GLOBAL BRIDGES THROUGH MUSIC

Title: An activity conceived and presented by the Music Department of Toc H.

It consists of 3 segments:
Segment 1: Presentation on Music of different European languages
Participants: Students of Toc H Choir Group ‘Humming Birds’
Age : 11-17

Segment 2: An assignment on instruments of Europe as part of curricular activity

by the Music Department
Participants: Students of Std. IX
Age : 13-14

Segment 3: A study of Indian music and musical instruments

Participants: Students of Std. VI
Age : 10-11

Objective:

1. To familiarize the participants and the audience with different types of music
prevalent in Europe and sensitize in it’s variety and richness.

2. The study on the instruments of western music is to give them an understanding

on the different types of instruments used mainly as accompaniments in European
music.

3. the study on Indian music was aimed at re-enforcing the regional musical
traditions India

Evaluation:

As audience to the presentation we had foreign nationals assessing the performance. The
curricular activities were facilitated and evaluated by the teachers of the music
Department. Feedback from student participants and foreign nationals were collected
The Toc H Choir ( Toc H Humming Birds) already had their stint abroad, which will be
extended through this ISA related music programme and activities. Musical melodies
enable us to transcend beyond the geographical barriers.

CONTENTS

Segment 1: Presentation on Music of different European languages

(i) ♫ The visit of ‘ Humming Birds’ to UK -June 2005

(ii) ♫ The programme on Western Music at Toc H
(iii)♫ Programme Card
(iv)♫ The songs presented
(v) ♫ Profile of foreign nationals invited & Feed back
Segment 2: An assignment on instruments of Europe as part of
curricular activity by the Music Department

(i) ♫ Introduction on western instruments &

Content of the Assignment
(ii) ♫ International E-mail Contacts
Segment 3: A study of Indian music and musical instruments

(i) ♫ Introduction on Indian musical instruments

(ii) ♫ Student assignments-samples
(iii)♫ Student Feed back
 THE VISIT OF ‘TOC H HUMMING BIRDS’ TO UK
The ‘Toc H Humming Birds’, the choir group of our school left for UK on 19th June
2005. They received an invitation to perform at the 90th anniversary celebrations of
Toc H International at UK. All expenses were paid by Toc H International. Mr. Geoff
Smith, the CEO of Toc H, Mrs. Maggie Gittleson, a Toc H member were their official co-
ordinators at UK. The performed at the Bradford School and also at the Bradford festival.
The 90th anniversary was celebrated at Coventry and the performance of the Toc H was
well appreciated. “We cannot even imagine this programme without the Toc H Humming
Birds all the way from India” was the comment made by Mr. Geoff Smith. The
programme was in the limelight in both Indian and English press reportage.

This year the Toc H Humming Birds put up

another programme at Toc H School.
Though the venue was India, the spirit of the
music was International, European to be
exact. This programme of Toc H took us to
the spirit of European Music and we
travelled along with them on the Global
Bridges of Music.
 PROGRAMME ON WESTERN MUSIC AT Toc H
On 19th December 2008, the Toc H Choir Group ‘Humming Birds’ put up a different type
of musical programme during the Christmas Celebrations in our School. Along with the
Christmas carols this time they also gave us a taste of music from different European
countries. The Music Department trained the 60 strong contingent of the Choir group
and they presented songs in French, Italian………………………..

To assess the event, we had invited two foreign experts well versed in European music.
After the UK visit, this was our second entry into the international music. The audience
including the foreign experts appreciated this programme. The participants found it a
gratifying experience for they could feel the richness and variety of International Music.
THE SONGS PRESENTED

The French Song “Soleil”

The song is about someone telling the sun in the sky, that “
I love you and you are beautiful forever. But love is often
not like you”. Probably the emotions of stranded lover.
The composer of this song is Jean-Louis Florentz who is a
Professor of Etnomusicology and has been a resident of the
French Academy in Rome.While still studying Natural
Science and Literary Arabic at the Universities of Lyons
and Paris, Jean-Louis Florentz entered the conservatory
classes.
Jean-Louis Florentz

Italian Song “Sempre Sempre”

Al Bano Carrisi was born in Cellino San Marco in 1943 .At

the age of 12 he wrote his first song and at the age of 16 he
moved to Milan in the hope to assert himself in music. He
worked as waiter, construction worker and an assembly-
line worker before he could establish himself in Music.

