( The featured image above of the Lord Brihadeesvara Temple at Tanjore is a photograph of Samuel Bourne, taken circa 1860 AD going with the
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
हस्तीन्द्राणां-इन्दुचूड-अरुणछायां-त्रिनेत्रां-रसात् आश्लिष्टंप्रियया-सपद्मकरया-स्वाङ्गस्तया-सन्ततम् | बीजापूर-गधेक्षु-चाप-कार्मुकरुजा-चक्राब्ज-पाशोत्पल व्रीह्यग्र-स्वविषाण-रत्नकलशान्-हस्तैर्-वहन्तं-भजे || hastIndrAnAm indhu cUda aruna chAyAm trinEtram rasAt, Aslishtam priyayA sapadma karayA swAngastAya santatam, bhIjApUra gadhEkshu kArmukalAsachakrAbhja pasOtphala, vrIhyagrasvavishAna-rathna kalasAn
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
वटाधोनिवासं महाट्टाट्टहासं महापापनाशं सदासुप्रकाशम् । गिरीशं गणेशं महेशं सुरेशं शिवं शङ्करं शम्भुमीशानमीडे ॥ vaṭādhonivāsaṃ mahāṭṭāṭṭahāsaṃ mahāpāpanāśaṃ sadāsuprakāśam । girīśaṃ gaṇeśaṃ maheśaṃ sureśaṃ śivaṃ śaṅkaraṃ śambhumīśānamīḍe
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
Prologue & A Prelude: Ragas like Saranganatta, Desakshi, Samantha and Malavasri once upon time ruled the roost but today lie forgotten and unsung. Malavasri is