nomenclature basis for names of raagas in carnatic music

[RSR]

My understanding is that the treatises on carnatic music deal with the swaram patterns for each raaga - and with strict gamaka rules for each such, in carnatic music. Most books on carnatic music for students, just mentiion the MK and sancharams and janya raga characteristics.
To the best of my knowledge, no book is there which tries to explain why a particular raaga is called by a particular name. No purpose is served by such analysis perhaps.
In HM, there are classification of raagas as of genders and even time of singing such melodies is specified, But there is no such rule or practice in CM.
It is indeed very difficult and confusing if we try to explore 'names' of hundreds of raagas in CM and any emotional them inherently present in them. For example, there are hundreds of compositions in popular and welk-known ragas like Todi, Kambodhi, Karaharapriya, Kalyani, Sankarabharanan etc.
What I would like to know is whether the nmes are just conventional and otherewise. Why was Todi named so for the first time? It is not always related to the science/ art of classical music to try to go into the nomenclature of various raagas.
No classical treatise on CM deals with such a topic.
Learned scholars may kindly clarify this misgiving.

[Pratyaksham Bala]

Carnatic music Ragas are named using the KaTaPaYadi coding system.

In the alphabet numbering KaTaPaYadi system, the letters are assigned particular numbers.

Raga names are coined based on the particular melakarta number of the ragas.

Thus, one can decipher the melakarta number from the raga name. Similarly, from the raga name one can decipher the malakarta number.

There are several articles on this subject. The following link may give the basic idea on the KaTaPaYadi coding system :
https://www.indica.today/long-reads/anc ... ncryption/

[KKishore]

(A few points imho in addition to the above response on naming&identifying via numbers in 12 groups of 6 each used widely for CM MK ragas,)
1. A MK parent raga (janaka raga) & its janya ragas are more like a family of ragas ('varga ragas' is perhaps the right word to be used as told by Dr Sriram Parasuram in one of his lecdems). This is because janaka-janya can be misleading often.
Same raga can often be put under more than one parent MK raga like Mohanam as many know by characteristics but usually just for grouping convention it is put under 1st appearing MK in system)
2. The above numbering & naming system used in MK ragas has one exception afasik perhaps the 16th raga ChakravAkam (Generally the rule when 2nd letter is a composite like in kra made of up of k +ra then the "k" is ignored and ra (which is 2 in the system) is taken for 1st position does not hold here as it is 16 and not 26)
imho Purely for convenience,tracking convention the ragas are named and grouped as a parent MK raga & its varga ragas(janyas) with possibilities of similarities too intact. The system can help place newer ragas often purely scale based ones too easily in the system

[nAdopAsaka]

In the footsteps of nAdajyOti Mutthuswamy Dikshitar..

As I see it, the question raised in post 1 includes the query “WHY is a rAga given a particular name”.

Posts 2 and 3 address only aspects of HOW some of the rAga names are organized, and are appreciated.

I address the “Why” aspect in this post.

While the historical origins of rAga names may be difficult to trace exactly (although most names can be associated with worship practices, since they are names of deities or kriyAs) , for me, it is the prodigious output of the Dikshitar and the tyAgarAja, that clarifies the “meaning” of a rAga name/word.

Indeed, the Dikshitar and the tyAgarAja show with their kritis that the rAga name (at least for them) is HUGELY important and is integral to their choice of rAga for different kSEtras or different ideas embedded within their individual pujA/musical worship.

The Dikshitar

The very fact that the Dikshitar elevates the rAga name as a word (either directly or indirectly) in his use of rAga mudra in almost all of his kritis shows the importance of the rAga name as a word with meaning for this vAggeyakAra.

And if the rAga mudra doesn’t appear in a few kritis , the rest of the kriti carries the meaning of the rAga word via the kSEtra icons picked.

HUNDREDS of the Dikshitars kritis have been shown to possess this feature, as seen in the Mutthuswamy Dikshitar thread.

A few (glaring) examples are repeated here.

1. The “travel” of the planets enshrined in several of the navagraha kritis are shown to be based on the vehicles (= vAhana) of the planetary deities. Post # 500 of the Mutthuswamy Dikshitar thread makes this abundantly clear...See

https://www.rasikas.org/forums/viewtopi ... 22#p370422

It also shows the navagraha set is a full set of nine since the chAya graha kritis are also given rAgas whose word/names are uniquely associated with the characteristics of the grahas (their periodicity and their eclipsing), essentially to the horoscopical nature of the grahas and the kritis.

