‘Isaiyiel Peraringer’, ‘Sangeetha Ratna’, ‘Aayvial Aringer’ Dr. K.A. Pakkiriswamybharathy M.A., M. Phil., Ph.D., D. (Music)., D. (Journalism) was the Prrincipal of Tamilnadu Government Music College at Coimbatore, Madurai and Chennai. Dr.K.A. Pakkiriswamybharathy was born to Anandan-Meenakshi duo on 20.01.1951 at Knogampattu Village, Villupuram District, Tamilnadu. The title of his M.Phill., research work was ‘ Tamizhagathin Thonmaiyana Isai Karuvigal’ and Ph.D. title is ‘ Tamizhaga Isai Marabil Thalakkalai’. He served as a Professor in the Department of flute at Government Music College, Madurai from 22.12.1982. From 03.11.1995 to 08.10.1996 he served as the Principal at Government Music College, Coimbatore. From 09.10.1996 to 11.06.2000 he was the Principal at Government Music College, Madurai. From 12.06.2000 to 30.05.2005 he was again the Principal in Government Music College, Coimbatore. From 01.06.2005 to 31.01.2009 he served as the Principal at Government Music College, Chennai.
He received many awards, appreciation and honourary Degrees in the field of Music. He has given many discourses in the field of Music-Music Academy, Chennai, Tamil Isai Sangam, Chennai, in Many music Sabhas, in many Universities, music festivals television Channels and radio. He made practical presentations also.
He had contributed to over 1000 articles in various books, journals and magazines. His research work can be classified into – Isai Varalaru (History of Music), Isai Kalaignargai Varalaru (History of 200 musicians), Isai Vagaigal (Types of Music), Taala Vagaigal (Types of Taalas), Isai Karuvigal (Musical Instruments), Isai Amaipugal ( Music Formations) and Paadal Thguppugal (Collection of Songs). This book ‘Treasure of Indian Music’ (Indiya Isai Karuvoolam) contains 10 parts, 40 chapters and 750 pages. This book is useful to the Sangeetha Vidwans Faculty, research scholars and students of various universitis, colleges, schools, institutions and Organisations. This book is a new arrival to the world of music and will be truly useful to all.
Afetr his retirement from 1.2.2009, Dr. K.A. Pakkiriswamybharathy is now involved in editing, ‘Isai Karuvoolam’ (Treasure of Music), a music and Dance monthly magazine. He has dedicated himself to music.
Our best wishes ti ‘Isaiyiel Peraringer’, ‘Sangeetha Ratna’ ‘Aayvial Aringer’ Dr.K.A. Pakkiriswamybharathy.
The book entitled ‘Treasure of Indian Music’ Written with more efforts by ‘Sangeetha Ratna’ Dr.K.A. Pakkiriswamybharathy is obiviously an excellent work. No doubt, it is absolutely an asset to the music lovers.
The author has shown his musical attitude by giving full details with more depth, from the basic aspects of music, theoretically which proves his capability and skill.
The chapters deal the history of atleast 165 Vaggeyakaras, starting from the ancient vedic period. The most important item is 136 Rga lakshanas. He also has included the most intricate details of 22 sruthis which is very much essential for the students who have chosen Music as one of the subject in their degree courses. The details of the musical instruments belonging to the Karnatic Classical, Hindusthani and Western are noteworthy.
The author has mentioned on idioms and proverbs relating to music is really an interesting one. The Mudhras handled by various music composers are also mentioned in this book, which would certainly provide wide knowledge to the students of music and readers of music book readers.
I wish the author for his wonderful presentation and I am sure that this book will be a treasure to the World of Music.
