One of the debated topics in Carnatic music is the deviation by musicians from the so-called ‘original’ pathantaram of kriti-s. This article is not an attempt to provide a conclusive answer to end the debate but a constructive provocation and an invitation for opening up the topic for a wider debate. […]
While in matters of art and aesthetics no rule can be imposed on either the artists or their audiences, some relevant considerations in the matter appear to be: Is there incontrovertible proof in all such cases that the ‘versions’—which includes the raga, its arohanaavarohana, mela and musical phrasing—touted as the original or authentic are really the versions composed by their authors? In the case of modern composers there may not be any problem because most of them write them down in notation which, in spite of the inherent limitations of any notation to capture all the nuances of Carnatic music, provides at least a defence against wholesale distortion. In the case of composers who lived during an earlier era of entirely oral transmission of music, there would be real difficulty in ascertaining the authenticity beyond doubt. […]
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Review by Vinay Lal (Professor of History & Asian American Studies, UCLA) in Canadian Journal of History: A Storm of Songs: India and the Idea of the Bhakti Movement by John Stratton Hawley: “The idea of a ‘‘bhakti movement’’ has long been one of the largely unexamined verities that have played a critical role in the idea of Indian civilization and, more specifically, the notion of a composite culture. Bhakti is usually rendered as ‘‘devotion,’’ and in the generally accepted narrative encountered in Indian histories and popular Indian opinion alike, a devotional movement originating in the Tamil country in the eighth century gradually made its way north and eventually engulfed the entire country. […] The fundamental achievement of John Stratton Hawley’s A Storm of Songs is to probe how the idea of a ‘‘bhakti movement’’ came about and what Indian scholars, inspired by nationalism, might have contributed in giving rise to a canonical narrative about bhakti’s place in shaping an Indian sensibility. […] Hawley has succeeded in gifting us an exceptional study of India’s much lauded bhakti movement.” – Read the full review on this author’s blog or here: https://www.researchgate.net/publication/315532465
Interview in The Hindu (January 10, 2016): “A Storm of Songs examines how devotional songs such as padams mingled with the abhangs, how the Dalit narrative and Sufi music found an outlet in creating the network called the Bhakti movement. In a conversation, he maps the mystical journey which knits India.” – Read the full interview here: https://www.thehindu.com/opinion/bhakti-challenges-communal-religion/article8086253.ece
“In this comprehensive book, Hawley traces the 20th-century history of the notion of the bhakti movement the idea that there was a significant, unified, pan-Indic turn to devotional religiosity in medieval India. The author argues that the invention and promotion of this idea was a key aspect of nation building in that it offered a narrative of Hindu unity despite the vast and disparate set of religious processes ranging over different vernacular languages, regions, and time periods.” – Learn more or find a copy in a library near you: http://www.worldcat.org/title/storm-of-songs-india-and-the-idea-of-the-bhakti-movement/oclc/893099156
To sing just with the tanpura has been revealing: TM Krishna
M Suganth | Times of India | Nov 27, 2014 | To read the full article, click here >>
They had collaborated earlier for Margazhi Raagam, which was a first-of-its-kind Carnatic concert film and now, singer TM Krishna and filmmaker Jayendra have come together for One, a film that they say will be a peep into a musician going through the process of creativity. The two reveal how the project came to be, the challenges they faced and what it means to the viewer. […]
TM Krishna: To be able to sing just with the tanpura is the most revealing thing for me as a singer. It is the most beautiful way to discover music without becoming dependent on the pakkavadhyam or the mic. There is nothing to protect you. It was a very emotional and intimate experience for me. That depth of my experience is revealed in the film. […]
“Tambura is my constant companion – a bridge to my past, keeping the memories of my childhood alive.” – Bombay Jayashri >> Learn more about the tambura (tanpura) >>
Tambura posture, fingering & therapeutic effect
By Rama Kausalya
The Tambura is considered queen among the Sruti vadhyas such as Ektar, Dotar, Tuntina, Ottu and Donai. Although tamburas are traditionally made at several places, the Thanjavur Tambura has a special charm.
Veena Asaris are the Tambura makers too but not all are experts, the reason being it requires a special skill to make the convex ‘Meppalagai’ or the plate covering the ‘Kudam’ (Paanai).
There are two ways of holding a Tambura. One is the “Urdhva” – upright posture, as in concerts. Placing the Tambura on the right thigh is the general practice. The other is to place it on the floor in front of the person who is strumming it. While practising or singing casually, it can be placed horizontally on the lap.
The middle finger and index finger are used to strum the Tambura. Of the four strings, the ‘Panchamam’, which is at the farther end is plucked by the middle finger followed by the successive plucking of ‘Sārani’, ‘Anusārani’ and ‘Mandara’ strings one after the other by the index finger. This exercise is repeated in a loop resulting in the reverberating sruti.
Sit in a quiet place with eyes closed and listen to the sa-pa-sa notes of a perfectly tuned Tambura – the effect is therapeutic.
Except a few, the current generation prefers electronic sruti accompaniment, portability being the obvious reason. Besides few music students are taught to tune and play the tambura. Beyond all this what seems to swing the vote is that the electronic sruti equipment with its heavy tonal quality can cover up when the sruti goes astray.
During the middle of the last century, Miraj Tambura (next only to the vintage Thanjavur) was a rage among music students, who were captivated by its tonal quality with high precision and the beautiful, natural gourd resonators.
