MUSIC
September 2011
Karnatic Music, Tradition and
Enlightenment
- Sandhyavandanam
Madhva Muni Rao, Bangalore
email: munirao2001@hotmail.com / munirao2001@yahoo.com
The main
aim of this article is for removing the misconceptions
on the much discussed topic of 'Tradition" in Karnatic
music and to bring clarity and
define the tradition in Karnatic music, its goals
and objectives, its practice and enlightenment.
Evolution of
Classical Indian Music
The music is only of three categories-Good, Bad and
Ugly. The
need for identity and clear under standing resulted in
the classification of folk, light and classical. Except by
choice and intention, music in general, consists of
all the three classifications, in different measure
and intensity. Purpose of music and the three bench
marks for excellence are:
1)
Pandita ranjakatvam - Pleasing the
learned.
2)
Pamara ranjakatvam - Pleasing the lay
listener/rasika.
3)
Pandita-Pamara ranjakatvam - Pleasing
both the learned and lay listener/rasika
The third category is the ideal and the test of
quality in music.
The listening, appreciation and support vastly
varies for the kind of music-classical, light and
folk. Appreciation
and support to classical form of music is restricted
and not popular, when compared with other forms of
music.
The classical music has evolved from the creative
thinking of the highest order, to improvise and attain
perfection, to give the ultimate, intellectual
satisfaction, from the tribal-folk-devotional
(temple/church/worship) music. Theory and practices of
classical music knowledge was created by the great
masters for the learning, practicing, achieving
excellence and giving opportunity to enrich the
knowledge through the practitioner's own creative out
put. The
performer's offer of music of immense values, strictly
adhering to the science and art of classical music,
delivers total intellectual and emotional satisfaction
to the listeners/rasikas.
In the Indian music context, there are Nibidha-restrictive, bound by the theory and grammar and Anibidha-
not bound by the theory and grammar - tribal, folk,
devotional and light ( sugama, lalitha, gamaka,
vachanas, abhangs, keertans, gazals, film, etc)
musical forms are anibidha. They have
the unfretted freedom to imagine, create construct and
offer music, which is having novelty, striking rhythm,
raw emotions, sensual, easily appealing and pleasing,
without or with the knowledge and practice of theory
and grammar, unrestricted. With the
freedom and no restrictions, compositions have been
created with clever and cheerful play and medley on
the note(s), ragas (melody) and talas (rhythm), in the
anibidha music. In
this vast body of knowledge and compositions in
anibidha Indian Music, one can find the compositions
having the distinct quality of jumping, shifting and
keeping the base of the classical music on the ragas,
talas and pitches. This anibidha Indian music has many common
features of World-tribal, folk, worship, and
devotional music.
The authors and composers of Indian classical
music, developed the nibidha classical music, with
clear rules and do's and don'ts (can and can not) and
gave music parts, where the creativity is
synonymous with the character of total
understanding, deep appreciation, unalloyed joy,
love, dedication and commitment to bring out the
classical excellence of the original creator,
uncompromisingly, with their flame burning and withthe passion of
the original creative moments, in all its splendor
and masterly compositions, every time. They have
also created music parts, where the full scope of the
performer's own creative treatment and improvisations
can be offered, with imagination and performing
disability only, as limitations. The nibidha
Indian classical music,( may be even, world classical
music) by intent, choice, design and construction,
avoided the unrestricted and unscientific musical
forms to give distinct, clear, repeatable,
reproducible, identifiable, ennobling and music with
highest goals and values.
The nibidha Indian classical music should be correctly
understood, as inclusive,
not exclusive.
We should not arrive at quick and uninformed
conclusions that they are not yet fully developed,
fully capable, fully accommodative, abhor
innovationsand needs
updating! Thus,
classical Indian music-both Hindustani and
Karnatic-may appear to be highly conditioned to those
who have not correctly and totally understood the
theory and practices, but it is evolved to offer
highest intellectual, ultimate satisfaction and bliss,
with total freedom to enrich the knowledge.
Tradition in
Indian Music and Karnatic Music
Tradition-with original (truly) contributions, is time
tested and everlasting.
Tradition demands creativity, innovativeness
and rich additions to the wealth of experience and
knowledge.
Tradition
also demands absorption of the best of technological
developments to meet the challenges. Tradition does
not stand for and mean to shut out
manodharma/creativity and is against change(s), for it
connotes, freezing or fossilizing the stream of new
ideas/thoughts. Tradition is
truly, celebration of excellence (true, in the
sense, factually new creative additions, not the
modified/rearranged, with the cloak/appearance of
new/fresh ideas, expressions and communications). Loyalty or
strict adherence to tradition means not only concord
with the past but also freedom from the past. The living
past, serve as a great inspiration and support the
present, ensure continuity in future. Tradition is
not a rigid frame work, which cripples the life of
spirit-constant inquiry, reflection, creative,
contemplative and finally, unity. We are
gravely misconceiving the spirit of tradition, if we
are satisfied, unquestioningly with inadequacies in
our tradition and fail to seek or gain for ourselves
the gifts of new, excellence and enrichment to
tradition. Tradition is
time tested and ever fresh, lingering, with clear
total recall experiences of ananda (bliss) and ever
lasting. All
original creative innovations/ideas, practices,
meeting the goal, naturally become tradition. Classical
excellence in tradition is determined by the
achievement of cherished goals of Indian music
-
Deha
Sudhi - the beats/fast beats, with pulsating
effects, creating interest, Arrests/rivets the
listener's attention, excites and is invigorating. The process
activates, the body and the mind. The
cleansing effects are through such activation.
