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Section Synopsis (January 2006)
NEWS & NOTES
A VIEW FROM THE TOP OF SUBBUDU'S LIFE AND
WORK
-LEELA VENKATARAMAN
On August 17th at the IIC Annexe, a book release function
organised under the auspices of Bharatiya Vidya Bhavan and Appan (Asia-Pacific
Performing Arts Network), unlike many other similar occasions, took on a
specially nostalgic aura. The book in question Beyond Destiny by Lada Gurudev
Singh is on the life and work of the Pitamaha of dance and music criticism,
namely Subbudu. Critics, as I mentioned in my talk, write but seldom get
written about. And this occasion was celebrating the youngest entrant into
the field of dance-writing looking critically at the life and work of the
oldest and most haloed of critics. If the courage of youth in stepping into
an area where angels would fear to tread evoked admiration, not less praiseworthy
was the large heartedness of a haloed senior like Subbudu submitting his
life and work to the scrutiny of one so young. Turned out in a beautifully
starched dhoti and angavastram, a frail looking Subbudu arrived in a wheelchair
surrounded by a concerned and loving family.
To begin with, however, only the first of these may be dwelt upon at some
length; for the other one has to be valued aesthetically, rather than from
the viewpoint of its relevance to facts and happenings. Pramod Chandra began
by referring to 1901 when the patron saint of Hindustani music, Vishnu Digambarji,
established the very first Gandharva Mahavidyalaya at Lahore-- a landmark
of far-reaching significance. He paid due verbal homage to two departed
souls-- Gargi Gupta, a tireless worker in organising such functions and
the tabla maestro Shafaat Ahmed Khan, who had been a regular participant
in such jayanti-s for more than twenty years. Chandra thanked the participating
artists and rasika-s very warmly; and finally, did not fail to say a good
word about the organisers who just keep working self-effacingly to create
the necessary conditions for this fascinating annual conference of musicians
and their devotees.
 Speaking
on the occasion, Lada Guruden Singh emotionally dwelt on the "long journey"
with Subbudu this work had entailed. Since Subbudu's vast writings in Tamil
were beyond his reach, Lada's dependence had to be on Subbudu's own recall
of past events, aside from his English writings which would of course have
been a major source of material. He had spoken at length to other critics
and dancers and musicians. But floating amidst the sea of scattered material
gathered, Lada had more than once felt that he was inadequate for this job.
Rushing to his aid to rescue him out from acute bouts of despondency had
been his mother whose steadfast single-handed support had been his source
of strength throughout life's lotus-eating years. Being constantly with
Subbudu in the last few months, he had discovered how a man who lived and
breathed music and dance, often at the cost of sacrificing his domestic
obligations as husband and father, had had the great good fortune of having
by his side the support of a loving and capable wife who had accepted Subbudu's
hours away from home with equanimity as the inevitable occupational hazard
of being wedded to an exceptionally gifted human being. Subbudu had on occasions
gone to a concert with one of his children and returned home alone having
forgotten in the after-performance excitement about the young one accompanying
him! Being privileged to learn at the feet of such a veteran, he had also
been able to glimpse the soft man who lurked behind the hard critic. Writing
this book had meant having to "live Subbudu" not just listen to him. Lada
quoted a senior critic's remark about Subbudu that here was one who had
neither praised the King nor earned any favours for his own self.
Critic colleague and commentator Shanta Serbjeet Singh said, "The intelligent
reader learns from a critic not what to think about a piece of art but how
to think about it." Unlike films on dance, which do not always give an accurate
picture, the only reliable means of judging music or dance offerings is
through an objective critic's writings. Subbudu's work cannot be understood
or appreciated or evaluated independently of the historical, social, political
and artistic context within which the dancer/choreographer is working. Experimentation
in dance has not received his support and he has had his bugbears. But using
criticism to function as both teacher and judge, he has brought to bear
on his writings his vast experience as a musician and as a critic.
