Yoga based bhakti in Muttusvami Diksitars compositions

Abstract

BACKGROUND newlineSome of the researchers generally focus on Dand#299;kand#7779;itar s music aspect and others focus on his newlineBhakti aspect. This thesis is to explore how Dand#299;kand#7779;itar s Bhakti becomes unique and takes a newlinenew shape when it evolves from Yoga and how this Yoga-based Bhakti is helpful to newlinemankind. newlineAIMS and OBJECTIVES newlineand#61656; To find the concept of Bhakti in Dand#299;kand#7779;itar s compositions. newlineand#61656; To decipher Yoga-based Bhakti in Dand#299;kand#7779;itar s compositions. newlineand#61656; To find several aspects of Bhakti eg, Navavidhand#257; Bhakti (nine kinds of devotion) in newlineDand#299;kand#7779;itar s compositions. newlineand#61656; To find the link of different emotions of Dand#299;kand#7779;itar with Rand#257;gas adopted by him. newlineand#61656; To present how Dand#299;kand#7779;itar links concepts other than Bhakti with it. newlineand#61656; To connect the principles of Yoga and Bhakti found in Dand#299;kand#7779;itar s compositions. newlineMETHODS newlineSyntactical approach: searching for terms related to Bhakti in Dand#299;kand#7779;itar s literature. newlineSymantical approach: exploring the principles of Bhakti and Yoga in Dand#299;kand#7779;itar s newlinecompositions. newlineDESIGN newlineThis is a descriptive research analysing the literature of Dand#299;kand#7779;itar in the context of Bhakti and newlineYoga. newlineASSESSMENT newlineThis work explores the components of Bhakti described in Bhakti and#346;and#257;and#347;tras, like nine types of newlineBhakti and five Bhand#257;vas, in Dand#299;kand#7779;itar s compositions. Their subdivisions are also dealt. (E.g. newlineSmaraand#7751;a is the component of Bhakti. Cintana, Bhand#257;vana and Upand#257;sana are Smaraand#7751;a s newlinesubdivisons). newlineMusic and literature are two aspects of Dand#299;kand#7779;itar s Bhakti. Researching the music aspect, a newlinesurvey of connoisseurs has been made and the emotional stimuli that get kindled while newlinelistening to several compositions have been studied. Various reasons for the raise of several newlineemotional variants listening to different songs are discussed. It has been concluded that newlinedifferent Rand#257;gas have different potencies of emotions. One raga may have one or more newlinepotencies. Among potencies, a connoisseur extracts a particular potency based on his newlinecharacter. Thus recognition of an emotion of a Rand#257;ga is partially objective and partially newlinesubjective. Connoisseurs of rare personality traits may recogni