![]() Thyagaraja used words that had come into Telugu from English in some of his compositions. His ‘ Vara Lila Gana Lola’ in Raga Sankarabharanam, is also completely based on Western band tunes. The most famous among these is ‘ Santatam Pahi Mam Sangita Shyamale’ which is set to the same tune as ‘ God Save The King’! Muthuswami Dikshitar’s contemporary, Thyagaraja, composed ‘ Raminsuvar Evarura’ in the Raga Suposhini, which was clearly inspired by music that accompanies march pasts. Muthuswami Dikshitar composed around fifty verses in Sanskrit, based on the orchestra’s music. The five-year stay exposed brothers Muthuswami and Baluswami Dikshitars to the ‘airs’ that were being played by the Fort St George orchestra.īaluswami Dikshitar learnt to play the violin from an Englishman and introduced it to the Carnatic concert platform. This very Western instrument became part of the Carnatic music tradition when the family of composer Ramaswami Dikshitar moved from Tiruvarur to Madras in the 1790s. Perhaps the earliest innovation was the violin. Muthuswami Dikshitar and Thyagaraja, two of the most revered composers of Carnatic music, were certainly influenced by the strange tunes from the British. ![]() ![]() Strange as it may sound, the British Raj and its bands have left a firm imprint on this most traditional music form. But Carnatic music like all Indian art forms has been open to various cultural influences from all over the country and across the seas. When you think of Carnatic music, you think of temples, music which has retained its pristine purity over the ages and something strongly South Indian. ![]()
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