HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.music.indian.classical
Subject: Chitra Visweswaran - Directions !
From: <NABXDS@rohvm1.rohmhaas.com>
Date: Thu, 8 Oct 1992 12:32:03 EDT
Organization: Rohm and Haas Company

Please see earlier post for the original announcement !

SRUTI presents a Bharatanatyam recital by Chitra Visweswaran and troupe.

Date:  Saturday, October 10, 1992

Time:  6:30 PM

Venue:  Plymouth-Whitemarsh High School
        Germantown Pike East
        Plymouth Meeting Pa


Directions:

(1)  Traveling on I-76 (Schuylkill Highway) exit onto I-476 North; follow
     directions in (3).
(2)  From Delaware, take I-95 North and exit onto I-476 (exit 7) North and
     follow directions in (3).
(3)  Traveling North on I-476 (Blue Route), take exit 8 for Germantown Pike
     East.  Drive to the traffic light and turn right.  Travel about 1 mile
     to the high school on your left.
(4)  Traveling on I-276 (Penna Turnpike), take exit 25 (Norristown exit).
     After the toll booths, take the first ramp to the right for Germantown
     Pike East.  Travel about 1 mile to the high school on your left.

For tickets and information, please contact:

Dr. M. M. Subramaniam     Dr. Viji Swaminathan    Mr. Sudhakar Rao
(215) 356-5181            (215) 643-2145          (215) 277-1607

or Dr. Dinakar Subramanian
   (215) 245-4780

**************

Dinakar
Newsgroups: rec.music.indian.classical
From: dinesh@civic.ece.cmu.edu (Dinesh D. Gaitonde)
Subject: Chitra Visweswaran Dance Concert (FREE) SPIC-MACAY
Organization: Carnegie Mellon University
Distribution: rec
Date: Wed, 7 Oct 1992 22:42:57 GMT


**********************************************************************
				   
		   SPIC-MACAY (Pittsburgh Chapter)
				   
	    Society for the Promotion of Indian Classical
		   Music and Culture Amongst Youth
				   
			   Invites you to a
		  Bharatanatyam Dance Performance by
				   
			  CHITRA VISWESWARAN
	     one of India's foremost Bharatnatyam dancers
		      accompanied by her troupe
				   
				   
			  ADMISSION IS FREE
				   
		     Mellon Institute Auditorium
			  4400 Fifth Avenue
			 Pittsburgh, PA 15213
		    Friday, October 16, 7:30 p.m.
				   
			 Sponsored in part by
	   Carnegie Mellon's Graduate Students Organization
	    For additional information please send mail to
			 macay@andrew.cmu.edu
		      or call Dinesh Gaitonde at
			    (412) 421-8345
	      Please send in your voluntary donations to
			      SPIC-MACAY
		      c/o Skibo Information Desk
		      Carnegie Mellon University
			  5000 Forbes Avenue
			 Pittsburgh, PA 15213
				   
**********************************************************************
				   
				   
			 CHITRA VISWESHWARAN

Chitra Visweswaran trained initially under T. N. Rajalakhsmi of the
Tanjore School at Calcutta, India. She also studied under Vazhuvur
Ramaiah Pillai at Madras, India for a number of years. She has given
recitals in major dance and music festivals all over India and abroad.
She conducts a school in Madras, "Chidambaram", where she imparts
training in dance.

Her dancing is noteworthy for an ability to register subtle nuances
and the leisurely exposition of abhinaya numbers. Her movements are
expansive and maintain an artistic balance.

Chitra Visweswaran was awarded the Sangeet Natak Academy award in 1988
by India's premier Performing Arts Academy. She was also awarded the
Padmashree - Indian Government's prestigious award for excellence, in
1991.


Directions to Mellon Institute auditorium:


Coming by 79 South:
	Take 279 south to Pittsburgh
	Take exit for 376 East for Monroeville
	Take exit for Forbes Avenue
	Turn left on Bellefield (Forbes turns two-way  here).
	Mellon Auditorium is on the right at the intersection of Fifth
        and Bellefield

Coming by 79 North:
	Take 279 north to Pittsburgh
	Just past the Fort Pitt Tunnel, take the exit for 
	376 East (Monroeville)
	Take exit for Forbes Avenue
	Turn left on Bellefield (Forbes Av. turns into a two-way street here).
	Mellon Auditorium is on the right at the intersection of Fifth
	and Bellefield

