As some of you might already know, my friend, Anita, and I have been working for the past few months on a website––www.mycarnatic.org––which helps propagate Carnatic Music, the classical music system from South India.
We just launched a podcast page on the website today. I'd love for all of you to check it out at http://mycarnatic.org/podcast/ and let me know your thoughts! We have interviewed the following individuals:
Moving forward, we will attempt to put up at least one new podcast per week.
We're simultaneously working on developing other ideas e.g. putting up high resolution concerts on the website, helping students who don't have access to local teachers learn Carnatic Music online, and other ambitious projects. One step at a time
Please help spread the word and feel free to share your ideas and feedback with me.
These are very nice, I listened to Chitravina Ravikiran, KN Shashikiran and Nisha Rajagopal.
Enjoyed them, hope this continues and that you can expand on more insightful and technical topics as you continue.
Congratulations!
Thank you Raghu!
This is an excellent podcast that will educate all CM enthusiasts as to what Cleveland stands for. VVS tells a fascinating success story starting from scratches with dedicated supporters like VKV, Balu etc against enormous odds. We are grateful to him for planting the CM seed in NA and nurturing it over the years. This is a paradigm that is worth emulating in other regions of NA and indeed globally for the greater glory of CM in the coming years. You are doing an excellent service to CM enthusiasts through such lively and informative podcasts and let me wish you and Anita Godspeed in your continuing efforts...
I want to now inform that users can now leave comments on podcasts! This is really exciting and hopefully leads to lively discussions on podcasts. Check it out!
Over the next week, we are introducing a brand new "Concerts" page where users can view full length, HD quality Carnatic Music video concerts on MyCarnatic. This is really exciting for me personally, because for the first time users will be finally able to listen to Carnatic Music on the website.
If you are a performing Carnatic Music artist have and have any HD quality concerts you are willing to put up on MyCarnatic, please get in touch with me directly at [email protected]. You will need to ensure that you have all artists' and organizers' permission to put up the concert. In return, you can be guaranteed that users will have a professional avenue to see your performance. All artists' biographies and contact information will be displayed prominently on the website as well. Users will have the ability to leave feedback/comments. My inspiration for this was the series of videos found on TED (http://www.ted.com), a beautiful website that allows users to view high quality videos in a user friendly fashion.
Excellent. Your service to CM is highly appreciated. Do use the Forum to update us as and when the concerts get posted. We can also have a review posted here by our Forum expert reviewers and discuss the highlights. Wish you Godpeed in your efforts.
Excellent Raghu!
Continue with similar promising youngsters and their views and experiences. That will be most helpful for propagating CM in NA.
Congratulations to Rohan for his accomplishments...
cmlover wrote:Excellent Raghu!
Continue with similar promising youngsters and their views and experiences. That will be most helpful for propagating CM in NA.
Congratulations to Rohan for his accomplishments...
Thank you Sir!
Wanted to let you all know, a brand new MyCarnatic podcast has been uploaded. This one was an interesting one!
Interview with Vidya Subramianian on the role of the Internet in helping shape Carnatic Music.
MyCarnatic will now have active blog postings as well, so I will update you all when new blogs are posted. Wanted to update you on a new Blogger, Manu Gurudatha. His blog on "Physics and Music" can be viewed here
I wish the author had focussed on the basic structure of CM rather than a blog on high school physics based on the wiki
Trust he will attempt to explain the physics behind CM Theory in future blogs..
New MyCarnatic Blog On Sri. Umayalpuram Sivaraman by Smt. Kiranavali Vidyasankar (reproduced from her website, www.kiranavali.com with her permission.)
New MyCarnatic Podcast!: Interview with Anil Narasimha on the topic "Adapting to Different Concert Durations" conducted by Raghu Kumar and Anita Balasubramanian
New MyCarnatic Podcast!: Interview with Rasikalaya's Sri. Jayaram Ramanathan on the topic "Rasikalaya and The Carnatic Music Scene in London" conducted by Raghu Kumar and Anita Balasubramanian
raghukumar wrote:New MyCarnatic Blog On Sri. Umayalpuram Sivaraman by Smt. Kiranavali Vidyasankar (reproduced from her website, http://www.kiranavali.com with her permission.)
