a work of formal realism (which I neither condemn nor condone) usually adheres to a particular formula: Exposition informs a person’s Psychology, from which arises their Character, out of which certain Motives emerge, based upon which the character takes Action, from which Plot results (EPiC MAP).
– Bonnie Nazdam on the Limits of Cinematic Storytelling
டி எம் கிருஷ்ணா
1. MS Understood – The Caravan
The myths and misconceptions around India’s most acclaimed musician
2. TM Krishna on why he won’t sing in December sabha
Beyond the little world of art that Carnatic music occupies, what have we, the participants of this mega festival, done for the music? How much effort during the season have we made to bring diverse listeners into the art, take this art to other sections of society?
The Carnatic music in Chennai has become more about the season than about music and this is dangerous for the art. What we see happening in the season is only a symptom of a deeper lack of introspection on the art, its form, access and its integrity.
3. To sing just with the tanpura has been revealing: Thodur Madabusi Krishna – Times of India
For the first song, the location was a rock in the middle of a waterbody. I went and sat there and said, ‘Give me five minutes’. I just had the tanpura with me. I hummed a few notes and started singing the song that came to my mind. That’s it. Every song in the film was taken in a single take. I didn’t sing twice and there were no retakes to correct any mistakes because that is also part of the idea. What you heard is actually what I sang there. In the movie, you will see me singing a phrase, and then correcting the phrase also. You actually see the artist going through the process of creativity as it is happening within him.
4. Between purist and puritan: Unraveling TM Krishna’s musical encyclopaedia | books | Hindustan Times
He loves to, time and again, touch on his core mission of upholding the authentic grammar of the musical form which has “evolved” enough to cause confusion (starting from the spelling: Karnatak, Carnatic, Karnatik?). There is only a fine line dividing the purist from the puritan, and the singer dangerously flirts on the edge. Witness, for instance, questions being raised on the aesthetic value of Raga Dharmavati, much appreciated by many for its melodic soulfulness but described here as “synthetic”.
5. ட்விட்டர் – டி எம் க்ருஷ்ணா
6. Interview: TM Krishna | Baradwaj Rangan
7. T.M. Krishna [315] – $.5.00 : Sruti, A Monthly Magazine on Indian Performing Arts.
COVER STORY – T.M. KRISHNA – The voice within by V Ramnarayan: Click here to read more …
8. T. M. Krishna — An Interview
You are described as a singer who stays clear of gimmicks . Would you label yourself as a purist?
Call it purist or whatever but the fact is I am a staunch believer in tradition. Tradition is dynamic, not static. Being purist doesn’t mean you don’t check out other ragas or stifle creativity. Tradition draws a boundary and gives you full freedom to do whatever you want within that framework. Often it is said the artiste gives the audience what it wants. On the contrary you have to decide what to give and so you set the benchmark for yourself.
9. How Do You Solve A Problem Like TM Krishna?
Unlike the world of rock and roll where White musicians from Europe embraced the blues of the Blacks to make it widely acceptable, Tamil Nadu’s musical giants like Illaiyaraja or AR Rahman have reached out and collaborated with Carnatic musicians. They have used classical ragas for melodic compositions, percussion and vintage musical instruments in their film songs. From Carnatic giants like Balamurali Krishna to today’s Sudha Raghunathan or a Bombay Jayashree, Grammy winner Vikku Vinayakaram or a Guitar Prasanna the collaborations between Carnatic musicians and composers for films has only produced wondrous music from the state.
Book Focus: A Southern Music: The Karnatik Story
Conversation with Sridala Swami
Conventionalism and Carnatic Music – Githa Hariharan, T M Krishna at Kerala Literature Festival Kozhikode 2016.
TM Krishna talks about “Living with A Southern Music “as part of the Azim Premji University Colloquium Series.
November 20th, 2014 .
மற்ற வித்வான்களுக்கும் கலைஞர் டிஎம் கிருஷ்ணாவிற்கும் என்ன வித்தியாசம்?
1. Carnatic music is not a candidate in an election: TM Krishna | The Indian Express
Carnatic vocalist TM Krishna, 39, on his decision to stay away from Chennai’s kutcheri circuit from this season, his rejection of the conservative tradition and why not all forms of music will accrue a huge following
2. WHY TM KRISHNA MUST STICK ONLY TO MUSIC | IndiaFacts
Swapan Dasgupta:
Among Nehru’s ‘prejudices’ were ”maharajas, Portugal, moneylenders, certain American ways, Hinduism, the whites in Africa…” The list explains why Nehru was so offensive at the opening of the Ramakrishna Mission Institute in Calcutta, 1961.