"You can understand how the sight of a ramrod straight figure, sitting quietly
in a corner, eyes half closed, tapping tala on his fingertips with the speed
of a machinegun in action, often turned even experienced dancers into a
mass of jelly...." Watching over the years the `legendary clash' between
the rise of post-modern experimental India and classical traditional dance,
"he (Subbudu) has not often played the mediator and apologist for either
or both traditions". This critic also observed that Subbudu has lived through
some of the most epoch making years in the country's political, social and
artistic life. The young Subbudu's enormous histrionic talents, his superb
musical prowess and the ability to wield a vituperative pen to boot, soon
caught the eye of Kalki Krishnamurthy. The rest was history, for much was
happening-- the fall of the devadasi, the rise of Rukmini Devi and Kalakshetra,
Balasaraswati and the famous sringara / bhakti tensions with her on one
side and Rukmini Devi on the other, the sabha culture which took over the
arts scene, the move to Delhi to see the birth of institutions like the
Kathak Kendra, the setting up of the Akademis, AIR and its music promotion,
the birth of Television et al-- Subbudu's pen had much to write on and write
he did - with a venom which delighted and a wit which made had no qualms
about poking fun at the person of the artist. Even though classical dance
and music are the much-hyped roads to a higher consciousness, there is something
about the performance situation, which creates inflated egos amongst artists.
And Subbudu believed that pricking that ego balloon was his job as a critic.
The fuming dancer rarely dared to confront the critic for that would have
meant paring a jati or teermanam down to its micro-elements and reassembling
it to demonstrate the arithmetic, questioned by Subbudu. Or it could mean
engaging in a discussion on the intricacies of a raga with a man who could
play the harmonium in a way that could charm the birds off the trees. One
of Subbudu's greatest contributions through his Tamil writings in Dinamani
Kadir, Ananda Vikatan and Kalki lay in the way he used the Tamil language
and his racy writing style with witticisms and analogies from daily life
which brought home the intricacies of classical music and dance to ordinary
readers. By increasing the readership he also enlarged the circle of music
and dance audiences. Also he was a critic who had no gender bias at all
and all the great women stalwarts in music from M.S. Subbulakshmi, Pattammal
to Vasanthakumari, and more recently the Sudha Ragunathans and Bombay Jayashris
owe a great deal of their success to Subbudu's praises. In a still predominantly
patriarchal society, this was some achievement.
This man who had survived the rigours of the harrowing trek from Burma (Myanmar)
to India in the early years had faced all the ups and downs of life with
indomitable courage. Lada had, however, been able to catch Subbudu at his
most vulnerable period, just after the death of his wife and companion of
sixty odd years. His shock absorber who had shielded him from life's vicissitudes
had gone, and that stiff upper lip and unshakeable spirit had crumbled.
C.R. Garekhan, formerly Permanent Representative of India at the UN and
now Vice President of Bharatiya Vidya Bhavan, released the book Beyond Destiny
with the first copy being handed over to the Secretary Culture of the Government
of India, Nina Ranjan. Office bearers of the Bhavan lauding Lada's efforts
said that while the youngster had been recommended as a talented writer
to the Bhavan authorities, they had had to see the first proofs of the writing
before being reassured about their choice.
Subbudu, in the briefest of replies, thanked the Bhavan and all those concerned
for the book and the evening function. It was plain to all that he had stood
the strain of the evening with great effort.
Prof. Omchery N.N. Pillai, Principal, College of Journalism and Communication,
Bharatiya Vidya Bhavan delivered the vote of thanks and the evening ended
with many admirers handing floral tributes and offerings to Subbudu.
