Hi all,
I want to understand the meaning of baani. What qualifies for a distinct baani. I do have some idea and know of three distinct baanis - the GNB baani, the MMI baani and the Veena Dhanammal baani and i also know one or two salient distinguishing features of each of these three baanis.
How many baanis are there in carnatic music? Are there any qualifications which need to be met before a style or a way becomes a baani?
Can someone explain the salient features of the Semmangudi baani?
Hoping to be enlightened. Thanks,
Baani
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Pratyaksham Bala
- Posts: 4207
- Joined: 21 May 2010, 16:57
Re: Baani
Please check this:
http://rasikas.org/forums/viewtopic.php? ... ni#p219037
http://rasikas.org/forums/viewtopic.php? ... ni#p219037
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Pratyaksham Bala
- Posts: 4207
- Joined: 21 May 2010, 16:57
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
Re: Baani
HarishankarK Sir,
Indian Classical Music edifice as great art and contribution to the world of Music is its manodharma or improvisation (it is not exact equivalent to manodharma). Sampradaya demands optimum utilization of the kalpita sangitam, through the talents and skills of re creativity. Before becoming part of kalpita sangitam, the first contributions are kalpana sangitam of original creativity. The excellence in both the kalpana and kalpita sangitam is the body and works becoming and establishing as a Tradition.
Bani is based on the sense of mind-intellect and manas of the individual and becoming a collective-a distinct group of Guru-Shishya parampara. A Great Maestro, intellectual and with extraordinary original creativity, with introspection and internalization of aesthetic beauty of an aspect of sangita, with the combined strength of imagination, skills of expression and the extraordinary talent of giving it a distinct form, structure, manner and system built on the realized value of an idea(s), attempts value additions in terms of rasaanubhuti. The tools are voice-modulation and intonation; instrumental special technique on tonality and volume; heightening the bhaavam/emotion by harnessing and giving the power resulting in deeper impression and appreciation; usage and employment of gamakams/osscilation; use of svara and anusvara; special care of graha and nilugada svaram(s);sangati ornamentation in line with the original creativity and also creative extensions or improvisation;niraval techniques;eduppu, kuraippu, selection of avartana, use of kanakku or mathematical proportion and precision;patanthara sudhatvam. With greater acceptance and appreciation both by the pandita and pamara or by pandita or by pamara, the value additions of imagination and employed techniques, gets established with distinct features and identity. For the ease of identity, it gets to know by the name of the Great Maestro and Great Guru, Guru-Shishya parampara and a geographical region where the majority of the practitioners are following. Thus, Bani is Sampradaya, time tested and long lasting.
Style is not Bani. Style is only the intelligence of establishing an identity with the ease of recognition of a uniqueness with the usage of a mannerism, modulation resulting in a novelty and excitement with the goal and objective of commanding and winning the instant appreciation. Also creating compelling habit of appreciation in recall moments of pleasure. Attaining the popularity. With popularity, achieving success and staying power. With staying power, becoming a legend, in due course of time, with cultivation of sizable population of rasikas with unquestioning following and loyalty. To achieve the stylists do take liberties with sampradaya as well as tradition with their reason and justification. Some of the shishyas get the benefit of imitation or reproduction of style by getting the rasikas with loyalty to their Stylist Guru with initial encouragement and support. Without their own manodharma and contribution, such practitioners will not get the continued support. Style is innate and nature of an artist. Style is sense of mind of individuation, ahamkara, egocentric. With higher value in aesthetic, it stays and with only instant appeal value, it will fade away. Thus, style is not Bani, Sampradaya and Tradition.
Indian Classical Music edifice as great art and contribution to the world of Music is its manodharma or improvisation (it is not exact equivalent to manodharma). Sampradaya demands optimum utilization of the kalpita sangitam, through the talents and skills of re creativity. Before becoming part of kalpita sangitam, the first contributions are kalpana sangitam of original creativity. The excellence in both the kalpana and kalpita sangitam is the body and works becoming and establishing as a Tradition.
