Is Rasa evoked from the Bhava born out of Poetry?

[munirao2001]

It was interesting to read the article of Shri T.M.Krishna " Poetics of Performance" published by the HIndu in weekly magazine Dt.12th December, 2010.

He had raised a question " Is this Rasa evoked from the Bhava born out of Poetry? Simillarly, does pure art music sans lyrical content evoke a Rasa? and strongly desired a discussion.
I had sent my contribution to the discussion to the the Hindu to-day and marked a copy to TMK. I do not know whether the editor ack. and accepts for its publication.

I am posting my contribution, as given below, for all rasikas fellow members:

Dt.13th, December, 2010

T.M.KRISHNA’S ARTICLE “POETICS OF PERFORMANCE”

It was pleasure in reading Mr.T.M.Krihna’s article “Poetics of Performance” published in the Weekly Magazine edition Dt.12th December, 2010.
He had raised the question “Is this Rasa evoked from the Bhava born out of poetry? Similarly, does pure art music serves lyrical content evoke a Rasa?” for discussion.

I am presenting my humble contribution to the discussion, as given below:

Effects of Rasa are of three categories, serving the discerning Rasika(s). They are:

- Effects of a set of words, conveying/depicting a heightened/expected state of feeling/emotion. Music or melody incapable of touching the heart or stirring the mind, with only obsessed with the power of a word or a set of words.

- Effects of a set of words aided and abetted by Angitka/Abhinaya or musical expression, depicting a heightened / exalted state of feeling/emotion. Music or melody acting as a good medium for better understanding and appreciation.

- Effects of a pure and powerful nada- a swara or sublimely beautiful garland of
Swaras, without either aided or abetted by angika depiction or a word or a set of
Words, conveying/depicting, a heightened or exalted state of feeling or emotion.
Rasika transcends the power of word or a set of words, which only act as a structure
or scaffolding.

Rasikas and performers use one, two or all of them to achieve the aesthetic experience. But, the last category really is the Ultimate, because the noble, pure and powerful nada, strikingly makes one totally unaware of the Self, a state of thought less ness, begetting potent energy, transcends the Self to achieve Universal Self gaining Bliss, Unalloyed Love and Peace!

Primitive humans at first realized and used the sounds and made sounds to serve for safety and security- a physical existential need. Gaining in intelligence, observing and imitating the other living beings and nature’s play with sounds, resultant pleasant experience, started using the objects-stones, wood, creepers and finally the vocals for creating and achieving the ear pleasing sounds. Progressing further through the use of vocals, inventing and use of the power of words and the instruments for making Music, achieved the judicial usage, to sway the heart. Turning inward and becoming religious, found and realized the Ultimate- Omkara Nada – all powerful and all pervading – through the effect of noble, pure and powerful Nada – a note, two or a set of three notes – depicted by A-U-M – the symbolic representation of Pranava or Omkara Nada, serving the Chitta.
contd..2p

-2-

Thus the folk/tribal- predominantly rhythmic, with lesser use of words and the melody, the light music- predominantly melody and words, with lesser emphasis on rhythm and the Light Classical music – judiciously using all the three forms- rhythm, melody and the words and finally, Celebrating Excellence, the Classical Music – with heavy use of melody - rhythm and words, with good sense of proportion, developed.

To the majority of the rasikas, who have not taken minimal efforts to know or learn the intricacies of the Classical music, Rasa is invariably evoked from the Bhava, born out dominating Poetry. To the minority of rasikas, who have taken, at least minimal efforts to know or learn the intricacies of the pure art music (Classical Music), Rasa is evoked, sans lyrical content.

Yours truly,
Sandhyavandanam Madhva Muni Rao
Bengaluru.

