Category archives: Experience

An artiste creates and modifies his or her style for several reasons: “Let’s Talk Carnatic” by Mopachennai.org

New ideas | Voice culture >>

Is tradition set in stone? Is not change even within a musician’s lifetime in the natural order of things? Does custom or convention in musical practice have to be held sacrosanct at the cost of organic modification or adaptation?

An artiste creates and modifies, subtly or otherwise, his or her style for several reasons – physical, emotional, intellectual, political or aesthetic. A stellar artiste preserves tradition not as a rigid, fossilized keepsake but as an intelligent amalgamation of inherited values as well as current inclinations. […]

Every episode in this series promises a volley of insights into the musical style and technique of the musician being discussed. A treat for students, aspiring musicians, lay as well as experienced listeners.

These conversations are not intended to conclude, merely to present points to ponder. […]

South Indian tambura
Tambura | Instruments >> Metropolitan Museum >>

The Museum of Performing Arts (MOPA) Foundation was established in 2017 to document and showcase the history, content, periodic changes and external influences on every aspect of South India’s performing art forms, as also to look at existing trends and the impact on subsequent generations.

Through well-designed and curated exhibitions, documentaries, lectures, concerts and related events, MOPA aims to place South India’s rich cultural legacy on the larger map of world culture.

MOPA also aims to develop a museum in Chennai, for the performing arts of South India. By this, MOPA will serve one more purpose – a complete artistic and cultural orientation under one roof for anybody who wants to get a bird’s eye view or an in-depth understanding of South Indian performing art forms.

Source: “Let’s Talk Carnatic”, Digital Projects: a series that “covers interviews, talks, presentations, lecture-demonstrations and conversations on all things related to Carnatic music” & “About MOPA”
URLs: https://mopachennai.org/digital-projects.php & https://mopachennai.org/about-mopa.php
Date Visited: 5 September 2022

[Bold typeface added above for emphasis]

Vidyaamagna: webinar & online lessons

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WEBINAR – THE AESTHETICS OF VARNAM IN KARNATIC MUSIC

Sat, 30 July | 2 pm – 3.30 pm (BST) / 6.30pm (IST)  | £10

STELLA SUBBIAH (Artist Development Lead, Bhavan London)

In conversation with

LUDWIG PESCH (Author of The Oxford Illustrated Companion to South Indian Classical Music)

VIGNESH ISHWAR (Musician)

Today, as in the remote past, India’s musicians and dancers share a vast and varied repertoire. Apart from facilitating oral transmission, the underlying vocabulary helps to convey feelings underpinned by aesthetic principles and values. So it hardly surprises that the best-loved lyrics are those endowed with scope for reflection and debate among listeners, critics, and the artists themselves.

Mystical Dance!—
—Mazes intricate,
Eccentric, intervolv’d, yet regular
Then most, when most irregular they seem.

Milton’s Paradise Lost (AD 1667), the description of angels dancing about the
sacred hill as quoted by William Hogarth and discussed in the Chapter titled “Variety”:
Oxford Illustrated Companion to South Indian Classical Music >>

For this webinar we focus on several key composers whose vision shaped South Indian music and dance as we know it today. We will consider the compositional form of Varnam or Varna, in Karnatic music which can be interpreted as not only colour, praise , or syllable but also as melodic movements. These melodic movements of Arohi, Avarohi, Sthayi, and Sanchari add to its structure and offer various musical possibilities for musical interpretations.

Free tala exercises to supplement this webinar

Adi tala = 8 beats (4+2+2 here simplified as 4+4)
trikala (3 speeds)
“ta ka dhi mi” = 4, “ta ka ju nu” = 4

1st speed: one beat (kriya) = 1 syllable (jati) = 8 matra per avarta
2nd speed: one beat (kriya) = 2 syllables (jati) = 16 matra per avarta
3rd speed: one beat (kriya) = 4 syllables (jati) = 32 matra per avarta

Ata tala = 14 beats (5+5+2+2, here simplified as 2+3+2+3+4)
“khanda jati ata tala”
trikala (3 speeds)
“ta ka ta ki ta” = 5, “ta ka dhi mi” = 4

Source: Tāla Anubhava: Experiencing South Indian Rhythm
Concept and audio © T.R. Sundaresan & Ludwig Pesch

Keeping tala e.g. for Rupaka tala (3 counts): 2 claps followed by a wave; Adi tala (8 counts): a clap for the first beat (samam), followed by 3 finger counts starting from the small finger marks the first half; and a clap followed by a wave (twice) mark the second half; Ata tala (14 counts) differs as 4 fingers are used including the forefinger (twice), rather than 3 fingers (once) in Adi tala.
Art © Arun V.C.

Tips

  • Practice these gestures “silently” during a live recital or recording
  • Apply your practice while watching a video:
    – Basic hand gestures for Adi tala (8 beats) & Misra chapu tala (7 beats)
    – Precision tala keeping for the following drum and konakkol solo

More excercises: Practice four widely used Carnatic talas >>

Previous webinar

OUP India | OUP worldwide >>

Find a copy of the Oxford Illustrated Companion to South Indian Classical Music

Food for thought

What’s the difference between Hindustani and Carnatic music?

