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1 Examination Committee Oriental Fine Arts Academy – London Revision 2015

Published by Oriental Fine Arts Academy London (OFAAL)

Miruthangam

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Revised edition Feburary 2015


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© Copyright 1997/ Oriental Fine Arts Academy - London Syllabus - Miruthangam


CONTENTS cs;slf;fk;

Revised edition Feburary 2015 ....................................................................................................................................... 1CONTENTS ................................................................................................................................................................. 3

The Miruthangam ................................................................................................................................................................. 4Grade - 1 juk; - 1 ............................................................................................................................................................... 5Grade - 2 juk; - 2 ............................................................................................................................................................. 12Grade - 3 juk; - 3 ............................................................................................................................................................. 14Grade - 4 juk; - 4 ............................................................................................................................................................. 16Grade - 5 juk; - 5 ............................................................................................................................................................. 18Grade - 6 juk; - 6 ............................................................................................................................................................. 21Grade - 7 juk; - 7 ............................................................................................................................................................. 23Grade - Diploma juk; - bg;gpNshkh ............................................................................................................................. 25Grade - Post Diploma juk; - KJ epiy bg;Nshkh ...................................................................................................... 27Specimen Questions ........................................................................................................................................................... 30Theoritical Notes - Fwpg;Gfs; .......................................................................................................................................... 34

Talam ............................................................................................................................................................................. 34Angams .......................................................................................................................................................................... 34Thriangams (3 Angams) ................................................................................................................................................. 35Shadangam (6 Angams) ................................................................................................................................................. 35Shodasangam (16 Angams) ........................................................................................................................................... 36Five Jaathis of Lagu ....................................................................................................................................................... 37Saptha (7) Talams .......................................................................................................................................................... 37Seven Commonly used Talams ...................................................................................................................................... 3835 Talams ....................................................................................................................................................................... 39Chaapu Talams ............................................................................................................................................................... 40

Eminent Percussionists gpugy tpj;Jthd;fs; ............................................................................................................... 41Palani Subramaniapillai ................................................................................................................................................. 41Inuvil K Sangarasivam ................................................................................................................................................... 44Layagnana Kupera Poopathy Jaffna Thachanamoorthy. ............................................................................................... 46Palakadu Sri . T. S. Mani Iyer ........................................................................................................................................ 49


The Miruthangam Miruthangam, known as the double headed drum, is believed to be amongst the most ancient of drums. A divine insturment, Miruthangam is said to have been played by Lord Shiva and Nandhi Devar. It is the main percussion instrument used in Carnatic concerts and is known as the “King of percussion” instruments. It is used as an acccompaniment, as the lead instrument in Tala Vadya ensembles and is also played as a solo instrument in Thani Aavarthanam concerts. In Sanskrit, the word Miruthangam literally means “clay body”. This may indicate that the instrument was originally made out of clay. Miruthangam is a “Sruthi” percussion instrument, in that it can be tuned. The right head is tuned to match the tonic pitch of the vocalist or intrumentalist being accompanied. A small rock and a wooden dowel (Kallu & Pullu) are used to tune this instrument. The methodology of tuning works by tightening or loosening the leather straps that hold the sides (Valanthalai and Idanthalai) together to adjust the pitch.Traditionally, semolina is mixed with water to form a paste, which is applied to the centre of the left head to provide a base sound. kpUjq;fk; kpUjq;fkhdJ njd; ,e;jpahtpd; kpfTk; goik tha;e;j thj;jpaq;fspy; xd;whFk;. ,J ,e;J rkaj;Jld;> Fwpg;ghf rptngUkhDlDk; jkpo; rk;gpujhaq;fSlDk; njhlu;GilaJ. rptngUkhd; kpUjq;fj;jpy; ,Ue;J tUk; ,iria kpfTk; tpUk;Gtjhf gioa rka VLfs; tpgupf;fpd;wd. kpUjq;fkhdJ ,U gf;fq;fisf; nfhz;l cUz;il tbtkhd xU fUtp. ,jd; tyJ gf;fkhdJ ,lJ gf;fj;jpYk; rpwpaJ. kpUjq;fkhdJ kuj;jpd; (ngUk;ghYk; gyh kuj;jpd;) mbg;gFjpapdhy; nra;ag;gLk;. ,U gf;fj;jpYk; cs;s cUz;il tbtkhdJ Njhyhy; Md gy gilfisf; nfhz;bUf;Fk;. ,it clw;gFjpapd; Nkyhy; nry;Yk; Njhyhyhd ehlhf;fspdhy; ,Oj;J fl;lg;gl;bUf;Fk;. RUjpahdJ> thupd; ,Wf;fj;jpy; jq;fpapUf;Fk;. kpUjq;fkhdJ tha;ghl;L> thj;jpaq;fs;> ehl;bak; vd;gtw;wpd; fr;NrupfSf;F gf;fthj;jpakhf cgNahfpf;fg;gLk;.


Grade - 1 juk ; - 1

Practical and Oral Demonstration nray;Kiw> tha; Kyk; nrhy;yy;

1. Tha Thi Thom Num lessons (8 Types) j jp njhk; ek; gapw;rp (8 tpjq;fs;)

They are mitahtd 1.

Tha Thi Thom Num j jp njhk ; ek ;

2.

Tha Tha Thi Thi Thom Thom Num Num j j jp jp njhk ; njhk ; ek ; ek ;

3. Tha Tha Tha Thi Thi Thi Thom Thom Thom Num Num Num j j j jp jp jp njhk ; njhk ; njhk ; ek ; ek ; ek ;

4.

Tha Tha Tha Tha Thi Thi Thi Thi Thom Thom Thom Thom Num Num Num Num j j j j jp jp jp jp njhk ; njhk ; njhk ; njhk ; ek ; ek ; ek ; ek ;

5.

Tha Thi Thom Num

Tha Tha Thi Thi Thom Thom Num Num

Tha Tha Tha Thi Thi Thi Thom Thom Thom Num Num Num

Tha Tha Tha Tha Thi Thi Thi Thi Thom Thom Thom Thom Num Num Num Num

j jp njhk ; ek ;

j j jp jp njhk ; njhk ; ek ; ek ; j j j jp jp jp njhk ; njhk ; njhk ; ek ; ek ; ek ;

j j j j jp jp jp jp njhk ; njhk ; njhk ; njhk ; ek ; ek ; ek ; ek ;


6.




Tha Thi Thom Num

j j j j jp jp jp jp njhk ; njhk ; njhk ; njhk ; ek ; ek ; ek ;

ek ; j j j jp jp jp njhk ; njhk ; njhk ; ek ; ek ; ek ;

j j jp jp njhk ; njhk ; ek ; ek ;

j jp njhk ; ek ;

7.

Tha Thi Thom Num







Tha Thi Thom Num

j jp njhk ; ek ;


j j j jp jp jp njhk ; njhk ; njhk ; ek ; ek ; ek ; j j j j jp jp jp jp njhk ; njhk ; njhk ; njhk ; ek ; ek ; ek ;

ek ; j j j j jp jp jp jp njhk ; njhk ; njhk ; njhk ; ek ; ek ; ek ;



j jp njhk ; ek ;


8.




Tha Thi Thom Num

Tha Thi Thom Num




j j j j jp jp jp jp njhk ; njhk ; njhk ; njhk ; ek ; ek ; ek ;



j jp njhk ; ek ;

j jp njhk ; ek ; j j jp jp njhk ; njhk ; ek ; ek ;

j j j jp jp jp njhk ; njhk ; njhk ; ek ; ek ; ek ; j j j j jp jp jp jp njhk ; njhk ; njhk ; njhk ; ek ; ek ; ek ;

ek ;

2. “Tha , Ki Da Thi , Ki Da Thom , Ki Da Num , Ki Da” lessons (4 Types) j>fpl jp>fpl njhk;>fpl ek>;fpl gapw;rp (4 tpjq;fs;)

They are mitahtd

1. Tha , Ki Da Thi , Ki Da

Thom , Ki Da Num , Ki Da j>fpl jp>fpl njhk;>fpl ek;>fpl

2. Ki Da Tha , Ki Da Thi ,

Ki Da Thom , Ki Da Num ,fplj> fpljp> fplnjhk;> fplek;>

3. Tha Tha Ki Da Thi Thi Ki Da

Thom Thom Ki Da Num Num Ki Da jjfpl jpjpfpl njhk;njhk;fpl ek;ek;fpl


4. Ki Da Tha Tha Ki Da Thi Thi

Ki Da Thom Thom Ki Da Num Num fpljj fpljpjp fplnjhk;njhk; fplek;ek;

3. Tha ; , Ki Da Tha Ka …. lessons (4 Types)

j ; , fpljf ……. gapw;rp (4 tpjq;fs;)

They are mitahtd

1. Tha ; , Ki Da Tha Ka Thi ; , Ki Da Tha Ka

Thom ; , Ki Da Tha Ka Num ; , Ki Da Tha Ka

j ; , fpljf jp ; , fpljf

njhk; ; , fpljf ek; ; , fpljf

2. Ki Da Tha Ka Tha ; , Ki Da Tha Ka Thi ; ,

Ki Da Tha Ka Thom ; , Ki Da Tha Ka Num ; ,

fpljf j ; , fpljf jp ; ,

fpljf njhk; ; , fpljf ek; ; ,

3. Tha , Tha , Ki Da Tha Ka Thi , Thi , Ki Da Tha Ka

Thom , Thom , Ki Da Tha Ka Num , Num , Ki Da Tha Ka

j , j , fpljf jp , jp , fpljf

njhk; , njhk; , fpljf ek; , ek; , fpljf

4. Ki Da Tha Ka Tha , Tha , Ki Da Tha Ka Thi , Thi ,

Ki Da Tha Ka Thom , Thom , Ki Da Tha Ka Num , Num ,

fpljf j , j , fpljf jp , jp ,

fpljf njhk; , njhk; , fpljf ek; , ek; ,


4. Tha ; , Ki Da Tha Ka Tha ; , Ki , Da , …… lessons (4 Types)

j ; , fpljf j ; , fp , l , gapw;rp (4 tpjq;fs;)

