appendix i - shodhganga · • acharya choodamani –madras. • sangeetha acharya kalabharathi....

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i APPENDIX I I, Jathin V.V, a Research Scholar, the Department of Music, Kannur University have interviewed some eminent personalities in the field of music to elicit certain information to include in my thesis on The Role of Media in the Development of Carnatic Music. The relevant parts from the interviews are given below. I start with pranamams to great gurus and masters of the past and the present and a prayer to the Almighty to help me do things in the right way. INTERVIEWS PARASSALA B. PONNAMMAL Retired Principal and renowned Carnatic musician of Kerala 1. Namaste, Madam. When did you start your career as a musician with the AIR? I started my career as a musician with the AIR at Trissinappalli. When Travancore Radio Station commenced operation in 1946, I was transferred there.

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i

APPENDIX I

I, Jathin V.V, a Research Scholar, the Department of Music,

Kannur University have interviewed some eminent personalities in

the field of music to elicit certain information to include in my thesis

on The Role of Media in the Development of Carnatic Music. The

relevant parts from the interviews are given below. I start with

pranamams to great gurus and masters of the past and the present

and a prayer to the Almighty to help me do things in the right way.

INTERVIEWS

PARASSALA B. PONNAMMAL

Retired Principal and renowned Carnatic musician of Kerala

1. Namaste, Madam. When did you start your career as a

musician with the AIR?

I started my career as a musician with the AIR at

Trissinappalli. When Travancore Radio Station commenced

operation in 1946, I was transferred there.

ii

2. Did AIR influence you as a musician?

AIR provided me great opportunities to listen to good music

and learn from great masters.

3. You might have had chances to meet many great singers of

your time. Who were they?

Yes, I did and met Paravoor Ponnamma, M.A.Kalyanakrishna

Bhagavathar, Kumaraswami Bhagavathar, R.K.Srikantan, Alathoor

Brothers, M.L.Vasantha Kumari.etc. Vanoli was a special

programme broadcast where great musician like Dr. R.K.Srikantan

used to sing.

4. I have heard that it used to be a live programme in those days?

It was a live programme till 1946. Later on programmes were

recorded. This programme was a great experience.

5. The Carnatic lessons in the AIR were really wonderful and

useful. Your comments?

R Krishna Swami Sir was handling the classes. Occasionally I

also had taken the classes. Then there was a break. Now the

programme has been restarted with the intention that the listeners

would get acquainted with Malayalam compositions. In January

2013, I taught a Padavarna of Rukminitthampuratti in the raga

Arabhi set to Thisra Triputa.

6. Today the time allotted for Classical Music on the AIR is not

sufficient. I think you will agree with me?

Yes, I do. The time allotted for Classical music is very short.

Previously there were many special programmes, like

iii

Uthsavaprabandhas, compositions of Thyagaraja, Purandaradasa

etc. Two or three musicians sang together and it was recorded.

No one knows how and why that practice was discontinued.

Now Thiruvananthapuram AIR is trying its best to revive it.

Ganakairali, the programme containing Malayalam krithis is once

again started to bring back the lost glory.

7. It will be nice if you recall your experience at Doordarshan as a

singer?

My first programme in Doordarshan was a concert. All graded

artists in the AIR were given opportunities to perform in

Doordarshan. Other than these programmes I used to sing before

the invited audience at Gopicchettipalayam, Palghat, Calicut etc.,

sponsored programmes of the AIR. Madras AIR demands selected

compositions of Swathi Thirunal, Thyagaraja, those in Malayalam

etc.

8. Was Carnatic Music influenced by the Sabhas?

Yes, Sabhas have a great role in the promotion of Carnatic

Music. In Tamil Nadu there were more Sangeetha Sabhas. Concerts

are an inevitable part of marriage ceremonies and it gives great

encouragement to the musicians also. Once I was invited to Madras

for one programme but had to do fifteen performances at different

venues before I returned home.

iv

9. How do you feel when you listen to the live concerts of great

masters?

I have heard a lot of concerts in Sabhas and festivals

especially during Navarathri celebrations.

10. You are the first lady who sang in Navarathri Festivals. What

about it?

It was a wonderful experience. Words are not sufficient to

express my feelings.

11. Please tell us about your important awards?

• State Sangeetha Natak Academy Award and Fellowship.

• Gayaka Rathnam - Swathi Thirunal Sangeetha Sabha.

• Kendra Sangeetha Nataka Academy award.

• Swathi Puraskaram-Govt of Kerala.

• Samskrithi Award.

• Chembai Guruvayoor Puraskaram.

• Sangeetha Acharya Rathnakara – America.

• Acharya Choodamani –Madras.

• Sangeetha Acharya Kalabharathi.

• Sangeetha Kala Sagaram.

• Sapthaswara Award - Bangalore.

12. Does the role of the AIR in promoting Classical Music still help

the artist?

I have been singing in the AIR for the last 72 years.

Importance given to Classical Music in the past and its effects are

distinct and clearly visible. In the forties and fifties, the contracts

v

for the programmes were signed every 45 days so that all artists

would be busy with their preparations. But now the case is totally

different. The artists are selected not on merit but on audience

choice. Qualifications are also considered as a criterion for

selection. Certain special programmes like Kuchelopakhyanam, and

Guruvayoor Suprabhatham by Jnanananda Saraswathi were

recorded when Cherthala Gopalan Nair was in charge of the

Programme.

**************************

vi

PARAVUR K RADHAMANI

[Eminent musician of Carnatic Music, one of the Paravoor

Sisters, who worked at Travancore Radio as an artist cum

announcer]

1. Good morning Madam. When did you start your career and in

which post?

I began my career as an Announcer cum singer in 1947, at

the Travancore Radio, a radio station started by Sri Chitthira

Thirunal Maharaja of Travancore.

2. I think that you are the first announcer of Travancore Radio? Is

that correct?

Yes, I was the first announcer of that Radio station.

3. Whose disciple were you?

My sisters and me - we are known as Paravur Sisters- were

disciples of Sri Semmangudi Sreenivasa Iyyer.

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4. Will you please explain your experience?

It was great experience to me that I got wonderful

opportunities to hear live concerts of many great musicians like

Rajarathnam Pillai, Ambalappuzha Brothers, Semmangudi

Sreenivasa Iyyer, Alathur Brothers, Chembai Vaidyanatha

Bhagavathar, G N Balasubrahmanian, Musiri Subrahmanya Iyyer

etc. I got a chance to play an opera with great Ariyakkudi Ramanuja

Iyyengar and other eminent musicians of that time. That opera was

written by Annaswami Bhagavathar.

5. Who was the programme executive of that time?

Sri. Sethu Ramayyar, a great lover of Carnatic Music.

6. How much time did they allot for the programmes?

It was a golden age for Carnatic and also Light music. Carnatic

Music was broadcasted twice in a week, at 7.30am to 9.00am.

7. What about the music lessons?

The lessons in Carnatic and Light music helped those who

were interested to learn music. Sri Krishna Swami and Sri

Cherthala Gopalan Nair gave the lessons in Carnatic Music. And

Light Music lessons were taught by Sri Padmanabhan Nair.

8. Did you work in any other station?

Yes, I worked as an artist in Trissinappalli Station also. The

AIR was a great boon to the listeners of that time, but unfortunately

not today.

*************************

viii

MANGAD K NATESAN

[An eminent Carnatic musician of Kerala, worked as a staff

artist with the All India Radio]

1. Good morning Sir. You had been working in AIR for a long

time. When did you join AIR as a staff artist?

I joined Trichur AIR as a staff artist in 1975. Before that I used

to conduct programmes in the AIR Thiruvananthapuram from

1958.

2. What were the programmes that you conducted at Trichur

AIR?

Carnatic Music lessons, Concerts, Prabhatha Vandanam, Light

Music, Light Music lessons etc.

3. Did they show much interest in the programmes? How much

time did they allot for the programmes?

They showed great interest in the programmes. You can find

their interest from the time allotted for the programmes. The first

session is from 6.00 am to 9.00 am, then 12.30 pm to 2.00 pm, and

in the evenings from 5.30 pm to 11.00 pm. The most interesting

ix

thing is that the Travancore Radio was established only for the

purpose of telecasting Carnatic Music. Other arts forms like Drama,

Light Music etc. was included later. But in the due course these art

forms were given more prominence.

4. I have heard that all great artists and writers worked as staff

members of the AIR?

You are right. It was a common platform for all of us. The

artists were:-

Akkittham and Rameshan Nair - Literature

Sudha Varma, P K Keshavan Namboodiri - Vocal

Paramesvaran Namboodiri, Purushotthama Sharma - Mridangam

Thiruvizha Shivanandan - Violin

T V Ramani - Violin

Anandapadmanabhan - Veena

The announcements were also made by the artists themselves. M D

Rajendran, M Thankamani, Vimala Varma, Kousalya were in charge

of Drama and Poetry, announcements respectively.

5. Sir, please tell us something about the Travancore Radio?

The Travancore Radio was instituted at Thiruvananthapuram.

It was exclusively meant for Carnatic Music concerts.

6. How much did the AIR influence your career as an artist?

AIR was a great blessing for the artists. It was the only

establishment that helped the artists to grow and flourish in their

chosen fields. It provided us a common platform where we met,

discussed and enriched ourselves. These discussions were rich in

x

content and wide in subject matter. A lot of positive and progressive

changes in the content and style of the traditional art form

originated in these discussions and the AIR was playing a lead role

in all these transformations. It was a thrilling experience for all of

us.

7. Were the programmes live or recorded?

All the programmes during the day time were broadcast live.

But the programmes at night were recorded and broadcast later.

8. Did you conduct musical concerts in Doordarshan?

Yes. Grade A top artistes in AIR are given opportunities to

perform in Doordarshan both in National and Southern regional

programmes.

9. It should be a great experience to participate in National

Programmes. Will you please explain your experience?

Usually the National Programmes were conducted in front of a

large audience including guests of honour and it lasted for nearly

one and a half hours. But in Doordarshan it was a half an hour

programme. The concerts in Southern regional centers are one hour

programmes which were usually conducted at Chidambaram,

Kanchipuram or any other cultural centers in the South.

10. Do the media play any role in the growth of classical music?

I had been a part of the AIR since 1958. There used to be a

column named Vimarshana Veedhi (the path of criticism) in the

Newspapers, in which every programme was critically evaluated. It

was so sincerely done that it helped all of us to correct ourselves

xi

and move ahead with confidence. But we cannot expect these types

of impartial and healthy criticisms anymore in any of the

publications these days. The advent of Television diminished the

importance of the Radio. Since classical music was given much

prominence, the listeners were very much interested in it. But now,

our children do not get enough chance to listen to or learn good

music.

11. Who were the artists from other states?

Flutist N Hariharan Lakshmi Narayana Iyyer was from

Madras.

12. Was Ragam-Thanam- Pallavi recorded?

Yes. For 45 minutes and broadcast once in a week on a

specific day.

13. I have heard that there were lessons in Carnatic Music on the

Radio. Did it attract the audience?

Definitely, it gave a new awareness to the public. Its sahithya,

its meaning and swaras were elaborately explained. The classes

were so well planned that it attracted a large audience.

14. Who were the great musicians that handled classes in the AIR?

Cherthala Gopalan Nair, Krishnaswami at Thiruvananthapuram,

Pala C K Ramachandran at Calicut and myself at Trichur. We all

followed the Shemmangudi Bani.

15. The AIR promoted Classical Music in those days. Do they

promote it now?

xii

The number of listeners has gone down drastically. So the

interest shown by the AIR has also diminished. In the overflow of

other programmes our rich traditional art forms are ignored.

16. How are the artists graded in the AIR and Doordarshan?

In the preliminary audition round, the candidate are graded „B‟ or

„B‟ high according to their talent. The next round audition is at Delhi,

where A or A Top will be awarded. I belonged to A Top category.

17. I would like to know about your accomplishments and the

awards that you have received so far?

Kerala Sangeetha Natak Academy award in 1990.

Madhura Ganasudha Award by Madhurai Sadguru Sangeeth

sabha in 1993.

Sangeetha Rathna Award in 1995.

Sangeetha Thilakam by Thiruvambad Devasvam in 1995.

Sangeetha Acharya Award by Annamanada, Agni Cultural

Academy, etc.

18. What is your opinion about the role of Sangeetha Sabhas in the

development of our rich culture?

Sangeetha Sabha was a source of encouragement to a singer.

The way, in which a musical composition was appreciated by the

audience, is an encouragement. Aha!! Bale!! Sabhash!! These

spontaneous utterances always encourage musicians. Nowadays

music is rendered in front of a group of serious looking celebrities or

top brasses who clap simply along with others. Only a few of them

are able to understand, appreciate or enjoy the programmes. Actually

xiii

most of them are forced to sit there as a part of their official duty or

to show others that they love these forms of art. We can identify

them easily by their bored faces and dead eyes.

19. The audience of the past and present, can you differentiate

them?

In the past, people walked miles to listen to great musicians.

The programmes continued for two or three days. The comments

can be heard later on the Radio. It is something unheard of,

nowadays.

20. Can you remember the names of the critics of that time?

Mali, Kalki Krishnamoorthi in Tamil, George S Paul,

Vijayambika in Malayalam. The Hindu, Indian Express etc. helped us

a lot to became good musicians

21. Nowadays the most popular programmes on Television are

Reality Shows; your comments please?

I think, it doesn‟t help the participants much. They are not

exposed properly or fully to the world of music. Instead they are

trained just to perform for 10 to 15 minutes. Few programmes that I

saw on T V, were of very low standard. Moreover, the way in which

the items are judged is also not justifiable. The sarcastic comments

of the judges who want to please the audience may discourage the

participants at their budding stage. The discomfort they may feel

hearing these comments, may create an aversion in the minds of

upcoming artists and sometimes may even prompt them to quit the

field.

xiv

22. Film music attracts everybody. Does it have any influence in the

growth of Carnatic Music? What are the other factors that influence

the development of Classical Music?

In the beginning, renowned musicians were invited to act as

heroes and heroines of the film and they were asked to sing and act

in the movies. G.N.Balasubrahmanian, M S Subbulakshmi, M K

Thyagaraja Bhagavathar, Musiri Subrahmanya Iyyer, D K Pattammal

were real gems in the field of music. Keerthanas and devotional

songs composed in the tune of some Keerthanas were sung by them

in the films.

Amirkhan, Badegulam Ali Khan, Baiju Bavare etc were well

known in Hindi films and Dr P K Revamma, Kamukara

Purushothaman etc were associated with Malayalam films. Even the

Great Guru Chembai Vaidyanatha Bhagavathar enacted a role in a

film named „Vani’. In the film „Nam Iruvar’ D K Pattammal appeared

as a singer along with the great dancer Kumari Kamala. Devotional

and patriotic songs were also popularized by D K Pattammal through

films. The great musician G N Balasubrahmanian was the superstar

of the film world. When they were seen singing in the films, common

man began to feel a fascination for classical music. The role of drama

in the popularization of Carnatic Music also cannot be ignored.

Artists like S G Kittappa, K B Sundarambal etc popularized Carnatic

Music through dramas.

xv

In addition to these, chamber music conducted in Brahmin

houses, Chembai Sangeethotsavam, concerts during Navarathri etc.

were major attractions which promoted this divine music.

