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Folk Dance tradition has been an integral for of Kenyan cultural. Many of the traditional dance forms of Kenya are still intact. The fact that their ethnic diversity has a wide variation, the Traditional instruments plays a significant role as a cultural expression in their folk-dance tradition. This research analysis the different traditional instruments in Kenya and to understand how tey represent the respective culture of different tribes of Kenya. The study aims to understand if these instruments had any symbolic meanings that were used as a way of communicating the culture, beliefs, social roles among the various ethnic groups of Kenya. The Qualitative research methods such as literature review, observations, visual analysis, are used in the research work . The main results obtained through the research include , the different types of traditional instruments used by the Kenyans, and how these are connected to the folk dance culture of Kenya. The study concludes that the traditional instruments of Kenya and their link to the Kenyan folk-dance traditions. The research further demonstrates that traditional instruments are not merely musical tools but also powerful symbols of cultural identity and historical continuity. Their continued use in folk dance performances reflects the resilience of Kenyan traditions and their importance in maintaining the cultural heritage of diverse communities.

Many rāgas in today's carnatic fraternity survive solely through the compositions composed in those rāgas. There are many rāgas in which there are less than ten compositions and sometimes less than five too. Such rāgas exist through those compositions only. These compositions also act as a blue-print for exploring, expanding and elaborating such rāgas. The legendary 19th century composer Paṭnam Subramanya Iyer has turned as rare, undocumented and eka-kṛti (single composition) rāgas into structured, enduring kṛtis. This paper examines the musicological contributions of Paṭnam Subramanya Iyer in preserving few of such apūrva (rare) rāgas through his compositions, specifically focusing on Simhavāhini, Sindhu Mandāri and his own melodic creation Kadanakutūhalam. Through a qualitative analysis of historical treatises, structural notation, and lyrical prosody, this study gives a clear approach on how Iyer masterfully intertwined complex musical frameworks. The research explores his innovative and strategic way of inserting certain vakra (tortuous) svara prayōgas and specific nyāsa svaras that define the lakṣaṇa (characteristics) of these rāgas. Furthermore, the paper investigates the lyrical dimensions of these kṛtis, highlighting how Iyer aligned the prāsa (rhyme) and yati (caesura) of his Telugu and Sanskrit lyrics with the rhythmic structure. Structural analysis of these compositions demonstrates how Iyer established a definitive pedagogical framework. This study underscores how a single kṛti can systematically codify and preserve an entire rāga, serving as a vital repository for contemporary performers, researchers, and musicologists.

This paper examines social laws governing performers and musicians in ancient India through texts such as Kautiliya Arthashastra, Samarangana Sutradhara, and Sutra texts, i.e. ancient Indian social law books such as Manu Smriti, Yājñavalkya Smriti, Nārada Smriti, Bṛhaspati Smriti, and Kātyāyana Smṛti. In this context, the paper comments on the social status of musicians in ancient India.

This research article presents a comparative musicological examination of Raga Kīravāṇi (21st Melakarta in the South Indian Carnatic system) and its North Indian counterpart, Raga Kirwani, in the Hindustani classical tradition. While both traditions share an identical structural scale equivalent to the Western Harmonic Minor (S - R2 - G2 - M1 - P - D1 - N3 - \dot{S}), their architectural execution, phrasing trajectories (sancharas / chalan), and microtonal ornamentations (gamakas / andolan) diverge fundamentally. This paper argues that Carnatic Kīravāṇi acts as an integrated, structurally rigid heptatonic scale anchored by heavy, oscillatory kampita gamakas on the Gandhara and Dhaivata, yielding an interiorized Karuna (pathos) and Bhakti (devotional) Rasa. Conversely, Hindustani Kirwani functions as a highly fluid, melody-driven framework where the Gandhara and Dhaivata are frequently rendered as stationary (achal) notes or gentle, linear glides (meend), invoking a more romantic, expressive, and cinematic aesthetic (Shringar Rasa). Through notation-based case studies of seminal compositions— specifically tracking the evolution from traditional South Indian kritis to North Indian gat frameworks— this study establishes a comprehensive framework for understanding how identical scalar materials are transformed by separate performance cultures.

