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WWW.AAMBAL.CO.UK

Ý‹ð™ - Þî› 3  ÝQ - Ý® 2009

AAMBAL - ISSUE 3  JUNE - JULY 2009

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ÜŠ«ð£¶ Þ¼ èóƒèœ «î£¡P Üõó¶ î¬ô ð£¬øJ™ ðì£îð® ‘²õ£I... èõ¬ô «õ‡ì£‹. è£ô‹ î£ƒAù. F´‚A†´ «ï£‚Aù£˜ èìˆî£ñ™ àì«ù ¶E¬ò F¼ˆªî£‡ì˜. ªð¼ñ£Q¡ ªõÀˆ¶ˆ î¼A«ø¡. Ü¼œ îKêù‹ è‡ì£˜. ¹K»ƒèœ. Ü®ò£¼‚° ðE ‘à¡ à‡¬ñ ð‚F¬ò àô°‚° ªêŒõ¶î£«ù â¡ èì¬ñ’ â¡Á àí˜ˆî«õ ò£‹ Þ„ªêò™ «õ‡®ù£˜ ªî£‡ì˜. ªêŒ«î£‹. õ£ ÜŠð«ù’ â¡Á ‘êK êK... Ü‰F‚°œ ªè£‡´õ‰¶ F¼‚°PŠ¹ˆ ªî£‡ì¬ó èJô£òˆ î‰¶Mì «õ‡´‹. Þ™¬ôªò¡ø£™ ¶‚° Ü¬öˆ¶„ ªê¡ø£˜ °O˜ â¡¬ù õ£†® M´‹’ Cõªð¼ñ£¡! â¡ø£˜ Ü®ò£˜. ÜŠªð¼ñ£«ù è£…C ãè£‹ðóï£î˜ ‘Þ«î£ õ‰¶M´A«ø¡ ²õ£I’ â¡Á Ü¬ö‚èŠð´Aø£˜. è£…C â¡Á æ«ì£® ªê¡ø£˜ ¹óˆ¶ Üõó¶ ãè£‹ðóï£î˜ ªî£‡ì˜. «è£JL™ F¼‚°PŠ¹ˆªî£‡ì¼‚° C¬ô àœ÷¶. °÷ˆF™ è‰¬î¬ò ï¬ùˆ¶ ªõœ÷£MŠ ð£¬ùJ™ Þ†ì£˜. F¼‚°PŠ¹ˆ ªî£‡ì˜ A.H. Hø° è‰¬î¬ò â´ˆ¶ ¶¬õˆî£˜. 660&700 è£ôˆ¬î„ «ê˜‰îõ˜. Þõ˜ Þ¡ù Hø ðEèO™ ß´ð†ì£˜. F¼ï£¾‚èóê˜, F¼ë£ùê‹ð‰î˜ àô˜ˆ¶‹ «õ¬÷J™ õ£ù‹ ÝA«ò£¼‚°Š H¡ù¼‹, ²‰îó¼‚° Þ¼‡´, «ñè‹ Fó‡´, ªð¼ñ¬ö ºŸð†ìõ˜. ªè£†ìˆ ªî£ìƒAò¶. ‘CP¶ «ïóˆF™ ñ¬ö G¡Á M´‹. WWW.AAMBAL.CO.UK

â™«ô£ó£‚ °¬è„ CŸð‹ Þ¶ 1400 õ¼ìƒèÀ‚° º¡ â™«ôó£‚ °¬èJ™ ªê¶‚èŠð†ì Þó£õíQ¡ CŸð‹. F¼ï£¾‚èó²ï£òù£˜ Þ‰î â™«ô£ó£„ CŸð‹ ªê¶‚èŠð†ì è£ôˆF™ õ£›‰îõ˜. Þôƒ¬è ãô‚è£´ G¬ø‰î èKò ñ¬ôè÷£™ Å›‰î¶. Üî¡ Üóêù£ù Þó£õí¡ ÜF«õèñ£è„ ªê™½‹ «î˜ ¬õˆF¼‰î£¡ â¡Á Üõó¶ è¬ìCˆ «îõ£óˆF™ ÃP»œ÷£˜. “ãô‚ è¼õ¬óÅ› è£ù™ Þôƒ¬è «õ‰î¡ è´‰«î˜” - 6:99:10 ÉóˆF™ Þó£õíQ¡ «î˜ GŸð¬î»‹ Üõ¡ êì£»¾ì¡ »ˆî‹ ªêŒõ¬î»‹ ðìˆF™ ð£¼ƒèœ.

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Ý‹ð™ - Þî› 3  ÝQ - Ý® 2009 11

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ï‡ð˜è÷£Aò ñ¶, M«ï£ˆ, Có£E Íõ¼‹ ñ£«è† èìŸè¬óJ™ ð‰¶ M¬÷ò£®‚ ªè£‡´ Þ¼‰î£˜èœ. ÜŠªð£¿¶ Üõ˜èO¡ ð‰¶ èì™ Ü¼«è à¼‡«ì£®ò¶. èì™ Ü¬ô ÜŠð‰¬î Þ¿ˆ¶„ ªê¡ø¶. M«ï£ˆ ÜŠð‰¬î â´‚è„ ªê¡ø£¡. èìô¬ô ÜŠð‰¬î e‡´‹ è¬ó‚° Þ¿ˆ¶ õ‰î¶. M«ï£ˆ Üšõ¬ôJ¡ «õèˆF™ î´ñ£P èìL™ M¿‰î£¡. M¿‰î «õèˆF™ Üõ¡ õ£Œ‚°œ èì™c˜ ªê¡ø¶. õ£Œ‚°œ ªê¡ø èì™c¬ó Üõ¡ ¶ŠHù£¡. õ£Œ º¿õ¶‹ àŠ¹ èKˆî¶. ð‰¬î â´ˆ¶ õ‰î M«ï£ˆ Ü¿î£¡. “ü£‚... «ê! Þ¶ â¡ù î‡Eò£? àŠ¹‚ è¬óòô£?” â¡Á Ü¿îð® è£Pˆ ¶ŠHù£¡. Có£E, ÜõÂ‚° õ£Œ ªè£ŠðO‚è «ð£ˆî™ î‡a¬ó‚ ªè£´ˆî£œ. Üõ¡ ªê£™õ¬î ï‹ð£ñ™ ñ¶ ªñ™ô„ ªê¡Á èì™ c¬ó‚ °®ˆ¶Š ð£˜ˆî£œ. Üî¡ àŠ¬ð ªð£Á‚è º®ò£¶ ÜõÀ‹ è£P‚ è£Pˆ ¶ŠHù£œ. ñ¶¬õ»‹, M«ï£ˆ¬î»‹ ð£˜ˆ¶ Có£E CKˆî£œ. “ÞŠð®»‹ èì™c˜ àŠð£Œ Þ¼‚°ñ£?” âù ñ¶ î£¬ò‚ «è†ì£œ. “èì™ c˜ â¡ø£œ àŠ¹ˆî£«ù! Þ¶ â¡ù «èœM?” âù î£Œ ñ¶¬õ Üî†®ù£œ. î£J¡ «è£ðˆ¬î ªð£¼†ð´ˆî£¶ e‡´‹ “èìL¡ àŠð£ Þ¶? âŠð® èì½‚° àŠ¹ õ‰î¶?” â¡ø£œ ñ¶. ñ¶M¡ î£Œ, “èì™ cK™ Þ¼‰«î àŠ¹ â´‚Aø£˜èœ. èì™ c˜ ÜŠð®ˆî£¡ àŠð£è Þ¼‚°‹” â¡ø£œ. ñ¶M¡ î£¬òŠ ð£˜ˆ¶ M«ï£ˆ, “â¡ù CˆF! ÞŠð®„ ªê£™½lƒè, àôA™ GôŠðóŠ¬ð Mì èì«ô ªðKò¶. ÜŠð Gôˆ¬îMì‚ Ã®ò ñ¬ö c˜ èìL™ î£«ù M¿‹. ñ¬ö cK™ àŠH™¬ô«ò! âŠð® èì™ c˜ àŠð£è Þ¼‚A¡ø¶?” â¡Á «è†ì£¡.

