Insiders' perspectives on limitations of CM
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ganesh_mourthy
- Posts: 1380
- Joined: 02 Sep 2007, 23:08
Read only the topic , and not read the whole litany of the subsequent threads. yet I feel like writing this.
Years ago when I had been to Paris and when traveling by Metro I happened to hear violin played by three buskers. Just been there for employment I had to be judicious on my spendings . Yet I was generous enough to give them 10 euros (generous in my own very terms). It was not just impulse or instinct . It was something more than that. My guess was they were from eastern europe.
Amazing harmony , sweetness personified music and perfection in every aspect , the movement of their hands and fingers in all speed. It went on for 15 min.
I am afraid, I dont see that harmony and perfection even in our stage personalities.
little busy now . I shall sure come back onthis elaborately.
Years ago when I had been to Paris and when traveling by Metro I happened to hear violin played by three buskers. Just been there for employment I had to be judicious on my spendings . Yet I was generous enough to give them 10 euros (generous in my own very terms). It was not just impulse or instinct . It was something more than that. My guess was they were from eastern europe.
Amazing harmony , sweetness personified music and perfection in every aspect , the movement of their hands and fingers in all speed. It went on for 15 min.
I am afraid, I dont see that harmony and perfection even in our stage personalities.
little busy now . I shall sure come back onthis elaborately.
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thenpaanan
- Posts: 671
- Joined: 04 Feb 2010, 19:45
I know you said you'll write in detail later but for those of who are excited by the possibilities of this topic, could you very briefly say what you meant by "color" (a good reference will do)?Uday_Shankar wrote:
Limitations of the Carnatic genre (no complaints, just natural observations)
=====================================================
Lack of variation in color
Thanks
Then Paanan
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uday_shankar
- Posts: 1475
- Joined: 03 Feb 2010, 08:37
thenpaanan
Sorry, I've been busy, didn't see this.
The only "reference" I can cite you to off the top of my head is my own post #47 above where I've thrown around words like "color". Did you overlook that due to a page over ?
I'm using a visual analogy to describe a psycho acoustic experience, perhaps very loosely. So color in my reckoning constitutes a) range of pitch (in WCM, even in a sparse "orchestra" like a string quartet, the range is several octaves through several instruments) b) range of timbre (the different instruments have different timbre)
One might say that this so-called "color" is available in film music in India. Perhaps so, but by the very nature of it is a rather cavalier and short-lived genre.
On contrast, Carnatic music is bounded by the sthayis of the voice (of course the violin accompaniment to a male voice often adds a sthayi). So this is essentially "monochromatic" or at least chromatically limited. Thus the Carnatic experience can be likened to a appreciating a highly complex, intricate, ornate drawing or scultpure in stone.
Sorry, I've been busy, didn't see this.
The only "reference" I can cite you to off the top of my head is my own post #47 above where I've thrown around words like "color". Did you overlook that due to a page over ?
I'm using a visual analogy to describe a psycho acoustic experience, perhaps very loosely. So color in my reckoning constitutes a) range of pitch (in WCM, even in a sparse "orchestra" like a string quartet, the range is several octaves through several instruments) b) range of timbre (the different instruments have different timbre)
One might say that this so-called "color" is available in film music in India. Perhaps so, but by the very nature of it is a rather cavalier and short-lived genre.
On contrast, Carnatic music is bounded by the sthayis of the voice (of course the violin accompaniment to a male voice often adds a sthayi). So this is essentially "monochromatic" or at least chromatically limited. Thus the Carnatic experience can be likened to a appreciating a highly complex, intricate, ornate drawing or scultpure in stone.
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narayan
- Posts: 385
- Joined: 05 Oct 2008, 07:43
Quite a lot to read for someone just catching up on this thread, jet lagged or not! So may have missed many points. Anyhow, I feel that one limitation in CM is the lack of instrumental compositions and a way to record and teach instrumental compositions.
Fully with Arun about the bhakti business, which often means that anything goes because something vaguely devotional is being sung, and so basic musical values can be sacrificed. This is probably most harmful at the second level beginner stage, where there is a lot of 'encouragement' simply because of the theme of the song, even if it is boilerplate devotion. But pl put this down to sour grapes from my side, as I am not tuned in to most languages and lyrics.
Uday, for minimalist CM, how about
http://www.sangeethamshare.org/murthy/0 ... garaja.mp3
which Ramnad fans would have heard, but worth hearing again.
Fully with Arun about the bhakti business, which often means that anything goes because something vaguely devotional is being sung, and so basic musical values can be sacrificed. This is probably most harmful at the second level beginner stage, where there is a lot of 'encouragement' simply because of the theme of the song, even if it is boilerplate devotion. But pl put this down to sour grapes from my side, as I am not tuned in to most languages and lyrics.
Uday, for minimalist CM, how about
http://www.sangeethamshare.org/murthy/0 ... garaja.mp3
which Ramnad fans would have heard, but worth hearing again.
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ganesh_mourthy
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- Joined: 02 Sep 2007, 23:08
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thenpaanan
- Posts: 671
- Joined: 04 Feb 2010, 19:45
Apropos the lack of the purely instrumental composition in CM, Hindustani musicians seem to have developed the concept of _bandish_ for sitar and such. I agree whole-heartedly someone should take this up. I have heard that Lalgudi Jayaraman would request vocalists to sing his thillanas in their concerts and many did, which points out the composer's need for such compositions to be _sung_. I for one think Lalgudi's thillanas stand on their own, vocalized or not. On the other hand, I once had an interesting conversation with an amateur violinist, who insisted among other things that the violin _had_ to imitate singing, which is what in his opinion gave the Carnatic violin its identity (as distinct from Western violin, say).narayan wrote:I feel that one limitation in CM is the lack of instrumental compositions and a way to record and teach instrumental compositions.
Fully with Arun about the bhakti business, which often means that anything goes because something vaguely devotional is being sung, and so basic musical values can be sacrificed.
Uday, for minimalist CM, how about
http://www.sangeethamshare.org/murthy/0 ... garaja.mp3
which Ramnad fans would have heard, but worth hearing again.
I am also disappointed that CM never evolved an equivalent of the _bada khayal_, the freewheeling yet structured way to meld melody and rhythm. Pallavi singing in CM seems to have become an exercise in routine or gymnastics. Kritis, on the other hand, have words that have to be sung (even though Madurai Mani Iyer and co have tried their best to break that particular shackle). I wonder if CM will eventually evolve a khayal-type composition, but I don't see any sign of such a possibility.
