The ArtsforLife Foundation and Bharatiya Vidya Bhavan warmly welcome you to attend "Ideas Conclave 2014".
The theme of this Conclave is "Karnatak Music - Towards a Mass Appeal".
Date and Time : May 11th, 2014 between 10 am and 6 pm.
Venue : Kincha Auditorium, Bharatiya Vidya Bhavan, #43, Race Course Road, Bangalore.
Background
From times immemorial, Karnatak Music has been an integral part of every life form. It is an experience that just is. However, in today's context, the appeal of Karnatak Music has become restricted to a very small section of people. This Conclave attempts to bring out ideas from various stakeholder groups in creation of a mass appeal for this art form. Hopefully, this will stimulate the thought and influence inspirational action by every stakeholder.
Program Details
This Conclave will be inaugurated by Justice A J Sadashiva, Former Judge - High Court of Karnataka at 10 am. There will be 5 panel discussions and a couple of music programs. An array of eminent speakers have consented to participate in this Conclave. Experts in each of these fields have consented to moderate these panel discussions. In addition, we have a veena recital with a theme "Meditation through Music" by Vidushi Bagyalakshmi Chandrasekaran. The differently abled children from Hamsakutira will render a music performance too. Detailed program particulars at http://www.artsforlifefoundation.org
Who Should attend :
All artistes, organisers, media personnel, patrons, academia, music teachers, students, rasikas and people who genuinely want to see and be the change.
There is no entry fee for this Conclave. Lunch / refreshments will be provided
Ideas Conclave 2014
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Nick H
- Posts: 9472
- Joined: 03 Feb 2010, 02:03
Re: Ideas Conclave 2014
Oh dear.creation of a mass appeal for this art form
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CRama
- Posts: 2939
- Joined: 18 Nov 2009, 16:58
Re: Ideas Conclave 2014
Already artistes like Aruna Sayiram and OS Arun had contributed significantly to ensure mass appeal for Carnatic Music. Ishte saaku. Nothing more.
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Nick H
- Posts: 9472
- Joined: 03 Feb 2010, 02:03
Re: Ideas Conclave 2014
despite my cynical (but sincere) two words, it is right that there should be a broad range of appeal in carnatic music. Whatever be the favourite of any of us here, it is not everybody's favourite.
On top of that, many of those who have not grown up with serious carnatic music in their veins need an entry point if they are to get interested at all. It's important that that choice should be there.
On top of that, many of those who have not grown up with serious carnatic music in their veins need an entry point if they are to get interested at all. It's important that that choice should be there.
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Rsachi
- Posts: 5039
- Joined: 31 Aug 2009, 13:54
Re: Ideas Conclave 2014
Will try to attend. I am sure there will be many interesting and educative words from all.
Thanks!
Thanks!
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Nick H
- Posts: 9472
- Joined: 03 Feb 2010, 02:03
Re: Ideas Conclave 2014
If you get the chance to take my message: "It needs no change, other than those which happen naturally, organically, even innovatively, and stick, standing the test of time... except perhaps, we should not pronounce the populist with quite so much scorn. The modern word, but appropriate, is inclusive."
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varsha
- Posts: 1978
- Joined: 24 Aug 2011, 15:06
Re: Ideas Conclave 2014
MASS APPEAL IN MUSIC
GN Balasubramaniam
(Printed from the handwritten manuscripts of GNB)
“The old order changeth yielding place to the new.” The days are gone when patronage of the fine arts was regarded as the luxury of the select few who have the time, the taste and the money to indulge in such expensive hobbies. The rapid advance of democracy which connotes that all citizens shall have equal opportunities to participate in all activities – political, economic, social or cultural – has led to the natural result that no art can be regarded as the privilege of those better placed in life.
The object of this talk is to discuss whether it is necessary for music, generally admitted to be one of the finest of fine arts but fully worthy of being regarded as a science, to be adapted in such a manner as to attract mass appeal in consonance with changed conditions. A mere thirty years ago, music in South India had a limited appeal confined generally to the middle classes. The great exponents of Carnatic music those days sang long hours with great enthusiasm to audiences whose number would today be regarded as quite negligible. But what the audiences lacked in quantity was more than made up by quality. A hundred musically minded persons listening appreciatively and gesticulating sympathetically to masterly expositions of the intricate mysteries of raga, tala and swaras were able to inspire manodharma in singers who lost themselves in the ecstasy of their skill. Audiences of a thousand and more were unknown earlier in the century, not merely because loudspeakers were uncommon but also because the niceties of music were realised only by a few.
