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Conference Papers

INDEX
VARIOUS PAPERS SUBMITTED AT THE MUSIC CONFERENCE

SR.NO	TITLE OF PAPER	Sub-heading where available	Author	Year of.	Conference Subject
				Conference

1	Who is afraid of the 21st Century	a) Prediction Problems	Prof.T.R.Subramanyam	1/1998	Carnatic Music in
		b) A scan of important aspects			the 21st century
		to help prediction

2	The Future for Carnatic Music	a) The Past and the Present	Sri.O.S.Tyagarajan	1/1998	Carnatic Music in
		b) The next century			the 21st century
		c) Conclusion

3	Laya in Carnatic Music…&Beyond	a) Our glorious Music	Sri.Aleypey Venkatesan	1/1998	Carnatic Music in
		b) The universality of Laya			the 21st century
		c) Laya in Carnatic Music
		d) Conclusion

4	Modern Carnatic Concerts -	a) The concert Environment	Dr.Radha Bhaskar	1/1998	Carnatic Music in
	Form & Content	b) The concert Features			the 21st century
		c) The Role of Compositions
		d) The Role of Raga
		e) The Concert Construction
		f) Thematic Concerts
		g) Miscellaneous
		h) Conclusions

5	Lessons from the Past will shape	a) Introduction	Mrs.Aruna Sayeeram	1/1998	Carnatic Music in
	the future!	b) Sahitya, then and now			the 21st century
		c) The future for Carnatic Music

6	The Future Cannot be different from	a) Introduction	Mrs.Geeta Raja	1/1998	Carnatic Music in
	now	b) Sahitya(Compositions)			the 21st century
		c) Conclusions


SR.NO	TITLE OF PAPER	Sub-heading where available	Author	Year of.	Conference Subject
				Conference
7	The Future of Carnatic Music from	a) Gods Gift to Humanity	Sri.K.Muthu Subramaniam	1/1998	Carnatic Music in
	what it is today	b) Carnatic Music in our Treasure			the 21st century
		c) Undiluted, the future is secure
		d) Conclusion

8	The year 2047 A.D: What lies Ahead?	a) Introduction	Ms.Maitreya Ramadurai	1/1998	Carnatic Music in
		b) The Music Scene			the 21st century
		c) The Influence of Technology
		d) The Present as a Platform for the future
		f) Conclusion

9	The Year 2047 A.D - A likely	a) General	Sri.V.Subramanian	1/1998	Carnatic Music in
	Scenario	b) Analysis			the 21st century
		c) Polarization into Sub-Streams
		d) Conclusions

10	The year 2047 A.D - A letter from a		Ms.Vishal Ramani	1/1998	Carnatic Music in
	doting aunt to her niece				the 21st century

11	Instrumentalists need Sahitya Support!		Ms.Kalyani Viswanathan	1/1998	Carnatic Music in
					the 21st century

12	An Elaborate Sruti-Bhedam Exercise		Sri.V.Subramanian	1/1998	Carnatic Music in
					the 21st century

13	Influence of Western Music upon	a) Introduction	Dr.S.A.K Durga	1/1998	Carnatic Music in
	Carnatic Music	b) Influence on Performing Mode			the 21st century
		c) Influence on the Scholastic
		Tradition
		d) Conclusion

SR.NO	TITLE OF PAPER	Sub-heading where available	Author	Year of.	Conference Subject
				Conference

14	Influence of Hindustani Music on	a) Introduction	Dr.Radha Venkatachalam	1/1998	Carnatic Music in
	Carnatic Music : Yesterday -Today -	b) The misleading term "Carnatic"			the 21st century
	Tomorrow	c) Carnatic Music Vis-A-Vis
		Hindustani Music
		d) Conclusion

15	Influence of Hindustani Music on	a) Introduction	Smt.Geeta Ravikumar	1/1998	Carnatic Music in
	Carnatic Music	b) Adopt but also Adapt			the 21st century
		c) Some suggestions on Adaptation
		d) Conclusions

16	Influence of Folk forms on Carnatic	a) Introduction	Sri.K.Ganesh Kumar	1/1998	Carnatic Music in
	Music	b) Folk Forms			the 21st century
		c) The Base for the Folk Forms
		d) The Relevance of Bhajans
		e) Sadir(Natyam)
		f) The withering support to Folk Forms
		and its Effects.
		g) Conclusion