The Gēyanāṭaka “Nowka Charitramu,” attributed to Sadguru Tyāgarāja, presents a unique lyrical narrative centered on a symbolic boat ride between Lord Kṛṣṇa and the Gōpi-s. Deviating from the traditional portrayal of Rasa Kreeda found in the Bhagavata Purana, this operatic work explores deep devotion (prapatti) and divine love. It draws inspiration from regional literary traditions, such as the Bengali Nowka Vilasa, to forge a distinct spiritual path toward salvation. While Tyāgarāja's parallel opera Prahlada Bhakti Vijayamu remains firmly rooted in classical traditions, “Nowka Charitramu” stands out for its intricate synthesis of classical and folk elements. Though structured within a limited palette of sixteen classical ragas and traditional talas, the folk influence remains highly visible. This study examines how Tyāgarāja juxtaposes chaste Telugu Padyas (poetic verses) with simpler, dramatic Daruvus (songs) featuring colloquial language and local dialects. This deliberate linguistic and melodic simplicity reflects the innocence of the rural women of Gokula. Ultimately, this research underscores how Tyāgarāja leverages accessible folk traditions and familiar cultural motifs to bridge high art and community resonance, effectively illuminating the profound spiritual connection between the Jeevatma and Paramatma.

The varṇam occupies a significant position in Carnatic music as both a pedagogical composition and a concert item. A varṇam has two parts- the poorvangam- having pallavi, anupallavi and muktāyi swaram; and the uttarāṇgam- which consists of the charaṇam and the chittaswaras. While the uttarāṇgam section of traditional varṇa-s generally serves to reinforce rāga lakṣaṇa, laya control, and swara proficiency, the varṇa-s of Dr. M. Balamuralikrishna reveal a markedly different compositional approach. Through innovative handling of graha swaras, unconventional rhythmic structures, patterned chiṭṭaswara architecture, yati designs, and distinctive approaches to coming back to the graha swara (charaṇam), BMK expanded the expressive and structural possibilities of the uttarāṇgam. This paper examines selected varṇa-s composed by BMK and analyses the ways in which he transformed the second half of the varṇam from a predominantly pedagogical section into a creative compositional space. The study demonstrates that BMK's varṇa-s function not only as learning material but also as sophisticated musical constructions that embody experimentation within the framework of Carnatic tradition.

The Melakarta system of Carnatic music provides a highly formalized, algorithmic framework for exploring the psychoacoustic and aesthetic impact of systematic intervallic variations. This research article presents an exhaustive musicological inquiry into the structural, acoustic, and emotional divergence between the 21st Melakarta, Keeravani, and its Prati Madhyama counterpart, the 57th Melakarta, SimhendraMadhyama. While both ragas feature identical configurations in six of their seven constituent pitches—employing Chathushruti Rishabha R2, Sadharana Gandhara G2, Panchamam P, Shuddha Dhaivata D1, and Kakali Nishada N3—the pivotal shift from the Shuddha Madhyama M1 to the Prati Madhyama M2 completely reconfigures the tonal gravity and architectural physics of the scalar spectrum. Through an analytical review of traditional sancharas, lakshanas, and notation-based case studies of seminal compositions by the Carnatic Trinity—specifically Saint Tyagaraja’s Kaligiyunte and Muthuswami Dikshitar’s Pamarajanapalini—this paper argues that the fourth scale degree serves as the definitive structural axis of the heptatonic system. The M1 in Keeravani functions as a stabilizing, horizontal melodic anchor, diffusing intervallic tension to cultivate an internalized, contemplative Karuna and Bhakti Rasa. Conversely, the M2 in SimhendraMadhyama acts as an acute, ascending leading tone that exerts an intense vertical pull toward the Panchama, shifting the aesthetic temperament toward Vira heroic and Raudra intense/majestic rasas. The study further examines the practical performance implications of this shift on gamaka, proving that the proximity of M2 severely constrains and compresses the execution profile of the preceding Gandhara. By bridging mathematical scale taxonomy with emotive performance practice, this research provides a comprehensive musicological framework for understanding the functional duality of mirror-image ragas in contemporary Carnatic tradition. Keywords: Keeravani, SimhendraMadhyama, Melakarta System, Madhyama Shift, Tonal Gravity, Acoustic Architecture, Rasa Theory, Gamaka Articulation, Carnatic Musicology, Comparative Sanchara Analysis.

This paper explores the ecological imagination embedded in Indian Classical Music, particularly in the context of the Anthropocene—a geological epoch marked by extensive human-induced environmental transformation. Music is the greatest tool for communication, preserving culture, tradition, lifestyle practices, religious practices, and environmental practices through its compositions and passing them on to the next generations. Drawing from both Carnatic and Hindustani traditions, the two genres of Indian Classical Music, the study explores how music articulates a cosmological worldview that sacralizes nature and expresses elemental harmony. Central to this inquiry are the Panchabhuta Linga Kritis of Muthuswami Dikshitar, which invoke the five great elements—earth, water, fire, air, and space—not merely as metaphysical concepts but as lived, sonic experiences. Using a qualitative, interpretive methodology, this paper undertakes a brief, simple textual and musicological analysis of selected compositions, supported by insights from the environmental humanities and Indian philosophy. The findings reveal that Indian Classical Music encodes ecological consciousness through its raga system, lyrical content, and performative context, fostering a relational understanding of humans and the natural world. This research contributes to interdisciplinary thought by positioning Indian Classical Music as a cultural resource for ecological thinking in the Anthropocene. It shows that traditional musical practices can serve as tools for environmental awareness, cultural preservation, and ethical reflection on sustainability. The paper thus opens a dialogue between indigenous aesthetics and contemporary environmental discourse, offering new pathways for integrating art and ecological responsibility.