AAMBAL - ISSUE 3  JUNE - JULY 2009

ÜõÂ‚°ˆ ¶¬íò£è ñ¶¾‹, “àôA¡ GôŠðóŠ¹ 30 iîº‹, èì™ 70 iîº‹ Þ¼‚è èì™ c˜ âŠð® àŠð£ù¶?” â¡ø£œ. “Ý¡®! ñ¬ôJ™ Þ¼‰¶ M¿‹ Ü¼M c˜, ÝŸÁ c˜, ñ¬ö c˜ â™ô£‹ èìL™ ªê¡Á M¿A¡øù. Ü¶ ñ†´ñ£ õì, ªî¡ ¶¼õƒèO™ à¼°‹ ðQŠð£¬øèÀ‹ ªðŒ»‹ ðQ»‹ èìL™ èô‚A¡øù«õ. èì™ c˜ ã¡ àŠ¹ˆ î¡¬ñ °¬øò£¶ Þ¼‚A¡ø¶?” â¡ø£œ Có£E. ÞõŸ¬ø â™ô£‹ «è†´‚ ªè£‡®¼‰î M«ï£ˆF¡ Ü‹ñ£, “èì™ c˜ ã¡ àŠð£è Þ¼‚A¡ø¶ â¡ð¬î ï£¡ ªê£™A¡«ø¡, Þƒ«è õ£ƒè” â¡Á Íõ¬ó»‹ î¡Qì‹ Ü¬öˆî£œ. Íõ¬ó»‹ ð£˜ˆ¶, “â™ô£ cK½‹, ñ¬ö cK½‹ Ãì è¬ó‰F¼‚°‹ Þóê£òùŠ ªð£¼†è¬÷ M…ë£Qèœ àŠ¹‚èœ â¡Á Ü¬ö‚A¡ø£˜èœ. â™ô£ cK½‹ àŠ¹ è¬ó‰F¼‚A¡ø¶. àŠH¡ ªêP¾ î‡a¼‚° î‡a˜ ñ£Áð´A¡ø¶. Üîù£™ â™ô£ cK½‹ àŠ¹„ ²¬õ ªîKõF™¬ô.” “ÞòŸ¬èJ™ àœ÷ â™ô£Š ªð£¼†èO½‹ Þ‰î Þóê£òù àŠ¹‚èœ Þ¼‚A¡øù. àJ˜ àœ÷¬õ àJ˜ õ£ö Þ‰î Þóê£òù àŠ¹‚èœ IèIè ÜõCò‹. àJ˜Š ªð£¼†èœ Þø‰î¶‹ Ü¬õ ñ‡«í£´ ñ‡í£A¡øù. ñ‡E™ Þ¼‚°‹ Þš¾Š¹‚èœ cK™ è¬ó‰¶ èì¬ô Ü¬ìA¡øù.” WWW.AAMBAL.CO.UK

“Þ‰îŠ ÌI Þ÷¬ñò£è Þ¼‰î è£ôˆF™ èì™c˜ àŠH™ô£¶ Þ¼‰F¼‚è‚ Ã´‹.” “Ýù£™ ðô «è£® Ý‡´è÷£è ï¬ìªðŸø ¹MJò™ ñ£ŸøƒèÀ‹, âKñ¬ôèÀ‹ à‡ì£‚Aò Þóê£òù àŠ¹‚èœ èì¬ô„ ªê¡ø¬ì‰¶ M†ìù.”

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Ý‹ð™ - Þî› 3  ÝQ - Ý® 2009 13

DRIVING YOUR TEACHER INSANE Mme. Moche snapped at me, “Freins! Sapit that gum out at once! Chewing gum is against the rules!” Mme. Moche would always call you by your last name. She’d also say “treat others like how you’d want to be treated and they’ll respect that”. Yet if you tried calling her by her last name, she’d send you to the office.

was a weekday. I then put in, “So, we can eat here in the summer break, as long as it’s a weekday?” Mme. Moche angrily exclaimed, “NO!” She quickly rewrote the rule, saying that it excluded holidays. “P.A. Days?”

Weird.

She rewrote the rule.

I mildly protested, “Mme. Moche! I’m not chewing gum. I’m not exactly breaking the rules.”

“How about Early Release Days?”

Mme. Moche retorted, “Oh? So you’re just moving your jaw for the fun of it, eh? You’re eating something!” I argued, “I’m chewing on some bread. There’s no rule that says that we can’t chew on bread. We just can’t chew gum.” Mme. Moche reminded me, “There’s no eating in class!” She smiled, obviously thinking that she had gotten the better of me. I pointed out, “I’m not EATING. I’m chewing. I’m technically within the rules.” Mme. Moche sighed and went over to the bulletin board and jotted down a new rule, reading aloud as she wrote each word, “There…will…be…no…chewing…in… classroom…whatsoever.” I then argued, “What about when we eat here for lunch? Where will we eat then?” Mme. Moche crossed that rule out and improvised, “There….will… be…no… chewing…in… the…classroom...except… when…it…is…lunchtime. When….it…is… lunchtime…it…is…allowed.” I pointed out, “What if it is a Saturday? Are you giving us permission to eat here when it is the weekend?” Mme. Moche rewrote the rule, saying that you could only eat here in lunchtime if it

AAMBAL - ISSUE 3  JUNE - JULY 2009

Again, she rewrote it. “What if we don’t go to this school?” At this point, the new rule had so many blots, crossed out things and rewrites that it filled up the entire bulletin board. I then retorted, eyeing the new rule, “What if we need to eat for medical reasons? Or religious reasons? You can’t interfere with our health or religion.” Mme. Moche sighed and rewrote the new rule.

