What makes one refer to Carnatic music as “classical or art music”?

Read the full article by Dr. Lakshmi Sreeram titled “Carnatic Music Ruminating the Landscape” (Indian Horizons July-September 2013, Indian Council for Cultural Relations New Delhi, PDF, 14,5 MB)

Tyagaraja worried about many things — about the death of brahmanatva — the lofty way of thinking and living, of sham religiosity, of sycophancy, of Lord Rama’s reluctance to bestow grace. In one such song in the poignant raga Naganandini, he laments: sattaleni dinamunu vacchena

Tyagaraja depicted by Sangeeta Vidvan S. Rajam

Such days have come…

Days that have no strength (sattu)

Strength that faith in God gives.

Reverence for parents and teachers is nought

And men indulge in evil acts

Such days have come…

But he did not worry for music except that it should not be divorced from bhakti. […]

What makes one refer to Carnatic music as “classical or art music”? Evoking Dr. Ashok Ranade’s suggestion of the musical pentad in India, religious music is a different genre of music from art music. Religious music consists of repertoire that is religious in content and it may and very often does use ragas and the tala. But the whole musical effect is towards heightening religious fervour. The repertoire of Carnatic music is predominantly religious; but the intent of a Carnatic concert is not religious — it is aesthetic. A good presentation of a composition focuses on correctness of lyrics, of patantara, of delivering raga nuances, of following the kala pramana or measure of time or laya, and indeed of bhava or communication of an emotive content. This emotional content is not religious but musical; intensity of imagination, artistry and delivery must evoke emotion, not literal meanings of words. […]

Even the brilliant Semmangudi Srinivasa Iyer, who was himself deeply religious, clarified that bhakti is essential for a Carnatic music, but this bhakti is for music, not for any personal deity. […]

[Bold typeface added above for emphasis]

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Video | “Breath of Life”: Carnatic flute by JA Jayanth

JA Jayant performs for Indian Arts Connection’s Breath of Life fundraising concert to buy oxygen concentrators to help with Indias 2nd wave of COVID.
He is accompanied by B Ananthakrishnan on the Violin, NC Bharadwaj on Mridangam and S Karthick on Ghatam.
Donations accepted
https://www.crowdfunder.co.uk/breath-…​

Audio tip | JA Jayanth’s grandfather and guru TS Sankaran live at Kalakshetra >>

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“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance

Mridangam vidwan Umayalpuram K. Sivaraman © The Hindu

Sampradaya is like a broad river and the bani is a tributary. It is born out of creativity and sustained when creativity combines with novelty, while based on the core principles. It should be aesthetically beautiful and serve as something new for present and future generations to work upon.
I learnt from four great masters: Arupathi Natesa Iyer, Thanjavur Vaidyanatha Iyer, Palghat Mani Iyer, and Kumbakonam Sakottai Rangu Iyengar. On that base I formed my own distinctive style, something novel, attractive and worthy of emulation.
Bani is about everything — accompaniment, mridangam solo, giving pauses, creating a lot of nada, and new moras and korvais, complex mathematical creations. It is like Ariyakudi’s music; it may seem simple, but when you attempt it, it’s impossible until you work at it. That is what I have created. It has complete clarity, with or without mic. As my father taught me, I coax the mridangam, I don’t beat it.
Another principle of my bani: First, you become a rasika of the main artiste, whether vocal or instrumental. You must become the first rasika. And you must go into the music, so that it affects your psyche, your playing. The tempo, the voice, the volume, the mellifluousness, everything enters your body, and it reacts in the mridangam. Then, your reactions and movements will be in advaita bhava with the main artiste.

Read the full interview: “Umayalpuram Sivaraman: ‘I have not even touched the tip of the iceberg’” by Vaishna Roy (The Hindu, 6 May 2021)

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Video | Thyagaraja Aaradhana 2021 – Sannidi Academy Of Music and Arts

https://youtu.be/JOMlCD0OwBY

Thyagaraja Aradhana 2021 – Live on 2nd Feb – 7:30am IST  #ThyagarajaAradhana​ #2021​ #pancharathnam

Sannidi Academy of Music and Arts, (SAMA) a nonprofit organaisation established in the year 2011 by carnatic musician T.R. Sundaresan. Sannidi, helps young talents to come together and also provides them a platform for team work, learning and performing. Sannidi Academy of Music and Arts welcome all like minded musicians and artists to come forward and be a part of its future endeavors.

