{"id":766,"date":"2022-12-05T15:54:27","date_gmt":"2022-12-05T15:54:27","guid":{"rendered":"http:\/\/pranavjournals.com\/finearts\/?page_id=766"},"modified":"2024-09-30T11:36:23","modified_gmt":"2024-09-30T06:06:23","slug":"special-issue-vol-1-issue2","status":"publish","type":"page","link":"https:\/\/pranavjournals.com\/finearts\/special-issue-vol-1-issue2\/","title":{"rendered":"Special Issue Vol 1-Issue2"},"content":{"rendered":"

Volume – 1 Issue 2<\/strong><\/p>\n

DEPARTMENT OF PERFORMING ARTS , SRI VENKATESWARA UNIVERSITY TIRUPATI<\/p>\n

\u00a0PRANAV JOURNAL OF FINEARTS<\/p>\n

“MODERN CULTURAL INFLUENCES ON PERFORMING ARTS & FINE ARTS”<\/p>\n

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01 Ragas and Scales as parallel concepts in Carnatic and Western Classical music<\/a><\/p>\n

Udaya Kiran. K. T., Pg 1-5<\/p>\n<\/div>\n

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02 SWARAKSHARA: The Perfect Blend Of Sangita And Sahitya<\/a><\/p>\n

Amrithalekshmi V Pg 6-9<\/p>\n<\/div>\n

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03 Influence of Classical Music in Modern Film Music Composers<\/a><\/p>\n

P.Naveen Kumar & Dr. R. Govindarajan Pg 10-15<\/p>\n<\/div>\n

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04 Tadepally Venkata Subramanya Sastry-A Composer<\/a><\/p>\n

T Rukmini Srikrishna, & Dr.S. Umamaheswari, Pg- 16-22<\/p>\n<\/div>\n

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05 ANALYSIS OF THE TYAGARAJA\u2019S COMPOSITION \u201cCHAKKANI RAJAMARGAMULUNDAGA\u201d IN THE RAGA \u2018KHARAHARAPRIYA\u2019<\/a><\/p>\n

V.V.S.Annapurna Akella Pg 23-29<\/p>\n<\/div>\n

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06 Historical background of instruments used in classical dance and folk dance of Sri Lanka.<\/a><\/p>\n

Pavithramadubashiniabeynayake Pg 30-39<\/p>\n<\/div>\n

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07 VARNA’S IN PRAISE OF MOTHER GODDESS<\/a><\/p>\n

Vishnuprabha.P\u00a0 \u00a0Pg 40-44<\/p>\n<\/div>\n

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8. Predominance Of Music Festivals In Multilateral Cultural Affinity<\/a><\/p>\n

Shaji Antony Thekekara, & Dr.Bindu.K Pg 45-51<\/p>\n<\/div>\n

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09 SRI RAGA AND DIKSHITHAR<\/a><\/p>\n

Sindhu K S Pg 52-55<\/p>\n<\/div>\n

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10 Glory of Tyagaraja as portrayed in the compositions of Walajapet Venkataramana Bhagavathar<\/a><\/p>\n

Pb Kanna Kumar And Niharikaa Ks pg 56-61<\/p>\n<\/div>\n

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11 Bhajana Tradition and Music therapy (Nada Chikithsa) of His Holiness Sri GanapathiSachchidanandaSwamiji<\/a><\/p>\n

E.Sreelakshmi &Dr. J. Sankar Ganesh pg 62-70<\/p>\n<\/div>\n

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12 A VOYAGE THROUGH THE MUSICAL REALM OF ILLUSTRIOUS KING MYSORE SHRI JAYACH\u1fb9MAR\u1fb9JENDRA WODEYAR<\/a><\/p>\n

Devika S Nath Pg 71-78<\/p>\n<\/div>\n

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13 Festivals and Fine Arts<\/a><\/p>\n

Mrs. Anuradha Ramesh & Dr. Ambika Kameshwar pg 79-82<\/p>\n<\/div>\n

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14 Impact Of Modernism In Makeup And Hairstyle, Costumes And Accessories In Bharatanatyam.<\/a><\/p>\n

Sarranyaa.R, & Dr.C.Karthikeyan pg 83- 94<\/p>\n<\/div>\n

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15 Music and Dance Compositions in Kuchipudi Solo Repertoire<\/a><\/p>\n

Govindu Padmavani & Dr.Lalitha Jawahar pg 95-99<\/p>\n<\/div>\n

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16 A Study of Decorative Angas found in SvatiTirunal Kritis<\/a><\/p>\n

Anuradha K pg. 100-104<\/p>\n<\/div>\n

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17 Cultural Influence on the Teaching Methodologies of Carnatic Music<\/a><\/p>\n