-
Karna
Sudhi - when the pleasure is perceived and
derived, essentially with the support of the
sahithya/lyric and with simple tune/melody, but gives
the satisfaction only during the listening
process/times, gives the comfort and all pervading
pleasantness, called as kana sudhi or pleasing the
ears-frees from the blemishes of the loudness/high
decibel and striking sound(s).
-
Manas
Sudhi - music, with the judicious combination
and usage of melody and the sahithya/lyrics, creating
bhavodrekam/high emotions, sway the heart, music
becoming heartfelt.
Such high degree of emotional
feelings/experiences, bring in great warmth,
tenderness and great happiness, with recall
capabilities.
-
Chitta
Sudhi (the ultimate) - music, with the greatest
power of nada/nadanubhavam-pure and noble sound,
transports the listener and makes him/her to forget
the self- thought less and silent for a /few moments,
one with divinity. The blissful experience, realized, cleanses the
intellect/chitta,
-
With unalloyed joy/feelings, peace of
mind and re-energizes. The rendering of true, powerful and pure
note(s) or melody with powerful and pure note(s),
which transports the listener to inner self, from
outer self-soulful(forgetting for moments, the self
'I'), giving blissful listening experience(atmartha
sangitam), with or without the help of
sahithyam/lyric-like alapana-berefit of
sahithayam/lyric, are considered to have met the Chtta
sudhi's goal.
To classify and confirm, the chief goals of music are
for all forms of music-tribal-folk-light and
classical. Any kind of music achieves the goals, if it
meets the characteristics/requirements. The
greatness of Indian music is because of inherent
goals. The
practitioner and performer, with the total focus on
the goals, derive the benefit from his own total
satisfaction/up liftment, first and foremost. With
achievement of perfection, he partakes the benefits to
the listener/rasika. The listener/rasika, internalizing such perfect
music, also gets and enjoys the fruits. The chief
goals of music has been arrived and advocated taking
the logic of religion-theological and philosophical -
ideals and practices, in to music. Entertainment
aspect and goal, is a benefit derived, as off shoot or
by product. Vedanta
gives the ultimate achievement or benefit, at the end
of knowledge, is the attainment of state of
SAT-CHIT-ANANDA, The true meaning of SAT-CHIT-ANANDA,
is
-
SAT - knowledge of Fact and crystal
clear perception of reality.
-
CHIT - state of being with
unconditioned mind, ever new, ever fresh and ever
free.
-
ANANDA - blissful state, thought less
state, in which you forget the outer self/outward
consciousness and drawn in to inner
self/sub-consciousness or supra-consciousness. Realizing
the heightened pleasure or elation, ushering utter
peace, the moments has bestowed, energizing you. Unity of
Self with Universal self, cessation of selfishness.
This energizing
experience(s) and unification are enlightenment-
strengthened, to meet the challenges in life, with
equanimity and truly enjoy the life.
To achieve the ultimate goal - Chitta sudhi- only
classical music has proved as right means. The
practitioner and performer, achieving perfection,
offers 'swara pushpam'- pure and powerful note(s), as
flowers- just like 'mantra pushpam'- pure and powerful
hymns as flowers- in worship ritual. If the
note(s) in the exposition delivers the enjoyment/bliss to
the listeners, it meets the ultimate goal of chitta
sudhi. This
is the reason, classical music is given highest
respect and reverence, by all. The
classical music is considered 'heavy' because, it
makes higher demand on the listeners/rasika, at least,
minimal knowledge of theory/grammar(lakshana gnanam)
for the true and total enjoyment of music, apart from
listening experience(Lakshya gnanam). Other forms
of music-tibal, folk and light, do not make such
higher demands on the lay listener for his/her
enjoyment and satisfaction. Loosely
these kinds of music are considered' light' due to the
goals for these forms of music are- to excite, to
kinder raw emotions, to keep it simple or less
complicated, easy on ear and pleasing.
The 'cutcheri' format in Karnatic music, is a refined
and judicious mixture of tribal-folk-light
(devotional)-classical compositions of great merits,
to met the demands of pandita-pamara ranjakatvam. Factually,
the great maestros create great compositions, with the
gift of lakshya and lakshana gnanam, in all the other
forms of music also, ever green songs. Great maestro
and legend, Shri Ariyakudi Ramanuja Iyyengar, created
the present cutcheri format in Karantic music,
consisting of four hours duration-keeping the
manodharma, pata integrity, the ideals, the goals,
uncompromisingly- to meet and serve the needs of the
emerging life styles and time constraints. Prior to
this 'cutcheri' format, there were not time
constraints/limits.
Limitations were only the vidwath, imagination
and health of the performer or the chief patron.
