*Sri Subbarama Dikshitar*

Sri Subbarama Dikshitar is the last of the Great Musician-

Composer-Musicologist-Scholars of the Karnataka Sangita. His
towering personality and scholarship stands far above any of his
contemporaries. And, there is none equal to him even during the
present times. He was the culmination of a long, historic and a
chaste tradition of Indian Music that evolved over the centuries. Sri
Subbarama Dikshithar combined in himself a great musicologist,
historian, composer, and a great musician. His unique contribution
is the composition of sancharis for all ragas figuring in Sangita
Sampradaya Pradarshini.

The whole world of Karnataka Sangita lovers, musicians,

musicologist, scholars and everyone associated with Indian Music
are greatly indebted to Sri Subbarama Dikshitar for his
monumental Sangita-Sampradaya-Pradarshini and its associated
works. But for his Great works into which he poured all his learning
and knowledge, the accumulated wisdom of the centuries would
have been lost to the modern age. Dr. V. Raghavan compares Sri
Subbarama Dikshitar’s Sangita –Sampradaya-Pradarshini to a huge
and permanent dam which impounded and preserved the music of
the golden age of Karnataka music; and from which practicing
musicians, theorists, editors and publishers of recent times have
been continuously drawing inspiration and sustenance from it.

Sri Subbarama Dikshitar was the inheritor of a distinguished and

glorious tradition- Dikshitar Parampara – of Musician-Composer-
Scholars. The three successive generations of the great composer-
musicians of the Dikshitar Parampara are indeed like the pillars of
Karnataka Sangita.
The crest jewel in this Sarasvathi-kanta-abharana – that is the
Dikshitar Parampara, was Sri Mutthuswamy Dikshitar (1775‑1835),
one of the Trinities of Karnataka Sangita. He was the son of Sri
Ramaswamy Dikshitar (1735 – 1817 A.D) who was proficient in the
Lakshana (theory) and Lakshya (practice) of Karnataka Sangita. The
popular Raga Hamsadhwani with which the concerts invariably
takeoff (after the Varna) and which has also become a regular part
of repertoire of Hindustani Music is said to be the creation of Sri
Ramaswamy Dikshitar. He is also credited with large number of
Tana-varnas, Pada-varnas, Darus, Raga-malikas and Kirtanas. His
Raga-malika in 108 ragas and Taalas (Ashtottara Satha Raga Taala
Malika) is an icon of his versatility and creative genius.

After Mutthuswamy, two sons – Chinnaswamy and Baluswamy–and

a daughter Balambika were born to Sri Ramaswamy Dikshitar. All
were accomplished musicians.

Chinnaswamy Dikshitar (1778-1823) the second son of Sri

Ramaswamy Dikshitar was, in his own right, a gifted musician and
composer. His two Kritis composed in honor of Sage Narada:
Ganalola karunalavala (in Todi) and Narayanananti (in Kalyani) are
well known. The first line of the Pallavi Ganalola karunalavala, and
the Anupallavi manita guna sujnana dhurina were popularly sung
in Raga-Tana-Pallavi rendering during the early parts of the 20th
century. Chinnaswamy is said to have created Sanchari phrases for
many Ragas; and also used diverse Taalas like Dhruva, Triputa,
Adi, Matya and Ragana Matya in his compositions. Sadly;
Chinnaswamy died quite young at the age of 45 while on a
pilgrimage to Madurai.
The youngest of the three brothers was Baluswamy Dikshitar
(1786‑1858). He was younger to Sri Mutthuswamy Dikshitar by
nearly about ten years. Since his illustrious elder brothers had
taken to Veena, Vocal music and composing, Baluswamy decided to
try something different and new. At the suggestion of the Dubash
Venkatakrishna Mudaliar who was their family friend and patron,
Baluswamy started learning to play on the western instrument –
Violin – that was just getting popular in Madras. Venkatakrishna
Mudaliar appointed a European tutor to teach Baluswamy. Within
about three years, Baluswamy became an accomplished violinist. It
was his genius that adopted the western instrument Violin to
Karnataka Sangita. He soon started accompanying, on violin, his
elder brother Mutthuswamy who played Veena. Thus, what started
as a jest or an experiment, in due time, became a regular feature of
the Karnataka Sangita. Now, it is hard to imagine a Karnataka
Music concert without its most visible and audible element, the
violin , accompanying the main singer.