S.Madhva Muni Rao
Son & Disciple of Sandhyvandanam Srinivasa Rao
170/C, 3rd E Cross Street, 2nd block, 3rd stage,
Basaveshwaranagar, Bengaluru City, Karnataka State,
India. Postal Code: 560079
Tel: +91-80-23229151. Cell: +91-9845336203
E-Mail/MSN Id:[email protected]

[Nick H]

Your fewer words have more meat than the whole of TMK's article, which I found to be just a list of words and definitions of the kind that makes music theory books impenetrable. That, together with his insistence on using long words and high-flown language, and this rather strange "we" (royal or academic?) made for a thoroughly badly written article, with little of interest other than some questions close to the end.

He should stick to singing: he is no good with either law or pen.

Is it just me? I have to, in fairness, ask that when I feel so negatively about either literature or music. I can only say that I gave the article a second reading, later in the day, and felt the same.

Muni Rao sir, please do not be "humble". You are a better writer than TMK!

[srikant1987]

Nick H,

Upon reading -- EDITED trying to read -- TMK's article, I was reminded of this quote by the (canvas) artist Wassily Kandinsky.

Efforts to revive the art principles of the past at best produce works of art that resemble a stillborn child. (Wassily Kandinsky)

And it's not just TMK, many CM books, especially the "musicology" ones, are simply boring! :@ :$

Srikant

[venkatakailasam]

#2 13 Dec 2010.
It is not, in my view, whether Shri TMK can be a lawyer or a writer. It is the question which he had raised

" Is Rasa evoked from the Bhava born out of Poetry?".

Elsewhere in another thread I had brought out this question .I reproduce same below.

The impediments which a layman listener faces are:

The language barrier- not only understanding the language but also getting its meaning (unless takes with him the lyrics by ShriLakshmn Ragade and the meaning provided by Shri Govinda Rao!! )
The way in which the artist sings- no clarity in pronouncing the words –all do not sing with clarity like Shri TVS or Shri Vijay Siva
With the above, can we enjoy the lyrics ?

As such the Artist has to bring the Raga Bhava

The swaras in Raga elobaration highten the various emotions or the
mood of the human mind. These emotions are the Bhava of the Raga.The
Swaras with high frequency, intensify the emotional content viz. the
Bhava. That the Bhava is the mood, melody and metaphor has been aptly
pointed out by Radika Srinivasn, in her book 'Sacred Spaces'
Raga could induce or intensify joy or sorrow, violance or peace,
sleep or devotion. Ragas can exhibit Sringaram, veeram, rudhram,santham
karunyam,devotion Etc.,through Bhavas just as in nattiam.
Subha pantuvarali is known for its meloncholy.
Atana, Gourimanohari ,Hamsadwani, Sankarabaranam, Thodi or Vasantha
are stated to soothe one who is short tempered or angry.
Behag, Khamas are stated to exude sensual elements.
Other erotic Ragas are stated to be Abhiri, Karaharapriya, Keeravani
Suddha Saveri Etc. ,
Revathi played on Veena dissolves fear and disillusionment.
Raga Sama is stated to provide inner peace and harmony as also
kannada, Nilambary and yadhukula kambhoji.
The roots of carnatic Music is religious or Devotional.
Whether in joy or in sorrow, the Deity, is addressed through the Ragas
suitable to the mood and occasion as composed by the Great Composers.
If the performance of the Artists is in the same frequency
with which they are composed, the Bhava is brought to the listeners
through the ragas.

This satisfies the listeners even if lyrics are not understood .


I know Shri Thimma has different views on this !! 8)

venkatakailasam

[mankuthimma]

I know Shri Thimma has different views on this !!

Vkailsam
By any chance , is red , the favourite color , for the rag , sorry handkerchief , you carry ?

On a serious note , I have no intention of putting down my thoughts , in the context of the newspaper article .
Nick's post has summed it up , quite adequately for me .

[Nick H]

Not just me, then. Glad to have the confirmation of that.

