National Conference:Appreciating Indian Classical Music

[CRama]

MUDHRA organised the above conference in the Infosys Hall, Ramakrishna Mission School campus, Bazulla Road, T.Nagar, Chennai.on 19-20 Feb 2011
19 Feb 2011.
The participants were welcomed with high tea consisting of hot bondas and tea at 5.30 P.M. There were about 250 partcipants and the hall was full. The participants were mostly those who have benefitted from the Music Appreciation Propgrammes conducted by MUDHRA. I discussed with some of them and came to know that they found the programmes very much useful and enriching. MUDHRA has taken the task of building up a knowledgeable rasika base as their mission and they need our support and appreciation for their efforts. This attains more importance today as performers are more than the rasikas. Keep it up Mrs Radha Bhaskar and Mudhra Bhaskar.
I am trying to give an account of the presentations in the seminar. But I am sure I will not be capable of reporting the entire presentations. Many things were above my comprehension. I am reporting limiting to my understanding and ability. Corrections are welcome.
. The Inauguration function commenced at 6.15 P.M. The Chief Guests of the evening were Shri. R.Gopalakrishna, Zonal Manager, Bank of India, Dr.S.A.K.Durga, Noted Musician, Musicologist with specialisation in Voice culture, Shri Shriram Parasuram, violinist and Musician adept in all styles of music.
It is essential to invoke the blessings of God Vinayaka, the remover of hurdles for the smooth conduct of any programme. Fittingly the prayer song Sakthi Ganapathim in Nata, a composition of Muthiah Bhagavathar was rendered melodiously by Smt. Radha Parthasarathy.
Shri Mudhra Bhaskar rendered the welcome address. MUDHRA started its mission in th year 1995. It has taken the mission of elnlightening rasikas on appreciating classical music and conducting regular programmes in various parts of the city with that intention since 2004. It has so far conducted 15 Full time courses.. During the function the first DVD of Music Appreciation Programme conducted by Smt Radha Bhaskar has been released. Another flagship venture of them the Samudhra Magazine's 100th issue featuring a cover story on Guru Karakudi Mani also was released on the occasion.
While delivering the inaugural address, Shri R.Gopalakrishna, Zonal Manager, Bank of India said that Bank of India appreciates music and rightly said that Mudhra functions as a bridge begtween the rasikas and the performers. He said Bankers like him are the pillars which support the bridges. He further said that music offers the rasikas an option to enjoy life in a better manner. He declared that BOI is always happy to support such endeavours. He used the opportunity to inform the members about a new product of BOI- BINGO CARD targetted on the students in the age group of 15-25. The Bank provides a revolving credit of Rs.2500 for the holder of this card which will be of timely help to the students in many a time. The students can withdraw the money, repay and again avail the facility.
Portions of the DVD of Radha Bhaskar was screened during the occasion. It is priced Rs400 and it was sold for Rs.300 during the seminar.The DVD is very good and I feel we should buy this DVD as a token of our support to the efforts of MUDHRA.
Vote of Thanks was provided by Mudhra Bhaskar. He thanked all the corporates who have been supporting them since inception. He specifically thanked Murali Musicals who have been supporting them since the very first issue of Samudhra. (to be continued)

[CRama]

