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Wednesday, December 31, 2008

Self Learning

There are many rasikas who make all out effort to self-learn Carnatic Music. Normally they select Keyboard for the purpose. The host of self learning facilities available with Keyboard attracts them to choose it.

After trying a song several times , they are normally dissatisfied with their result . We come across several people with their frustration. The main grievances they express is that, the tune they play does not sound similar to what they expect.

At this juncture, the rasikas are to understand the basic principles of Carnatic Music that , it is not that playing with 12 Swaras or pressing 12 Keys of the Keyboard of the Octave attempting to bring Music.

The melody or the tune or roughly the Ragam are to contain Gamakas[ Recommended method and style of oscillating Swaras ], Anuswaras [ an auxiliary Swara heard faintly and attached to the main Swara] and with proper Sruthistahana [ subdivision of a Swara].

There are 10 varieties of Gamakas, and 22 Sruthisthanas in an Octave. It should be understood the limitation of the instruments to play the above nuances.

There is no means to write down the these infinitesimal details either and also it is to be understood that the Music is language of emotions and feelings. It has to be experienced.

Hence, these finer points are to be learnt through a Guru... Therefore Carnatic Music is Guru Muki Vidhya.

Monday, December 8, 2008

Geetham

Geetham
Many rasikas often confuse Geetham to Keerthana. Though generally Geetham means ‘Song’, it denotes in music parlance a type of Musical composition with its specific characteristics . Geetham is a Musical piece taught to the students after completing the chapters on Swaravali and its related exercises including Alankaram. Therefore Geetham is an Abyasa Gana variety and not a concert piece. Hence, Geetham are not performed in Katcheries. Whereas , Keerthanas are an advance musical items and a concert piece as well.
On examining a Geetham, we can find that they contain Swara portion and Sahithya portion. By practicing Swara portion one can become familiar with melody and its pattern, of the Ragam which after practicing well, to be replaced with corresponding Sahithya part.

Swara part is called Datthu and Sahithya part is called Mathu. Sahithya portion contain vowel extension of Sahithyas too, enabling the learner to acquire good voice.

Geethams are small Musical pieces contains no subdivisions like Pallavi, Anupallavi etc. It is rendered in one go as Sahithyam without repeating any line. Normally, they are composed in medium tempo and in variety of Thalams.

Famous Geetham are ‘ Sri Gananatha Sindoora Varna…., Kereya Neeranu…. Padumanabha….., Kundha Gowra….. all in Malahari Ragam, composed by Sri Purandara Dasa. Apart from these there are other Geetham like Varaveena in Mohana Ragam, Aana Lekara in Sudda Saveri Ragam, Mandara Darare in Kamboji Ragam, Kamala Sulochana in Ananda Bhairavi Ragam, Kamalajaadala in Kalyani Ragam and many more.

Tuesday, November 25, 2008

Varnam



UNDERSTANDING VARNAM

Varnam is one variety of Musical pieces in Carnatic Music and is technically rich. It is considered as a Abyasa Gana variety as well as Sabha Gana variety. It is interesting to observe its structure, its place of rendering in katcheries, its rendering style by various artists, for the purpose of appreciation.
One can acquire good knowledge on Raga, Tala by learning many Varnams since it contains beautiful Sancharies, Visesha Sancharies the raga admits. And also it is good for voice culture. By practicing Varnams one can get good control on Tala as it is practiced in different degree of speed. The students are taught the Swaras for the entire Varnam first in different degrees of speed with proper handling of Swaras to reflet Ragabhava and after wards the Sahitha portion is taught at appropriate places.
The style of playing Sahithya in Musical Instruments has got its own respective methods.
The structure of Varanas is, Pallavi, Anupallavi, Mukthayi Swaras, Charanam, Many Chittai Swara passages.
Pallavi Anupallavi and Charanam will have Sahithyas with plenty of vowel extensions . Mukthayi Swaras and Chitta Swaras will have no Sahithyam These type of Varnas are called Thana Varna.

The Padha Varna , which is an other variety Varnas, will have Sahithya for the entire length of the piece. These Sahithyas will have less amount of vowel extension and these Varnas are rendered for Dance performance. These are sung in slow tempo and Jatis are introduced at appropriate places.

There are no Sangathis in the lines of Varnam.

