Three boons for a Carnatic musician

[Rsachi]

This post is inspired by some recent, wonderful, reviews (Vasanthakokilam, Mahavishnu, CRama, Rshankar, Braindrain...), some great music I have been listening to, and thoughts from the Kathopanishad (that wonderful parallel to Bhagavadgita. )
There, Nachiketas is granted three boons by Yama. Nachiketas demonstrates his innate worth and potential by his wise choices for the three boons. That is the crux of Kathopanishad- making the right choices in life.

What if a Carnatic musician is granted by God, three boons? What are the three boons that a Carnatic musician should ask? I invite you to make your recommendations.

One could automatically think of things like musical family, great voice, great technique, mastery of the instrument, name and fame,money, opportunity, being at the right place at the right time... But are these the fundamentals of a musician's successful journey? What constitutes real "shubha" and "labha" for a musician?

These are three boons I would suggest:
1. GURU: A great Guru and "Gurukula" - the guru is the master architect and guardian and guide, the guru knows the strengths and potential and weaknesses of the musician. He opens eyes, hearts, minds.
2. MANODHARMA: in this I include the quintessential musical personality, values, beliefs and choices that characterize the musician and his musical output. Just as we say Dharmo rakshati rakshitah, I want to say manodharmah rakshati samgitah, samskrutih, sampradayah. 
3. RASIKA: The advantage of having the right kind of listener is obvious. The demands of catering to the tastes and whims of audiences, with an eye on TRP ratings, can sooner or later challenge any musician's wisdom. The right rasikas can enhance the benefits of 1 and 2. Thus, having the right rasika is a boon indeed- that synergy can foster inner growth, emotional well-being and creativity like nothing else. And a rasika for me is not a mere listener, not what we call "public", but one with commitment (time, money, attitude) to fostering music.

Especially in Carnatic music, there are examples of musicians who built on these three factors and became great. They worked hard to hone their art, optimize voice or instrumental technique, establish a reputation that would last. 

What about talent? I am not listing musical talent. I think that is anyway the starting point, and let's assume that factor as a given, before we nominate our musician to go in search of the the boons.

What would you suggest for the three boons?

[Ranganayaki]

Yours are taken, I assume.. a good Guru is key..

So I would say..
1. A sensitive heart
2. An open mind
3. Active imagination.

[ganeshkant]

Right from our childhood we have been told that our rightful yearning to attain any goal will bring in a preceptor(guru) and the guru will guide us to (god) realization.so a guru takes us to god (recall rAmakrishandev and vivEkAnandA) and I don't think we have to ask god for a guru. O:-)

So if at all someone called god (most of U might have watched the film "anbE sivam") appears before me,a musician, I will not ask for 3 but just this one thing - A BEAUTIFUL MIND.

A BEAUTIFUL MIND that will be enormous and contended;which will be rightful always;following all good manners and habits (dharma,artha,kAma,mOksha)that will keep my body also healthy which will eventually make me deliver my best till my lat breath.A mind that will not long for any type of recognition or materialistic pleasures esp.greed for money.A mind that is steadfast in pursuing this one thing "nAdOpAsanA".I would like to be someone even better than saint thyagarAjA.

[priyaram78]

A Carnatic musician will ask God this one boon : Dear God, Even after I depart from this world, may my songs inspire bhakthi and make a listener yearn for you, with tears of devotion.

[Nick H]

For vocalists, the ability to sing would be nice.

And buy sing I do not mean mutter into a microphone. I mean project the voice, filling at least a mid-sized hall, without any roughness, coarseness or lack of expression or loss of subtlety, even for the people in the back row.

Exceptions, of course for the elderly, but not for fit young men in their twenties.

[Nick H]

The boon of being able to sing

I have been treated to a couple of outstanding examples of persons so gifted very recently: One, a youngster, Bharathi Ramasubban, had no need at all of speakers to project her wonderful voice at a recent Oli unamplifed concert, the other, a not-quite-so-youngster, was Suguna Varadacheri, who gave a concert with astounding strength, energy and stamina, and looked as if she could easily have filled Raga Sudha Hall with her voice even if the microphone had been taken away.