The first Lecture Demonstration in the programme by Shri T.N.Seshagoplan on the subject- Ragam Thanam and Pallavi started at 7.30 P.M. He was supported by ShriS.D. Sridhar on the violin and Shri.Ramesh on the Mridangam. TNS started with a shlokam from Meenakshi Pancharathnam in the raga Hamsadhwani Some points from his demonstration.
South Indian Music is very ancient -can be traced to Silappadikaram period.
There are two divisions- Lakshana sangeetham and Lakshya Sangeetham
RTP is the pinnacle in the South Indian Music. It is the hallmark of manodharma sangeetham. Even in a one and half hour concert, a properly executed RTP for 30 mts lifts the value of the concert. To prove the impact of RTP he quoted an incident. In 1982 he was deputed by GoI to Russia to participate in the Festival of india and he gave 35 concerts. The audience consisted of non Indians who were totally new to our music and language. He included RTPs in most of the concerts which lasted 11/2 to 2 hours. The audience were so impressed that in the next concert they will ask will you sing this song- the pallavi sung in the previous concert. Without knowing about the RTP they were attracted by that. It is like fascination on seeing the Himalayas or Indian Ocean without knowing the depth of it or area of the ocean. So RTP gives a bhramippu. Even non knowledgeable audience can appreciate a good RTP.
Padam- Layam-Vinyasam- this constitues the pallavi. He explained the iomportance of neraval and pallavi is something which is an advanced stage in that aspect of music.
He mentioned about the system of kondukootti padum murai which was in vogue since 7th century and mentioned about the thevaram sung in the temple. He sang the same in the kondukootti pattern
Aduthaanai Koduthaanai Arjunarkku Paasupadam koduthaanai.
He sang this exquisitely in Kambodi.
He mentioned that his Paramaguru Harikesanallur Muthiah Bhgavathar used to sing Kavadi chindu in his Harikatha kalakshepams which included nadai variation, kala variation etc
Moosuvandu vaasamundu kavil undu thenai undu
Mohana Mukhari paadume
He sang this in various nadais, kalams most exquiisitely. It was an aural treat.
For RTP, Ragam should be done elaborately
Pallavi should be in complete sentences with subject,predicate and convey a meaning.
It should have more or less equal Poorvangam and Utharangam.
Pallavi can be on Deivaparam or meaningful thoughts
He explained the importance of Padagarbham, arudi.anulomam, pratilomam,
He composed a Pallavi based on the definition of Pallavi.
Padathirkkaaka pa Layathirkkaka la, Vinyasathirkkaka vi,
sernthu amaintha murai thaan pallavi
chithradhana maargathil sollum.
This pallavi was sung in Kalyani
In the ancient days, Pallavi occupied the major share in any concert. One or two songs will be sung in the beginning, then the RTP and then slokam, kavadichindu, thevaram ashtapadi etc.
This was also used as a weapon to settle competition among musicians and competition among vocalist and accompanists.
The rendering of tisram started only from the period of Kancheepuram Naina Pillai.
Alathur Brothers remained a pioneer in this field. Their pallavis were complex and contained all the ingredients of a pallavi. Tisram, anulomam pratilomam and they even have sung 8 kalai pallavi.
TNS had sung 8 kalai pallavi once in Academy and Vidwan Mysore Doraiswamy Iyengar who was in the audience came to the dias and embraced him and blessed him.
He rendered one of his famous pallavis
Kanchadalayathakshi Kamakshi
Kamalamanohari tripurasundari
4 kalai 7 aksharam thalli
He rendered neraval, tisram, chatusra tisram, anulomam, pratilomam etc and detailed explanation about chatusra tisram and demonstrated
Next pallavi was Somsundareswarapriya Vaamabagesree
Rajamathangi in ragam Bagesree Khanda triputa eduppu samam. He rendered three kalams
Nadai pallavi- He sang the pallavi which Ariyakudi used to sing in his most attractive style.
Veduga Cheligi Koluvai unnade in Saveri
Another pallavi Gaanalola karunaala vaala in Thodi
Here tisram inbuilt in Chaturam.
Vennai thinna chinna thanamaa Venugopala in Huseni
Venugaana ramana athi vitharanaguna nipuna
in Shanmugapriya- Mishra chapu 3 thalli

Melkaala pallavi
Un darisanam kidaikkumo Nataraja dayanidhe in Kalyani
Swarakshara pallavi
D(t)haamadhama sadaa saagasamaa
Kanna nee d(t)aamaga en mun odi vara
Pallavi with inbuilt raga name
Ambigai jagadambigai varaalitho
Sruthiyodu layamum tharaalitho
Veeramaruthi gambheera maruthi Lanka bhyankara dheera (thilang)
Enthan melunakku kaathalaahiriyo (ahiri)
Dwiraga pallavi
Kapalini Thrisoolini Ezhil sindum bhairavi pahimam (Bhairavi and sindubhairavi)
Mohana lahiri aanathe undan suruttiya kuzhal kandu (Ahiri and surutti)
kondukootti in pallavi
Paravasamigavaakuthe kannaa unnai ninainthu ninainthu nenjam in Shanmugapriya
pallavi with yathi prastharam
Guhaa murugaa Shanmugaa Neevaa
Kaavaa kove in Subhapanthuvarali