Music of Sants/Harikatha/devotional, stand testimony
to the pre-existence of music, essentially-devotional,
religious hymns/nama sankirtanams, tribal and folk. Hence, the
pre-Vedic times music underwent changes and identity. Karnatic
music, developed from pre-Vedic times and modified,
thus attained, eternity.
Tradition is not restricted to times-like 'age
old' and 'modern 'etc.
Thus, Karnatic music is one of the most
important aspects of eternal music of the World!
Bani and Style
in Karnatic music
Tradition-Bani-Style is distinct and are separate, if
correctly understood and with clarity, enjoyment is un
conditional, pure and total. Musical
practices and performances, unique and distinctly
identified with a great maestro/guru/a school of music
(like Tiger, Ariyakudi, Musiri, GNB, Semmengudi etc),
system or with a geographic region (like Thanjavur,
Ramnad, Mysore,
Andhra and Karnataka), are recognized as Bani.
The style is distinct and unique
expression/communication of musical phrase(s),
interpretation and mannerisms of the performer(s). A style is
also a statement, method of delivery and is always
'identified' with the originator(s). A Style
copied and re-produced or re-presented, remains, style
only. Styles,
attaining popularity, are being imitated or followed
with limited objective of rasika's/listener's
appreciation, acceptance, enjoyment and patronage. While Bani
is, serious pursuit of classical excellence, with
distinct and rich contributions to the tradition. Style's
objective, with conscious, deliberate/intentional
efforts and compromised, is to please the
rasika-ranjakatvam, relatively easily and create the
habit of getting pleased, with minimal efforts (on the
part of rasika) and for expecting and demanding the
excitement every time of listening to stylish
renditions. Style is nature's order.
Maestros, with deep knowledge and practice,
resort to style for establishing the identity,
appreciation/adulation, with minimal erosion in values
of classical music. Intention, comfort and convenience of the
performer, takes a discernible pattern of rendition. With the
support of listener/rasikas, the renditions become,
style.
For the questions, 'Is style is Tradition?' and 'Is
style is Bani?' the answer is, emphatically, no. Also, not to
be mistaken with the opinions of 'stylish traditions'
and 'traditional styles'. As already
noted above, while style is a method of delivery, Bani
is a system of practice and performance, the tradition
is the very substance! Style
can be trivial, tradition, can not be trivial. But,
trivialization takes place, when tradition is not
fully understood, practiced, with lack of vision and
deep commitment. Invariably and un fortunately, stylists largely
contribute to trivialization. In the task
of preserving and up holding the tradition-classical
excellence, the stylists have not been helpful and
successful. Due to their habitual compulsion for sensational and
exciting musical phrases/statements, adopting the
master pieces and great works to fit in with the very
personal propensities and idiosyncrasies of their
talents and capacity. This was/is an enterprise, in which, they
freely tamper the great works, retaining only the
skeleton and the broad sketch of the compositions and
push their style in to the substance and improvisation
(sangathi ornamentation) of the works. This
practice of contemporizing and attempts to make it
appealing to suit the present times and trends, is
updating.
Only the quintessential creative works- both sangita
and sahithya- of great vaggeyakaras, as bequeathed to
us by the great maestros, un
compromisingly and un conditionally, keeping it
classical with the flame, passion and fragrance of
the original creator burning in them, becomes,
legacy.
With the growth of styles and personal
interpretations, the ideal of pata integrity suffered,
eclipse. This is the major factor, which has contributed to the
decline in the excellence and quality of classicism in
the cutcheri music of Karnatic music. Stylists
declarations that the tradition is restrictive, with
compulsions of being repetitive, does not give scope
for imagination and creativity, that they have created
their style as music and tradition, is reflection of
their improper understanding and lack of clarity or at
worst, escapist tendencies from very tough and arduous
practice and continuous improvement called for, to
adhere, to up hold and enrich the tradition. It is
hurting to hear from stylists that they have moved
away from tradition, to be part of contemporary music
or simply, music in demand.
Mystic and
enlightenment quality in Karnatic music
To the spiritual seeker, Karnataka music is good (San)
and easy (Sulabha) path (marga) for the attainment of
SAT-CHIT-ANANDA.
Sadhaka/practitioner, with knowledge of fact
and perception of reality, his state of being, with
unconditioned mind, ever fresh and free, achieving
thought less state (bliss-utter peace)- in which you
forget outer self/outward consciousness, you realize
the heightened pleasure that moment(s) has bestowed,
is energized. The
moment is being with divinity. The
experience resulting in ushering, peace of mind. For the
believers and worshippers, the feeling at the moment
of the darshan of the idol/ishta devata and for the
non-believer, the feeling when they have sight of the
vision of exhilarating joy and the happiness, on
realization, few moments after the actual vision of
the happening, is energizing experience. This
energizing experience is enlightenment. One gathers
the momentum in life or living and gets strengthened,
to meet the challenges in life, with equanimity and
truly enjoy the life.
Enlightened and energized self, with divine
quality, seeks and becomes one with the universal
self. The unification
of self with universal self, the abedha bhava- non
differenced -quality, leads to complete realization,
pure love, compassion and finally, utter peace. This
process is mystical. Pure and
powerful nada/nadanubhavam of Indian music has this
mystical quality, in abundance.