Click to read more
SPOTLIGHT
Sangeeta Sthalam-s - 11
Heritage Landmarks in Music -SRIRAM.V
MApart from the four well-known sishya lines of Tyagaraja, the bard
had several other disciples. One among these was 'Veenai' Kuppayyar,
who hailed from Tiruvottiyur. It is indeed unfortunate that this
composer and musician is rarely mentioned when Tyagaraja's disciples
are spoken of. Perhaps it is due to his leaving the Tanjavur
district quite early and settling down in Madras which was not
really a musical hub in the first half of the nineteenth century.
...Let us turn to Abraham Pandithar and see what he says about
Kuppayyar in his Karunamrita Sagaram.
"Kuppayyar. Known as Veenai Kuppayyar and Tiruvattoor Kuppayyar.
1850. He could play the veena wonderfully well. He was also a
beautiful singer. He was a great patron of vidwans. He could also
play the violin. He is the author of many varnam-s, keertanam-s and
tillanah-s. Hundreds of students learnt music from him. He not only
taught them but kept them and fed them in his own house. He
specially celebrated the festivals of Sree Rama Navami and Siva
Ratri. He obtained the title of "Gana Chakravarti" as he was
proficient in all music. Venkataramana Iyer of Kurattavasi,
Seetaramayyar and Ponnusami were the chief students of his.
Krishnaswami Iyer, Ramaswami Iyer and Tyagaraja Iyer, his sons, were
also clever in music. His son Tyagaraja Iyer has published the
varnam-s, keertanam-s and tillanah-s of the father."
...Though Pandithar mentions Peddanaickenpet as the place of
Tyagier's residence, it was the other half of Town, namely
Muthialpet where he lived. The family had moved into 88 (now 33/10)
Ramaswami Street even during Kuppayyar's lifetime and the house soon
became the musical centre of the by then established city.
Sambamoorthy writes that Kuppayyar "was mainly responsible for
making Madras as (sic) a seat of musical culture. Madras has every
reason to be proud of him". Kuppayyar also frequented Fort St.
George in the company of his patron Sundaresa Mudaliar and
familiarised himself with Western music.
Tyagier, like his father, was also a vainika and putting the
instrument to good use, he created many tana varnam-s, which are
sung on stage even today. His Adi tala varnam in raga Darbar,
Chalamela was composed during a meeting of musicians at the
residence of Tachur Singaracharlu at No. 3, Thambu Naicken Lane
(alas, now a plastics mart).....
Tyagier died in September 1917. It would appear that till his
demise, his house remained a cultural hive with several young
musicians performing there and seeking his blessings. One such was
P. Sambamoorthy who in 1916 gave a flute recital there and was
praised by Tyagier. There are no photographs or portraits of Tyagier.
Of Kuppayyar too there is no portrait in existence. With Tyagier's
passing, the house naturally declined in importance as a centre for
the arts, though S. Rajam remembers Prof. Sambamoorthy conducting 'akhandam'
of Tyagaraja's songs there even in the late 1940s. The Professor was
obviously a close friend of the family, for he published photographs
of Kuppayyar's veena and also the idol of 'Radha Rukmini sameta
Venugopalaswami' that the family worshipped. While writing the
chapter on music in Madras in the Madras Tercentenary Volume (1939),
Prof. Sambamoorthy made special mention of the residence....
Tyagier's house is the archetypal town house that Madras was famous
for till the 1970s. Those who have been inside the house remember it
as having all the standard elements such as 'rezhi', 'mittam' and
the straight passage leading from the front door to the rear exit.
The house remained in the possession of Tyagier's family till the
1950s and then became the office of the TUCS and the first floor was
the residence of the manager till the 1970s. It later became a wine
shop for a short while. Then it appears to have been abandoned.
The descendants of Kuppayyar are said to be living somewhere in the
Alwarpet area and it would be good if readers of Sruti could give
any lead as to where they can be contacted. The idol of
Venugopalaswami and the veena are said to be in their possession.
Yet another descendant is Wing Commander Ganapathy, who along with
his architect son Sriram Ganapathy managed to locate the family home
in Ramaswami Street after many years and take a photograph of it for
posterity. He too, is on the look out for the family branch that
lives in Alwarpet.