By K.Abi (12 years)

“How do you classify “medical”? I mean, I have a paper cut on my finger. Does that count as medical?” She replied, “It only counts as medical if you are in severe pain… no…. let me correct myself. It only counts if the Nurse says so.” I opened my mouth to speak, but she angrily interrupted, “Okay, Freins! You win! You can now chew bread in class.” “White bread or rye?” She thought for a second and replied, “Rye, I suppose. Our health teacher would want me to say that.” A new idea struck me, “What about

toppings? Can’t we just stick a bunch of gumballs on a tiny crumb of bread and chew it? Would that be allowed?” Mme. Moche burst out, “No toppings whatsoever!” I protested, “But dry bread tastes disgusting! We could choke on it!” Mme. Moche thought for a second and replied, “I suppose a little bit of butter wouldn’t hurt.” “Margarine?” “Only if it isn’t TOO much.” I thought for a second, looking for loopholes in her rule. Then, I got it. “What if we went to class with TEN MILLION loaves of bread?” Mme. Moche huffed, “Only one hundred and fifty calories of bread per a student per a class!” I pointed out, “Some bread is more fattening that others.” Mme. Moche said, exasperated, “Fine then. One hundred and fifty grams of bread per a student per a class. Is THIS rule good enough for you?” “What about side dishes? Plain bread is disgusting.” She objected, “NO WAY! We can’t do that!” I asked, “Why not?” Mme. Moche fumbled on her reply, “W-well, you see, umm…” “Ye-es?” I prompted. Mme. Moche found her answer, “We’d have filthy rodents running amok, feeding on our crumbs!” I, in mock shock, asked, “What? You hate animals?” Mme. Moche exclaimed, “No… no… of course not! So, no animals in the

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À CÁõ˜è

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I asked, “What about Genie, our class pet? She’s a guinea pig and is therefore an animal.”

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Creative Writing

Children's Short Story Competition

èŸð¬ù â¿ˆî£Ÿø¬ô á‚°M‚è CÁõ˜èÀ‚è£ù CÁè¬îŠ«ð£†®

Mme. Moche threw her hands up in the air, “Fine! All animals except for Genie are banned from the classroom!”

Choose one of the picture to write a story based on what you imagine is happening.

I pointed out, “What about meat? I mean, at lunch, we eat meat. Does that count?”

Entries open to all children aged 7 - 15 years old. The participating children must belong to either of the age Group 7- 11 and 12 – 15 years.

Mme. Moche sighed, “No… I’ll have to add that on.”

Entry Rules:

I strained for a loophole and then declared, “Then I’ll bring a cow tomorrow! A live cow! It’s meat, isn’t it?”

• • • • • •

Group 1: 7-11 No more than 300 Words Group 2: 12-15 No more than 750 Words All entries must be in English or Tamil Your story may be typed or hand written You may enter as many times as you like The story must be your own work and previously unpublished or seen on any other writer's forum • Any stories received after the deadline will not be entered into the competition

Mme. Moche announced, “The meat has to be dead!” I requested, “Read it again for me, will you?” Mme. Moche showed me the new rule.

What you can win!

I opened my mouth to speak but Mme. Moche went ballistic.

The winner of each category will Receive £100.00 cash prize.

“WHAT? WHAT IS IT THIS TIME?” She raged, her usually pale face flushed a deep red. I stammered, “B-b-b-” She cut me off, flailing her arms in the air, “I CAN’T STAND IT ANYMORE! IT’S JUST A SIMPLE RULE! WHY DOES IT TAKE SO LONG TO MAKE?” I could practically see the steam coming out of her ears. I stuttered, “M-m-m-” She raged and ranted on, backing slowly away from me. “I HATE WHEN CHILDREN MOUTH OFF!” She kept on backing away and backing away until she collided with the pitcher of water resting on her desk. Mme. Moche screeched loudly as the entire pitcher of water emptied all over her. Mme. Moche began stuttering angrily as I meekly said, “I just was going to say that I needed to go to the washroom.”

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The ﬁrst and second runner up will receive Educational books worth upto £50.00.

õò¶Š HKM¡ ð® ºîô£õîè£è ªõŸPªðÁ‹ åšªõ£¼õ¼‚°‹ £100 ðíŠðK²‹, Þó‡ì£‹, Í¡ø£‹ ðK² ªðÁ«õ£¼‚° îô£ £50 ªðÁñF»œ÷ ð£ìŠ¹ˆîƒèÀ‹ ðKêO‚èŠð´‹. «ð£†® õòF¡ Ü®Šð¬ìJ™: HK¾1: 7-11, HK¾2: 12-15 âù ðKYL‚èŠð´‹. «ð£†® MFº¬øèÀ‚° (Terms & Conditions) à†ð†ì è¬îè«÷ âñ¶ ðKYô¬ù‚° â´ˆ¶‚ªè£œ÷Šð´‹. «ð£†®J™ ªõŸPªðÁðõ˜è÷¶ è¬îèœ “Ý‹ðL™” Hó²K‚èŠð´‹. «ð£†® º®¾ˆ FèF æèv† 31. Terms & Conditions Individuals may enter independently. Each entry must be the child's own work. Only children between the specified ages may apply: 7 – 11 and 12 – 15 years. Each entry must be accompanied by the following details. Artist’s Name, Age, home and school address. All entries must be received in the Aambal, P.O.Box 369, Sutton, Surrey SM1 9GG by 31st August 2009. First, second and third prizes will be awarded for each age group. The decision of the judging panel will be final. Only the Winners will be notified by post. NO personal details are to be placed anywhere on your story. All stories are non returnable. Please keep a copy. The winning story will be published in "Ambal Magazine".

visit www.aambal.co.uk/creativewriting

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Ý‹ð™ - Þî› 3  ÝQ - Ý® 2009 17

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Mò£ð£ó‹ âŠªð£¿¶ ðíˆ¬î ªêô¾ ªêŒò Þ¼‚A¡ø¶ â¡ðî¬ù»‹, âŠªð£¿¶ ðí‹ Mò£ð£óˆFŸ° A¬ì‚°‹ â¡ð¬î¬ù»‹ º¡Ã†®«ò ÜP‰¶ªè£œ÷‚ Ã®òî£ù å¼ F†ìñ£°‹. Cashﬂow Forecast

Þ¶ ÝÁªî£ì‚°‹ 12 ñ£î è£ôˆFŸ° îò£K‚èŠð´‹. "Cash is King" â¡Á ÃÁõ£˜èœ. å¼ Mò£ð£ó‹ Þô£ð‹ Ü¬ì‰î£½‹ Ü‰î Mò£ð£óˆFw;F tpdpNahfk; nra;gtHfSf;F (Suppliers) àKò «ïóˆF™ ªè£´‚è‚ Ã®ò ðí‹ Þ™ô£M†ì£™ ÜF™ ðòQ™¬ô.

