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Atana Fa’arodo Jnr
Atana or AThana (अठाण / अठाणा) is a raga (musical scale) in Carnatic music (South Indian classical music). It is a ''Janya'' raga (derived scale), whose ''Melakarta'' raga (parent, also known as ''janaka'') is ''Sankarabharanam (raga), Sankarabharanam'', 29th raga, commonly known as Shankarabharanam in the Melakarta system. Sometimes pronounced aDaaNaa (अडाणा). There is a Hindusthani raaga named अडाणा, which is totally different. Atana is very common in drama music. The note structures include, "Sadja, Chatusruti Rishabha, Suddha Madhyama, Pancama, Chatusruti Dhaivata, Kaisiki Nishada and as a rare feature, Kakali Nishada in descent." It is considered to be a very catchy raga that gives a stage flavor for a musician when everything is going dull in a concert. It stimulates the audience by its qualities of ''Veeram'' (courage).''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Structure and Lakshana Atan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A raga ( ; , ; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. It is central to classical Indian music. Each raga consists of an array of melodic structures with musical motifs; and, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience. Each raga provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the raga in keeping with rules specific to the raga. Ragas range from small ragas like Bahar (raga), Bahar and Sahana (raga), Sahana that are not much more than songs to big ragas like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances can last over an hour. Ragas may change over time, with an example being Marwa (raga), Marwa, the primary development of which has been going down ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kanakadasa
Kanaka Dasa (1509–1606) also known as Daasashreshta Kanakadasa (ದಾಸಶ್ರೇಷ್ಠ ಕನಕದಾಸ), was a Haridasa saint and philosopher of Dvaita Vedanta, from present-day Karnataka, India. He was a follower of Madhvacharya's Dvaita philosophy and a disciple of Vyasatirtha. He was a composer of Carnatic music, poet, reformer and musician. He is known for his keertanas and ugabhoga, and his compositions in the Kannada language for Carnatic music. Like other Haridasas, he used simple Kannada and native metrical forms for his compositions. Birth Kanaka Dasa was born into a Kannada kuruba family in Baada village, near Bankapura in Karnataka, and was a warrior at the Bankapura fort. He was taught by Srinivasacharya. As a child, he became an expert in "tarka", "vyakarana", and "mimamsa". Based on one of his compositions, it is interpreted that he was injured in battle and took to the practice of chanting the name of Lord Hari. A beggar appeared to Kanaka Dasa, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viswanathan–Ramamoorthy
Viswanathan–Ramamoorthy were an Indian music composing duo composed of M. S. Viswanathan and T. K. Ramamoorthy. They worked together on over 100 films, from 1952's '' Panam'' to 1965's '' Aayirathil Oruvan''. After their split, Ramamoorthy worked on 16 films between 1966 and 1986. He and Viswanathan reunited in 1995 for '' Engirundho Vandhan''. Early lives Ramamoorthy Ramamoorthy, born into a well-known musical family in Trichy, was a capable violinist at an early age. His father (Krishnasamy Pillai) and grandfather, Malaikottai Govindasamy Pillai, were noted violinists in Trichy. As a child, Ramamoorthy performed several times with his father. During the early 1940s he worked for Saraswathi Stores (in which AVM Productions owner Avichi Meiyappa Chettiar was a partner), and played violin for AVM composer R. Sudharsanam in several films. Ramamoorthy became friendly with P. S. Diwakar, the pianist-composer of Malayalam cinema, and roomed with P. S. Diwakar. C. R. Subburam ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thanga Padhumai
''Thanga Padhumai'' () is a 1959 Indian Tamil language film starring Sivaji Ganesan and Padmini (actress), Padmini. The film was co-written and directed by A. S. A. Sami, produced by M. Somasundaram under Jupiter Pictures, and had music by Viswanathan–Ramamoorthy. ''Thanga Pathumai'' proved to be a hit in its re-release, and won National Film Award for Best Feature Film in Tamil for the year 1959. Plot Manivannan is a physician, but a simpleton. Selvi, daughter of a rich trader of Uraiyur was modelled on Kannagi as the personification of female virtues. The emeralds in the eyes of Kannagi Devi statue at Uraiyur are precious and attract the princess Raja Vadana of the neighbouring kingdom. To get the gems, the commander Balakumaran and Raja Vadana send their dancer Maya Mohini to dance at the Uraiyur festival. Maya Mohini captures the eye of Manivannan much to the fury of his wife and father in law. She is insulted and sent away during the dance, and earns the pity of Manivan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tamil Language