There he spoke of ”bogus spirituality”, the absurdity of ”running away from the daily problems of life in the spirituality” — the profundities of undergrad radicalism — and then stalked off. ….Nehru, it was said, ”could be emphatic on a basis of insufficient knowledge”.…..he probably believed that the India of ”cow worshippers and devotees of Ayurvedic medicine and astrology” should be banished from public life……
3. Carnatic music’s successful — can take tough questions now: T M Krishna – Times of India
If i have to learn music, i have to go to a Brahmin. Caste-based discrimination is repugnant to me. But i can’t look away from the fact that this music is the preserve mostly of Brahmins.
I believe we need affirmative action — if any teachers or sabhas spot good non-Brahmin talent, we need to make a push for it. It will only make the art healthy.
There’s no denying that one social group has clung to this music.
4. An artist’s view of politics: Five Scroll columns by Magsaysay award-winner TM Krishna
5. TM Krishna’s challenge to Carnatic orthodoxy – The Social Science Collective ::
TMK’s views about the audience, I have seen his indifference and at times down right insulting remarks to the audience–about 2/3 years back during the December season in MA, towards the tail end of the concert he was singing a ragamalika and one of the ragas was not too familiar to one member of the audience who got up to ask what the raga was to which TMK asked apparently in jest(in his opinion)–“You want to know this raga only — So that means you could identify the previous ragas”–he may not have intended to “show” the rasika up but the rasika definitely felt humiliated.
I do not want to take away his talent and concerts-popularity but in my opinion he could be more respectful if not deferential towards the audience.
பிறர் பேட்டிகள், கட்டுரைகள்
1. An Open Letter To T.M.Krishna | Open Letter
you are a larger-than-life musician is evident from your literary and writing skills; your book “A Southern Music: The Karnatik Story” was launched amidst much fanfare by no less a personality than Nobel laureate Amartya Sen! The DVD release with Bombay Jayashri earlier was a unique exercise. You dared to take Carnatic music across to Sri Lanka when things were not too comfortable with the neighbouring country.
2. Say hello to Carnatic Music’s sex symbol :: Tehelka – India’s Independent Weekly News Magazine – Akhila krishnamurthy meets TM Krishna in Chennai – Vol 8, Issue 30, Dated 30 July 2011
Son of businessman TM Rangachary and a musicianeducator Prema,
As an adult, he graduated in economics and set tongues wagging when at 21 he married fellow musician Sangeetha Sivakumar, who is five years older. The desire to push boundaries had set in early at the Krishnamurti Foundation India school, an alternative school so wellknown that for generations it has been known as The School. Krishna’s two daughters go there now.
Krishna is constantly in search of a new project: Svanubhava, a music festival for students he founded with Bombay Jayashri and that he will helm on his own this year onwards; Sampradaya, an organisation that archives south India’s musical traditions and Kalachara Marumalarchi that attempts to revive the temple traditions in Tamil Nadu villages, recreating them as cultural hubs. His baby at the moment is Shabda (the equivalent of TED for Carnatic music) for which he has partnered with musicians RK Shriramkumar and HK Venkatram. – Saayujya the merging
Two years ago at a thematic concert, Krishna requested the organisers not to reveal the theme to the audience. “I sang a love song from the Sangam era, a Kannada poem on winter, a Rabindra Sangeet and Chinnanjiru kiliye (a Tamil song about a mother’s love for a child). At the end, some guessed the theme was rain; others said Rama. The answer was bhakti. That, to me, is surrender,” he says
3. The Proust Questionnaire: ‘I don’t like the idea of virtues’ – T.M. Krishna – The Hindu
If not yourself, who would you be?
Mahatma Gandhi? My, my, what arrogance!!!!!!
4. TM Krishna: A Rebel With(out) a Cause? – R K Raghavan
I am sold to his divine music. We graduated from the same institution, the Vivekananda College in Chennai (Krishna pursued Economics and I majored in Physics). An added problem is that we are ethnically linked; both are TamBrams, that too from the same clannish Iyengar community.
(The writer is a former CBI Director, and a music buff.)