17	Influencing Factor - Western Music		Sri.V.Subramanian	1/1998	Carnatic Music in
					the 21st century

18	Demonstration on Keyboard		Sri.Palakkad Sriram	1/1998	Carnatic Music in
					the 21st century

19	Carrying on the Music Tradition	a) General	Sri.T.K.Govinda Rao	1/1998	Carnatic Music in
		b) The Special Significance of Education			the 21st century
		c) An Action Plan
		d) Manner & Spread of Carnatic Music
		to Education

SR.NO	TITLE OF PAPER	Sub-heading where available	Author	Year of.	Conference Subject
				Conference

20	Carrying on the Tradition	a) Introduction	Shri.P.N.Krishnamoorthy	1/1998	Carnatic Music in
		b) Our Heritage			the 21st century
		c) The Winds of Change
		d) Carrying on the tradition
		e) Some Suggestions & Conclusions

21	Gearing up for the 21st Century &	a) General	Mrs.Vasumathi Badrinath	1/1998	Carnatic Music in
	Beyond	b) The Scene Today			the 21st century
		c) How can we preserve this great art?

22	Some Commercial Considerations		Shri.S.Chandramouli	1/1998	Carnatic Music in
					the 21st century

23	Bhava in Sahitya & Raga		Shri.T.K.Govinda Rao	1/1998	Carnatic Music in
					the 21st century


INDEX
VARIOUS PAPERS SUBMITTED AT THE MUSIC CONFERENCE

SR.NO	TITLE OF PAPER	Sub-heading where available	Author	Year of.	Conference Subject
				Conference

1	From 'Yazh' to 'Guitar'	a) Intoduction	Prof.V.V.Subramanian	2/1999	Stringed instruments
		b) Stringed Instruments			in Carnatic Music
		c) The need for supporting instruments
		and Etimology
		d) Varities of 'Yazh' & 'Veena'
		e) Bowed insturments
		f) Plucked instruments(other than Veena)
		g) General Remarks

2	Veena : Its exalted status in	Part I	E.Gayatri	2/1999	Stringed instruments
	Carnatic Music				in Carnatic Music

3	Veena : Its exalted status in	Part II	E.Gayatri	2/1999	Stringed instruments
	Carnatic Music				in Carnatic Music

4	Veena : Its exalted status in	a) Darsanopanishad	E.Gayatri	2/1999	Stringed instruments
	Carnatic Music	b) Sandilyopanishad			in Carnatic Music
		c) Dyana Bindopanishad

5	About Veena - You Think -	a) Introduction	Mrs. Jayanti R Kiran	2/1999	Stringed instruments
	We create	b) Veena - origin			in Carnatic Music
		c) Veena - Structure
		d) Veena Types
		e) Veena and its Divinity
		f) Contemporary Music scene
		g) Present day Concert scenario

6	Saraswathi Veena - Playing		Prof.R.Visweswaran	2/1999	Stringed instruments
	Technique				in Carnatic Music

7	Chitra Veena - An Introduction	a) General	Sri. N.Ravikiran	2/1999	Stringed instruments
		b) Speciality			in Carnatic Music
		c) Re-Emergence
		d) Sahha Ram Rao
		e) Chitraveena Narasimhan

8	Bala Veenai		Sri.T.R Balakrishnan	2/1999	Stringed instruments
					in Carnatic Music

9	The Rise of Violin in the South-	a) The bow	Sri. G.J.R.Krishnan	2/1999	Stringed instruments
	Adaptation at its best	b) Precursor to the Violin			in Carnatic Music
		c) Evidence in Ancient Scriptures
		d) Music Treatises
		e) Genealogy of the Violin
		f) Entry into South India
		g) Indianisation of the instrument
		h) Violin in the 19th Century
		I ) Violin in the 20th Century
		j) Thirukkodi Kaval Krishna Iyer
		k) Valadi Radhakrishna Iyer P
		l) Malai Kottali Govindaswami Pillai
		m) Dwaram Venkataswam Naidu
		n) Mysore T Chowdiah
		o) Kumbakonam Rajamanickam Pillai
		p) Papa Venkatramiah
		q) The Future