The house continues to remain unoccupied and there being no
information about the present owner, it is not possible to enter it
and see its interior. Being vacant it is home to several dogs and is
the spot where all the refuse and rubbish of Ramaswami Street is
deposited. Rather a sad fate for the house of someone about whom as
per Prof. P. Sambamoorthy, "Madras ought to be proud". Each year a
window or two and parts of the roof vanish. Somewhat like our
heritage.
Click to read more
BRIEF NOTES
Tyagaraja Utsavam
In Chicagoland -M.K. SADAGOPAN
During the Memorial Day weekend in May, Chicago Tyagaraja
Utsavam (CTU), a not-for-profit organisation, celebrated its 29th annual
music festival at the Hindu Temple of Greater Chicago. It is the fruit
of the Indian immigrant community's painstaking labours to keep its
culture alive in their adopted country.
 The
emphasis of the Utsavam is to induct children into the art of Carnatic
music and accordingly over 150 children (many in groups) offered a Tyagaraja
kriti. In addition over 70 adults also performed. The Utsavam started
with a group chant of the Vishnu Sahasranama stotra, followed by a group
of 59 people rendering the Pancharatna kriti-s. A group of 15 men sang
Endaro mahanubhavulu. Every year, CTU schedules at least two innovative
programmes and this year they were the Utsava Sampradaya kriti-s presented
by 60 children, and the Tala Vadya kutcheri with mridanga, tabla and
electronic percussion pad. The winners of the 2004 CTU music competition
were specially featured in the morning. There are about 35 Carnatic
music teachers (mostly vocal, violin, veena and mridanga) in the Illinois
area, who have trained these hundreds of actively practicing amateurs
of all ages. The main event on the first day was a dance ballet Tyagarajam
Bhajeham choreographed by Vanitha Veeravalli of Bharatam Academy of
Dance Arts in Naperville. It essayed the life of Tyagaraja.
Featured during the festival were: Udayalur K. Kalyanarama
Bhagavatar (sampradaya Carnatic bhajana); T.M. Krishna (vocal); Bharatanrityam
dance-drama Krishnaya Tubhyam Namaha by Padma Subrahmanyam and troupe,
with a live orchestra; Lalgudi G.J.R. Krishnan and Lalgudi Vijayalakshmi
(violin); Mysore Nagamani Srinath (vocal); and a number of programmes
by amateurs. The Utsavam concluded with a group of children performing
the traditional kriti on Anjaneya, Tyagaraja's Geetarthamu (Surati)
and mangalam. All the music concerts were professionally recorded. Tyagaraja
Vijayam, the annual brochure of the CTU as well as CDs of 2004 CTU concerts
were released.
On the first day, approximately 800 home cooked authentic South Indian
meals were served-- made to an elaborate menu of 14 items. On each of
the three days lunch, snacks, coffee and dinner were provided as part
of the programme so that the arts connoisseur-patrons could enjoy the
music, dance, and the ambience without the hassle of foraging for food.
Over 100 families or individuals provided the meals as a devotional
offering to Tyagaraja. In all, over 200 volunteers worked as cooks,
servers, cleaners, sound technicians, stage hands, drivers, porters,
webbers, writers, planners and helpers. The attendance peaked at about
750 people for Padma Subrahmanyam's dance recital. The total attendance
including all the programmes was around 3500.
About 90 percent of the funding for the Utsavam comes from the public
and the rest from Illinois (State) Arts Council grants, advertisements
in the brochure and CD sales. A donation of $75 entitles a family to
enjoy six concerts and dances and food on all three days, gifts for
participating children, the brochure and more. The expected donation
is kept low to encourage attendance and participation, and the difference
is covered by generous donations from local philanthropists.
