Music
education is a field of study associated with the teaching and learning
of tradition. It touches a range of personal knowledge; including the
movements of the body associated with mental activity involvement. The
music is considered a fundamental component of human culture and behaviour
The main emphasis in Carnatic music is most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki style. (singing)
Our classical music is a divine art form which is originated from the gods and goddesses wisdom of nāda brāhmam. This is an ancient formal and systematic exposition in sound of the principles of a subject. It is also describe the connection of the origin of the swaras, to the sounds of animals and birds and the man's effort to simulate these sounds through a keen sense of observation and perception. The Sama Vedam, which is to have laid the foundation for classical music, consists of hymns from the Rigvedam, set to musical tunes which would be sung using three to seven musical swaras during Vedic yajnas. The Yajur-Vedam, which is mainly consists of sacrificial formulae, mentions the veena as an accompaniment to vocal recitations. The Yajnavalkya Smriti declares that one who is well versed in veena, and who has the knowledge of srutis and a good skilled in talam, He/ She attain salvation. All these references taken from various sources.
In this connection plenty of music composers from Purandaradasar to till than our Land conceived and delivered many mahans of music composers. One of the great composer and musician is Sri Mysore Vasudevacharya (1865-1961). Vasudevacharya was born in an orthodox Madhva Brahmin family in Mysore.. It is said that after the trinity of music linage Vasudevacharya from Mysore. He also mastered Sanskrit and allied fields such as Kavyam, Vyakaranam, Natakam, Alankaram, Tarkam, Ithikasa Puranams having studied at the Maharaja Sanskrit College in Mysore…It is said that Originally his parents from Coimbatore. But his father Subramanyacharya, left Coimbatore because of his family dispute so they moved to Mysore. Subramanyacharyacharya, himself a musician, hence he joined the circle of musicians in the court of Maharaja Krishnaraja Wodeyar. As a three year old boy Vasu was blessed by the Maharaja as” you will bring keerti for Mysore...Subramanyacharya was very happy that his son got blessings from Mysore Maharaja.
Unexpectedly Subramanyacharya had god’s realization that left his three year old son vasu and his wife. Then took care of his maternal grandfather and supported vasu and his mother. Young vasu learnt musically vedic studies as the custom. However Vasu was keen to learn music so started his music training locally under a musician called Padmanabha Iyer. When Vasu was sixteen year old he got married. While Vasu was thinking about Music training his grandfather advised him that he could go to Thiruvaiyaru for further music training per his wish, and will look after his wife and mother until his return from Thiruvaiyaru. Then he went to Maharaja and appealed and explained him about his wishes . Maharaja was very happy about his earnest request and granted permission with scholarship and he went to Thiruvaiyaru to Patnam Subramanya Iyer’s house as disciple and stayed in his house as gurukulam. He learned music for six years and returned to Mysore, and was appointed as an astaana vidwan in the royal court. Towards the end of his life, he was invited by Rukmini devi to teach at Kalakshetra and he accepted to come to Madras. He has more than 200 compositions including pada varnams, taana varnams, kritis, javalis, tillanas and ragamalikas, are unique. He composed in Telugu and Sanskrit. He used common ragas and popularized ragas like abheri, behaag, and khamas (using kaakali Nishadam) with his famous compositions, but he also used unusual ragas like megharanjani, sunaadavinodini, pushpalatika, and sudda saalavi. His compositions were set in various talams. He is well known for the Citta Swaras he composed for his kritis. Chintayeham janaki kantha in mayamalavagaula was his first composition. His mudra is ‘vasudeva.”
Vasudevachar's compositions over 200 were mostly in Telugu and Sanskrit. Some of his most popular kritis include Brochevarevarura in Kamas ragam, Devadideva in Sunadavinodini, Mamavatu Sri Saraswati in Hindolam, Bhajare Re Manasa in Karnataka Devaganthari (modern days Abheri ) and Ra Ra Rajeevalochana Rama in Mohanam. He published a large number of his compositions in the book Vasudeva Kirtana Manjari. (presently available in Giri Traders ,Mylopore) His compositions in Telugu have such a sweetness and rhythmic swing, and beautifully blend with the tune of the ragam as well as the Sanskrit compositions. He considered his insight into Telugu as a gift from Thyagaraja (Thyagaraja's bhiksha) and he composed song on Tyagaraja ,Muthuswamy deekshidhar, and Syamasastri as their memory. As he is from true Vaishnava heritage and the Thyagaraja shishya parampara to which he belonged, most of his compositions are in praise of Lord Rama.
In the year 1905, he lost his wife. The song “bhavayeham” in behag was composed in sorrow, mournfully in front of god.
Mysore Vasudevacharya also taught in Rukmini Devi's Kalakshetra, (founded in 1936). He was already quite old by then, though he did not even think and said thanks to Rukmini Devi and agreed to shift to Kalakshetra. He became the chief musician in Kalakshetra and helped in setting Sri Ramayanam to music. He had god's realization in 1961 at the age of 96. He lived a simple and austere life devoted music.
Mysore Vasudevacharya’s life was like a pure and crystal clear of water flow in a river. He brought fame to Mysore and served for four generations of Maharajas in Mysore.