Re: Bhakti and CM, it should ideally be a two-way street, give and take in both directions. But these things evolve with social mores -- back when Bhakti was at its height, I am sure CM got more than it gave. Bhakti is not that strong in society today and so there is not much to take from that direction. I would generalize the question to: what modern sources can/should CM draw energy and ideas from?
That Ramnad piece was truly inspiring, minimalist yet fully satisfying. Thanks.
-Then Paanan
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thenpaanan
- Posts: 671
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Would anyone argue that the famous Yaman solo (60+ minutes) on the Rudraveena by late Ustad Zia Moiuddin Dagar was too long?coolkarni wrote:The Big question is not whether borrowing takes place.
It is all about What is being borrowed from other genres....
HM students usually spend the first few years learning only two or three ragas.That is the vast expanse they see in a simple scale.
Now occasionally when a CM artist takes up a major krithi in say Sankarabharanam or Khamboji , and you sense that a krithi is round the corner , I get a craving for an RTP.Those multitudes of lanes and bylanes that could also take me to the high point of an experience, albeit unaided by a composer -
Now When I see artists from this genre of CM attempting an RTP in a HM raga - I take it for granted that their wide angled lenses have A CAPABILITY TO focus on a HM raga , EQUALLY WELL.And what happens next ? A two stepped alapana or a few minutes , a meaningless thanam and.....
A DASH TO THE PALLAVI LINE and ragamalika etc.
The first time I played Malini Rajurkars Dhani for a CM strongman like Ram - he exclaimed 'What a wonderful first line - But what does she do for the rest of the 28 minutes with the same line ?"
and as he saw (or heard) the singers imagination run riot , there was this feeling of a crosswind blowing , thanks to opened windows, but the current was surely at a much elevated plane - Like those Thermals on which the eagles glide ever so gracefully.
...
The way things stand today , it will take another 100 years for an average CM performer to get to acknowledge the importance of a well heard drone in a concert.
Mathematics- Blame it all on those mathematics.
Or ask what does he do for 60 minutes plus after the first line without even a tabla?
An essay on Yaman where every note, every strike or glide, every interval is exploited for sheer meditative pleasure. And yet it is Yaman, that seemingly straightforward rag that most people think they have heard all of.
Even the drone is heard and relished in wholesome fashion. At the end you feel only the slightest disappointment that there is no cheez after the alap, as if Ustadji decided "Enough said" and declared the innings after that alap.
Perhaps only an MDR or a Veena Balachander could do such things on our side and yet these folks were/are considered mavericks, eccentrics to be watched with amusement, never emulated.
Coolji asks the right question: what do you want to borrow or learn is more important than who from.
-Then Paanan
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thenpaanan
- Posts: 671
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A related but not identical complaint I have is not about Carnatic Music itself but about the discussion of CM.
Inevitably most discussions about CM fail to distinguish between the practice and the ideals of CM. Furthermore, because of this failure, any discussion about practice of CM muddles together the mechanics of music production (how to sing, how to play veena, how to put tala, etc) and the non-mechanical (sometimes even spiritual) aspects of the music (whether you need to know the language of the lyrics to do justice, how much bhakti is needed to sing well, etc). It is infruriating to me to see some of the discussions (not on this thread but in general on this forum) awash in arguments that constantly talk about the masters of the past with mysticism and pooh-pooh current trends etc. If someone asks how does one improve the voice, the answer might some such and such sang in the early dawn (ushatkAle) standing neck deep in the village tank. If someone is innovating on notating CM, the quip is why do we need notation? our elders did not have any special notation, and they sang better than we do. Someone might ask how do we innovate the kutcheri format and the answer might be that the kutcheri format is a synthesis of the great musical tradition of our ancestors and harnesses the bhakti and the shakti of our music.
Classicism and conservative thinking are intertwined no doubt, but we seem to have lost the hang of when to apply what kind of argument. Or perhaps we never had it?
-Then Paanan
Inevitably most discussions about CM fail to distinguish between the practice and the ideals of CM. Furthermore, because of this failure, any discussion about practice of CM muddles together the mechanics of music production (how to sing, how to play veena, how to put tala, etc) and the non-mechanical (sometimes even spiritual) aspects of the music (whether you need to know the language of the lyrics to do justice, how much bhakti is needed to sing well, etc). It is infruriating to me to see some of the discussions (not on this thread but in general on this forum) awash in arguments that constantly talk about the masters of the past with mysticism and pooh-pooh current trends etc. If someone asks how does one improve the voice, the answer might some such and such sang in the early dawn (ushatkAle) standing neck deep in the village tank. If someone is innovating on notating CM, the quip is why do we need notation? our elders did not have any special notation, and they sang better than we do. Someone might ask how do we innovate the kutcheri format and the answer might be that the kutcheri format is a synthesis of the great musical tradition of our ancestors and harnesses the bhakti and the shakti of our music.
Classicism and conservative thinking are intertwined no doubt, but we seem to have lost the hang of when to apply what kind of argument. Or perhaps we never had it?
-Then Paanan
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
On limitations of CM, when compared with World Music, without going in to technical aspects, What gives the strength of practioners of CM to take to other forms of Music and perform and satisfy, both the listener and the learned ? What weaknesses of other forms of World Music, which does not facilitate/equip them to understand and perform CM ? Only very few achieved, like Yehudi Menuhin, John Higgin Bhagavathar etc, to understand and perform IM-HM or CM, with limited success. Even Ustads /Pandits of HM have not succeeded in learning and performing CM, with few exceptions , like Shyamala Bhave.
Genius and Great Maestro, DR.BMK had stated that with the strength of learning and practice of 72 Melakartas of CM, Vidwan/Vidushi/Maestros of CM can understand and perform any kind of Music, with application. He demonstrated with singing Hindusthani-Rabindra Sangeeth-French-Italian etc, with ease.
Genius and Great Maestro, DR.BMK had stated that with the strength of learning and practice of 72 Melakartas of CM, Vidwan/Vidushi/Maestros of CM can understand and perform any kind of Music, with application. He demonstrated with singing Hindusthani-Rabindra Sangeeth-French-Italian etc, with ease.
