free 4 card poker,Many such aspects of the instrument were highlighted at a lec-dem by nagaswaram player Idumbavanam V. Prakash Ilayaraja and music chronicler Lalitharam Ramachandran (the video is now available on Rasika Ranjani Sabha’s YouTube page). They spoke of how the nagaswaram tradition boasts of an elaborate system of executing different kinds of musical pieces depending on the rituals being performed. While this is still adhered to in certain important temples like Chidambaram and Tiruvarur, others have let it slip. “Not many temples now have an exclusive nagaswaram-thavil group,” said Lalitharam. Ilayaraja pointed out that some temples in the villages surrounding Jaffna in Sri Lanka still follow the tradition.
Till six or seven decades ago, the nagaswaram enjoyed good audiences, but interest in it has been dwindling over the years. According to Lalitharam, the audiences earlier were drawn more by its sound than the songs or ragas played. “Thavil artistes like Yaazhpanam Thedchanamoorthy commanded a huge fan following,” said Lalitharam. “Though not all listeners understood the nuances, the response was on account of several factors including the skill of the artistes and the ambience of the temple festivities.”,free 4 card pokerfootball italia milan
free slot spins,Raga alapana forms an integral part of the nagaswaram tradition. Alapana is intrinsically connected to the temple events, as it is the mainstay during overnight deity processions, where ragas are elaborated for hours on end. Lalitharam recalled how several distinguished yesteryear vocalists such as Semmangudi Srinivasa Iyer have spoken volumes about how their manodharma was shaped by listening to expansive raga alapanas performed by nagaswaram artistes.
leovegas sites,Raga alapana in nagaswaram is an intriguing exercise also because the raga is not held captive through presentation in a chronological fashion. “There is no need to necessarily begin an alapana in the madhyama sthayi and then move on to the tara sthayi. Since alapana is a lengthy affair, nagaswaram artistes play without any constraints and use the opportunity to explore their creativity,” said Ilayaraja. He remembered how nagaswaram stalwarts Vandikaratheru Mani Pillai and Mamundia Pillai’s expert handling of the demanding Dwijavanti raga for an entire night at the Vaikunthanathar Temple was greeted with enormous enthusiasm.
The nagaswaram temple tradition lays great emphasis on using the instrument’s musicality as a means to worship. The fact that Mallari, Rakthi and Pallavi — some of the most important forms in the tradition — do not carry sahitya is testimony to this.,best online poker gambling sites
winston bet,The temple has time and again played a vital role in exhibiting the strength of the instrument. Ilayaraja and Lalitharam explained and demonstrated how a nagaswaram duo plays ragas during Padi Yetram, the ritual of taking a deity up a flight of stairs. Those who carry the deity pause on each step for about half a minute, when the nagaswaram players take turns to play long-winding phrases in a certain raga. When the deity moves to the next step, they swiftly switch to another raga, resulting in an exciting ragamalika suite that complements the ritual aesthetically.
Another salient aspect of the tradition is how nagaswaram players adhere to the system of playing specific ragas during specific times of the day. The tradition divides major ragas (and not just the commonly-played Bhoopalam and Nilambari) into two-hour slots, which begin before dawn and end at midnight. Many nagaswaram players abide by this time slot system even at their concerts outside temples. They also play certain ragas not heard in kutcheris, like the exquisite Hamsabhramari, a janya of Hemavati, which is presented for as long as a day during utsavams.,livescore cs
Lalitharam hoped that concertgoers will educate themselves on the nagaswaram temple tradition and ensure that it is continued and enriched. “There should be a sense of pride among the public about the tradition. Respecting the instrument and the artistes by ensuring that nagaswaram is played not only in temples but also at social and religious gatherings will ensure that the instrument is given its rightful place in the music world. Confining nagaswaram to sabha inaugurations and relegating it to a musical system distinct from ‘mainstream’ Carnatic music does not help,” he said. Of course, opportunities for nagaswaram and thavil performances have declined radically because of the pandemic, but the attitude of audiences and organisers has played a role as well.,casino talkies
The writer is a rasika of
classical music and dance and also plays the veena.