Bani is based on the sense of mind-intellect and manas of the individual and becoming a collective-a distinct group of Guru-Shishya parampara. A Great Maestro, intellectual and with extraordinary original creativity, with introspection and internalization of aesthetic beauty of an aspect of sangita, with the combined strength of imagination, skills of expression and the extraordinary talent of giving it a distinct form, structure, manner and system built on the realized value of an idea(s), attempts value additions in terms of rasaanubhuti. The tools are voice-modulation and intonation; instrumental special technique on tonality and volume; heightening the bhaavam/emotion by harnessing and giving the power resulting in deeper impression and appreciation; usage and employment of gamakams/osscilation; use of svara and anusvara; special care of graha and nilugada svaram(s);sangati ornamentation in line with the original creativity and also creative extensions or improvisation;niraval techniques;eduppu, kuraippu, selection of avartana, use of kanakku or mathematical proportion and precision;patanthara sudhatvam. With greater acceptance and appreciation both by the pandita and pamara or by pandita or by pamara, the value additions of imagination and employed techniques, gets established with distinct features and identity. For the ease of identity, it gets to know by the name of the Great Maestro and Great Guru, Guru-Shishya parampara and a geographical region where the majority of the practitioners are following. Thus, Bani is Sampradaya, time tested and long lasting.
Style is not Bani. Style is only the intelligence of establishing an identity with the ease of recognition of a uniqueness with the usage of a mannerism, modulation resulting in a novelty and excitement with the goal and objective of commanding and winning the instant appreciation. Also creating compelling habit of appreciation in recall moments of pleasure. Attaining the popularity. With popularity, achieving success and staying power. With staying power, becoming a legend, in due course of time, with cultivation of sizable population of rasikas with unquestioning following and loyalty. To achieve the stylists do take liberties with sampradaya as well as tradition with their reason and justification. Some of the shishyas get the benefit of imitation or reproduction of style by getting the rasikas with loyalty to their Stylist Guru with initial encouragement and support. Without their own manodharma and contribution, such practitioners will not get the continued support. Style is innate and nature of an artist. Style is sense of mind of individuation, ahamkara, egocentric. With higher value in aesthetic, it stays and with only instant appeal value, it will fade away. Thus, style is not Bani, Sampradaya and Tradition.
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munirao2001
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Re: Baani
HarishankarK Sir
On 'Semmangudi Bani', Bani is having distinct feature of using instrumental technique-nagasvaram in vocalization; employing power to achieve azhutham or depth; sangati ornamentation; sense of proportion in raaga alaapna-alanthu koduthal or measured offering; svara kalpana and svara prastara;repertoire; heightening the emotive appeal, but subtle;performing -planning and its execution;teaching techniques.
munirao2001
On 'Semmangudi Bani', Bani is having distinct feature of using instrumental technique-nagasvaram in vocalization; employing power to achieve azhutham or depth; sangati ornamentation; sense of proportion in raaga alaapna-alanthu koduthal or measured offering; svara kalpana and svara prastara;repertoire; heightening the emotive appeal, but subtle;performing -planning and its execution;teaching techniques.
munirao2001
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chitravina ravikiran
- Posts: 216
- Joined: 28 Apr 2011, 10:30
Re: Baani
I had read an article by Flue Mali sir on this in Sruti Magazine in 1980s (this was a reprint from what was originally written by the maestro decades ago).
In one of my lec-dems, I hit upon an answer that seemed to satisfy a lot of vidwans and rasikas. I classified three main degrees:
1. Style - developed by an artiste over time through experience and individuality
2. School (gharana) - When a style becomes popular a number of disciples following it
3. Bani - When artistes 'outside of the school' start getting consciously or subconsciously impacted by a style/school, it can be considered Bani. For eg: Veena Dhanammal Bani.
There is also something much more generic called Carnatic Bani which encompasses all the typical features (ornamentation, oscillations etc) of CM as a whole.
OVK uses the word Bani in the charanam of his Kedaram composition - bhakti yOga sangeeta mArgamE parama pAvanamAhumE when he says:
"anniyar bANi vArAmalE"
In one of my lec-dems, I hit upon an answer that seemed to satisfy a lot of vidwans and rasikas. I classified three main degrees:
1. Style - developed by an artiste over time through experience and individuality
2. School (gharana) - When a style becomes popular a number of disciples following it
3. Bani - When artistes 'outside of the school' start getting consciously or subconsciously impacted by a style/school, it can be considered Bani. For eg: Veena Dhanammal Bani.
There is also something much more generic called Carnatic Bani which encompasses all the typical features (ornamentation, oscillations etc) of CM as a whole.
OVK uses the word Bani in the charanam of his Kedaram composition - bhakti yOga sangeeta mArgamE parama pAvanamAhumE when he says:
"anniyar bANi vArAmalE"
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Rsachi
- Posts: 5039
- Joined: 31 Aug 2009, 13:54
Re: Baani
Munirao sir, What a line!
