Hello All-
Anjali Kirtane is writing a series called as "Sangeetache Suvarnayug"
in Lokprabha. She started this in Jan 2008. It mainly covers the
musical activity during late 1800 and early to mid 1900. I personally
liked these and hence sharing with you all. Here are the links:
http://www.loksatta.com/lokprabha/20080104/cover09.htm

http://www.loksatta.com/lokprabha/20080111/sangeet.htm

http://www.loksatta.com/lokprabha/20080118/sangeet.htm

http://www.loksatta.com/lokprabha/20080125/sangeet.htm

http://www.loksatta.com/lokprabha/20080201/sangeet.htm

http://www.loksatta.com/lokprabha/20080208/sangeet.htm

http://www.loksatta.com/lokprabha/20080215/sangeet.htm

http://www.loksatta.com/lokprabha/20080222/sangeet.htm

http://www.loksatta.com/lokprabha/20080229/sangeet.htm

http://www.loksatta.com/lokprabha/20080307/sangeet.htm

http://www.loksatta.com/lokprabha/20080321/sangeet.htm

http://www.loksatta.com/lokprabha/20080328/sangeet.htm

http://www.loksatta.com/lokprabha/20080404/sangeet.htm

Thanks.

Government control of Hindu temples in Andhra
By Stephen Knapp
The Public Forum at Tirupati was an event wherein as many as 10,000 Indians
turned up to show their opposition to the government control of Hindu
temples. This was organised by the Hindu Devalaya Parirakshana Samiti and
supported by the Global Hindu Heritage Foundation of the USA. And I was,
practically, the only westerner to participate.

For years, Hindus had been watching how the government of Andhra Pradesh had
been taking over management of their temples, and then selling thousands of

acres of land that belonged to these temples, thus leaving them with little
or no economic basis. This was being done without the permission of the
local Hindu community. The endowments department, whose duty is the
preservation of

old temples, had turned a blind eye to these activities and encroachments.

do you believe that you want to learn music?
are you willing to practice?
do you think you want to learn to sing or play an instrument?

lets get in touch and discover the grace of music!!!

contact Vineet on 9921972950 or email me at winitkale@gmail.com

Dear

KALAANANTARUPAH DANCE SCHOOL,RT NAGAR,BANGALORE FOUNDER-
Mrs.Revathi Thiyagarajakumar Performing on

Date > April 06th 2008
Time > 05.45 PM
Venue :- TARALABALU KENDRA,
3rd Main, RT Nagar, Bangalore -560032.

Iam happy to invite you all for my performance.

Thanks in advance for your time and Presence.

Cheers........
Revathi Thiyagarajakumar
Founder - KalaAnantarupah Dance School
No 22,1st Floor,Vinayaka Layout
R.T.Post,Sultanpalya
Bangalore - 560032
Karanataka
India
Mobile - +91-98860 65752
http://kalaanantarupahdanceschool.blogspot.com/

Ah, could send you an Orkut invite if you're interested. Though part
of the Google scheme of things, it does offer interesting scope for
good debate. For one, all comms (as in communities, or forums) are
moderated. Several comms on HCM exist, including many on specific
musicians. I myself run one of those (on DV Paluskar), and also a
recent venture called Debating Shastriya Sangeet. In spite of its
young age it has already yielded several in-depth discussions.

No harm in trying, is there?

Abhik

In the nine-odd years I've been following RMIC, this is easily the
lowest the group has sunk to. Mostly concerts and other announcements
(which is still kosher), and tonnes of spam mostly of the Hindu-
Righteous-Rightwing (holier than cow?) sorts. This kind of spam has
chased away serious discussions, which have migrated to other forums
such as Orkut.

Town Crier's strategy of changing subject-lines to SPAM is brilliant.
I think it's the most effective way of containing spam, at least for
those of us who access RMIC through google groups. I also suggest we
those of us who check RMIC regularly do this consistently. Something
like a vigilante group.

Remember, spammers don't usually follow up on their messages; their
aim is to cover as broad a base as possible.

Abhik

For Ustad Aashish Khan tracing his roots and recognising it has made him
adopt the ancestral title Debsharma. From now he will be known as Ustad
Aashish K Debsharma. Talking to the reporters during his sojourn to the
city, he said, "This is an attempt to recoginse the roots or going back to
the roots. Present generation of our country are more Westerners than the
Westerners themselves. I was inspired by the Hindutva ideology to convert
to Hinduism and adopt the surname of Debsharma."
Asked if he had taken the permission of his father, the great sarod maestro
Ali Akbar Khan, he said, "I don't anyone's permission to revert to my
original religion and adopt my original surname. We always worshipped Devi
Saraswati and Goddess Kali. This is nothing new." "I am not removing Khan
from my title altogether...

Rhythm Fantasies, Inc. Maryland wishes to announce the upcoming Fall
2008 (September 15th to November 15th) tour entitled "Divine Melody in
Rhythm Fantasies" featuring the following artistes:

Sri R. K. Padmanabha (Veena - Lute)
Sri Chandan Kumar (Venu - Flute)
Sri H. K. Narasimhamurthy (Violin)
Sri P. K. Swaminathan (Mrudangam/Kanjira/Konnakkol)
Sri V. S. Ramesh (Ghatam/Morsing)

Please contact Lalitha Swaminathan lalitharscomcastnet for
details of availability and cost.

Dear Sirs/Madams,

Myself Revathi Thiyagarajakumar Started "KalaAnantarupah"-Dance

School at RT Nagar,Bangalore.

Profile
Mrs.Revathi Thiyagarajakumar is a distinguished Bharatanatyam Dance
Choregrapher,Theatre Artist, Mime Artist, Corporate Dance Terophy
Specialist, Speical
Children Trainer.

She has undergone intensive training in Bharatanatyam,Folk

Dance, Contemporary Dance, Free Style Dance and Creative Dance Under
Dr.Ambika Kameswar and several other reputed exponents of dance.

She has performed more than 500 stage shows across India inluding
Bharatanatayam performance at Nepal representing Tamilnadu.

With More than 15 years of Bharatanatayam Dance Experience she wants
to make dance a medium to help special children use their limbs
freely.

"KalaAnantarupah" classes are conducted for the follwing :-

In my own attempts to learn what little I can about ICM, I have
increasingly come to realize that there is much truth to the adage
'Guru bina gyaan na pave'. My problem is further exarcebated by the
dearth of literature aimed at absolute novices and dummies, contrasted
with WCM where one can choose from literally hundreds of books on
music theory that can result in a deeper appreciation of non-simple
classical traditions.

While there are many socio-economic, political and cultural reasons
for the development of an oral musical tradition in India, one
possibility is the gurus trying to retain a monopoly on knowledge and
learning. Knowledge (or at least information) if freely disseminated
through books could possibly undermine the primacy of the Guru, at
least that might be the perception.

In any case back to my question - I was reading up on Asavari on
Parrikars website, and listening to the short clips on ITC Sangeet
Research Academy (ITCSRA) and I found much to my consternation that
the aroha/avroha tonal clusters listed by Parrikar do not match the
vocal sargams on ITCSRA.

Quoting from Parrikar's article (Asavari and Associates)