1 | The greatness, Power, Special Features | 1-14 |
and Antiquity of Indian Music | ||
2 | Fundamental Technical Terms in Music | 15-26 |
3 | Classification of Musical Forms | 27-43 |
Musical form for Exercise (Abhyasa Gana) | ||
Musical form for Concert (Sabha Gana) | ||
4 | Sacred Musical Forms | 43-47 |
Thevaram, Divya prabhandam, Thiruppugazh | ||
Thiruvarutpa, Kavadi Chindu | ||
5 | Folk music and its unique features | 48-51 |
6 | Dance | 51-59 |
Bharatanatyam, Natya Nataka (Dance drama), | ||
Bhagavata mela, Kuravanji Nataka | ||
Geyanataka, Katha kalakshepam | ||
7 | Dance of India | 60-63 |
Kuchupudi, Kathakali, Mohiniattam, Yakshaganam, | ||
Kathak, Manipuri, Odissi | ||
8 | 72 Melakarthas | 64-84 |
The scheme of 72 melakartha system | ||
History and structure of the scheme | ||
Vivadi melas, Katapayadi Formula | ||
The 72 Melakartha Chart | ||
9 | Classification of Ragas | 85-107 |
Classification of Janya Ragas | ||
10 | Ragas and Raga Lakshanas | 107-112 |
11 | Decription of 136 Ragas | 113-301 |
12 | Different Types of Thalas | 302-318 |
7 Thalas, 35 Thalas, 175 Thalas | ||
Desadi, Madhyadi, Chapu Thalas | ||
108 Thalas, Pancha Thalas, | ||
Nava Sandhi Thalas | ||
13 | Thala Dasa Pranas | 318-329 |
Ten Important Aspects of Tala | ||
14 | Arunagirinadar Thiruppugazh with | 330-333 |
reference to Sandam and various Thala | ||
15 | Music Notation | 334-340 |
16 | Musical Prosody | 340-352 |
Decorative aspects of mmusical composition | ||
Gamakas and Alankarams | ||
17 | Mudras in musical compositions | 352-363 |
18 | Triodasa Lakshanas ofd Ragas | 364-366 |
19 | Creative Music Forms | 367-381 |
Ragam, Tanam, Pallavi, Niraval and | ||
Kalpana Swara | ||
20 | Music appreciation for a composition | 381-388 |
21 | The qualities of a good vocalist and the | 388-392 |
Qualities to be avoided | ||
(gayaka gunas and dhoshas) | ||
22 | The evolution of swaras | 392-397 |
Origin and development of scales and ragas | ||
unique nature of swaras | ||
23 | A portrait of Modern Music | 397-403 |
Positive and Negative features of Modern Music | ||
24 | Tradition of South Indian Music | 404-421 |
Tamil Music Tradition | ||
25 | The Tradition of Hindustani Music | 421-434 |
26 | The Tradition of Western Music | 434-442 |
Contact with the other music systems | ||
The principle of Mutual exchange | ||
Comparison of Indian Music with that others | ||
27 | Classification of Musical Instruments | 442-447 |
1 | South Indian Musical Instruments | |
2 | Hindustani Musical Instruments | |
3 | Western Musical Instruments | |
4 | Human Throat, Larynx, Vocal Box & Ear | 707-710 |
5 | Types of Musical Instruments with diagrams | 711-719 |
28 | Laws of Vibrations | 477-480 |
1 | Laws of Stringed Instruments | |
2 | Laws of Wind Instruments | |
3 | Laws of skincovered Instruments | |
29 | A comparative study of vocal and | 480-483 |
Instrument Music | ||
30 | Explanation of 22 sruthis | 484-494 |
Cycles of Fifths (Shadja- Panchama Relation) | ||
Cycles of Fourths (Shadja- Madyama Relation) | ||
31 | Physics of Music | 495-504 |
Difference between Noise and Music, Pitch | ||
Intensity, Timbre, Sruthi Intervals | ||
(Vadi, Samvadi, Anuvadi, Vivadi Swaras) | ||
The Modal shift of Tonic (Graha bheda) | ||
32 | The scale of Just Intonation | 505-507 |
The Scale of Equal Temperament, | ||
Absolute Pitch and Relative Pitch | ||
Sympathic Vibration, Harmonics | ||
Echo, Beats | ||
33 | Sources and Evidences for the History of South Indian Music | 508-534 |
Milestones of the history of Indian Music | ||
34 | Seats of Music in South India | 534-547 |
35 | 165 Music Luminaries contributions with a Biographical sketch | 548-678 |
36 | Construction and use of Concert Halls | 679-681 |
37 | The role of Larynx and the Ear | 682-687 |
38 | The use of Gramaphone, Tape Recorder, Radio | 687-692 |
Film, Television, Compact Disc | ||
39 | Folk Dances | 692-700 |
40 | Folk Dramas and | 701-706 |
Methods of Singing Folk Music |
‘Isaiyiel Peraringer’, ‘Sangeetha Ratna’, ‘Aayvial Aringer’ Dr. K.A. Pakkiriswamybharathy M.A., M. Phil., Ph.D., D. (Music)., D. (Journalism) was the Prrincipal of Tamilnadu Government Music College at Coimbatore, Madurai and Chennai. Dr.K.A. Pakkiriswamybharathy was born to Anandan-Meenakshi duo on 20.01.1951 at Knogampattu Village, Villupuram District, Tamilnadu. The title of his M.Phill., research work was ‘ Tamizhagathin Thonmaiyana Isai Karuvigal’ and Ph.D. title is ‘ Tamizhaga Isai Marabil Thalakkalai’. He served as a Professor in the Department of flute at Government Music College, Madurai from 22.12.1982. From 03.11.1995 to 08.10.1996 he served as the Principal at Government Music College, Coimbatore. From 09.10.1996 to 11.06.2000 he was the Principal at Government Music College, Madurai. From 12.06.2000 to 30.05.2005 he was again the Principal in Government Music College, Coimbatore. From 01.06.2005 to 31.01.2009 he served as the Principal at Government Music College, Chennai.