They are mitahtd

1. Tha ; , Ki Da Tha Ka Tha ; , Ki , Da ,

Thi ; , Ki Da Tha Ka Thi ; ‚ Ki , Da ,

Thom ; , Ki Da Tha Ka Thom ; , Ki , Da ,

Num ; , Ki Da Tha Ka Num ; , Ki , Da ,

j ; , fpljf j ; , fp , l ,

jp ; , fpljf jp ; , fp , l ,

njhk; ; , fpljf njhk; ; , fp , l ,

ek; ; , fpljf ek; ; , fp , l ,

2. Ki Da Tha Ka Tha ; , Ki , Da , Tha ; ,

Ki Da Tha Ka Thi ; ‚ Ki , Da , Thi ; ,

Ki Da Tha Ka Thom ; , Ki , Da , Thom ; ,

Ki Da Tha Ka Num ; , Ki , Da , Num ; ,

fpljf j ; , fp , l , j ; ,

fpljf jp ; , fp , l , jp ; ,

fpljf njhk; ; , fp , l , njhk; ; ,

fpljf ek; ; , fp , l , ek; ; ,

3. Tha , Tha , Ki Da Tha Ka Tha , Tha , Ki , Da ,

Thi , Thi , Ki Da Tha Ka Thi ‚ Thi , Ki , Da ,

Thom , Thom , Ki Da Tha Ka Thom , Thom , Ki , Da ,

Num , Num , Ki Da Tha Ka Num , Num , Ki , Da ,

j , j , fpljf j , j , fp , l ,

jp , jp , fpljf jp , jp , fp , l ,


njhk; ,njhk; , fpljf njhk; ,njhk; , fp , l ,

ek; , ek; , fpljf ek; , ek; , fp , l ,

4. Ki Da Tha Ka Tha , Tha , Ki , Da , Tha , Tha ,

Ki Da Tha Ka Thi ‚ Thi ‚ Ki , Da , Thi ‚ Thi ‚

Ki Da Tha Ka Thom , Thom , Ki , Da , Thom , Thom ,

Ki Da Tha Ka Num , Num , Ki , Da , Num , Num ,

fpljf j , j , fp , l , j , j ,

fpljf jp , jp , fp , l , jp , jp ,

fpljf njhk; , njhk; , fp , l , njhk; , njhk; ,

fpljf ek; , ek; , fp , l , ek; , ek; ,

5. 8 “Atchara Purattal” (Beat Farans) - Adi Talam.

8 ml;rug; Gul;ly; - Mjp jhsk;.

6. 12 “Atchara Purattal” (Beat Farans) - Rupaka Talam.

12 ml;rug; Gul;ly; - &gf jhsk;.



8. 24 “Atchara Purattal” (Beat Farans) - Rupaka Talam.

24 ml;rug; Gul;ly; - &gf jhsk;.

Theory (mwpKiw)

(To be tested in the practical exam)

1. Names of the Panja (Five) Jaathis and Thriangam (Three Angams). gQ;r (Ie;J) [hjpfs;> jpupaq;fk; (%d;W mq;fq;fs;) njupe;jpUj;jy;.


Notes - Fwpg ;G

1. “jup” vd;gJk; “ fpl” vd;gJk; xd;W.

“Thari” = “KiTa” = “Ki Da”

2. “jupfpl” vd;gJk; “ fpljl” vd;gJk; xd;W.

“ThariKita” = “KitaThaka” = “Ki Da Tha Ka”

3. “jfjfjupfpl” , “ jfjpFjupfpl” , “ jpFjupfpljf”,

“ljrjfpljf”> “jpFjFjupfpl” “efjfjupfpl” ,it ahTk; xj;jit.

“Tha ka tha ka thari kita”, “Tha ka thi ku thari kita”,

“Thi ku thari kita thaka”, “Da Cha Tha Ki Da Tha Ka”,

“Thi ku tha ku thari kita” “Naka thaka thari kita”

are all played in the same manner.


Grade - 2 juk ; - 2

In addition to the Grade 1 syllabus, the following: juk; 1 ,w;fhd tplaq;fSld;> gpd;tUtdTk;:


1. Four Aavarthana “Thakajunu Tham”, “Thalangu Tham” and “Tharikita Tham” lessons in

Adi Talam.

Mjp jhsj;jpy; ehY Mtu;jdq;fs; nfhz;l “jf[_Z jhk;”, “jshq;F jhk;”,

“jupfpl jhk;” gapw;rp.

2. Two Aavarthana “Thakajunu” and “Thalangu” lessons in Adi Talam.

Mjp jhsj;jpy; ,U Mtu;jdq;fs; nfhz;l “jf[_Z”, “jshq;F” gapw;rp.

3. Adi Tala Thani Aavarthanam for at least 3 minutes.

(Should include at least a Korvai, a Purattal (Farans), a Mora and a final “Tha Thin Ki

Num Thom”) 3 epkplj;jpw;F Fiwahky; Mjp jhsj;jpy; jdp Mtu;j;jdk;. ,jpy; Nfhu;it>

Gul;ly;> Nkhuh vd;gd mlq;FtJld; “j jpd; fp ek; njhk;”; ,y;

KbaNtz;Lk;.






Theory (mwpKiw)

(To be tested in the practical exam)

1. Knowledge of Saptha (Seven) Talams, Panja (Five) Jaathis and Thriangam (Three

Angams). ]g;j (VO) jhsq;fs;> gQ;r (Ie;J) [hjpfs;> jpupaq;fk; (%d;W mq;fq;fs;)

njupe;jpUj;jy;.


Grade - 3 juk ; - 3

In addition to the syllabus for Grades 1 - 2, the following: juk; 1-2 ,w;fhd tplaq;fSld;> gpd;tUtdTk;:


1. 10 “Atchara Purattal” (Beat Farans) - Kanda Chaapu Talam.

10 ml;rug; Gul;ly; - fz;l rhg;G jhsk;.

2. 20 “Atchara Purattal” (Beat Farans) - Kanda Chaapu Talam.

20 ml;rug; Gul;ly; - fz;l rhg;G jhsk;.

3. 14 “Atchara Purattal” (Beat Farans) - Misra Chaapu Talam.

14 ml;rug; Gul;ly; - kp];u rhg;G jhsk;.

4. 28 “Atchara Purattal” (Beat Farans) - Misra Chaapu Talam.

28 ml;rug; Gul;ly; - kp];u rhg;G jhsk;.

5. Rupaka Tala Thani Aavarthanam for at least 3 minutes.

(Should include at least a Korvai, a Purattal (Farans), a Mora and a final “Tha Thin Ki

Num Thom”) 3 epkplj;jpw;F Fiwahky; &gf jhsj;jpy; jdp Mtu;j;jdk;. ,jpy; Nfhu;it>

Gul;ly;> Nkhuh vd;gd mlq;FtJld; “j jpd; fp ek; njhk;”; ,y;

KbaNtz;Lk;.

Oral Demonstration (tha; Kyk; nrhy;yy; ; )

1. To be able to recite “Saptha Tala Alankara Jathi” with Talam.

“rg;j jhs myq;fhu [jp” ia jhsj;Jld; nrhy;yy;


Theory (mwpKiw)

1. Formation and details of 35 Talams. 35 jhsq;fspd; cw;gj;jp gw;wpa tpguk;.

2. Brief description of the Definition and Origin (History) of Talam. jhsj;jpd; cw;gj;jp> tiutpyf;fzk; gw;wpa rpwpa tpsf;fk; (rupj;jpuk;).

3. Brief knowledge of Sruti, Naatham, Swaram, Swarasthanam, Layam, Angam, Atcharam,

Aavarthanam and Thani Aavarthanam. RUjp> ehjk;> ];tuk;> ];tu];jhdk;> yak;> mq;fk;> ml;ruk;> Mtu;j;jdk;> jdp

MtHj;jdk; gw;wpa RUf;fkhd tpsf;fk;.


Grade - 4 juk ; - 4



1. Thani Aavarthanam for at least 5 minutes in each of the following Talams. gpd;tUk; jhsq;fs; xt;nthd;wpw;Fk; 5 epkplq;fSf;F Fiwahky; jdp Mtu;j;jdk;

thrpj;jy;.

a. Misra Chaapu - kp];u rhg;G

b. Kanda Chaapu - fz;l rhg;G

2. To play Panja (5) Jaathi “Tha Thin Ki Num Thom” lines for the following Talams. gpd;tUk; jhsq;fspd; gQ;r (5) [hjp jjpq;fpznjhk; tupirfis thrpf;ff;$ba

jfik.

a. Adi - Mjp

b. Rupakam - &gfk;

c. Misra Chaapu - kp];u rhg;G

d. Kanda Chaapu - fz;l rhg;G

Theory (mwpKiw )

1. Know the detailed structure of the Miruthangam, and be able to draw a labelled diagram of

all the relevant parts. kpUjq;f thj;jpaj;jpd; gFjpfis Fwpg;gpl;L tiuAk; Mw;wy; ngw;wpUj;jy;.

2. Detailed description of the formation of the 175 Talams. 175 jhsq;fs; cz;lhd tpupthd tpsf;fk;.

3. Description of Jathi, Jaathi, Gathi, Sarvalagu, Maarthirai, Issai, Kaalam and Margam. [jp> [hjp> fjp> ru;tyF> khj;jpiu> ,ir> fhyk;> khHf;fk;> vd;gtw;wpd; tpsf;fk;.