23. Has the Classical Music lost its importance recently?

The AIR was the only medium that helped classical music to

reach out to the common man. Radio stations like Ceylon,

Vijayawada, and Trissinappalli had largely supported the upcoming

singers. During that time only classical music was broadcast and

other varieties of music were not given much importance. Later,

School Youth Festival, considered to be the best in Asia, also played

a major role in promoting Indian Classical Music. Many of the great

singers were the products of this Youth Festival. I look forward to the

time when our mind and soul are fully dedicated to this divine art

form and the younger generation brings back the lost glory of

Classical Music.

************************

xvi

PADMASREE K RAGHAVAN MASTER

[Great music composer who retired from All India Radio]

1. Namasthe Sir, can you recall your times and experiences as a

musician with All India Radio?

I joined the AIR at Madras in 1942. Later we, a group of

musicians, were transferred to the Delhi station to form a wing

called “Additional South Indian Service” for the broadcast of

Carnatic Music concerts. We had performed many concerts. At that

time, the duration of concerts was four to five hours. After nine

years of service in Delhi, I came back and joined the AIR at Calicut.

It was a golden period in my life. In the concerts, I had on several

occasions, B Shashikumar on Violin, Sri Mavelikkara Velukkutti

Nair on Mridangam, Uduppi Sridhar on Ghatam as accompanists.

2. Sir, please explain your experience at the AIR?

I have had great and enriching experience at the AIR. Working

with the AIR, I came to recognised and became famous. This helped

my entry into the world of films. I got many opportunities to work

xvii

with great artists like Sri Pazhayannur Parashuraman, Srikrishnan-

flute; Unnikrishnan- Veena, Chidambaranathan, Venkatachalam,

and T S Babu are on Violin. Besides them, N N Kakkad,

Thikkodian, Uroob, Akkittham, K A Kodungallore, P Baskaran etc.

also were there at that time. The programme on Light Music started

from AIR station at Calicut. For me, it paved the way to become a

film music composer. P Baskaran compelled me to compose light

and film music. The AIR generally do not grant permission for their

artists to involve in outside programmes. So I had to let go such

opportunities. Sri Vayalar Ramavarma solved the issue on many

occasions by giving me fake names such as „Raghunath, Molly‟ etc.

Many of my compositions at that time have been released under

those names. I had composed songs for dramas such as:

Pambukalkku Malamund, Thalaykkumeethe etc,.

3. Sir did you work for K P A C.?

Yes, I was a principal artist of that organization.

4. Sir, we feel that your music compositions constitute an

important land mark in the history of film music?

I don‟t know how to respond. Till the time of the film

Neelakuyil, there were songs composed in the same tune of Hindi

and Tamil film music. I tried to change the style of songs. I had

brought our culture and reality in life through my songs. In this

film, I sang a song „Kaayalarikatthu…’. The song „Unarunaroo

Unnikkanna…’ was composed in the raga Bilahari.

xviii

Prof. P R KUMARAKERALA VARMA

[Rtd. Principal, Sree Swathi Thirunal College of Music,

Thiruvananthapuram. He was also a Top graded artist with the All

India Radio]

1. Namasthe Sir, please explain your experience as a musician?

I am a retired Principal of Sree Swathi Thirunal Music

Academy and also an artist of the All India Radio.

2. Sir, please explain the role of the AIR in the development of

Carnatic Music?

AIR was a great source of encouragement for Carnatic Music.

Classical lessons of eminent artists were broadcast by AIR.

3. Will you please tell about your experience as an artist with AIR?

It felt great when I got B‟ grade in 1960 at the AIR, and thus

got chances to sing for half an hour. In the beginning, there was

xix

only live recording and broadcast. Time schedule was strictly

observed. I felt lucky that I got chances to hear live programmes of

eminent musicians like Madhurai Mani Iyyer, N G Seetha

Ramayyer, C S Krishnayyer, Semmangudi Sreenivasa Iyyer, and G

N Balasubrahmanian. They were the Top grade artists of that time.

I got an opportunity to study under the great Semmangudi

Sreenivasa Iyyer.

4. Does the AIR promote Classical Music now?

The AIR is a powerful media. It helped promote Carnatic music

at that time. With the arrival of visual media, pure Carnatic Music

has been replaced by various forms of music in the hearts of people.

************************

xx

PERUMBAVOOR G RAVINDRANATH

[An eminent Carnatic musician and a retired staff artist with the

All India Radio]

1. Good morning Sir. How much did the All India Radio influence

your life as a musician?

During my childhood I used to listen to the Radio a lot. That

was the only medium available then. There were musical concerts on

Mondays and Wednesdays at 8.30 am and at 9.30 pm every day.

Southern Hook up was another programme on every Friday. I used to

walk long distances to listen to the radio programmes, because radios

were installed only in public places like the Municipal or Panchayath

offices or in the public libraries. Later radio became very common.

Music programmes start in the morning. The concerts of various

Sabhas like Thamil Isai Sangam, Krishnagana Sabha, Madras Music

Academy etc. were broadcast by the AIR from 9.30 am. But the clarity

xxi

was very poor because of the disturbances caused by changing

weather conditions, yet we enjoyed the music very much.

2. What about live concerts? Did you get opportunities to listen to it?

I heard a lot of live concerts. Mostly concerts were held at

temples like Vaikkam, Ambalappuzha, Mavelikkara, Shaarkkara,

Chengannur, Kottarakkara, Ettumanoor, Harippad, Thiruvallam etc.

In some temples the concerts lasted for 9 days. Temples have great

role in the propagation of Carnatic Music. I was lucky to get

opportunities to listen to Karakkudi Arunachalam on Nadaswaram,

concerts of eminent musicians like Madhurai Mani Iyyer, Lalgudi

Jayaraman, M S Gopalakrishnan, Chandrashekharan etc. on Violin,

Palaghat Mani Iyyer, Palaghat Raghu, T K Moorthi, Umayalpuram

Siva Raman etc. on Mridangam.

Every day there were two concerts. Leading artists from in and

out of Kerala participated in the programmes. Concerts were major

attractions in temple festivals. Violin and Nagaswaram was given

special places in our temple at Perumbavoor. I got opportunities to

hear Nagaswaram concerts of Karakkudi Arunachalam, Vallam

Krishnaswami Pillai, Ambalappuzha brothers, Thiruvizha Raghavan

Panikkar, Chengannur Brothers, Harippad Brothers, Ettumanoor

Chellappa Panikkar etc. It remains still alive in my mind. Sabhas

came into existence only later. I used to attend concerts even when I

was a young boy, studying in the10th standard. All these influenced

me a lot and paved my way to the All India Radio.

xxii

3. When did you join AIR?

I joined in 1976. I have been in the field since 1968.I began my

career with the AIR at Calicut and then at Trissur. There was a great

Mridangam artist named Puthukkod Krishna Iyyer and the great

musician K Raghavan master at the AIR, Calicut. In 1976 I joined

Thiruvananthapuram AIR as a music composer.

4. Will you please tell us something about the live concerts you heard

after joining the AIR?

That was a time when we had daily concerts at 8.30 am. From

1.30 to 2 pm the live concerts were telecast. It was a rare opportunity

for me to be in contact with great musicians from in and out of

Kerala. All the great artists were given the opportunity to conduct

programmes at the All India Radio. So these artists were usual

visitors to the AIR. Artists who performed at Soorya Festival also were

given chances to perform at the AIR. I got chances to hear live

concerts of Dr.M Balamuralikrishna, and Hindusthani concerts of

Parveen Sultan. I was lucky to listen to the concerts of K V Narayana

Swami, Lalgudi Jayaraman, Chandrashekharan, V V Ramani, V V

Subrahmaniam and also the artists from Nagarcoil.

5. Do you think that the young generation shows dedication and a

sincere effort to learn music?

Look at the possibilities open for the young generation. They do

have lot of opportunities, but they don‟t make use of it. The D D

Chennai telecast concerts held in their studio, in addition to those

held at some temples and Sabhas. CDs are easily available in the

xxiii

markets. With the advent of Internet we need not go out of our room

to listen to the great masters. With all these facilities available within

easy reach, youth do not show much interest in learning music.

6. Are you happy about the duration of time allotted to Classical

Music in the AIR?

The time allotted to Classical Music is now considerably

reduced. The number and duration of time for concerts at Navarathri

Mantapam are also reduced. I think that AIR is more commercialized

than before. Support from business community which provides ads

for the programmes is lesser in Kerala compared to that in Chennai.

Even in FM Radio Classical Music can be heard in Chennai. Music in

Sopana Sangeethasm, Kathakali Sangeetham, film songs etc. is based

on Classical Music. Though we blame the AIR for shortening the time

allotted, it is this medium that supports Classical Music even now. It

will be better if in National Programme of Music, Radio Sangeeth

Sammelan is continued as it is now. There is a tendency to cut short

this programme, if there is a live broadcast of cricket or live

Parliament News.

7. Your comments on Carnatic Music lessons?

These lessons are very beneficial to the music students and

music lovers. I had learnt a lot from these classes. These lessons were

handled by R Krishnaswami and later Neyyattinkara Vasudevan Sir at

Thiruvananthapuram, Mangadu Nateshan Sir at Trissur and Pala C K

Ramachandran Sir at Calicut.

xxiv

I conducted mostly Light Music classes and only a few

Classical ones. I taught the Ganapathi Krithi of Mayookha

Viswanatha Sasthri.

8. Has the approach of public information offices to the AIR changed

these days?

Formerly, newspapers used to give good coverage of the

programmes. Chennai programmes were advertised by print media.

Public information offices often used to gather comments from the

music lovers about the concerts. These comments were highly

beneficial and they helped and encouraged the singers a lot. We have

considered these programmes in the AIR to be a serious effort to

mould a budding artist to become a good singer. But now that effort

and seriousness are lost.

9. I think that new generation is not truly fascinated by the AIR, do

you agree with it?

Who is ready to go through the efforts and pain to learn music?

Moreover new generation is more interested in FM because of its

clarity.

10. Any advice to the new generation?

The IQ of new generation is high and they are capable of doing

great things. But they don‟t take any pain and show no dedication.

They have the potential to develop their own styles, but they are more

interested in imitating the old masters. Formerly great musicians have

their own style like Shemmangudi style, Alathur style, Chittoor

Subrahmaniam style, Maharajapuram style, Karakkudi style, M D

xxv

Ramanathan style, GNB style, Balamuralikrishna style, Cherthala

Gopalan Nair style, M G Radhakrishnan style, Neyyattinkara style,

Parassala B Ponnammal style, Palkulangara Ambikadevi style etc.

Everyone was different. This could be easily felt in their music. The

driving motive of the new generation in rendering music is the money.

Our great master musicians never thought about the quantum of

money they would receive, when they signed a contract. Even in the

reality shows, classical music is rare. More over the talented children

turn to light or film music, because they pay more. The musicians

never canvassed for chances. These days there are agents to book

programmes. The new generation should realize that it is their duty to

preserve and cherish these forms of art, so that our rich cultural

heritage could be passed on to the coming generations. It requires

dedicated efforts on the part of the new generation.

11. What is the role of dramas and films in popularizing Carnatic

Music?

Of course, they have a great role in popularizing Carnatic

Music. Drama was really a good medium. Kittappa, Sundarambal,

etc. did sing great Carnatic krithis in dramas. Composition of

Thyagaraja „Nagumo’ has been popularized through drama by

Vaikkam Vasudevan Sir, which people still believe was composed by

him. These compositions were sung in the beginning part of a drama,

„Raja Part‟. Actually drama was a complete or full time concert with

Ragalapana, Niraval, and Kalpanaswaras. So seeing a good drama

was like listening to a good concert.

xxvi

Formerly film songs were based on Carnatic ragas and some

Carnatic compositions were used in films. In old Tamil films, the

actors were great musicians for instance M S Subbulakshmi, G N

Balasubrahmanian, M K Thyagaraja Bhagavathar etc. M S

Viswanathan, K V Mahadevan etc composed the music in Carnatic

ragas. In Kannada films also songs were composed in Carnatic ragas.

In Malayalam films, the ragas like Shahana, Begada, Abhogi, Mukhari,

Shanmukhapriya, Charukeshi, Simhendramadhyamam, Mohanam,

Hindolam, Revathi etc. were popularized by the great musician

Dakshinamoorthi Swami. Sri. Devarajan master was very fond of the

raga, Mohanam. We got familiar with the ragas like Yamuna Kalyani,

Kalyani, and Valachi in the songs by M S Baburaj.

**************************

xxvii

KADAYKKAVOOR RATHNAKARAN BHAGAVATHAR

Eminent Carnatic musician and a retired Programme Executive,

All India Radio Thiruvananthapuram.

1. Good morning Sir. Where did your career with the AIR start?

I joined as a music composer at the Thiruvananthapuram AIR. I

taught light music.

2. Can you remember the names of artistes of that time?

At that time there were eminent artistes like Sree Mavelikkara

Krishnankutti Nair, Chalakkudi Narayana Swami, Doraisami,

Raghuveeran, Ganapathi Pillai etc.

3. Sir, what was your experience working with the AIR?

It was good, working as a Carnatic musician. The Programme

Executive of that time was Sri Sethu Ramayyar, who was a strict

officer and made us practice how to produce programmes of half-an-

hour duration. It was a great experience for me to study under great

masters. After the practice, we produced the group kritis like

Navaavaranam, Navarathri and rare kritis etc. It was a good

opportunity to study more compositions.

xxviii

4. What was the broadcast time schedule?

The time schedule of Carnatic music at that time was 8 am to

8.30am and 5.30 pm to 6.30 pm for B high artistes. Besides this, a

Mini National Programme on Fridays was conducted by grade A

artists. Grade A was the top grade at that time. Now it is A Top grade.

5. What about the programmes on Classical Music lessions?

These programmes during that time were great opportunities to

the listeners. There was a detailed class about the Raga, Tala,

Composer, Anyaswara Prayogas, and other kritis on that raga etc.

Today the time schedule does not help the students to study the

lessons through AIR. In the earlier days, the classes were broadcast in

the morning before the students went to the schools, but nowadays

the broadcasting of classical music lessons is not in the morning

session.

6. Did you participate in the National Programme of music?

I have participated in the National programme of the AIR at

Patna. The great Umayalpuram Siva Raman, Vellur Ramabhadran

and V V Subrahmaniam were my accompanists.

7. Do you perform at Doordarshan?

Yes, I do perform at Doordarshan also.

8. Will you explain about your achievements?

I got many awards like Gayakarathnam, Sangeethacharya

Puraskar etc.

***************************

xxix

PALA C K RAMACHANDRAN

[Top Rank Grade Carnatic Vocalist with All India Radio (Retd),

Disciple of Dr. Semmangudi Sreenivasa Iyyer.]

1. Namasthe Sir, please tell us about your career in music.

At the early age of 8, I started initial training in Carnatic Music

under Sangeetha Vidwan, Ganabhooshanam Late Kumarakam M. S.