He dealt with kuraippu , korvai for which he is very famous and explained in detail how to fix korvai for various talams with various eduppus etc
Thanam
Thanam is the most difficult and important part of the musical structure of RTP. It can be compared to the middle water of deep sea.
It is erxpression of raga using the syllables tha, non, tham, anandam etc. He advised not to sing tututu du dudu etc.
It can not be taught by any teacher. It has to be practiced.
Not to be restricted to any talam but to sing in rhythmic patterns of 3, 5 etc
Patnam Subramania Iyer was famous for thanam
Various types of tanams like Ashwath thanam, Mandooka thanam, gaja thanam etc. He demonstrated them. Ashwath thanam was done in Nata, Natakurinji, Sree and Mandooka tanam in Sankarabharanam which made us spell bound.
He demonstrated Ashwath thanam in Shanmugapriya using only four swaras- gamapadha which was mindblogging. It really sounded like the gallopping of horses.
He said in the olden times, thanam was done in three speeds. The first kala tanam which he did was an adventure in itself.
He said neraval should be done with full justice without pada chedam and ragamlika neravals also can be done.
The entire demonstration was very scholarly and valuable for performers. There were many things which went above my head. Hence I did not report. Only he can make such presentations. The presentation which began at 7.30 P.M concluded at 10.30 P.M. Till 9.30 P.M the hall was full. Sri Chitraveena Narasimhan, Music scholar and teacher was present throughout the demonstration. I met Shri Anandasangeetham from the rasika family. I do not know if any other forum member attended the demonstration.

[anandasangeetham]

Excellent summarisation ....congrats shri CRAMA. True the entire lec-dem was enthralling to say the least. Kudos to the Mudhra duo..they have been yeomen service to the cause of music. Time was short for TNS otherwise he could have taken to greater heights. He concentrated too much on pallavi and then Smt Radha Bhaskar sent a note to him to address on Thanam also. Music students should have attended this. He demonstrated how to do the calculation. For a simple adhi talam he demonstrated the various countings from 3,4,5,6,7 and of course the mutliples of this in the next speeds. He did this by simply counting the numbers and keeping the tala. and then again did this with the tala syllables and then with swaras. Probably next time there could be an elaborate session on RTP. He quoted many types of pallavi. One aspect I expected was why an RTP? apart from the vidwat what more does this convey particularly the tanam part. and the demo of the various types of pallavi like nadai pallavi(he did make a demo but I could not grasp it) the different types of kalais etc.....As the main topic was "appreciating ......" the "Why" aspect if covered could have given more depth.....Like for example the Varnam is sung primarily to gauge the artists voice in respect to the voice condition, ambience etc and plan the concert accordingly..is there any reason for the thanam.

[CRama]

The second day programme commenced with Welcome address by Smt.Radha Bhaskar and Key Note address by Dr.S.A.K.Durga. Some of the points from the Key Note address:
Indian music is unique in the world as it has only got Manodharma Sangeetham
An oft asked question is whether should know the nuances of music for enjoyment of classical music. Eventhough it may be possible to a certain extent, the music can be appreciated in a better manner if we know the intricacies.
A beginning step in knowing the music could be constant hearing of music
It is desirable to start music training at an early age
Kriti plays a major role in our concerts and is mostly in Telugu and sanskrit- which majority of the people in Tamil Nadu are not familiar. To overcome this imitation, we can read many books which are available and understand the meaning of songs. Tamil songs facilitate a complete enjoyment of the music.