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karthikbala
- Posts: 221
- Joined: 05 Feb 2010, 09:58
Dr. BMK has been blessed vocally and his voice production is most sound and robust, which is why at this age he can still sing circles around younger vocalists. Certainly, such artistes can transcend genres.munirao2001 wrote:Genius and Great Maestro, DR.BMK had stated that with the strength of learning and practice of 72 Melakartas of CM, Vidwan/Vidushi/Maestros of CM can understand and perform any kind of Music, with application. He demonstrated with singing Hindusthani-Rabindra Sangeeth-French-Italian etc, with ease.
Alas, in many a Carnatic kutcheri, one finds the vocalist ducking a significant chunk of the tessitura (often using hand gestures to 'indicate' unsung or fudged high notes!!!). Apologists of such renditions trot out the usual chestnuts; "they are conveying sublime heavenly ideas", "Carnatic music does not require vocal ability" and godknowswhat. I prefer to think that composers put in all those notes because they intended them to be sung.
In the last few years so-called Premier institutions of carnatic music have regularly featured vocalists with badly hobbled voices. I remember attending one Academy concert which transformed itself into a violin-mridangam performance as the longevity of that singer's performing career and that of his vocal equipment were not quite in sync.
Today amateurs and dilletantes rule the roost, and vocalists with a range of barely an octave have no qualms holding forth in Kambhoji etc. I think Carnatic Music should set its own house in order first before entertaining delusions of Global Grandeur. IMHO from a global perspective, instrumentalists are a far better advertisement of our glorious musical tradition.
This is largely hypothetical, as CM is not really on the World's radar. The odd overseas (con)fusion concert or some CM musician singing in some obscure festival in some part of the world is not a meaningful indicator.munirao2001 wrote: What weaknesses of other forms of World Music, which does not facilitate/equip them to understand and perform CM ?
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thenpaanan
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- Joined: 04 Feb 2010, 19:45
To the point of CMusicians taking to other forms with felicity, I think taking one example is not evidence of a larger point. There are only a few living CM artists who seem to be genuinely performing (i.e. giving concerts) in multiple forms: Sakuntala Narasimhan, the Parur-style violinists, Anuradha and Sriram Parshuram, ... No doubt the real list is much longer but you see the point.munirao2001 wrote:On limitations of CM, when compared with World Music, without going in to technical aspects, What gives the strength of practioners of CM to take to other forms of Music and perform and satisfy, both the listener and the learned ?
What weaknesses of other forms of World Music, which does not facilitate/equip them to understand and perform CM ?
Only very few achieved, like Yehudi Menuhin, John Higgin Bhagavathar etc, to understand and perform IM-HM or CM, with limited success. Even Ustads /Pandits of HM have not succeeded in learning and performing CM, with few exceptions , like Shyamala Bhave.
Genius and Great Maestro, DR.BMK had stated that with the strength of learning and practice of 72 Melakartas of CM, Vidwan/Vidushi/Maestros of CM can understand and perform any kind of Music, with application. He demonstrated with singing Hindusthani-Rabindra Sangeeth-French-Italian etc, with ease.
Second, what evidence do we have that CMusicians who perform other classical music forms are well-received by the learned of those forms? Lec-dems are good but don't equate to performance. Fusion performances tend to get the general response "they should stick to their own!"
Third, suppose we hypothesize that people from other musical forms find it hard to learn CM because it is more complex. Is that, by itself, a good thing about the music? Note also that people may find it hard to learn CM for a host of other issues (linguistics, geography, existence of "ambassadors") that have very little to do with the quality of the music itself.
In any case, making such comparisons do not help us become better. Even if I grant the hypothesis that CM is somehow more complex and hence superior to other forms, how does it help me sing better? Or improve something else?
-Then Paanan
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
Karthikbala,
I am also one rasika, among many, who is terribly disappointed with the lackadaisical approach to the one of the most important aspects of learning and practicising- Voice Culture in CM and total negligence, with very few exceptions. Due to the permissiveness or tolerance by the rasika, Vocalists in CM do not care for this very vital requirement. Saint Thyagaraja has called for the production of Nada/Sound, through energetic excercise of pressure / blowing air to the vocals, inside, and it's harnessing in the vocal chords - Nabhi - Hrit - Kanta - Nasadula endu. It is very demanding. Inspite of the help of Science and Art of Voice Culture in CM, being available, scant respect is paid to this vital requirement of Sadhana - both in the past and the present. Remedy is with Rasika, not accommodating/tolerating but, demanding from the Vocalists. In Indian Music, HM training continues to lay the emphasis on this vital aspect of the learning and practice.
After Pandit Ravi Shankar and Late Ustad Ali Akbar Khan took HM to the World Stage, in the past five decades both HM and CM of IM is received very well in the Classical Music segements of World Music. The interest in CM is also growing, fast (not restricted to NRI's only). Thanks to the pioneering work of Late Prof.Viswanathan and others, good attempts at learning CM has been made and continuing to be made. The CM has proved to be very scientific, complex and demanding, when compared with other genre of World Music. CM practioners are able to learn and adopt, many aspects of other Music Systems, much easier and faster.
I am also one rasika, among many, who is terribly disappointed with the lackadaisical approach to the one of the most important aspects of learning and practicising- Voice Culture in CM and total negligence, with very few exceptions. Due to the permissiveness or tolerance by the rasika, Vocalists in CM do not care for this very vital requirement. Saint Thyagaraja has called for the production of Nada/Sound, through energetic excercise of pressure / blowing air to the vocals, inside, and it's harnessing in the vocal chords - Nabhi - Hrit - Kanta - Nasadula endu. It is very demanding. Inspite of the help of Science and Art of Voice Culture in CM, being available, scant respect is paid to this vital requirement of Sadhana - both in the past and the present. Remedy is with Rasika, not accommodating/tolerating but, demanding from the Vocalists. In Indian Music, HM training continues to lay the emphasis on this vital aspect of the learning and practice.
After Pandit Ravi Shankar and Late Ustad Ali Akbar Khan took HM to the World Stage, in the past five decades both HM and CM of IM is received very well in the Classical Music segements of World Music. The interest in CM is also growing, fast (not restricted to NRI's only). Thanks to the pioneering work of Late Prof.Viswanathan and others, good attempts at learning CM has been made and continuing to be made. The CM has proved to be very scientific, complex and demanding, when compared with other genre of World Music. CM practioners are able to learn and adopt, many aspects of other Music Systems, much easier and faster.
