Question: From which country hails Mysore Vasudevachar, the musician and composer of Carnatic music an example being Abheri, a Janya raga whose parent is Kharaharapriya?

full_context: Document 1: Kancherla Gopanna: Kancharla Gopanna (Telugu: కంచర్ల గోపన్న ) (c 1620 – 1680), popularly known as Bhakta Ramadasu or Bhadrachala Ramadasu (Telugu: భద్రాచల రామదాసు ), was a 17th-century Indian devotee of Rama and a composer of Carnatic music. He is one among the famous vaggeyakaras (a person who not only composes the lyrics but also sets them to music; vāk = word, speech; geya = singing, singable; geyakāra = singer) in the Telugu language. Other famous "vaggeyakaras" in Telugu literature, including Annamayya, Tyagaraja, Kshetrayya, and Shyama Sastri. He lived in the village of Nelakondapalli near Bhadrachalam, Telangana during the 16th century and is renowned for constructing a famous temple for Rama at Bhadrachalam. His devotional lyrics to Rama are famous in South Indian classical music as "Ramadaasu Keertanalu". Even the doyen of South Indian classical music Saint Tyagaraja learned his musical compositions. He also wrote Dasarathi Shatakamu (దాశరథి శతకము) with a 'makuTamu' (మకుటము) 'Daasarathee Karunaa payonidhee' (దాశరథీ కరుణా పయోనిధీ!), a collection of nearly 108 poems dedicated to the son of Dasaratha (Lord Rama).
Document 2: Abheri: Abheri (pronounced ābhēri) is a raga in Carnatic music (musical scale of South Indian classical music). It is a "Janya" raga (derived scale), whose "Melakarta" raga (parent, also known as "janaka") is "Kharaharapriya", 22nd in the 72 "Melakarta" raga system.
Document 3: List of Janya ragas: Janya ragas are Carnatic music ragas derived from the fundamental set of 72 ragas called "Melakarta" ragas, by the permutation and combination of the various ascending and descending notes. The process of deriving janya ragas from the parent "melakartas" is complex and leads to an open mathematical possibility of around thirty thousand ragas. Though limited by the necessity of the existence of individual "swaroopas" (unique identities) for the "janya" ragas, a list is never comprehensive or exhaustive. Thus the list below is open to additions or corrections. Moreover, some musicians experiment and use new scales, leading to new "janya" ragas. The 72 "Melakarta" ragas are numbered according to the ancient Indian system for numerical notation — the "Katapayadi system".
Document 4: List of compositions by Muthuswami Dikshitar: Muthuswami Dikshitar was a South Indian poet and composer and is one of the Musical Trinity of Carnatic music. His compositions, of which around 500 are commonly known, are noted for their contemplative nature and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas. They are typically in a slower speed (chowka kala). He is also known by his signature name of Guruguha. His compositions are widely sung and played in classical concerts of Carnatic music.
Document 5: Salaga Bhairavi: Salaga Bhairavi (sālaga bhairavi) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a "janya" rāgam (derived scale) from the 22nd "melakarta" scale "Kharaharapriya". It is a "janya" scale, as it does not have all the seven "swaras" (musical notes) in the ascending scale. It is a combination of the pentatonic scale "Shuddha Saveri" and the "sampurna raga" scale "Kharaharapriya".
Document 6: Asaveri: Asaveri (asāvēri) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a "janya" rāgam (derived scale) from the 8th "melakarta" scale "Hanumatodi". It is a "janya" scale, as it does not have all the seven "swaras" (musical notes) in the ascending scale, and has a "vakra" (zigzag) descending scale.
Document 7: Ahiri: Ahiri (pronounced āhiri) is a rāgam in Carnatic music. It is a "janya" rāgam (derived scale), and associated with the 14th "melakarta" scale "Vakulabharanam". It has also been associated with the 8th "melakarta" scale Hanumatodi. Though it has all the seven "swaras" (musical notes) in the ascending and descending scale, the presence of zig-zag notes ("vakra" swaras) makes it a "janya" rāgam.