New Directions In Indian
Dance -JANAKI PATRIK
Well-known scholar, writer and lecturer on Indian
dance, Dr. Sunil Kothari, presented two illuminating lectures on 'New
Directions in Indian Dance' in May this year. The first lecture focused
on 'Dance in India' and the second on 'Indian Diaspora in the United
States'. These lectures were the third and fourth in an on-going collaboration
between the New York City Library of the Performing Arts at Lincoln
Centre, Alan Pally, Program Director, and Janaki Patrik, Artistic Director
of The Kathak Ensemble & Friends. I introduced Kothari's lectures, as
well as the past lectures by Vincent Warren, 'The Influence of India
on Western Dance', and by Arshiya Sethi, 'Satriya: The Classical Dance
of Assam'.
The video excerpts and photos which illustrated Kothari's Friday lecture
on new dance in India were a revelation to the New York City audience.
It is evident that Indian dancers and choreographers working in India
have made startling innovations, despite the frequent absence of what
we Americans often think of as an essential ingredient for dance creativity--
the opportunity to study and watch Western modern dance. In fact we
learned that many Indian dancers have been in dialogue with their Western
peers for many years. Astad Deboo and Daksha Seth among others are world
travellers. Their experiments with lighting, costuming, stage craft
and integration of martial arts and circus techniques proved that Indian
dance in India is pushing the limits beyond conventional boundaries
of popular and classical dance and winning new audiences in the process.
The second lecture, 'Indian Diaspora in the United States', was similarly
revelatory. Seeing video clips of innovations in Indian dance in Middle
America and on the West Coast, we New Yorkers had to admit that our
colleagues throughout the United States have likewise been responding
to American music, Indian cinema, modern dance movement and innovative
costume designs, among other elements, thereby creating polished productions
and reaching American audiences of both Indian and non-Indian origins.
Dr. Kothari's frequent world travels have given him an expansive view
of traditional and new Indian dance. Exhorting all those similarly inclined
to "write, write, write" about Indian dance, Kothari noted that despite
the explosion of new means of communication such as e-mail and desktop
publishing, less is being written about dance. Enthusiastic audiences
at both lectures expressed their appreciation to Sunil Kothari for his
efforts to keep Indian dance centrestage where it rightfully belongs.
Sankara Jayanti
-KUSUMA RAO
Sri Tyagaraja Gana Sabha Trust was established in
1971, with a membership fee of just a rupee per head. It has overcome
its share of troubles with sheer grit and determination. With the objective
of encouraging local talent, this sabha has been presenting one monthly
concert without fail in these 34 years. Twice a year it organises two
big events-- Tyagaraja-Purandara Aradhana and Sankara Jayanti which
are well-attended. Abhishekam, bhajana and related rituals are performed
in the mornings. The sabha functions under the able leadership A. Subbaramayya,
in association with Sri Mookambika Talavadya Sangeeta Kalashale and
Sri Vani Vidya Kendra.
This year the mantle fell on the shoulders of Dr. T.S. Satyavathi to
play the role of the president of the six-day long music festival featuring
over 65 artists, senior as well as up-and-coming. She was honoured with
the 'Kalaabhushana' award, comprising a citation, shawl, fruits and
flowers by B.C. Jayanti. The other awardees included vidushi Srirangamma,
a senior vocalist, Prof. V. Nanjundaswamy a noted musicologist, Veda
vidwan Virupaksha Bhatta, and mridanga vidwan B. Dhruvaraj. The prize
winners in the competitions held earlier received their certificates.
The inaugural recital was by Nandita and the concluding concert was
by young Amrut Nagasundar. The instrumental concerts in the festival
included saxophone by Kadri Rameshnath, flute by M.K. Pranesh, and veena
by V. Gopal. Ashwini Gore (Hindustani), Venkatesa Sharma, G. Ravikiran,
G.K. Subhamangala, Hamsini Nagendra Chandrasekhar and Rekha Harinath,
all vocalists performed in the music festival
FORMAL DEBUT
Shivani (Bharatanatyam), daughter of Mrs. Padmini & Mr. Krishnamurthy,
and disciple of her mother Padmini Krishnamurthy (Shri Saraswathi Natyalaya,
Muscat); 9 June in Chennai.
