An analytical study of and#346;rand#299; Muttuswand#257;my Dand#299;kand#7779;itar s Samudand#257;ya Kand#7771;tis

Abstract

Music is one of the finest art forms where Indian Classical Music has philosophy and spirituality newlineas its inseparable components. Hence, it is majorly chosen by Indians as a means to attain mand#333;kand#7779;a newlineor salvation, the ultimate goal of any human s life. With this motive, Karnand#257;and#7789;ak Music newlineVand#257;ggand#275;yakand#257;ra-s composed various compositions imbibing messages from the Indian ancient newlinescriptures. and#346;rand#299; Muttuswand#257;my Dand#299;kand#7779;itar is one among them who is the youngest among karnand#257;and#7789;ak newlinemusic trinity, the others being and#346;rand#299; and#346;yand#257;mand#257; and#346;and#257;stri and and#346;rand#299; Tyand#257;garand#257;ja, where all the three lived during newlineeighteenth century yet created their own unique compositional style. The former composed many newlinecompositions in Sanskrit with Guruguha as his aand#7749;kita. Among them, Samudand#257;ya Kand#7771;ti-s, a particular newlinenumber of compositions grouped based on a concept, are standing like a crown on top, due to its newlineunique lyrical, philosophical and musical excellence which is the main focus of this study. Besides, newlinethe philosophical and spiritual note, these set of kand#7771;ti-s also highlight on a concept by explaining newlinethem in a step-by-step manner. The current study restricts its scope by narrowing down on newlineDand#299;kand#7779;itar s compositions that are notated in Saand#7749;gand#299;ta Sampradand#257;ya Pradarand#347;ini. This a magnum opus newlinework written by Subbarand#257;ma Dand#299;kand#7779;itar, grandson of Muttuswamy Dand#299;kand#7779;itar, who gives the notations newlinewith gamaka symbols there-by maintaining the style of rendering the compositions. In Saand#7749;gand#299;ta newlineSampradand#257;ya Pradarand#347;ini, there are two hundred and twenty-nine compositions of Dand#299;kand#7779;itar s and few newlineother compositions of other composers. In the beginning, the text explains the earlier tradition of newlinemusical theory and also deals with the contemporary changes in the lakand#7779;aand#7751;a-s of a rand#257;ga in the newlinebeginning of each composition. Muttuswand#257;my Dand#299;kand#7779;itar followed Veand#7749;kaand#7789;amakhi mand#275;and#7735;a tradition and newlinesuand#7735;and#257;di sapta tand#257;and#7735;a system for his compositions which has been strictly followed by Subbarand#257;ma newlineDand#299;kand#7779;itar in his text. There are few more compositions of Dand#299;kand#7779;itar s found in the later texts of newlinevarious authors. But these differ in the notating style compared to Saand#7749;gand#299;ta Sampradand#257;ya Pradarand#347;ini. newlineBesides, due to the mand#275;and#7735;a tradition of Gand#333;vindand#257;cand#257;rya that is majorly in vogue at present, there are newline newlinemany changes found in rendering Dand#299;kand#7779;itar s compositions including the incorporation of c and#803;and#257;pu tand#257;and#7735;a- newlines. Hence, Saand#7749;gand#299;ta Sampradand#257;ya Pradarand#347;ini serves as a source of promoting Dand#299;kand#7779;itar s compositions newline newlinewith the original style. The current study, which focusses on the five sets of Samudand#257;ya Kand#7771;ti-s that newlineare present in this text, is a step taken to explore and retain the earlier tradition of Dand#299;kand#7779;itar s newlinecompositional style. newline