In a Hindu article dated:26/06/2009 http://www.thehindu.com/thehindu/fr/200 ... 610200.htm
the following appeared about Ali Akbar Khan.
In 1996, he visited Banaras for the last time when his dearest Kishan Bhai (late Pandit Kishan Maharaj) invited him to give a solo performance in the memory of Pandit Kanthe Maharaj, the great tabla maestro of the Banaras gharana. He mesmerised listeners with his raga Chandranandan, accompanied by Kishan Maharaj on the tabla. He played a jod (the junction between alap and jhala) with only two important notes of the raga.
After the concert, he explained the mysticism of those two notes, learnt from his father, Ustad Allaudin Khan Saheb.
"My walid (father) was a simple person but a great artiste. Therefore, he was an extraordinary human being. I observed him from my very childhood in Shibpur (Komilla, East Bengal) and in Maihar. He had the capacity to establish a raga in one single note, can you imagine? He used to say,
Give yourself up to all those notes you have learnt from me, and then go into the essential nature of the required raga. After deep concentration, you will enter into the true space of the raga, and at that time only one single note is enough to illustrate the entire structure of raga."
Music and Mysticism
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vasanthakokilam
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That is indeed quite a romantic, philosophical and deep set of statements. Quite fascinating. At the outset it is clear he is not talking about music and raga as we hear it. Because, with just a sinlge note, I can imagine someone bringing out the raga chaya but how does one bring out the entire structure of the raga with a sinlge note?
It looks to be he is talking about entering an inner-space where a single note is heard in different contexts. For example, a single note, defined by a frequency, does not define a swara since you need the aadhara shadja to nail down the swara. Now how can a single note become all the swaras of a raga? One possibility is if, in that space you are in, you can imagine the aadhara shadja to be continously varying, then this single note can actually trace the contours of a raga. So this is doing the opposite of what we normally do. In this case, play a sinlge note and vary the aadhara shadja.
Of course, there need not be a physical drone present. In the state of mind and true space that Ustad Allaudin Khan Saheb is referring to, it can be that the mind is capable varying that canvass ( the background shadjah ) in a continous fashion to interpret that single note.
Anyway, this is just my attempt at what such a "true space" can be. Much easier to speculate than experience.
Uday had written something along these lines before, so may be he can offer more insights on the technical side and possibly on his own personal expereince.
It looks to be he is talking about entering an inner-space where a single note is heard in different contexts. For example, a single note, defined by a frequency, does not define a swara since you need the aadhara shadja to nail down the swara. Now how can a single note become all the swaras of a raga? One possibility is if, in that space you are in, you can imagine the aadhara shadja to be continously varying, then this single note can actually trace the contours of a raga. So this is doing the opposite of what we normally do. In this case, play a sinlge note and vary the aadhara shadja.
Of course, there need not be a physical drone present. In the state of mind and true space that Ustad Allaudin Khan Saheb is referring to, it can be that the mind is capable varying that canvass ( the background shadjah ) in a continous fashion to interpret that single note.
Anyway, this is just my attempt at what such a "true space" can be. Much easier to speculate than experience.
Uday had written something along these lines before, so may be he can offer more insights on the technical side and possibly on his own personal expereince.
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uday_shankar
- Posts: 1475
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vk
Musical minimalism is indeed dear to me, although I don't think there's anything mystical about it as Shivadasan implies. This does not mean I don't have a taste for mysticism...quite the opposite ! I just dislike the Indian habit of trying to coax mysticism out of everything by couching it in esoteric terms. For example, I can experience nada and shruti at a fairly intense level having spent countless hours over decades experimenting with strings, pipes, tuning, sounds and nAda. In fact, I can sometimes actually aurally isolate the 9th harmonic in a plucked string. But I am loathe to ascribe any mysticism to it. There's a wonderful mystical experience internal to all of us that does not depend on any external stimulus.