Romina Francesca Power was born in 1951 in Los

Angeles. They two got married in 1970 and released many
albums together. In 1986 Al Bano and Romina Power
signed a contract with WEA that marked another
important step of their artistic career with the publication Al Bano & Romina Power
of the album "Sempre Sempre".

Today Toc H Humming Birds take the pleasure to bring this Italian song to you.
Spanish Song “Que Heciste”
A self-crafted multimedia star keeps her fame
moments, popping like popcorn -- film
appearance, hit single, sultry video, gossip-page
headline, scandal -- another kernel exploding,
just when a previous one has been consumed.
Proving that Lopez needs only a decent song to
touch her vocals with, in order to have a
megahit, J.Lopez has sung a whole lot of
Spanish songs.

We have chosen one of them to present before

you. Chorus part of this song is projected on the Jennifer Lopez
screen so that you may try to join us, though
they are a bit tongue twisting

Swiss National Anthem

Next is an improvisation of National Anthem of
Switzerland. The "Swiss Psalm" is the National
Anthem of Switzerland.

Its history dates back to 1841, when the anthem

was composed. by Since then it has been
frequently sung on patriotic events. The Federal
Council declined however on numerous occasions
to accept the psalm as the official anthem. This
was because they wanted the people to decide
what they liked as the national song.

From 1961 it provisionally replaced "Rufst Du, mein Vaterland" meaning -"When you
call, my fatherland. Finally on April 1, 1981 it was declared the official Swiss national
anthem.

The present anthem means like this:

When the morning skies grow red, and over us their radiance shed
Thou, O Lord, appears in their light. when the alps glow bright with splendor,
pray to God, to Him surrender, for you feel and understand that He dwells in this land.

And it originally sounds like this:

Today our students have undertaken the guts to improvise on the first verse with
modulations on the original melody in a considerably slow tempo.
“We are the world”
That historic charity song made for a
cause, fundraising for Africa.

Recorded by 37 professional vocalists

like Michael Jackson, Lionel Richie,
Kenny Rogers, Harry Bellafonte and
so on from around the world. The
Album “We are the world” hit the
sales outlets on March 5th 1985 which
was a Tuesday and all 800 thousand
copies got sold out before that
weekend. On April 5, which was a Good Friday that year, more than 5000 radio stations
played the song at the same time. It became United States No.1 single on April 13 th and
held the position for four weeks. The song went on to win four Grammy awards in 1986
for, song of the year, Record of the year, Best pop performance by a Duo or Group and
Best music Video, short form.

Toc H Humming Birds inspired by it’s appeal for a good cause, did not spare any efforts
to present it on this day specially for you and the whole world

The Prayer
“The Prayer” is a duet between Celine Dion and
Andrea Bocelli.

First, it Prayer" was recorded as two separate

solo versions, Céline Dion's in English and
Bocelli's in Italian. They appeard on the Quest
for Camelot soundtrack in May 1998. The duet
was included on both artists albums, released
few months later.

We present a mix of both versions, English and Celine Dion and Andrea Bocelli.
Italian, as the opening song of our today’s
concert.
 PROFILE OF FOREIGN NATIONALS INVITED &
THEIR FEED BACK
1. Rev. Fr. Joseph Van Leeuvan, superior, Passionist Ashram, Cochin

Fr. Joe is an American priest put up in Cochin

for many years. He heads the passionist group
who do mostly charity work. Back in USA he
was in the choir groups rendering his tenor
voice. We invited him for this show due to his
proficiency Judging a musical performance.

2. Rev. Fr. Kenneth Breen.

Fr. Ken is also from USA. He is a

mercidarian priest who is put up with the
seminarians in cochin. He also is an excellent
vocalist and takes the lead in training the
seminarians to sing in the choir. He was invited to witness our performance and convey
his views on how we presented the show
 INTRODUCTION ON WESTERN INSTRUMENTS
A curricular activity executed by the Music Department involving students of Std. IX,
this activity enlightened the students on the musical culture of France and Italy. The
students under the guidance of Mr. Dominic Manuel did research on French and Italian
Music and presented the following information as a class room activity. They also had e-
mail contacts with experts on Western musicians and instrumentalists to have a deeper
understanding and assimilation.