5. ‘Carnatic music is a Brahmin-dominated male chauvinistic world’
He came down heavily on iconic music composer Ilayaraja for using a popular Carnatic music composition with changes in a film. “I don’t have an issue with Carnatic music being used in films, but I don’t like it being called Carnatic because that is not the purpose of that music in the film. If a raga is used for a visual, that is a theatrical expression. Use it the way you want, but don’t call it Carnatic,” he says.
But he sees no dichotomy in his own attempts at “deconstructing” the traditional kutcheri format that Carnatic music lovers hold so dear.
7. T.M. Krishna | Talk | TANK Magazine
Tank I wondered if you could say a few words about Carnatic music and what it means for you.
T.M. Krishna Carnatic music is among the two art-music forms. I use the term art music instead of classical – because I find the word “classical” quite delusional, an unaesthetic way of describing music. So whether it’s Western or whether it’s from India, I prefer to not use classical, but instead I use art music. The two art-music forms are Hindustani music and Carnatic musicThe music is based on three elements. The first is the melodic element, the idea of the raga, which to put it very simply is an abstract, melodic identity that has structured itself through generations of connectivity and some amount of habituation, as well as emotional and intellectual construction. That develops through a continuous process of listening, singing, both by the audience and by the musicians. The second element is tala and laya, which is the rhythmic part. Laya is the sense of time and has two elements – like time itself – which is interval and event. The relationship between interval and event and that which lies in-between, is laya. When you construct that relationship into a certain number of beats, say eight counts or ten counts, then you have fixed laya into a framework. This is tala. The third element is text, both linguistic and non-linguistic. Carnatic music is formed of this triangular relationship between text, tala and raga. And depending on how you play with these three elements, the components of these elements, their interactivity, the passages of give and take, as well as the way the musicians allow them to talk to each other, the music unfolds. This is the body and the experience of Carnatic music.
8. Marghazi Raagam – an interview with T.M. Krishna | Water, No Ice
Have Bombay Jayashri and you performed together before?
T.M.K.:Certainly not for a full-fledged kutcheri. How we first sang together is an interesting story. Jayashri and I were collaborating on a coffee-table book on Carnatic music. We approached the then President of India, Abdul Kalam Azad for the unveiling. He agreed, on the condition that we sing together. It was then that we realized that we hadn’t ever sung together before! So we performed together for an invited audience at the Rashtrapati Bhavan. (The book is called Voices Within, published by Matrka, founded by TM Krishna and Bombay Jayashri, “to create a new platform to present Carnatic music.”)
கர்னாடக இசை கற்றுக்கொள்ள வேண்டும் என யார் அழுகிறார்கள்?- சஞ்சய் சுப்பிரமணியன் பேட்டி
ராகம் பாடும் நேரம் நபருக்கு நபர் வேறுபடுகிறதே. இதில் உங்கள் அணுகுமுறை என்ன?
ஒரே கச்சேரியில் ஒரு ராகத்தை 5 நிமிடம் பாடுவேன். ஒரு ராகத்தை 10 நிமிடம் பாடுவேன். ஒரு ராகத்தை 20 நிமிடங்களுக்குப் பாடுவேன். இது, எடுத்துக்கொள்ளும் ராகம், அன்றைக்கு சாரீரம் இருக்கும் நிலை, பாடுவதற்கான சூழல் இப்படி எல்லாவற்றையும் பொறுத்து முடிவு செய்யும் விஷயம். இதெல்லாம் ஃபிக்சட் கிடையாது. அரியக்குடி 3 நிமிடம் பாடினார் என்றால் அது அவருடைய சவுகரியம். அவருக்கு அது ஒர்க் அவுட் ஆயிற்று. ஜி.என்.பி. 55 நிமிடம் ராகம் பாடியிருக்கிறார். ஒரே பீரியடில் பத்து விதமாக ராகம் பாடியவர்கள் இருந்திருக்கிறார்கள். மேலேயே பாடிவிட்டுப் போனவர்கள் இருந்திருக்கிறார்கள். கீழேயே பாடிவிட்டுப் போனவர்களும் இருந்திருக்கிறார்கள். மணி அய்யர், ‘கீழே பாடினா பண்டிதர்களுக்குப் பிடிக்கும். மேலே பாடினா பாமரர்களுக்குப் பிடிக்கும்’ என்பார்.
