This work is intended for informed readers & pros, as well as readers new to Indian music & culture.
A few other composers are also included for contrast and completeness. Eventually, we shall include music criticism, notation and manodharma (improv) examples. This site includes the lyrics for Tyagaraja kritis (songs), their authentic translations in English poetry and detailed historical, cultural, comparative and literary discourse using his work as a motif, so as to illustrate his message and its context. Good poetry means another level of pleasure from music. The finest prose cannot match poetry in capturing the beauty of his lyrics. Welcome! To fully enjoy his music, we must understand his message,- for which in turn, we must understand Tyagaraja's lyrics. He did shoot for such effects, but often from a tala perspective. This is the effect he wanted to give." Shyama Sastri was yet another kind of composer.
We can take one look and say, "This is no accident. Dikshita though, was the method-man in terms of compositional technique and philosophy, and you can see a lot intricacy and effects in such matters, like mentioning the raga's name directly, indirectly and so on. So we focus mainly on his message in this site - and we didn't even get to the quirk you pointed out. I think there is not much intent behind these details, and that Tyagaraja sought only the holistic effect in his songs. Nadatanumaniusham in Cittaranjani, where he actually enumerates the svaras, is another kind. In Mokshamu Galada in Saramati, in the charanas, he discusses the saptaswaras and the origin of music, but Saramati, lacks the p and r in the avarohana. So, as he talked about the svaras, and nadopasana and music itself a lot, we can see all kinds of examples. Nice point.While this is quite true, Tyagaraja was never consistent this way. Literally, the seven notes are said to shine in the corresponding parts of the body. We may also note that this song on the sublimity of music, is incidentally set in a raga called 'Jaganmohini', which literally translates to "Enchantress of the world". music, is said to pervade and sustain all of them, as well as Tyagaraja himself. To convey this particular sense, I have given Bhusura as 'the godlike'. It certainly does not refer to everyone of that station. But to be called a "Brahman" in adulation, as in the kriti, actually indicates a most holy and venerable attainment. Bhusura is usually an epithet for Brahmans or the priests and scholars. Bhusuras or literally 'gods on earth' are mentioned along with the Suras or gods of Heaven. Note that the two vedas, Rg and Sama, and this mantra are all referred to by their poetic meters- Rik, Saman and Gayatri (literally 'trifold' song) respectively. The Gayatri mantra or prayer is considered the most sacred of all. Rg, Yajur, Sama and Atharva veda are alluded to in the Charanas. So I have given it equivalently as forms and have used "sing" as in a context of worship. The text in the Pallavi literally reads something like "adore the beautiful (persons) of the lustrous seven notes". It is this concept that is alluded to here. Each note is also associated with a presiding deity. arise from) a part of the vocal faculty in the human body. In the Carnatic music tradition, the seven notes of the scale, Sa-Ri-Ga-Ma-Pa-Dha-Ni are each personified and said to be resident in (i.e.
This is another kriti on Nadopasana or worship through music. In the very heart of the most sacred verse, They pervade in Rik, Saman and the others, Raga Jaganmohini, 15 Mayamalavagowla janyaįrom the navel, heart, throat, nose and tongue,
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