Taala Janam in MA Lec dem by Dr,Karthick on 14 06 2014

Tālam & Layam related topics
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thanjavooran
Posts: 2972
Joined: 03 Feb 2010, 04:44

Taala Janam in MA Lec dem by Dr,Karthick on 14 06 2014

Post by thanjavooran »

• Taala janam [Gnanam]
Music Appreciation programme by Dr. S. Karthick

The programme exactly started at 09 00 hrs with only 35 rasikas. Some of the interesting points noted are as listed below.

Kalapramanam is essential for all activities.
Any reaga should be sung with kalapramanam and Thodi was demonstrated.
Sruthi maatha laya pitha is a famous saying
Even while speaking kalapramanam is there.
• Layam is an inherent part of life
• When there is no percussion like mirudhangam or tabla any music viz. vina/ shenoy will set a sad mood
• In Dwajavanti kriti Akilanteswari MD demands a full bench orchestra.
• As per Maha periyava talks about two things. Dharma and Laya .
Layam is the place where Anma dwells

• In western countries thalam counting starts from thumb whereas it starts from little finger for us.
• Laya vidwan should internalize the rhythm and should understand the kriti, sangatis and rasa etc.
• RTP is a mind game. Depends on the mood of the artiste.
• Once BMK sang the kriti sambo mahadeva in MA with TVG in a tricky way. Adhi thalam in thisramuki. TVG immediately raised his brows and BMK later let known the calculation.
• Bavanudha of T is an irundumkettan [ambiguous] kalapramanam and also sanithodi of HKM
• Piano is a percussion instrument. and also jalatharangam
• There was a discussion on Theermanam / chakra dhar
• The name of Thani avarthanam should be corrected as Laya vinyasam since the artistes play this all alone [thani] without Rasikas.

S/Shri
Dr Karthick on Ghatam was assisted by the following in his Lec Dem
J Vaidhyanathan Mirudhangam
Harihara sharma Kanjira
Muthukumar Flute
Kumbakonam M.R. Gopinath bViolin
Raman Morsingh
N. Sundar Tabla

Sarasujada Saveri varnam
Brova barama Bahudari in two kalapramanam
kamatchi Byravi swarajathi played in two tempos
Sobillu sapthaswara Jaganmohini
Thaye thirupura sundari sudda saveri only chittaswaram
Gana moorthe [mukkalanna keerthanai] This one was played just to indicate where to play ane where not to play [purcussion]
Nannu kalla thalli sindhu kannada [ for vibrant singining]
Demo of korvai by JV and other artistes
RTP Gowri manohari pallavi as Thyagaraja swamikku sari evare
Narayana in HM style Dharbari kanada
Jawali and padam sung by SAK Durga
Folk song Valli kanavan
Thiruppugazh in chandha thaalam
Thillana in Revathi set by LGJ

My observation

The entire program was neatly set and well organized. During question hour SAK Durga and other few students raised some doubts and subsequently clarified. Dr Karthick is a very good vocalist and his Pallavi rendering during RTP was really nice. As usual Kala pramana expert Pappu Rao garu’s interference during the demo and question hour was not in good taste. Either he has regards for Vidwans or Rasikas. When SAK Durga wanted some clarification during demo she was not allowed by him telling to reserve such doubts during question hour in spite of her defense that she may lose track and forget . There was a tea break for 10 mts in the middle. Pappu rao garu was looking at the clock and was perfect in discharging his duties. Even though it was in the morning session on a holiday the attendance was very poor. I felt some young artistes could have utilized such interesting lecdem. The entire proceedings was in manipravalam. In general this 4 hrs program was excellent and very educative. Dr.K appealed for one more such session to complete his demo as he has not touched few important fields. I would have left some important points and corrections are welcome.
Thanjavooran
15 06 2014

Bluelinero
Posts: 1
Joined: 02 Mar 2015, 12:05

Re: Taala Janam in MA Lec dem by Dr,Karthick on 14 06 2014

Post by Bluelinero »

What I find in here. By this time, I pick up to read it.

vasanthakokilam
Posts: 10956
Joined: 03 Feb 2010, 00:01

Re: Taala Janam in MA Lec dem by Dr,Karthick on 14 06 2014

Post by vasanthakokilam »

Thanks Thanjavooran for quite a lively coverage of the program. Karthick is quite funny and I can see that in his 'thani'' as playing alone without rasikas.. :)

I wondered why you wrote 'kala praam expert Pappu Rao' but the answer was there later :) quite funny on your part.

>Sruthi maatha laya pitha is a famous saying

I wish someone will clarify 'sruthi mata laya pita' in a non-cliche'ish way. If at all anyone can do it, it is Karthick. For all we know, it may just state the obvious fact that tempo is one of the two pillars of music and so maintain a good beat. But laya is much more than just tempo or tala and so it is indeed part and parcel of that which contributes to the dynamics and identity of a song and it makes perfect sense to elevate it to the status of 'pita'. But people hijack that statement and define it in a narrow manner to mean that tempo should not vary with in a song, even when done intentionally. In other words this universal saying is quoted to justify their own preferences and what they understand to be the sampradaya. Anyway, this is my pet peeve.

> Bavanudha of T is an irundumkettan [ambiguous] kalapramanam and also sanithodi of HKM

One interpretation of this is that, while there are no definite beats/minute specification for durita, madhayama or vilamba kalapramanams, they operate in a range of tempos, so it is a fuzzy prescription. ( like don't sing vararaga laya in Akhilandeswarai tempo and vice versa can be stated quite definitively but there is freedom to pick a comfortable tempo for each in some range ). This song is typically sung in between those ranges. Is that the right interpretation? I have also remember reading ( from a PMI article? ) that ARI sang many songs in that kind of rendamkettan kalapramanam.

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