HDTenEightyP/NetNews huggingface dataset:
From: js@lems23lems.brown.edu (Jayashree Subrahmonia)
Subject: video tapes
Organization: Laboratory for Engineering Man/Machine Systems
Date: Tue, 10 Nov 1992 17:43:44 GMT

 	Last weekend I came across three video tapes called Sapta
        Swara-1,2 and 3. Each tape has about 10 songs, each in a 
        different raga. Each piece starts out with a small explanation
        of the raga and then they have one of the great musicians
	like Balamurali Krishna, N. Ramani, U. Srinivas and Gayatri 
        play a song in that raga. Some of the songs are accompanied
        by dances by Manju Bhargavi, Sudha Chandran and others. 
	The tapes are great. I'd definitely recommend people to take
	a look at them.

	The question I have is where can I buy these tapes. The ones
	I looked at were of poor quality and so I'd rather not make copies
	from them. I'd really appreciate any information on places that
	might have these tapes. These tapes were brought out by GVC last
	year.

	-Jayashree Subrahmonia
	 js@lems.brown.edu
Newsgroups: rec.music.indian.classical
From: uds@frigga.cs.wayne.edu (Seetamraju)
Subject: Re: Mutthiah Bhagavatar
Organization: Wayne State University, Detroit, MI
Distribution: usa
Date: Sun, 8 Nov 1992 01:50:18 GMT

In article <Bx9tKJ.BBB@beach.csulb.edu> vishwa@beach.csulb.edu (Viswanath Nanjundiah) writes:
>...
>the time, place etc of Shri.Mutthiah Bhagavatar. (I believe he is the
>composer of "Himagiri tanaye", "Jaalandara", "Sudhaamayee"... Correct me
>...


I have a cassette by  a andhra singer by the name prabhakar, and he visited a year
ago selling cassettes without proper labels.  Te above 3 songs are sung in that
cassette.  Could someone pl. tell me what the commonly applied raagaas are for these
kritiis ?


Seetamraju Udaya Bhaskar Sarma
(email : seetam @ ece7 . eng . wayne . edu)

Newsgroups: rec.music.indian.classical
From: raj@tandem.com (Raj Ganesan)
Subject: Re: dhunibhinnashadjam (was Re: Mutthiah Bhagavatar)
Organization: Tandem Computers Inc., Cupertino CA
Date: Thu, 12 Nov 1992 18:46:59 GMT

I have a question : is "dhunibhinnashadjam" the same as
"Bhinna Shadaj" (Hindustani ?) ? I have heard Kishori Amonkar's
rendenring of Bhinna Shadaj "Bhajo re mana hari naam", and
the swaras are ( i think) :
Sa ni dha ni sa ga ma dha ni sa
Sa ni dha ma ga ma ga sa ...

/Raj
Newsgroups: rec.music.indian.classical
From: pjn+@cs.cmu.edu (P J Narayanan)
Subject: Re: Mutthiah Bhagavatar
Followup-To: rec.music.indian.classical
Organization: School of Computer Science, Carnegie Mellon
Date: Mon, 9 Nov 1992 18:58:57 GMT

In article <BxGK6A.I1L@news.iastate.edu> tmohan@iastate.edu (Thyagarajan Mohan) writes:
>    Though I'm aware of some news about Swathi ThirunaaL's  correspondence 
>with St.Thyagaraja(He died later than the other two),if I'm not mistaken,there
>is a song of Swathi ThirunaaL in the raga Valaj(not Kalaavathi) which is 
>unduoubtedly Muthiah Bhagavtthar's creation.Can any person clarify this point?
>(Pleeeease,no fumes).This is the reason,mainly for my personal clarification,
>I wrote the above lines.
>
>MOHAN

I think Swathi Thirunal and Thyagaraja dies in the same year, 1847. Swathi
Thirunal lived a short life; I think he was born in 1812, but I may be
off by 1 or 2 years.

