Bhava enables the transmission of experience of thoughts and emotions – Narayana Vishwanath

 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. […]

Narayana Vishwanath: Efficacy of Bhava — An Evaluation (21st September 2015), The New Indian Express >>

Practice four widely used Carnatic talas – free for all learners

Mridanga Vidvan T.R. Sundaresan guides you along as you read and listen. Simply pronounce the syllables of each lesson – straight from the page >>

For details, also refer to the Oxford Illustrated Companion to South Indian Classical Music

  • Glossary-cum-index
  • In the following section(s)

Instrumental Music, pp. 105 (percussion)

Tala and Rhythm, pp. 204

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Website Recommendations – Music Research Library

Source: Music Research Newsletter – 44 5 November 2018
Contact Us: Arati Rao, Vidya Jayaraman and N. Ramanathan
email: mrlibrary.adm@gmail.com

  • SHAMSA Database
    Link: goo.gl/o8rwBx
    Category: Sources of Research
    Brief: The following is a database uploaded by the scholar Katherine Butler Schofield to the website www.academia.edu, which gives many sources useful for research in Music and Dance in South Asia.
  • Sahapedia
    Link: https://www.sahapedia.org/
    Category: Sources of Research
    Brief: Sahapedia is an open online resource on the arts, cultures and heritage of India. At Sahapedia, one can read articles, watch videos, listen to interviews, and browse image galleries.
  • Indian Classical Music Mapping of Kolkata project
    Link: http://kolkatamusicmapping.com/
    Category: Sources of Research

 

Tip | Online research library: Musicresearchlibrary.net

Merger of websites: The two sites www.musicresearch.in and www.musicresearchlibrary.net have now merged! We have closed www.musicresearch.in and moved its contents to www.musicresearchlibrary.net. In the ‘musicresearchlibrary.net’ site, a menu ‘musicresearch.in‘ has been created which will house some of the earlier contributions of senior scholars. Please like and follow our Facebook page https://www.facebook.com/Musicresearchlibraryadmin/ for latest news and updates.

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What’s new in Music Research Library >>

New online tool that will turn written konnakkol into audio

Courtesy: email by online tool-developer Arthur Carabott (UK), 18 March 2017
Generally the rules are:
– for any syllable there must be at least one consonant followed by at least one vowel
– Any brackets must match, so if you have three opening { you must have three closing }
Input and feedback very welcome!

Subbulakshmi and contemporary feminism: Sunil Khilnani on BBC Radio 4 Incarnations: India in 50 Lives

M.S. Subbulakshmi
Born 16 September 1916. Died 11 December 2004

Madurai Shanmukhavadivu Subbulakshmi (Tamil: மதுரை சண்முகவடிவு சுப்புலட்சுமி, Madurai Shanmukhavadivu Subbulakshmi ? 16 September 1916 – 11 December 2004), also known as M.S., was a Carnatic vocalist. She was the first musician ever to be awarded the Bharat Ratna, India’s highest civilian honour. She is the first Indian musician to receive the Ramon Magsaysay award, often considered Asia’s Nobel Prize, in 1974 with the citation reading “Exacting purists acknowledge Srimati M. S. Subbulakshmi as the leading exponent of classical and semi-classical songs in the carnatic tradition of South India.”

Source: M.S. Subbulakshmi – New Songs, Playlists, Videos & Tours – BBC Music
Address: http://www.bbc.co.uk/music/artists/613361fb-24bd-4bc9-ad63-85ac5bc79156
Date Visited: Mon Apr 11 2016 14:17:14 GMT+0200 (CEST)

Sunil Khilnani explores the life of south Indian singer MS Subbulakshmi

Subbulakshmi’s singing voice, striking from the start, would ultimately range three octaves. A perfectionist, she had the capacity to range across genres but narrowed over the years to what another connoisseur of her music has called a ‘provokingly small’ repertoire. In time, the ambitions of those who loved and profited from her combined with her gift to take her from the concert stage to film to the All-India Radio to near-official status as an icon of independent India.

But, as Professor Khilnani says, “what was required of Subbulakshmi, in moving from South Indian musical celebrity to national cultural symbol, is deeply uncomfortable when considered through the prism of contemporary feminism.”

