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Hi everyone!! This is Charulatha Mani. I have taken up blogging to interact with my rasikas worldwide. I would like to thank all of you for your support and appreciation for my Isai Payanam show on Jaya TV, "Isai Cafe" on Raj TV and live concerts. I am here to blog on my concerts, latest film songs, and updates on Isai Payanam and Sahitya Payanam. Happy reading :-)

Sunday, September 15, 2013

Adyar Times Interview

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Adyar Times - 2013.09.15


2 comments:

  1. Dear Ms.Charulatha Mani,
    Thanks very much for your e-mail and informing about your new CD's/DVD's.
    I clicked "Pakkala Neelabadi" and heard the song.I liked it greatly.You have sung it very well.You have very rightly said that it belongs to 'Kafi' 'that' of Hindustani Music.In fact the near equivqlent in Hindustani Musicto Carnatic 'Kharaharapriya' is only 'Kafi'.
    The idea of giving the overall meaning of the lyrics( 'Pallavi','Anupallavi' and 'Charanam' separately) side y side is very good.In fact it would benefit the listener-rasikas to enjoy the kritis hearing them with 'bhava'.Keep it up.In fact many musicians may be singing the Telugu kritis of Tyagaraja and others without knowing the meaning of the lyrics.The musicians should sing with 'bhava' and enjoying the singing.
    With best wishes
    Santhanam.S

    ReplyDelete
  2. Dear Madam,

    Namaskarams.I am a research scholar in IIT working on carnatic music
    analysis. I have some basic doubts in how experts recognize raga. I will
    be very grateful to you if you can enlighten me with your knowledge in
    this matter. the following are the questions.
    a) Do expert listeners search for a characteristic phrase in a rendition
    to recognize a raga? Or do they look for a particular sequence of notes.

    b) How long an expert has to listen to identify a particular raga. What do
    they look for in a rendition?

    c) In what way does two different renditions of the same raga differ?

    d) How does one define improvisation?
    Does improvisation include insertion of GAMAKAS in the notes? Or are
    these embellishments pre-defined in the STRUCTURE of the RAGA.

    For example if the SWARA "MA" is rendered with a GAMAKA at one instance in
    the rendition, will it be rendered with the same GAMAKA throughout the
    rendition?

    e) Are GAMAKAS crucial towards RAGA identification?
    f) Is the characteristic phrase of a raga unique to each raga? How many
    motifs can be present for a raga? Can you give some example of
    motifs(characteristics phrases) for some ragas where they are unique.
    g)What is alapana? Does the phrases used in the alapana are based on the
    rendition that is going to follow it or is it same for all renditions
    belonging to that particular raga?
    For developing raga recognition is it good to start with basic
    geethams/varnams or to analyse Alapana of a raga?
    Looking forward for your reply.
    Regards
    S.Sri Ranjani

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