I don't know if Valaj (or Valaji or Valachi) is Muthiah Bhagavatar's
creation or not. But, hearing the fame of Muthiah Bhagavatar, Maharaja
Chithira Thirunal of Thiruvithancore invited him to Thiruvananthapuram
(possibly in 1934, I wouldn't trust my memory!). He was the first
principal of Maharaja Swathi Thirunal music college. He has a major
hand in setting to music and in popularizing Swathi Thirunal's
compositions. His successor, Semmangudi Srinivasa Iyer, followed him
in this path. One of the following might have happened:

   1.	Swathi Thirunal has composed songs in many Hindustani ragams.
	It is possible that he had composed one in KalAvati, which
	was transcribed later as Valachi by Muthiah Bhagavatar
	(or Semmangudi).

   2.	Many kritis of Swathi Thirunal *may* have been of unknown raga.
	It is possible Muthaiah Bhagavatar assigned one (guessed ST's
	mind?) to Valachi.

Can you or someone else post the lakshanams of the ragas created by
Muthaiah Bhagavatar, including Pasupathipriya, Guha Ranjani, PoorNa
Lalitha, PoorNa Panchamam, Dhuni Binna Shadgam and KarNa Ranjani ?

PJN


-- 
---
Robotics Institute, CMU			pjn@cs.cmu.edu
Pittsburgh, PA 15213
---
Newsgroups: rec.music.indian.classical
From: ksundar@hubcap.clemson.edu (Komal Sundaram)
Subject: Re: Mutthiah Bhagavatar
Organization: Clemson University
Distribution: usa
Date: Sun, 8 Nov 1992 14:36:40 GMT

If I am not mistaken, the song "Himagiri Tanaye" is composed to be sung
in "suddha dhanyasi" and "Jaalendra" in "Gambeera Nattai" .  I am not
sure about the other song.

BTW, IMHO, one of the best renditions of "Himagiri Tanaye" is by 
the Late Maharajapuram Santhanam, in the Album "Maestro's Choice, Series One"
under the Music Today Label - (#C91016).

Hope this helps.

Komal Sundaram

Newsgroups: rec.music.indian.classical
From: srini@gip.eecs.umich.edu (Srini Pichumani)
Subject: Re: Lyrics request
Keywords: lyrics, ennEramum
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Fri, 13 Nov 1992 16:38:09 GMT

In article <1992Nov11.031632.6292@dmpe.csiro.au> mohan@theta.mel.dms.CSIRO.AU (Mohan Krishnamoorthy) writes:
>
>I wonder if there is anyone out there who knows the full lyrics of the
>excellent composition by Gopala Krishna Bharati:
>      ennEramum undan sannidhiyilE nAn
>      ragA:  dEvagAndhAri 
>I know the lyrics for most of the song.
>   The anu pallavi goes:  tennan cholai...
>These are not the problem areas.  The problem is the second charanam.
>I have a tape of KVNarayanaswamy, in which he has provided an excellent
>rendition of this song.

You are on the dot on both points -- ie the excellent
rendition, and the problem in the last line of the second charaNam.
However, if you say this again:

>  Unfortunately, as is his wont, most (if not
>all) the lyrics in the second charanam are completely `chewed' up in a
>very KVNesque way!  

You will soon be history :-) 
the reason being KVN has one of the most clear & precise dictions in this
field. Watch specifically the way he pronounces the aspirates in Sanskrit
pieces, or the nasals in "aLiveNI" (kunta jAti sumangalum is the line to
look for) or the sibilants (as in "sadrshan").
The beauty about KVN's diction is that it does not sacrifice musicality
(or sound extra-poetic) just for the sake of precise diction.

