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Topic: Syama Sastry

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	The Hindu : Entertainment Chennai / Music : `Rasa' in Trinity's music
		While the musical content of the simple structure of Saint Tyagaraja's compositions was `draaksha rasa' (grape juice), that of Syama Sastri was like `kadalirasa.' One has to peel off the outer rind of the banana to taste the sweetness of the fruit.
		Unlike Syama Sastri, Tyagaraja used kriti as a tool and gave structure to the ragas, many of which were scales.
		Syama Sastri, the eldest of the Trinity, composed swarajatis, varnams and geethams.
	www.hindu.com /fr/2006/02/03/stories/2006020300180300.htm (625 words)

	Sri Thiyagaraja Temple at Thiruvarur is an incredible ancient temple with unsurpassed continuity of living tradition ...
		Syama sastri (A. SASTRI was born to Visvanatha Iyer and Vengalakshmi on April 26, 1762.
		As per Swamiji's advice, Syama Sastri approached Adiyappayya and the influence of Adiyappayya is reflected in his svarajati -kamakshi' in Bhairavi raga.
		Once Syama Sastri was singing Brhadamba in Pudukottai, an elderly saint was pleased and directed him to go to Madurai and sing in praise of Meenaksi Amman and receive her blessings.
	www.srithiyagarajatemple.org /syama.asp (439 words)

	Sruti
		I was given the rare opportunity to paint the Music Trinity for the Music Academy while I was still in College, in the 5th year of the six-year course.
		Tyagaraja’s tambura was plain and had no yali; the yali on Syama Sastry’s tambura was curved inside; Dikshitar’s had a yali, but I was not aware of it at that time.
		Sastry is said to have had the habit of chewing betel nut.
	www.sruti.com /sruti_box.htm (1035 words)

	::Sangeetham Archives:: (Site not responding. Last check: 2007-10-30)
		Syama Sastry was born on 26th April, 1762, to Viswanatha Iyer and his wife at Tiruvarur.
		Syama Sastry became a friend of Adiyappaiyah, who in turn appears to have been in awe of his friend.
		He was deputed by the Maharajah to bring Syama Sastry to Mysore, to become as Asthana Vidwan, which the latter refused to accept.
	www.sangeetham.com /others/archives/syamasastry_life.php3 (945 words)

	Articles - Melattur, a seat of Bhagavata Mela - an overview (Part I) by Melattur S Natarajan
		The natakas of Venkatarama Sastry are a fine blend of the concept of Sanskrit drama as envisaged by Bharata in his Natya Sastra, the rich Telugu culture and the developments that have taken place to nataka format during the reign of Nayak and Maratha Kings.
		Whereas the poetic genius of Sastry is revealed in his exquisite sahityas, his musical genius is unfolded in the choice and handling of the “apurva” or rare ragas.
		Sastry has, in general, used only “rakti” ragas as they are very expressive of the sentiments of heart and afford richer scope for descriptive and exhaustive treatment of music and dance.
	www.narthaki.com /info/articles/art108.html (3315 words)

	Syama Sastry - the Devi - Bhakta (Site not responding. Last check: 2007-10-30)
		Syama Sastry in his mode of worship of Devi deviated from the regular ritualistic patterns to an intimate personal one.
		Syama Sastry is the most well known composer of this type of compositions.
		To Syama Sastry, Mother Kamakshi, was a living presence with whom he could converse, plead or demand Her love and blessings as his personal right.
	www.svbf.org /sringeri/journal/vol1no2/syama.html (1528 words)

	The Music of Syama Sastry - Part V (Site not responding. Last check: 2007-10-30)
		Shyama Sastri has begun each caranam with the ascending svarAs from S to the top octave S. The same set of svara combinations are used in different places and yet they do not sound repetitive.
		Shyama Sastri has woven the svaras in such a way that at a few places he has elongated a svara with a kArvai; at another place he has infused a deep gamaka to the same svAra; at some places he has used the same svAra combinations repeatedly, even one after another.
		In the middle of the fifth caranam, for e.g., Shyama Sastri uses the phrase S S R twice consecutively, and then P P D D S twice, the first one in mandra sthAyI ending in madhya S and the second one in madhya sthAyI ending in tAra S producing a wonderful tonal effect.
	www.sangeetham.com /ssastrymusic5.htm (942 words)