Normally, Swarakalpana is not rendered for the Varnam. Of Course , there are exemptions.

RENDERING OF VARNAM OR GANAKRAMA.

There are several ways in which the Varnams are rendered.

Method1
The Pallavi, Anupallav and Mukthayi Swaras are rendered in Chowka Kalam or in slow tempo.
The Charanam and Mukthayiswaras are rendered in Madyama Kalam or medium tempo.

Method 2
Pallavi, Anupallavi, Mukthayi Swaram, Charanam, and Chitta Swaram are rendered in normal or quick tempo.

Method 3
Pallavi , Anupallavi and Mukthayi Swaras are rendered in I degreeof Speed followed by II Degree of Speed. And, Charanam and Mukthayiswaras are also rendered in I Degree of speed followed by II degree of Speed.

The artist may also choose some other form as well, for rendering the Varnam

In case on Musical Instruments rendering, the Sahitya portion of Varnam will be played as “ Sahithya Style” unique to the individual instruments.
Whereas, all the Music Students whether Vocal or Instruments , will learn both Swara and Sahithya portions of the Varnam.

The Varnam are composed in many languages and normally in Adi Thalam, Ata Thalam , Jumpai Thalam.

Friday, September 19, 2008

Joy of Singing / Joy of Playing Musical Instruments


Joy of Singing / Joy of Playing Musical Instruments.

It is common to observe Rasikas humming or singing music for the joy of it. Sometimes they reach a point where their music may sound exotic to themselves and keep trying to correct in several possible ways. The point where they get struck up may be on the lyrics or the Raga or tune or unable to reach the note they want to sing, may be in higher pitch or lower .They try these exercises by listening to the recording of their favorite artists.

Here, the Rasika who has not got formal training in music, still having lot of interest ,has to remember that they are expected not to imitate or copy 100 percent , the style of their favorite artists. But learning from the recording and singing in the Rasikas own style is a healthy way of enjoying and appreciating Carnatic music. Here , ones own /unique style will settle in after regular practice observing the basic rules of music

Here again, one more important point to remember is the Sruthi of the recordings of ones favorite artist which not necessarily the one the Rasika can sing with. He may learn lyrics ,Melody from the recordings of the artists and try to sing back , including number of Sangathis,to his ability and capacity keeping the guide lines in mind which has been laid down by eminent musicians over the years since, adhering to the tradition or Sampradhaya is a prerequisite in Carnatic Music.

The Rasikas must understand that his favorite artist has had regular and systematic training, intense practice and experience before releasing the recordings.

Monday, August 11, 2008

Kritis or Songs Part 2

Further study on Kritis or Songs of Carnatic Music are quite interesting by concentrating on the structure of them composed by various Vaageyakaras. A point to be noted here is that there are several melodic patterns of songs in one Ragam. Therefore it becomes all the more important to listen to many songs in a particular Ragam composed by various Vaageyakaras, which provides one the opportunity to study various melodic pattern of the Ragam in question.

Moreover,the duration of time rendered by various Artists or the same Artist on various occasions of particular song is not the same.

This may be due to;

1] Number of Sangathis rendered for each line of the song
2] Depends on complexity of Niraval and/or Swaraprasthara
3] The tempo selected for rendering the song

There are Kritis of lengthy lyrics but minimum Sangathis

Also the duration of a Kriti depends on the Tala to which it is composed.

Normally, the kritis in Carnatic music are rendered in the Ragam it is composed by the Vaageyakaras, of course, with exemptions.

Regarding Dasara Padagalu or Devar Namas of Sri Purandara Dasa, Kanaka Dasa, Jagannatha Dasa, Vijaya Dasa and others certain songs are sung in various Ragas.

Moreover many songs are rendered in Hindustani style as well.

Therefore, the Rasikas are expected to appreciate Carnatic Music in whichever form it is presented without getting confused.


Saturday, July 12, 2008

Krithi or Songs Part I

Carnatic music is Krithi or Song based. Ie., Krithis or Songs composed by Vaggeyakaras [Composers] occupy an important position in a Carnatic Music Concert. It is hard to listen to Concert without Kritis or Songs. Technically these songs are called Kritis or Keerthanas or Viruththams. Sometimes Viruthams or Slokas are rendered prior to a Song.

Therefore it will be interesting to make a study on ‘Songs-Section’ of the Music Concert.