>I haven't heard any other renditions of this song.  If anyone is aware
>of any other attempts, I'd like to know.  Most singers of dEvagAndhari
>seem to prefer the more popular kshirasAgarA.

sIrkAzhi govindarAjan is the other person who used to sing this song
often. As I have heard, KVN learnt this piece from T.VisvanAthan (sIrkAzhi
and T.Visvanathan learnt music and this specific kriti from TiruppAmburam
SvaminAtha Pillai)
KVN also sings "nA morAlagimpavEmi" of TyAgarAjA, in this rAgam, very well;
so has Voleti Venkatesvarulu. Semmangudi's favorite is "vinarAda nA manavi";
NedanUri/Prof.S.Ramanathan have sung "koluvaiunnAde, kOdaNDapANI" (no, 
I am not referring to the Bhairavi kriti) often.
DKJ used to sing "kShitijA ramaNam" of Dikshitar once in a while.

Anyway, here is the kriti:

rAgam: dEvagAndhAri		
tALam: Adi
composer: gopAlakrShNa bhAratI (~1814-1898)

ennEramum undan sannidhiyilE nAn
irukka vENdum aiAh, ponnaiAh

tennancholai tazhaikkum ten puliyUr
ponnambalattarasE, en arasE

disai eNgaLum pugazhum sivagangaiyum
dEva sabhaiyum sivakAmi darisanamum
pasi kodAdu partta pErkku kalakkangal
parandiDa magizhndu unnai pADikkondennEramum ...

panchAkshara paDiyum koDikkambamum
kOvil azhagum aridAna ragasiyamum
anjal kUrum vIra maNigal Osaiyum
andakkaraNa mayakkam tIrndu pAdikkondennEramum ...

-Srini.
Newsgroups: rec.music.indian.classical,soc.culture.indian
From: tyr@surya.cs.wayne.edu (Tyakal Ramachandraprabhu)
Subject: Shashank' flute concert
Keywords: Shashank, flute,music
Organization: Wayne State University, Detroit
Date: Tue, 10 Nov 1992 14:28:33 GMT

Dear netters,
  I came to know from the people who have
  arranged for Shashank's concert in Chicago
  that he will be available for performances in places
  around Chicago(Purdue or Wisc-Madison for instance)
  between Nov 21st and December 3rd. 
  These people requested me to post this on the net.
  Their names and telephone numbers are:
  Madhav Nori:(312)684-1498 and
  Pavamanmurthy:(312)288-3739.
  Please contact them if you are interested.  
  Since this posting is going on SCI too, there 
  follows a brief biography of Shashank.
  Shashank is the 14 year old flute prodigy who plays
  Carnatic classical music on , predictably, the flute.
  (that should have read child prodigy, not flute prodigy)!
  He has received rave reviews from music critics and is 
  already a famous name in the indian music world.

  Thanks.
  ---prabhu

Newsgroups: rec.music.indian.classical
From: ramasubr@ecn.purdue.edu (SUBU Ramasubramanian)
Subject: Re: more info please
Keywords: Deepakam, Jyothiswaroopini
Reply-To: ramasubr@ecn.purdue.edu
Organization: Purdue University Engineering Computer Network
Distribution: usa
Date: Wed, 11 Nov 1992 19:04:08 GMT