Sri Subbarama Dikshitar (1839-1906) comes in as the fruit or the

culmination of the distinguished Dikshitar Parampara. He was born
in Tiruvarur in 1839 (i.e. four years after the demise of Sri
Mutthuswamy Dikshitar) as the second son of Shivarama Iyer and
Annapurni who was Baluswamy Dikshitar’s youngest daughter.

[Though he gained fame as Subbarama, the initial name accorded

to him after birth was Balasbrahmanya Sarma]

[ Sri Subbarama Dikshitar in his Sangita Sampradaya Pradarshini

writes a brief note about himself in the Chapter Vaggeyakara
Caritam under the Paragraph 72 Subbarama Dıksita :

With the name’ Balasubrahmanya Sarma ´, I am the son of

Balasvami Dıksiita, the youngest brother of Muddusvami Dıksita.
Balasvami Dıksita’s youngest daughter’s name was
Annapurniamma. Her husband was Sivaramayya who belonged to
Bharadvaja Gotra, and Drahyayana Sutra. Ramaswami Ayya, who
was his first son, was very talented in music and Veena was
felicitated by kings and attained heavenly abode at the age of 45.
And, Ramasvami Ayya had two sons, Veena Cinnasvami; and, the
other was the third principal of the Maharaja’s High School and
musical connoisseur, Venkatarama.

I was born as the second son (of Sivaramayya and Annapurniamma)

in Tiruvarur in the Saka year 1761 (1839 A.D.) during the year of
Vilambi, Tula Rasi, and Hasta Nakshatra.

When I was five years old, Balasvami Dıksita took me to

Ettayapuram, and got me tutored in Sanskrit, Telugu, and music.
At that time, Jagadvıra Rama Kumara Ettappa Maharaja, who was
very well versed in astrology, summoned the great astrologers, and
studied my horoscope. He looked at Balasvami Dıksita, and told
him, “The bearer of this horoscope is the son to all the three of you.
So, adopt him. He will be famous like Dıksita.” Just as his
command, my maternal grandfather, Balasvami Dıksita adopted me
during Plavanga ˙ year, Makara Rasi; and , initiated me into
Brahmopadesa and Srı Vidya-upadesa. I learnt the sciences of epics
and drama, great epics like Manu Caritra and Vasu Caritram,
Grammar, and poetic meters from Vilattikolam Krsnayamatya, who
was a great Sanskrit and Telugu scholar. I not only learnt Veena
from my father, but also learnt in detail the secrets (intricacies) of
laksya and laksana of music.]

None of the three brothers – Mutthuswamy, Chinnaswamy nor

Baluswamy – had a male child. On the advice of Kumara Ettappa
Maharaja of Ettayapuram, who was their patron, Baluswamy
adopted Subbarama the second son of his daughter Annapurni as
his son. When Subbarama was adopted and brought to
Ettayapuram he was just a lad of five years. Baluswamy, under the
patronage of the Maharaja, arranged for the education of
Subbarama in Sanskrit (Vyakarana, kavya, Alamkara), Telugu,
Music and Veena. Subbarama was a bright young boy eager to
learn; and, by the age of 17 he was just flowering into a talented
musician and composer.

[ For more on the Rajas of the Ettayapuram , please click here.]

Sri Subbarama Dikshitar later in his life fondly recalled his teen-
years in Ettayapuram, his education and the patronage of the
Maharaja. He said:

“When I was only seventeen, I composed a Tana Varna in Darbar

and when it was presented before the King, some in the assembly
thought that my father had actually composed it. The King,
therefore, told me, ‘I am going out and shall come back in one hour;
by that time you should sit here, compose and keep ready for me a
Jati-svara in Yamuna Kalyani. and , the King specified that in the
Jati-svara, after Pallavi and Anu-pallavi, there should be a Svara-
passage starting on Dha, and the next Svara-passage should be set
in three tempos fast (druta), medium (madhyama) and slow
(Vilamba) , and again in the same three in reverse order, and then
the Muttayisvara. The King, to test my ability ordered that I should
not, while composing the piece, leave the spot; and , he also set two
guards to watch me.

