Lec Dem - Wish List

[parivadini]

We plan to organize a lec dem series between Dec 25 and Dec 31.
If you have a topic in mind or an artist that you would like to hear talk please let us know. Your wish may just come true.

After availability the artiste, the selection criteria would be the rarity and relevance of the topic.

https://www.facebook.com/parivadinimusic

[munirao2001]

Wish List
1) Contemporary influence of Vaggeyakaras-Annamayya-Dasas-Bhadrachala Ramadoss-Kshetrayya-Thyagaraja-Mudduswami Dikshita-Shyama Shastri-Swatitirunal-Mysore Vasudevacharya, in their times

2) Agyatha -Unknown - Vaggeyakaras

3) Dr.Balamuralikrishna compositions-Fresh and New approach in creativity-Varnams, Kritis and tillanas

4) Carnatic Music compositions with potential of reaching the masses-uninitiated and its presentation

5) Music compositions which can be presented in Folk-Film-Light and Classical music

I suggest few names for Lec-Demonstrations
1.R.Vedavalli
2. Dr.Sukanya Prabhakar
3. Vyjas Subhramanyam
4. Dr.Sathyavathi
5.R.K.Shrikantan
6.R.Vishweshwara
7.Prince Ramavarma
8.Vijayshiva
9.Bombay Jayashri
10. Kumaresh and Jayanthi Kumaresh
11. Shriram and Anuradha Shriram


munirao2001

[thanjavooran]

Although the above subjects are quite interesting I suggest Ganam singing by Prof SRJ and or by TVG. Since the other professor is not with us now IMO these two are quite capable to handle this subject .
Thanjavooran
24 10 2013

[hnbhagavan]

lecdem by Lalgudi siblings on Lalgudi Compositions

[pattamaa]

Prof SRJ can give lecdem almost on any worthy topic. He would be my choice..

[venkatakailasam]

There are many unexplored songs composed by trinities, Tamil trinities, Ambhujam Krishna.MDR, MMD, Maharajas of Trivancore and Mysore…and many others..
Why our friends are getting satisfied with the repetitions…of songs already rendered by others as also the same ragas..new ragas are seldom explored..

The composition of Wodayar ‘O jagadamba’ Raga narayanadeshakshi triputa tala has not been rendered…

Thyagaraja’s
innallu-nannEli in Raga GhanTA
…
darishunchuta in Raga mOhana

MD’s
kanakAmbarI-kAruNyAmRta raga kanakAmbari
..(only TMK has rendered it—commercially..)

nAgAbharaNaM In raga nAgAbharaNaM

GK Barathi’s
Maravamal eppadium ninai maname..Sri ragam
Hara hara siva sankara…nattai

And many more such songs of venkatakavi…and others have no takers.
Only a few of the saptaratna songs have been rendered..
2. Gowlai – “Aganitamahimā and
5.Thodi – “Jatādhara Shankara
are still to be explored by any except Chitra veena Ravi Kiran Commercially..
Ovk's 'non illai' appearing next to Thaye Yasoda ( I am writing from memory)

The beauty of these and other similar unexplored ones may be brought out in the Lec Demo along with any other reason for skipping such songs..

Smt Suguna Purushothaman and Sanjay suubramaniam can be the pick..

[eesha]

1) Uniqueness of Parur style of violin playing by Dr M.Narmadha
2) Comparison of Carnatic and Hindustani Gamakas by Sriram Parasuram / Dr M.Narmadha
3) Lyrical & Musical excellence in Patnam Subhramanya Iyer kritis by Embar Kasturi

[msakella]

In general, mostly, people are interested mainly in arranging only music-concerts or Lec-dems on how to appreciate the performers’ music and I have never heard of any Lec-dem or workshop held on the methods of teaching music which help the poor aspirants and their parents a lot. While there are 5 or 6 kinds or even more of mathematical applications in respect of our Svarakalpana many of them are not brought out in any Lec-dem except the ‘so called sarva-laghu with Raga-bhava’. While the performer always strives hard how to make the listener enjoy his/her musical talents a teacher always strives hard to shape an aspirant with all the abilities and the society always needs more a teacher than a performer. That is why more Lec-dems and workshops on the technical aspects of music must very frequently be arranged for the benefit of the aspirants to shape them both as performers and teachers and if you arrange such Lec-dems in the forth coming season I certainly wish to attend them to learn something from them. amsharma

[munirao2001]

