Tiruvarur to Texas, Carnatic musicians have transcended global cultures, echoing the seven notes to the West. Trichy Sankaran,to be honoured with the Sangita Kalanidhi today, summarises Carnatic music’s history in America in a chat with critic Veejay Sai
While everyone is aware of how Hindustani music became popular in the West, especially America, with maestros like Pandit Ravi Shankar and Ustad Ali Akbar Khan’s early overseas concert tours,1 how and when was Carnatic music an active part of the American culture? “It was Tanjore Viswanathan, the brother of Bharatanatyam legend Balasaraswati, who went on a Fulbright fellowship in 1958 to study Ethnomusicology at the University of California, Los Angeles. Veena Balachander went in 1962 with Umayalpuram Sivaraman (mridangam) and Vellore Ramabhadran (kanjira, for this tour),” says mridangam maestro Trichy Sankaran. Balachander and flautist Ramani along with the aforementioned percussionists ideated a project called ‘Sangeetam Madras’ and extensively toured North America.
By 1963, mridangam vidwan Palghat Raghu travelled as a member of Ravi Shankar’s ensemble. By then a slow process of institutional interest seeped in amongst the American academia. “It was ethnomusicologist Robert Brown of Wesleyan University who showed great interest in bringing Carnatic music to America. He was a student of T. Ranganathan, the other brother (and a senior student of my guru Palani Subramnia Pillai) of Balasaraswati. They were invited as artistes in residence at Wesleyan University and that was the first ever such occasion for Carnatic musicians to go there,” adds Sankaran, in fond remembrance of his guru-bhai. Brown’s interest in Indian music grew from strength to strength and he would think up newer methods of spreading it to American music lovers. “Bob, as we called Robert, started an experimental project called ‘Curry Concerts’ which he would organise. These were a combination of a sumptuous Indian dinner followed by a concert and gained popularity in no time. He was one of the few ethnomusicologists who believed that the study of the art is important with its performing element. He put an emphasis on the performing artistes as well,” recollects Sankaran.
Brown later invited several other musicians like K.V. Narayanaswamy (KVN) and Palghat Raghu to Wesleyan. KVN, as an artiste in residency at the university, went on a coast-to-coast concert tour along with Ravi Shankar and Ali Akbar Khan and earned fame at the Hollywood Bowl music festival by 1967. Several vidwans left for American shores to take part in festivals like the Monterey pop festival and Woodstock festival. “Brown went ahead to invite Ramnad Krishnan and Ramnad Raghavan. But Krishnan didn’t stay around for too long as he was very homesick and wanted to return to his family in India. But while in America, he was recorded by a music company with T. Thyagarajan (violin) and T. Ranganathan (mridangam),” says Sankaran, with a chuckle in his voice. “The Western students were also not acquainted with our Indian manners. I had an initial culture shock with students addressing me with a “Hey”, but I slowly got used to it and we taught them Indian manners! Here, we were used to people calling us ‘sir”, “vidwan”, and so on. Ramnad Krishnan was in disbelief when students would walk up to him asking, “Hey Krishna, when is my next lesson man?” and he wasn’t used to being addressed in such a tone!” laughs Sankaran heartily, recollecting how many musicians took the effort to culture Western audiences to guru-shishya traditions. […]
Today, Carnatic musicians rub shoulders with world music greats and collaborate with music practitioners from every other genre. The seductive swaras have showed their triumph once again, reminding how great the power of Indian music is.
On nearly all his foreign tours since the beginning of the Sixties, Ravi had used Alla Rakha as his regular tabla accompanist. They were closely identified with each other, especially outside India (since in India Ravi had continued to work with other tablists as well). Their partnership lasted until 1985, almost twenty-seven years, before they parted ways. – Source: p. 246 Raga Mala: An autobiography (New York 1999), edited and introduced by George Harrison, Additional Narrative by Oliver Craske [↩]
For this musicologist and author, there are good reasons to believe that Carnatic music matters, perhaps more than ever and almost anywhere in the world. So why not perform and teach it in the service of better education for all, for ecological awareness or in order to promote mutual respect in spite of all our differences? And in the process, get “invigorated and better equipped to tackle the larger issues at hand”.