CONTENT OF THE ASSIGNMENT

PIANO
The history of piano playing is built from a large and complex
network of piano dynasties, a network that reflects a wide variety of
approaches to technique and interpretation. Nearly all of the
important pianists of the 19th and 20th centuries passed on their
knowledge and skills to later generations. In turn, those players
taught or influenced younger pianists who inherited the musical
traditions established by their predecessors. Thus, as we survey the
great players of the past and present, we encounter musical
personalities ranging from virtuosos to poets, from intellectuals to
dramatists.

The Piano is a musical

instrument played by the
means of a keyboard that
produces sound by striking
steel strings with felt hammers. The hammers
immediately rebound allowing the strings continue
vibrating in their resonant frequency. These
vibrations are transmitted through a bridge to a
soundboard that amplifies them.

GUITAR
The guitar is a musical instrument with ancient that is used in a wide variety musical
styles. It typically has six strings but four, seven, eight, ten and twelve string Guitars also
exist. Guitars are recognized as one of the primary instruments in blue, country, rock
music, and many forms of Pop,. This is also a solo classical instrument. Guitars may be
played acoustically, where the tone is produced by vibration of the strings and modulated
by the hollow body, or they may rely on an amplifier that can electronically manipulate
tone. Such electric Guitars were introduced in the 20th century and continue to have a
profound influence on popular culture.

Traditionally guitars have usually been constructed of combinations of various woods

and strung with animal gut , or more recently, with nylon or steel strings.

CELLO, STRING INSTRUMENT.

The four major instruments in the string family the violin, the
viola, the cello and the Double bass, are built the same way. The
instruments are made of many pieces of wood, which are glued –
never nailed - together. The body of the instrument is hollow,
thus becoming a resonating x for the sound. Four strings made of
animal gut, nylon or steel are rapped around pegs at one end of
the instrument and attached to a tailpiece at the other. They are
stretched tightly across a bridge to produce their assigned
pitches.

The cello is the tenor voice in the string family. While shaped
like a violin the cello is much larger and is held between the
players knees. Because it can produce beautiful sounds from it’s
lowest to it’s highest notes, it is a popular instrument.

ITALIAN MUSIC
Like other elements of Italian culture, Italian music is generally eclectric. No parochial
protectionist movement has ever attempted to keep Italian music pure and free from
foreign influence, except briefly under the Fascist regime of the 1920s and 30s. As
a result, Italian music has kept elements of the many peoples that have dominated
or influenced the country, including Germanic tribes, Arabs, Greeks, French and
Spanish. The country's historical contributions to music are also an important part
of national pride

Instrumental and vocal classical music is an iconic part of

Italian identity, spanning experimental art music and
international fusions to symphonic music and opera.
alongside imported genres like jazz, rock and hip hop.
Italian folk music is an important part of the country's
musical heritage, and spans a diverse array of regional
styles, instruments and dances.

Italian folk styles are very diverse, and include

monophonic, polyphonic, and responsorial song, choral, instrumental and vocal music,
and other styles. Choral singing and polyphonic song forms are primarily found in
northern Italy, while south of Naples, solo singing is more common, and groups usually
use unison singing in two or three parts carried by a single performer. Northern ballad-
singing is syllabic, with a strict tempo and intelligible lyrics, while southern styles use a
rubato tempo, and a strained, tense vocal
style. Folk musicians use the dialect of their
own regional tradition; this rejection of the
standard Italian language in folk song is nearly
universal. There is little perception of a
common Italian folk tradition, and the
country's folk music never became a national
symbol.

Instrumentation is an integral part of all facets of Italian folk music. There are several
instruments that retain older forms even while newer models have become widespread
elsewhere in Europe. Many Italian instruments are tied to certain rituals or occasions,
such as the zampogna bagpipe, typically heard only at Christmas. Italian folk instruments
can be divided into string, wind and percussion categories. Common instruments include
the organetto, an accordion most closely associated with the saltarello; the diatonic
button organetto is most common in central Italy, while chromatic accordions prevail in
the north. Many municipalities are home to brass bands, which perform with roots revival
groups; these ensembles are based around the clarinet, accordion, violin and small drums,
adorned with bells.

