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APPENDIX I
I, Jathin V.V, a Research Scholar, the Department of Music,
Kannur University have interviewed some eminent personalities in
the field of music to elicit certain information to include in my thesis
on The Role of Media in the Development of Carnatic Music. The
relevant parts from the interviews are given below. I start with
pranamams to great gurus and masters of the past and the present
and a prayer to the Almighty to help me do things in the right way.
INTERVIEWS
PARASSALA B. PONNAMMAL
Retired Principal and renowned Carnatic musician of Kerala
1. Namaste, Madam. When did you start your career as a
musician with the AIR?
I started my career as a musician with the AIR at
Trissinappalli. When Travancore Radio Station commenced
operation in 1946, I was transferred there.
ii
2. Did AIR influence you as a musician?
AIR provided me great opportunities to listen to good music
and learn from great masters.
3. You might have had chances to meet many great singers of
your time. Who were they?
Yes, I did and met Paravoor Ponnamma, M.A.Kalyanakrishna
Bhagavathar, Kumaraswami Bhagavathar, R.K.Srikantan, Alathoor
Brothers, M.L.Vasantha Kumari.etc. Vanoli was a special
programme broadcast where great musician like Dr. R.K.Srikantan
used to sing.
4. I have heard that it used to be a live programme in those days?
It was a live programme till 1946. Later on programmes were
recorded. This programme was a great experience.
5. The Carnatic lessons in the AIR were really wonderful and
useful. Your comments?
R Krishna Swami Sir was handling the classes. Occasionally I
also had taken the classes. Then there was a break. Now the
programme has been restarted with the intention that the listeners
would get acquainted with Malayalam compositions. In January
2013, I taught a Padavarna of Rukminitthampuratti in the raga
Arabhi set to Thisra Triputa.
6. Today the time allotted for Classical Music on the AIR is not
sufficient. I think you will agree with me?
Yes, I do. The time allotted for Classical music is very short.
Previously there were many special programmes, like
iii
Uthsavaprabandhas, compositions of Thyagaraja, Purandaradasa
etc. Two or three musicians sang together and it was recorded.
No one knows how and why that practice was discontinued.
Now Thiruvananthapuram AIR is trying its best to revive it.
Ganakairali, the programme containing Malayalam krithis is once
again started to bring back the lost glory.
7. It will be nice if you recall your experience at Doordarshan as a
singer?
My first programme in Doordarshan was a concert. All graded
artists in the AIR were given opportunities to perform in
Doordarshan. Other than these programmes I used to sing before
the invited audience at Gopicchettipalayam, Palghat, Calicut etc.,
sponsored programmes of the AIR. Madras AIR demands selected
compositions of Swathi Thirunal, Thyagaraja, those in Malayalam
etc.
8. Was Carnatic Music influenced by the Sabhas?
Yes, Sabhas have a great role in the promotion of Carnatic
Music. In Tamil Nadu there were more Sangeetha Sabhas. Concerts
are an inevitable part of marriage ceremonies and it gives great
encouragement to the musicians also. Once I was invited to Madras
for one programme but had to do fifteen performances at different
venues before I returned home.
iv
9. How do you feel when you listen to the live concerts of great
masters?
I have heard a lot of concerts in Sabhas and festivals
especially during Navarathri celebrations.
10. You are the first lady who sang in Navarathri Festivals. What
about it?
It was a wonderful experience. Words are not sufficient to
express my feelings.
11. Please tell us about your important awards?
• State Sangeetha Natak Academy Award and Fellowship.
• Gayaka Rathnam - Swathi Thirunal Sangeetha Sabha.
• Kendra Sangeetha Nataka Academy award.
• Swathi Puraskaram-Govt of Kerala.
• Samskrithi Award.
• Chembai Guruvayoor Puraskaram.
• Sangeetha Acharya Rathnakara – America.
• Acharya Choodamani –Madras.
• Sangeetha Acharya Kalabharathi.
• Sangeetha Kala Sagaram.
• Sapthaswara Award - Bangalore.
12. Does the role of the AIR in promoting Classical Music still help
the artist?
I have been singing in the AIR for the last 72 years.
Importance given to Classical Music in the past and its effects are
distinct and clearly visible. In the forties and fifties, the contracts
v
for the programmes were signed every 45 days so that all artists
would be busy with their preparations. But now the case is totally
different. The artists are selected not on merit but on audience
choice. Qualifications are also considered as a criterion for
selection. Certain special programmes like Kuchelopakhyanam, and
Guruvayoor Suprabhatham by Jnanananda Saraswathi were
recorded when Cherthala Gopalan Nair was in charge of the
Programme.
**************************
vi
PARAVUR K RADHAMANI
[Eminent musician of Carnatic Music, one of the Paravoor
Sisters, who worked at Travancore Radio as an artist cum
announcer]
1. Good morning Madam. When did you start your career and in
which post?
I began my career as an Announcer cum singer in 1947, at
the Travancore Radio, a radio station started by Sri Chitthira
Thirunal Maharaja of Travancore.
2. I think that you are the first announcer of Travancore Radio? Is
that correct?
Yes, I was the first announcer of that Radio station.
3. Whose disciple were you?
My sisters and me - we are known as Paravur Sisters- were
disciples of Sri Semmangudi Sreenivasa Iyyer.
vii
4. Will you please explain your experience?
It was great experience to me that I got wonderful
opportunities to hear live concerts of many great musicians like
Rajarathnam Pillai, Ambalappuzha Brothers, Semmangudi
Sreenivasa Iyyer, Alathur Brothers, Chembai Vaidyanatha
Bhagavathar, G N Balasubrahmanian, Musiri Subrahmanya Iyyer
etc. I got a chance to play an opera with great Ariyakkudi Ramanuja
Iyyengar and other eminent musicians of that time. That opera was
written by Annaswami Bhagavathar.
5. Who was the programme executive of that time?
Sri. Sethu Ramayyar, a great lover of Carnatic Music.
6. How much time did they allot for the programmes?
It was a golden age for Carnatic and also Light music. Carnatic
Music was broadcasted twice in a week, at 7.30am to 9.00am.
7. What about the music lessons?
The lessons in Carnatic and Light music helped those who
were interested to learn music. Sri Krishna Swami and Sri
Cherthala Gopalan Nair gave the lessons in Carnatic Music. And
Light Music lessons were taught by Sri Padmanabhan Nair.
8. Did you work in any other station?
Yes, I worked as an artist in Trissinappalli Station also. The
AIR was a great boon to the listeners of that time, but unfortunately
not today.
*************************
viii
MANGAD K NATESAN
[An eminent Carnatic musician of Kerala, worked as a staff
artist with the All India Radio]
1. Good morning Sir. You had been working in AIR for a long
time. When did you join AIR as a staff artist?
I joined Trichur AIR as a staff artist in 1975. Before that I used
to conduct programmes in the AIR Thiruvananthapuram from
1958.
2. What were the programmes that you conducted at Trichur
AIR?
Carnatic Music lessons, Concerts, Prabhatha Vandanam, Light
Music, Light Music lessons etc.
3. Did they show much interest in the programmes? How much
time did they allot for the programmes?
They showed great interest in the programmes. You can find
their interest from the time allotted for the programmes. The first
session is from 6.00 am to 9.00 am, then 12.30 pm to 2.00 pm, and
in the evenings from 5.30 pm to 11.00 pm. The most interesting
ix
thing is that the Travancore Radio was established only for the
purpose of telecasting Carnatic Music. Other arts forms like Drama,
Light Music etc. was included later. But in the due course these art
forms were given more prominence.
4. I have heard that all great artists and writers worked as staff
members of the AIR?
You are right. It was a common platform for all of us. The
artists were:-
Akkittham and Rameshan Nair - Literature
Sudha Varma, P K Keshavan Namboodiri - Vocal
Paramesvaran Namboodiri, Purushotthama Sharma - Mridangam
Thiruvizha Shivanandan - Violin
T V Ramani - Violin
Anandapadmanabhan - Veena
The announcements were also made by the artists themselves. M D
Rajendran, M Thankamani, Vimala Varma, Kousalya were in charge
of Drama and Poetry, announcements respectively.
5. Sir, please tell us something about the Travancore Radio?
The Travancore Radio was instituted at Thiruvananthapuram.
It was exclusively meant for Carnatic Music concerts.
6. How much did the AIR influence your career as an artist?
AIR was a great blessing for the artists. It was the only
establishment that helped the artists to grow and flourish in their
chosen fields. It provided us a common platform where we met,
discussed and enriched ourselves. These discussions were rich in
x
content and wide in subject matter. A lot of positive and progressive
changes in the content and style of the traditional art form
originated in these discussions and the AIR was playing a lead role
in all these transformations. It was a thrilling experience for all of
us.
7. Were the programmes live or recorded?
All the programmes during the day time were broadcast live.
But the programmes at night were recorded and broadcast later.
8. Did you conduct musical concerts in Doordarshan?
Yes. Grade A top artistes in AIR are given opportunities to
perform in Doordarshan both in National and Southern regional
programmes.
9. It should be a great experience to participate in National
Programmes. Will you please explain your experience?
Usually the National Programmes were conducted in front of a
large audience including guests of honour and it lasted for nearly
one and a half hours. But in Doordarshan it was a half an hour
programme. The concerts in Southern regional centers are one hour
programmes which were usually conducted at Chidambaram,
Kanchipuram or any other cultural centers in the South.
10. Do the media play any role in the growth of classical music?
I had been a part of the AIR since 1958. There used to be a
column named Vimarshana Veedhi (the path of criticism) in the
Newspapers, in which every programme was critically evaluated. It
was so sincerely done that it helped all of us to correct ourselves
xi
and move ahead with confidence. But we cannot expect these types
of impartial and healthy criticisms anymore in any of the
publications these days. The advent of Television diminished the
importance of the Radio. Since classical music was given much
prominence, the listeners were very much interested in it. But now,
our children do not get enough chance to listen to or learn good
music.
11. Who were the artists from other states?
Flutist N Hariharan Lakshmi Narayana Iyyer was from
Madras.
12. Was Ragam-Thanam- Pallavi recorded?
Yes. For 45 minutes and broadcast once in a week on a
specific day.
13. I have heard that there were lessons in Carnatic Music on the
Radio. Did it attract the audience?
Definitely, it gave a new awareness to the public. Its sahithya,
its meaning and swaras were elaborately explained. The classes
were so well planned that it attracted a large audience.
14. Who were the great musicians that handled classes in the AIR?
Cherthala Gopalan Nair, Krishnaswami at Thiruvananthapuram,
Pala C K Ramachandran at Calicut and myself at Trichur. We all
followed the Shemmangudi Bani.
15. The AIR promoted Classical Music in those days. Do they
promote it now?
xii
The number of listeners has gone down drastically. So the
interest shown by the AIR has also diminished. In the overflow of
other programmes our rich traditional art forms are ignored.
16. How are the artists graded in the AIR and Doordarshan?
In the preliminary audition round, the candidate are graded „B‟ or
„B‟ high according to their talent. The next round audition is at Delhi,
where A or A Top will be awarded. I belonged to A Top category.
17. I would like to know about your accomplishments and the
awards that you have received so far?
Kerala Sangeetha Natak Academy award in 1990.
Madhura Ganasudha Award by Madhurai Sadguru Sangeeth
sabha in 1993.
Sangeetha Rathna Award in 1995.
Sangeetha Thilakam by Thiruvambad Devasvam in 1995.
Sangeetha Acharya Award by Annamanada, Agni Cultural
Academy, etc.
18. What is your opinion about the role of Sangeetha Sabhas in the
development of our rich culture?
Sangeetha Sabha was a source of encouragement to a singer.
The way, in which a musical composition was appreciated by the
audience, is an encouragement. Aha!! Bale!! Sabhash!! These
spontaneous utterances always encourage musicians. Nowadays
music is rendered in front of a group of serious looking celebrities or
top brasses who clap simply along with others. Only a few of them
are able to understand, appreciate or enjoy the programmes. Actually
xiii
most of them are forced to sit there as a part of their official duty or
to show others that they love these forms of art. We can identify
them easily by their bored faces and dead eyes.
19. The audience of the past and present, can you differentiate
them?
In the past, people walked miles to listen to great musicians.
The programmes continued for two or three days. The comments
can be heard later on the Radio. It is something unheard of,
nowadays.
20. Can you remember the names of the critics of that time?
Mali, Kalki Krishnamoorthi in Tamil, George S Paul,
Vijayambika in Malayalam. The Hindu, Indian Express etc. helped us
a lot to became good musicians
21. Nowadays the most popular programmes on Television are
Reality Shows; your comments please?
I think, it doesn‟t help the participants much. They are not
exposed properly or fully to the world of music. Instead they are
trained just to perform for 10 to 15 minutes. Few programmes that I
saw on T V, were of very low standard. Moreover, the way in which
the items are judged is also not justifiable. The sarcastic comments
of the judges who want to please the audience may discourage the
participants at their budding stage. The discomfort they may feel
hearing these comments, may create an aversion in the minds of
upcoming artists and sometimes may even prompt them to quit the
field.
xiv
22. Film music attracts everybody. Does it have any influence in the
growth of Carnatic Music? What are the other factors that influence
the development of Classical Music?
In the beginning, renowned musicians were invited to act as
heroes and heroines of the film and they were asked to sing and act
in the movies. G.N.Balasubrahmanian, M S Subbulakshmi, M K
Thyagaraja Bhagavathar, Musiri Subrahmanya Iyyer, D K Pattammal
were real gems in the field of music. Keerthanas and devotional
songs composed in the tune of some Keerthanas were sung by them
in the films.
Amirkhan, Badegulam Ali Khan, Baiju Bavare etc were well
known in Hindi films and Dr P K Revamma, Kamukara
Purushothaman etc were associated with Malayalam films. Even the
Great Guru Chembai Vaidyanatha Bhagavathar enacted a role in a
film named „Vani’. In the film „Nam Iruvar’ D K Pattammal appeared
as a singer along with the great dancer Kumari Kamala. Devotional
and patriotic songs were also popularized by D K Pattammal through
films. The great musician G N Balasubrahmanian was the superstar
of the film world. When they were seen singing in the films, common
man began to feel a fascination for classical music. The role of drama
in the popularization of Carnatic Music also cannot be ignored.
Artists like S G Kittappa, K B Sundarambal etc popularized Carnatic
Music through dramas.
xv
In addition to these, chamber music conducted in Brahmin
houses, Chembai Sangeethotsavam, concerts during Navarathri etc.
were major attractions which promoted this divine music.
23. Has the Classical Music lost its importance recently?
The AIR was the only medium that helped classical music to
reach out to the common man. Radio stations like Ceylon,
Vijayawada, and Trissinappalli had largely supported the upcoming
singers. During that time only classical music was broadcast and
other varieties of music were not given much importance. Later,
School Youth Festival, considered to be the best in Asia, also played
a major role in promoting Indian Classical Music. Many of the great
singers were the products of this Youth Festival. I look forward to the
time when our mind and soul are fully dedicated to this divine art
form and the younger generation brings back the lost glory of
Classical Music.
