Sri Ramachandra always served as a source of inspiration for poets for his ideal and desirable characters. We have innumerable compositions composed over the ages
The rāga-s in Karnataka Music are innumerous and can be grouped into various ways. The most common, and perhaps the well-known system is to identify
Our dharma extols and worship a Guru to an extent that he is always treated synonymously with the ever pervading Almighty. Svetashvatara Upanishad, one among
The term mangalam indicates auspiciousness amongst its many other denotation that it conveys. Mangalam is usually heard at the end of a Nama samkeertanam, Sita
We get to know the structure of many rāga-s only through Saṅgīta Sampradāya Pradarṣini of Subbarāma Dīkṣitar. This text has both musical and musicological importance,
We have seen about the rāga Rudrapriyā, its gṛha, amsa, nyāsa svarā-s and salient phrases in the two earlier posts. It was established that Rudrapriyā
This article is a continuation of the previous one on the rāga Kamās. It is advisable to get acquainted with that article before proceeding further
It has been reiterated several times that Subbarāma Dīkṣitar has not explained many tenets explicitly in his treatise Saṅgīta Sampradāya Pradarṣini. It is up to
This article was published in “Sruti” May, 2019 issue. Śrī nārasiṃha māṃ pāhi is one of the very few kṛti-s of Tyāgarāja Svāmi on Lord
Only few kṛti-s enjoy the unique status of being both popular and liked by everyone. One such kṛti is ‘nagumōmu ganalēni’ of Tyāgarāja Svāmigaḷ. As