Carnatic music is one of the richest classical traditions, where melody, rhythm, and lyrics interact intricately. Beyond musicality, its use of language plays a profound role. Manipravaalam is a classical literary and linguistic style blending Sanskrit with regional Dravidian languages—most commonly Tamil, Telugu, or Malayalam, and occasionally Hindi, English, or Urdu—where Sanskrit serves as the “mani” (gem) and the regional language as the “pravaalam” (coral). For example, the javali “Oh my lovely lalana elane pommanti” by Karur Shri. Shivaramayya blends English and Telugu. Studying manipravaalam reveals how language becomes a creative force, enriching expression and bridging classical and local cultures, reflecting South India’s inclusive tradition where fusion celebrates diversity and artistic freedom. This study explores how manipravaalam enhances beauty, meaning, and emotional depth in Carnatic compositions. It examines how this fusion helps composers convey complex ideas while connecting with varied audiences, demonstrating the culturally rich and inclusive nature of South Indian classical music. Sanskrit offers spiritual depth and structural clarity, while local languages add emotional warmth and lyrical ease. This balance supports gamakas, smooth melodic flow, and accessible devotional expression, allowing composers to combine classical poetry with regional nuance. Adopting a qualitative approach, the study analyzes selected kritis where manipravaalam is prominent. Textual and musicological analysis focuses on lexical blending, contextual meaning, and performance practice, supported by secondary sources including composer biographies, scholarly works, and oral traditions. The findings show that manipravaalam bridges sacred Sanskrit and emotive regional languages, enriching poetic and musical nuance, shaping pronunciation, tone, and interpretive depth. More than a stylistic device, manipravaalam is a cultural statement of unity in diversity, fostering connection among composers, performers, and audiences, while sustaining tradition and promoting evolution within Carnatic music.

Lesser known Composers of 20 th Century. Abstract: Objective: To Explore Contributions of Less Known Telugu Vaggeyakara Mamillapalli Surya Balasubramanya Sharma . Introduction: Mamillapalli Surya Balasubramanya Sharma ( MSB) was Born in Rajamundry in 1929 .He Was Disciple of Vidwan Paidi Swamy. He was Awarded Direct A Grade By All India Radio Madras Station . He Lost his Vision for Left Eye At very young Age But Still His Career in Music Flourished.He Had worked as Head of Department of Music in Padmavathi Mahila Vishwavidyalayam and Sri Venkateswara University Tirupati. He had Set to Tune Many Annamacharya Sankeertanas and Part of TTD Composers Panel .One of His famous Compositions was "Adivo Alladivo" .As A Vaggeyakara His Works Include 12 Krithis ,1 Tatvam and 3 Tillanas which Have Varied Ragas and Talas which written On Various Dieties Making him Versatile Vaggeyakara .He had his name "Balasubramanya "As Pen name in All the Compositions . He has Unique Style of Writing On Particular Place ( Sthala) , Residing Diety . MSB had Created A Rare Raga "VijayaShankari " .As a Guru He Trained many Musicians and They Are successful in their Career .To Name Few SJanaki ,AP komala ,Lalitha Madhav ,KV Brahmanandam. Scope of Research: - Research Is Being Conducted in Bringing MS Balasubramanya Sharma Compositions and Annamacharya Sankeertanas into Limelight . Methodology: Qualitative Research -Got the First Hand Information from His Family In an Informal Interview. - Identified his Direct Disciples and Interviewed For Detailed study on Compositions . References: - Referred to Book Written by Dr.Nandanavanam Sivaram "MS Balasubramanya Sharma Sangeetha Sahitya Parisheelana " -KV Brahmanandam "Krithis and Tillanas Notations Of MS Bala Subrahmanya Sharma Compositions " Findings : - MSB Compositions Are in Vivadi Ragas like Sucharitra ,Dundubhipriya , Simhendramadhyamam,Rasikapriya . - He Was Proficient In Writing With Prosody In Short Span As many of MSB's Compositions Were Sung directly in Concerts on Spot . - His Usage of Sthala and Raga Mudras are Evident in Compositions . - MSB Created New Raga "VijayaShankari" which is Janya of 59 th Melakartha Dharmavathi .

