The course is for three days from 25th to 27th for 3 days. For bonafide Music students Rs 50/= and Rasikas Rs.100/=
Out of curiosity I attended the 1st day. Mr Murali inaugurated the session by lighting kuthu vilakku and Pappu rao welcomed the gathering. It was quite interesting and and few tips given by both are given below. The hall was full and 90% was students and rest by vidwans and rasikas.
DAY 1 25 03 10 Thursday
1 Carnatic Music is very stringent and tight with strong boundary and Mano dharma plays a role in this.
2 While teaching the Guru learns a lot by the questions put by the students.
3 In world music 7 notes are common
4 Raga system is called Pal palai in Tamil and Grama Murchana in Sanskrit
5 As per Sangita sampradhaya pradarshini ' Kampitam ' that has gamakam as inherent with swara. This gamakam with kala pramanam is important for a swara
6 Once in a concert at IIT MSS dilineated Kalyani. While responding MSS wanted him to play Rishabam little less which he took it as tip and since then playing in that style
7 Gamagam with kalapramanam is known as Spuritam
8 Learning through skype and CD and other modes will never help unless taught by a Guru
9 Concerts should have conventional Tampura and electronic gadgets will not enhance the soukyam
RAGA ALAPANA
10 A krithi can be sung independently w.o alapana whereas Niraval and Swaram cannot be done
11 A raga is melodic abstract which gets concretized in different compositiions
12 Swaroopam of the Raga should be shown fully initially to avoid ambiguity
13 A raga cannot be commenced in all the 7 Swaras. It should begin with Gruha swaram only since every raga has its own identity [ Gruha swaram ]
14 Raga alapana should be done visualising/ keeping in mind the entire Kriti.
15 Closing down of swaram is also important
16 Phrase should end at a partiicular Nyasa swaram and this ending note is important for any dilineation of raga
17 As a rule for developing a raga alapana minimum of 20 kritis should be practised and a thorough padantharam is a must
18 The Raga alapana should adhere to the kriti going to be sung
19 It will not be matching if the delineation of Raga is different from the pattern of the kriti. as wearing a bleached Jibba with un bleached dhoti.
20 This is the usual practice and no hard and fast rule for this in otherwords an unwritten law
21 Thodi ragam and T's kriti was taken up for demonstration
22 In earlier days Kriti also will be sung in the same raga of the Varnam
23 Such patterns are well preserved and handed over to the next generation which should be taken care of by us
24 One should be able identify the raga in first phrase itself.
25 Jaya lakshmi mentioned that Bahudari, Chalaka bhyravi should not be handled as Sahana, Begada and Sankarabaranam
26 In Vivathi raga kritis the vivadhi raga swaras are well handled in good proportion
27 For Gurjari and Jana ranjani Rishabam should be emphasised and sung [ adiththu paadavendum]
28 In playing instruments it should resemble asif a song is being sung vocally.
29 Hindustani ragas viz Behag, Sindhubhiravi etc are given Carnatic flavour
Mainly Sriram Kumar's demonstration was in vocal besides occasional playing of Violin. Jayalakshmi palyed Vina and at appropriate places giving quotes from the treatise of CM. Most of the participants were students , There was a question sessions too at the end. Few clippings were played [ GNB MMI] The entire 4 hrs duration went on usefully. Experts committee members were present. S/S V. Subramaniam, Chenagleput Renganathan raised some doubts and were suitably clarified by Jayalakshmi and Sri ramkumar. The above are few points that I could be able to note down and the list is not complete.
Thanjavooran
Workshop on manodharma @ Music academy by R.S. Jayalakshmi a
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thanjavooran
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VK RAMAN
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Re: Workshop on manodharma @ Music academy by R.S. Jayalakshmi a
Wow! a very thorough seminar and those participated should have come out enriched.
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thanjavooran
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Re: Workshop on manodharma @ Music academy by R.S. Jayalakshmi a
Day 2
Thanam and Niraval
As a feed back from students [ Being a workshop] Sri Ramkumar wanted boys and girls to come to the dais for singing Alapana. The thumb rule he gave y'day was to dilineate the Raga from the kriti. He once again emphasised on this and wanted few students to come to dais for an attempt. Based on this three 7th grade students gave a nice performance to the surprise of audience. The students were Narayanan, Theja and Supraja .