2. The various navAvarana sets (at least 10 encompassing a hundred or so kritis) show the relationship between rAga name (yes.. its word) and the corresponding Cakra name. The Sri-vidyA connection to rAga names extends to several other kSEtras/kritis of the Dikshitar as well.

3. “kumuda-kriyA” is easily seen as a rAga name associated with a pujA involving a flower.

But it is the Dikshitar who connects this name, EXACTLY, with the midnight pujA at tiruCengOde, the midnight blooming flower kumuda and also in its androgynous aspect to the ardhanAriSwara deity of that site.

The tyAgarAja

The tyAgarAja also displays this intimate relation between the rAga name and his choice of both rAga and the corresponding kriti language.

About a hundred of his kritis have also been shown to possess this feature, as shown on the tyAgarAja thread.

A couple of (also glaring) examples are repeated here.

1. Why is “kaikAvaSi” given as a rAga name ?

It matters little when this name “kaikAvaSi” was first coined, although its roots in the rAmAyana appear ancient.

But 200 years ago, it is the tyAgarAja who gives the name meaning by ascribing the "Oath of rAma" (in response to kaikEyis wish (kaikAvaSi) as the shining solitary gemkriti “vACam-agOCaramE”, the rAma whose vow cannot be questioned. See..

https://www.rasikas.org/forums/viewtopi ... 78#p376878

titled Re: Thyagaraja (kaikA-vaSi – kaikEyi’s “wish” and “vACAm-agOCaramE = the indescribable greatness of lord rAma Dated 17 Jul 2022, 20:30

2. Why is mOhana given as a name to a particular set of (5) notes ?

There can be zero doubt that mOhana as a representation of “charm” or “attraction” is exactly the reason it is picked by the tyAgarAja when he sings of the “walking approach” of the lord in the timeless “nannu pAlimpa nadaCi vacci”

Why ?

Because as shown in a previous post, the attraction is tied to the attraction = mOhana of the sitA dEvi herself by the scriptural deer mAriCa , who “walks up” to the forest camp of the banished lord and his about to be stolen spouse. See..

https://www.rasikas.org/forums/viewtopi ... 51#p375451

titled Thyagaraja (Krithis) titled “kanaka-vasana vs. kanaka-mrga – what is the true measure of “attraction” or mOhana” Dated 20 Mar 2022, 04:36

Yes, it is possible to reduce all sound/Sabda to merely disturbance of air pressure, with no further content.

But....

No !... the Hindu vAggeyakAras , especially the Dikshitar and the tyAgarAja, teach through their kritis , their nAdayOga, their sacrifice , their vows and their pujA, that Sabda = word has meaning, including the rAga name itself and is not merely this variation in air pressure it is being reduced to.

[RSR]

p-5
Many thanks to Sri.PBala and Sri.KKishore in p-2 and p-3
and Nadopaasaka in p-4
----------
Here are a few observations., open to correction if wrong.
-
The present widely accepted 72 MK raga system with its naming scheme, is the creation of Govindacharya.. The possibility was first propounded by Govinda Dikshita , developed by his son Venkagamahin and further codified by the grandson Muddu Venkatamahi but the final for was due to Govindacharya, All these scholars lived during the Naayaka rule in Tanjore. (1550-1750-roughly) while the Trinity lived in Maratta rule( albeit- company rule)-1750-1850
Thyagaraja swami and Shyama Sastry followed the Sampoorna system propounded by Govindacharya.
The KaTaPaYadi system is applicable to the Parent scales of MK ONLY.
It does not help in anyway, in determining the parent scale of a janya raagam.
=============
It is good to remember that Indian Raaga system has existed for over 2000 years and yet the classification attempts were made only very late. , possibly around 1300 AD.....perhaps we have lost such works.
------
Raagaas existed independently of any supposed parent MK. It was the musicologist who tried to group the melodies as derived from a parent scale. That leads to difference of opinion about the parent scale of some janya raagams , to this day.
==========================================
My query and quest is entirely different and absolutely generic.
It may not essentially refer to raagaa names. It may be relevant to any nouns in any language,
I am embarrassed that i do not know the exact english words for what we call ' kaaraNap peyar' and 'idukuRip peyar' in Thamizh grammar. As a rough example, why did we call a river as 'aaRu'?
why did 'thaamarai' get its name? 'mayil', ? kuyil?
-
Musicology did not begin with parent scale classification. but with hundreds if not thousands of raagaas already in vogue in society
.---and for hundreds if not thousands of years.
Except very late, the melodies - sans words and lyrics- had their own distinct individuality and existence.
We had to give some name to each melody (raagam) to differentiate them. This has nothing whatever to do with classification, theme or any mystical significance.
In the earliest times, centuries back, the names assibned must have been just 'idu kuRip peyar'. and rarely any 'kaaraNap peyar'
-
'what is in a name ' - a rose is a rose whatever we call it.- No?
To fit the KaTaPaYadi schme, it is said that Todi became Hnumath Todi, KalyaaNi became MechkalyaaNI, etc though such changes were few. My query is that why was a raagaa named Harikambodhi, / Karaharapriya/ Shanmugapriya/ Keerwani/ Natabairavi?
When we come to hundreds of janya raagams used by Thyttagaraja swami, - like Bilhari, Mohanam, Bahudari, Aberi, Hindolam etc, these raga names must already have been existent in his time.
Though he is credited with giving a full exposition as a melody form mere scale notation- he is not normally said to have 'invented any new raagam. He is known and worshipped for more than 650 kruthis created by him and for more than 120 kruthis - known as singlekruthi- raga kruthis-.