I finished the Jati-svara in the given format before the scheduled

time. And , the King, after listening to it, himself took me to my
father, announced the new composition, made me sing my new
composition and rewarded me with a pair of shawls and ten
sovereigns’’.

EttayapuramPalace remains

Sri Subbarama Dikshitar also speaks of his experiences as a

musician in the Court of Ettayapuram:

“For Jagadvira Rama Eddappa Maharajah, I composed two Chowka

-varnas for dance in Anandabhairavi and Surati; and a Raga-malika
in nine Ragas. And, in the distinguished Sadsas (gathering) that
included His Holiness Sri Sankaracharya of Kamakoti Pitha, Veena
Subbukutti Iyer, Tirumalarayampattanam Ramudu Bhagavatar,
Tirukkadayur Bharati (a direct pupil of Mutthuswamy Dikshitar)
and Vidvans in different Shastras, I sang a Tana-varna in
Ramakriya and the Kriti Sankaracharyam in Sankarabharana*”.

[* The Kriti Sankaracharyam celebrating the many faceted genius of

Sri Sankara was made popular by Smt.MS Subbulakshmi in her
concerts. Please check the link for her rendering of the Kriti:

https://www.youtube.com/watch?v=i5BIpgWoCVg ]

In his nineteenth year (1858), Subbarama Dikshita was appointed

Asthana Vidwan of Ettayapuram, succeeding his foster-father
Baluswamy Dikshitar who just had passed away.
Sri Subbarama Dikshitar led a busy and academically rich life at
Ettayapuram. Sri Subbarama Dikshitar gained fame as a musician
and a composer (Vak-geya-kara).

Though later in his life Sri Subbarama Dikshitar gained fame as a

Lakshanakara, his contributions as a Vaggeyakara are also
significant. While basically adhering to the style of Sri
Mutthuswamy Dikshitar , Sri Subbarama Dikshitar displayed a
great versatility , and produced not only kritis but also many Tanas,
Chowka and Pada Varnas, Svarajatis, Raga-malikas and Darus with
liberal Svarakshara passages and alliterations. He composed the
music for some of Krishnasamayya’s (another artist attached to the
Court) lyrics. In his description of one of Krishnasamayya’s kritis,
Devi divya nama in the Raga Mechabauli, he mentions that the
music for it was composed by him.

Sri Subbarama Dikshitar also set to music, the Valli-Bharatam, a

Tamil composition by Kadigai Namassivaya Pulavar of the
Ettayapuram Court. And, he set another composition, Ma -moha -
lahiri in Khamas by the same Tamil scholar to dance-music, similar
to famous Useni Svarajati. It is printed in the Sangita Sampradaya
Pradarshini. He also did a Tamil translation of the Telugu
Mahabharata.

His writings and compositions were generally in Telugu language.

The body of his known Musical creations include Eight Kritis ( two
in Bhairavi, two in Shankarabharanam; and one each in Sriranjani
,Yadukula kambodhi , Natakuranji , and Kalyani ); Seven Raga-
malikas ( of these four are in praise of the King ); Twelve Varnams
(four Tana-varnams, three Chowka Varnams and five Pada varnams
); and two Darus.
Most of his compositions are set in Rupaka Taala or Tisra Eka
Taala.

Poetic excellence and musical prowess are the hallmark of his

compositions. Some of his exquisite Varnams gained popularity. For
instance; his Chowka Varnam in Raga Surati beautifully portrays
the Raga-bhava with its delicate prayogas and Gamakas. In this
Varnam, the Sahitya (meaningful words) succeeds the Charana;
and the Varnam concludes with the Pallavi.