Varṇa is an important compositional form in the repertoire of Karnāṭaka classical music, as it bridges practice repertoire and performance repertoire. It serves as an introduction to the rāga and its grammar, through phrases and gamaka-s. This study examines how the presence of anya svara-s offers insights into rāga lakṣaṇa. The scope is limited to the tāna varṇa-s found in the books ‘Tāna Varṇakkaḍal volumes 1 to 4’ by V S Gomathishankara Ayyar, focusing on the rāga-s Tōḍī, Dhanyāsī, Lalita, Lalitapañcama, and Vasanta. By analyzing descriptions in musicological texts and notations in Tāna Varṇakkaḍal, this study identifies the occurrence of anya svara-s within melodic phrases and explores how these notations illustrate their usage and reflect performance practices of the time period. These anya svara-s, which are not explicitly found in contemporary renditions, may have been absorbed into gamaka-s. The presence of anya svara-s supports the understanding that svara-s in Karnāṭaka classical music are not merely discrete pitch positions but phrases that span across pitches with varying speed and intensity. The findings contribute to a deeper understanding of rāga identity, enriching both theoretical frameworks and practical pedagogy in Karnāṭaka classical music.

Music has played a crucial role in shaping children's cognitive, emotional, and cultural development. In the 19th and 20th centuries, South Indian composers created structured musical pieces for children, blending simple melodies, meaningful lyrics, and educational themes. These compositions introduced young learners to Carnatic music, moral values, and cultural traditions.   This paper explores the contributions of notable composers such as Purandara Dasa, Paidala Gurumurthy Sastry, Prayaga Ranga Dasa, Palagummi Viswanadham, S. Rajeswara Rao, Devulapalli Krishnasastri, and Raallapalli Ananta Krishna Sharma. Their works range from folk rhymes to film songs and educational lyrics, all designed to support early childhood learning. Raallapalli Ananta Krishna Sharma’s revival of Annamacharya’s kritis provided children with devotional music in a simple, melodic format, making pieces like "Jo Achyutananda Jo Jo Mukunda" widely popular. This study examines the musical, rhythmic, and lyrical features that enhance language acquisition, memory, and emotional connection to music. By comparing traditional and modern adaptations, it underscores the relevance of these compositions in contemporary music education.

This study examines the philosophical and aesthetic dimensions of Muttuswami Dikshitar's Pancha Bhootha Linga Kshetra Kritis, five Carnatic music compositions celebrating Shiva temples representing the five great elements (earth, water, fire, air, and ether). The research question asks: How do these compositions encode and communicate cosmological doctrine through musical structure, and what aesthetic-spiritual pathways do they create for performers and audiences? Employing integrated textual-philological, musicological, and philosophical analysis grounded in classical Indian aesthetic theory, this study demonstrates that Dikshitar systematically correlates raga selection, tala structure, and lyrical content with elemental qualities, creating what may be termed "sonic yantras"—musical diagrams encoding metaphysical principles. The analysis reveals deliberate mapping of musical features onto elemental characteristics: spacious Kedaram for ether, flowing Yamuna Kalyani for water, grounded Bhairavi for earth. Furthermore, the compositions synthesize Shaiva devotion, Advaita Vedanta non-dualism, and Nada Yoga sound metaphysics within unified artistic wholes. Through the lens of rasa theory (aesthetic experience), the study illuminates how these works function not merely as devotional songs but as experiential vehicles enabling participants to access cosmic awareness through aesthetic immersion. Findings establish that Dikshitar's elemental kritis constitute sophisticated theological-aesthetic statements wherein form embodies content, offering contemporary performers and scholars a model of music as spiritual practice and cosmological teaching.

The rāga repertoire in Karnāṭaka Music has evolved through various influences over time, with Hindustāni music being a significant contributor. Several Hindustāni rāga-s have been assimilated into Karnāṭaka Music over the centuries, one such example being rāga Bēhāg. The melodic framework of many rāga-s in Karnāṭaka Music has been primarily established through compositions, particularly Kṛti-s. Additionally, some borrowed rāga-s have been shaped through other compositional forms, such as Tillānā-s. Notably, Lalgudi G. Jayaraman and M. Balamuralikrishna have explored rāga Bēhāg through their Tillānā-s, presenting a distinct interpretation that differs from the Hindustāni rāga Bihāg. This study aims to qualitatively examine and analyse these Tillānā-s, with a particular focus on the adaptation of rāga phrases in their compositions and performances.

Royal Composer Mysore Sadashivarao and his influence on Carnatic Music

Indian sculptures are valuable archaeological sources for the study of ancient Indian music, especially during the early ancient period, when there are only a few musicological treatises, and most textual references come from non-musicological literature. The sculptures from the Bharhut stupa, a Buddhist shrine in Madhya Pradesh, serve as an important source for investigating musical instruments during the ancient era. This paper takes a review of these sculptures and establishes the musical connections by corroborating the contemporary and later textual references. With this, the paper sheds light on Indian music in general, and Indian musical instruments in particular, during the 2nd century BCE.