Thanjavooran
Gana meant the group-sixth mandala of Rig Veda-vi.40.1.-collective characteristic of tribal society. Gana means the song of the collective or group-essentially prayer for food. "annum mo bhagwan agayatu asanayam va iti""-Chandogya upanishads important hymn-occurs four times-i.165.15-the first mandala of the Rig veda - "O Maruts, this panegyric is for thee ( to charity); that we may know the food, as the spoils of victory;and meant for the (nourishment of the ) body". Gaana "singers were singing like sama-singers, in both the meters of gayathri and tristubh"-ii.43.1. i.12.-Chandogya upanishad passages gives the singing divisions-Himkara-preliminary vocalizing;Prastava-introductory praise; Pratihara-response;Nidhana-conclusion. Udgitha meant loud chanting, of exact-sama veda. Bahipavamana, name of a vedic stoma-praise, eulogium and
hymn, sung out side the vedic-altar.
Thyagaraja must have created the magnum opus-Pancharatna Keertanams meeting the requirement of Chandogya Upanishad.

munirao2001

[munirao2001]

msakella garu

The knowledge sharing in Indian Classical Music consists of -1. Workshops for the students of music and teachers for the advance training or knowledge and 2. Lec-Demonstrations for both the pandita and pamara, after the Gurukulavasam learning becoming not preferred. For all those interested but not initiated rasikas, music appreciation lec-demos must be held and for all those initiated and seeking specialized knowledge or upgrading workshops must be held.
I sincerely wish and suggest here, the combo of Dr.Radha Bhaskar-Music Appreciation and msakella- Kalpita Sangita to be arranged for the benefit of students and rasikas like me.

munirao2001

[vgovindan]

....not initiated rasikas....

SiSur vEtti, paSur vEtti,vEtti gAna rasaM phaNiH

[Rsachi]

Parivadini,
I cannot add more ideas and names for lecdem content. But I do have a wish about the format and medium.
Has anyone explored an interactive video tutorial format? Like someone presents a module. I can watch it on say YouTube. I ha e questions and suggestions. I upload my question (let's keep it as audio from questioners). The presenter takes up these questions and responds in a second follow up YouTube video. And this can go on for say 2/3 rounds.
Honestly given the challenges of travel and time, the time shift interactive video format would be to my mind the best.
I think Citrix has such conferencing software and I have used it once for one of my presentations.

[thanjavooran]

Shri Munirao,
Please refer topic under Ghanam ref http://www.rasikas.org/forums/viewtopic.php?f=2&t=25
Thanjavooran
26 10 2013

[msakella]

Rsachi,
Yes dear, such conferencing helps the aspirant follow the relevant documents in the form of pdf files and audio-files furnished in the form of CDs or DVDs in a website along with the relevant video-files uploaded to ‘youtube’.

In fact, music can neither be taught nor learnt but acquired by following some aids (pdfs, audio and video-files) relating to some technical aspects along with constant listening of the material by a brilliant aspirant. Nearly 50 or 60 years back, prior to the invention of the tape-recorder, all the so called music-teachers who, in fact, are mainly performers but resorted to teaching also, are used to sing or play music themselves and ask the disciples to follow them singing or playing. Thus, all have a blind belief that music could be acquired only by listening and following the teacher successfully and, thus, many years of time was spent in this process to acquire music by the aspirants. This is being followed since many centuries.

For example, in the process of learning tailoring, we cannot treat it as teaching if the tailor-teacher gives us 100 pants and 100 shirts already stitched. If he initiates the aspirant in getting the physical measurements of the body of a person and to stitch the cloths accordingly we can call it teaching of tailoring. In the same manner, even though many of these music-teachers do not agree with me, this applies to cooking and music also. In these performing arts the process of both teaching and learning also must be made performance oriented. Thus, the teacher remains as a guide not to let the aspirant miss the right path. Even I realized this only after 5 years after my retirement as a music-teacher. By all this, I sincerely believe, while the teacher’s role is less than 10% the aspirant’s role is more than 90% in this process. For this, this kind of conferencing is a better solution. Just to implement this, I have uploaded two audio-CDs along with some pdf files to ‘sangeethamshare’ and 700 videos to ‘youtube’ to be helpful to the aspirants. amsharma

[Sivaramakrishnan]

A topic that could benefit many:
'How to appreciate a tani aavartanam'

I have found that rasikas are carried away by the harmless Sarvalaghu prayoga-s and bubbly Teermaanams (mutthhayppu-s) and possibly the jovial mood of the percussionists on stage who are 'cleared' then and there by the main artist. The 'taala pounding' and approval of the the 'knowledgeables' in the audience also give indication of the laya merit . it's ecstasy all around when the singer resumes 'the point where left' after the final korvai to a thundering applause.