GN Balasubramaniam
(Printed from the handwritten manuscripts of GNB)
“The old order changeth yielding place to the new.” The days are gone when patronage of the fine arts was regarded as the luxury of the select few who have the time, the taste and the money to indulge in such expensive hobbies. The rapid advance of democracy which connotes that all citizens shall have equal opportunities to participate in all activities – political, economic, social or cultural – has led to the natural result that no art can be regarded as the privilege of those better placed in life.
The object of this talk is to discuss whether it is necessary for music, generally admitted to be one of the finest of fine arts but fully worthy of being regarded as a science, to be adapted in such a manner as to attract mass appeal in consonance with changed conditions. A mere thirty years ago, music in South India had a limited appeal confined generally to the middle classes. The great exponents of Carnatic music those days sang long hours with great enthusiasm to audiences whose number would today be regarded as quite negligible. But what the audiences lacked in quantity was more than made up by quality. A hundred musically minded persons listening appreciatively and gesticulating sympathetically to masterly expositions of the intricate mysteries of raga, tala and swaras were able to inspire manodharma in singers who lost themselves in the ecstasy of their skill. Audiences of a thousand and more were unknown earlier in the century, not merely because loudspeakers were uncommon but also because the niceties of music were realised only by a few.
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varsha
- Posts: 1978
- Joined: 24 Aug 2011, 15:06
Re: Ideas Conclave 2014
Comparing the exposition of music some thirty years ago with performances today, what strikes one is the gentle revolution that has taken place in its form almost imperceptibly during this period. Earlier this century, a musical performance afforded an opportunity to the participants – the vocalist, the violinist, the mridangam player (often also to the kanjira and ghatam players) to prove their prowess to a critical audience in a competitive spirit. A show often lasted 5 hours or more. Alapana of several ragas was elaborated at some length before the pallavi. In most of the kirtanas, niraval was made at suitable points with elaboration followed by a multiplicity of swaras – starting with short ones of slow pace, followed by swarams in quicker tempo of short duration and ending with a grand flourish of marathon swarams lasting quite often for several minutes.
The violinist was given almost equal chances to exhibit his skill. The tala vadyams were allowed an innings before the pallavi. Pallavi was an epic in itself. The ragam, usually a ghana ragam, was analysed, even dissected, with considerable ingenuity and the alapana itself very often took nearly an hour. Tanam was expounded at length. This was followed by the detailed pallavi with talam in three speeds -- slow, medium and fast. The singer showered millions of swarams on a vigorously nodding audience; the tala vadyams had a second innings. After the pallavi, only a few songs were sung briefly before the performance closed.
It will be evident that a musical performance those days was considered a really serious affair alike by the musicians and the audience. There was so much of science in it that the appeal was bound to be restricted to a very few. An ordinary layman could not possibly have appreciated the delicacies served to him and would, if he had bravely persisted, have suffered from acute indigestion causing perhaps a severe headache.
Musical performances at the present time are not quite such elaborate matters and usually last only about 3 hours. All concerned – the vocalist, violinist, mridangam player and others – work as a team with the primary object of pleasing the audience and with the subsidiary object of displaying their skill individually but not competitively in a short time. Ragas are done with delicacy and finesse and in a few minutes. Niraval is confined to one or two songs and the swarams are not very many in number; the pallavi is also condensed and usually sung only in one speed. The swarams here again are comparatively few. The mridangam usually gets only one chance. After the pallavi, a few Tamil songs are the fashion – one or two of them are of patriotic or romantic interest.
The violinist was given almost equal chances to exhibit his skill. The tala vadyams were allowed an innings before the pallavi. Pallavi was an epic in itself. The ragam, usually a ghana ragam, was analysed, even dissected, with considerable ingenuity and the alapana itself very often took nearly an hour. Tanam was expounded at length. This was followed by the detailed pallavi with talam in three speeds -- slow, medium and fast. The singer showered millions of swarams on a vigorously nodding audience; the tala vadyams had a second innings. After the pallavi, only a few songs were sung briefly before the performance closed.
