I saw a few episodes of Naad Bhed's new series. Nothing too impressive. Yes. Yesterday's Vivek sadasivam was very good. I did not see Bharat sundar. I guess he must have been good too.
It was however very entertaining for a different reason. Sri.OST and Ravi Kiran (even Bombay Sisters yesterday) were speaking in Hindi to the tamil and Malayalam contestants. Quite humourous. Sri.OST concludes "Hush Huva"- Mogambo style
I do not know why the organisers enforce this torture on everyone. Most of us who are involved incl audience for these shows are south indians. Leaving it to their language of choice would have been much more sensible instead of increasing the BP of the judges, participants and the audience
I came across this episode casually in DD Bharathi two days back. Good and enjoyable. Quite agree with shri kssr's remarks. In chennai sabhas why most of the Lec Dems, the deliberations are in English ? May be the artistes are quite comfortable in their expressions, I presume.
Thanjavooran
21 06 2014
Mujhe lagaa ki jab yah pratiyogitaa DD Bharati ke maadhyam niyojit aur poore bhaarat aadyant prasaarit ho raha hai, iske nirmaapak logon ke binati ko aadar karte hamare Karnaataki pareekshak mahoday kabhi kabhi Hindi mein bolte hain. Iski pariNaam hume hansi aayegi zaroor, parantu jo uttari darshak sunenge unko bhi bahut kuch samajh aayega hi. Aur hamare Ravikiranji ki Hindi bol prashamsaniy hai!
Rsachi wrote:Mujhe lagaa ki jab yah pratiyogitaa DD Bharati ke maadhyam niyojit aur poore bhaarat aadyant prasaarit ho raha hai, iske nirmaapak logon ke binati ko aadar karte hamare Karnaataki pareekshak mahoday kabhi kabhi Hindi mein bolte hain. Iski pariNaam hume hansi aayegi zaroor, parantu jo uttari darshak sunenge unko bhi bahut kuch samajh aayega hi. Aur hamare Ravikiranji ki Hindi bol prashamsaniy hai!
This hilarious topic deserves a separate section where we will have translations from Kannada to English, Tamil to Hindi, Sanskrit to Udru, Telugu to Malayalam etc. This is surely a wonderful and scandalous way to make fun of all languages.
As a young man I used to laugh crazily to hear Madrassis speak Hindi and more so sing Hindi Bhajans in Carnatic style. That was enough to convince me that imposing Hindi on South India was a no-win situation. Damned if you do, damned if you don't, as they say.
I observe south indian hindi is much better than north indian ENGLISH. Cannot imagine thier expressions in south indian language songs. South indian sees music in all languages with open appreciative mind and try all keerthanai/krithi/bhajan/english note etc but north indian dont try. Music has no language and south indians atleat communicates in hindi well. I greatly appreciate Shri Ravi kiran and SHri OS Thyagarajan speaking fluently. May be local hindi slang is missing but the quality of sanskrit pronounciation is much much higher for which n.indians need to learn from s.indian. At least n.indians try south compositions in kyal / bandish.
On the conversations in Hindi, I guess the judges must have been requested to converse in Hindi, if they can, to reach out to Hindi knowing pan Indian rasikas/viewers by either the officials of Prasar Bharati or SPIC-MACAY. Judges not opting to converse in Hindi, communicated in English only.
I had the opportunity to watch and hear some of the episodes and talented young competitors. I am pleased with their efforts to acquire vidwath in Karnatik Music.
Their Gurus/Mentors should have paid much more attention to the specific requirement of presentation of manodharma aspects-Raaga alaapana, Neraval and Svaraprastara, within the given time of six seconds. With exception of few, the judicious balance was missing. To enable allocation of equal time of 2 minutes for each aspect, ragaa alaapana should be based on prasiddha moorchanas covering thristhayees, briefly; neraval with arudi, in three kaalams-vilamba, madhyama and turita; svaraprastara/kalpana with sama, mel kalam with trisram and misram, besides the kuraippu.
