DRS said: Her PhD thesis was on HMB (I dont remember the details). A very nice lady.
But I think PhD thesis was on "Musical Composers during Wodeyar Dynasty (1638-1947 A.D)."
She has also published it as a book. The book was published by Vee Emm Publications , 12, Site No:187, 187, 1 st cross, 1 st block East, Byrasandra, Jayanagar, Bangalore-560011. PH: 080-26630717.
Price=Rs.180.00.
Book release was held on 30-3-2003 and the book was released by the late Rani Vijaya Devi.
Dr. Meera is at present the secretary ( or is it President) of the gayana samaja.
Raja Chandra.
I guess you are right. She once gave a lecdem on HMB and I probably connected it to her thesis.(There is a connection too as HMB is one of the composers but not the only one. ).
And she is secreatary only. Oh no not the president! I think it is still Mr.kamalanath. But Meera has a long way to go before she can sit in the chiar.
I am just curious about the involvement of the Wodeyars in our Freedom struggle. Though Mysore was an independant state, did the Royalty interact with the Freedom fighters in the rest of the country. In particular I would love to hear about any interactions with Bapuji!. Do please give historical references and of course you can e-mail me but I think it will be of general interest for all of us!
for that enlightening link. Bapuji had a loving soft corner for most of the Royalty. He preferred 'RamRajya' to the western concepts of 'Democracy'. If he was not assasinated he would have played a benevolent role in the abolishment of Royalty in Free India.
vimalAnga SrI Siva sukhakari- You Who please Siva(Him with a pure and untainted body);
vibhudArcitE- You Who are worshipped by the wise;
SrIvidyESvari- Mistress of SrIvidya;
sanakAdi yOgi samsEvitE- You Who are served by sanaka and other yOgis;
sannuta vijayavasanta tOShitE- You Who are appeased by being praised in vijayavasanta(rAga);
sakala amara sura vanditE- You Whos is saluted by all the Gods;
sakala AmnAya pratipAditE- You Who are explained/understood by all traditions; Just as all roads lead to Rome, so do all traditions ultimately lead to Her.
agaNita mahima SObhitE- You Who are shining with countless good attributes and exploits;
agastyamuni pUjitE- You Who are worshipped by sage agastya(One of the foremost exponents of SrIvidyA)
AgamaviditE- You Who is manifest/taught in the vEdas.
Thanks again DRS for that efficient restoration of phoenix from its ashes. Now I am eagerly awaiting your description of this rarely heard raga 'vijayavasanta'.
vijayavasanta is a upAnga janya of the 54th mELa- viSvambhari/ vamSavati. Its scale is
SM2PD3N3S* | S*NPMGS ||
This is a rare rAga that evokes adbhuta rasa. Apart from the ShaTSruti dhaivata, the jump from S to M also adds to the sense of wonder. Although the ArOhaNa is given as "SMP", it sounds much like "SPMP". "SNDNP" is often used in the rAga. The avarOhaNa is the same as that of amRtavarShiNi. The rAga is uttarAnga pradhAna as it is easier to negotiate the swaras in the uttarAnga.
tyAgarAja has also skillfully harnessed this sense of wonder inherent in the rAga in his kRti, nI cittamu. oDeyar`s kRti is compact and neat. The rAga cannot be elaborated at great length.
According to Prof SRJ 'nee chittamu' is vijayavasantam. he calls this an ekaraga kriti! I wonder whether there is any good soul around who will let me borrow a rendering
I understand that two variations of Vijayavasantha exist-one as a Divyamani janya and another as a Viswambhari janya.If so,will the Gandhara not change?
DRS
I have a question for you. You said that the jump from Sa to Ma in vijayavasantha gives adbhutha rasa. Would the same apply to raagas like Kunthlavarali?
I understand that two variations of Vijayavasantha exist-one as a Divyamani janya and another as a Viswambhari janya.If so,will the Gandhara not change?
Kartik, please give reference for vijayavasanta being considered a janya of divyamaNi. I am not aware of this. R.R.Keshavamurthy does not list a vijayavasanta under divyamaNi.
DRS
I have a question for you. You said that the jump from Sa to Ma in vijayavasantha gives adbhutha rasa. Would the same apply to raagas like Kunthlavarali?
The effect of a swara pattern should not be considered in isolation but with refernce to the context of other swaras and phrases in the rAga. Although each individual swara can and does evoke particular rasas, these effects are modified by association with the other swaras and sancAras in the rAga. kuntakavarALi has more hAsya than adbhuta in it. And dont forget that kuntaLavarALi has Suddha madhyama while vijayavasanta has the prati madhyama.