Press Ctrl+click on the url given below
http://www.youtube.com/
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The main emphasis in Carnatic music is most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki style. (singing)
Our classical music is a divine art form which is originated from the gods and goddesses wisdom of nāda brāhmam. This is an ancient formal and systematic exposition in sound of the principles of a subject. It is also describe the connection of the origin of the swaras, to the sounds of animals and birds and the man's effort to simulate these sounds through a keen sense of observation and perception. The Sama Vedam, which is to have laid the foundation for classical music, consists of hymns from the Rigvedam, set to musical tunes which would be sung using three to seven musical swaras during Vedic yajnas. The Yajur-Vedam, which is mainly consists of sacrificial formulae, mentions the veena as an accompaniment to vocal recitations. The Yajnavalkya Smriti declares that one who is well versed in veena, and who has the knowledge of srutis and a good skilled in talam, He/ She attain salvation. All these references taken from various sources.
In this connection plenty of music composers from Purandaradasar to till than our Land conceived and delivered many mahans of music composers. One of the great composer and musician is Sri Mysore Vasudevacharya (1865-1961). Vasudevacharya was born in an orthodox Madhva Brahmin family in Mysore.. It is said that after the trinity of music linage Vasudevacharya from Mysore. He also mastered Sanskrit and allied fields such as Kavyam, Vyakaranam, Natakam, Alankaram, Tarkam, Ithikasa Puranams having studied at the Maharaja Sanskrit College in Mysore…It is said that Originally his parents from Coimbatore. But his father Subramanyacharya, left Coimbatore because of his family dispute so they moved to Mysore. Subramanyacharyacharya, himself a musician, hence he joined the circle of musicians in the court of Maharaja Krishnaraja Wodeyar. As a three year old boy Vasu was blessed by the Maharaja as” you will bring keerti for Mysore...Subramanyacharya was very happy that his son got blessings from Mysore Maharaja.
Unexpectedly Subramanyacharya had god’s realization that left his three year old son vasu and his wife. Then took care of his maternal grandfather and supported vasu and his mother. Young vasu learnt musically vedic studies as the custom. However Vasu was keen to learn music so started his music training locally under a musician called Padmanabha Iyer. When Vasu was sixteen year old he got married. While Vasu was thinking about Music training his grandfather advised him that he could go to Thiruvaiyaru for further music training per his wish, and will look after his wife and mother until his return from Thiruvaiyaru. Then he went to Maharaja and appealed and explained him about his wishes . Maharaja was very happy about his earnest request and granted permission with scholarship and he went to Thiruvaiyaru to Patnam Subramanya Iyer’s house as disciple and stayed in his house as gurukulam. He learned music for six years and returned to Mysore, and was appointed as an astaana vidwan in the royal court. Towards the end of his life, he was invited by Rukmini devi to teach at Kalakshetra and he accepted to come to Madras. He has more than 200 compositions including pada varnams, taana varnams, kritis, javalis, tillanas and ragamalikas, are unique. He composed in Telugu and Sanskrit. He used common ragas and popularized ragas like abheri, behaag, and khamas (using kaakali Nishadam) with his famous compositions, but he also used unusual ragas like megharanjani, sunaadavinodini, pushpalatika, and sudda saalavi. His compositions were set in various talams. He is well known for the Citta Swaras he composed for his kritis. Chintayeham janaki kantha in mayamalavagaula was his first composition. His mudra is ‘vasudeva.”
Vasudevachar's compositions over 200 were mostly in Telugu and Sanskrit. Some of his most popular kritis include Brochevarevarura in Kamas ragam, Devadideva in Sunadavinodini, Mamavatu Sri Saraswati in Hindolam, Bhajare Re Manasa in Karnataka Devaganthari (modern days Abheri ) and Ra Ra Rajeevalochana Rama in Mohanam. He published a large number of his compositions in the book Vasudeva Kirtana Manjari. (presently available in Giri Traders ,Mylopore) His compositions in Telugu have such a sweetness and rhythmic swing, and beautifully blend with the tune of the ragam as well as the Sanskrit compositions. He considered his insight into Telugu as a gift from Thyagaraja (Thyagaraja's bhiksha) and he composed song on Tyagaraja ,Muthuswamy deekshidhar, and Syamasastri as their memory. As he is from true Vaishnava heritage and the Thyagaraja shishya parampara to which he belonged, most of his compositions are in praise of Lord Rama.
In the year 1905, he lost his wife. The song “bhavayeham” in behag was composed in sorrow, mournfully in front of god.
Mysore Vasudevacharya also taught in Rukmini Devi's Kalakshetra, (founded in 1936). He was already quite old by then, though he did not even think and said thanks to Rukmini Devi and agreed to shift to Kalakshetra. He became the chief musician in Kalakshetra and helped in setting Sri Ramayanam to music. He had god's realization in 1961 at the age of 96. He lived a simple and austere life devoted music.
Mysore Vasudevacharya’s life was like a pure and crystal clear of water flow in a river. He brought fame to Mysore and served for four generations of Maharajas in Mysore.
Press Ctrl+click on the url given below
http://www.youtube.com/
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