1. Style - a consistent, recognisable, pattern or approach of a musician
2. Gharana or School - a real world phenomenon of a teacher imparting his style to his students over time. They emulate/cultivate a recognisable "style" so one can guess they are from that school.
3. Baani - a style solidly identifiable over time as coming from that original stylist and no longer needing actual practitioners to keep that "top of mind." At that point the Baani gets a life of its own and influences sampradaya also. It is almost that a trademark becomes a generic name like Xerox or Crocin.
For example. "Pibare Ramarasam" of BMK or MLV 's "Ragasudha rasa" can find a place in a concert repertoire of anyone, not necessarily of their school!
Hope I am making sense
I would like to slightly modify the three degrees listed by Maestro Ravikiran, from the view point of a rasika:Style is only the intelligence of establishing an identity with the ease of recognition of a uniqueness with the usage of a mannerism, modulation resulting in a novelty and excitement with the goal and objective of commanding and winning the instant appreciation.
1. Style - a consistent, recognisable, pattern or approach of a musician
2. Gharana or School - a real world phenomenon of a teacher imparting his style to his students over time. They emulate/cultivate a recognisable "style" so one can guess they are from that school.
3. Baani - a style solidly identifiable over time as coming from that original stylist and no longer needing actual practitioners to keep that "top of mind." At that point the Baani gets a life of its own and influences sampradaya also. It is almost that a trademark becomes a generic name like Xerox or Crocin.
For example. "Pibare Ramarasam" of BMK or MLV 's "Ragasudha rasa" can find a place in a concert repertoire of anyone, not necessarily of their school!
Hope I am making sense
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vasanthakokilam
- Posts: 10958
- Joined: 03 Feb 2010, 00:01
Re: Baani
Converting RK's ideas to a definition: "bANi is that certain uniqueness in the manner of performing the music that derives from the musician or the Gharana and finds usage outside of them over time."
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Rsachi
- Posts: 5039
- Joined: 31 Aug 2009, 13:54
Re: Baani
I think so! Just to illustrate, I find many current "top" artistes seem to just have ingested a repertoire comprising many popular "baanis" and carrying off the show. It's almost like a "Nite" of popular cine hits where a singer croons chart buster songs of different playback stars to a huge applause of "make believe" - sorry to use this word-"suckers". This of course is a worst case scenario.
That is also why I never send request chits of what I have loved from a KVN or MDR or.. to a current day performer. Just my view, of course.
That is also why I never send request chits of what I have loved from a KVN or MDR or.. to a current day performer. Just my view, of course.
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rajeshnat
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- Joined: 03 Feb 2010, 08:04
Re: Baani
few years back we had discussions on baani- referring that thread.
http://www.rasikas.org/forums/viewtopic.php?f=2&t=18764
http://www.rasikas.org/forums/viewtopic.php?f=2&t=18764
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
Re: Baani
What differentiates 'Style' and 'Bani'?. Bani gets established when it becomes 'impersonal' with specific identity of form, content, structure and order with values of classicism as the determining factor. Its higher values or values attracts and creates a following both by the student(s) and the rasikas. They bear the signature of the original thinker and the creator but with selfless and impersonal contribution, its acceptance, appreciation and identity. The most critical factor is 'intent'. Intent is delivery of deeper, pure, rich experiences and its recall pleasure. Only initiated rasikas can have true realization and experience of values in such music. With out the realization of the values, rasikas are not comfortable and are insecure of enjoyment of pleasure. The Bani also does arise from the quintessential classicism of different schools in perfect fusion of sense of minds of ideas, imagination, re creativity, with an identity-artists who have learnt from many Great Maestros/Maestros stand testimony to this occurrence.
Intent and content in Style is focused on creating the 'personal' identity, to attract, to create excitement of novelty and habit. Taking liberties with the sampradaya and intelligently justifying. Rasikas,uninitiated also, habitually with ease and comfort, yearning more of the same. Style gives the sense of security of support and the resultant comfort both to the performer and the rasikas.
It is best in the interest of Indian Classical Music and its practices, this vital aspects of music education the differences in perception and understanding is resolved and clear definitions are made.
munirao2001
Intent and content in Style is focused on creating the 'personal' identity, to attract, to create excitement of novelty and habit. Taking liberties with the sampradaya and intelligently justifying. Rasikas,uninitiated also, habitually with ease and comfort, yearning more of the same. Style gives the sense of security of support and the resultant comfort both to the performer and the rasikas.