New MyCarnatic Podcast!: Aishu Venkataraman talks about her experience in collaborating between Carnatic Music and Jazz while emphasizing her unique background in these two genres of music. http://mycarnatic.org/podcast/?title=19
New MyCarnatic Podcast!: Sri Ranjani Santhanagopalan tells us about how she is preparing for the upcoming Season in Chennai, and also shares insights into her unique training under her father with some interesting musical clips. http://mycarnatic.org/podcast/?title=20
New MyCarnatic Podcast!: Ramakrishnan Murthy touches upon various topics relating to practicing Carnatic vocal music, including practicing in the morning, akaaram singing, voice culture, and notating songs. http://mycarnatic.org/podcast/?title=21
New MyCarnatic Podcast!: Vikram Sampath talks to us about the earliest Indian Classical Music (Carnatic and Hindustani) recordings, the advent of the Indian recording industry and some of the most influential personalities and moments which continue to shape the modern Indian music recording industry. We also include three of the earliest recordings in this podcast. To bring things back to Carnatic music, Vikram discussed the relevance of all of this to the Carnatic industry as well as its North Indian counterpart.
New MyCarnatic Podcast: Suryaprakash Ramachandran discusses the various ways one can cultivate his or her own manodharma, and also traces the history of how the structure of manodharma has evolved over the years.
Many thanks Raghu for getting Vikram,the Historian to talk about the development of the Recoding industry in India and how fast we are losing valuable historical information due to benign neglect. I wish Vikram well on his dedicated pursuit.
Of course who best is to talk on manodharma than the grand shishya of the MMI school! Wish he had more time to elaborate and demonstrate!
cmlover wrote:Many thanks Raghu for getting Vikram,the Historian to talk about the development of the Recoding industry in India and how fast we are losing valuable historical information due to benign neglect. I wish Vikram well on his dedicated pursuit.
Of course who best is to talk on manodharma than the grand shishya of the MMI school! Wish he had more time to elaborate and demonstrate!
You are very welcome Sir!
New MyCarnatic Podcast: Mr. A.S. Ramakrishna, the founder of the newly opened Arkay Convention Centre in Chennai, talks about his motivations and aspirations behind its opening.
New Podcast: This is the first segment in a multi-part series dedicated towards the life and brilliance of Muthuswamy Dikshitar. Here, Kanniks Kannikeswaran gives us a basic introduction to the composer and what made him unique from other composers of his time.
Thanks Raghu
for this fascinating podcast with Kanniks Kannikeswaran. The podcast instantly reminded me of the fascinating series of articles that appeared in the (late) sangeetham website titled 'Muttuswami Dikshitar The Eternal Pilgrim -
By Ravi & Sridhar'. Those were highly informative delving into the psyche of Dikshitar and at the same time providing fascinating formation about our ancient temples which were getting lost. We missed the termination of those series since Sangeetham folded. We are lucky to have now Mr Kannikeswaran who is an internationally recognized expert on Temples who combines that knowledge with CM from the Dikshitar perspective. We look forward to more of it from your future podcasts. At the same time our Rasikas will be very grateful if Mr Kaanikeswaran writes a series of articles on that subject at this Forum so that he can directly interact with our knowledgeable membership with feedback. That will be a great service to CM and we will be proud to host him here.
Dear Sir: Thanks so much for your kind comments and for hosting me here. I shall write a series of articles. Look forward to interacting with the members here. Thank you once again.
Kanniks
Dear venkatamakhi (kanniks)
You have such a wealth of information on CM personalities and Temples and you have the right audience among our Forum members; an appreciative audience. Your interview with S Rajam is a classic, part of a page in CM history. Do please share such materials freely with our membership as well as your personal impressions on artistes you have met who are no longer with us...
Thank you so much for your warm thoughts. I am posting an introductory article on appreciating Dikshitar's music. I had posted this earlier on Chennaionline.
Regards,
Kanniks
Will these podcasts be available on itunes? The last uploaded podcast on itunes was on 12/8. Eagerly looking forward to listening to Dikshithar and Suryaprakash podcasts during my runs.
New MyCarnatic Podcast: We are back with Mr. Kanniks Kannikeswaran, this is the second of a multi podcast series based on the legendary composer, Mutthuswamy Dikshitar. We are now going to get to the heart of this discussion topic: The association Dikshitar had with Temples in India. Part 1 will be devoted to the four years he lived in the pilgrim town of Kanchipuram.
