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Pancaratna Kritis of Tyagaraja in Ghana Ragas (With Text Meaning And Notation)

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Pancaratna Kritis of Tyagaraja in Ghana Ragas (With Text Meaning And Notation)

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Specifications

	Publisher: University Of Madras
	Author M. B. Vedavalli
	Language: English
	Pages: 64
	Cover: PAPERBACK
	8.5x5.5 inch
	Weight 80 gm
	Edition: 2013
	HCG357

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Book Description

About the Book This book has three sections. The first section gives the sahitya of the Kritis. Among the Pancaratna Kritis, except the first one 'Jagadanandakaraka' which is in Sanskrit, the other Kritis are in Telugu. To enable the singers to pronounce the Sahitya syllables clearly, diacritic marks have been used. The second section gives the meaning of the sahitya for each sentence by splitting them according to the meaning conveyed. In the third section notation of the songs has been given. It is based on the version sung by vidwans at Tiruvaiyar, The Music Academy, Chennai and other cultural organisations during Tyagaraja Aradhana celebration.

About the Author Dr. M.B.Vedavalli took her M.A. degree in Music, from Madras University, in the year 1962. She was awarded Doctoral degree for her thesis on "Mysore as a seat of Music" in the year 1983 and D. Litt. Degree in the year 2004 for her thesis on Ragam-Tanam-Pallavi. She has handled both Theory of Music and Practical classes for both under graduate and post graduate courses for about 33 years in various institutions imparting music education. She was a Lecturer in Music in Stella Maris College, Madras, for 7 years, Head of the Department of Music in Seethalakshmi Ramaswami College, Trichy, for 6 years and in the Music Department of Madras University, for 20 years and retired as professor and Head in the year 1995. Her training under pallavi exponents and her vast experience as Lecturer in colleges and university has enabled her to write an elaborate work dealing with the evolution, structure and procedure followed in singing Ragam, Tanam and Pallavi for which she was awarded D.Litt. Degree. She has authored several books on music and has presented research papers and Lecture demonstrations in many seminars organized by the universities and sabhas. Dr.Vedavalli is the recipient of several honours. The Karnataka Ganakala Parishat, Bangalore honoured her in 2006. She was honoured with the title Sangita Šästra Ratna by Sri Pärthasarathy Swami Sabha, Chennai, in 2010. She received the Musicologist award from the Music Academy, Chennai for the year 2011-2012 and Jnana Samudra Award from the organisation Samudra for the year 2012.

Preface Many number of books on Saint Tyāgarāja giving in detail, his biography, contribution, style, notation of his songs, their meaning etc., have come out in print. Among them, some of the books have included the Ghana răga pañcaratna kritis also along with the other compositions. Besides these books, there are many books which deal exclusively with Ghana rāga pañcaratna kritis. Some of them have given only their sahitya and meaning and some have published their notation also in addition. Among the books wherein Ghana räga pañcaratna kritis have been published, there are many variations with regard to the number of caranas, their sequence and also sahityākşaras.

Acknowledgement I express my heartfelt thanks to Mr. Madhusudhana Rao, a Telugu scholar, for going through the manuscript and giving valuable suggestions. I am very thankful to my brother M. B. Sriman Narayan, M.A., for providing source materials in the form of books, cassettes and C. D. which are the main source of information. I also thank my sister in law Mrs. Lalita Sampathkumar, for the help rendered by her in the preparation of this book. My sincere thanks to my husband Er. Dr. G.R. Srinivasan, M.E., M.A., Ph.D., (Vaisnavism) for enlightening me on puranic episodes referred to in the Pañcaratna Kritis and also for all the help rendered by him through out, in the preparation of the book. My profuse thanks are due to Rev. Jomon Guruvachan for editing the photographs and Mrs. Thulasi Mani for recording the Pañcaratna Kritis sung by vidwans in various Sabhas which enabled me to notate them, and present them in this book. My thanks are due to the proprietor Goteti Graphics, West Mambalam, for the efforts taken for type setting this book with all diacritic marks and special symbols pertaining to music and also for executing the Printing & Binding work in an excellent manner.

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