Chi. hamsa dear, In general, praising a person will not help in bringing out the hidden talents of a person but criticising helps a lot. In the same manner your critical post only makes me bring out more of my abilities to the readers. Thus, in one way I also feel thankful to you.
1. It is completely wrong to unilaterally declare that 9 is not convenient to use just because some composers have not used it. This is known as retrospective justification. But even here, his posts in other threads contradict what he is saying here. How did he himself think that Sankeerna was good enough to give prastara in the other thread (http://www.rasikas.org/forums/viewtopic.php?f=8&t=1879
) - post no. 1
As a senior student of music I very well know that, excepting just one or two, all other composers have very conveniently avoided Sankeernam-9 either as a Jaati or even Gati while composing their compositions. Of course, basing upon what justification they all did so I do not know. Even without taking any time to go through my posts like you did, I can, now and here, tell that I did nowhere tell in any of my posts in ‘rasikas.org’ that one particular figure is good for Prastara and that another figure is not good for Prastara. I shall be thankful if you prove it. As Prastara is of mathematics nobody can avoid a particular number in the process of General-permutaion. If it is required anybody can avoid any number in Devoid-permutation. Do you know the deference between the General-permutation and Devoid-permutation. Can you demonstrate it, dear?
2. There has been no practical, scientific or mathematical reason given as to why 9 is inconvenient. If talas with 128 counts like Simhanandanam were handled by musicians (prastara or not), how can a puny number like 9 be difficult?
I do not know the individual views of the listerners, but the maximum number of listeners cannot relish at all Sankeernam-9 either as Jaati or as Gati like they do in respect of Chaturashram-4 or Trisram-3. My dear hamsa, you are a kid and you better know that even the handful of musicians have demonstrated their Shimhanandanam applying Chaturashra-jaati only arriving at the total of 128 Kriyas but none of them demonstrated it applying the puny(not very impressive)-sankeerna-jaati arriving at the total 283 Kriyas.
3. Arunagirinathar never needed to give tala! The meter of the song is so obvious even to primary school children who can add up syllables and count them.
If Arunagirinathat never needed to give the names of the Talas how come Shri S.R. Janakiraman furnished the names of 11 Talas of him, 1.Kaitala-tiraikani 2.Parimalagalabha 3.Kaadi-modi 4.Iyalishai 5. Orupoyudu irucharanam 6.Nilayaadi-samudramaana 7.Shinattavar-mudikum 8.Tirunala-maruvi 9.Kaaranamadaaga 10.Shivanaar-manam and 11.Kandar-aandaadi along with his own created-tala, Shanmukha (unfortunately even without any serial number at all) carrying 56 Kriyas (of course, not Aksharas at all as mentioned by him) in pages 356 to 359 of his Sangita Shastra Saaramu-Part-1.
4. It is highly presumptuous to state that all musicians do not have the knowledge of prastara.
Yes, by the grace of the Almighty, I declare that I am the sole authority on Talaprastara of our music on the globe and if any other person properly and correctly answers my questions pertaining to this topic in a public meeting (time and place of such meeting will be fixed and notified if needed) I shall pay him ten lakhs of rupees on the condition that he/she must pay me five lakhs of rupees if he/she cannot do so.
Even in this post I reiterate to ask you why none of the stalwarts or the great authors of all the treatises, till now, had ever solved this element and brought out all the latent secrets of it within the reach of our aspirants since 12th century, if it is nothing but permutation as you already wrote?
5. Last but not the least, in what way are prastara of angas like laghu relevant to any compositions? It is just good as an exercise for students, esp those interested in math or theory. It has had nothing to do with concert music or compositions of even the Trinity!!!
In the absence of the knowledge of Talaprastara you are also talking just like other non-knowledgeable teachers, professors and other musicians which, of course, I do not and need not mind. You better study and learn Talaprastara and come to me to get the answers of your irrelevant and foolish questions.
If you want to support a particular person you can do so as you like. But, in that process, it is not netiquette to criticise others taking advantage of the anonymity and even without any base. amsharma