It will be evident that a musical performance those days was considered a really serious affair alike by the musicians and the audience. There was so much of science in it that the appeal was bound to be restricted to a very few. An ordinary layman could not possibly have appreciated the delicacies served to him and would, if he had bravely persisted, have suffered from acute indigestion causing perhaps a severe headache.
Musical performances at the present time are not quite such elaborate matters and usually last only about 3 hours. All concerned – the vocalist, violinist, mridangam player and others – work as a team with the primary object of pleasing the audience and with the subsidiary object of displaying their skill individually but not competitively in a short time. Ragas are done with delicacy and finesse and in a few minutes. Niraval is confined to one or two songs and the swarams are not very many in number; the pallavi is also condensed and usually sung only in one speed. The swarams here again are comparatively few. The mridangam usually gets only one chance. After the pallavi, a few Tamil songs are the fashion – one or two of them are of patriotic or romantic interest.
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varsha
- Posts: 1978
- Joined: 24 Aug 2011, 15:06
Re: Ideas Conclave 2014
Musical performances of the present day therefore command quite rightly a much wider appeal and enjoy far greater popularity. Apart from the changes being conducive to appreciation by a wider circle, the microphone and the loudspeaker have made it possible for several hundreds to listen to and delight in the performances. But the musical performances of today as expounded by the well known masters some of whom have been in the field for several years have not achieved this popularity at the expense of scientific accuracy. It is a matter of great gratification that the leading vidwans have been able to adapt themselves to rapidly changing conditions without lowering even one whit the scientific standard of music from the point of view of the critic.
It must be noted with satisfaction that a much larger number of persons now have the requisite knowledge of music to assess the merits of singers and to appreciate the niceties. More performances, critical studies in magazines and the wide use of the radio with its carefully chosen programmes and relays have thrown open the science of music to an increasing number of enthusiasts. The special feature now is the appreciable proportion of ladies among the critics.
The question is whether this stage is the final one or whether music should be made even simpler to the detriment of its scientific worth so that it appeals to the mass at large. It may also be considered whether it would not be more appropriate for music to maintain its present high level of efficiency and leave it to the mass as a whole to climb up to such a high standard. In other words, should the musician play to the gallery or should the gallery play up to higher standards of music?
It is a platitude to say that the largest audiences are attracted not by skilful exponents of scientific music but by vocalists with good voices who sing popular songs preferably in the local language, shortly and sweetly, without much pretence to scientific skill. The box office almost anywhere in the province will prove the truth of this statement – the finest performance, from the critic’s point of view, does not yield very much profit. It is not surprising that this should be so. In spite of the much vaunted claim that “music hath charms to soothe man and beast”, it cannot be seriously gainsaid that music in its higher forms is a science and not merely an art; it has therefore to maintain its delicate precision, without attempting to give up the permutations and combinations which are vital, merely to pander to the public tastes. It would be a great tragedy indeed to south India and to the nation as a whole if, with an eye to the box office, music is permitted to come down from the high pedestal where she is now enthroned.
It must be noted with satisfaction that a much larger number of persons now have the requisite knowledge of music to assess the merits of singers and to appreciate the niceties. More performances, critical studies in magazines and the wide use of the radio with its carefully chosen programmes and relays have thrown open the science of music to an increasing number of enthusiasts. The special feature now is the appreciable proportion of ladies among the critics.
The question is whether this stage is the final one or whether music should be made even simpler to the detriment of its scientific worth so that it appeals to the mass at large. It may also be considered whether it would not be more appropriate for music to maintain its present high level of efficiency and leave it to the mass as a whole to climb up to such a high standard. In other words, should the musician play to the gallery or should the gallery play up to higher standards of music?
It is a platitude to say that the largest audiences are attracted not by skilful exponents of scientific music but by vocalists with good voices who sing popular songs preferably in the local language, shortly and sweetly, without much pretence to scientific skill. The box office almost anywhere in the province will prove the truth of this statement – the finest performance, from the critic’s point of view, does not yield very much profit. It is not surprising that this should be so. In spite of the much vaunted claim that “music hath charms to soothe man and beast”, it cannot be seriously gainsaid that music in its higher forms is a science and not merely an art; it has therefore to maintain its delicate precision, without attempting to give up the permutations and combinations which are vital, merely to pander to the public tastes. It would be a great tragedy indeed to south India and to the nation as a whole if, with an eye to the box office, music is permitted to come down from the high pedestal where she is now enthroned.