************************
xvi
PADMASREE K RAGHAVAN MASTER
[Great music composer who retired from All India Radio]
1. Namasthe Sir, can you recall your times and experiences as a
musician with All India Radio?
I joined the AIR at Madras in 1942. Later we, a group of
musicians, were transferred to the Delhi station to form a wing
called “Additional South Indian Service” for the broadcast of
Carnatic Music concerts. We had performed many concerts. At that
time, the duration of concerts was four to five hours. After nine
years of service in Delhi, I came back and joined the AIR at Calicut.
It was a golden period in my life. In the concerts, I had on several
occasions, B Shashikumar on Violin, Sri Mavelikkara Velukkutti
Nair on Mridangam, Uduppi Sridhar on Ghatam as accompanists.
2. Sir, please explain your experience at the AIR?
I have had great and enriching experience at the AIR. Working
with the AIR, I came to recognised and became famous. This helped
my entry into the world of films. I got many opportunities to work
xvii
with great artists like Sri Pazhayannur Parashuraman, Srikrishnan-
flute; Unnikrishnan- Veena, Chidambaranathan, Venkatachalam,
and T S Babu are on Violin. Besides them, N N Kakkad,
Thikkodian, Uroob, Akkittham, K A Kodungallore, P Baskaran etc.
also were there at that time. The programme on Light Music started
from AIR station at Calicut. For me, it paved the way to become a
film music composer. P Baskaran compelled me to compose light
and film music. The AIR generally do not grant permission for their
artists to involve in outside programmes. So I had to let go such
opportunities. Sri Vayalar Ramavarma solved the issue on many
occasions by giving me fake names such as „Raghunath, Molly‟ etc.
Many of my compositions at that time have been released under
those names. I had composed songs for dramas such as:
Pambukalkku Malamund, Thalaykkumeethe etc,.
3. Sir did you work for K P A C.?
Yes, I was a principal artist of that organization.
4. Sir, we feel that your music compositions constitute an
important land mark in the history of film music?
I don‟t know how to respond. Till the time of the film
Neelakuyil, there were songs composed in the same tune of Hindi
and Tamil film music. I tried to change the style of songs. I had
brought our culture and reality in life through my songs. In this
film, I sang a song „Kaayalarikatthu…’. The song „Unarunaroo
Unnikkanna…’ was composed in the raga Bilahari.
xviii
Prof. P R KUMARAKERALA VARMA
[Rtd. Principal, Sree Swathi Thirunal College of Music,
Thiruvananthapuram. He was also a Top graded artist with the All
India Radio]
1. Namasthe Sir, please explain your experience as a musician?
I am a retired Principal of Sree Swathi Thirunal Music
Academy and also an artist of the All India Radio.
2. Sir, please explain the role of the AIR in the development of
Carnatic Music?
AIR was a great source of encouragement for Carnatic Music.
Classical lessons of eminent artists were broadcast by AIR.
3. Will you please tell about your experience as an artist with AIR?
It felt great when I got B‟ grade in 1960 at the AIR, and thus
got chances to sing for half an hour. In the beginning, there was
xix
only live recording and broadcast. Time schedule was strictly
observed. I felt lucky that I got chances to hear live programmes of
eminent musicians like Madhurai Mani Iyyer, N G Seetha
Ramayyer, C S Krishnayyer, Semmangudi Sreenivasa Iyyer, and G
N Balasubrahmanian. They were the Top grade artists of that time.
I got an opportunity to study under the great Semmangudi
Sreenivasa Iyyer.
4. Does the AIR promote Classical Music now?
The AIR is a powerful media. It helped promote Carnatic music
at that time. With the arrival of visual media, pure Carnatic Music
has been replaced by various forms of music in the hearts of people.
************************
xx
PERUMBAVOOR G RAVINDRANATH
[An eminent Carnatic musician and a retired staff artist with the
All India Radio]
1. Good morning Sir. How much did the All India Radio influence
your life as a musician?
During my childhood I used to listen to the Radio a lot. That
was the only medium available then. There were musical concerts on
Mondays and Wednesdays at 8.30 am and at 9.30 pm every day.
Southern Hook up was another programme on every Friday. I used to
walk long distances to listen to the radio programmes, because radios
were installed only in public places like the Municipal or Panchayath
offices or in the public libraries. Later radio became very common.
Music programmes start in the morning. The concerts of various
Sabhas like Thamil Isai Sangam, Krishnagana Sabha, Madras Music
Academy etc. were broadcast by the AIR from 9.30 am. But the clarity
xxi
was very poor because of the disturbances caused by changing
weather conditions, yet we enjoyed the music very much.
2. What about live concerts? Did you get opportunities to listen to it?
I heard a lot of live concerts. Mostly concerts were held at
temples like Vaikkam, Ambalappuzha, Mavelikkara, Shaarkkara,
Chengannur, Kottarakkara, Ettumanoor, Harippad, Thiruvallam etc.
In some temples the concerts lasted for 9 days. Temples have great
role in the propagation of Carnatic Music. I was lucky to get
opportunities to listen to Karakkudi Arunachalam on Nadaswaram,
concerts of eminent musicians like Madhurai Mani Iyyer, Lalgudi
Jayaraman, M S Gopalakrishnan, Chandrashekharan etc. on Violin,
Palaghat Mani Iyyer, Palaghat Raghu, T K Moorthi, Umayalpuram
Siva Raman etc. on Mridangam.
Every day there were two concerts. Leading artists from in and
out of Kerala participated in the programmes. Concerts were major
attractions in temple festivals. Violin and Nagaswaram was given
special places in our temple at Perumbavoor. I got opportunities to
hear Nagaswaram concerts of Karakkudi Arunachalam, Vallam
Krishnaswami Pillai, Ambalappuzha brothers, Thiruvizha Raghavan
Panikkar, Chengannur Brothers, Harippad Brothers, Ettumanoor
Chellappa Panikkar etc. It remains still alive in my mind. Sabhas
came into existence only later. I used to attend concerts even when I
was a young boy, studying in the10th standard. All these influenced
me a lot and paved my way to the All India Radio.
xxii
3. When did you join AIR?
I joined in 1976. I have been in the field since 1968.I began my
career with the AIR at Calicut and then at Trissur. There was a great
Mridangam artist named Puthukkod Krishna Iyyer and the great
musician K Raghavan master at the AIR, Calicut. In 1976 I joined
Thiruvananthapuram AIR as a music composer.
4. Will you please tell us something about the live concerts you heard
after joining the AIR?
That was a time when we had daily concerts at 8.30 am. From
1.30 to 2 pm the live concerts were telecast. It was a rare opportunity
for me to be in contact with great musicians from in and out of
Kerala. All the great artists were given the opportunity to conduct
programmes at the All India Radio. So these artists were usual
visitors to the AIR. Artists who performed at Soorya Festival also were
given chances to perform at the AIR. I got chances to hear live
concerts of Dr.M Balamuralikrishna, and Hindusthani concerts of
Parveen Sultan. I was lucky to listen to the concerts of K V Narayana
Swami, Lalgudi Jayaraman, Chandrashekharan, V V Ramani, V V
Subrahmaniam and also the artists from Nagarcoil.
5. Do you think that the young generation shows dedication and a
sincere effort to learn music?
Look at the possibilities open for the young generation. They do
have lot of opportunities, but they don‟t make use of it. The D D
Chennai telecast concerts held in their studio, in addition to those
held at some temples and Sabhas. CDs are easily available in the
xxiii
markets. With the advent of Internet we need not go out of our room
to listen to the great masters. With all these facilities available within
easy reach, youth do not show much interest in learning music.
6. Are you happy about the duration of time allotted to Classical
Music in the AIR?
The time allotted to Classical Music is now considerably
reduced. The number and duration of time for concerts at Navarathri
Mantapam are also reduced. I think that AIR is more commercialized
than before. Support from business community which provides ads
for the programmes is lesser in Kerala compared to that in Chennai.
Even in FM Radio Classical Music can be heard in Chennai. Music in
Sopana Sangeethasm, Kathakali Sangeetham, film songs etc. is based
on Classical Music. Though we blame the AIR for shortening the time
allotted, it is this medium that supports Classical Music even now. It
will be better if in National Programme of Music, Radio Sangeeth
Sammelan is continued as it is now. There is a tendency to cut short
this programme, if there is a live broadcast of cricket or live
Parliament News.
7. Your comments on Carnatic Music lessons?
These lessons are very beneficial to the music students and
music lovers. I had learnt a lot from these classes. These lessons were
handled by R Krishnaswami and later Neyyattinkara Vasudevan Sir at
Thiruvananthapuram, Mangadu Nateshan Sir at Trissur and Pala C K
Ramachandran Sir at Calicut.
xxiv
I conducted mostly Light Music classes and only a few
Classical ones. I taught the Ganapathi Krithi of Mayookha
Viswanatha Sasthri.
8. Has the approach of public information offices to the AIR changed
these days?
Formerly, newspapers used to give good coverage of the
programmes. Chennai programmes were advertised by print media.
Public information offices often used to gather comments from the
music lovers about the concerts. These comments were highly
beneficial and they helped and encouraged the singers a lot. We have
considered these programmes in the AIR to be a serious effort to
mould a budding artist to become a good singer. But now that effort
and seriousness are lost.
9. I think that new generation is not truly fascinated by the AIR, do
you agree with it?
Who is ready to go through the efforts and pain to learn music?
Moreover new generation is more interested in FM because of its
clarity.
10. Any advice to the new generation?
The IQ of new generation is high and they are capable of doing
great things. But they don‟t take any pain and show no dedication.
They have the potential to develop their own styles, but they are more
interested in imitating the old masters. Formerly great musicians have
their own style like Shemmangudi style, Alathur style, Chittoor
Subrahmaniam style, Maharajapuram style, Karakkudi style, M D
xxv
Ramanathan style, GNB style, Balamuralikrishna style, Cherthala
Gopalan Nair style, M G Radhakrishnan style, Neyyattinkara style,
Parassala B Ponnammal style, Palkulangara Ambikadevi style etc.
Everyone was different. This could be easily felt in their music. The
driving motive of the new generation in rendering music is the money.
Our great master musicians never thought about the quantum of
money they would receive, when they signed a contract. Even in the
reality shows, classical music is rare. More over the talented children
turn to light or film music, because they pay more. The musicians
never canvassed for chances. These days there are agents to book
programmes. The new generation should realize that it is their duty to
preserve and cherish these forms of art, so that our rich cultural
heritage could be passed on to the coming generations. It requires
dedicated efforts on the part of the new generation.
11. What is the role of dramas and films in popularizing Carnatic
Music?
Of course, they have a great role in popularizing Carnatic
Music. Drama was really a good medium. Kittappa, Sundarambal,
etc. did sing great Carnatic krithis in dramas. Composition of
Thyagaraja „Nagumo’ has been popularized through drama by
Vaikkam Vasudevan Sir, which people still believe was composed by
him. These compositions were sung in the beginning part of a drama,
„Raja Part‟. Actually drama was a complete or full time concert with
Ragalapana, Niraval, and Kalpanaswaras. So seeing a good drama
was like listening to a good concert.
xxvi
Formerly film songs were based on Carnatic ragas and some
Carnatic compositions were used in films. In old Tamil films, the
actors were great musicians for instance M S Subbulakshmi, G N
Balasubrahmanian, M K Thyagaraja Bhagavathar etc. M S
Viswanathan, K V Mahadevan etc composed the music in Carnatic
ragas. In Kannada films also songs were composed in Carnatic ragas.
In Malayalam films, the ragas like Shahana, Begada, Abhogi, Mukhari,
Shanmukhapriya, Charukeshi, Simhendramadhyamam, Mohanam,
Hindolam, Revathi etc. were popularized by the great musician
Dakshinamoorthi Swami. Sri. Devarajan master was very fond of the
raga, Mohanam. We got familiar with the ragas like Yamuna Kalyani,
Kalyani, and Valachi in the songs by M S Baburaj.
**************************
xxvii
KADAYKKAVOOR RATHNAKARAN BHAGAVATHAR
Eminent Carnatic musician and a retired Programme Executive,
All India Radio Thiruvananthapuram.
1. Good morning Sir. Where did your career with the AIR start?
I joined as a music composer at the Thiruvananthapuram AIR. I
taught light music.
2. Can you remember the names of artistes of that time?
At that time there were eminent artistes like Sree Mavelikkara
Krishnankutti Nair, Chalakkudi Narayana Swami, Doraisami,
Raghuveeran, Ganapathi Pillai etc.
3. Sir, what was your experience working with the AIR?
It was good, working as a Carnatic musician. The Programme
Executive of that time was Sri Sethu Ramayyar, who was a strict
officer and made us practice how to produce programmes of half-an-
hour duration. It was a great experience for me to study under great
masters. After the practice, we produced the group kritis like
Navaavaranam, Navarathri and rare kritis etc. It was a good
opportunity to study more compositions.
xxviii
4. What was the broadcast time schedule?
The time schedule of Carnatic music at that time was 8 am to
8.30am and 5.30 pm to 6.30 pm for B high artistes. Besides this, a
Mini National Programme on Fridays was conducted by grade A
artists. Grade A was the top grade at that time. Now it is A Top grade.
5. What about the programmes on Classical Music lessions?
These programmes during that time were great opportunities to
the listeners. There was a detailed class about the Raga, Tala,
Composer, Anyaswara Prayogas, and other kritis on that raga etc.
Today the time schedule does not help the students to study the
lessons through AIR. In the earlier days, the classes were broadcast in
the morning before the students went to the schools, but nowadays
the broadcasting of classical music lessons is not in the morning
session.
6. Did you participate in the National Programme of music?
I have participated in the National programme of the AIR at
Patna. The great Umayalpuram Siva Raman, Vellur Ramabhadran
and V V Subrahmaniam were my accompanists.
7. Do you perform at Doordarshan?
Yes, I do perform at Doordarshan also.
8. Will you explain about your achievements?
I got many awards like Gayakarathnam, Sangeethacharya
Puraskar etc.
***************************
xxix
PALA C K RAMACHANDRAN
[Top Rank Grade Carnatic Vocalist with All India Radio (Retd),
Disciple of Dr. Semmangudi Sreenivasa Iyyer.]
1. Namasthe Sir, please tell us about your career in music.
At the early age of 8, I started initial training in Carnatic Music
under Sangeetha Vidwan, Ganabhooshanam Late Kumarakam M. S.