Narayanan disciple of Suguna Varadachari sang Oh Jagadamba in Anandha Bhairavi
Theja Madhavi Rajagopalan Keera vani
Supraja Raji Gopala krishnan Bhairavi
They were asked to sing the kriti first and based on the swaras and made efforts to sing Raga alapana. A very good attempt. Jayalakshmi and Sri ramkur encouraged them every now and then
History of Thanam
1 Similar to Thaya of Chatur consisting of Alap,Thaya, Gita and Prabandha.
2 Thanam is also referred as Ghanam or Madhyama kalam
3 One should sing Dharmavati, Natakapriya , Kokila priya, Gowri Manohari with out any ambiguity of Thodi, Karakara priya
4 Thanam shoud be sung in semi rhythemic pattern
5 Trivandram style of Thanam singing is with Kalapramanam , mirudangam accompanying it. [ like Nadaswaram ? ]
6 For practice, a Varnam can be taken and the Thanam phrase should be substitued. This will yield good results
7 Few tapes were played to show different patterns of Thanam singing. [ A year back this came under the Lec dem of TVG at MA ]
Niraval
8 Known as Rupaka Alapti as per records. [ Desi Tradition ]
Pratigrahanika , Banjani and Sthaye Banjani
Shri Ramkumar played violin and sang at appropriate places to demonstrate the aesthitic beauty of the Niraval
Today also the Lec Dem / Workshop was excellent and 4 hrs duration went on pleasantly
Thanjavooran
Thanam and Niraval
As a feed back from students [ Being a workshop] Sri Ramkumar wanted boys and girls to come to the dais for singing Alapana. The thumb rule he gave y'day was to dilineate the Raga from the kriti. He once again emphasised on this and wanted few students to come to dais for an attempt. Based on this three 7th grade students gave a nice performance to the surprise of audience. The students were Narayanan, Theja and Supraja .
Narayanan disciple of Suguna Varadachari sang Oh Jagadamba in Anandha Bhairavi
Theja Madhavi Rajagopalan Keera vani
Supraja Raji Gopala krishnan Bhairavi
They were asked to sing the kriti first and based on the swaras and made efforts to sing Raga alapana. A very good attempt. Jayalakshmi and Sri ramkur encouraged them every now and then
History of Thanam
1 Similar to Thaya of Chatur consisting of Alap,Thaya, Gita and Prabandha.
2 Thanam is also referred as Ghanam or Madhyama kalam
3 One should sing Dharmavati, Natakapriya , Kokila priya, Gowri Manohari with out any ambiguity of Thodi, Karakara priya
4 Thanam shoud be sung in semi rhythemic pattern
5 Trivandram style of Thanam singing is with Kalapramanam , mirudangam accompanying it. [ like Nadaswaram ? ]
6 For practice, a Varnam can be taken and the Thanam phrase should be substitued. This will yield good results
7 Few tapes were played to show different patterns of Thanam singing. [ A year back this came under the Lec dem of TVG at MA ]
Niraval
8 Known as Rupaka Alapti as per records. [ Desi Tradition ]
Pratigrahanika , Banjani and Sthaye Banjani
Shri Ramkumar played violin and sang at appropriate places to demonstrate the aesthitic beauty of the Niraval
Today also the Lec Dem / Workshop was excellent and 4 hrs duration went on pleasantly
Thanjavooran
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munirao2001
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Re: Workshop on manodharma @ Music academy by R.S. Jayalakshmi a
On Raga Alapana
There are two main method and scope for raga alapana:
1) Raga Alapana with sancharas/murchanas based on the kriti going to be sung
2) Raga Alapana with totally different sancharas/murchanas, not contained in the krithi going to be sung
But the fact is every artist, going with the manodharma strength/attainment, settles down to a raga form and structure and delineates the raga. With minor variations, all the raga alapanas will have similar raga form and structure of all the artists, without exceptions. Rarely, inspired and creative sanchara comes out of intuitive brilliance-the 'aha' moments.
Truly, the challenge for the artists is to give more and more 'aha' moments.