Grade - 5 juk ; - 5



1. Thani Aavarthanam and Panja (5) Jaathi “Tha Thin Ki Num Thom” lines for the following

Talams. gpd;tUtdtw;wpw;fhd jdp Mtu;j;jdq;fSk; KiwNa mtw;wpw;fhd gQ;r (5) [hjp

jjpq;fpzNjhk; tupirfSk;.

a. Adi Talam off ½ beat Eduppu - Mjp jhsk; miuaplk;.

b. Adi Talam off 1½ beat Eduppu - Mjp jhsk; xd;wiu ,lk;

c. Rupaka Talam off ½ beat Eduppu - &gf jhsk; miuaplk;.

d. Rupaka Talam Athitha (before beat) Eduppu - &gf jhsk; mjPj ,lk;.

e. Misra Chaapu Talam off 2 counts (½ beat) Eduppu - kp];u rhg;G jhsk; miuaplk;.

f. Misra Chaapu Talam off 4 counts (1 beat) Eduppu - kp];u rhg;G jhsk; ehd;F

khj;jpiufs; js;sp.

g. Kanda Chaapu Talam off 2 counts (½ beat) Eduppu - fz;l rhg;G jhsk; miuaplk;.

Theory (mwpKiw)

1. Knowledge of musical notation with examples.

( , ; / ___ // etc.) rq;fPj FwpaPLfspd; tpsf;fk; cjhuzq;fSld;.

( , ; / ___ // Nghd;wit)

2. Description of Graham (Eduppu) with examples.


fpufk;(vLg;G) gw;wpa rpwpa tpsf;fk; cjhuzq;fSld;.

3. To be able to write any two Korvais in Adi or Chathusra Jaathi Rupaka Talam (O2 l4).

Mjp my;yJ rJ];u [hjp &gf (O2 l4) jhsj;jpy; ahNjDk; 2 NfhHitfs; vOjj;

njupjy; Ntz;Lk;.

4. Life history and contribution to the art of the following Artistes. gpd;tUk; kpUjq;f tpj;Jthd;fspd; tho;f;if tuyhWk; fiyj;Jiwf;F mtHfspd;

gq;fspg;Gk;.

a. Paalakkadu T.S.Mani Iyer.

ghyf;fhL T.S. kzp Iau;.

b. Thavil Maestro Alavetti Thadshanamoorthy. jtpy; Nkij msntl;b jl;rdh%u;j;jp.

5. The six Angams (Shadangam) and their symbols. MW mq;fq;fSk; (\hlq;fk;) mtw;wpd; FwpaPLfSk;.

Notes - Fwpg ;Gfs;

The following table applies to Chathusra Nadai in Ottrai Kalai

(Single beat).

Idda Eduppu ,l vLg;G

Maathirais khj;jpiufs;

½ 2

1 4

1½ 6

Athitham - mjPjk; 2 Maathirais before samam

rkj;jpw ;F Kd;G 2

khj;jpiufs;


The following table applies to Chathusra Nadai in Irattai Kalai

(Double beat).

Idda Eduppu ,l vLg;G

Maathirais khj;jpiufs;

½ 4

1 8

1½ 12


Grade - 6 juk ; - 6






a. Kanda Jaathi Thirupuda Talam.fz;l [hjp jpUGil jhsk;.

b. Misra Jaathi Thirupuda Talam.kp];u [hjp jpUGil jhsk;.

c. Adi Talam double beat Sama Idda Eduppu. Mjp jhsk; ,ul;ilf;fis rk ,l vLg;G.

d. Adi Talam double beat ¼ beat Eduppu. Mjp jhsk; ,ul;ilf;fis fhy; ,l vLg;G.

e. Adi Talam double beat ½ beat Eduppu. Mjp jhsk; ,ul;ilf;fis miu ,l vLg;G.


Theory (mwpKiw)

1. To be able to write Thani Aavarthana lessons with notations for Adi and Rupaka Talam

(Sama Idda Eduppu only). Mjp> &gfk; Mfpa jhsq;fspy; rk vLg;Gf;Fj; jdp Mtu;j;jdk; thrpf;Fk;

gFjpfis FwpaPl;Lld; vOJjy;.

2. To be able to identify the Talam for a piece, given the Eduppu and be able to identify the

Eduppu for a piece, given the Thalam. vLg;G jug;gl;l cUg;gbf;fhd jhsj;ijAk;; jhsk; jug;gl;l cUg;gbf;fhd

vLg;igAk; fz;Lgpf;ff; $ba ty;yik.

3. To be able to write “Tha Thin Ki Num Thom” lines with notations for Misra Chaapu,

Kanda Chaapu, Adi and Rupaka Talam.

Mjp> &gfk;> kp];u rhg;;G> fz;l rhg;G Mfpa jhsq;fspw;fhd “j jpd; fp

ek; njhk;” ghlq;fis FwpaPl;Lld; vOJjy;.

4. Detailed knowledge of the divisions of Musical Instruments with diagrams.(e.g. strings,

wind, percussion instruments etc.) ,irf; fUtpfspd; gpupTfs; gw;wpa glj;Jld; $ba tpupthd tpsf;fk;.(je;jp> Jis>

Njhy; thj;jpak; ...)

5. Know the detailed structure of the Veenai, Violin, Thambura and Flute and be able to draw

labelled diagrams of all the relevant parts. tPiz> taypd;> jk;Guh> Gy;yhq;Foy; Mfpa thj;jpaq;fspd; gFjpfis Fwpg;gpl;L

tiuAk; Mw;wy; ngw;wpUj;jy;.

6. Life history and contribution to the art of the following Artistes. gpd;tUk; kpUjq;f tpj;Jthd;fspd; tho;f;if tuyhWk; fiyj;Jiwf;F mtHfspd;

gq;fspg;Gk;.

a. Palani Subramania Pillai - godp Rg;gpukzpagps;is.

b. Inuvil K Sangarasivam - ,Ztpy; f. rq;furptk;.


Grade - 7 juk ; - 7






a. Adi Talam double beat ¾ beat Eduppu. Mjp jhsk; ,ul;ilf;fis Kf;fhy; ,l vLg;G.

b. Adi Talam double beat Little finger Eduppu. Mjp jhsk; ,ul;ilf;fis Rz;L tpuy; vLg;G.

2. To be able to play Thani Aavarthanam for a given song of a given Eduppu. guPl;rhu;j;jpfs; nfhLf;fg;gLk; xU ghl;bd; vLg;gpw;F thrpj;J> mjw;F jdp

Mtu;j;jdk; thrpj;jy;.

3. To be able to compose, sing and play a Pallavi in Adi or Rupaka Talam in three different

speeds. Mjp my;yJ &gf jhsj;jpy; gy;ytp xd;iw mikj;J> ghb %d;W fhyj;jpy;

thrpj;jy;.

4. To be able to play lessons in 3 different Nadais including Chathusra Nadai. rJ];u eil cl;gl VjhtJ 3 eilfspy; xU ghlj;ij thrpf;fj; njupe;jpUj;jy;

Ntz;Lk;.


Theory (mwpKiw)

1. Detailed knowledge of the structure of the Miruthangam, Ganjira, Gatam, Morsing, Dolak,

Thavil and Tabla and their similarities and differences. kpUjq;fk;> fQ;rpuh> flk;> Nkhh;rpq;> Nlhyf;> jtpy;> jg;yh Mfpa thj;jpaq;fspd;

mikg;Gg; gw;wpa tpsf;fKk; mtw;wpw;fpilNa cs;s xw;WikAk; Ntw;WikAk;.

2. To be able to write any lesson in three speeds with notations. VjhtJ xU ghlj;ij 3 fhyg;gLj;jp [jpfs; khj;jpiuf; fzf;Fld; vOJjy;.

3. Knowledge of sub-accompanying percussion instruments in a carnatic cocert. (e.g: Ganjira,

Gatam, Morsing, ... etc.) fr;Nrupfspy; thrpf;fg;gLk; cg-jhsthj;jpaq;fs; gw;wpa mwpT. (fQ;rpuh> flk;>

Nkhh;rpq;> … vd;gd)

4. Knowledge of Carnatic pitch scales and similar western pitch scales (e.g. Pitch 3 is same

“E” in western scales) fHehlf rq;fPjj;jpd; RUjp msTk; mjw;F xj;j Nkw;fj;jpa ,irapd; RUjp msT

gw;wpa mwpT.

Grade - Diploma juk; - bg ;Nshkh

Title - Miruthanga Kala Jothygl;lk ; - kpUjq;f fyhN[hjp

Candidates applying for Diploma grade should be above 14 years of age and have completed Grade 7 Practical and Theory examination on the relevant subjects, conducted by OFAAL. This will be in force from year 2007 onwards. Candidates are expected to pass at least Grade 3 standard in one of the following subjects as their subsidiary. (Violin, Veena, Vocal, Flute and Bharathanatiyam.) to achive the title Kala Jothy bg;gpNshkh juj;jpw;F Njhd;WNthH 14 taJ epuk;gpatuhf ,Ug;gJld; OFAAL guPl;irapy; juk; 7 ,y; mwpKiw> nray;Kiw ,uz;bYk; rpj;jpaile;jpUj;jy; Ntz;Lk;. ,tw;Wld; 2007 Mk; Mz;L Kjy; fyhN[hjp gl;lk; ngWtjw;F taypd;> tPiz> tha;g;ghL> Gy;yhq;Foy; my;yJ gujehl;bak;

vd;gtw;wpy; xd;wpy; Jizg;ghlkhf Fiwe;jJ juk; 3 ,y; OFAAL guPl;irapy; rpj;jpaile;jpUj;jy; Ntz;Lk;.