Demonstration on Varnams- Dr.R.S.Jayalakshmi
Varnam is a stepping stone for learning kritis
Varnam is much older than the kritis
Varnam is sung in the beginning of the concert.
It acts as a training for the voice. It also helps the artist to judge the quality of his voice for that particular day and accordingly plan the concert.
The practice of singing varnam as the first song came with the padhathi introduced by Ariyakudi. Before that there was no practice to sing varnams in concerts.
Sahithyam is not predominant factor in varnams. It is difficult to remember. It is minimal with lot of akaarams in between
Varnam is the authority to show the existence of certain prayogams in ragam
Varnam covers three octaves in any ragam.
All the varnams have a set pattern.
However, the earliest varnam composer one Govindaswamy composed a varnam in Mohanam wihich starts in half edam and charnam in mukkal edam.
She told about various types of varnams- tana varnams, pada varnams etc
Bhairavi varnam Viriboni remains as the yardstick for testing the standard of a student
She sang Mohana varnam as a tanam and told that this is a best method of practice as the grouping in varnam is similar to tanam singing.Varnam should be practiced in a e u ae, ai, m karams. She sang the entire mohanam varnam in the above method which was spectacular. She said this will help in singing neravals
Varnams should be trained in various nadais and various eduppus to get layagnanam
Ms Vathsala, one of her students sang Arabhi varnam including thisram and misram nadais.
She also sang Kambodi ada tala varnam in jhamba talam. Her singing was very impressive.
Some of the kritis have undergone changes over the years. But such changes have not occurred in varnams.
Radha Bhaskar asked how a layman can understand the difference between a varnam and a kriti.. RSJ reply was
distance of the words
more use of vowels in the place of sahithyam
mukthayi swaram
ettugada swaram
uniform flow
no sangathis

Her demonstration was very impressive and educative of high standard. She also mentioned about the presence of anubandhams in certain varnams which has disappeared in the recent years.
At some point, she made one vary valid statement
CROWD DOES NOT DERTERMINE THE WORTH OF AN ARTIST.

Demonstration on Kritis- Dr.Seetha Rajan
Kritis occupy 70% of the time in a concert
Huge quantity available to us to choose from
Variety of kritis available to suit various occasions, moods, languages etc
offers flexibility for rendering
scope for embellishment
indivdual stamp can be made
devotional in nature but gives scope for intellectual presentations
The words Kriti and keerthanam are used overlappingly. Subbrama Deekshithar has also used keerthanam. It was Prof Sambamoorthy who first came out with the difference between both the terms.
Keerthanam is one among the Nava vida bhakthi.
Thyagaraja's Divyanama keerthanam are the best example for keerthanam fomat.. It has one pallavi and various charnams in the same format. It has got simple words and tune and is in praise of God.
People with less training can also sing keerthanams
Most suitable for singing as a group.
She sang Naapali Sreerama,Rama Rama in Anandabhairavi (I had not heard this song earlier) and Thavadasoham.
We should be thankful to the practitioners of Bhajana Padhathi who kept these songs for decades and handed over to us.
In the Kriti Sogasuga mridanga talamu and Ragarathnamalikache, Thyagaraja spells out the requirements for composing a kriti
A kriti usually have pallavi, anupallavi and one or more charanams. Some have samashti charnam
The dhatu of the anupallavi and second portion of charanam remains the same in many kritis
In some kritis, charanam will be in madhyamakalam eg Yochana, Gattiganu. She sang these two songs very impressively.
In the kriti, Rama bana, charanam has a different kalapramanam
Many ragams survive because of thyagaraja krits in them
The special feature of his kritis is the first line itself give the complete swaroopam of the ragam. To illustrate this, she sang Marugelara and Palukukanta in Navarasakannada
Thyagaraja has given various colours of the same raga in various kritis. She sang enthaninne, Karubaru and Ksheenamai to prove this point.
The significant aspect of his kritis are the porutham of sahithyam, varnamettu and bhavam
Desadi talam was his speciality.
His followers have also adopted his pattern while composing keerthanams

Deekhitar kritis
Thyagaraja caught the raga, Deekshithar thought the raga
His songs were in sanskrit and impeccable in grammar.
He wove the name of the raga in a very intelligent manner.
His treatment of rare and vivadi ragams merits appreciation
He followed dhrupad style in some of his compostions
Details of all temples,. Agamas, stastras etc are imbibed in his compostions.
He composed keerthanams in all talams
There are many group compositons also.
Syama Sastry
Swara sahithyam is his hallmark
There will be a vishranthi in his songs
It has got inbuilt layavelappadu
His monumental swarajathis are unique.