Italy's wind instruments include most prominently a variety of

folk flutes. These include duct, globular and transverse flutes, as
well as various variations of the pan flute. Double flutes are most
common in Campania, Calabria and Sicily. A ceramic pitcher
called the quartara is also used as a wind instrument, by blowing across an opening in
the narrow bottle neck; it is found in eastern Sicily and Campania. Single- (ciaramella)
and double-reed (piffero) pipes are commonly played in groups of two or three. Several
folk bagpipes are well-known, including central Italy's zampogna; dialect names for the
bagpipe vary throughout Italy-- beghet in Bergamo, piva in Lombardy, müsa in
Alessandria, Genoa, Pavia and Piacenza, and so forth.

The Schol Choir chose to perform one of the trendy songs of Itally Starting with
“Come,Vorei, Vorei Amarti meno..”

MUSIC OF FRANCE

France has long been considered a centre for European art and music. The
country boasts a wide variety of indigenous folk music, as well as styles
played by immigrants from Africa, Latin America and Asia. In the field
of classical music, France has produced a number of legendary
composers, while modern pop music has seen the rise of popular French
hip hop, techno/funk, and pop performers.

French music history dates back to organum in the 10th century,

followed by the Notre Dame School, an organum composition style.
Troubadour songs of chivalry and courtly love were composed in the
Occitan language between the 10th and 13th centuries, and the
Trouvère poet-composers flouished in Northern France during this period.

In many cases, folk traditions were revived in relatively recent years to cater to tourists.
These groupes folkloriques tend to focus on very early 20th century melodies and
the use of the piano accordion.
Bagpipe and hurdy gurdy

The hurdy gurdy, or vielle-à-roue, is essentially a mechanical

violin, with keys or buttons instead of a finger board. It is made up
of a curved, oval body, a set of keys and a curved handle, which is
turn and connected to a wheel which bows the strings that are
stopped by the keys. There is a moveable bridge, a variable
number of drones and hidden sympathetic strings, all of which can
also effect the sound. Simpler forms of the hurdy gurdy are also
found in Spain, Hungary and Russia.

Brittany

The documented history of Breton music begins with the publication of Barzaz-Breizh
in 1839.

Distinctly Celtic in character, the folk music

of Lower Brittany has had perhaps the most
successful revival of its traditions, partly
thanks to the city of Lorient, which hosts
France's most popular music festival.
 INTERNATIONAL E-MAIL CONTACTS
----- Original Message -----
From: Don Barretto
To: splash@satyam.net.in
Sent: Tuesday, January 22, 2008 7:40 PM
Subject: Information on Music

Hi Dominic,
Thank you for your mail and your interest in knowing about the music in UK. There are
many schools of music in and around London and also in south wales where I live.

They teach musical instruments like trumpet, guitar, studio production, saxophone, bass,
drums, voice, piano and trombone and also the vocals

These Centres of Contemporary Music are independent, specialist music schools that
provides education of the highest possible quality. They are accredited higher
education college with courses in Funk, Jazz, Rock, Soul and Music Production.
Student loans are also available for their full-time courses.

Just playing an instrument well is no longer enough to survive as a musician. Today's

career music-makers play live and in the studio, they write, arrange and produce.
Some start their own record labels, download sites or on-line publishing
companies.

some of the most prestigious music schools in the world are in UK such as , Berklee
College of Music (Boston), The Royal Academy of Music (London), Trinity College of
Music (London), The Guildhall School of Music and Drama (London), Musicians
Institute (Los Angeles and London) and the Drummers Collective (New York).

Whether you want to form a successful band, write music for film and television, write
and publish songs, be a session musician or become a producer, these centers of
contemporary music is right for you.

Whatever style of music you are passionate about: Jazz, Latin, Reggae, Soul, the heaviest
metal, the hardest techno or the most experimental electronics, they will help you
become a self-sufficient music-maker and set you up for your musical future.
Please e-mail me if you need more information.

Regards

Don

----- Original Message -----

From: Unni Menon
To: Dominic & Nancy Manuel
Sent: Monday, January 21, 2008 9:55 PM
Subject: Music

Hello Dominic,

Glad to receive your email asking me to describe the music scenario in the US.

Musicians Institutes are plenty in the US with challenging contemporary styles. They have
programs combining contemporary music performance with intense training in traditional music
disciplines. Some of them emphasize the development of stylistic depth, creative maturity and
professional competence as part of a comprehensive college education preparing students to
enter the contemporary music industry.

There is a six-quarter Associate of Arts in Performance Degree providing the instrument skills,
musical knowledge and performing experience that musicians need to prepare for the challenges
of professional and creative contemporary performing careers.