Published by Shankar Ramchandran on behalf of Dhvani Ohio | Read or download the full article (PDF, 800 KB, updated 19 June 2021):
Audio source: singing by the author | Find details for “78RPM – V V Sadagopan” on Archive.org >>
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It is a curious irony that we, who claim to “hear” our music,1 are less sensitive to tone quality than the Westerner who “sees” his music. Happy exceptions apart, musicians and listeners (especially of the South) are usually satisfied with some illusory pleasure, and do not care for the aesthetic joy – rasa – that music should give.
Read the full book Sadagopan, V V: Author Srirama Bharati: Editor, “Spirals and Circles: An Organismic Approach to Music and Music Education of V V Sadagopan, edited by Srirama Bharati,” MusicResearchLibrary, accessed October 22, 2024, http://musicresearchlibrary.net/omeka/items/show/3501.
Viravanallur Vedantam Sadagopan was born on January 29, 1915, in an orthodox Vaishnavite family and spent his childhood and youth in Tirunelveli. He was a graduate and pursued a parallel vocation in music. He had his musical training under Namakkal Sesha Iyengar and Ariyakkudi Ramanuja Iyengar and became one of the most sought after musicians in the 1930s. At the height of his musical career he entered films and was hailed as Rudolf Valentino of the Indian screen. […]
VVS’s compositions include kritis, keerthanais, ragamaligais, padams, kili kanni and a series of Tirukkural keerthanais, wherein the Kural forms the pallavi and is elaborated in the anupallavi and charanam. As a music composer he has left behind a lasting legacy. […]
Music education for children became his passion and mission in later years. He called his integrative scheme of music education Tyagabharati, a term he had coined to epitomise the ideals of Tyagaraja and Subrahmanya Bharati. In this he struck an entirely new path, composing nursery rhymes in Tamil and Hindi, set to simple lilting tunes. […]
However the elders, comprising his friends and well wishers often stood perplexed, unable to comprehend the new role that this musical giant had donned. On April 10, 1980, he left Delhi by train, for Madras. He was seen alighting at Gudur, the next day. He has not been seen ever since. Rumours of sighting him in Varanasi and the Himalayas and consequent searches have yielded no results.
The mantle then fell on his devoted disciple Srirama Bharati, a visionary in his own right [who] passed away at a young age […]
“Children should grow with joy, courage and freedom and a discipline born out of these attributes. The fundamental principle is joy, suggestion must be the method, the emphasis should be on the imaginative and creative experience of music and teaching should follow a “flow-form-flow” spiral. VV Sadagopan was clearly in favour of lakshya (aesthetic perception) over lakshana (intellectual abstraction) at school, college or university.” – T.K. Venkatasubramanian in “VV Sadagopan – An educator with a mission”, Sruti Magazine >>
How is joy realised according to ancient authorities? There is more to emotions such as their causes including spring, flowers and moonlight as explained by Dr. V. Premalatha >>
Here the author probably alludes to a metaphorical interpretation of karnātaka sangītam (today’s “Carnatic music”), one not to be taken literally even if invoked by some of his peers: understood as “classical music (sangītam) that surprises or haunts (ata) the ear (karna)” [↩]
At first, this question seems easy to answer: just watch performers from either strand of Indian music and you’ll know Which is Which, merely going by the instruments in use, or how they dress and watching the body language involved: harmonium or sarangi vs. violin for melodic accompaniment for most vocal recitals, and tabla drums rather than a double-faced mridangam.1
Even in the absence of other clues, experienced listeners know what distinguishes one concert item from another, in order to immerse themselves in that which endows “classically trained” musicians across South Asia with a deeply felt sense of unity: raga, aptly defined as a “tonal framework for composition and improvisation” by Joep Bor in The Raga Guide.