àƒèÀ¬ìò Mò£ð£ó‹ å¼ õƒAJì‹ Þ¼‰¶ Mò£ð£óˆ FŸè£ù ºîh†´‚èì¡ ªðŸÁ‚ªè£œ÷ M¼‹Hù£™ Þ‰î Cashﬂow forecast î£¡ Iè º‚Aòñ£ù å¼ ðˆFóñ£°‹. Cashﬂow forecast îò£K‚°‹ ªð£¿¶Üî¡ õó¾ (Income) ð‚èˆF™ õ£®‚¬èò£÷˜èOì‹ Þ¼‰¶ âŠªð£¿¶ ðí‹ A¬ì‚°‹ âŠðî¬ù»‹, Üî¡ ªêô¾ ð‚èˆF™ (Expenditure) ªè£œõù¾ ªè£´ˆîõ˜èœ (Suppliers - Purchases), «õ¬ô ªêŒðõ˜èœ, áFò‹, ï£÷£‰î ªêô¾èœ Ü™ô¶ õ£ì¬è, «ó†v, ñŸÁ‹ I¡, ªî£¬ô«ðC, 46

AAMBAL - ISSUE 3  JUNE - JULY 2009

è£Š¹ÁF, M÷‹ðó‹, õƒA‚èì¡, õK, îð£Ÿªêô¾èœ àœO†ì àƒèœ GÁõùˆF¡ ªêô¾èœ â¡ð¬õ âŠªð£¿¶ Mò£ð£óˆFù£™ ªê½ˆîŠð´‹ â¡ð¬î¬ù»‹ °ŸŠHì «õ‡´‹.

Mortgage Credit dFJù£™

îŸªð£¿¶ èì¡ ªðÁõF™ Cô î£ñîƒèÀ‹, C‚è™èÀ‹ ãŸðìô£‹ Ü¶ñ†´ñ¡P õ†® iîº‹ ÜFèñ£è Þ¼‚èô£‹. 3. Grant (àîMˆ ªî£¬è)

ºîh†®Ÿ° «î¬õò£ù ðíˆ¬î âƒA¼‰¶ ªðŸÁ‚ªè£œõ¶?

Grant â¡Á ÃÁ‹«ð£¶ å¼ î¬ôŠð†ê àîM (one-off) àîMò£è«õ Þ¼‚°‹. àƒèÀ‚° «î¬õò£ù ªñ£ˆî ºîh†´ «î¬õJ™ å¼ ð°F¬ò ñ†´«ñ

àƒèœ Mò£ð£óˆFŸ° «î¬õò£ù ðí‹ âšõ÷¾ â¡ðî¬ù cƒèœ ÜP‰¶ ªè£‡ì H¡ù˜ ÜîŸ° «î¬õò£ù ðíˆ¬î W›õ¼‹ 4 õ¬èò£ù õNèO™ ªðŸÁ‚ ªè£œ÷ º®»‹.

ªðŸÁ‚ªè£œ÷ô£‹. õƒA‚ èì¡ «ð£™ Ü¡P Þ‰î ðíˆ¬î F¼ŠH ªê½ˆîˆ «î¬õJ™¬ô. àƒèœ Mò£ð£ó Ý«ô£êè˜ Þî¬ùŠ ðŸPò º¿Mðóˆ¬î»‹, âƒA¼‰¶ Þ‰î Grant ä ªðŸÁ‚ªè£œ÷ô£‹ â¡ø Mðóƒè¬÷»‹ àƒèÀ‚° ÃÁõ£˜. Þî¬ùŠ ðŸP «ñ½‹ ÜPò M¼‹Hù£™ âñ¶ âñ¶ I¡ù…ê™ ºèõKÎì£è cƒèœ ªî£ì˜¹ªè£œ÷ô£‹.

1. àƒèÀ¬ìò «êIŠ¹Š ðí‹ (Savings) Ü™ô¶ àŸø£˜, àøMù˜, ï‡ð˜èOì‹ Þ¼‰¶ A¬ì‚°‹ ðí‹. àƒèœ Mò£ð£ó Ýó‹ðˆFŸ° IèŠ ªðKò Ü÷¾ ªî¬è «î¬õªò¡ø£™ Þ‰î õ¬èJ¡ W› A¬ì‚°‹ ðí‹ «ð£Fò÷õ£è Þ¼‚è£ M†ì£½‹ Þ‰î õ¬è¬ò ºîL™ Üµ°õ¶ î£¡ Cø‰î¶. 2. õƒA‚ èì¡ õƒA‚ èì¬ù ªðÁ‹ ªð£¿¶, õƒAò£ù¶ àƒèÀ¬ìò Mò£ð£óˆ¬î Ü™ô¶ àƒèÀ‚°„ ªê£‰îñù i†¬ì Ü¬ìñ£ùñ£è ¬õˆ«î (Security) èì¡ ªð£´Šð£˜èœ. õƒA èìÂ‚è£ù õ†® õƒA‚° õƒA «õÁð´õîù£™ ðô õƒAè¬÷ ÜµA Mê£KŠð¶ î£¡ âƒèÀ¬ìò ÜP¾¬ó. Ü‡¬ñJ™ ãŸð†ì Sub prime

(Percentage of the costs) àîMˆªî£¬èò£è (Grant)

4. Üóê£ƒèˆFì‹ Þ¼‰¶‹, Mò£ð£ó àîM ºèõ˜ GÁõùˆFì‹ Þ¼‰¶‹ ªðÁ‹ èì¡ (Business Angels). îƒèOì‹ Mò£ð£óˆ¬î Ýó‹HŠðîŸè£ù «êIŠ¹‚ ðí‹ Þ™ô£ñ½‹, ÞîŸ° º¡ù˜ Mò£ð£ó‹ ªêŒî º¡ ÜÂðõ‹ Þ™ô£M†ì£½‹ (Limited or Business track record) ÞŠð®ò£ù èì¡ àîM ªðøô£‹. (Business Angels) Íôº‹ èì¡ àîM ªðŸÁ‚ªè£œ÷ô£‹.

