1. The Vibrance (Fringe 2016) Sat 5th March
2. Shruthi Music Festival, A Tribute To Saint Thyagaraja Sat 14th May
3. Yuva Kala Mela (Young Talents Day) Sat 23rd July
4. Celebration of Womanhood (Navaratri Festival) Sat 15th Oct

All the above four events will be held at The Golden Grove Recreation & Art Centre, GOLDEN GROVE SA 5125 with complimentary dinner provided.

Shruthi Adelaide AGM 2012

His gurus included his grandfather Kavi Kunjara Bharati, Patnam Subramaniam Aiyer and Ramanathapuram Srinavasa Iyengar, a disciple of Tygaraja Swami.

His major interest and contribution to Carnatic music wasexploring the72-melakarta ragas, specifically the ‘vivadi ragas’. Vivadiswaras are shatshruthi rishabha (R3), suddha gandhara (G1), shatshruthi dhaivata (D3) and suddha nishada (N1).

Singing a vivadi raga is challenging as there is a dissonance between a vivadi swara and its neighbours. Composers must cater to the limitations of the singers whilst bringing an aesthetic appeal. Koteeswara Aiyer was a pioneer in composing songs in vivadi ragas.

His compositions upheld the musical traditions without losing sense of modernity. For example, melody of the anupallavi reflected in the charanam likeTygaraja Swami and setting songs in chauka thalams and use of certain alankarams in the manner of Muthuswami Dikshitar.

His treatment of vivadi ragas came from the notion that all that could be applied to non-vivadi ragas can be applied to vivadi ragas, such as using vivadi swaras in focal points both the alapana and swarakalpana. When melodic appeal became difficult to achieve, certain techniques such as emphasizing the vivadi swarasfor a longer duration or taking the vivadi swara from a higher non-vivadi swarawas used.

All his compositions are in Tamil challenging the monopoly of Telugu and Sanskrit musical compositions.

The galaxy ofworld musicians includes many unsung heroes such as Koteeswara Aiyer, who broke barriers to reach new musical heights.

written by Madhuvanthi Muralidharan

There are different types of ragas which can be sung at different times of the day. The early morning ragas are Bhoopalam, BauliNadanamakriya, Mayamalavagowla and Valaji to name a few. Natakurunji, Huseini, Hamsanandi and Mandariare some of the ragams that can be sung in the afternoon.Vasantha, Kalyani, Bhairavi, Hamsadhvani and Gowlai are some of the ragams that are traditionally sung in the evening while Todi, Kamboji, Kamas and Ranjani are to be sung at night.

There are different kinds of ragams which bring out the various emotions. Karuna rasa is brought out in the ragamsSahana, Kanada, Bhairavi and Nadanamakriya, to mention a few. Sringara rasa is well brought out by Suruti, Kamas and Huseini. Atana and Arabhi bring out the Raudra rasa well. Veera rasa is brought out by Nattai, Bilahari, Hamsadhvani and Devagandhari. Kedaram and Mohanam bring out the Hasya rasa. Wonder or Arpuda rasa is brought out by Saranga and Hindustan Behag. Atana brings out the Bibatsa rasa while Punnagavarali brings out the Bhayanaka rasa and Sama and Vasantha stand for Shantha rasa.

Compiled by Anandhi Sundar

Bharata(4thC), in his treatise Natya Sastra, classified the musical instruments in to 4 categories: Stringed instruments, Wind instruments, Skin covered instruments and Ghana Vadyas.

Stringed instruments: In these instruments, the nadham arises through the vibrations of the strings. The instruments Veena, Gottuvadhyam, Sitar, Tambura Mandolin to name a few, create vibration through the fingers. Violin,Sarangi and others produce vibration with the help of bows and in Santur by sticks.

Wind instruments: In these, the nadham arises with the help of the wind. There are 2 types: Air is produced through bellows like Organ and Harmonium and in the second, air is blown through the lungs and/or mouth like the flute and the nadaswaram.

Skin covered instruments: These are used as talavadyaslike mridungam, tavil and kanjira, to name a few. They have faces or heads covered with skin. The nadham is produced either by hands or sticks.

Ghana Vadhyas: These instruments are made of mud, metal or wood. Jalatharangam and ghatam are made of mud, cymbals are made of metal and chipla is made of wood and metal.

Compiled by Anandhi Sundar

Very little is known about his life. He was born in Kothavasal, a tiny village in Thanjavur district. His family seems to have settled there very early in the 19^th century. With his keen desire to learn music, he was sent to Veena Kuppa Aiyar to further his music. He was a fast learner and soon mastered the nuances of Carnatic music. His interests expanded to Gottu Vadhyam too.

It is said that whenever Venkatarama Aiyar got the inspiration to compose, he would write them on the walls with a piece of chalk which would then be faithfully copied out by his disciples. The Saveri varnam, Sarasuda, is a standing example of the raga in all its beauty. Erroneously, some of his compositions are credited to Patnam Subrahmanya Aiyar as both have the same mudra-Venkatesa.

Compiled by Anandhi Sundar

He was the fourth son of NallathambiPillai and Valliammai. His father was a Jain by birth but later embraced Saivism. Arunachalar was well versed in both Tamil and Sanskrit. He wasmesmerised byThiruvalluvar’sThirukkuraland Kamban’sRamayanam. These two great works were his guiding forces which led him to write Rama NatakaKirtanas later in life.

