HighlightsThis presentation is part of the ShodhaSarani – An #art_research_series By #Noopurabhramari (R.) This series is dedicated to all kinds of #PerformingArts including allied art forms. Our aim is to encourage, promote qualitative #research; and help in the upcoming studies by establishing the productive research to the Art fraternity. Link of the paper presentation is available in : https://youtu.be/buFU2ESIx7U
Karnāṭaka Music has various musical genres and the most interesting among them is rāgamālika-s. The contribution of prominent composers like Muddusvāmy Dīkṣitar, Svāti Tirunāḷ, Tiruvoṛṛiyūr Tyāgayyar, and Harikēśanallūr Muttiah Bhāgavatar in the realm of rāgamālika is well known. What is lesser known is the contribution made by the members of the family of Muddusvāmy Dīkṣitar, namely Rāmasvāmi and Subbarāma Dikṣitar. Subbarāma Dikṣitar, well known for his text Saṅgīta Sampradāya Pradarśini has composed ten rāgamālika-s, including a rāgāṅga rāgamālika. The rāga-s featured in his rāgamālika-s range from a common ones like Kalyāṅī, Śaṅkarābharaṇa to rarer ones like Rudrapriyā and Balahaṃsa. Since three members of this family have handled this musical form, this article attempts to know whether any similarities exist between the compositions of Subbarāma Dikṣitar with his predecessors. Also, we will be engaging ourselves to know the system followed by in handling the rāga-s which got its svarūpa changed, predominantly in the last century.