Srikant, lists are boring, and in my limited experience of carnatic music theory, one is given lists, definitions, told to repeat, then it is learnt --- but it is not understood. My motive for bothering to say anything at all about TMK's article is disappointment. I'd hope that he, as a younger musician, might be able to bring some life into those definitions. That is what I have been looking for since the first days that searched for carnatic music on the web. He disappointed me. Indeed, it is a big challenge (a korvais has two parts: the first is called the first part and the second is called the second part --- this is the one I always remember from class*)

Thank Goodness for rasikas.org! And for some of other great information sources like carnatic corner that I found in my early days of wanting to understand a little more about what I was listening to.



*Not to criticise my teacher. It is interesting that he told me that, after a decade of teaching in UK, he had changed his attitude from the "don't ask: learn what I tell you" rote method, to wanting to be asked questions, not only for the sake of the student, but also to deepen his own thinking.

[bilahari]

Link: http://www.hindu.com/mag/2010/12/12/sto ... 040100.htm

[srikant1987]

Nick (it's about time I stopped adding the H and addressing you by the exact ID! ),

I've attended a lecdem of TMK's held by IIT Madras Music Club a few years ago -- the lecdem was iirc on the SSP, but like lecdems usually do (at least in the Club), it digressed into modern CM too. The take-home for me from that lecdem was (something I'd already heard) that ragas are a lot harder to define than scales.

I was a gnaanasoonyam (shall we save a few syllables and say n00b) then, but still found the lecdem fairly lively and engaging, saving his description of the notation conventions, which, too, was not bad, since he actually sang different kinds of gamakas.

So I think the problem may not be with TMK this time -- it's just that he's trying to describe an art form of the past, about which he himself has learnt only from books. Hence the Kandinsky quote.

[Nick H]

I see what you are saying, but it struck me as how I might have written a "precis" (which I always found difficult) for an English class in school. It seems to be the first of a series: I shall be giving them a fair chance!

(gnaanasoonyam --- what a lovely word!)

[mankuthimma]

srikanth
you dont look like a guy who has moved from Raga is not a scale state to what you are now , in just a few years .
You are right . the problem is with THE HINDU . For quite some time now.

[venkatakailasam]

Prejudice over matter can be avoided.
Muni Rao—
This is the essence-Wonderful depiction by you!! Thoughtfully written
“Effects of a pure and powerful nada- a swara or sublimely beautiful garland of
Swaras, without either aided or abetted by angika depiction or a word or a set of
Words, conveying/depicting, a heightened or exalted state of feeling or emotion.
Rasika transcends the power of word or a set of words, which only act as a structure
or scaffolding.”

“Turning inward and becoming religious, found and realized the Ultimate- Omkara Nada – all powerful and all pervading – through the effect of noble, pure and powerful Nada – a note, two or a set of three notes – depicted by A-U-M – the symbolic representation of Pranava or Omkara Nada, serving the Chitta. “

எப்பொருள் யார்யார்வாய்க் கேட்பினும் அப்பொருள்
மெய்ப்பொருள் காண்ப தறிவு.

venkatakailasam

[nri]

I(gnaanasoonyam --- what a lovely word!)

This is niraksharakukshi!
I listened to a recording of Prof N Ramanathan's lecdem on the concept of rAga. There he discussed that evoking a particular bhAva is quite a drama effect established in good old days, when theatre artists did not have the present day luxuries of lighting and sound effects to create a particular mood. He further said that Ravishankar tried his best to dispute this and we still need not follow that bhUpaLam be sung in the early mornings etc. And Ravishankar failed - so said the Prof.
Just trying to do

எப்பொருள் யார்யார்வாய்க் கேட்பினும் அப்பொருள்
மெய்ப்பொருள் காண்ப தறிவு.

between various views.
Regards

[mankuthimma]

Prejudice over matter can be avoided.

I presume , it was aimed at me .. If yes , here are my two cents .

