Mridangam - Revision history

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Removed empty portal template using script

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	==See also==		==See also==
	~~{{Portal\|India\|Music}}~~
	*[[Khol]]		*[[Khol]]
	*[[Thavil]]		*[[Thavil]]

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2021-08-29T09:32:09Z

Current players

← Older revision		Revision as of 15:02, 29 August 2021
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	\|articles= [[Carnatic music]]		\|articles= [[Carnatic music]]
	}}		}}
	The '''mridangam''' is a [[percussion instrument]] of ancient origin. It is the primary rhythmic accompaniment in a [[Carnatic music]] ensemble. A related instrument is the [[Kendang]], played in [[Maritime Southeast Asia]].		The '''mridangam''' is a [[percussion instrument]] of ancient origin. It is the primary rhythmic accompaniment in a [[Carnatic music]] ensemble, and in [[Dhrupad]], where a modified version, [[pakhawaj]] is the primary percussion intrument. A related instrument is the [[Kendang]], played in [[Maritime Southeast Asia]].

	During a percussion ensemble, the mridangam is often accompanied by the [[ghatam]], [[kanjira]], and [[morsing]].		During a percussion ensemble, the mridangam is often accompanied by the [[ghatam]], [[kanjira]], and [[morsing]].
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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.		It is not uncommon for artists to use stands for the miruthangam so the body is not loaded in an asymmetrical position.

	There have recently been reports of gradually altered gait and in balance in those that play the mridangam for long periods of time ~~whilst sitting~~ in asymmetrical positions. ~~This may be due~~ to the ~~asymmetrical arrangement~~ of the two sides of the body, ~~which may cause asymmetrically tight muscles on one side of~~ the ~~body~~.		There have recently been reports of gradually altered gait and in balance, varying in severity, in those that play the mridangam for long periods of time in asymmetrical positions, especially with poor care to body posture. Some drums schools do not pay attention to posture and health so it's important to find a school that does so, and to ensure that teachers are experienced and licensed to teach. Additionally, the nature of the drum might make 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.

	Issues caused by asymmetrical ~~limb~~ position include scoliosis, uneven shoulders, and ~~lateral pelvic tilt at the hip, which~~ may ~~transfer issues to other~~ issues further down ~~the limb~~, as ~~well as to~~ the ~~core~~ of the ~~body~~. ~~It is not known how prevalent~~ the issues ~~are and some artists do not agree~~ to ~~experiencing any symptoms~~, ~~although this may relate~~ to the ~~stigma~~ associated ~~with disability~~.		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 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.
	~~Research has yet to be done on~~ the ~~association~~ to ~~physical impairments when~~ the ~~drum is played without a stand~~.

	~~Musicians should also watch out for uneven shoulder positions when playing the drum, which may not be avoidable.~~ It is ~~recommended that~~ the ~~musician sits completely straight, with hips, spine and shoulders completely even. Wooden stands may help alleviate~~ issues ~~with scoliosis, uneven shoulders, hips~~ and ~~its associated issues at the knee and ankles. The impacts can result in difficulty in walking and running efficiently. It is~~ not ~~known whether all round strength training or playing the drum with the contralateral side of the body may prevent or alleviate these problems. 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, including uneven hips, shoulders and scoliosis. Regular stretching, weight training, and sports are advisable but may not prevent~~ impairments.		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 played with a stand.

	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 changes to the body can be reversed. ~~These~~ conditions ~~are very uncommon and with proper exercise the problems can~~ be avoided.		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 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.

			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.

			Such conditions may be avoided through learning from experienced, licensed teachers.

	Research on the miruthangam and postural issues are yet to be done.		Research on the miruthangam and postural issues are yet to be done.
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	* [[Tiruvarur Vaidyanathan]]		* [[Tiruvarur Vaidyanathan]]
	* [[Erickavu N. Sunil]]		* [[Erickavu N. Sunil]]
			*Anantha R. Krishnan
			*[[Srirangam Venkatraman]]
			*[[K.U. Jayachandra Rao]]
			*Bangalore Praveen
			*Arjun Kumar
			* [[Chalakudy Ramesh Chandran]]

	==See also==		==See also==

Intelligence Journal: Created page with "{{Short description|percussion instrument}}{{About|the wooden double-headed drum of southern India|the clay double-headed drum of eastern India|khol}} {{More citations needed|..."

2021-05-27T18:16:41Z

Created page with "{{Short description|percussion instrument}}{{About|the wooden double-headed drum of southern India|the clay double-headed drum of eastern India|khol}} {{More citations needed|..."