It is best in the interest of Indian Classical Music and its practices, this vital aspects of music education the differences in perception and understanding is resolved and clear definitions are made.
munirao2001
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
Re: Baani
sureshvv Sir,
Fleeting occurrences relate to 'style'. For e.g. sarvalaghu pattern in svarakalpana or phrases in raaga aalapana. Bani has many aspects of knowledge, practice and skills, as a sum total. To derive the maximum benefit of a Bani, it is best served in Guru-Shishya paramapara, with both of them caring, respecting and loving each other. Maestros with gained mastery will have clear insights of a Bani and by choice and reverence they adopt the Bani and they create a Bani,seamlessly, with quintessential of Banis. When the many Great Maestros were alive, there was strict conformism to the Bani. Later and in the present times, 'success and its formula' based on the glimpses of Banis and Styles have been successfully adopted, with rasikas unconcerned and appreciating unreservedly. Fact of lack of clarity on these aspects of classical KM, a pure art form, is a reflection of the present times and state. I wish that MA takes the lead to resolve these issues with their experts committee convened only for this purpose of establishing clarity and understanding and defining the terms-Tradition-Convention-Sampradaya-Bani-Style and other contentious terms of use like Karnatic/Carnatic/Karnataka Music.
munirao2001
Fleeting occurrences relate to 'style'. For e.g. sarvalaghu pattern in svarakalpana or phrases in raaga aalapana. Bani has many aspects of knowledge, practice and skills, as a sum total. To derive the maximum benefit of a Bani, it is best served in Guru-Shishya paramapara, with both of them caring, respecting and loving each other. Maestros with gained mastery will have clear insights of a Bani and by choice and reverence they adopt the Bani and they create a Bani,seamlessly, with quintessential of Banis. When the many Great Maestros were alive, there was strict conformism to the Bani. Later and in the present times, 'success and its formula' based on the glimpses of Banis and Styles have been successfully adopted, with rasikas unconcerned and appreciating unreservedly. Fact of lack of clarity on these aspects of classical KM, a pure art form, is a reflection of the present times and state. I wish that MA takes the lead to resolve these issues with their experts committee convened only for this purpose of establishing clarity and understanding and defining the terms-Tradition-Convention-Sampradaya-Bani-Style and other contentious terms of use like Karnatic/Carnatic/Karnataka Music.
munirao2001
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sureshvv
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Re: Baani
I think you have inadvertently hit upon something here. Rasikas don't seem to care about "purity of baani" and seem quite happy to give it up for the sake of more enjoyable music. Only we seem to caremunirao2001 wrote:sureshvv Sir,
Later and in the present times, 'success and its formula' based on the glimpses of Banis and Styles have been successfully adopted, with rasikas unconcerned and appreciating unreservedly.
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
Re: Baani
sureshvv Sir
I have not 'inadvertently' stated. I have done consciously with observation and experiences. Earlier times the rasikas consisted of majority being discerning and knowledgeable. They were listening to enjoy the nuances and richness of the Bani of Great Maestros and Maestros. Later and in the present times, a majority of them have not learnt the minimum requirement to become the initiated and discerning. The majority of the rasikas are guided by the 'popularity' rather than purity and specific richness of Banis. Stylists with intelligence offered novelty and excitement. Successfully created the ease, comfort to command the appreciation and support of the rasikas. Vidwans by observation and with desire to succeed selectively used the attractiveness in the revered Bani of maestros and Styles of maestros and they have met with partial success. In the bargain, 'Cutcheri success formula' has been extensively resorted to, honestly Classical Karnatic Music as one of the greatest art form with unique qualities of purity has suffered.
We are having with us in the present times, many Great Maestros and Maestros, who have attained success but uncompromisingly on the classicism, to cite one example, Great Maestro Chitraveena Ravikiran. If the majority of the rasikas, while continuing their support for 'popular' artists, if they also extend their support these Great Maestros and Maestros, Karnatic Music will regain the lost ground. With increasing population of young and highly talented vidwans and students of KM in music appreciation and its practice, we are going to see the excellence, in the near future.
munirao2001
I have not 'inadvertently' stated. I have done consciously with observation and experiences. Earlier times the rasikas consisted of majority being discerning and knowledgeable. They were listening to enjoy the nuances and richness of the Bani of Great Maestros and Maestros. Later and in the present times, a majority of them have not learnt the minimum requirement to become the initiated and discerning. The majority of the rasikas are guided by the 'popularity' rather than purity and specific richness of Banis. Stylists with intelligence offered novelty and excitement. Successfully created the ease, comfort to command the appreciation and support of the rasikas. Vidwans by observation and with desire to succeed selectively used the attractiveness in the revered Bani of maestros and Styles of maestros and they have met with partial success. In the bargain, 'Cutcheri success formula' has been extensively resorted to, honestly Classical Karnatic Music as one of the greatest art form with unique qualities of purity has suffered.