Bhaskara Menon, a renowned Musician in Kerala. I got

Ganabhooshana diploma in music with distinction from Sri Swathi

Thirunal Music College, Thiruvananthapuram. After graduating from

Sri Swathi Thirunal College of Music, I had the good fortune of

becoming a disciple of the Paramacharya of the Carnatic Music world,

Sangeetha Kalanidi Padmavibhooshan Late Dr. Shemmangudi R

Srinivasa Iyer, under whom I studied Carnatic Music in the

traditional Gurukulavasa system for 10 years at his residence in

Madras (now Chennai). I am also an empanelled artist of ICCR (Indian

Council for Cultural Relations).

xxx

2. Sir, how about your career with the All India Radio?

I had performed at the All India Radio in 1961. In 1973, I

applied for the post of staff artist with the AIR. I have joined the AIR in

1974. It is a great honour to me to be known with the prefix, the

name of my place, to my name. Working with the AIR, I came to be

known as Pala C K Ramachandran. I am a Top- rank Grade Carnatic

Vocalist of the All India Radio. I had worked as a Senior Grade Vocal

cum Tampura Staff Artiste in the Calicut station of the All India Radio

from 1974 to May 2002. I had conducted a very popular programme

in music, Learn to Sing – lesions in classical music, broadcast from

the AIR Calicut for 28 years. This programme had successfully

broadcast 400 krithis of renowned composers. I had also composed

and modified the tunes for several krithis. It was my great experience

t to have hundreds of students through the All India Radio. There

were live programmes at that time. During that time, music lessons

were broadcast on five days in a week. Subsequently the time

duration was shortened. Nowadays it is as short as 10 or 15 minutes.

I had the heartening experience of receiving many letters, even from

Mumbai about usefulness of these lessons on Classical Music. Then I

conducted a programme named Ragaroopam, based on Ragas- its

lakshana, alapana, compositions in the raga etc. Kavyadhara was

another programme based on poetry. Besides these, I had sung

Vadakkan Pattukal, Ramayana Parayanam, Ottan Thullal Pattukal,

Mappila Pattukal, Pulluvan Pattukal, Bhakthi ganangal,

Kathakalippada, Ashtapadi etc.. Songs in the Mahal language of

xxxi

Lakshadweep were composed and sang by us. At that time an

eminent musician K Kunhiraman had composed many light music

songs and I sang these songs in Vivid Bharathi also. I had composed

many light music songs. When I joined at the AIR, the music

producers of Light and Carnatic Music were K Raghavan master and

Pazhyannur Parashuraman respectively. I had conducted another

programme called Music Magazine or Sangeetha masika based on

particular themes of Carnatic Music. e.g. Sangeetha Trimoorthikal,

Banies of Various Musicians like Chembai, Shemmangudi, Musiri,

Madhurai Mani iyyer, G N Balasubrahmanian, etc. We got Akashavani

Annual Award for a group programme. I got a chance to conduct a

National programme based on the folk songs of Lakshadweep. I went

to various parts of Lakshadweep and collected the songs that were

popular there and translated them in to various languages. They were

broadcast through the Delhi All India Radio. It was a very great

experience and honour to me that the AIR recognised me as a good

artist, composer, teacher etc. and I became well-known working with

the All India Radio.

3. Sir, can you recall your experience as a performer?

I have performed on various stages. My music performances

were telecast by the various Doordarshan Kendras. I have performed

four times, in the prestigious National Programme of Music 1991.

Prof. T N Krishan on the Violin, Sri Karaikkudi R Mani on Mridangam

and Sri T V Vasan on the Ghadam were my accompanists. I have

given solo music concerts four times in Akashavani Radio Sangeeth

xxxii

Sammelan conducted by the All India Radio. From 1972 onwards, I

have been giving solo music concerts all over India and at various

Sangeetha Sabhas including the Madras Music Academy in

connection with their annual music conferences. I have performed

solo music concerts before the „invited‟ audience as part of the A I R

Swathi Thirunal Music Festival Programmes and also participated in

several music festival programmes all over the country and abroad. I

have given solo music concert recordings for the National Centre for

Performing Arts Archives, Mumbai, Sampradaya Carnatic Music

Archives and Chennai Sangeetha Nataka Academy Archives. I have

performed a solo music concert at the Constitution Club, New Delhi

arranged by Swaralaya Sangeetha Sabha, New Delhi in 1991. The

Gramophone Company of India (H. M. V, Madras) recorded and

released my Carnatic Music Concert cassettes and compact Discs.

Trinity Productions, Calicut released my audio recordings of my Guru

Dr. Semmangudi‟s favourite Swathi Thirunal Krithis (Vol. I and II) and

Adhyathma Ramayana Alapana (Vol.I and II). It was a great privilege

and experience that I had assisted my Guru Dr. Semmangudi

Sreenivasa Iyyer for forty years as a vocal support in all his music

performances all over India till his last concert in 2000 and also

assisted him in his National Programmes of Music conducted by

Doordarshan and All India Radio several times.

4. Sir, please list the recognitions and awards you have received.

I was conferred with the T V Subha Rao Award for the best sub-

senior Vocalist, by the Madras Music Academy in 1981.

xxxiii

S. Ramaswamy Award for the best sub- senior Vocalist, by the

Madras Music Academy in 1982.

M D Ramanathan Award for the best sub- senior Vocalist, by the

Madras Music Academy in 1983.

In 1996, The Indian Fine Arts Society, Madras conferred on me

with the Best Raga Alapana Award.

In 1997, The Kerala Sangeetha Nataka Academy honoured me

with the Academy Award for Carnatic Vocal Music for the year

1996.

In 1999, the Olappamanna Trust honoured me with the

Deviprasadam Award for Carnatic vocal music.

The Hindu Temple Society of Malibu, Southern California

honoured me with the title of “Asthana Vidwan” of the Temple at

Los Angeles, California, U.S.A. in August 2002.

The Maharajapuram Santhanam Foundation Madras honoured

me with the “Maharajapuram Santhanam Award” for Carnatic

music in 2000.

The Madras Music academy conferred on me the Best Raga and

Best Ragalapana Award in the senior category of musicians in its

annual music conference in December 2001.

All India Radio conferred Top Rank Grade for classical Carnatic

Music.

The Cleveland Thyagaraja Festival Committee conferred on me

The Semmangudi Memorial Award for Carnatic music at

Cleveland, U .S.A in April 2009.

xxxiv

In 2010, Kerala Sangeetha Nataka Academy honoured me with

the Academy Fellowship for Classical Carnatic Music for the year

2009.

In recognition of my outstanding achievements during fifty-five

years in the field of Carnatic Music, Pala Edamattom- Meenachil

Grama Panchayath conferred on me Ragaraja Puraskaram 2011,

which was presented to me by the Hon. Kerala Finance Minister Sri

K M Mani.

*************************

xxxv

A. ANANDAPADMANABHAN

[Eminent Veena Artist of Kerala, who worked with the All India

Radio]

1. Namaskaram Sir, when did you join AIR as a Veena Artist?

I joined in 1975.

2. What was the role of the AIR in promoting classical music?

It was the only institution that helped the growth of Carnatic

Music in a big way. Seventies and Eighties were considered as the

golden period of Carnatic music. Radio was the only means through

which musicians became very popular. It had many listeners too.

Only classical music lessons and concerts were broadcast. But

nowadays the time allotted for classical music is short. The film music

has affected it badly. But it is the AIR which helped and is still

helping to popularize Carnatic Music.

3. How much did the AIR help your growth?

It is really worth mentioning. The AIR provided opportunities to all

artists to work together and enrich themselves. Interactions with the

xxxvi

Gurus helped us correct our faults and improve our skills. Moreover

we were able to clear our doubts with the masters. The AIR gave me

chances to compose music. All these factors have great role in

mouldings me as a Veena artist.

******************************

xxxvii

N S KRISHNAMOORTHI

[Rtd. Station Director and a connoisseur of music- Bangalore]

1. Good morning Sir. Please explain the role of Print media in the

development of Carnatic Music?

Print media have great role in the development of Carnatic

Music. It can certainly create awareness of music through reviews,

interviews, bio data of artists etc. Print media can certainly give the

theoretical aspects of music and inform the people on the

developments in the field of music. It can give knowledgeable and

constructive criticism of the quality of concerts and other musical

programmes. The „The Hindu‟ had a good supplement for music and

gave awareness of various Sabhas and critical analysis of music.

2. Sir, what about Radio and Television?

Radio and Television, the two powerful electronic media help the

popularity of music. The AIR is very proud of established and budding

artists. Common man gets the opportunity to listen to broadcast of

live and recorded music programmes. One can hear new krithis, new

xxxviii

interpretations, new ragabhavas, Tala, rare ragas etc. through radio

and television. Another important contribution of the AIR is ensuring

the availability of recordings of old masters and maintaining the

archives with wonderful recordings of old masters like M D

Ramanathan, Semmangudi Sreenivasa Iyyer, Maharajapuram

Santhanam, G N Balasubrahmanian, M S Subbulakshmi etc. AIR

preserves these archives for the coming generations.

Bangalore has a programme named „Amrithavarshini’. It is

completely devoted to classical, devotional, Hindusthani, lessons, rare

ragas, janya ragas etc.

3. Will you please throw some light on your career with the AIR?

I joined as a Transmission Executive and then became a

Programme Executive in charge of music at Bangalore Radio Station.

In Madras I joined as a Transmission Executive attached to the music

section.

4. Please tell us about your experience.

It was a great experience to me. One time or the other, most of

the eminent musicians came there. I had the opportunity to listen to

Semmangudi, T N Krishnan, Lalgudi Jayaraman, Ramanathapuram

Krishnan and other great musicians. They gave musical feast to

people. I was a student of music. Before I joined AIR, I learned

Carnatic Music. While at Madras, I had opportunities to listen to

serious music of top artists from very close quarters. M L Vasantha

Kumari used to come to our studio and I would sit next to her to find

out the items she would sing and the accompaniments she needed

xxxix

etc. I was in close interaction with Palaghat K V Narayana Swami, M

D Ramanathan etc. These had profound influence, later in my life, on

how I understood and appreciated music, elevating it from a very low

and superficial level of understanding to one, that was very serious.

The AIR helped especially during my tenure at Madras, to a very large

extent.

5. Did you work in other stations? What were your experiences and

how they influenced you?

Yes. From Madras I came to Bangalore on promotion as a

Programme Executive in charge of music section. Then I was

transferred to Gulbarga and later to Delhi. I was looking after the

English talk section and later in News division as News Editor. Then I

was posted in Dharvar Station as News correspondent. I was

promoted as Assistant Radio Director and posted in Kashmir. I was

with Radio Kashmir during 1979 to 1982. From Radio Kashmir, I

came back to Bangalore to work in the commercial service of the AIR.

I was promoted and posted at Delhi as Station Director and then after

sometime, I was transferred to Thiruvananthapuram, in 1990.

The programme „Prabhathabhedi‟ was started by me at

Thiruvananthapuram. It was a very good programme in which

eminent artists like Udayabhanu, M G Radhakrishnan, Kavalam

Sreekumar etc took part. From Thiruvananthapuram, I was posted

back to Delhi as a member of music audition board. It was a

wonderful experience to me, because great artists like K R

Subrahmoniom, Nedunoori Krishnamoorthi, K S Narayanaswami, etc

xl

were on the panel assisted by artists from Andhrapradesh, Karnataka,

Kerala, Tamil Nadu etc. There used to be discussions on what was

good, what was bad, what some items lacked, reason why one

couldn‟t be accepted etc. That was a great education for me on good

music. I could learn from the music audition system, the finer aspects

of music like Laya, Bhava, Raga, Gamaka, notes taken by the Raga,

its character etc.

Then I was posted at the AIR Bombay. It was a total change for

me. The culture was Maharashtrian and I was fascinated with it and

the music. I very much liked Rangasangeetham and the Abhang. It

was a very peculiar blend of flavours of Hindusthani and very

devotional Marathi music. I was totally fascinated. That way I got

several opportunities to know the different types of music, culture,

language, place etc. It was a very wide experience for me. After

Bombay, during the final one year of my service, I was posted at

Bangalore as Station Director. To my good fortune people looked at

me very kindly wherever I went. I think that I had earned the respect

of people.

6. Did the AIR influence you?

AIR influenced me a lot and I had contributed in small ways for

good of music. I had taken special care of the music section wherever

I worked. That was my special area of interest. I am in touch with

eminent artists, because of my passion for music.

xli

7. What about the „Travancore Radio‟?

I used to listen to Travancore Radio Station, because of my

father who was a great fan of Carnatic music. It is very difficult to get

the Travancore Station. Sir G P S Nair, who was a member of

Travancore Royal family, gave lot of things to Travancore Radio. At

that time the Navarathrai festival at Padmanabha Swami Temple was

broadcast by Travancore Radio. Alathoor Brothers, G N

Balasubrahmanian, K S Narayana Swami etc., used to perform. I went

to the festival one day and was thrilled seeing the atmosphere there.

One of my achievements in Kerala was conducting the Swathi

Thirunal Festival at the Padmanabha Swami Temple. I went to the

Palace to seek the permission of the Maharaja to organize the music

festival at the Temple. Permission was granted. To every body‟s

surprise, Maharaja came to the function, when it started at 8.30, to

listen to the music.

8. What about your awards?

One year we got three National Awards from Akashavani. I went

to Delhi to collect them. I got the best Programme Executive Award for

a musical feature, “Influence of Carnatic music on Ravindra Nath

Tagore”. Ravindra Nath Tagore composed music in the format of

Carnatic Music composition.

************************************************************

xlii

K. ANANDA VARMA

[Programme Executive at Doordarshan Thiruvananthapuram and

also an eminent Vocal Musician and Violinist.

1. Good morning Sir. The AIR and Doordarshan are the two powerful

media that helped the growth of classical music. Please give us your

opinion.

Both these institutions are under the same Ministry and they

gave prime importance to Carnatic Music. I do feel that Doordarshan

gives more opportunities now than the AIR.

The AIR can only contribute an audio track where as D.D is

different. They take care of visuals also. Once Amjath Ali Khan had

said that all other media should learn from the D.D, the way it

supported Classical Music.

2. Your experience in Doordarshan?

I joined in 1988. From 2008 to 2011, I worked as Production

Executive in Doordarshan Calicut. The recordings at Calicut

Doordarshan started with a concert of Sri Kanhangad Sreenivasan.

3. Please tell us the various stages of your development as a singer?

xliii

I was a teacher in the Department of Music at Govt. College

Chittoor, for 5 years. Then I did my post graduation from the Delhi

University securing first rank. Then I again worked at Govt. College

Chittoor for another 5 years. Later I joined Doordarshan with the aim

to propagate Classical Music and bring good programmes to the

common man. I am lucky to get wide exposure in the world of music.

4. What are the timings of telecasts of Classical Music in

Doordarshan?

During Chembai Sangeethothsavam it is from 8 pm to 9 pm every

day. Re-telecast is done at 4.30 am, the next day. In addition,

Carnatic Devotional songs are telecast between 5.30 pm to 6 pm.

There is a programme on Classical Music telecast nationally at 8 am

on Saturdays and 10 am on Sundays. There is yet another

programme telecast for South India. This provides an opportunity for

all the musicians from the South Indian states to exhibit their talents

and to make acquaintance with one another. There is a programme

telecast from Doordarshan Thiruvananthapuram from 9 am to 10 am

on every third Saturday of the month. An artist with grade A or A top

rating only will be given the chance. But artists graded B high or B

can accompany them. Chennai Doordarshan gives live telecast of

Thyagaraja Aradhana.