New page

{{Short description|percussion instrument}}{{About|the wooden double-headed drum of southern India|the clay double-headed drum of eastern India|khol}}
{{More citations needed|date=December 2020}}
{{Use dmy dates|date=July 2020}}
{{Use Indian English|date=July 2020}}
{{Infobox instrument
|name=Mridangam/Tannumai
|names=
|image=Wiki-mridangam.jpg
|image_capt=
|background=percussion
|hornbostel_sachs=
|hornbostel_sachs_desc=
|range=
|related=
*[[Mardala]], [[pakhawaj]], [[khol]], [[tabla]], [[kendang]]
*ghatam, kanjira (accompanying instruments)
|musicians=
*'''Legacy:''' [[Palghat Mani Iyer]], [[Palani Subramaniam Pillai]], [[Ramanathapuram C S Murugabhoopathy]], [[Palghat R. Raghu]], [[Mavelikkara Velukkutty Nair]], [[Vellore G. Ramabhadran]]
*'''Current:''' [[T. K. Murthy]], [[Umayalpuram K. Sivaraman]], [[T S Nandakumar]], [[Karaikudi Mani]], [[Trichy Sankaran]], [[Guruvayur Dorai]], [[Dandamudi Sumathi Ram Mohan Rao]], [[Patri Satish Kumar]]
|articles= [[Carnatic music]]
}}
The '''mridangam''' is a [[percussion instrument]] of ancient origin. It is the primary rhythmic accompaniment in a [[Carnatic music]] ensemble. A related instrument is the [[Kendang]], played in [[Maritime Southeast Asia]].

During a percussion ensemble, the mridangam is often accompanied by the [[ghatam]], [[kanjira]], and [[morsing]].

==Etymology==
The word "Mridangam" is formulated by the union ([[sandhi]]) of the two [[Sanskrit]] words ''mŗt'' (clay or earth) and ''anga'' (limb), as the earliest versions of the instrument were made of hardened clay.

== Legend ==
In ancient [[Hinduism|Hindu]] sculpture, painting, and mythology, the mridangam is often depicted as the instrument of choice for a number of deities including [[Ganesha]] (the remover of obstacles) and [[Nandi (bull)|Nandi]], who is the vehicle and follower of [[Shiva]]. Nandi is said to have played the mridangam during Shiva's primordial ''[[tandava]]'' dance, causing a divine rhythm to resound across the heavens. The mridangam is thus also known as "deva vaadyam," or "Divine Instrument".{{citation needed|reason=no citation for this legend|date=February 2018}}

==History==
Over the years, the mridangam evolved to be made of different kinds of wood due to its increased durability, and today, its body is constructed from wood of the [[jackfruit]] tree. It is widely believed that the [[tabla]], the mridangam's [[Hindustani classical music|Hindustani]] musical counterpart, was first constructed by splitting a mridangam in half. With the development of the mridangam came the [[Tala (music)|tala]] (rhythm) system.

Mridangam has a large role in [[Newa music]]. One of the earliest [[Nepal Bhasa]] manuscripts on music is a treatise on this instrument called Mridanga anukaranam.<ref>Book: Nepalbhasa sahitya ya itihaas, Author: Prof. Premshanti Tuladhar, Publication: Nepalbhasa Academy, {{ISBN|978-99933-56-00-4}}</ref> The importance of a beating has changed over the years. In the old days, percussionists only used to accompany the lead player like the vocalist but this time their development is not restricted to accompaniment only but also to play one instrument shows.