From the Concert point of view, whether it is a Vocal Concert or Instrument rendering, the selection of songs is generally the choice of the main artist. The organizers or Sabhas will keep away from the Song selection process for the concerts, though the Concert may be on a particular theme. The artists will chose the songs keeping the theme in mind. And of course, the Sampradhaya or tradition will be respected by the Artists while choosing the Songs.

The first Musical piece in a concert will normally be a Varnam or a krithi on Lord Ganesha. Sometimes the artist may choose to sing a slokam as invocatory Song.If the Song is on Lord Ganesha, it may be in the Ragas Nattai, Gowlai, Hamsadwani, Sriranjani, Ataana, Gambira Nattai etc. The artist chooses the first song to impart, what is called “ Melakozuppu”[Musical atmospher] in a brisk tempo. Raga Alapanai for these song will be short and crisp and sometime the artist may start the first song straight away.

The subsequent songs will be chosen by the artist based on the Theme or occasion. The initial few krithis will be for shorter duration and there will be longer pieces at the middle of the Concert. At the end of one of the longer pieces there will be“ Thani Aavarthanam” by the percussion Artists.

Main Krithis are those in Ragas providing ample scope for elaborate Aalapana, Thanam, Niraval, Swarakalpana and takes longer time to render. Artist will have opportunity to show their caliber in Manadarma in these Musical pieces which is the strength in Carnatic Music.

Thukkadas are those songs, rendered at the end of the Concert, which are lighter in nature including Folk Songs Bhajans etc.

Finally, the Concert are concluded with a Mangalam , normally in one of the Ragas Madyamavathy , Sri Ragam , Suruti,, Sowrashtram Punnagavarali etc

Saturday, June 14, 2008

Concert


Going to a Music concert is one of the joyful moments for music lovers.For an individual, the significance in attending a concert anchors on many factors like his favorite artist, venue of the concert, theme, occasion and so on.It is a fact that attending a live concert in an auditorium or other music venue has got many interesting and educative points for appreciation.


Many music Rasikas who want to appreciate music in a real sense, attend the concert with open mind , whoever be the artist or accompaniment. Of course, they will collect all information about artists beforehand. This will give him a variety of musical input he is thriving for. The main advantage of attending live Musical concert is that the audience can witness the artists in their full capacity who show their talent in manaodarma which is the vital factor, as there is no time restriction in rendering musical pieces.

Since the main aim for a Rasika is to appreciate Music, he will arrive at the venue in advance and occupy seat in such a way that he can see all the artists clearly.

It is interesting to enjoy the artists way of communication among themselves during the concert by their body language and gestures.


Some of the areas in which a Carnatic Music Concert can be enjoyed and appreciated are:
* Song Selection- whether it is thematic or the way it matches with occasion.
* Major Ragam handled for extensive Raga Alapanai and Swara Prasthara.
* Seating arrangements of the artists on the stage.
* Language of the songs selected.
* Whether the songs are popular or Apoorva and their composers.
* Whether the Ragas are popular or Apoorva
* The first song, Major Raga and song to which Thani Avarthana takes place, end pieces or Thukkadas , the last song.
* Number of songs.
* The Guru of the artists.
* Clarity of pronunciation.
* Attire of the artists.
* Stage lighting and sound arrangements.
* Time of the day of the concert.
* Going through review in news papers and periodicals.

Wednesday, May 28, 2008

Concert Platform

Normally, all Music Concerts are held on a stage which is raised a little bit above the floor level. There will be enough space to accommodate the main artist and the accompanying artists.If it is a vocal Carnatic Concert, the main artist occupies the middle position and Violin and Mrudangam artists occupies the position of either side of the main artist facing each other. Violin and Mrudangam artists occupy either left or right side of the main artist depending on whether the Mrudangam artist is left handed or right handed.

Thambura artist occupies the position just behind the main artist. Some singer prefers to have two Thamburas. In this case the Thambura players will be sitting behind the main artist on either side.This is the general seating arrangement of the artists on the stage for a Carnatic Music Concert.

There are concerts where many more accompaniments such as Ghadam, Kanjeera, Konnakol,Morsing etc. ,accompany the main Vocal artist.These artists occupy the position behind the main artist.Konnakol is an art of performing the percussion syllables vocally in the concert.