( How to identify the point of re-entry by the main artist and the final Korvai are still elusive to the lay listener! Several unseasoned artists even on the stage take cues from the mridangist to resume after the Tani!)

Media reviews are invariably bereft of the technical aspects of the percussion department.

Let a Mridanga Vidwan (of reasonable repute) talk with an instrument (and vocal support by an ordinary singer). Let him not bring an army of upa-pakkavaadyams! No audio/video clippings please! He must communicate well and clarify the doubts of the listeners)

[Nick H]

That is a very good idea, and your suggested requirements would help to keep the presentation clear, straightforward, and hopefully understandable to all.

[kvchellappa]

Karaikkudi Mani made one presenation:

http://shabda.co.in/?q=node/58

[varsha]

In fact, music can neither be taught nor learnt but acquired by

Reminds me of a great piece of advice

When I was young, I wanted everything and all at once, until our old Scottish Minister explained things to me like this:
One night he dreamed that he saw a new shop in the High street. He went in and saw an Angel behind the counter. Nervously he asked what the shop sold.
“Everything your heart desires “ the Angel said.
“Then I want peace on earth “ cried the Minister.” And an end to sorrow ,famine and disease”
“Just one moment “ smiled the Angel. ”You have’nt quite understood. We don’t sell fruits here. Only seeds”.

[Sivaramakrishnan]

Thanks Nick.
And thanks kvchellappa for the link. It's but a presentation on a specialised aspect of laya, the tisra nadai.
What I have in mind is the typical Tani in a concert.

[Rsachi]

From seeds to nuts, fruits and more seeds.
The teacher waters the plant, tends, prunes and fences. The seeds sprout, do the rest of the work and find their destiny!

Sri Sarma-garu, sir I am merely an interested listener. But I do know of your extensive work.
Thank you.

[vasanthakokilam]

All great suggestions. I fully agree with Akellaji's on more lecture demos on his teaching methods which are quite refreshing, forward looking and modern in the approach for imparting what we used to call 'high funda' knowledge!

Since it is a wish list, the thing that is in my mind is probably not a lec-dem material of this sort, it is probably more a session in a conference: "The business side of CM.". Meaning, how do the musicians who are not in the top tier ( say top 20 ) make money for a decent living? How many artists that the CM system as a whole supports? Not just in chennai but in all the 4 states especially in the second tier cities and towns. While the season conveys the impression that the system is quite healthy, we also hear from our members about near empty halls in other places ( even during the season for afternoon concerts in many places ). Do rasikas like to pay? If so what is the sweet spot? 100 Rupees? But then most concerts seem to be free. How does it all work? 'Has someone followed the money trail of the sysem''?. ( may be not too closely for it can open some pandora's boxes ). What about those people with music degrees ( even masters degrees and Phd ) which we do not hear much about? Are they pretty much a dead end career wise to the extent most graduates have to look for a job in other disciplines?

The topic in my mind is not necessarily 'How healthy is CM' but more from the angle of 'what are the various ways in which an artist who decides to pursue CM professionally make enough of a living, assuming they are not going to be in the top 20: performing, teaching, recorded music, AIR and TV performances, etc.' With this topic as the core, we can bring in all the above related topics. I know a lot of people want to understand it but this is something that not too many people want to touch.

Agreed that this is not a 8 A.M.to 9 A.M. lec dem meterial nor something to talk about during the post lunch slumber, but nonetheless a topic that can be covered during the season some where some how. One idea was to do this as part of the rasikas meet, but that will violate the informal nature of the gathering we all want.

Regarding the lecture dem ideas for Parivadini, tagging along with Sri. Sivaramakrishnan, we can make it even more interesting if they can demonstrate how the Kalpanaswara and thani avarthanam share common laya characteristics. We have talked about this in this forum quite a bit but I do not think a lot of rasikas out there realize how much they source from a common laya techniques. This is not necessarily about the notion that the thani resembles the kalpanaswara that preceded it ( that will be interesting as well, is it a myth or there is something to it ) but more about the commonality that is not apparent unless someone points that out. The low hanging fruit there is the Farans and kOrvai commonality which is easy to demonstrate but there may be more things there.