Without generating much confusion, it's possilble to distill what was said by Khansaheb to finding the life-giving note/notes of the rAga. This does not mean anything esoteric like "finding all notes in a single note, etc" which are all impossible in any real sense.
If you're interested I can attempt to record a series of clips that start with a single note that bring the rAga swaroopa in a unique way and then expand it to clarify the rAga. We can see if it is convincing.
Many artists such as flute Mali, kumar gandharva and most of all Ali Akbar Khansahib are minimalists. Just the other day, Mali sir in that video you posted brought out pantuvarali in 3 notes - NSRS. There's an absolutely smashing lesson on musical minimalism in a jugalbandhi between ali akbar khansahib and L subramaniam. While Khansahib is able to bring out bhairavi (sindhu-bhairavi) in just three notes, GRS, L Subramaniam sir is all over the place playing huge brikkas and such. It was a stunning contrast between minimalism and virtuosity gone wild. I must try to get that recording - it is commercially available.
Even in his famous jugalbahdis with Pt Ravi Shankar, Khansahib's minimalism stands out. It puts paid to rajeshnat's comment somewhere that quantity and quality are directly correlated. Truly the passing of an era - may his "soul" rest in peace.
More personally, since I am bewitched by the music of Ravikiran and gawk at him very closely observing all his movements, I've had several occassions when I've been able to guess the rAga before it actually happened. It may also have to do with the way he looks at the instrument and holds the kattai in his hand before starting the rAga
.
Musical minimalism is indeed dear to me, although I don't think there's anything mystical about it as Shivadasan implies. This does not mean I don't have a taste for mysticism...quite the opposite ! I just dislike the Indian habit of trying to coax mysticism out of everything by couching it in esoteric terms. For example, I can experience nada and shruti at a fairly intense level having spent countless hours over decades experimenting with strings, pipes, tuning, sounds and nAda. In fact, I can sometimes actually aurally isolate the 9th harmonic in a plucked string. But I am loathe to ascribe any mysticism to it. There's a wonderful mystical experience internal to all of us that does not depend on any external stimulus.
Without generating much confusion, it's possilble to distill what was said by Khansaheb to finding the life-giving note/notes of the rAga. This does not mean anything esoteric like "finding all notes in a single note, etc" which are all impossible in any real sense.
If you're interested I can attempt to record a series of clips that start with a single note that bring the rAga swaroopa in a unique way and then expand it to clarify the rAga. We can see if it is convincing.
Many artists such as flute Mali, kumar gandharva and most of all Ali Akbar Khansahib are minimalists. Just the other day, Mali sir in that video you posted brought out pantuvarali in 3 notes - NSRS. There's an absolutely smashing lesson on musical minimalism in a jugalbandhi between ali akbar khansahib and L subramaniam. While Khansahib is able to bring out bhairavi (sindhu-bhairavi) in just three notes, GRS, L Subramaniam sir is all over the place playing huge brikkas and such. It was a stunning contrast between minimalism and virtuosity gone wild. I must try to get that recording - it is commercially available.
Even in his famous jugalbahdis with Pt Ravi Shankar, Khansahib's minimalism stands out. It puts paid to rajeshnat's comment somewhere that quantity and quality are directly correlated. Truly the passing of an era - may his "soul" rest in peace.
More personally, since I am bewitched by the music of Ravikiran and gawk at him very closely observing all his movements, I've had several occassions when I've been able to guess the rAga before it actually happened. It may also have to do with the way he looks at the instrument and holds the kattai in his hand before starting the rAga
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arunk
- Posts: 3424
- Joined: 07 Feb 2010, 21:41
I have often wondered about this "raga swaroopa in the very first note". I also think I have experienced it (many times), but I wonder this:
(a) that particular note is distinctive (but not necessarily uniquely so) to the raga.
(b) and the raga is a common/popular.