10	Singing on the Violin		Sri Sriram Parasuram	2/1999	Stringed instruments
					in Carnatic Music

11	The Power of Violin and its role	a) The History of Violin	Dr.M.Narmada	2/1999	Stringed instruments
	as an accompaniment in Indian	b) The Viiolin scene in Europe			in Carnatic Music
	Music	c) The Vilin Scene in India
		d) The formidable role of Violin in
		Indian Music

12	Viiolin in South Indian Music		P.P.Ramakrishnan	2/1999	Stringed instruments
					in Carnatic Music

13	The Mandolin - A brief History	a) Introduction	U. Srinivas	2/1999	Stringed instruments
		b) Mandolin in India			in Carnatic Music

14	Stringed Instruments in Carnatic	a) Introduction to Mandolin	Suresh Kumar	2/1999	Stringed instruments
	Music - Focus Mandolin	b) Basic design of the Mandolin			in Carnatic Music
		c) Maestro U Srinivas : design
		d) Suresh Kumar's design
		e) Making the Mandolin sing - the gayaki
		style
		f) Importance of the amplifier
		g) Effects processing
		h) Interface with Computer/digital
		electronics
		I) The Mandolin parapherrnalia
		j) Looking towards the future

15	The Viola		V.L.Kumar	2/1999	Stringed instruments
					in Carnatic Music

16	The Guitar and the Carnatic Music	a) The Guitar	R.Prasanna	2/1999	Stringed instruments
		b) The Electric Guitar			in Carnatic Music
		c) Western Instruments in the Carnatic
		Music
		d) The Guitar in Carnatic Music


VARIOUS PAPERS SUBMITTED AT THE MUSIC CONFERENCE

SR.NO	TITLE OF PAPER	Sub-heading where available	Author	Year of.	Conference Subject
				Conference

1	Wind Instruments in Carnatic		Shri B.M.Sundaram	3/2000	Wind Insturments in
	Music				Carnatic Music

2	Nadaswaram-Mangala Vadyam		Padmashree M.P.N	3/2000	Wind Insturments in
	(in Tamil)		Sethuraman		Carnatic Music

3	Nadaswaram - Magala Vadyam	a) History of Nadaswaram	Padmashree M.P.N	3/2000	Wind Insturments in
	(in English)	b) Method to make this instrument	Sethuraman		Carnatic Music
		c) Mallari
		d) Rakthe Melam
		e) Conclusion

4	Presentation of a distinctive	a) Nagaswara Baani	S.Kasim & S Babu	3/2000	Wind Insturments in
		b) Playing Technique			Carnatic Music
		c) Mallari
		d) Distictive Technique
		e) Importance of Sahityam
		f) Melody

5	The Magic Flute	a) Mythological Introducton	Mala Chandrasekar	3/2000	Wind Insturments in
		b) Scientific Introducton			Carnatic Music
		c) Flute in Carnatic Music
		d) The scene in 20th Century
		e) How to make the magic permeate
		f) Conclusion

6	Flute Techniques - Past & Present	a) Use of transposed fingering techique	Master Shashank	3/2000	Wind Insturments in
		and multiple flute system and it’s			Carnatic Music
		advantages
		b) Techniques required to play ri,ga,ma!
		c) Translation of Rhythmic ideas using
		flute techniques

7	Adapting the Saxophone to	a) Introduction	Kadri Gopalnath	3/2000	Wind Insturments in
	Carnatic Music	b) The First-Expriments			Carnatic Music
		c) The Saxophone on the concert platform
		d) The adaptation to the Instruments
		e) The modification to suit Carnatic Music

8	The Harmonium in Carnatic		P.S.Sundaram	3/2000	Wind Insturments in
	Music				Carnatic Music

9	The Clarinet in Carnatic Music		A.K.C.Natarajan	3/2000	Wind Insturments in
	(in Tamil and English)				Carnatic Music

10	Adapting the Recorder		V.Subramanian	3/2000	Wind Insturments in
					Carnatic Music
VARIOUS PAPERS SUBMITTED AT THE MUSIC CONFERENCE