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
Then Paanan,
The No of Musicians of CM performing in multiple forms, creditably, is far higher when compared with Musicians from other genre.
L.Shankar, is the pioneer. Many capable Musicians need exposure and performing opportunities, to show case their talents.
On HM-CM fusion concerts, I also find that HM Musicians stick to their tradition and practices and CM Musicians are not sticking to the CM tradition and try to adopt HM technique or style.
With the help and strength of Science and Art of CM, Tradition, Sadhana (aiming the perfection), tuly imbibing the Ideals of CM and performing-uncompromisingly keeping it Classical, CM Musicians have immense potential to reach High peaks of Global Acceptance, Appreciation, support and patronage. The challenges of 'linguistics, geography, existence of "ambassadors" is equally applicable to CM practioner(s).
My point is that , as good/excellant practioner of CM, you are better equipped to Excel and go after the infinite possiblities of attainment, Globally. Seriously, critically view and understand the Gayaka Doshas. Get rid of them, totally. Use the technological advancement/knowledge and tools, effectively in bringing the imporovements, with open mind. You are destined to achieve the much elusive success and your own total satisfaction.
We should not fall in to the trap of acceptance of the popular streams/forms of Music, just because they have Gloabal reach Or contemporary, blindly/easily. Study, learn and adopt best techniques and practices of other forms of Music in to CM, sticking to Tradition of Classical Excellance.
The No of Musicians of CM performing in multiple forms, creditably, is far higher when compared with Musicians from other genre.
L.Shankar, is the pioneer. Many capable Musicians need exposure and performing opportunities, to show case their talents.
On HM-CM fusion concerts, I also find that HM Musicians stick to their tradition and practices and CM Musicians are not sticking to the CM tradition and try to adopt HM technique or style.
With the help and strength of Science and Art of CM, Tradition, Sadhana (aiming the perfection), tuly imbibing the Ideals of CM and performing-uncompromisingly keeping it Classical, CM Musicians have immense potential to reach High peaks of Global Acceptance, Appreciation, support and patronage. The challenges of 'linguistics, geography, existence of "ambassadors" is equally applicable to CM practioner(s).
My point is that , as good/excellant practioner of CM, you are better equipped to Excel and go after the infinite possiblities of attainment, Globally. Seriously, critically view and understand the Gayaka Doshas. Get rid of them, totally. Use the technological advancement/knowledge and tools, effectively in bringing the imporovements, with open mind. You are destined to achieve the much elusive success and your own total satisfaction.
We should not fall in to the trap of acceptance of the popular streams/forms of Music, just because they have Gloabal reach Or contemporary, blindly/easily. Study, learn and adopt best techniques and practices of other forms of Music in to CM, sticking to Tradition of Classical Excellance.
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gn.sn42
- Posts: 396
- Joined: 02 Feb 2010, 23:56
coolkarni, could you provide more details on these albums? What is the label? Is there an online store?coolkarni wrote:As I Read this I am listening to two magnificent albums by Ranjani Hebbar.
I got them purely because they had Vachanas , but her treatment of Yaman and Maru Behag is out of the world.
Right now she is my best bet for exploring the common territory.
Two great albums.
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gn.sn42
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
I desire to share my thoughts on:
1) Evolution of Classical Music
The Classical music has evolved from the creative thinking of the highest order, to improvise and attain perfection, to give intellectual total satisfaction, from the Tribal-Folk-Devotional (Temple/Church) music. The theory and practices of Classical Music knowledge was created by the Great masters for the learning, practicing, achieving excellence, giving opportunity to enrich the knowledge through the practitioner’s own creative out put. The performer's offer of music of immense values, strictly adhering to the Science and Art of Classical Music, delivers total intellectual and emotional satisfaction to the listeners.
In the Indian music context, there are Nibidha (bound by the Theory and Grammar) and Anibidha (not bound by the Theory and Grammar). Tribal, Folk, Devotional and Light (sugama, Gamaka, Vachanas, Abhangs, Gazals, film etc) musical forms are anibidha. They have the freedom to imagine, create , construct and offer music, which is having novelty, rhythm, raw emotions, sensual, easily appealing and pleasing, without or with the knowledge and practice of Theory and Grammar, unrestricted. With the freedom and no restrictions, compositions have been created with clever and cheerful play and medley on the note(s), raga and tala, in the Anibidha music. In this vast body of knowledge and compositions in Anibidha Indian Music, one can find the compositions having the distinct quality of jumping, shifting and keeping the base of the Classical Music on both the ragas and talas and pitches. This Anibidha IM has many common features of World Folk, Tribal and Church music.
The Authors and Composers of Indian Classical Music, developed the Nibidha Classical Music, with clear do's and don’ts (can and can not) and gave definite and conclusive musical identity. They have created music parts, where the creativity is synonymous with the character of total understanding, deep appreciation, love, dedication and commitment to bring out the Classical Excellence of the Original Creator, uncompromisingly, with the flame and passion of the original creative moments in all it's splendor and masterly compositions, every time. They have also created music parts, where the full scope of the performer's own creative treatment can be offered, with imagination and performing ability only, as limitation. Thus, Classical Indian music-both HM and CM-may appear to be highly conditioned to those who have not totally understood the Theory and Practices, but it is evolved to offer highest Intellectual satisfaction with Total freedom to enrich the Knowledge (Tradition) with original (truly) contributions, time tested and everlasting.
The Nibidha Indian Classical music(maybe, even WCM), by choice, design and construction, avoided the unrestricted and unscientific musical forms to give distinct, clear, repeatable/reproducible, identifiable, ennobling and music with highest values. The Nibidha Classical Music should be correctly understood, as inclusive-not exclusive and we should not arrive at quick and uninformed conclusions that they are not fully developed, fully capable, fully accommodative, abhor innovations and needs updating!
2) The distortions and unsatisfactory factors in the CM (restricted to ‘Cutcheri Music’)
2.1. Lack of clarity, understanding and agreement on Tradition in CM.
2.2. Lack of deep commitment and sincerity in training, continuously, in general and Voice Culture, in particular.
2.3. Premium not on Vidwath but, for Star Value.
2.4. Defective performances with problems, of Sruthi, preferring to offer light classical, gimmicks in the name of style(s), apa shabda(unpardonable mistakes in sahithya), prematurely commencing the career with anxiety to be known as ‘prodigy’, quick and easily compromising(including the fees), lack of pata integrity and taking recourse to indirect learning(from notations and recorded music), not taking correct and full training, having not good attitude and behavior, adopting ’smart’ techniques, practices and tools for achieving easy and quick success, in plenty.