The three stages advised as preparation to Nada-Vision
(Nada satchatkaram), Sravana or
hearing, Manana
or reflection and Nidhidhyasana
or contemplation. Knowledge acquired through
shradha, a faith, in teacher and other maestros, is
sravana. But, it is not direct vision or
experience. Manana with attempt to form clear
ideas by the logical process of inference, analogy
etc. is the second stage. Knowledge by hearing
or hearsay, understanding is upto a point. But,
with reflection on what is heard, one adds to faith
knowledge, which increases faith, but still is not
complete. Nidhidhyasana, the third and final
stage, is the process by which we give up the self
pride (cessation or death of Ego) and mastery and
concentrate, totally on real and true. The whole
energy of the mind is centered and rests on real, to
the exclusion of all else, like prayer. One must
dismiss all distracting ideas, disturbing influences
and retire within one self. When the awakening
takes place, knowledge acquired through sravana and
manana, ceases to be authoritative.
The highest stage, Nada-Vision is
attained when the five senses, mind and intellect
are at rest. Total devotion, with
dedication, concentration and commitment, is
recommended for attaining enlightenment,
Nada-Vision/Sakchatkaram and Nadanubhavam. True and
powerful and energetic Nadothpathi thus attained, is
all permeating and pervasive.
The practitioner/performer and the rasikas partaking
the ecstatic experiences and attaining it's benefits
for a moment or few moments, if the realized qualities
are put in to practice, with detachment, the
liberation is fully achieved. The
liberated person(s) lead the rest of the humanity to
co-existence, happiness and peace.
Eternity in
Tradition, beliefs shaken?
In Literature and in discussions on IM-both HM and CM,
there is strong current of insecurity, fear, pain,
anguish and anxiety, about the future. The
thought stream goes like - Previous times are Golden
period-present is full of chaos and decadence-future
is uncertain and doomsday, certain! But, are
they factual? Vehemently, I say, NO. Nature's
order is-shristi (creation/creativity)-sthithi
(managing efficiently the present)-pralaya (end or
cessation of all that is created and being
maintained. Good-Badly-Ugly are features of any
times, immemorial. Our sense of
insecurity, fears for changes, threat of our comfort
zone/pleasure memories, with inherent weakness for
affirmative actions, make us bemoan the era/legacy
passed away, as escapist wonderful tool.
Fact is that the creative inputs of excellence, in any
form, by the great Vaggeyakaras and maestros, becomes
tradition and is cherished for ever, with few
exceptions. Changes are
welcomed and the part becomes the whole. It is also
fact that Great Maestros, inspire and act as role
models. Vidwans/Vidushis/Maestros, imbibing the
greatness of their works, adding their own creative
inputs, continue the tradition and become themselves
Great Maestros. Undeniable fact
is that enrichment and destruction happen,
continuously and in perpetuity. The
enriched knowledge, becoming the tradition, discards
the destructive knowledge. Such immortal music has
stood the test of times. Like fresh springs, continue to satisfy the
thirsty. Thus
it gains immortality.
The contemplative quality in music of the
maestros, results in cessation of Ego and the Self
transcends in to Universal Self, with divine
qualities-peace and bliss, to all. Thus it is
eternal.
Doyen of Karnatic Music, late DR.Sandhyavandanam
Srinivasa Rao, in one of his Lec-Demos, stated that "
can we say for sure and confidently that from
Shankara/Sarawathi - Narada-Nandi-Matanaga- Music
trinity/Kshetragana/others-Tiger/Ariyakkudi/Maharajapuram/Musiri/Alatthur
Bros/Madurai
Mani Iyer/GNB/DKP/MS/MLV/many others-present Great
Maestros/Maestros/Vidwans & Vidushis, the IM has
been in decadence ? No. There were, there are
and there will be, birth of Geniuses/Great
Maestros-with immense contributions enriching the
Classical Excellence in Tradition and death for the
works/contributions of dubious values-leaving only
their stain/stench, at times. If the
artist, uncompromisingly, keeps his music, simply
classical, he/she serves the cause. Rasikas,
becoming knowledgeable on Classical values and
'ruchi' and 'suchi' aspects in Indian Music,
completely enjoying , constantly demanding ,
offering unstinted support and resources, serve the
cause. If Indian Music becomes, music for
the masses, all agencies-Govt/Private/Media will join
the bandwagon, for their own vested interests.
Our present challenge is to take Classical Indian
Music-both Hindustani and Karnatic to the masses".
Factually, with more than average intelligence, good
education, making the better use of technological
advancements, power of wealth creation, the reach
going beyond geographical limitations, the present
generation of artists and rasikas have immense power
and demonstrated potential to enrich the Classical
Excellence in tradition of Indian Music, with clarity
on Goals and Values of our rich Indian Music heritage.
As Vedanta urges, ARISE and AWAKE, rest will be done!