Coming by 76 west/east or 22 west:
	Take 376 west to Pittsburgh
	Right after the squirrel hill tunnel, take Squirrel hill exit
	At the light, go straight on Forward Avenue
	At next light, turn left on Shady
	Continue till Fifth Avenue, turn left.
	Mellon Auditorium is on the left at the intersection of Fifth
	and Bellefield
Newsgroups: rec.music.indian.classical
From: tmohan@iastate.edu (Thyagarajan Mohan)
Subject: Re: A question 
Organization: Iowa State University, Ames, IA
Date: Fri, 16 Oct 1992 17:15:51 GMT

In article <1992Oct15.191441.1640@bmerh85.bnr.ca> shiv@bnr.ca (Shiv Naimpally) writes:


>It was probably not Shivkumar Sharma, it was probably the santoor player
>Ulhas Bapat. He played Sagar when he came to Ottawa a few years ago and
>it is also on one of his commercial releases. Sharma's santoor
>has all its strings tuned to the raga he is playing - he can never
>play a wrong note. Bapat's santoor is different, each octave has all
>12 notes in it. Raga Sagar is a kind of Raga Mala with many different
>ragas in it, but in such a way that ragas of different scales are played.
>
>I personally found it horrible sounding since many dissimilar ragas
>with radically different scales were played one after another. After
>the concert I asked him why he played it when it sounded so bad, and he
>also admitted that the juxtapostion of the ragas was not particularly
>pleasing but that the main reason he plays it is to demonstrate that 
>his santoor has 12 notes per octave,
       Can you clearly say what the 12 notes per octave is.The octave
 consists of,ofcourse,12 different notes by including the `vikruthi'swaras.This
 all knows.Is it a unique way of playing santoor tuning the instrument/strings
 according to ragas just because it has 100 strings or the style of Sharma?
>hit a bad note and it is his skill that allows him to play without
>hitting the wrong string. He also said that playing Raga Sagar serves
>to distinguish him from Sharma - Sharma could never play Raga Sagar
>using his current 'tuning to the raga' method. 

Cheers
MOHAN
Newsgroups: rec.music.indian.classical
From: parrikar@csn.org (Rajan Parrikar)
Subject: Re: A question 
Organization: University of Colorado, Boulder
Date: Thu, 15 Oct 1992 14:38:38 GMT

In article <1992Oct14.173545.4902@eng.umd.edu> vinchhi@eng.umd.edu (Chetan K. Vinchhi) writes:
>
>Hello netters.
>I recently borrowed a cassette that contained, among other ragas, Raga Sagar.

Raga Sagar (ocean of ragas) is akin to a Ragamaalikaa and comprises
many ragas concatenated in one composition.
If there's an independent raga by that name, I would like to know
about it.

Rajan Parrikar
==============
email:parrikar@mimicad.colorado.edu



>The artist was Pt. Shivkumar Sharma.
>Now, I hadn't heard of a raga of that name. Also, the list of pieces
>on the cassette were hand-written. Could someone confirm that such a 
>raga exists ? What kind of a raga is it ? (mood, time of the day it is played
>etc. Technical details may be lost on me because I am a novice at classical music)
>
>Thanks in advance.
>Chetan


Xref: sparky rec.music.indian.classical:1772 rec.music.indian.misc:2810
From: preetham@chisti.umiacs.umd.edu (Preetham Gopalaswamy)
Newsgroups: rec.music.indian.classical,rec.music.indian.misc
Subject: Re: Raag and film for "Tu hai mera prem devta"
Date: 15 Oct 92 03:21:02 GMT
Followup-To: rec.music.indian.classical
Distribution: na

In article <tg2z0d+@rpi.edu>, gopinr@rs6312.ecs.rpi.edu (Ravi Shankar Gopinath) writes:
|> Singers:	Manna Dey and Mohd.Rafi
|> 
|> Thanks
|> Ravi Gopinath

The film is "Kalpana".  From an old list of songs and their
associated ragas, I am told that it is set to the raga Lalit.
More knowledgeable netters may deny.

			Preetham

ps: Rajan, is the music director for this film Nayyar or is it S. D. Burman
From: rajiv@watson.ibm.com (Rajiv Ramaswami)
Newsgroups: rec.music.indian.classical
Subject: What does Pallavi mean?
Date: 15 Oct 92 17:42:15 GMT
Reply-To: rajiv@watson.ibm.com
Organization: IBM Research

While we're on the subject of what "laya" means,
can someone elaborate on what "pallavi" means.
I believe it stands for "PAdam", "LAyam", "VInayasam".
What do each of these signify?

