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
Sreevidhya Chandramouli and Chandramouli Narayanan are founding members of the non-profit organization Dhvani (www.dhvani.org) committed to the Education, Preservation and Dissemination of arts of India. | Learn more:
CHENNAI: We are aware that the ultimate aim of every composer and musician is to achieve the coalescence, the essential factors of classical music namely bhava, raga and tala. We know bhava literally means, expression, the expression of existence. In a composition, bhava encompasses the aspects rasa, raga and laya and for a musical composition to be meaningful and beautiful, it should be rich in bhava. In short, bhava is that which enables the transmission of experience of thoughts and emotions from the composer to the musician and from the musician to the listeners. We understand that bhava has to be experienced by every individual, in a personal and subjective manner and devotion is the pre-dominating aspect depicted in a musical composition. I am sure it would be of immense value to study the aspects of bhava, expressed by the musical trinity Thyagaraja, Dikshitar and Syama Sastri, who were contemporaries in the 18th century. […]
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
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A scale – mēla in Carnatic or thāt in Hindustani music – isn’t a raga yet: it is no more than an imaginary arrangement of notes for the formation of “parental scales”. From 72 Carnatic mēla scales – or their 10 Hindustani thāt-counterparts – a wide range of major and minor ragas have been “derived” in the course of several centuries. (In most instances, however, ragas weren’t “derived” from an existing scale but came to be associated with a particular scale much later on, as seen in ongoing debates among music scholars and performers.)
Thinking of a particular scale helps musicians and learners to distinguish one raga from another, and this amidst hundreds of other ragas that are being performed today (for a useful definition by Joep Bor, see below).*
For this purpose 7 notes occupy certain positions within an octave as seen in the above illustrations. These notes are framed by an 8th note (“octave”) which corresponds to the basic note, now placed in the higher range. Listening carefully to the middle strings of tambura will reveal this higher note (tāra sa).
To understand their relative positions watch the above slideshow repeatedly. Nevertheless the basic idea underlying all of India’s “classical” Indian music traditions – the proverbial “seven notes” (saptasvara) as basis for melody – remains untouched.
Note: The above series of images illustrates 16 out of a total of 72 melas with the names of their corresponding melakarta ragas, including the first six melas (01. – 06.) and the last one (72.); and several others that have long played a prominent role concerts either as melakarta ragas (i.e. featuring all the seven notes) or derivatives known as janya raga (08., 15., 28., 29., 34., 36., 56. 57. and 65). The latter may feature less than seven notes, be characterized by “zigzag” patterns or notes not found in their parental scales.
So a total of 12 positions are available in the South Indian mela system whereby the basic note “sa” and its fifth “pa” are the starting points of two series of 4 notes:
sa-ri-ga-ma & pa dha ni (upper) sa
reversed and sung for the sake of memorization as follows:
(upper) sa-ni-dha-pa & ma-ga-ri-sa
Please note that – unlike in western “classical” music – the actual pitches are never given but chosen to suit one’s own vocal range or a particular instrument (e.g. flute and vina which come in different sizes and tonal ranges). This means: sa may correspond to “C” on your keyboard or for a male voice (just like “D”); but for a female voice, sa is more likely to correspond to “F” or “G” instead.
Last but not least, singing or playing a raga entails attention to subtle tonal shades just as embellishments (gamaka) as heard in a proper concert performance. So what you hear isn’t merely “a clever combination of notes” derived from some scale or other: raga based music is all about musical – even lyrical – expression, carefully regulated by certain rules and practiced in accordance with well established patterns.
In the meantime, an ever growing diversity accelerated the search for effective teaching methods suited to raga based music. In South Indian music this was achieved with the help of the melakarta scheme (72 scale abstract patterns).
Even today “tune smiths” continue to fill in the blanks left by their revered predecessors, including novelties inspired by Beethoven’s most beloved piano piece worldwide (you guessed it …)!
Interestingly the 72 mela system came to serve a dual purpose, one not found in other music traditions as regards scope: in addition to the intention proclaimed by its “inventor” Venkatamakhin in the late 17th century, namely to widen the scope for musical expression, it became a mnemonic system (aid to memory) for musicians and teachers alike.
A glance at any music textbook and most song collections of Carnatic music will show how this was achieved since music publishing began to flourish in the early 19th century.
For a more detailed application, listen to the 72-Melaragamalika rendition by Smt Kiranavali’s students at Cleveland Aradhana 2014_Part 1; click/bookmark part 1 of this recording here; and click here for Part 2 >>
More about the 72-Melaragamalika sung by Smt Kiranavali’s students
The entire ragamalika [by Maha Vaidyanatha Iyer (1844 – 1892 AD)] is set to Adi tala. The Pallavi is sung in Sriragam, followed by some beautiful jati phrases in Tillana style. There is no Anupallavi and the Charanam has 72 lines, one for each melakarta, with the raga mudra skillfully inscribed in each line. At the end of each mela raga, there is a Chittaswara, and further, to enhance the beauty of the composition, his brother Ramaswami Sivan added additional Chittaswaras at the end of each line, whose poorvanga (first half) is in the same raga, but the uttaranga (second half) is in the next raga. At the end of each Chakra (6 raga cycle), the Pallavi is repeated. At the commencement of the Prati madhyama series, the jati phrases are also sung. This is not a piece we hear often in concert platforms. Occasionally in the past, one or two Chakras of this lengthy composition has been rendered by Musiri Subramanya Iyer and M S Subbulakshmi. Recently (June 1989), the Gramaphone Co. of India (HMV) released an album (LP No. ECSD 40552), and simultaneously a 60-minute casette (No. HTCS 03B 3346) under the title ‘Mela Ragamalika Chakra’, where M S Subbulakshmi has melodiously rendered this divine ragamalika, with all the above-mentioned features and Chittaswaras.
* Joep Bor aptly defines a raga “as a tonal framework for composition and improvisation; a dynamic musical entity with a unique form, embodying a unique musical idea. As well as the fixed scale, there are features particular to each raga such as the order and hierarchy of its tones, their manner of intonation and ornamentation, their relative strength and duration, and specific approach. Where ragas have identical scales, they are differentiated by virtue of these musical characteristics. […]
Most importantly, a raga must evoke a particular emotion or create a certain ‘mood’, which is hard to define, however. As the term raga itself implies, it should ‘colour’ the mind, bring delight, move the listeners and stimulate an emotional response. In other words, the concept of raga, which has evolved over a period of two millennia, eludes an adequate brief definition.” – The Raga Guide: A Survey of 74 Hindustani Ragas (Nimbus Records with Rotterdam Conservatory of Music first published in 1999) Quoted from p. 1, ‘What is a raga?
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