[CRama]

The second day of the Conference witnessed the presence of many eminent musicians and teachers. The following musicians attended the conference
Prof TRSubramaniam
Shri Prapancham Sitaram
Dr.RSJayalakshmi
Dr.Seetha Rajan
Smt Neela Ramgopal
The presence of these distinguished vidwans and vidushis definitely added a pep to the presentations.Many younger musicians should have participated and availed the benefits of the presentations.

The logistics were very good.The hall was full on the second day. About 250 people must have participated sitting for the full day.Tea, biscuits, lunch, snacks were provided. It was really a difficult job for the volunteers. There was a stall where the CDs brought out by Mudhra and the Samudhra magazines were sold. It was a happy sight seeing many participants going with Mudhra's Music Appreciation DVD.

Demonstration on Raga alapana by OSThyagarajan
Hear a lot of music. Music must be a part of our daily routine .Hear good music
Gamakas is the basis for raga music.
Each vidwan has different ways of approaching the same raga suitable to his voice and vidwat and our music gives scope for this variety. That is the greatness of our music.
Shruti sudham and sthana sudham is very important
He sang a portion of Kharaharapriya
Raga is a vehicle to convey the sahithyam
A raga can be unfolded in many ways. But the identity of the raga should clearly come in the first sangathi itself.
GNB deserves the credit for the expansive approach of raga alapana which has been carried forward by the later day vidwans.
OST then saw TRS. He remembered the days he spent in TRS house in Delhi and the songs learnt from him. He sang one pallavi in Shanmugapriya which he has learnt from TRS.

Demonstration on Neraval by Smt Suguna Purushothaman
The first point I want to tell is that Mami is very humorous and made her demonstration very enjoyable
She said that in dance, the dancer is taking a line and portraying various bhavams in different sangathis. In music neraval is used to convey the various bhavaas depicted in a particular line. She immediately shared her reminicenses of her Guru Musiri Subramania Iyer who showed her the glorious path of neraval. She sang the neraval for Kanulara sevinchi from Entha ninne. It was marvellous.
Appropriate lines should be taken for neraval
It should convey full meaning. Sometimes the meaning may spread over 2-3 lines. It should be taken in entirety.
You should understand the meaning of the line taken for neraval. Even if you do not know a particular language, you should get to know the meaning of the song which you are singing.
Neraval is an advanced stage in concert music. It shows one's vidwat.
Pauses should be given wherever needed
Sthanam should be retained. Minor variations can be possible.
The neraval should reflect the mood of the composer.
She did the neraval for Kanakanaruchi nee roopamu from Anudinamu
She narrated one incident when she spontaneously took neraval at the pallavi of Ramabana -
Ramabana thrana sourya
emani pogaduthura o manasa. The neraval was fabulous.
Then she took Endudaakinaadu – did neraval at Allanaadu kanakakasipu nindaaru. She also remembered that DKP used to do neraval at Sthambhamulophalanundugaleda. That also she demonstrated.
There were many humorous remarks. One I will quote- Saraswathi pusthapani. That is why today all musicians go to the stage with pusthakams. But we belong to the old era and we consider it a shame to sing by seeing the books.

I was amazed at her expertise in neraval in one concert. About an year back, both Suguna Mamis gave a concert in Krishna Gana Sabha. It was a wonderful concert I will remember for long. In that concert the neraval for Intha paraka, Rama Rama guna seema and Tulasibilva plus RTP. It was marvellous. Each of them doing at least ten avarthanams by quick turns. Rarely you come across such intense neravals. (To be continued)

[Nick H]

A word of thanks for your great effort in bringing us these write-ups. I am sure they are appreciated by many.