Why is the name ' suddha seemandini'? why the name durbaar? when these names were first assigned some centuries earlier, what was the logic of nomenclature if any?
why vakulaaaranam ? did the ancient thamiuzh paNNs have raga names with some reason- semantic?
KalyaaNi is said to be a foreign import- after all. So it looks as if the musicologists just used the melodies with their existing names.
This is not to deny that some raagaas like Todi, BoopaLam etc do evoke specific moods but that is not relevant here.
At later periods, raagaa names might have been based on region-
like GowLA, Sindhu, etc. Why Malayamaarutham? Souraashtram ?
================================================
As for p-4, though I share the great reverence to the Trinity, it may not be correct to assert that raagaa names were used and illustrated suitably by the Trinity. only.--though may be in thematic and emotive sense- To the best of my limited knowledge, the musicologists who preceded the TRINITY, were quite familiar with so many raagaas in use at that time, and concentrated more on exactly defining the notes and sanchaarams and occasionally, also the 'rasa' or mood invoked. but they did not go into semantic analysis of the raagaa names.
===
After all, pure music is instrumental and could be associated with emotional states but never with anything in words and theme.
With due apologies, if wrong.

[shankarank]

why did 'thaamarai' get its name? 'mayil', ? kuyil?

A tamil origin for everything scholar, says taamam means red. Hence even copper is taamiram (taama niram). So veLLai taamarai is an oxymoron . arai means kodi .

The agarathi doesn't seem to list this particular meaning : https://agarathi.com/word/%e0%ae%a4%e0% ... e%e0%af%8d

[RSR]

Words seem to change their meaning depending on the region. Kamalam is thaamarai. Cenkamalam is red lotus. Kamala itself may be red?...VeN thaamarai has been used for white lotus over centuries. VeLLaik kamalatthil veetRiruppaaL . There are akaraathis giving wrong meanings, sometimes.

[RSR]

A forum member has been trying to assert that the choice of raga by Thyaagaraja swami for his kruthis is intimately connected with the WORDS used in the kruthi . as a kind of raaga mudhra.
Shyaama Sastri and Thyagaraaja swami were typical bhakthi poets. -devi devotee and Raama devotees respectively.
Without disrespect, their kruthis do not belong to the class of literary poetry.
Prosody was not their main concern atall.
If they had not composed their kruthis with music, and left them as just texfual material, they may not be considered as the best in Telugu or Sanskrit poetry.
But, as music composers who combined bhakthi poems with music, they are without peers.
In this aspect, they stand apart from all the other composers .
While composing , their main concern was the music aspect and not the prosody aspect. Ofcourse, their aim was to use music and poetry to sing the praise of Divinity and propagate their bhakthi message
Thyàgaraja swami like the Daasa poets of slightly earlier times, Purandara Daasa and Kanaka daasaa,
made stinging criticism of his contemporary society , in no uncertain terms.
Swami is unique in that he rejected the prevalent sham show of piety for personal gains and the preocupation of
Brahmins of his period with material gains and worldly physical pleasures.
.
So, like Dasa poets, he was a reformer.
The trend in his times was court music.
Exhibitionism of mere musical skills in RTP Style without any ennobling thematic content or composing songs to flatter the patrons and compose for dance music of courtesans of the patrons.
Neither Shyaama Saastry nor Thyaagaraja swami fell into that grove.
Both were shining examples of expertise in music composition and ennobling ddvotional theme without hidden vulgarity of carnal themes.
By sheer output, and lifelong teaching of jruthis to more than atleast 30 disciples, Thyaagaraja is the undoubted guru of carnatic music in
Musicology, thematic excellence, dedication and nobilty.
( to be continued)

[Pratyaksham Bala]

Well said !