[Pada Varnams used for dance choreography are also called as

Chowka Varnams or Ata Varnams. They usually are set in slower
tempo (Chowka kalam) ; and, have longer lines and pauses,
enabling apt portrayal of the Bhava of the Varnam . All its Svaras
are accompanied by Sahitya (lyrics) and Sollukattus which are
made up of rhythmic syllables. The dancer performs the Sahitya in
Abhinaya and the Sollukattus in Nritta. Chowka Varnams, are,
thus, well suited to dance.

Further, learning to sing Chowka Varnams is considered a part of

developing a good voice culture. The Chowka kalam rendering helps
one to explore the Raga, in depth. It also helps the learner to
balance the Tala; to adjust the Gamakas; and, to pay greater
attention to pauses.]

As regards his Kritis, Sri Subbarama Dikshitar followed the Mela-

classification according to Govindacharya, though in his Raga-
Lakshana Grantham Sangita-Sampradaya – Pradarshini he
adopted the Venkatamakhin classification of Melas,

Somehow very few of his Kritis are rendered in the concerts. V.

Subramanyam (in Shanmuka Jan-Mar 2008) wonders that might
be because his compositions are tightly knit and sophisticated;
their musical content is hard to assimilate and to bring out the
nuances and Sancharas effectively; and, they do demand Sangita
jnana.

[ For a list of the Compositions of Sri Subbarama Dikshitar , please

check :

http://shodhganga.inflibnet.ac.in/bitstream/10603/168455/11/1
1_chapter%205.pdf ]

Sri Subbarama Dikshitar in his Sangita-prachina-paddathi outlines

the Guna–Dosha (merits and shortcomings) of a Vak-geya-kara, the
composer who sets his lyrics to music. According to him, the
composer of a traditional Karnataka Sangita Kritis that satisfy the
norms and requirements as laid out in the Lakshana Granthas:
should be endowed with sharp intellect; should possess thorough
knowledge of Vyakarana, use of various types Vibhakthis and
Chhandas; should have the gift of dexterous use of words , the
ability to bring out various shades of their meaning picturesquely ;
should have an insight into dance and other art forms; and,
necessary have the sense and understanding of the Rasas.

At the same time, he cautions that a Composer should keep aside

professional jealousy, prejudices and rivalry while working. He
should have a sense of balance and keep his mind open to alternate
views and opinions. And yet; he should have the ability to establish
his stand in the gathering of the learned (Sadas).

Sri Subbarama Dikshitar was indeed a repository of all such virtues

and merits.
Unlike in the case of Sri Tygaraja, the main line of disciples
(Shishya-parampara) in the Dikshitar tradition (Dikshitar-
parampara) is represented by its family members. Sri Ramaswamy
Dikshitar was followed by his famous son Sri Mutthuswamy
Dikshitar. And, Sri Mutthuswamy Dikshitar was followed by his
brother Baluswamy Dikshitar who in turn was followed by his son
Subbarama Dikshitar.

Sri Subbarama Dikshitar was followed by his son whom he named

him as Mutthuswamy Dikshitar (who later gained fame as Ambi
Dikshitar). And, Ambi Dikshitar was followed by his son Tiruvarur
Baluswami Dikshitar.

[ As said; Sri Dikshitar’s line was carried on , mainly, by his

family members. Apart from his descendants and the Tanjavur
Quartet, Sri Subbarama Dikshitar mentions the following few as
Muddusvami Dıksita’s disciples:

1. Tirukkadayur Bharati, an expert in Tamil and music; 2.

Avudayargudi (koil) Veena Venkataramayya; 3. Tevur
Subrahmanyayya; 4. Tiruvarur suddha mrdangam Tambiyappa,
well versed in mrdangam, laksya and laksana; 5. Koranadu
Ramasvami, an exponent of laksya and laksana of Bharata ; 6.
Tiruvalandur Bilvavanam, an expert Nagasvaram player; 7.
Tiruvaur Ayyasvami, composer of many tana varnas; 8. Tiruvarur
Kamalam, famed in the arts of music and dance; and, 9.
Vallalargudi (koil) Ammani well versed in music.]