[mahavishnu]

thank you, CRama. Appreciate your diligence in writing these excellent summaries.

[CRama]

Demonstration on Kalpana Swara by Dr.T.S.Sathyavathi from Bangalore

Dr.Sathyavathi is a very popular musician from Bangalore, a disciple of SriR.K.Sreekantan. She is famous for her lecture demonstrations. It was very appropriate that MUDHRA has brought her from Bangalore for this demonstration. Her lecture demonstration was excellent. Some points from her demonstration.
Difference between Kalpitha and Kalpana sangeetham
Swara singing is an important part of kalpana sangeetham
It is done to embellish the kriti
It can not be taught by the teacher- It comes out of one's manodharma and vidwat and practice.
The conventional practices in varisais, varnams, alankaras will help to sing swarakalpanas
Everything should be done with ease. There should not be any stress on the part of the vidwan to sing the swaras.
There should be a natural flow.
Certain sancharas peculiar to the raga should be stressed and certain avoided as per the lakshana of the raga.
She explained the proper use of gamakas. She demonstrated by singing swaras in Arabhi, Devagandhari and kanada
The ghana naya of the ragam should be observed.
Uniform kalapramanam should be maintained throughout
Chittaswarams are chitraswarams. We can draw from them judiciously for singing swaras.
One phrase should be identified and it should be spontaneous weaving of swaras around that chosen phrase in a most beautiful manner. She demonstrated by singing swaras for Saraseeruha punnaga from Tulasidalamulache
Each phrase shoud be dipped in raga bhava. She sang swaras for Urage galguna in Sahana
She sang elaborate swaras for Inthasowkhya
For certain songs, you have to come from the above. She demonstrated by singing R,pm eeduleni (Muripemu)
For certain ragas you can end the swaras in various swars before taking up the line . She sang swaras at Bharatha lakshmana satrughnu koluvai(Kanukontinee) ending the swaras in various swaras
Swara should form a part of the song and not as extra attachment. In the song Alagalalla, thyagraja explains about the swinging of the hairlocks of Sree Rama. She sang the swaras resembling the dance of the hairlocks. It was very attractive pattern.
She was frequently telling swaras should be spontaneous and to be sung at ease. There should not be any tension about landing at the eduppu. It will come naturally.
She did not dwell upon kuraippu, korvai or any type of vyavaharam. She said this affects spontaneity and hence she is not for that.
It was a fabulous presentation.


Demonstration on Aesthetics in CM and HM by Dr.Sriram Parasuram
Dr.Sriram started his demonstration with raga Multani which resembled Subhapanthuvarali and followed with Etijanmamidiha in Varali. He said both the ragas are having same swarams. But their treatment is different and they gave different aesthetics
Aesthetics can not be properly defined. It is a sense of beauty observed in the music. To have a better feel of the aesthetics, we should elevate the understanding of music to a higher level.
The idea of compostions, raga, rhythm,language etc are common in both the systems.
In CM there are compartments for various components like We sing raga alapana first, then the kriti, then nerval , then swaram and then thani. In Hindustani it is composite.. Even tabla is inbuilt into the bandish. He sang Sudha sarang for demonstrating this point where sargams comes in between
IN HM, the length of the composition is very small. Sometimes one or two lines. IN CM, the kriti is long and heavy in content. Aesthetics is derived only by singing the kriti.
He sang Madhumath sarang which is similar to Madhyamavathi and demonstrated that in HM, there is more freedom to sing alap, sargam, boltan etc. IN CM, the format is fixed.
The difference in the treatment of gamakams in both the systems give different aesthetics in the music.
IN HM, the concept of misra is liberally adopted. Any two ragas are mixed to give a different aesthetic beauty. He sang Basanti Kedar to illustrate this.
In CM also, there is mixing. But it is not easily noticeable in CM. He sang very beautifully Ghanta raga kriti-Sree Kamalambike avava. It is a mixture of Thodi, Dhanyasi and ahiri but very intelligently mixed but the components have lost their individual identity.
Next he sang Marugelara and told that here Hindolam and Sudhadhanyasi are mixed.
Charukesi is a mixture of Sankarabharanam and Thodi
He sang Hindol Bahar
Both the systems have liberally adopted ragas from the other systems. But once it is adopted it is given the texture and aesthetics of that particular system.
In CM, we are vey much open to other systems and it seems the carnatic music rasikas like more variety in the fare.
There is a responsibility on the part of rasikas to strive for higher aesthetics in music. (To be continued)

[CRama]

Thanks Anandasangeetham for the additional inputs
Thanks Nick and Mahavishnu-At least three people appreciated my efforts.