His contemporaries requested him that with his great scholarship, he could compose an opera for which they could help him in setting the ragas and talas. He thought deeply on the choice of a subject for an opera. It was hardly surprising that the life of Sri Rama came to his mind as the only fitting theme for his opera. He wrote and completed the opera and wished to have its arangetram at the same Srirangam temple before Sri Ranganatha as Kamban did with his work. It is said that he received a divine directive in a dream that he should sing Thodayams, invoking other deities and sages just as Kamban did, since he had transformed the poet’s work in the form of kirthanas. This was the eventful occasion for the delightful piece, Yen Pallikondeerayya in Mohanam, aditalam.

Yaroivaryaro (Bhairavi, Adi), Saranamsaranam Raghu Rama (Asaveri, Misrachapu), kandenKandenKandensitayai (Vasantha, Adi) are some of the famous kirthanas from the opera that have maintained their classical excellence. Carnatic music has been enriched by his numerous compositions.

Compiled by Anandhi Sundar

Having heard of this group meeting at IAASA Hall, I started attending since 1992. Early in 1993, we discussed the possibility of holding the ThygarajaAaradhana and it happened February-end or early March. It was a memorable event in more ways than one as we received some good news when we came home from that event. We brought home the garland used on that occasion and that was adorning Lord Rama’s picture until 2006 as a dried flower garland preserving its beauty.

In 1993, the group took some formal shape with membership and small subscription. So,  a bank account was opened and it needed two people to sign cheques. Krishnamoorthy and I took up that responsibility. In 1994, we held the first ‘AGM’ at a park with less than a dozen people attending. It started raining and we all dashed to Mythili house to continue the meeting. Since no one wanted to take up any office, it would have spelled its end. I suggested that DrLakshmanan. Krish and I would continue to keep it going without taking any title position. So, the organisation continued. I can’t recall when the name Shruthi was given although I later designed a letterhead.

Before each ThyagrajaAaradhana, I used to send a write-up to local Messenger and I even got a picture of a few of ;our ladies (Aanandhi, Lakshmi, Mythili and Nalini) at a Prospect Rd Park published as pre-event publicity. We used to have four events a year. I never held any official position but was keen to see Shruthi continued to exist. So, before each AGM,  applying ‘sama, dhana,bedha, thandam’ technique (back room deals), some committee always emerged. I was asked to play the role of Returning Officer to announce these names and eventually ended up returning every year until 2012.

My personal goal was to make as many as our community members come on the stage so that they develop public speaking skills and thus aim for bigger things in life. I am glad to see this has happened as many of our ladies have acted as Presidents/Secretaries/MCs, a number our youngsters have participated in many programs and lately, the youth have taken active part in running Shruthi. Every one who acted as President has improved its stature and we owe a debt to all. Next year, it will celebrate its 25th year. I never imagined the organisation would last beyond that rainy day in the park in 1993. So pleased to see it is still there and growing. Keep up the good work.

LaksPathi.
PS: If there is any inaccuracy in the above, it may be due to my failing memory.

Kuna Ingaran and I collaborated on the formation of an organization where lovers of South Indian Art, Music, Dance and Culture, could have an avenue for these to be showcased. The idea was mooted and shared with the likes of Raji Krishnamurthy, Mythili Mohan, Prema Iyer, Mallika Prasad, Bama Ganesan, Anandhi Sundar and other like-minded enthusiasts which led to  Shurthi Adelaide being born.

We had at all times the ongoing support of our spouses and family, which has been a crucial adjunct to this concept of a family oriented cultural and social event.

Our inaugural group met at the home of the Paramsothi family in the Eastern suburb of Adelaide.

Shruthi was launched, with little fanfare, but with much anticipation and joy by the initial membership.

Our Shruthi Logo, although simple in design, is most exquisite in conveying the entire matrix and repertoire of the organizational ethos it fosters.

From humble beginnings, our organization has grown from strength to strength.

Shruthi Adelaide has journeyed to its present status of an inspirational and cohesive family spirited organization.

I am aware of the positive, exquisite and resplendent relationship that prevails within the Shruthi fold. This relationship appears devoid of power dynamics, but highly seeped in key values of respect, caring and sharing. Truly it is a beacon for our youth and future generations to imbibe concepts, traditions, and sentiments as a blueprint and springboard for their future use.

I find the stewardship by the presidents and committees has been visionary in maintaining efforts towards the mission and goal statements. This stewardship has endeavoured at all times to uphold the firm commitments of Shruthi’s constitutional objectives.

It is most heart rendering to observe the membership has expanded to include souls from India, Singapore, Ceylon (Jaffna) and Malaysia (former home of Kuna Ingaran and the writer).

I am honoured and privileged to be given this valuable opportunity to share my thoughts and feelings for inclusion to the proposed website. Thank you, Anandhi!!!

I offer my continued support and heartfelt congratulations to one and all at Shurthi Adelaide for their intellectual adventure and forbearance – one that ticks all the boxes!!!

On glancing at the enthusiastic audience in attendance at the Malladi Brothers presentation, I was overwhelmed by the presence of most of the core pioneers among the numerous attendees gathered in spite of the inclement weather.

I pray that Lord Ganesha’s continued blessings and guidance be showered on one and all at Shurthi Adelaide.

Thank you
Saras Paramsothi.