I am not prejudiced against the artist ( I can show you a vintage concert of his at Hubli in my archive , if you are interested
I am not prejudiced against the newspaper too .
As a matter of fact , Four decades ago , it was only our household that would subscribe to THe HINDU which would appear at a Medical store only by 6PM . The Newspaper was to acquire its first aeroplane much later and so in those days , the paper would travel -600 kms by car - all the way from Chennai . Even the Bangalore edition came much later .
My Dad could wait for a full 10 hours for the day to break . Such was the fascination for this daily .
For nightcaps , we would get assignments to write letters to the editor on subjects which needled us most and put it up for scrutiny the next morning .Of course , those letters were never posted .

As far as the subject is concerned , I was taken in initially by the fact that it is a rare occasion when an artist decides to use a medium other than his primary one , to reach out to the target . And it was in this context that this article failed to enthuse me .
I came to the article with memories of artists like Maugham writing forewords to a series called the Ten best novels of all time , which ran for a full 25 pages - ( I have only one of those - War and Peace ) - a classic in a form of writing which was not HIS art .
With memories of how the poet Carl Sandburg , first froze me with the very title of the chapter( in Lincolns biography ) that would tell the story of the assasination. ( A tree is best measured when fallen ) . It had a poignancy which only another wonderful artist can think of .
In Fact after reading your comment I fished out a long forgotten collection of essays by DV Gundappa , on the epoch makers in Kannada literature - I remembered - it had a wonderful foreword about the manner in which an artist has to see history , about the Need and pitfalls of having institutions ( in this case the Sahitya Parishat ) guarding values in art (?).
and I spent the whole evening mesmerised by his power over the language and ideas.
So please dont write me (us) off as prejudiced .
There are many things wrong about the article , most important of which it is not easy on the reader , in terms of elementary rules of enagaging the reader . But I dont want faceless wonders here asking me to " Lay Off " . |(

[mankuthimma]

and BTW Kudos to Munirao for starting a thread in a way in which it should be done . He takes an inspiration from something he sees in a daily , writes his thoughts and puts up for deliberations . I have a lot to say about what he says , but first of all I want to make sure that we are not talking about the newspaper article .

I see threads being started with just a link and say - no un-authorised recordings please .
That is unfair and hence my likening it to the red rag in front of bulls . We are not Bulls here .
There has to be some protocol followed in the opening of threads . Say in this case . What are your thoughts? Make a case if you are fishing for opinions and set the terms of reference . Please.

[venkatakailasam]

First I must clarify that with the amount of regards I hold for you, it is impossible for me

to think of targeting you in stating ‘Prejudice over matter can be avoided.’

I wanted only the question ‘Is Rasa evoked from the Bhava born out of Poetry?’

has to be dealt with instead of who raised the question and the manner in which it was

presented. I consider the subject matter is more important.

I hope I am clear about the stress where I am laying and which I wanted to put forth.


Shri Muni rao has brought out the essence of the above question from which I have

learnt how differently the matter can be considered and presented . Hence the quotation.

Before the facsimile edition of The Hindu was made available to readers in Bangalore, the paper used to be flown to Bangalore during the early hours from Chennai.

I remember having traveled in the Aircraft once.

No un-authorized recordings please –this was the heading in The Hindu .

What interested me to share are the views expressed by Lalgudi Shri Jayaraman whose views have changed over the years. As also, the generous view held by Shri Unnikrishnan in this matter as compared to some of his contemporaries in the field.

My view in the matter is the view held by many that the commercial thinking of the Artists have to be compromised in the interests of Rasikas who are the backbone for their earning.

Reagarding opening of the thread, I always search for a suitable thread and open a new one only if I do not find one among the existing ones.

venkatakailasam

[narayan]

I did read the article, or as srikant1987 says, tried to read the article. Interesting attempt to summarize something that I may not have the patience or ability to dig out and read for myself. I think the questions raised in the article (first of a multi part series from what I understand) are interesting, as are some of the details. I think advice like "he should stick to singing and not write" are too harsh, but that's life. While many here may have a poor opinion on the impact of the article, it did bring about a considered response from some others here who people seem to appreciate, so it can't be all that bad!

