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http://hdl.handle.net/10603/431052
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DC Field | Value | Language |
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dc.coverage.spatial | ||
dc.date.accessioned | 2022-12-24T09:03:09Z | - |
dc.date.available | 2022-12-24T09:03:09Z | - |
dc.identifier.uri | http://hdl.handle.net/10603/431052 | - |
dc.description.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 | |
dc.format.extent | 310 | |
dc.language | English | |
dc.relation | ||
dc.rights | university | |
dc.title | An analytical study of and#346;rand#299; Muttuswand#257;my Dand#299;kand#7779;itar s Samudand#257;ya Kand#7771;tis | |
dc.title.alternative | with special reference to Saand#7749;gand#299;ta Sampradand#257;ya Pradarand#347;ini | |
dc.creator.researcher | Shivashankari J | |
dc.subject.keyword | Arts and Humanities | |
dc.subject.keyword | Arts and Recreation | |
dc.subject.keyword | Cultural Studies, Music | |
dc.description.note | ||
dc.contributor.guide | Meera Rajaram Pranesh | |
dc.publisher.place | Bengaluru | |
dc.publisher.university | Jain University | |
dc.publisher.institution | Department of Cultural studies and Performing arts | |
dc.date.registered | 2016 | |
dc.date.completed | 2021 | |
dc.date.awarded | 2022 | |
dc.format.dimensions | ||
dc.format.accompanyingmaterial | None | |
dc.source.university | University | |
dc.type.degree | Ph.D. | |
Appears in Departments: | Department of Cultural studies and Performing arts |
Files in This Item:
File | Description | Size | Format | |
---|---|---|---|---|
10. chapter 5 - kamalamba navavarana krti-s.pdf | Attached File | 2.98 MB | Adobe PDF | View/Open |
11. chapter 6 - panca bhuta ksetra krti-s.pdf | 2.12 MB | Adobe PDF | View/Open | |
12. chapter 7 - panca linga krti-s.pdf | 2.11 MB | Adobe PDF | View/Open | |
13. chapter 8 - navagraha krti-s.pdf | 2.18 MB | Adobe PDF | View/Open | |
1. cover page.pdf | 255.21 kB | Adobe PDF | View/Open | |
2 prelim pages.pdf | 319.39 kB | Adobe PDF | View/Open | |
4. table of contents.pdf | 505.22 kB | Adobe PDF | View/Open | |
6. chapter 1 - introduction.pdf | 938.8 kB | Adobe PDF | View/Open | |
7. chapter 2 - karnatak classical music.pdf | 992.65 kB | Adobe PDF | View/Open | |
80_recommendation.pdf | 741.91 kB | Adobe PDF | View/Open | |
8. chapter 3 - sri muttuswamy dikshitar.pdf | 904.79 kB | Adobe PDF | View/Open | |
9. chapter 4 - guruguha vibhakti krti-s.pdf | 2.01 MB | Adobe PDF | View/Open | |
abstract.pdf | 247.6 kB | Adobe PDF | View/Open | |
annexures.pdf | 371.57 kB | Adobe PDF | View/Open |
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