We are having with us in the present times, many Great Maestros and Maestros, who have attained success but uncompromisingly on the classicism, to cite one example, Great Maestro Chitraveena Ravikiran. If the majority of the rasikas, while continuing their support for 'popular' artists, if they also extend their support these Great Maestros and Maestros, Karnatic Music will regain the lost ground. With increasing population of young and highly talented vidwans and students of KM in music appreciation and its practice, we are going to see the excellence, in the near future.
munirao2001
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ganesh_mourthy
- Posts: 1380
- Joined: 02 Sep 2007, 23:08
Re: Baani
Munirao JI
The majority of the rasikas are guided by the 'popularity' rather than purity and specific richness of Banis.
This is very true. Sometimes it is more emotions and sentiments towards an artist and their singing, and that gets carried away easily by the mass boosting and certain critique influence if one does not understand the technicalities of an art form.
The majority of the rasikas are guided by the 'popularity' rather than purity and specific richness of Banis.
This is very true. Sometimes it is more emotions and sentiments towards an artist and their singing, and that gets carried away easily by the mass boosting and certain critique influence if one does not understand the technicalities of an art form.
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
Re: Baani
rshankar Sir,
If the forumites Great Maestros and Maestros Sri Chitraveena Ravikiran;Sri Akella Mallikarjuna Sharma; Sri Neyveli Santana Gopalan;Smt.Narmada Goplakrishnan give us the specific replies to your good question, all of us would gain the knowledge.
In the meanwhile, let me make an attempt to reply.
1. SSI: Great Maestro's music is a Bani. He evolved his own Bani based on the teachings and practices of his three great Gurus-Semmangudi Narayanswami Iyyer, Sakha Rama Rao and Maharajapuram Viswanatha Iyyer and also his manaseeka Guru Ariyakudi Ramanuja Iyyengar. SSI Bani is having distinct feature of using instrumental technique-nagasvaram in vocalization; employing power to achieve azhutham or depth; sangati ornamentation; sense of proportion in raaga alaapana-alanthu koduthal or measured offering; svara kalpana -sarvalaghu patterns; repertoire; heightening the emotive appeal, but subtle;performing -planning and its execution;teaching techniques.
Style in SSI is very subtle, the manner of using the sahithya and raaga bhaavam and kaalapramanam of mridanga sollu kattus. He lost his voice and got it restored but he had to live with the nasal tone and also causing occasional apa svaram. Unfortunately, there is a mistaken belief that this was his style.
2. Dhanammal and Great Maestro's illustrious family consisting of Brindamma and Mukthamma; Sankaran and Viswanathan: A celebrated Bani consisting of uncompromising value for purity of classicism; Patanthara of great compositions; control over laya-both madhyama and vilamba kaalam; special usage of gamaka; sense of proportion and its strict adherence in the raaga delineation and svara kalpana; very exclusive repository and mastery of Kshetrayya Padams. T.Sankaran and T.Viswanathan did develop a style- instrumentation techniques.
3. BMK: Unique Stylist. His style mainly consists of using optimal the voice and its modulation, adopting the instrument techniques and effects of violin and flute;Scalar approach in raaga aalaapna; emphasis on pure notes over oscillation of notes; conscious and successful method of delivery of softness and pleasantness in naada/sound (s); highly intelligent and clever use of svara kalpana consisting of janti and dhatu varisais; clever use of mridanga sollu kattus; intelligent use of 'melody' effect of susvaram and plain note handling in Hindustani music.
BMK with many brilliant compositions, well over 400; wide repertoire;unique style has the potential to become a Bani, if his shishyas also meet with success as perfomers.
4.GNB: Also a celebrated Bani and with his inimitable style. Great Maestro developed a Bani based on the formidable foundation laid by his great Gurus-T.S.Sabesa Iyyer and Tiger Varadachar, manaseeka guru Ariyakudi Ramanuja Iyyengar. His Bani mainly consists of vocalization of the instrument techniques of Flute (Palladam Sanjiva Rao) and Nagasvaram;handling of thuritam and madhyama kaalapramanam; restricted use of gamakams;liberal use of birkhas as a exciting linkages in sangati ornamentations;manodharma in svara kalpana and chitta svarams; innovation-specifically sruti bhedam and creativity;open mindedness to other genre of music-Hindustani and film. A vaaggeyakara with 250 compositions with many vivadi raagams and rare ragams. Even though GNB is also known as stylist, I do not agree.