Grade - Diploma juk ; - bg ;g pNshkh

In addition to the syllabus for Grades 1 - 7, the following: juk; 1 - 7 w;fhd tplaq;fSld; gpd;tUtdTk;:


1. To be able to accompany a full music performance. xU KOikahd ,irf;fr;Nrupf;F thrpf;Fk; jpwik ngw;wpUj;jy;.

2. To play a Pallavi in three speeds and Thisra Nadai in Misra Chaapu or Kanda Chaapu or

Kanda Jaathi Thirupudai Talam. kp];u rhg;G my;yJ fz;l rhg;G my;yJ fz;l jpUGil jhsj;jpy; xU gy;ytpia

%d;W fhyj;jpYk; jp];ug;gLj;jpAk; thrpj;jpy;.

3. To be able to sing any one of the following pieces to Talam. gpd;tUk; VjhtJ xU cUg;gbia ifapy; jhsk; Nghl;L ghLjy;.

a. Geetham - fPjk;.

b. Varnam - tu;zk;.

c. Keerthanam - fPu;j;jdk;.

4. Knowledge of playing for folk music. fpuhkpag; ghly; xd;wpw;F thrpf;Fk; Kiw njupe;jpUj;jy;.

5. To be able to play lessons in 4 different Nadais. 4 NtWgl;l eilfspy; ghlq;fis thrpf;fj; njupe;jpUj;jy;.

6. To be able to tune a Miruthangam for Sadjama sruthi, and alternatively to Panchama

Sruthi.

(E.g. If the Sadjama sruthi is “5” or “G” then the corresponding Panchama sruthi will be

“2” or “D” )


kpUjq;fj;ij ]l;[j;jpw;F RUjp NrHf;Fk; ty;yikAk; mjw;F xj;j

gQ;rkj;jpw;F RUjp Nru;f;Fk; ty;yikAk; mwpe;jpUj;jy;. (c+k;. 5 fl;il ]l;[

RUjpf;F xj;j gQ;rk RUjp 2 fl;ilahFk;)

7. To be able to conduct a Miruthanga lesson for a given time. nfhLf;fg;gLk; Neuj;jpw;J xU kpUjq;f tFg;ig elhj;Jk; ty;yik.

Theory (mwpKiw)

1. Explanation of Tala Thasa (Ten) Pranankal. jhs j]g;; (gj;J) g;uhzq;fs; gw;wpa tpsf;fk;.

2. Knowledge of Shoda Sangam. N\hlrhq;fk; gw;wpa mwpT.

3. Brief knowledge of Western rhythmic instruments. Nkiy ehl;L jhs thj;jpaq;fisg; gw;wpa RUf;fkhd mwpT.

4. Comparison between Western and Eastern musical instruments. Nkw;fj;ija> fPioj;Nja thj;jpaq;fis xg;gpLjy;.

5. General knowledge of Carnatic music concerts.fu;ehlf ,ir epfo;r;rpfs; gw;wpa nghJ mwpT.


Grade - Post Diploma juk ; - KJ epiy bg ;Nshkh Title - Miruthanga Kala Ratnamgl;lk ; - kpUjq;f fyhuj;jpdk;

Candidates applying for Post Diploma Grade should have completed the OFAAL Diploma Grade and have achieved the Kala Jothy Title. They should also have completed a Sub subject at Grade 4 minimum of the OFAAL Examination. KJ epiy bg;Nshkh gu Pl ;irf;F Njhd;Wk; gu Pl ;rhj ;jpfs; OFAAL bg;Nshkh juj;jpy ; rpj ;jpnaa;jp fyhN[hjp gl;lk ; ngw;wpUg ;gJld; Jizg;

ghlnkhd;wpy ; OFAAL gu Pl ;irapy; Fiwe;jJ juk; 4 rpj ;jpaile;jpUj;jy; Ntz;Lk; .

In addition to the syllabus for Grades 1 to Diploma, the following. juk; 1- bg;Nshkh ,w;fhd tplaq;fSld;> gpd;tUtdTk;.


1. To be able to accompany Carnatic music concerts (Vocal and Intrumental). fu;ehlf ,irf;fr;Nrupf;F gf;fthj;jpak; thrpj;jy; (tha;g;ghLk; thj;jpaKk;)

2. Composing Mora and Korvai for a given Talam in 35 Talams. 35 jhsq;fspy; jug;gl;l xU jhsj;jpw;F Nkhuh> Nfhh;it mikj;J thrpj;jy;

3. “Konnakkol” demonstration to any lesson given by the examiner.

gupl;irahsH nfhLf;Fk; xU ghlj;jpw;F “nfhz;zf;Nfhy;” nra;jy;.

Written Report (mwpKiw)

CandidatesmustsubmittheirdissertationtogetherwiththeApplicationForminpreparationfortheVIVApartoftheexamination,(pleaseusebaminifontforTamilletterpresentation.)Oncethewrittendissertationisapprovedthecandidateisexpectedtobindthearticleinapresentablebookletformandsubmitthreecopiestotheexaminationboard.ThePost-DiplomacandidateisexpectedtosummariseandpresenttotheboardandaudiencethedissertationusingPowerPointslidesemphasisingthesalientpointsofthedissertationsubject.Thiswillbeaninteractivequestionandanswersessioninvolvingtheexaminationpanelandquestionsandtheinvitedaudience,duration60minutes.guPl;rhHj;jpfs; tpz;zg;gg; gbtj;Jld; jhk; njupT nra;j jiyg;gpy; tha; nkhop Njh;tpw;F

vOjpa fl;Liuia rkHg;gpf;f Ntz;Lk;. ( jaT nra;J jkpo; baminifzzp vOj;JUit


cgNahfpf;fTk;). vOjpa fl;Liu mq;fpfupf;fg;gl;lgpd;, mjid gupl;rhHj;jp Gj;jf tbtpy; mikj;J %d;W gpujpfis; guPl;ir eph;thfj;jpw;F mDg;Gjy; Ntz;Lk;

guPl;ir jpdj;jd;W jhd; vOjpa fl;Liuia guPl;irf;FOTk; ghHitahsUk; cs;s rigapy; Powerpointghtpj;J njhFj;Jiuf;f Ntz;Lk;. Mjd; gpd;G gupl;ir FOtpdJk; ghHitahshfspdJk; Nfs;tpfSf;F tpsf;fkspf;fNfz;Lk; ,jd; fhy msT 60 epkplq;fshFk;.

1. A comparative study of the evolution of Thani Aavarthanam in a Carnatic concert and

analyse the role of Thani Aavarthanam in a concert, making reference to present and past

Miruthanga Vidwans. jdp Mtdj;jpd; kWkyh;r;rp gw;wp Muha;e;J fh;ehlf fr;Nrupapy; mjd; gq;if

kiwe;j> jw;Nghija kpUjq;f tpj;Jthd;fis njhlHG gLj;jp Muha;f.

2. Detailed analysis of Miruthanga vidwans and their playing style (Bhaani). kpUjq;f tpj;Jthd;fisAk; mtHfs; thrpf;Fk; ghzpiaAk; tpupthf Muha;f.

3. Provide a detailed commentary and critique of a given concert, focusing your analysis on

Miruthanga Vidwan’s performance. (Audio CD will be provided by OFAAL). Xyp ehlhtpy; jug;gl;l xU fr;Nrupiag; gw;wp tpupthf Fiw> epiw gw;wpa

tpkHrdk;;. kpUjq;f tpj;Jthdpd; thrpg;G gw;wpa tpguj;jpy; $ba ftdk; nrYj;jy;

Ntz;Lk;.

4. Analyse the role of Miruthangam and sub-accompanying instruments in a Tala-Vadya

concert. Consideration should be given to the characteristics of the individual intruments

and how they complement each other. thj;jpa fr;Nrup xd;wpy; kpUjq;fj;jpdJk; kw;iwa cg gf;fthj;jpa fUtpfspdJk;

gq;if Muha;f. xt;nthU jdp fUtpfspd; jd;ikfisAk; mit vg;gb xd;Wld;

xd;W ,izfpd;wd vd;gjpy; ftdk; nrYj;jy; Ntz;Lk;.

5. Impact of “FUSION”

i.e. Carnatic and Hindustani or Carnatic and Western

Discuss and analyse the key features of a successful “FUSION” piece. ,irf; fyg;gpd; jhf;fk;.

mjhtJ fHehlf ,irAk; ,e;J];jhdp ,irAk; my;yJ fHehlf ,irAk;

Nky;ehl;L ,irAk;.

gpugy;akhd ,irf;fyg;nghd;wpd; rpwg;G mk;rq;fis JUtp Muha;f.


Specimen Questions

1. Which God first created the Miruthangam ? vf; flTspdhy; kpUjq;fk; cUthf;fg;gl;lJ?

2. What is the Miruthangam’s wooden frame made of? kpUjq;fj;jpd; ku rl;lk; vjdhy; nra;ag;gl;lJ?

3. How many layers are on the right hand side of the Miruthangam? What are they made of? kpUjq;fj;jpd; tyJ gf;f mLf;Ffs; vj;jid? mit vjdhy; nra;ag;gl;lit?

4. What is the black spot on the Valanthalai made of ? What is this black spot called? ika mLf;fpy; cs;s fWj;j gFjp vjdhy; nra;ag;gl;lJ? mjd; ngau; vd;d?

5. How do you tune a Miruthangam? kpUjq;fj;jpw;F vg;gb RUjp Nru;g;gPu;?

6. What does the word “Sarvalagu” mean? ru;tyF vd;w nrhy;ypd; nghUs; vd;d?

7. What are the five Jaathis? Ie;J [hjpfs; vit?

8. Explain what the three Angams are? %d;W mq;fq;fs; vit? mtw;iw tpsf;Ff.

9. Among the three Angams , which one varies? %d;W mq;fq;fspy; khwf;$ba mq;fk; ahJ?

10. What is Aavarthanam? Mtu;j;jdk; vd;why; vd;d?

11. Which Talam has all the three Angams? %d;W mq;fq;fSk; Nru;e;J tUk; jhsk; vJ?


12. Name the 6 Angams and give the symbols and counts for each of them. 6 mq;fq;fs; vit?

mtw;wpd; milahsk;> vz;zpf;iffisj; jUf.