There are two main method and scope for raga alapana:
1) Raga Alapana with sancharas/murchanas based on the kriti going to be sung
2) Raga Alapana with totally different sancharas/murchanas, not contained in the krithi going to be sung
But the fact is every artist, going with the manodharma strength/attainment, settles down to a raga form and structure and delineates the raga. With minor variations, all the raga alapanas will have similar raga form and structure of all the artists, without exceptions. Rarely, inspired and creative sanchara comes out of intuitive brilliance-the 'aha' moments.
Truly, the challenge for the artists is to give more and more 'aha' moments.
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tkb
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- Joined: 04 Feb 2010, 11:14
Re: Workshop on manodharma @ Music academy by R.S. Jayalakshmi a
thanjavooran
thanks for taking us through the workshop in a grand manner.
tkb
thanks for taking us through the workshop in a grand manner.
tkb
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thanjavooran
- Posts: 3059
- Joined: 03 Feb 2010, 04:44
Re: Workshop on manodharma @ Music academy by R.S. Jayalakshmi a
Day 3 27 03 10 Saturday
Today the sessions started exactly at the stroke of 09 00 hrs [ it is MA ]
Initially few students were asked to show their talent as regs to Niraval and the same students who performed Y'day volunteered to show their knowledge.
Supraja Thodi at the pallavi Sri karunaka srutha. There was a little doubt whether it is karunaki or karunaka by the stalwarts
Thejas Gamakriya Meenakshi mae at Mathurapuri nilaye
Adhitya Narayanan Bhairavi at Sri pancha nadhi swaruni.
The performance by the students were excellent and corrected by Sriram Kumar at appropriate places. He was little unhappy since no new students volunteered for this .
He pointed out while playing niravel by instrumentalists it should sound as if lyrics only taken care and not as swara prastharam
R T P
1 A muscian's full talent can be shown in Pallavi singing only
2 Full scope for manodharma is available in this
3. Only 2 Kalai is selected for Pallavi singing though all kalams can be tried
4. For ARUTHI karvai should be maintained that too when Sama kalam is sung
5. EDUPPU is as important as ARUTHI
6. R Vedavalli mentioned that for IRATTAI Pallavi should be sung with two Aruthi and Sahithya Karvai should be maintained at the ARUTHI
7. 4 Kalai Pallavi is not in practice nowadays.
8 Niraval singing w/o thalam is known as Slokam/ Viruththam and this is in practice before singing a kriti/ Sahithyam
9 While singing Virutham it is essential to highlight Raga bhavam and Sahithya Bhavam.
10 For slokam, words should fuse with the raga and vice versa.
11 Words of the slokam should never be disturbed . Padha Chethanam should not be there for the sake of raga singing
12 Raga should be sung along with the words
13 As per tradition violinist should be given a chance to further develop the raga
14 After singing a complete line raga should not be delineated again
15 SSI's slokam rendering tape was played. It was in Yamuna kalyani, Sahana,Hamsa nandhi.
16 Contrast must be there to highlight the colour of different ragas. Few clippings of GNB, MSS, Brinda were played
17 Regarding Kalpana swaram it was mentioned that Thyagaraja did not encourage his sishyas to render swaram. Authenticity of this statement is not known
18 Panchamium Audiyappa's Bhairavi Varnam indicates there would have been swaram singing during that period
19 Without spoiling the Raga Bhavam, swara singing can be done.
20 Lakshana and Lakshiya Sangeetham should be balanced complementing each other
21 Raga should be highlighted during swaram singing and it is just like a paint for painting in canvas
22 All the swaras should be employed with gamakas as an ornament and should be ensured same landing is maintained
23 Single avarthana swaras should be practiced initially
24 Only small avarthanam should be sung and violinist should play the same and should not exceed and the role of the violinist is to enhance the beauty
and in the same region violinist should complement.
25 Niraval and swaram at the same place as per convention
26 Violinist and mirudangam player should be made to understand when one can finish the avartham
27 If Kalapramanam goes up Gamakam comes down
28 Jayalakshmi played swara singing for Sahana , Bahudari and kambodi
30 Normally swara singing finishes with karvai in sarva lagu.
31 This pattern will differ from one vidwan to the other. Alathoor introduced the convention of finishing the swara prastharam with Karvai