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Cashﬂow forecast ä îò£KŠð¶ âšõ£Á? å¼ èí‚è£÷¬ó àîMò£è ªè£‡´ Þ‰î forecast ä îò£KŠð¶î£¡ Cø‰î¶. âQÂ‹ àƒèÀ¬ìò Þô°õ£ù M÷‚èˆFŸè£è¾‹, Þ¶ ªî£ì˜ð£ù Ü®Šð¬ì Mðóˆ¬î ðA˜‰¶ªè£œõîŸè£è¾‹ W«ö àœ÷ Þô°õ£ù ä‰¶ ð®º¬øèO¡ Íô‹ M÷‚A»œ«÷¡. ð®º¬ø 1 îƒèÀ¬ìò Mò£ð£ó MŸð¬ùJ¡ (Sales) Ü´ˆî 12 ñ£î MŸð¬ù¬ò ñ£î£ ñ£î‹ èí‚Aì«õ‡´‹. ÞF™ àìù® è£² MŸð¬ù»‹ (Cash Sales), èì¡ MŸð¬ù»‹ (Credit Sales) àœ÷ì‚èŠðì «õ‡´‹. ÞF™ º‚Aòñ£ù Üƒè‹ â¡ùªõ¡ø£™ â‰î ñ£îƒèO™ âšõ÷¾ Mò£ð£ó‹ ï¬ìªðÁA¡ø¶ â¡ðî¬ù Mì â‰î ñ£îƒèO™ âšõ÷¾ ðí‹ õ£®‚¬èò£÷˜è÷£™ àƒèœ Mò£ð£óˆFŸ° îóŠð´A¡ø¶ â¡ð¶ î£¡ º‚Aò‹.

ð®º¬ø 2 Mò£ð£ó ïìõ®‚¬è¬ò îMó ñŸ¬øò õNèO™ A¬ì‚°‹ ðíõ¼õ£¬ò Þƒ° °PŠHì «õ‡´‹. àî£óíñ£è cƒèœ Mò£ð£óˆF™ ºîh†ì£è ð£M‚°‹ îƒèœ ªê£‰îŠ ðí‹, õƒA‚ èì¡, Grants â¡ðùõ£°‹. ð®º¬ø 3 «ñ«ô ð®º¬ø 1 Þ™ èí‚AìŠð†ì MŸð¬ù¬ò è¼ˆFŸ ªè£‡´ Ü‰î MŸð¬ù¬ò Ü¬ìõîŸ° âšõ÷¾ ªè£œõù¾èœ (Purchases) «î¬õò£è Þ¼‚°‹ â¡Á‹ ÜF™ âšõ÷¾ àìù® ðí Ü®Šð¬ìJ™ (Cash Purchases) âšõ÷¾ èì¡ Ü®Šð¬ìJ™ (Credit Purchases) â¡Á‹ èí‚Aì «õ‡´‹. Þî¬ù Mì ñ£î£ ñ£î‹ ªêô¾è÷£ù «õ¬ôò£†èœ ê‹ð÷ƒèœ, õ£ì¬è‚èœ, M÷‹ðó, õ£èù ªêô¾èœ â¡ðõŸ¬ø‹ èí‚A™ â´ˆ¶‚ªè£œ÷ «õ‡´‹. ð®º¬ø 4

ãŸð´‹ ªêô¾è¬÷»‹ (One-off expenses) è¼ˆF™ ªè£œ÷ «õ‡´‹. ÞîŸ° àî£óíñ£è õ£èù ªè£œõù¾, èEQ‚ ªè£œõù¾, õ¼ì£‰î õK â¡ðùõŸ¬ø‚ Ãøô£‹. ð®º¬ø 5 «ñ«ô °PŠH†ì ñ£î£ ñ£î£ õó¾è¬÷»‹, ªêô¾è¬÷»‹ è¼ˆFŸªè£‡´ Cash ﬂow forecast ä îò£K‚èô£‹. «ñ«ô °PŠH†ì Üî£õ¶ ð®º¬ø 1 Þ™ Þ¼‰¶ ð®º¬ø 4 õ¬óò£ù â‡èœ ò£¾‹ âšõ£Á èí‚AìŠð†ìù â¡ø Mðóˆ¬î»‹ (List of assumptions) Þƒ° °PŠHì «õ‡´‹.

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â„êK‚¬è: ðƒ°„ ê‰¬îJ™ ðƒ°èO¡ M¬ôèœ ÜFèK‚è¾‹ Ü«î «ïó‹ °¬øõ¬ìò¾‹ ê£ˆFòƒèœ Þ¼Šðî£™ ºîh†ì£÷˜èœ ðƒ°è¬÷ ºîh´ ªêŒò º¡ù˜ î‹Iì‹ «êIŠð£è Þ¼‚°‹ ðíˆ¬î ÜF™ ºîh´ ªêŒò «õ‡´‹. Üˆ¶ì¡ º¡Ã†®«ò î°‰î Ü÷¾ Ý«ô£ê¬ù¬ò»‹ ªðŸÁ‚ªè£œ÷ «õ‡´‹.

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F½‹ ð ‹ » «èœM àƒèœ ðíˆFŸ° å¼ ¬õˆFò˜... M´º¬ø - ¹Fò ê†ì‹ «èœM: April ñ£îˆF™ Þ¼‰¶ âù¶ «õ¬ôˆî÷ˆF™ ¹Fò ê†ìˆF¡ ð® ÜFè÷¾ ï£†èœ M´º¬ø ªè£´‚è «õ‡´‹ âù âù¶ ï‡ð˜ å¼õ˜ ÃPJ¼‰î£˜ Þî¬ø êŸÁ M÷‚èñ£è Ãø º®»ñ£? ðF™: cƒèœ ÃPò¶ «ð£¡Á 1.04.2009 ªî£ì‚è‹ åšªõ£¼ º¿«ïó «õ¬ôò£O‚°‹ ªñ£ˆîñ£è Ýè‚°¬ø‰î¶ 28 ï£†èœ M´º¬ø å¼ Ý‡®Ÿ° ªè£´‚èŠðì «õ‡´‹. Ýù£™ cƒèœ å¼ Mìòˆî¬î º‚Aòñ£è èõQ‚è «õ‡´‹. Üî£õ¶ Þ‰î 28 ï£†èO™ (Public Bank Holidays) õƒA M´º¬ø ï£†èÀ‹ Üì‚èŠ†´ Þ¼‚°‹. âù«õ àƒèœ ªñ£ˆî 28 ï£†è¬÷»‹ å¼ èŠ‹ðQò£ù¶ W›‚è‡ìõ£Á Üº™Šð´ˆîô£‹. M´º¬øèœ

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Account ™ £150,000 «êIŠH™ àœ÷¶. Credit Crunch, Subprime Loans â¡ø Hó„C¬ù‚°Š H¡ù˜ õƒAèO™ ðíˆ¬î «êIˆ¶ ¬õˆ¶ H¡ù˜ Ü‰î õƒA Bankrupt Ýè «ð£ù£™ âù¶ «êIŠ¹Š ðíº‹ ªî£¬ô‰¶‹ âù àøMù˜ å¼õ˜ ÃPJ¼‰î£˜. Þî¬ùŠ ðŸPò àƒèœ è¼ˆ¶ â¡ù.