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varsha
- Posts: 1978
- Joined: 24 Aug 2011, 15:06
Re: Ideas Conclave 2014
The science handed down from generation to generation, transmitted with uncanny skill and efficiency, practised by the zealous few and encouraged by the increasing number of enthusiasts, would be a complete loss if our real musicians began to play to the gallery with a view to becoming popular, thereby earning more income.
It must be said with regret that the standard of the gallery judged musically continues to be fairly low. This is small wonder considering that our country has, due to a variety of reasons, so far been deprived of the fundamental right of every citizen – Education. The achievement of Independence will undoubtedly lead in due course to this serious deficiency being made up – but this will take time. Education cannot be imparted to millions overnight and the best schemes must take several years to reach fruition. Till such time, if at all, it would be futile to expect the gallery to raise itself to the existing higher standards of music.
One suggestion that might be well worth pursuing is that our mode of education in future should desist from following the hackneyed tracks of the past but should be moulded in a manner capable of drawing out the best in us. Music is a subject that should be begun, both by boys and by girls, at a very early stage. Carnatic music is suited to the genius of south India; it will be the sacred duty of the present generation to safeguard through its popular government the cherished gift handed to us by our predecessors. It is a happy augury that a move has already been made in this direction.
It is obvious however that the masses should not be neglected and that they should be given the chance to enjoy music in the lighter vein which can be appreciated without great knowledge; this will perhaps be necessary however high the general standard of education in the country may eventually become. There is no reason whatsoever why music should always be “high-brow”. In almost all countries in the world, music is both “high brow” and “low brow”; as a science its value is appreciated by a few but as an art it is enjoyed, and practised by many. Music is not meant merely for the superior intellects; music serves several purposes – it satisfies the scientific mind, it soothes a worried brain, it provides incentive to workers, it affords relaxation to weary persons. Viewed in this light music may have as many forms as there are moods.
Community singing could with advantage be developed in the South where the practice has been one of “let those on the platform do all the singing.” There are pieces which will greatly increase in value if they are sung by the entire audience – this particularly so in the case of national songs or poems of general appeal. Ballad music of a simple type deserves the fullest encouragement.
It is of great importance that composition of kirtanas should be actively encouraged; while paying homage to Sri Tyagaraja, Syama Sastry and Dikshitar, it cannot but be a matter of regret to all music lovers that so few good pieces have been composed subsequently. It is essential that the music of any particular period should reflect the temper of the people during that stage. The tendency to sing or to compose purely devotional songs, however laudable and pious the intent, is not calculated to enable succeeding generations to appreciate the thoughts foremost in the minds of the people at the time of composition. A good composer is not necessarily a good poet – the faculties might with advantage be kept quite separate where necessary. There is no reason why an expert musician should not improvise original “mettu” for the glorious songs of the poets. One has only to think of the rousing songs of Bharati to realise how the genius of a poet and the brain of a musician can be combined effectively to produce inspiring kirtanas which can be handled from generation to generation and made to serve almost as a history book.
Given a certain amount of tolerance and the adaptation of a realistic attitude, there is no reason why we should be embarrassed by being compelled to adopt one of the two solutions, i.e., the musician playing to the gallery or the gallery playing up to a higher standard of music. Music should continue, and will continue, as a science for the delectation of the real critics drawn from all classes who can enjoy it for hours despite its lack of great popular appeal. Side by side, music in its lighter form (but correct music all the same) will flourish for the enjoyment of the masses as a whole.
It must be said with regret that the standard of the gallery judged musically continues to be fairly low. This is small wonder considering that our country has, due to a variety of reasons, so far been deprived of the fundamental right of every citizen – Education. The achievement of Independence will undoubtedly lead in due course to this serious deficiency being made up – but this will take time. Education cannot be imparted to millions overnight and the best schemes must take several years to reach fruition. Till such time, if at all, it would be futile to expect the gallery to raise itself to the existing higher standards of music.