Rajiv
Newsgroups: rec.music.indian.classical
From: mccomt@aix.rpi.edu (Todd Michel McComb)
Subject: laya
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Fri, 9 Oct 1992 17:08:25 GMT

Can someone post a good english definition of laya?

Also, I am wondering about the context of the rhythmic terms 'turangalila'
and 'hurqualia' (french transliteration.)

Many thanks.

T. M. McComb

Newsgroups: rec.music.indian.classical
From: krisna@cham.cs.wisc.edu (Krishna Kunchithapadam)
Subject: Re: please identify the raga
Organization: U of Wisconsin Madison - Computer Sciences
Distribution: usa
Date: Mon, 12 Oct 1992 15:25:16 GMT

ramasubr@ecn.purdue.edu (SUBU Ramasubramanian) writes:
>> asrini@sanjuan (Anand Srinivasan) writes:
>> |> I heard this song today, probably a Thyagaraja krithi...
>> |> starting "Sudha Madhurya Bhashanam(?)"  Could somebody
>> |> post which raga it is on?
>> |> 
>>
>> It is a raga called "Sindhunamakriya".
>>

Sorry if I sound picky, the correct name is: Sindhu Ramakriya,
in more phonetic terms it would be -- senDhu rAmakreya (a janya
of mAyA mALava gauLa).

-- kRShna
From: kanga.caltech.edu!vidya (Vidyasankar Sundaresan)
Newsgroups: rec.music.indian.classical
Subject: Re: lineage of amRtha-varSheNe [was Re: Amrita Vahini ?]
Date: 13 Oct 1992 02:12:50 GMT
Organization: California Institute of Technology, Pasadena
NNTP-Posting-Host: piglet.caltech.edu
Originator: vidya@piglet

In article <krisna.718922348@cs.wisc.edu> krisna@cs.wisc.edu (Krishna  
Kunchithapadam) writes:
- And unfortunately for people who delight  in  classification  and
- taxonomy, the rules for deciding janaka-janya relationships is at
- best ad-hoc and mostly it becomes a matter  of  prestige,  rather
- than  a  scientific  and  rational  decision.  As  long  as  some
- responsible and knowledgeable body of musicians and musicologists
- does  not  come  forward with a completely unambiguous scheme for
- this problem, we will be left with the feeling of dissatisfaction
- and incompleteness.
- 
- 
- 
- Those interested should see if they can locate my earlier article
- to RMIC on a discussion of the janaka-janya mappings of the thOde
- and mOhanam clique of rAgas based on  graha-Baedham.  In  it  you
- will find a rationale for considering mOhanam a janya of kalyANe.
- 
- -- kRShNa

The rules for deciding janaka-janya relationships are ad-hoc, but we can  
detect certain trends in the classification. 

I) Ragas which omit the ri in both ascent and descent, but have all the  
other swaras in either the ascent or descent, are usually classified under  
the parent raga which has chatusruti rishabha e.g.

1) Kamalamanohari (sgmpns - sndpmgs) as a janya of  Mela 27 (Sarasangi),  
not Melas 15 or 33;

2) Bahudari (sgmpdns - snpmgs) as a janya of Mela 28 (Harikambhoji), not  
Melas 16 or 34;

3) Vardhani (sgmpdns - sndpmgs) as a janya of Mela 23 (Gowrimanohari), not  
Mela 11. 

Note - Suddha Dhanyasi (sgmpns - snpmgs), Hindolam (sgmdns - sndmgs) etc.   
are not covered by this as they omit in addition to ri, some other swara  
throughout.

II) Ragas which omit only the dhaivata in both ascent and descent, but  
have all the other swaras in either the ascent or descent are classified  
with the melakarta raga having the suddha dhaivata e.g.

1) Gowla (srmpns - snpmrgmrs) as a janya of Mela 15 (Mayamalavagowla), not  
Melas 17 or 18; 

2) Mandari (srgmpns - snpmgrs) as a janya of Mela 51 (Kamavardhini), not  
Melas 52 or 53. 

3) Vijayasri (sgrgmpns - snpmgrs) as a janya of Mela 45  
(Subhapantuvarali), and not Melas 46 or 47. 