Ambi Dikshitar

Ambi Dikshitar (1863-1936) who succeeded Sri Subbarama

Dikshitar as the Asthana Vidwan (court musician) at Ettayapuram,
stayed there for a long time. Later, he migrated to Madras where he
lived for the rest of his life. While in Madras, Ambi Dikshitar
gathered around him a circle of disciples, scholars and admirers.
Ambi Dikshitar made his life mission to preserve and propagate the
Kritis of Sri Mutthuswamy Dikshitar in their pristine purity. In his
efforts, he was ably aided by Justice T. L. Venkatrama Iyer;
brothers Tirunelveli, Anatakrishrna Iyer and Sundaram Iyer; and
others.

DK PattammalAmbi Dikshitar initiated and guided Smt. D. K.

Pattammal in singing Dikshitar’s Kritis. He was also the teacher of
the renowned musician – Artist Shri S. Rajam who popularized
rendering of Dikshitar’s Kritis over All India radio Madras. Shri
Rajam also presented pictorial representations of many of
Dikshitar’s Kritis.

SubbaramaDikshitar-Stamp

The making of Sangita Sampradaya Pradarshini

Dr. V Raghavan describes in detail the course of events that led to

Sri Subbarama Dikshitar writing the major work of his life
[Collected Writings on Indian Music by Dr. V. Raghavan, Vol.III.
P.87-95]. Here is a summary of that.

Sri A.M.Chinnaswāmi Mudaliyā , a Superintendent at that time in

the Madras Government Secretariat, a Roman Catholic Christian
with a consuming passion for Karnataka music, having started on
his gigantic project of presenting Oriental Music in European
Notation, sought out representatives of the direct Shishya-
parampara of Tyagaraja like Walajahpet Krishnaswami Bhagavatar
and wrote out 800 pieces of Tyagaraja and other composers in Staff
Notation, checking his scripts with the aid of violinists trained in
Western music who were asked to play them by sight.
Though this journal was praised by many, the response was meager
and Chinnaswamy Mudaliar had to discontinue its publication.

issue-243

During this period (1895) , A.M.Chinnaswāmi Mudaliyār , with his

eyesight failing after years of notating and casting types, began
corresponding with Sri Subbarama Dikshitar , who was then
serving as the Asthana Vidwan at the Court of Ettayapuram ,
known for its patronage of arts. He also came into contact with Sri
Subbarama Dikshitar and the Rajah of Ettayapuram. This
relationship proved very significant, as it culminated in the
publication of the Sangita Sampradaya Pradarshini in the year
1904, with the patronage of the Rajah of Ettayapuram. But, sadly,
Sri Chinnaswamy Mudaliar passed away before the Book was
published.

For a detailed study on the life and works of Sri Chinnaswamy

Mudaliar ; as also on the notation system developed by him for the
Karnataka Samgita , please do read the research paper produced by
Smt. Aishwarya Shankar . Please check here.

*[ Sri Subbarama Dikshitar , explaining the context, writes:

With the intention of making music as language, A. M. Cinnasami

Mudaliyar , M.A. started writing a book called ‘Pracına Gana ‘, in
English notation, in the year 1895; and, was trying to publish it. At
that time, he came to know about me, brought to me the work he
was doing. I mentioned to him the details of the Gamakas and other
features of the Venkatamakhi’s system of music. I suggested to him
that it would be useful to publish the Kritis of Carnatic music using
the staff notations , to bring out their characteristic shades and
Bhavas.

Thereafter, Cinnasami Mudaliyar stopped his projects; and, for

three years, learnt the intricacies of Gamakas and the traditions of
Venkatamakhin from me. Later he came to Ettayapuram, visited the
Maharaja, and requested him that he should order Subbarama
Dıksita to complete this ‘Sangıta Sampradaya Pradarsini’ in Telugu,
which would prevent the loss of Venkatamakhin’s rules of laksya
and laksana; and, also include the symbols for the Gamaka, tala
kala pramanas (time scale), and have it printed in the music
printing press ‘Vidya Vilasini’, belonging to the Court. As per the
command of the Maharaja to me, I started on the 21st December
1901, and not only completed the ‘Purva vaggeyakara caritramu’;
but also the information that is contained in this book, ‘Sangıta
laksana sangraha ‘ that supports the symbols of Gamakas and
Talas, which was started on 17th December, 1903, and is being
continued.]