After listening to the podcast of Chi. Suryaprakash Ramachandran pertaining to ‘Cultivating the Manodharma’ I have sent two emails to you on 07-05-2011 suggesting to furnish the written version of it as it facilitates the aspirants to read it many times, understand it and write to you in respect of any clarifications. But, you did not provide the same.
Again, one month back I have tried to send reminder-emails to the same address and they have successfully been returned as those email addresses are inactive.
As you are striving hard to enlighten the listeners and the aspirants as well hope you will furnish the written version of the above keeping the high interests of the aspirants in view. amsharma
After listening to the podcast of Chi. Suryaprakash Ramachandran pertaining to ‘Cultivating your Manodharma’ I have sent two emails to you on 07-05-2011 suggesting you to furnish the written version of it as it facilitates the aspirants to go through it many times, understand it and write to you in respect of any clarifications. In response, you have also agreed to do so. But, you did not provide it till date.
Later, when I have tried to send reminder-emails to the same address they have successfully been returned as even those email addresses have become inactive.
Later, even in the ‘Leave a reply’ column at the end of the page of the respective podcast I have suggested the same but, in turn, there was no response.
Even though you have arranged eight features, Home, Blogs, Audio, Contents, Get Carnaticized, Podcasts, Resources and About on your website you did not make any provision for ‘Discussions’ which helps the aspirants a lot. Even though you have very enthusiastically arranged a podcast on a very important and mostly needed topic, ‘Cultivating your Manodharma’, unfortunately, you did neither provide the written version of the same nor the scope for any kind of discussion which is most helpful for the aspirants. Had it been a written article like my article, Modern Teaching methods, it would have facilitated to go through it and make some discussion to help the aspirants. Even though I have been reminding you through these posts or emails with the view to only make this rare website useful for the aspirants but not with any other ulterior motive you have neither responded nor acted accordingly to make your website more helpful to the aspirants.
At this juncture, I am compelled to act accordingly for the benefit of the aspirants and I hereunder furnish the written version of it for an open discussion.
Cultivating your Manodharma - by Surya Prakash Ramachandran
Hello everybody, welcome to the MyCarnatic broadcast, our first broadcast of 2011, we would like to wish you a Happy New Year and Happy Pongal to all listeners. My name is Raghu Kumar, and I am Anita Balasubramanyan. And today we are interviewing Shri R Surya Prakash. He is a disciple of T.V.Shankara Narayan and has followed the tradition of the legendary Madurai Mani Ayyar. He has a vibrant rich voice that can effortlessly cover three octaves and he has a rich concert experience of over 1 ½ decades over which he has performed all over the world including the U.S., Canada, Australia, South Africa, Malasia and several other countries. He has regularly featured in the annual December music festival in Chennai and has won numerous awards including the best concert prize from the Music Academy in Chennai. He is also a notable teacher and has conducted workshops and lecture demonstrations world wide. He has students both in Chennai and world wide and teaches many of them on line. He is an A-Grade Artist on All India Radio and has also composed many original lyrics and works. Surya Prakash has a fascination with vintage Karnatic songs featured in movies, in the period 1940s and is heavily involved with the revival, cutting a disc called “Lengendary Melodies”, to add a fact. He has been enriched by eminent teachers, such as, M.A.Venugopalan, Dr. B.B.Sreevatsa and Sulochana Pattabhiraman. We would like to work today in the podcast.
Q: Sir, could you define Manodharma for listeners and tell us a little bit about the different types of Manodharma that exists in Karnatic Music. Is Manodharma synonymous with all improvised aspects of Karnatic Music or other aspects of Manodharma that have nothing to do with improvisation?
RSP : Manodharma in the broader sense means creativity or improvisation and typically in Jazz Music you see a lot of creativity and of course in Western classical music you have to really adhere to the compositions. In Karnatic music, it is a different scenario all together because you get to learn so many set compositions and then you cultivate what ever you call as, Manodharma. And this Manodharma essentially means improvisation. But, there is a twist to it in the sense that it has to be essentially sophisticated, it has to be structured. I would rather call it, structured creativity or sophisticated creativity. And that sought of a sophistication or structuring is possible only if you dwell in all the set compositions for a considerable length of time. So, that is a vital difference, regards, Manodharma and other types of music in our classical music.
Q: Basically, you need that backing of having learnt songs in that ragam or by that composer, in order to do justice to the Manodharma.
