Rsachi, That is an interesting point about the artha bhava and sangeetha bhava. Normally Sangeetha bhava is thought to originate from the inherent bhava of the melody and the expressive bhava of the timbre and method of modulation of the voice. They most definitely do but the contribution by the rhythm to that bhava is a highly under explored topic. I think Thyagaraja is a master of bringing that laya bhava to the mix. Even more so is Shyama Sasthri. It is not the bhava of the thala but how the additive rhythm is laid on top of the sahitya that make all the difference in the emotion a particular composition creates. In fact MD probably has the most variety in terms of choice of thalas but his bhava sources are elsewhere.
Now, a lot of film songs that we classical types consider to be a degree lower, do excel in that lyrics-music nexus. The lyricist, tunesmith and singer working in conjunction for a particular meaningful scene can produce some great experiences. But in CM, things are more abstract and subtle, I suppose. And a lot is left to the interpretation by the listener. I remember someone quite vociferously critical in a different thread a while back that the choice of Mohanam for that stanza of Bhavayami Raghuramam is a teriible choice since a subject matter like 'atighora Shoorpanakhaa' and mohana do not go together. That is a very opinionated position indeed. Not that there is anything wrong with that and I can even see why someone would think that. But until I heard that opinion, I never thought anything bad about that choice. That is when I realized how subjective and personal these things are.
Talking of laya induced bhava, Thyagaraja's laya signatures and his specialty ( in my layman opinion ) is what happens at the second drutha through to the eduppu. ( espeically in 1/2 eduppu songs ). That portion resolves the sangathi build up and packs a lot of emotion. It can be something as simple as 'Rama..' since the context is established by the previous words and all that is loaded on to that short interval. The sangathis are typically very tightly packed which creates a lot of tension/compression and then starting around that second drutham, he loosens it up considerably. That laya contrast adds a lot of bhavam to the song. This is more so in his numerous small songs that are quite attractive even on first listen ( typically 1 kalai 1/2 eduupu and 1 1/2 eduppu songs )
Back to this specific instance, I understand what Mahavishnu is saying. That is a very intense, deeply personal and abstract message and I do not know how one can even approach doing full justice to that. With Mahavishnu's context, I can hear that bhava in that SSI's rendering. Probably, MDR would have emoted even further in that direction.
I listened to the song in question after reading the exchange between Rsachi and Mahavishnu.
This song is of course an example of the compression/rarefaction technique I mention above.
In addition, one thing that caught my attention, even though it is so fleeting is this. I have marked the start of the sangathi in the link below.
http://www.youtube.com/watch?feature=pl ... yQ#t=1241s
Towards the end of this sangathi, around 20:50 TNK slightly leads on that approach to the second drutham. The pure tone of the violin and the way TNK plays that little section carry that bhava that Rsachi and Mahavishu are after. TNK does that again at 21:02. The voice is not quite sharp and precise enough in that specific case. But then the violin comes across well because of the context established by the voice. It is quite fascinating all that interplay happens almost unconsciously and that too in a totally unrehearsed fashion.
I do not know if I have any coherent thoughts about all this. But I think one thing is certain and agreed upon by rasikas in general. Once you set aside all the technicalities and abstractions, what remains is that bhava and it is indeed the primary objective of music.