[RSR]

@PBala..Thank you.
.
To continue,
CM musicologists,like HM counterparts, hint that raagas have inherent association with certain emotions, though, the same raaga may be used for expressing different emotions..

There can be no difference of opinion in that.

For example, Todi of CM invariably invokes a certain devotion-tinged feeling.
Thyaagaraaja swami has contributed about 30 kruthis in that raaga alone.

Raaga is same but tunes are slightly different in each kruthi.

The bhaavam is not due to the lyrics of the kruthi. A Naagaswaram player who has learnt all the Todi kruthis will take the unique moments and combine them in his elaboration for hours together. as TNR did.

Likewise, each raaga has its own special emotive characteristic.

That is how some leading CM vocalists have been bowled over by raaga elaboration of some genius HM vocalists and acknowledged it without reservation. Obviously, it was not for the excellence of theme or literary beauty.,
but certainly for the quality of rendering.

However, even a mastero vocalist has limitations in traversing the octaves.( the usual range is just 2 octaves but WCM vocalists are said to have a range of four octaves !).

Instrumental rendition has no such constraint. .Piano provides a huge range.

One need not be a hindu devotee to get immersed in an instrumental raaga aalaapanai, as there are no lyrics and hence theme. Such music then becomes universal.

That is how there are many Indians who are keen listeners of western classical music which differs radically from Indian classical music be it CM or HM . (But CM and HM are based on the same raaga concepts..in fact, there was no such difference before 1300 AD.)

Likewise, there are atleast a few westerners who like and learn Indian classical music, both HM and CM, though HM is more appealing to them

When we introduce CM to non-Indians as instrumental music, preferebly, by western intruments like violin, mandolin,saxaphone ,clarinet and flute
concentrating on raaga aspect, we can make CM universal.


Piano and keyboard presentation will win even more western followers.


Thus, instrumental music is the gateway for general appreciation of music.

I hope that the above points will show the great importance of the pioneering work of Subbarama Dikshitar in his SSP when he attempted to present and preserve CM of his times by western staff notation., . Equal credit should be given to Chinnasamy Mudaliyar who is said to have created staff notation for many Thyaagaraaja kruthis., though we do not know if any such publication is in circulation.

This should not be misconstrued as rejection of theme of lyrics and prosody. They are bonus.



Reverting back to raaga names and their rationale, our esteemed forumite Sri.Lakshman has mentioned in an article in Dwani-Ohio that there are about 15,000 raagas ! By permutation and combination, one can still invent a new raaga but there are certain other requiremsnts for the emergence of a raaga.

Even Thyaagaraaja swaami used only 50 main raagas, .there are about 120 single kruthi raagas, and about 60 raagas in which he has given us just two kruthis.

Raaga names were already existing.
He may not have consciously chosen a raaga for a partichlar kruthi.
Except may be because the flood of lyrics with raaga of the mood swept him.

We have a composer in our forum, who has shared her experience of the creative moments that the lyrics came spontaneously with the tune .(@arasi)

It is the same with poets also. Things like prosody are spontaneous to them
and not after-thoughts, though they may improve it by editing.
.
With all these said, can we abuse our language familiarity to divert the focus of Thyaagaraaja kruthis from the primacy of music composition ?



Is it right to bad-mouth the CM vocalists of the last century, just because their focus was on music and not word-play and any esoteric concern?

May I add that but for their rendition on 'record ' for us to hear , the legacy itself would have been lost for ever?
.
The fact is that

it is the great vocalists who brought Thyaagaraaja live to us, ..music and lyrics
.
It is the instrumentalists, primarily the Naagaswaram players who brought the music of the Bard to us,

It is the few language scholars of Telugu and Sanskrit like our forumite Sri.V.Govindan, who translated and showed us the poetic imagination and fervent bhakthi of the Bard to us as also his spontaniety,

'Entharo mahanu baavulu'
Mindless abuse of great contributors just degrades the abuser.