vasuda kesav@SarvaniSangeetha sabhA(MusicAcademy Mini)On Jun

rajeshnat · Post by **rajeshnat** » 10 Jun 2009, 21:40

vasuda kesav@Sarvani Sangeetha sabhA (Music Academy Mini) On June 09th 2009
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Accompanied by V V Srinivasa Rao - violin , J VaidyanAthan - mridangam and BS PurushOtaman - KanjirA

1.sharanu siddhi vinAyaka - sowrAshtram - PD
2. rAmachandram bhAvayAmi (S)- vasantA - MD
3. anudinamunu kAvumayya (R N S)- bEgaDa -poochi Iyengar
6 minutes alApanai , 3 mins violin return, 3 mins swaras
neraval in "kanakaruci nIrUpamu kAkOdhara" for 4 minutes

4.kanaka shaila - punnAgavarAli - SS
5.smaramAmyaham(R) - rAmamaNohari - MD
4 mins alApana
6. rAja rAja rAjithE - nirOshta - hmb

7A. evari mAta (R N S T)- kAmbOdhi - T
14 mins alApanai , 6 mins violin,11 mins neraval and 12 mins swaram
neraval in "bhakta parAdhInuDanucu parama bhAgavatula"
7B. tani for 14 minutes

8A. SlOkham "sashaNka chakram sakireeta kundalam" - kalyAnavasantham?? + shanmughapriyA + neelAmbari
8B. dEnuda yEnO devUda ?? - neelAmbari - ???
9. Athanthela OntE Ayithu ??- poorvikalyAni - PD?
10. pavamAna + mangalam kOsalendrAya

This is the first time , I am hearing this vidushi and it turned out to be an overall very good 2 hour 20 minute concert.

I was late by 5 minutes ,heard the second half of sowrAshtram. A fast vasantA popped out with a fairly brisk round of swaras . Till the first 2 songs the percussionist volume was very high.Some one begged the mikeman, aDanAle, the sound of percussionist especially mridangist was reduced to fairly optimum levels and the submain was presented quite well.

A little more emotive weight could have turned out punnAgavarALi as a more pleasant number, the difficult rAmamanOhari popped out and as usual my head searched and initially thought it was vAchaspathi (How come only Tanjore S kalyAnarAman gets rAmamanOhari so perfectly ), and then settled towards rAmamanohari . NirOshta was a slight dip in the quality as she lost a lot of azhuttam there.

The main kAmbOdhi was presented in a very good fashion , nice round of neraval and swaras were both quite elaborate. All the post main numbers were kind of new, I liked all of them particularly the kAlyAnavasantham ?? portion of slOkham and the fast PD? poorvikalyAni was excellent.

Few shortcomings in the concert:
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1. The violinist was very tentative and not that responsive , infact his returns were very mediocre in almost all numbers.

2. JV could have kept overall his mridangam few more cms away from the mike ,at times the voice was drowned by excess percussion that too when both JV -BSP were playing.

3. The vocalist vasudA can be more open throated at times the azhuttam was missing , perhaps it was incidental only in this concert.

4. AC AC AC was so cold and I wish sabhas like cinema theatres off the AC during tani half time, it was freezing experience for me , got a severe infection because of the cold AC blow after suffering few bouts of infection during the weekend.

srikant1987 · Post by **srikant1987** » 10 Jun 2009, 22:14

Her ramAmanOhari (observe the long A's position) on the day. It didn't seem like vAcaspati really, though I thought it could be rAmapriya. That's because I don't know these rAgams.

It was indeed kalyANa vasantam.

I think mediocre is a little too harsh for the violinist's replies. But his AlApanais began very, very slowly. And he made too many octave shifts which I didn't like.

rajeshnat · Post by **rajeshnat** » 10 Jun 2009, 22:18

srikant1987 wrote:Her ramAmanOhari (observe the long A's position) on the day. It didn't seem like vAcaspati really, though I thought it could be rAmapriya. That's because I don't know these rAgams.

.

Good catch it is rAmapriyA but ramAmanOhari, not rAmamanOhari

arunk · Post by **arunk** » 10 Jun 2009, 22:22

ramAmanOhari in terms of swarasthanams differs from vAcaspati in only the "ri" (R1 vs. R2). It is quite possible that the artist started off in the higher part of the octave, and your mind may have associated with vAcaspati (e.g. you are more familiar). The TSK one may have delved on the ri initially to eliminate that. Isn't it unfair to presume fault on the artist's part for this

?

ramAmanOhari is a lot closer to rAmapriya - I think it omits ni on ascent.