Why one more aspect of manodharma-tana was not considered? Why kalpita did exclude keertana of three minutes duration?
Chitraveena Ravikiran and OST repeatedly were emphasizing on the means of ' Naabhi' out of 'Naabhi-Hrith-Kanta-Naasadulu' to give depth to the naada/sound in the presentation. Naabhi-Hrith-Kanta-Nasa are the pressing and power points(organic) for the sama breadth to carry the sound in outbreadth. Many Great Maestros practiced-naasadulu e.g.Semmengudi and Nedanoori; Many more Great Maestros practiced-Kanta e.g.MVI,MMI, BMK,MLV; few Great Maestros practiced-Hrith e.g.KVN, DKP, DKJ, Madurai Somu, MSS; very few Great Maestros practiced -Naabhi e.g.Tiger, Ariyakudi, Musiri,Chembai, MDR-all succeeding giving depth/weight to the emerging naada/sound, establishing means is not but important but the result is important.
Yet another very important aspect being highlighted and advised was 'akaara'. How many Vidwans in Karnatik Music strictly followed this ideal? Unfortunately, very few. It remains only the talking point of the ideal and not for the teaching and practice. One of the most important uncompromising practice and presentation of 'akaara' based naada is by Hindustani Pandits and Ustaads and its effects on us, the rasikas needs no elaboration.
The program was planned with short breaks, perhaps in expectation of advertisements and revenue. It was sad to see total absence of this vital support.
munirao2001 wrote:
Why kalpita did exclude keertana of three minutes duration?
It is not excluded at all. But candidates prefer lighter numbers like devarnamas, abhang, thillanas, etc., as they probably feel that it will be more attractive.
I remember that in a college competition, my close friend sang Arunagirinadhar's "முத்தை திரு" . As it is a tongue twister and he managed to sing it without spraining his tongue, he got the prize!!
kssr
Yes. I watched and heard yesterday's telecast episode. Keertana was taken up.
Another serious aberration was noticed in the statement of one of the Bombay sister's on Mudduswami Dikshita. She commented that while Syama Sastri's and Tyagaraja's compositions contain bhakthi, Dikshita's compositions are 'scholarly'. Dikshita adopted 'Kirtana' and 'Archana'forms of bhakti, with maatu of namasankirtana. Syama Sastri adopted 'Dasya' and Thyagaraja adopted 'Dasya' and 'Kirtana' 'Vandana' forms. All these are forms of nava vidha bhakti given in Bhagavata puranam-Shravana, Kirtana, Smarana, Pada Sevana, Archana, Vandana, Dasya, Sakhyam and Atmanivedanam. Yet another instance of misunderstanding of 'maatu' and 'dhatu' in his compositions, regrettably. Unfortunately neither Sri Trichur Ramachandran or the other sister did not intervene and correct it in the episode. Since it has gone in to records, SPIC-MACAY or Prasar Bharati announces and edits out the wrong statement in the records.
Also, after the abhang sung by one of the participants, Sri.TVR said "concentrate on carnatic music" !! I can understand his sentiments.
Another interesting thing that happened was a person singing neraval in the manodharma portion. When asked who the composer was, he said he doesn't know. He just practised the neraval for the purpose of the competition.
Someone singing an abhang (elsewhere) without knowing the raga and here someone singing neraval without knowing the composition itself. Whither are we heading ??!!
kssr
Sri Trichur Ramachandran's advise to Ms.Anaga was with his observation that her good singing of abhang gave the impression that if she gives the same focus for Carnatic music aspects, she can achieve better as a student and successful practitioner with her exhibited talents. Anagha was fully aware of the raaga of the Abhang, if your observation is with her performance.