In article <krisna.721159393@cs.wisc.edu>, krisna@cs.wisc.edu (Krishna Kunchithapadam) writes:
|> pjn+@cs.cmu.edu (P J Narayanan) writes:
|> :
|> :>I have another (this time a rather burning topic, as it were) question
|> :>re rag Dipak. I was told of the existence of a cognate in the Carnatic
|> :>system. Firstly, is this rag (the Purvi Thath version) ever performed
|> :>in the South?
|> :
|> :I have heard of a raga called dIpakam in Carnatic music, but haven't
|> :the foggiest idea about its lakshaNam. I am sure Krishna will have
|> :it. Needless to say, I haven't heard it performed.
|> :
|> 
|> Thank you Narayanan, for your kind words and the opening.
|> 
|> Firstly, some thoughts on the rAg dhEpak of hendhusthAnE music.
|> I have heard a rendition of what is possibly this rAg in one of
|> the ``thAnsaen'' movies -- the particular version starring
|> K.L.Saigal.  My first impression was that the rAga was in many
|> ways similar to hamsaDhvanE. Unfortunately, I do not remember
|> very much more about the picture or the song -- but certainly
|> the rAg used was *not* of the pUrvE ThAt.
|> 
|> There is also a dramatisation of this lamp-lighting incident in a
|> thamezh movie starring Sivaji Ganesan, where the rAga employed is
|> a kAnadA variant!! The lyrics of the song are ``esi kaettAlum puve
|> asindhAdum, edhu erivan aruLAgum'', the singer is
|> T.M.Soundararajan (lyricist was probably Kannadasan).
|> 
|> 
|> In karNAtaka music, dhEpakam is a janya rAga of the maeLa
|> kAmavarDhanE (#51).  Probably, the most famous kRthE in this rAga
|> is thyAgarAja's ``kalala naercenA''.  The scale of dhEpakam is:
|> 
|>         s g3 m2 p d1 p S
|>         S n3 d1 n3 p m2 g3 r1 s
|> 


Krishna,

As far as I know, Deepakam sounds more like PanthuvarALi or GamanasramA and 
I would guess that it belongs to MarwA thaht. 
 
Jyothiswaroopini does not differ by only Dha. It is a very characteristic carnatic raga which has the highest Re ( which is not there in Hindustani ). 

Can someone confirm this, please?

Subu
From: vram@unpcs1.cs.unp.ac.za (Vevek Ram)
Newsgroups: rec.music.indian.classical
Subject: e-mail address of Debu Chaudari
Date: 5 Nov 92 09:00:08 GMT
Article-I.D.: unpcs1.vram.8.720954008
Distribution: world
Organization: Dept. Computer Science, UNP
NNTP-Posting-Host: pc008.cc.unp.ac.za

Does anyone know if Debu Chaudari (Sitarist and Dean of Music at Delhi 
University) is contactable through e-mail?? If so could you please 
furnish me with an address (preferably via e-mail).

Thanks in advance
Vevek Ram
------------------------
Dr Vevek Ram
Dept of Computer Science
Univ of Natal
South Africa
From: krisna@cs.wisc.edu (Krishna Kunchithapadam)
Newsgroups: rec.music.indian.classical
Subject: Re: more info please
Keywords: Deepakam, Jyothiswaroopini
Date: 7 Nov 92 18:03:13 GMT
Followup-To: rec.music.indian.classical
Organization: U of Wisconsin Madison - Computer Sciences

pjn+@cs.cmu.edu (P J Narayanan) writes:
:
:>I have another (this time a rather burning topic, as it were) question
:>re rag Dipak. I was told of the existence of a cognate in the Carnatic
:>system. Firstly, is this rag (the Purvi Thath version) ever performed
:>in the South?
:
:I have heard of a raga called dIpakam in Carnatic music, but haven't
:the foggiest idea about its lakshaNam. I am sure Krishna will have
:it. Needless to say, I haven't heard it performed.
:

Thank you Narayanan, for your kind words and the opening.

Firstly, some thoughts on the rAg dhEpak of hendhusthAnE music.
I have heard a rendition of what is possibly this rAg in one of
the ``thAnsaen'' movies -- the particular version starring
K.L.Saigal.  My first impression was that the rAga was in many
ways similar to hamsaDhvanE. Unfortunately, I do not remember
very much more about the picture or the song -- but certainly
the rAg used was *not* of the pUrvE ThAt.

There is also a dramatisation of this lamp-lighting incident in a
thamezh movie starring Sivaji Ganesan, where the rAga employed is
a kAnadA variant!! The lyrics of the song are ``esi kaettAlum puve
asindhAdum, edhu erivan aruLAgum'', the singer is
T.M.Soundararajan (lyricist was probably Kannadasan).