[Rsachi]

Nick,
Was this the Bharathi Ramasubban OLI concert? Why do I see mikes there? The streaming audio doesn't seem unmiked, although a bit low in volume. And if there weren't speakers, and the mikes were used only for streaming, please tell me how the audio quality in the hall compared with what I hear here:
http://youtu.be/0XmE57Zu4o0

[Nick H]

They use mics for recording. It would be nice to get rid of them completely, but they do record. I think that the Parivadani webcast was fed from the board. They have done quite a good job, but the sound was much better live and untouched by any electronics. There have been 25 Oli concerts; I have been to most of them, and this one was really unforgeable.

[VK RAMAN]

1. Lord give me the courage to sing before you without any reservations
2. Lord give me the melody and emotion to see you in my singing
2. Lord may rasikas opinions be as such and I should not be discouraged in what I think is right and good

[Rsachi]

Good to know, Nick!
We are hosting a totally mikeless concert coming Sunday

[Rsachi]

VKR, Priyaram, Nick, Ranganayaki, Ganeshkant,
Thank you for getting into the spirit of this discussion.
I was wondering, who am I, a simple loud mouthed listener, to adduce anything on behalf of musicians, who work so hard and give us so much joy. People who know me well know how I hold musicians in high regard.

Then I thought, like I always do , wouldn't it be fun to start "thinking" like a musician, if not singing like one?

By the way, in Hindu epics, there are some ground rules for asking for boons, as far as I can see. I can ask for something that can be added to the superset that I am born with. I can ask for something like a disease or defect to be removed. I can ask for an event or happening in my life. But I cannot ask for a boon to change mankind, or nature of life, laws of nature, or something like, "let me be the author of the book that will be the text book for Bhakti for all time to come".

A famous prayer is from Mukundamala:
nAsthA dharme na vasunichaye naiva kAmopa bhoge
yadyad.h bhavyaM bhavatu bhagavan.h pUrva karmAnu rUpam.h .
etat.h prArthyaM mama bahumataM janma janmAntare.api
tvat.h pAdAmbhoruha yuga gatA nishchalA bhaktirastu .. 5..

Oh. Lord, I have no faith in (ritualistic) dharma, in material things, in sense pleasures. Let everything happen as ordained by my karma. But I have one wish (=grant me the boon) after much thought, and it's that you kindly bless me with unshakeable devotion for your lotus feet, birth after birth.

[vgovindan]

காசுக்காகப் பாடச்செய்யாதே
காசுக்காகப் பாடச்செய்யாதே
காசுக்காகப் பாடச்செய்யாதே

Don't make me sing for money
Don't make me sing for money
Don't make me sing for money

[Sundara Rajan]

"Don't sing for money" may be idealistic, but not practicable in present day world. Carnatic musicians are not saints to live on charity. Most have families to support. There are no more kings or temples that will support and sustain the musicians. There may a few like Sri Venkateswara Temple, Tirumalai, not enough to support all the musicians all the time. I would only suggest that Carnatic musicians, who get paid for their performances, should not claim/lie that they sing for the soul and not for money ! They could ask for good "sareeram, sAreerum and sowkyam"

[arasi]

Well, let's modify the lines a bit:


kAsukkAgap pADavillai,
kAsu vENDumenRAlum

*agam niRavuRap pADa vENDum
*agamum niRaiya vENDum

kETpavar magiza,
nAnum magizndu
anaivarin agam niRaikkum,
andarangathaith thoDum
pATTadu Aga vENDum...

*agam= heart
*agam=home


I don't sing with money on my mind
Though money one does need

I should sing to fill my heart--while
My home is filled with plenty

Making the listeners happy,
With fulfillment I should sing
It should be such that it touches
The core of their hearts...

[Rsachi]

Arasi,
Please give raga, tala and notation where possible.

[arasi]

Sachi,
I only wrote it as verse. Did not have pATTu on my mind. After hearing you, chenchuruTTi comes to mind. tALam? What's that? And for notation, I wish Bilahari were here now. He would have given you a clue about my 'knowledge' in that

[vgovindan]

Sundar Rajan,
Were I CM musician, what would I ask for? I did not write for others - only for myself.
Kindly do not under estimate idealism.
There was one idealistic fool - http://youtu.be/X6H873OVcNg

PS : Did I trip on another idealist here?

