I heard this raga for the first time from our very own Ahiri - links to the audio and lyrics of a fine composition by Marimuthu Pillai
http://www.mediafire.com/download.php?yjed2imynx3
http://www.mediafire.com/file/mjrwqe3ztnv/Ennalum - Marimuthapillai - Ranjani.mp3
An interesting resource - Details of a concert by Smt. Seetha Narayanan (Ahiri’s guru) which featured this composition! http://www.depauw.edu/library/musiclib/ ... Number=147
The late Sri. Ramraj (vaggeyakara) has spelt out the arohana / avarohana for the raga (post # 29) http://rasikas.org/forums/viewtopic.php? ... ni-p2.html and has cited the janaka raga as Syamalangi. The same arohana and avarohana are given in http://www.karnatik.com/ragass.shtml and http://en.wikipedia.org/wiki/List_of_Ja ... idamargini but the janaka raga is Shadvidamargini.
Is there another version of the raga to be found in the music of Kerala?
http://en.wikipedia.org/wiki/Sopana_sangeetham
http://www.kutiyattam.in/music.htm
Sopana sangeetham performed at the Vayalil Tirukkovil Sree Mahavishnu Temple http://video.google.com/videoplay?docid ... 2860885613 If anyone has audio clips of the raga sreekanti, as sung in sopanam, that would be very helpful. Thanks.
Raga Sreekanti
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knandago2001
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Last edited by knandago2001 on 31 Jul 2009, 17:09, edited 1 time in total.
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vasanthakokilam
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knandago2001
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vk: my pleasure - glad you enjoyed Ahiri's rendition. our approaches to the perception of music is by itself a fascinating area of study; hope you find the article by Ganapathy Narasimhan interesting: The two faces of music - http://www.karnatik.com/article027.shtml
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vasanthakokilam
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nandagopal: It looks like you know me very well 
Yes, I found that article very interesting, my cuppa tea. I could predict where he was going but not always correct which kept it interesting. Incidentally that itself is part of the message of the article. Given my inability to deal with what he calls 'surface structures', I relate to music at the 'meaning' level, I suppose. He also addresses what we talk about here in other threads namely CM musicologists' over emphasis on syntax over semantics. But the lay rasikas go below the surface structures and latch on to the imbedded structures directly.
How beautiful it is when the performer's imbedded structure matches rasikas perception of the same. entropy-less communication of aesthetics, emotion and meaning. The pazham neeyappa KPS link that r-t posted today comes to mind as an example.
A bit on the technical side, in Linguistics and computer science, there is this concept of Referential Transparency (RT) and Referential Opaqueness (RO). Sanskrit knowledgeable among you may relate to this much better. In approximate terms, RT means, you can substitute a thing by another thing while retaining the same meaning and RO the opposite. As I was reading the ananda bhairavi/reethi gowla example and also the Ariyakudi/Chowdayya episode, I was thinking that this has parallels to natural languages in terms of RT and RO. For example, after a particular phrase in a raga, you have two choices for the next phrase. Can either one convey the same meaning? Then that will be the equivalent of RT in natural languages. Anyway, it is a half-baked pondering, I will have to think about this further.
Yes, I found that article very interesting, my cuppa tea. I could predict where he was going but not always correct which kept it interesting. Incidentally that itself is part of the message of the article. Given my inability to deal with what he calls 'surface structures', I relate to music at the 'meaning' level, I suppose. He also addresses what we talk about here in other threads namely CM musicologists' over emphasis on syntax over semantics. But the lay rasikas go below the surface structures and latch on to the imbedded structures directly.How beautiful it is when the performer's imbedded structure matches rasikas perception of the same. entropy-less communication of aesthetics, emotion and meaning. The pazham neeyappa KPS link that r-t posted today comes to mind as an example.
A bit on the technical side, in Linguistics and computer science, there is this concept of Referential Transparency (RT) and Referential Opaqueness (RO). Sanskrit knowledgeable among you may relate to this much better. In approximate terms, RT means, you can substitute a thing by another thing while retaining the same meaning and RO the opposite. As I was reading the ananda bhairavi/reethi gowla example and also the Ariyakudi/Chowdayya episode, I was thinking that this has parallels to natural languages in terms of RT and RO. For example, after a particular phrase in a raga, you have two choices for the next phrase. Can either one convey the same meaning? Then that will be the equivalent of RT in natural languages. Anyway, it is a half-baked pondering, I will have to think about this further.