533:(rawa) and water is applied to the center, which lowers the pitch of the wider membrane and gives it a very powerful resonating bass sound. Nowadays, rubber gum is also used to loosen the membrane helping in creating the bass sound, and its advantage is that unlike semolina, it will not stick on hands. The artist tunes the instrument by varying the tension of the leather straps spanning the hull of the instrument. This is achieved by placing the mridangam upright with its larger side facing down, and then striking the tension-bearing straps located along of circumference of the smaller membrane with a heavy object (such as a stone). A wooden peg is sometimes placed between the stone and the mridangam during the tuning procedure to ensure that the force is exerted at precisely the point where it is needed. Striking the periphery of the smaller membrane in the direction toward the hull raises the pitch, while striking the periphery from the opposite side (away from the hull) lowers the pitch. The pitch must be uniform and balanced at all points along the circumference of the valanthalai for the sound to resonate perfectly. The pitch can be balanced with the aid of a
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shoulders, hips and its associated issues at the knee and ankles. The impacts can result in difficulty in walking and running efficiently and may cause pain later in life and in old age. Whether strength training and stretching may alleviate these problems is yet to be researched. Therefore, it is strongly advised to notify minors and their parents of issues associated with the drum so that they can make informed decisions on whether to play the drum. When played without adequate care to posture, the miruthangam has the potential to have lifelong effects on one's physical health. Regular stretching, weight training, and sports are advisable but may not prevent impairments.
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issues. As well as impairing sporting prowess, it can impair one's ability to maintain good cardiovascular health, leading to the development of associated health conditions. If the body becomes uneven to the point of impairing balance, this too can affect one's daily life. It can also affect one's self image through changing gait and balance – especially in male artists.
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to find a school that does so, and to ensure that teachers are experienced and licensed to teach. Additionally, the nature of the drum makes it difficult to avoid a symmetrical position for the two sides of the body. Perhaps, new innovations for the miruthangam will adapt it in such a way that circumvents this issue.
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The mridangam is a double-sided drum whose body is usually made using a hollowed piece of jackfruit wood about an inch thick. The two mouths or apertures of the drum are covered with a goat, cow or buffalo skin and laced to each other with leather straps along the length of the drum. These straps are
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Mridangamela is designed to be easily performed and managed even when performed by a group of children. It is common that the age of artists can range from 3 years to above. Most
Mridangamelas are performed by children soon after their initiation to learning mridangam. A teaching method developed to
751:: Vibrating tone played on the outer layer of the right-hand side using the index finger, minimizing the black portion vibration with middle or ring finger- place the third finger in the gap in-ring and the second finger hits the outer layer of the right-hand side of the Mrudangam (called 'Saatham').
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There have recently been reports of gradually altered gait and balance, varying in severity, in those that play the mridangam for long periods of time in asymmetrical positions, especially with poor attention to body posture. Some schools do not pay attention to posture and health so it is important
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Many other strokes are also taught as the training becomes more advanced, which are generally used as aesthetic embellishments while playing. These notes include gumki (or gamakam), and chaapu. The combination of these finger strokes produces complex mathematical patterns that have both aesthetic
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There is also a parallel set of rhythmic solfa passages (known as "solkattu") which is sounded by mouth to mimic the sounds of the mridangam. Students of this art are required to learn and vigorously practice both the fingering strokes and solfa passages to achieve proficiency and accuracy in this
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It is not known how prevalent the issues are and some artists do not experience any symptoms, although this might be due to an awareness of health and physical appearance not being so significant some countries. Research has yet to be done on the association to physical impairments when the drum is
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The mridangam rests above the right ankle (but not on it), the right leg being slightly extended, while the left leg is bent and rests against the hull of the drum and against the torso of the artist. It is extremely important that the two sides of the hips are level, to prevent a habitual lateral
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Issues caused by asymmetrical body position include functional (not structural) scoliosis, uneven shoulders and hips, and this may cause issues further down limbs, such as the gradual turning in of sole of the right foot to face medially. The asymmetry throughout the body may cause mild balance
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Musicians should also watch out for uneven shoulder positions when playing the drum, which may be unavoidable. It is recommended that musicians sits completely straight, with hips, spine and shoulders completely even and relaxed. Wooden stands may help alleviate issues with scoliosis, uneven
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Classically, training is by dharmic apprenticeship and includes both the yoga of drum construction and an emphasis on the internal discipline of voicing mridangam tone and rhythm both syllabically and linguistically, in accordance with
Rigveda, more than on mere performance.