	Syama Prasad Mookerjee May 23 July 6 Websites University of Calcutta April 6 Kashmir England Bengal Liaqat Ali Khan ... (Site not responding. Last check: 2007-10-30)
		Syama Prasad Mookerjee (also spelled as Shyama Prasad Mukherjee) (July 6, 1901 – May 23, 1953) was the founder of the Bharatiya Jana Sangh.
		Syama Prasad did his graduation from the University of Calcutta.
		Dr Syama Prasad Mookerjee 's patriotism and his martyrdom in the cause of united India has left an indelible mark on my mind...
	en.powerwissen.com /H9Bbp1FeOLkxoMPyMrSa9A==_Syama_Prasad_Mookerjee.html (465 words)

	[No title] (Site not responding. Last check: 2007-10-30)
		Whether she sings a Meera Bhajan, an Annamayya Kirthana, a Syama Sastry krithi, or the Kamakshi Suprabatam, an Ashtapadi or the Bhaja Govindam, she brings her own natural style to the rendering and in the process leaves her unmistakable stamp on that composition.
		When she sings "loka janani, naa pai daya leda?" in Devi Brova Samayamide, it is no longer Syama Sastry imploring Kamakshi, but MS beseeching her own creator (which the listener has the fortune to witness).
		It often comes as a revelation that one may, as one grows old, reformulate ones notions of "asthitwa", swinging between the concrete theism of a personal god and skeptical agnosticism of secular humanism, and yet continue to find the conspicuous devotion in her singing an intensely uplifting experience.
	rakaposhi.eas.asu.edu /html/articles/msg (456 words)

	[No title] (Site not responding. Last check: 2007-10-30)
		At Hamsadhwani, it was a thematic concert — homage to Devi, and the focus was on Syama Sastry's compositions though the artiste included a couple of soulful kritis penned by Papanasam Sivan and a `special' scripted by Thanjavur Sankara Aiyar.
		Manoj Siva's work on the mridangam, which was quiet and supportive for most of the time in the true dharma concept of an accompanist, scaled new peaks during the tani avarthanam, which revealed his laya vidwat.
		Subbaraya Sastry's "Meena Nayana Neeru" in Darbar was an auspicious start, followed by "Devi Srimeenalochani" (Kalyani-Papanasam Sivan), Syama Sastry's "Meenalochani Brova" (Dhanyasi) and an extended Purvikalyani alapana for Dikshitar's "Meenakshi Memudam" with well-fashioned neraval and swaras at "Madurapurinilaye".
	www.hinduonnet.com /thehindu/thscrip/print.pl?file=2003080801640400.htm&date=2003/08/08/&prd=fr& (295 words)

	Welcome to Kala Bharathi (Site not responding. Last check: 2007-10-30)
		Founded by Sri Susarla Surya Bhagavat Sankara Sastry, the Visakha Music and Dance Academy (VMDA) is a Public Charitable Trust registered in 1986 with the primary objective of Promotion, Propogation and Perpetuation of Indian Classical Music and Dance, and other performing arts.
		Kala Bharathi houses a music school, a dance school, a music Library and an art gallery of muscicians and musicologists.The artists impressions of the muscicians was developed by the founder Sri Sankara sastry.
		Tyagaraja Aradhanotsavam is a 3 day long annual ritual in which many singres from in and aroud the city take part and pay their tributes to the Saint Thyagaraja.This Trust also conducts Music Sabhas and Lecture-Demonstrations in the memory of Syama Sastry, Muthuswamy Dikshitar, Purandaradasa, Annamaya, Ramadasu and a score of other lyricists.
	www.kalabharathi.org /introduction.htm (396 words)

	Carnatic Music Trinity
		The reason is as follows.Syama sastry was christened ShyamaKrishna at birth.
		The first song that flowed from his lips praising HER grace was "Oh, Jagadamba" in the raga Ananda Bhairavi later followed by about 300 songs all addressed to Goddess Kamakshi as Shyama Krishna Sodhari.
		Tyagaraja was so enamoured of his Ananda Bhairavi that he is said to have remarked that Sastri was born for the raga and swore that he would not make compositions anymore in that Raga in deference to Shyama Sastry.
	guruvayoorappanvizag.20m.com /whats_new.html (613 words)

	THE HINDU ONLINE : December 10, 1996 Entertainment 09100172.htm
		Their disciples have preserved not only the texts of the sahityas but also the notations so that most of their compositions are available in their original versions.
		The kriti is a composition into which the substance and fragrance of the raga is composed within the framework of a rhythmic pattern.
		Great composers like Thyagaraja, Deekshitar and Syama Sastry had composed, sung and propagated the cream of Carnatic music through their kritis, which are handed down the generations by their disciples.
	sun.science.wayne.edu /~vhari/radha/reviews/MUSICA6.HTM (1138 words)