13. What does the term “Tala Prasthara” mean? jhsg;gpu];juk; vd;gjd; nghUs; vd;d?

14. Which of the 35 Talams has the least number of Atcharams? 35 jhsq;fspy; kpfTk; Fiwe;j ml;ruKs;s jhsk; vJ?

15. Give another name for Adi Talam. Mjp jhsj;jpd; kW ngau; vd;d?

16. Explain how 7 Talams were derived into 35 Talams, and 35 Talams derived into 175

Talams. 7 jhsq;fs; 35 jhsq;fq;fshfTk;> 35 jhsq;fq;fs;175

jhsq;fq;fshfTk; khWk; tpjj;ij tpsf;Ff.

17. Explain Sruti, Naatham and Swaram. ];tuk;> ehjk;> RUjp ,tw;wpw;F tpsf;fk; jUf.

18. In Ragam, Thanam, Pallavi, what is the meaning of Pallavi?

uhfk;> jhdk;> gy;ytpapy; ‘gy;ytp’ vd;gjw;F nghUs; jUf.

19. Write brief notes about Jathi, Jaathi and Gathi. [jp> [hjp> fjp vd;git gw;wp rpW Fwpg;G vOJf.

20. Name the Talams which have 8 Atcharams. 8ml;ruq;fis cs;slf;fpa jhsq;fspd; ngau;fisj; jUf.

21. Explain how you would play a Chathusra Jaathi Thirupudai Tala Korvai in Rupaka

Talam. rJ];u [hjp jpUGil jhsf; Nfhu;it xd;iw &gf jhsj;jpy; vg;gb thrpg;gPu;

vd;gij tpsf;Ff.


22. Write the meaning and sign of the following. gpd;tUtdtw;wpd; fUj;ijAk; milahsj;ijAk; vOJf.

a. Lagu - yF.

b. Dhrutham - JUjk;.

c. Anudhrutham - mDJUjk;.

23. List 5 musical pieces which can be heard in a musical recital. rq;fPjf; fr;Nrupapy; thrpf;fg;gLk; 5 rq;fPj cUg;gbfisj; jUf.

24. Write the Tala format of the following. gpd;tUtdtw;wpd; jhs mq;fq;fis vOJf.

a. Chathusra Jaathi Dhruva Talam - rJ];u [hjp JUt jhsk;.

b. Misra Jaathi Jhampa Talam - kp];u [hjp [k;ig jhsk;.

c. Sangeerna Jaathi Eka Talam - rq;fPu;z [hjp Vf jhsk;.

d. Thisra Jaathi Thirupudai Talam - jp];u [hjp jpUGil jhsk;.

25. How has the word Talam been derived? jhsj;jpd; cw;gj;jp gw;wp vOJf.

26. What is Thisram? jp];uk; vd;why; vd;d?

27. Draw a diagram of the Miruthangam and label the different parts. kpUjq;fj;jpd; glk; xd;W tiue;J ghfq;fisf; Fwpg;gpl;L mtw;iw tpsf;Ff.

28. Write down the number of counts for the following (while playing Thathinkinathom

once). gpd;tUk; re;ju;g;gq;fspy; jjpq;fpzNjhk; xU jlit thrpf;fg;gLk; NghJ

khj;jpiufspd; vz;zpf;iffis jUf.

a. Thisra Jaathi Thathinkinathom - jp];u [hjp jjpq;fpzNjhk;.

b. Chathusra Jaathi Thathinkinathom - rJ];u [hjp jjpq;fpzNjhk;.

29. Explain with Tala notations the method of playing Kanda Jaathi Thathinkinathom in Adi

Talam.


Mjp jhsj;jpy; fz;l [hjpj; jjpq;fpzj;Njhk; thrpf;Fk; Kiw gw;wp jhsf;

FwpaPLfSld; tpsq;fg;gLj;Jf.

30. Songs played in Misra Chapu Talam can also be played in what other Talams? kp];u rhG jhsj;jpy; thrpf;fg;gLk; ghly;fis NtW ve;jj; jhsq;fspy;

thrpf;fyhk;?

31. When a song starts before Talam , what Eduppu is it? jhsj;jpd; Kd;du; ghl;L njhlq;FtJ ve;j vLg;G vd;W miof;fg;gLk;?

32. Explain in detail about “Thriangam”. jpupahq;fk; gw;wp tpsf;fkhf vOJf.

33. Explain in detail how we have 35 different Talams with reference to Tala format (Tala

Angangal). 35 jhsq;fs; cz;lhd tpjj;ij jhs mq;fq;fSld; njhlu;GgLj;jp tpgukhf

vOJf.

34. List the order of pieces in a musical concert and when the Miruthangam Thani

Avarthanam comes in. rq;fPjf; fr;Nrupapy; cUg;gbfspd; xOq;if tupirg;gLj;jp mjpy; kpUjq;f jdp

Mtu;j;jdk; vt;tplj;jpy; tUfpd;wJ vd;gij jUf.


Theoritical Notes - Fwpg ;Gfs;

Sadjama Sruthi Panjama Sruthi Carnatic Notation

(Kattai) Western Notation Carnatic Notation (Kattai) Western Notation

½ or 7 B 4½ F#

1 or 8 C 5 G 1½ C# 5½ G#

2 D 6 A 2½ D# 6½ A#

3 E ½ B 4 F 1 C

4½ F# 1½ C# 5 G 2 D

5½ G# 2½ D#

6 A 3 E 6½ A# 4 F

Talam

Talam is a cyclic measure of a time unit which simultaneously maintains the rhythm. Vocal,

instrumental and Dance Music depend on Talam. The Tala system is one of the most diffcult

and complicated branches of South Indian Carnatic Music. In the word Talam, Ta represents

Lord Shiva and la represents his consort Parvathi. Therefore, it is believed that Tala is the

union of Shiva and Parvathi.

Angams

Angam is the name given to the divisions or parts of a Talam. They are groups of beats

which are shown by hand gestures such as claps, finger counts, or turns of the palm. The

angams making up a Talam may be of different lengths. There are 3 main Angams in

common usage - Lagu, Dhrutham and Anudhrutham. These Angams can be found in the 35

Talams. Although other Angams exist, they are not found in common usage today. The

following 6 Angams are collectively called Shadangams - Anudhrutham, Dhrutham, Lagu,

Guru, Plutham and Kakapatham. These are used in “Thiruppugal”, Dance Music and


complicated Pallavis. In addition to these 6 Angams there are a further 10 Angams

collectively called as Shodasangam. These are given below.

Thriangams (3 Angams)

No Name of the Angam Symbol No of Beats

(Atcharams) Kriyas

1 Anudhrutham U 1 One clap

2 Dhrutham O 2 One clap and a turn

3 Lagu l 3 or 4 or 5 or 7 or 9 (depends on Jaathi)

One clap and number of finger counts

Shadangam (6 Angams)

No Name of the Angam Symbol No of Beats

(Atcharams) Kriyas

1 Anudhrutham U 1 One beat

2 Dhrutham O 2 One clap and a turn

3 Lagu l 4 One clap and 3 finger counts

4 Guru 8 8 A clap with 3 counts and the

palm is brought down for the remaining 4 counts

5 Plutham l8 12

12 counts are counted in a cyclic way-clock-wise

starting from the bottom

6 Kakapatham + 16 Sarpini, Krisha, Pathaka and

Pathitha functions to be carried out.


Shodasangam (16 Angams)

No Name of the Angam Symbol No of Beats (Atcharams)

1 Anudhrutham U 1 2 Dhrutham O 2

3 Dhrutha Viraamam UO 3

4 Lagu l 4

5 Lagu Viraamam Ul 5

6 Lagu Dhrutham Ol 6

7 Lagu Dhrutha Viraamam UOl 7

8 Guru 8 8

9 Guru Viraamam U8 9

10 Guru Dhrutham O8 10

11 Guru Dhrutha Viraamam UO8 11

12 Plutham l8 12

13 Plutha Viraamam Ul8 13

14 Plutha Dhrutham Ol8 14

15 Plutha Dhrutha Viraamam UOl8

15

16 Kakapatham + 16


Five Jaathis of Lagu

No Name of the Jaathi

Symbol of Lagu

No of Beats (Atcharams) Kriyas

1 Thisra Jaathi l3 3 A clap and 2 finger counts

2 Chathusra Jaathi l4 4 A clap and 3 finger counts

3 Kanda Jaathi l5 5 A clap and 4 finger counts

4 Misra Jaathi l7 7 A clap and 6 finger counts

5 Sangeerna Jaathi l9 9 A clap and 8 finger counts

Saptha (7) Talams

No Name of the Talam Symbol Symbol in words

1 Dhruva Talam l O l l Lagu Dhrutham Lagu Lagu

2 Matya Talam l O l Lagu Dhrutham Lagu

3 Rupaka Talam O l Dhrutham Lagu

4 Jhampa Talam l U O Lagu Anudhrutham Dhrutham

5 Thirupudai Talam l O O Lagu Dhrutham Dhrutham

6 Atta Talam l l O O Lagu Lagu Dhrutham Dhrutham

7 Eka Talam l Lagu


Seven Commonly used Talams

No Name of the Talam Symbol Total

Number of Atcharams

1 Chathusra Jaathi Dhruva Talam l4 O2 l4 l4 14

2 Chathusra Jaathi Matya Talam l4 O2 l4 10

3 Chathusra Jaathi Rupaka Talam O2 l4 6

4 Misra Jaathi Jhampa Talam l7 U1 O2 10

5 Thisra Jaathi Thirupudai Talam l3 O2 O2 7

6 Kanda Jaathi Atta Talam l5 l5 O2 O2 14

7 Chathusra Jaathi Eka Talam l4 4


35 Talams

The Saptha (7) Talams differ in their Tala duration and formation by the variations of their

angams. Only three angams are used.