Bhaskara Menon, a renowned Musician in Kerala. I got
Ganabhooshana diploma in music with distinction from Sri Swathi
Thirunal Music College, Thiruvananthapuram. After graduating from
Sri Swathi Thirunal College of Music, I had the good fortune of
becoming a disciple of the Paramacharya of the Carnatic Music world,
Sangeetha Kalanidi Padmavibhooshan Late Dr. Shemmangudi R
Srinivasa Iyer, under whom I studied Carnatic Music in the
traditional Gurukulavasa system for 10 years at his residence in
Madras (now Chennai). I am also an empanelled artist of ICCR (Indian
Council for Cultural Relations).
xxx
2. Sir, how about your career with the All India Radio?
I had performed at the All India Radio in 1961. In 1973, I
applied for the post of staff artist with the AIR. I have joined the AIR in
1974. It is a great honour to me to be known with the prefix, the
name of my place, to my name. Working with the AIR, I came to be
known as Pala C K Ramachandran. I am a Top- rank Grade Carnatic
Vocalist of the All India Radio. I had worked as a Senior Grade Vocal
cum Tampura Staff Artiste in the Calicut station of the All India Radio
from 1974 to May 2002. I had conducted a very popular programme
in music, Learn to Sing – lesions in classical music, broadcast from
the AIR Calicut for 28 years. This programme had successfully
broadcast 400 krithis of renowned composers. I had also composed
and modified the tunes for several krithis. It was my great experience
t to have hundreds of students through the All India Radio. There
were live programmes at that time. During that time, music lessons
were broadcast on five days in a week. Subsequently the time
duration was shortened. Nowadays it is as short as 10 or 15 minutes.
I had the heartening experience of receiving many letters, even from
Mumbai about usefulness of these lessons on Classical Music. Then I
conducted a programme named Ragaroopam, based on Ragas- its
lakshana, alapana, compositions in the raga etc. Kavyadhara was
another programme based on poetry. Besides these, I had sung
Vadakkan Pattukal, Ramayana Parayanam, Ottan Thullal Pattukal,
Mappila Pattukal, Pulluvan Pattukal, Bhakthi ganangal,
Kathakalippada, Ashtapadi etc.. Songs in the Mahal language of
xxxi
Lakshadweep were composed and sang by us. At that time an
eminent musician K Kunhiraman had composed many light music
songs and I sang these songs in Vivid Bharathi also. I had composed
many light music songs. When I joined at the AIR, the music
producers of Light and Carnatic Music were K Raghavan master and
Pazhyannur Parashuraman respectively. I had conducted another
programme called Music Magazine or Sangeetha masika based on
particular themes of Carnatic Music. e.g. Sangeetha Trimoorthikal,
Banies of Various Musicians like Chembai, Shemmangudi, Musiri,
Madhurai Mani iyyer, G N Balasubrahmanian, etc. We got Akashavani
Annual Award for a group programme. I got a chance to conduct a
National programme based on the folk songs of Lakshadweep. I went
to various parts of Lakshadweep and collected the songs that were
popular there and translated them in to various languages. They were
broadcast through the Delhi All India Radio. It was a very great
experience and honour to me that the AIR recognised me as a good
artist, composer, teacher etc. and I became well-known working with
the All India Radio.
3. Sir, can you recall your experience as a performer?
I have performed on various stages. My music performances
were telecast by the various Doordarshan Kendras. I have performed
four times, in the prestigious National Programme of Music 1991.
Prof. T N Krishan on the Violin, Sri Karaikkudi R Mani on Mridangam
and Sri T V Vasan on the Ghadam were my accompanists. I have
given solo music concerts four times in Akashavani Radio Sangeeth
xxxii
Sammelan conducted by the All India Radio. From 1972 onwards, I
have been giving solo music concerts all over India and at various
Sangeetha Sabhas including the Madras Music Academy in
connection with their annual music conferences. I have performed
solo music concerts before the „invited‟ audience as part of the A I R
Swathi Thirunal Music Festival Programmes and also participated in
several music festival programmes all over the country and abroad. I
have given solo music concert recordings for the National Centre for
Performing Arts Archives, Mumbai, Sampradaya Carnatic Music
Archives and Chennai Sangeetha Nataka Academy Archives. I have
performed a solo music concert at the Constitution Club, New Delhi
arranged by Swaralaya Sangeetha Sabha, New Delhi in 1991. The
Gramophone Company of India (H. M. V, Madras) recorded and
released my Carnatic Music Concert cassettes and compact Discs.
Trinity Productions, Calicut released my audio recordings of my Guru
Dr. Semmangudi‟s favourite Swathi Thirunal Krithis (Vol. I and II) and
Adhyathma Ramayana Alapana (Vol.I and II). It was a great privilege
and experience that I had assisted my Guru Dr. Semmangudi
Sreenivasa Iyyer for forty years as a vocal support in all his music
performances all over India till his last concert in 2000 and also
assisted him in his National Programmes of Music conducted by
Doordarshan and All India Radio several times.
4. Sir, please list the recognitions and awards you have received.
I was conferred with the T V Subha Rao Award for the best sub-
senior Vocalist, by the Madras Music Academy in 1981.
xxxiii
S. Ramaswamy Award for the best sub- senior Vocalist, by the
Madras Music Academy in 1982.
M D Ramanathan Award for the best sub- senior Vocalist, by the
Madras Music Academy in 1983.
In 1996, The Indian Fine Arts Society, Madras conferred on me
with the Best Raga Alapana Award.
In 1997, The Kerala Sangeetha Nataka Academy honoured me
with the Academy Award for Carnatic Vocal Music for the year
1996.
In 1999, the Olappamanna Trust honoured me with the
Deviprasadam Award for Carnatic vocal music.
The Hindu Temple Society of Malibu, Southern California
honoured me with the title of “Asthana Vidwan” of the Temple at
Los Angeles, California, U.S.A. in August 2002.
The Maharajapuram Santhanam Foundation Madras honoured
me with the “Maharajapuram Santhanam Award” for Carnatic
music in 2000.
The Madras Music academy conferred on me the Best Raga and
Best Ragalapana Award in the senior category of musicians in its
annual music conference in December 2001.
All India Radio conferred Top Rank Grade for classical Carnatic
Music.
The Cleveland Thyagaraja Festival Committee conferred on me
The Semmangudi Memorial Award for Carnatic music at
Cleveland, U .S.A in April 2009.
xxxiv
In 2010, Kerala Sangeetha Nataka Academy honoured me with
the Academy Fellowship for Classical Carnatic Music for the year
2009.
In recognition of my outstanding achievements during fifty-five
years in the field of Carnatic Music, Pala Edamattom- Meenachil
Grama Panchayath conferred on me Ragaraja Puraskaram 2011,
which was presented to me by the Hon. Kerala Finance Minister Sri
K M Mani.
*************************
xxxv
A. ANANDAPADMANABHAN
[Eminent Veena Artist of Kerala, who worked with the All India
Radio]
1. Namaskaram Sir, when did you join AIR as a Veena Artist?
I joined in 1975.
2. What was the role of the AIR in promoting classical music?
It was the only institution that helped the growth of Carnatic
Music in a big way. Seventies and Eighties were considered as the
golden period of Carnatic music. Radio was the only means through
which musicians became very popular. It had many listeners too.
Only classical music lessons and concerts were broadcast. But
nowadays the time allotted for classical music is short. The film music
has affected it badly. But it is the AIR which helped and is still
helping to popularize Carnatic Music.
3. How much did the AIR help your growth?
It is really worth mentioning. The AIR provided opportunities to all
artists to work together and enrich themselves. Interactions with the
xxxvi
Gurus helped us correct our faults and improve our skills. Moreover
we were able to clear our doubts with the masters. The AIR gave me
chances to compose music. All these factors have great role in
mouldings me as a Veena artist.
******************************
xxxvii
N S KRISHNAMOORTHI
[Rtd. Station Director and a connoisseur of music- Bangalore]
1. Good morning Sir. Please explain the role of Print media in the
development of Carnatic Music?
Print media have great role in the development of Carnatic
Music. It can certainly create awareness of music through reviews,
interviews, bio data of artists etc. Print media can certainly give the
theoretical aspects of music and inform the people on the
developments in the field of music. It can give knowledgeable and
constructive criticism of the quality of concerts and other musical
programmes. The „The Hindu‟ had a good supplement for music and
gave awareness of various Sabhas and critical analysis of music.
2. Sir, what about Radio and Television?
Radio and Television, the two powerful electronic media help the
popularity of music. The AIR is very proud of established and budding
artists. Common man gets the opportunity to listen to broadcast of
live and recorded music programmes. One can hear new krithis, new
xxxviii
interpretations, new ragabhavas, Tala, rare ragas etc. through radio
and television. Another important contribution of the AIR is ensuring
the availability of recordings of old masters and maintaining the
archives with wonderful recordings of old masters like M D
Ramanathan, Semmangudi Sreenivasa Iyyer, Maharajapuram
Santhanam, G N Balasubrahmanian, M S Subbulakshmi etc. AIR
preserves these archives for the coming generations.
Bangalore has a programme named „Amrithavarshini’. It is
completely devoted to classical, devotional, Hindusthani, lessons, rare
ragas, janya ragas etc.
3. Will you please throw some light on your career with the AIR?
I joined as a Transmission Executive and then became a
Programme Executive in charge of music at Bangalore Radio Station.
In Madras I joined as a Transmission Executive attached to the music
section.
4. Please tell us about your experience.
It was a great experience to me. One time or the other, most of
the eminent musicians came there. I had the opportunity to listen to
Semmangudi, T N Krishnan, Lalgudi Jayaraman, Ramanathapuram
Krishnan and other great musicians. They gave musical feast to
people. I was a student of music. Before I joined AIR, I learned
Carnatic Music. While at Madras, I had opportunities to listen to
serious music of top artists from very close quarters. M L Vasantha
Kumari used to come to our studio and I would sit next to her to find
out the items she would sing and the accompaniments she needed
xxxix
etc. I was in close interaction with Palaghat K V Narayana Swami, M
D Ramanathan etc. These had profound influence, later in my life, on
how I understood and appreciated music, elevating it from a very low
and superficial level of understanding to one, that was very serious.
The AIR helped especially during my tenure at Madras, to a very large
extent.
5. Did you work in other stations? What were your experiences and
how they influenced you?
Yes. From Madras I came to Bangalore on promotion as a
Programme Executive in charge of music section. Then I was
transferred to Gulbarga and later to Delhi. I was looking after the
English talk section and later in News division as News Editor. Then I
was posted in Dharvar Station as News correspondent. I was
promoted as Assistant Radio Director and posted in Kashmir. I was
with Radio Kashmir during 1979 to 1982. From Radio Kashmir, I
came back to Bangalore to work in the commercial service of the AIR.
I was promoted and posted at Delhi as Station Director and then after
sometime, I was transferred to Thiruvananthapuram, in 1990.
The programme „Prabhathabhedi‟ was started by me at
Thiruvananthapuram. It was a very good programme in which
eminent artists like Udayabhanu, M G Radhakrishnan, Kavalam
Sreekumar etc took part. From Thiruvananthapuram, I was posted
back to Delhi as a member of music audition board. It was a
wonderful experience to me, because great artists like K R
Subrahmoniom, Nedunoori Krishnamoorthi, K S Narayanaswami, etc
xl
were on the panel assisted by artists from Andhrapradesh, Karnataka,
Kerala, Tamil Nadu etc. There used to be discussions on what was
good, what was bad, what some items lacked, reason why one
couldn‟t be accepted etc. That was a great education for me on good
music. I could learn from the music audition system, the finer aspects
of music like Laya, Bhava, Raga, Gamaka, notes taken by the Raga,
its character etc.
Then I was posted at the AIR Bombay. It was a total change for
me. The culture was Maharashtrian and I was fascinated with it and
the music. I very much liked Rangasangeetham and the Abhang. It
was a very peculiar blend of flavours of Hindusthani and very
devotional Marathi music. I was totally fascinated. That way I got
several opportunities to know the different types of music, culture,
language, place etc. It was a very wide experience for me. After
Bombay, during the final one year of my service, I was posted at
Bangalore as Station Director. To my good fortune people looked at
me very kindly wherever I went. I think that I had earned the respect
of people.
6. Did the AIR influence you?
AIR influenced me a lot and I had contributed in small ways for
good of music. I had taken special care of the music section wherever
I worked. That was my special area of interest. I am in touch with
eminent artists, because of my passion for music.
xli
7. What about the „Travancore Radio‟?
I used to listen to Travancore Radio Station, because of my
father who was a great fan of Carnatic music. It is very difficult to get
the Travancore Station. Sir G P S Nair, who was a member of
Travancore Royal family, gave lot of things to Travancore Radio. At
that time the Navarathrai festival at Padmanabha Swami Temple was
broadcast by Travancore Radio. Alathoor Brothers, G N
Balasubrahmanian, K S Narayana Swami etc., used to perform. I went
to the festival one day and was thrilled seeing the atmosphere there.
One of my achievements in Kerala was conducting the Swathi
Thirunal Festival at the Padmanabha Swami Temple. I went to the
Palace to seek the permission of the Maharaja to organize the music
festival at the Temple. Permission was granted. To every body‟s
surprise, Maharaja came to the function, when it started at 8.30, to
listen to the music.
8. What about your awards?
One year we got three National Awards from Akashavani. I went
to Delhi to collect them. I got the best Programme Executive Award for
a musical feature, “Influence of Carnatic music on Ravindra Nath
Tagore”. Ravindra Nath Tagore composed music in the format of
Carnatic Music composition.
************************************************************
xlii
K. ANANDA VARMA
[Programme Executive at Doordarshan Thiruvananthapuram and
also an eminent Vocal Musician and Violinist.
1. Good morning Sir. The AIR and Doordarshan are the two powerful
media that helped the growth of classical music. Please give us your
opinion.
Both these institutions are under the same Ministry and they
gave prime importance to Carnatic Music. I do feel that Doordarshan
gives more opportunities now than the AIR.
The AIR can only contribute an audio track where as D.D is
different. They take care of visuals also. Once Amjath Ali Khan had
said that all other media should learn from the D.D, the way it
supported Classical Music.
2. Your experience in Doordarshan?
I joined in 1988. From 2008 to 2011, I worked as Production
Executive in Doordarshan Calicut. The recordings at Calicut
Doordarshan started with a concert of Sri Kanhangad Sreenivasan.
3. Please tell us the various stages of your development as a singer?
xliii
I was a teacher in the Department of Music at Govt. College
Chittoor, for 5 years. Then I did my post graduation from the Delhi
University securing first rank. Then I again worked at Govt. College
Chittoor for another 5 years. Later I joined Doordarshan with the aim
to propagate Classical Music and bring good programmes to the
common man. I am lucky to get wide exposure in the world of music.
4. What are the timings of telecasts of Classical Music in
Doordarshan?
During Chembai Sangeethothsavam it is from 8 pm to 9 pm every
day. Re-telecast is done at 4.30 am, the next day. In addition,
Carnatic Devotional songs are telecast between 5.30 pm to 6 pm.
There is a programme on Classical Music telecast nationally at 8 am
on Saturdays and 10 am on Sundays. There is yet another
programme telecast for South India. This provides an opportunity for
all the musicians from the South Indian states to exhibit their talents
and to make acquaintance with one another. There is a programme
telecast from Doordarshan Thiruvananthapuram from 9 am to 10 am
on every third Saturday of the month. An artist with grade A or A top
rating only will be given the chance. But artists graded B high or B
can accompany them. Chennai Doordarshan gives live telecast of
Thyagaraja Aradhana.