SR.NO	TITLE OF PAPER	Sub-heading where available	Author	Year of.	Conference Subject
				Conference
1	Physics of Indian Drums	a) Characteristic modes of Vibrations	Prof.B.S.Ramakrishna	4/2001	Tala and Laya in
		and then Frequencies			Carnatic Music
		b) Mridangam and Tabla
		c) Characteristic Modes of Vibrations of
		Mridangam and Tabla
		d) Left Hand Tabla
		e) Total quality of the Drums

2	Tavil		B.M.Sundaram	4/2001	Tala and Laya in
					Carnatic Music

3	Ghatam	a) Origin
		b) Description and making of Ghatam
		c) History
		d) Methods of Playing
		e) Fingering Techniques
		f) Special Features of Ghatam
		g) Some of the old wizards
		h) The concert features of Ghatam
		I) Certain difficulties

4	The Kanjira		T.S.Parthasarathy	4/2001	Tala and Laya in
					Carnatic Music

5	Morching		L.Bhimachar	4/2001	Tala and Laya in
					Carnatic Music

6	Konnakkol		Gurukrupa	4/2001	Tala and Laya in
					Carnatic Music

7	The Role of Tale Vadyas in		Smt.Sakuntala Narasimhan	4/2001	Tala and Laya in
	Carnatic and Hindustani Music				Carnatic Music

8	Concept and Evolution of Tala		Prof. M.R.Goutham	4/2001	Tala and Laya in
	in Music				Carnatic Music

9	Talam (in Tamil)		Prof. P.Sambamoorthy	4/2001	Tala and Laya in
					Carnatic Music

10	Comparative study of Thaalas		T.V.Gopalakrishnan	4/2001	Tala and Laya in
	in Hindustani and Karnatic systems				Carnatic Music

11	A Synopsis	a) Mridangam		4/2001	Tala and Laya in
		b) Tavil			Carnatic Music
		c) Kanjira
		d) Morsing
		e) Konnakkol
		f) Gothu Vadhyam(Juallari)
		g) other persussion instruments
		h) Glossary

1	Classical Art : Neither suitable nor meant		Sri.V.Subramanian	5/2003	The Audience Factor
	for the masses				"Getting closer to the
					people


2	Public concert and Audience Response		Dr.Aneesh Pradhan	5/2003	The Audience Factor
	in Mumbai				"Getting closer to the
					people
3	Varieties of Hindustani Musical		Dr.Ashol Ranade	5/2003	The Audience Factor
	Experience				"Getting closer to the
					people
4	The Visible Challenges		Pt.Satish Vyas	5/2003	The Audience Factor
					"Getting closer to the
					people


5	The Inhibitions that drag us down		Shri P.K. Ravindranath	5/2003	The Audience Factor
					"Getting closer to the
					people

6	Building Bridges with the Audience -		Smt.Ashwini Bhide Deshpande	5/2003	The Audience Factor
	The Target Audience				"Getting closer to the
					people
7	Feeling the Pulse of the Audience		Pt.Sharad Sathe	5/2003	The Audience Factor
					"Getting closer to the
					people

8	Audience - Friendly Concerts	a) From an Artists Point of View	Smt.Shruti Sadolikar-Katkar	5/2003	The Audience Factor
		b) What can a good organiser do?			"Getting closer to the
		c) Critics and Media			people

9	What is needed? A Firm Approach		Pt.Dinkar Kaikini	5/2003	The Audience Factor
					"Getting closer to the
					people

10	What is needed? A Flexible Approach	a) Introduction	Ms.Purvi Parikh	5/2003	The Audience Factor
		b) Tradition & Change			"Getting closer to the
		c) The Contemporary scene			people
		d) Dilemma of the Artist
		e) Flexibility verses Compromise
		f) The Flexible Approach

11	The Role of Education in Indian Music		Dr.Sangeeta Shankar	5/2003	The Audience Factor
					"Getting closer to the
					people

12	Interaction between Music and		Dr.Hari V.Sahasrabudhe	5/2003	The Audience Factor
	Technology				"Getting closer to the
					people
13	The Role of the State and Music	a) Introduction	Dr.Suvarnalata Rao	5/2003	The Audience Factor
	Associations.Some Expectations	b) Role of Music Circles			"Getting closer to the
		c) Support by the State			people
		d) Expectations

14	Art for Arts Sake - Corporate Sponsorship		Shri Kalyani Bose	5/2003	The Audience Factor
					"Getting closer to the
					people