Few other Degrees are available for bass, guitar, keyboards, drum set and voice. There
are Certificate programs based on an educational philosophy of focused, intensive, practical
instructions. They are designed to provide students with a solid foundation in instrument
technique, musical knowledge, and contemporary music performing experience on instruments
like BassGuitar, Keyboards, Percussion, Voice etc.
There are non-certificate options also available for students of bass, guitar, keyboards,
percussion, and voice etc. with a wide range of lessons, classes, performance workshops and
other activities available for each instrument.
Let me know what is your specific interest, so that I can do a little more in-depth enquiries on the
subject and get back to you.
Take care

Unni
____________________________________________________________________________

On 11/30/08, seetha shivaswamy <seetha76@gmail.com> wrote:

Dominic,
Please refer to the attached jpg file for a promo picture.
Here are some details which you asked for:
*Your experience with music and association with the
musicians abroad*
*Education*
I began as a child in the USA taking private flute lessons in grade school with the
encouragement of my parents. While in secondary school I performed in the school
band, regional orchestra, and was awarded a scholarship to the prestigious arts camp in
Interlochen, Michigan. This inspired me to pursue music as a career, and I went on to
study music intensively in college for 7 years. I completed both a Bachelor's and
Master's degree in flute performance.
*Associations with musicians abroad*
I have played for many esteemed music teachers from Berlin, Paris, Amsterdam, and the
UK, including Edward Beckett from Academy of St. Martin in the Fields. In 2001 I was
invited to give a solo flute recital in the Hong Kong City Centre, and have performed as
flutist with the Orchestra Sinfonica in Monterrey, Mexico. Last summer I traveled to
Malaga, Spain for a professional development workshop where I collaborated and
performed with several flutists from Syria, Austria, Germany, Norway, and the
Dominican Republic. In January 2007 I toured India with the internationally acclaimed
world music ensemble Global Rhythms. Our concert highlight was in Chennai, where
we were the inaugural band to kick-off the IIT Madras Saarang Festival 2007. We also
performed in Mumbai at St. Andrews auditorium as a part of the Young Indians
Conference 2007, and presented educational concerts for some charitable organizations.
During this tour I met musical maestro AR Rahman, with whom I recorded his anthem
for the United Nations in effort to eradicate poverty called 'Pray for me Brother',
released by Universal Records in April 2007 worldwide. I was called back to AR
Rahman's studio in May to record flute melodies for the film score to Kaized Gustad's
new movie 'Bombil and Beatrice', which premiered at the Cannes film festival this year.
In June I was invited by AR Rahman to join him on his 3rd Dimension North American
Tour, where we traveled to perform in 9 cities including New York City, Vancouver,
Toronto, Chicago, Houston, San Francisco, and Washington D.C. Other Indian artists on
the tour were singing stars Chitra, Madhushree, Hariharan, and Sukhwinder Singh.

*Highlights of difference in music industry set-up in India and abroad*

My experience with the Indian music industry is minimal, with only a few concerts and
2 recording sessions. My contributions as a western artist in India have been for cultural
crossover projects, where east meets west in an artistic fusion. I do foresee this
becoming more of a trend, as India creates deeper relationships with the west, both
economically and artistically. From what I see outside of my personal experience, the
void between film music and traditional carnatic/hindistani classical concerts in India
will soon become filled with a more bold and experimental musical spectrum that
incorporates a fusion of musical elements from varying cultures.

*Current Projects*
I am currently living in Austin, Texas, USA, where I have several private flute students,
give flute classes and clinics, am an active performer in music festivals and concerts,
and frequently play in recording studios for soundtracks of TV commericials,
documentaries, and radio shows. My current musical groups perform western classical
chamber music and Brazilian Choro music.
 Please let me know if you would like more detailed information on any particular
subject. I do hope this helps you with your project!

All the best,

Seetha Shivaswamy
Flautist
Austin, Texas USA
“At that elusive moment when we transcend our ordinary performance and feel in
harmony with something else—whether it's a glorious sunset, inspiring music or another
human being—our studies have shown that what we are really coming in sync with is
ourselves. Not only do we feel more relaxed and at peace, but this entrained state
increases our ability to perform well and offers numerous health benefits.”

I had been contemplating the idea of introducing different European Language Songs to
the school curriculum and I knew it would be a very challenging task for me; definitely
not an easy one…To my luck the opportunity came to exhibit and prove my mettle when
the journey for the International Standards Accreditation Programme began in our school.