5. How often do you perform on Doordarshan?

It is a funny thing. I being the Production Executive I can invite an

artist or artists and telecast his or their their programmes. But I how

can I be the Production Executive of my own programmes. So I give

xliv

concerts in Temples and Sabhas in Palaghat, Thiruvananthapuram,

Hyderabad and Ernakulum etc.

6. The role of a performer or a Programme Executive, which one do you

prefer?

No doubt, I would like to be a performer. The ecstasy that you

feel during a performance can never be felt in the work of a

Production Executive. What I do here is that I provide opportunities to

other artists and that, of course is a blessing in disguise.

My relationship with top graded artists is very intimate and often

I share my thoughts with them too. Great musicians like Dr.

M.Balamuralikrishna whom I love and worship as a god meets me

whenever he comes to Thiruvananthapuram. Do you think it is a

small matter? Only A Top artists are invited by Doordarshan for

performances. Eminent musicians like T.N.Sheshagopal,

Neyyattinkara Vasudevan, K.V.Ramaswami etc. are invited to perform

in D.D programmes. Being the Production Executive, I was privileged

to listen to their live programmes at the studio.

An interviewer once asked me why I prefer this post, that too

leaving the job of a college lecturer.

My exposure will be very limited if I remain as a teacher. But

here at D.D, I get in contact with a lot of people and I can do

something for them. I try to promote the art forms of high aesthetic

value and I am satisfied with my profession.

7. What about „Sruthi‟- a channel for Carnatic Music?

xlv

Sruthi is a full time Carnatic Music channel. Twenty-six radio

channels are available in it. Concerts of all great masters preserved in

the archives can be heard through this channel. It is a programme

broadcast by Doordarshan using a digital set- up box to telecast

through air.

8 Sir, can you mention any special music programme conducted by

you?

Before the concerts, the musicians were introduced to the

audience. In addition, Ragam- Thanam- Pallavi was also broadcast.

The concerts lasted for 5 to 6 hours. Ragam-Thanam-Pallavi which is

no more telecast has to be brought back as a part of the concerts. With

this aim in mind a new programme has been started and renowned

musicians are invited for this purpose. I would like to mention the

other programmes taken up by the D.D.

Dikshithar Kritis and Navagraha Kritis. (Elaborate description of

these Kritis by Prof. Kumara Kerala Varma)

Compositions of Puthukkode Krishnamurthy.

Swathi Thirunal Kritis.

Irayimmanthampi Kritis.

Sopanasangeetham by Leela Omchery.

Interviews with musicians like Parassala B. Ponnammal,

preserved as an inspiration for the coming generation.

A combined effort by Neyyattinkara Mohanachandran and

Ramesh Narayan on Carnatic and Hindusthani Music.

*****************************

xlvi

B SASIKUMAR

[Eminent Violinist of Kerala and also a Rtd. staff artist of All India

Radio, Thiruvananthapuram]

1. Namaskaram Sir. Can we have your opinion on the roles played

by radio, television and film in popularizing Carnatic Music?

Radio is the medium that played the most important role in

popularizing Carnatic Music. Television and films have their own

limitations. In these, concentration of viewers is more on the visuals

than audio. But when we listen to radio, our concentration is totally

on listening. When I watch a film I see the visuals and follow the

story, generally ignoring the background music. We won‟t try to

analyse the music that we listen to.

2. Have you conducted any special programmes in the AIR?

Yes.

• Nadopasana – A programme including compositions of Sree

Thyagaraja.

xlvii

• Ganeshaprabhavam – Programme including compositions of

Muthuswami Dhikshithar.

• Swathi Pranamam - Programme including compositions of Swathi

Thirunal.

• Sapthaswarangalil layicha Mahanubhavan – A programme

about Sri Thyagaraja.

• Navaavaranam, Navagraha compositions.

• Thathanai menthina Thanayan – Aprogramme on Janaka Raga

Janya Raga combination.

• Thalathmakam Prapancham – A programme about Thala, etc.

3. Who were the great musicians with you at All India Radio?

Cherthala Gopalan Nair - Vocal

Mavelikkara Krishnan kutti Nair - Mridangam

Mavelikkara Dorai Sami - Mridangam

Somasekharan - Violin

Venkatachalam - Violin

M S Gopalakrishnan - Flute

Venkataraman - Veena

Ambalappuzha Hariharan - Vocal cum Thambura etc.

4. What were the fundamental changes that took place in your

career as a musician with the AIR?

The All India Radio provided me opportunities to mould myself

as an artist. It is a great blessing that I could perform as an

accompanying artist of great gurus. How can I get this exposure in

any other place? Every concert taught me a new lesson.

xlviii

5. Did films help the growth of Carnatic Music?

Films have played an important role in popularizing and thus

propagating music among the public. Previously old compositions

were used as such without any change in the films. Or all the songs

in a film were tuned in the same raga.

6. Sir, your advice to the budding artists?

Work hard. Dedicate yourself to learn and practice.

************************

xlix

S R MAHADEVA SHARMA

[A staff artist of All India Radio, Thiruvananthapuram, also an

eminent- Top grade Violin Artist]

1. Namasthe Sir. When did you join the AIR?

I joined the AIR in 1995, when I got „A‟ grade. At the age of

seventeen, I got „B high grade in my first attempt itself. After three

years, „A‟ grade was awarded.

2. When did your relationship with the AIR start?

My relationship with the AIR began when my father Prof

Subrahmanya Sharma, who was a graded artist in AIR, accompanied

various great musicians working with the AIR. He is the most senior

violinist in Kerala. My sister Smt. S R Rajasree is also a violinist with

the AIR.

3. What about the AIR Thiruvananthapuram?

The AIR Thiruvananthapuram is the foremost institution in

promoting Carnatic Music. The number of staff artist was small. So

they invited artists from outside and conducted the concerts. My

l

father was Professor at Sree Swathi Thirunal College of Music. They

used to have at least three concerts a day that means nearly ninety in

a whole month. Out of these ninety, my father used to be in at least

sixty programmes a month.

4. What is your opinion about the current programmes of the AIR?

What I feel is that the AIR and the Doordarshan are the only

two institutions that promote Carnatic Music concerts. But the

number of broadcasts and telecasts are decreasing steadily.

Ragamritham is the only regular programme from Monday to Friday.

On Friday at 9.30 pm, there is a lesson on Malayalam compositions

named Ganakairali. Ragam- Thanam –Pallavi has started once again

and another programme named „Sangeetha Smrithi’ is in

remembrance of great gurus. In addition to these programmes there

are more programmes from 10 pm to 11 pm on Mondays and

Wednesdays linking all the three Radio stations, Calicut, Trichur, and

Thiruvananthapuram.

One thing is true. There were eminent artists with the AIR. But

nowadays no recruitment takes place and the number of programmes

has also gone down. Now children learn classical music only to

perform in competitions for 10 to 15 minutes. Sincerity and

dedications are absent in the present day artists and young

generation.

5. It is heard that the AIR was the only institution which appointed

renowned musicians. Will you name a few of them?

Sri Neyyattinkara Vasudevan - Vocal

li

K S Gopalakrishnan - Flute

R Venkitaraman - Veena

R Vaidyanathan - Mridangam

I do remember an incident that I would like to keep alive in my

mind for ever. The great Veena artist Sri K S Narayanaswami, in his

last concert at the time of retirement requested me to play with

him. I do believe that it was a great recognition and honour for me

as an artist and the recording was done in 1999.

6. Though there was a controversy, your violin lessons were greatly

appreciated later.

I had been handling music lessons for 5 years. Station Director

Sri Muralidharan Sir told me to start a violin lesson. In the beginning

this suggestion was not supported by many and their suggestion was

that it would be better to conduct these types of classes in

Doordarshan. But the Director told me to continue it because it was

really beneficial for the musicians for their advanced studies.

Moreover it helped the beginners of vocal music. This programme

started on August 17, 2008. Later it was proved that it was well

accepted by those who love art and full credit goes to my dear Murali

Sir.

The classes were carefully planned in a such a way that the

listeners could learn step by step. I concentrated mainly on the

following points.

(a) How to learn music, Violin and the greatness of Violin.

(b) Nuances as where to break Sahithya and where not to.

lii

The classes were conducted on Sundays at 7. 40 a m, Vocal and

Violin on alternate weeks. I had received letters of appreciation from

the public and it gave me strength to continue it. We do have a

programme named „Software scheme‟. It familiarizes us with many

unknown Pancharathna Krithis like Kovur Pancharathnam,

Thiruvottiyur Pancharathnam, Narada Pancharathnam, Srirangam

Pancharathnam etc. sung by great musicians. Similarly in 2006,

thirteen Dhikshithar‟s Ganapathi Krithis and seven Ganapathi Krithis

of Sri Muthiah Bhagavathar were sung and recorded by Smt.

Parassala B Ponnammal Teacher. Even the rare compositions of

Dhikshithar like the „Sree Ganeshaparam’ in the raga Ardradeshi etc.

were also recorded and preserved.

Another programme was on the greatness of Violin. All the

emotions of the human mind can easily and effectively be reproduced

on a Violin. The programme on the „Sailikal (the style of play) of

Violin was broadcast since 1909. I have composed

Ganeshasthuthikal especially for Vinayaka Chathurthi.

7. Tell us something about the role of AIR in moulding you as an

artist.

I follow a particular style of my own, playing Violin, giving prime

importance to Gamaka, and their variations (Thanavillu prayoga) .

This is known as „chekyatio‟ (Thanavillu prayoga) in English. I have

played Violin for Sri M G Radhakrishnan in his Albums. Eminent

artists like Sri KV Narayana Swami, T R Subrahmaniam etc. had

praised me even while the programmes were going on. These

liii

encouragements helped me a lot and encouraged me to learn more.

My father was an accompanying artist in the concerts of K J Yesudas.

But later I used to accompany him in his programmes in US, Europe,

Australia, and other countries. At the age of 18, I began my career

with great musicians like Sri K S Narayana Swami, Dr. M

Balamuralikrishna, T N Seshagopalan and T V Shankaranarayanan. I

got all these opportunities only because of the All India Radio.

8. Any suggestions to the next generation about Carnatic Music?

If anybody asks me “What do you live for”, my answer will be, “It

is for the Violin”. I have been practicing violin since I was 10. The

youngsters these days do not have dedication. I had participated in

many competitions during my school days. Most of our great

musicians are former winners in Youth Festival. It is their dedication

that moulded them to become great musicians. But the children these

days seek short cuts to win a medal or recognition. Parents are mainly

responsible for it, because they want their children to be well placed

in other professions, rather than become good musicians. Everyone,

these days wants a quick learning process, which is something

impossible in music. A slow and steady process will only help one to

formulate a style of one‟s own. This degradation in the quality of

music and musicians is to be overcome. Government should take bold

steps to preserve our cultural heritage. The Classical Art forms have

the power to eradicate vices and create a cultured society. Many kings

and emperors were greatly interested in preserving our great culture

and transfer it to the next generations. But what remains now is only

liv

a small fragment of our old treasure. Though we try to improve the

present status, we do not get any support from the Government.

9. Sir, tell us about your achievements and Awards?

„Outstanding Violin Duo‟ awards for my sister S R Rajasree and

me, from America (by the organizers of Malayalam, Kannada, and

Telugu).

„Saraswathi Award‟ from Saraswathi Award Bureau of America.

Maharajapuram Santhanam Memorial Award from Chennai.etc.

*********************

lv

Dr. V.S.SHARMA

[Rtd. Professor of Malayalam, Editor, Translator, Research

Fellow etc. who wrote many books on Carnatic Music]

1. Namasthe Sir. Print media has influenced the development of

Carnatic Music. Please give us your opinion.

It has a prominent role in the development of Carnatic Music.

Journals like Sruthi Sangeeth Natak, Shanmukha, Samakalika

Sangeetham, Sruthilayam etc. are exclusively meant for promotion of

music. While N.V.Krishna Variar was the Chief Editor of

Mathrubhoomi, a page was set aside in the weekly for the Notations of

Music which was highly beneficial for the music students. A journal

was published in Hindi named Sangeetha. Even in newspapers,

articles and reviews were published. But this is no more done.

2. Sir, you wrote a lot of books on Carnatic Music. What was your

inspiration?

From my early childhood, I was deeply interested in Carnatic

Music. Famous musicians like Semmangudi Sreenivasa Iyyer,

lvi

Madhurai Mani Iyyer, K.S. Narayana Swami, and Alathoor Brothers.etc

influenced me a lot. I loved not only the vocal artists, but also the

accompanists like Mavelikkara Krishnankutti Nair, Chalakkudi

Narayana Swami etc. on the Violin. I tried to learn a bit of music. So I

thought to contribute in a different way, writing books.

3. Sir, please name the books you have written on Carnatic Music?

Sri Swathi Thirunal Jeevithavum Krithikalum- a complete work

edited with biographical and critical study.

Ganasanjayathrayam. Edition of some great musical

composition.

Navarathrikeerthanangal.

Naukacharithram

Brihaddeshi.

Sangeetha Sopanam. etc

************************

lvii

GEORGE S PAUL

[Rtd. Professor and a Music critic of Kerala]

1. Good morning Sir. Print media especially newspapers helped

promote Indian Classical Music. Do you agree with this?

Definitely it encourages the artists. Usually the reviews of music

festivals in Chennai and in other places are published in „The Hindu‟.

The detailed reports on the performances are of great encouragement

to the artist.

2. Will you please explain the role of Newspapers in detail?

Features related to the renowned artists are published in

Newspapers.

Interview with eminent artists or its detailed report always

thrills the readers. The experience of an artist will be the

guideline for the upcoming musicians.

The review of the performance helps not only the performer but

also the readers because it highlights the positive aspects and

point out the short comings.

lviii

3. In your opinion who is the best critic in India?

It is none other than „Subbudu‟ who interviewed many a

talented artists. I am proud to say that I was greatly privileged to

interview that great man. His reviews and interviews had greatly

influenced the growth of many artists like Mandolin U Sreenivasan.

4. About Music criticism in Malayalam?

No Malayalam publication gives enough space for reviews on

artists. Only thing that they do is showing photographs of the

musicians without giving the details of his music. In effect it has a

retro effect on the singers. In Karnataka, Delhi, Andrapradesh and

Tamil Nadu people are very proud of their cultural heritage. But

Keralites are totally different. The same is the case with other art

forms too in Kerala.

5. What is the role of news papers and magazines in encouraging

the upcoming artists?

This is an art form that we learn directly from the gurus. The

amount of strenuous work that one puts in during one‟s early years

to learn music and the unending practice lesions under the

guidance of the guru is the secret of success in one‟s career. This

should act as an eye-opener to a child who earnestly wishes to

learn music. After every performance, an interview will be held at

the press club and the report will be published in the daily. For a

beginner, the review is an encouragement.

lix

6. You said that in print media, newspaper is the most effective one.

Please explain?

Newspaper is a powerful medium. It reaches all houses in

Kerala. When you plan for a music festival or a concert, no other

media can give more publicity than a newspaper. Through the

Newspaper we can give the details of programmes.