He received many awards, appreciation and honourary Degrees in the field of Music. He has given many discourses in the field of Music-Music Academy, Chennai, Tamil Isai Sangam, Chennai, in Many music Sabhas, in many Universities, music festivals television Channels and radio. He made practical presentations also.
He had contributed to over 1000 articles in various books, journals and magazines. His research work can be classified into – Isai Varalaru (History of Music), Isai Kalaignargai Varalaru (History of 200 musicians), Isai Vagaigal (Types of Music), Taala Vagaigal (Types of Taalas), Isai Karuvigal (Musical Instruments), Isai Amaipugal ( Music Formations) and Paadal Thguppugal (Collection of Songs). This book ‘Treasure of Indian Music’ (Indiya Isai Karuvoolam) contains 10 parts, 40 chapters and 750 pages. This book is useful to the Sangeetha Vidwans Faculty, research scholars and students of various universitis, colleges, schools, institutions and Organisations. This book is a new arrival to the world of music and will be truly useful to all.
Afetr his retirement from 1.2.2009, Dr. K.A. Pakkiriswamybharathy is now involved in editing, ‘Isai Karuvoolam’ (Treasure of Music), a music and Dance monthly magazine. He has dedicated himself to music.
Our best wishes ti ‘Isaiyiel Peraringer’, ‘Sangeetha Ratna’ ‘Aayvial Aringer’ Dr.K.A. Pakkiriswamybharathy.
The book entitled ‘Treasure of Indian Music’ Written with more efforts by ‘Sangeetha Ratna’ Dr.K.A. Pakkiriswamybharathy is obiviously an excellent work. No doubt, it is absolutely an asset to the music lovers.
The author has shown his musical attitude by giving full details with more depth, from the basic aspects of music, theoretically which proves his capability and skill.
The chapters deal the history of atleast 165 Vaggeyakaras, starting from the ancient vedic period. The most important item is 136 Rga lakshanas. He also has included the most intricate details of 22 sruthis which is very much essential for the students who have chosen Music as one of the subject in their degree courses. The details of the musical instruments belonging to the Karnatic Classical, Hindusthani and Western are noteworthy.
The author has mentioned on idioms and proverbs relating to music is really an interesting one. The Mudhras handled by various music composers are also mentioned in this book, which would certainly provide wide knowledge to the students of music and readers of music book readers.
I wish the author for his wonderful presentation and I am sure that this book will be a treasure to the World of Music.