[ram]

CRama,

Thank you so much for the efforts you have taken to share the details!

[mohan]

Looks like it was an interesting event. Was wondering why it was termed an 'international' conference?

[CRama]

Demonstration on Rhythm in CM by Dr.Trichy Sankaran

Tala keeping is an important step in music appreciation
Time sense is important
Tala is prevalent in all forms of music all over the world.
Layam has to come from within and it is not at the hands.
There are three types of layam- philosophical, spiritual and musical.
In CM, kalapramana is constant in most of the kritis and mridanga vidwan should support the vocalist in maintaining the uniform kalapramanam.
In HM, speeding up gradually is permitted
Of the various nadais, chatusram and tisram are ancient varieties.
There are various categories of talam- Marga talam, Desi talam, Chanda talam etc
Tirupugazh is set to Chanda talam. His Guru Palani Subramania Pillai was expert in playing for tirupugazh talams
There are lot of scope for research in Chanda talams.
The Puducottai school which included Palani has subtle way of introducing gati variations
Sollu development has taken a backstage recently
Sollus for Mridangam and Ganjira are different.
The tonal contrast can be modulated with the restrained use of valantalai. He demonstrated by use of both the sides continously. It was not attractive. There should be judicious use of valantalai. A gumki in valantalai after a gap gives a special effect.
While doing korvais yati pattern are important
Art of Konnakkol is advanced stage of sollukkattu.
Aesthetics determines the sollu- the sound quality, space and weight to be given
Percussionists should have vocal training also.Then only he can anticipate the sangathis and follow closely. He played a 1967 concert of Semmangudi- Dinamanivamsa in which Trichy Sankaran accompanied. It was marvellous. His playing for each of the sangathis was most enjoyable.
He has played for almost all the musicians. Playing for MDR who had a low pitch and slow pace- was very testing.
Silence is very important. You should understand the power of silence. You should not play continuously.

Summing up by Dr.SAK Durga and Dr.Sriram Parasuram
Constant hearing of music is the key word for increasing the appreciation of music
The music should be good quality music.
Music should be listened carefully. Not playing music and working in kitchen or doing office work. It should be closely observed
There should be a musical atmosphere in the house- radio, CD, computer, internet or any mode
Children should be exposed to music from an early age
Music training should be started from early age
Continuous hearing helps to identify ragas
It is desirable to be in the company of musicaly knowledgeable friends
It is desirable to understand the meaning of songs by reading the books.
Music helps you to calm down, reduce tension and getting rejuvenated for better performance of your daily activities (Concluded)

[VK RAMAN]

Tala keeping is an important step in music appreciation - how could a novice though enjoying a melody get training in tala or rythm.

[Sivaramakrishnan]

Thanks CRama for the painstaking efforts in covering the event!
Honestly, I must be giving a thorough reading before 'getting hold' of the finer details. Unfrtntly I couldn't attend the prog.
I also wholeheartedly appreciate your eagerrness and joy in sharing musical inf!
Thanks again!

[VK RAMAN]

It is desirable to understand the meaning of songs so the singer can bring out the bhavam and layam

[mahavishnu]

CRama, thanks again. I especially enjoyed reading about the session with Sri Trichy Sankaran. It seems like a nice continuation of the lec-dem he gave for the one organized by VKV/SN.

[CRama]

It was titled International probably because of the participation of Shri Tiruchi Sankaran who is presently in US. This is of course, my guess.

[CRama]

Sorry, I have wrongly titled it International. It is National only. I committed a mistake and found out reasons for justifying that.Very sorry.
Mods please correct the title.