Some Vocal artists prefer to have another vocalist- preferably his student- for Vocal support. The supporting artist sings only the songs along with the main artist and may not participate in Manodarma portion of the concert.

If the main artist is a Violin player, then the Mrudangam player occupies left or right side and other accompaniments as described above.Normally, there will be no violin accompaniment in Violin concert. There are concerts where there will be two or three main Violin artists.

For Veena and Flute concert there will be Mrudangam and/or Gadam and/ or Kanjeera and/or Morsing accompaniments.

For Nadaswaram concert, Thavil, the percussion instrument, is the accompaniment and there may be two Thavils in some concerts, the artists sitting on either side of the main artist(s) facing each other. The Sruthi or Drone instrument is the "Oththu " which is similar to Nadaswaram but a little smaller in size.The artist playing this instrument sits behind the main artist(s). Sruthi will be provided by this Artist throughout the concert.The Talam is maintained by the artist playing a specially made Cymbal , sitting behind the main artist(s). This artist plays the Cymbal producing continuous ringing tone for the beat and damped tone for the wave of the Talam. There will be no tone for the finger counts.

The above descriptions are normally seen in Carnatic music concert stage adhering to tradition or Sampradaya and of course, there are exemptions and deviations.

In the group singing or fusion music concerts or in Carnatic music orchestras, the seating arrangements are decided by the group leader.

Friday, May 23, 2008

Language

Music is considered a language by itself and is of emotions and feelings. Moreover, it is universal too. This is the reason , we are able to enjoy music of any country.

Music has got no geographic boundary nor color or creed. Music composed specifically for instruments have no language and is equqlly enjoyable.

Of course, the songs are composed in many languages to convey messages, feelings and emotions. The lyrics sung with appropriate Ragam enhances the beauty of the Music as a whole.

In Carnatic Music, Alapana and Thanam has no language in it. The syllables used have no meaning, such as, “tThe a, da, ri, nam, thom” for Raga Alapana and “anamtha, taanamtha, tananna, tanamna etc”., for Thanam singing. Raga Alapana and Thanam are played or sung with the above syllables for song of any language .

singing or playing of Raga Alapana or Thanam,for songs is entirely the chose of the artist.


Monday, May 12, 2008

Talam

Talam is one of the important topics in Carnatic Music and can be explained in a simple way so that the Rasikas can understand and Appreciate.

We all know the meaning of Rhythm which can be explained as the repetition of elements with an equal time interval. The word “ Time” is used here since we deal with Music in which time measure is playing an important roll.

Rhythm is explained below in a simple manner . Each number shown below represent a beat or Count[which is called an Akshara ] and the distance between them indicates the time interval. Shorter or longer interval shows the “Tempo”.

1…2…3…4…5…6…7…8…9…10…11…12…13…14…15…16…17… and so on.

This can go on for any length of time.

The Rhythm may follow a pattern as shown below,

1…2…3…4…5…6…7…8…1…2…3…4…5…6…7…8…1…2…3…4…5…6…7…8…and so on.,

We may explain that Rhythm follows a pattern of 8 and this cycle is repeated and can be called a Rhythmic pattern.
This type of counts following a Rhythmic pattern may be called as Talam. The number of counts will vary with each variety of Talam. The cyclic counts of 8 is called Adi Thalam, 6 is called Rupaka Talam etc., One complete such cycle is called one Aavartham.

There are a total of 35 Tala Variety in Carnatic Music. The total number of counts per cycle may range from 3 to 29.[Further advance study on Tala we understand, that there are over 175 Talas and is not dealt here due to their complexity.]

The Rasikas might have noticed in the concert that the Vocal artist perform Tala by gently beating the Right hand palm on the Right Thigh ,counting the fingers and waving the Palm. There are various sequences of these actions according to the Tala variety.

The finger counts will follow the sequence of a beat, little finger,ring finger, middle finger, beat, Wave,beat,and wave.

The action or kriya- a beat and finger counts is called Laghu, a beat and wave is called Drutham and beat alone is called Anudrutham.

The following photographs show the action or Kriya of Adi Talam.


The artist playing instruments may seek the help of others to perform Tala sitting in front of the Artist amongst audiences or may be able to play without help from outside correctly by virtue of their experience.