[arasi]

Govindan,
I see what you mean. Mine was from the practicing professional's view. It's also my wish (like yours too, absolutely) that though they are out there to earn a living, they better put their heart and soul into their music--to mean something to themselves and to us, the audience

By the way, I see our cienu on the stage in the clip

[VK RAMAN]

If singing is all about audience; music will find several avenues to do it including fusion, rock, etc etc. Music has to come from the heart with full devotion without worrying about audience IMHO; let income be the byproduct.

[arasi]

VKR,
What you say is fine by me, but is not practical for the professionals! Even a s a mere rasikA who loves music, I cannot just be a rasikA alone in my life and give up my responsibilities as an individual. The musicians have their families to take care of...

[vasanthakokilam]

The point I am going to make here is not directly related to whether musicians should sing for money or not, but I want to question the suitability of quoting 'nidhi cAla sukhamA' for illustrating the idealistic notion about money. I know this is often quoted so this is not just about Sri. Govindan's reference above. In fact, I know I am getting into an area where I should not even go to since Sri. Govindan's translation and explanations of the lyrics is my primary source to learn anything about Thyagaraja's compositions. Govindan, hope you will see the perspective I am coming from.

With that prelude, my main issue with quoting that composition for this purpose is this. The composition is setup along the lines of A vs B, A being the human and earthly side of things and B being the 'rAma and spiritual side of things' and the poetic and rhetorical device (http://en.wikipedia.org/wiki/Rhetorical_device ) used by Thyagaraja is asking the question "which is better, A or B." . It is of course not really a question since the answer he is conveying is B. ( except for the 'gangA snAnamu sukhamA' where he switches the order of A and B, but that is an analysis for a different day)

The starting A is of course about money/wealth etc. but subsequent 'A's are ' curd, fresh butter& milk' , 'nara stuti' etc.

The main objective of Thyagaraja here is to establish the importance of 'B' and the various 'A's are there to compare and contrast that with 'B'. So the 'A's are brought in as (anti)metaphors to establish B.

Given all this, it does not seem right to refer to 'nidhi cAla sukhama' as the main message of Thyagaraja. To make that point, one can ask 'Is Thyagaraja really anti Curd, Fresh butter and Milk'. Of course not, that will be silly. His 'nidhi cAla sukamA should be treated on par with 'dadhi navanIta kshIramulu ruciyO' and nothing more and nothing less. In fact, if he had started the song with 'dadhi navanIta kshIramulu' and 'nidhi cAla sukaka' as the start of anupallavi ( just for discussion sake ), I do not think people will quote Thyagaraja when they have a bone to pick with the dairy industry!!

[arasi]

Kokilam,
I see your point.
In my view, it is: rAmuni sannidhi sEva sukhamA?
Or, money and all the rest of the pleasurable sensory items?? Which is truly sukham?

Of course, only nidhi (at least a bit of it) brings us all the other such sukhams.
Since it is a well-known kruti and is the first line of the song, the nidhi bit is oft-quoted with ease, without speakers having to fumble with their notes!

My only problem when we discuss things like this is at length is, our expectations about others is set so high that we see how it can lead to a big disparity between ourselves and the ideal. I say ourselves because it does not exclude us! Reminds us also of the self-appointed high priests of 'godliness' in any religion for that matter, who may not practice as much of all the lofty ideals in their own lives but tout them in gatherings of hundreds of people time and again

[vgovindan]

vk,
From my understanding of kRtis of tyAgarAja, there is a certain format to his kRtis. The pallavi is like a 'subject matter'; anupallavi is like 'synopsis' and the caraNa is like 'main body'. Therefore, in order to understand what Sri tyAgarAja actually wants to convey, we should concentrate on caraNa and not the other way. Otherwise, often times, the pallavi is misleading.

From this angle, the key word here 'nara stuti' which is the source of earning money. SrI tyAgarAja is a bhAgavata; that he is a vAggEyakkAra is besides the point because his music flows from his bhakti and not vice versa. Therefore, from the angle of bhAgavata, his dharma is to take the assurance of gItAcArya 'yOga kshEmaM vahAmyaham' literally and go by the gItA command to be content with whatever accrues on its own 'yadRcchA lAbha santushTO'.