தொடூர் மதுபூசி கிருஷ்ணாவின் எழுத்துகள்
1. An Open Letter from T.M. Krishna to Narendra Modi – The Wire
Mr. Prime Minister, unlike your immediate predecessor you are not a mute spectator, you love to address and impress. We have heard you from Lal Qila, Madison Square garden, Dubai and Silicon Valley, at the home of Google and Facebook. We have seen you being moved by the memory of the hardships faced by your mother. Words, strong and emotional words come to you easily.
2. Two Voices, One Resonance: How Jinnah and Radhakrishnan Help Us Close Divides – The Wire
Here there is an acknowledgment of the hatred and violence that tore through communities, but Jinnah wants bygones to be bygones. He is unwilling to dwell on the past and dirty himself in its pot holes. He wants people to forgive, forget and move ahead to create a future. Radhakrishnan will of course have nothing of this
Radhakrishnan’s atonement is Gandhiesque, a self-purification, cleansing where the future course of action must be a prayaschita of the past.
3. Myth and reality | The Indian Express
Another invented truism being spread around is that the education system has made people anti-Hindu and pro-religious minorities. Even more laughable is the assertion that leftist academicians with the connivance of western socialist scholars have wiped out Hindu goodness and achievements from our history. If we were to visit the innumerable religious studies, art and language departments around this country, we will find more PhDs that are seeped in Hindu religiosity than of the other kind. But from what the naysayers claim, India by now should have become a mini-Soviet Union, but we are not
4. Modi and Trump may come from vastly different backgrounds, but in politics they are twins
5. Freebies and movies: Why do the two Dravidian parties have such a hold over Tamil voters?
செய்தி
40-year-old TM Krishna, who was born in Chennai, has been conferred the award for ‘ensuring social inclusiveness in culture.’
2. T.M. Krishna and the Quest for a Truly Contemporary Art Music – The Wire
மகஸேசே கிடைத்த பின் வந்த பதிவுகள்
1. ஜெயமோகன் – சாதி, சங்கீதம், டி.எம்.கிருஷ்ணா
2. இசை,டி.எம்.கிருஷ்ணா – கார்த்திக்
கர்நாடக சங்கீதம் ராகங்களாக , கணக்கு வழக்குகளாக கற்றுக்கொள்ள வகுப்புகளும் ஆசிரியர்களும் இருந்தார்களே ஒழிய கர்நாடக சங்கீதத்தை ஒரு கலையாக அணுக, புரிந்துகொள்ள, அதன் அழகியல் நோக்கை அறிந்துகொள்ள எளிய வழிகள் இருக்கவில்லை. சங்கீதத்தில் விற்பன்னர்களாக இருந்தாலும் அதை சங்கீதத்திற்கு வெளியே இருப்பவர்களுடன் கலைச்சொற்கள் சாராது விளக்க பலரால் முடிந்ததில்லை.
இந்த ஒரு தருணத்திலேயே நான் டி.எம்.கிருஷ்ணா வை கண்டடைந்தேன் , அவரின் கர்நாடக இசை குறித்த ஒரு முழு நீள விரிவுரைத் தொடரின் மூலம்.இதில் அவர் கர்நாடக சங்கீதத்தின் அமைப்பு, வடிவம், அழகியல்,கணக்கு வழக்குகள், கணக்கு வழக்குகள் ஏன் முக்கியம் அவை முக்கியமல்லாமல் போகும் இடம் எது, கற்பனைவளம், படைப்பூக்கம் அதன் பிரயோகம் என்பது பற்றி எல்லாம் செய்முறை விளக்கத்தோடு விளக்கியிருப்பார். இதுவே எனக்கு மிகப்பெரிய திறப்பாக அமைந்தது. முழுத்தொடரும் கிட்டத்தட்ட 40 சிறு உரைகளால் ஆனது.
3. Rajesh Kumar – விருது சர்ச்சை டி.எம்.கே சர்ச்சை குறித்து நீங்கள்…
ஜெயமோகன் பதிவுதான் சர்ச்சைக்கு மூலம் என்று அறிந்ததும் அதை முதலில் படித்தேன். கர்நாடிக் இசை குறித்து எதுவும் தெரியாது என்று டிஸ்க்ளெய்மர் கொடுத்துவிட்டு பிறகு அதை குறித்து எழுதிய ஜெயமோகனே டிஸ்க்ளைமர் கொடுக்கும் அளவு நிலைமை கைமீறி போயிருக்கும் நிலையில் எனக்கும் கர்நாடிக் சங்கீதத்துக்கும் இருக்கும் நீண்ட தொடர்பை முதலில் நான் விளக்கிவிட்டு கருத்து சொல்வதே நல்லது என்பதால் முதலில் அதை சொல்லிவிடுகிறேன்.