Sruthi (Bharatanatyam), d/o Mrs. Kausalya Srinivasan & Mr. S.
Srinivasan, and disciple of Jayanthi Subramaniam (Kala Darsana); 10
June in Chennai.
Aditi (Odissi), d/o Mrs. Aparna & Mr. Sunil Kolhekar, and disciple
of Chitra Krishnamurti (Nrityalaya); 11 June in Maryland, U.S.A.
M. Sneha (Bharatanatyam), d/o Dr. Saroja & Dr. M. Sai Baba, and
disciple of S. Divyasena (Divyanjali); 17 June in Chennai.
Pallavi (Odissi), d/o Mrs. Pushpa & Mr. Pratap Das, and disciple
of Chitra Krishnamurti (Nrityalaya); 18 June in Maryland, U.S.A.
Nabanita (Odissi), d/o Mrs. Kamalakshi & Mr. Ranajit Pal, and
disciple of Chitra Krishnamurti (Nrityalaya); 26 June in Maryland, U.S.A.
Mythile (Bharatanatyam), d/o Mrs. Mohana & Mr. Mahesan Thirukesan,
and disciple of Menakka Thakkar (Nrtyakala), 31 July in Ontario.
Prema Martin (Bharatanatyam), disciple of Geeta Chandran; 13
August in New Delhi.
SELECTED
Dhrupad musicians Asghari Bai, Rahim Fahimuddin Dagar, Zia Fariduddin
Dagar to receive the 2005 NADA Lifetime Achievement Awards in October.
The awards instituted by North American Dhrupad Association (NADA),
each comprises a purse of one lakh rupees, a plaque and a citation.
Richa J. Chinoy to receive the Kalakriti Fellowship for excellence
in Indian classical dance, and Subhadara Desai to receive the
mani Mann Fellowship for excellence in Hindustani classical vocal music
for 2005. The Fellowship established by Kalakriti Foundation in collaboration
with Sanskriti Pratishthan, Delhi, comprises a grant of 50,000 rupees
for dance and one lakh rupees for Hundustani music.
LAUNCHED
DPS-AIM (Delhi P. Sunder Rajan's Academy of Indian
Music), recently in Chennai. The organisation plans to organise workshops
for students, conduct research programmes, establish an archival and
documentation centre, and provide awards and scholarships to deserving
students with the objective "of promoting and propagating Indian fine
arts".
l Five-year integrated full-time M.A. Degree Course in Natya, by the
Dr. MGR-Janaki College of Arts and Science for Women (affiliated to
the University of Madras) in Chennai. B.A. Degree in Natya after successful
completion of three years study. < admin@mgrjanaki.ac.in >
Click to read more
THE BOOK SHELF
KRITIMANIMALAI-- Sri Tyagaraja Svami's Compositions. Vols. I & II
(English Adaptation based on the late R. Rangaramanuja Ayyangar's
Tamil Magnum Opus). By daughter-disciple Padma Varadan. [Vipanci
Charitable Trust - 20 Kasturi Buildings, Jamshedji Tata Road,
Churchgate, Mumbai - 400020, India. < vipanci@vsnl.com > Hardbound.
2005. Pp. 940 & Pp. 1021. Rs. 1600 per set].
-RITHA RAJAN
With the growing worldwide interest in Carnatic music, there has
also been a simultaneous need to adapt various musical material
written in vernacular languages, and translate them into English.