The first and foremost was the selection of students for the same. The primary criteria for
their selection were testing them for their pitch blend and rhythm sense and those who
fitted these primary criteria were selected. There were a few who didn’t perfectly satisfy
the requirements, but they were later trained to perfection. The practice was conducted
during the school hours and it took 21 days to finish what was meant to be a universal
performance.

As Katie Greenwood said “Music isn't just learning notes and playing them; you learn
notes to play to the music of your soul.”

The choir consisted of sixty students, six soloists and four in the orchestra. The trouble
taken to teach these students was a great challenge as none of them were familiar with
any of the languages sung except English. The songs sung were Spanish, Italian, French,
Swiss-German and English. The songs were collected from my friends all over the world
and I at this point show my gratitude to each and everyone of them out there. The long
practice sessions soon began to pay off and the highlight of the Christmas programme
were the European Language Songs sung by the Humming-Birds of Toc-H Public
School.

The students won praises from the distinguished guests from all over the globe who
happened to visit the school and see the choir perform and it was a wonderful feeling as
evinced by the interest shown by the increasing number of students to join the school
choir

Dominic Manuel
Choir Master
 INTRODUCTION ON INDIAN MUSICAL INSTRUMENTS
The Music department in Toc H has three sections – The Western Music, Carnatic Music
and Instrumental Music. Carnatic Music is a compulsory subject for the students from
Std. I to III. Form Stds. IV to IX, the students opt between Western Music, Instrumental
Music and Carnatic Music. The Carnatic music and the Instrumental Music department
under Mrs. Latha Bhatt and Mr. Benny conducted a curricular activity for the students
who opted music in Std. VII and did a study of the musical instruments used popularly in
Carnatic Music. The names of the students who participated are as follows:

Madhu Ann Aby

Sneha Susan John
Aiswarya Prasad
Aiswarya Viswanath
Amala John
Anjana John
Anita Antony
Radhika Ganesh

STUDY OF SOUTH INDIAN MUSICAL INSTRUMENTS

Music literally means certain natural sounds, “Something pleasant to hear”. As a result it
becomes a source of inspiration for creativity. World Music admits of two major
branches, occidental and oriental; in the oriental music, Indian music has got an
important place. Indian Music is divided into Marga and Desi; Marga Sangeetha is
highly sacred and religious and Desa Sangeetha is the music of the common folk. Marga
Sangeetha developed into two groups – Hindustani or the Northern and Carnatic or the
Southern.

The concept of musical forms in India has three segments-Gita, Vadhya and Natya. They
can be classified as Vocal, Instrumental and Dance Music respectively.

The musical instruments used in Carnatic music are mainly of two types:
Laya Vadhyas and Sruthi Vadyas
 STUDENT ASSIGNMENTS-SAMPLES

LAYAVADHYAS

This instrument is mentioned in Ramayana.

The mouth of the Ghatam is open and
somewhat narrow. Strong, durable & resonant
pots for this purpose are made at panruti. The
pot is played with two hands, wrists, then ten
fingers and nails. The mouth is pressed
against the stomach so that when strokes are
given the air inside is set in vibration and gives

Ghatam in the playing

posture
An elastic, thin & flexible steel strip called
the tongue is rivetted at one end to a
circular iron frame. This strip projects a
little beyond the ring at one end and the
other end is slightly curled. It passes right
along the centre of the ring between the
two arms. The instrument is held in the left
and the fork portion is held in the mouth.
The curled end of the tongue us plucked
by the forefinger of the right hand. The

Moresing in the playing

posture
 Idakka

Idakka has an hour-glass shaped resonator. The Idakka in the playing

resonator is of wood. The skin is not strained over the posture
two faces. Skin mounted on 2 circular frames and called
savvu are just stretched over the two faces. There are
strings tied on to circumference of the rings. The
instrument is played with a stick.

