Author archives: ludwig

Boggle Your Mind with Mela (BYMM) method – free mini course

Have you been looking for a fun way of memorizing the 72 melakarta names and numbers, finding them “mind bending” rather than “mind boggling” until now?

Here’s one method that may work – if you are ready to practice it for a few minutes every day; like passing time while waiting in queues or commuting, or unable to fall asleep. Silently so … such is the beauty and usefulness of the melakarta system.

STEP 1
Take today’s date (or your favorite musician’s birthday) in the format you commonly use (DD-MM or MM-DD, here we’ll use DD-MM)

12-07 for 12 July

STEP 2
Pick the corresponding mela numbers from the list available here (a special gift for all motivated learners):

Mela-Pocket-Guide-CarnaticStudent-CreativeCLDownload

There you look up the number pair for any given date, for instance:

12 = Rūpāvati R-P=21><12
07 = Sēnāvati S-N=70><07

Tip: if interested, find more explanations on page 2 to understand how the Kaṭapayādi sūtra is being applied to the names of 72 mēḷakartā rāgas (“melas”).

STEP 3
Remember how “yesterday … your troubles seemed so far away?”

11-07 for 11 July … so keep moving forward and backward after getting today’s numbers and names right, to start with.

You got it, all ready to go for days and weeks to come: because that date, too, is another day; one bound to become a memorable one with the help of the Boggle Your Mind with Mela (BYMM) method.

STEP 4
What’s next? Here are some suggestions:

  • find the actual DD-MM date in the Western calendar which corresponds to “72 October 2021”
  • or any other DD-MM date you consider booking a ticket and attend the Chennai December Season
  • if motivated to do so: memorize the entire list of 72 melas in batches of 10 (rather than 6): you’ll spot the patterns more easily
  • apply mela numbers in order to remember daily matters: birthdays, holidays or passwords – you name it
  • print the above PDF-attachment, then fold the sheet along the lines “accordeon style”: this yields a neat, visiting card size BY-MM paper-app (battery free for 24/7 use)
  • use it as a gift for fellow music lovers interested in this subject

Just one more thing as regards general well being
Although it seems unlikely you didn’t know yet: remember how good walking is for both, one’s mental and physical health? For our brains and moods … even for learning all the 72 mela ragas by heart in a stress-free manner.

So I gladly recommend listening to the following podcast episode by BBC Crowd Science:
Why is standing more tiring than walking?
https://www.bbc.co.uk/programmes/w3ct1pqm

So keep walking, and rather than talking, boggle your mind through mela memorization whenever you are out there – enjoy!

Ludwig Pesch on Ratnāngi-Sēnāvati-Kharaharapriya Day (02-07-22)

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An artiste creates and modifies his or her style for several reasons: “Let’s Talk Carnatic” by Mopachennai.org

New ideas | Voice culture >>

Is tradition set in stone? Is not change even within a musician’s lifetime in the natural order of things? Does custom or convention in musical practice have to be held sacrosanct at the cost of organic modification or adaptation?

An artiste creates and modifies, subtly or otherwise, his or her style for several reasons – physical, emotional, intellectual, political or aesthetic. A stellar artiste preserves tradition not as a rigid, fossilized keepsake but as an intelligent amalgamation of inherited values as well as current inclinations. […]

Every episode in this series promises a volley of insights into the musical style and technique of the musician being discussed. A treat for students, aspiring musicians, lay as well as experienced listeners.

These conversations are not intended to conclude, merely to present points to ponder. […]

South Indian tambura
Tambura | Instruments >>

The Museum of Performing Arts (MOPA) Foundation was established in 2017 to document and showcase the history, content, periodic changes and external influences on every aspect of South India’s performing art forms, as also to look at existing trends and the impact on subsequent generations.

Through well-designed and curated exhibitions, documentaries, lectures, concerts and related events, MOPA aims to place South India’s rich cultural legacy on the larger map of world culture.

MOPA also aims to develop a museum in Chennai, for the performing arts of South India. By this, MOPA will serve one more purpose – a complete artistic and cultural orientation under one roof for anybody who wants to get a bird’s eye view or an in-depth understanding of South Indian performing art forms.