E.g.: i) Short profile of the artist.

ii) His awards and accomplishments.

7. How long have you been working in this field?

Nearly 26 years, I worked for Indian Express, The Hindu and

The Economic Times.

8. Who were the most remarkable musicians of that time?

Dr. Semmangudi Sreenivasa Iyyer, Chembai Vaidya Natha

Bhagavathar, Dr. M. Balamuralikrishna, Maharajapuram

Sandanam etc.

9. Sir how will you compare the role of newspaper in the past and

present times in promoting Classical Music?

The dailies had provided enough space for art and culture.

That practice exists even now. But every art column deals with only

one topic that is cinema and its gossips. We cannot blame the

management of the newspapers for not appointing specialist writers

because they have became a rare species. As the number of

publications increased, competition also increased. I am sure,

competent candidates will definitely emerge since the society needs

them. The person who knows about music should start writing, and

lx

then the review will be well accepted by the public because the

source of information is authentic.

Indian Express and The Hindu took very positive steps in this

regard. But the The New Indian Express lacks the interest in this

field. In Malayalam dailies Mathrubhoomi has a better approach.

Music is the back bone of other arts forms and all other art forms

exist with the support of music.

**************************

lxi

LENIN RAJENDRAN

[Eminent Malayalam Film Director]

1. Good morning Sir. Please tell us your views about the role of

Cinema in popularizing Carnatic Music?

In my opinion ever green songs are always linked with Carnatic

music. Sometimes various ragas come into the same song. With the

same Arohana andAvarohana of a raga, great musicians express

different Bhavas when composing film songs. Great musicians

create this difference of Bhava even in concerts, while rendering a

raga. This technique is fruitfully used in film songs.

What is so particular about Dakshinamoorthi Swami, as a

music director is that he composed music strictly adhering to

Classical music. Sri M S Baburaj, G Devarajan master K Raghavan

master introduced folk melodies in film music. The film songs by Sri

M S Baburaj are mostly fashioned after Hindusthani music style. Sri

Raghavan master was much fascinated by folk songs which he

introduced in his film songs. Old songs are carefully structured on a

lxii

definite raga. There was a time when the actors themselves sang and

acted in movies. Almost all the old songs are based on Carnatic

Classical Music. These ragas are combined rhythmically and

emotionally in films. All the emotions in life like pleasure, anger, love,

etc. are expressed through different ragas. Accordingly the lines are

written by great lyricist. Lyrics well blended with the raga create

wonderful songs that touch the chords of our heart. This is why

songs have become an inevitable part of our life on every occasion.

The Carnatic music is the basic. Bhava is highlighted while

rendering the songs. Light songs and complex classical based songs

co-exist in movies. Along with these factors, Shri. A R Rahman

brought Western music also into film songs and blended them

wonderfully. Adhering strictly to the pure Carnatic music but coating

with fine touches of folk music, music Director Ilayaraja created

unforgettable melodies. His music created the wave of emotions in the

hearts of every Tamilian. Shri. A R Rahaman has skillfully and

homogeneously blended these factors with Western style in music and

pitch variations of the musical instruments, to create wonderful

songs. But I don‟t think they are long lasting. In my opinion, his

creations using fine Carnatic music remains evergreen in our heart.

2. What encouraged you to make the film- Swathi Thirunal?

This film is about the conflict of the dual personalities, artistic

and political sides of Sree Swathi Thirunal. He was a musician first

and then a Maharaja, who kept himself away from the in fight in his

court and engaged completely in his wonderful creations and finally

lxiii

embraced death. Except one song all others are Swathi Thirunal

krithis in this film. Shadkala Govinda Marar sings Thyagaraja Krithis

in the court of Swathi Thirunal. Swathi Thirunal praised Shadkala

Govinda Marar for this. It shows his broadmindedness. The other

songs in this film are composed in the same raga in which Sree

Swathi Thirunal composed his. The composition Mamavasada

janani in Kanada raga was popularized because it was included in

the film. In the same way the compositions like Kripayapalayasaure

in Charukeshi, Alarsharaparithapam (Padam) in Surutti, Devan ke

pathi indra in Darbari Kanada were accepted by the common people

through this film. Lyrics and melodious music of these songs are the

main reasons, for them to remain in our heart for ever.

3. Please tell us about your other films which have given importance

to music?

In the film „Chillu‟, M D Sreenivasan was the music director, a

Carnatic musician and composed songs in Carnatic ragas. The song

Chaithram chayam chalichu was composed in the raga

Chakravakam. Similarly Ravindran Master was the music director of

the film „Mazha‟, in which both Carnatic and Hindusthani ragas were

used perfectly. Songs in the films „Venal‟, „Makaramanhu‟ were

composed by M D Sreenivasan.

*************************

lxiv

PANDIT RAMESH NARAYAN

[Eminent Hindusthani musician and Music composer]

1. Namaskaram Sir. How do you look upon the role and influence of

media in the development of Carnatic music?

Carnatic Music attained its perfection during the time of

Trinities. Though compositions are plenty from the new generations,

they have limitations. There was no electronic media to help at the

time of the Trinities. It took considerable span of time for music from

Tanjore to reach other places. They had only oral means then.

Situation has changed much now. Media promotes every form of art,

including music aspirants, especially children.

2. When did you enter in the Akashavaani service?

I joined the Kannur Akashavaani in 1995. Presently I am on

long leave.

3 Why did you take leave?

Most people remain in the confines of their jobs. I want to use

the full potential of my abilities through hard work. With

lxv

Akashavaani, I will have to restrict myself within a particular frame

work. It is due to this restriction that many great musicians like

Pandit Hariprasad Chaurasiya, Pandit Ravi Shankar, Dr. M

Balamuralikrishna and others resigned their jobs.

4. How far did the AIR influence your dedication to music?

I used to enjoy good music through the AIR right from my

childhood. Still the AIR and Doordarshan alone give prominence to

the Carnatic music. All members of my family have studied Carnatic

music. This inspired me to join the Music department at government

college Chittur.

5. How for did Film as a medium helped the development of Carnatic

Music?

Indeed films have popularized Carnatic music immensely. In the

past the compositions of Carnatic music in films were done in the

same tune. There were films on Bhaktha Meera, Baiju Bavare,

Tansen, Sri Swathi Thirunal and such ageless stalwarts. Such films

propagated the pulse of music into layman‟s sensibility. Besides, the

contributions of eminent musician like Sri Noushad,

Dhakshinamoorthy, G Devarajan and others have been great and they

poured the nectar of music direct into multitudes.

Apart from this there were great musicians who acted in films

singing compositions, such as M S Subbulakshmi, G N

Balasubrahmanian, Musiri, M K Thyagaraja Bhagavathar, Dr K J

Yesudas and so on.

lxvi

6. How do you look into your music composition?

I long very much to see the use of Hindusthani music also along

with Carnatic music in films, thus help Hindustani music find a place

in the mind of common man. So I did most of my compositions in the

Hindusthani Ragas. My songs have been included in many

Hindusthani Bandhishes. I have tried them in films like Megha

Malhar, Garshom etc. I feel confident that people do appreciate them

very much. Film director Sri Kunhu Muhammed is enthusiastic

about the inclusion of Indian music in his films. At any rate, it is the

sincere dedication of our films, the AIR and Doordarshan that

promotes and rejuvenates our pure music.

****************************

lxvii

SREEVALSAN J MENON

[Associate Professor in R A R S, eminent Carnatic Vocalist and

Music Composer]

1. Good morning Sir. Please explain the role of media and its

influence in the popularization of Carnatic music?

Perhaps the contribution of All India Radio in the popularization

of Carnatic Music is incomparably great. In olden days the

Akashavaani used to go to villages and engage talented children for

their programmes. The music legend M S Subbulakshmi also grew up

in such a tradition. This medium under the government has given

maximum encouragement for the propagation of Carnatic music.

Later, after quarter of a century, when private media came into being,

there had been slight decline in fostering Carnatic music. But the

advent of the Internet has further promoted the popularity of Indian

music in both Hindusthani and Carnatic traditions. With the aid of

„You Tube‟, „Skype‟ and from some websites one could learn and enjoy

music from any corner of the world. Besides one can enjoy the

experience of learning almost direct from the mouth of the master or

Guru and this improves relationships through music. Considering

lxviii

this, during the last five years or so, the Internet media based

communication offers great encouragement to Carnatic music,

compared to the slow development during the earlier twenty years. I

feel that the Doordarshan channels have slightly withdrawn their

support and encouragement to Carnatic Music. Films up to 1990 have

tried the most, in one way or the other, to revive and refresh Carnatic

music. But the present generation songs do not. The print media like

Newspapers, journals etc. have their limitations, when the listening

skills are considered. Further, I feel that the F M Radio doesn‟t give

ample importance and consideration to the Carnatic Music.

2. Did AIR influence you in your musical career?

By all means, the AIR has great effect in the growth of music in

me. My learning and career graph moved up a little in this field

through the music competitions conducted by the AIR. We avail the

support of the Government also through such involvements.

3. Sir about your musical works?

Music is my passion. So I am trying to create musical works.

Musical albums are Mansoon Anuraaga, Vismaya,Manasa smaraami,

Madhuram gayathi, Sringaram, Begane Baro, Ramanan, Kshethranjali,

Navarasa Thillana, etc. These works included various Carnatic ragas.

Associated with films like „Mazha(2000)‟, „My Mother‟s

Laptop(2008), „T D Dasan Std. VI B (2010)‟, „Saint Dracula 3D(2012)‟,

„Kaliyachan(2013)‟, „Olipporu(2013)‟, „Swapaanam-( under production-

2013)‟, „London Bridge-(under production-2013)‟ etc.