541:. The larger membrane can also be tuned in a similar manner, though it is not done as frequently. Note that since the leather straps are interwoven between both the smaller and larger aperture, adjusting the tension on one side often can affect the tension on the other.
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Over the years and especially during the early 20th century, great maestros of mridangam also arose, inevitably defining "schools" of mridangam with distinct playing styles. Examples include the
Puddukottai school and the Thanjavur school. The virtuosos
497:. The smaller membrane, when struck, produces higher pitched sounds with a metallic timbre. The wider aperture produces lower pitched sounds. The goat skin covering the smaller aperture is anointed in the center with a black disk made of rice flour,
851:), the mridangam has a place of utmost importance, ensuring all of the other artists are keeping their timing in check while providing support to the main artist. One of the highlights of a modern Carnatic music concert is the percussion solo (
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Western physiotherapists may struggle to comprehend the issues faced because they are unfamiliar with the nature of the drum. Even when the issues are well understood, it is not known whether such long-term changes to the body can be reversed.
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The range of its use has changed over the years. In the old days, percussionists were only employed to accompany the lead player, often the vocalist. Now its use is not restricted to accompaniment, and it is used for solo performances.
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The earliest mention of the mridangam in Tamil literature is found perhaps in the Sangam literature where the instrument is known as 'tannumai'. In later works, like the
Silappadikaram, we find detailed references to it as in the
941:, it is a tradition that Mridangamela is held by children of the age group 3 years and above, as soon as the Utsavam is flagged off. This is performed as an offering to Lord Bharata, who is the deity of Koodalmanikyam Temple.
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put into a state of high tension to stretch out the circular membranes on either side of the hull, allowing them to resonate when struck. These two membranes are dissimilar in diameter to allow for the production of both
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Mridangamela is a synchronized performance of mridangam by a group of artists. The concept of
Mridangamela was developed by Korambu Subrahmanian Namboodiri and is currently propagated by Korambu Vikraman Namboodiri.
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The combination of two inhomogeneous circular membranes allows for the production of unique and distinct harmonics. Pioneering work on the mathematics of these harmonics was done by Nobel Prize-winning physicist
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Today the mridangam is most widely used in
Carnatic music performances. These performances take place all over Southern India and are now popular all over the world. As the principal rhythmic accompaniment
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In 2014, Mridangamela by 75 children was performed at
Chembai Sangeetholsavam, which is the annual Carnatic music festival held in Guruvayur by the Guruvayur Devaswom. Mridangamela had been performed at
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782:: It is a vibrating tone played with the small finger on the right-hand side, between the black patch and the outer layer. The sound is tuned to the tonic of the tambura.
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Over the years, the mridangam evolved and was made from different kinds of wood for increased durability, and today, its body is constructed from the wood of the
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dance, causing a divine rhythm to resound across the heavens. The mridangam is thus also known as "deva vaadyam," or "Divine
Instrument".
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and theoretical appeal. Increasingly complex calculations (kanakku) and metres (nadais) may be employed when the mridangam is played.
866:. However, the mridangam used in Yakshagana is markedly different in structure and acoustics from the ones used in Carnatic music.
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sculpture, painting, and mythology, the mridangam is often depicted as the instrument of choice for a number of deities including
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Immediately prior to use in a performance, the leather covering the wider aperture is made moist and a spot of paste made from
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This article is about the wooden double-headed drum of southern India. For the clay double-headed drum of eastern India, see
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musical counterpart, was first constructed by splitting a mridangam in half. With the development of the mridangam came the
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It is not uncommon for artists to use stands for the miruthangam so the body is not loaded in an asymmetrical position.