===Tamil culture===
{{Further|Ancient Tamil music}}
In Tamil culture, it is called a ''tannumai.''<ref>{{cite book|last=Cuntaram |first=Pi. Em. |last2=Kalākēndra |first2=T.|title=Great layavadyakaaraas of Karnatak music |year=2010|publisher=Percussive Art Centre }}</ref> 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 also we find detailed references to it as in the [[Natyasastra]].<ref>{{cite book|title=Kalakshetra |volume=8 |page=49 |url=}}</ref> During the [[Sangam period]], it was one of the principal percussion instruments to sound the beginning of war along with murasu , ''tudi'' and ''parai'' because it was believed that its holy sound will deflect enemy arrows and protect the King.<ref>{{cite book|title=Surabhi: Sreekrishna Sarma felicitation|year=1983|publisher=Prof. E.R. Sreekrishna Sarma Felicitation Committee|page=90|url=https://books.google.com/books?id=acgNAAAAIAAJ&q=%22battle+was+started,+for+it+was+believed+that+their+holy%22}}</ref> During the post-Sangam period, as mentioned in the epic [[Silappadikaram]] , it formed a part of the ''antarakoṭṭu ''<ref>{{cite web|last=T.S. Parthasarathy|title=BHARATANATYAM IN HISTORY|url=http://www.carnatica.net/special/bharatanatyam-history-tsp.htm|work=Carnatica.net|access-date=26 February 2013}}</ref><ref>{{cite book|last=Iḷaṅkōvaṭikaḷ, Daniélou A.|title=Shilappadikaram: (The Ankle Bracelet)|year=1965|publisher=New Directions Publishing|isbn=0811200019|page=14|url=https://books.google.com/books?id=Uu3QelRpmsgC&q=Antarakkottu&pg=PA14}}</ref> - a musical ensemble at the beginning of dramatic performances that would later develop into [[Bharathanatyam]].<ref>{{cite book|last=Viswanathan|first=Lakshmi|title=Bharatanatyam, the Tamil heritage|year=1984|publisher=Sri Kala Chakra Trust|page=23|url=https://books.google.com/books?id=60XkAAAAMAAJ&q=%22This+was+followed+by+an+instrumental+chorus+called+the%22}}</ref> The player of this instrument held the title ''tannumai aruntozhil mutalvan ''.<ref>{{cite book|title=Tamil Studies, Volume 3|year=1983|publisher=International Institute of Tamil Historical Studies|page=36|url=https://books.google.com/books?id=iiDjAAAAMAAJ&q=Tannumai}}</ref>

==Construction==
[[File:A_Miruthangam.JPG|alt=|left|thumb|296x296px|Mrudangam]]
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 goatskin and laced to each other with leather straps around the circumference of the drum. These straps are 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 width to allow for the production of both [[bass (sound)|bass]] and [[clef|treble]] sounds from the same drum.

The bass aperture is known as the ''thoppi'' or ''eda bhaaga'' and the smaller aperture is known as the ''valanthalai'' or ''bala bhaaga''. 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, ferric oxide powder and starch. This black [[Syahi|tuning paste]] is known as the ''satham'' or ''karanai'' and gives the mridangam its distinct metallic timbre.

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 [[Chandrasekhara Venkata Raman|C. V. Raman]].<ref>Raman and Kumar 1920, Musical drums with harmonic overtones. Nature (London) 104 500, 453-454</ref><ref>Raman 1935, The Indian musical drums. Proc. Indian Acad. Sci. A1 179–188</ref>

==Methods of use==
Immediately prior to use in a performance, the leather covering the wider aperture is made moist and a spot of paste made from semolina (rawa) and water is applied to the center, which lowers the pitch of the left 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 in 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 right 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 right 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 [[pitch pipe]] or a [[Tanpura|tambura]]. 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.

==Posture==
[[File:Mridangam carving from Trmple in Bihar मृदुंग.jpg|thumb|Position of a Mridangam player carving from a Temple in Bihar]]
The mridangam is played resting it almost parallel to the floor. A right-handed mridangam artist plays the smaller [[diaphragm (acoustics)|membrane]] with their right hand and the larger membrane with the left hand.

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 pelvic tilt. For a left-handed percussionist, the legs and hands are switched.

It is not uncommon for artists to use stands for the miruthangam so the body is not loaded in an asymmetrical position.

There have recently been reports of gradually altered gait and in balance in those that play the mridangam for long periods of time whilst sitting in asymmetrical positions. This may be due to the asymmetrical arrangement of the two sides of the body, which may cause asymmetrically tight muscles on one side of the body.

Issues caused by asymmetrical limb position include scoliosis, uneven shoulders, and lateral pelvic tilt at the hip, which may transfer issues to other issues further down the limb, as well as to the core of the body. It is not known how prevalent the issues are and some artists do not agree to experiencing any symptoms, although this may relate to the stigma associated with disability.
Research has yet to be done on the association to physical impairments when the drum is played without a stand.

Musicians should also watch out for uneven shoulder positions when playing the drum, which may not be avoidable. It is recommended that the musician sits completely straight, with hips, spine and shoulders completely even. Wooden stands may help alleviate issues with scoliosis, uneven shoulders, hips and its associated issues at the knee and ankles. The impacts can result in difficulty in walking and running efficiently. It is not known whether all round strength training or playing the drum with the contralateral side of the body may prevent or alleviate these problems. 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, including uneven hips, shoulders and scoliosis. Regular stretching, weight training, and sports are advisable but may not prevent impairments.

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 changes to the body can be reversed. These conditions are very uncommon and with proper exercise the problems can be avoided.

Research on the miruthangam and postural issues are yet to be done.