The above is a specific case of the general topic which is the interesection of laya and melody. That is quite significant in making a composition and performing niravals and kalpanaswaras and that topic has not gotten much exposure. The trick is to make it interesting and not make it like attending an academic lecture. In competent hands, I am sure that can be accomplished.

[vasanthakokilam]

Parivadini: After writing the above post, an offshoot idea came to me which can be darn interesting and it will be quite a crowd puller too. Have a competent film music director talk about how they approach composing tunes for songs. If you keep the focus on how they deal with that intersection of melody and laya, it can be made scholarly and revelatory rather than what we hear in interviews with such music directors. Compare and contrast that with the approaches that CM compositions take. I am thinking more of the modern era of film music directors, say, mid 70s and later. ( if you go prior to that, the CM basis of film songs will dominate the conversation which will not reveal anything new ).

To be sure, the topic is NOT about ragas of film songs, though we would like to hear what aspect of CM they adopt if any and how they modify it for their context, on the melody side and the laya side.

I am thinking a TMK-Ilayaraja, or Vedavalli-TMK-Ilayaraja would be a dynamite combination if it can be worked out. It does not necessarily have to have that much star power, but if you manage it, the star power can contribute to some commercial success behind it as well.

[msakella]

Dear brother-member, vasanthakokilam, While thani-avathanam is full of rhythm and solkattus but with a single musical note, Shadja Kalpanaswaram is full of both rhythm and music. Among them while music could be relished by anybody a thani cannot be relished without the instinctive knowledge of rhythm. I have made umpteen experiments upon many of my students in this respect and, ultimately, found that one cannot relish a thani without the acquaintance of both Chaturashra and Trisra-gatis. Many may not agree with me in the absence of such experiments. However, there are umpteen ways in initiating an aspirant in making him/her get this acquaintance. This kind of things could be discussed in a Lec-dem. amsharma

[munirao2001]

vgovindan
"SiSur vEtti, paSur vEtti,vEtti gAna rasaM phaNiH" - Yes, it declares that- 'gaana rasam' - music attracts - the attention. It is well known that the sound frequencies have influences on the mind-deha;karna; manas and chitta. Here our focus is on Indian Classical music - with rich content of all the four-deha;karna;manas and chitta and CM, in particular. Classical music appreciation and enjoyment requires minimal theoretical knowledge. Lack of this minimal knowledge only not attracting the large population of uninitiated and increasing the reach of classical music to larger population or masses. To increase the span of attention, its intrinsic qualities, appreciation, enjoyment and creating the desire for recall pleasure, the music appreciation lec-demo of serious and structured attempts at imparting the knowledge to the 'uninitiated' is compelling requirement. Feed back and growing popularity of Lec-Demo on music appreciation stand testimony to my wish. We should not be satisfied with very general truths but search and search for the facts for attainment.

munirao2001

[msakella]

As all are aware the Fine Arts are higher than the remaining of the 64 Arts. Even among these Fine Arts the music is the easiest to acquire irrespective of the age of the interested (nobody prefers to learn dance at his old age and have a broken leg). That is why everybody tries his level best to learn music by hook of by crook and to become a singer and receive the appreciation of one and all. That is why; always the first and foremost preference of a musician is only to seek ways and means only to attract the listeners and to earn, in turn, so many things from them. But, unfortunately, due to their inefficiencies or incapacities, many are unable to make a mark in the field and are compelled to resort to teaching (cheating) even though none of them are aware of the fact that they are not fit even to teach. Teaching is not that easy.

Since many centuries all the musicians have always been used to sing/play themselves and ask the aspirants to sing/play along with them and think that this only is the way to teach music. Even the aspirants or their parents have very sadly been thinking that this is the only way to teach music and nobody is ready to believe that this is the way of imitating others but not the way at all to teach or learn music. All my teachers also did the same and I also did the same while teaching my students. Even though many do not agree with me this only is the state of affairs of music-teaching in our country. Only by the grace of the Almighty I could realise this, surprisingly, only after 5 years after my retirement as a Teacher. A truly efficient and honest teacher can very ably initiate his brilliant student-kid sing/play Varnas @ 4-6-8 notes per beat along with intricate Kalpanaswaras within a year or two even before learning his first Kriti. Unfortunately, this is not possible in many cases as every musician is bothered how to attract the appreciation of the listeners and earn more but not to produce talented kids. amsharma

[vgovindan]

...music attracts - the attention...