15	Role of NGO's in promoting Arts		Smt.Shamali Gupta Bose	5/2003	The Audience Factor
					"Getting closer to the
					people

16	The Role of Media		Sri Amarendra Dhaneshwar	5/2003	The Audience Factor
					"Getting closer to the
					people

17	Gharana		Smt.Sneha Kelkar	5/2003	The Audience Factor
					"Getting closer to the
					people

THE SIXTH ALL INDIA FAS MUSIC CONFERENCE (2004)

SR.NO	TITLE OF PAPER	Sub-heading where available	Author	Year of.	Conference Subject

1	Hindustani Classical Music and Carnatic		Dr.V.V.Srivatsa	6/2004	Hindustani classical and
	Music - Interaction for Musical Enrichment				Carnatic Music -
					Interaction for Mutual
					Enrichment

2	Hindustani & Carnatic Collaborations in	a) General	Shri Aneesh Pradhan
	Percussion Music	b) Points of Convergence and Divergence
		c) Problem Areas in the dialouge
		d) Areas for further exploration

3	Hindustani & Carnatic Systems of Indian	a) General	Guru Shri.G.Balasubramaniam
	Music-Focus on Mutual Enrichment	b) Shruti
		c) Laya
		d) Swarasthanas
		e) Some suggestions for consideration by
		Hindustani Musicians

4	My Musical Journey		Pt.Balakrishna Iyer



5	Sarod		Pt.Brij Narayan



6	The Past, Present and Future of Interactive	a) The Past	Shri P.N.Krishnamoorthy
	Exchange between the Hindustani and	b) The Ragas
	Carnatic Systems of Music	I. Hindolam
		ii. Abheri
		iii. Kapi
		iv. Brindavana Saranga
		c) The Present
		d) The Future

7	My Reflections on Samantar		Smt.Neela Bhagwat

8	Thyagaraja , The Consummate Musician-		Smt.Padma Varadan
	Craftsman

9	Hindustani & Karnatak Music	a) Comparative Features Note names	Dr.Prabha Atre
		b) Taala Features in Karnatic Music
		c) Seven basic Taalas
		d) Melodic Material
		e) I. Forms
		Drupad, dhammar/Ragam-taanam-pallavi
		ii. Khayal/Kriti
		iii. Taraanna/Tillana
		iv. Thumri - daadra/padam - Jaavali
		v. Order of Presentation of Forms in a concert
		vi Accompanying instruments
		f) Raags
		g) Taals

10	The Area in which the South and North can	a) Prominent plus points and minus points in the	Dr.Radha Venkatachalam
	borrow from each other for Mutual Enrich-	two systems
	ment
11	Karnataka and Hindustani system	a) Origin	Dr.N.Ramanathan
		b) Samagame
		c) Gandharva System
		d) Ancient Tamizh Music and later
		e) Later Tamizh Tradition
		f) Desi Gandharva
		g) Desi Prabhanda
		h) Caturdand 2
		I Karnataka Music System
		j) Hindustani Music System
		k) Swara
		l) Veena tuning
		m) Bibliography

12	Appreciation of Music		Smt.Shruti Sadolikar

13	The Twain shall Meet		Dr.V.V.Srivatsa


14	Is there a North South Divide?	A listeners point of view	Smr.Vimala Sarma

15	Telugu - The language of Carnatic Music	a) Great Musicians and Composers	Smt.K.Subadra Murthy
		b) Why Telugu?

16	Sahitya - Still a Critical component of Music		Smt.Sukanya Viswanathan

17	A ''Walk The Talk' with Bharatiya		Dr.Sulochana Rajendran
	Sangitam

18	An Examination of Relationships between	a) Introduction	Shri Shriram Parasuram
	Carnatic and Hindustani Raga 'Counterparts'	b) Case 1. Begada/Bihagda
	Three case studies describing three	2. Athana/Adana
	different processes	3. Asaveri/Asaviri
		4. Conclusion

19	Musical Instruments :	a) Convergence of Musical cultures	Dr.Suvarnalata Rao
	Bridging the North-South	b) Unity in Diversity
		c) The World of Veena
		d) Veena - North and South
		e) Bridging the North and South

20	The Great Divide		Smt.Vasumathi Badrinath