5. How often do you perform on Doordarshan?
It is a funny thing. I being the Production Executive I can invite an
artist or artists and telecast his or their their programmes. But I how
can I be the Production Executive of my own programmes. So I give
xliv
concerts in Temples and Sabhas in Palaghat, Thiruvananthapuram,
Hyderabad and Ernakulum etc.
6. The role of a performer or a Programme Executive, which one do you
prefer?
No doubt, I would like to be a performer. The ecstasy that you
feel during a performance can never be felt in the work of a
Production Executive. What I do here is that I provide opportunities to
other artists and that, of course is a blessing in disguise.
My relationship with top graded artists is very intimate and often
I share my thoughts with them too. Great musicians like Dr.
M.Balamuralikrishna whom I love and worship as a god meets me
whenever he comes to Thiruvananthapuram. Do you think it is a
small matter? Only A Top artists are invited by Doordarshan for
performances. Eminent musicians like T.N.Sheshagopal,
Neyyattinkara Vasudevan, K.V.Ramaswami etc. are invited to perform
in D.D programmes. Being the Production Executive, I was privileged
to listen to their live programmes at the studio.
An interviewer once asked me why I prefer this post, that too
leaving the job of a college lecturer.
My exposure will be very limited if I remain as a teacher. But
here at D.D, I get in contact with a lot of people and I can do
something for them. I try to promote the art forms of high aesthetic
value and I am satisfied with my profession.
7. What about „Sruthi‟- a channel for Carnatic Music?
xlv
Sruthi is a full time Carnatic Music channel. Twenty-six radio
channels are available in it. Concerts of all great masters preserved in
the archives can be heard through this channel. It is a programme
broadcast by Doordarshan using a digital set- up box to telecast
through air.
8 Sir, can you mention any special music programme conducted by
you?
Before the concerts, the musicians were introduced to the
audience. In addition, Ragam- Thanam- Pallavi was also broadcast.
The concerts lasted for 5 to 6 hours. Ragam-Thanam-Pallavi which is
no more telecast has to be brought back as a part of the concerts. With
this aim in mind a new programme has been started and renowned
musicians are invited for this purpose. I would like to mention the
other programmes taken up by the D.D.
Dikshithar Kritis and Navagraha Kritis. (Elaborate description of
these Kritis by Prof. Kumara Kerala Varma)
Compositions of Puthukkode Krishnamurthy.
Swathi Thirunal Kritis.
Irayimmanthampi Kritis.
Sopanasangeetham by Leela Omchery.
Interviews with musicians like Parassala B. Ponnammal,
preserved as an inspiration for the coming generation.
A combined effort by Neyyattinkara Mohanachandran and
Ramesh Narayan on Carnatic and Hindusthani Music.
*****************************
xlvi
B SASIKUMAR
[Eminent Violinist of Kerala and also a Rtd. staff artist of All India
Radio, Thiruvananthapuram]
1. Namaskaram Sir. Can we have your opinion on the roles played
by radio, television and film in popularizing Carnatic Music?
Radio is the medium that played the most important role in
popularizing Carnatic Music. Television and films have their own
limitations. In these, concentration of viewers is more on the visuals
than audio. But when we listen to radio, our concentration is totally
on listening. When I watch a film I see the visuals and follow the
story, generally ignoring the background music. We won‟t try to
analyse the music that we listen to.
2. Have you conducted any special programmes in the AIR?
Yes.
• Nadopasana – A programme including compositions of Sree
Thyagaraja.
xlvii
• Ganeshaprabhavam – Programme including compositions of
Muthuswami Dhikshithar.
• Swathi Pranamam - Programme including compositions of Swathi
Thirunal.
• Sapthaswarangalil layicha Mahanubhavan – A programme
about Sri Thyagaraja.
• Navaavaranam, Navagraha compositions.
• Thathanai menthina Thanayan – Aprogramme on Janaka Raga
Janya Raga combination.
• Thalathmakam Prapancham – A programme about Thala, etc.
3. Who were the great musicians with you at All India Radio?
Cherthala Gopalan Nair - Vocal
Mavelikkara Krishnan kutti Nair - Mridangam
Mavelikkara Dorai Sami - Mridangam
Somasekharan - Violin
Venkatachalam - Violin
M S Gopalakrishnan - Flute
Venkataraman - Veena
Ambalappuzha Hariharan - Vocal cum Thambura etc.
4. What were the fundamental changes that took place in your
career as a musician with the AIR?
The All India Radio provided me opportunities to mould myself
as an artist. It is a great blessing that I could perform as an
accompanying artist of great gurus. How can I get this exposure in
any other place? Every concert taught me a new lesson.
xlviii
5. Did films help the growth of Carnatic Music?
Films have played an important role in popularizing and thus
propagating music among the public. Previously old compositions
were used as such without any change in the films. Or all the songs
in a film were tuned in the same raga.
6. Sir, your advice to the budding artists?
Work hard. Dedicate yourself to learn and practice.
************************
xlix
S R MAHADEVA SHARMA
[A staff artist of All India Radio, Thiruvananthapuram, also an
eminent- Top grade Violin Artist]
1. Namasthe Sir. When did you join the AIR?
I joined the AIR in 1995, when I got „A‟ grade. At the age of
seventeen, I got „B high grade in my first attempt itself. After three
years, „A‟ grade was awarded.
2. When did your relationship with the AIR start?
My relationship with the AIR began when my father Prof
Subrahmanya Sharma, who was a graded artist in AIR, accompanied
various great musicians working with the AIR. He is the most senior
violinist in Kerala. My sister Smt. S R Rajasree is also a violinist with
the AIR.
3. What about the AIR Thiruvananthapuram?
The AIR Thiruvananthapuram is the foremost institution in
promoting Carnatic Music. The number of staff artist was small. So
they invited artists from outside and conducted the concerts. My
l
father was Professor at Sree Swathi Thirunal College of Music. They
used to have at least three concerts a day that means nearly ninety in
a whole month. Out of these ninety, my father used to be in at least
sixty programmes a month.
4. What is your opinion about the current programmes of the AIR?
What I feel is that the AIR and the Doordarshan are the only
two institutions that promote Carnatic Music concerts. But the
number of broadcasts and telecasts are decreasing steadily.
Ragamritham is the only regular programme from Monday to Friday.
On Friday at 9.30 pm, there is a lesson on Malayalam compositions
named Ganakairali. Ragam- Thanam –Pallavi has started once again
and another programme named „Sangeetha Smrithi’ is in
remembrance of great gurus. In addition to these programmes there
are more programmes from 10 pm to 11 pm on Mondays and
Wednesdays linking all the three Radio stations, Calicut, Trichur, and
Thiruvananthapuram.
One thing is true. There were eminent artists with the AIR. But
nowadays no recruitment takes place and the number of programmes
has also gone down. Now children learn classical music only to
perform in competitions for 10 to 15 minutes. Sincerity and
dedications are absent in the present day artists and young
generation.
5. It is heard that the AIR was the only institution which appointed
renowned musicians. Will you name a few of them?
Sri Neyyattinkara Vasudevan - Vocal
li
K S Gopalakrishnan - Flute
R Venkitaraman - Veena
R Vaidyanathan - Mridangam
I do remember an incident that I would like to keep alive in my
mind for ever. The great Veena artist Sri K S Narayanaswami, in his
last concert at the time of retirement requested me to play with
him. I do believe that it was a great recognition and honour for me
as an artist and the recording was done in 1999.
6. Though there was a controversy, your violin lessons were greatly
appreciated later.
I had been handling music lessons for 5 years. Station Director
Sri Muralidharan Sir told me to start a violin lesson. In the beginning
this suggestion was not supported by many and their suggestion was
that it would be better to conduct these types of classes in
Doordarshan. But the Director told me to continue it because it was
really beneficial for the musicians for their advanced studies.
Moreover it helped the beginners of vocal music. This programme
started on August 17, 2008. Later it was proved that it was well
accepted by those who love art and full credit goes to my dear Murali
Sir.
The classes were carefully planned in a such a way that the
listeners could learn step by step. I concentrated mainly on the
following points.
(a) How to learn music, Violin and the greatness of Violin.
(b) Nuances as where to break Sahithya and where not to.
lii
The classes were conducted on Sundays at 7. 40 a m, Vocal and
Violin on alternate weeks. I had received letters of appreciation from
the public and it gave me strength to continue it. We do have a
programme named „Software scheme‟. It familiarizes us with many
unknown Pancharathna Krithis like Kovur Pancharathnam,
Thiruvottiyur Pancharathnam, Narada Pancharathnam, Srirangam
Pancharathnam etc. sung by great musicians. Similarly in 2006,
thirteen Dhikshithar‟s Ganapathi Krithis and seven Ganapathi Krithis
of Sri Muthiah Bhagavathar were sung and recorded by Smt.
Parassala B Ponnammal Teacher. Even the rare compositions of
Dhikshithar like the „Sree Ganeshaparam’ in the raga Ardradeshi etc.
were also recorded and preserved.
Another programme was on the greatness of Violin. All the
emotions of the human mind can easily and effectively be reproduced
on a Violin. The programme on the „Sailikal (the style of play) of
Violin was broadcast since 1909. I have composed
Ganeshasthuthikal especially for Vinayaka Chathurthi.
7. Tell us something about the role of AIR in moulding you as an
artist.
I follow a particular style of my own, playing Violin, giving prime
importance to Gamaka, and their variations (Thanavillu prayoga) .
This is known as „chekyatio‟ (Thanavillu prayoga) in English. I have
played Violin for Sri M G Radhakrishnan in his Albums. Eminent
artists like Sri KV Narayana Swami, T R Subrahmaniam etc. had
praised me even while the programmes were going on. These
liii
encouragements helped me a lot and encouraged me to learn more.
My father was an accompanying artist in the concerts of K J Yesudas.
But later I used to accompany him in his programmes in US, Europe,
Australia, and other countries. At the age of 18, I began my career
with great musicians like Sri K S Narayana Swami, Dr. M
Balamuralikrishna, T N Seshagopalan and T V Shankaranarayanan. I
got all these opportunities only because of the All India Radio.
8. Any suggestions to the next generation about Carnatic Music?
If anybody asks me “What do you live for”, my answer will be, “It
is for the Violin”. I have been practicing violin since I was 10. The
youngsters these days do not have dedication. I had participated in
many competitions during my school days. Most of our great
musicians are former winners in Youth Festival. It is their dedication
that moulded them to become great musicians. But the children these
days seek short cuts to win a medal or recognition. Parents are mainly
responsible for it, because they want their children to be well placed
in other professions, rather than become good musicians. Everyone,
these days wants a quick learning process, which is something
impossible in music. A slow and steady process will only help one to
formulate a style of one‟s own. This degradation in the quality of
music and musicians is to be overcome. Government should take bold
steps to preserve our cultural heritage. The Classical Art forms have
the power to eradicate vices and create a cultured society. Many kings
and emperors were greatly interested in preserving our great culture
and transfer it to the next generations. But what remains now is only
liv
a small fragment of our old treasure. Though we try to improve the
present status, we do not get any support from the Government.
9. Sir, tell us about your achievements and Awards?
„Outstanding Violin Duo‟ awards for my sister S R Rajasree and
me, from America (by the organizers of Malayalam, Kannada, and
Telugu).
„Saraswathi Award‟ from Saraswathi Award Bureau of America.
Maharajapuram Santhanam Memorial Award from Chennai.etc.
*********************
lv
Dr. V.S.SHARMA
[Rtd. Professor of Malayalam, Editor, Translator, Research
Fellow etc. who wrote many books on Carnatic Music]
1. Namasthe Sir. Print media has influenced the development of
Carnatic Music. Please give us your opinion.
It has a prominent role in the development of Carnatic Music.
Journals like Sruthi Sangeeth Natak, Shanmukha, Samakalika
Sangeetham, Sruthilayam etc. are exclusively meant for promotion of
music. While N.V.Krishna Variar was the Chief Editor of
Mathrubhoomi, a page was set aside in the weekly for the Notations of
Music which was highly beneficial for the music students. A journal
was published in Hindi named Sangeetha. Even in newspapers,
articles and reviews were published. But this is no more done.
2. Sir, you wrote a lot of books on Carnatic Music. What was your
inspiration?
From my early childhood, I was deeply interested in Carnatic
Music. Famous musicians like Semmangudi Sreenivasa Iyyer,
lvi
Madhurai Mani Iyyer, K.S. Narayana Swami, and Alathoor Brothers.etc
influenced me a lot. I loved not only the vocal artists, but also the
accompanists like Mavelikkara Krishnankutti Nair, Chalakkudi
Narayana Swami etc. on the Violin. I tried to learn a bit of music. So I
thought to contribute in a different way, writing books.
3. Sir, please name the books you have written on Carnatic Music?
Sri Swathi Thirunal Jeevithavum Krithikalum- a complete work
edited with biographical and critical study.
Ganasanjayathrayam. Edition of some great musical
composition.
Navarathrikeerthanangal.
Naukacharithram
Brihaddeshi.
Sangeetha Sopanam. etc
************************
lvii
GEORGE S PAUL
[Rtd. Professor and a Music critic of Kerala]
1. Good morning Sir. Print media especially newspapers helped
promote Indian Classical Music. Do you agree with this?
Definitely it encourages the artists. Usually the reviews of music
festivals in Chennai and in other places are published in „The Hindu‟.
The detailed reports on the performances are of great encouragement
to the artist.
2. Will you please explain the role of Newspapers in detail?
Features related to the renowned artists are published in
Newspapers.
Interview with eminent artists or its detailed report always
thrills the readers. The experience of an artist will be the
guideline for the upcoming musicians.
The review of the performance helps not only the performer but
also the readers because it highlights the positive aspects and
point out the short comings.
lviii
3. In your opinion who is the best critic in India?
It is none other than „Subbudu‟ who interviewed many a
talented artists. I am proud to say that I was greatly privileged to
interview that great man. His reviews and interviews had greatly
influenced the growth of many artists like Mandolin U Sreenivasan.
4. About Music criticism in Malayalam?
No Malayalam publication gives enough space for reviews on
artists. Only thing that they do is showing photographs of the
musicians without giving the details of his music. In effect it has a
retro effect on the singers. In Karnataka, Delhi, Andrapradesh and
Tamil Nadu people are very proud of their cultural heritage. But
Keralites are totally different. The same is the case with other art
forms too in Kerala.
5. What is the role of news papers and magazines in encouraging
the upcoming artists?
This is an art form that we learn directly from the gurus. The
amount of strenuous work that one puts in during one‟s early years
to learn music and the unending practice lesions under the
guidance of the guru is the secret of success in one‟s career. This
should act as an eye-opener to a child who earnestly wishes to
learn music. After every performance, an interview will be held at
the press club and the report will be published in the daily. For a
beginner, the review is an encouragement.
lix
6. You said that in print media, newspaper is the most effective one.
Please explain?
Newspaper is a powerful medium. It reaches all houses in
Kerala. When you plan for a music festival or a concert, no other
media can give more publicity than a newspaper. Through the
Newspaper we can give the details of programmes.
E.g.: i) Short profile of the artist.
ii) His awards and accomplishments.
7. How long have you been working in this field?
Nearly 26 years, I worked for Indian Express, The Hindu and
The Economic Times.
