have complex sanchara-s of the rāga and the svaras are present in all the three stāyis. The usage of gamakas are introduced to a student with this musical form. These forms are filled with all prosodic and rhetorical beauties. Hence svarajatis and jatisvaras were chosen as the theme for the concert.
Vocal:
Dr.Meera Rajaram Pranesh, Dr.Archana Bhat, Sandhya Ram, Gowri Srinivas, Sowmya D.R, Pavithra, Tulasi B.R, Bhagavathi, Tejaswini, Shantala, Rachana, Shobha Sridhar, Parimala and Rajath.
Accompanying Artists:
Vidwans:
B.K Raghu – violin
N Rajkamal – Flute
Renuka Prasad – Mridanga
N.S Krishna Prasad – Ghata
A.S.N Swamy – Khanjira
This program will be uploaded in series, this video has two svarajatis – Shankarabharana and Kamach.
For the rendition of the Swarajatis and Jatiswaras visit our YouTube Channel: https://youtu.be/6vmOamV8YOU
Swara Madhuri Presentation of Swarajatis and Jatiswaras – 5
Vanamala Center for Art and Culture presents Swara Madhuri rendering of rare and few popular Jathi Svaras and Svarajatis by different composers under the direction of Dr.Meera Rajaram Pranesh. It was presented on the 17th of July 2005 at the Indian Institute of World Culture, Bangalore.
The swaras are the main components of a melody or rāga. These swaras have their origin in the Vedic period. These notes were perceived as if they have life in them and are given 32 qualities or lakṣaṇas like vamśa, jāti, vayōmāna and so on. The presentation of svaras which have their own melody, character and charm is Swara Madhuri. The presentation of Jatisvaras and Svarajatis.
These compositional forms fall under the abhyāsa gāna. They depict the complete picture of a particular rāga. After geetes, svarajatis and jatisvaras have complex sanchara-s of the rāga and the svaras are present in all the three stāyis. The usage of gamakas are introduced to a student with this musical form. These forms are filled with all prosodic and rhetorical beauties. Hence svarajatis and jatisvaras were chosen as the theme for the concert.
Vocal:
Dr.Meera Rajaram Pranesh, Dr.Archana Bhat, Sandhya Ram, Gowri Srinivas, Sowmya D.R, Pavithra, Tulasi B.R, Bhagavathi, Tejaswini, Shantala, Rachana, Shobha Sridhar, Parimala and Rajath.
Accompanying Artists:
Vidwans:
B.K Raghu – violin
N Rajkamal – Flute
Renuka Prasad – Mridanga
N.S Krishna Prasad – Ghata
A.S.N Swamy – Khanjira
This program will be uploaded in series, this video has two svarajatis Hamsanandi and Anandabhairavi.
For the rendition of the Swarajatis and Jatiswaras visit YouTube Channel: https://youtu.be/YHOVt1C3R1I