Source: “Therapeutic effect”, The Hindu (Friday Review), 30 March 2018
Perfect alignment to pitch, intellectualism and bhava make for great music
Widely varying styles have an equal place under the Carnatic umbrella. Is it at all possible to define a single aesthetic for a genre that ranges from the thrilling and electrifying rhythms of a Trichy Sankaran accompanying the late Semmangudi Srinivasa Iyer singing the Tyagaraja masterpiece Dinamanivamsha, to the subtle rendering of a padam by the late T. Brinda? Such contrasts, though they do exist in a genre like Hindustani music, are always less stark. […]
One common aspect of such artistes who were perceived as highly aesthetic in the earlier days of amplification is the scrupulous attention they paid to shruti shuddham or toaligning themselves perfectly to pitch. Arguably, such scrupulous attention to pitch alignmentmay well have had the effect of mitigating the jarring impact of imperfect amplification. Even where there’s a great struggle to maintain shruti shuddham, an exquisite secret leaps out of old recordings of ageing masters who had lost control of their voices. That secret is the pride of place they accorded the tambura and its overall audibility. The aesthetically pleasing aura created by a sonorous and meticulously tuned tambura has a way of gently embracing a singer’s shruti lapses and folding it into the overall sound. Unfortunately, the exact opposite is feared and hence a tendency to relegate the tambura, whether a real one or electronic, to de facto inaudibility for the audience. This only exacerbates the listener’s perception of a lack of shruti shuddham.
Art, as it is normally understood, is first and foremost sensual and emotional before anything else, but Carnatic music has always been seduced by the intellect, resulting in anything from a mild flirtation to a torrid affair. The intellectual, even in musical contexts, need not be disdained but it certainly challenges conventionally held notions of aesthetics. More importantly, such intellectual music may not suffer as much at the hands of bad audio as conventionally aesthetic music, and hence, could induce stagnation in the evolution of better sound. […]
The emotional in the art is what is referred to in the Carnatic world as bhava. Bhava comes from many aspects of Carnatic music but its most serious claimant is the repertoire itself. The bedrock of Carnatic music is its repertoire – the intensely bhava-laden compositions of great masters. The remarkable vibrancy and sustainability of Carnatic music compared to some other genres come from bhava which is certainly the crown jewel. In fact, it could be argued that this alone often compensates for the lack of other aesthetic dimensions in the overall experience. […]
T. M. Krishna (in MOPA “Notes to Myself”): Now here is a fascinating story of a musician born and bred in privilege by his own admission, who enjoyed a liberal, progressive environment both at home and at school that laid the foundations for a fearless, critical mind and outspoken tongue, enjoyed the best of teachers who fostered an abiding love for Carnatic music in his young heart and was one among the band of young musicians who took the Carnatic stage by storm in the 90s. […]
To read the full article by the internationally acclaimed author of India After Gandhi, click here >>
After Partition, Bade Ghulam chose to move to Pakistan, but, finding the audience for classical music limited (in all senses of the word), wished to return to the Indian side of the border. In the 1950s, it was much easier to travel between these two countries than it is now. So Bade Ghulam made a trip to Mumbai, where someone brought his predicament to the attention of Morarji Desai, then the chief minister of the undivided Bombay State. Morarji bhai arranged for a government house for the maestro, while the Central government, headed at the time by Jawaharlal Nehru, smoothed the way for this Muslim from Pakistan to become a citizen of India.
Hamsadhvani is a lovely, melodious, raga in the Carnatic tradition, said to have been originally composed by Ramaswamy Dikshitar in the 18th century. There are many songs set in this raga, such as “Vatapi Ganapathim”, a hugely popular item in the repertoire of (among others) M.S. Subbulakshmi and M.L. Vasanthakumari. At some stage the raga was also adapted by Hindustani musicians for their own use. […]
The celebrated Kannada writer, Kota Shivarama Karanth, once remarked that it was impossible to “to talk of ‘Indian culture’ as if it is a monolithic object”. In Karanth’s opinion, “Indian culture today is so varied as to be called ‘cultures’. The roots of this culture go back to ancient times: and it has developed through contact with many races and peoples. Hence, among its many ingredients, it is impossible to say surely what is native and what is alien, what is borrowed out of love and what has been imposed by force. If we view Indian culture thus, we realise that there is no place for chauvinism.”
To this quote from Karanth let me append one by Rabindranath Tagore. Speaking of our inherited and shared diversity, Tagore once remarked: “No one knows at whose call so many streams of men flowed in restless tides from places unknown and were lost in one sea: here Aryan and non-Aryan, Dravidian, Chinese, the bands of Saka and the Hunas and Pathan and Mogul, have become combined in one body.”
The pluralism and cultural heterogeneity that Karanth and Tagore highlighted mark most spheres of Indian life. And perhaps (as they knew so well themselves) our classical music above all. Whether it be instrument or raga or genre or performer, we cannot say what is Hindu and what is Muslim, which part is native and which alien. […]
For the act of Bade Ghulam Ali Khan singing Hamsadhvani at a Rama Navami concert in Bangalore’s Fort High School in 1956 brings and blends together many languages, religions, regions, political regimes, musical traditions, and architectural styles. It is a glorious tribute to the cultural diversity of our country and our civilization.
A teacher teaches music – the curriculum, the techniques, the methods and so on, but a Guru teaches how to approach music: how to understand it, how to internalize it and how to enjoy it. […]
Music is a lifelong pursuit and its emotions start sinking into you with more internal growth of the self (for which the Guru is an enabler). At a certain phase in this pursuit, you become your own Guru.
The word ‘Guru’ in the Indian context of learning places the person on par with or even higher than God.
Pantula Rama paying tribute to her violin guru Ivaturi Vijayeswara Rao of the Dwaram tradition in “Architect of Vizag’s music scenario” (The Hindu, 19 February 2013)
Note: gurukulavāsam refers to the practice of living as member of a teacher’s household >>
