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.
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
Every kind of music has a protocol for ‘beginners’ or ‘learners’. Students must practise paltay, alankaras, scales, études, tonalisation exercises, depending on the kind of music they pursue. […]
However, here’s the rub: for many learners, these ‘early’ ragas get translated in the mind as something very basic, or ‘shikau’, with a novice ring to them. They are seen, most misguidedly, as mundane, without the strut and stature of the ‘larger and later’ ragas that are taught after you are deemed fit to learn them. […]
It is surely a disservice to a raga and to those who lift it to its best potential, and even more so a disservice to the young student, to allow the mental stamping of some ragas as ‘learner material’. […]
The novelist, counsellor and music lover takes readers on a ramble through the Alladin’s cave of Indian music.
Purandara Dasa (1484-1564), a prolific poet-composer and mystic of Vijayanagar, introduced a music course that is followed to the present day. Since the 17th century, hundreds of ragas (melody types) have been distributed among 72 melakarta ragas (scales).
For this musicologist and author, there are good reasons to believe that Carnatic music matters, perhaps more than ever and almost anywhere in the world. So why not perform and teach it in the service of better education for all, for ecological awareness or in order to promote mutual respect in spite of all our differences? And in the process, get “invigorated and better equipped to tackle the larger issues at hand”.
Read the blog published by Shankar Ramchandran on behalf of Dhvani Ohio >> Attribution-NonCommercial-ShareAlike 4.0 License
“Unity in Diversity, Antiquity in Contemporary Practice? South Indian Music Reconsidered” by Ludwig Pesch (Amsterdam) in Music – Politics – Identity published by Goettingen University
Music always mirrors and acts as a focal point for social paradigms and discourses surrounding political and national identity. The essays in this volume combine contributions on historical and present-day questions about the relationship between politics and musical creativity. The first part concentrates on musical identity and political reality, discussing ideological values in musical discourses. The second part deals with (musical) constructions, drwawing on diverse national connections within our own and foreign identity. – Matthew Gardner & Hanna Walsdorf (eds.)
“In this comprehensive book, Hawley traces the 20th-century history of the notion of the bhakti movement the idea that there was a significant, unified, pan-Indic turn to devotional religiosity in medieval India. The author argues that the invention and promotion of this idea was a key aspect of nation building in that it offered a narrative of Hindu unity despite the vast and disparate set of religious processes ranging over different vernacular languages, regions, and time periods.” – Read more and check for availability in a library near you: http://www.worldcat.org/title/storm-of-songs-india-and-the-idea-of-the-bhakti-movement/oclc/893099156
S.Rajam is a multifaceted genius with creative talents in a variety of fields such as music, musicology, classical painting and acting. In the field of music, S. Rajam is an unparalleled authority on Vivadi ragas and has done much to popularize Koteeswara Iyer’s kritis. He has the distinction of being the only musician to have recorded all the 72 compositions of Kanda Ganamutham, most of the kritis being accompanied by Raga, Niraval and Kalpana swaras. He was also well known for keeping the Classical Indian Painting style contemporary. He has immensely contributed to enrich our cultural heritage for over six decades.
Launch and screening of the movie: 11th November 2012 at Tatvaloka, Eldams Road, Chennai (2.00 PM)
Miraj is famous for tanpuras made by its craftsmen, who honed their skills by first becoming trained musicians.
How did it ever strike someone to stick a piece of wood on a dried pumpkin, build this bridge and that and twist some strings on it, to make this wonderfully resonant thing one calls the tanpura? […]
“Musical training is the basic foundation for an expert tanpura maker. There are about 500 craftsmen in Miraj and all are musicians.” […]
As much as Miraj is associated with the tanpura, it is also associated with Ustad Abdul Karim Khan saheb, the founder of the Kirana gharana of Khayal. It was after listening to his record, playing in a shop, that Bhimsen Joshi decided at the age of 11 to run away from home to learn music. Music can become as obsessive as that. […]
All great musicians of the Kairana gharana have sung at this festival such as Bhimsen Joshi, Gangubai Hangal, Roshanara Begum, Hirabai Badodekar and Suresh Bhau Mane. “We have a tradition of ending the three-night musical offering with a concert by a Kairana gharana vocalist. This year it was Ganapati Bhat,” said Mirajkar.
Abdul Karim Khan saheb’s music was uncluttered and deeply moving. He could tug at hearts with his plaintive and sharply etched swaras, and the power of his music lay mostly in that. Sheer mastery over swaras, what Bhimsen Joshi once spoke of as ‘swara siddhi.’ Veena Dhanam, who was hard to please, had great regard for his music. He was probably the first Hindustani musician to seriously study the Carnatic system and the first to be invited to sing all over the south. He even recorded a Tyagaraja kriti.