The artist playing cymbals helps the main artist to maintain Talam in Nadaswaram concerts.

The time span of one cycle of a Talam will normally match with a lyric- sentence. This is the reason for the various varieties of Talam.

Here are a few examples to explain the above statement taken from the kritis of Sri Muthuswamy Dikshithar:

Lyrics for………………………..............Ragam………..Talam……Counts.
one Aavartham

1. Sooryamurthe Namosthuthe.. Sowrashtram……Druva Talam …14

2. Chandram Bhaja Manasa……....Asavery………….Matya Talam....10

3. Angaaraka……………………….......Surati…………….Rupaka Talam...6

4. Budamaasrayami Satha………Natakuranji…….Jampa Talam………10

5. Bruhaspathe Tharaa Pathe…..Ataana…………..Triputa Talam..….7

6. Sri Sukra Bhagavantham………Paras…………….Ata Thalam…………14

7 Dhivaakara Thanu……………….Yadukula Kambo…Eka Talam…....4

Note: The number of counts given at the last column is taken from basic Sapthatalas and their subdivisions are not taken into consideration.

The Rasikas should note that there is no Talam for Raga Alapana, Thanam, Virutham singing, slokas etc.

Moreover there is no rule that various Krithis in a particular Raga must be in one Tala. [That is to say, various Kritis in a Raga may be in different Tala]. But a specific kriti has been composed in a particular Tala.

Saturday, April 26, 2008

Swara

The Sound or Dhvani which gives pleasure upon hearing is called SWARA. As is evident, the sound is nothing but the vibration of the air column and is measured in vibrations per second called frequency. Listening to these varieties of sound in succession gracefully played, will be sweet to hear and gives pleasure.

The names of seven Swaras, called Sapthaswaras is given below.

1. Shadjam
2. Rishabam
3. Gandaram
4. Madyamam
5.Panchamam
6. Daivatham
7. Nishadam

It is to be understood that the Swara Rishabam will be sounding a little higher in pitch level than Shadjam, Gandaram will be sounding a little higher in pitch level than Rishabam and so on…

The Swaram Shadjam [called higher Shadjam]will be sounding next to Nishadam will be of twice the frequency of first Shadjam .Beyond higher octave Shadjam again there are Sapthaswaras having twice the frequency of their corresponding Swaras already discussed.

Combining these Swaras gracefully in succession gives beautiful Sound pattern which can be termed as Melody.

Each of these Swaras are denoted by Symbols and pronounced as follows:

Swaram----------Symbol---------- Pronounced as

Shadjam-------------- S --------------------Sa
Rishabam-------------R-------------------- Ri
Gandaram------------G--------------------Ga
Madyamam----------M-------------------- Ma
Panchamam----------P---------------------Pa
Daivatham-----------D--------------------Dha
Nishadam------------N---------------------Ni


The Seven Swaras discussed in the first paragraph is called Madhya Sthayi Swaras. The Swaras above [ ie higher in their pitch level] Madya Sthayi is called Thara Sthayi and the Swaras below[ ie lower in their pitch level] is called Mandhara Sthayi.

The Musical pieces use these three Sthayis to make good melody.

Going a little deeper in the subject may help you understand the Swaras better.

Swaras Shadjam and Panchamam are single Swaras whereas the other Swaras viz. Rishabam, Gandaram, Madyamam, Daivatham and Nishadam are having varieties. Here variety means, each Swara will sound in two frequencies yet called with the same name.

To explain further- Each of the five Swaras will sound at lower pitch called Komala Swaras and at higher pitch called Thivra Swara. Hence, the Sthayi with 7 Basic Swaras will have 12 Swarasthanas in an octave.

The following table will explain this in detail:


Swaram--------Komala variety-------------Thivra variety

Sadjam----------No variety
Rishabam--------Sudda Rishaba---------- Chatusruthi Rishabam
Gandaram-------Sadarana Gandaram---Anthara Gandaram
Madyamam------Sudda Madyamam------Prathi Madyamam
Panchamam------No variety
Daivatham-------Sudda Daivatham------Chathusruthi Daivatham
Nishadam--------Kaisika Nishadam-------Kakali Nishadam


The above Swarasthanas can well be understood by looking at the fret board of Veena starting from Shadja Swara on the open first string from left to right representing Madyasthayi and Tharasthayi.
There are further expansion of Swaras and sruthis and their embellishment which will be discussed latter.