Source: “Let’s Talk Carnatic”, Digital Projects: a series that “covers interviews, talks, presentations, lecture-demonstrations and conversations on all things related to Carnatic music” & “About MOPA”
URLs: https://mopachennai.org/digital-projects.php & https://mopachennai.org/about-mopa.php
Date Visited: 5 September 2022

[Bold typeface added above for emphasis]

Video | Jati (konnakkol) exercise for intercultural education

Tony Makarome teaching a musicianship class at Yong Siew Toh Conservatory (Singapore)
with the help of Carnatic jatis (solfège)*
Subject: Till Eulenspiegel’s Merry Pranks by Richard Strauss >>
Courtesy © Tony Makarome – mridangam student of TR Sundaresan >>

I am working on a new composition for a singer, to be premiered in the States which is based on the Indian Konnakol (rhythms). I am also working on arrangements as well as original compositions for chinese orchestra (with Jeremy Monteiro) and bands. […] Growing up in Singapore meant that influences from different cultures were inevitable. Embracing different musical languages became a natural progression of my creativity. […] I am completely immersed in a “musical life”. I have recently gotten married and so family time is important, but out of the classroom and beyond Jazz, I am also caught spending time with little side projects and musical hobbies (if you consider playing an instrument for 10 years a “hobby”) such as practicing and performing on Indian instruments such as the Mridangam.

Learn more about Tony Makarome >>

Practice the tala applied in the above video clip: Misra cāpu tāla (7 syllables) >>

*Solfège sol-fa, solfa, solfeo, among many names, is a music education method used to teach aural skills, pitch and sight-reading of Western music. Solfège is a form of solmization, though the two terms are sometimes used interchangeably.

Wikipedia
Date Visited: 29 August 2022

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Vidyaamagna: webinar & online lessons

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WEBINAR – THE AESTHETICS OF VARNAM IN KARNATIC MUSIC

Sat, 30 July | 2 pm – 3.30 pm (BST) / 6.30pm (IST)  | £10

STELLA SUBBIAH (Artist Development Lead, Bhavan London)

In conversation with

LUDWIG PESCH (Author of The Oxford Illustrated Companion to South Indian Classical Music)

VIGNESH ISHWAR (Musician)

Today, as in the remote past, India’s musicians and dancers share a vast and varied repertoire. Apart from facilitating oral transmission, the underlying vocabulary helps to convey feelings underpinned by aesthetic principles and values. So it hardly surprises that the best-loved lyrics are those endowed with scope for reflection and debate among listeners, critics, and the artists themselves.

Mystical Dance!—
—Mazes intricate,
Eccentric, intervolv’d, yet regular
Then most, when most irregular they seem.

Milton’s Paradise Lost (AD 1667), the description of angels dancing about the
sacred hill as quoted by William Hogarth and discussed in the Chapter titled “Variety”:
Oxford Illustrated Companion to South Indian Classical Music >>

For this webinar we focus on several key composers whose vision shaped South Indian music and dance as we know it today. We will consider the compositional form of Varnam or Varna, in Karnatic music which can be interpreted as not only colour, praise , or syllable but also as melodic movements. These melodic movements of Arohi, Avarohi, Sthayi, and Sanchari add to its structure and offer various musical possibilities for musical interpretations.

Free tala exercises to supplement this webinar

Adi tala = 8 beats (4+2+2 here simplified as 4+4)
trikala (3 speeds)
“ta ka dhi mi” = 4, “ta ka ju nu” = 4

1st speed: one beat (kriya) = 1 syllable (jati) = 8 matra per avarta
2nd speed: one beat (kriya) = 2 syllables (jati) = 16 matra per avarta
3rd speed: one beat (kriya) = 4 syllables (jati) = 32 matra per avarta

Ata tala = 14 beats (5+5+2+2, here simplified as 2+3+2+3+4)
“khanda jati ata tala”
trikala (3 speeds)
“ta ka ta ki ta” = 5, “ta ka dhi mi” = 4

Source: Tāla Anubhava: Experiencing South Indian Rhythm
Concept and audio © T.R. Sundaresan & Ludwig Pesch

Keeping tala e.g. for Rupaka tala (3 counts): 2 claps followed by a wave; Adi tala (8 counts): a clap for the first beat (samam), followed by 3 finger counts starting from the small finger marks the first half; and a clap followed by a wave (twice) mark the second half; Ata tala (14 counts) differs as 4 fingers are used including the forefinger (twice), rather than 3 fingers (once) in Adi tala.
Art © Arun V.C.