2.5. The lack of Institutions of Excellence, professionally managed with highest efficiency, quality and continuous improvement-with premium only for the merits/meritorious. Too many, poorly managed, with no/meager resources, individuals or small group of members struggling to keep the organizations, afloat. Barring few exceptions, institutions are with extremely/very /poor infrasture-accoustics facilities. Attitude of caring, only for the Stars. Offering/not even offering, decent fees to the artists.
2.6. Unprofessional attitude and actions by the media-both visual and print in the events coverage, publicity and publishing/telecasting, with very few exceptions of adequate, right and correct actions.
2.7. Sponsors-both individual and Corporate-imposing their views, choices, preferences and conditions on the event managers.
Let me stop, with this labor, to avoiding taxing your attention further!
munirao2001
1) Evolution of Classical Music
The Classical music has evolved from the creative thinking of the highest order, to improvise and attain perfection, to give intellectual total satisfaction, from the Tribal-Folk-Devotional (Temple/Church) music. The theory and practices of Classical Music knowledge was created by the Great masters for the learning, practicing, achieving excellence, giving opportunity to enrich the knowledge through the practitioner’s own creative out put. The performer's offer of music of immense values, strictly adhering to the Science and Art of Classical Music, delivers total intellectual and emotional satisfaction to the listeners.
In the Indian music context, there are Nibidha (bound by the Theory and Grammar) and Anibidha (not bound by the Theory and Grammar). Tribal, Folk, Devotional and Light (sugama, Gamaka, Vachanas, Abhangs, Gazals, film etc) musical forms are anibidha. They have the freedom to imagine, create , construct and offer music, which is having novelty, rhythm, raw emotions, sensual, easily appealing and pleasing, without or with the knowledge and practice of Theory and Grammar, unrestricted. With the freedom and no restrictions, compositions have been created with clever and cheerful play and medley on the note(s), raga and tala, in the Anibidha music. In this vast body of knowledge and compositions in Anibidha Indian Music, one can find the compositions having the distinct quality of jumping, shifting and keeping the base of the Classical Music on both the ragas and talas and pitches. This Anibidha IM has many common features of World Folk, Tribal and Church music.
The Authors and Composers of Indian Classical Music, developed the Nibidha Classical Music, with clear do's and don’ts (can and can not) and gave definite and conclusive musical identity. They have created music parts, where the creativity is synonymous with the character of total understanding, deep appreciation, love, dedication and commitment to bring out the Classical Excellence of the Original Creator, uncompromisingly, with the flame and passion of the original creative moments in all it's splendor and masterly compositions, every time. They have also created music parts, where the full scope of the performer's own creative treatment can be offered, with imagination and performing ability only, as limitation. Thus, Classical Indian music-both HM and CM-may appear to be highly conditioned to those who have not totally understood the Theory and Practices, but it is evolved to offer highest Intellectual satisfaction with Total freedom to enrich the Knowledge (Tradition) with original (truly) contributions, time tested and everlasting.
The Nibidha Indian Classical music(maybe, even WCM), by choice, design and construction, avoided the unrestricted and unscientific musical forms to give distinct, clear, repeatable/reproducible, identifiable, ennobling and music with highest values. The Nibidha Classical Music should be correctly understood, as inclusive-not exclusive and we should not arrive at quick and uninformed conclusions that they are not fully developed, fully capable, fully accommodative, abhor innovations and needs updating!
2) The distortions and unsatisfactory factors in the CM (restricted to ‘Cutcheri Music’)
2.1. Lack of clarity, understanding and agreement on Tradition in CM.
2.2. Lack of deep commitment and sincerity in training, continuously, in general and Voice Culture, in particular.
2.3. Premium not on Vidwath but, for Star Value.
2.4. Defective performances with problems, of Sruthi, preferring to offer light classical, gimmicks in the name of style(s), apa shabda(unpardonable mistakes in sahithya), prematurely commencing the career with anxiety to be known as ‘prodigy’, quick and easily compromising(including the fees), lack of pata integrity and taking recourse to indirect learning(from notations and recorded music), not taking correct and full training, having not good attitude and behavior, adopting ’smart’ techniques, practices and tools for achieving easy and quick success, in plenty.
2.5. The lack of Institutions of Excellence, professionally managed with highest efficiency, quality and continuous improvement-with premium only for the merits/meritorious. Too many, poorly managed, with no/meager resources, individuals or small group of members struggling to keep the organizations, afloat. Barring few exceptions, institutions are with extremely/very /poor infrasture-accoustics facilities. Attitude of caring, only for the Stars. Offering/not even offering, decent fees to the artists.
2.6. Unprofessional attitude and actions by the media-both visual and print in the events coverage, publicity and publishing/telecasting, with very few exceptions of adequate, right and correct actions.
2.7. Sponsors-both individual and Corporate-imposing their views, choices, preferences and conditions on the event managers.
Let me stop, with this labor, to avoiding taxing your attention further!
munirao2001
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rajesh_rs
- Posts: 184
- Joined: 01 Dec 2007, 11:18
I am not an insider nor am I as knowledgeable as others here, but as a fan of Carnatic music and its musicians, I have to raise the following:
1. I dislike violin drones - mellifluous voices like BMK's followed by a mouse-like violin flourish is something I have grown to dislike. The trouble is that with all due credit to the abilities of the violinist to follow and predict the artist, the idea is itself a bad idea. ( I am listening to an eloquent BMK singing "Sadguru Swamiki" in Reetigowla and could do very well without the violin drone with his occasional apaswarams and the delayed notes).
2. I dislike "excess" excesses - but this too depends on the raga and the song. For example, I could happily sit through half an hour of reetigowla or half an hour of kharaharapriya, but couldn't sit through half an hour of abhogi. Because of the relative melodic simplicity, the the music would be more bearable for a half an hour reetigowla rather than half an hour of mohanam or abhogi.
3. Discipline is generally low - applauding in the middle of a sangathi, interrupting a violinist to throw in a phrase, etc., should be disallowed. The lack of discipline can throw off some foreigners who may get the feeling that the act is coming apart. Orchestration is where other types of music beat Carnatic hands down. Even drugged out 70s rock guitarists sometimes had better orchestration than some Carnatic concerts.