The Saptha (7) Talams all have at least 1 Lagu. As we have mentioned before, there are 5

Jaathis of Lagu. Therefore each Saptha (7) Talams has 5 Jaathis, forming a total of (7×5) 35

Talam.

Panja (5) Jaathi

Thisram Chathusram Kandam Misram Sangeernam

Sapt

ha (7

) Tal

am

Dhruva Talam

l3 O2 l3 l3 l4 O2 l4 l4 l5 O2 l5 l5 l7 O2 l7 l7 l9 O2 l9 l9

11 14 17 23 29

Matya Talam

l3 O2 l3 l4 O2 l4 l5 O2 l5 l7 O2 l7 l9 O2 l9

8 10 12 16 20

Rupaka Talam

O2 l3 O2 l4 O2 l5 O2 l7 O2 l9

5 6 7 9 11

Jhampa Talam

l3 U1 O2 l4 U1 O2 l5 U1 O2 l7 U1 O2 l9 U1 O2

6 7 8 10 12

Thirupudai Talam

l3 O2 O2 l4 O2 O2 l5 O2 O2 l7 O2 O2 l9 O2 O2

7 8 9 11 13

Atta Talam l3 l3 O2 O2 l4 l4 O2 O2 l5 l5 O2 O2 l7 l7 O2 O2 l9 l9 O2 O2

10 12 14 18 22

Eka Talam l3 l4 l5 l7 l9 3 4 5 7 9


Chaapu Talams

The Chaapu Talams are one of the oldest time measures used in Indian Music. There are

many folk melodies, Bhajans and devotional songs set in Chaapu Talams. It is a complicated

time measure and is counted with two unequal beats.

Name of the Talam Key Word Kriyas

Thisra Chaapu 1+2 = 3 Tha = Ki Da First beat has 1 unit and the

second has 2

Kanda Chaapu 2+3 = 5 Tha Ka = Tha Ki Da First beat has a duration of 2 units and the second has 3

Misra Chaapu 3+4 = 7 Tha Ki Da = Tha Ka Thi Mi

First beat has a duration of 3 units and the second has 4

Sangeerna Chaapu 2+2+2+3 = 9 Tha Ka Thi Mi Tha Ka = Tha Ki Da

First beat has a duration of 6 units and the second has 3

Misra Chaapu and Kanda Chaapu are very common in Music. Many Krithis have been

composed in these Talams. Some Krithis can be found in Thisra Chaapu, but Sangeerna

Chaapu is only found in Thiruppugal and Pallavis.


Eminent Percussionists gpugy tpj ;Jthd;fs;

Palani Subramaniapillai

Sri Palani Subramaniapillai was born into a family whose involvement in music went back

several generations. He was born in 1909 as the second son of Palani Muthiahpillai. He was

keen, as a child, to learn music. He first learnt to play the Miruthangam and Ganjira from his

father. His stage performances started at a young age. A major advantage for this great

Miruthangist was his training in Carnatic vocal - this enhanced his knowledge of music.

Unusually, he played Miruthangam with his left hand. Due to this, during his performances on

stage, the audience were unable to see his Karanai - it was the tradition for the Miruthangist to

sit on the right hand side of the stage. In 1936, he caused a revolution for left handed

Miruthangists - he sat on the left hand side of the stage, enabling the audience to finally see

the Karanai.

He played Miruthangam for Sembai Vaithiyanatha Bahawathar on several occasions.

Sometimes, there would be the astounding opportunity to see Palakadu Sri Mani Iyer playing

the Miruthangam along with Palani Subramaniapillai on the Ganjira. His intricate style of

playing not only appealed to the Carnatic world but also to many other music lovers.

A few of the many eminent Carnatic musicians he accompanied are: Sithur Subramaniapillai,

Madurai Mani Iyer , Ariyakudi G N B Ramanujanka Iyer and Ayathur Brothers. A fond

nickname of his was “Palani Suppudu”. Once, when he was playing in a musical stage in

Bombay, the singer was reluctant to allow him to play a Thani Aavarthanam. Eventually, the

singer only gave him three minutes to play his Thani Aavarthanam. Though Suppudu was

only disappointed with this incident, music lovers and, in fact, Sembai Vaidyanatha

Bagawathar were enraged and there were many protests.


Sembai arranged a musical recital at The Bombay Saba, with Suppudu on the Miruthanagam

– the Kutcheri was held for five hours and gave Suppudu five times, at frequent intervals, to

play the Thani Aavarthanam. He entertained the audience in Bombay and returned to Madras

with great laurels. Suppudu had great respect for Sembai. He had great faith in

Guruvayurappan. Doctors failed to cure him when he once had chest pain, so Sembai advised

him to pray Guruvayurappan to cure his illness. Suppudu made a vow at the Guruvayurappan

temple that he would play in front of Guruvayurappan as soon as he recovered from the

illness. Within minutes of his vow, he was cured and in the same evening he fulfilled his vow.

Palani Subramaniapillai who had the great reputation of producing many Miruthangam and

Ganjira artists, died at the age of fifty three on 17.05.1962.

godp Rg ;g pukzpagps;is.

jpU godp Rg;gpukzpagps;is mtu;fs; ,iryaQhd guk;giuapw; gpwe;jtu;. ,tu;

1909-k; Mz;L godp Kj;ijahgps;isapd; ,uz;lhtJ Gj;jpuuhfg; gpwe;jhu;. ,tu;

gpwf;Fk; NghNj ,irahu;tj;Jld; gpwe;jtu; vd;Nw $wyhk;. rpW tajpNyNa Nkilf;F

te;jhu;. ,JklLky;y rq;fPjj;ijAk;; (tha;g;ghl;L) ,yl;rpa yl;rzj;Jld; ,q;fpjkhfg;

ghLk; jpwik nfhz;ltu;. ,tUila thj;jpaj;jpidg; gupkspf;fr; nra;jJ ,tupd;

ghLk; jpwd; vd;Nw $wyhk;.

,tu; kpUjq;fj;jpy; ,lJ ifg;gof;fKilatu;. ,jd; fhuzj;jhy; ,tu; ghlfupd;

,lJ Gwkhf ,Ue;J thrpg;ghu;. ,tu;jhd; kpUjq;fj;jpd; yae;jiuahdJ NkilapNy

,urpfu;fspd; ghu;itf;F ,Uf;fNtz;Lk; vd;gijAk;> mjw;Nfw;w Kiwapy; kpUjq;ff;

fiyQu;fs; tykhfTk; ,lkhfTk; cl;fhu Ntz;Lk; vd;gijAk; 1936-k; Mz;L

nrk;ig itj;jpaehj ghftju; fr;Nrupapy; epiy ehl;batu;. ,g;ngUik godp

Rg;gpukzpagps;is mtu;fSf;Nf cupaJ. ,jd; fhuzkhfNt fr;Nrupapy;

,lJifapdhy; tye;jiuapy; thrpf;Fk; kpUjq;fk; ghlfUf;F ,lJgf;fk;

cl;fhUtJk; tof;fj;jpy; te;Js;sJ.

,tu; nrk;ig itj;jpaehjghftjUf;F mNdf fr;Nrupfspy; kpUjq;fk; thrpj;Js;shu;.

rpyNtisfspy; nrk;ig mtu;fSf;F ghyf;fhL rpwp kzpIau; kpUjq;fKk;> godp

Rg;gpukzpagps;is fQ;rpuhTk; thrpj;Js;shu;fs;. ,tupd; thrpg;ghdJ epuk;gpa

ehjRukhdJ.


,tu; rpj;Jhu; Rg;gpukzpagps;is> kJiu kzpIau;> [p .vd;. gp. mupaf;Fb uhkhE[

Iaq;fhu;> Maj;jhu; rNfhjuH MfpNahHfSf;Fk; mNef fr;Nrupfspy; kpUjq;fk;>

fQ;rpuh vd;gd thrpj;Js;shh;. ,tiu “godp Rg;GL” vd;Nw ahtUk; miog;ghu;fs;.

xU Kiw ,tu; gk;gha; rghtpy; Kjy; Kjyhf fr;Nrupf;F thrpf;fr; nrd;wNghJ

fr;Nrupapy; ghlfu; jdp thrpf;f ,lk; nfhLf;ftpy;iy. ,Ue;Jk; godp

Rg;ukzpagps;is jhkhfNt jdp thrpf;Fk; re;ju;g;gj;ij Vw;gLj;jpAk;> ghlfu; 3 epkpl

NeuNk nfhLj;jhu;. ,J Rg;GLtpw;F ngupa kd Ntjidia cz;L gz;zpaJ.