ðF™: ¹Fò Financial Services Compensation ê†ìˆF¡ ð® ÞƒAô£‰F™ FSA Þ¡ è‡è£EŠ¹‚ °†ð†ì õƒAèO™ cƒèœ ðíˆ¬î ¬õˆF¼‰î£™ Ü‰î õƒAèÀ‚° â¡ù ïì‰î£½‹ àƒèÀè° £50,000 ðí‹ ñ†´«ñ àˆîóõ£î ðíñ£è îóŠð´‹. àî£óíñ£è àƒèOì‹ 150,000 «êIŠ¹ ðí‹ å¼ õƒAJ™ ñ†´‹ Þ¼‰î£™ Þî¬ù 3õƒèèO™ Üî£õ¶ Barclays, Natwest, Lloyds âù HKˆ¶ «êIŠðî£™ àƒèœ ªñ£îŠðíñ£è £150,000 º‹ ð£¶è£Šð£è Þ¼‚°‹. Üî£õ¶ å¼

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ðF™: 50 iî õ¼ñ£ù õK ê†ì‹ 01/04 2010 ÞL¼‰¶î£¡ ï¬ìº¬ø‚° õ¼A¡ø¶. Üî£õ¶ å¼ Ý‡®Ÿ° £150 000Ÿ° «ñ™ õ¼ñ£ù‹ A¬ìˆî£™ î£¡ 50iî õK ªê½ˆî «õ‡´‹. (ÞƒAô£‰F™ 0.5 iîñ£ù ñ‚è«÷ £150,000 «ñ™ õ¼ñ£ù‹ ªðÁA¡ø£˜˜èœ Þƒ° °PŠHìˆî‚è¶) àƒè¬÷ ªð£Áˆîõ¬ó àƒèÀ‚° êó£êKò£è ñ£îˆFŸ° £2000 õ¼ñ£ù‹ A¬ìˆî£™ cƒèœ 20iî õ¼ñ£ù õK ªê½ˆî«õ‡´‹.

M´º¬ø‚°„ ªê™Al˜è÷£... ŠP «ð è£†èœ (Pre Pay Cards) ðŸP ÜP‰¶ªè£œÀƒèœ.... ŠP «ð è£†èœ îŸ«ð£¶‹ ð£õ¬ùJ™ àœ÷ Hóò£í‚ è£«ê£¬ôèœ (Travelers Cheque) ð£˜‚è Iè¾‹ ²ôðñ£ù¶‹, àƒèœ ðíˆF¡ i‡ Móòˆ¬î î´‚è¾‹ àî¾‹. àƒèœ ðíˆ¬î cƒèœ ð£MŠðîŸ° ò£¼‚°‹ ðí‹ ªè£´‚è «î¬õJ™¬ô. Ü¶ «ð£¡ø«î Þ‰î ŠP «ð è£†. Þ¶ iê£, ñ£vì˜ ñŸÁ‹ âô‚«ó£¡ «ð£¡ø °Pf†®ìƒèO™ ê£î£óíñ£è àƒèœ Aó®Ÿ è£†è¬÷ ð£MŠð¶ «ð£™ àð«ò£A‚èô£‹. Þ‰î ŠP «ð è£†èÀ‚°Kò ðíˆ¬î cƒè«÷ «ì£Š ÜŠ ªêŒ¶ ªè£œ÷ô£‹. àî£óíñ£è cƒèœ M´º¬ø ªê™õªî¡ø£™ Þî¡ àð«ò£è‹ Iè¾‹ ²ôðñ£ù¶‹ ñŸÁ‹ Aó®Ÿ è£† «ñ£ê®èOL¼‰¶‹ àƒ¬÷ ð£¶è£‚°‹.

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AAMBAL - ISSUE 3  JUNE - JULY 2009

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"Is twitter New facebook? A guide to social networking for 2009" In recent years you can’t have failed to notice the emergence of ‘social networking’ as the Internet’s ‘killer app’. Web 2.0 products like Bebo, Myspace, Facebook, hi5, Friends Reunited and Twitter have been effortlessly integrated into people’s modern vocabulary and lifestyles. You’ve probably used them yourself. Now part of the fabric of 21st Century living for millions, networks have radically changed the way people interact with colleagues, families and friends. Sharing images, news, quizzes, music, video and information has become the done thing for millions of web users the world over.

,, Is New

Such is the popularity in the

an estimated $300 million. Though anecdotally suffering from ‘been there, done that’ web fatigue that bleeding edge net users are so pleased to announce to their friends list (that’s social networking for you), this once US-only service now has users from over 170 countries and adoption rates in newer territories are strong. During 2008, the number of Facebook users in Germany grew 144. In Italy during the second half of 2008, Facebook grew a staggering 763. Italy ranks fifth

A guide to social networking for 2009

In only ﬁve years the Palo Alto-based company has grown to now employ more than 850 staff - it is aiming for 1,000 or more in 2009. In 2008 revenues generated were an estimated $300 million. communicative nature of social networking applications like Facebook and MySpace that, according to Chris Middleton of Computer Weekly, this ‘mass proximity to - and privileged insight into - an individual's world,’ has created a social revolution.

in the world for the number of Facebook visits and according to web stats site Alexa, 8.5 of the Italian population are now Facebooking. The ‘screwing around on Facebook at work,’ group, alone has an impressive membership of nearly 5,000.

The numbers are astounding. Facebook, a product launched in 2004, limited to student only use until September 2006 is growing incredibly fast and already boasts over 200 million active users, At current growth rates it will reach 300 million users by the end of 2009. In only five years the Palo Alto-based company has grown to now employ more than 850 staff - it is aiming for 1,000 or more in 2009. In 2008 revenues generated were

Labelled as the ‘vanilla’ social site, Facebook aspires to be "the social graph" of the 21st century and has its corporate eye firmly on growth. So far, so incredibly successful.