32 Karvai should be tailored to suit the Raga which involves logical and mathematical calculations.
33 Swara singing in the following raga is little testing for vidwans. Nilambari, Narayana Gowla, Nattai Kurinchi and Begada and especially Narayana gowla should not
resemble Suruti
34 Though there is lot of scope for Jana ranjani Umabaranam, Kannada, should be handled carefully. Kannada on any account should not resemble Balamanjari
and should be apt and fit
35 In GNB school no body will never sing raga during swara singing. Better to avoid this during swara prastharam.
36 MMI used to sing sakkai of raga a little during swara sininging. He never used Korvai
37 Once SSI sang for 4 1/2 mts at a stretch w/o Karvai with Dheerga swaram in Maya malava Gowla and was an expert for keezh kala swaram in Mukari , Kambodi etc
38 Being a workshop the following students were asked to sing swaram ---- guided bySriRamkumar and Jayalakshmi
Bagya Lakshmi a young graduate, disciple of Sulochana Pattabiraman Uma baranam Nijamarmalanu.
Vishnu Prasad a soft engineer disciple of PSN Sindhu Ramakriya Devathi deva sadasiva [ w/o mixing Kamala manohari ]
Swarna Latha a violin student Suruti Sri venkata Girisa
The entire 4 hrs duration was filled with music and important technical tips which would be of great guidance to students. Of course as a Rasika I enjoyed all the
three days . There was tea break between 10 30 and 10 45. Tea and biscuits were served. Pappu Rao thanked the Artistes and the audience for their support all
three days. . R. Vedavalli and V Subramaniyam were the only vidwans present. Yesterday Arunkumar and today Manoj siva played Mirudangam .This is the first session of workshop for this year and two more will follow
1. During June Rare compositions of SS , Thyagaraja and Subbaraya Sastri
2. During Sep Techniques of Violin Playing by Akella Mallikarjuna Sharma.
Thanjavooran
Today the sessions started exactly at the stroke of 09 00 hrs [ it is MA ]
Initially few students were asked to show their talent as regs to Niraval and the same students who performed Y'day volunteered to show their knowledge.
Supraja Thodi at the pallavi Sri karunaka srutha. There was a little doubt whether it is karunaki or karunaka by the stalwarts
Thejas Gamakriya Meenakshi mae at Mathurapuri nilaye
Adhitya Narayanan Bhairavi at Sri pancha nadhi swaruni.
The performance by the students were excellent and corrected by Sriram Kumar at appropriate places. He was little unhappy since no new students volunteered for this .
He pointed out while playing niravel by instrumentalists it should sound as if lyrics only taken care and not as swara prastharam
R T P
1 A muscian's full talent can be shown in Pallavi singing only
2 Full scope for manodharma is available in this
3. Only 2 Kalai is selected for Pallavi singing though all kalams can be tried
4. For ARUTHI karvai should be maintained that too when Sama kalam is sung
5. EDUPPU is as important as ARUTHI
6. R Vedavalli mentioned that for IRATTAI Pallavi should be sung with two Aruthi and Sahithya Karvai should be maintained at the ARUTHI
7. 4 Kalai Pallavi is not in practice nowadays.
8 Niraval singing w/o thalam is known as Slokam/ Viruththam and this is in practice before singing a kriti/ Sahithyam
9 While singing Virutham it is essential to highlight Raga bhavam and Sahithya Bhavam.
10 For slokam, words should fuse with the raga and vice versa.
11 Words of the slokam should never be disturbed . Padha Chethanam should not be there for the sake of raga singing
12 Raga should be sung along with the words
13 As per tradition violinist should be given a chance to further develop the raga
14 After singing a complete line raga should not be delineated again
15 SSI's slokam rendering tape was played. It was in Yamuna kalyani, Sahana,Hamsa nandhi.
16 Contrast must be there to highlight the colour of different ragas. Few clippings of GNB, MSS, Brinda were played
17 Regarding Kalpana swaram it was mentioned that Thyagaraja did not encourage his sishyas to render swaram. Authenticity of this statement is not known
18 Panchamium Audiyappa's Bhairavi Varnam indicates there would have been swaram singing during that period
19 Without spoiling the Raga Bhavam, swara singing can be done.
20 Lakshana and Lakshiya Sangeetham should be balanced complementing each other
21 Raga should be highlighted during swaram singing and it is just like a paint for painting in canvas
22 All the swaras should be employed with gamakas as an ornament and should be ensured same landing is maintained
23 Single avarthana swaras should be practiced initially
24 Only small avarthanam should be sung and violinist should play the same and should not exceed and the role of the violinist is to enhance the beauty
and in the same region violinist should complement.