4. More intelligent use of the percussionists in RTPs, please. Allow them to develop the rhythmic progressions. There's a concert in which Umayalapuram Sivaraman develops the rhythm starting from three notes, into a complex and enjoyable, cerebral form. When the audience can sense the progression of the rhythm, it is more enjoyable.
5. Someone said this earlier. Minimalist schools should be encouraged more. I liked some of KVN's renditions where he'd stick to the point of the song, rather than test the listener's patience as some other artists do.
I loved the minimalist rendition of Shree Neelotpala Nayike (Naari Reetigowla, Dikshitar) by T M Krishna in a 2008 Margazhi programme. This is somewhere on Youtube. The rendition was so good, it elevated the quality of the song.
1. I dislike violin drones - mellifluous voices like BMK's followed by a mouse-like violin flourish is something I have grown to dislike. The trouble is that with all due credit to the abilities of the violinist to follow and predict the artist, the idea is itself a bad idea. ( I am listening to an eloquent BMK singing "Sadguru Swamiki" in Reetigowla and could do very well without the violin drone with his occasional apaswarams and the delayed notes).
2. I dislike "excess" excesses - but this too depends on the raga and the song. For example, I could happily sit through half an hour of reetigowla or half an hour of kharaharapriya, but couldn't sit through half an hour of abhogi. Because of the relative melodic simplicity, the the music would be more bearable for a half an hour reetigowla rather than half an hour of mohanam or abhogi.
3. Discipline is generally low - applauding in the middle of a sangathi, interrupting a violinist to throw in a phrase, etc., should be disallowed. The lack of discipline can throw off some foreigners who may get the feeling that the act is coming apart. Orchestration is where other types of music beat Carnatic hands down. Even drugged out 70s rock guitarists sometimes had better orchestration than some Carnatic concerts.
4. More intelligent use of the percussionists in RTPs, please. Allow them to develop the rhythmic progressions. There's a concert in which Umayalapuram Sivaraman develops the rhythm starting from three notes, into a complex and enjoyable, cerebral form. When the audience can sense the progression of the rhythm, it is more enjoyable.
5. Someone said this earlier. Minimalist schools should be encouraged more. I liked some of KVN's renditions where he'd stick to the point of the song, rather than test the listener's patience as some other artists do.
I loved the minimalist rendition of Shree Neelotpala Nayike (Naari Reetigowla, Dikshitar) by T M Krishna in a 2008 Margazhi programme. This is somewhere on Youtube. The rendition was so good, it elevated the quality of the song.
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
rajesh_rs
1) Before the choice and development of Violin playing in CM, Veena, Flute and harmonium artists used to accompany the Vocalists. After the successful development of Violin playing in CM, Violn is the most prefered choice. Great violinists, honed the skills and perfected the art of playing, to make the Violin eminently suitable, both for accompaniment and for solos. Few bad experiences/blemishes-unintented, in violin playing, should not lead you to arrive at this feeling/decision. Many concerts of Great Masters, are embelished and given inspirational encouragement and support by the Violin Maestros-From Dwaram,Lalgudi, TNK, MSG,MNC, VVS, Chowdiah, Annavarupu Ramaswamy, L.Subramaniam, L.Shankar to the present times many Violin maestros/artists.
Think, Why Vocalists prefer to have violinists, as accompanists ? If it were a bad idea, they would not take the risk. Coming to Great Genius and Great Maestro, BMK, BMK-MSG-TVG concerts were immensely popular. BMK himself being a Maestro in Violin and Viola, he would not put up with defective and jarring Violin accompaniment.
2) On 'excess', each raga is raga devatha. The imagination and performing ability are only the limitations. With rapt attention, Please listen to Maestros recordings/performances, expounding 'Mohanam' or 'Abhogi'(Abhogi Kanada in HM, in particular). Soon, you will be asking for more!(excessively, perhaps).
3) On discipline of the rasikas of CM, Yes, it is true and most unfortunate. Inspite of constant requests and urging of the performing artists, rasikas are not correcting their misbehaviour. It is high time, event managers, have to become tough and show the door to such rasikas. I recall one incident of Great Maestro Pt.Ravi Shankarji stop playing and requesting the rasikas to behave, with the knowledge that the artists consider the Venue/Platform as divine, for resuming the concert. May be, all the popular artists should take the cue from Panditji, to enforce the discipline of rasikas.
4) Rasikas have not been particulary helpful for the development of Orchestration in IM. For your kind information, many Maestros-Producers of AIR, have won International Radio Awards for their masterpiece compositions. Many maestro composers of Film Music, based on the CM, have created profound BM, consisting of orchestration. With encouragement and support, many present day maestros can offer, top quality music with excellent orchestration. Try it out.
5) It is truly, not minimalist Vs maximalist. It is the pata integrity suffering, badly beaten and bruised, getting away, as 'Style'. Rasikas too willingly, encouraging the bouts. What is the extent and nature of support of the rasikas for the Great/Maestros/Vidwans/Vidushis, sticking to the pata integrity ? It is very poor, if not abysmal. Rasikas getting served, the way the deserve.
munirao2001
5) I strongly feel that the real problem is' method of interpretative' playing by the percussionists(with the feelings that they are making the percussion singing the songs). Compare with the Tabla accompaniment in HM, to realise my point. The RTP of longer duration, consisted of 'Tani' at two intervals, with the deliberate intention of giving the percussionists to contribute to the rhythmic delights.
1) Before the choice and development of Violin playing in CM, Veena, Flute and harmonium artists used to accompany the Vocalists. After the successful development of Violin playing in CM, Violn is the most prefered choice. Great violinists, honed the skills and perfected the art of playing, to make the Violin eminently suitable, both for accompaniment and for solos. Few bad experiences/blemishes-unintented, in violin playing, should not lead you to arrive at this feeling/decision. Many concerts of Great Masters, are embelished and given inspirational encouragement and support by the Violin Maestros-From Dwaram,Lalgudi, TNK, MSG,MNC, VVS, Chowdiah, Annavarupu Ramaswamy, L.Subramaniam, L.Shankar to the present times many Violin maestros/artists.