Also, disgustingly, declarations that a particular
artist is 'one and one only', 'not existed earlier and
not going to be born in future'. The evolution of Classical Music,
growth and development, in perpetual continuity,
stands testimony to the fact, that there will be
no
dearth of Great Maestros. Constant comparisons,
relation, fortified thought of unsurpassable (which
leads to the statements -'One and one only' 'Not born
before and not going to be borne, herein after-Na
Bhooto, Na Bhavishyati), are the results of weakness
of the mind-sense of insecurity or fear for the change
(loss of memorable experiences, immensely satisfactory).Vidwan/Vidushi-Maestro become
Great Maestro, when they achieve and deliver the
ultimate goal in music-Chitta Sudhi-striking and
intellectually satisfying. Competencies levels
of others will be on deliverance of satisfaction of
excitement, pleasing, stimulating, scintillating and
admirable qualities of music. Great Maestros
music will also have most of these qualities, with
good sense of proportion. Maestros also become
Great Maestros, with the quality of setting the trend,
proving to be inspirational and role models.
The attempts for new experience out of experiments are
always done, at all times. statements out of
dismay, anxiety and disgust about the new trend are
always made, deprecatingly. Quality improvements
are acknowledged, grudgingly. Quality
deteriorations always counted and highlighted.
I have many times heard the Great Maestros
expressing happiness, at times wonderment, about the
knowledge and skills of the younger
vidwans/vidushis/maestros and declaring that rich
legacy of music is assured of continuity and
longevity. With out hype or nostalgia (for its
own sake), if we examine and analyze, truly, Great
Geniuses and Great Maestros continue to come, ensuring
enrichment. New
experience/knowledge, arising out of creative
thinking, can be with aim of - attempt at the critical
analysis and negation of the existing and giving new
thought, in it's place, attempt at using the existing,
modify, refine, renew with added new thought, attempt
at bringing new thought, not in existence. There
is no necessity or compulsion for the destruction of
the existing for creating the new thought. The new
experience/knowledge, with fresh and creative
thought, adds and delivers higher value over the
existing or independent of the existing, it is
enrichment. Transformation is,only
with shift in values or its emphasis, with the new
thought. over the existing. The advancements in
instinct and intuition faculties of intelligent beings
and the evolution history is full of proof of
constant creative process and creation and the
existence of created things. One can definitely accept
new, without any need for the rejection of the
old. One can continue to enjoy the existing,
while accepting and enjoying the new. The need
for the discard of the old comes only with total
dissatisfaction of the old and compelling need for the
new. If the new delivers, total satisfaction
with compulsion for the discard of the old
andfor the acceptance of the new, the old is
discarded. I have experienced, knowledge,
whichwas considered impossible or exclusive
preserve of few in the older generation, becoming with
relative ease, knowledge of the many.
I am confident that with focus on 'ruchi' ,'suchi',
'hitam' and 'mitam' by the present,immensely
talented and successful practitioners and performers,
we will have problem of plenty.
It is now the times for performance of duties of
rasika- by rasika, becoming more knowledgeable,
attending, appreciating, supporting the truly
meritorious, to ensure enrichment.
Statements of 'Karnatic music is stagnant/static' and
the present status is' pathetic' are made in haste and
out of the artists frustration either with their own
progress in creativity or tardy progress in
achieving higher recognition and rewards or their
first love with chosen other genre of music. They must
be actually saying that having not received due recognition and rewards as a practitioner and
performer of merit in Karnatic music, frustrated with
stagnation of the career/progress as performer in
Karnatic music, they are trying cross over or joining
those popular artists who are reveling in
inter-cultural music genre, now evolving fast and
gaining popularity.
I recall Gita sloka" Akasas patitam toyam, yatha
gatchati sagaram, sarva deva namaskaraha, Kesavam
pratigachati' and to be interpreted in the context of
Karnatic music as " All individual creative input
droplets, by their natural flow and strength, join the
ocean of music, whatever genre of music you
worship/love, leads to ultimate realization of
Karnatic music".
With vast
majority of us, unwilling to think independently and
unconditionally, inquire, to seek, determine, being
decisive and own it, we take the escapist route or
easy route of accepting the popular choice. We
support the choice with full strength, to make the
choice unique, one's own and even glorify to overcome
the guilt of our inaction or limitations. Only
few dare to be different. They guarantee and
ensure the continuity of real and proven excellence.
With the help and strength of Science and Art of
Karnatic Music, Tradition, Sadhana (aiming the
perfection), truly imbibing the Ideals of Karnatic
Music and performing-uncompromisingly keeping it
Classical, Karnatic Music Musicians have immense
potential to reach High peaks of Global Acceptance,
Appreciation, support and patronage. The
challenges of 'linguistics, geography', non-existence
of "ambassadors" to achieve the goal is real and is to
be over come with dedicated, committed actions.
My point is that, as good/excellent practitioner of
Karnatic Music, you are better equipped to Excel and
go after the infinite possibilities of attainment,
globally. Seriously, critically view and
understand the Gayaka Doshas. Get rid of them,
totally. Use the technological
advancement/knowledge and tools, effectively in
bringing the improvements, with open mind. You
are destined to achieve the much elusive success and
your own total satisfaction.