Music is not about aesthetics. It is about communication. Music is a better means of communication than ordinary spoken language because, notwithstanding intonation and all, spoken language cannot convey the 'mood' (bhAva) appropriately. Therefore, music is placed in a higher scale than prose. Higher than music is 'drama' where the actor can 'become' the character and truly convey the mood to the audience. There are many instances where the actors becoming one with the character and moving the audience to trance. This is the true characteristic of a great artist.
On the other hand, musicians have become more and more proficient in aesthetics of music. They have become great vidwans, no doubt. But the sad fact is they are not that 'great actors' who 'move' the public - the uninitiated public - the appreciation mostly being the vidwat appreciation and not content appreciation. Nay, you do not 'appreciate' the content - you 'drink' it.
Elsewhere in one of the threads, it was mentioned that ARI had brought 'perfectionism' to concert. Yes, the present concert format is very well developed, but, it is totally lacking in 'soul'. The artists only crave for the attention of the audience. It is a moot point whether the artist should seek the audience or the audience should seek the artist.
In any other form of art, you do not dictate to the artists that his art should be so and so. When a painter paints, he paints from his heart to his liking - the viewers take it or leave it. They don't paint to cater for viewers' choice - in any case, can there be any universal liking?
Similarly, the CM concert format is surely catering for the 'initiated' rasikas to earn their hand clapping and foot tapping - it is an entertainment 'industry'. Somewhere in a nook or corner of a concert, one finds streaks of brilliance in the 'communication' aspect of music. But that is the end of it.
In these days when great masterpieces are reduced to 'tukkadas', I for one find no interest in the sham called music concert. Till the time the present format of concert as introduced by ARI rules the roost, music, as it should be truly conveyed, will continue to slide. Some day, somewhere, someone will come up to understand true significance of music and stop the rot of 'entertaining' - sort of 'pop culture' and make the audience 'feel' the music in their core. Till that day, goodbye from me to 'concert' music.

bhAva rAga layAdi saukhyamucE
...niravadhi sukhAtmulai tyAgarAjAptulaina vArendarO (mahAnubhAvulu)

[hnbhagavan]

Dear Sri Govindan,

Please spell out clearly which type of format will help in better communications with rasikas. I think it is more to do with the content rather than the format.Infact Sri TRS and Sri TMK
have tried out where concerts did not follow ARI format.
What was your listening period of Concerts? Give some more insight as to what u want convey.

[msakella]

At the first instance everybody must try to find a good singer/player who brings out his concert with all the needed nuances to satisfy all the listeners. For example, at the first instance, one must try to get a cycle to go to different places. But, at the same time, we all must also think to produce these cycles as many as we can to cater the needs of all of us. In the same manner, even in respect of good singers/players, we must think to produce good singer/players to cater the needs of all of us. In this process of producing many good singers/players, at the first instance, it is most essential to find efficient and honest teachers to get the job done successfully. In which way we can locate an efficient and honest teacher???

For example, it is not teaching at all if an English-teacher simply dictates three sentences of simple-sentence, complex-sentence and compound-sentence respectively and asks his student to follow him and write the same on a paper. By all this, only the student’s ability of following the teacher’s dictation and writing it on a paper increases but not the knowledge of grammar in writing these sentences at all. An efficient and honest teacher always explains the relevant grammar in writing these sentences and, giving relevant examples for the same, initiates the student to write these sentences on his/her own. In this process, naturally being new to this, the student commits mistakes in doing so. Then, the teacher points out the mistakes the aspirant committed and explains how to get them corrected. By all this, the student learns the grammar in writing these sentences, the mistakes, in general, committed by the students and the way how to correct them. This is the true knowledge in writing these sentences. Unless the student goes through all these steps he/she cannot write these sentences efficiently on his/her own. To make the aspirant proceed further on his/her own the teacher must push the student into this kind of process giving him/her the needed knowledge. The same thing applies not only to music but also to the entire teaching and learning process of anything.

But, unfortunately, all our music-teachers are always used to sing/play the lesson themselves and ask the aspirant to simply reproduce the same. By all this, only the student’s ability in following the teacher and to reproduce it successfully increases but not the knowledge at all. An efficient music-teacher always strengthens the rhythmical abilities of the aspirant at the first instance as the rhythm is the vehicle to carry the music efficiently and the vehicle must be in the proper condition to carry the person efficiently. For this the teacher, at the first instance, tests the instinctive abilities of the aspirant in rhythm and, accordingly, basing upon the depth of his/her rhythmical abilities, finds ways and means to increase them to the required level to push him further in music. Later, the teacher furnishes the required items with notation and initiates the aspirant to proceed further playing the instrument Casio along with the in-built Metronome and notes. In this way the aspirant relies upon the instrument even in the absence of his/her teacher and works hard to increase his acquaintance with this instrument which helps him/her a lot in his regular progress in music. The same is regularly happening in our
music institute, Swarabhangima in Secunderabad and all our kids are maintaining far higher standards than all other kids of their age.