8. Who were the most remarkable musicians of that time?
Dr. Semmangudi Sreenivasa Iyyer, Chembai Vaidya Natha
Bhagavathar, Dr. M. Balamuralikrishna, Maharajapuram
Sandanam etc.
9. Sir how will you compare the role of newspaper in the past and
present times in promoting Classical Music?
The dailies had provided enough space for art and culture.
That practice exists even now. But every art column deals with only
one topic that is cinema and its gossips. We cannot blame the
management of the newspapers for not appointing specialist writers
because they have became a rare species. As the number of
publications increased, competition also increased. I am sure,
competent candidates will definitely emerge since the society needs
them. The person who knows about music should start writing, and
lx
then the review will be well accepted by the public because the
source of information is authentic.
Indian Express and The Hindu took very positive steps in this
regard. But the The New Indian Express lacks the interest in this
field. In Malayalam dailies Mathrubhoomi has a better approach.
Music is the back bone of other arts forms and all other art forms
exist with the support of music.
**************************
lxi
LENIN RAJENDRAN
[Eminent Malayalam Film Director]
1. Good morning Sir. Please tell us your views about the role of
Cinema in popularizing Carnatic Music?
In my opinion ever green songs are always linked with Carnatic
music. Sometimes various ragas come into the same song. With the
same Arohana andAvarohana of a raga, great musicians express
different Bhavas when composing film songs. Great musicians
create this difference of Bhava even in concerts, while rendering a
raga. This technique is fruitfully used in film songs.
What is so particular about Dakshinamoorthi Swami, as a
music director is that he composed music strictly adhering to
Classical music. Sri M S Baburaj, G Devarajan master K Raghavan
master introduced folk melodies in film music. The film songs by Sri
M S Baburaj are mostly fashioned after Hindusthani music style. Sri
Raghavan master was much fascinated by folk songs which he
introduced in his film songs. Old songs are carefully structured on a
lxii
definite raga. There was a time when the actors themselves sang and
acted in movies. Almost all the old songs are based on Carnatic
Classical Music. These ragas are combined rhythmically and
emotionally in films. All the emotions in life like pleasure, anger, love,
etc. are expressed through different ragas. Accordingly the lines are
written by great lyricist. Lyrics well blended with the raga create
wonderful songs that touch the chords of our heart. This is why
songs have become an inevitable part of our life on every occasion.
The Carnatic music is the basic. Bhava is highlighted while
rendering the songs. Light songs and complex classical based songs
co-exist in movies. Along with these factors, Shri. A R Rahman
brought Western music also into film songs and blended them
wonderfully. Adhering strictly to the pure Carnatic music but coating
with fine touches of folk music, music Director Ilayaraja created
unforgettable melodies. His music created the wave of emotions in the
hearts of every Tamilian. Shri. A R Rahaman has skillfully and
homogeneously blended these factors with Western style in music and
pitch variations of the musical instruments, to create wonderful
songs. But I don‟t think they are long lasting. In my opinion, his
creations using fine Carnatic music remains evergreen in our heart.
2. What encouraged you to make the film- Swathi Thirunal?
This film is about the conflict of the dual personalities, artistic
and political sides of Sree Swathi Thirunal. He was a musician first
and then a Maharaja, who kept himself away from the in fight in his
court and engaged completely in his wonderful creations and finally
lxiii
embraced death. Except one song all others are Swathi Thirunal
krithis in this film. Shadkala Govinda Marar sings Thyagaraja Krithis
in the court of Swathi Thirunal. Swathi Thirunal praised Shadkala
Govinda Marar for this. It shows his broadmindedness. The other
songs in this film are composed in the same raga in which Sree
Swathi Thirunal composed his. The composition Mamavasada
janani in Kanada raga was popularized because it was included in
the film. In the same way the compositions like Kripayapalayasaure
in Charukeshi, Alarsharaparithapam (Padam) in Surutti, Devan ke
pathi indra in Darbari Kanada were accepted by the common people
through this film. Lyrics and melodious music of these songs are the
main reasons, for them to remain in our heart for ever.
3. Please tell us about your other films which have given importance
to music?
In the film „Chillu‟, M D Sreenivasan was the music director, a
Carnatic musician and composed songs in Carnatic ragas. The song
Chaithram chayam chalichu was composed in the raga
Chakravakam. Similarly Ravindran Master was the music director of
the film „Mazha‟, in which both Carnatic and Hindusthani ragas were
used perfectly. Songs in the films „Venal‟, „Makaramanhu‟ were
composed by M D Sreenivasan.
*************************
lxiv
PANDIT RAMESH NARAYAN
[Eminent Hindusthani musician and Music composer]
1. Namaskaram Sir. How do you look upon the role and influence of
media in the development of Carnatic music?
Carnatic Music attained its perfection during the time of
Trinities. Though compositions are plenty from the new generations,
they have limitations. There was no electronic media to help at the
time of the Trinities. It took considerable span of time for music from
Tanjore to reach other places. They had only oral means then.
Situation has changed much now. Media promotes every form of art,
including music aspirants, especially children.
2. When did you enter in the Akashavaani service?
I joined the Kannur Akashavaani in 1995. Presently I am on
long leave.
3 Why did you take leave?
Most people remain in the confines of their jobs. I want to use
the full potential of my abilities through hard work. With
lxv
Akashavaani, I will have to restrict myself within a particular frame
work. It is due to this restriction that many great musicians like
Pandit Hariprasad Chaurasiya, Pandit Ravi Shankar, Dr. M
Balamuralikrishna and others resigned their jobs.
4. How far did the AIR influence your dedication to music?
I used to enjoy good music through the AIR right from my
childhood. Still the AIR and Doordarshan alone give prominence to
the Carnatic music. All members of my family have studied Carnatic
music. This inspired me to join the Music department at government
college Chittur.
5. How for did Film as a medium helped the development of Carnatic
Music?
Indeed films have popularized Carnatic music immensely. In the
past the compositions of Carnatic music in films were done in the
same tune. There were films on Bhaktha Meera, Baiju Bavare,
Tansen, Sri Swathi Thirunal and such ageless stalwarts. Such films
propagated the pulse of music into layman‟s sensibility. Besides, the
contributions of eminent musician like Sri Noushad,
Dhakshinamoorthy, G Devarajan and others have been great and they
poured the nectar of music direct into multitudes.
Apart from this there were great musicians who acted in films
singing compositions, such as M S Subbulakshmi, G N
Balasubrahmanian, Musiri, M K Thyagaraja Bhagavathar, Dr K J
Yesudas and so on.
lxvi
6. How do you look into your music composition?
I long very much to see the use of Hindusthani music also along
with Carnatic music in films, thus help Hindustani music find a place
in the mind of common man. So I did most of my compositions in the
Hindusthani Ragas. My songs have been included in many
Hindusthani Bandhishes. I have tried them in films like Megha
Malhar, Garshom etc. I feel confident that people do appreciate them
very much. Film director Sri Kunhu Muhammed is enthusiastic
about the inclusion of Indian music in his films. At any rate, it is the
sincere dedication of our films, the AIR and Doordarshan that
promotes and rejuvenates our pure music.
****************************
lxvii
SREEVALSAN J MENON
[Associate Professor in R A R S, eminent Carnatic Vocalist and
Music Composer]
1. Good morning Sir. Please explain the role of media and its
influence in the popularization of Carnatic music?
Perhaps the contribution of All India Radio in the popularization
of Carnatic Music is incomparably great. In olden days the
Akashavaani used to go to villages and engage talented children for
their programmes. The music legend M S Subbulakshmi also grew up
in such a tradition. This medium under the government has given
maximum encouragement for the propagation of Carnatic music.
Later, after quarter of a century, when private media came into being,
there had been slight decline in fostering Carnatic music. But the
advent of the Internet has further promoted the popularity of Indian
music in both Hindusthani and Carnatic traditions. With the aid of
„You Tube‟, „Skype‟ and from some websites one could learn and enjoy
music from any corner of the world. Besides one can enjoy the
experience of learning almost direct from the mouth of the master or
Guru and this improves relationships through music. Considering
lxviii
this, during the last five years or so, the Internet media based
communication offers great encouragement to Carnatic music,
compared to the slow development during the earlier twenty years. I
feel that the Doordarshan channels have slightly withdrawn their
support and encouragement to Carnatic Music. Films up to 1990 have
tried the most, in one way or the other, to revive and refresh Carnatic
music. But the present generation songs do not. The print media like
Newspapers, journals etc. have their limitations, when the listening
skills are considered. Further, I feel that the F M Radio doesn‟t give
ample importance and consideration to the Carnatic Music.
2. Did AIR influence you in your musical career?
By all means, the AIR has great effect in the growth of music in
me. My learning and career graph moved up a little in this field
through the music competitions conducted by the AIR. We avail the
support of the Government also through such involvements.
3. Sir about your musical works?
Music is my passion. So I am trying to create musical works.
Musical albums are Mansoon Anuraaga, Vismaya,Manasa smaraami,
Madhuram gayathi, Sringaram, Begane Baro, Ramanan, Kshethranjali,
Navarasa Thillana, etc. These works included various Carnatic ragas.
Associated with films like „Mazha(2000)‟, „My Mother‟s
Laptop(2008), „T D Dasan Std. VI B (2010)‟, „Saint Dracula 3D(2012)‟,
„Kaliyachan(2013)‟, „Olipporu(2013)‟, „Swapaanam-( under production-
2013)‟, „London Bridge-(under production-2013)‟ etc.
**********************
1
APPENDIX II
LIST OF SOME SABHAS OR ORGANIZATION
1. Academy of Indian Music and Arts Indira Nagar Chennai
2. Anna Nagar Music Circle Anna Nagar Chennai
3. Asthika Samajam Thiruvanmiyur Chennai
4. Ayyappa Bhaktha Samajam Mandaveli Chennai
5. Balajee Fine Arts West Mambalam Chennai
6. Bharat Cultural Integration
Committee T Nagar Chennai
7. Bharat Kalachar T Nagar Chennai
8. Bharatheeya Kala Samithi Alakapuri Hyderabad
9. Bharatheeya Vidya Bhavan Mylapore Chennai
10. Brahaddhwani R A Puram Chennai
11. Brahmaganasabha Alamelumangapuram Chennai
12. Devaganavali Trust Royapettah Chennai
13. Dharmaparipalana Sabha Adayar Chennai
14. Divyadhvani Ayanavaram Chennai
15. D K J Foundation Alwarpet Chennai
16. Ganamukundapriya R A Puram Chennai
17. Gayathri Mahila Sangeetha
Sanmandali Guntur Hyderabad
18. Guruguhanjali T T K Road Chennai
2
19. Hamsadhvani Adayar Chennai
20. I I T Madras Music Club I I T Madras Chennai
21. Janapriya Gana Sabha Hanamkonda Warangal Hyderabad
22. Kalakrithi Egmore High Road Chennai
23. Kalamandir Trust T Nagar Chennai
24. Kalapradarshini Teynampet Chennai
25. Kalarasana R A Puram Chennai
26. Kalasagar Music Circle Anna Nagar Chennai
27. Kalavedi Poonamalle High Road Chennai
28. Kapali Fine Arts Mylapore Chennai
29. Karpagam Garden Satsang Karpagam Garden Chennai
30. Karthik Fine Arts Bheemanna Garden street Chennai
31. Lalgudi Gopala Iyyer Trust T Nagar Chennai
32. Lalitha Kala Vedika South Beach Road Chennai
33. Madras Kalibari West Mambalam Chennai
34. Madras Telugu Academy T Nagar Chennai
35. Maharajapuram Santhanam
Foundation T Nagar Chennai
36. Maruthi Bhaktha Samajam Nanganallur Chennai
37. M B K Trust C P Ramaswami Road Chennai
38. Mudra Fine Arts Nungambakkam Chennai
39. Mukthanbaram Trust Karpagam Avennue Chennai
40. Music Academy T T K Road Chennai
3
41. Music Education Trust Anna Nagar East Chennai
42. Mylapore Fine Arts Mylapore Chennai
43. Nada Imbam Luz Avennue Chennai
44. Nada Bharathi Saroor Nagar Hyderabad
45. Nadopasana Indira Nagar Chennai
46. Nandini Fine Arts V M Street Chennai
47. Narada Gana Sabha T T K Road Chennai
48. Natyanjali Trust Dr. Radhakrishnan Road Chennai
49. Nayaki Kotturpuram Chennai
50. Nungambakkam Cultural
Academy Trust West Mambalam Chennai
51. Pallavi Academy of Fine arts Habsiguda Hyderabad
52. Prayojana Trust Nanganallur Chennai
53. Raga Tharangini Mylapore Chennai
54. Rasika Ranjani Mylapore Chennai
55. Saraswathi Ganasabha Kakinada Hyderabad
56. Saraswathi Vaggeyakara East Thambaram Chennai
Trust
57. Sarvani Sangeetha Sabha T Nagar Chennai
58. Sathguru Sri Thyagaraja
Aradhana Sabha Nanganallur Chennai
59. South Indian Cultural
Association L B Stadium Hyderabad
4
60. Sri Bharathi Ganasabha Amalappuram Hyderabad
61. Sri Krishnagana Sabha T Nagar Chennai
62. Sri Maharajapuram
Santhanam Rasika Trust West Saidapet Chennai
63. Sri Parthasarathy Swami
Sabha Triplicane Chennai
64. Sri Purandara Dasar Bhaktha
Samajam T Nagar Chennai
65. Sri Ragam Fine Arts Mandaveli Chennai
66. Sri Ram Samaj West Mambalam Chennai
67. Sri Rama Bhakthajana Samaj K K Nagar Chennai
68. Sri Sangameswara Sangeetha
Samakhya Pithapuram Hyderabad
69. Sri Semmangudi Srinivasa
Iyer Trust Alwarpet Chennai
70. Sri Thyagaraja SamskrithaSangamu Brodipet Guntur
71. Sri Thyagaraja Swarabharathi Amaravathi Road Guntur
72. Sringeri Bharathi Vidyasram T Nagar Chennai
73. Sruthilaya Kendra Jeth Nagar Chennai
74. Surya art Academy Mourali Hyderabad
75. Tamil Isai Sangam Raja Annamali Mandram Chennai
76. Temple of Fine Arts K K Nagar Chennai
77. The Indian Fine Arts Society T Nagar Chennai
5
78. Thirupoonthuruthi Narayana
Theertha Swamikal Trust R A Puram Chennai
79. Thyaga Brahma Gana Sabha T Nagar Chennai
80. Visaka Music Academy Vishakhapatnam Hyderabad
1
APPENDIX III
LIST OF SOME CARNATIC MUSIC BOOKS
Name of book Name of the author
1 A Comprehensive Dictionary of Carnatic Music Vidya
Bhavani Suresh
2 Acoustics for Music students C Subrahmanya Iyyer
3 A Dictionary of South Indian Music
And Musicians Vol.I to Vol.III Prof. P.Sambamoorthi
4 Aesthetic and Scientific Values in
Carnatic Music Vidya Sankar
5 Aids to the Teaching of Music Pro. P.Sambamoorthi
6 Among Contemporary Musicians Susheela Misra
7 A practical Course in Carnatic Music
(For beginners) Prof. P. Sambamoorthi
8 A Rational Approach to Manodharma
Sangeetham Dr. Radha Venkatachalam
9 A study of the Compositions of
Purandaradasa and Thyagaraja Dr. Seetharama Lakshmi
10 Brihaddesiof Sri Mathanga Muni Prem Latha Sharma
11 Carnatic Music and the Tamils T.V.Kuppuswami
12 Chathurdandi Prakashika Venkita Makhin
13 Complete Krithis of Sri Thyagaraja Venkata Subbayya
14 Compositions of Maharaja
Swathi Thirunal In Devanagiri and
Diacritical Roman scripts T.K.Govinda Rao
2
15 Compositions of Muthuswami Dikshithar
T.K.Govinda Rao
16 Compositions of Sri Syamasasthri
Mr and Mrs N C Parthasarathy
17 Compositions of Thyagaraja T K Govinda Rao
18 Core of Carnatic Music A DMadhavan
19 Dakshinendian Sangeetham
Vol.I to IV A K Ravindra Nath
20 Dhikshithar Keerthanamala(15 parts)
Vainika Vidwan A SundaraIyyer
21 Dhikshithar Krithikal Prof. P R Kumarakerala Varma
22 Dr. M Balamurali Krishna- A study - Prabhukumari Varma
23 Eloquent garlands: a Dictionary of
Classical Music, Composers and Musicians
N Rajagopalan
24 Essentials of Musicology in South Indian Music
S R Janakiraman
25 Evergreen: Lyrics and Notations of
Carnatic Classic Songs T H Thyagarajan
26 Facets of Notation in South Indian Music
Sarada Gopal
27 Galaxy of Carnatic Musicians vol.1-2
Krishnamurthy. S V
28 Ganamrutha Varna Malika A S Panchapakesha Iyer
3
29 Getting Closer to Carnatic Music Vidya Bhavani Suresh
30 Great Composers Prof. P Sambamoorthi
31 Great Masters of Carnatic
Music-1930-1965 Indira Manon
32 Guru Guha Ganamrutham A S Panchapakesha Iyyer
33 History of Indian Music Prof. P Sambamoorthi
34 History of South Indian
Carnatic Music R Rangaramanuja Ayyangar
35 Indian Music and Swathi Thirunal - Vasanthy Krishna Rao
36 Institutionalised Teaching System of
Carnatic music T Unnikrishnan
37 Karnataka Sangeetha Sasthra A S Panchapakesha Iyyer
38 Karnataka Sangeetha Charithram K T Ravindra Nath
39 Lyrics of Thyagaraja T V Kuppuswami
40 Mridangam an Indian Classical
Percussion Drum Shree Jyanthi Gopal
41 Music and Temples. A Ritualistic
Approach Dr L Annapoorna
42 Musical heritage of India Lalitha Ramakrishna
43 Music in the Vedas G U Thite
44 Musical Instruments of India, their
History and Development B Chaithanya Deva
45 Musical instruments of Kerala Temple - Dr Latha Varma
46 Music of the South Asian peoples - Swami Prajnanananda
47 Music Through the Ages V Premalatha
4
48 Muthuswami Dikshithar and Thiruvarur
Sumathi Krishnan
49 Mysore as a Seat of Music Dr M B Vedavalli
50 Natya Sasthra Ascribed to
Bharatha Muni Manormohan Ghosh
51 Navam and the Carnatic Group Krithis
Leela Omcheri, N K Padma Varma
52 New Mansions for Music Subrahmanyam
53 Oothukkadu Venkata Kavi’s Kamakshi
Navavaranam& Saptharathna Krithis Chithra Veena N
Ravikiran
54 Pancharathna Ganamrutham A S Panchapakesha Iyyer
55 Patnam Subrahmanya Iyyer Dr P B Kanna Kumar
56 Pictures of Famous Composers,
Musicians and Patrons Prof. P Sambamoorthy
57 Ragam Tanam Pallavi, Their
Evolution, Structure And Exposition Dr M B Vedavalli
58 Ragapravaaham Dr M N Dandapani
59 Ragas at a glance Prof. S R Janakiraman
60 Ragas of the Sangeetha Saramritha
Sangeethakalanithi T V Subba Rao
61 Ragas Which Emerged During the
Post Trinity Period and Their Lakshana M B Vedavalli.