Accordingly, anything that is desired beyond that (which accrues on its own) is coveting and that is where the conflict arises. He seems to think - 'by making nara stuti, I can earn money and then have all those worldly articles that can keep this body and my family happy and comfortable; but then it takes me away from the goal of 'ananyAscintayanti' - with no other thought (excepting the thought of Lord); then do I really believe in the assurance of the Lord 'yOga kshEmam vahAmi'? The answer is 'no'.

Therefore he bluntly says, 'I shall not extol men'. What kind of men are these? Are they worthy of praise? No. The conclusion is that 'earning money by means other than my dharma (bhAgavata), is against the injunction. According to bhAgavata dharma, a bhAgavata is supposed to go on unchavRtti every day (unchavRtti literally means collecting left over grain after threshing). This is equivalent to what other lower creatures do - they gather food every day and never in advance (excepting in certain categories).

I do not know whether I have really understood your thrust and explained in a way as you would have desired. One should also see his kRti 'durmArga cara' (ranjani) which is in the same vein. Erudition (paluku bOTi) is not meant for display and neither it is meant to be exploited (for money).

However, let me add this also as an aside. Music is both means (to reach God-head) and end (God-head) . Those who are conscious of this, will not exploit musical knowledge for any other purpose. Worship (bhakti) through music is supremely satisfying. Therefore, when I said what I said (do not make me sing for money), I meant this journey of discovery which is obtained after many births (bahUnAm janmanAm antE jnAnavAn mAM prapadyatE - vAsudEvamiti). That is nAdOpAsana.

This however, does not mean that I do not have regard for professional musicians - far from it. It is only through them that the musical tradition is kept alive - no matter how corrupted it may be. To that extent, their contribution is whole-heartedly welcome. But there is another dimension to music - which very few happen to explore. Therefore, when I see certain topics like 'Is there a future for CM?' etc, I am amused. I was reading the other day that a plant which remained buried in permafrost of Russian Tundra region, flowered after 30 thousand years once the frost melted. Human knowledge is ever alive even in the intervening period of praLaya.

[vasanthakokilam]

Govindan, Thanks. That helps to put things together. While a straightforward interpretation of Nidhi cAla sukhama is his commentary on comparing and contrasting the various pairs of actions ( earthly, spiritual ), let us go with your interpretation that the nara stuthi way of making money is what 'nithi cAla sukhama’ is about. It is consistent with 'durmArga cara' (ranjani) and Kaasicchede (Gauli Pantu).
In the latter two, Tyagaraja is not mincing words. He is definitely taking a very low view on those who praise other humans for material purposes, those kings who use such rewards as their governing practice and the people who barter Saraswathi for Lakshmi. Reading your tamil translation expressed in equivalent poetic form to the telugu original is quite effective in conveying the meaning than reading the English translation.

We should then draw the line and limit it to that nexus between nidhi and nara stuthi when we quote Thyagaraja.

On the other hand, I can see him taking a dim view of this worldly things and prefer the 'other' worldly things as would any spiritual master.
But in these compositions, he is commenting on what he sees happening in front of him. He is not happy about the Kings nor the Brahmins. In that context, he should have been aware of the 'vaishya' community that are engaged in business ( that is in fact their dharma ). I wonder what Thyagaraja has to say about the myriad other means of legitimate and dharmic way of acquiring wealth.

[vgovindan]

vk,
I see that we are entering into an area of ethics which is highly debatable. There was a time when everyone adhered to his svadharma. Kings used to look after the welfare of brAhmins because they (brahmins) were not expected to earn. However, with the decline of this patronage - not as benevolence but as a duty - due to western influences and churning in the society, brAhmins became the worst affected. Under normal circumstances, SrI tyAgarAja should have received patronage from the ruler as a matter of right. As this was not available, he has been made to 'earn' money which is not his svadharma. We are here looking at the society which was still holding on to individual dharma and not a situation of admixture of dharmas - as has taken place under and after British rule.