In karNAtaka music, dhEpakam is a janya rAga of the maeLa
kAmavarDhanE (#51).  Probably, the most famous kRthE in this rAga
is thyAgarAja's ``kalala naercenA''.  The scale of dhEpakam is:

        s g3 m2 p d1 p S
        S n3 d1 n3 p m2 g3 r1 s

This rAga is probably the equivalent (atleast in terms of its
lakShaNa) to the hendhusthAnE version, but I don't think it is
associated with any of the ignitory properties of the
hendhusthAnE rAg dhEpak.


As a matter of tradition, the rAga AherE is one that is
associated with dryness, famine, drought etc (generally
inauspicious things).

At the other end of the spectrum are rAgas (which like the malhAr
group in hendhusthAnE music) associated with coolness and rain.
amRtha varSheNE, malaya mArutham, vasanthA are some examples.
The Telugu word ``tsalla gAle'' (which means cool breeze) was
even affixed as a title to musicians who were experts at the
performance of these rAgas.


-- kRShNa
Newsgroups: rec.music.indian.classical
Subject: Re: dhunibhinnashadjam (was Re: Mutthiah Bhagavatar)
From: ARIJIT MAHALANABIS <AXM128@psuvm.psu.edu>
Date: Thu, 12 Nov 1992 22:23:32 EST
Organization: Penn State University

Also another excellent rendition of Hindustani Bhinna Shadaj is by Ustad
Bade Ghulam Ali Khan with khyals in roopaktaal and teentaal. He referred
to this raga as Kausi Dhani.

Arijit.
Newsgroups: rec.music.indian.classical
From: rsud@sw.stratus.com (Rajiv Sud)
Newsgroups: rec.music.indian.classical
Subject: FOR SALE: Indian Classical Music Albums
Date: 6 Nov 92 17:49:32 GMT
Organization: Stratus Computer, Inc.

Hi,
     I am selling the following albums for $11 a piece or will do all
four for $40. Postage additional. These albums are in mint condition
and unplayed. E-mail Rajiv_Sud@sw.stratus.com if you're interested.


Pandit Shivkumar Sharma           The Glory Of Dawn                ($11)
 w/ Ustad Zakir Hussain/tabla


Pandit Shivkumar Sharma           Classical Melodies on the santoor($11)
 w/ Manikrao Popatkar/tabla

     Shivkumar Sharma plays an instrument called a santoor which is
similar to, though harmonically richer than, a dulcimer. His playing
ability is fantastic and the santoor is an entrancing instrument.
Zakir Hussain is a virtuoso tabla player. He was been awarded a
medal from the Govt of India for artistic merit.


Ravi Shankar/sitar                West Meets East                  ($11)
  Yehudi Menuhin/violin

     Side one of this album has 3 short ragas with Yehudi Menuhin
accompanying Ravi Shankar on two tracks. The final track is killer
with furious playing by both Ravi and Yehudi. Side two of this
album is classical sonata number 3 by Goerges Enesco. Ravi Shankar
does not appear on side two.


Prof V.G. Jog/violin              The Distinctive Two              ($11)
  Pandit Hari Prasad Chaurasia/wooden flute
    Pandit Mahapurush Mishra/tabla

     The three tracks on this album consist of two ragas and a light
classical piece. The mood of the album is relaxing but involved.
Very melodic with some nice paced "dueling" between the flute and
the violin.


..Rajiv
Newsgroups: rec.music.indian.classical
From: vijayas@ctrvx1.vanderbilt.edu (VIJAYAS)
Subject: Violin Accompaniment correction
News-Software: VAX/VMS VNEWS 1.41    
Organization: Vanderbilt University
Distribution: na
Date: Tue, 10 Nov 1992 15:13:00 GMT

A typo in my earlier posting regarding violin accompaniment. The bowed
instrument of ancient India is not Ravanastram. The correct name is 
Ravanastran. Sorry for the typo.
Vijaya.