Arun

keerthi · Post by **keerthi** » 10 Jun 2009, 22:32

rajeshnat wrote: 8B. dEnuda yEnO devUda ?? - neelAmbari - ???
9. Athanthela OntE Ayithu ??- poorvikalyAni - PD?

could the songs be - 8b. dInudE nEnu dEvudu nIvu by annamAcarya
9. adadellA olitE Ayitu of purandaradAsa..?

srikant1987 · Post by **srikant1987** » 10 Jun 2009, 22:50

arunk wrote:ramAmanOhari is a lot closer to rAmapriya - I think it omits ni on ascent

Yes yes, towards the end of the AlApanai, I noticed that ni was being omitted somewhere. Don't remember if it was ascent or descent though.

She began it with a ri-containing phrase only, I think. She might have maybe chosen the pdnsr side to highlight differences from ramAmanOhari.
---
She began her kambhoji with a mgpds, which is also notable, I thought.

PUNARVASU · Post by **PUNARVASU** » 11 Jun 2009, 06:58

mAtangi shrI rAjarAjEswarI by Shri MSD is also in ramAmanOhari;the 'rAga mudrA' is there.

arasi · Post by **arasi** » 11 Jun 2009, 08:05

Adadella oLitE Ayitu by PD, I guessed, as Keerthi did too. It is sung in pantuvarALi as well.

rajeshnat · Post by **rajeshnat** » 11 Jun 2009, 09:20

keerthi wrote:
could the songs be - 8b. dInudE nEnu dEvudu nIvu by annamAcarya
9. adadellA olitE Ayitu of purandaradAsa..?

Keerthi,
You are right. Thanks.

Shrikanth
How did you hear the last dAsar song , was it pantuvarAli or poorvikalyAni.

srikant1987 · Post by **srikant1987** » 11 Jun 2009, 10:07

I didn't hear the dAsar song. I left during the nIlAmbari as it was getting late.

Sathej · Post by **Sathej** » 11 Jun 2009, 10:51

And the HMB Krithi in Niroshta is Raja Raja Radhithe.

Sathej

keerthi · Post by **keerthi** » 11 Jun 2009, 11:17

Sathej wrote:And the HMB Krithi in Niroshta is Raja Raja Radhithe.

Sathej

This a common mistake, seen on sleeve notes of tapes, and also miscontrued from the way most people sing it.. it is rAja-rAja-ArAdhitE sung as rAja-rAjarAdhitE, and not as posted.. rAdhitE, i think is meaningless..

Sathej · Post by **Sathej** » 11 Jun 2009, 11:44

Yes, I agree, infact was speculating about it. It has to be Aradhithe. I did a Google search and found almost everywhere it says Radhithe. But yes, it has to be Aradhithe. The above comment was with regard to 'Rajithe' in the review.

Sathej

mridhangam · Post by **mridhangam** » 11 Jun 2009, 11:47

I was present for the concert too. But i felt the mridangam left was low there by robbing the beauty of JV's thoppi which was ably compensated by the presence of the Bassy sound of Purushothaman's Khanjira. What rajesh felt i also felt in the sense that sometimes the volume was a bit too high making the voice drip. But it is part of stage trick where the mridangist and Khanjira artiste try to fill in gaps or try to aid the main artiste in giving some added colour to the already existing vistas. It also enlivens the concert to a greater extent making the audience realise the importance of accompaniment for the concert success.

As usual Vasuda was her best and i have been finding her growing in strength over the years. Kulkarni also wrote a very good review of her concert at Nalinakanthi during the last music season. (Mods pls pick up the link and give it if possible). Her Kambhoji was superb and the development was slow, methodical and thorough. She has a good footing in traditional music and only time will tell the difference and the journey is long and arduous for such traditional oriented artistes which is bereft of any gimmicry. The music is sophisticated and her approach is high class.

I also think the kriti smarAmyaham is in the rAga rAmapriya and not ramAmanohari .....

Rajesh sir AC was not enough for me .... hahahaha

Tastes differ ...

J.Balaji

arunk · Post by **arunk** » 11 Jun 2009, 18:06

Balaji Sir, if that krithi is by Dikshitar, it could not have been rAmapriya as ramAmanOhari was the mela as per the asampoorna melakarta system.