Yet another performance disturbed me. The competitor had submitted raaga poorvikalyani in his list. When Sri Chitraveena Ravi Kiran asked the candidate to name 5 compositions in the raaga, the candidate was in discomfiture and not having the answer. Naturally, like me, Judges were not amused. Indication of the present trend of lack of seriousness in acquiring wide repertoire and higher depth in knowledge acquisition. Also insufficient preparation by the candidates and inadequate guidance of their mentor.
If the candidates and their gurus take this as a good learning opportunity, the talented candidates will develop in to good practitioners, soon.
" kssr
Sri Trichur Ramachandran's advise to Ms.Anaga was with his observation that her good singing of abhang gave the impression that if she gives the same focus for Carnatic music aspects, she can achieve better as a student and successful practitioner with her exhibited talents. Anagha was fully aware of the raaga of the Abhang, if your observation is with her performance."
munirao.
"Someone singing an abhang (elsewhere) without knowing the raga" .
That reference is freom another string also on rasikas. Not this one.
we want judges to be perfect, we want artists to be perfect, but does this not apply to rasikas ?
many times we have rasikas (some of them claim to be listening CM concerts for decades) post wrong song titles/lyrics though the songs they have been hearing for decades. Even if they do not know one can do internet search and confirm and then post.
For example, I see often Bantu reethi posted as Pantu reethi
sakala graha bala nIne as sakala graha Pala
vsarmaiitm
Please understand that my observation of aberration, a serious issue. All the three maestros have been bestowed with the highest recognition of Sangitakalanidhi by MA, Chennai for their vidwath and practice. When one of them give the wrong opinion and advise to a young and upcoming artist, other judges do not intervene and correct the misconception, it needs correction for the benefit of everyone. Yes, for the correct understanding of the rasikas also.
'Apa sabda' is a serious mistake and if it is affecting the emotion and aesthetic, to be abhorred. It is as serious a mistake as 'Apa Sruti' because of naada embedded in the word (s). Unfortunately artists and rasikas are not considering this as a serious issue, it remains, unchecked and corrected. Correction can happen only with reverence to the vaggeyakara hridayam. In Sangita both music and lyric (akshara) are equal in importance. In art music, primacy is for sangita over sahithya, but not with licence to kill the sahithya bhava.
I enjoyed watching and listening 'Naad Bhed-2014' episode - semifinal on 25th June, yesterday. Mr.Ramakrishnamoorthy was very good, for me the best I have watched & heard,till yesterday. The confidence with which he sang the Mudduswamy Dikshita composition in the raaga Naraayanagowla is commendable and reflects the saadhana, while the Begada raaga, neraval and svarakalpana was also very good. All the three judges were unanimously were happy with his performance. Hopefully, it reflects in their ratings also. With improvement in the delivery aspect, he will be one of the maestro and successful practitioner, in the very near future ( He is already in the performing artists circuit, as many of you must already be knowing). Apoorva Ravindran was also good and has a bright future, along with her sister. The third competitor, Ms Anuvrata is also talented but needs corrections, better practice and Guru's guidance.
vsarmaiitm wrote:
For example, I see often Bantu reethi posted as Pantu reethi
sakala graha bala nIne as sakala graha Pala
In Tamil they are identical.
Gurus, sishyas, rasikas are bound to have this imperfection.
In a multilingual country with strong cultural ties between one and another, we should learn to accept this.
Of course there is no question about the importance of learning and using the words correctly.
However, it is Not a case where the culprits are to be hanged.
I know this issue is quite polarizing among the intelligentsia. For the conservatives who take the 'strictly correct' position, any such distorted pronunciations are quite jarring. We should definitely set the bar quite high for musicians to learn and pronounce the words properly, we do not need to go hunting down for such things and losing the enjoyment of the music in the process. But it is quite hard. I know for myself it is hard to not get distracted by the 'zha' to 'la' problem in Tamil. That is why I find it a blessing to be blissfully unaware of such problems in pronunciations.
kssr wrote:Of course there is no question about the importance of learning and using the words correctly.
However, it is Not a case where the culprits are to be hanged.