Kundalam is a pair of drums. One

Kundalam Damaram and
Tamukku
Dep, Jamidika, Udukkao, Davandai,
Suryapirai, Chandrapirai & Dasari
tappattai
head of this instrument gives a
muffled note and the other gives a
straight note. The heads are
alternatively struck by 2 thin bamboo
sticks one of which is a bit curved at
the striking end. This is used for the
rhythmic accompaniment in the
‘Poyakkal Kudirai Attam’.
Tamukku is of the shape of a pot
drum. The shell may be of bronze or
other metal and of earth or wood. This
is held in position by cotton cords
passing underneath the vessel. The
ring is called Chandra Valayam. This is

Suryapirai & Chandrapirai (shape of Sun & Moon)

Suryapirai,
Chandrapirai in the
playing posture
are 2 percussion instruments used in Mariamman temples and in temples of village
deities. The 2 instruments are tied over the cushioned foreheads of 2 persons and played
with a stick. They are used in Kalahasti temple in South India.

Davadai is a bigger Udukkai. The skin on the 2 sides is thicker displayed with a stick.
These instruments above are all used in Mariamman temples and in some old shrines.

Drum with a bucket shaped resonator

and open at one end. The closed end is
covered with a thin parchment. At its
centre is tied a string which goes through
the inside of the instrument. This is tied
to a stick at the other end. The stick is a
few inches away from the top of the shell
is held in position while playing. This
drum is used as an accompaniment in

Jamidika in the playing

posture

..

SRUTI VADHYAS

Tambura-playing
posture
 Tambura

It is a classical drone
accompaniment of the stringed
group. It is made of jack wood. All
the 4 strings are secured directly to
the ledge fixed on to the bowl. The
bridge on the belly is of wood – the
3 strings.

Tambura (Miraj model)

Here the bowl is of gourd. The

Tambura
stem and the neck are made of
(Miraj model
teack-wood. The pegs have playing posture)
round knobs at the top. The
dandi is broader than that of
Tanjore Tambura.

Automatic Svavadita Tambura

Tambura (Automatic Tambura)
in action in a concert

Sur sota
Sur sota in the playing
posture
This is a cheap Tambura made
of bamboo. Over the top of a
long bamboo stem four strings
pass as in the ordinary tambura.
The four sympathetic strings are
tuned to the same notes as the
4 main strings.

Ektar is the mendicants drone.

A round stick of bamboo, 4ft in
length & less than 2” in
diameter forms the finger
board. One end of this stick is
provided with a tuning peg and
the other end is passed
through a hollow gourd
resonator. It has an open
string one end which is
fastened to a nail fixed on to
the projection of the stick
Ektar
beyond the resonator. Here
the string passes over a crude

Ektar in the playing

posture

Ottu in the playing

psoture
 Ottu

This is a drone-instrument (accompaniment) used in the

Nadasvaram band. It resembles nagasvaram but is slightly longer. It
consists of a wooden conical bore of about 2½ ft in length and
enlarges downwards. Into the metal staple at the top a reed is
introduced. A metallic bell adorns the bottom.

Two types of Sruthi box

Sruthi box in the playing

posture
 FEEB BACK FROM STUDENTS – Sample
I am taking formal training at home and in school in Carnatic Music. I like to study music
and sing. I have got many prizes in the internal and inter school competitions. I am also a
member of the Toc H Choir group ‘The Humming Birds’.

Study about the South Indian musical instruments gave me an insight into the concepts of
Laya and Vadhya in Classical Music.

There are Saptha Swaras or Seven Notes set to different Thalas or Beats. We could
understand vividly the concepts of Saptha Swaras and Varisas or the concept of the
numerical ranges and the degrees of speed because of this study. The fundamentals may
be the same in Western Music and Hindustani Music also. I would like to explore the
significance of the use of instrumental music in them also.

Aiswarya Prasad
Std. VII
As in nature, music also has an order and rhythm. In nature there is a rhythm in the
movements of the stellar bodies and there is a rhythm in the pulse of the human hand.
Music is an exact science with many practical application of the concepts of series,
progressions and formulae of mathematics. Along with Mr. Benny I undertook this study
for revealing to the students the universal laws of rhythm and progressions in music. We
took the examples of musical instruments used in Carnatic Music and related it to the
concepts of the Raga, Thalas and the Varisas. We showed them examples of the seven
notes sung in Mayamalavagoula raga set in Adi Thala and sung it in four degrees of
sped. We demonstrated to them the significance of the accompanying musical
instruments following the same order. We narrated the Sarala Varisas, Tarasthayi
Varisas, Madhysthayi Varisas, Janda Varisas etc. We also taught them the coordination
between the instrumental and the vocal music in Carnatic recitals. This was an extended
study related to their syllabus.

Music Teacher