Newsgroups: rec.music.indian.classical
From: tmohan@iastate.edu (Thyagarajan Mohan)
Subject: Re: Mutthiah Bhagavatar
Organization: Iowa State University, Ames, IA
Date: Mon, 9 Nov 1992 16:51:43 GMT

In article <1dh2ehINNo1r@gap.caltech.edu> cco.caltech.edu!vidya (Vidyasankar Sundaresan) writes:
>In article <BxCwAD.KIo@news.iastate.edu> tmohan@iastate.edu (Thyagarajan  
>Mohan) writes:
>             He was a contemporary of Maharaja Swathi ThirunaaL.
                                       ~~~~~~~~~~~~~~
>Harikesanallur Muthiah Bhagavathar was not a contemporary of Swati  
>Tirunal. Swati was a younger contemporary of the famous Trinity. 

>I'm not sure Umabharanam is his creation.
   
     Thank you.It's my mistake.Umabharanam is not his raga.I'm slowly recolle-
cting some more,Pasupathipriya,Guha Ranjani,PoorNa Lalitha,PoorNa Panchamam,
Dhuni Binna Shadgam and of course KarNa Ranjani as you indicated.This has been
made famous by Ambujam Krishna and MLV.

    Though I'm aware of some news about Swathi ThirunaaL's  correspondence 
with St.Thyagaraja(He died later than the other two),if I'm not mistaken,there
is a song of Swathi ThirunaaL in the raga Valaj(not Kalaavathi) which is 
unduoubtedly Muthiah Bhagavtthar's creation.Can any person clarify this point?
(Pleeeease,no fumes).This is the reason,mainly for my personal clarification,
I wrote the above lines.


>S.Vidyasankar


Thanks in Advance.

MOHAN
From: misdeva@yalevm.ycc.yale.edu (Devjani Mishra)
Newsgroups: rec.music.indian.classical
Subject: Re: Indian musical equipment in the US ???
Date: 13 Nov 92 03:42:12 GMT
Followup-To: alt.culture.us.asian-indian
Organization: Yale University


 
> I am doing this for a friend who dose not have acess to this m/c
>   If any of u , Indian classical music fanatics know if there are 
> companies that stock Indian musical equipment please send e-mail to the 
> adress given below
> this person is looking for the " Mrigindham" and the " ghattam" in particular
> the ghattam is a baked clay pot, i believe and the mriganda is some kind of
> drum played with both hands.
> 
> send mail to 
> Rose@ardneh.rsl.ukans.edu 
Newsgroups: rec.music.indian.classical
From: pjn+@cs.cmu.edu (P J Narayanan)
Subject: Re: Meaning for a Thyagaraja kriti
Followup-To: rec.music.indian.classical
Keywords: Meaning of "Nagumomu ganaleni"
Organization: School of Computer Science, Carnegie Mellon
Date: Thu, 12 Nov 1992 20:24:55 GMT

In article <1992Nov12.163847.10414@cbnewsl.cb.att.com> usha@cbnewsl.cb.att.com (usha.pulijal) writes:
>Could someone please post the meaning for the Thyagaraja kriti "Nagumomu
>ganaleni"? Thanks,
>Usha Pulijal

I am recycling an old posting of mine:

From: pjn@mimsy.cs.umd.edu (P. J. Narayanan)
Newsgroups: rec.music.indian.classical
Subject: Re: Lyrics wanted..
Date: 10 Apr 92 16:59:31 GMT
Reply-To: pjn@cs.umd.edu
Distribution: usa
Organization: U of Maryland, Dept. of Computer Science, Coll. Pk., MD 20742
In-reply-to: sastry@ogicse.cse.ogi.edu's message of 9 Apr 92 22:11:23 GMT

        There is a beautiful book called "The Spiritual Heritage of
Tyagaraja" published by RK Mission, Madras that gives the text in
Devanagari and meanings in English of almost all of Thyagaraja's
keertanams, with nice commentaries provided in the beginning of the
book. I would recommend the book to everyone with some interest in
the saint-composer. The book costs Rs. 50 or 60 if bought in Madras.
I remember reading about a source for it in the USA.