Source: BBC Radio 4 – Incarnations: India in 50 Lives, Subbulakshmi: Opening Rosebuds
Address: http://www.bbc.co.uk/programmes/b073b5cb
Date Visited: Mon Apr 11 2016 14:12:31 GMT+0200 (CEST)

Nagasvaram (nadaswaram): The “auspicious” wind instrument without which no festive occasion is ever complete

Photo © The Hindu

Aparna Karthikeyan, The Hindu, April 11, 2015 | To read the full story and view more photographs, click here >> 

It takes many days to make a block of wood sing. And it takes exceptionally talented craftsmen to do it. The four families who still make the nadaswaram by hand in Narasingapettai (a village near Kumbakonam, Tamil Nadu) are so skilled that they almost make it look simple. […]

Selvaraj tells me about his village’s long association with the wind instrument, without which no Tamilian wedding or temple procession is ever complete.

“Nadaswaram is a ‘mangala vaadhiyam’ (auspicious instrument). It originated in this area, in a village near Mayavaram. My great-grandfather, Govindasamy Achari, went there and learnt the craft. “ […]

Traditionally, nadaswarams are made with aacha maram (Hardwickia binate, Indian Blackwood). “But you can’t use fresh wood; it has to be at least 75-100 years old. Young wood will bend and bow. All this wood was once lintels and pillars of old houses.” He points to the pile in his backyard. “But we face trouble transporting the wood. We’re stopped at check-posts and asked for a bill; but which seller will give me a bill for old wood?” Even worse, they’re accused of smuggling sandalwood.

Their worries don’t end with procuring the wood. “You need three persons to make each piece. After deducting all the costs — wood, labour — we are left with Rs.1000-1500 per nadaswaram,” rues Selvaraj. […]

But every morning, they wake up with worries: will they find some acha maram, will their sons sit down and learn from them, will the government recognise their contribution to music…

Email: aparna.m.karthikeyan@gmail.com

This article is part of the series ‘Vanishing Livelihoods of Rural Tamil Nadu’ and is supported under NFI National Media Award 2015.


Source: Narasingapettai’s nadaswaram makers – The Hindu
Address: http://www.thehindu.com/features/magazine/narasingapettais-nadaswaram-makers/article7088894.ece
Date Visited: Sun Apr 19 2015 20:50:44 GMT+0200 (CEST)

Listen to nagasvaram recordings on YouTube

  • Nagaswaram vidwan, T.N.Rajarathinam Pillai (mentioned in the above article) – Raga Bhairavi
  • Listen to other eminent nagasvaram exponents on YouTube: Karukurichi Arunachalam, Sheik Chinna Moulana and his disciples Kalesha Bibi & Mahaboob Subhani

Find related articles in the Indian press >>

Life-giver and soul of Indian music: The Tambura (tanpura) according to T.M. Krishna

In his recent book, A Southern Music: The Karnatik Story, T.M. Krishna reflects on those misconceptions and stereotypes that stand in the way of truly appreciating South Indian music. He reiterates the unique role played by the (acoustic) tambura / tanpura which is all too rarely heard ‘live’ in Indian concerts today.  

For this eminent singer “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. It is the life-giver, the soul of our music. … Only a musician who has experienced this sanctity can be a true musical vehicle. In the internal absorption of the tambura’s resonance, music happens.” (pp. 48-50) He asks whether the electronic tambura satisfies the human sense of tune when digitization really changes the manner in which we hear sound, a phenomenon he has explored in practice.

In his view, the practice of substituting the tambura by electronic devices also in the classroom “has worked to the detriment of sruti. All this has consolidated the misconception of Karnatic music going ‘off key'”. (p. 235-6; see the book’s index for more on this and related topics)

For reports on the book release and interview, type “Karnatik Story Krishna” in Google custom search – carnaticstudent.org >>

Publisher’s note
One of the foremost Karnatik vocalists today, T.M. Krishna writes lucidly and passionately about the form, its history, its problems and where it stands today
T.M. Krishna begins his sweeping exploration of the tradition of Karnatik music with a fundamental question: what is music? Taking nothing for granted and addressing readers from across the spectrum – musicians, musicologists as well as laypeople – Krishna provides a path-breaking overview of south Indian classical music. – HarperCollins Publisher (2013) Price: Rs. 699