What binds Hindustani and Carnatic music lovers together is the experience of raga which, given its roots (lit. colour, beauty, pleasure, passion), denotes a cultural phenomenon rather than just a particular combination of notes. This means that raga-based music is more widely shared than one would expect in the modern world due to its capacity to transcend linguistic boundaries. In short, both strands of Indian music, Hindustani and Carnatic music, have absorbed a wide range of regional traditions throughout history. At the same time, “raga music” continues to serve as a vehicle for meaningful lyrics in any conceivable genre in addition to “classical” or “devotional” music. Even when rendered by an instrumentalist or sung without lyrics (as customarily done within both Hindustani and Carnatic recitals) each raga constitutes “a dynamic musical entity with a unique form, embodying a unique musical idea”. […] As regards Hindustani ragas, they “are known to musicians primarily through traditional compositions in genres such as dhrupad, dhamar, kyal, tappa, tarana and thumri. Good compositions possess a grandeur that unmistakably unveil the distinctive features and beauty of the raga as the composer conceived it.” (Joep Bor).
A comparable range of genres is available to Carnatic musicians, including varnam, kirtana, kriti, ragam-tanam-pallavi, padam, javali, tillana with a notable difference: since the 16th century, Carnatic compositions take up more time in order to render the lyrics faithfully, as intended by their composers and jealously guarded by teachers, discerning listeners and critics alike.
It is hard to imagine how such ideas would have worked before the advent of the tambura or tanpura – another feature of Indian music which may explain why older scales and theories have fallen into oblivion ever since – in spite of frequent mentions in text books.
But it’s harder to explain the musical differences in plain language while listening attentively as their respective performances unfold: differences begin to multiply, mostly in ways too subtle for words. Such differences call for probing into the depths of Indian “classical” music in the sense of a particular branch of music that is governed by clearly defined rules as well as unwritten conventions valued by professionals and connoisseurs.
For Indian listeners, such distinctions are mostly associated with a particular region, like the northern Hindustani and southern Carnatic music even if deceptive when it comes to the birth places of noted Hindustani exponents: many famous musicians were born or trained in Bengal in the east, and Dharwad in the south, also known as “Hindustani music’s southern home“. Being associated with a famous regional tradition or lineage is mentioned in most programme notes, like the vocal gharana known as the “Dharwad Gharana” or “Gwalior Gharana” in Hindustani music; and likewise, southern musicians pride themselves for having learned their arts within a bani (“family tradition”) designated by a particular town, for instance Tanjavur (vocal), Lalgudi (violin) and Karaikudi (vina or veena).
Then there are the preferred languages used in song lyrics in the case of vocal music; and certain rhythmic patterns local listeners would instantly feel familiar with or, conversely, associate with “novelty” when first employed beyond their place of origin. The latter is eagerly anticipated toward the end of a recital. In the opening and main parts of a recital, the most obvious differences between Hindustani and Carnatic music include the following traits:
Hindustani musicians prefer “accelerating” almost imperceptibly – from slow to fast tempo – during an alap (raga alapana, the melodic improvisation preceding a composed theme); this preference entails presenting fewer items compared to their Carnatic peers;
many (though not all) adhere to the convention of associating rāgas with a specific time of the day, or a particular season ;2
by contrast, a typical Carnatic or Karnatak concert opens with two or three items in a brisk tempo, including sections in “double tempo”, before elaborating a particular raga in a slow-to-fast format akin to the Hindustani format known as “imagination” (khyal or khayal) traceable to 18th c. court music;
Carnatic recitals are enriched by arithmetic elements derived from the repertoires of temple and dance musicians, and coordinated by visible gestures (something listeners love to emulate for the sake of self-immersion or as a sign of appreciation); and not surprisingly, rhythmic intricacies were successfully adopted and refined as part of Hindustanitihai patterns, most successfully by Ravi Shankar in the course of collaborations with southern instrumentalists (duly acknowledged in Raga Mala: The Autobiography of Ravi Shankar); be it for his solo sitar recitals or novel, mostly temporary jugalbandi ensembles like the one documented on video: recorded in 1974 at the Royal Albert Hall in London: “As far back as 1945, I was absorbing the essence of these from the fixed calculative systems of the Carnatic system.” (To understand their application, watch a tarana on YouTube repeatedly, starting from 3:27) Unsurprisingly this process of give-and-take, once proven successful, has become too common to bother crediting it to any particular source, other than declaring it a “shared heritage” cherished by musicians and audiences all over the world: Unity in Diversity at its very best!