I will take the opposite view - in a country that prides itself on being multi-lingual, it is only respectful to learn the correct pronunciation of words - otherwise, the pride is empty.
Especially when baNTu rIti is rendered as paNDu rIdi/rIti (perfectly 'appropriate' with the tamizh letters), one changes the intent of the Bard's entreaty from something profound to something very silly - pronounced appropriately, the bard is pleading with rAma to be treated like (rIti) a servant (baNTu). Sung with no such linguistic respect, it sounds as if the Bard is asking to be treated as a fruit (paNDu), which to me is unpardonable - not a hanging offence perhaps (we can reserve that for some of the grantors of copyrights in India), but a serious one nevertheless.
I have found that most who are 'forgiving' of such errors, are not as forgiving when some performers maul languages they are familiar with.
Naad-Bhed competition program is now telecasting the percussion. After I watched the episode on 3rd July,14, I noticed that in the first stage of 'manodharma' the candidate is asked to give accompaniment and in the next stage of 'kalpita', the candidate is asked to perform the ' tani aavartanam'. Is not the tani aavartanam is the manodharma aspect of percussion support, an opportunity for percussion artist to express his manodharma, independent of the saahithya bhavam of the composition but with the tala and kalapramaanam special qualities? Is not accompaniment art, even though the manodharma of the percussion artist enhances the experience, is of kalpita ? With the knowledge of the composition and the kalapramana, rhythmic support consists of premeditated korvais.
I was happy to observe the very supportive and encouraging comments by all the very eminent judges- Maestros Kamalakar Rao; Ravi Kiran; Prasad.
I have noticed that there is difference in mridangam accompaniment to the same sangati by different artists. In one interview, Sri J Vaidyanathan said, 'Sometimes, I would feel that I have missed a sollu at some point in the accompaniment.' Is this not manidharma? Is the difference in accompaniment only in nada? is passing or introducing a flourish, etc. decided by manodharma or is it predetermined?
kvchellappa Sir
Main percussion accompaniment in all the aspects other than, ragam-tanam-pallavi and taniaavartanam is intelligence in the selection of the predetermined and practiced korvais, apt for the composition and style of the performer. This consists of good support in maintaining the tala and kalapramana; poruttam-sollus; kalaikattudal. Naada/sound control is also intelligence, knowing the difference of aptness for the softness and sharpness phases for different pitches and instruments gained both by listening to the Great Maestros and also the skills in application-right and left sides, Pause of one or two aavartanams in the beginning to determine the kalapramana, giving a pause at the required place and flourishes to add the color are all observed and skills and predetermined with the understanding of the composition and style of the performer and also the upa pakkavadya. Manodharma, righteousnes in creativity of the mind sense, is in kalpana, not a pre determined expression or statement in imagination-Kalpita. Only the tani aavartanam gives the opportunity for good exhibition and expression of the talent based mostly on the kalpita but with inspired part or parts of kalpana to the main percussion artist, in freedom from being constantly in equation with the performer's style and imagination, with developed art in anticipation.
The difference amongst Vidwans and Maestros lies in all the above aspects of accompanying and tani, including the naada. For e.g., 'Chapu', 'gumki' and 'teka'. Even in perfection of fine tuning the pitch itself. With so much scope, with skills and mastery our percussion art is the greatest in all the music genre.
We have experts like Melakaveri Balajee and others as forunites. They can give us correct and better information for our understanding and appreciation.
I have understood that I have understood nothing in laya!
I still instinctively enjoy the nice supportive role of the mridangam as also some of the beautiful phrases in thani. Just an ordinary rasika. Still follow each Naad Bhed episode with interest.
kssr
Indeed percussion episode is really good. Yesterday all the three candidates not only gladdened the rasikas but also won appreciation of all the eminent judges. Their unreserved praise was highly motivating the practitioners. Sri Ravikiran's advise on the specific areas requiring focus and saadhana was very commendable.
