Laya Nayam Aesthetics of Rhythm in Carnatic Music
Karnatic Music Forum
Arkay Convention Centre on 10 07 2016
Lec Dem by Mannarkoil J Balaji
The program started at 10 10 hrs with 20 audience. Some of the interesting points discussed during Lec Dem are given below.
Dr.Sundar in his introductory address welcomed the Artiste and the Rasikas.
As a novel thought he has chosen Mannarkoil an active member of the Karnatic forum for this Lec Dem since such knowledgeable persons are very often left unnoticed. He is an expert with effective communication. Vipanji recently honoured him for his services to CM.
Mannarkoil J Balaji
He is a friend of Dr Sundar since 1985
Now he is associated with Samiksha
He has taken inputs from Thanjavur Ramadoss, M.N. Kandasamy, Trichi Sankaran and Guru Karaikudi Mani.
Jathi means vocalisation of Rhythmic patterns
Mirudhangam artiste should have clear Kriti Gnanam.
Thalam is known as Meter or rhythm. Accoustic Thandavam and Layam [Tha and La]
Thal in Tamil means Holy Feet of Lord [ Thiruvadi]
During cosmic dance of Lord Siva one salangai disengaged with the sound of Tha and made a fall with the sound of Lam
In Scandinavian Thala means lady.
The concept of Mirudhangam starts from Sage Swathi. After coming out of the tank completing a dip, noticed the rain water dropping on the lotus leaves producing a pleasant sound.
The body is hollow and black round patch is known as Karanai.
The main item used in this is clay and hence the name Mruth angam.
Only this black karanai is producing the sound.
Dr V. Raghavan of MA had studied in detail and clarified this aspect of Mirudhangam in an article now available in MA library.
In earlier days the body also made out of clay.
There are different varieties of Thalam Viz 108 Thalam, Navasandhi Thalam, 72 Melakartha thalam, sandha thalam etc.
Sool means root
Adhi ........etc. 7 in numbers as Sooladhi Saptha thalam
Chapu represents Folk
Thala has 4 divisions
Mathematics, Representation, Presentation and Aesthetics
Karvai means Gap or pause
Any Korvai played thrice
The ending patterns are generally known as Aruthi, Mukthayee. theermanam and Mohara.
Most of Mohras played with black portion only.
There is a reference in silapathikaram as Mummadi korvai.
There are three lines on the body of Mirudhangam
One will coincide with left knee, middle with chest and the third one with right elbow. This is the position of keeping the instrument while playing..
Arvind a disciple of TNS associated with Mannarkoil in singing a varnam and also a kriti..
The 2 Hrs program was quite educative. He played mirudhangam after explaining the sollu/ Jathi / Konnakkol and was lively through out. The vocalist should know when to start [ Eduppu ] after Thani.. This he emphasized to a question of a Rasika .As percussionist has to study and have Kriti gnanam and so the vocalist too should have a very good knowledge of layam. The whole Lec was extempore without referring to any script. He has toiled and made out a chart with which a korvai, with a complete Thani is possible for any given thalam. On a request he played an excellent thani for 3 mts. at the last. The entire program was in fluent Tamil and English. There were nearly 40 rasikas till the end. Vidwan SriRam was present.
Definitely I would have omitted some important points, request for correction.
10 07 2016
Tālam & Layam related topics
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