எனக்கு முதன் முதலில் கர்நாடிக் சங்கீத பரிச்சயம் என்றால் அது சங்கராபரணம் திரைப்படம் மூலம்தான் என்றால் அது மிகையாகாது.
4. TM Krishna gets Magsaysay award! — Medium :
கொத்தனார் நோட்ஸ் – elavasam
- Sumanasa Foundation, mentioned in the citation, helps music students from rural places and bring music to special children as part of their therapy. Laudable causes indeed.
- I do not feel it is wrong for a performer to experiment like he does on stage and agree not every experimentation would be to the liking of everyone. But it is his freedom to do so and I do not think the art would suffer from it.
- I have been to some of the concerts he has taken to fishermen villages and I have seen the attendees happy not because they are able to appreciate the art but because they felt included.
5. TM Krishna: Carnatic music’s ‘stunt’ man – Livemint
Krishna has tried to explain why he is breaking the mould. The kutcheri format, as it exists today, is less than 100 years old, he correctly says. It was formalized in the 1920s by Ariyakudi Ramanuja Iyengar to follow a standardized format. First, a brisk varnam; then an invocation on Lord Ganesha; then a few fast-paced krithis or songs without the improvisation; then a heavy piece in a “ghana” ragam or weighty ragam like Kambodhi, Kalyani, or Bhairavi. Then the centrepiece of the concert or the RTP—Ragam, Thanam, Pallavi, which is raga improvisation followed by swara-play, followed by the song in a ragamalika or garland of ragas; then the virtuoso, thani avarthanam, display by the accompanying drummers; then the lighter fare called thukkada, which includes bhajans, abhangs, padhams, javalis and the like.
7. A contrarian world: T.M.Krishna’s Magsaysay Award: A Rebuttal to Jeyamohan and the Hindutva Brigade
பிற எதிர்வினைகள்
Nothing Can Bind Us Together Quite Like Music – Part 2 – watchingthewheelsweb
முதலில் கர்னாடக இசை நம்முடைய கல்ச்சுரல் சிஸ்டத்திலிருந்து வெளியே வந்து Curriculum ஆக அமைய வேண்டும். தொன்மையான பாரம்பரிய இசை இந்த இசை. எவ்வளவு பேர் ஒரு கர்னாடக இசை பாடலைப் பொறுமையாகக் கேட்கிறோம். நாம் எப்போது கடைசியாக ஒரு கர்னாடக இசைப் பாடலைக் கேட்டோம் என்று யோசித்துப் பாருங்கள். விடை கிடைக்கும்,
ரமேஷ் விநாயகம் உருவாக்கிய கமகா பாக்ஸ் பற்றி கேள்விப்பட்டிருக்கீர்களா? அவருடைய இருபத்தைந்து வருட ஆராய்ச்சியின் பலன். இது என்ன என்று தெரிந்துகொள்ள
1.Ramesh Vinayakam unlocks the gamaka – Times of India
“Isn’t it a bit unfair,” starts off Ramesh Vinayakam, “that Western music is able to pen down every note on paper while Carnatic music can’t?”
2. Research – Ramesh Vinayakam
3. Music, out of the box – The Hindu
4. Curves and Lines of Carnatic Music in a Box – The New Indian Express
5. Box of musical goodies – Chennai – The Hindu
6. You can make anyone play music by reading the gamaka box
ஜடாயுவின் பதில்
1. Magsaysay For T.M. Krishna: Citation An Insult To Carnatic Music – Swarajya
டி.எம்.கிருஷ்ணாவின் அரசியல் நிலைப்பாடுகளை விமர்சிப்பது வேறு. அவரது இசையையும் கலையையும் மதிப்பீடு செய்வதென்பது முற்றிலும் வேறு.