Tamil (, , , also written as ''Tamizhil'' according to linguistic pronunciation) is a Dravidian language natively spoken by the Tamil people of South Asia. It is one of the longest-surviving classical languages in the world,. "Tamil is one of the two longest-surviving classical languages in India" (p. 7). attested since 300 BC, 300 BCE.: "...the most acceptable periodisation which has so far been suggested for the development of Tamil writing seems to me to be that of A Chidambaranatha Chettiar (1907–1967): 1. Sangam Literature – 200BC to AD 200; 2. Post Sangam literature – AD 200 – AD 600; 3. Early Medieval literature – AD 600 to AD 1200; 4. Later Medieval literature – AD 1200 to AD 1800; 5. Pre-Modern literature – AD 1800 to 1900" at p. 610 Tamil was the lingua franca for early maritime traders in South India, with Tamil inscriptions found outside of the Indian subcontinent, such as Indonesia, Thailand, and Egypt. The language has a well-documented history wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nallan Chakravartula Krishnamacharyulu
Nallan Chakravartula Krishnamacharyulu (1924–2006) was a scholar, musician, teacher and exponent of the art of hari katha. He belongs to the lineage of Saint Tyagaraja. He was a first generation disciple of Sriman Parupalli Krishnaiyyah pantulu. Being a top grade artist, his reach went above and beyond being a violinist and a musician. He was also a pandit in Sanskrit and Telugu literature who wrote and composed numerous Kritis, yaksha ganas, poems and harikathas. He was awarded the Vaggeyakara award by the Madras music academy in 2005. Compositions See also *List of Carnatic composers List of composers of Carnatic music, a subgenre of Indian classical music. Chronologically they can be grouped into 4 different Eras: Pre-Trinity Era, Trinity Era, Post Trinity Era and Modern Era. Composers are listed here based on this classif ... References A Tribute to Sri Nallan Chakravartula Krishnamacharyulu* Thyagaraja Geyartha Kunchika {{DEFAULTSORT:Krishnamacharyulu, N ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mysore Sadasiva Rao
Mysore Sadashiva Rao (Mysore ; ) or Sadasiva Rao was a notable Indian vocalist and composer of Carnatic music. He was a member of the court of the king of Mysore, Krishnaraja Wodeyar III. Biography Very little is known about Sadashiva Rao's early days. He was born in a Marathi-speaking Deshastha Brahmin family which had settled in modern-day Andhra Pradesh. It is believed that he was employed as a clerk in his early career before he travelled to Walajahpet near Madras where he ended up training under Venkataramana Bhagavatar, a pupil of Tyagaraja (1767–1847), one of the Trinity of Carnatic Music. It is also said that Rao once met Tyagaraja when the composer travelled to Walajahpet on a pilgrimage and briefly stayed with his disciple. Sadashiva Rao travelled with two brothers, the merchants Kopparam Chinnamuni Swamy Setty and Padda Muniswamy, to Mysore, brought Sadashiva Rao to Mysore. By the time he was 30, Rao had found a place in the Mysore Wodeyar durbar. The royal patron ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jayachamaraja Wodeyar Bahadur
Jayachamarajendra Wadiyar (18 July 1919 – 23 September 1974), sometimes simply Jayachamaraja Wadiyar, was the twenty-fifth and last ruling Maharaja of Mysore, reigning from 1940 to 1950, who later served as the governor of Mysore until 1964 and as governor of Madras from 1964 to 1966. Wadiyar ascended the throne upon the sudden demise of his uncle Maharaja Krishnaraja Wadiyar IV. His reign as King began in 1940 during the onset of World War II in Europe and concluded with his merging the Kingdom into the Dominion of India in 1947 but continued as maharaja until India's constitution into a republic in 1950. Kuvempu, his Kannada teacher and the vice-chancellor of Mysore University, remarked upon his ceding the kingdom: "Whereas kings have become so upon assuming thrones, he became a great king by renouncing one". C. Hayavadana Rao, a noted historian, referred to the maharaja in the preface of his unfinished book as a "supporter of every good cause aiming at the moral and mat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samuel Vedanayagam Pillai