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770:: A sharp flat note played with the index finger in the middle of the black portion on the right side of the mridangam.
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The mridangam is played resting it almost parallel to the floor. A right-handed mridangam artist plays the smaller
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445:- a musical ensemble which performed at the beginning of dramatic performances, and that would later develop into
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1529:[Rhythm is the melody of the children in Chembai] (in Malayalam). 27 November 2014. Archived from
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Book: Nepalbhasa sahitya ya itihaas, Author: Prof. Premshanti
Tuladhar, Publication: Nepalbhasa Academy,
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Raman and Kumar 1920, Musical drums with harmonic overtones. Nature (London) 104 500, 453–454
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1571:"Ranganayaki Ammal: One of the first women to enter the male-dominated world of percussion"
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contributed so much to the art that they are often referred to as the
Mridangam Trinity.
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train for Mridangamela made this easy to be taught and contributed to its popularity.
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Such conditions may be avoided through learning from experienced, licensed teachers.
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manuscripts on music is a treatise on this instrument called Mridanga anukaranam.
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794:: A vibrational tone version of nam played on the black portion of the mridangam.
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pelvic tilt. For a left-handed percussionist, the legs and hands are switched.
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Raman 1935, The Indian musical drums. Proc. Indian Acad. Sci. A1 179–188
1379:. International Institute of Tamil Historical Studies. 1983. p. 36.
1293:. Prof. E.R. Sreekrishna Sarma Felicitation Committee. 1983. p. 90.
357:. Nandi is said to have played the mridangam during Shiva's primordial
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During a percussion ensemble, the mridangam is often accompanied by the
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Research on the miruthangam and postural issues are yet to be done.
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with their right hand and the larger membrane with the left hand.
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for the past 35 years orchestrated by Korambu Mridanga Kalari.
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Rhythmic Descent in Karnatic Music by Mannarkoil J Balaji
1527:"താളവിസ്മയം തീര്ത്ത് ചെമ്പൈയില് കുരുന്നുകളുടെ മൃദംഗമേള"
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Significant players of the mridangam in modern times are
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Types of Talam, each with specific angas and aksharas:
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and gives the mridangam its distinct metallic timbre.
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Mridangamela at Koodalmanikyam Temple, Irinjalakuda
858:Mridangam is used as an accompanying instrument in
69:. Unsourced material may be challenged and removed.
1258:
1592:Rhythmic Syllables article by Mannarkoil J Balaji
313:The word "Mridangam" is formulated by the union (
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270:. It is the primary rhythmic accompaniment in a
449:. The player of this instrument held the title
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1420:""Mridangam concert at Christ Nagar School",
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862:Himmela (orchestra) where it is called the
694:. Unsourced material may be challenged and
583:. Unsourced material may be challenged and
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1624:
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1259:Cuntaram, Pi. Em.; Kalākēndra, T. (2010).
197:ghatam, kanjira (accompanying instruments)
1336:. New Directions Publishing. p. 14.
714:Learn how and when to remove this message
603:Learn how and when to remove this message
489:and the smaller aperture is known as the
129:Learn how and when to remove this message
1261:Great layavadyakaaraas of Karnatak music
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1290:Surabhi: Sreekrishna Sarma felicitation
14:
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1553:"Veteran Mrigandam Vidwan passes away"
2124:
1605:
1333:Shilappadikaram: (The Ankle Bracelet)
375:tree. It is widely believed that the
353:, who is the vehicle and follower of
1363:. Sri Kala Chakra Trust. p. 23.
1001:Ramanathapuram C. S. Murugabhoopathy
692:adding citations to reliable sources
659:
581:adding citations to reliable sources
548:
67:adding citations to reliable sources
38:
1330:Iḷaṅkōvaṭikaḷ, Daniélou A. (1965).