BTW I checked SSP. No krithis of Dikshitar mentioned under ramAmanOhari. The Aro/Avaro is actually identical to rAmapriya (i.e. d n s and not d s) although it says the following about vishesha prayogas: (p m p d S) (P n n s) (d` g r s) (p` r s n s) (Ãƒâ€¹Ã¢â€žÂ¢s n p m g r S) (n. d. n. S) (s g r S).

Arun

sureshvv · Post by **sureshvv** » 11 Jun 2009, 19:44

arunk wrote:It is quite possible that the artist started off in the higher part of the octave, and your mind may have associated with vAcaspati (e.g. you are more familiar). <snip> Isn't it unfair to presume fault on the artist's part for this ?

Arun

Perfect analysis. You sound as if you were there!

Incidentally, I think Vasudha neatly side stepped the Ramamanohari/Ramapriya divide by not singing swaras for the kriti

Kanakashaila was sung both languorously (as Dreiser might say) and emotively. It demonstrated how the artiste controlled the pace of the concert, being able to make the rasika sit up or sink within their seats at will.

There was a nice chittaswaram sung during the Niroshta kriri that I have not heard before. The entire kriti was sung in a very invigorating fashion setting the mood for the kambodhi main. No oxygen masks dropped and I could sense absolutely no loss of "azhutham" at any moment during this

The violinist broke a string and took an inordinately long time fixing it during the tara sthayi sancharas and Vasudha has to go it alone for a little while there which IMHO really brought out both her mettle and class.

The amplification for the left side of the mridangam was great - and it showcased JV's ability to annotate the kuchery with his sweet nadham. It was quite a bit higher for the other side.

To me this artiste personifies "azhutham" and tradition.

PS: The last row in this auditorium gets pummelled with a direct draft from the central a/c vents and is designed for the intense a/c seeking public

srikant1987 · Post by **srikant1987** » 11 Jun 2009, 21:01

sureshvv wrote:Incidentally, I think Vasudha neatly side stepped the Ramamanohari/Ramapriya divide by not singing swaras for the kriti

But she sang an AlApanai!

sureshvv wrote:The violinist broke a string and took an inordinately long time fixing it during the tara sthayi sancharas and Vasudha has to go it alone for a little while there which IMHO really brought out both her mettle and class.

Oh, he broke it, did he? Then taking that long was quite justified, imho. Indeed, it's quite laudable that he carried extra strings along. And you don't get violin accompanists for swara singing from day one of kalpana swarams, I suppose.

(Note: I don't deny at all that Vasudha is a singer of mettle and class. The concert was very enjoyable indeed.)

rajaglan · Post by **rajaglan** » 12 Jun 2009, 18:48

I like the song selection. begada, ramamanohari,kamboji, niroshita....all my fav.
vasuda... from which school of music?

Sathej · Post by **Sathej** » 13 Jun 2009, 03:58

srikant1987 wrote:
sureshvv wrote:The violinist broke a string and took an inordinately long time fixing it during the tara sthayi sancharas and Vasudha has to go it alone for a little while there which IMHO really brought out both her mettle and class.
Oh, he broke it, did he? Then taking that long was quite justified, imho. Indeed, it's quite laudable that he carried extra strings along.
(Note: I don't deny at all that Vasudha is a singer of mettle and class. The concert was very enjoyable indeed.)

Well, I've seen quite a few instances of strings breaking and getting fixed rather quickly most times. And carrying extra strings - well almost everyone does it, to my knowledge.

Sathej

arasi · Post by **arasi** » 13 Jun 2009, 07:41

I know of a Suryaprakash concert where the violinist carried on without fixing it. Perhaps did not carry extra strings...

Sathej · Post by **Sathej** » 13 Jun 2009, 07:52

Oh! That would have been quite something to do. If it had been after the main piece, its atleast thinkable. But otherwise, its almost a Herculean task to play with three strings (unless its the G string, without which the manageability is better). As far as I've seen, many violinists have atleast one or two strings as spare.

Sathej

rajeshnat · Post by **rajeshnat** » 13 Jun 2009, 09:13

rajaglan wrote: vasuda... from which school of music?

