Video | Interview with MD Ramanathan

Clip from interview with Dr. Amy Catlin and Dr. Frederick Liberman, Dec 1977 MDR talks about his background and he was initiated into Carnatic Music

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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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Raga Hamsadhvani in: “India’s classical music may be the best antidote to chauvinism” by Ramachandra Guha

To read the full article by the internationally acclaimed author of India After Gandhi, click here >>

After Partition, Bade Ghulam chose to move to Pakistan, but, finding the audience for classical music limited (in all senses of the word), wished to return to the Indian side of the border. In the 1950s, it was much easier to travel between these two countries than it is now. So Bade Ghulam made a trip to Mumbai, where someone brought his predicament to the attention of Morarji Desai, then the chief minister of the undivided Bombay State. Morarji bhai arranged for a government house for the maestro, while the Central government, headed at the time by Jawaharlal Nehru, smoothed the way for this Muslim from Pakistan to become a citizen of India.

Hamsadhvani is a lovely, melodious, raga in the Carnatic tradition, said to have been originally composed by Ramaswamy Dikshitar in the 18th century. There are many songs set in this raga, such as “Vatapi Ganapathim”, a hugely popular item in the repertoire of (among others) M.S. Subbulakshmi and M.L. Vasanthakumari. At some stage the raga was also adapted by Hindustani musicians for their own use. […]

Listen to the rendition of raga Hamsadhvani by Bade Ghulam Ali Khan (YouTube from 3:20), recorded at the Rama Navami 1956 festival in Bangalore’s Fort High School >>

The celebrated Kannada writer, Kota Shivarama Karanth, once remarked that it was impossible to “to talk of ‘Indian culture’ as if it is a monolithic object”. In Karanth’s opinion, “Indian culture today is so varied as to be called ‘cultures’. The roots of this culture go back to ancient times: and it has developed through contact with many races and peoples. Hence, among its many ingredients, it is impossible to say surely what is native and what is alien, what is borrowed out of love and what has been imposed by force. If we view Indian culture thus, we realise that there is no place for chauvinism.”

To this quote from Karanth let me append one by Rabindranath Tagore. Speaking of our inherited and shared diversity, Tagore once remarked: “No one knows at whose call so many streams of men flowed in restless tides from places unknown and were lost in one sea: here Aryan and non-Aryan, Dravidian, Chinese, the bands of Saka and the Hunas and Pathan and Mogul, have become combined in one body.”

The pluralism and cultural heterogeneity that Karanth and Tagore highlighted mark most spheres of Indian life. And perhaps (as they knew so well themselves) our classical music above all. Whether it be instrument or raga or genre or performer, we cannot say what is Hindu and what is Muslim, which part is native and which alien.  […]

For the act of Bade Ghulam Ali Khan singing Hamsadhvani at a Rama Navami concert in Bangalore’s Fort High School in 1956 brings and blends together many languages, religions, regions, political regimes, musical traditions, and architectural styles. It is a glorious tribute to the cultural diversity of our country and our civilization.

Source: The Telegraph (Calcutta)
URL: https://www.telegraphindia.com/opinion/indian-classical-music-may-be-the-best-antidote-to-chauvinism/cid/1778691
Date visited: 6 June 2020

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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Flute TS Sankaran – Kalakshetra 1988

  • 1. 0:0:00 kAmbhOdi aTa tALa varNam
  • 2. 0:11:11 gajAnanayutam – chkravAkam
  • 3. 0:20:16 sogasu jUDa – kannaDagowLam
  • 4. 0:26:50 nenaruncarA nApaini – simha vAhini
  • 5. 0:34:15 cinna nADE – kalAnidhi
  • 6. 0:45:35 rAgam + manasu swAdhInamaina – shankarAbharaNam
  • 7. 1:20:22 rAgam+ meevalla – kApi
  • 8. 1:35:38 rAgam + parama pAvana rAma – pUrvikalyANi + thani 9. 2:38:34 mariyAda telikanE – suraTi jAvaLi
  • 10. mangaLam

Vidwan TS Sankaran was Flute Mali’s favorite and most trusted disciple. Apart from imbibing many of his guru’s techniques, he has created several of his own. His music also sometimes reflects his passion for the other great genius piper of the 20th century, TN Rajaratnam Pillai, who hails from the same village as Shri Sankaran. His legacy, and that of his guru Mali, is fortunately being continued through his grandson, Flute Jayanth.