331:earliest versions of the instrument
24:
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481:The bass aperture is known as the
390:The mridangam has a large role in
223:Ramanathapuram C S Murugabhoopathy
25:
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1507:from the original on 4 March 2016
1456:(Press release). 21 February 2009
1360:Bharatanatyam, the Tamil heritage
1225:– a similar Vietnamese instrument
986:Pudukkottai Dakshinamurthy Pillai
524:
416:In Tamil culture, it is called a
2001:Non-Membranous Percussion (Ghan)
1865:Membranous Percussion (Avanaddh)
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1036:Thirukokarnam Ranganayaki Ammal
726:Basic strokes on the mridangam:
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1105:Dandamudi Sumathi Ram Mohan Rao
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905:, Srimushnam V. Raja Rao, and
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349:(the remover of obstacles) and
54:needs additional citations for
3264:Pitched percussion instruments
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501:powder and starch. This black
13:
1:
1357:Viswanathan, Lakshmi (1984).
1229:
1016:Mavelikara Krishnankutty Nair
3274:Asian percussion instruments
1120:Anoor Anantha Krishna Sharma
451:tannumai aruntozhil mutalvan
333:were made of hardened clay.
308:
243:More articles or information
7:
2088:Historical/possibly extinct
1408:Padma Shri Awards (2000–09)
1171:
1011:Mavelikkara Velukkutty Nair
478:sounds from the same drum.
231:Mavelikkara Velukkutty Nair
10:
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3269:Indian musical instruments
3249:Carnatic music instruments
1633:Indian musical instruments
1450:"Spectacular Mridangamela"
1306:"BHARATANATYAM IN HISTORY"
1277:. Vol. 8. p. 49.
1163:Adithya Ramaswamy Krishnan
1095:Thiruvarur Bakthavathsalam
952:
907:Thiruvarur Bakthavathsalam
655:
544:
441:, it formed a part of the
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278:, a modified version, the
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1021:Kumbakonam M Rajappa Iyer
996:Palani Subramaniam Pillai
960:Palani Subramaniam Pillai
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219:Palani Subramaniam Pillai
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1263:. Percussive Art Centre.
883:Umayalpuram K. Sivaraman
3171:Fruits and other plants
2064:Bharatiya Sangeet Vadya
1376:Tamil Studies, Volume 3
1158:Paramaswamy Kirupakaran
1059:Umayalpuram K Sivaraman
947:Chembai Sangeetholsavam
875:Dandamudi Ram Mohan Rao
288:Maritime Southeast Asia
2069:Indian classical music
1824:Bowed Stringed (Vitat)
1721:Plucked Stringed (Tat)
1454:The New Indian Express
1135:Tiruvarur Vaidyanathan
1110:Srimushnam V. Raja Rao
1085:Yella Venkateswara Rao
981:Vellore G. Ramabhadran
922:
903:Yella Venkateswara Rao
887:Vellore G. Ramabhadran
843:
466:
394:. One of the earliest
235:Vellore G. Ramabhadran
935:Koodalmanikyam Temple
920:
841:
638:played with a stand.
464:
410:Further information:
266:originating from the
264:percussion instrument
161:Percussion instrument
29:Percussion instrument
1533:on 23 September 2015
1304:T.S. Parthasarathy.
1139:Neyveli R. Narayanan
1125:Trichur C. Narendran
1078:Salem S. Ranganathan
1064:T. V. Gopalakrishnan
879:T. V. Gopalakrishnan
688:improve this section
577:improve this section
325:(clay or earth) and
63:improve this article
2152:Worship in Hinduism
1090:Mannargudi Easwaran
968:C.S. Murugabhupathy
899:Mannargudi Easwaran
412:Ancient Tamil music
268:Indian subcontinent
168:Related instruments
147:
2571:Om Namo Narayanaya
1798:Electronic tanpura
1115:Patri Satish Kumar
923:
889:, T S Nandakumar,
844:
842:Mridangam training
759:Advanced strokes:
467:
379:, the mridangam's
145:Mridangam/Tannumai
143:
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3197:Tulasi Vrindavana
2448:
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2410:Panchayatana puja
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1982:Jori (instrument)
1497:""Irinjalakuda",
1248:978-99933-56-00-4
1143:Erickavu N. Sunil
991:Palghat Mani Iyer
964:Palghat Mani Iyer
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387:(rhythm) system.