Think, Why Vocalists prefer to have violinists, as accompanists ? If it were a bad idea, they would not take the risk. Coming to Great Genius and Great Maestro, BMK, BMK-MSG-TVG concerts were immensely popular. BMK himself being a Maestro in Violin and Viola, he would not put up with defective and jarring Violin accompaniment.
2) On 'excess', each raga is raga devatha. The imagination and performing ability are only the limitations. With rapt attention, Please listen to Maestros recordings/performances, expounding 'Mohanam' or 'Abhogi'(Abhogi Kanada in HM, in particular). Soon, you will be asking for more!(excessively, perhaps).
3) On discipline of the rasikas of CM, Yes, it is true and most unfortunate. Inspite of constant requests and urging of the performing artists, rasikas are not correcting their misbehaviour. It is high time, event managers, have to become tough and show the door to such rasikas. I recall one incident of Great Maestro Pt.Ravi Shankarji stop playing and requesting the rasikas to behave, with the knowledge that the artists consider the Venue/Platform as divine, for resuming the concert. May be, all the popular artists should take the cue from Panditji, to enforce the discipline of rasikas.
4) Rasikas have not been particulary helpful for the development of Orchestration in IM. For your kind information, many Maestros-Producers of AIR, have won International Radio Awards for their masterpiece compositions. Many maestro composers of Film Music, based on the CM, have created profound BM, consisting of orchestration. With encouragement and support, many present day maestros can offer, top quality music with excellent orchestration. Try it out.
5) It is truly, not minimalist Vs maximalist. It is the pata integrity suffering, badly beaten and bruised, getting away, as 'Style'. Rasikas too willingly, encouraging the bouts. What is the extent and nature of support of the rasikas for the Great/Maestros/Vidwans/Vidushis, sticking to the pata integrity ? It is very poor, if not abysmal. Rasikas getting served, the way the deserve.
munirao2001
5) I strongly feel that the real problem is' method of interpretative' playing by the percussionists(with the feelings that they are making the percussion singing the songs). Compare with the Tabla accompaniment in HM, to realise my point. The RTP of longer duration, consisted of 'Tani' at two intervals, with the deliberate intention of giving the percussionists to contribute to the rhythmic delights.
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rajesh_rs
- Posts: 184
- Joined: 01 Dec 2007, 11:18
munirao2001,
Thanks for your detailed reply.
1. Maybe it is a personal peeve, but I never liked the sound of violin accompanists in vocal concerts. Don't get me wrong - I love violinists like Lalgudi Jayaraman, A Kanyakumari, MS Gopalakrishnan and young prodigies like Aishu Venkataraman too. They sound splendid when performing solo or when giving violin concerts, but to my ear, they just don't complement the vocals well. I don't contest the fact that some geniuses like BMK do like drones, but the fact remains that I don't find it aesthetically pleasing.
2. I agree with you that in exceptional cases, the artist's imagination and voice may make limited ragas likeable. A case in point is KJY's renditions of Kanakangi. However, this may not be true in case of all artists.
3. I second your idea that artists and organizers alike should take a leaf out of Pandit Ravishankar's book. Disciplined crowds reflect upon our culture as much as our great musical traditions do. To some extent, the extent to which the artists are organized also has an effect on the discipline of the crowd. If the crowd realize they're in exalted company, they will behave. I say this because there are also artists who sometimes don't exhibit the necessary musical discipline - applauding a fellow performer in the middle of his performance, interrupting his performance, etc., are also unpardonable.
4. Now that you mentioned it, it is surprising how we can exhibit such excellent orchestration in case of BGM and film music in general, while we can't have as much orchestrations in our Carnatic concerts. Maybe the presence of melody and no harmony whatsoever encourages the lack of orchestration.
5. What I liked about the percussionists in some RTPs is in fact the variety of percussion instruments - especially with the ghatam and kanjira added to the mrdangam, makes for an explosive combination. What I dislike on the other hand, is that many of these thanis are disproportionate, and don't stray with modest limits of the spirit of the kriti/composition being rendered. For example, there is a much-lauded thaniavarthanam by Thiruvarur Bhaktavatsalam, a ghatamist (forget his name) and the immortal G Harishankar on kanjira on Youtube. I found that this piece, although excellent in many parts, lapses into noise at points - and this despite the obvious high talent of the artists. I think the spirit of the song should be maintained to an extent, rather than sheer exhibitionism. Of course, this applies to an extent to some of the needlessly long alapanas as well.
Thanks for your detailed reply.
1. Maybe it is a personal peeve, but I never liked the sound of violin accompanists in vocal concerts. Don't get me wrong - I love violinists like Lalgudi Jayaraman, A Kanyakumari, MS Gopalakrishnan and young prodigies like Aishu Venkataraman too. They sound splendid when performing solo or when giving violin concerts, but to my ear, they just don't complement the vocals well. I don't contest the fact that some geniuses like BMK do like drones, but the fact remains that I don't find it aesthetically pleasing.
2. I agree with you that in exceptional cases, the artist's imagination and voice may make limited ragas likeable. A case in point is KJY's renditions of Kanakangi. However, this may not be true in case of all artists.
3. I second your idea that artists and organizers alike should take a leaf out of Pandit Ravishankar's book. Disciplined crowds reflect upon our culture as much as our great musical traditions do. To some extent, the extent to which the artists are organized also has an effect on the discipline of the crowd. If the crowd realize they're in exalted company, they will behave. I say this because there are also artists who sometimes don't exhibit the necessary musical discipline - applauding a fellow performer in the middle of his performance, interrupting his performance, etc., are also unpardonable.
4. Now that you mentioned it, it is surprising how we can exhibit such excellent orchestration in case of BGM and film music in general, while we can't have as much orchestrations in our Carnatic concerts. Maybe the presence of melody and no harmony whatsoever encourages the lack of orchestration.
5. What I liked about the percussionists in some RTPs is in fact the variety of percussion instruments - especially with the ghatam and kanjira added to the mrdangam, makes for an explosive combination. What I dislike on the other hand, is that many of these thanis are disproportionate, and don't stray with modest limits of the spirit of the kriti/composition being rendered. For example, there is a much-lauded thaniavarthanam by Thiruvarur Bhaktavatsalam, a ghatamist (forget his name) and the immortal G Harishankar on kanjira on Youtube. I found that this piece, although excellent in many parts, lapses into noise at points - and this despite the obvious high talent of the artists. I think the spirit of the song should be maintained to an extent, rather than sheer exhibitionism. Of course, this applies to an extent to some of the needlessly long alapanas as well.