62 Ragasudharnavam K T Ravindranath
63 Ramanataka Keerthanai Shikazhi Arunachalakavirayar
5
64 Rare Melodies of Carnatic Music Dr Hamsini Nagendra
65 Research methodology for Music Dr S A K Durga
66 Ritual Music and Hindu Rituals
of Kerala Rolf Killius
67 Sangeeth Damodara Dr Hariram Acharya
68 Sangeeth Rathnakar Sarang Dev
69 Sangeetha Rathnakaram Rangaramanuja Iyyangar
70 Sangeetha Sampradayam: A Collection
of Lectures on Carnatic Music- Vol.1 R Vedavalli
71 Sangeetha Sasthram A D Madhavan
72 Sangeetha Sasthrapraveshika
Dr S Venkita Subrahmanya Iyyer
73 Sangeetha Sudha
Nookala Chinna Sathya Narayana
74 Semmangudi Srinivasa Iyyer Life and Music
V. Subrahmanyam and Sriram V
75 Shapping of an Ideal Carnatic Musician
Through Sadhana Panthula Rama
76 South Indian Music Vol.I to VI
Prof. P Sambamoorthi
77 Special Education Music Therapy Manorma Sharma
78 Sree Purandara Ganamrutham A S Panchapakesha Iyyer
79 Sri Swathi Thirunal Jeevithavum
Krithikalum Prof. Dr V S Sharma
80 Sri Swathi Thirunal Krithikal
6
Prof. P R Kumarakerala Varma
81 Syamasasthri Prof.P Sambamoorthi
82 Syamasasthri and His Descendents Dr Y Saradhambal
83 Syamasasthri and Other Famous
Figures of South Indian Music - Prof. P Sambamoorthi
84 Tanjore as a Seat of Music S Seetha
85 Techniques of Teaching music V V Lakshmi
86 The Art and Science of Carnatic Music
Vidya Bhavani Suresh
87 The Concept & Evolution of Raga - Dr Geetha Ravikumar
88 The Grammar of South Indian Music
C Subrahmanya Iyyer
89 The Holistic Garland N Rajagopalan
90 The Kriti in Carnatic Music Lalitha Ramakrishnan
91 The Madras Quartet Women in
Carnatic Music Indira Menon
92 The Melakartha Janyaraga Scheme
Prof. P Sambamoorthi
93 The Natyasasthra of Bharathamuni
Sri Sadguru Publications
94 The Splendour of South Indian Music. Dr P T Chelladurai
95 The Theory and Practice of Mridanga
Late Sri Dharmala Ramamoorthi,
Dharmala Venkiteswara Rao
96 Thyagaraja. A Great Musician Saint - M S Ramaswami Iyyer
7
97 Thyagaraja Krithikal Prof. P R Kumarakerala Varma
98 Thyagaraja’s Nouka Charithram Y Bhagavathi
99 Varnasagaram T.K Govindarao
100 Veena Tradition in Indian Music L Annapoorna
1
APPENDIX V
PRASAR BHARATHI BROADCASTING CORPORATION OF INDIA DIRECTORATE GENERAL: ALL INDIA RADIO
CARNATIC MUSIC: TOP GRADE ARTISTES AS ON 31.12.2013
S NO NAME OF ARTISTS TYPE OF MUSIC DATE OF TOP GRADE
AWARDED
STATION DATE OF BIRTH
1 MURTHY. T.K MRIDANGAM 28.04.1955 CHENNAI(N.Artist) 13.08.1924
2 KRISHNAN T.N VIOLIN 29.09.1967 CHENNAI(N.Artist) 06.10.1928
3 NATARAJAN A.K.C CLARIONET 1967 TIRCHIRAPALLI
4 BALAMURALIKRISHNA M. VOCAL LIGHT/VIOLIN 29.09.1967 19.09.1990
CHENNAI(N.Artist) 6.7.1930
5 UMAYALAPURAM K SIVARAMAN
MRIDANGAM 1969 CHENNAI
6 GOPALAKRISHNAN M.S VIOLIN 5.6.1976 CHENNAI Expired 10.06.1931
7 LALGUDI G. JAYARAMAN VIOLIN 1976 CHENNAI Expired in 2013
8 RADHA & JAYALAKSHMI VOCAL DUET 1976 CHENNAI
9 TRICHI S. SANKARAN MRIDANGAM 1976 CHENNAI
10 VELLORE RAMABHADRAN MRIDANGAM 1976 CHENNAI Expired in
(Feb2012)