RSP: Yah! Exactly. And the process is, it starts very early, like when you start your basics, Saralivarisai, and then you move on to other compositions and the sophistication keeps on adding and you reach a stage where you are able to discern various micro notes and glides which are typical to classical music and then you attempt your own improvisation. The improvisation that is done by you it acquires a certain standard.
Q: Well, actually, I mean, you kind of walk me right into my next question which how musicians might discover and develop them in a sense of Manodharma and, I think, you talked about how it basically starts right in the beginning with Saralivarisai. Is it something more than that like, I mean. how much of a role that listening to it, watching other people and listening to different styles or presentations of different ragams.
RSP: Yah! I can add a lot to what I said just now and I can add to the definition part of Manodharma itself. Manodharma is, it has Mano and Dharma. Mano is the mind and Dharma is the right way. Whatever you call it.
And this Mano, this mind, typically, it has no barriers like. It wanders off everywhere. Especially in a creative person who has got intelligence, it wanders into several areas, of his thought process. That is what I am trying to say and that happens in a flash that happens just like a computer, it might travel to any area. Actually, that process, if it is the output that may or may not be comprehended by another individual. Music is essentially a performing art, so other than the art is the consumer is also involved.
Q: So one is pull-up that word Mano and Dharma. So Dharma like you said has to do with goodness or the right way, so, how does that have to do with the Mano aspect, the mind. Is there a right way to go about it, is there a right way to go about Manodharma?
RSP: Definitely there is a structured way. And if Mano is allowed simply just to go its way it becomes Mano Bhava. That is where it differs from Manodharma. Manodharma is the improvisation which can actually be understood and which really reaches out and is within the structure of the music. Yes! Sometimes, the Mano Bhava itself can become Manodharma. Like it is just creativity becoming a tradition. Just like that Mahakavi Subramanya Bharatiyar, he penned a lot of lyrics which is called Vasana Kavithaigal and that Vasana Kavithaigal became fore runner for today’s the modern Pudukavithai in Tamil poetry.
Q: Every tradition has some sought of a beginning. So, Okay! That is very interesting. You did talk about, how there is a structural component to Manodharma. This is more towards, any listeners who might be students who are starting to act as Ragam, Niraval, Swaram. How important would you say it is to learn many compositions in a particular ragam. In say, Kharaharapriya or Shankarabarnam, Thodi want to represent a main piece in this ragam. Would you say it is very important component for me to have learnt many compositions in that Ragam.
RSP: Actually, introduction to Manodharma begins at a very early stage, in students learning process. Even the Saralivarisai could be sung differently. It depends upon the grounding and the standard of the teacher, initially. I would rather tell my experience with my Guru, early Gurus in this regard. I incidentally, did not start with the structured Saralivarisai, Jantavarisai and so on. My family was, it had musician, so it was a bit fortunate that way. Straight away he, my uncle, whom I was learning from, he started with the Ragalapanas, for me.
Q: That is usually not the way it stands.
RSP: Yes. He used to revel in singing raga aalapanas and I got interested into the creative process of Ragalapana and I used to repeat the phrases which he used to sing and then I used to try to compose my own phrases keeping that particular mood intact. So, based on that mood, I used to really try out my own phrases, before learning any basics of Karnatic music. So, of course, afterwards I started learning the basics, and got myself updated on that aspect and I learnt a lot of compositions. I mean, my experience is totally, it is just the opposite of what many students in Karnatic music they have.
Q: But in general if you were to provide tips for up-coming student who wants to develop and cultivate his Manodharma. Obviously, he would be depending on his teacher, his teacher might have a different structured set up for him, he might start of Saralivarisai and Jantavarisai, Varnams the standard protocol or as in your case, may be raagalapana was explorable little bit more. But when it comes to compositions, learning many compositions in a Ragam which is said that is generally important aspects of cultivating Manodharma?
RSP: Yes, definitely. One has to learn the basics in the right way. That is what I was trying to say. With the Raga in mind and not the plane Swaras. For eg., the Alankarams, if you take Kalyani Raagam, Sa ri ga ma pa da ni sa, sa ni da pa ma ga.. ri.. sa. So while singing Alankarams, it is always better to start with plane notes to ensure the Shruthi Shuddham and then go on to the Gamakas and you discover what type of Gamakas possible for each speed, I am just talking about the basic exercises for practice, right, now. But they help a lot in discovering your own Manodharma later.