I heard from one fellow rasika that she has learnt / still learning from vidwan TK Govinda rao. Dont know about her other gurus if she had any.

coolkarni · Post by **coolkarni** » 13 Jun 2009, 09:43

srikant1987 · Post by **srikant1987** » 13 Jun 2009, 09:48

Talking of breaking strings during a concert, I vaguely recollect an incident with Smt Kalpakam Swaminathan rbharath mentioned to me once. Apparently she broke a tala string just as the pallavi of a song got over, and during the remaining beats to the anupallavi in the same avartanam, she shifted another less important tala string to that position and tuned it to the appropriate shruti, beginning the anupallavi as if nothing had happened!

mridhangam · Post by **mridhangam** » 13 Jun 2009, 12:00

Here is what i can provide about the artiste in a nutshell :

Vasuda was trained in the Gurukula system by her aunt H. S. Mahalakshmi, a renowned artist, whose tutelage belonged to the vocal style of Tiger Varadachariar and Harikeshanallur Muthaiah Bhagavathar.

Vasuda inherited a rich tradition from her grand father Hemmige Srirangachar, a disciple of Tiger Varadachariar and was a court musician during Kingship of H H Krishnaraja Wodeyar IV, the Maharaja of Mysore. she is a post graduate degree in music and a gold medallist from Mysore University, Vasuda is acclaimed for her performing and teaching skills. She has been performing for over 20 years in many prestigious organizations all over India

Vasuda is furthering her musical journey under the tutelage of Padma Bhushan P. S. Narayanaswamy of Chennai.
She is an A grade Artiste of the AIR and Doordarshan and she has won many Yuva Puraskars and Awards to her credit.

J.B

chandar · Post by **chandar** » 13 Jun 2009, 13:53

It was a nice concert which shall be in my memory. few suggestions
While singing Vasuda should try not to imitate the male style of singing, esp while rendering swaras. Singing Viruttams from common Vishnu sahasranama sloka one should be more careful with the lyrics and not skip a line.

rajeshnat · Post by **rajeshnat** » 13 Jun 2009, 13:59

Mridhangam/Coolkarni
Did she also learn from Shri TK GovindA rao as told by another rasika. Is that correct?

srikant1987 · Post by **srikant1987** » 13 Jun 2009, 15:42

While singing Vasuda should try not to imitate the male style of singing, esp while rendering swaras

And can you please explain what that is?

arasi · Post by **arasi** » 13 Jun 2009, 20:49

Gesticulations, even from the male singers are not favored by some. From females, even more so.
As Srikant asks, what is the male style of singing, especially when it comes to svarAs? Half a century ago, yes, there was an unwritten rule that women had to sing with 'modesty' on stage (aDakkamAgap pADa vENDum); svarams sung minimally. MLV changed all that and gave expression to her imagination in that department. I hope it does not amount to reining in one's imagination...

keerthi · Post by **keerthi** » 13 Jun 2009, 22:44

arasi wrote: As Srikant asks, what is the male style of singing, especially when it comes to svarAs?

this is probably a reference to what was/is called 'puruSHa sangitam' or 'gaNDu sangita' in the vernacular..

Chandar probably meant masculine/virile/ mannish...

I too have seen women artistes who speak in 'normal' X chromosome voices, but sing in affected Y chromosome tones... which is usually unpleasant.. MLV's style was vigorous, but she retained a uniform voice in her singing; retaining a certain sweetness.

srikant1987 · Post by **srikant1987** » 14 Jun 2009, 03:38

keerthi wrote:
arasi wrote:what is the male style of singing, especially when it comes to svarAs?
this is probably a reference to what was/is called 'puruSHa sangitam' or 'gaNDu sangita' in the vernacular..

... masculine/virile/ mannish...

Doesn't help much.

The X-chromosome voices / tones is easier to understand. Do you mean going to the atimantra sthAyi or something? Or is it some kind of waveform change (and if it is, how is it effected)?

VK RAMAN · Post by **VK RAMAN** » 14 Jun 2009, 05:15

Is it body language or male voice immitation!

mridhangam · Post by **mridhangam** » 14 Jun 2009, 23:04

She didnt learn from T.K.Govindarao.

J.B

keerthi · Post by **keerthi** » 14 Jun 2009, 23:28

srikant1987 wrote: Doesn't help much.

The X-chromosome voices / tones is easier to understand. Do you mean going to the atimantra sthAyi or something? Or is it some kind of waveform change (and if it is, how is it effected)?