The research article aims at analyzing Contribution of Lesser known Composers of the 19th and 20th Century in terms of the exploring new ragas and rhythmic structures, the compositional forms handled, expanding the linguistic and thematic space, adaptation to current trends while still preserving the traditions and enriching the contemporary Carnatic repertoire, documentation and propagation of their works.

Adyar K. Lakshmanan remains a pivotal figure in Bharatanatyam, celebrated for his inventive choreography deeply rooted in musicality and expressive depth. His profound dedication to the classical dance idiom and his extensive repertoire of choreographic masterpieces have consistently resonated with audiences and stood the test of time. This research endeavors to dissect and evaluate the rhythmic frameworks, compositional strategies, and inherent musicality present within Lakshmanan Sir's choreographic creations, aiming to elucidate the core principles that define his enduring artistic impact. The study undertakes a thorough examination of diverse segments within the traditional Margam structure, encompassing introductory pieces, abstract dance forms (Jathiswarams), narrative-driven compositions (Varnams), and concluding pure dance sequences (Thillanas). Through the analysis of specific works such as Nandi Chol, Mallari, Stuti Pancharathnam, Jathiswarams set in Abhogi and Hemavati ragas, Varnams exemplified by "Nee indha maayam" and "Enthanine thelupudura," alongside his approach to Thillanas, this investigation seeks to uncover the fundamental tenets that informed his creative methodology. Within his Varnam choreographies, a deep-seated reverence for the composer's original intentions was consistently observed, with movement vocabulary meticulously aligning with the musical rhythm. Furthermore, his resourceful employment of varied rhythmic flourishes within Varnams introduced elements of surprise and complexity. A notable technique in his Varnam presentations involved the continuous vocalization of lyrical lines during the narrative elaborations (Sancharis), ensuring temporal and musical cohesion. His discerning application of contrasting movement patterns in Varnam rhythmic passages, informed by the musical register and meter, further highlights his acute sensitivity to musical nuance. Finally, his Thillanas consistently incorporated the five fundamental rhythmic patterns (Pancha Nadais), integrated within the rhythmic frameworks (Korvais) or connecting dance units (Usi-adavus), imbuing his concluding pieces with a distinctive rhythmic identity. This research underscores Lakshmanan Sir’s profound skill in seamlessly fusing rhythmic intricacy with melodic beauty, offering valuable insights for emerging choreographers and enriching the understanding of his significant contributions to the art of Bharatanatyam.

Karnāṭaka classical music has rich and diverse repertoire of compositions, and the contributions of the Trinity—Tyāgarāja, Muddusvāmi Dīkṣita, and Śyāmā Śāstri—are foundational to the tradition. The compositions of the trinity have influenced and inspired the next generation of composers. Among the 20th century composers, Lālgudi G. Jayarāman stands out as a unique composer due to his multifaceted contributions as a violinist (both soloist and accompanist), teacher, composer and a tunesmith. Lālguḍi G. Jayarāman is popular for his varṇa-s and tillāna-s. He has composed 22 tāna varṇa-s, 4 pada varṇa-s, and 36 tillāna-s, in different rāga-s. His compositions are popular in the Karnāṭaka classical music repertoire and in Bharatanāṭya performances. Characteristic of his style, subtle rhythmic intricacies are seamlessly woven into the melody in his composition. Jayarāman  was the first in Karnāṭaka classical music to bring into violin playing the feature of ‘poruttam-s’. Poruttam, meaning appropriateness or alignment, refers to the melodic and aesthetic continuity between the ending of a svara passage and the beginning phrase of the melodic line. He has used the concept of poruttam-s in his varṇa-s and tillāna-s, irrespective of the rāga and tāla. The varṇa, as a compositional form, plays a crucial role in bridging the gap between abhyāsa gāna (music for practice) and sabhā gāna (music for concert performance). Varṇa-s provide a comprehensive portrait of the rāga by capturing the essence of the rāga in terms of characteristic and viśēṣa prayōga-s, making them invaluable in both pedagogy and performance. This paper aims to study, understand and analyse his style of implementing simple and intricate musical patterns in this compositional form.             The study is based on published notations and select recordings available in the public domain. The methodology adopted is analytical and through a case-study approach. Select varṇa-s of the composer are taken up for analysis. Theoretical descriptions of the rāga-s are examined in relation to the features of the rāga as seen in the selected varṇa-s. By examining the melodic structures, musical patterns and key phrases evident in these varṇa-s, the study sheds light on the composer’s innovative approach to employing musical patterns without compromising on the purity of the melody and aesthetics of the rāga.  His varṇa-s, while adhering to the traditional frameworks of rāga grammar, also exhibit his distinct creative genius, reflecting a deep understanding of both theoretical frameworks and aesthetic expression of the rāga. The musical patterns underlying the compositions would be of immense help to the music students in developing their manōdharma as well. This study highlights the unique stylistic elements of Lālguḍi  Jayarāman ’s varṇa-s, demonstrating how his compositional approach bridges tradition and innovation. In doing so, it also emphasizes the need for further research into 20th-century composers who have contributed to the rich compositional heritage of Karnaṭaka music.