Between the years 1895 and 1899 , Sri Subbarama Dikshitar made
several trips to Madras to stay with Chinnaswamy Mudaliar and
teach him the compositions of Sri Mutthuswamy Dikshitar and
confirming the corrections of Chinnaswamy Mudaliar’s staff
notations.

By about 1899, Chinnaswamy Mudaliar was finding it very difficult

to carry out the printing and publication of these works, because of
his failing eyesight. He therefore visited Ettayapuram and
personally appealed to all those who mattered, including the Rajah
himself, and convinced them the need for the Ettayapuram
Samsthanam to take up the task of completing his mission and to
ensure publication of his compilation. He also urged that
Subbarama Dikshitar should be allowed to help in finalizing the
notations for the entire music of the Dikshitar School.

Sri Subbarama Dikshitar himself records that he would not have

undertaken the huge task but for the appeals and insistence of Sri
Chinnaswami Mudaliar. In the year 1901, Subbarama Dikshitar at
the age of 60 began working on the Sangita Sampradaya
Pradarshini. It is truly a work of great love and intense dedication
for the subject of Music. It reflects the depth of learning and artistic
wisdom of Sri Dikshitar. Besides the original musical works
(Varnas, Kritis, Raga-malikas, Darus etc) which Sri Subbarama
Dikshitar himself composed , the explanatory notes he offers on
the Raga-lakshanas, that illustrate the unique characteristic Svara
phrases of each Raga, he adds elaborate Sanchari phrases that help
in understanding the structure of the Raga.

An important aspect of this Book is the use of Gamaka signs in the

notation that help in defining minute details in the musical
structure of the composition. The explanations on how the Gamaka
signs are to be interpreted and rendered in vocal and instrumental
music are also given. This method of notation, aimed at reflecting
the form of the song as it would be sung, has helped to retain the
compositions in their original form, ensuring some uniformity and
authenticity in the way they are rendered.
And, it is through his monumental work that we know about many
compositions of Vaggeyakaras before and during his time. His
Book, an encyclopedia of musicology, is indeed a treasure house.

Before the task got underway, Sri Chinnaswami Mudaliar made an

appeal to Sri Subbarama Dikshitar that he should put down in
writing notations and everything that he knew without holding back
anything for any reason. Sri Dikshitar agreed to that. True to his
word, he unselfishly poured out his entire learning and knowledge
into the Great Book the Sangita Sampradaya Pradarshini.

Sri Subbarama Dikshitar worked on Sangita Sampradaya

Pradarshini for more than four years. Its printing began towards the
latter part of 1901 ; and , just as the work was in progress, Sri
Chinnaswamy Mudaliar sadly passed away in December 1901.

-Ettaiyapuram_raja Jagannathan ChettiarThanks to the continued

patronage of the Rajah, the Sangita Sampradaya Pradarshini was
completed in the middle of 1904, after four years of hard work. Its
types for Telugu and for the Gamaka-signs were ordered and
specially made. The credit for having printed this very difficult
material at a time when printing in this country was in its infancy
goes to Sri T. Ramachandra Iyengar and the Vidya Vilasini Press at
Ettayapuram. The book was published under the authority of Rao
Bahadur K. Jagannathan Chettiar, Secretary of the Ettayapuram
Samsthanam. It was doubtless one of the most authentic
documenters of Indian music and musicology.

In his work, Sri Subbarama Dikshitar acknowledged the assistance

he got from the Principal of Maharaja’s College in Pudukottai, Sri S.
Radhakrishna Iyer, for his research on the Lakshanas, drawing
material from various early works on musicology.