I haven't heard this viduSi sing.. I don't mean singing atimandram.. T.Brinda would sing a lot of mandram, and there was nothing mannish about her singing.. I think it has to do with a certain (put-on) harshness of voice, normally associated with men singers..

only it is natural and not put on in the case of men..

arasi · Post by **arasi** » 14 Jun 2009, 23:28

There is the vocalist from Kerala--Baby (yes, that is her name. Forget her last name). She is a solid singer and sings at a very low Sruti (one and a half?). The first few minutes, yes, you are conscious that she sings at a man's Sruti, but after that, you do not notice it. You hear only a woman's voice...

vidya · Post by **vidya** » 15 Jun 2009, 04:33

I find archaic terms such as 'purusha sangItam' highly problematic (I am sure we have come a long way from the times of the musical opinions of Dhanammal and the days when Dhanakoti ammal sang their first RTP etc) and such terms deserve to belong to the realms of the 'was'! There are no objective terms to describe such opinions as they are largely determined by highly subjective and culturally normative generalizations. Question is how do we conclude what someone sings is 'put on' or something is natural? What may sound 'put-on' to you may be entirely natural to them!! We know several male musicians who have high-pitched voices, sing with softness and so do we classify them as 'sthree sangItam'? All these depend on an individual's voice and the aesthetics they feel at home in. While I am not denying the fact that a large number of musicians male and female do fall within the normal curve there are a great many outliers and making judgements on highly subjective and culture-colored normative terms like 'mannishness', 'harshness' and 'who ought to sing how and how not' definitely is not being fair to these people and has more to do with the opinions ingrained in the mind of the listener and has nothing to do with the music at all!

srikant1987 · Post by **srikant1987** » 15 Jun 2009, 08:26

keerthi wrote:T.Brinda would sing a lot of mandram, and there was nothing mannish about her singing..

I was once played a record of Brinda, and asked to recognise the singer. I suggested a name after the first two or three seconds, and my friend said, "Don't be in such a hurry! You even got the gender wrong!"

arasi wrote:There is the vocalist from Kerala--Baby (yes, that is her name. Forget her last name). She is a solid singer and sings at a very low Sruti (one and a half?). The first few minutes, yes, you are conscious that she sings at a man's Sruti, but after that, you do not notice it. You hear only a woman's voice...

Could you be referring to Baby Sriram? But in the concert I attended of hers, I never felt this man's sruti kind of thing. I seem to have zero sense of perfect pitch!

vidya wrote:I find archaic terms such as 'purusha sangItam' highly problematic (I am sure we have come a long way from the times of the musical opinions of Dhanammal and the days when Dhanakoti ammal sang their first RTP etc) and such terms deserve to belong to the realms of the 'was'!

I seem to have a similar opinion.

But I have another, more intriguing question to ask. Do you have any such concept in instrumental music? For example, when you listen to some recorded violin or veena recital, can you tell -- without recognising the artist -- if it's a man or a woman playing it? If you can, which part would be most revealing of this? Kalpitam? AlApanai? Tanam? Neraval? Swaram?
===
If you can tell the difference in instruments, then probably is something called "puruSha sangItam", as against "puruSha kural" or "puruSha mannerisms".

arasi · Post by **arasi** » 15 Jun 2009, 08:55

Srikant,
I did not say Baby Sriram sang like a man! I said--at least I meant to say--that while I knew she was going to sing in a low Sruti (the organizer spoke about it when he introduced her!), I did not get the feeling at all that a man was singing!

Yes, Vidya--old notions carried over. It is understood that tastes differ. Some like high-pitched voices in women. Others don't. The same with male singers. Some do not like a high-pitched man's voice. Personal preferences aside, there is no need to name them in ways which do not go with the times. Wonder how DKP's music is looked upon!

cacm · Post by **cacm** » 15 Jun 2009, 09:21

Baby Sriram about whom I presume people are writing about is a TRULY great SINGER. Better still she is a GREAT COMPOSER also. Her compositions are outstanding & her depth clearly comes through in her concerts. I am not surprised as Sangeetha Karthas have to feel the music at a far deeper level than casual listeners-Like poets who convey in a few lines what rest of the persons would take for ever & even then poorly!-. Music is NOT pitch of the singer or their gender! VKV

sureshvv · Post by **sureshvv** » 15 Jun 2009, 13:58

chandar wrote:It was a nice concert which shall be in my memory. few suggestions
While singing Vasuda should try not to imitate the male style of singing, esp while rendering swaras.