The attempt at seeing what it is that is continuous with art in the past is a worthy one and there are worse crimes than being boring (TMK's singing is certainly not boring, whatever else it may be) and I hope the criticism is only that and not that he is doing a dis-service to the art by his attempts. This is in the context of mankuthimma's statement earlier that he is not 'against' TMK but only 'for' Carnatic music.

About the question raised in the topic here, unfortunately I have little to say and hope to read more and see if there is anything I can relate to. I did find at least one other issue in the article to be of interest, namely, where and when did improvisation become part of the whole game.

[munirao2001]

Srikant1987
“Efforts to revive the art principles of the past at best produce works of art that resemble a stillborn child. (Wassily Kandinsky)”

I have no knowledge of the context of Wassily Kandinsky making this statement. Evolution, development, progress and the history of Art and its forms stand testimony to the fact that effort to revive the art principles of the past at best produces works of art that resemble natural and radiant beauty of the Child and growing up as well accomplished Adult and contributing to the excellence in living Art and its forms.

Narayan
“I did find at least one other issue in the article to be of interest, namely, where and when did improvisation become part of the whole game.”.

Art and its forms lay great emphasis and also make demand on the creativity, for making difference and for value delivery. Need and occurrence of improvisation, is a constant factor in creativity. It follows always with the original ideation, either by the original contributor or other creative thinkers, inspired by the idea of the original thinker and his creative out put. Rasika’s insatiate demand and premium for the new and fresh experience and Artists taking up the challenge for creative improvisation, constantly, started the whole unending game, right from the first instance of creativity, appreciation

munirao2001

[munirao2001]

On Raga-Bhava-Identity and Rasanubhavam
Factually, it is the word or text (eminently descriptive) of popular writer(including, musicologist)/author/poet, which gives identity and its memory to the rasanubhava of the rasika. Sans description, authoritative identification and its popular acceptance and adoption, bhava and rasa evoked remains hazy, unclear and at best, indescribable.
Identity of Bhava with Rasa, makes the rasanubhavam much easier, comfortable and many a times, enhances the experience and the pleasure.

[mankuthimma]

narayan

I hope the criticism is only that and not that he is doing a dis-service to the art by his attempts. This is in the context of mankuthimma's statement earlier that he is not 'against' TMK but only 'for' Carnatic music

.
Please get your basics right .This is what I said

I Myself like TMK very much . Only that I like CM more !!

Please make your views known here based on your own convictions . And not my convictions .

[vgovindan]

I have a few opinions which I humbly submit to musically knowledgeable community - may be right or wrong -

'rasa' (of nava rasa) transcends music. It depicts human emotions of all forms of communication - iyal - isai - nADagam (prose/poetry - music - drama/dance) - in that order.
'rAga' is specific to music to convey a specific emotion - rather a canvas.
'kRti' is the art piece.
'bhAva' is the mood felt by looking at the eyes (theme) of the art.
This mood is required to be captured by artist and conveyed to the rasika.

Ramakrishna Paramahamsa used to say - one cannot remain in 'ni' (nishAda) for long. Similarly, one cannot remain in bhAva for long. But that one moment of bhAva is worth a whole life time. Discerning rasikas cherish that one moment.

[mankuthimma]

http://www.mediafire.com/?ae9cxtgqwjq49w4

Rasa evoked from the bhava born out of poetry ?
Or from sounds like these that must have roamed through the cosmos as the dust settled down, after the Big Bang
And as the world , seemingly settled , into neat geometric orders .
I mean the sounds between the ending of the violin alapana and the vocals . 8)

Oh ! The beauty of the tanpura . Someday I propose to give back this concert recording to the artist himself for releasing as a commercial album . It is a thing of beauty and a joy for ever .