The Sangita Sampradaya Pradarsini was published in 1906, in two

volumes running into 1770 pages. In 1905, his book Prathama-
abhyasa Pustakamu was published. This included early lessons in
music as well as some Kritis. It contains both theoretical and
practical aspects of elementary teaching methods; and is relevant to
the music field even to this day. In this book Sri Subbarama
Dikshitar included thirty-two compositions, under the title
Nottaswara Sahithyamu with Svara notation, as technical
compositions for beginners (Abhyasagana).

In 1906, the book Samskritantara Dravida Keertana with tunes he

composed for Krishnasamayya’s sahitya was brought out.

Later, Sri Subbarama Dikshitar intended to bring out the Collected

Edition of the compositions of Sri Tyagaraja, the Kritis of Syama
Shastry and the Padams of Kshetrayya. But, before his dream could
be realised, death snatched him in the year 1906, when he was just
about 67 years of age.

rangoli

Sangita Sampradaya Pradarshini

The monumental work contains the biographies of 77 musicologists

and musicians right from the time of Sarangadeva to those of
Subbarama Dikshitar himself, as also the biographies of some
Ettayapuram rulers. There is also an exhaustive tabular statement
of Raganga, Upanga and Bhashanga Ragas with their Murchanas;
170 Gitas of Venkatamakhin ; 10 Prabandhas ; 41 Chittai-tanas of
Venkatamakhin; some Raga-malikas, Suladis, Svarajatis,
Varnas, Darus, and Padas — all numbering about one hundred.
The 72 Melas and their Janyas, with Raga-lakshanas, explanations,
illustrative Lakshana-Gitas and Sancharas are also given.

For the details of the Ragas and Talas dealt in the Sangita
sampradaya Pradarshini, please check :

http://shodhganga.inflibnet.ac.in/bitstream/10603/168455/13/1
3_chapter%207.pdf

Sri Subbarama Dikshitar introduced symbols for the15 Gamakas of

Karnataka Sangita, perhaps based on his discussions with Sri
Chinnaswamy Mudaliar.

Some compositions of Sri Tyagaraja and Shyama Sastri, besides

229 of Sri Muthuswami Dikshitar also find place. In addition to two
volumes of the main work Subbarama Dikshitar also brought out
Prathama Abhyasa Pustakam of 230 pages meant for the beginners.

Thus, the Sangita Sampradaya Pradarshini is a singularly valuable

resource for understanding the traditions of Karnataka Sangita and
of Sri Muttuswami Dikshitar in particular.
In order to celebrate the 100 years of its publication in 1904, an
English translation was undertaken by Dr.P.P. Narayanaswami and
Dr. Vidya S Jayaraman along with a team of volunteer proofreaders.
An English Web-edition has also been brought out. The English
Web-edition is based on the original Telugu version and includes all
the Gamaka symbols (ornamentation) and Svara notations as given
in the original Edition. The Vaggeyakara Caritamu, the biographical
accounts of Composers, is also given.

For an analysis of the of Sangita sampradaya Pradarshini , please

check :

http://shodhganga.inflibnet.ac.in/bitstream/10603/168455/10/1
0_chapter%204.pdf

For the Web-edition of Sangita Sampradaya Pradarshini, please

check the following link.

http://www.ibiblio.org/guruguha/ssp.htm

Volume I (Melas 1-24)

Volume II (Melas25-36)

Volume III (Melas37-72)

Anubandham

Vaggeyakara Caritam
We all owe a great debt of gratitude to Sri Subbarama Dikshitar, Sri
Chinnaswamy Mudaliar, The Samsthanam of Ettiyapuram and its
printers for this magnificent work. The efforts of the translators
(into English) and their teams are truly commendable.

**[ For a detailed study of the Life and works of Sri Subbarama
Dikshitar, please do read the Doctor Thesis submitted to the
University of Kerala by Dr. Smt. R K Dhanya, during the year 2013.

Dr. Dhanya, in her excellently well prepared paper,

comprehensively covers the life-sketch and events of Sri Subbarama
Dikshitar; study of literary and musical excellence his
compositions; comparison with the compositions of Sri
Mutthuswami Dikshitar; and, the Ragas and Talas dealt in Sri
Subbarama Dikshitar’s monumental work the Sangita
sampradaya Pradarshini