You should also try to avoid the female style of listening (assuming you are a male), esp. during the thani,

uday_shankar · Post by **uday_shankar** » 15 Jun 2009, 15:52

vidya wrote:I find archaic terms such as 'purusha sangItam' highly problematic

I don't find it problematic.

I think there's one area where male Carnatic vidvans hold an enormous edge over female vidvans (I hereby decree vidvan a gender-free term:)) and that is in the area of apashruthi

.

Needless to say, being quite a shruti-sissy myself, I prefer "sthree sangeetham" but not necessarily performed by female artists.

Sathej · Post by **Sathej** » 15 Jun 2009, 16:10

Uday_Shankar wrote:
I think there's one area where male Carnatic vidvans hold an enormous edge over female vidvans (I hereby decree vidvan a gender-free term:)) and that is in the area of apashruthi .

Well, how is that? I see several female artistes too facing much the same problems with Shruthi. I would call it a more age-related issue. Maybe, its a bit more pronounced in males, yes, but I don't see any enormous difference.

Sathej

srikant1987 · Post by **srikant1987** » 15 Jun 2009, 17:24

Uday, did you read the "Is instrumental music also gendered?" question of mine? Do you think your proposed "apashruti" edge is held by male instrumental vidwans too?

sreekeshava.srihari · Post by **sreekeshava.srihari** » 15 Jun 2009, 17:44

Vasudha is very perfect traditional artist. I had heard Vasudha's Shubhapanthuvarali 6 yrs back in Mysore at Krishnamurthy Puram Rama Mandira. It was very beautifully rendered where I had a thrilling experience. I had the same experience by listening to Shubhapanthuvarali RTP sung by Sanjay Subramanyam and excellently(beautifully,outstanding.. am short of words) accompanied by Mysore Nagaraj.

keerthi · Post by **keerthi** » 15 Jun 2009, 19:31

vidya wrote:I find archaic terms such as 'purusha sangItam' highly problematic (I am sure we have come a long way from the times of the musical opinions of Dhanammal and the days when Dhanakoti ammal sang their first RTP etc) and such terms deserve to belong to the realms of the 'was'!

...t denying the fact that a large number of musicians male and female do fall within the normal curve there are a great many outliers and making judgements on highly subjective and culture-colored normative terms like 'mannishness', 'harshness' and 'who ought to sing how and how not' definitely is not being fair to these people and has more to do with the opinions ingrained in the mind of the listener and has nothing to do with the music at all!

The usage of these words in my post are in the conventional (probably archaic) sense; and I have repeated often enough, that it is not my opinion of this singer..

I don't mean to impute any felicity (or oppobrium) on the word; I think it was used in the past to refer to a certain aggressive, spirited kind of singing..

matterwaves · Post by **matterwaves** » 17 Jun 2009, 18:14

FYI, vasuda's younger brother, Rajesh , is a self-made budding Mridangam player performing frequently in Bengalur/Mysur now a days.

@ Keethi ' I think it was used in the past to refer to a certain aggressive, spirited kind of singing' .. I agree. I have heard this comment made by famous connoisuers in Bangalore a few times. Eg : Aruna Sairam's Todi scarecely touching the panchama.

Here is a divine piece by Gangubai .a true 'male' voice!
http://www.badongo.com/file/2496735

What does azutham mean? Is that a tamil word?

rshankar · Post by **rshankar** » 17 Jun 2009, 21:19

Yes azhuttam is indeed a tamizh word meaning many things, but depth, strength, emphasis, forcefulness etc. would be appropriate in this (musical) context.

arasi · Post by **arasi** » 17 Jun 2009, 21:22

matterwaves,
Yes, Gangubhai! I should have mentioned her too when I spoke of DKP. How nice to have these voices too among high pitched voices!

azhuttam is depth in tamizh. It also means emphasis, strength, adhering to something.

srikant1987 · Post by **srikant1987** » 17 Jun 2009, 21:34

Isn't it just pressure?

Which also means forcefulness, emphasis, strength and depth?

Singing or playing an instrument with clear audibility -- clear audibility without any strain on the listener's hearing faculty. To some extent also steadiness, too. Something sung or played with full conviction in its virtues tends to hold azhuttam.

sureshvv · Post by **sureshvv** » 18 Jun 2009, 12:53

Carnatically trained musicians are frequently encouraged to shed some of the "azhutham" when they sing light/film songs. I tend to think that "clear audibility" would be an asset for all types of music.