Q: And I would also say that own Manodharma is also dependent on your voice, your voice can do and what comes naturally to you. So, if you are able to sing, you know, Gamakas very crisply at a fast speed. You can discover that at a younger age, by focusing on the Ragam aspect verses the Swaram aspect. Like you sang. Right!
RSP: Yes! It is all about discovering your natural ability, with regards to the Karnatic process. It involves lot of ruminating, what you are able to present. It goes on for years, like, it is just listening to your own music and then you try to improve by listening to your own music along with the music of the masters. Afterwards, after the basic exercises, you tend to learn a lot of compositions that is pretty well known, like, you have to learn 10 to 15 compositions in each Ragam to understand the full gamut of the particular Raga. Minimum, Ariakudi knew around hundred compositions in Ragam Thodi. Musicians used to tell the masters use to tell us.
Q: Who are these masters like, as such, the particular musicians from the past who, you know, really should be recognised for their expertise in Manodharma like you can share some examples with us.
RSP: Lots of things happen in fine arts, in science, everywhere all around the world that we all know. Likewise, there was a big renaissance sought of thing which happened in Karnatic music too. Lots of composers, they composed various monumental pieces and this thing which is called concert music, it took shape.
Q: Right! Right! Obviously, Ariakudi was very monumental and changing the concerts landscapes.
RSP: In that era lot of music was produced and it was done without compromise and lots of structuring took place in Karnatic music.
Q: You are talking about, specifically, a certain era; you are talking about the mid 20th century.
RSP: I am talking about the time period where stalwarts such as Ariakudi Ramanuja Iyyengar, Musiri Subrahmanya Iyyer, Kanchipuram Naina Pillai and Tiger Varadachariyar were all there and they were followed by Semmangudi Shrinivasa Iyyer, Madurai Mani Iyyer, G.N.Balasubramanyam, Allattur Brothers, M.S.Subbulakshmi, M.L.Vasanthakumari, D.K.Pattammal.
Q: The So called Golden Era of Karnatic Music.
RSP: Exactly, It was a period where Baannees were born. I would rather say the Baannees is really in the mind of the listener and everybody sang Karnatic music as envisaged by their own minds. The listeners identified, this is Ariakudi's baanee.
Q: Why because definition has to come about from some where and so listeners eventually defined something, a style of music as according to certain Baanee. So, what levels of qualifications are necessary in order to present Manodharma as a part of performance?
RSP: Yes basically, the structure demands that you learn lots of compositions in a particular Raga and you get mastery over this aspect called raaga. Because our music is essentially based on Ragas which are by definition they may be set to be a logical progression of intervals which make unique melody. That is the actual definition of Raga, logical progression of musical intervals that make unique melody.
Q: I should probably write that down because people just ask me what is a Ragam?
RSP: So, actually, every raaga is an entity by itself. It has original feeling and it has characteristic twists and turns.
You have to really master a particular Ragas movements, characteristics and the characteristic phrases, the Gamakas and you have to get a hang of it. To present the Raga, in its true form and also improvise within that scope of the Raga and for that you have to really learn more compositions in the Raga. Which have been composed in the Raga. I was talking about the Golden Era in Karnatic music. In that era, lots of compositions, they came to light actually, by public concert performances. And so the basic structure was formulated during that period for everybody to learn those compositions and get the hang of this aspect this all important, all pervading aspect called Raga. I would like to talk about another important aspect called natural musicality in here. There are things other than what could science define regarding musicianship and it is not like a conveyer belt that you do this thing and you come out with that. That rule may not apply always. Like, some people may have the natural musical instinct. It is a sought of a different process for those type of people. And for some people, even the structured form may not yield the desired result. So it all depends on the rigor, your natural endowments, and then the type of practice you put in and the Guru you have and the type of music you listen to, lots of other aspects. These things they just guide you in the process of your discovering your own Manodharma. I was telling about the Alankarams in any Raga. The first practice would be getting a hang of the basic notes to ensure the Shruthi-shuddham. Afterwards, we get to learn the Gamakas in Kalyani Raga and different compositions in Ragam Kalyani, and then anybody, I mean, for that matter, should be able to get a little bit of hang of what is Kalyani. The basic Manodharmam is now triggered.
Q: Right! And I would also say that it is probably triggered on a very subconscious hour at this point, right, because just through all the training, through all the exercises and Alankarams and Swarajathees and Varnams after learning, you slowly learning more and Are about the raagam and that activates Manodharmam internally.