Shobana Swaminathan & Mrs. K. N. Deepa pg 105-108<\/p>\n<\/div>\n

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18 CONTRIBUTION OF S\u0301RI\u0304MA\u0304N VINJAMU\u0304RI VARADARA\u0304JA IYENGA\u0304R TO THE FIELD OF CARNATIC MUSIC<\/a><\/p>\n

C.P.S. Madhuri pg 109-114<\/p>\n<\/div>\n

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19 The Versatility of S\u0301ri\u0304 Muttuswa\u0304my Di\u0304Ks\u0323itar\u2019s Pan\u0303ca Lin\u0307Ga Kr\u0323ti-S<\/a><\/p>\n

Dr. Shivashankari J, pg 115-124<\/p>\n<\/div>\n

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20 TIMING OF RAGAS FROM THE VIEW POINT OF PANDIT V.N.BHATKHANDE<\/a><\/p>\n

Dr. Lola kesavan\u00a0pg 125-132<\/p>\n<\/div>\n

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21 Innovative Methods in Indian Classical Dance Form<\/a><\/p>\n

P. Radhika &Dr. J. Sankar Ganesh pg 133-137<\/p>\n<\/div>\n

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22. Anjaneya kriti mani mala<\/a><\/p>\n

V. Sateesh pg 138-146<\/p>\n<\/div>\n

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23 Padmavati Raga Nakshatra Malika<\/a><\/p>\n

K. Someswari Pg 147-155<\/p>\n<\/div>\n

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24. Entamatramuna Evvarudalachina Annamayya Saptagiri Sankirtanalu<\/a><\/p>\n

K. Subrahmanyam pg 156-168<\/p>\n<\/div>\n

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25. Swiya sikshana sadhanamu – \u2018Sangitasourabhamu\u2019 Swaragnani Sripada Pinakapani avishkaranamu<\/a><\/p>\n

Bheemshankar Maruvada, pg 169-177<\/p>\n<\/div>\n

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26. Vyaktitva vikasampai Annammayya Sankirtanala Prabhavam<\/a><\/p>\n

Udayabhaskar pg 178-186<\/p>\n<\/div>\n

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27 Annamayya rachanalalo tatvika paramaina amsalu<\/a><\/p>\n

Dr.V.Sireesha pg 187-191<\/p>\n<\/div>\n

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28 \u0ba4\u0bae\u0bbf\u0bb4\u0b95 \u0ba8\u0bbe\u0b9f\u0b95\u0ba4\u0bcd\u0ba4\u0bbf\u0bb2\u0bcd \u0b87\u0b9a\u0bc8<\/a><\/p>\n

\u0b95\u0bc1. \u0baa\u0bbf\u0bb0\u0b95\u0bbe\u0bb7\u0bcd pg 192-195<\/strong><\/p>\n<\/div>\n

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29 \u0baa\u0bb0\u0ba4 \u0ba8\u0bbe\u0b9f\u0bcd\u0b9f\u0bbf\u0baf\u0ba4\u0bcd\u0ba4\u0bbf\u0bb2\u0bcd \u0ba8\u0bb5\u0bc0\u0ba9 \u0b89\u0bb0\u0bc1\u0baa\u0bcd\u0baa\u0b9f\u0bbf\u0b95\u0bb3\u0bcd<\/a><\/p>\n

S.\u0ba8\u0bb0\u0bcd\u0bae\u0ba4\u0bbe pg 196-201<\/strong><\/p>\n<\/div>\n

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30 \u0ba4\u0bbf\u0bb2\u0bcd\u0bb2\u0bbe\u0ba9\u0bbe – \u0b87\u0b9a\u0bc8\u0baf\u0bbf\u0bb2\u0bc1\u0bae\u0bcd, \u0ba8\u0b9f\u0ba9\u0ba4\u0bcd\u0ba4\u0bbf\u0bb2\u0bc1\u0bae\u0bcd.<\/a><\/p>\n

\u0b9a.\u0bb0\u0bae\u0bcd\u0baf\u0bbe, & \u0bae\u0bc1\u0ba9\u0bc8\u0bb5\u0bb0\u0bcd \u0b85\u0bae\u0bcd\u0baa\u0bbf\u0b95\u0bbe \u0b95\u0bbe\u0bae\u0bc7\u0bb7\u0bcd\u0bb5\u0bb0\u0bcd pg 202-204<\/strong><\/p>\n<\/div>\n

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31 \u0ba4\u0bbf\u0bb0\u0bc1\u0b95\u0bcd\u0b95\u0bc1\u0bb1\u0bb3\u0bbf\u0bb2\u0bcd \u0baa\u0b95\u0bcd\u0ba4\u0bbf \u0bae\u0bb1\u0bcd\u0bb1\u0bc1\u0bae\u0bcd \u0b87\u0b9a\u0bc8<\/a><\/p>\n