One suggestion that might be well worth pursuing is that our mode of education in future should desist from following the hackneyed tracks of the past but should be moulded in a manner capable of drawing out the best in us. Music is a subject that should be begun, both by boys and by girls, at a very early stage. Carnatic music is suited to the genius of south India; it will be the sacred duty of the present generation to safeguard through its popular government the cherished gift handed to us by our predecessors. It is a happy augury that a move has already been made in this direction.
It is obvious however that the masses should not be neglected and that they should be given the chance to enjoy music in the lighter vein which can be appreciated without great knowledge; this will perhaps be necessary however high the general standard of education in the country may eventually become. There is no reason whatsoever why music should always be “high-brow”. In almost all countries in the world, music is both “high brow” and “low brow”; as a science its value is appreciated by a few but as an art it is enjoyed, and practised by many. Music is not meant merely for the superior intellects; music serves several purposes – it satisfies the scientific mind, it soothes a worried brain, it provides incentive to workers, it affords relaxation to weary persons. Viewed in this light music may have as many forms as there are moods.
Community singing could with advantage be developed in the South where the practice has been one of “let those on the platform do all the singing.” There are pieces which will greatly increase in value if they are sung by the entire audience – this particularly so in the case of national songs or poems of general appeal. Ballad music of a simple type deserves the fullest encouragement.
It is of great importance that composition of kirtanas should be actively encouraged; while paying homage to Sri Tyagaraja, Syama Sastry and Dikshitar, it cannot but be a matter of regret to all music lovers that so few good pieces have been composed subsequently. It is essential that the music of any particular period should reflect the temper of the people during that stage. The tendency to sing or to compose purely devotional songs, however laudable and pious the intent, is not calculated to enable succeeding generations to appreciate the thoughts foremost in the minds of the people at the time of composition. A good composer is not necessarily a good poet – the faculties might with advantage be kept quite separate where necessary. There is no reason why an expert musician should not improvise original “mettu” for the glorious songs of the poets. One has only to think of the rousing songs of Bharati to realise how the genius of a poet and the brain of a musician can be combined effectively to produce inspiring kirtanas which can be handled from generation to generation and made to serve almost as a history book.
Given a certain amount of tolerance and the adaptation of a realistic attitude, there is no reason why we should be embarrassed by being compelled to adopt one of the two solutions, i.e., the musician playing to the gallery or the gallery playing up to a higher standard of music. Music should continue, and will continue, as a science for the delectation of the real critics drawn from all classes who can enjoy it for hours despite its lack of great popular appeal. Side by side, music in its lighter form (but correct music all the same) will flourish for the enjoyment of the masses as a whole.
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varsha
- Posts: 1978
- Joined: 24 Aug 2011, 15:06
Re: Ideas Conclave 2014
Any attempt to have only highbrow music is doomed to failure as the mass as a whole can never come up to such high standards. “Low brow” music exclusively will deprive us of the rich treasures passed on to and will slowly but surely, lead to the inevitable deterioration of the finer qualities of the musician as well as the critic. There is no conflict, and there can be no conflict, between these two theories. Music must serve one and all – whether it be the critic who delights in elaborate expositions or the man in the street (or rather the cultivator on the fields) who wants to while away an hour or two with advantage. By its very nature and for its very purpose music must be multi-shaped to suit the demands of all and to conform to the various moods of listeners.
CONCLUDED
CONCLUDED
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arvind.brahmakal
- Posts: 113
- Joined: 16 Mar 2012, 15:43
Re: Ideas Conclave 2014
We are a rights based society...with RTI, RTE, et al....RTM - Right to Music ? Why not ?
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Rsachi
- Posts: 5039
- Joined: 31 Aug 2009, 13:54
Re: Ideas Conclave 2014
But then guys,
What is being tried here is that classical musicians are trying to infuse mass appeal into classical music. That is fraught with many risks.
I am not critiquing the great GNB.
who would have known back then that there would be a Bollywood music , a Rahman and Indo Jazz?
Now, do you now that Pizza Hut is trying to make Biryani Paratha Pizzas? That is doomed, as far as I can see.
We have an old saying in Kannada:
navilanna nODi kemboota mai suttikonDtu
A wild fowl with reddish feathers saw a peacock and said if I burn my feathers to a dark colour, I will be as good as a peacock!
I prefer Rahman to be Rahman and Abhishek to be Abhishek. No need for fusion or confusion of identity....
I am sure you agree on this.