[vasanthakokilam]

Thanks CRama for the excellent reports.

[vasanthakokilam]

CRama: A few of the things you wrote about caught my attention.

>1. There are three types of layam- philosophical, spiritual and musical.

Did Sri. Sankaran expand on this? Intriguing statement. If Layam is generally understood as giving structure and order to melody, I wonder if he is drawing parallel to philosophy and spirituality in terms of them giving structure and order to what they support... I am just wildly speculating here..

>2."He (TNS) mentioned about the system of kondukootti padum murai which was in vogue since 7th century..

Any further elaboration on this?

>anandasangeetham wonders 'Why RTP?'

TNS's "It is the hallmark of manodharma sangeetham" seems like a good enough answer. 'Why manodharma sangeetham?" would elicit the stock answer "That is one of the two pillars of CM, kalpitha being the other".

[radha bhaskar]

Thanks to CRama for the excellent report. Being host for the conference, so many things were running in my mind and I could not concentrate fully on what the artists were saying. Your report indeed gives a detailed review of the points made by experts. Though we had a hall packed audience right through, I wished more youngsters could have availed this golden opportunity. One of our senior members who attended the whole conference and whose birhday happened to be on that day said - " this is the greatest birthday gift that I have received so far. I cannot thank you enough for this memorable event which I will cherish all my life!"

[CRama]

Vasanthakokilam
trichy Sankaran Sir did explain the three types of layam. But I could not understand as my neigbhbour was asking some doubt and I missed that.. Hence I did not report.
Regarding Kondukootti paadum murai, TNS demonstrated it in Kambodi. It is like joining words one by one There was a spectacular presentation. It is like this- Koduthaanai- Paasupadam koduthaanai- Arjunarkku paasudpadam koduthaanai. He sang in various kaalams.

In the Conference Dr SAK Durga mentioned as under
In the olden days, music concerts attracted very limited audience- about 50-100. But all were knowledgeable about music. Concerts were held like chamber concerts. The present day atmosphere of holding music concerts in big AC halls with audience nearing 1000 has changed the colour and intensity of the music concerts
In the ancient days, musicians had a limited repertoire and rasikas thronged the concerts to hear them repeatedly.
I would like to hear the responses from senior rasikas about these observations.

[Nick H]

The present day atmosphere of holding music concerts in big AC halls with audience nearing 1000

Wouldn't have thought there were enough of those to qualify as "present-day atmosphere." 50-100 is much more like the audiences I'm usually part of. Though I may be neither senior nor knowledgeable, I see around me, in those audiences, many who are, including musicians.

[radha bhaskar]

Thanks to every rasika who made our conference a grand success. We had an overwhelming response and the enthusiasm and appreciation shown by them was really amazing. We truly feel happy that so many rasikas have joined us in our journey into discovering the beautiful world of music............

[S.NAGESWARAN]

Dear Rasikas,

I have also attended the lec dem on laya aspects by Sri Trichy Sankaran at Mudhra.

The audience response to this lec dem was excellent.

Sri INJIKUDI SUBRAMANYAM came to my home and listened to my granddaughter’s short concert held at our Global Rasikas Meet held on 19.12.2010 [Video].

After listening to my granddaughter Srinidhi’s concert fully, he expressed that Srinidhi had sung with impeachable layam inspite of her referring to the short notes she had with her.

When I have enquired about as to what is mentioned as layam, Sri Subramanyam
Mentioned that the perfect time intervals between the talam counts is a very important aspect in the rhythm patterns. If the constant time interval is not maintained [layam aspect], knowledged people on rhythms will know the flaw in not keeping a perfect layam.

Even at this age I am acquiring more knowledge about music and different aspects of the computer operations.

I have recorded the Audio of the lec dem. If I am getting the permission from Sri Sankaran and Mudhra Organisation, I will be in a position to upload the same in due course.

The lec dem by Sriram Parasuram about the comparisons about the Carnatic and Hindustani music was also excellent.

S.NAGESWARAN.
04.03.2011.