Browsing by Author "Guide - Dr.V.Janaka Maya Devi"

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    Exploring the Essence of Suruti Raga through Musical Forms with Special Reference to the Kritis of Tyagaraja and Muthuswamy Dikshitar
    (Avinashilingam, 2025-01) Praseeda Bal; Guide - Dr.V.Janaka Maya Devi
    In Carnatic music, ragas are having vital role. The concept of raga said to be developed from Matanga’s period (6th- 9th century).It has undergone many changes through the ages but its fundamental characteristics have never been disputed. It is not merely a musical scale, but it is a systematic arrangement of notes. Carnatic music is generally based on two classifications of ragas-Janaka and Janya. There are 72 Janaka ragas (Melakarta ragas) in Carnatic music. Many ragas are derived from these Melakartha ragas are termed as Janya ragas. In Carnatic music Janya ragas are mainly classified into Upanga, Bhashanga,Vakra and Varja. According to the scale of notes these Janya ragas again classified into many groups like Svarantara, Audava, Shadava, Sampurna and many other combinations. The raga Suruti is a gem among the Janya ragas. It is a Janya raga of the 28thMelakartha, Harikambhoji. Suruti is an Upanga Audava Vakra Sampurna Janya raga. Currently it is also considered as an Ubhaya Vakra Shadava Sampurna raga. Raga is the foundation within which all the compositions are being created. Raga is the most significant concept in music composition, and raga classification is pivotal in Indian music theory.Musical forms or compositions have many musical structures, resulting in all shades of a raga. In Carnatic music Suruti raga has utilized almost in all musical forms. This thesis is entitled ‘Exploring the Essence of Suruti Raga through Musical Forms with Special Reference to the Kritis of Tyagaraja and Muthuswamy Dikshitar’ is divided into four chapters excluding introduction and conclusion. The first chapter is tracing out the name of the Parent raga of Suruti: Harikambhoji from selected Lakshanagrandhas. The second chapter is exploring the significance of Suruti raga in various aspects.The third chapter is the execution of svaras of Suruti through various musical compositions of different composers.The fourth chapter,is having the detailed analysis of the Suruti raga compositions of Tyagaraja and Dikshitar. This study is based on the richness of the raga Suruti and tracing out the bhava through different musical compositions of various composers.