Category archives: Experience

A lesson (thought experiment) inspired by Gandhi’s understanding of music

Mahatma Gandhi stamp set | Mahatma Gandhi and music >>

The challenge of going beyond a “narrow understanding of classical” music has long been debated among performers and musicologists; whether for the sake of creativity and self-expression or ideals like “serving society through music”, even harnessing the healing power of music where most needed.

So what about reconsidering all of this and more in the light of the following quote:

Mahatma Gandhi often said, ‘We shall consider music in a narrow sense to mean the ability to sing and play an instrument well, but, in its wider sense, true music is created only when life is attuned to a single tune and a single time beat. Music is born only where the strings of the heart are not out of tune.’

Arun VC >>

Let us, for a while, experience the joy of music in the light of a common ground, namely that of personal aspirations (like wanting to excel in a playful if not competitive spirit) and the quest for a shared “moral compass” Gandhi is known to have advocated all his life (what binds us together as responsible world citizens). 

This seems a thought experiment worth performing, so here are a few suggestions for teachers, students and lovers of Carnatic music willing to take up the challenge:

Set some time apart in order to (1) explore and grasp the deeper meaning of each of the words and concepts marked bold in the above quote, first from a musical point of view; (2) jot down your findings and thoughts; then (3) discuss them with your teachers, parents or peers; (4) all along keep asking them and yourself whether Gandhi’s intuitive, personal understanding of how music in general should play a role in our lives, while actively engaging with a music that’s time proven as well as meaningful in our modern, hectic lives and rapidly changing societies; (5) possibly being exactly that in the sense of “healing through music”; (6) prompted by Gandhi, consider any one (or all) of these ideas in terms of a “response”, considering the extraordinary stress and tension faced on a daily basis (caused by the multiple crises some of us have to cope with).

It’s up to you to explore all this and more in the spirit of free thinking (*) and – if you like – share your thoughts with me >>

(*) inspired by the BBC Free Thinking podcast about ideas shaping our lives today – with leading artists and thinkers in extended interview and debate >>

For Gandhi, music — whether it was a bhajan like Vaishnava Janato or a patriotic song like Vande Mataram — was a means of development of the “moral self” – Basav Biradar in The Hindu >>

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Appreciating the beauty and importance of the nagasvaram: “Carnatic music grew because of the nagaswaram” – S. Rajam

In this part, I quote from my recording with S. Rajam on T.N. Rajarathinam Pillai, done in early 2007 [brief excerpts]

“Carnatic music grew because of the nagaswaram. Our art originated in the temples — especially, dance and nagaswaram. During the daily three-time worship at temples, the nagaswaram would be played all the times.

Source: “Tribute to the genius T.N. Rajarathinam Pillai, whose nagaswaram melodies are timeless” by Rupa Gopal The Hindu, December 27, 2013
URL: https://thehindu.com/todays-paper/tp-features/tp-fridayreview/our-own-pied-piper/article5505258.ece

Related information

Mallari played by ‪Sheik Mahaboob Subhani & Kalisha Bee‬ Mahaboob

With the disintegration of feudalism, Carnatic music, once confined to the precincts of temples and royal durbar halls, stepped out and started filling concert halls. While some music forms such as Mallari, inextricably linked with the rituals of temples and festivals, are still in vogue, others such as Odam, Yecharikkai and Odakkuru have more or less disappeared. […]

Yecharikkai is also played in Vishnu temples when the deity is taken inside the sanctorum after the procession. In earlier times, the devadasis of the temple would perform the ritual of warding off the evil eye after which the nagaswaram player would play this musical form.

“Yecharikkai is played in Saveri set to tisra nadai,” said Mr. Subramaniam. Mr. Chinnathambia Pillai said it could also be played in Yadukula Kambhoji and Ahiri. […]

But in many temples, these rituals are no longer followed,” said Mr. Subramaniam.

Source: “Ancient sounds of temple music fade” by B. Kolappan, The Hindu, 22 December 2013
URL: http://www.thehindu.com/news/cities/chennai/ancient-sounds-of-temple-music-fade/article5487577.ece
Date Visited: 1 February 2014

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Audio |  Vidya Shankar on teaching Carnatic music to children

Vidya Shankar (1919-2010)
Photo © Ludwig Pesch
Listen to an interview with
Vidya Shankar on teaching Carnatic music to children
held at her Chennai home by Ludwig Pesch (24 February 2005)

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Raga Sri | A musical tribute to Dr. Pia Buonomo Srinivasan – Brhaddhvani

CD Sambho Mahadeva

Dr. Karaikudi Subramanian and Dr. Meenakshi Subramanian salute Dr. Pia Buonomo Srinivasan (May 15, 1931 – April 8, 2022)1 for her respect and selfless contribution to vina and its tradition. […] We dedicate the raga Sri2 she loved particularly in her memory. | Read the full tribute posted on the video channel of Brhaddhvani – Research and Training Centre for Musics of the World >>

Karaikudi style is not a family style.
It is a veena style.

THE JOURNAL of THE MUSIC ACADEMY MADRAS
Devoted to the Advancement of the Science and Art of Music
Vol. LXXVII 2006, pp. 28-31

The Karaikudi Style

“Bhani” from “bhanihi” in Sanskrit which is from the root word “bhan” meaning “sound”. “Bhanihi” also has another meaning, “weaving”. Literally it is “weaving with sound”. But when one talks about style, a “bhani” in Carnatic [music], first and foremost is that one recognizes the total personality of the performer speaking through the music performed. The personality encompasses the way in which the performer has lived, the number of years staying with the master, the values held, the music listened to, the aesthetics developed, the right and wrong integrated unto oneself due to lineage or as disciples of the master, and finally the individual limitations and strength. “Bhani” is generally translated as “style” in English.3 […]

Describing a musical style of a parampara4 going back to several generations in the contemporary context becomes even more difficult, especially in an oral tradition such as Indian music.5 The Karaikudi style of veena playing started from Karaikudi veena brothers, Subbarama Iyer, Sambasiva Iyer’s son’s generation veena players in their family.6 No recordings are available of the music of Subbarama Iyer. […]

Karaikudi style is not a family style. It is a veena style. The lecture was presented by live demonstration at the different places to understand the Karaikudi style by Dr K S Subramanian.

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  1. Date as per official records, corrected from May 14 preferred and shared for personal reasons [↩]
  2. The most concise definition of a raga may be that by Joep Bor: a tonal framework for composition and improvisation. [↩]
  3. Tamil பாணி pāṇi , n. U. bānī. Style, manner, peculiarity – University of Madras Tamil Lexicon [↩]
  4. Sanskrit sishya paramparā, a series or succession of pupils – Monier-Williams Sanskrit Dictionary [↩]
  5. “The Karaikudi Bani is characterized by Swaras that stand out, alternating Meetu and firmness with clarity one can feel it only when one listens to it. It is just like saying sugar is sweet. You can understand it only by tasting it.” – Ranganayaki Rajagopalan, quoted in Analytical study of the different banis and techniques of playing the saraswathi veena, PhD thesis by R. Jayanthi, University of Mysore 2006, Ch. 9 [↩]
  6. “I was twelve when my parents, Veenai Lakshmi Ammal and Narayana Iyer, decided to give me in adoption to her uncle Sambasiva Iyer, who was concerned about the continuity of our tradition.” – Reminiscences: K Sambasiva Iyer and Mysore Vasudevachar, Narthaki Profiles, March 18, 2008 [↩]