To appreciate some of the aforementioned characteristics in the context of South Indian music, listen to recitals by two of its most beloved exponents:
From the above mentioned differences follows the most important one, namely the amount of time assigned to compositions based on elaborate lyrics: the concise bandish in a Hindustani recital vs. the tripartite kriti several of which occupy pride of place in Carnatic music.
The standard syllabus for South Indian “classical” music is ascribed to 16th c. composer Purandara Dasa of Vijayanagar (modern Hampi in northern Karnataka as indicated on the music map seen below). His method proved so efficient as to provide a common ground for aspiring singers or instrumentalists from many regions and linguistic backgrounds. This may explain how such music invites the convergence of several voices or instruments into one (unison): a soloist accompanied by violin just as two vocalists (popular duos known as “Brothers” and “Sisters”), or pairs of flutes, lutes (vina) and violinists, all capable of achieving perfect alignment at any given moment during a recital; and this not merely for evenly paced motifs but with equal ease in richly embellished passages. For good measure, such feats require neither notation nor lengthy rehearsals but instead combine musical memory with considerable freedom to enrich predictable patterns with one’s own flights of imagination.
As regards inevitable specialization such as a particular vocal or instrumental style, required for mastering certain melodic and rhythmic intricacies and compositions, there is an infinite variety to delve into: variety that explains the evolution of two great music “systems” that kept evolving and intersecting ever since musicologists became obsessed with classifying and validating certain features in the 19th and 20th centuries.
For non-Indian music lovers and students, Yehudi Menuhin’s reminiscences titled “Unfinished Journey” may be a good starting point: the violin virtuoso was among the first to appreciate fact that “Indian musicians are sensitive to the smallest microtonal deviations, subdivisions of tones which the violin can find but which are outside the crude simplifications of the piano (or harmonium)”. His interest in Indian violin music motivated Menuhin to invite the South Indian violin virtuoso Lalgudi Jayaraman to tour the UK and participate in the 1965 Edinburgh music festival.
For a better understanding of what Yehudi Menuhin meant by “smallest microtonal deviations”, listen to the very first composition most learners of Carnatic music have learned – a gitam (didactic song) by Purandara Dasa – in: A brief introduction to Carnatic music >>
Internet search screenshots for Indian music jazz fusion “The classical music of the West has influenced our musical culture” – Manohar Parnerkar in Sruti Magazine August 2019 >>
Since then, musicians from various backgrounds have never ceased to contribute to an unprecedented intercultural dialogue: exponents of western classical, ecclesiastical and minimal music just as jazz, pop and film music, all set to explore new horizons together with their Indian peers.
Tips
to explore the above topics on your own, refer the Indian sources recommended here >>
in order to get a clear idea what this means in practice, listen closely to audio and video contents featuring two prominent families of violinists whose roots lie in South India: one known as the Parurbani (brothers M.S. Gopalakrishnan & M.S. Anantharaman), and the other brought into prominence by N. Rajam (Hindustani violin) and her brother T.N. Krishnan(Carnatic violin)
Acknowledgements
Thanks to Michael Zarky (Tuning Meister) for providing valuable tips and corrections for this post and previous Carnaticstudent courses including those offered in conjunction with university eLearning programmes.