[srikant1987]

Who is the vocalist? I think the violin is by MC?

[mankuthimma]

will wait for some more guesses

[venkatakailasam]

munirao2001 - Post Posted: 13 Dec 2010
“Turning inward and becoming religious, found and realized the Ultimate- Omkara Nada – all powerful and all pervading – through the effect of noble, pure and powerful Nada – a note, two or a set of three notes – depicted by A-U-M – the symbolic representation of Pranava or Omkara Nada, serving the Chitta “


I shall try to elobarate it further. But I am not sure how far I can be successful.

The aesthetic theory of rasa is common to all Indian classical arts. Indian wisdom has underlined in no uncertain terms time and again that rasa- experience evoked through various arts is essentially transcendental. The artists- composer and performer - experience it in their creation, and also others as audience or spectators. Both are participants in the same sadhana; both share and enjoy the same experience
The ultimate Reality, or Brahman, both in its
impersonal and personal aspects, is Sachchidananda (Sat, Chit and Ananda), that is, he is Existence-Consciousness-Bliss absolute. Ananda (bliss) and rasa (sentiment) are two aspects or two sides of the same Reality. Therefore, God is rasa as well. Brahman is the ultimate cause of all manifestation .
How composers have felt about it can be seen from their compositions.
Arunagirinather explains in ‘Nadha Vindhu kala nidhi ’that Nadha is the vibration of sound or name. Bindhu or rupa or form came from this Nadha..
These name and form are called ‘Omkara’. Nadha is known as Lingam and Bindhu ,its peetam.
This is basis for evaluation.

Bakthi and Music are one and the same for Saint Thyagaraja also.
Nothing is sacred than these to attain Moksha or life’s salvation.
The sources of sound originates from Mooladhara.These are explained in the song ’Shobillu’. The divine forms of the seven musical notes emanates from human body.
The seven notes are the chakras in the body.
Namely: Muladhara,Swadishtana,Manipura,Anahatha,Vishudha, Ajna and sahasraram .

Sa Shajamam Muladhara
Ri Rishabam Svatistana
Ga Gandharam Manipura
Ma Madhyamam Anahata
Pa Panchamam Visuddha
Da Dhaivatham Ajna
Ni Nishadam Sahasrara

. In the ‘Swararagasudha’ he tells that devotion combined with Swara and Raga and comprehending
its source alone can lead one to Moksha. Sapthaswara is the same as Pranava nadha
In the kriti ‘Nadha thanumanisham’ he says Shankara and Nadha are one and the same. ’Prnava Swaroopam’.He bows to Him with his mind and body and also to samaveda which he calls as the best among Vedas. Shankara is also the one who gets delight in the art of seven swaras born of his five faces .He is also the destroyer of ‘Kala’.

This is further expounded in the song’Nadopasana’.
Due to sadhana of nadha which is ‘Omharam’
Shankara, Narayana and Brahma(vidhi) are above on par to
others.’Uddharulu’,atheethalu’,’vaurulu’-they are the ones who can uphold, excel in and also spread, the Vedas.
Due to this sadana they have acquired powers of ‘mantra’,’yentra’ and ‘tantra’.
Vocal and instrumental music delights them.
They are also absolutely free. ’Swatantaralu’.

The worship of swaras emanating from mooladara is stressed by Thyagaraja. The Atana raga ‘Sribapriya’provides insight of the mind seeking the Swaras in blissful forms.’Sapthaswara chaari’.
The purpose of Music and its sadana have been stressed for obtaining wisdom to perceive ‘Brahman’ .
Nada yoga is expounded in Mokshmu Galada and also Raga suda rasa.
Salvation can be attained by realizing that the Sapthaswara emanates from ‘Omharam’ and by worshiping Nadha.
This provides an insight into awakening of’Kundalini.

It may not out of place to point out that Adi Sankara in Meenakshi Pancharatnam says that Devi residing on the left side of Eswara is the form of Nadha and She is delighted with instrument music.