,r;rk;gtj;ij mwpe;j nrk;ig mtu;fs;> Rg;GL mtu;fis jdJ mLj;j gk;gha;

rghtpy; fr;Nrupf;F Vw;ghL nra;J mioj;J nrd;whu;. md;W 5 kzp Neuk; fr;Nrup

eilngw;wJ. mf;fr;Nrupapy; Ie;J ,lq;fspy;

Rg;GLtpd; jdp thrpg;Gf;F ,lk; nfhLj;jhu;. Rg;GLTk; jdpapy; [kha;j;jhu;. gk;gha;

,urpfu;fspd; ghuhl;ilg;ngw;W GfOld; nrd;id jpUk;gpdhu;. Rg;GL mtu;fSf;F

nrk;ig itj;jpaehjuplk; kpFe;j gf;jp cz;L. mNj Nghy FUtha;A+uag;gdpYk;

kpFe;j ek;gpf;if ,Ue;jJ. Rg;GLtpw;F xU Kiw khu;Gtyp Vwpgl;lNghJ

itj;jpau;fs; Kaw;rp gadspf;ftpy;iy. vdNt nrk;ig mtu;fs; Neha; jPUk;gbahf

jpUthA+ug;gdplk; gpuhu;j;iid nra;Ak;gb Rg;GLtplk; $wpdhu;. Rg;GLTk; jdJ Neha;

jPu;e;jJk; FUtha;A+uag;gd; re;epjpapy; fr;Nrup thrpg;gjhf gpuhj;jpj;jhu;. rpy

epkplq;fspy; Neha;Ak; jPu;e;jJ. md;W khiyNa fr;Nrupia thrpj;J gpuhj;jidiaAk;

Kbj;jhu;. mNef kpUjq;f> fQ;rpuh fiyQu;fis cUthf;fpa ngUikAld; jdJ 53

tJ tajpy; 17-05-62 y; fiyAyfpid tpl;L tpz;Zyfpid va;jpdhu;.


Inuvil K Sangarasivam

Miruthanga Vidwan Sangarasivam, son of Inuvil Kandiah was born on 13.06.1939. He joined

as an assistant teacher in a government school in 1960. He started to learn Miruthangam under

the late Ambalavaanar. He took special training under prosperous Miruthanga Vidwans such

as P.Sinnarajah, A.S.Ramanathan and M.N. Selvadurai. Besides this, he learnt

Carnatic vocal from Sangeetha Poosanam S. Balasingam.

In 1972 he celebrated his Miruthanga Arangetam. In 1976 he passed the Teachers Certificate

Examination held by North Ceylon Musical Examination Board. He continued to teach

Miruthangam to students and also worked as a teacher in a school. He had his own way in

training students. He respected all artists, even those younger than him. He had the habit of

discussing his problems with other artists, and was capable of understanding others’

problems. His style of accompaniment complimented and supported the Vocalist/

Intrumentalist he was performing with.

His experiences in music were very helpful for the examination of Miruthangam for the North

Ceylon Musical Board. He worked as an examiner in practicals, setting question papers and

was also a decision making committee member from 1977 to 1988.

In 1979, he made a special contribution to music by publishing a book called “Concise

understanding in Miruthangam”. Very few books were published for Miruthangam in India or

Sri Lanka. In this instance his book should be highly valued by all.

His sudden illness took him away from the musical world at midnight in 17.05.1988 as a

sudden death.

,Ztpy; f. rq;furptk;

kpUjq;f tpj;Jthd; rq;furptk; ,tu;fs; ,irf;fiyQu;fs; nghjpe;J thOk;

,ZitA+upy; fe;ijah vd;gtupd; Gjy;tuhf 13-06-1939y; gpwe;jhu;. ,tu; jdJ

Muk;gf;fy;tp njhlq;fp f.ngh.j. tiuAk; ,Ztpy; irtg;gpufhr tpj;jpahyaj;jpy;


1944-k; Mz;L njhlq;fp 1956 tiu gapd;whu;. ,jd; gadhf ,tu; Xu; cjtp

Mrpupauhf 1960-k; Mz;L murhq;fg; ghlrhiyapy; epakdk; ngw;Wf; flik Gupe;jhu;.

,f;fhyj;jpNyNa kpUjq;fk; gapyTk; Muk;kpj;jhu;. ,tUila Muk;g FU fhyQ;nrd;w

kpUjq;f tpj;Jthd; jpU.mk;gythzu; Mthu;. NkYk; ,tu; gpuj;jpNafkhf kpUjq;f

tpj;Jthd;fshd g.rpd;duhrh> A.S. uhkehjd;> M.N. nry;yj;Jiu

MfpNahu;fsplKk; tpNrlkhf gapd;whu;. ,J kl;Lkpd;wp tha;ghl;L ,irapidAk;

rq;fPjG+\zk; S.ghyrpq;fk; mtu;fsplk; gapd;whu;.

,tUila kpUjq;f muq;Nfw;wk; 1972-k; Mz;L eilngw;wJ. ,tu; ,f;fhyq;fspNyNa

tl,yq;ifr; rq;fPjrigg; guPl;irfSf;Fk; Njhw;wp 1976-k; Mz;L kpUjq;f Mrpupau;

juhjuk; ngw;whu;. njhlu;e;Jk; kpUjq;ff; fiyapy; rpuj;ijAld; khztu;fisj; jahu;

nra;Ak; MrpupauhfTk;> ghlrhiyapy; Mrpupau; njhopiyAk; Gupe;J te;jhu;.

khztu;fisj; jahu; nra;tjpy; jdf;nfd xU Kiwia mikj;Jf; nfhz;ltu;.

mj;Jld; Vida kpUjq;ff; fiyQu;fis tajpw; rpwpNahuhapUg;gpDk; kjpf;Fk;

jd;ikAs;stu;. mj;Jld; jdf;F ,f; fiyapy; cs;s re;Njfq;fisAk;

Vidatu;fSld; tpsq;fpg; Gupe;J nfhs;Sk; gz;Gilatu;.

,tUila kpUjq;f thrpg;Gk; ghlfu;fSf;Nfh> thj;jpaf; fiyQu;fSf;Nfh ,ilA+W

,d;wpajhf ,Uf;Fk;. ,tu; kw;Wk; fiyQu;fSld; goFk; tpjKk; kpFjpahd

gz;GilaJ. ,tupd; fiyr;Nrit ngUk;ghYk; tl ,yq;if rq;fPj rigapd; kpUjq;f

guPl;irf;F kpFjpahfg; gad;gl;lJ. 1977 njhlf;fk; 1988 tiu nrad;Kiwg;

guPl;rfuhfTk;> tpdhg;gj;jpuk; jahupg;ghsuhfTk;> kPsha;Tf; FOtpduhfTk; gq;F

nfhz;ltu;.

,tupd; fiyj;njhz;by; tpNrlkhdJ 1979-k; Mz;L kpUjq;fr; RUf;f tpsf;fk;

vd;Dk; E}iy ntspapl;likahFk;. kpUjq;f rq;fPjj;jpw;fhd E}y;fs; ,e;jpahtpYk;

rup ,yq;ifapYk; rup ntspaplg;gl;lJ FiwT. ,e;epiyapy; ,tuJ kpUjq;fr; RUf;f

tpsf;fk; ntspaplg;gl;lJ vy;NyhuhYk; ghuhl;lg;gl Ntz;bajhFk;.

,tUila fiyr;Nrit tho;f;ifahdJ mjpf fhyk; ePbf;ftpy;iy. jpbnud

,tUf;F Vw;gl;l [{uk; ,tiu ,irAyfpypUe;J 17-05-1988 md;W es;spuT

epiyAyfpw;F mDg;gptpl;lJ.


Layagnana Kupera Poopathy Jaffna Thachanamoorthy.

Sri Thachanamoorthy was born in Inuvil, Jaffna on 26.08.1933 as the son of the famous

Thavil Vidwan Visuvalingam Ratna. His parents named him first as Gnanapandithan. Later,

for religious reasons, they called him Thchanamoorthy. It was this name that brought glory in

his professional field as a Thavil Vidwan.

At the age of six, he learnt the basics of Thavil from his father. Later, he learnt more

advanced and complex lesson on Thavil from Jaffna Vannai Kamadchi Sundrem. His

brothers, Ruthrapathy and Kothandapani, played Nathaswaram. He had the stunning

capability of being able to capture the audience’s attention. Soon after, he learnt to play

superior lessons from the Indian Thavil artiste Nachiar Kovil Ragavapillai. He won his fame

by playing Thavil for the famous Nathaswaram artist Karukuruchi P Arunachalam, Sheik

Sinnamoulana, Namakiripeddai Krishnan and T N Rajaratnampillai and through this won

numerous gold medals.

On several occasions, he played Thavil along with Needamangalam Shanmugavadivel, both

synchronised so well that it was imposible to spot a difference in playing. He married

Manonmani in 1959. His elder son is now a famous Thavil player.

Many people used to visit all the places where Thachanamoorthy played Thavil. In India,

people would usually take a break when the Thavil artistes played their Thani Aavarthanam.

However, Thachanamoorthy’s playing was so unique and captivating, the audience would

always stay to watch it.

In 1969, he was praised by the great musical critic Suppudu in Madras Krishna Saba while he

played Thavil for Sinna Moulana. He won his Gold Tower in India. He was known as

“Everest” for the fact that he had no limits, his talents went sky high and also as “Rocket” for

the speed he used to play at.

He spent the last stages of his life dedicated to music in India. He passed away on 13.05.1975

in Jaffna.


‘yaQhdFNguG+gjp’ aho;g ;ghzk; jl;rzh%u;j ;jp’

jpU jl;rzh%u;j;jp mtu;fs;. <oehl;bd; aho;g;ghzj;J ,Ztpy; vd;Dk; CupNy gpugy

jtpy; tpj;Jthd; tp];typq;fk; ,uj;jpdk; jk;gjpfSf;F Gj;jpuuhf 26-08-1933y;

gpwe;jhu;. ,tUf;F Kjypy; ,tupd; ngw;whu; Qhdgz;bjd; vd;w ngaiu itj;jhu;fs;.

gpd;du; ,tiu jl;rzh%u;j;jp vd;W miof;f Muk;gpj;jdu;. ,g;ngau;jhd; ,tiuf;

fiytho;tpy; ed;F gpujpgypf;fr; nra;jJ.

