Padma Bhushan Prof. P. Sambamurthy, B.A., B.L. Musicologist Born on 14th February 1901 as the third son of Sri Pichu Iyer at Bitragunta; came of a family belonging to Tiruppunturutti and Varahur,' Tanjore Dt., his sixth ancestor Ghanam Tirumala Iyer, having been a Court musician of King Serfoji of Tanjore; married Anandavalli, cousin of Vidvan Sabhesa Iyer, who later collaborated in his music research and publications; learnt his first lessons in music on violin from Boddu Krishniah, son of Boddu Sundariah, pupil of Tatchur Singaracharlu, his vocal training under Vidvan Manatattai Doraiswami Iyer of the Tyagaraja Sishyaparampara and also from Tiruvorriyur S. A. Rama. swami Iyer and Ramaswami Bhagavatar of the Umayal-puram and Walajapet traditions; entered the Madras Edu-cation Service in 1928 as Lecturer in Music in Queen Mary's College; in 1931, went to Munich to study Western music and comparative music; was Lecturer and Reader in Music at the University of Madras from 1937 to 1961, Director of Sangita Vadyalaya from 1961 to 1964, Professor of Musicology at the S. V. University, Tirupati from 1964 to 1966; returned to the University of Madras under the U G. C. Scheme; has been connected with almost all the Universities of South India and at Banaras and Delhi in the organisation of their Music departments; has written 50 books; was honoured by H. H. Sankaracharya of Kama-koti Pitha with the title 'Gita-Vadya-Vinoda' and by the President of India with Tadmabhushan. ; has been a pioneer and most active promoter of music education and pedagogy in South India.
The Technical course (Abhyasa ganam, comprising the Vocalises (preliminary sears exercises and alankaras), Sanchari gitas, Lakshana gitas, Svarajatis, Jatisvaras, Tana varnas, Pada varnas, and the Lakshnas of important rages along with biographical and critical sketches of prominent composers are given in the Series: Practical course in karnatic Music. Brief explanations of Technical terms are also given in these books. Some Ragainaiikas are also given in notation in Books II & 11 I. In each Part, as much theoretical matter as is necessary for the understanding of its contents is given:
The Melodil course (Sabha ganam. comprising the Concert pieces: Reid, Kirtana, Padam, Javali, Tillana etc.,) is given with notation in the author's KIRTANA SAGARAlf Books I, II, III, IV & V. Detailed lakshanas of select ragas are also given in these books and in the operas. 'NOWKA CHARITRABI of TYAGARAJA' and SUNDARESA-VILASAMII of Cheyyur Chengalyaraya Sastri, edited and published by the author. The notation adopted in these books is the standard sa ri ga ma notation. In this Twelfth edition of Practical Course in Karnatic Music: Book I, the sections on Theory and Practice have been further expanded. The section on musical instruments and their classification has been further amplified. Viraladi Exercises given on P. 102 are an addition to this edition.
The pictures of Yazk, and a detailed account of this instrument are additions to this edition.
The book has been carefully revised and brought up-to-date.
**Contents and Sample Pages**
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