Similarly, here Hamsadhvani (srgpns - snpgrs), Madhyamavati (srmpns -  
snpmrs) etc. are not covered as they  omit in addition to dha, some other  
swara throughout. 


However the above two "rules" do not act in tandem to make Amrtavarshini a  
janya of Lathangi. 


S.Vidyasankar
Newsgroups: rec.music.indian.classical
From: raj@tandem.com (Raj Ganesan)
Subject: Re: Is there a FAQ? If not, please help....
Organization: Tandem Computers Inc., Cupertino CA
Date: Fri, 16 Oct 1992 16:13:31 GMT

Well, there is a music store called Shrimathi's in Berkeley that
has a pretty decent collection of CDs (north and South Indian
classical), and you can order them thru' their catalog. I don't remember
the address offhand, though. xxx University Ave, i think.

/Raj 

Newsgroups: rec.music.indian.classical
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Laya
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Fri, 16 Oct 92 20:29:44 GMT


To PJN: I checked Apte's Practical Sanskrit-English dictionary, and
apart from the meaning of 'resolve, dissolve', he gives the meaning of
tempo as in the 3 types drut, madhya, and vilambit.
Newsgroups: rec.music.indian.classical
From: janaki@cs1.bradley.edu (Venkata Nemana)
Subject: Amrita Vahini ?
Organization: Bradley University
Date: 12 Oct 92 03:32:03 GMT

Hi Folks!

I had a small doubt...
Are the ragas Amrita Vahini and Amrita Varshini the same?
If not, what's the raga of "Sri rama Padama.. Nee Kripa 
chalune.."?
Can somebody give the details of the above ragas..
Thanks.

-Jani.
Newsgroups: rec.music.indian.classical
From: naik@nynexst.com (Jay Naik)
Subject: Re: laya
Organization: Nynex Science and Technology
Date: Wed, 14 Oct 92 17:39:42 GMT



From: srini@engin.umich.edu (Srinivasan Pichumani) :

>I don't have a good definition, but the term "rhythm" is a decent translation.
>
>In musical usage, laya subsumes all concepts like beat(tAla), tempo(kAla), 
>gait(gati) etc. And to confound matters, it can stand for these individual
>terms also.                               
	
 	I think, in practice (and in classical writings), 'laya' is closer to 
 'tempo'  than to the all expansive term 'rhythm'. 
 
     Rhythm conveys the idea of a regular recurrence of time-ordered events,
 whereas tempo, the pace of such a sequence of temporal events. In this sense, 
 'taala' is similar to rhythm as laya is to tempo. In classical writings one 
 comes across definitions of taala as 'a measure of time-divisions' 
 (kalaa-kaala pramaaNam) [shaarngadeva] or 'a method of dividing time' 
 (kaala prayojya). So, taala refers to the division of time into time-units 
 (maatraa) and their arrangement in a recurring pattern. taala can be traced to 
 the 'chhandas' (metre) of Vedic chants. And surely it also has its roots in 
 pre-Vedic musical traditions as well. 
 
     shaarngadeva defines laya as 'quiescent interval between events' 
 (kriyaantara vishraanti) and the three laya's, vilambit(a), madhya and
 drut(a) have the temporal proportion of 1:2:4. These three can be clearly 
 traced to the laya in poetry, viz., laghu, guru and pluta, which are 
 related to each other in a different proportion of 1:10:15.
 The 'kriya' or action (event) in this context is the onset of a maatraa, 
 which can be either sounded (sashabda) or unsounded (nishshabda).


>ps: I think the word "rhythm" is a cognate of the Vedic "rta" which essentially
>was a reference to the cosmic "order".

    I have seen other etymological origins proposed for 'rhythm', such as,
 'to flow', from Latin rhythmus or Greek rhein (to flow). Interestingly, laya 
 in Sanskrit means 'to move, to go', which is semantically closer to 'rhythm', 
 although in practice it is closer to tempo (time). 
 'Rta' is more probably (I am guessing) a cognate of 'right'. 
	
 cheers,
-----------------------
 Jayant Naik 

Newsgroups: rec.music.indian.classical
From: rst@vuse.vanderbilt.edu (R. Sritharan)
Subject: Re: Laya
Organization: Vanderbilt University School of Engineering, Nashville, TN, USA
Date: Fri, 16 Oct 1992 21:35:12 GMT

In article <1992Oct16.202944.25692@bmerh85.bnr.ca> shiv@bnr.ca (Shiv Naimpally) writes:
>
>To PJN: I checked Apte's Practical Sanskrit-English dictionary, and
>apart from the meaning of 'resolve, dissolve', he gives the meaning of
>tempo as in the 3 types drut, madhya, and vilambit.