==Strokes==
Basic strokes on the mridangam:

*'''Tha''': Non-vibrating tone played on the left-hand side with the whole palm / Non-vibrating tone played on the right-hand side with 3 fingers.
*'''Dhi''': Non-vibrating tone played on the center black portion of the right-hand side using middle, ring, and small fingers.
*'''Thom''': Vibrating tone played on the outer side of the left-hand side.
*'''Nam''': 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').

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 art.

Advanced strokes:

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 and theoretical appeal. Increasingly complex calculations (kanakku) and metres (nadais) may be employed when the mridangam is played.

*'''Ta''': A sharp flat note played with the index finger in the middle of the black portion on the right side of the mridangam.
*'''Gumukki''': A variating bass tone produced by playing on the inner layer of the lower end of the left-hand side. Sound is produced only when there is a special applied paste.
*'''Full Chapu''': 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.
*'''Ara Chapu''': A note similar to Chapu, but is an octave higher, and is played with the side of the hand and less of the pinky.
*'''Dheem''': A vibrational tone version of nam played on the black portion of the mridangam.

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.

Types of Talam, each with specific angas and aksharas:
*Dhruva thaalam
*Matya talam
*Rupaka talam
*Jhampa talam
*Ata talam
*Eka talam
*Triputa talam

==Modern usage==

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 (''pakkavadyam''), 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 (''thani avarthanam''), where the mridangam artist and other percussionists such as kanjira, morsing, and ghatam vidwans exchange various complex rhythmic patterns, culminating in a grand finale where the main artist resumes where he or she left off.{{citation needed|date=July 2020}}

Mridangam is used as an accompanying instrument in [[Yakshagana]] Himmela (orchestra) where it is called the [[maddale]]. However, the mridangam used in Yakshagana is markedly different in structure and acoustics from the ones used in Carnatic music.{{citation needed|date=July 2020}}

Significant players of the mridangam in modern times are [[T. K. Murthy]], [[Dandamudi Ram Mohan Rao]], [[T. V. Gopalakrishnan]], [[Umayalpuram K. Sivaraman]], [[Vellore G. Ramabhadran]], [[T S Nandakumar]], [[Karaikudi Mani]], [[Trichy Sankaran]], [[Mannargudi Easwaran]], [[Yella Venkateswara Rao]],<ref>[[List of Padma Shri award recipients (2000–2009)|Padma Shri Awards (2000–09)]]{{Circular reference|date=December 2018}}</ref> and [[Thiruvarur Bakthavathsalam]], who have been playing and advancing the technique for decades.{{citation needed|date=July 2020}}