\u0b87\u0bb0\u0bbe. \u0baa\u0bbf\u0bb0\u0bc1\u0ba8\u0bcd\u0ba4\u0bbe pg 205-208<\/strong><\/p>\n<\/div>\n

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32 \u0ba8\u0bbe\u0b9f\u0bcd\u0b9f\u0bc1\u0baa\u0bcd\u0baa\u0bc1\u0bb1 \u0b87\u0b9a\u0bc8\u0b95\u0bcd\u0b95\u0bb0\u0bc1\u0bb5\u0bbf\u0b95\u0bb3\u0bcd<\/a><\/p>\n

Sandhiya Soundararajan, Dr Sumathi\u00a0 & Dr. Saratha\u00a0 pg 209-212<\/strong><\/p>\n<\/div>\n

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33 \u201cModern Cultural Influences on Performing Arts and Fine Arts\u201d <\/a><\/p>\n

Dr. Sujatha Mohan, pg 213-217<\/p>\n<\/div>\n

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34 MELODIC EXPOSITION IN KATHAKALI SANGEETHAM<\/a>Aryadatha K R pg 218-222<\/p>\n<\/div>\n

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35 AN ETHNIC FOLK DANCE FORM OF KAMBALATHU NAYAKAR – SEVAIYATTAM<\/a>Kala Velmurugan pg 223-230<\/p>\n<\/div>\n

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36 Apoorva Ragas of Saint Thyagaraja<\/a>P.Srisailaja,pg 231-235<\/p>\n<\/div>\n

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37 YAKSHAGANA \u2013 KARNATAKA\u2019S<\/a>S. YAMINI & Dr. A. Sumathi Sundar Pg 236-239<\/p>\n<\/div>\n

38 \u0b8a\u0ba4\u0bcd\u0ba4\u0bc1\u0b95\u0bcd\u0b95\u0bbe\u0b9f\u0bc1\u0bb5\u0bc6\u0b99\u0bcd\u0b95\u0b9f\u0b95\u0bb5\u0bbf\u0baf\u0bbf\u0ba9\u0bcd\u0b95\u0bb5\u0bbf\u0ba4\u0bc8\u0b95\u0bb3\u0bbf\u0bb2\u0bcd \u0b85\u0bb4\u0b95\u0bbf\u0baf\u0bb2\u0bc1\u0bae\u0bcd\u0b95\u0bb0\u0bc1\u0ba4\u0bcd\u0ba4\u0bae\u0bc8\u0bb5\u0bc1\u0bae\u0bcd<\/a>\u0b95\u0bcc\u0b9a\u0bb2\u0bcd\u0baf\u0bbe .\u0b9a\u0bc6 & \u0bb8\u0bcd\u0bb0\u0bc0\u0bae\u0ba4\u0bbf . \u0ba8\u0bbe\u0b95\u0bc7\u0bb8\u0bcd\u0bb5\u0bb0\u0bbf\u00a0pg 240-243<\/p>\n<\/div>\n
39 \u0ba4\u0bae\u0bbf\u0bb4\u0bcd \u0ba4\u0bbf\u0baf\u0bbe\u0b95\u0baf\u0bcd\u0baf\u0bb0\u0bcd \u0ba4\u0bbf\u0bb0\u0bc1.\u0baa\u0bbe\u0baa\u0ba8\u0bbe\u0b9a\u0bae\u0bcd \u0b9a\u0bbf\u0bb5\u0ba9\u0bcd<\/a>SRIPRIYA. S pg 244-251<\/p>\n<\/div>\n
40 Apoorva Ragas of Saint Thyagaraja<\/a>Dr.T.Girija Seshamamba pg 252-254<\/p>\n<\/div>\n
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Certificate for the conference <\/a><\/strong><\/p>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Volume – 1 Issue 2 DEPARTMENT OF PERFORMING ARTS , SRI VENKATESWARA UNIVERSITY TIRUPATI \u00a0PRANAV JOURNAL OF FINEARTS “MODERN CULTURAL INFLUENCES ON PERFORMING ARTS & FINE ARTS” 01 Ragas and Scales as parallel concepts in Carnatic and Western Classical music Udaya Kiran. K. T., Pg 1-5 02 SWARAKSHARA: The Perfect Blend Of Sangita And Sahitya […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-766","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pranavjournals.com\/finearts\/wp-json\/wp\/v2\/pages\/766","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pranavjournals.com\/finearts\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pranavjournals.com\/finearts\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pranavjournals.com\/finearts\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/pranavjournals.com\/finearts\/wp-json\/wp\/v2\/comments?post=766"}],"version-history":[{"count":0,"href":"https:\/\/pranavjournals.com\/finearts\/wp-json\/wp\/v2\/pages\/766\/revisions"}],"wp:attachment":[{"href":"https:\/\/pranavjournals.com\/finearts\/wp-json\/wp\/v2\/media?parent=766"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}