It is interesting to note from the krithis of Sri Thyagarajas ‘ Nada thanumanisum” that the saptaswaras have emanated from Lord Shiva’s 5 faces-Sathiyojatham,Vaamadevam,Agoram,Thatpurusham and Eesanam.

Poorvacharyas have compared the Saptaswaras to the sounds of birds and animals which is shown below-


Sadjam-------------The sound produced by peacock
Rishabam----------The lowing of cow
Gandharam--------The bleat of the goat
Madhyamam------The cry of heron
Panchamam-------The note sounded by Kokila
Dhaivatham-------The neigh of horse
Nishadham--------The yelling of elephant


The swaras are not merely sounds but they are being considered by musicians as ‘Swara Devathas’ and worshipped.

Sri Thyagaraja expresses the above in the krithi ‘
Sobillu saptaswara sundararula bajimpavay manasa’ in jaganmohini ragam.

By continuously listening to concerts one can acquire the Swara Gyana.

Swara Gyana is the capacity to identify the pitch of the Swaras with respect to Shadjam, which is Aadara Shadjam.

This could also be acquired by listening to the recordings of Music lessons repeatedly.

This Swara knowledge is very much essential to identify Ragas.

Saturday, April 12, 2008

Nadam

It is said that Nadam is the first thing created by God and it is the basis for Music.

Though Nadam and Sound seems to mean one and the same but there is difference between them if viewed from Music point of view.. Sound sometimes create disturbance in the mind of the listeners and it can be called noise. Whereas , Nadam generates joy.

Nadam are of two kinds. They are Ahatha Nadam and Anahatha Nadam. Nadam produced by the effort of man is called Ahatha Nadam and that which is natural is called Anahatha Nadam. Anahatha Naham are experienced by Yogis .Sound produced by Musical Instruments, Singing are all fall under the category of Ahatha Nadam.

We understand from scriptures that Trimoortis – Brahma, Vishnu , and Maheswara are always engaged in Music. Hence practicing and worshiping of Music is as good as worshiping Trimoortis.

Nadam can be divided as follows:

1] Nadam produced by the vocal chord.
2] Nadam produced by string instruments by plucking.
3] Nadam produced by string instruments by bowing.
4] Nadam produced by percussion instruments
5] Nadam produced by wind instruments.
6] Nadam produced by Electrical and Electronic instruments .

Music All Over

Music is considered as the language of emotions and feelings. It is an ancient art form. Music is inherent in all forms of life. Many have trained their ears and mind to listen to Music in nature. i.e.wind ,waterfalls ,chirping of birds etc.

Devi Saraswathi is holding Veena in Her hands, Venu the Flute is played by Sri Krishna , Nandikeswara is playing Mrudangam……

Great Rishis and Composers used Music to convey moral values, Great stories from our epics Ramayana, Mahabaratha, Srimad Bhagavatham etc and praise the Lord in very many ways.

Great Tamil poet Thiruvalluvar said that baby’s babble is Musical in the following Thirukkural.
“ Yaaz Inidu Kuzal Inidu Enbar Tham Makkal
Mazalai Chol Keladaar”

We worship the Almighty with Music and also there is specific Music form for all stages of Man’s life from birth and death. Also, we can notice the hard working labors sing while doing their job to forget their monotony, and fatigue.

Music calms the agitated mind and makes it sharper and alert.

Music is called Nada Yoga.

Purpose Of This Blog

This Blog contains two parts. The first one being on Carnatic Music and the second part being on Photography as an Art form.

Many of my friends used to approach me and ask doubts on Carnatic Music. As a Veena Teacher, I feel it is my duty to clear their doubts and make them happy and I strongly believe this as a service to the world of Music. Interestingly, most of them are Rasikas and have no chance for formal training in Carnatic Music, still having lot of interest.It is hoped that this Blog on Music appreciation – not going too technical- still help them acquire sufficient knowledge to appreciate and enjoy Music.

After the advent of Digital Technology, Photography has become very popular among all section of hobbyists. In this segment, it is proposed to discuss about Photography as an Art form,utilizing the host of facilities available with the Digital gears.

This blog is an offering at the Lotus Feet of our Gurumaharaj His Holiness Swami Shanthanand Saraswathi .