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Bethel College, in Indiana, is starting an undergraduate major in computer science. I remember I went up wearing my shoes!

He then asked me to remove my shoes. The concert lasted five hours and all through the time, I was with him, doing thaalam.

He was so impressed with my dedication that he offered to teach me when I came to Chennai next. The next summer, in , I was in Chennai to take lessons from him directly.

I have been taking lessons from him for the last 15 years. Sometimes I come here to take lessons, or when he comes to the US, he often stays with us for a month or so, so that I could learn from him.

I never had the luxury of having a teacher in the same city. But I used to practise hours and hours everyday. Also, my parents used to take me to all the concerts in the near vicinity.

W ithin a year after I started learning Mridangam, I started performing. I still remember my first serious performance at a day-long festival at Michigan.

My mother was singing and I played for her. When the others saw a small kid performing, everyone asked me to perform with them, and I ended up playing hours continuously.

It was draining but I thoroughly enjoyed it. It was a wonderful learning experience. From kindergarten to 12th grade, I was pursuing music parallel to academics.

In college, I did a double major in music and chemistry. I learnt history, theory and performance in college.

After my graduation, I wanted to do an advanced degree and it was at that time that I had to choose either music or science, or both forever.

I decided to pursue music professionally. It was a major decision for me but I have very supportive parents, family, friends and teachers.

Four years ago, I enrolled myself for a PhD in Musicology at the Eastman School of Music, regarded as the number one school to pursue music.

My PhD dissertation is about virtual musical classroom, which is online training in Carnatic percussion.

I have been here in Chennai on a fellowship to do research on this. T he joke that goes around is that when a student contacts a music teacher, he says, you have more chances of being my student if you move to the United States and take Skype classes!

Now I realise it is not a joke but a reality. People often ask me how virtual lessons can be compared to physical presence?

They want to know whether they are as good. I would say the two systems are so different that it is like comparing apples and oranges.

Real life and virtual experiences are two different things. True, face-to-face experience is holistic but virtual classroom is going to be a reality soon.

Many teachers here in Chennai have told me that they prefer virtual classrooms as they are economic. One of the teachers told me that taking classes online is earning in dollars and spending in rupees!

It was a very honest answer. That is why most Chennai teachers are doing it. On the other side, it is an opportunity for the students in the US to learn from teachers in India.

It is mostly the immigrant parents who want to stay connected to their culture, that make their children learn Carnatic music.

Many people have asked me why I have not moved to Chennai, the hub of Carnatic music but I feel living in the United States has been a major advantage for a musician like me.

Having raised in the United States, I was exposed to so much diversity in music and I had the great opportunity to learn all kinds of world music and instruments.

This has given me a global understanding of music and has helped me broaden my horizon as a musician. Learning western classical music and percussion instruments has helped me immensely in playing Mridangam.

I feel the more knowledge you have of music, the better. Knowing only one musical tradition is like knowing only one language. C arnatic music is not the only music in the world; there is music everywhere.

Music is so vast and diverse and it is necessary to know world music to have a better understanding of what you perform.

We live in an increasingly globalised world, and a lot of the musical projects I am doing are cross-cultural.

Many people use the word fusion, which I am not very fond of. I have been part of numerous cross-cultural projects with well-known symphony orchestras, jazz ensembles, and distinguished musicians including Grammy Award-winners Glen Velez and Vishwa Mohan Bhatt, Anoushka Shankar, and Ayano Ninomiya.

I have been working on a new design for the Mridangam for a couple of years. Now I have been awarded a United States patent for this design.

It is a general drum patent and not specifically for Mridangam though my research began on the Mridangam. My design combines the traditional fastening system and aesthetics with a modern, nut-and-bolt system of tightening to make the drum more user-friendly and sturdy for practitioners worldwide.

The drum heads are the same, the only thing that is different is the strapping. The instrument is traditionally very artisan dependant.

But the advantage of what I have designed is, he need not take it to the expert to tune the drum.

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