Meena
Hope you have not missed T`s nI cittamu in vijayavasanta posted on the last page. The link is still active.
I think it will be beneficial to add the Kannada announcement too beacuse sometimes the background to the kriti is very nice.And people who understand kannada will love it.
As a slight digress,I heard Prof SRJ suggest SPMPD~NS/SDaaPMRGmRS as the scale for saranga.Does the S-P jump evoke adbutha?Traditionally Saranga is associated with Hasya,isnt?
Thanks for posting kOkilapriya- mAnayata majuLavAgvilAsAm.
After living in nightmare for the last two days (I live in the same area as Raj kumar -kannada film icon who died on wednesday and had to face the mob fury), it was nice to listen to KVN.
As for as vijayavasantha, this is what Dr.Sukanya Prabhakar also says:
As per rAganidhi vijayavasaMta is janya in 54 th vishvaMbhari and as per T.K.govinda Rao it is janya in 48th divyamaNi.
DRS
After listening to Kokilapriya, Kokiladhwani despite its moorhcana sounds so much like Maatha raaga of course with some differences. However, I think now I can say that they have stirking similarites because of
Maatha-Janya relationship..
Thank you Kartik and Raja chandra for more info about vijayavasanta. Incidentally, both your sources are Dr.Sukanya Prabhakar(It is her speaking in the clip Kartik posted).
It appears that the alternative janya of divyamaNi is one seen only in books, as in practice only the 54th janya is rendered.
Raja Chandra
Glad to hear that you are safe and sound. I did not know you lived in Bangalore, that too Sadashivanagara. Anyway Dr. Rajkumar`s demise was very sad. nenne ella swalpa bEjArAgtittu.The events that followed compounded the sadness!
Kartik
Regarding your query about sAranga, I have already answered it when I clarified Kiran`s doubts.
As for the vijayavasnata clip, if you have the full clip, please post it as it is fro the AIR series.
DRS
I was listening to VijayaVasantha clip posted by Karthik, Whenever the swaras are were sung in avarohanam it reminds me of Amruthavarshini. Is that because of N3 P M2 G3 combination in the avarohanam in both the raagas?
I am also puzzled a bit unless there is an entry error. But we can interpret as
mAnayata = may you folks be proud (of her etc.,)
But more appropriately if it was manyata = let you folks think/know (about her)it will make better sense
Of course dvitIya can be used with the imperative
(satyam vada| dharmam cara| etc...)
Notes on || mAnayata manjuLa ||
rAga: kOkilapriya; trishra jhampe tALa
mAnayata- mAy you respect/contemplate on;
manjuLavAgvilAsAm- Her with beautiful manner of speech; mAyA.
mInAyatAkShIm- Her with fish-like eyes; mAtangIm; manOnmanIm;
mangaLakara- That which bestows auspiciousness/benevolence;
SrIvidyAmOdinIm- Her Who takes pleasure in SrIvidyA;
antaHkaraNa rUpiNIm- Her in the form of the antaHkaraNa/conscience;
antarangiNIm- Her Who is the soul.
kOmalatara vaktra vijRmbhiNIm- Her Who shines with a delicate/soft face/mouth;
hiraNmayIm- Her with a golden complexion;
kOkilapriya madhura mita bhAShiNIm- Her of sweet and sparing words/ speech that is endearing to(even to) the cuckoo;
cinmayIm- Her WHo is the embodiment of cit/knowledge/power of reflection;
nirmala bhakta manOllAsinIm- Her Who sports/dallies in the minds of pure devotees;
mahAlakShmIm;
nIrajAsana Adi vinuta harisOdarIm- That sister of hari(viShNu) Who is worshipped by brahma et al; kAmAkShIm;
karma j~nAna bOdhinIm- Her Who teaches knowledge of ones karmas and their consequences (creates awareness);
nIlakaNTha kuTumbinIm- The wife of ISvara(nIlakaNTha);
dharmAdi sakala puruShArtha dAyinIm- Her Who grants the 4 puruShArthas of dharma, artha, kAma and mOkSha; hariNIm.
The dhatu 'man' (to esteem/respect) is used only in atmanEpada. Hence one should use 'manudhvaM' (may you reaspect). But he has used the causative (Nijanta) here which leads to 'mAnayata' meaning 'may you be caused to respect' which almost is like the AshIrli~N (benedictive).
nIlakaNTha kuTumbinIm has a more subtle meaning than just the partner of shiva. 'kuTumbinI' means the mistress (manageress) of the shiva group of families; in other words she is the head of the family and shiva is a member of the family1