**********************

1

APPENDIX II

LIST OF SOME SABHAS OR ORGANIZATION

1. Academy of Indian Music and Arts Indira Nagar Chennai

2. Anna Nagar Music Circle Anna Nagar Chennai

3. Asthika Samajam Thiruvanmiyur Chennai

4. Ayyappa Bhaktha Samajam Mandaveli Chennai

5. Balajee Fine Arts West Mambalam Chennai

6. Bharat Cultural Integration

Committee T Nagar Chennai

7. Bharat Kalachar T Nagar Chennai

8. Bharatheeya Kala Samithi Alakapuri Hyderabad

9. Bharatheeya Vidya Bhavan Mylapore Chennai

10. Brahaddhwani R A Puram Chennai

11. Brahmaganasabha Alamelumangapuram Chennai

12. Devaganavali Trust Royapettah Chennai

13. Dharmaparipalana Sabha Adayar Chennai

14. Divyadhvani Ayanavaram Chennai

15. D K J Foundation Alwarpet Chennai

16. Ganamukundapriya R A Puram Chennai

17. Gayathri Mahila Sangeetha

Sanmandali Guntur Hyderabad

18. Guruguhanjali T T K Road Chennai

2

19. Hamsadhvani Adayar Chennai

20. I I T Madras Music Club I I T Madras Chennai

21. Janapriya Gana Sabha Hanamkonda Warangal Hyderabad

22. Kalakrithi Egmore High Road Chennai

23. Kalamandir Trust T Nagar Chennai

24. Kalapradarshini Teynampet Chennai

25. Kalarasana R A Puram Chennai

26. Kalasagar Music Circle Anna Nagar Chennai

27. Kalavedi Poonamalle High Road Chennai

28. Kapali Fine Arts Mylapore Chennai

29. Karpagam Garden Satsang Karpagam Garden Chennai

30. Karthik Fine Arts Bheemanna Garden street Chennai

31. Lalgudi Gopala Iyyer Trust T Nagar Chennai

32. Lalitha Kala Vedika South Beach Road Chennai

33. Madras Kalibari West Mambalam Chennai

34. Madras Telugu Academy T Nagar Chennai

35. Maharajapuram Santhanam

Foundation T Nagar Chennai

36. Maruthi Bhaktha Samajam Nanganallur Chennai

37. M B K Trust C P Ramaswami Road Chennai

38. Mudra Fine Arts Nungambakkam Chennai

39. Mukthanbaram Trust Karpagam Avennue Chennai

40. Music Academy T T K Road Chennai

3

41. Music Education Trust Anna Nagar East Chennai

42. Mylapore Fine Arts Mylapore Chennai

43. Nada Imbam Luz Avennue Chennai

44. Nada Bharathi Saroor Nagar Hyderabad

45. Nadopasana Indira Nagar Chennai

46. Nandini Fine Arts V M Street Chennai

47. Narada Gana Sabha T T K Road Chennai

48. Natyanjali Trust Dr. Radhakrishnan Road Chennai

49. Nayaki Kotturpuram Chennai

50. Nungambakkam Cultural

Academy Trust West Mambalam Chennai

51. Pallavi Academy of Fine arts Habsiguda Hyderabad

52. Prayojana Trust Nanganallur Chennai

53. Raga Tharangini Mylapore Chennai

54. Rasika Ranjani Mylapore Chennai

55. Saraswathi Ganasabha Kakinada Hyderabad

56. Saraswathi Vaggeyakara East Thambaram Chennai

Trust

57. Sarvani Sangeetha Sabha T Nagar Chennai

58. Sathguru Sri Thyagaraja

Aradhana Sabha Nanganallur Chennai

59. South Indian Cultural

Association L B Stadium Hyderabad

4

60. Sri Bharathi Ganasabha Amalappuram Hyderabad

61. Sri Krishnagana Sabha T Nagar Chennai

62. Sri Maharajapuram

Santhanam Rasika Trust West Saidapet Chennai

63. Sri Parthasarathy Swami

Sabha Triplicane Chennai

64. Sri Purandara Dasar Bhaktha

Samajam T Nagar Chennai

65. Sri Ragam Fine Arts Mandaveli Chennai

66. Sri Ram Samaj West Mambalam Chennai

67. Sri Rama Bhakthajana Samaj K K Nagar Chennai

68. Sri Sangameswara Sangeetha

Samakhya Pithapuram Hyderabad

69. Sri Semmangudi Srinivasa

Iyer Trust Alwarpet Chennai

70. Sri Thyagaraja SamskrithaSangamu Brodipet Guntur

71. Sri Thyagaraja Swarabharathi Amaravathi Road Guntur

72. Sringeri Bharathi Vidyasram T Nagar Chennai

73. Sruthilaya Kendra Jeth Nagar Chennai

74. Surya art Academy Mourali Hyderabad

75. Tamil Isai Sangam Raja Annamali Mandram Chennai

76. Temple of Fine Arts K K Nagar Chennai

77. The Indian Fine Arts Society T Nagar Chennai

5

78. Thirupoonthuruthi Narayana

Theertha Swamikal Trust R A Puram Chennai

79. Thyaga Brahma Gana Sabha T Nagar Chennai

80. Visaka Music Academy Vishakhapatnam Hyderabad

1

APPENDIX III

LIST OF SOME CARNATIC MUSIC BOOKS

Name of book Name of the author

1 A Comprehensive Dictionary of Carnatic Music Vidya

Bhavani Suresh

2 Acoustics for Music students C Subrahmanya Iyyer

3 A Dictionary of South Indian Music

And Musicians Vol.I to Vol.III Prof. P.Sambamoorthi

4 Aesthetic and Scientific Values in

Carnatic Music Vidya Sankar

5 Aids to the Teaching of Music Pro. P.Sambamoorthi

6 Among Contemporary Musicians Susheela Misra

7 A practical Course in Carnatic Music

(For beginners) Prof. P. Sambamoorthi

8 A Rational Approach to Manodharma

Sangeetham Dr. Radha Venkatachalam

9 A study of the Compositions of

Purandaradasa and Thyagaraja Dr. Seetharama Lakshmi

10 Brihaddesiof Sri Mathanga Muni Prem Latha Sharma

11 Carnatic Music and the Tamils T.V.Kuppuswami

12 Chathurdandi Prakashika Venkita Makhin

13 Complete Krithis of Sri Thyagaraja Venkata Subbayya

14 Compositions of Maharaja

Swathi Thirunal In Devanagiri and

Diacritical Roman scripts T.K.Govinda Rao

2

15 Compositions of Muthuswami Dikshithar

T.K.Govinda Rao

16 Compositions of Sri Syamasasthri

Mr and Mrs N C Parthasarathy

17 Compositions of Thyagaraja T K Govinda Rao

18 Core of Carnatic Music A DMadhavan

19 Dakshinendian Sangeetham

Vol.I to IV A K Ravindra Nath

20 Dhikshithar Keerthanamala(15 parts)

Vainika Vidwan A SundaraIyyer

21 Dhikshithar Krithikal Prof. P R Kumarakerala Varma

22 Dr. M Balamurali Krishna- A study - Prabhukumari Varma

23 Eloquent garlands: a Dictionary of

Classical Music, Composers and Musicians

N Rajagopalan

24 Essentials of Musicology in South Indian Music

S R Janakiraman

25 Evergreen: Lyrics and Notations of

Carnatic Classic Songs T H Thyagarajan

26 Facets of Notation in South Indian Music

Sarada Gopal

27 Galaxy of Carnatic Musicians vol.1-2

Krishnamurthy. S V

28 Ganamrutha Varna Malika A S Panchapakesha Iyer

3

29 Getting Closer to Carnatic Music Vidya Bhavani Suresh

30 Great Composers Prof. P Sambamoorthi

31 Great Masters of Carnatic

Music-1930-1965 Indira Manon

32 Guru Guha Ganamrutham A S Panchapakesha Iyyer

33 History of Indian Music Prof. P Sambamoorthi

34 History of South Indian

Carnatic Music R Rangaramanuja Ayyangar

35 Indian Music and Swathi Thirunal - Vasanthy Krishna Rao

36 Institutionalised Teaching System of

Carnatic music T Unnikrishnan

37 Karnataka Sangeetha Sasthra A S Panchapakesha Iyyer

38 Karnataka Sangeetha Charithram K T Ravindra Nath

39 Lyrics of Thyagaraja T V Kuppuswami

40 Mridangam an Indian Classical

Percussion Drum Shree Jyanthi Gopal

41 Music and Temples. A Ritualistic

Approach Dr L Annapoorna

42 Musical heritage of India Lalitha Ramakrishna

43 Music in the Vedas G U Thite

44 Musical Instruments of India, their

History and Development B Chaithanya Deva

45 Musical instruments of Kerala Temple - Dr Latha Varma

46 Music of the South Asian peoples - Swami Prajnanananda

47 Music Through the Ages V Premalatha

4

48 Muthuswami Dikshithar and Thiruvarur

Sumathi Krishnan

49 Mysore as a Seat of Music Dr M B Vedavalli

50 Natya Sasthra Ascribed to

Bharatha Muni Manormohan Ghosh

51 Navam and the Carnatic Group Krithis

Leela Omcheri, N K Padma Varma

52 New Mansions for Music Subrahmanyam

53 Oothukkadu Venkata Kavi’s Kamakshi

Navavaranam& Saptharathna Krithis Chithra Veena N

Ravikiran

54 Pancharathna Ganamrutham A S Panchapakesha Iyyer

55 Patnam Subrahmanya Iyyer Dr P B Kanna Kumar

56 Pictures of Famous Composers,

Musicians and Patrons Prof. P Sambamoorthy

57 Ragam Tanam Pallavi, Their

Evolution, Structure And Exposition Dr M B Vedavalli

58 Ragapravaaham Dr M N Dandapani

59 Ragas at a glance Prof. S R Janakiraman

60 Ragas of the Sangeetha Saramritha

Sangeethakalanithi T V Subba Rao

61 Ragas Which Emerged During the

Post Trinity Period and Their Lakshana M B Vedavalli.

62 Ragasudharnavam K T Ravindranath

63 Ramanataka Keerthanai Shikazhi Arunachalakavirayar

5

64 Rare Melodies of Carnatic Music Dr Hamsini Nagendra

65 Research methodology for Music Dr S A K Durga

66 Ritual Music and Hindu Rituals

of Kerala Rolf Killius

67 Sangeeth Damodara Dr Hariram Acharya

68 Sangeeth Rathnakar Sarang Dev

69 Sangeetha Rathnakaram Rangaramanuja Iyyangar

70 Sangeetha Sampradayam: A Collection

of Lectures on Carnatic Music- Vol.1 R Vedavalli

71 Sangeetha Sasthram A D Madhavan

72 Sangeetha Sasthrapraveshika

Dr S Venkita Subrahmanya Iyyer

73 Sangeetha Sudha

Nookala Chinna Sathya Narayana

74 Semmangudi Srinivasa Iyyer Life and Music

V. Subrahmanyam and Sriram V

75 Shapping of an Ideal Carnatic Musician

Through Sadhana Panthula Rama

76 South Indian Music Vol.I to VI

Prof. P Sambamoorthi

77 Special Education Music Therapy Manorma Sharma

78 Sree Purandara Ganamrutham A S Panchapakesha Iyyer

79 Sri Swathi Thirunal Jeevithavum

Krithikalum Prof. Dr V S Sharma

80 Sri Swathi Thirunal Krithikal

6

Prof. P R Kumarakerala Varma

81 Syamasasthri Prof.P Sambamoorthi

82 Syamasasthri and His Descendents Dr Y Saradhambal

83 Syamasasthri and Other Famous

Figures of South Indian Music - Prof. P Sambamoorthi

84 Tanjore as a Seat of Music S Seetha

85 Techniques of Teaching music V V Lakshmi

86 The Art and Science of Carnatic Music

Vidya Bhavani Suresh

87 The Concept & Evolution of Raga - Dr Geetha Ravikumar

88 The Grammar of South Indian Music

C Subrahmanya Iyyer

89 The Holistic Garland N Rajagopalan

90 The Kriti in Carnatic Music Lalitha Ramakrishnan

91 The Madras Quartet Women in

Carnatic Music Indira Menon

92 The Melakartha Janyaraga Scheme

Prof. P Sambamoorthi

93 The Natyasasthra of Bharathamuni

Sri Sadguru Publications

94 The Splendour of South Indian Music. Dr P T Chelladurai

95 The Theory and Practice of Mridanga

Late Sri Dharmala Ramamoorthi,

Dharmala Venkiteswara Rao

96 Thyagaraja. A Great Musician Saint - M S Ramaswami Iyyer

7

97 Thyagaraja Krithikal Prof. P R Kumarakerala Varma

98 Thyagaraja’s Nouka Charithram Y Bhagavathi

99 Varnasagaram T.K Govindarao

100 Veena Tradition in Indian Music L Annapoorna

1

APPENDIX IV

G N Balasubrahmanyan and M S Subbulakshmi

2

K B Sundarambal

3

Dr M Balamuralikrishna

4

M K Thyagarajabhagavathar

5

M M Dandapani Desikar

6

M S Subbulakshmi

7

N C Vasanthakokilam

8

Papanasam Sivan

T N Rajarathnam Pillai

9

S Balachandar

1

APPENDIX V

PRASAR BHARATHI BROADCASTING CORPORATION OF INDIA DIRECTORATE GENERAL: ALL INDIA RADIO

CARNATIC MUSIC: TOP GRADE ARTISTES AS ON 31.12.2013

S NO NAME OF ARTISTS TYPE OF MUSIC DATE OF TOP GRADE

AWARDED

STATION DATE OF BIRTH

1 MURTHY. T.K MRIDANGAM 28.04.1955 CHENNAI(N.Artist) 13.08.1924

2 KRISHNAN T.N VIOLIN 29.09.1967 CHENNAI(N.Artist) 06.10.1928

3 NATARAJAN A.K.C CLARIONET 1967 TIRCHIRAPALLI

4 BALAMURALIKRISHNA M. VOCAL LIGHT/VIOLIN 29.09.1967 19.09.1990

CHENNAI(N.Artist) 6.7.1930

5 UMAYALAPURAM K SIVARAMAN

MRIDANGAM 1969 CHENNAI

6 GOPALAKRISHNAN M.S VIOLIN 5.6.1976 CHENNAI Expired 10.06.1931

7 LALGUDI G. JAYARAMAN VIOLIN 1976 CHENNAI Expired in 2013

8 RADHA & JAYALAKSHMI VOCAL DUET 1976 CHENNAI

9 TRICHI S. SANKARAN MRIDANGAM 1976 CHENNAI

10 VELLORE RAMABHADRAN MRIDANGAM 1976 CHENNAI Expired in

(Feb2012)

11 MADRAS A. KANNAN MRIDANGAM 1978 CHENNAI

12 KARAIKUDI R. MANI MRIDANGAM 1980 CHENNAI

13 BALASUBRAMANIAM S.P LIGHT VOCAL 1980 CHENNAI

14 CHANDRASHEKHARAN M VIOLIN 1980 CHENNAI

15 RUKMINI T. VIOLIN 1982 CHENNAI

16 VALAYAPATTI SUBRAMANIAN A.R

TAVIL 1982 MADURAI

17 YELLA VENKATESWARARAO MRIDANGAM 1982 HYDERABAD

18 DR.S. PINAKAPANI VOCAL 1984 CUDAPPAH Expired in

2013

19 P. SUSHEELA LIGHT VOCAL 1984 CHENNAI

20 YESUDAS K.J LIGHT VOCAL 1984 CHENNAI

21 SIKKIL V. KUNJUMANI& N. NEELA

FLUTE DUET 1984 CHENNAI Expired in 2010 Retained

in Top Gr

22 SOUNDRARAJAN T.M VOCAL 1984 CHENNAI

23 SRIKANTAN R.K. VOCAL 1984 BANGALORE

24 VINAYAKARAM T.H. GHATAM 1984 CHENNAI

25 GURUVAYUR DORAI MRIDANGAM 1986 CHENNAI

26 Dr. BALANTRAPU RAJANIKANTHA RAO

MUSIC COMPOSER 1986 VIJAYAWADA

27 C. SAROJA & C. LALITHA VOCAL DUET 1987 CHENNAI

28 GOPALAKRISHNAN T.V. MRIDANGAM 1987 CHENNAI

29 ANNAVARAPU RAMASWAMI VIOLIN 1988 VIJAYAWADA

30 MADURAI T.N. SESHAGOPALAN

VOCAL 1988 TIRUCHIRAPALLI

31 SHANKARANARAYANAN T.V VOCAL 1988 CHENNAI

32 TRICHUR V. RAMACHANDRAN VOCAL 1989 CHENNAI

34 RAJAM S. VOCAL 1990 CHENNAI

35 GOVINDA RAO T.K VOCAL 1991 CHENNAI

36 RAVI KIRAN N. CHITRA VEENA 1991 CHENNAI

37 SRINIVAS P.B LT VOCAL MADRAS Expired

38 SRINIVAS U. MANDOLIN 1991 CHENNAI

39 VEDAVALLI R. VOCAL 1991 CHENNAI

40 KAMALAKARA RAO V. MRIDANGAM 1992 VISHAKHAPATNA

M

Exp in 2011

41 JANAKI S. LT VOCAL 1984 CHENNAI

42 DANDAMUDI RAMMOHAN RAO

MRIDANGAM 1993 VIJAYAWADA

43 PASUPATHO D. VOCAL 1993 CHENNAI

44 SUGANDHA KALAMEGHAM VOCAL 1993 CHENNAI

45 OMANAKUTTY K. VOCAL 1993 TVM

46 R. GANESH & R. KUMRESH VIOLIN DUET 1994 CHENNAI

47 YESUDAS K.J LT VOCAL & CL VOCAL

1984& 1994 CHENNAI

48 NAVANEETHAM T.R FLUTE 1994 TIRUCHIRAPALLI

49 HARIDWARAMANGALAM A.K TAVIL 1995 TIRUCHIRAPALLI

2

PALANIVEL

50 VISWESWARAN R. VEENA 1995 MYSORE

51 NOOKALA CHINA

SATYANARAYANA

VOCAL 1995 HYDERABAD

52 GAYATRI E. VEENA 1996 CHENNAI

53 KANYAKUMARI A. VIOLIN 1996 CHENNAI

54 SRIMUSHANAM V. RAJA RAO MRIDANGAM 1996 CHENNAI

55 SUBRAMANIAM T.R VOCAL 1996 CHENNAI

56 VANI JAYARAM VOCAL CHENNAI

57 KADIRI GOPALNATH SAXOPHONE 1997 MANGALORE

58 MANNARGUDI ESWARAN MRIDANGAM 1997 CHENNAI

59 S.R JANAKI RAMAN DR. VOCAL 1997 CHENNAI

60 T.S SHANKARAN FLUTE 1997 CHENNAI

61 SUBRAMANIAM V.V VIOLIN 1998 CHENNAI

62 SUDHA RAGHUNATHAN VOCAL 1998 CHENNAI

63 ARUNDHATI SARCAR VOCAL 1998 VISHAKHAPATNAM

64 L.R ESWARI LIGHT VOCAL 1998 CHENNAI

65 K.B.K MOHAN RAJU LIGHT VOCAL 1998 HYDERABAD

66 M. CHITTARANJAN MUSIC COMPOSER 1998 HYDERABAD

67 PALAGUMMI VISWANATHAM COMPOSER 1998 HYDERABAD EXPIRED

68 R. PITCHUMANI VEENA 1998 CHENNAI

69 P. SUSHILA LT. VOCAL 1984 CHENNAI

70 T.R KAMALAMURTHY HARIKATHA 1998 TIRCHIRAPALLI

71 KOTA SACHIDANANDA

SHASTRI

HARIKATHA 1998 VIJAYAWADA

72 KALYANAPURAM R.

ARAVAMUDAM

HARIKATHA 1998 TIRUCHIRAPALLI

73 MYSORE M. NAGARAJ(STAFF) VIOLIN 1998 MYSORE

74 K.V PRASAD (STAFF) MRIDANGAM 1998 CHENNAI

75 E.M SUBRAMANYAM GHATAM 1998 CHENNAI

76 TIRUVIZHA R. JAYASHANKAR NAGASWARAM 1998 THIRUVANANTHA

PURAM

77 P.S. NARAYANASWAMI VOCAL 1999 CHENNAI

78 M.A SUNDARESWARAN VIOLIN 1999 CHENNAI

79 TIRUVARUR BHAKTAVATSALAM

MRIDANGAM 1999 CHENNAI

80 A.V. ANAND MRIDANGAM 1999 BANGALORE

81 R. VENKATARAMAN VEENA 1999 THIRUVANANTHA

PURAM

Expired in

(2009)

