Carnatic music has been an abiding passion for a long time. Since I started learning at a reasonably advanced age, I believe that I have gone through trials and tribulations which are not common to the entire student body. Given that, I started a blog maybe 10 years back, on my experiments in the area of voice modulation, including diet, vocal exercises etc. But at some point, I felt that I was spending a major portion of the very limited time at my disposal, writing about how to practice instead of actually practicing. That blog fell into disuse and those posts seems to have disappeared from cyber space. Anyway, my obsession with Dikshithar has led me to to the study of Hindu mythology and a limited study of Sanskrit( just enough to understand what he was trying to communicate).
I have long felt the need for a detailed multi- layered explanation of at least some of his more important krithis. I am not a musicologist. I am not a scholar. I am just a student who is trying to put together explanations, which might help others in the same boat. It is also in the hope that people will come forward to add/modify what I have written since this is very much a work-in-progress.
I have worked on two of his pancha buta krithis - chintaya makanda( bhairavi) and Jambupathe( yamuna kalyani). Intend to do more work and time pressures permitting.
I have long felt the need for a detailed multi- layered explanation of at least some of his more important krithis. I am not a musicologist. I am not a scholar. I am just a student who is trying to put together explanations, which might help others in the same boat. It is also in the hope that people will come forward to add/modify what I have written since this is very much a work-in-progress.
I have worked on two of his pancha buta krithis - chintaya makanda( bhairavi) and Jambupathe( yamuna kalyani). Intend to do more work and time pressures permitting.
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