We should not fall in to the trap of acceptance of the
popular streams/forms of Music, just because they have
Global reach or contemporary, blindly/easily.
Study, learn and adopt best techniques and practices
of other forms of Music to Karnatic Music,
sticking to Tradition of Classical Excellence
.Successful Global reach can also serve the cause of
Eternity in Tradition in Karnatic Music.
Listening and
appreciation of Karnatic Music
The rasikas/listeners, with yearning for classical
music, crave for blissful moments or recall
experiences, to relive the joy and to derive total
satisfaction. Such
rasikas/listerns give time, take efforts and committed
for music appreciation. Any listener first' likes' to hear and
appreciate music, which is he/she is familiar or the
same resembles the familiar and excites. If listeners
take efforts to understand the basics, if not
intricacies, they can well appreciate, any kind of and form of classical
music. Success
of Great Maestros of music in popularizing the music,
all over the Globe, is sufficient proof. Other
category of listener/rasika, who proclaim fans of 'are
you being served? look for excitement, instant
gratification, momentary happiness, derived with least
or minimal efforts and go by the dictum, 'all that is
good, if it is popular'. The listening, appreciation and support vastly
varies, from the kind of music-classical and other
forms. Appreciation,
good support to classical form of music, is restricted
and not very popular, in comparison with other forms
of music, un fortunately, because of elitist leanings.
The appreciation of music and its enjoyment, as it is
happening in case of live concert, requires rasikas
open and free mind. The problem with listening
experience is, the rasika, having memorized the most
satisfactory experience and satisfaction, constantly
yearns for recall experiences of such of those
moments. Mind is pre occupied with constant
comparisons and judgment. The likes and dislikes
filters.
The rasika must give full attention, with no bias or
distractions of any kind, to receive the music and
for true experience. Discipline
of rasika, does not exclude the performing artists,
who are also rasikas themselves, first and foremost. As Rasikas,
we must know the structure and strengths of CM.
If we expect the musical experiences arising out of
other forms of World Music, based on different
structure, which are not part of the CM system are
prohibited part of CM, we , as rasikas are at fault
but, not the musicians.
We are very fortunate to have immensely talented and
profound Maestros, who offer very high quality of
manodharma, in particularly on raga
alapana/vistara-both Ghana
and Vivadi- both the Maestros and
Vidwans/Vidushis. Giving allowance to their not
so good voice quality and strict adherence to the
shruthi, if you carefully listen, you will find that
many Vidwans/Vidushis offer immense satisfaction. We, rasikas,
should be clear, before making final judgment on the
merits/demerits. If your goal is for seeking spiritual
progress, encourage and totally support such of that
practitioner/performer, whose goals are for their own
spiritual progress and attainment, through
music. If you want music for physical
pleasures-stress management, excitement, easy on
appreciation and pleasing etc, you have to make choice
on such of that practitioner/performer, who has
mastered the technique and achieved popularity.
Please do not mix up, be clear, seek, achieve and
enjoy what you want/desire.
For
best listening pleasure, the distortions, anguish,
pain of emoting with the help of body language
should be totally avoided on the stage by the
performers, by rigorous practice of music lessons
to perfection. With perfection or near
perfection, the need for the body language becomes
minimal, if not total absence. Teachers and students
should take this important performance criterion, in
their teaching and studies.
I desire that with agreement on the theme of
'Celebration of Classical Excellence in Indian
Music-KM and HM', well debated, clarity on Classical
Excellence-with primacy only for merit, understanding
at the starting point and firmly sticking to the ideal
and objective, bold action for weeding away the bad
elements/influences/actions during the process of
achieving the success, professional excellence in
total management of the event, the results can be
achieved, to the total satisfaction of all the
stakeholders.
Conflicting
views on theory and practice in Karnatic Music
Why do we always commit the mistake of treating the
'theory' and 'practical' asdifferent,
independent and are divergent? Fact is, in the
music context, the theory (lakshana)-science-mostly
evolved out of the practical-lakshya-art. With
the original thnking and innovation, theory also
developed independent of the practical aspect.
The development accepted and put in to practice,
becomes lakshya gnanam, in due course of time. Both are
integral part and complementary. I am
deeply concened with the general and free opinion
that, aspects of theory are not for enjoyment.
It is also vital part of the enjoyment because, with
the knowledge, finer aspects of lakshya music is
really understood and appreciated. But the fact
is primacy is for lakshya gnanam.
Unfortunately, with this strong opinion ingrained,
many of the lakshana & Lakshya artists of eminence
are identified as only 'theorists'-musicologists and
do not get the recognition and opportunities to
perform. I know many Great Maestros/Maestros
lamenting that when we want to sing, they invite us
only for talking (about music)-in telugu language
'pata cutcheriki pilavaka, mata cutcheriki pilustaru'.
I wish that there will be change in thinking and
actions, soon.
Voice Culture
in Karnatic Music
I am also one rasika, among many, who is terribly
disappointed with the lackadaisical approach to the
one of the most important aspects of learning and
practicing- Voice Culture in CM and total negligence,
male Vidwans/maestros, with very few exceptions.