5. Nagasvaram: Great Maestros and Maestros playing nagasvram also belong to both Bani and Style.
Let us eagerly look forward to Great Maestros and Maestros to enlighten us. Also serious ( not mookkupodi) contributions for knowledgeable forumites, in the meanwhile.
munirao2001
If the forumites Great Maestros and Maestros Sri Chitraveena Ravikiran;Sri Akella Mallikarjuna Sharma; Sri Neyveli Santana Gopalan;Smt.Narmada Goplakrishnan give us the specific replies to your good question, all of us would gain the knowledge.
In the meanwhile, let me make an attempt to reply.
1. SSI: Great Maestro's music is a Bani. He evolved his own Bani based on the teachings and practices of his three great Gurus-Semmangudi Narayanswami Iyyer, Sakha Rama Rao and Maharajapuram Viswanatha Iyyer and also his manaseeka Guru Ariyakudi Ramanuja Iyyengar. SSI Bani is having distinct feature of using instrumental technique-nagasvaram in vocalization; employing power to achieve azhutham or depth; sangati ornamentation; sense of proportion in raaga alaapana-alanthu koduthal or measured offering; svara kalpana -sarvalaghu patterns; repertoire; heightening the emotive appeal, but subtle;performing -planning and its execution;teaching techniques.
Style in SSI is very subtle, the manner of using the sahithya and raaga bhaavam and kaalapramanam of mridanga sollu kattus. He lost his voice and got it restored but he had to live with the nasal tone and also causing occasional apa svaram. Unfortunately, there is a mistaken belief that this was his style.
2. Dhanammal and Great Maestro's illustrious family consisting of Brindamma and Mukthamma; Sankaran and Viswanathan: A celebrated Bani consisting of uncompromising value for purity of classicism; Patanthara of great compositions; control over laya-both madhyama and vilamba kaalam; special usage of gamaka; sense of proportion and its strict adherence in the raaga delineation and svara kalpana; very exclusive repository and mastery of Kshetrayya Padams. T.Sankaran and T.Viswanathan did develop a style- instrumentation techniques.
3. BMK: Unique Stylist. His style mainly consists of using optimal the voice and its modulation, adopting the instrument techniques and effects of violin and flute;Scalar approach in raaga aalaapna; emphasis on pure notes over oscillation of notes; conscious and successful method of delivery of softness and pleasantness in naada/sound (s); highly intelligent and clever use of svara kalpana consisting of janti and dhatu varisais; clever use of mridanga sollu kattus; intelligent use of 'melody' effect of susvaram and plain note handling in Hindustani music.
BMK with many brilliant compositions, well over 400; wide repertoire;unique style has the potential to become a Bani, if his shishyas also meet with success as perfomers.
4.GNB: Also a celebrated Bani and with his inimitable style. Great Maestro developed a Bani based on the formidable foundation laid by his great Gurus-T.S.Sabesa Iyyer and Tiger Varadachar, manaseeka guru Ariyakudi Ramanuja Iyyengar. His Bani mainly consists of vocalization of the instrument techniques of Flute (Palladam Sanjiva Rao) and Nagasvaram;handling of thuritam and madhyama kaalapramanam; restricted use of gamakams;liberal use of birkhas as a exciting linkages in sangati ornamentations;manodharma in svara kalpana and chitta svarams; innovation-specifically sruti bhedam and creativity;open mindedness to other genre of music-Hindustani and film. A vaaggeyakara with 250 compositions with many vivadi raagams and rare ragams. Even though GNB is also known as stylist, I do not agree.
5. Nagasvaram: Great Maestros and Maestros playing nagasvram also belong to both Bani and Style.
Let us eagerly look forward to Great Maestros and Maestros to enlighten us. Also serious ( not mookkupodi) contributions for knowledgeable forumites, in the meanwhile.
munirao2001
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Pratyaksham Bala
- Posts: 4207
- Joined: 21 May 2010, 16:57
Re: Baani
T N Rajaratnam Pillai- Radio Interview -14Jan1951 on bAni and rasikas:-
https://www.youtube.com/watch?v=T8H_GCH41sw
https://www.youtube.com/watch?v=T8H_GCH41sw