RSP: Yes. You get to sing the essential phrases. You learn what are the essential phrases in raga development. And then moving on to sing Ragalapana requires another sense of raga singing. I would rather call it a flare for Ragalapana. All these phrases, jumble together, they don't make a Ragalapana. I would rather tell my experience with my Guru. We used to go about singing Ragalapanas just like that and I used to sing certain phrases and he used to tell, it is jumbled. This phrase should be at the back of the Ragalapana, at the end. He used to make comments like that. This phrase should be sometime away. It is really sense for Ragalapana which is really developed, not merely by learning compositions. It is by listening to the great masters expositions in Ragalapanas and getting our own musical intuition.
Q: But is there also a, that is very interesting because obviously all these phrases themselves you can find them in all compositions if you were to sing in a Ragalapana in Shankarabharnam a lot of the phrases or different snippets of a Ragam would be found and many of the major compositions. How does the structure of the Ragalapana come in a play, I mean, has that evolved over the years, is that something that has a structure of its own?
RSP: Yes, because you cannot simplify, over simplify a particular thing such as Manodharma. The structure demands that you should start Kalyani …...........Many of the compositions are set in lower Gandharam, as a starting note. But it is also possible to start Kalyani any where else and give the full picture of Kalyani. …........
Q: That might also play to what composition you are going to sing. If the song that you are going to sing, if the composition starts from the higher Shadjam than we can also start the Ragalapana from that note.
RSP: Definitely. And you can, in fact, can end the Alapana in the higher Shadjam. The composition starts in the higher Shadjam.
Q: So, it seems that there is also an evolution to the structure, we spend lot of time talking about the Ragalapana but also with Swaram singing and Niraval and even the Ragam, Tanam, Pallavi. All the improvised aspects of Karnatic music seems like the structure about these components they probably evolve. Right, I am sure the Ragam , Tanam, Pallavi has evolved quite a bit since over the past 100-150 years and so do you see that trend continuing?
RSP: Yah! An exposition of Manodharma, I mean, could be divided (into) Ragalapana, Niraval, Swaram, Tanam, etc., but essentially, it is all Ragam, your conception of that particular Ragam. Ragalapana is the Ragam being rendered in Akaram and other types of standards and standard articulations like Thadarinana, the vowel extensions etc. and it has no specific covered rhythm to it, what ever you call it, but there is an underlying rhythm in Ragalapana too. And in Niraval, you tend to improvise the compositions, the lyric part of it, confirming to the raga mood and you just improvise according to the mood of the lyrics and the mood of the raga. And Swara singing is as you no sol-fa syllables. You arrange them give permutations and combinations of those syllables and these are Niraval and Swaram, they are rhythm centric. And Tanam is singing Madhyama-kala passages, essentially in Ragam. And you tend to explore your sense of rhythm, Raga and your propensity to weave Madhyama-kala phrases during the course of Tanam.
Q: It is an essential process, building of these different skills. I would even say, basically, the skills to the audience but also in the process you are growing as a musician by engaging different aspects very essential.
RSP: What I am essentially trying to say is if you have the concept of Raga, Ragalapana, Niraval, Swaram and Tanam, they are branches of the same tree. And any one who sings a brilliant Ragalapana should be able to conceive good phrases in Tanam too.
Q: Because it seems that the Ragam is the main focus and every thing revolves round the Ragam. Initially, I acquainted Manodharma with improvisation and just breaking it down into all the different improvised aspects of Karnatic music which was the first question we asked you. But, after this talk, it seems like it is lots more to it and it was lot of different ways that wanted develop to Manodharmam.
RSP: Yes, how to discover your Manodharmam, could be structured. But how you actually present your Manodharmam, need not be structured.
Q: Taking it individualistic.. Right!
RSP: Yes. Yes. If you see the Tanjore temple, it might be simple to create a small artifact, like one small corner today but the entire structure is so broad based and I think the Manodharma of a very high standard would have that sought of a structure. It would be prolific and it will have lots of intricate designs within.
Q: I would like to create an analogy between temple and Manodharma. I am sure our listeners will gain a lot of insight into what Manodharma is and at the same time you know, it is important to know that it is not very rigid.
========
In my view, it would have been more beneficial to the aspirant if a constructive, time-bound and result-oriented plan of action is prescribed to acquire the knowledge of Manodharma Sangita than furnishing mere general points like all the performers. amsharma
[/quote]