“The music of the Indian subcontinent is usually divided into two major traditions of classical music: Hindustani music of North India and Karnatak music of South India, although many regions of India also have their own musical traditions that are independent of these. […] In fact, many of these instruments are often used in both North and South India, and there are many clear relationships between the instruments of both regions. Furthermore, often instruments that are slightly different in construction will be identified by the same name in both the south and the north, though they might be used differently.” | Read the full essay “Musical Instruments of the Indian Subcontinent” by Allen Roda published by the Metropolitan Museum (New York) >> [↩]
Noted musicologist V. Premalatha comes to the conclusion that as an “extra-musical factor”, association of time with rāga “survives very strongly in the North Indian system of music and has not affected the South Indian Music“. [↩]
Gudu Gudu makes wonderful listening, time and again. A rendition by Sreevidhya Chandramouli along with her husband and son as part of their ongoing KaraikudiVoyage.
This song encapsulates the healing power of music waiting to be brought into practice on a more regular base for being rooted in tradition at its very best.
Tips: 1. Search inside this file by first clicking on the (…)Ellipses icon; 2. click eBook title to access [ ] Toggle fullscreen; 3. to Read this book aloud, use the headphone icon.
NEW FORTUNE TELLER (PUDIYA KONANGI)* by Mahakavi Bharati
Gudu gudu gudu gudu gudu gudu gudu gudu Happy days ahead for the people! Caste feelings are no more. No more are there any conflicts. Shakti ! Maha Kali! Speak up. Predict good times for the people of Vedapura !
Poverty is gone. Prosperity is in. Knowledge is ushered in. Sins have vanished in the thin air. If the educated try to deceive the simple men, they will be ruined in no time.
Commerce and industry are being learnt. Workers flourish. Shastras and skills are being learnt. Fear is gone. Justice prevails. The hour of awakening is come. The magic of incantations is working all around us.
Source: Full text of “Poems Subramania Bharati” (National Council of Educational Research and Training, 1982), pp. 147-151 in the text version provided by Archive.org; and from p. 160 in the embedded version displayed above.
* The fortune teller is traditionally depicted as shaking a small hourglass-shaped drum called kudukuduppai in Tamil, and as damaru across India. Two beads attached to it by strings produce the characteristic rattling “kudu kudu” sound evoked in this poem as harbinger of a bright future for all.
More about the poet Subramanya Bhaaratiyaar (1882-1921)
Bharati was determined to abolish the caste system in India. He selected an untouchable boy, to prove his principle of “equality” to the society.
Some clarifications on caste-related issues by reputed scholars
Understanding “caste” in the context of Indian democracy: The “Poona Pact of 1932” “Mahatma Gandhi and BR Ambedkar differed over how to address caste inequities through the electoral system. Their exchanges led to the Poona Pact of 1932, which shaped the reservation system in India’s electoral politics. […] Two prominent figures who have significantly contributed to this discourse are Mahatma Gandhi, Father of the Nation, and Bhimrao Ramji Ambedkar, Father of the Constitution. The two stalwarts of Indian politics, while revered equally by the public, had contrasting views on the caste system. Their subsequent debates have shaped the course of Indian society and politics. While Gandhi denounced untouchability, he did not condemn the varna system, a social hierarchy based on occupation, for most of his life. He believed in reforming the caste system through the abolition of untouchability and by giving equal status to each occupation. On the other hand, BR Ambedkar, a Dalit himself, argued that the caste system disorganised and ‘demoralised Hindu society, reducing it to a collection of castes’. […] And yet, despite their differences, they developed an understanding to work for the betterment of the marginalised.” – Rishabh Sharma in “How Ambedkar and Gandhi’s contrasting views paved way for caste reservation” (India Today, 6 October 2023) URL: https://www.indiatoday.in/history-of-it/story/ambedkar-gandhi-caste-system-poona-pact-1932-reservation-2445208-2023-10-06
