( The featured image above of the Lord Brihadeesvara Temple at Tanjore is a photograph of Samuel Bourne, taken circa 1860 AD going with the
Pt. Vishnu Narayan Bhatkande in his quest for seeking answers about Sangita Shastra undertook various journeys across places in India, travelling and meeting different people.
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
Prologue: Our country in the past has sired a great number of men whose valour, glory, contribution and many a times their very existence has
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
The Gold Coin or “Phanam” , the currency issued during the times of King Serfoji I ( Regnal year 1712-1728 AD) who ruled after King Sahaji and before King Tulaja I. The coin is embossed with a mythical “Sharabha” being part lion and part bird on one side and the “Sri Sarabhaja” in Nagari on the other side.
Prologue: At the very outset before we deal with the raga Sarasvati Manohari as documented in the Sangita Sampradaya Pradarshini (SSP) of Subbarama Dikshita in
Prologue: The raga Kurinji under Mela 29- Sankarabharana is a well-known dhaivatantya raga and popularly rendered in a lineal fashion in madhyama sruti. Along with
Prologue: The world of Carnatic music has sired many a great musician in the past. We do have oral as well as recorded accounts of