25 Niraval and swaram at the same place as per convention
26 Violinist and mirudangam player should be made to understand when one can finish the avartham
27 If Kalapramanam goes up Gamakam comes down
28 Jayalakshmi played swara singing for Sahana , Bahudari and kambodi
30 Normally swara singing finishes with karvai in sarva lagu.
31 This pattern will differ from one vidwan to the other. Alathoor introduced the convention of finishing the swara prastharam with Karvai
32 Karvai should be tailored to suit the Raga which involves logical and mathematical calculations.
33 Swara singing in the following raga is little testing for vidwans. Nilambari, Narayana Gowla, Nattai Kurinchi and Begada and especially Narayana gowla should not
resemble Suruti
34 Though there is lot of scope for Jana ranjani Umabaranam, Kannada, should be handled carefully. Kannada on any account should not resemble Balamanjari
and should be apt and fit
35 In GNB school no body will never sing raga during swara singing. Better to avoid this during swara prastharam.
36 MMI used to sing sakkai of raga a little during swara sininging. He never used Korvai
37 Once SSI sang for 4 1/2 mts at a stretch w/o Karvai with Dheerga swaram in Maya malava Gowla and was an expert for keezh kala swaram in Mukari , Kambodi etc
38 Being a workshop the following students were asked to sing swaram ---- guided bySriRamkumar and Jayalakshmi
Bagya Lakshmi a young graduate, disciple of Sulochana Pattabiraman Uma baranam Nijamarmalanu.
Vishnu Prasad a soft engineer disciple of PSN Sindhu Ramakriya Devathi deva sadasiva [ w/o mixing Kamala manohari ]
Swarna Latha a violin student Suruti Sri venkata Girisa
The entire 4 hrs duration was filled with music and important technical tips which would be of great guidance to students. Of course as a Rasika I enjoyed all the
three days . There was tea break between 10 30 and 10 45. Tea and biscuits were served. Pappu Rao thanked the Artistes and the audience for their support all
three days. . R. Vedavalli and V Subramaniyam were the only vidwans present. Yesterday Arunkumar and today Manoj siva played Mirudangam .This is the first session of workshop for this year and two more will follow
1. During June Rare compositions of SS , Thyagaraja and Subbaraya Sastri
2. During Sep Techniques of Violin Playing by Akella Mallikarjuna Sharma.
Thanjavooran
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VK RAMAN
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Re: Workshop on manodharma @ Music academy by R.S. Jayalakshmi a
thanjavooran - Great coverage. Thank you for taking the pain to note down and type these for us. Thanks again.
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cienu
- Posts: 2392
- Joined: 04 Feb 2010, 11:40
Re: Workshop on manodharma @ Music academy by R.S. Jayalakshmi a
Great reporting Thanjavooran. We greatly appreciate what you are doing 
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
Re: Workshop on manodharma @ Music academy by R.S. Jayalakshmi a
" R T P
1 A muscian's full talent can be shown in Pallavi singing only"
No. Pallavi singing is also Kalpitam, with scope for manodharma. Truly, Raga Alapana offers scope for full talent, with spontaneous, inspired and creative offering-'aha' moments.
1 A muscian's full talent can be shown in Pallavi singing only"
No. Pallavi singing is also Kalpitam, with scope for manodharma. Truly, Raga Alapana offers scope for full talent, with spontaneous, inspired and creative offering-'aha' moments.
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Sathej
- Posts: 586
- Joined: 03 Feb 2010, 00:23
Re: Workshop on manodharma @ Music academy by R.S. Jayalakshmi a
Pallavi cannot always entirely be classified as kalpitam, there have been quite a few instances when artistes - both present and past have come up with a Pallavi, right on stage..munirao2001 wrote:" R T P
1 A muscian's full talent can be shown in Pallavi singing only"
No. Pallavi singing is also Kalpitam, with scope for manodharma. Truly, Raga Alapana offers scope for full talent, with spontaneous, inspired and creative offering-'aha' moments.
Sathej
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
Re: Workshop on manodharma @ Music academy by R.S. Jayalakshmi a
Sathej
The lyric taken up for pallavi might be totally new, but the musical content will be kalpitam, with scope for manodharma. Musician’s tapasya and intuitive abilities bring out the manodharma based offerings, in flashes of creative excellence. When the total musical content is new, fresh and not pre-meditated, it will be full of manodharma based offering. It is very rare and exceptional.