I appeal to all the forunites to watch the episodes and send the TRP soaring, resulting in planning production of program based on the Indian Classical Music. Thanks, in advance.
Did You see the 10 year old kid giving a fantastic performance. Nagasrinidhi is the name. I think it is a boy. The name is there for both boys and girls. Such a charming talented child. Sincerely wish him great success.
Also, quite interesting to see how DD is able to rope in such high profile busy artists as judges. Sri. Kamalakar RAO, Sri. KV Prasad, Sri. Bhakthavatsalam and so on. Ravi kiran is dazzling in his brilliance. A top top performing instrumentalist, vocalist, now is also a match 120 percent to any of the top mridangam vidwans. Hats off to him. We are lucky to be contemporaries to these geniuses. Also because of technology, we invite them to our living room thro TV. Simply overwhelming.
Yesterday episode consisted of flute and Veena performances. The judges were Late Dr.Prapancham Sitaram, Vid.Rukmini and Vid.Mala Chandrasekar.
Candidate playing flute was asked to play raaga aalaapana in Varaali. I was surprised to hear their observation and advise to the candidate that at the speed he delineated the raaga, essence of varaali is missed and the raaga should have been played with visradhi. Tyagaraja has composed keertanas in all the three kaalams e.g., 'Kana kana ruchira'; 'Eti janma midi'; 'Mora Emi Sri Raama'; 'Ne pogadakunte'. ARI's rendition of 'Ne pogada kunte' is in madhyama, with tilt to turita kaalam. I need not emphasize that the essence of the raaga bhaavam was not missing. Their observations left me wondering why such Vid/Maestros/scholars commit serious mistake.
Yes, the candidate could have practiced and performed with stay at the jeeva svaram (s) in a madhyama kala speed chosen for a better raaga bhava expression.
On 8th July episode telecast, I was very happy to watch and hear the exceptionally talented trio of candidates; Two Vionists-.......(I am sorry I forgot the name) and Apoorva Krishna and Flutist-Mr.Visweshwar.
I also must not fail to communicate my appreciation for the title music composition for this Naad Bhed series by Sri Chitraveena Ravi Kiran, one more offering of com-positional brilliance of this great maestro.
There are dozens of judges who have come and gone. They are supposed to be judging the participants in the same contest. Whatever be the extent to which the results are guided by points for various predetermined criteria, music appreciation is a subjective matter. How we decide whether a performance is "musical" or not is individualistic. I wonder if the results by so many judges will indeed be reliable.
IMHO, there must be the same set of judges for the entire competition for a particular category. In the Extreme cases there can be minimal changes.
I fully agree that the number of judges must not be the same as the number of participants!
You want more judges than participants? That is being ambitious sir. Don't you see that we have already done our best by inviting seeeenior artists- in wheel chairs, stretchers and even those who have reached the heavenly abode to be judges. We just cannot find anymore. Sorry to disappoint you
like swara bhedham, selection also bhedham, judges bhedham! We rasikas are puzzled! Nice to watch that show. How do they eliminate good ones? Need to understand bhed?
Judgment is always subjective- scores but guided or influenced by the objective - criteria for judgment given/being used.
Enjoy the mystery of judgments on the mystery of sounds-Naad Bhed of candidates !
I felt the judges informing the candidates each time the time and aspects in their performance expected was unnecessary waste of time, as the candidates must be very well aware of the format and the rules. Viewers also will be knowing the format and the rules, with few exceptions.
We have to appreciate the talents of the candidates competing and also SPIC-MACAY and Prasar Bharati for this program, reassuring rasikas that learning and practice by talented youth are continuing and the interest in KM is on the rise. I wish Prasar Bharati gives performing opportunities in greater numbers to all the young and talents performers in KM/HM, a continuity in support for Indian Classical Music
The finals and awards were (re?)telecast last Sunday. Manda Sruti Ravali & Apoorva Krishna (violin) were the carnatic music winners. There was also a tavil vidwan whose name I am not able to recall.