Sriman N Ch Krishnamacharyalu was a multifaceted genius from Vijayawada who was born in 1924 and belonged to Sathguru Sri Thyagaraja Swamy’s Sishya Parampara/lineage. He had the rare distinction of being  A Performing artist in Carnatic Vocal, Violin and Harikatha  An Ashtavadhani in Sanskrit as well as Telugu (Ashtavadhanam is a form of extempore  poetic debate)  A Vaggeyakara (composer) who could spontaneously compose masterpieces even based on ad-hoc requests combining his linguistic genius with his musical creativity Shriman N. Ch Krishnamachari has composed beautiful pieces in Karnatic style, in Telugu as well as Sanskrit and was awarded the Vaggeyakara award by the Madras Music Academy in 2005. Unique features of his compositions  Rare ragas: Examples- Nama Narayani, Natakapriya  Laya and Sahitya complexity: Examples- Garbha kritis  Swarajathi/pancharatna style kriti on Thyagarajaswami  Features like Ragamudra, Madhyamakala and Anthadi in the madhyamakala  Different genres: Kriti, Swarajathi/Pancharathna format, Thillana, Varnam Unfortunately, only two or three of his compositions are being presented on concert stages today. This study is an effort to highlight the beauty of these compositions and help in creating awareness about them amongst academicians as well as performing artists.

The 20th Century Composer, Sri M D Ramanathan, was a Stalwart Musician and Composer who has a very unique musical presentation in terms of voice as well as style. He is fondly called as MDR and was the disciple of Sri Tiger Varadachari. He composed over 300 compositions, according to available sources, in multiple languages. He composed in varied number of Rāgās and Tāḷās. Especially the Tāḷās used were Ādi, Rūpaka, Tripuṭa, Jhaṁpe, Cāpu and Triśra gati patterns. The musical form Tillāna is highly rhythm-based and often highlighted for the intricate laya patterns and regarded as a fast-paced energetic compositions. Sri M D Ramanathan’s style of music mostly follows the Viḷaṁbita laya presenting a calm and relaxed feel throughout. The point to reflect is that he chose to compose Tillānās very beautifully in his style. This manuscript includes investigating the compositional form Tillāna focusing on the unique characteristics and contributions by Sri MDR. This manuscript focuses on the analysis of the few selected Tillānās composed by him. The objective is to analyse the structure of the composer’s Tillānās, reflecting its scope on the analysis of the rhythm, rāga and emotional aspects produced. This study is based on the methodology which is done by the analytical approach through the available audio and text sources. The analysis includes the structure, framework, rhythmic highlights and patterns, raga significance, the rasa aspect of the Tillānas etc, aiming at the findings on Sri MDR’s composing style, addition on the knowledge of music mathematical aspects like the muktāyi patterns which leads to gain command over laya.

Karnāṭaka classical music is known for its rich and diverse repertoire, shaped by centuries of contributions from composers, most notably the Trinity—Tyāgarāja, Muddusvāmi Dīkṣita, and Śyāmā Śāstri—and their disciples. In the 20th century, Tiger Varadachariar emerges as a significant figure whose multifaceted role as a musician, scholar, teacher, and composer merits closer attention. While his varṇa-s are relatively more popular in performance practice compared to his kṛti-s and tillāna-s, they still remain underexplored in the concert repertoire, indicating the need for renewed focus on his compositions. The varṇa holds a unique place in Karnāṭaka music, serving as a bridge between practice and performance. Through its structured form, it captures the essential features and characteristic phrases of a rāga, making it a vital tool in both pedagogy and artistic presentation. This paper aims to bring Tiger Varadachariar's select varṇa-s to the forefront and analyse his portrayal of rāga-s through this compositional form. The study is based on published notations and select recordings available in the public domain. By examining the melodic structures and key phrases evident in these varṇa-s, the study sheds light on the composer’s innovative approach to rāga delineation. His varṇa-s, while adhering to the traditional frameworks of rāga grammar, also exhibit his distinct creative imprint, reflecting a deep understanding of both theoretical frameworks and aesthetic expression. By undertaking this analysis, the study not only contributes to a greater appreciation of Tiger Varadachariar’s compositional style but also underscores the importance of revisiting and reviving lesser-performed works of the 20th century. In doing so, it aims to enrich the contemporary understanding of Karnāṭaka music’s compositional heritage.