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
rajesh_rs
1) The appreciation of music and it's enjoyment, as it is happening in case of live concert, requires rasikas open and free mind. The problem with listening experience is, the rasika, having memorized the most satisfactory experience and satisfaction, constantly yearns for recall experiences of such of those moments. Mind is pre occupied with constant comparisions and judgements. The likes and dislikes filters. The rasika must give full attention, with no bias or distractions of any kind, to receive the music and for true experience.
Only very few Violin Maestros/Vidwans/Vidushis succeed as, soloists, contrary to your opinion. I request you to listen, afresh, to the present violin accompanists-R.K.Sriramkumar, S.Varadarajan, Akkarai Subbalakshmi, Mysore Nagaraj and Mysore Manjunath, M.A.Sundaresan, C.N.Chandrasekar-to name only few. Find out whether you have new experiences, obliterating your opinion, expressed in this thread.
2) We are very fortunate to have immensely talented and profound Maestros, who offer very high quality of manodharma, in particularly on raga alapana/vistara-both Ghana and Vivadi- both the Maestros and Vidwans/Vidushis. Giving allowance to their not so good voice quality and strict adherence to the shruthi, if you carefully listen, you will find that many Vidwans/Vidushis offer you the satisfaction. To your surpirse, you will also find that it is not only the Maestro KJY, satisfying you.
3) Discipline of rasika, does not exclude the performing artists, who are also rasikas themselves, first and foremost.
4) As Rasikas, we must know the structure and strengths of CM. If we expect the musical experiences arising out of other forms of World Music, based on different structure, which are not part of the CM system are prohibited part of CM, we , as rasikas are at fault but, not the musicians. Given the opportunity, support and encouragement, our CM Maestros can present, great music through orchestration.
5) The very format of RTP calls for show casing the talents of all the artists, in full measure. Success of RTP vests purely on the balance of all aspects, including vital aspect of hitam and mitam (sense of proportion).
I keenly wish for your renewed, refreshed and receptive listening and total enjoyment and satisfaction, soon.
munirao2001
1) The appreciation of music and it's enjoyment, as it is happening in case of live concert, requires rasikas open and free mind. The problem with listening experience is, the rasika, having memorized the most satisfactory experience and satisfaction, constantly yearns for recall experiences of such of those moments. Mind is pre occupied with constant comparisions and judgements. The likes and dislikes filters. The rasika must give full attention, with no bias or distractions of any kind, to receive the music and for true experience.
Only very few Violin Maestros/Vidwans/Vidushis succeed as, soloists, contrary to your opinion. I request you to listen, afresh, to the present violin accompanists-R.K.Sriramkumar, S.Varadarajan, Akkarai Subbalakshmi, Mysore Nagaraj and Mysore Manjunath, M.A.Sundaresan, C.N.Chandrasekar-to name only few. Find out whether you have new experiences, obliterating your opinion, expressed in this thread.
2) We are very fortunate to have immensely talented and profound Maestros, who offer very high quality of manodharma, in particularly on raga alapana/vistara-both Ghana and Vivadi- both the Maestros and Vidwans/Vidushis. Giving allowance to their not so good voice quality and strict adherence to the shruthi, if you carefully listen, you will find that many Vidwans/Vidushis offer you the satisfaction. To your surpirse, you will also find that it is not only the Maestro KJY, satisfying you.
3) Discipline of rasika, does not exclude the performing artists, who are also rasikas themselves, first and foremost.
4) As Rasikas, we must know the structure and strengths of CM. If we expect the musical experiences arising out of other forms of World Music, based on different structure, which are not part of the CM system are prohibited part of CM, we , as rasikas are at fault but, not the musicians. Given the opportunity, support and encouragement, our CM Maestros can present, great music through orchestration.
5) The very format of RTP calls for show casing the talents of all the artists, in full measure. Success of RTP vests purely on the balance of all aspects, including vital aspect of hitam and mitam (sense of proportion).
I keenly wish for your renewed, refreshed and receptive listening and total enjoyment and satisfaction, soon.
munirao2001
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rajesh_rs
- Posts: 184
- Joined: 01 Dec 2007, 11:18
Munirao, thanks for your kind suggestions. I am sure I will find something new in the work of the artists you have suggested, if I consider them on their own merit. I am sure to enjoy aspects of their work. Thanks.munirao2001 wrote:rajesh_rs
1) The appreciation of music and it's enjoyment, as it is happening in case of live concert, requires rasikas open and free mind. The problem with listening experience is, the rasika, having memorized the most satisfactory experience and satisfaction, constantly yearns for recall experiences of such of those moments. Mind is pre occupied with constant comparisions and judgements. The likes and dislikes filters. The rasika must give full attention, with no bias or distractions of any kind, to receive the music and for true experience.
Only very few Violin Maestros/Vidwans/Vidushis succeed as, soloists, contrary to your opinion. I request you to listen, afresh, to the present violin accompanists-R.K.Sriramkumar, S.Varadarajan, Akkarai Subbalakshmi, Mysore Nagaraj and Mysore Manjunath, M.A.Sundaresan, C.N.Chandrasekar-to name only few. Find out whether you have new experiences, obliterating your opinion, expressed in this thread.
2) We are very fortunate to have immensely talented and profound Maestros, who offer very high quality of manodharma, in particularly on raga alapana/vistara-both Ghana and Vivadi- both the Maestros and Vidwans/Vidushis. Giving allowance to their not so good voice quality and strict adherence to the shruthi, if you carefully listen, you will find that many Vidwans/Vidushis offer you the satisfaction. To your surpirse, you will also find that it is not only the Maestro KJY, satisfying you.
3) Discipline of rasika, does not exclude the performing artists, who are also rasikas themselves, first and foremost.
4) As Rasikas, we must know the structure and strengths of CM. If we expect the musical experiences arising out of other forms of World Music, based on different structure, which are not part of the CM system are prohibited part of CM, we , as rasikas are at fault but, not the musicians. Given the opportunity, support and encouragement, our CM Maestros can present, great music through orchestration.
5) The very format of RTP calls for show casing the talents of all the artists, in full measure. Success of RTP vests purely on the balance of all aspects, including vital aspect of hitam and mitam (sense of proportion).
I keenly wish for your renewed, refreshed and receptive listening and total enjoyment and satisfaction, soon.
munirao2001