11 MADRAS A. KANNAN MRIDANGAM 1978 CHENNAI
12 KARAIKUDI R. MANI MRIDANGAM 1980 CHENNAI
13 BALASUBRAMANIAM S.P LIGHT VOCAL 1980 CHENNAI
14 CHANDRASHEKHARAN M VIOLIN 1980 CHENNAI
15 RUKMINI T. VIOLIN 1982 CHENNAI
16 VALAYAPATTI SUBRAMANIAN A.R
TAVIL 1982 MADURAI
17 YELLA VENKATESWARARAO MRIDANGAM 1982 HYDERABAD
18 DR.S. PINAKAPANI VOCAL 1984 CUDAPPAH Expired in
2013
19 P. SUSHEELA LIGHT VOCAL 1984 CHENNAI
20 YESUDAS K.J LIGHT VOCAL 1984 CHENNAI
21 SIKKIL V. KUNJUMANI& N. NEELA
FLUTE DUET 1984 CHENNAI Expired in 2010 Retained
in Top Gr
22 SOUNDRARAJAN T.M VOCAL 1984 CHENNAI
23 SRIKANTAN R.K. VOCAL 1984 BANGALORE
24 VINAYAKARAM T.H. GHATAM 1984 CHENNAI
25 GURUVAYUR DORAI MRIDANGAM 1986 CHENNAI
26 Dr. BALANTRAPU RAJANIKANTHA RAO
MUSIC COMPOSER 1986 VIJAYAWADA
27 C. SAROJA & C. LALITHA VOCAL DUET 1987 CHENNAI
28 GOPALAKRISHNAN T.V. MRIDANGAM 1987 CHENNAI
29 ANNAVARAPU RAMASWAMI VIOLIN 1988 VIJAYAWADA
30 MADURAI T.N. SESHAGOPALAN
VOCAL 1988 TIRUCHIRAPALLI
31 SHANKARANARAYANAN T.V VOCAL 1988 CHENNAI
32 TRICHUR V. RAMACHANDRAN VOCAL 1989 CHENNAI
34 RAJAM S. VOCAL 1990 CHENNAI
35 GOVINDA RAO T.K VOCAL 1991 CHENNAI
36 RAVI KIRAN N. CHITRA VEENA 1991 CHENNAI
37 SRINIVAS P.B LT VOCAL MADRAS Expired
38 SRINIVAS U. MANDOLIN 1991 CHENNAI
39 VEDAVALLI R. VOCAL 1991 CHENNAI
40 KAMALAKARA RAO V. MRIDANGAM 1992 VISHAKHAPATNA
M
Exp in 2011
41 JANAKI S. LT VOCAL 1984 CHENNAI
42 DANDAMUDI RAMMOHAN RAO
MRIDANGAM 1993 VIJAYAWADA
43 PASUPATHO D. VOCAL 1993 CHENNAI
44 SUGANDHA KALAMEGHAM VOCAL 1993 CHENNAI
45 OMANAKUTTY K. VOCAL 1993 TVM
46 R. GANESH & R. KUMRESH VIOLIN DUET 1994 CHENNAI
47 YESUDAS K.J LT VOCAL & CL VOCAL
1984& 1994 CHENNAI
48 NAVANEETHAM T.R FLUTE 1994 TIRUCHIRAPALLI
49 HARIDWARAMANGALAM A.K TAVIL 1995 TIRUCHIRAPALLI
2
PALANIVEL
50 VISWESWARAN R. VEENA 1995 MYSORE
51 NOOKALA CHINA
SATYANARAYANA
VOCAL 1995 HYDERABAD
52 GAYATRI E. VEENA 1996 CHENNAI
53 KANYAKUMARI A. VIOLIN 1996 CHENNAI
54 SRIMUSHANAM V. RAJA RAO MRIDANGAM 1996 CHENNAI
55 SUBRAMANIAM T.R VOCAL 1996 CHENNAI
56 VANI JAYARAM VOCAL CHENNAI
57 KADIRI GOPALNATH SAXOPHONE 1997 MANGALORE
58 MANNARGUDI ESWARAN MRIDANGAM 1997 CHENNAI
59 S.R JANAKI RAMAN DR. VOCAL 1997 CHENNAI
60 T.S SHANKARAN FLUTE 1997 CHENNAI
61 SUBRAMANIAM V.V VIOLIN 1998 CHENNAI
62 SUDHA RAGHUNATHAN VOCAL 1998 CHENNAI
63 ARUNDHATI SARCAR VOCAL 1998 VISHAKHAPATNAM
64 L.R ESWARI LIGHT VOCAL 1998 CHENNAI
65 K.B.K MOHAN RAJU LIGHT VOCAL 1998 HYDERABAD
66 M. CHITTARANJAN MUSIC COMPOSER 1998 HYDERABAD
67 PALAGUMMI VISWANATHAM COMPOSER 1998 HYDERABAD EXPIRED
68 R. PITCHUMANI VEENA 1998 CHENNAI
69 P. SUSHILA LT. VOCAL 1984 CHENNAI
70 T.R KAMALAMURTHY HARIKATHA 1998 TIRCHIRAPALLI
71 KOTA SACHIDANANDA
SHASTRI
HARIKATHA 1998 VIJAYAWADA
72 KALYANAPURAM R.
ARAVAMUDAM
HARIKATHA 1998 TIRUCHIRAPALLI
73 MYSORE M. NAGARAJ(STAFF) VIOLIN 1998 MYSORE
74 K.V PRASAD (STAFF) MRIDANGAM 1998 CHENNAI
75 E.M SUBRAMANYAM GHATAM 1998 CHENNAI
76 TIRUVIZHA R. JAYASHANKAR NAGASWARAM 1998 THIRUVANANTHA
PURAM
77 P.S. NARAYANASWAMI VOCAL 1999 CHENNAI
78 M.A SUNDARESWARAN VIOLIN 1999 CHENNAI
79 TIRUVARUR BHAKTAVATSALAM
MRIDANGAM 1999 CHENNAI
80 A.V. ANAND MRIDANGAM 1999 BANGALORE
81 R. VENKATARAMAN VEENA 1999 THIRUVANANTHA
PURAM
Expired in
(2009)
82 DR. PRAPACHAM SITARAM FLUTE 1999 VIJAYAWADA
83 K.S. GOPALAKRISHNAN FLUTE 1999 THIRUVANANTHA
PURAM
84 MADURAI G.S MANI VOCAL 2000 CHENNAI
85 MANGAD K. NATESAN VOCAL 2000 THRISSUR
86 PREMA HARIHARAN VOCAL 2000 CHENNAI
87 SIKKIL R. BHASKARAN VIOLIN 2000 CHENNAI
88 DWARAM DURGA PRASAD RAO
VIOLIN 2000 VISHAKHAPATNAM
89 NAGAI R. MURALIDHARAN VIOLIN 2000 TIRUCHIRAPALLI
90 G.S. SRIKRISHNAN FLUTE 2000 CALICUT
91 A. PADMAVATHY VEENA 2000 CHENNAI
92 MULLAPUDI SRI RAMAMURTHY
MRIDANGAM 2000 VISHAKHAPATNAM
93 T.A.S. MANI MRIDANGAM 2000 BANGALORE
94 T.V. VASAN GHATAM 2000 CHENNAI Expired in (2010)
95 MANAKKAL S. RANGARAJAN CL VOCAL 2000 CHENNAI
96 NAGAMANI SRINATH CL VOCAL 2001 BANGALORE
97 RANGANAYAKIRAJAGOPALAN VEENA 2001 CHENNAI
98 AKELLA MALLIKARJUNA SARMA
VIOLIN 2001 HYDERABAD
99 COIMBATORE B. DAKSHINAMURTHY
VIOLIN 2001 CHENNAI Expired in (2010)
100 THIRUVANANTHAPURAM V. SURENDRAN
MRIDANGAM 2001 THIRUVANANTHAPURAM
101 MADRIMANGALAM S.
SWAMINATHAN
MRIDANGAM 2001 CHENNAI
102 MAVELIKKARA
K.VELUKKUTTY NAIR
MRIDANGAM 2001 THIRUVANANTHA
PURAM
103 S. RUGMANI VEENA 2001 THIRUVANANTHA
PURAM
104 RAJALAKSHMI
THIRUNARAYANAN
VEENA 2001 BANGALORE
105 CHITTOR G. VENKATESAN FLUTE 2001 CHENNAI
3
106 M.S.SHEELA CLASSICAL<.
VOCAL also
2001 BANGALORE
107 G. RAVINDRANATHAN MENON MUSIC COMPOSER 2001 THIRUVANANTHA
PURAM
108 M.G.RADHAKRISHNAN MUSIC COMPOSER 2001 THIRUVANANTHA
PURAM
Expired in
(2010)
109 T.K.RAMAMURTHY MUSIC COMPOSER 2001 CHENNAI
110 DR.K.VAGEESH CL.VOCAL 2002 DELHI
111 M.KODANDARAM& PARTY NAGASWARAM 2002 BANGALORE Expired in (2010)
112 NIDAMANURI LAKSHMI NARAYANA
DOLU 2002 VIJAYAWADA
113 B.CHANDRAMOULI KANJIRA 2002 BANGALORE
114 MAHADEVU LAKSHMI NARAYANA RAJU
MRIDANGAM 2002 VIJAYAWADA
115 M. J. SRINIVASA IYENGAR VEENA 2002 BANGALORE
116 T.V.RAMANUJACHARULU VIOLIN 2002 THIRUCHIRAPALLI
117 K.L.N.SASTRY VIOLIN 2002 DELHI Expired
118 M S NEELA RAMGOPAL CL. VOCAL 2003 BANGALORE
119 M S SUGUNA
PURUSHOTHAMAN
CL.VOCAL 2003 CHENNAI
120 MS RAMA RAVI CL. VOCAL 2003 CHENNAI
121 MS C. VIJAYALAKSHMI
SARMA
LT.VOCAL 2003 HYDERABAD
122 VANKAYALA NARASIMHAM MRIDANGAM 2003 VISHAKHAPATNA
M
123 PALAKKAD T.R.RAJAMANI MRIDANGAM 2003 THRISSUR
124 DR. DANDAMUDI SUMATHI RAMAMOHAN RAO
MRIDANGAM 2003 VIJAYAWADA
125 PERI SREERAMAMURTHY VIOLIN 2003 HYDERABAD
126 MS. R. JAYANTHI VEENA 2003 CHENNAI
127 MS. VINNAKOTA
RAMAKUMARI
HARIKATHA 2003 VIJAYAWADA
128 MYSORE GANAPATHY
SACHIDANAND SWAMY
DEVOTIONAL MUSIC 2003 MYSORE
129 MAVELIKKARA S.R.RAJU MRIDANGAM 2004 THIRUVANANTHAPURAM
130 RAMANI. N FLUTE 2004 CHENNAI(N. ARTIST)
131 S.R.RAVINDRAN VEENA 2004 CHENNAI
132 LALGUDI SREEMATHI
BRAHMANANDAN
VIOLIN 2004 CHENNAI
133 V.S.RAJAGOPAL MRIDANGAM 2004 BANGALORE
134 DR. L.SUBRAHMANIAM VIOLIN 2004 BANGALORE
135 ALUGOLU SATYA NARAYANA DOLU 2004 CUDDAPAH
136 A.K.RAVINDRANATH VOCAL 2004 NEW DELHI
137 NEDUNURI KRISHNAMURTHY VOCAL 2004 VISHAKHAPATNAM
138 S. P. BALASUBRAHMANIAM LT. VOCAL MUSIC COMPOSER
1984
2004
CHENNAI
139 R.N.THYAGARAJAN&
R.N.TARANATHAN
VOCAL DUET 2004 BANGALORE
140 S.P.BALASUBRAHMANIAM MUSIC COMPOSER 2006 HYDERABAD
141 PARASSALA B. PONNAMMAL VOCAL 2007 THIRUVANANTHA
PURAM
142 D. SESHACHARY&
D.RAGHAVACHARY
VOCAL DUET 2007 HYDERABAD
143 S. SANKAR VOCAL 2007 BANGALORE
144 SEETHA RAJAN VOCAL 2007 CHENNAI
145 DR.MYSORE M. MANJUNATH VIOLIN 2007 MYSORE
146 M.S.N.MURTHY VIOLIN 2007 VISHAKHAPATNA
M
147 M.T.RAJAKESARI MRIDANGAM 2007 BANGALORE
148 VANKAYALA
VENKATARAMANAMURTHY
MRIDANGAM 2007 VISHAKHAPATNA
M
149 TRICHUR C. NARENDRAN MRIDANGAM 2007 CHENNAI
150 S. SHASHANK FLUTE 2007 CHENNAI
151 SESHAMPATTI T.
SIVALINGAM
NAGASWARAM 2007 CHENNAI
152 MAMBALAM MKS SIVA NAGASWARAM 2007 CHENNAI
153 TANJORE T. R.
GOVINDARAJAN
TAVIL 2007 TIRUCHIRAPALLI
154 GURUVILLI DURGA RAO TAVIL 2007 VISHAKHAPATNA
4
M
155 V. SURESH GHATAM 2007 CHENNAI
156 SRIRANGAM S. KANNAN MORSING 2007 CHENNAI
157 ARUNA SAYIRAM VOCAL 2007 CHENNAI
158 LALITHA& HARIPRIYA VOCAL 2007 HYDERABAD
159 SHREEGAZHI S.
THIRUGNANASAMBAMDHAM
TAMIL DEVOTIONAL 2007 TIRUCHIRAPALLI
160 SHIMOGA SUBBANNA LIGHT MUSIC 2007 BANGALORE
161 D. SUREKHA MURTHY LIGHT MUSIC 2007 HYDERABAD
162 PUTHUKOTTAI R KRISHNA MURTHY
VEENA 2007 HYDERABAD
163 S. SUNDAR VEENA 2007 CHENNAI
164 NITYASREE MAHADEVAN VOCAL 2008 CHENNAI
165 R. A. RAMAMANI VOCAL 2008 BANGALORE
166 PREMA RAMA MURTHY VOCAL 2008 HYDERABAD
167 SEETHA NARAYANAN VOCAL 2008 CHENNAI
168 S.PREMA& S. JAYA VOCAL DUET 2008 CHENNAI
169 THIRUPOONTHURUTHY V. VENKATESAN
VOCAL 2008 CHENNAI
170 SHYAMALA VENKATESWARAN VOCAL 2008 CHENNAI
171 CHINGLEPUT C.
RANGANATHAN
VOCAL 2008 CHENNAI
172 DR. RADHAVENKATACHALAM VOCAL 2008 DELHI
173 PALA C.K. RAMACHANDRAN VOCAL 2008 CALICUT
174 H.S. MAHALAKSHMI & H.S.YADUGIRI
VOCAL 2008 MYSORE
175 M. VENKATESHACHAR VOCAL 2008 MYSORE
176 PROF. M.SUBRAHMANIA SHARMA
VIOLIN 2008 THIRUVANANTHAPURAM
177 K. V. RAJA IYYENGAR VIOLIN 2008 BANGALORE Expired
178 LALGUDI G.J.R. KRISHNAN VIOLIN 2008 CHENNAI
179 V. V. RAVI VIOLIN 2008 CHENNAI
180 R. RAMESH MRIDANGAM 2008 CHENNAI
181 K. SRIVATSA MRIDANGAM 2008 CHENNAI
182 PARASSALA V. RAVI MRIDANGAM 2008 THRISSUR
183 B.V.S. PRASAD MRIDANGAM 2008 VIJAYAWADA
184 SUKANYA RAMAGOPAL GHATAM 2008 BANGALORE
185 NEMANI SOMAYAJULU GHATAM 2008 HYDERABAD
186 TRIPOONITHURA N.
RADHAKRISHNAN
GHATAM 2008 TRISSUR
187 KESANAPALLI GNANANANDAM
KHANJIRA 2008 VISHAKHAPATNAM
188 VEDAVATHI PRABHAKAR RAO LIGHT VOCAL 2008 HYDERABAD
189 RATHNAMALA PRAKASH LIGHT VOCAL 2008 BANGALORE
190 MALATHI SARMA LIGHT VOCAL 2008 BANGALORE
191 VIDYABHUSHANA DEV. VOCAL 2008 BANGALORE
192 KOTTOR N. VEERASAMY NAGASWARAM 2008 TIRUCHIRAPALLI
193 THIRUPPAMBURAM TKS SWAMYNATHAN & TKS
MEENAKSHI SUNDARAM
NAGASWARAM 2008 TIRUCHIRAPALLI Expired
194 T.G. MUTHUKUMARASAMY
PILLAI
TAVIL 2008 TIRUCHIRAPALLI
195 K. BASAVAYYA TAVIL 2008 VISHAKHAPATNAM
196 K.V.RAMANUJAM FLUTE 2008 CHENNAI
197 SIKKIL MALA
CHANDRASEKHAR
FLUTE 2008 CHENNAI
198 DR. BHADRAGIRI ACHUTA
DAS
MUSICAL DISCOURSE 2008 BANGALORE
199 DHULIPALA SIVA RAMA KRISHNA SARMA
MUSICAL DISCOURSE 2008 VIJAYAWADA
200 R. RAMANI VEENA 2008 CHENNAI
201 ALLAM DURGA PRASAD GOTTU VADYAM 2008 CHENNAI
202 P. VASANTHKUMAR VEENA 2008 CHENNAI
203 A.ANANTHAPADMANABHAN VEENA 2008 THRISSUR
204 P. PURNA CHANDER MUSIC COMPOSER 2008 HYDERABAD
205 SHANTHA JAYATHEERTHA MUSIC COMPOSER 2008 BANGALORE
206 K.V.ABOOTTY MUSIC COMPOSER 2008 CALICUT
207 BOBBILI BHASKAR REDDY MUSIC COMPOSER 2008 HYDERABAD
208 RUDRAPATNAM S. RAMAKANTHA
VOCAL 2008 BANGALORE
209 DR. K SARASWATHI VIDYARTHI
VOCAL 2008 VISHAKHAPATNAM
210 SANJAY SUBRAHMANYAN VOCAL 2008 CHENNAI
211 K. S. CHITHRA LIGHT VOCAL 2008 CHENNAI
5
212 A.R.RAHMAN MUSIC COMPOSER 2008 CHENNAI
213 O.S.THYAGARAJAN VOCAL 2009 CHENNAI
214 N. P. RAMASWAMY VOCAL 2009 THRISSUR
215 MALLADI SURIBABU VOCAL 2009 VIJAYAWADA
216 M.K.SANKARAN NAMBOODIRI VOCAL 2009 THRISSUR
217 MANDA SUDHA RANI VOCAL 2009
VISHAKHAPATNAM
218 DR.M.NARMADA(STAFF) VIOLIN 2009 CHENNAI
219 DWARAM SATYA NARAYANA RAO (STAFF)
VIOLIN 2009 HYDERABAD
220 SMT. KALPAKAM SWAMINATHAN
VEENA 2009 CHENNAI Expired
221 SMT. REVATHI SREENIVASAN (STAFF)
VEENA 2009 CHENNAI
222 D. BALAKRISHNA VEENA 2009 BANGALORE
223 S. KASIM NAGASWARAM 2009 THIRUCHIRAPPALLI
224 THIRUVELLIKENI S SEKHAR THAVIL 2009 CHENNAI
225 V. N. BALACHANDER THAVIL 2009 KADAPAH
226 KOVILUR K V PALANIVEL THAVIL 2009 CHENNAI
227 T. NARAYANA THAVIL 2009 HYDERABAD
228 TANJORE R. KUMAR (STAFF) MRIDANGAM 2009 CHENNAI
229 NEYVELI R. NARAYANAN MRIDANGAM 2009 CHENNAI
230 DHULIPALA SRIRAMMURTHY MRIDANGAM 2009 HYDERABAD
231 NANJIL ARUL (STAFF) MRIDANGAM 2009 THIRUVANANTHA
PURAM
232 PATRI SATHISH KUMAR MRIDANGAM 2009 CHENNAI
233 TIRUVARUR VAIDYANATHAN MRIDANGAM 2009 CHENNAI
234 CHERTHALA A.K.RAMACHANDRAN
MRIDANGAM 2009 THIRUVANANTHAPURAM
235 TRICHY R. THAYUMANAVAN MRIDANGAM 2009 TIRUCHIRAPALLI
236 B. RAJASHEKHAR MORSING 2009 BANGALORE
237 COIMBATORE V. MOHANRAM GHATAM 2009 TIRUCHIRAPALLI
238 B.HARIKUMAR (STAFF) MRIDANGAM 2009 TIRUCHIRAPALLI
239 SMT. B. K. SUMITRA LT. VOCAL 2009 BANGALORE
240 SMT. RENUKA NAKOD LT. VOCAL 2009 DHARWAD
241 M.A. KRISHNAMURTHY MRIDANGAM 2009 BANGALORE Expired
242 V. MURALIDHARAN (STAFF) COMPOSER 2009 THIRUVANANTHA
PURAM
243 KALAGA KRISHNA MOHAN
(STAFF)
