To sing just with the tanpura has been revealing: TM Krishna
M Suganth | Times of India | Nov 27, 2014 | To read the full article, click here >>
They had collaborated earlier for Margazhi Raagam, which was a first-of-its-kind Carnatic concert film and now, singer TM Krishna and filmmaker Jayendra have come together for One, a film that they say will be a peep into a musician going through the process of creativity. The two reveal how the project came to be, the challenges they faced and what it means to the viewer. […]
TM Krishna: To be able to sing just with the tanpura is the most revealing thing for me as a singer. It is the most beautiful way to discover music without becoming dependent on the pakkavadhyam or the mic. There is nothing to protect you. It was a very emotional and intimate experience for me. That depth of my experience is revealed in the film. […]
Source: To sing just with the tanpura has been revealing: TM Krishna – Times of India
Address: http://timesofindia.indiatimes.com/entertainment/tamil/music/To-sing-just-with-the-tanpura-has-been-revealing-TM-Krishna/articleshow/45284656.cms
Date Visited: 25 July 2021
Learn more about the tambura (tanpura) >>
Perfect alignment to pitch, intellectualism and bhava make for great music
Widely varying styles have an equal place under the Carnatic umbrella. Is it at all possible to define a single aesthetic for a genre that ranges from the thrilling and electrifying rhythms of a Trichy Sankaran accompanying the late Semmangudi Srinivasa Iyer singing the Tyagaraja masterpiece Dinamanivamsha, to the subtle rendering of a padam by the late T. Brinda? Such contrasts, though they do exist in a genre like Hindustani music, are always less stark. […]
One common aspect of such artistes who were perceived as highly aesthetic in the earlier days of amplification is the scrupulous attention they paid to shruti shuddham or toaligning themselves perfectly to pitch. Arguably, such scrupulous attention to pitch alignmentmay well have had the effect of mitigating the jarring impact of imperfect amplification. Even where there’s a great struggle to maintain shruti shuddham, an exquisite secret leaps out of old recordings of ageing masters who had lost control of their voices. That secret is the pride of place they accorded the tambura and its overall audibility. The aesthetically pleasing aura created by a sonorous and meticulously tuned tambura has a way of gently embracing a singer’s shruti lapses and folding it into the overall sound. Unfortunately, the exact opposite is feared and hence a tendency to relegate the tambura, whether a real one or electronic, to de facto inaudibility for the audience. This only exacerbates the listener’s perception of a lack of shruti shuddham.
Art, as it is normally understood, is first and foremost sensual and emotional before anything else, but Carnatic music has always been seduced by the intellect, resulting in anything from a mild flirtation to a torrid affair. The intellectual, even in musical contexts, need not be disdained but it certainly challenges conventionally held notions of aesthetics. More importantly, such intellectual music may not suffer as much at the hands of bad audio as conventionally aesthetic music, and hence, could induce stagnation in the evolution of better sound. […]
The emotional in the art is what is referred to in the Carnatic world as bhava. Bhava comes from many aspects of Carnatic music but its most serious claimant is the repertoire itself. The bedrock of Carnatic music is its repertoire – the intensely bhava-laden compositions of great masters. The remarkable vibrancy and sustainability of Carnatic music compared to some other genres come from bhava which is certainly the crown jewel. In fact, it could be argued that this alone often compensates for the lack of other aesthetic dimensions in the overall experience. […]
Source: “Challenges of internal diversity in the Carnatic genre” by Uday Shankar, The Hindu, 17 December 2011
Address: https://www.thehindu.com/features/friday-review/music/challenges-of-internal-diversity-in-the-carnatic-genre/article2721404.ece
Date Visited: 2 August 2021
T. M. Krishna (in MOPA “Notes to Myself”):
Now here is a fascinating story of a musician born and bred in privilege by his own admission, who enjoyed a liberal, progressive environment both at home and at school that laid the foundations for a fearless, critical mind and outspoken tongue, enjoyed the best of teachers who fostered an abiding love for Carnatic music in his young heart and was one among the band of young musicians who took the Carnatic stage by storm in the 90s. […]
Related
- “Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance >>
- In his widely discussed book A Southern music T. M. Krishna pays tribute to the tambura (the tanpura) as the life-giver, the soul of our music >>
More about the above person(s) and topics
Periodicals and sites included | More resources | Disclaimer >>
Learn & practice more
- A brief introduction to Carnatic music (with music examples and interactive map)
- Free “flow” exercises on this website
- Glossary (PDF)
- Introduction (values in the light of modernity)
- Video | Keeping tala with hand gestures: Adi (8 beats) & Misra chapu (7 beats)
- Voice culture and singing
- Why Carnatic Music Matters More Than Ever
- Worldcat.org book and journal search (including Open Access)
