msakella wrote:Dear brother-member, vasanthakokilam, Whether it be a sounded Kriya or un-sounded Kriya the pulse or emphasis of it acts in the same manner to a true Vidwan who makes use all of them in a metre with deft handling. There will certainly be a difference of all of them to a learner and unless he elevates himself to a very much higher point of handling all of them deftly he cannot become a Vidwan. Either in respect of Shruti or Laya the destination is of utilising them deftly like an expert car-driver driving the car deftly. amsharma
VK, I am not sure that we may not have discussed this presentation here before, but within the first three minutes of Benjamin Zander's TED talk on Music and Passion
, I think he gives a clue, through the evolution of how children play the piano, to what msakella has said there. His post made me remember. Do watch: you'll enjoy anyway!
a composition that uses 8 kriyas per cycle ...
It doesn't use 8 kriyas, it uses 8 counts
. (I prefer to say "beats," but not everyone agrees, so that is another conversation altogether.). If you keep your hands still, it uses zero
kriyas. Yes! None at all! The kriyas are the physical expression (isn't the word also used in dance to denote hand movements?), and not the tala structure itself.
You may say I quibble, and, to be honest, you may be right, but I'll carry on with my train of thought...
The tala structure is given in angas, in lagus, druthams, anadruthams (and a few more, complex and now largely historical). So, adi talam consists of one chatusra jatti lagu, and two druthams, symbolically written as I400 (except we assume chatusra so just write I00. The point of my thought train is that the kriyas
with their claps, do seem to imply a stress, with the physical intensity of a clap. It is much harder to get that feeling from the written representation or symbolism of the definition.