COMPOSER 2009 HYDERABAD
244 KANHANGAD C.
RAMACHANDRAN
COMPOSER 2009 CALICUT
245 S. RATHNAKARAN VOCAL 2010 THIRUVANANTHA
PURAM
246 DR. PANTHULA RAMA VOCAL 2010 VISHAKHAPATNAM
247 E. VAMANAN NAMBOOTHIRI VOCAL 2010 THRISSUR(STAFF)
248 T.S.RAMA VOCAL 2010 BANGALORE
249 TRICHY K. MURALI GHATAM 2010 TIRUCHIRAPALLI
250 TRICHY K.R.KUMAR GHATAM 2010 MANGALORE (STAFF)
251 C.P. VYASAVITALA GANJIRA 2010 BANGALORE
252 UDUPPI S. SRIDHAR GHATAM 2010 THIRUVANANTHA
PURAM
253 M.K.SARASWATHI VEENA 2010 MYSORE1
254 SREENIVASAN. S VEENA 2010 CHENNAI (STAFF)
255 B.SIVAKUMAR VEENA 2010 TIRUCHIRAPALLI (STAFF)
256 SHEIKH MAHABOOB SUBHANI&KALEESHABI
MAHABOOB
NAGASWARAM 2010 TIRUCHIRAPALLI
257 V. SATYANARAYANA NAGASWARAM 2010 VIJAYAWADA
258 VETTIKAVALA
K.N.SASIKUMAR
NAGASWARAM 2010 THIRUVANANTHA
PURAM
259 H.K.NARASIMAHA MURTHY VIOLIN 2010 MYSORE
260 USHA RAJAGOPALAN VIOLIN 2010 CHENNAI (STAFF)
261 LALGUDI VIJAYALAKSHMI VIOLIN 2010 CHENNAI
262 V.KRISHNAVENI VIOLIN 2010 VIJAYAWADA
263 C.S.ANUROOP VIOLIN 2010 THRISSUR (STAFF)
264 C.RAJENDRAN VIOLIN 2010 THRISSUR
265 S.SESHAGIRI RAO VIOLIN 2010 BANGALORE
266 N MANOJSIVA MRIDANGAM 2010 CHENNAI
6
267 CHERTHALA R.
ANANTHAKRISHNAN
MRIDANGAM 2010 CHENNAI
268 V.GOPALAKRISHNAN MRIDANGAM 2010 HYDERABAD
269 KUZHULMANNAM G. RAMAKRISHNAN
MRIDANGAM 2010 THRISSUR
270 ARJUN KUMAR MRIDANGAM 2010 BANGALORE
271 VEDARANYAM V.G. BALASUBRAHMANIAN
THAVIL 2010 TIRUCHIRAPALLI
272 KOTHAKOTA N. RAMA RAO THAVIL 2010 VIJAYAWADA
273 MANARGUDI
M.R.VASUDEVAN
THAVIL 2010 TIRUCHIRAPALLI
274 VALLURU SUBBAKRISHNIAH THAVIL 2010 KADAPAH
275 DENKANI KOTAI V. MANI THAVIL 2010 BANGALORE
276 S.N.SURESH HARIKATHA 2010 BANGALORE
277 KASTHURI SHANKAR LIGHT MUSIC 2010 BANGALORE
278 B.R.GEETHA LIGHT MUSIC 2010 BANGALORE
(STAFF)
279 P.V.SAIBABA MUSIC COMPOSER 2010 HYDERABAD
280 H. R. LEELAVATHY MUSIC COMPOSER 2010 BANGALORE
281 KONGAMPATTU A.V.
MURUGAIYAN
THAVIL 2011 PUDUCHERRY
282 DESUR
D.S.D.SELVARATHNAM
NAGASWARAM 2011 CHENNAI
283 JANAKI RAMANUJAM VOCAL 2011 CHENNAI
284 P UNNIKRISHNAN VOCAL 2011 CHENNAI
285 BHOOSHANI KALYANARAMAN VOCAL 2011 CHENNAI
286 NEYVELI .R. SANTHANA GOPALAN
VOCAL 2011 CHENNAI
287 S. SOUMYA VOCAL 2011 CHENNAI
288 MAHARAJAPURAM S.
RAMACHANDRAN
VOCAL 2011 CHENNAI
289 LALITHA RAGHAVAN VIOLIN 2011 CHENNAI
290 NEYVELLI B. VENKATESH MRIDANGAM 2011 CHENNAI
291 K.R.GANESH MRIDANGAM 2011 CHENNAI
292 J. VAIDYANATHAN MRIDANGAM 2011 CHENNAI
293 R. VAIDYANATHAN (STAFF) MRIDANGAM 2011 CHENNAI
294 VAIKOM R. GOPALAKRISHNAN (STAFF)
GHATAM 2011 CHENNAI
295 DR. S. KARTHIK GHATAM 2011 CHENNAI
296 USHA RAJ LIGHT VOCAL TAMIL 2011 CHENNAI
297 K. PADMANABHAN (STAFF) MUSIC COMPOSER 2011 CHENNAI
298 ADOOR P. SUDARSANAN VOCAL 2011 THIRUVANANTHAPURAM
299 DR. B. ARUNDHATHI VOCAL 2011 THIRUVANANTHAPURAM
300 S. R. MAHADEVA SARMA (STAFF)
VIOLIN 2011 THIRUVANANTHAPURAM
301 REJU JOSEPH LIGHT VOCAL
MALAYALAM
2011 THIRUVANANTHA
PURAM
302 THALACHANGADU T. M.
RAMANATHAN
THAVIL 2011 TIRUCHIRAPALLI
303 SELAM K. SRINIVASAN
(STAFF)
MRIDANGAM 2011 TIRUCHIRAPPALLI
304 VALANAIMAN K.THIAGARAJAN MRIDANGAM 2011 TIRUCHIRAPALLI
305 COIMBATORE K.
BLASUBRAHMANIAN (STAFF)
VIOLIN 2011 COIMBATORE
306 SEETHALAKSHMI
VENKATESAN
VOCAL 2011 BANGALORE Expired
307 C.N. CHANDRASHEKHAR
(STAFF)
VIOLIN 2011 BANGALORE
308 KASI VISHALAKSHI VEENA 2011 BANGALORE
309 GEETHA RAMANAND VEENA 2011 BANGALORE
310 C.CHALUVARAJU MRIDANGAM 2011 BANGALORE
311 M. GURURAJA (STAFF) MORSING 2011 BANGALORE
312 SANGEETHA KATTI KULKARNI LT. VOCAL KANNADA 2011 BANGALORE
313 P. RAMA LT. VOCAL KANNADA 2011 BANGALORE
314 P.S.VASANTHA MUSIC COMPOSER 2011 BANGALORE
315 MALLADI BROTHERS (MALLADI SRIRAM PRASAD &
MALLADI RAVI KUMAR)
VOCAL DUET 2011 VIJAYAWADA
316 P. SUBRAHMANYESWARA
RAO
CLARIONET 2011 VIJAYAWADA
317 KARUGANTI SRINIVASA RAO THAVIL 2011 VIJAYAWADA
318 K.SADGURUCHARAN (STAFF) MRIDANGAM 2011 VIJAYAWADA
319 KALYANI LAKSHMI NARAYANA VEENA 2011 HYDERABAD
7
320 B.S. NARAYANAN VIOLIN 2011 HYDERABAD
321 M. PRASANNA LAKSHMI LT. VOCAL-THELUGU 2011 HYDERABAD
322 G. PUSHPALATHA MUSIC COMPOSER 2011 MYSORE
323 DR. VASANTHI KRISHNA RAO VOCAL 2011 DELHI
324 SARASWATHI RAJAGOPALAN (STAFF)
VEENA 2011 DELHI
325 A.PREM KUMAR MRIDANGAM 2011 DELHI
326 DR. SUKANYA PRABHAKAR VOCAL 2012 BANGALORE
327 D.V.MOHAN KRISHNA (STAFF) VOCAL 2012 HYDERABAD
328 MALLADI SRIRAM PRASAD (STAFF)
VOCAL 2012 VIJAYAWADA
329 VIJAYALAKSHMI SUBRAHMANIAN
VOCAL 2012 CHENNAI
330 R.N. SREELATHA VOCAL 2012 MYSORE
331 KOMANDURI SESHADRI (VIOLA)
VIOLIN 2012 VIJAYAWADA
332 V.S.K. CHAKRAPANI VIOLIN 2012 DELHI
333 V. V. SREENIVASA RAO VIOLIN 2012 CHENNAI
334 DR. R. HEMALATHA VIOLIN 2012 CHENNAI
335 M.A.KRISHNASWAMY (STAFF) VIOLIN 2012 CHENNAI
336 REVATHI MOORTHY VEENA 2012 BANGALORE
337 J. YOGA VANDANA VEENA 2012 BANGALORE
338 D SRINIVAS (STAFF) VEENA 2012 HYDERABAD
339 N. VIJAYALAKSHMI(STAFF) VEENA 2012 CHENNAI
340 MYSORE A. CHANDAN KUMAR FLUTE 2012 BANGALORE
341 P JAYABHASKAR(STAFF) MRIDANGAM 2012 HYDERABAD
342 S. RANGARAJAN (STAFF) MRIDANGAM 2012 TRICHY
343 TANJORE S. SUBRAHMANIAM MRIDANGAM 2012 CHENNAI
344 POOVALUR V.SRINIVASAN MRIDANGAM 2012 CHENNAI
345 M. MUNIRATHNAM DOLU/THAVIL 2012 KADAPA
346 BHUSURAPALLI ADISESHIA DOLU/THAVIL 2012 VIJAYAWADA
347 S. JANAKI RAMAN HARIKATHA
KALAKSHEPAM
2012 CHENNAI
348 D.PUSHPALATHA
CHADRAHAS
LIGHT
VOCAL(KANNADA)
2012 BANGALORE
349 P.K. RAGHU KUMAR LIGHT MUSIC COMPOSER(MALAYAL
AM)
2012 CALICUT
350 UDAYALUR KALYANA RAMAN DEVOTIONAL VOCAL 2012 CHENNAI
351 JAYASREE JAGAN LIGHT VOCAL(TAMIL) 2012 CHENNAI
352 MALLADI RAVIKUMAR LIGHT
VOCAL(TELUGU)
2012 VIJAYAWADA
353 SRI MALLADI RAVI KUMAR VOCAL 2013 VIJAYAWADA
354 MS SUGUNA VARADACHARI VOCAL 2013 CHENNAI
355 MS. RAJI GOPALAKRISHNAN VOCAL 2013 CHENNAI
356 MS.B.INDIRA KAMESWARA
RAO
CL. VOCAL 2013 VISHAKHAPATNA
M
357 SRI MODUMUDI SUDHAKAR CL. VOCAL 2013 VIJAYAWADA
358 SHRI CHARUMATHI
RAMACHANDRAN
VOCAL 2013 CHENNAI
359 G.SEETHALAKSHMI AMMAL VOCAL 2013 THIRUVANANTHA
PURAM
360 DR.CHERTHALA K.N.
RANGANATHA SHARMA
VOCAL 2013 TIRUCHIRAPALLI
361 B.V. JAYASREE (STAFF) VOCAL 2013 TIRUCHIRAPALLI
362 SRI D. RAGHAVACHARY CL.VOCAL 2013 HYDERABAD
363 SRI D. SESHACHARY (STAFF VOCAL 2013 HYDERABAD
364 SMT. GAYATHRI
VENKATARAGHAVAN
VOCAL 2013 CHENNAI
365 M.T.SELVANARAYANA VOCAL 2013 BANGALORE
366 M.S.K.SANKARANARAYANAN NAGASWARAM 2013 TIRUCHIRAPALLI
367 SITTUKADUT.G.MURUGAVEL NAGASWARAM 2013 CHENNAI
368 ADAYAR S. JAYARAMAN NAGASWARAM 2013 CHENNAI
369 GURIVILLI APPANNA NAGASWARAM 2013 VISHAKHAPATNA
M
370 THIRUVIDAIMARUDUR P.S.V.
RAJA
NAGASWARAM 2013 TIRUCHIRAPALLI
371 G.KOTHANDARAMAN NAGASWARAM 2013 CHENNAI
372 SRI KOTA ATCHI BABU (STAFF)
CLARIONET 2013 HYDERABAD
373 L.KESIAH NAGASWARAM 2013 KADAPA
374 SRI. VINUKONDA SUBRAHMANYAM
THAVIL 2013 VIJAYAWADA
375 SRI KALAHASTHI C MUNIRAJA THAVIL 2013 VIJAYAWADA
376 KOVILUR.KG.KALYANASUNDA THAVIL 2013 THIRUCHIRAPALLI
8
RAM
377 SRI V. NAGARAJU FLUTE 2013 HYDERABAD
378 PRAPANCHAM S.
BALACHANDRAN (STAFF)
FLUTE 2013 CHENNAI
379 AVANEESWARAM.S.R.VINU VIOLIN 2013 THIRUVANANTHAPURAM
380 N.C. MADHAV (STAFF) VIOLIN 2013 THIRUCHIRAPALLI
381 SRI P. PURNACHANDER VIOLIN 2013 HYDERABAD
382 EMBARS S.KANNAN VIOLIN 2013 CHENNAI
383 V.L.KUMAR (STAFF) VIOLIN 2013 CHENNAI
384 KUMBAKONAM .MR.R
GOPINATH(STAFF)
VIOLIN 2013 CHENNAI
385 PAKALA RAMDAS VIOLIN 2013 CHENNAI
386 T. H. LALITHA (STAFF) VIOLIN 2013 CALICUT
387 AYYAGARI SHYAMSUNDARAM VEENA 2013 HYDERABAD
388 DR.S.VIJAYARAGHAVAN VEENA 2013 MYSORE
389 K. GOMATHY CHITHAMBARAM
VEENA 2013 THIRUVANANTHAPURAM
390 BONALA SANKARA PRAKASH
(STAFF)
VEENA 2013 CHENNAI
391 P.GANESH CHITHRAVEENA VEENA 2013 CHENNAI
392 MUDIKONDAN S.N. RAMESH VEENA 2013 CHENNAI
393 BHAGYALAKSHMI
CHANDRASHEKHAR
VEENA 2013 BANGALORE
394 KOVILADI R. MADHAVA
PRASAD
MRIDANGAM 2013 THIRUCHIRAPALLI
395 TUMKUR B RAVISHANKAR
(STAFF)
MRIDANGAM 2013 MYSORE
396 G. CHANDRASEKHARAN NAIR
(STAFF)
MRIDANGAM 2013 THRISSUR
397 N. HARI (STAFF) MRIDANGAM 2013 CALICUT
398 TANJORE R. RAMADAS MRIDANGAM 2013 CHENNAI
399 K.S.RANGACHARY GANJIRA 2013 CHENNAI
400 LEELAMMA MATHEW (STAFF) LIGHT VOCAL
(MALAYALAM)
2013 THIRUVANANTHA
PURAM
401 JAYA.S LIGHT VOCAL ( 2013 THIRUVANANTHA
PU
402 M. ASHOK (STAFF) MUSIC COMPOSER 2013 MADURAI
403 DR. K.S.CHANDRASHEKHAR MUSIC COMPOSER 2013 VISHAKHAPATNA
M
404 DANGETI VEERABHADRA
RAO
MUSIC COMPOSER 2013 DHARWAD