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“That upper caste groups should declare themselves to be OBCs [Other Backward Castes] and want to avail of the reservation policy is a pandering to caste politics of course, as also are caste vote-banks. It is partially a reflection of the insecurity that the neo-liberal market economy has created among the middle-class. Opportunities are limited, jobs are scarce and so far ‘development’ remains a slogan. There’s a lot that is being done to keep caste going in spite of saying that we are trying to erode caste. We are, of course, dodging the real issue. It’s true that there has been a great deal of exploitation of Dalit groups and OBC’s in past history; making amends or even just claiming that we are a democracy based on social justice demands far more than just reservations. The solution lies in changing the quality of life of half the Indian population by giving them their right to food, water, education, health care, employment, and social justice. This, no government so far has been willing to do, because it means a radical change in governance and its priorities.” – Romila Thapar (Emeritus Professor of History, Jawaharlal Nehru University) interviewed by Nikhil Pandhi (Caravan Magazine, 7 October 2015) URL: https://caravanmagazine.in/vantage/discipline-notion-particular-government-interview-romila-thapar
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“Casteism is the investment in keeping the hierarchy as it is in order to maintain your own ranking, advantage, privilege, or to elevate yourself above others or keep others beneath you …. For this reason, many people—including those we might see as good and kind people—could be casteist, meaning invested in keeping the hierarchy as it is or content to do nothing to change it, but not racist in the classical sense, not active and openly hateful of this or that group.” – Book review by Dilip Mandal for Caste: The Origins of Our Discontents (The Print, 23 August 2020) URL: https://theprint.in/opinion/oprah-winfrey-wilkerson-caste-100-us-ceos-indians-wont-talk-about-it/487143/
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“The theoretical debate on caste among social scientists has receded into the background in recent years. [However] caste is in no sense disappearing: indeed, the present wave of neo-liberal policies in India, with privatisation of enterprises and education, has strengthened the importance of caste ties, as selection to posts and educational institutions is less based on merit through examinations, and increasingly on social contact as also on corruption. There is a tendency to assume that caste is as old as Indian civilization itself, but this assumption does not fit our historical knowledge. To be precise, however, we must distinguish between social stratification in general and caste as a specific form. […] From the early modern period till today, then, caste has been an intrinsic feature of Indian society. It has been common to refer to this as the ‘caste system’. But it is debatable whether the term ‘system’ is appropriate here, unless we simply take for granted that any society is a ‘social system’. First, and this is quite clear when we look at the history of distinct castes, the ‘system’ and the place various groups occupy within it have been constantly changing. Second, no hierarchical order of castes has ever been universally accepted […] but what is certain is that there is no consensus on a single hierarchical order.” – Harald Tambs-Lyche (Professor Emeritus, Université de Picardie, Amiens) in “Caste: History and the Present” (Academia Letters, Article 1311, 2021), pp. 1-2 URL: https://www.academia.edu/49963457
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“There is a need for intercultural education. We all need to work together to bridge these divides not only between religions and castes but also regions. It is not correct to think that one part is better than the other. Some of the limitations of India as a whole are due to our common heritage, say the one that has restricted women from having a flourishing life for themselves.” – Prof. V. Santhakumar (Azim Premji University) in “On the so called North-South Divide in India” (personal blog post in Economics in Action, 13 April 2024) URL: https://vsanthakumar.wordpress.com/2024/04/13/on-the-so-called-north-south-divide-in-india/
When Bharati’s vision as a poet went to work upon the sober knowledge of national and world affairs derived from his journalistic labors, the result was compelling political poetry of a kind that is rarely found in twentieth-century literature – with, fittingly enough, Russian literature being a notable exception.
Subramanya Bharathiyar is a renowned poet from Southern India. … His poetry is known for its appeal to the liberty and strength of the people. … His national integration songs earned him the title “DEsiya Kavi” (National Poet). He composed Tamil keertanais on love, devotion, fearlessness, mysticism. | Learn more on karnatik.com >>
For background information on places like Karaikudi, Ettayapuram (the poet’s birthplace) and Chennai (where he died), explore the musical map created for this course. | Tips for using the interactive Carnaticstudent-map >>
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