In 2012, The Music Academy Research Centre (MARC) was affiliated to Tumkur University, Tumkur, for an initial period of three years. In this period a PhD program was offered and a total of eight students did their doctoral study from the Centre.
Income from the endowments of Shri N.S.S.Mani, Smt.Uma Karthik Narayanan and Shri R.Kalidas supported the costs and classes at the research centre.
On 25th February, 2020 the 8 PhD scholars from MARC were awarded their doctorate degree certificates in the convocation function in Tumkur University, Tumkur.
The doctoral journey that began in 2012 with guides Prof. Ritha Rajan and Dr. R.S. Jayalakshmi was marked by insightful discussions, critical observations, involved guidance and collaborative work. The research scholars deem it a privilege, in fact a blessing, to have been part of this research centre and worked with these guides and are grateful to the Music Academy for such an opportunity.
Sri. N. Murali (President, Music Academy Madras) and Dr. Meenakshi Sumathi Krishnan (Director of MARC) were pillars of support, and helped in getting through to the completion of the PhD process for the eight research scholars.
The celebration of this proud moment culminated in a meeting / get-together of the PhD degree awardees with the guides, the director, Dr. Meenakshi Sumathi Krishnan and President, Sri. N. Murali at the Music Academy campus on 9th March 2020.
This research involved the study of the core janya-s of Kharaharapriya, numbering 30, and encompasses a review of the history and evolution of each rāga, features that make up their identity, and analysis of compositions, mostly of the Trinity, in each of these rāga-s.
Bangalore became the capital of Karnataka in the year 1956. This thesis explains the growth of Carnatic music in Bangalore in the 20th century.
This research is an in-depth study of the variety in improvisation in kalpana svaram in the renditions of 20th century vocalists. The heart of the thesis is a detailed examining of the prominent elements in kalpana svaram by five musicians brought out as stylistic features. Kalpana svaram as a part of Ragam-Tanam-Pallavi renditions also forms an exclusive and vital segment of study in this research.
This research work is an effort to study the compositions of the three Dīkṣita composers on the basis of the aspects of structure, lyric, tempo and melody. A comparative analysis of the approach of these composers with respect to the different musical forms like varṇa, kīrtana, rāgamālika, etc is presented. The dissertation includes a note on the characteristics of some of the rāga-s of the rāgāṅga rāga system as gleaned from the creations of the Dīkṣita composers.
This thesis is an in depth study on rāga mōhanam.The research traces the rāga’s evolution from the mēla period to its present day form and focuses on analysing the melodic structure of mōhanam as gleaned from various textual sources, as well as audio recordings of musicians covering both kalpita and manōdharma aspects. It also includes an analysis of mōhanam’s counterparts in Hindustāni Music and the Tamil music tradition. The pentatonic scale equivalent to mōhanam is found in many musical traditions across the globe and its presence in Chinese music has also been highlighted.
This research work brings forth the distinctive approach of 20th century musicians in the handling of Tanam as an important aspect of manodharma sangita. The changes that have taken place in the structural presentation of Tanam in vocal renditions forms the core of this research. Tanam in instrumental renditions, and it’s counterpart in Hindustani music in Nomtom alap, Jod and Jhala are also presented as an overview study.
This thesis endeavours to understand the evolution of ‘miśra’ with respect to tāla and examine its application and treatment in various forms of Karṇāṭaka Music. The compositional structure of musical forms in miśra based tāla-s, with special reference to the compositions of the Trinity, forms the core study of this research.
The research brings out the literary and musical aspects of Tyāgarāja’s Prahlāda Bhakti Vijayam confined to the available manuscripts and the uniqueness of the gēya nataka and relevance of the title. This also throws light on the multi-faceted aspects of Tyāgarāja.