What is being tried here is that classical musicians are trying to infuse mass appeal into classical music. That is fraught with many risks.
I am not critiquing the great GNB.
That is why we now have so many genres of Indian music itself!By its very nature and for its very purpose music must be multi-shaped to suit the demands of all and to conform to the various moods of listeners.
who would have known back then that there would be a Bollywood music , a Rahman and Indo Jazz?
Now, do you now that Pizza Hut is trying to make Biryani Paratha Pizzas? That is doomed, as far as I can see.
We have an old saying in Kannada:
navilanna nODi kemboota mai suttikonDtu
A wild fowl with reddish feathers saw a peacock and said if I burn my feathers to a dark colour, I will be as good as a peacock!
I prefer Rahman to be Rahman and Abhishek to be Abhishek. No need for fusion or confusion of identity....
I am sure you agree on this.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: Ideas Conclave 2014
My take on all these things is bit of a throwback, I'm afraid - rather like Smt. Dhanamal. Why talk about music? Let all types of music 'speak' for themselves. If something is good and/or has appeal, it will stay - all else will go by the wayside. Why waste ATP in debating this???
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Rsachi
- Posts: 5039
- Joined: 31 Aug 2009, 13:54
Re: Ideas Conclave 2014
Rshankar
The more intractable an issue, the more debated it is, in India. You know that for sure
The more intractable an issue, the more debated it is, in India. You know that for sure
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Nick H
- Posts: 9472
- Joined: 03 Feb 2010, 02:03
Re: Ideas Conclave 2014
I prefer not to listen to either --- but I'm not trying to stop anybody else doing soRsachi wrote: I prefer Rahman to be Rahman and Abhishek to be Abhishek. No need for fusion or confusion of identity....
I am sure you agree on this.
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Rsachi
- Posts: 5039
- Joined: 31 Aug 2009, 13:54
Re: Ideas Conclave 2014
Was happy to listen to Vid Bhagyalakshmi Chandrasekharan who gave a one hour concert today as a part of the conclave.
Saveri varna; Gajadhishadanyam - Natakurinji- MD; Sarasvati Namostute- Sarasvati- GNB;Lalita RT followed by the song Cedipoke o Manasa -Walajapet VB, (raga swaras in Kalavati, Gurjari Todi, Desh); Nadanamakriya - Karunajaladhe- T.
The lady plays with a huge mastery over gamakas and the veena sings whatever she wants! Sensitive mridangam by Vid Cheluvaraju.
Her choice of ragas - Saveri, Natakurinji, Sarasvati, Lalitha, and Nadanamakriya was very appropriate for the slot which was billed as meditative music. Vid Cheluvaraju graciously declined to play a tani, after they had both collaborated to create the sonorous and soothing mood.
Her choice of krithis showed her vast repertoire. The song in Natakurinji on Ganesha by Dikshitar was interesting. So also the Lalitha song by Walajapet Venkataramana Bhagavatar .
A vainika with such fabulous musical skills and and vast repertoire deserves much more "air" time.
Thank you, Vid. Bhagyalakshmi!
I enjoyed the concert all the more as I was sitting with Sri Muni Rao and Braindrain.
Saveri varna; Gajadhishadanyam - Natakurinji- MD; Sarasvati Namostute- Sarasvati- GNB;Lalita RT followed by the song Cedipoke o Manasa -Walajapet VB, (raga swaras in Kalavati, Gurjari Todi, Desh); Nadanamakriya - Karunajaladhe- T.
The lady plays with a huge mastery over gamakas and the veena sings whatever she wants! Sensitive mridangam by Vid Cheluvaraju.
Her choice of ragas - Saveri, Natakurinji, Sarasvati, Lalitha, and Nadanamakriya was very appropriate for the slot which was billed as meditative music. Vid Cheluvaraju graciously declined to play a tani, after they had both collaborated to create the sonorous and soothing mood.
Her choice of krithis showed her vast repertoire. The song in Natakurinji on Ganesha by Dikshitar was interesting. So also the Lalitha song by Walajapet Venkataramana Bhagavatar .
A vainika with such fabulous musical skills and and vast repertoire deserves much more "air" time.
Thank you, Vid. Bhagyalakshmi!
I enjoyed the concert all the more as I was sitting with Sri Muni Rao and Braindrain.