We do not make a distinction between them because presumptively the art of dance has an inseparable connection to the other two. In spite of the fact that dance, music and literature are three major art forms, the combination of these three along can produce the emotional involvement of the connoisseur. There are various dance forms in India today called differently indifferent parts of our country and they depend solely on the principles prescribed by the work of Bharata.“Natya Sastra” of the second century B. C. But the music adopted in these dance forms is not divided into as many forms and has not undergone many changes. Indian music has developed mainly into two branches – Hindustani and Carnatic. These two systems also have common fundamental principles but their application differs in each system.

The 1. 3th Century Sarangdeva’s “Sangita Ratnakaram” is considered as the basis for the two forms of Indian Music, though Bharta’s”Natyta Sastra” deals with Music exclusively in a chapter. The Musical system, which follows the principles of Sarangadeva but has undergone changes due to the influences of Muhammadan invasions, has finally evolved into what we may today call the Hindustani Music. On the other hand, the system that followed the methods of Somanatha Pandita, Govinda Dikshita, Ramaamatya and Venkatamakhi music. Adobe Indesign Cs3 Licensing For This Product Has Stopped Working more.

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These two are the only classical forms practiced throughout India. The Hindustani system is practiced in North India and Carnatic in South India. It may be noted that the regions, which are linguistically Dravidian in origin, practice the Carnatic system and those with Aryan background follow Hindustani.

This linguistic orientation is a matter of musicologists to ponder over. It cannot be brushed aside as a mere coincidence. As we may note that the Maharashtrian region, though geographically belonging to the south practices predominantly the Hindustani system. The various compositions in this system are used by the artist. Other performances of folk nature like “Yakshagana” of Karnataka “Therukatha” of Tamilnadu, “Veedhibhagavatham” and “Tholu Bommalaata” of Andhra Pradesh also carry the flavour of Carnatic music and also have the distinction as originators of some Ragaas of Classical music.

Before we deal with the main topic namely, the music in Kuchipudi dance style, it is necessary that we try to know the basic musical compositions of Carnatic music. It is also necessary that we realise that Kuchipudi dance, like any other dance form or system, has made use of theses compositions according to its dance requirements in tune with the Carnatic Musical System. Hence there is no separate music system peculiar to Kuchipudi or any other dances form for that matter.

The most popular compositions include Jayadeva’s Ashtapadis. Apart from these the hymns in praise of the Lord that are know for their rhythmic beauty.

The most revered late Sri. Banupalli Mallayya Sastri was a master of the art. Many of these earlier compositions are not recorded in notations. Generally, the trend was only to prescribe specifically a Raga and Tala to be adopted for a give composition. More often than not, such prescription is followed in violation. There are a lot of other musical compositions available in local languages. Carnatic music has developed along two .

Sri Chaturlaksham Krishnamacharyulu was the pioneer of Sankirtanas among the composers who recieve the appreciation of . More often than not, such prescription is followed in violation.

There are a lot of other musical compositions available in local languages. Carnatic music has developed along two . Sri Chaturlaksham Krishnamacharyulu was the pioneer of Sankirtanas among the composers who recieve the appreciation of . This continued for the next three generations of the Nayakas. Govinda samayya and Kuvana .

The Tarangam compositions of Sri Narayanatirtha are the treasure house of the elements of Bhakti, Gnana and Vairagya. The Kuchipudi dance style has successfully adopted his Tarangams like - ”Neelamegha Sareera” and “Bala Gopala”. Microsoft Excel 2011 Vba Reference Manual.

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The Yakshagana form had reached its glory only during the Nayak period especially during the 1. Sri Krishna- Leela tarangini, a Sanksrit work by Sri Naraanatirtha is a Yakshagana. The early practice of Yakshagana during the 1. Century was only in the form of music and not dance. Paarijaatapaharanam” a Yakshagana in Telegu by Sri Narayanatirtha is not available in its full form.

Sri Sidhendrayogi ans Sri Narayanatirtha are said to have a relationship between them as that of a student and a teacher. But there is a difference of opinion about the existence of two different people with two different names, considering the works supposedly written by these two personalities. This is due to the similarities in the lives led by them- both are said to be Sanyasis, both authored Parijathapaarayanam in Telugu. Which is said to be in Yakshagana form. The Kuchipudi Dance style gives equal importance to both “Bhamakalapam” and “Tarangam’. These are but some similarities that created doubts in the minds of the Kuchipudi dance lovers.“Kowtwam”, “Sabdam” and “Prabandam” are items meant for sole performances. The Kuchipudi dancers gave performances of these two solo items in the early days before they switched over to Siddhendrayogis Bhamakalapam.

But this change over the dance form achieved the popularity of the public in general. Hitherto this art form was limited to performance in Temples and the Courts of rulers.

Their works include sabdams, which are in the nature of both divine praise and also praise of a ruler. The Kuchipudi dancers over a period turned their attention to the more popular Yakshagana and the ancient Prabandham and Kowtwam slipped out of their repertoire. Thus they had move away from the tradition of “Bhagavatamela”. Bhamakalapam received popular appreciation. The songs in the Yakshagana are called “Daruvulu”. The song each character sings to introduce him or herself is called “Pravesiki Daruvu”. The various Daruvus are descriptive of the nature of the character or the situation in a drama.

They include “Akshepaki Daruvu”, “Nasikhramiki Daruvu” etc. Bhamakalapam as said earlier is very popular among the general public and some Daruvus like “Bhamane Satya Bhamane”, “Sakunala Manchivayene”, “Madana”, “Yendubothivi”, “Raajeevaakshudu Raajagopaludu” and . The format of Daruvu is different from the compositions of classical music and the musical aspect of the Daruvus inclines more towards the dance element of expression rather than strict classicism, which is why its sounds differently even though the Daruvus are set tot classical Ragas and Talas. Some of the Ragas adopted for Daruvu singing include “Nata”, “Saveri”, “Kamboji’, . However, kuchipudi can do well by paying more attention to its musical aspect. Its disadvantages are evident in some instances.

In the absence of a proper Swara Laya background and Systematic initiation into the field of classical music, the Daruvus do not very often conform to the established classical Raga norms. As such though the Daruvu is the same the rendering varies due to lack of Raga unanimity.

In this regard, it may be pointed that the classical music sympathetically accepts any systematic rendering, as it will conform to some raga lakshana or the other. But the difficult in the case of Kuchipudi music one may have to face is the inability to identify the Raga of the Daruvus sung by the Kuchipudi exponents with the known Raga classifications. It should be realised that its a matter of concern for everybody involved in the development of Kuchipudi form of art. It is not still too late to correct this discrepancy. Our efforts should be directed towards the unanimity of Raga adopted for each Daruvu and strict adherence to it by all practitioners.

It is said a beginning was already made sometime ago in this direction. All India Radio is supposed to have some Daruvus recorded under the guidance of late Sri Chinta Krishnamurti, which were later sung by the renowned Sri Venkateswarulu and Smt.