(c) It is common practice (and unwritten rule) to feature that distinctive note for that raga early on - thus we are "used" to use the occurrence of that swara particularly at the start of an alapana to immediately correlate to that particular raga.
So when that swara is heard at the start of an alapana, owing to a combination of all, we are able to anticipate the raga - and when that turns out to be true, the "value" of that first note in its ability to *uniquely* associate itself to that raga becomes magnified.
So say if JUST that note is isolated in a clip with other parts taken out and presented with a caveat "do not assume this is very start of alapana - it could be so, but it may not be so either" - would we still achieve the same results? Even per above logic, I still think so, but I have some doubts
(Sanjay mentioned this in his podcast) Say the typical R3 is played/sung at the very start of an alapana. Most of us immediately will gravitate to "nATTai" - we may change our minds later based on how it turns out, but most of us would immediately think nATTai. Now, if it does turn out to be nATTai, then we say "he/she brought out nATTai in the first swara - or that Ri alone can be used to bring out nATTai". Since most times it would be nATTai, this correlation has set in our thinking EVEN if in some cases, it is vAgadISwari or something else. Similarly, I remember a Drs audio quiz, where he had just the sahana ri, and for some reason I leaned towards kedaragowla (most guessed it right as Sahana). One reason was because I think I didn't assume it was start of an alapana. Of course, here I perhaps overanalyzed (and also misanalyzed), but the point was that I thought that particular ri fit kedaragowla also (it certainly was "more apt" for Sahana per (a),(b) and (c) above).
Arun
(a) that particular note is distinctive (but not necessarily uniquely so) to the raga.
(b) and the raga is a common/popular.
(c) It is common practice (and unwritten rule) to feature that distinctive note for that raga early on - thus we are "used" to use the occurrence of that swara particularly at the start of an alapana to immediately correlate to that particular raga.
So when that swara is heard at the start of an alapana, owing to a combination of all, we are able to anticipate the raga - and when that turns out to be true, the "value" of that first note in its ability to *uniquely* associate itself to that raga becomes magnified.
So say if JUST that note is isolated in a clip with other parts taken out and presented with a caveat "do not assume this is very start of alapana - it could be so, but it may not be so either" - would we still achieve the same results? Even per above logic, I still think so, but I have some doubts
(Sanjay mentioned this in his podcast) Say the typical R3 is played/sung at the very start of an alapana. Most of us immediately will gravitate to "nATTai" - we may change our minds later based on how it turns out, but most of us would immediately think nATTai. Now, if it does turn out to be nATTai, then we say "he/she brought out nATTai in the first swara - or that Ri alone can be used to bring out nATTai". Since most times it would be nATTai, this correlation has set in our thinking EVEN if in some cases, it is vAgadISwari or something else. Similarly, I remember a Drs audio quiz, where he had just the sahana ri, and for some reason I leaned towards kedaragowla (most guessed it right as Sahana). One reason was because I think I didn't assume it was start of an alapana. Of course, here I perhaps overanalyzed (and also misanalyzed), but the point was that I thought that particular ri fit kedaragowla also (it certainly was "more apt" for Sahana per (a),(b) and (c) above).
Arun
Last edited by arunk on 28 Jun 2009, 18:52, edited 1 time in total.
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vasanthakokilam
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Uday: Your audio demos are always welcome since they are so instructive and entertaining! In the mean time let me blabber along...
>I can sometimes actually aurally isolate the 9th harmonic in a plucked string
Wow! Btw, even if one does not get to go that far, even a few harmonic would be cool to preceive. Now the question is, without an explitcit drone, do you/we have the flexibility to pick a drone of our liking from the various harmonics and interpret the 1st harmonic as a swara. Then that swara can vary depending on which one we pick and for even more fun, vary it continously by successively changing that choice of shadjam from the various harmonics that are aurally perceived. Is this all crazy talk?
My own half-baked theory is, our brain uses the drone as the aural background to figure out the pattern in the sounds to assign a concept to it ( equivalent to visual foreground and contrast that it requires to identify a picture ).