Ambi Dikshitar(1863-1936) a great musician, vainika and a composer, belonged to the lineage of Sri Muthuswamy Dikshitar,one of the trinities of Karnataka music,the others being Thyagaraja and Shyama sastry. He was the son of Subbarama Dikshitar, the grandnephew of Muthuswamy Dikshitar. The objectives of the research are (1) To bring out the compositions of Ambi Dikshitar and study the ragas, raga sanchāris, and structural aspects of compositions vis-à-vis his predecessors. (2) To examine Ambi Dikshitar’s contribution in propagating the compositions of his Guru-Parampara. The study explores his teaching methods, based on Pratama Abhyāsa Pustakamu and also his role in bringing out more kritis of Muthuswamy Dikshitar in addition to those found in Sangeetha Sampradāya Pradarshini. (both books written by Subbarama Dikshitar). The research is based on the qualitative approaches to analyze data from secondary sources. The study involves examining audio, video, textual materials, and oral traditions. The study highlights the deep influence of Ambi Dikshitar’s musical lineage in his compositions and showcases his contributions in bringing to light the innumerable kritis of Muthuswamy Dikshitar through his Sishyās who were instrumental in relocating their Guru from Ettayapuram to Madras which was the main centre of Karnataka music. The two books mentioned earlier were propagated due to the efforts of Ambi Dikshitar with the help of his disciples. His pedagogical approach is reflected in some of the publications of his chief sishyas like A. Ananthakrishna Iyer, A. Sundaram Iyer and Vedānta Bhagavatar. These methods facilitated a clear understanding of kriti rendition techniques, the defining characteristics (lakshanās) of ragas, and the nuances of musical interpretation. The study demonstrates how Ambi Dikshitar ensured the seamless preservation and propagation of his parampara’s musical heritage.

Carnatic music, one of the world’s oldest and most sophisticated classical traditions, integrates spirituality, poetic lyricism, and technical mastery. At the heart of its repertoire lies the varṇa, a compositional form that combines melodic beauty, rhythmic intricacy, and pedagogical value, serving as both a training piece and a concert staple. This paper examines the varṇa-s of Cuddalore M. Subramaniam (20th century), an eminent vocalist and prolific composer from Tamil Nadu. Having composed more than 600 compositions—including kṛti-s in all 72 mēḷakarta rāga-s, varṇa-s, tillāna-s, and a unique set of Śrī Rājarājeśvarī Pañcaratna—Subramaniam occupies a significant place in the lineage of modern Carnatic composers. Focusing on three representative varṇa-s dedicated to Dēvi—Dayajūḍavamma (Śrī rāga, triśra aṭa tāḷa), Dēvi Mīnalōcani (Jaganmōhini, ādi tāḷa), and Ninnē Namminānu (Gīrvāṇi, Kīravāṇi, ādi tāḷa)—this study adopts a qualitative and analytical methodology. The compositions are analyzed across various parameters, including rāga lakṣaṇa, melodic sañcāra-s, rhythmic construction, prosodic alignment, and lyrical content. The findings highlight Subramaniam’s stylistic hallmarks: swift octave transitions, seamless integration of svara with sāhitya, intricate yati patterns, and frequent use of jaṇi and dāṭu prayōga-s. The selected varṇa-s portray Dēvi in her dual roles as supreme cosmic power and compassionate mother, weaving themes of surrender, divine protection, and grace into their musical fabric. Through this synthesis of technical brilliance and devotional intensity, Subramaniam’s varṇa-s stand as both pedagogically valuable and spiritually elevating.

This article examines the lesser- explored category of lullaby-like compositions by Saint Thyagaraja, one of the Trinity of Carnatic music, through a combined musical and lyrical analysis. Although Carnatic music does not formally categorize lullabies (thalaṭṭu paṭṭu in Tamil or laali paṭalu in Telugu), a few of Thyagaraja’s compositions display gentle melodic lines, devotional intimacy, and lyrical tenderness that reflect the essence of traditional Indian lullabies. These pieces reveal a profound blend of bhakti (devotion), raga bhava (melodic emotion), and simple yet purposeful tala (rhythmic) structures, making them both emotionally resonant and pedagogically valuable. Focusing on four specific compositions, this study investigates their use of Raga and Tala as well as their potential as teaching tools across generations. Despite their aesthetic beauty and musical depth, these lullaby-like pieces are rarely featured in modern Carnatic concerts. Why are such emotionally rich compositions underrepresented in performances today? What are the challenges or limitations faced by performers in presenting lullabies on stage? Using internal textual analysis and external resources such as scholarly books, articles, and video recordings, this paper explores the structural and emotional richness of these compositions while questioning their limited presence in the mainstream Carnatic repertoire. Through this focused lens, the study seeks to bring attention to an important but lesser- explored aspect of Thyagaraja ’s musical and devotional legacy.