	A comprehensive website on the life and music of Swathi Thirunal (Site not responding. Last check: 2007-10-30)
		This is only a manifestation of the resilience of our great cultural tradition which kept blossoming forth and developing in unsuspected nooks and corners even against a background of wars and political upheavals.
		Three names are spoken of as the shining lights of this period and of this cultural movement-Thyagaraja, Syama Sastry and Muthuswami Dikshitar.
		I said 'of late' because it took a little time for the outside world to fully comprehend the range of his genius and his achievement.
	www.swathithirunal.org /articles/drgopala.htm (3024 words)

	A Tribute To Tyagaraja
		Tyagaraja's outstanding contribution to the advancement of the kriti format was the introduction of the sangati (lit.
		The attractiveness of Janaranjani is underscored by the fact that Syama Sastry also composed one kriti, nannu brova...
		So it is quite conceivable that Syama Sastry heard this raga from Tyagaraja and was inspired to compose his piece.
	www.sawf.org /newedit/edit05132002/musicarts1.asp (3836 words)

	Syama Sastri - Education - Information - Educational Resources - Encyclopedia - Music
		Syama Sastri - Education - Information - Educational Resources - Encyclopedia - Music
		Syama sastri, who is said to be one of the trimurthis in music, was born at Tiruvarur on Apr 26, 1762.
		Though he doesn't come from a family with musical background, he was initiated by Sangeetha Swami.
	www.music.us /education/S/Syama-Sastri.htm (310 words)

	[No title]
		Syama Satri is always associted with Anadabhairavi (along with Misra Chapu Talam).
		Coming to the kritis of Syama Sastry, like marivErE gati evvarammA O jagadambA pAhi shrI girirAja sutE himAcala tanaya one gets to see the popular form of Anandabhairavi.
		Subbarama Dikshitar mentions in his Sampradaya Pradarshini that in the 170 years or so since the time of Venkatamakhi, somehow the practice of using D2 (catuhsshruti dhaivatam; pancasshruti dhaivatam in his terminology) has come into vogue in Anandabhairavi.
	www.carnatic-music.com /ragas/anandhabairavi.txt (803 words)

	Carnatica Brothers - Press Reviews
		They struck the best form when rendering Syama Sastry's classic swarajati, "Kamakshi Amba" in Bhairavi in the style of the sisters Brinda (late)-Mukta duo when the former would sing in lower stayi and Mukta in the higher.
		Deriving support from the inspiring accompaniment provided by the senior violinist, Parur M. Anantharaman, P. Ganesh drew a sedate sketch of Saramathi as preface to the duo's deft diction of the piece, "Mokshamu" of Tyagaraja.
		The vocalists' presentation of the piece, "Ninnusevinchine" (Yadukulakambodi) of Subbaraya Sastri on Lord Parthasarathy of Triplicane was expressive of their grasp of its bhava moving with delicate laya intricacies.
	carnatica.net /cbros-reviews.htm (1058 words)

	::Sangeetham Archives:: (Site not responding. Last check: 2007-10-30)
		Following our starting the serial on Syama Sastry's life, thanks to Ravi and Sridhar, we received a mail from Mr A Balasubramanian on the Bangaru Kamakshi idol at Tanjavur.
		As said in the article, Shyama Sastri came to Tanjore along with Bangaru Kamakshi from Thiruvaroor and most of his songs are in praise of this deity.
		It seems, he lived in a house which is at the back of the temple.
	www.sangeetham.com /others/archives/bkamakshi_idol.php3 (771 words)

	Re: naive questions
		Though I have only heard renditions in Purvi Kalyani, Prof P Sambamurthy has said in Keertana Sagaram that, it used to be sung in Shadvidamargini up until 1920s.
		Syama Sastry's Ninnuvina marigalada is sung in Reeti Gowla and modern version of Abheri.
		Many musicologists consider that Abheri's scale has got changed over the years and hence the raga itself has been changed.
	www.talkaboutthemusic.com /group/rec.music.indian.misc/messages/120516.html (268 words)