And your zero note raga identification with RK is quite amusing I believe you.
Now to some less esoteric and fairly regular stuff:
We all know that in both HM and CM, the concept of 'note' is quite elusive. What is notated ( without gamakam ) and what is actually played are two different things.
In that sense, if a note is played in a specific way, and if it can belong to only one raga no matter where it occurs in the raga, then we by definition have a single swara characteristic phrase.
In the vivadi case, they do embellish the vivadhi note a lot to make that semi tone interval sound good.
Do they embellish it differently for different ragas that use the same vivadi note? It is not inconceivable since the surrounding notes may be different which may affect that embellishment.
Even outside of vivadi, taking the sahana 'Ri' example, that 'Ri' is not really one frequency, it is all over the place. May be KG Ri is all over the place in a different way.
Here 'all over the place' does not refer to specific point of frequency but more of a contour. I perceive some usages of sahana Ri as 'G M R' in an arc ( S R G M P is some times really S GMR.. G M P ).
Kalyani Ni, Begada Ni, Begada Ma are other well known single note examples. Also the highly gamakamized 'G' MSS uses in the Mohanam swara portion of Bhavayami Raghuramam.
But these are not examples of 'one note bringing out the whole structure of the raga' but a single note bringing out a facet of the raga.
Double note combos are probably abound in ragas that are defined mainly by note contours. Bhairavi is replete with such things. If someone plays Viriboni as it is notated, it not alone would not sound as Viriboni, it will be miles away from Bhairavi. Even that starting humming type thing to fill in the two beats to the eduppu that musicians normally do, "S R N D" sounds awful if played plainly.
And it only gets deeper very quickly. There is a little 'N N ,N' which is actually notated as 'N N D N' ( fine either way ), there the difference between notes and gamaka laden swaras are hard to define.
Anyway, some of these are quite well known and mundane and may not relate to the higher order musican experience that may be involved.
>I can sometimes actually aurally isolate the 9th harmonic in a plucked string
Wow! Btw, even if one does not get to go that far, even a few harmonic would be cool to preceive. Now the question is, without an explitcit drone, do you/we have the flexibility to pick a drone of our liking from the various harmonics and interpret the 1st harmonic as a swara. Then that swara can vary depending on which one we pick and for even more fun, vary it continously by successively changing that choice of shadjam from the various harmonics that are aurally perceived. Is this all crazy talk?
My own half-baked theory is, our brain uses the drone as the aural background to figure out the pattern in the sounds to assign a concept to it ( equivalent to visual foreground and contrast that it requires to identify a picture ).
And your zero note raga identification with RK is quite amusing
I believe you.Now to some less esoteric and fairly regular stuff:
We all know that in both HM and CM, the concept of 'note' is quite elusive. What is notated ( without gamakam ) and what is actually played are two different things.
In that sense, if a note is played in a specific way, and if it can belong to only one raga no matter where it occurs in the raga, then we by definition have a single swara characteristic phrase.
In the vivadi case, they do embellish the vivadhi note a lot to make that semi tone interval sound good.
Do they embellish it differently for different ragas that use the same vivadi note? It is not inconceivable since the surrounding notes may be different which may affect that embellishment.
Even outside of vivadi, taking the sahana 'Ri' example, that 'Ri' is not really one frequency, it is all over the place. May be KG Ri is all over the place in a different way.
Here 'all over the place' does not refer to specific point of frequency but more of a contour. I perceive some usages of sahana Ri as 'G M R' in an arc ( S R G M P is some times really S GMR.. G M P ).
Kalyani Ni, Begada Ni, Begada Ma are other well known single note examples. Also the highly gamakamized 'G' MSS uses in the Mohanam swara portion of Bhavayami Raghuramam.
But these are not examples of 'one note bringing out the whole structure of the raga' but a single note bringing out a facet of the raga.