82 DR. PRAPACHAM SITARAM FLUTE 1999 VIJAYAWADA

83 K.S. GOPALAKRISHNAN FLUTE 1999 THIRUVANANTHA

PURAM

84 MADURAI G.S MANI VOCAL 2000 CHENNAI

85 MANGAD K. NATESAN VOCAL 2000 THRISSUR

86 PREMA HARIHARAN VOCAL 2000 CHENNAI

87 SIKKIL R. BHASKARAN VIOLIN 2000 CHENNAI

88 DWARAM DURGA PRASAD RAO

VIOLIN 2000 VISHAKHAPATNAM

89 NAGAI R. MURALIDHARAN VIOLIN 2000 TIRUCHIRAPALLI

90 G.S. SRIKRISHNAN FLUTE 2000 CALICUT

91 A. PADMAVATHY VEENA 2000 CHENNAI

92 MULLAPUDI SRI RAMAMURTHY

MRIDANGAM 2000 VISHAKHAPATNAM

93 T.A.S. MANI MRIDANGAM 2000 BANGALORE

94 T.V. VASAN GHATAM 2000 CHENNAI Expired in (2010)

95 MANAKKAL S. RANGARAJAN CL VOCAL 2000 CHENNAI

96 NAGAMANI SRINATH CL VOCAL 2001 BANGALORE

97 RANGANAYAKIRAJAGOPALAN VEENA 2001 CHENNAI

98 AKELLA MALLIKARJUNA SARMA

VIOLIN 2001 HYDERABAD

99 COIMBATORE B. DAKSHINAMURTHY

VIOLIN 2001 CHENNAI Expired in (2010)

100 THIRUVANANTHAPURAM V. SURENDRAN

MRIDANGAM 2001 THIRUVANANTHAPURAM

101 MADRIMANGALAM S.

SWAMINATHAN

MRIDANGAM 2001 CHENNAI

102 MAVELIKKARA

K.VELUKKUTTY NAIR

MRIDANGAM 2001 THIRUVANANTHA

PURAM

103 S. RUGMANI VEENA 2001 THIRUVANANTHA

PURAM

104 RAJALAKSHMI

THIRUNARAYANAN

VEENA 2001 BANGALORE

105 CHITTOR G. VENKATESAN FLUTE 2001 CHENNAI

3

106 M.S.SHEELA CLASSICAL&LT.

VOCAL also

2001 BANGALORE

107 G. RAVINDRANATHAN MENON MUSIC COMPOSER 2001 THIRUVANANTHA

PURAM

108 M.G.RADHAKRISHNAN MUSIC COMPOSER 2001 THIRUVANANTHA

PURAM

Expired in

(2010)

109 T.K.RAMAMURTHY MUSIC COMPOSER 2001 CHENNAI

110 DR.K.VAGEESH CL.VOCAL 2002 DELHI

111 M.KODANDARAM& PARTY NAGASWARAM 2002 BANGALORE Expired in (2010)

112 NIDAMANURI LAKSHMI NARAYANA

DOLU 2002 VIJAYAWADA

113 B.CHANDRAMOULI KANJIRA 2002 BANGALORE

114 MAHADEVU LAKSHMI NARAYANA RAJU

MRIDANGAM 2002 VIJAYAWADA

115 M. J. SRINIVASA IYENGAR VEENA 2002 BANGALORE

116 T.V.RAMANUJACHARULU VIOLIN 2002 THIRUCHIRAPALLI

117 K.L.N.SASTRY VIOLIN 2002 DELHI Expired

118 M S NEELA RAMGOPAL CL. VOCAL 2003 BANGALORE

119 M S SUGUNA

PURUSHOTHAMAN

CL.VOCAL 2003 CHENNAI

120 MS RAMA RAVI CL. VOCAL 2003 CHENNAI

121 MS C. VIJAYALAKSHMI

SARMA

LT.VOCAL 2003 HYDERABAD

122 VANKAYALA NARASIMHAM MRIDANGAM 2003 VISHAKHAPATNA

M

123 PALAKKAD T.R.RAJAMANI MRIDANGAM 2003 THRISSUR

124 DR. DANDAMUDI SUMATHI RAMAMOHAN RAO

MRIDANGAM 2003 VIJAYAWADA

125 PERI SREERAMAMURTHY VIOLIN 2003 HYDERABAD

126 MS. R. JAYANTHI VEENA 2003 CHENNAI

127 MS. VINNAKOTA

RAMAKUMARI

HARIKATHA 2003 VIJAYAWADA

128 MYSORE GANAPATHY

SACHIDANAND SWAMY

DEVOTIONAL MUSIC 2003 MYSORE

129 MAVELIKKARA S.R.RAJU MRIDANGAM 2004 THIRUVANANTHAPURAM

130 RAMANI. N FLUTE 2004 CHENNAI(N. ARTIST)

131 S.R.RAVINDRAN VEENA 2004 CHENNAI

132 LALGUDI SREEMATHI

BRAHMANANDAN

VIOLIN 2004 CHENNAI

133 V.S.RAJAGOPAL MRIDANGAM 2004 BANGALORE

134 DR. L.SUBRAHMANIAM VIOLIN 2004 BANGALORE

135 ALUGOLU SATYA NARAYANA DOLU 2004 CUDDAPAH

136 A.K.RAVINDRANATH VOCAL 2004 NEW DELHI

137 NEDUNURI KRISHNAMURTHY VOCAL 2004 VISHAKHAPATNAM

138 S. P. BALASUBRAHMANIAM LT. VOCAL MUSIC COMPOSER

1984

2004

CHENNAI

139 R.N.THYAGARAJAN&

R.N.TARANATHAN

VOCAL DUET 2004 BANGALORE

140 S.P.BALASUBRAHMANIAM MUSIC COMPOSER 2006 HYDERABAD

141 PARASSALA B. PONNAMMAL VOCAL 2007 THIRUVANANTHA

PURAM

142 D. SESHACHARY&

D.RAGHAVACHARY

VOCAL DUET 2007 HYDERABAD

143 S. SANKAR VOCAL 2007 BANGALORE

144 SEETHA RAJAN VOCAL 2007 CHENNAI

145 DR.MYSORE M. MANJUNATH VIOLIN 2007 MYSORE

146 M.S.N.MURTHY VIOLIN 2007 VISHAKHAPATNA

M

147 M.T.RAJAKESARI MRIDANGAM 2007 BANGALORE

148 VANKAYALA

VENKATARAMANAMURTHY

MRIDANGAM 2007 VISHAKHAPATNA

M

149 TRICHUR C. NARENDRAN MRIDANGAM 2007 CHENNAI

150 S. SHASHANK FLUTE 2007 CHENNAI

151 SESHAMPATTI T.

SIVALINGAM

NAGASWARAM 2007 CHENNAI

152 MAMBALAM MKS SIVA NAGASWARAM 2007 CHENNAI

153 TANJORE T. R.

GOVINDARAJAN

TAVIL 2007 TIRUCHIRAPALLI

154 GURUVILLI DURGA RAO TAVIL 2007 VISHAKHAPATNA

4

M

155 V. SURESH GHATAM 2007 CHENNAI

156 SRIRANGAM S. KANNAN MORSING 2007 CHENNAI

157 ARUNA SAYIRAM VOCAL 2007 CHENNAI

158 LALITHA& HARIPRIYA VOCAL 2007 HYDERABAD

159 SHREEGAZHI S.

THIRUGNANASAMBAMDHAM

TAMIL DEVOTIONAL 2007 TIRUCHIRAPALLI

160 SHIMOGA SUBBANNA LIGHT MUSIC 2007 BANGALORE

161 D. SUREKHA MURTHY LIGHT MUSIC 2007 HYDERABAD

162 PUTHUKOTTAI R KRISHNA MURTHY

VEENA 2007 HYDERABAD

163 S. SUNDAR VEENA 2007 CHENNAI

164 NITYASREE MAHADEVAN VOCAL 2008 CHENNAI

165 R. A. RAMAMANI VOCAL 2008 BANGALORE

166 PREMA RAMA MURTHY VOCAL 2008 HYDERABAD

167 SEETHA NARAYANAN VOCAL 2008 CHENNAI

168 S.PREMA& S. JAYA VOCAL DUET 2008 CHENNAI

169 THIRUPOONTHURUTHY V. VENKATESAN

VOCAL 2008 CHENNAI

170 SHYAMALA VENKATESWARAN VOCAL 2008 CHENNAI

171 CHINGLEPUT C.

RANGANATHAN

VOCAL 2008 CHENNAI

172 DR. RADHAVENKATACHALAM VOCAL 2008 DELHI

173 PALA C.K. RAMACHANDRAN VOCAL 2008 CALICUT

174 H.S. MAHALAKSHMI & H.S.YADUGIRI

VOCAL 2008 MYSORE

175 M. VENKATESHACHAR VOCAL 2008 MYSORE

176 PROF. M.SUBRAHMANIA SHARMA

VIOLIN 2008 THIRUVANANTHAPURAM

177 K. V. RAJA IYYENGAR VIOLIN 2008 BANGALORE Expired

178 LALGUDI G.J.R. KRISHNAN VIOLIN 2008 CHENNAI

179 V. V. RAVI VIOLIN 2008 CHENNAI

180 R. RAMESH MRIDANGAM 2008 CHENNAI

181 K. SRIVATSA MRIDANGAM 2008 CHENNAI

182 PARASSALA V. RAVI MRIDANGAM 2008 THRISSUR

183 B.V.S. PRASAD MRIDANGAM 2008 VIJAYAWADA

184 SUKANYA RAMAGOPAL GHATAM 2008 BANGALORE

185 NEMANI SOMAYAJULU GHATAM 2008 HYDERABAD

186 TRIPOONITHURA N.

RADHAKRISHNAN

GHATAM 2008 TRISSUR

187 KESANAPALLI GNANANANDAM

KHANJIRA 2008 VISHAKHAPATNAM

188 VEDAVATHI PRABHAKAR RAO LIGHT VOCAL 2008 HYDERABAD

189 RATHNAMALA PRAKASH LIGHT VOCAL 2008 BANGALORE

190 MALATHI SARMA LIGHT VOCAL 2008 BANGALORE

191 VIDYABHUSHANA DEV. VOCAL 2008 BANGALORE

192 KOTTOR N. VEERASAMY NAGASWARAM 2008 TIRUCHIRAPALLI

193 THIRUPPAMBURAM TKS SWAMYNATHAN & TKS

MEENAKSHI SUNDARAM

NAGASWARAM 2008 TIRUCHIRAPALLI Expired

194 T.G. MUTHUKUMARASAMY

PILLAI

TAVIL 2008 TIRUCHIRAPALLI

195 K. BASAVAYYA TAVIL 2008 VISHAKHAPATNAM

196 K.V.RAMANUJAM FLUTE 2008 CHENNAI

197 SIKKIL MALA

CHANDRASEKHAR

FLUTE 2008 CHENNAI

198 DR. BHADRAGIRI ACHUTA

DAS

MUSICAL DISCOURSE 2008 BANGALORE

199 DHULIPALA SIVA RAMA KRISHNA SARMA

MUSICAL DISCOURSE 2008 VIJAYAWADA

200 R. RAMANI VEENA 2008 CHENNAI

201 ALLAM DURGA PRASAD GOTTU VADYAM 2008 CHENNAI

202 P. VASANTHKUMAR VEENA 2008 CHENNAI

203 A.ANANTHAPADMANABHAN VEENA 2008 THRISSUR

204 P. PURNA CHANDER MUSIC COMPOSER 2008 HYDERABAD

205 SHANTHA JAYATHEERTHA MUSIC COMPOSER 2008 BANGALORE

206 K.V.ABOOTTY MUSIC COMPOSER 2008 CALICUT

207 BOBBILI BHASKAR REDDY MUSIC COMPOSER 2008 HYDERABAD

208 RUDRAPATNAM S. RAMAKANTHA

VOCAL 2008 BANGALORE

209 DR. K SARASWATHI VIDYARTHI

VOCAL 2008 VISHAKHAPATNAM

210 SANJAY SUBRAHMANYAN VOCAL 2008 CHENNAI

211 K. S. CHITHRA LIGHT VOCAL 2008 CHENNAI

5

212 A.R.RAHMAN MUSIC COMPOSER 2008 CHENNAI

213 O.S.THYAGARAJAN VOCAL 2009 CHENNAI

214 N. P. RAMASWAMY VOCAL 2009 THRISSUR

215 MALLADI SURIBABU VOCAL 2009 VIJAYAWADA

216 M.K.SANKARAN NAMBOODIRI VOCAL 2009 THRISSUR

217 MANDA SUDHA RANI VOCAL 2009

VISHAKHAPATNAM

218 DR.M.NARMADA(STAFF) VIOLIN 2009 CHENNAI

219 DWARAM SATYA NARAYANA RAO (STAFF)

VIOLIN 2009 HYDERABAD

220 SMT. KALPAKAM SWAMINATHAN

VEENA 2009 CHENNAI Expired

221 SMT. REVATHI SREENIVASAN (STAFF)

VEENA 2009 CHENNAI

222 D. BALAKRISHNA VEENA 2009 BANGALORE

223 S. KASIM NAGASWARAM 2009 THIRUCHIRAPPALLI

224 THIRUVELLIKENI S SEKHAR THAVIL 2009 CHENNAI

225 V. N. BALACHANDER THAVIL 2009 KADAPAH

226 KOVILUR K V PALANIVEL THAVIL 2009 CHENNAI

227 T. NARAYANA THAVIL 2009 HYDERABAD

228 TANJORE R. KUMAR (STAFF) MRIDANGAM 2009 CHENNAI

229 NEYVELI R. NARAYANAN MRIDANGAM 2009 CHENNAI

230 DHULIPALA SRIRAMMURTHY MRIDANGAM 2009 HYDERABAD

231 NANJIL ARUL (STAFF) MRIDANGAM 2009 THIRUVANANTHA

PURAM

232 PATRI SATHISH KUMAR MRIDANGAM 2009 CHENNAI

233 TIRUVARUR VAIDYANATHAN MRIDANGAM 2009 CHENNAI

234 CHERTHALA A.K.RAMACHANDRAN

MRIDANGAM 2009 THIRUVANANTHAPURAM

235 TRICHY R. THAYUMANAVAN MRIDANGAM 2009 TIRUCHIRAPALLI

236 B. RAJASHEKHAR MORSING 2009 BANGALORE

237 COIMBATORE V. MOHANRAM GHATAM 2009 TIRUCHIRAPALLI

238 B.HARIKUMAR (STAFF) MRIDANGAM 2009 TIRUCHIRAPALLI

239 SMT. B. K. SUMITRA LT. VOCAL 2009 BANGALORE

240 SMT. RENUKA NAKOD LT. VOCAL 2009 DHARWAD

241 M.A. KRISHNAMURTHY MRIDANGAM 2009 BANGALORE Expired

242 V. MURALIDHARAN (STAFF) COMPOSER 2009 THIRUVANANTHA

PURAM

243 KALAGA KRISHNA MOHAN

(STAFF)