Tips

  • Practice these gestures “silently” during a live recital or recording
  • Apply your practice while watching a video:
    – Basic hand gestures for Adi tala (8 beats) & Misra chapu tala (7 beats)
    – Precision tala keeping for the following drum and konakkol solo

More excercises: Practice four widely used Carnatic talas >>

Previous webinar

OUP India | OUP worldwide >>

Find a copy of the Oxford Illustrated Companion to South Indian Classical Music

Food for thought

What’s the difference between Hindustani and Carnatic music?

Bharatanatyam
Historically, Bharatanatyam was mostly prevalent in Tamil Nadu, though traces of it were found in the 20th century in what are now Kerala, Karnataka and Andhra Pradesh. Today it is taught and practised throughout the globe. The term ‘Bharatanatyam’ has been in existence at least from the 15th century but we do not know the compositions the dancers performed in the early years of Bharatanatyam. […] The repertoire added during the time of Tulaja and Serfoji II owes its credit to four brothers of Tanjavur who belonged to a traditional natyacharya family. They were Chinnayya, Ponnayya, Sivanandam and Vadivelu, the ‘Tanjavur Quartet’ we know.

Read the full article by Bharatanatyam music expert BM Sundaram: The Tanjavur Quartet: Margadarsis of Bharatanatyam (Sruti Magazine, courtesy dhvaniohio.org)

Tip: safe-search: Bharatanatyam Serfoji Tanjavur (modify the search terms for the present context) | More search tips >>

Subbulakshmi and contemporary feminism: Sunil Khilnani on BBC Radio 4 Incarnations: India in 50 Lives

M.S. Subbulakshmi
Born 16 September 1916. Died 11 December 2004

Madurai Shanmukhavadivu Subbulakshmi (Tamil: மதுரை சண்முகவடிவு சுப்புலட்சுமி, Madurai Shanmukhavadivu Subbulakshmi ? 16 September 1916 – 11 December 2004), also known as M.S., was a Carnatic vocalist. She was the first musician ever to be awarded the Bharat Ratna, India’s highest civilian honour. She is the first Indian musician to receive the Ramon Magsaysay award, often considered Asia’s Nobel Prize, in 1974 with the citation reading “Exacting purists acknowledge Srimati M. S. Subbulakshmi as the leading exponent of classical and semi-classical songs in the carnatic tradition of South India.”

Source: M.S. Subbulakshmi – New Songs, Playlists, Videos & Tours – BBC Music
Address: http://www.bbc.co.uk/music/artists/613361fb-24bd-4bc9-ad63-85ac5bc79156
Date Visited: Mon Apr 11 2016 14:17:14 GMT+0200 (CEST)

Sunil Khilnani explores the life of south Indian singer MS Subbulakshmi

Subbulakshmi’s singing voice, striking from the start, would ultimately range three octaves. A perfectionist, she had the capacity to range across genres but narrowed over the years to what another connoisseur of her music has called a ‘provokingly small’ repertoire. In time, the ambitions of those who loved and profited from her combined with her gift to take her from the concert stage to film to the All-India Radio to near-official status as an icon of independent India.

But, as Professor Khilnani says, “what was required of Subbulakshmi, in moving from South Indian musical celebrity to national cultural symbol, is deeply uncomfortable when considered through the prism of contemporary feminism.”

Source: BBC Radio 4 – Incarnations: India in 50 Lives, Subbulakshmi: Opening Rosebuds
Address: http://www.bbc.co.uk/programmes/b073b5cb
Date Visited: Mon Apr 11 2016 14:12:31 GMT+0200 (CEST)

Sampradaya is like a broad river and the bani is a tributary

Umayalpuram Sivaraman on his 75 years of performance >>

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