By all this, one must understand that we all must strive hard in regularly holding Lec-dems and workshops to educate our kids and shape them as legends of music who, in turn, bring out memorable concerts catering to the needs of all the listeners over the globe. amsharma

[parivadini]

Thank you all for the responses. We considered each one of your suggestions. Organising an event during the season comes with several constraints and conflicts. I'm sure you will understand that if you idea was not featured, it is not because we didn't try. Here is the list (in no particular order).

Composers among Nagaswaram and Tavil artistes - Dr. B.M.Sundaram

Folk Music and its influence on Carnatic Ragas - Dr. SAK Durga

Thalicheri inscription at Thanjavur Brahadeeswara Temple - Dr. R. Kalaikkovan

Experiments with Krishna - Sri. Keshav (Painter)

Laya demystified - Vid. Palakkad Sreeram

Banis in Veena - Dr. Jayanthi Kumaresh

Observations of a technician and a musician by Vid. HMV Raghu (sharing his recording experiences of 5 legends - MLV, Balamuralikrishna, S.Balachander, P.Susheela and Voleti Venkateswarulu).

The Lec Dem fest will be from Dec 25 to Dec 31st. The schedule and the venue will announced shortly. The whole event will be webcast live on Parivadini (https://www.facebook.com/parivadinimusic)

Thanks again for your support.

[Rsachi]

Great!

[msakella]

Yes, very very great. amsharma

[munirao2001]

Parivardini

My feelings are mixed. Regret that one more opportunity to plan and organize event for CM out reach is lost.

munirao2001

[munirao2001]

vgovindan
Fine Art is rated highest when the particular chosen art form has the maximum potential for Self uplifting and Self abnegation, which re energizes and is capable of recall pleasure with the same intensity or almost the same intensity of the first experience of beauty- beautiful moments. Commonly understood as 'Aha' and 'Ah' moments. 'Aha' moment(s) is felt when you are consciously enjoying. 'Ah' moment is realized moments after the experience in sub conscious state surfacing in conscious state, thus self abnegation occurring. Is also communicated and understood as divine experience, because Self is lost. Either closest to the inner/pure Self or total identity with inner/pure Self.
Music before it developed as a refined art, music was used as communication to motivate fellow clan/tribe members in their common endeavor/labor and over a longer period of civilization, as a prayer for copious rain- agrarian communities or for food- pastoral communities, both based on proto materialism. When idealism developed and took the form of Religion, music also imbibed those idealism values. The music goal becoming attainment of SAT-CHIT-ANANDA. Music developed in theory and practice and with classicism, became Classical Music. Classical Music was confined to places of worship and music was ' entertaining ' the chosen God Head(s).
When the leaders became powerful in military-political-economical-religion and they had to be 'entertained' seeking favors, special classical music performances events were being held in royal court-darbhar. Events were also moved to the houses of rich and famous at later times. Entertaining 'cutcheri 'music gained popularity over the divine temple performances/concerts. Classical music became elitist. Content in Classical Music of those times-puratana cutcheri paddhati- was ragaalapti;prabhanda;raga-tana-pallavi. Time duration of cutcheries was 6-8 hours duration and temple performances more than 10 hours of duration.

Great Maestro Ariyakudi Ramanuja Iyyengarwal with clear understanding of the changing times and with the advent of Sabha cutcheri as support system and reduced attention span of 3-4 hours of the patrons, event managers and the rasikas, developed the 'modern' cutcheri paddhati. His paddhati had judicious mixture of Bhakthi idealism, Pandita and Pamara ranjakatvam- content with both idealism and materialism. In the past twenty years, patrons,event managers, media and the rasikas supporting only the performers who were willing to compromise and offer' pleasing to hear' classical music and helping them to become popular, becoming rich and idols; reduced leisure time; greater influence of other genre of global music;temporal stress busting exciting and pulsating music gaining popularity has lead to restricting communion with powerful God head(s) with communication with powerful people.

Chief goals of Classical music always been both attainment of 'jeevan mukthi' and entertainment. To getting deserving to be served, Serve!

munirao2001