COMPOSER 2009 HYDERABAD

244 KANHANGAD C.

RAMACHANDRAN

COMPOSER 2009 CALICUT

245 S. RATHNAKARAN VOCAL 2010 THIRUVANANTHA

PURAM

246 DR. PANTHULA RAMA VOCAL 2010 VISHAKHAPATNAM

247 E. VAMANAN NAMBOOTHIRI VOCAL 2010 THRISSUR(STAFF)

248 T.S.RAMA VOCAL 2010 BANGALORE

249 TRICHY K. MURALI GHATAM 2010 TIRUCHIRAPALLI

250 TRICHY K.R.KUMAR GHATAM 2010 MANGALORE (STAFF)

251 C.P. VYASAVITALA GANJIRA 2010 BANGALORE

252 UDUPPI S. SRIDHAR GHATAM 2010 THIRUVANANTHA

PURAM

253 M.K.SARASWATHI VEENA 2010 MYSORE1

254 SREENIVASAN. S VEENA 2010 CHENNAI (STAFF)

255 B.SIVAKUMAR VEENA 2010 TIRUCHIRAPALLI (STAFF)

256 SHEIKH MAHABOOB SUBHANI&KALEESHABI

MAHABOOB

NAGASWARAM 2010 TIRUCHIRAPALLI

257 V. SATYANARAYANA NAGASWARAM 2010 VIJAYAWADA

258 VETTIKAVALA

K.N.SASIKUMAR

NAGASWARAM 2010 THIRUVANANTHA

PURAM

259 H.K.NARASIMAHA MURTHY VIOLIN 2010 MYSORE

260 USHA RAJAGOPALAN VIOLIN 2010 CHENNAI (STAFF)

261 LALGUDI VIJAYALAKSHMI VIOLIN 2010 CHENNAI

262 V.KRISHNAVENI VIOLIN 2010 VIJAYAWADA

263 C.S.ANUROOP VIOLIN 2010 THRISSUR (STAFF)

264 C.RAJENDRAN VIOLIN 2010 THRISSUR

265 S.SESHAGIRI RAO VIOLIN 2010 BANGALORE

266 N MANOJSIVA MRIDANGAM 2010 CHENNAI

6

267 CHERTHALA R.

ANANTHAKRISHNAN

MRIDANGAM 2010 CHENNAI

268 V.GOPALAKRISHNAN MRIDANGAM 2010 HYDERABAD

269 KUZHULMANNAM G. RAMAKRISHNAN

MRIDANGAM 2010 THRISSUR

270 ARJUN KUMAR MRIDANGAM 2010 BANGALORE

271 VEDARANYAM V.G. BALASUBRAHMANIAN

THAVIL 2010 TIRUCHIRAPALLI

272 KOTHAKOTA N. RAMA RAO THAVIL 2010 VIJAYAWADA

273 MANARGUDI

M.R.VASUDEVAN

THAVIL 2010 TIRUCHIRAPALLI

274 VALLURU SUBBAKRISHNIAH THAVIL 2010 KADAPAH

275 DENKANI KOTAI V. MANI THAVIL 2010 BANGALORE

276 S.N.SURESH HARIKATHA 2010 BANGALORE

277 KASTHURI SHANKAR LIGHT MUSIC 2010 BANGALORE

278 B.R.GEETHA LIGHT MUSIC 2010 BANGALORE

(STAFF)

279 P.V.SAIBABA MUSIC COMPOSER 2010 HYDERABAD

280 H. R. LEELAVATHY MUSIC COMPOSER 2010 BANGALORE

281 KONGAMPATTU A.V.

MURUGAIYAN

THAVIL 2011 PUDUCHERRY

282 DESUR

D.S.D.SELVARATHNAM

NAGASWARAM 2011 CHENNAI

283 JANAKI RAMANUJAM VOCAL 2011 CHENNAI

284 P UNNIKRISHNAN VOCAL 2011 CHENNAI

285 BHOOSHANI KALYANARAMAN VOCAL 2011 CHENNAI

286 NEYVELI .R. SANTHANA GOPALAN

VOCAL 2011 CHENNAI

287 S. SOUMYA VOCAL 2011 CHENNAI

288 MAHARAJAPURAM S.

RAMACHANDRAN

VOCAL 2011 CHENNAI

289 LALITHA RAGHAVAN VIOLIN 2011 CHENNAI

290 NEYVELLI B. VENKATESH MRIDANGAM 2011 CHENNAI

291 K.R.GANESH MRIDANGAM 2011 CHENNAI

292 J. VAIDYANATHAN MRIDANGAM 2011 CHENNAI

293 R. VAIDYANATHAN (STAFF) MRIDANGAM 2011 CHENNAI

294 VAIKOM R. GOPALAKRISHNAN (STAFF)

GHATAM 2011 CHENNAI

295 DR. S. KARTHIK GHATAM 2011 CHENNAI

296 USHA RAJ LIGHT VOCAL TAMIL 2011 CHENNAI

297 K. PADMANABHAN (STAFF) MUSIC COMPOSER 2011 CHENNAI

298 ADOOR P. SUDARSANAN VOCAL 2011 THIRUVANANTHAPURAM

299 DR. B. ARUNDHATHI VOCAL 2011 THIRUVANANTHAPURAM

300 S. R. MAHADEVA SARMA (STAFF)

VIOLIN 2011 THIRUVANANTHAPURAM

301 REJU JOSEPH LIGHT VOCAL

MALAYALAM

2011 THIRUVANANTHA

PURAM

302 THALACHANGADU T. M.

RAMANATHAN

THAVIL 2011 TIRUCHIRAPALLI

303 SELAM K. SRINIVASAN

(STAFF)

MRIDANGAM 2011 TIRUCHIRAPPALLI

304 VALANAIMAN K.THIAGARAJAN MRIDANGAM 2011 TIRUCHIRAPALLI

305 COIMBATORE K.

BLASUBRAHMANIAN (STAFF)

VIOLIN 2011 COIMBATORE

306 SEETHALAKSHMI

VENKATESAN

VOCAL 2011 BANGALORE Expired

307 C.N. CHANDRASHEKHAR

(STAFF)

VIOLIN 2011 BANGALORE

308 KASI VISHALAKSHI VEENA 2011 BANGALORE

309 GEETHA RAMANAND VEENA 2011 BANGALORE

310 C.CHALUVARAJU MRIDANGAM 2011 BANGALORE

311 M. GURURAJA (STAFF) MORSING 2011 BANGALORE

312 SANGEETHA KATTI KULKARNI LT. VOCAL KANNADA 2011 BANGALORE

313 P. RAMA LT. VOCAL KANNADA 2011 BANGALORE

314 P.S.VASANTHA MUSIC COMPOSER 2011 BANGALORE

315 MALLADI BROTHERS (MALLADI SRIRAM PRASAD &

MALLADI RAVI KUMAR)

VOCAL DUET 2011 VIJAYAWADA

316 P. SUBRAHMANYESWARA

RAO

CLARIONET 2011 VIJAYAWADA

317 KARUGANTI SRINIVASA RAO THAVIL 2011 VIJAYAWADA

318 K.SADGURUCHARAN (STAFF) MRIDANGAM 2011 VIJAYAWADA

319 KALYANI LAKSHMI NARAYANA VEENA 2011 HYDERABAD

7

320 B.S. NARAYANAN VIOLIN 2011 HYDERABAD

321 M. PRASANNA LAKSHMI LT. VOCAL-THELUGU 2011 HYDERABAD

322 G. PUSHPALATHA MUSIC COMPOSER 2011 MYSORE

323 DR. VASANTHI KRISHNA RAO VOCAL 2011 DELHI

324 SARASWATHI RAJAGOPALAN (STAFF)

VEENA 2011 DELHI

325 A.PREM KUMAR MRIDANGAM 2011 DELHI

326 DR. SUKANYA PRABHAKAR VOCAL 2012 BANGALORE

327 D.V.MOHAN KRISHNA (STAFF) VOCAL 2012 HYDERABAD

328 MALLADI SRIRAM PRASAD (STAFF)

VOCAL 2012 VIJAYAWADA

329 VIJAYALAKSHMI SUBRAHMANIAN

VOCAL 2012 CHENNAI

330 R.N. SREELATHA VOCAL 2012 MYSORE

331 KOMANDURI SESHADRI (VIOLA)

VIOLIN 2012 VIJAYAWADA

332 V.S.K. CHAKRAPANI VIOLIN 2012 DELHI

333 V. V. SREENIVASA RAO VIOLIN 2012 CHENNAI

334 DR. R. HEMALATHA VIOLIN 2012 CHENNAI

335 M.A.KRISHNASWAMY (STAFF) VIOLIN 2012 CHENNAI

336 REVATHI MOORTHY VEENA 2012 BANGALORE

337 J. YOGA VANDANA VEENA 2012 BANGALORE

338 D SRINIVAS (STAFF) VEENA 2012 HYDERABAD

339 N. VIJAYALAKSHMI(STAFF) VEENA 2012 CHENNAI

340 MYSORE A. CHANDAN KUMAR FLUTE 2012 BANGALORE

341 P JAYABHASKAR(STAFF) MRIDANGAM 2012 HYDERABAD

342 S. RANGARAJAN (STAFF) MRIDANGAM 2012 TRICHY

343 TANJORE S. SUBRAHMANIAM MRIDANGAM 2012 CHENNAI

344 POOVALUR V.SRINIVASAN MRIDANGAM 2012 CHENNAI

345 M. MUNIRATHNAM DOLU/THAVIL 2012 KADAPA

346 BHUSURAPALLI ADISESHIA DOLU/THAVIL 2012 VIJAYAWADA

347 S. JANAKI RAMAN HARIKATHA

KALAKSHEPAM

2012 CHENNAI

348 D.PUSHPALATHA

CHADRAHAS

LIGHT

VOCAL(KANNADA)

2012 BANGALORE

349 P.K. RAGHU KUMAR LIGHT MUSIC COMPOSER(MALAYAL

AM)

2012 CALICUT

350 UDAYALUR KALYANA RAMAN DEVOTIONAL VOCAL 2012 CHENNAI

351 JAYASREE JAGAN LIGHT VOCAL(TAMIL) 2012 CHENNAI

352 MALLADI RAVIKUMAR LIGHT

VOCAL(TELUGU)

2012 VIJAYAWADA

353 SRI MALLADI RAVI KUMAR VOCAL 2013 VIJAYAWADA

354 MS SUGUNA VARADACHARI VOCAL 2013 CHENNAI

355 MS. RAJI GOPALAKRISHNAN VOCAL 2013 CHENNAI

356 MS.B.INDIRA KAMESWARA

RAO

CL. VOCAL 2013 VISHAKHAPATNA

M

357 SRI MODUMUDI SUDHAKAR CL. VOCAL 2013 VIJAYAWADA

358 SHRI CHARUMATHI

RAMACHANDRAN

VOCAL 2013 CHENNAI

359 G.SEETHALAKSHMI AMMAL VOCAL 2013 THIRUVANANTHA

PURAM

360 DR.CHERTHALA K.N.

RANGANATHA SHARMA

VOCAL 2013 TIRUCHIRAPALLI

361 B.V. JAYASREE (STAFF) VOCAL 2013 TIRUCHIRAPALLI

362 SRI D. RAGHAVACHARY CL.VOCAL 2013 HYDERABAD

363 SRI D. SESHACHARY (STAFF VOCAL 2013 HYDERABAD

364 SMT. GAYATHRI

VENKATARAGHAVAN

VOCAL 2013 CHENNAI

365 M.T.SELVANARAYANA VOCAL 2013 BANGALORE

366 M.S.K.SANKARANARAYANAN NAGASWARAM 2013 TIRUCHIRAPALLI

367 SITTUKADUT.G.MURUGAVEL NAGASWARAM 2013 CHENNAI

368 ADAYAR S. JAYARAMAN NAGASWARAM 2013 CHENNAI

369 GURIVILLI APPANNA NAGASWARAM 2013 VISHAKHAPATNA

M

370 THIRUVIDAIMARUDUR P.S.V.

RAJA

NAGASWARAM 2013 TIRUCHIRAPALLI

371 G.KOTHANDARAMAN NAGASWARAM 2013 CHENNAI

372 SRI KOTA ATCHI BABU (STAFF)

CLARIONET 2013 HYDERABAD

373 L.KESIAH NAGASWARAM 2013 KADAPA

374 SRI. VINUKONDA SUBRAHMANYAM

THAVIL 2013 VIJAYAWADA

375 SRI KALAHASTHI C MUNIRAJA THAVIL 2013 VIJAYAWADA

376 KOVILUR.KG.KALYANASUNDA THAVIL 2013 THIRUCHIRAPALLI

8

RAM

377 SRI V. NAGARAJU FLUTE 2013 HYDERABAD

378 PRAPANCHAM S.

BALACHANDRAN (STAFF)

FLUTE 2013 CHENNAI

379 AVANEESWARAM.S.R.VINU VIOLIN 2013 THIRUVANANTHAPURAM

380 N.C. MADHAV (STAFF) VIOLIN 2013 THIRUCHIRAPALLI

381 SRI P. PURNACHANDER VIOLIN 2013 HYDERABAD

382 EMBARS S.KANNAN VIOLIN 2013 CHENNAI

383 V.L.KUMAR (STAFF) VIOLIN 2013 CHENNAI

384 KUMBAKONAM .MR.R

GOPINATH(STAFF)

VIOLIN 2013 CHENNAI

385 PAKALA RAMDAS VIOLIN 2013 CHENNAI

386 T. H. LALITHA (STAFF) VIOLIN 2013 CALICUT

387 AYYAGARI SHYAMSUNDARAM VEENA 2013 HYDERABAD

388 DR.S.VIJAYARAGHAVAN VEENA 2013 MYSORE

389 K. GOMATHY CHITHAMBARAM

VEENA 2013 THIRUVANANTHAPURAM

390 BONALA SANKARA PRAKASH

(STAFF)

VEENA 2013 CHENNAI

391 P.GANESH CHITHRAVEENA VEENA 2013 CHENNAI

392 MUDIKONDAN S.N. RAMESH VEENA 2013 CHENNAI

393 BHAGYALAKSHMI

CHANDRASHEKHAR

VEENA 2013 BANGALORE

394 KOVILADI R. MADHAVA

PRASAD

MRIDANGAM 2013 THIRUCHIRAPALLI

395 TUMKUR B RAVISHANKAR

(STAFF)

MRIDANGAM 2013 MYSORE

396 G. CHANDRASEKHARAN NAIR

(STAFF)

MRIDANGAM 2013 THRISSUR

397 N. HARI (STAFF) MRIDANGAM 2013 CALICUT

398 TANJORE R. RAMADAS MRIDANGAM 2013 CHENNAI

399 K.S.RANGACHARY GANJIRA 2013 CHENNAI

400 LEELAMMA MATHEW (STAFF) LIGHT VOCAL

(MALAYALAM)

2013 THIRUVANANTHA

PURAM

401 JAYA.S LIGHT VOCAL ( 2013 THIRUVANANTHA

PU

402 M. ASHOK (STAFF) MUSIC COMPOSER 2013 MADURAI

403 DR. K.S.CHANDRASHEKHAR MUSIC COMPOSER 2013 VISHAKHAPATNA

M

404 DANGETI VEERABHADRA

RAO

MUSIC COMPOSER 2013 DHARWAD