	Temples &Legends Of Andhra Pradesh/Srikurmama/(Page2)
		Sri Naraharitirtha was a disciple of Anandatirtha who in turn was a disciple of Purushottama Mahatirtha.
		In his Purvasrama, Naraharitirtha was known as Syama Sastry, and he was born in one of the ministerial families of Kalinga.
		There is a Stotra, Narahariyati Stotra, which is included in the Sanskrit work called Stotra Mahodadhi, in which the life of Naraharitirtha, which is closely associated with the temple of Srikurmam, is given.
	www.hindubooks.org /temples/andhrapradesh/srikurmam/page2.htm (156 words)

	Heritage tour of Thanjavur
		The Thanjavur fort complex houses the Sangeetha Mahal were music performances took place and continue to happen till date.
		Thanjavur was home to Syama Sastry, as he was the hereditary priest at the temple of Goddess Bangaru Kamakshi.
		Raja Sarabhoji, the last ruler of Thanjavur, was king and patron at this time and he did much to foster music.
	www.chennaionline.com /music/Events/2004/10heritage.asp (803 words)

	Tyagaraja - a controversy (Site not responding. Last check: 2007-10-30)
		According to P.Sambamurthy - "Once a few disciples of Syama Sastri, who had exaggerated notions of their own musical talents, went before Tyagaraja and sang some of their guru's krithis.
		4) All the three were born in Tiruvarur but Tyagaraja lived in Thiruvaiyaru and Syama Sastry (born in 1762) lived in Tanjore after 1781.
		I read somewhere on the net that Syama Shastri's son Subbaraya Shastri was a disciple of MD. And they used to meet each other frequently.
	forumhub.com /indcmusic/8226.02.49.40.html (770 words)

	Special Features
		A hundred select pieces with detailed notation, meanings and raga lakshana accompanied as well by a brief biography were for the first time offered at the feet of the Muse at a release function in Madras.
		A school teacher of meagre means but with amazing tenacity of purpose had come forward to erect the much vaunted memorials not only to Tyagaraja but his peers Dikshitar and Syama Sastry too, not to speak of the other stars in the firmament like Kshetragna.
		A monumental series of volumes, subsequently enlarged, revised and regrouped into four bulky crown-size volumes with an average of 800 pages, each on a scale hitherto unattempted, covering 1500 classical compositions, hit the scene.
	www.carnatica.net /tribute/rra3.htm (845 words)

	Carnatic composers of the post-trinity period
		After the above developments, the truly golden age of Carnatic music can be said to have commenced in the eighteenth century, mainly resulting from the contributions of Thyagaraja and his contemporaries Muthuswamy Dikshithar, Syama Sastry and Swati Thirunal.
		Since their time, the Carnatic music world has seen a spate of composers, the most outstanding amongst them being Papanasam Sivan whose compositions in tamil have added considerably to the scope and range of Carnatic music.
		Subbaraya Sastry (1803 - 1862) was the second son of the illustrious Syama Sastry and was a disciple of Thyagaraja.
	www.chembur.com /carnatic/page04.html (1603 words)

	Vidya Shankar - Sampurna website of Ludwig Pesch
		disciple of Sabhesa Iyer, Sabhapathi Iyer, Syama Sastry (descendant of the composer), and T.L. Venkatarama Iyer
		Syama Sastry's Compositions with text, translation, svara and gamaka notation (Parampara, Madras 1989)
		author of The Art and Science of Carnatic Music (The Music Academy Madras 1983), Syama Sastry (a biography; National Booktrust, 1970) and Aesthetic and Scientific Values in Carnatic Music: Lecture-Demonstrations by Vidya Shankar at the Annual Conferences of The Music Academy Madras 1946-1996 (Parampara, Madras 1997)
	home.planet.nl /~pesch082/htmlpag/E/people02_VS.html (193 words)

	Syama Sastri Information
		A sanyasi by the name Sangitha Swamy was said to have taught him the nuances of Carnatic Music.
		Shyama Sastri befriended, "Viriboni" fame Pachimiriyam Adiyappa at the advice of the Sangitaswami.
		It is said that Sangitaswami asked Shastri to listen to Adiyappa a lot but not to follow him.
	www.bookrags.com /Shyama_Shastri (1434 words)

	sastry - eSnips Search
		T.R.Viswanatha Mayuram Adi bhairavi syama Abheri Samarasabhavana Khamas
		Kanaka Shaila,Punnagavarali,Adi,Shyama Sastry, BMK.mp3 in Dr.Badarinath's Indian Classical Music
		M.S. Subbulakshmi; Devi Brova Samayamide; Chintamani; Syama Sastri
	www.esnips.com /_t_/sastry (74 words)

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