Due to the permissiveness or tolerance by the rasika,
Vocalists in CM do not care for this very vital
requirement. Saint Thyagaraja has called for the
production of Nada/Sound, through energetic exercise
of pressure / blowing air to the vocals, inside, and
it's harnessing in the vocal chords - Nabhi - Hrit -
Kanta - Nasadula endu. It is very
demanding. Inspite of the help of Science and
Art of Voice Culture in CM, being available, scant
respect is paid to this vital requirement of Sadhana -
both in the past and the present. Remedy is with
Rasika, not accommodating/tolerating but, demanding
from the Vocalists. In Indian Music, HM training
continues to lay the emphasis on this vital aspect of
the learning and practice.
The distortions
and unsatisfactory factors and trends in Karnatic
Music of the present times (restricted to 'cutcheri
music')
1)
Lack of clarity, understanding and
agreement on Tradition in Karnatic music.
2)
Lack of deep commitment and sincerity
in training, continuously, in general and voice
culture, in particular.
3)
Premium not on vidwath but, for star
value.
4)
Defective performances with problems,
of sruthi alignment, preferring to offer light
classical, gimmicks in the name of syle(s), apa shabda
(unpardonable mistakes in the sahithya/lyrics),
prematurely commencing the career with anxiety to be
known as' prodigy', quick and easily compromising (
including the fees), lack of pata integrity and taking
recourse to indirect learning ( from notations and
recorded music), not taking correct and full training,
having not good attitude and behavior, adopting
'smart' techniques, practices and tools for achieving
easy and quick success, in plenty.
5)
Lack of Institutions of excellence,
professionally managed with highest efficiency,
quality and continuous improvement- with premium only
for the merits/meritorious. Too many,
poorly managed, with no/meager resources, individuals
or small group of members, struggling to keep the
organizations, afloat.
Barring few exceptions, institutions are with
extremely/very/poor infra structure-accoustics
facilities. Attitude
of caring, only for the star performers-crowd pullers. Offering/not
even offering, decent fees to the artists.
6)
Un professional attitude and actions
by the media- both visual and print on the events
coverage, publicity and publishing/telecasting, with
very few exceptions of adequate, right and correct
actions.
7)
Sponsors-both individual and
corporate-imposing their views, choices, preferences
and conditions on the event managers.
8)
Lack of real support of the rasikas,
to all those artists, who are offering
uncompromisingly, CM sticking to the ideals and
swimming against the current.
Youth
participation in learning, performing and enjoyment
of Karnatic music
For the very survival of the art form and its progress
and continued growth, with vitality, only youth taking
to the art form in greater numbers will ensure the
success in achieving the goal and objectives.
The developments in the recent past, confirms
that. When GreatMaestros/Maestros/Vidwans
and Vidushis were either lost or past their prime of
creative performances or age and when young musicians
were not coming up with serious commitment and
dedication, there was genuine anxiety about the
progress of Karnatic music art form. Thanks to
youth taking up the music with great commitment and
dedication, we have now young and not so young
maestros, enthralling the Karnatic music
rasikas. These young maestros have proven the
fact that Karnatic music art form will continue to
progress and grow and is, immortal. All the
rasikas who want youth, who 'shun' the Karnatic music
are to be given genuine opportunity to experience and
later enjoy the Karnatic music, want more of this
recent success, continue to happen, uninterruptedly.
No intention or designs to 'force feed', but to
give real time opportunities and exposure, to create
the interest, taste, experiences, total enjoyment and
satisfaction to the youth, in greater numbers.
Youth have taken to Classical Music in large numbers,
learning, practicing and performing, when compared to
earlier generations, even with all the un certainties
of attainment of high quality vidwath or
success. The confidence gained through the real
time opportunities to make a good living out of income
from practice of Classical Music, will pave the way
for continued and increased participation and roles by
the youth, in serving the cause of Classical Music and
Karnatic music. Youth of the present generation are attractedmainly by
the hype generated by the media-both visual and print,
high visibility, National/International Success, high
profile celebrity's endorsements, successful event
management, scope for their own participation, scope
for unconditioned and uncritical listening and
enjoyment.
The rasika is attracted to listen Classical Music ,
primarily for tasting the sacredness or taking the
sacredness message, as part of their own religious
progress or as a process of self realization or for
pure and simple entertainment value offering
excitement and energetic feel.
Irrespective of the age, the need for the listening
pleasure and objective drives the listener to take
appropriate steps in securing the fulfillment. It is
undeniable fact that Karnatic music with the primary
goal of religious gratification, never attracted
youth-not well informed about Karnatic music or
initiated. Youth listen to Karnatic music with
intentions to partake the pleasure of experience with
others, either inspired or influenced by a celebrity's
success and fame or curiosity value or part of their
educative values. They are of small per cent
age, at any given point of time. The
confidence gained through the real time
opportunities to make a good living out of income
from practice of Classical music, will pave the way
for continued and increased participation and roles
by the youth, in serving the cause of Classical
music and Karnatic music.
To make Karnatic music appeal to the youth,
specific Karnatic music concerts/programs should
imbibe the core values of other genre, successfully
attracting and delivering the satisfaction to the
youth/masses-energetic, vigorous, striking, shaking
and easy to relate and pleasing to the ears and the
event well managed.