Double note combos are probably abound in ragas that are defined mainly by note contours. Bhairavi is replete with such things. If someone plays Viriboni as it is notated, it not alone would not sound as Viriboni, it will be miles away from Bhairavi. Even that starting humming type thing to fill in the two beats to the eduppu that musicians normally do, "S R N D" sounds awful if played plainly.
And it only gets deeper very quickly. There is a little 'N N ,N' which is actually notated as 'N N D N' ( fine either way ), there the difference between notes and gamaka laden swaras are hard to define.
Anyway, some of these are quite well known and mundane and may not relate to the higher order musican experience that may be involved.
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uday_shankar
- Posts: 1475
- Joined: 03 Feb 2010, 08:37
Arun
Not everything in ths world is about "figuring out" something and/or analyzing it.
So imagine a scenario when the rAga is announced in advance and then the artist proceeds to delineate the rAga from a single note. This is how it happens in Hindustani concerts. So the whole experience is an aesthetic one that unfolds gradually. This is the Ali Akbar Khan experience. It is not a puzzle or an algorithm. It is an attempt to enjoy a rAga at a deliciously minimal level. It is an artistic high. It is a no brainer that the note(s)/phrase/gamaka may not be unique to the rAga being played but that's not the point. - I must apologize for giving that impression in my earlier post. It is obviously a contextual enjoyment.
More importantly, for musicians, rAga identification is almost instantaneous, so it doesn't matter whether it has been previously announced or not. Try to look at the world from their perspective, i.e., wear an aesthetic hat for a change...
Not everything in ths world is about "figuring out" something and/or analyzing it.
So imagine a scenario when the rAga is announced in advance and then the artist proceeds to delineate the rAga from a single note. This is how it happens in Hindustani concerts. So the whole experience is an aesthetic one that unfolds gradually. This is the Ali Akbar Khan experience. It is not a puzzle or an algorithm. It is an attempt to enjoy a rAga at a deliciously minimal level. It is an artistic high. It is a no brainer that the note(s)/phrase/gamaka may not be unique to the rAga being played but that's not the point. - I must apologize for giving that impression in my earlier post. It is obviously a contextual enjoyment.
More importantly, for musicians, rAga identification is almost instantaneous, so it doesn't matter whether it has been previously announced or not. Try to look at the world from their perspective, i.e., wear an aesthetic hat for a change...
Last edited by Guest on 29 Jun 2009, 09:21, edited 1 time in total.
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srikant1987
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Have you heard a lot of sinusoidal waves? Aren't they supposed to be very unpleasant to the ears?Uday_Shankar wrote:I can sometimes actually aurally isolate the 9th harmonic in a plucked string
Last edited by srikant1987 on 29 Jun 2009, 09:18, edited 1 time in total.
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arasi
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kAlamAm vanattil aNDak kOlamAm marattin mIdu
kALi Sakti enRa peyar koNDu--rIngAramiTTulavum oru vaNDu
vEdamAi, adan mun viLangum nAdamAi...
These lines are from SubramaNiya bArati's poem which is beyond translation. When will I ever get to know the extent of its content!
To hear MS sing it, chant it, feel it, share it...
bArati's mystic state is reflected in her singing. To listen to it, however many times you do, is an experience.
kALi Sakti enRa peyar koNDu--rIngAramiTTulavum oru vaNDu
vEdamAi, adan mun viLangum nAdamAi...
These lines are from SubramaNiya bArati's poem which is beyond translation. When will I ever get to know the extent of its content!
To hear MS sing it, chant it, feel it, share it...
bArati's mystic state is reflected in her singing. To listen to it, however many times you do, is an experience.
Last edited by arasi on 29 Jun 2009, 10:38, edited 1 time in total.
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vasanthakokilam
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Oh my.. Arasi, thanks for the reference. This is quite a different bArati, a siddhar indeed. And the music and MSS's singing matches that spirit so well.