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215:Palghat Mani Iyer
139:
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16:(Redirected from
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3005:Pilgrimage sites
2566:Om Namah Shivaya
2415:Prana Pratishtha
2395:Kumbhabhishekham
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1549:
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1542:
1540:
1538:
1523:
1517:
1516:
1514:
1512:
1503:(in Malayalam).
1492:
1486:
1484:
1472:
1466:
1465:
1463:
1461:
1446:
1440:
1439:
1437:
1435:
1426:. Archived from
1416:
1410:
1405:
1399:
1396:
1390:
1387:
1381:
1380:
1371:
1365:
1364:
1354:
1348:
1347:
1327:
1321:
1320:
1318:
1316:
1301:
1295:
1294:
1285:
1279:
1278:
1271:
1265:
1264:
1256:
1250:
1240:
1202:
1197:
1196:
1195:
1188:
1183:
1182:
1181:
1031:Madras A. Kannan
1006:Palghat R. Raghu
853:thani avarthanam
840:
719:
712:
708:
705:
699:
668:
660:
608:
601:
597:
594:
588:
557:
549:
505:is known as the
227:Palghat R. Raghu
155:
148:
142:
134:
127:
123:
120:
114:
112:
71:
47:
39:
21:
3289:
3288:
3284:
3283:
3282:
3280:
3279:
3278:
3239:
3238:
3237:
3232:
3202:
3166:
3108:
3082:
3009:
2963:
2893:
2842:
2741:
2575:
2537:
2513:Sandhyavandanam
2466:
2444:
2420:Sandhyavandanam
2363:
2295:
2235:
2154:
2149:
2119:
2114:
2100:Eka-tantri vina
2083:
2052:
1996:
1860:
1819:
1758:Saraswati veena
1716:
1635:
1630:
1588:
1583:
1582:
1569:
1568:
1564:
1559:. 8 April 2019.
1551:
1550:
1546:
1536:
1534:
1525:
1524:
1520:
1510:
1508:
1499:Mathrubhumi.com
1495:
1493:
1489:
1482:
1480:Mathrubhumi.com
1473:
1469:
1459:
1457:
1448:
1447:
1443:
1433:
1431:
1430:on 4 March 2016
1418:
1417:
1413:
1406:
1402:
1397:
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1384:
1373:
1372:
1368:
1355:
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1344:
1328:
1324:
1314:
1312:
1302:
1298:
1287:
1286:
1282:
1273:
1272:
1268:
1257:
1253:
1241:
1237:
1232:
1198:
1193:
1191:
1184:
1179:
1177:
1174:
1148:H. S. Sudhindra
1074:Guruvayur Dorai
1069:Trichy Sankaran
1045:
1043:Current players
1040:
976:
955:
915:
895:Trichy Sankaran
833:
831:
720:
709:
703:
700:
685:
669:
658:
609:
598:
592:
589:
574:
558:
547:
527:
459:
414:
408:
369:
339:
329:(limb), as the
311:
135:
124:
118:
115:
72:
70:
60:
48:
37:
30:
23:
22:
15:
12:
11:
5:
3287:
3277:
3276:
3271:
3266:
3261:
3256:
3251:
3234:
3233:
3231:
3230:
3225:
3220:
3214:
3212:
3208:
3207:
3204:
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3201:
3200:
3190:
3185:
3180:
3174:
3172:
3168:
3167:
3165:
3164:
3159:
3154:
3149:
3144:
3139:
3134:
3129:
3123:
3121:
3114:
3110:
3109:
3107:
3106:
3101:
3096:
3090:
3088:
3087:Sacred animals
3084:
3083:
3081:
3080:
3073:
3068:
3063:
3058:
3053:
3048:
3043:
3038:
3033:
3028:
3023:
3017:
3015:
3011:
3010:
3008:
3007:
3002:
2997:
2992:
2987:
2982:
2980:Dhvajastambham
2977:
2971:
2969:
2965:
2964:
2962:
2961:
2954:
2949:
2944:
2939:
2937:Pillaiyar Suḻi
2934:
2929:
2924:
2919:
2914:
2909:
2903:
2901:
2895:
2894:
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2795:
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2699:
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2609:
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2599:
2594:
2589:
2583:
2581:
2577:
2576:
2574:
2573:
2568:
2563:
2558:
2553:
2551:Gayatri Mantra
2547:
2545:
2539:
2538:
2536:
2535:
2530:
2525:
2520:
2515:
2510:
2505:
2500:
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2297:
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2258:
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2250:
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2213:
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2203:
2198:
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2113:
2112:
2107:
2102:
2097:
2091:
2089:
2085:
2084:
2082:
2081:
2076:
2074:Music of India
2071:
2066:
2060:
2058:
2054:
2053:
2051:
2050:
2045:
2040:
2035:
2030:
2025:
2020:
2015:
2010:
2004:
2002:
1998:
1997:
1995:
1994:
1989:
1984:
1979:
1974:
1969:
1964:
1959:
1954:
1949:
1944:
1939:
1934:
1929:
1924:
1919:
1914:
1909:
1904:
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1879:
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1848:
1843:
1838:
1833:
1827:
1825:
1821:
1820:
1818:
1817:
1812:
1810:Vichitra veena
1807:
1802:
1801:
1800:
1790:
1785:
1780:
1775:
1770:
1765:
1760:
1755:
1750:
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1641:
1637:
1636:
1629:
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1621:
1614:
1606:
1600:
1599:
1594:
1587:
1586:External links
1584:
1581:
1580:
1577:. 9 June 2022.
1562:
1544:
1518:
1487:
1483:(in Malayalam)
1467:
1441:
1411:
1400:
1391:
1382:
1366:
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1322:
1296:
1280:
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1128:
1127:
1122:
1117:
1112:
1107:
1102:
1097:
1092:
1087:
1082:
1081:T S Nandakumar
1079:
1076:
1071:
1066:
1061:
1056:
1051:
1049:Vishal Narayan
1044:
1041:
1039:
1038:
1033:
1028:
1026:Karaikudi Mani
1023:
1018:
1013:
1008:
1003:
998:
993:
988:
983:
977:
975:
972:
954:
951:
914:
911:
891:Karaikudi Mani
830:
827:
826:
825:
822:
819:
816:
813:
810:
807:
806:Dhruva thaalam
796:
795:
789:
783:
777:
771:
753:
752:
746:
740:
734:
722:
721:
704:September 2021
672:
670:
663:
657:
654:
611:
610:
593:September 2021
561:
559:
552:
546:
543:
526:
525:Methods of use
523:
458:
455:
447:Bharathanatyam
439:Silappadikaram
407:
404:
368:
365:
338:
335:
310:
307:
272:Carnatic music
252:
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249:Carnatic music
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28:
9:
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3169:
3163:
3162:Sacred groves
3160:
3158:
3155:
3153:
3150:
3148:
3145:
3143:
3140:
3138:
3135:
3133:
3130:
3128:
3125:
3124:
3122:
3118:
3115:
3113:Sacred plants
3111:
3105:
3102:
3100:
3097:
3095:
3092:
3091:
3089:
3085:
3079:
3078:
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2483:Brahmamuhurta
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2354:Putrakameshti
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1640:Wind (Sushir)
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1310:Carnatica.net
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427:Sangam period
425:. During the
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52:This article
50:
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41:
40:
35:
27:
19:
3259:Battle drums
3228:Temple dance
3147:Kalpavriksha
3075:
2956:
2878:
2737:Yajnopavitam
2712:Prayer beads
2556:Hare Krishna
2493:Jai Shri Ram
2349:Purushamedha