,tu; jdJ MwhtJ tajpy; je;ijahuplk; jtpy; gapw;rpia Muk;gpj;Jk;

aho;g;ghzj;J tz;iz fhkhl;rp Re;juk; vd;gtuplk; nrt;tNd EZf;fkhfTk; gapd;W

thrpj;J tuyhdhu;. ,tUld; rNfhjuu;fshd cUj;jpuhgjp> Nfhjz;lghzp MfpNahu;

ehj];tuk; thrpj;J te;jhu;fs;. rpWtajpNyNa ,tuJ jtpy; thrpg;G ahtUk;

gpukpf;Fk; gbahdjhfTk; ehjRfKs;sjhfTk;> yaNtiyg;ghLfs; epiwe;jjhfTk;

tsu;e;J te;jJ. ,Jkl;Lkpd;wp ,e;jpag; ngUq;fiyQuhd ehr;rpahu;Nfhtpy;

uhftg;gps;isaplk; NkYk; yark;ge;jkhd Ezf;fq;fisg; gapd;W mtUlDk; Nru;e;J

jtpy; thrpf;Fk; Ngw;iwg; ngw;whu;. njhlu;e;J ,e;jpa ehj];tu tpj;Jthd;fshf

fhiuf;Fwpr;rp mUzhryk;> N\f; rpd;dnksyhdh> ehkfpupg;Ngl;il fpU\;zd;>

T.N.uh[uj;jpdk;gps;is Nghd;wtu;fSf;F mNdf fr;Nrupfs; thrpj;J ghuhl;LfisAk;>

jq;fg;gjf;fq;fisAk; ngw;whu;.

,e;jpahtpy; mNef fr;Nrupfspy; ePlhkq;fsk; rz;KftbNty; mtu;fSlDk; Nru;e;J

jtpy; thrpj;J ,U jtpy;fSk; tpj;jpahrk; njupe;Jnfhs;s Kbahj mstpw;F xNu

jtpy; thrpg;gJ Nghd;W thrpj;Js;shu;fs;.

,e;j epfo;r;rp xypg;gjpTfs; rpy ,d;Wk; cs;sd. ,tUila jpUkzk; 1957k; Mz;L

eilngw;wJ. ,tUila kidtpahu; kNdhd;kzp vd;gtuhtu;. ,tUf;F gps;isfs;

cz;L. mjpy; %j;j Gjy;tu; ,tu; topapNyNa jtpy; fiyapy; <LghL nfhz;L

gapd;W ,d;Wk; jtpy; thrpj;J tUfpd;whu;. ,t;tifahfg; gpugy;ak; tha;e;j

jl;rzh%u;j;jp mtu;fspd; jtpy; jdptpdpf;ifiaf; Nfl;gjw;fhf vd;Nw mNef

urpfu;fs; vq;F jl;rzh%u;j;jp mtu;fSila epfo;r;rp eilngWfpwNjh mq;nfy;yhk;

nrd;W tUtu;.

,e;jpahtpy; jtpy; jdptpdpf;if Neuq;fspy;jhd; rq;fPj urpfu; $l;lk; ntspNa

Xa;ntLg;gJ tof;fkhapUe;jJ. Mdhy; jl;rzh%u;j;jp mtu;fspd; thrpg;Gr; rpwg;ghy;

urpfu; $l;lk; fz;bg;ghfj; jdptpdpf;if Nfl;fNtz;Lk; vd;w epiyf;F khwp

te;Js;sJ. ,J mtUila ehjg;gpuk;kj;jpd; rf;jpNaahFk;.


NkYk; 1969-k; Mz;L nrd;id fpU\;zfhd rghtpy; eilngw;w rpd;dnksyhd

mtu;fs; fr;Nrupapy; jtpy; thrpj;J ,e;jpa rq;fPj tpku;rfuhd Rg;GL mtu;fspd;

ghuhl;ilg; ngw;whu;. ,tUf;F nrd;idapy; jq;ff;NfhGuk; guprhff; fpilj;jJ.

mj;Jld; ,tupd; jtpy; thrpg;gpid vtnw];w;> nwhf;fl; vdTk; ghuhl;bAs;sdu;.

,tu; jdJ tho;ehl;fspy; gpd;gFjpia ,e;jpahtpNyNa nrytpl;Lk;> fiyj; njhz;L

Mw;wpAk; ,yq;if te;J 13-05-1975 md;W jdJ fiyAyf tho;it ePj;jhu;. vdpDk;

,tuJ jtpy; thrpg;gpd; ngUikapdhy; aho;g;ghzk; ,e;jpahtpy; ,d;Wk; ngUik

Njbf;nfhz;Nl ,Uf;fpwJ vd;gJ cz;ik.


Palakadu Sri . T. S. Mani Iyer

Mani Iyer showed a great deal of proficiency from his young age, and was considered a child

prodigy. He was the son of the famous vocalist Palakadu Sri T.S. Sesha Bagavathar. He hails

from a musical family. He had a sister and brother. His education was disrupted for the Art.

He started his Miruthangam training under Sathapuram Subbiah. By accompanying his

vocalist father , he got the training to play for songs. He learnt the intricacies and new

techniques from Aalapulai Sri Viswanatha Iyer and Tanjore Sri Vaidyanatha Iyer and by

practice he developed his Art.

From the age of eight he started performing on stage for his father’s story telling (“Hari

Katha”) and Sembai Vaithyanatha Bagawathar’s recitals. He was also appointed court

Musician by the Trivandram Palace,

Sembai Vaithyanatha Bagawathar took Mani Iyer to Madras to play for his recitals and very

soon his fame spread all over and he was offered many opportunities. His playing had

perfection in tonal clarity, command over Layam and rhythmic precision.

He accompanied several famous artists such as Arikudi, Chittoor Subramiapillai, G. N. B. ,

Tiger Varatha Charya, Maharajapuram Viswanatha Iyer and D.K.Pattammal.

In 1940 , the Thiruvangur palace conferred the title “Nathamani” on Mani Iyer. He also

demonstrated the greatness of the Miruthangam to Western Audience at the Edinburgh

Cultural Festival in America. In 1965 he received the Indian Presidents Award.

He is considered the head of the Miruthangam Artists of Tamil Nadu and an incarnation of

Nandi Devar. The well respected musician Mani Iyer passed away in 1982.

ghyf;fhL ‘ T.S. kzp Iau ; ’


“tpisAk; gapiu Kisapy; njupAk;” vd;w thf;fpaj;jpw;F ,zq;f kzp Iau;

mtu;fs; rpW gpuhaj;jpNyNa epiwe;j tpj;Jtj;jd;ikNahL gpugy;akhdhu;. ,tu; gpugy

tha;g;ghl;L tpj;Jthd; ghyf;fhL =.up. v];. Nr\ghftju; mtu;fspd; Gjy;tuhthu;.

,tUf;|F xU rNfhjupAk;> xU rNfhjuUk; cs;sdu;. ,tu;fs; FLk;gNk rq;fPj

FLk;gkhFk;. ,tupd; fiyahu;tNk ,tuJ nghJf;fy;tp jilg;glf; fhuzkhapUe;jJ.

rhj;jGuk; Rg;igauplk; kzp mtu;fs; kpUjq;f fiyia gf;jpAld; gapy Muk;gpj;jhu;.

ghlfuhd jfg;gdhupd; fr;NrupfSf;F kzp Iau; gf;fthj;jpak; thrpj;J > ghl;Lf;F

thrpf;Fk; gapw;rpiag; ngw;Wf; nfhz;lhu;. Myg;Gio =.tp];tehj IauplKk;> jQ;ir

=.itj;jpaehijauplKk; gy EZf;fq;fisAk;> mupa GJ tplaq;fisAk; Nfl;L

mwpe;J> rhjfk; nra;J nkd;NkYk; jd; tpj;ijapid tpUj;jp nra;J te;jhu;.

,tu; jdJ vl;lhtJ tajpNyNa NkilNawp jdJ je;ij Nri\aupd; ghl;bw;Fk;>

rptuhkfpU\;z ghftjupd; fijfSf;Fk;> nrk;ig itj;jpaehj ghftjupd;

fr;NrupfSf;Fk; thrpj;J tuyhdhu;. ,ijtpl ,tu; jpUtde;jGu rk];jhd

tpj;JthdhfTk; epakpf;fg;gl;lhu;. nrk;ig itj;jpaehj ghftju; kzpia nrd;idf;F

mioj;Jr; nrd;W jdJ fr;NrupfSf;F thrpf;f itj;jhu;. ,tuJ thrpg;G nrd;id

KOtJk; gutp> epiwa fr;NrupfSk;> GfOk; ,tUf;F fpilj;jJ. ,tuJ kpUjq;f

thrpg;gpy; ehjRuKk;> yaepu;zaKk;> nrhw;fspd; Rj;jKk; fhzg;gl;ld.

kzp Iau;> mupaf;Fb> rpj;J}u; Rg;gpukzpagps;is> [p.vd;.gp> ilfu; tujhr;rhupahu;>

k`huh[Guk; tp];tehijau;> b. Nf. gl;lk;khs; Nghd;w gpugy ghlfu;fSf;F thrpj;J

te;jhu;.

kzp Iau;> 1940 k; Mz;L jpUthq;$u; rk];jhdj;jhy; “ehjkzp” vd;w gl;lk;

mspj;J nfsutpf;fg;gl;lhu;. mNj Mz;L mnkupf;fhtpy; eilngw;w vbd;gNuh fiy

tpohtpNy fye;J kpUjq;fj;jpd; ngUikapid Nky;ehl;bdu; ed;F GupAk;gb nra;jhu;.

1965 k; Mz;L ,e;jpa [dhjpgjpapd; tpUJk; ngw;whu;.

,tu; jkpo; ehl;L kpUjq;ff; fiyQu;fSf;F rpfuk; Nghy; jpfo;e;jtu;. ,tiu

ee;jpNjtupd; mtjhuk; vdyhk;. gyuJ ghuhl;LfisAk;> ed;kjpg;igAk; ngw;w ,tu;

1982 Mk; Mz;L ,irAyif tpl;L kiwe;jhu;.

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