More information: https://thyagarajaaradhana2021.wordpress.com

Video | Flute J.A.Jayant’s concert for Naada Inbam December Music Festival 2020

Concert on 31.12.2020 by Vidwan J.A.Jayanth – Flute, Vidwan L.Ramakrishnan – Violin , Vidwan N.C.Bharadwaj – Mridangam , and Vidwan Chandrasekara Sharma – Ghatam. For Daily Informations refer to Our Blog : https://naadainbam.wordpress.com/

Jayanth, still in his late twenties, is the most recognisable and sought after flautist in contemporary Carnatic music who also commands a considerable cross-over following in India and abroad. He’s a prime time performer in Chennai’s prestigious Sabhas and also a regular fixture in Indian musical festivals in Europe and the US. He enthrals his audiences with an arresting gayaki style, riveting wizardry on his instrument, and rare musical wisdom. | Read the full interview by G Pramod Kumar on Jayanth’s musical background, the Carnatic bamboo flute, and the challenges it poses in the Indian Express (December 12, 2020) >>

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Audio tip | JA Jayanth’s grandfather and guru TS Sankaran live at Kalakshetra >>

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“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance >>

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Video | The idea of classifying ragas – Akshara & Kiranavali Vidyasankar

Akshara Samskriti is the daughter of Carnatic musician Kiranavali and scientist-philosopher, Vidyasankar Sundaresan. This video was recorded on Nov 1, 2013, when Akshara was 4 years old. It was originally in multiple parts for educational video compilation, and has been put together as a single video here.

The 72 Melakartas are regarded as the parent scales in Carnatic music and serve the purpose of grouping similar sounding ragas/scales in the same category. It also helps create new scales which can then potentially evolve into full-bodied ragas.

The idea of classifying ragas that sound similar has existed over many centuries and were taken to a more definitive stage by 17th century musicologist Venkatamakhin. It was fine tuned further by Govinda to its present and more popular form. Nevertheless, the Melas propounded by Venkatamakhin continue to stay in vogue primarily through the compositions of well-known Carnatic composer, Muttuswami Dikshitar.

More on and from Kiranavali Vidyasankar: www.kiranavali.net >>

Rabindranath Tagore sketched by Dutch artist Martin Monnickendam during a lecture tour in September 1920 © Stadsarchief Amsterdam

The world of sound is a tiny bubble in the silence of the infinite. The universe has its own language of gesture; it talks in the voice of pictures and dance. Every object in the world proclaims in the dumb signal of lines and colours, the fact that it is not a mere logical abstraction or a mere thing of use, but it is unique in itself, it carries the miracle of its existence.–Rabindranath Tagore quoted by Dinkar Kowshik in

Doodled Fancy, Visva-Bharati, Santiniketan 1999, p. 8

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“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance >>

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The idea of singing birds: A tribute to a vital artistic tradition – Book Review

More by and about T.M. Krishna >>

A Southern music: The Karnatik story

By T.M. Krishna, HarperCollins, Rs 699

If a successful and busy Karnatic singer takes time off in order to write reflections on South Indian or “Karnatic” music, the book release function is bound to be met with considerable interest. […]

He pays tribute to the tambura (the tanpura) as “the life-giver, the soul of our music”. For Krishna, “it is the one instrument that can be said to hold within itself the very essence of classical music. So unobtrusive is this instrument, so self-effacing in its positioning on the stage and so tender of nature, that it is almost taken for granted.” Sadly, the tambura is rarely played “live” even during live concerts where it tends to be drowned by its electronic surrogate with devastating effect. Restoring its presence would seem indispensable in efforts such as those outlined under two chapter headings, “To Remove the Barriers Imposed by the Music” and “To Expand the Listenership of Karnatic Music”. The very concept of “fusion” is dismissed as a “lopsided idea of the music.” […]

The fact that 15 out of 588 pages are assigned to an Index is welcome in view of the publisher’s ambition to provide readers with a “path-breaking overview of South Indian classical music.” A mere glance at the Contents page and Index proves that, as in his concerts, T.M. Krishna would take nothing for granted, starting with instructions titled “A Note on Reading”. […]
LUDWIG PESCH

Source: The idea of singing birds
Address : http://www.telegraphindia.com/1140228/jsp/opinion/story_18023416.jsp#.UxC3W16kAfl

The tambura’s role in perfect alignment to pitch: “The most beautiful way to discover music” – T.M. Krishna >>

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