I would not like to comment on the ethics - which is a very complicated subject and there is no universal standard for it. That is why I mentioned in my post 'idealistic fool'. Obviously, even in the times of SrI tyAgarAja, ethics had taken a beating which can be seen from many kRtis of SrI tyAgarAja about the conduct of people - particularly brAhmins. Why brAhmin alone? brAhmin was considered as the face of the society - idealism. Shorn of idealism, what is left is only hedonism - as is happening now.

Is the message of SrI tyAgarAja holding any relevance today? Yes, for those believers like me. Belief not as a dogma - but as a result of intellectual appreciation and understanding of the way nature works. Yes, also from the point of view music - which is emancipating and not titillating.

Regarding your query about SrI tyAgarAja's views on legitimate ways of earning wealth, I shall look into his kRtis.

[munirao2001]

I visited this thread only to-day. Why this eternal doubt, confusion and conflict on idealism and materialism? Both are inseparable and equal in importance with the correct understanding of the Vedas and Upanishads. Veda vyasa's Bhagavad Gita advocates varnashrama dharma. Our lives and society has totally rejected the varnashrama dharma. Any discussion is irrelevant but gives only historical perspectives. Vedanta urges end to mithya, make believe for realization. We should never be guided by myth making.
Now let us take up the myth making in Thyagaraja's life and his great musical composition 'Nidhi CHAALA sukhama'. His father Raama Brahma was a Bhagavatha and received and enjoyed the patronage of Tanjore king(s). Thyagaraja also inherited the part of wealth bestowed by his father. Thyagaraja was also a Bhagavatha, lead a comfortable living which enabled him to take of his twelve or more number of sishyas in gurukulavasam. Unchavritti is a part of Bhagavatha dina charya of devotion and prayer, in public. Saraswathi mahaal library established by Sarfogi and other tanjore kings do have the records of property transactions of Raama Brahmam family.
Let us specifically understand this kriti. Thyagaraja is clear that nidhi valla kaladu sukhamu i.e.money bestows pleasure. Thyagaraja consciously and deliberately uses the word 'CHAALAA' raising the inquiry to weigh the limitation of nidhi(physical) over the limitless in Raamuni Sannidhi(metaphysical).

Carnatic Music has two primary goals-SAT;CHIT;AANANDA(Meta physical) and MANO RANJAKATVA-Physical-(ideal being Pandita-paamara ranjakatva). Practitioner also has requirement of both idealism(metaphysical) and materialism(physical). Sangeetha, a part of Bhagavatha Nava Vidha Bhakti, is a sulabha maarga. Soulabhya for both physical and metaphysical. Attainment of state of mind in metaphysical is only possible with contentment, equanimity(sthithapragnatva or stillness of the mind) results of Daya(compassion)-Daana(Sacrifice)-Dharma(Righteousness). The states of mind in both contentment and equanimity does contain needs of physical requirements.

For the sake of brevity, only this much can be posted.

munirao2001

[Sivaramakrishnan]

A great Vidwan who got Moksha without asking for any Varam (boon) was Chembai Vaidyanatha bhagavathar.
He patronised good music and encouraged talent.
He offered most of his earnings to Lord Guruvayurappan.
He breathed his last just after a concert at a Krishna Temple in Kerala concluding the concert with the sloka 'Agre pasyaami' (narayanneyam)

[Sundara Rajan]

Mr. VGovindan:

This is in response to your post No. 17 addressed to ME.

Just as you clarified that your post was ABOUT you only, I would like to make it clear that
MY post was quite general in nature,continuing in the line of suggestions made by rasikas
in this thread. I also suggested three boons, "sareeram, sAreeram and souwkyam" for the sake
of alliteration and preceded it with a general observation that ANY carnatic musician can not
afford to be idealistic and not expect any monetary compensation in the present context.
I can't see why a knowledgeable person like you would take it as directed AT you.

Additionally, you have asked me not to underestimate Idealism, but conclude your posting with a
statement, "there was an idealistic FOOL" and refer to Thyagaraja's "nidhi chala sukama".

[vgovindan]

hIna mAnavASrayaM tyajAmi - https://www.youtube.com/watch?v=OqM1DAwQi78

[Sundara Rajan]

So would I.