You are right, I do not know how one can convey 'all' that in translation even assuming one comprehends a fraction of it.
http://www.raaga.com/play/?id=87447
( this sounds like a commercial release, but the above is a listen only link. If others' counsel is I remove it, I shall do so promptly )
You are right, I do not know how one can convey 'all' that in translation even assuming one comprehends a fraction of it.
http://www.raaga.com/play/?id=87447
( this sounds like a commercial release, but the above is a listen only link. If others' counsel is I remove it, I shall do so promptly )
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niyer
- Posts: 131
- Joined: 17 Oct 2007, 13:21
hi uday
as you mentioned , "If you're interested I can attempt to record a series of clips that start with a single note that bring the rAga swaroopa in a unique way and then expand it to clarify the rAga. We can see if it is convincing.
"
If you can provide or point to such clippings , it would be of immense help to students like me who are currently trying to find every possible way to recognize , appreciate, and if possible internalize ragas . Let me know if there are already such clippings that I missed
as you mentioned , "If you're interested I can attempt to record a series of clips that start with a single note that bring the rAga swaroopa in a unique way and then expand it to clarify the rAga. We can see if it is convincing.
"
If you can provide or point to such clippings , it would be of immense help to students like me who are currently trying to find every possible way to recognize , appreciate, and if possible internalize ragas . Let me know if there are already such clippings that I missed
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knandago2001
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arunk
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- Joined: 07 Feb 2010, 21:41
uday,
Certainly agree - in fact THAT is my point, that most of rasikas equate enjoyment and appreciation to intellectual appreciation, which has always some built-in analysis - and it need not be so. I would dare suggest that you yourself have used analysis in some form in your viewpoints here. If this was not about any analysis, the "raga identification". or "raga swaroopa in every note", "raga swaroopa at a deliciously minimal level" (minimal implies comparison against other cases where it is > that minimum), "nth harmonic" (why even look for it in the first place unless it was about analysis and trying to understand things) etc. are all irrelevant.
And please do not be presumptuous about other's view points - we have different sides to our equations too. Try fully understanding others for a change
Arun
Certainly agree - in fact THAT is my point, that most of rasikas equate enjoyment and appreciation to intellectual appreciation, which has always some built-in analysis - and it need not be so. I would dare suggest that you yourself have used analysis in some form in your viewpoints here. If this was not about any analysis, the "raga identification". or "raga swaroopa in every note", "raga swaroopa at a deliciously minimal level" (minimal implies comparison against other cases where it is > that minimum), "nth harmonic" (why even look for it in the first place unless it was about analysis and trying to understand things) etc. are all irrelevant.
And please do not be presumptuous about other's view points - we have different sides to our equations too. Try fully understanding others for a change
Arun
Last edited by arunk on 29 Jun 2009, 18:50, edited 1 time in total.
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uday_shankar
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uday_shankar
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niyer,
First off don't take me too seriously, I'm only an amateur dabbler. The regulars here know my style...a lot of of the time I'm posturing for effect, waiting for someone like arunk above to strike me down (he didn't succeed completely this time, in my opinion).
I hope you're under the influence of a great and sincere guru. Praise be to the music acharyas! The next best way to assimilate good CM is through live katheris of the masters(male and female)...the next best is to listen to recordings of of live CM...the next best is to listen to studio recordings of the masters...the next best is to read about the lives of the great composers and artists of the past...
The last and most suspect method of gaining any useful musical knowledge is via the internet.
That said, I will be more than glad to share my thoughts on musical minimalism through some clips of ragas. Perhaps this weekend when I get time.
First off don't take me too seriously, I'm only an amateur dabbler. The regulars here know my style...a lot of of the time I'm posturing for effect, waiting for someone like arunk above to strike me down (he didn't succeed completely this time, in my opinion).