Karnatic music should focus on both the primary goals
- Bhakthi/religious and Entertainment, and offer
listening opportunities, exclusively with one of the
goals and separately to achieve the goal of taking the
Karnatic music to youth. All of those who are
genuinely concerned and deeply committed should
support genuinely with all the means and
resources.
Can we all take simple steps and immediate
action? All the youth members of music colleges
and schools attend live concerts religiously.
Take along friends,max.no of not initiated, but
having curiosity in CM. Try to rope in/drag
(intimate friends) few friends, who hate/exclusive
rasikas of other genre. Ensure that, their time
is well spent, first and they had good listening
experiences. Take them to only popular artist's
concerts, who strike good rapport with the listeners,
youth, specifically. Select concerts venues with
either good canteen facility or in the neighborhood. Enjoy the
food, gently veering to the topic/review of the
concert attended and about the listening
experience. Ensure that they sound like experts
and not novices, in your subtly encouraging
talk/chat. Encourage them to buy at least one
CD/DVD, to create the habit of repeat listening
experiences. Through these small and effective
steps, surprise the artists, event organizers,
indirectly media and the sponsors, with ever growing
participation of the youth. As all of us
have realized, once ruchi for Karnatic music is
developed, we are hooked for life. Nothing else
is needed.
What we are seriously discussing and ideating is about
the youth-both interested and disinterested.
Initiated and not initiated. Most importantly,
who 'shun' Karnatic music.
Chintan Bhaitak is urgently required. All the
stake holders of CM - Musicians, teachers,
musicologists, critics, rasikas, event managers, media
and sponsors- highly meritorious representatives- have
to sit down and brainstorm and come to decision(s) and
action plans and careful monitoring for the success of
this crucial and critical development in the larger
interest of Karnatic music becoming popular music for
the youth-Nationally and Internationally.
What attracts
crowds and how to make Karnatic music popular?
- Above
average talent, practice, presentation and performing
skills.
- Popularity of the Guru andwell
published blessings of the religious head(s).
- Attractive voice, spontaneity, ability
to excite and good net working ability.
- Hitting the platform, young and early.
- Publicizing the success and
endorsements from successful persons in the society.
- Uncanny ability to understand the
expectations and demands of the rasikas and finetuning their
performances to meet the same. Effective
communication with rasikas to arouse arrest and keep
their riveting attention on them and their music.
- High profile and show of wealth.
- Above all, damn smile of lady of luck
!
I do not know whether any body has done MR/Doctoral
thesis. A serious and superb study and
publishing the paper on this would be helping all the
Artistes, Organizers/event managers, opinion makers
and rasikas. A well educated and dedicated
professional/professional organizations has to do the
study for meaningful results and actions.
At all the times-whether earlier two or three
generations or the present two generations or in
future- the fact will remain same. The fact is
only immensely popular artistes, whether they are
vocalists or instrumentalists, draw crowds- consisting
of all categories of rasikas. With abundant
luck/yogam-right place-right time, artiste gains
popularity. In general, it's futile to find the
right formula for success. It just
happens. The reasons are known by analyzing that
particular happening, but sadly can not be replicated
or applied for and by every body. Only
scientific study can give empirical and objective
factors for the success and can become effective
practicing tools. Success still can not be
guaranteed.
Behind every successful/popular artist, there were/are
hundreds of artistes of exemplary or equal
calibre/vidwat and sadhana/practice to have missed the
patronage of rasikas and success, becoming elusive for
them.
I strongly feel that if meritocracy - consisting of
both Vidwat , art and craft of performing(delivering
total satisfaction to the rasikas)- is given prime or
the only consideration by all the concerned -
Artistes, Organizers, sponsors, opinion makers and
rasikas, we can see the change and change for the
better. To determine the merit, a
selection/ranking committee, consisting of Great
Maestro-Vidwan/Vidushi-respectedmusic critic
(with both lakshya and lakshana gnanam,) well
respected representative of Organizers-dedicated
sponsor (individual/Corporate/NRI)-representative(s)
from opinion makers (Individual, print and visual
media, music recording co's)-Govt bodies (AIR/State or
Central/Sangeeth Natak Acadamy)-representative
rasikas, both knowledgeable and lay- to be formed,
with a tenure of two years. The committee to
evolve transparent methods of selection/ranking of
both the current performing artistes and potential/up
coming artistes. The artistes should apply for
consideration, irrespective of their present
status. The results of selection/ranking to be
made public. The opportunities to be given to
the ranked artistes. If the committee can also
recommend min.remuneration/fees, it will be better.
Urging all the
stake holders in Karnatic Music-Organizers/Sponsors,
performing artists, media and the rasikas make
dedicated and committed efforts to make it a Global
success.
S.Madhva Muni Rao,
Son and Disciple of Sandhyavandanam Srinivasa Rao,
#170/C,3rd E Cross Street,
3rd Stage, 2nd Block,
Basaveshwara nagar,
Bangalaore , PIN 560079
E-Mail/MSN Id:munirao2001@hotmail.com/yahoo.com
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