I suspect, having followed this thread, that 'laya' is used
in a different sense in Hindustani and Carnatic music. I have
seen the word used to mean something very comprehensive in
Carnatic music, just like what Srini Pichumani wrote.

-- rst
From: rsaigal@jade.tufts.edu (Ranjani Saigal)
Newsgroups: rec.music.indian.classical
Subject: Lyrics needed for Ramachandra Prabho
Date: 15 Oct 92 15:09:42 GMT
Organization: Tufts University - Medford, MA
Originator: rsaigal@jade.tufts.edu


	Does anyone have the lyrics to the Swathi thirunal Krithi -

	"Ramachandra Prabho tum bina pyare Ram nam hi hai pyara"

I think it is in Sindhu Bhairavi

				-Thanks


					Ranjani Saigal
Newsgroups: rec.music.indian.classical
From: ashok@cs.washington.edu (Immaneni Ashok)
Subject: SPICMACAY, Seattle Chapter
Organization: Computer Science & Engineering, U. of Washington, Seattle
Distribution: uw
Date: Tue, 13 Oct 92 20:58:00 GMT

Call for Participation in the activities of SPICMACAY (Seattle Chapter)
-----------------------------------------------------------------------

SPICMACAY is the Society for Promotion of Indian Classical Music And Culture
Amongst Youth which came into being in the 1970s. SPICMACAY has a central
core group based in the San Francisco Bay Area, with chapters in schools
and colleges all around the country. The chapter at the University of
Washington, Seattle was established in the May of 1992.

SPICMACAY is a movement relying entirely on the voluntary efforts of the
youth. It strives to create interest in people in general and the youth in
particular, about Indian culture and classical art-forms (particularly
Music and Dance). To this effect we arrange performances by the greatest
living exponents of the art forms. Rather than being a "concert-organizing
institution", SPICMACAY started out as, and continues to be, a "movement" 
- an educational movement.

Chitra Visweswaran, one of the leading Bharatanatyam dancers, is coming over
to Seattle on November 22, for a Lecture-Demonstration. Hence, a general
meeting is being organized on Thursday, 15th of October, in Room 204n at
the  HUB (University of Washington). The meeting shall also consider
possible future events. We request all people who are interested in
getting to know about SPICMACAY and/or interested in getting involved with 
the organization to attend the meeting.


The Place	: Room 204n, HUB, Univ. of Washington
The Date	: October 15th, 1992 (Thursday)
The Time	: 5pm
From: gb29+@andrew.cmu.edu (Guntur N Balaji)
Newsgroups: rec.music.indian.classical
Subject: Repost request...
Date: 12 Oct 92 17:18:16 GMT
Organization: Masters student, Mechanical Engineering, Carnegie Mellon, Pittsburgh, PA


Hi folks,

Looks like there was a posting on all the melakartha ragas
and some of their janyas sometime back.  I missed that
posting as I am new around here.  Could someone repost
it on the net or send it to me by email.

Many Thanx.

Balaji/...
From: appa@cbnewsk.cb.att.com (ravi.ramaswamy)
Newsgroups: rec.music.indian.classical
Subject: Concert "Reviews"
Date: 15 Oct 92 18:13:36 GMT
Organization: AT&T

A minor correction to a Savithri Ramanand concert review that appeared
recently in rmic:

It is not "Varalakshmi Jaganmatha" but "Mahalakshmi Jaganamatha"
a beautiful composition by Papanasam Sivan in Sankarabaranam. I have 
several recordings of this (TVS and NC Vasanthakokilam come to mind;
TVS's is especially nice - slow pace and swarapratharas).

Just a little comment on the review. Perhaps it is appropriate that it
is called a "review" and not a "critique". Essentially a review lists
the krithis that were rendered and the ragas/talaas, while a critique
examines each rendition in greater depth (raga bhavas,sruthi problems,
tala structure in RTP, etc., etc.). Clearly, many can write a review
while only a few a write a critique. Reviews are invariably positive
and critiques point out positive and negative aspects of the renditions.
I was amazed (and somewhat disappointed) to find that what passes as 
critiques in a respected newspaper such as the Hindu, are really reviews.
The person I have in mind initials himself as "R.V."