2266:Panchamakara
2105:Kinnari vina
2095:Ālāpiṇī vīṇā
1951:
1872:Anandalahari
1738:Gottuvadhyam
1574:
1565:
1556:
1547:
1535:. Retrieved
1531:the original
1521:
1509:. Retrieved
1498:
1490:
1479:
1476:Irinjalakuda
1470:
1458:. Retrieved
1453:
1444:
1432:. Retrieved
1428:the original
1421:
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1385:
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1313:. Retrieved
1309:
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1260:
1254:
1238:
1200:Music portal
1186:India portal
1167:D.A.Srinivas
1130:K V Prasad
1129:
1054:T. K. Murthy
974:Past players
956:
943:
939:Irinjalakuda
932:
928:
924:
913:Mridangamela
871:T. K. Murthy
868:
857:
852:
848:
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829:Modern usage
815:Jhampa talam
812:Rupaka talam
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686:Please help
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575:Please help
563:
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510:
506:
503:tuning paste
499:ferric oxide
494:
490:
486:
482:
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457:Construction
450:
443:antarakoṭṭu
442:
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286:, played in
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61:Please help
56:verification
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3218:Firewalking
3183:Kusha grass
3127:Akshayavata
2990:Temple tank
2899:Iconography
2847:Instruments
2803:Panchagavya
2697:Panchamrita
2602:Banana leaf
2359:Viraja Homa
2291:Pushpanjali
2271:Panchamrita
2159:Main topics
2110:Pinaka vina
1748:Rudra veena
1460:19 February
1422:IBNLive.com
1315:26 February
1275:Kalakshetra
1100:A. V. Anand
849:pakkavadyam
809:Matya talam
519:C. V. Raman
495:bala bhaaga
491:valanthalai
423:Natyasastra
396:Nepal Bhasa
341:In ancient
78:"Mridangam"
3254:Hand drums
3243:Categories
2927:Panchaloha
2907:Ashtadhatu
2652:Agarabattī
2587:Puja thali
2473:Ajapa japa
2462:Meditation
2400:Nityakarma
2390:Karmakāṇḍa
2385:Ashvamedha
2339:Kamyakarma
2324:Agnikaryam
2314:Agnicayana
2023:Jal tarang
1788:Swarmandal
1768:Seni Rebab
1697:Shruti box
1672:Nadaswaram
1511:9 December
1343:0811200019
1230:References
860:Yakshagana
780:Full Chapu
535:pitch pipe
487:eda bhaaga
392:Newa music
381:Hindustani
301:, and the
89:newspapers
2942:Shaligram
2879:Mridangam
2864:Karatalas
2859:Harmonium
2808:Rudraksha
2746:Materials
2662:Kamandalu
2597:Banalinga
2528:Third eye
2518:Śaktipāta
2380:Ashirvada
2344:Pravargya
2319:Agnihotra
2276:Parikrama
2256:Abhisheka
2186:Festivals
1952:Mridangam
1652:Harmonium
1575:The Hindu
1474:(2015). "
1223:Trống cơm
1218:Karatalas
821:Eka talam
818:Ata talam
786:Ara Chapu
675:does not
564:does not
465:Mridangam
418:tannumai.
373:jackfruit
309:Etymology
259:mridangam
204:Musicians
3223:Samskara
3211:See also
3152:Parijata
3051:Sannyasa
3036:Purohita
2947:Swastika
2833:Turmeric
2788:Marigold
2753:Agarwood
2727:Tilakamu
2667:Khirapat
2617:Dhunachi
2488:Jagarana
2440:Upakarma
2375:Achamana
2329:Aupasana
2033:Khanjani
2018:Ghungroo
1962:Pakhawaj
1783:Swarabat
1778:Surbahar
1537:4 August
1505:Archived
1494:(2015).
1434:4 August
1172:See also
617:membrane
531:semolina
319:Sanskrit
280:pakhawaj
181:pakhawaj
3195: (
3142:Kadamba
3077:more...
3061:Satguru
2958:more...