Samuel Vedanayagam Pillai (1826–1889), also known as Mayavaram Vedanayagam Pillai was an Indian civil servant, Tamil poet, novelist and social worker who is remembered for the authorship of '' Prathapa Mudaliar Charithram'' (1879), recognized as the "first modern Tamil novel". Vedanayagam's ideals of women's liberation and education are reflected in the novel. Early life Vedanayagam Pillai was born on 11 October 1826 in Inam Kulathur, a village in present-day Tiruchirappalli district to Arockia Mariammal and Savarimuthu Pillai, both of whom were Catholics. His father was his first tutor and later he learned Tamil and English under a tutor named Thayagaraja Pillai. On completing his education, Vedanayagam joined the judicial court of Trichinopoly as record keeper and soon was elevated as a translator. He learnt Sanskrit, French and Latin during his tenure and then cleared his law exams. Literary works He became the District Munsiff of Mayuram (now Mayiladuthurai) and serv ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swathi Thirunal
Sri Swathi Thirunal Rama Varma III (16 April 1813 – 26 December 1846) was the Maharaja of the Kingdom of Travancore. He was a great musician and composer who has to his credit over 400 classical compositions in both Carnatic and Hindustani style. A code of laws, courts of justice, introduction of English education, construction of an observatory, installation of the first Government printing press, establishment of the first manuscripts library were amongst the many initiatives taken by Swathi Thirunal, as a King, to modernize Travancore. Early life Swathi Thirunal was born into the Venad dynasty of the Matrilineal royal family of Travancore, which is now a part of Kerala, on 16 April 1813. He was the second child of Queen Gowri Lakshmi Bayi who ruled Travancore from 1810 to 1815, and Raja Raja Varma Koil Thampuran of Changanasseri Palace, and the elder son. While in the womb itself, he was proclaimed King and thus was referred to as Garbha Sreemaan. He was born in Sva ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Varnam
Varṇam is a type of composition in the Carnatic music system that encapsulates the key features of a raga, and considered as a foundational element in the learning path. Varnams capture the essence of the ragam in terms of typical swara patterns used, vishesha prayogas, highlighting the main notes (jeeva swaras), etc. This forms the basis for creative presentation (manodharma) of the raga in the form of raga aalapana, kalpana swarams and neraval. Varnams are a fundamental form in Carnatic music. All varnams consist of lyrics, Bradnock (1992), p631 as well as ''swara'' passages, including a '' pallavi'', an '' anupallavi'', ''muktaayi swaras'', a '' charanam'', and '' chitta swaras''. There are different types of varnams, such as ''taana varnam'', ''pada varnam'', ''daru varnam'' and ''ragamalika varnam''. They also come in different ''taalams'' (beat cycles). Though the most popular varnams are in ''Aadi'' and ''Ata taalas'', there are a number of varnams in other ''talas'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ghanam Krishna Iyer
Ghanam Krishna Iyer (1790–1854) was a composer of Carnatic music and was famous for his ''padams''. ''Padams'' are expressive songs of three or more stanzas, used generally as an accompaniment to classical dance. Krishna Iyer was a student of the famous composer, Pacchimiriam Adiyappa. He was also influenced by Saint Tyagaraja and Gopalakrishna Bharathi. The title ''Ghanam'', which associated with music means 'deep' or 'grand', relates to his style of singing. He met Tyagaraja and composed and sang his composition, ''Summa Summa Varuguma Sugam'' in Raga Atana. His Mudras included ''Muttukumaara'' and ''Velar''. See also *List of Carnatic composers List of composers of Carnatic music, a subgenre of Indian classical music. Chronologically they can be grouped into 4 different Eras: Pre-Trinity Era, Trinity Era, Post Trinity Era and Modern Era. Composers are listed here based on this classif ... References * Carnatic composers Musicians from British India 1854 de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