I hope you're under the influence of a great and sincere guru. Praise be to the music acharyas! The next best way to assimilate good CM is through live katheris of the masters(male and female)...the next best is to listen to recordings of of live CM...the next best is to listen to studio recordings of the masters...the next best is to read about the lives of the great composers and artists of the past...
The last and most suspect method of gaining any useful musical knowledge is via the internet
.That said, I will be more than glad to share my thoughts on musical minimalism through some clips of ragas. Perhaps this weekend when I get time.
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arunk
- Posts: 3424
- Joined: 07 Feb 2010, 21:41
lolUday_Shankar wrote:I'm posturing for effect, waiting for someone like arunk above to strike me down (he didn't succeed completely this time, in my opinion).
! No that certainly was not my intent - and I certainly did not succeed. I was just thinking out aloud in that first post. A lot in that response of yours spoke to what I was thinking (i.e. how we can enjoy even the minimal phrases once we are attuned to the raga's context - say as in raga is pre-announced or it is known/established by some other means).Arun
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munirao2001
- Posts: 1334
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Really, the beuty of the powerful nada of single, jeeva swara is combination of the Great Maestros one's own deep appreciation ( swanubhavam) , intensive sadhana/practice, extensive knowledge of the entire raga chaya/swarupa and the effect of the single note/jeeva swara in the context of the total raga chaya/swarupa,( Anor Aneeyam, Mahotor Mahimam) and finally mastering the art of presenting the all powerful single note/jeeva swara for enjoyment, either in isolation or as pivotal and vital part of the raga, being unfolded. Many a times, the perfect performance of the single pivotal/vital , pure and powerful note, propels the performer to be expansive, in a very creative way.
The listener, enojying and deriving immense pleasure of the power of the purity of the key/single note, memorises the experience, either with or without the knowledge of the scale of the raga/raga swarupa. The knowledge of the scale/raga swarupa, excites the listerner and with keen sense of anticipation, imagines or awaits to hear the anticipated raga, out of the power of the single note/jeeva swara . If the raga chosen is correctly identified or recognized, the listerner gets, a sense of achievement and thrill. Listener having experienced the sense of achievement or the thrill, becomes attentive to the raga expansion, in all dimensions by the performer. Listener craves for more of that experience(s) of pleasure, constantly and naturally for total satisfaction. The power of the single note/jeeva swarupa enticing the recall experience, at the every opportunity presented by the performer.
This process of the performer, perfecting, enjoying himself and sharing his own enjoyment with the listener, uninhibited and the listener's unifying experience with the performer's own experience, turns mystical!
munirao2001
The listener, enojying and deriving immense pleasure of the power of the purity of the key/single note, memorises the experience, either with or without the knowledge of the scale of the raga/raga swarupa. The knowledge of the scale/raga swarupa, excites the listerner and with keen sense of anticipation, imagines or awaits to hear the anticipated raga, out of the power of the single note/jeeva swara . If the raga chosen is correctly identified or recognized, the listerner gets, a sense of achievement and thrill. Listener having experienced the sense of achievement or the thrill, becomes attentive to the raga expansion, in all dimensions by the performer. Listener craves for more of that experience(s) of pleasure, constantly and naturally for total satisfaction. The power of the single note/jeeva swarupa enticing the recall experience, at the every opportunity presented by the performer.
This process of the performer, perfecting, enjoying himself and sharing his own enjoyment with the listener, uninhibited and the listener's unifying experience with the performer's own experience, turns mystical!
munirao2001
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
SSRao had mentioned in one of his Lec-Demo, like Mantra-pushpam in the pooja ritual, the musician offers Swara pushpam. As the intention and purpose of the mantra pushpam is in praise of the deity and prayers, musician 's intention and purpose of offer of swara pushpam, is also simillar. Swara is the main offering. Thus the offering of musician should be pure, perfect and powerful. Such oiffering by musician becomes mystical experience, when the power of the nada acts and stimulates the Chitta and chitta experiences the divine prescence or divinity.