Review and discussion On Nalanda

Skip to first unread message


Jul 8, 2008, 1:07:58 AM7/8/08
to Research.Carnatic
Dear Members,

It is almost 10 days since Nalanda has been uploaded. I am sure many
of you would have gone thru the slides. It is with a keen interest to
add value to this presentation, I request all to post discussions
(screen by screen) if required on this post.

I will be more than happy to reply any querries to the best of my
knowledge. In the meen time I am working on the 6 th 7 th and 8 th
part of this presentation. I would like you all to suggest some topics
for the forth coming parts.

Looking forward to a very active participation for discussion on



Jul 8, 2008, 3:33:24 AM7/8/08
to Research.Carnatic
That was a very informative, well researched and neat presentation.
I've given it a quick glance, it needs some discussion to understand
it completely, particularly in the first section. (ex. Slide 5:
Symphony - Soprano, alto, tenor, bass?? 4 part writing is a basic
structure in western music, of course it has some links with symphony
too.. I couldn't guess what you are trying to point out here.
Similarly, Stereophonic? Antiphonic?)

Anyways, the main content is in section 2 and 3. I'll go thru them
once again thoroughly before coming here for a discussion. I liked the
fact that you've researched well about Tamil Isai and vedic music in
this presentation. I also liked the way formation of notes (5th cycle
& 4th cycle, starting from undivided string) is presented.

I couldn't agree completely to the chart presented in slide 18,
comparing western and carnatic frequencies. Westerners experimented a
lot with different tuning systems too. For instance _Just intonation_
is quite similar to our tuning system (

Good work. It deserves some discussion here.

Thanks for sharing.



Jul 8, 2008, 3:44:07 AM7/8/08
to Research.Carnatic
By the way, at slide 15, what's the Tamil note name for Ma? (it's
shown as _ழை, first letter is missing)

Again, when comparing western and carnatic notes, people often relate
Sa with C, Ri with D etc. Sa Ri etc are relative notes, which do not
have fixed frequencies where as C D etc are fixed frequencies. One can
call C as Sa only when Sa is sung in sruti 1 (1 kattai). But again,
notes for Ri, Ga etc can only be determined by the Raga. For instance
Shudda Ri -> Db, Chatusruti Ri -> D, if Sa -> C.

Do, Re, Mi are more appropriate to compare with Sa, Ri, Ga.


On Jul 8, 10:07 am, SiSu <> wrote:


Jul 9, 2008, 1:04:20 AM7/9/08
to Research.Carnatic
Dear Ananth,

Thanks for starting the discussion.

1. Slide 5: The western musical terms in the presentation is only an
introduction to these terms explaining what they mean and how it is
used or not used nothing beyond. No comparison with any equivalance in
carnatic system.

2. Slide 18: Yes you are right, Just Intonation is very similar our
system. I intend to take it up in further presentations on the 22
sruthis. (I dont know when i am going to do that). I thought it will
be more appropriate there. More over in slide 18 I deliberately
avoided using C D E F G A B, or do re me fa sol la te. The value 100
taken for shadjam is arbitrary, not relating to any fixed frequency
note. The table is to identify that there is a difference in the 2
systems. (Just inotnation and equal distribution of 12 th root of 2.
As I said more is said and discussed during the presentation. Even the
1 kattai equivalance of madhyastaayi shadjam with middle C is

3. For Madhyamam, it is called UZHAI. It is visible correctly in my
computer. It could be some goof up with the font while I typed.

Thanks and regards.

> > SiSu- Hide quoted text -
> - Show quoted text -
Reply all
Reply to author
0 new messages