Live recording made on 31 December 1988 – shared by Ludwig Pesch under Creative Commons

TS Sankaran – biographical entry in Garland Vol. II by N. Rajagopalan
(Chennai 1992), p.264

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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“Drinking the ever tasteful essence of raaga, why don’t you rejoice, O mind!” – Tyagaraja’s Ragasudharasa rendered by Flute Jayanth

Yet another proof and a delightful one (if any were needed), that
“Music is the purest form of art, and therefore the most direct expression of beauty, with a form and spirit which is one, and simple, and least encumbered with anything extraneous. … No one of its notes is final, yet each reflects the infinite.” – Rabindranath Tagore (Sadhana, the Realisation of Life)

Related

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

Related post
“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 | Carnatic Wave: A journey into the Karaikudi tradition


Carnatic Wave is an aural journey into the Karaikudi Veena tradition, a centuries old practice of Southern Indian classical music being carried on by a group of musicians in Portland, Oregon. This short documentary offers a glimpse into their world of Carnatic music, highlighting the importance and challenge of teaching traditional art forms in our modern society. – Documentary maker David Van Auken

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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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Audio | What Makes Indian Music Unique – Kennedy Center Education

To listen to the educational resources shown below, click here >>

Source: Music of India, An exploration of Indian music
URL: https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/international/music-of-india/
Date visited: 2 August 2021

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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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Vidyaamagna: webinar & online lessons

Find a copy of the Oxford Illustrated Companion to South Indian Classical Music

  • on the publisher’s website: Oxford University Press
  • in a library near you via WorldCat.org
  • from one of several Indian distributors and online bookstores

Historically, Bharatanatyam was mostly prevalent in Tamil Nadu, though traces of it were found in the 20th century in what are now Kerala, Karnataka and Andhra Pradesh. Today it is taught and practised throughout the globe. The term ‘Bharatanatyam’ has been in existence at least from the 15th century but we do not know the compositions the dancers performed in the early years of Bharatanatyam. […] The repertoire added during the time of Tulaja and Serfoji II owes its credit to four brothers of Tanjavur who belonged to a traditional natyacharya family. They were Chinnayya, Ponnayya, Sivanandam and Vadivelu, the ‘Tanjavur Quartet’ we know.

Read the full article by Bharatanatyam music expert BM Sundaram: The Tanjavur Quartet: Margadarsis of Bharatanatyam (Sruti Magazine, courtesy dhvaniohio.org)

Tip: safe-search: Bharatanatyam Serfoji Tanjavur | More search tips >>
(add other search terms in the present context)

Perceptions of “Guru” now and then

A teacher teaches music – the curriculum, the techniques, the methods and so on, but a Guru teaches how to approach music: how to understand it, how to internalize it and how to enjoy it. […]

Music is a lifelong pursuit and its emotions start sinking into you with more internal growth of the self (for which the Guru is an enabler). At a certain phase in this pursuit, you become your own Guru.

Vasudevan Ram in Learning Music – A Guru Is More Than A Teacher >>

The word ‘Guru’ in the Indian context of learning places the person on par with or even higher than God.

Pantula Rama paying tribute to her violin guru Ivaturi Vijayeswara Rao of the Dwaram tradition in “Architect of Vizag’s music scenario” (The Hindu, 19 February 2013)

Note: gurukulavāsam refers to the practice of living as member of a teacher’s household >>

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Boggle Your Mind with Mela (BYMM) method – free mini course

Have you been looking for a fun way of memorizing the 72 melakarta names and numbers, finding them “mind bending” rather than “mind boggling” until now?

Here’s one method that may work – if you are ready to practice it for a few minutes every day; like passing time while waiting in queues or commuting, or unable to fall asleep. Silently so … such is the beauty and usefulness of the melakarta system.

STEP 1
Take today’s date (or your favorite musician’s birthday) in the format you commonly use (DD-MM or MM-DD, here we’ll use DD-MM)

12-07 for 12 July

STEP 2
Pick the corresponding mela numbers from the list available here (a special gift for all motivated learners):

There you look up the number pair for any given date, for instance:

12 = Rūpāvati R-P=21><12
07 = Sēnāvati S-N=70><07

Tip: if interested, find more explanations on page 2 to understand how the Kaṭapayādi sūtra is being applied to the names of 72 mēḷakartā rāgas (“melas”).

STEP 3
Remember how “yesterday … your troubles seemed so far away?”

11-07 for 11 July … so keep moving forward and backward after getting today’s numbers and names right, to start with.

You got it, all ready to go for days and weeks to come: because that date, too, is another day; one bound to become a memorable one with the help of the Boggle Your Mind with Mela (BYMM) method.

STEP 4
What’s next? Here are some suggestions:

  • find the actual DD-MM date in the Western calendar which corresponds to “72 October 2021”
  • or any other DD-MM date you consider booking a ticket and attend the Chennai December Season
  • if motivated to do so: memorize the entire list of 72 melas in batches of 10 (rather than 6): you’ll spot the patterns more easily
  • apply mela numbers in order to remember daily matters: birthdays, holidays or passwords – you name it
  • print the above PDF-attachment, then fold the sheet along the lines “accordeon style”: this yields a neat, visiting card size BY-MM paper-app (battery free for 24/7 use)
  • use it as a gift for fellow music lovers interested in this subject

Just one more thing as regards general well being
Although it seems unlikely you didn’t know yet: remember how good walking is for both, one’s mental and physical health? For our brains and moods … even for learning all the 72 mela ragas by heart in a stress-free manner.

So I gladly recommend listening to the following podcast episode by BBC Crowd Science:
Why is standing more tiring than walking?
https://www.bbc.co.uk/programmes/w3ct1pqm

So keep walking, and rather than talking, boggle your mind through mela memorization whenever you are out there – enjoy!

Ludwig Pesch on Rūpāvati-Sēnāvati Day 2021

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