The raga format developed to give exclusive and exhaustive (unlimited) scope for manodharma. Pre-Ariyakudi kutcheri format consisted of raga expositions and RTP taking major time and few krithis, very short time. Manodharma sangita, at its best. But when patrons changed from Maharajas and highly resourceful Zamindars, need for reaching out to larger rasikas and rasikas time constraints, lead to Ariyakudi kutcheri format, with aim and objective of primacy for manodharma sangita. Kalpita sangita content was maximized, retaining the scope for manodharma in compromised kutcheri format. Kalpita sangita only prevails and dominates in the present kutcheri format, even the raga delineation is no exception.
It is heartening to note that highly successful Great Maestros and Maestros of present times are striving for excellence through offering music with primacy for manodharma. Rasikas appreciation and if it is not restricted only to popular musicians, the monodharma sangita will be offered by the majority of musicians of present times.
The lyric taken up for pallavi might be totally new, but the musical content will be kalpitam, with scope for manodharma. Musician’s tapasya and intuitive abilities bring out the manodharma based offerings, in flashes of creative excellence. When the total musical content is new, fresh and not pre-meditated, it will be full of manodharma based offering. It is very rare and exceptional.
The raga format developed to give exclusive and exhaustive (unlimited) scope for manodharma. Pre-Ariyakudi kutcheri format consisted of raga expositions and RTP taking major time and few krithis, very short time. Manodharma sangita, at its best. But when patrons changed from Maharajas and highly resourceful Zamindars, need for reaching out to larger rasikas and rasikas time constraints, lead to Ariyakudi kutcheri format, with aim and objective of primacy for manodharma sangita. Kalpita sangita content was maximized, retaining the scope for manodharma in compromised kutcheri format. Kalpita sangita only prevails and dominates in the present kutcheri format, even the raga delineation is no exception.
It is heartening to note that highly successful Great Maestros and Maestros of present times are striving for excellence through offering music with primacy for manodharma. Rasikas appreciation and if it is not restricted only to popular musicians, the monodharma sangita will be offered by the majority of musicians of present times.
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thanjavooran
- Posts: 3059
- Joined: 03 Feb 2010, 04:44
Re: Workshop on manodharma @ Music academy by R.S. Jayalaksh
This is the first session of workshop for this year and two more will follow
1. During June Rare compositions of SS , Thyagaraja and Subbaraya Sastri
2. During Sep Techniques of Violin Playing by Akella Mallikarjuna Sharma.
Workshop on rare kritis
The Music Academy will be organising a workshop, second in the series of three scheduled for the year, on ‘Rare compositions of Syama Sastry, Annaswami Sastry and Subbaraya Sastry’.
The workshop, to be held from June 4 to 6, 9 a.m.-1 p.m., will be conducted by Rama Ravi who is known for her authentic repertoire of padams, javalis and rare compositions.
Assisted by her daughter-disciple Nandita, Rama Ravi will deal with two compositions for each composer.
Printouts of the lyric with transliteration and translation will be given to the participants along with an audio CD.
Registration is open from May 10, and the fee is Rs.200 per person.
For details contact: The Music Academy at 28112231 or 28115162, email: [email protected]
Thanjavooran
1. During June Rare compositions of SS , Thyagaraja and Subbaraya Sastri
2. During Sep Techniques of Violin Playing by Akella Mallikarjuna Sharma.
Workshop on rare kritis
The Music Academy will be organising a workshop, second in the series of three scheduled for the year, on ‘Rare compositions of Syama Sastry, Annaswami Sastry and Subbaraya Sastry’.
The workshop, to be held from June 4 to 6, 9 a.m.-1 p.m., will be conducted by Rama Ravi who is known for her authentic repertoire of padams, javalis and rare compositions.
Assisted by her daughter-disciple Nandita, Rama Ravi will deal with two compositions for each composer.
Printouts of the lyric with transliteration and translation will be given to the participants along with an audio CD.
Registration is open from May 10, and the fee is Rs.200 per person.
For details contact: The Music Academy at 28112231 or 28115162, email: [email protected]
Thanjavooran