Dr. Prasad's notable performances and experiences include participating in the National Crafts Fair 2018 in Allahabad, presenting a Mridangam recital on AIR Hyderabad in 2017, and contributing to the International Seminar on Music 2012, organized by FPA at BHU. Currently, Dr. Prasad is dedicated to guiding his research scholars and students, furthering the study and practice of Mridangam and contributing to the broader world of music.

Abstract Title : Concepts In Percussion Accompaniment In South Indian Garnatic Classical Music (From Composition Varnam To Mangalam)

The art of rhythm accompaniment in carnatic music or South Indian Music is a very highly specialised and aesthetic percussive support, enhancing the beauty of the composition as well as maintaining the tempo and metric balance. In the hands of ideal performers, the accompaniment becomes positive and dynamic, enriching the whole concert. A compositions rendition becomes more appealing through knowledgeable and Understanding percussive embellishment, meaningful silences and pauses and exciting thrusts of speed variations, which connects the music to the high speed solfa patterns, interspersed by melodic beat patterns known as Sarva laghu The Mridanga Vidwan, has to know a great deal about the art and science of music, the talas and the areas of creative music-pallavis etc. This demands resourcefullness, creativity, spontaneity and adaptability, to be a sensitive and Sought after percussionist, one has to know the temperament and idiosyncrasies of each performer whom he is likely to accompany. Sensitivity to sound decibels, the ability to moderate the tone and volume using meetu and chapu in the right side and the dhom and guaon on the left side of the Mridangam, along with the control of the volume while accompanying the violinist. These are the most desirable qualities and hallmark of an ideal mridangam maestry. Regarding the details of accompaniment techniques, one can only give broad guidelines and each player has to perfect his own approach and style. The fundamentals of proper rhythmic (Mridangam) accompaniment may be enumerated in a concise manner as follows: 1. The Mridangam Artist has to take notice of the particular tala total number of aksharas in an avartha, the edupa or beginning of the song with reference to tala, Kalapramana (tempo) and the song movement. 2. The should also take note of the number of lines of the pallavi (first maxment) and observing each variation, interpret the some during the repetitions. This should continue through the anupallavi, Charanam, Charana Pallavi, Madhyamakala Verses and Chitta Swaras,