Bharatanatyam
Historically, Bharatanatyam was mostly prevalent in Tamil Nadu, though traces of it were found in the 20th century in what are now Kerala, Karnataka and Andhra Pradesh. Today it is taught and practised throughout the globe. The term ‘Bharatanatyam’ has been in existence at least from the 15th century but we do not know the compositions the dancers performed in the early years of Bharatanatyam. […] The repertoire added during the time of Tulaja and Serfoji II owes its credit to four brothers of Tanjavur who belonged to a traditional natyacharya family. They were Chinnayya, Ponnayya, Sivanandam and Vadivelu, the ‘Tanjavur Quartet’ we know.

Read the full article by Bharatanatyam music expert BM Sundaram: The Tanjavur Quartet: Margadarsis of Bharatanatyam (Sruti Magazine, courtesy dhvaniohio.org)

Tip: safe-search: Bharatanatyam Serfoji Tanjavur (modify the search terms for the present context) | More search tips >>

A lesson (thought experiment) inspired by Gandhi’s understanding of music

Mahatma Gandhi stamp set | Mahatma Gandhi and music >>

The challenge of going beyond a “narrow understanding of classical” music has long been debated among performers and musicologists; whether for the sake of creativity and self-expression or ideals like “serving society through music”, even harnessing the healing power of music where most needed.

So what about reconsidering all of this and more in the light of the following quote:

Mahatma Gandhi often said, ‘We shall consider music in a narrow sense to mean the ability to sing and play an instrument well, but, in its wider sense, true music is created only when life is attuned to a single tune and a single time beat. Music is born only where the strings of the heart are not out of tune.’

Arun VC >>

Let us, for a while, experience the joy of music in the light of a common ground, namely that of personal aspirations (like wanting to excel in a playful if not competitive spirit) and the quest for a shared “moral compass” Gandhi is known to have advocated all his life (what binds us together as responsible world citizens). 

This seems a thought experiment worth performing, so here are a few suggestions for teachers, students and lovers of Carnatic music willing to take up the challenge:

Set some time apart in order to (1) explore and grasp the deeper meaning of each of the words and concepts marked bold in the above quote, first from a musical point of view; (2) jot down your findings and thoughts; then (3) discuss them with your teachers, parents or peers; (4) all along keep asking them and yourself whether Gandhi’s intuitive, personal understanding of how music in general should play a role in our lives, while actively engaging with a music that’s time proven as well as meaningful in our modern, hectic lives and rapidly changing societies; (5) possibly being exactly that in the sense of “healing through music”; (6) prompted by Gandhi, consider any one (or all) of these ideas in terms of a “response”, considering the extraordinary stress and tension faced on a daily basis (caused by the multiple crises some of us have to cope with).

It’s up to you to explore all this and more in the spirit of free thinking (*) and – if you like – share your thoughts with me >>

(*) inspired by the BBC Free Thinking podcast about ideas shaping our lives today – with leading artists and thinkers in extended interview and debate >>

For Gandhi, music — whether it was a bhajan like Vaishnava Janato or a patriotic song like Vande Mataram — was a means of development of the “moral self” – Basav Biradar in The Hindu >>

More about the above person(s) and topics

Periodicals and sites included | More resources | Disclaimer >>

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Appreciating the beauty and importance of the nagasvaram: “Carnatic music grew because of the nagaswaram” – S. Rajam

In this part, I quote from my recording with S. Rajam on T.N. Rajarathinam Pillai, done in early 2007 [brief excerpts]

“Carnatic music grew because of the nagaswaram. Our art originated in the temples — especially, dance and nagaswaram. During the daily three-time worship at temples, the nagaswaram would be played all the times.

Source: “Tribute to the genius T.N. Rajarathinam Pillai, whose nagaswaram melodies are timeless” by Rupa Gopal The Hindu, December 27, 2013
URL: https://thehindu.com/todays-paper/tp-features/tp-fridayreview/our-own-pied-piper/article5505258.ece

Related information

Mallari played by ‪Sheik Mahaboob Subhani & Kalisha Bee‬ Mahaboob

With the disintegration of feudalism, Carnatic music, once confined to the precincts of temples and royal durbar halls, stepped out and started filling concert halls. While some music forms such as Mallari, inextricably linked with the rituals of temples and festivals, are still in vogue, others such as Odam, Yecharikkai and Odakkuru have more or less disappeared. […]

Yecharikkai is also played in Vishnu temples when the deity is taken inside the sanctorum after the procession. In earlier times, the devadasis of the temple would perform the ritual of warding off the evil eye after which the nagaswaram player would play this musical form.

“Yecharikkai is played in Saveri set to tisra nadai,” said Mr. Subramaniam. Mr. Chinnathambia Pillai said it could also be played in Yadukula Kambhoji and Ahiri. […]

But in many temples, these rituals are no longer followed,” said Mr. Subramaniam.

Source: “Ancient sounds of temple music fade” by B. Kolappan, The Hindu, 22 December 2013
URL: http://www.thehindu.com/news/cities/chennai/ancient-sounds-of-temple-music-fade/article5487577.ece
Date Visited: 1 February 2014

More about the above person(s) and topics

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Audio |  Vidya Shankar on teaching Carnatic music to children

Vidya Shankar (1919-2010)
Photo © Ludwig Pesch
Listen to an interview with
Vidya Shankar on teaching Carnatic music to children
held at her Chennai home by Ludwig Pesch (24 February 2005)

Learn more >>

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