Title Dance Musicians of the 19th and 20th Century: Analyzing the Works of Composers during Mysuru Wodeyar and Tanjore Maratha period who Contributed to Dance Music Introduction As quoted in many treatises, Sangīta is the combination of Geetha, Vadya, and Nritya. As an art, it is the wholesome knowledge of literature, dance, and music for that. No vāggeyakara will compose for a purpose. It is his fulfilled thoughts towards art that made him compose. As such, Dance music is also an offering to God. The contributions of Karnataka and Maratha composers in the 19th and 20th centuries were instrumental in shaping the dance repertoire. This study aims to document their contributions and analyze their compositions. Research Objective The primary objectives of this research are: ● To identify composers from Mysuru Wodeyar period and the Tanjore Maratha regions who contributed to dance music in the 19th and 20th centuries. ● To analyze their compositions, focusing on musical structure, lyrical content, and rhythmic patterns. ● To explore the impact of these compositions on Bharatanatya. ● To understand the elements of dance music under the patronage by Mysuru Wodeyars and Tanjore Maratha rulers. Research Scope This study focuses on composers from Mysuru Wodeyar period such as Mysore Vasudevacharya, Harikesanallur Muthiah Bhagavatar, Aliya Lingaraja Urs and composers from the Tanjore Quartet lineage who had Tanjore Maratha patronage will be studied. The research will analyze their compositions in terms of musicality, rhythm (tala), lyrical content, and their adaptation for dance. Additionally, it will examine how these compositions bridged the traditions of Karnataka Sangita and Bharatanatya. The study includes compositions used in Bharatanatya. (composed for dance and music composition adapted exclusively for dance) Limitation As many composers have contributed to the field of Dance Music this paper is limited to focus only on two composers from each Patronage. Methodology A qualitative research approach will be used. The methodology includes: Musicological Analysis: Examining compositions, ragas, and talas to understand their structure and influence on dance. Comparative Study: Analyzing Mysuru and Maratha composers' styles to understand their unique contributions to dance music. Literature Review – Studying archival records, books, and published papers on Bharatanatyam and music composers. Findings This is the time where the Nirūpanas in the time of Serfoji took a different dimension. The influence of Western Music can be seen in Tanjore Band. This influence can also be seen in Muttuswamy Dikshitar’s composition of Nottu Swaras. The famous Tanjore Quartette formed a new repertoire from Alaripu to Tillana Rulers of Mysore even encouraged the Hindustani music artistes. References Deepti Omchery Bhalla, Studies in Indian Music and Allied Arts, SundeepPrakashan, 1990 Bhagyalekshmy.S, Music and Bharatanatyam, Sundeep Prakashan, Delhi, 1991 Meera Rajaram Pranesh, Musical Composers during Wodeyar Dynasty, Vee Emm Publications, Bangalore, 2003 Manorama B.N, Nrutya Marga Mukura, Sanidhya Prakashana, Madikeri, 2011 Mala Shaaashikanth, Paramparadhara Kaishiki Natyavahini, Bangalore, 2013 Prince Pratap Sinha Serfoji Raje Bhosle, Contributions of Thanjavur Maratha Kings, Sadar Mahal Palace, Thanjavur,2017

A devotee can glorify the Lord via art, which is a useful medium for educating others about religion, ethics, religious values, and social life. Sixty-four of these arts exist. The art of music is the oldest of these disciplines. The Lord was praised by our ancestors mainly through music. The composition of swaras and their singing in the Samaveda enhanced the efficacy of remembering the Lord. As a result, music started serving as a tool for remembering God. Lord's memory began with dance and plays based on this musical talent. This tradition led to musical dramas which are also called as ‘Geya Nataka’. Bharatha in his treatise ‘Natyashastra’ gives in depth explanation about the musical drama and its characteristics. Dhruva geeta is one of the main compositions in musical drama. In Bharata's Natya Shastra, Dhruva is considered to be the Ranga Gita. A form of Prabhanda in one of the ‘Chaturdandi’ of music is the Dhruva Gīta. Daru is a musical composition that originated from this Dhruva Gīta (Ghosh, 1961). Sri Tyagaraja has a unique place in the history of Carnatic music. Sri Tyagaraja have written 3 musical plays which begin and end with Daru. Adapting these Daru / Dhruva sahitya into Bharathanatyam is the main aim of this research article.