==Mridangamela==
[[File:Mridangamela.jpg|thumb|right|Mridangamela at Koodalmanikyam Temple, Irinjalakuda]]
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.<ref>{{Cite web |url=http://www.ibnlive.com/news/india/mridangam-concert-at-christ-nagar-school-384267.html |title="Mridangam concert at Christ Nagar School", ''IBNLive.com'' |access-date=4 August 2015 |archive-url=https://web.archive.org/web/20160304205849/http://www.ibnlive.com/news/india/mridangam-concert-at-christ-nagar-school-384267.html |archive-date=4 March 2016 |url-status=dead }}</ref> 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 train for Mridangamela made this easy to be taught and contributed to its popularity.<ref>(2009). "[http://www.newindianexpress.com/magazine/2009/feb/21/spectacular-mridangamela-27499.html Spectacular Mridangamela]", ''NewIndianExpress.com''.</ref> In [[Koodalmanikyam Temple]], [[Irinjalakuda]], 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.<ref>(2015). "[http://archives.mathrubhumi.com/thrissur/news/3564723-local_news-Thrissur-%E0%B4%87%E0%B4%B0%E0%B4%BF%E0%B4%99%E0%B5%8D%E0%B4%99%E0%B4%BE%E0%B4%B2%E0%B4%95%E0%B5%8D%E0%B4%95%E0%B5%81%E0%B4%9F.html Irinjalakuda]", ''Mathrubhumi.com'' {{in lang|ml}}.</ref> This is performed as an offering to Lord Bharata, who is the deity of Koodalmanikyam Temple.<ref>(2015). {{Cite web |url=http://www.mathrubhumi.com/thrissur/news/101-%E0%B4%95%E0%B5%81%E0%B4%9F%E0%B5%8D%E0%B4%9F%E0%B4%BF%E0%B4%95%E0%B4%B3%E0%B5%8D%E2%80%8D-%E0%B4%A8%E0%B4%9F%E0%B4%A4%E0%B5%8D%E0%B4%A4%E0%B4%BF%E0%B4%AF-%E0%B4%AE%E0%B5%83%E0%B4%A6%E0%B4%82%E0%B4%97%E0%B4%AE%E0%B5%87%E0%B4%B3-%E0%B4%B9%E0%B5%83%E0%B4%A6%E0%B5%8D%E0%B4%AF%E0%B4%AE%E0%B4%BE%E0%B4%AF%E0%B4%BF--1.208701?pq=1.37565 |title="Irinjalakuda", ''Mathrubhumi.com'' |access-date=9 December 2018 |archive-url=https://web.archive.org/web/20160304091740/http://www.mathrubhumi.com/thrissur/news/101-%E0%B4%95%E0%B5%81%E0%B4%9F%E0%B5%8D%E0%B4%9F%E0%B4%BF%E0%B4%95%E0%B4%B3%E0%B5%8D%E2%80%8D-%E0%B4%A8%E0%B4%9F%E0%B4%A4%E0%B5%8D%E0%B4%A4%E0%B4%BF%E0%B4%AF-%E0%B4%AE%E0%B5%83%E0%B4%A6%E0%B4%82%E0%B4%97%E0%B4%AE%E0%B5%87%E0%B4%B3-%E0%B4%B9%E0%B5%83%E0%B4%A6%E0%B5%8D%E0%B4%AF%E0%B4%AE%E0%B4%BE%E0%B4%AF%E0%B4%BF--1.208701?pq=1.37565 |archive-date=4 March 2016 |url-status=live |language=ml}}</ref> 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 [[Chembai Sangeetholsavam]] for the past 35 years orchestrated by Korambu Mridanga Kalari.<ref>{{Cite web |url=http://www.chandrikadaily.com/contentspage.aspx?id=114207 |title=താളവിസ്മയം തീര്‍ത്ത് ചെമ്പൈയില്‍ കുരുന്നുകളുടെ മൃദംഗമേള |language=ml |trans-title=Rhythm is the melody of the children in Chembai |date=November 27, 2014 |access-date=2015-08-04 |archive-url=https://web.archive.org/web/20150923202229/http://www.chandrikadaily.com/contentspage.aspx?id=114207 |archive-date=2015-09-23 |url-status=dead }}</ref>

==Players==
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 [[Palani Subramaniam Pillai]], [[Palghat Mani Iyer]] and [[C.S. Murugabhupathy]] contributed so much to the art that they are often referred to as the Mridangam Trinity.

===Past players===
{{columns-list|
* [[Pudukkottai Dakshinamurthy Pillai]]
* [[Palghat Mani Iyer]]
* [[Palani Subramaniam Pillai]]
* [[Ramanathapuram C. S. Murugabhoopathy]]
* [[Palghat R. Raghu]]
* [[Mavelikkara Velukkutty Nair]]
* [[Mavelikara Krishnankutty Nair]]
* [[Kumbakonam M Rajappa Iyer]]
* [[Dandamudi Ram Mohan Rao]]
}}

===Current players===
* [[T. K. Murthy]]
* [[Umayalpuram K Sivaraman]]
* [[T. V. Gopalakrishnan]]
* [[Trichy Sankaran]]
* [[Guruvayur Dorai]]
* [[Karaikudi Mani]]
* [[T S Nandakumar]]
* [[Yella Venkateswara Rao]]
* [[Mannargudi Easwaran]]
* [[Thiruvarur Bakthavathsalam]]
* [[A. V. Anand]]
* [[Dandamudi Sumathi Ram Mohan Rao]]
* [[Srimushnam V. Raja Rao]]
* [[Patri Satish Kumar]]
* [[Anoor Anantha Krishna Sharma]]
* [[Trichur C. Narendran]]
* [[Tiruvarur Vaidyanathan]]
* [[Erickavu N. Sunil]]

==See also==
{{Portal|India|Music}}
*[[Khol]]
*[[Thavil]]
*[[Karatalas]]
*[[Trống cơm]]- a similar Vietnamese instrument

==References==
{{Reflist}}

==External links==
* [http://rupkatha.com/V7/n3/17_carnatic-music-south-india.pdf Rhythmic Syllables article by Mannarkoil J Balaji]
* [http://musicresearchlibrary.net/omeka/items/show/2661 Rhythmic Descent in Karnatic Music by Mannarkoil J Balaji]

{{Indian musical instruments}}
{{Worship in Hinduism}}
{{Authority control}}

[[Category:Carnatic music instruments]]
[[Category:Hand drums]]
[[Category:Battle drums]]
[[Category:Pitched percussion]]
[[Category:Indian musical instruments]]
[[Category:Asian percussion instruments]]