இசையை ரசிப்பதற்கு ராகங்களின் இலக்கணங்கள் தெரிந்திருப்பதோ அல்லது பிரித்து மேய்வதோ அவசியமில்லை தான். ஆனால் ராகதேவதைகளின் பிரசன்னத்தை அபோதபூர்வமாகவாவது உணராமல் இந்தியச் செவ்வியல் இசையில் மனம் லயித்தல் என்பது சாத்தியமே அல்ல. “பண்ணென்னாம் பாடற்கு இயைபின்றேல், கண்ணென்னாம் கண்ணோட்டம் இல்லாத கண்” என்று உவமையாகக் குறள் எடுத்தாளும் அளவுக்கு ஆதாரமான விஷயம் அது.
2. The concert at Odukathur Mutt, Ulsoor was part of Utsav, Gokulashtami celebrations by SGBS Trust
“She the wavy ocean of nectar, She, the innermost being in the inner heart…” (sudhA tarangiNi, antarangiNi).. the lines that T.M. Krishna so beautifully rendered in ‘neraval’ perhaps describe the overall musical experience of the wonderful concert last evening. ‘mAye tvam yAhi’, this Kriti of Dikshithar with its overall mystical, meditative import, set to the enigmatic Raga Tarangini, was presented by TMK with the full depth and feel that it deserved.
Breaking of convention and interesting novelties have become so much the ‘norm’ in TMK’s performances that people come with such an expectation.. and they almost never go back with disappointment. The earnest Rasika always enjoys the music, irrespective of the ‘rebel’ elements (or the lack of them). Last night was no exception.
He sang ‘kanaka shaila vihArini (punnAga varAli) as the opening piece, in a relaxed pace. That was followed up with a Yamuna Kalyani Alapana and ‘krishna nee begane baro’ in *violin* for about 30+ minutes by Sriram Kumar ! The audience really got cheered up with this splendid violin treat, totally unexpected, it appeared. Then TMK sang a nice thAnam and the javali ‘adi neepai marulu konnadhi’ in the same Raga, (thankfully :))
A glorious Kedara Gowla Alapana, followed by “Thulasi Bilava” of Thyagaraja followed. The neraval around “uramuna mukhamuna shiramuna bhujamuna – karamuna nEtramuna caraNa yugambuna” was wholesome, as if one can feel the Raga Devata’s full presence from head to toe, with every one of Raga’s limbs shining. For Kalpana Swaram landings, he chose the phrase ‘paramAnandamutO’ in the next line in the lyrics – great aesthetic sense. The Thani Avartanam by Manoj Siva (Mridangam) and Anirudh Athreya (Khanjira) added luster to the piece.
Bharathiyar composition suTTum vizhi chuDar thAn came in a vibrant Ragamalika (Bilahari, Bhairavi, Sama, Vasantha) expressing emotions of joy, throbbing and longing in line with the highly romantic lyrics.
There was never ever a single dull moment in the entire concert. TM Krishna is undoubtedly an exemplary Artist whose music is engaging and absorbing and leaves you spellbound, literally. As a Rasika, these are really my feelings, though I find his writings an opinions on sociopolitical matters totally shallow, misinformed and at times even crooked.
TM Krishna’s overall personality, indeed is an enigma.
மகஸேஸே விருது பெற்றவர்கள் – பட்டியல்
Emergent Leadership
- 2002 – Sandeep Pandey
- 2006 – Arvind Kejriwal
- 2011 – Nileema Mishra
- 2015 –Sanjiv Chaturvedi
Uncategorized
- 2009 – Deep Joshi
- 2011 – Harish Hande
- 2012 – Kulandei Francis
- 2015 – Anshu Gupta
Government Service
- 1961 – Amitabha Chowdhury
- 1994 – Kiran Bedi
- 1996 – T N Seshan
- 2003 – James Michael Lyngdoh
Public Service
- 1965 – Jayaprakash Narayan
- 1974 –M.S. Subbulakshmi
- 1982 – Manibhai Desai
- 1985 – Baba Amte
- 1989 – Lakshmi Chand Jain
- 1993 – Banoo Jehangir Coyaji
- 1997 – Mahesh Chandra Mehta
- 2005 – V. Shanta
- 2010 – Himanshu Aggarwal
கர்னாடக இசைக் கல்விமுறைகள்
லெக்சர் டெமான்ஸ்டிரேஷன்கள்
எஸ் சௌம்யா
சுகுணா வரதாச்சாரி
சஞ்சய் சுப்ரமணியம்
தாளமும் சப்தங்களும் – கோட்பாடு
பாடங்கள்
சித்ரவீணா என் ரவிகிரண்
Snap Judgment 