Published Paper Details:

In this study, we examine the canonical position of the "Trinity" of Karnatic music--Tyagaraja, Muthuswamy Dikshitar, and Syama Sastri--through the historical, cultural, and musicological prisms, and we critically assess their legacy. By analyzing their individual contributions, stylistic divergences, and the sociopolitical processes that elevated them to collective prominence, the study challenges the homogenizing narrative of the "Trinity" framework. While their compositions--Tyagaraja's devotional kritis, Dikshitar's Sanskrit scholasticism, and Syama Sastri's rhythmic innovations--revolutionized Karnatic music, the research reveals how their canonization reflects 20th-century nationalist agendas and caste-gender biases. Critiques highlight the exclusion of contemporaries like Swati Tirunal and Oottukkadu Venkata Kavi, as well as marginalized voices such as non-Brahmin and women musicians. Despite these critiques, the Trinity's enduring influence on pedagogy, global dissemination, and cultural identity underscores their artistic merit. The paper concludes that while their genius is undeniable, their legacy must be recontextualized within inclusive historiography to acknowledge Karnatic music's diverse evolution.