1 | The greatness, Power, Special Features | 1-14 |
and Antiquity of Indian Music | ||
2 | Fundamental Technical Terms in Music | 15-26 |
3 | Classification of Musical Forms | 27-43 |
Musical form for Exercise (Abhyasa Gana) | ||
Musical form for Concert (Sabha Gana) | ||
4 | Sacred Musical Forms | 43-47 |
Thevaram, Divya prabhandam, Thiruppugazh | ||
Thiruvarutpa, Kavadi Chindu | ||
5 | Folk music and its unique features | 48-51 |
6 | Dance | 51-59 |
Bharatanatyam, Natya Nataka (Dance drama), | ||
Bhagavata mela, Kuravanji Nataka | ||
Geyanataka, Katha kalakshepam | ||
7 | Dance of India | 60-63 |
Kuchupudi, Kathakali, Mohiniattam, Yakshaganam, | ||
Kathak, Manipuri, Odissi | ||
8 | 72 Melakarthas | 64-84 |
The scheme of 72 melakartha system | ||
History and structure of the scheme | ||
Vivadi melas, Katapayadi Formula | ||
The 72 Melakartha Chart | ||
9 | Classification of Ragas | 85-107 |
Classification of Janya Ragas | ||
10 | Ragas and Raga Lakshanas | 107-112 |
11 | Decription of 136 Ragas | 113-301 |
12 | Different Types of Thalas | 302-318 |
7 Thalas, 35 Thalas, 175 Thalas | ||
Desadi, Madhyadi, Chapu Thalas | ||
108 Thalas, Pancha Thalas, | ||
Nava Sandhi Thalas | ||
13 | Thala Dasa Pranas | 318-329 |
Ten Important Aspects of Tala | ||
14 | Arunagirinadar Thiruppugazh with | 330-333 |
reference to Sandam and various Thala | ||
15 | Music Notation | 334-340 |
16 | Musical Prosody | 340-352 |
Decorative aspects of mmusical composition | ||
Gamakas and Alankarams | ||
17 | Mudras in musical compositions | 352-363 |
18 | Triodasa Lakshanas ofd Ragas | 364-366 |
19 | Creative Music Forms | 367-381 |
Ragam, Tanam, Pallavi, Niraval and | ||
Kalpana Swara | ||
20 | Music appreciation for a composition | 381-388 |
21 | The qualities of a good vocalist and the | 388-392 |
Qualities to be avoided | ||
(gayaka gunas and dhoshas) | ||
22 | The evolution of swaras | 392-397 |
Origin and development of scales and ragas | ||
unique nature of swaras | ||
23 | A portrait of Modern Music | 397-403 |
Positive and Negative features of Modern Music | ||
24 | Tradition of South Indian Music | 404-421 |
Tamil Music Tradition | ||
25 | The Tradition of Hindustani Music | 421-434 |
26 | The Tradition of Western Music | 434-442 |
Contact with the other music systems | ||
The principle of Mutual exchange | ||
Comparison of Indian Music with that others | ||
27 | Classification of Musical Instruments | 442-447 |
1 | South Indian Musical Instruments | |
2 | Hindustani Musical Instruments | |
3 | Western Musical Instruments | |
4 | Human Throat, Larynx, Vocal Box & Ear | 707-710 |
5 | Types of Musical Instruments with diagrams | 711-719 |
28 | Laws of Vibrations | 477-480 |
1 | Laws of Stringed Instruments | |
2 | Laws of Wind Instruments | |
3 | Laws of skincovered Instruments | |
29 | A comparative study of vocal and | 480-483 |
Instrument Music | ||
30 | Explanation of 22 sruthis | 484-494 |
Cycles of Fifths (Shadja- Panchama Relation) | ||
Cycles of Fourths (Shadja- Madyama Relation) | ||
31 | Physics of Music | 495-504 |
Difference between Noise and Music, Pitch | ||
Intensity, Timbre, Sruthi Intervals | ||
(Vadi, Samvadi, Anuvadi, Vivadi Swaras) | ||
The Modal shift of Tonic (Graha bheda) | ||
32 | The scale of Just Intonation | 505-507 |
The Scale of Equal Temperament, | ||
Absolute Pitch and Relative Pitch | ||
Sympathic Vibration, Harmonics | ||
Echo, Beats | ||
33 | Sources and Evidences for the History of South Indian Music | 508-534 |
Milestones of the history of Indian Music | ||
34 | Seats of Music in South India | 534-547 |
35 | 165 Music Luminaries contributions with a Biographical sketch | 548-678 |
36 | Construction and use of Concert Halls | 679-681 |
37 | The role of Larynx and the Ear | 682-687 |
38 | The use of Gramaphone, Tape Recorder, Radio | 687-692 |
Film, Television, Compact Disc | ||
39 | Folk Dances | 692-700 |
40 | Folk Dramas and | 701-706 |
Methods of Singing Folk Music |