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Is there anything going to stop the Facebook juggernaut? With more of a consumer media flavour, MySpace focusing largely on audio and YouTube, on video vie for the potentially

lucrative network space. Both have done deals with the major music labels to deliver music legally. Traditionally, Myspace (bought by Rupert Murdoch for £580m in 2005) has been the out and out social media leader. With 70 million monthly visitors in the USA this is still the case but in other countries Facebook is now leading the way. Google (who know a thing or Web 2.0 about the Internet) acquired You Tube for $1.65 billion in 2006 and have enjoyed great success delivering nearly 5.6 billion streams to nearly 85 million unique visitors in November 2008 alone. On the business side of social media Linkedin (as opposed to Inkedin, tattoo specialists) is a network of ‘Over 42 million members in 200 countries and territories around the world’ who use LinkedIn to ‘exchange information, ideas and opportunities.’ In addition to the established players there is the emergence of new vertical networks. Speaklife.co.uk wants to be the ‘complete online teen community and resource for UK teenagers’. Mothercare’s Gurgle targets new parents and SAGA Zone hoping to accommodate the more mature “silver surfer”. Parlophone/EMI has stated that KylieKonnect is likely to be the first of many fans communities built around their key artists. Sports, hobbies and interests from music, to base-jumping to bird watching are perfectly suited to vertical communities. Expect to see numerous such sites emerge over the next 12 months Professions also lend themselves ideally towards vertical networking, numerous professions and industries potentially benefiting from dedicated social networks e.g. Marcom Professional for the PR community, Trader Planet for traders and investors, One network site Facebook need have little concern over is Friends Reunited which seems have had its best days with its audience halving from 4.3 million to 2.4 million between March 2007 and March 2008. ITV, who purchased the site for £175m in 2005 now value the site at less then its purchase price (some say WWW.AAMBAL.CO.UK

"Is twitter New facebook? A guide to social networking for 2009" they are currently looking to sell the site for only a third of that amount.)

Everybody’s Twittering Perhaps the main threat to the Facebook’s social empire will be the new kids on the block - Twitter - who’ve been winning admirers and new users by the bucket load over recent months. High profile events such as the recent crash landing of the US Airways Airbus A320 in New York's Hudson River saw images circulated around the world in minutes after a witness took pictures of the stricken plane with his iPhone and sent them to the Twitter site. Twitter certainly is a great communication and connection tool allowing you to post updates (called Tweets) as often as you want (and limited to 140 characters). You can opt in to follow other people on Twitter, meaning you can see their tweets. When they follow you, they see your tweets.

networking sites including Twitter rise by 277 per cent largely through new payment plans which allow unlimited access to network sites. The recent success of the iPhone adding particular momentum as the iPhone provides continually wireless Internet. Whether regarded as competition or simply a shrewd business investment Facebook attempted to buy Twitter at the tail end of 2008. The amount offered - $500m of Facebook stock was almost immediately rejected. Whether Twitter were unsure as to the value of Facebook shares or were holding out for a better or a cash offer is unknown. The offer does focus attention on the values and revenue streams of network sites and how they will turn their popularity into profit (Twitter is reputed to make no money whatsoever at this stage).

The answer is likely to be through charging for facilities currently enjoyed for free. The Twitter SMS Sometimes referred to as withdrawal may be the first in a micro-blogging, it’s ongoing whole series of moves designed to communication. You can turn it on generate returns. With advertising or off as often as you like. Twitter likely to dry up and sites like Bebo also keeps a public record of all failing to be the lucrative business updates, which can be mined with models their investors originally Twitter Search. envisaged. APIs and even simple Twitter is big news these days and tasks such as uploading video may soon be chargeable. has considerable reach - 5 to 10 thousand new people join every ‘Average revenue per user for day totalling around 5 million some of the largest new media current users. Statistics from Feb sites is measured in just pennies 2009 suggest the site grew by a per month, not pounds. This staggering 1382 a month. compares with a typical average Though recently compromised by revenue per user of tens of dollars the withdrawal of the Twitter SMS for a cable subscriber, a regular newspaper reader or a movie service in the UK (Twitter had to foot the bill for all the messages), fan,” according to Director of research for technology and negotiations are underway with telecommunications for Deloitte, mobile phone operators to provide full, two-way service with Paul Lee, Twitter via SMS. In the meantime In less than 140 characters: The Twitter apps on 3G and WiFi end of free social networking may enabled phones or an SMS be upon us. company like tweetSMS should provide Twitter on the move. In fact the second half of 2008 saw the numbers of users of mobile handsets accessing social WWW.AAMBAL.CO.UK

Ý‹ð™ - Þî› 3  ÝQ - Ý® 2009 55

Simple guide to

Karnatic music Sangeeta Ratnakara was a milestone of sorts. Not only was it a musicology text, but it also had detailed prescription for the performance. The grammar and framework are usually called 'Lakshana' and the actual performance is called 'Lakshaya'. We have already seen how he gave an Ayurvedic basis for the 22 sruti octave. He too performed a famous experiment (on a veena) to determine the 22 srutis uniquely. He also mapped the 22 srutis into seven swaras and also suggested the 'mood' for the various swaras (Sa produces heroism, Ri - terror, Pa - love and so on). He was probably responsible for suggesting an inter-relationship between the various notes constituting a ragam, by proposing the Vadi-Samvadi-AnuVadi-Vivadi notion of a ragam. A word or two about this since you might hear these terms mentioned. What is the relationship between the various notes in a ragam? How can we understand how the note 'Sa' is related to the note 'Ma' or 'Dha'

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in that ragam? This scheme defines a concept called the 'Vadi' or the primary note of a ragam or the sonant or the 'King'; and by the same token, a Samvadi or the 'Minister' or the second in line ('Concordant note'); 'Anuvadi' or the 'Servant' to give the 'proper shape' to the ragam ('Assonant') and finally the 'Dissonant' or the Vivadi, or the 'enemy'. It is questionable as to how useful such dissection is; but considerable volumes have been written about such things and several hundred ragams and their Vadi-Vivadi etc structure has been catalogued by several authors. You must remember that this theory is essentially to analyze the concept of a ragam and explain what gives its specific appeal. Saranga Deva, among other things, defined almost 264 ragams, including some South Indian and North Indian ones. He described the various 'kinds' of 'microtones' and how to produce them. He also classified them into various categories. He defined

Part 2

- Amritha

something called 'Kaku' (a term that is hardly used these days) as a blending of melody and sruti. More than anything else, after his work came into being, it provided a veritable guide to the performers. Saranga Deva's work probably launched a whole new era in music compositions and performance. In fact, for several centuries afterwards, the theorization of music became dormant, giving importance to performance. In the seventeenth century, there was a resurgence of theoretical works - such as Sangeeta Sudha (written by Govinda Dikshitar) and Chaturdandi Prakasikam (by Venkatamakhi). The latter expounded the present day Melakarta Scheme. The author mentions the twelve sruti octave and defines the Melakarta ragams. At that time only about 19 (out of 72) were 'known'. He proposed the Katayapadi scheme of figuring out the keys used in the Melakarta from the name. It is interesting to point out that the original names given by him for the 72 Melakartas