The music whether performed or listened has to be the one which should be absorbing and where the mind should be able to comprehend the sound of ‘Omkara’ or Sadashiva bringing inner peace as also contentment.

Knowledge combined with humble nature and music with devotion would help in achieving the desired result.

venkatakailasam
The songs referred to above are linked below:
‘Nadha Vindhu kala nidhi http://www.youtube.com/watch?v=lx78U19-Glw vijay siva

Shobillu http://www.youtube.com/watch?v=99s4GSXYUx0 Prince Rama varma

Swararagasudha http://www.youtube.com/watch?v=Ua1aZRHL1P0 Sudha Ragunathan

Nadopasana’. http://www.youtube.com/watch?v=Foap99vnluY

Mokshmu Galada http://www.youtube.com/watch?v=ZsKLnL7gWjI MLV

Meenakshi Pancharatnam http://www.youtube.com/watch?v=JoXxXQ-rH2s

Mumbai Jayashree

[narayan]

narayan

Please make your views known here based on your own convictions . And not my convictions .

Point taken. I generally try to do that (i.e. say what I want, based on the few convictions that I may have). Slipped on this occasion!

[mankuthimma]

thanks Narayan.
srikanth . the vocalist is TMK Violin - I remember as Charulatha .

[nri]

@mankuthimma aka

My on-spin went off-spin |( . I was not laying anyone-off. By quoting that tirukuraL, I meant that I was trying to understand different views on the topic. If you are laid off, I know that (speaking for myself) I will lose out a very valuable opinion. Carry-on, Dude. I am all ears.

[mankuthimma]

nri .I was not referring to your post here . Was referring to different thread .

[thenpaanan]

This question of the relationship between the rasa of music and that of the underlying lyrics is a very subtle one. One has to go outside Carnatic Music just to get a vantage point. In other forums I have read very erudite and precise articulation of this relationship in Hindustani Music where the lyrics tend to be sparse. Because the listener cannot reliably depend on the lyrics to know the bhAvA that the singer is projecting (not that it is any different in practice in Carnatic, but the theory says it is different) the HM tradition has relied on attaching moods to rAgAs. This way, the listener can know "what" to feel when listening to miyAn-ki-tODi vs mEgh-malhAr.

To give you some anecdotal evidence I once sang mOhanam and anandabhairavi in front of my professor in grad school and he was a Hungarian who was somewhat of an expert in WCM. He found both my pieces rather mournful, even the mOhanam (I sang "kApAli" which even with my rather meager singing skills should not have sounded mournful). He, of course, had no idea about the lyrics and was listening in an "impressionistic" mode. That is one indication of how the lyrics matter in the appreciation of the music -- knowledge of lyrics even partial or fleeting can dramatically affect the experience of the listener. My room-mate who was Indian was not an avid ICM listener but when he listened to HM occasionally he told me he hung on to every "piya" (lover) or "birha" (separation) or 'kAnhA" etc that he could extract from the mumbled words being sung, just to anchor his experience.

To make another point, Harold Powers in his essay on "Tyagaraja's poetry" ( cannot remember the exact title) says (paraphrased) "the lyrics in Carnatic Music kritis should be considered metrical prose ("gadya") rather than poetry ("padya")". I cannot recall why he said that but that goes to the question of whether our kritis are poetry in a formal sense. Not that it matters one whit, but perhaps truly high art poetry is too difficult to appreciate when set to music because the bhAvAs of the poetry and music clash/confound.

-Then Paanan

PS. I am too lazy to read TMK's article so this may be redundant.

[mankuthimma]

Is Rasa evoked from the Bhava born out of Poetry?

Yes . If I am to go by this snippet . Which includes thenpanans take on Gadya - Padya.
I have extended it to look like Gadya - Padya - Madya
http://www.mediafire.com/?86c57xd9bbvn421