It is interesting to find out what songs were rendered in a concert. 
Its value, however, is questionable. This is why I would never attempt a 
review or a critique. This is also why I would much rather read a critique
than a review.

Ravi Ramaswamy.
Newsgroups: rec.music.indian.classical
From: asrini@sanjuan (Anand Srinivasan)
Subject: please identify the raga
Organization: University of Victoria, Victoria, BC, CANADA
Distribution: na
Date: Sun, 11 Oct 92 21:22:37 GMT

I heard this song today, probably a Thyagaraja krithi...
starting "Sudha Madhurya Bhashanam(?)"  Could somebody
post which raga it is on?

Anand S

PS: I am a novice in Carnatic music. If it was too trivial
    sorry to waste the bandwidth...




Newsgroups: rec.music.indian.classical
From: ramamani@narissa.UVic.CA (Subramanian  Ramamani)
Subject: Re: Amrita Vahini ?
Organization: University of Victoria, Victoria, BC, Canada
Date: Mon, 12 Oct 92 06:15:24 GMT

In article <1992Oct12.050500.25999@sol.UVic.CA> asrini@sanjuan (Anand Srinivasan) writes:
>In article <janaki.718860723@cs1.bradley.edu> janaki@cs1.bradley.edu (Venkata Nemana) writes:
>>Hi Folks!
>>
>>I had a small doubt...
>>Are the ragas Amrita Vahini and Amrita Varshini the same?
>>If not, what's the raga of "Sri rama Padama.. Nee Kripa 
>>chalune.."?
>>Can somebody give the details of the above ragas..
>>Thanks.
>>
>>-Jani.
>
>Sometime back someone posted all the melakartha ragas and
>some of their janyams out of which surprisingly there were
>two Amrithavahinis, for different melakarthas.  I guess 
>one of them might be Amrithavarshini (pure guess!).
>please correct, if i am wrong...
>
>melakartha.                  no.    janya ragas.
>
>Natabhairavai               -20     Gopikavasantham, Hindholam, Jingla
>                                    Manji, Amrithavahini, Saramathi
>                                    Anandhabhairavi, Bhairavi, Gokilavarali
>                                    Jayanthashree, Nagagandhari
>
>
>Chitrambari                 -66     Amritavahini
>
>------------------------------------------------------------------------
>
>Anand S
>
From: pjn+@cs.cmu.edu (P J Narayanan)
Subject: Re: What does Pallavi mean? Also about "Layam"
Keywords: Pallavi, Layam
Organization: School of Computer Science, Carnegie Mellon
Date: Fri, 16 Oct 1992 16:47:00 GMT

Padam stands for the textual (literary) aspect, layam for
the rhythmic aspect, and vinayasam for the (musical)
variations or improvisations performed.

However, I don't think this is the MEANING or the DERIVATION
of the word pallavi. It is merely an explantion after the fact.
Keerthanams or songs have a pallavi, (usually) an anu-pallavi
[sub-pallavi] and any number of charanams (legs ?). This
pattern and nomenclature, I believe, has been in vogue for
a few millenia. Some Sanskrit gurus can explain what pallavi
means in Sanskrit. Pallavam, I believe, means young leaves.
Or does it mean the branches of a creeper?

PJN

To Shiv: I believe the ancient texts on music, like sangIta ratnAkaram,
	uses "layam" in a sense that includes all aspects of rhythm.
	I cannot quote any verse to substantiate my claims right now.
	The answer to the original poster's question depends on his
	question itself. If he meant the common usage of layam,
	the English word is "tempo." If he meant the more expansive
	usage, the word probably is "rhythm."
From: vchk@monet.cc.rochester.edu (Vidya Chakaravrthi)
Newsgroups: rec.music.indian.classical
Subject: Looking for Sloka
Keywords: Request
Date: 14 Oct 92 19:56:13 GMT
Organization: University of Rochester - Rochester, New York

Dear Netters,

	I have a request for you. Iam wondering any of you have the
Thulasidas's Hanuman Chalisa slokam? I have the recorded audio tape. 
I am eager to learn the slokam. It would be great if you could send
me the wordings.

Thank you. 

Vidya Chakaravarthi
vchk@gauguin.cc.rochester.edu
Newsgroups: rec.music.indian.classical