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Simple guide to Karnatic music - Part 2 are not the ones used these days. For example, he called the first Melakarta as Kanakambari whereas it is called Kanakangi at present. In fact, except for one or two ragams, almost all of the 72 names are quite different compared to what he had meant - although his names, as well as the present names follow the Katayapadi scheme. It must be remembered however, that this is not the only way to classify ragams. There are several other alternate schemes and names (composers like Muthuswamy Dikshitar used alternate names for several ragams) and you can get very deeply into such things. While such elaborate theoretical works were being written, eminent composers appeared on the scene and produced music. Annammacharya (1424-1503) a devotee of the 'Lord of Tirupati' composed several notable pieces. He was followed by Purandara Dasa (1480-1564). Purandara Dasa is considered the father of Karnatic music. He was a multi-millionaire ('koteeswara') to begin with, and accumulated enormous wealth in business. He was only interested in the pursuit of money and material pleasures, like most of us, till one day due to a divine intervention, his life changed. He renounced his wealth and became a 'Dasa' (which means a servant) dedicating his life to serving god and making music in god's honour. From then on, his life was one misery after another and there are several legends associated with him which make interesting reading. Through all this Purandara Dasa never stopped making music. He is said to have composed nearly a quarter million songs in his lifetime, for which he probably earned quite a lot of 'Frequent Composer Mileage' awards. By the way, this works out to be about fifteen songs for every single day of his life. Even discounting for exaggeration, he was quite prolific. Several hundreds of his songs are still available, although it is likely that many of the present day versions of his numbers were set to tune by later musicians. His compositions were mostly in his native tongue, Kannada. Purandara Dasa's songs are simple and easy for beginners to learn. He was the one who is credited with standardising the Mayamalavagoula ragam as a Lesson Number One for beginning students and is said to have even composed the Sarali Varisai/Jantai Varisai (exercises in 'note' reproduction) for beginners. The Golden Age of Karnatic music was perhaps the time when the Trinity of Karnatic composers Thyagaraja (1767-1847), Shyama Sastri (1763-1827) and Muthuswamy Dikshitar (1775-1835) made music. Interestingly, they were all contemporaries hailing from the same century, although it is not clear what kind of influence each had on the other. Their lifestyles, music, attitudes seem so different that it contributed to their musical styles being distinct from each other. Volumes and volumes have been written about them. So what you will find here are truly only the thumbnail sketches. Thyagaraja is probably hailed as the King of Karnatic music, although when he was alive he

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shunned publicity and even rejected the King's invitation to join his court. In fact, he renounced worldly goods, (including copyrights to his songs) and devoted himself to God. His songs have the raw devotion ('Bhakti', if you will) and are considered emotional. He composed songs in his mother tongue, Telugu. It is not known how many songs he has composed, but nearly a thousand songs are available at present, completely notated and interpreted. He has also composed operas. From the musicology point of view, Thyagaraja is credited with the invention of 'Sangatis' and with numerous other creative ideas in rhythm. Thyagaraja's most famous compositions are the five Pancharatna Kritis set in the ragams as follows; Nattai, Goulai, Arabhi, Varali and Sree. Yes, who hasn't heard the song 'Endaro Mahanu Bhavulu' and not liked it? Dikshitar was more of an academician of music and a pedagogue. He was quite a handsome man, which perhaps explains why he had two wives. He spent considerable time in the North studying Hindustani music, which influenced him quite a bit. He wrote his songs primarily in sanskrit (I have heard one of his songs with just one stanza in Tamil). About four hundred or so of his songs exist at present. His songs are more complex and few can sing some of his complicated pieces. His lyrics are generally praises of the God (or Goddess) in point and are much more subdued and formal compared to the raw energy of a Thyagaraja song. His songs are often slow (influence of Hindustani) and often went into several different aspects of the ragam. Shyama Sastri is the most obscure of the three - he is considered a wizard of rhythm and composed several pieces called Swarajatis which enunciate various rhythmic patterns. Interestingly, none of the Trinity's students made it very big, (some of them became reasonably famous alright). This brings to point the curious teacher-student relationship that used to exist in India. Karnatic music was largely an oral tradition. Information was often lost, sometimes forever, when Gurus passed on their knowledge to their disciples - and this doesn't even count some Gurus who wouldn't teach everything to the disciples. There are several other notable composers such as Gopala Krishna Bharathi who composed in Tamil and was a contemporary of the trinity. Prior to him were other Tamil composers like Arunagirinathar and Arunachala Kavirayar. Swati Tirunal, the king of Travancore was a great composer of the nineteenth century. Among the more recent composers are Papanasam Sivan and Balamurali Krishna and the list goes on and on. Now we have come to a point in history where not only has theorising stopped, but even composing of heavy duty pieces seem to have stopped and we are left with only performers! Such performers - some real luminaries and some also-playeds, but most have pompous sounding prefixes like 'Shankarabharanam' Narasayya and 'Todi'

Raghava Iyer. A more fascinating aspect of history of Karnatic music is to study its evolution, delineate the broad musical trends etc. For example, even the instruments used in music-making have changed over the years. Gone are the olden instruments which were mostly derivatives of veena. In fact, veena-making was a fine art and there were many, many types of veenas serving various different purposes. The harp type instrument ('Yazh') and the ancient flutes have disappeared. Instead Western instruments such as clarionet, guitar, axaphone and Mandolin are increasingly being adapted to Karnatic music. Interestingly, not many newer Hindustani instruments (such as sitar, sarod and sarangi) are used in Karnatic music. Another historical accident was the introduction of violin in Karnatic music. It was popularized in the nineteenth century by Vadivelu, who was a member of what is considered as the Thanjavur Quartet - a set of four brothers who were very talented composers/musicians especially of dance music. (They came a little after the more famous Trinity) Vadivelu was a court musician in the Travancore Royal Court and made extraordinary contributions to dance music, besides being a master of violin. By the way, he is said to have accompanied himself on the violin, a no mean feat! Like his musically gifted patron, composer Swati Tirunal, the king of Travancore, he too died when he was in his mid thirties. It is interesting to note that the violin was embraced very easily by the Karnatic music tradition whereas it is not so prominent even now in Hindustani music. Prior to violin, veena used to accompany vocalists. The present day vocal concert always has violin support, even though the violinist only plays in the shadow of the vocalist, with very few chances in the concert to show off his talents. This is quite intriguing to say the least. (Of course, the violinist can mask the vocalist sometimes and this can actually be a plus point if the vocalist has a horrible voice!) For more detailed accounts of the recent history, happenings etc, one should read a magazine published from Madras called 'Sruti', which not only provides concert reviews, news events etc, but also gives us a peek into the prevailing 'Karnatic music' taste and culture. However, if you are a history buff, my strong recommendation will be Rangaramanuja Iyengar's delightful book. He is fanatical about Karnatic music and gets quite merciless in condemning the 'modern day Karnatic music world' - his modern day being the 1950s! I wonder what he would have to say if he sees people with questionable credentials writing about Karnatic music primers - who even have the temerity to suggest that a Western electronic keyboard be used as a learning tool!

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