The two volumes of Kritimanimalai are English adaptations of
Rangaramanuja Ayyangar's Kritimanimalai in Tamil, containing the
notations for Tyagaraja's compositions. As these volumes indicate,
there cannot be a more suitable person than Padma Varadan to do
justice to such a venture. She has thoroughly and successfully
imbibed Rangaramanuja Ayyangar's music and has rightfully inherited
all his musical wealth. The volumes have been published as a homage
to the late Rangaramanuja Ayyangar, twenty-five years after his
demise. The original volumes of Kritimanimalai of Rangaramanuja
Ayyangar in Tamil, with notations for almost all the available
compositions of the Music Trinity and other composers, are very well
known and popular among musicians. Although generally considered to
be a little complex, the notations in the Tamil volumes have been
sought after by many musicians who are interested in learning good
versions of the compositions, with the intention of acquiring more
musical details. The lyrics, with simple pronunciation marks and
meanings, are very helpful for both readers and musicians.
Another interesting feature of the Tamil Kritimanimalai is the
inspiring introduction given by Swami Sivananda, which in fact
recurs in all the volumes. In the volumes of Tyagaraja compositions,
a detailed biography of the great composer and other interesting
articles on music by eminent personalities like Yogi Suddhananda
Bharati and S.Y. Krishnaswami are also included. The famous
photograph of Rangaramanuja Ayyangar with Veena Dhanammal (whom he
reverently called "Siddha vidyadhari") and his tribute to the great
lady in the form of befitting verses in Sanskrit and Tamil, are some
of the highlights of the Tamil Kritimanimalai. Added to this, the
fine raga lakashana descriptions and the photographs and pictures of
famous deities and artists make the works more interesting and
attractive.
Having served as the co-author of all the Tamil volumes, it is no
wonder that Padma Varadan had the inspiration and the desire to
write the English adaptations with certain modifications and
changes, and has published the first two volumes of the original
Kritimanimalai of Rangaramanuja Ayyangar, containing the
compositions of Tyagaraja, in English. Bringing out such adaptations
is perhaps more challenging than writing something original. For
readers who are familiar with the Tamil volumes, the expectations
will be very high. The author has taken this into account, and has,
at the same time, made the work equally modern and contemporary. By
going through the pages of these volumes, one experiences the
nostalgia for the Tamil editions, although it is necessary to get
used to certain changes the author has introduced in the notation,
including some of her own interpretations and ideas.
One of the valuable additions is the application of diacritical
marks, wherever applicable, throughout the work, along with a
detailed description of these diacritical marks. The texts of songs
are given with English transliterations alongside the text in the
Devanagari script. There is free English translation for the lyrics,
and the raga lakshana is crisp and has all the relevant information.
The most noteworthy aspect here is the notation for the songs, which
is enhanced by using signs for indicating gamaka-s and anuswara-s.
Ten gamaka-s are identified and signs are given respectively, with
the gamaka explanations being simple and easy to follow.
This adaptation has been carried out keeping in mind the original
spirit of the Tamil version, by giving the same title Kritimanimalai,
and keeping the notation, intact, thereby endorsing Rangaramanuja
Ayyangar's strong views on the value of notation system, and also by
bringing out the importance he placed on knowledge of solfa musical
notation. At the same time, all efforts have been taken to improve
the presentation by introducing additional features and by taking
the utmost advantage of the computer and other facilities. We should
agree with the author that skill for learning from the notation has
to be developed, as it makes learning more serious and worthwhile.
The author pays her tribute to Rangaramanuja Ayyangar entitled "A
Salutation". This is followed by Rangaramanuja Ayyangar's tribute to
Veena Dhanammal in Sanskrit and Tamil verses from the Tamil source,
reproduced with an apt English translation, along with the famous
photograph of Rangaramanuja Ayyangar with Veena Dhanammal. A brief
description of the entire English volumes is given, in order to give
us an idea about the books on the whole. ....
..... On the whole, these volumes are products of many years of hard
work, commitment and sincerity, and the author has approached the
task as a true disciple rather than a loving daughter. This
adaptation will be of immense value to aspirants of Carnatic music.
Click to read more
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