Document 8: Vatapi Ganapatim: Vatapi Ganapatim, also known as Vatapi ganapatim bhaje ham or Vatapi ganapatim bhaje, is a Sanskrit "kriti" song by the South Indian poet-composer Muthuswami Dikshitar (1775–1835), one of the "Trinity of Carnatic music". The panegyrical hymn praises Vatapi Ganapati, Ganesha (Ganapati) worshipped in a shrine in Tiruchenkattankudi in the Indian state of Tamil Nadu. The hymn is composed in Hamsadhvani raga (musical mode), however in tradition of kritis, individual performers add their own variations in the tune. "Vatapi Ganapatim" is described as the best-known piece of Muthuswami Dikshitar as well as one of the most popular compositions of Carnatic music (South Indian classical music school). The hymn is traditionally sung at the beginning of many Carnatic music concerts.
Document 9: Broche Varevaru Ra: Broche varevaru ra is a popular Telugu composition of Mysore Vasudevachar in Raga Kamas of Carnatic music.
Document 10: Atana: Atana is a raga (musical scale) in Carnatic music (South Indian classical music). It is a "Janya" raga (derived scale), whose "Melakarta" raga (parent, also known as "janaka") is "Shankarabharanam", 29th in the 72 "Melakarta" raga system.
Document 11: Mysore Vasudevachar: Mysore Vasudevachar (Kannada: ಮೈಸೂರು ವಾಸುದೇವಾಚಾರ್ ) (28 May 1865 – 17 May 1961) was an Indian musician and composer of Carnatic music compositions who belonged to the direct line of Thyagaraja's disciples. Vasudevachar's compositions (numbering over 200) were mostly in Telugu and Sanskrit. Some of his most popular kritis include "Broche varevaru ra" in Kamas raga, "Devadideva" in Sunadavinodini, "Mamavatu Sri Saraswati" in Hindolam, "Bhajare Re Manasa" in Abheri and "Ra Ra Rajeevalochana Rama" in Mohanam.
Document 12: Musicians of the Kingdom of Mysore: The Kingdom of Mysore (1399–1950) was founded by Yaduraya in 1399 as a feudatory of the Vijayanagara Empire and became an independent kingdom in the early 17th century, after the decline of the Vijayanagara Empire. Many musicians and composers have presumably adorned the courts of the Mysore kings from Yaduraya's time, furthering the "Dakshinadi" school (southern school) of music that had developed in earlier centuries. However, records are only available from the time of King Ranadheera Kanteerava Narasaraja Wodeyar (1638). Musical treatises surviving from this time, though, provide ample information on the music, musical instruments, the types of compositions, the "raga" (melodies) and the "tala" (rhythms) used. Though all the Mysore kings patronised music, the golden age of Carnatic music was considered to be during the reigns of Kings Krishnaraja Wodeyar III (1794–1868), Chamaraja Wodeyar IX (1862–1894), Krishnaraja Wodeyar IV (1884–1940) and Jaya Chamaraja Wodeyar (1919–1974). The reign of Krishnaraja Wodeyar IV is regarded as particularly important in musical terms.
Document 13: Janya: Janya is a term meaning "derive". In Carnatic (South Indian) music a janya raga is one derived from one of the 72 "melakarta" ragas (fundamental melodic structures). "Janya" ragas are classified into various types based on a variety of features.
Document 14: Muthuswami Dikshitar: Muthuswami Dikshitar (March 24, 1775 – October 21, 1835) was a South Indian poet and composer and is one of the Musical Trinity of Carnatic music. His compositions, of which around 500 are commonly known, are noted for their contemplative nature and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas. They are typically in a slower speed (chowka kala). He is also known by his signature name of Guruguha which is also his mudra (can be found in every one of his songs). His compositions are widely sung and played in classical concerts of Carnatic music.
Document 15: M. Venkataraju: M Venkataraju, one of the finest music directors of Kannada film world, who had a short span of life. He composed very good tunes for few movies due to his sudden demise. He was comparable to G.K. Ventakesh and if he was with us for long then there could have been a very good competition to give us more good songs. One technique he used was Ugabhogas (one of ways in Kannada poetry - Daasa Sahitya has used this more) in the beginning of the songs or just the Ugabhogas were his specialty (SwarnaGowri, Kanakadasa has good examples). He was brother of noted music director M.Rangarao (who famous for Saakshatkaara, Bandhana,etc.).
ground_truth: Indian