1. ĀDIBHAṬLA NĀRĀYAṆA DĀS; THE VERSATILE GENIUS - K. SAVITHRI DEVI 2. Blessed were his parents, those who saw him, and his listeners - MALLADI SURIBABU 3. Śrīmadajjāḍa Ādibhaṭla Nārāyaṇadāsaḥ – A Legend in Sanskrit Literature- K. VARALAKSHMI 4. Dashavidha Raga Navati Kusuma Manjari – A Marvelous Composition- SHREEKANTHAM NAGENDRA SHASTRY 5. Talli Vinki- UPADHYAYULA NARAYANA DAS 6. Adibhatla Narayana Dasu Kritis and Nadaneerajanam Program- R. N. S. SAILESWARI 7. Janaki Sapatham – a marvelous Harikatha of Vivadi Raga Kritis- KOMANDURI VENKATAKRISHNA 8. The Master of Rhythm- K. SADGURUCHARAN 9. Compositions of Nārāyaṇa Dās in vivādi rāgas- B. V . DURGABHAVANI 10. RUBÂIYÂT OF OMAR KHAIYÂM- UPADHYAYULA NARAYANA DAS 11. BĀṬASĀRI- UPADHYAYULA NARAYANA DAS 12. A brief sketch of Śrī Yathārtha Rāmāyaṇamu- K. SAVITHRI DEVI 13. Amalgamation of Harikatha and Kuchipudi- An experiment- DEVULAPALLI UMA 14. Contribution of Adibhatla Narayana Dasu to Carnatic Music – A brief note- K. SOBHANA PRABHA DEVI 15. SRIMADAJJADA ADIBHATLA NARAYANA DASA KATHA GANA KALA PARISHAT- U. RAJA RAJESWARI DEVI
The Master of Rhythm- K. SADGURUCHARAN
K. SADGURUCHARAN ___ K.Sadgurucharan, B.E.(Mechanical), M.A. (Rhythmology), M.A.(Theology), (PHD in Tāḷa Avadhāna), Grade 1 staff Mridangam artist,All India radio, Vijayawada, is a ‘Top Grade’ Mṛdañgam artist and the lone contemporary demonstrator of Pañchamukhi Tāḷa Avadhāna. Due to his passion for music, he had left a lucrative career as an engineer in MRF Tyres and joined All India Radio, Vijayawada as ‘Staff artist’. He wrote many articles, submitted papers and conducted workshops, live phone-in programmes in Doordarshan on topics like ‘Music & Mathematics’, ‘Mṛdañgam-The King of Percussion Instruments’. He wrote few short stories, science fiction and biographies of musicians. He has written and produced many musical features in All India Radio. Two social plays written by him were broadcast over AIR, Vijayawada. Presently he is pursuing PHD on ‘Tāḷa Avadhāna’ from Andhra University, Visakhapatnam ___ In most of the articles that I’ve read, the rhythmic excellence of Śri̅mat Ajjāḍa Ādibhaṭla Nārāyaṇa Dās was given
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