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Vol XXII, 1998
form of Audava-Bhatrava with the Rsabha and the Pañcama dropped The fourth article, 'Samgita-mām Vädyavādana-nā Śresthatä" ("The Supenonty of Instrument-playing in Music) justifiably supports the viewpoint of Gayaka-rājā Although the throat is the best instrument, the singers take the assistance of the instruments to supplement their deficiency Ustad Bismilläkhāna imparts instruction first by singing, and then asking the students to produce the same melody through his Śahanãi Thus, singing is the foundation of instrument playing
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The fifth, sixth and the seventh articles, named 'Nilamma Kadambi, Thakura Jayadeva Simha' and 'V G Doräisämi' respectively, are biographical in nature, but they throw considerable light on vanous aspects of Indian musical lore, pertaining to various Gharânäs, ladies and gents musicians, Pandits, Väggeyakäeras and their ideosyncracies
Over and above their being research ventures in the field of Indian music, they present the specimens of real research articles, as distinguished from other wnte-ups like reviews, studies, and cnticism NMK.
SANSKRIT RAMAYAŅAS OTHER THAN VALMIKI'S, THE ADBHUTA, ADHYATMA AND ANANDA RAMAYANAS by Dr. V Raghavan Dr V Raghavan Centre For Performing Arts, Chennai-600 020 1998, pp xv+ 143, Rs 100/
The prime intention of the Dr V Raghavan Centre has been to bring out hi unpublished works and continue to encourage research activities in the area of interests that he cherished during his lifetime The present volume is a compilation of his lectures on the three Rämäyanas It gives a remarkable insight into them from more than one point of view, as also an idea of the depth of his scholarship, the method of his presentation, and the new insights into the very purpose and the scope of the compilation of these new Ränmäyanas when the Välmiki Ramayana had already influenced the Indian thought and culture
The main purpose of the Adbhuta Ramayana is to present the Śäkta religion and philosophy Sitä is made the central figure here and identified as the forms of Sakti, Maheśvari, Dörgä, etc Her glory is descnbed on the model of the vibuti-yoga of the Gitä and is made to act like Mahäkäli On killing Rävana she is described as dancing on his body in the ferocious form of Sakti Certain