        I will give the sahityam of "Nagumomu" in Abheri anyway.


                               Nagumomu
                               --------

          rAgam: Abheri                         tALam: Adi

Pallavi:

                nagumOmu kanalEni nA jAli telisi
                nannu brOva rAdA ?  Sree raghuvarA  nee (nagumomu)

Anupallavi:

                nagarAjadharA nIdu parivAramella
                Ogi bOdhana cesevAralugarE itilundedarE nee (nagumomu)

CaraNam:

                KhagarAju nee yAnati vini vEga calanETo?
                gaganAniki ilaku bahudUram bani naTo?
                JagamElla paramAtmA, evarito nA moraliTudu?
                vaga cUpaku tAlanu nannelu kOra, tyAgarajanuta nee (nagumomu)

Translations, (unfortunately) mine:

Pallavi:
	Realizing my agony of not seeing (your) handsome face,
	Why don't you come to save me? Oh, RaghuvarA!

Anupallavi:
	Oh the dweller on the king of snakes,
	Isn't your entourage one of fair people, knowing justice?

CaraNam:
	Is Garuda disobeying your orders to travel fast?
	Is distace from heavens to earth too great?
	Oh the ultimage soul, whom should I complain to?
	Don't hurt me more by your enmity and consider me, 
			oh Thyagaraja's beloved!


PJN

-- 
---
Robotics Institute, CMU			pjn@cs.cmu.edu
Pittsburgh, PA 15213
---
Newsgroups: rec.music.indian.classical
From: vijayas@ctrvx1.vanderbilt.edu (VIJAYAS)
Subject: Violin Accompaniment
News-Software: VAX/VMS VNEWS 1.41    
Organization: Vanderbilt University
Distribution: na
Date: Tue, 10 Nov 1992 14:35:00 GMT

Hi!

I am posting this for a friend (Name: P. Sriram) who does not have access to
the net. This posting is regarding violin accompaniment in the south. Let
me first give the refrences.

1. Music in India - The Classical Tradition : Bonnie C. Wade
2. Indian Music Journal (1955)  : T.K. Jayarama Iyer
3. The art of violin accompaniment in south indian classical vocal music
         -L. Shankar in his thesis (1974)
4. Prof. R. Satyanarayana in Sruthi, India (reprinted in Sangeetham, Summer '91)
5. Lalgudi Jayaraman in Sruthi, India (Reprinted in Sangeetham, Summer '90)
6. Music and Musical Instruments of South India : Captain Charles Day (1891)

In 1891 Captain Day writes "the use of Sarangi discontinued and violin is 
becoming popular (in south)"

* This implies that sarangi was in use before violin was introduced contrary
to the belief that veena could have been the accompanying instrument. This also
may not have been practical as veena is not a very loud (well, loud enough !) 
without a pick up etc. (This is strictly my opinion -Vijaya)

Apparently there is a painting (18th century) depicting a violinist (somewhere
in Mysore or so). There is also this theory (according to Jayarama Iyer and
Satyanarayana) that violin was adapted into karnatik music my Deekshithar's
brother (born in 1786). However, the painting predates (approx. 1750) 
Deekshithar's brother (I think it is Baluswamy Deekshithar). 

According to Lalgudi, there was a bowed instrument in Buddist time called
Ravanastram.

There is a lot of info in Wade's book with a chapter on Melody Instruments.

Vijaya's Note: Thanks to Sriram for searching through his music books.
There is also a Malayalam movie titled "Swathi Thirunal" with english
subtitles where the tanjaore quartet visit the maharaja of travancore
and Vadivelu plays the violin for Swathi thirunal.