2874:Manjira
2838:Vibhuti
2818:Sindūra
2813:Candana
2798:Panakam
2783:Kumkuma
2778:Incense
2763:Camphor
2732:Utsavar
2722:Shankha
2717:Rangoli
2682:Mulavar
2657:Kalasha
2642:Garland
2612:Coconut
2580:Objects
2543:Mantras
2435:Tarpana
2425:Shuddhi
2286:Prasada
2281:Pranāma
2240:Rituals
2193: (
2181:Deities
2176:Darshan
2048:Morsing
2043:Manjira
2038:Khartal
1942:Mardala
1922:Kanjira
1846:Sarinda
1841:Sarangi
1831:Dilruba
1793:Tanpura
1753:Santoor
1692:Shehnai
1687:Shankha
1647:Bansuri
953:Players
864:maddale
774:Gumukki
696:removed
681:sources
656:Strokes
585:removed
570:sources
545:Posture
539:tambura
511:karanai
367:History
360:tandava
347:Ganesha
303:morsing
299:kanjira
284:Kendang
276:Dhrupad
212:Legacy:
193:kendang
177:Mardala
103:scholar
18:Mridang
3193:Tulasi
3157:Peepal
3137:Banyan
3132:Ashoka
3031:Pujari
3026:Pandit
3000:Temple
2975:Ashram
2968:Places
2912:Lingam
2854:Dholak
2828:Tulasi
2702:Pandal
2687:Paduka
2647:Ghanta
2637:Cāmara
2607:Biruda
2523:Stotra
2503:Kirtan
2478:Bhajan
2457:Prayer
2430:Śrauta
2405:Ngejot
2221:Utsava
2216:Tilaka
2206:Mantra
2201:Kirtan
2171:Bhajan
2079:Jivari
2028:Kartal
2013:Ghatam
2008:Chimta
1992:Udukai
1972:Sambal
1957:Nagada
1947:Mizhav
1927:Khamak
1917:Edakka
1912:Dholki
1907:Dholak
1887:Damaru
1882:Chenda
1877:Chande
1856:Violin
1733:Ektara
1728:Dotara
1707:Tharai
1702:Sringa
1667:Kuzhal
1657:Karnay
1340:
1246:
1213:Thavil
507:satham
483:thoppi
476:treble
337:Legend
321:words
315:sandhi
297:, the
295:ghatam
105:
98:
91:
84:
76:
3188:Lotus
3120:Trees
3099:Horse
3066:Swami
3046:Sadhu
3041:Rishi
3014:Roles
2995:Matha
2932:Pindi
2917:Murti
2889:Veena
2884:Tabla
2768:Charu
2707:Pinda
2692:Palki
2677:Kolam
2672:Kindi
2627:Dhupa
2622:Dhuni
2592:Altar
2368:Other
2334:Dhuni
2309:Yajna
2231:Yatra
2226:Vrata
2211:Murti
2195:Yajna
2166:Ārati
2057:Other
1987:Tavil
1977:Tabla
1967:Parai
1937:Madal
1897:Duggi
1892:Dhaak
1836:Esraj
1805:Veena
1773:Sitar
1763:Sarod
1682:Pungi
1677:Nafir
1662:Kombu
756:art.
537:or a
435:parai
377:tabla
355:Shiva
351:Nandi
343:Hindu
262:is a
189:tabla
110:JSTOR
96:books
3178:Bael
3104:Nāga
3071:Yogi
3056:Sant
3021:Guru
2985:Ghat
2952:Yoni
2869:Khol
2823:Soma
2793:Milk
2773:Ghee
2758:Alta
2632:Diya
2533:Yoga
2498:Japa
2301:Homa
2261:Bhog
2248:Puja
2191:Homa
1932:Khol
1902:Dhol
1851:Taus
1815:Yazh
1743:Pena
1712:Venu
1539:2015
1513:2018
1462:2023
1436:2015
1338:ISBN
1317:2013
1244:ISBN
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966:and
792:Dhin
743:Thom
737:Thee
679:any
677:cite
568:any
566:cite
474:and
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385:tala
327:anga
256:The
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82:news
34:dhol
3094:Cow
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933:In
749:Nam
731:Tha
690:by
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509:or
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2561:Om
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