Aesthetics of Swara kalpana in Carnatic Music - Part 1 of 4

Dr. M Balamuralikrishna in a lecture demonstration, presents the facets of swara kalpana in carnatic music. Held in Bangalore on 24 November 2009
The programme presented here, is in 4 parts.

[@indiragovardhanam7984]

Ohhho Goppa Nidhi Murthy sir🙏🙏🙏🙏👍💐

[@csbalachandran]

A masterclass! :)

[@DrPurvajasNatyaMandira]

Thanks for the upload 🙏

[@madhvamunirao.sandhyavanda40]

I watched this program today. I desire to share important observations. First the topic did not receive the seriousness it deserved. All the questioners were also seeking from the maestro many other things other than the 'aesthetic'. There was no moderation, which made the quality suffer. 1. BMK Garu invented Mahati with four notes and had called on Sandhyavandanam Srinivasa Rao Garu (Anna Garu to him) to get his view (before the protests gathered strength). SSRao heard him intently and said "Neekemayya, nalugu kadu, moodu kadu (he was yet to invent three notes raga), swaramulu lekundane raagam padagaulgutavu". SSRao explained the spirit in his this observation. Raaga is rooted in the word 'ranj' colors of many hues and shades of aesthetic. There are two forms of sthoola, gross and sookshma, subtle. Ragas with a minimum five notes only have the potential for both the sthoola and sookshma, and any raga with less than five will be of one form, sthoola, demanding plain notes overemphasis in delineation and delivery of rasa. 2. The protests gathered strength and expert committee of Madras Music Academy was called for decision on this -deemed as controversial claim as 'creation'. SSRao, as expert committee member opined that "In the anaahata and aahata sabda, naada with identities of svara, creation cannot happen is a hypothesis!", " BMK's thesis of four notes based raaga is definitely a 'discovery' for if creation is of bringing into existence that which is not in existence, the discovery is bringing into existence, an existence, either unknown or less known to make known or more known" Rest is history. 3. Truth in Indian musical history is that the development was of two folds-one for the masses and one for the Lords. Many scholars contributed to the development Indian Classical Music and also two distinct systems of lakshya and lakshana-Hindustani and Karnataka Sangita. Patronage of royals and other patrons lead to the distinct form and system of Karnataka Sangita-mainly due to the many laakshanikas lived in the erstwhile geographical regions known as Karnataka. The language(s), collectively, Hindustani in the lyrical forms of music form and system got the identity of Hindustani. 4. Karnataka Sangita's uniqueness and distinctiveness is due to its aesthetic of immense beauty is in 'kampita gamakas'-oscillation of notes. Aesthetic is limited in dhatu, janta and jaaru svaras but unlimited in kampita gamakas-string of svara, note and anusvaras and micro notes. I shall share rest tomorrow, as I have an engagement.

[@jayanthshukla3310]

Spot on sir, the topic got totally diverted. I would have loved to see the master speak on Swara Aksharas, Calclulated porruttams etc. hge is the king of it. Unfortunate :(

[@bobbymoorthy7373]

mahanubhavulu. mana telguvaru. manaku garvakaranam.

[@anusjv4565]

Helpful... Thankz for uploading

[@madhvamunirao.sandhyavanda40]

5. On Sampradaya, tradition, there are two truth of beliefs and truth of facts. Truth of beliefs are popular, in circulation, discussed, debated and questioned by practitioners, including BMK garu. Documentation felt need and works were modern in origin. Oral tradition, Karna Parampara was in practice. Knowledge acquired, possessed, safe-kept and partaken, value attachment as 'sampada', wealth are the important elements in Sampradaya in Guru-Sishya Parampara. Value attachment as 'sampada' was for works of EXCELLENCE, with latency and potency for pleasure delivery-in experience of first time and recall, without or with minimal loss of value of the first time. All the afresh, anew works of excellence become sampada, and sampradaya by practice, seamlessly. Thus, Sampradaya, is not against inventions, discoveries and creativity but its celebration is in welcoming, urging and its recognition. 6. On Practice of Carnatic Music, historically, in India/Bharata, 'public' performances were in Devalaya-Ranga Mandira, temple premises; part of Nrittya, dance and Nataka, theatre; Darbar, royal court halls or Sadas, chambers of rich patrons. They are described only as 'Gayana' and 'Gandharva Gana' in treatises. Music was also democratized in pre and post independence of India with Sabha replacing the darbar. Starting from 15th century and achieving great heights, a unique and specialized of music, Karnataka Sangita got established firmly with both lakshya and lakshana, continuing the sampradaya of Guru-Sishya Parampara and also institutional teaching and practices. Thus gana, gayana sangita of pre-15th century was transition, 15th century to 19th century, transcendence and post 19th century, its transfiguration of Karnataka Sangita. Sabha public performances had to manage the time and leisure to secure the support of patrons and rasikas. Forms, systems and methods of 'cutcheri' were innovated to give the experiences of Indian Classical music in time capsules from 5-6 hours to 3-4 hours; from 3-4 hours to 1.5-2 hours; less than 1 hour. Thus 'public performances' were in existence in sampradaya, tradition. 7. On 'divine' factor, BMK faced the formidable challenges from Pandita when he aimed to achieve pamara ranjakatva-taking Karnataka Sangita to critical masses by the means of 'Style'; in the discovery and creations of new ragaas and talaas, expanding the scope of Karnataka Sangita; new compositions and compositional styles. BMK also was unease with the possibility of his works not receiving its acceptance by the practitioners and its use in study and practices-performances. BMK also adopted the way of truth of beliefs in tell-tales of divine interventions and connection with himself and his music to overcome the resistance and rejection, and achieve popularity by acceptance.

[@manjulamn186]

Respected sir it was a shocking experience for me to read your comments. You must be highly educated and experienced to analyse bmk. I had not seen this video. Being student, I am going to give lot of attention to what you have explained. Thank you sir. I hope if I communicate in this page, it will reach and earn a response from you. Namaste.

[@venkat6260]

@@manjulamn186 He is the son and disciple of Sangeetha Kala Acharya Sri Sandhyavandanam Srinivasa Rao. See the below post to know about Sri Sandhyavandanam Srinivasa Rao www.outlookindia.com/website/story/one-name-that-evokes-an-evening-raga/300797

[@venkat6260]

@@manjulamn186 The list of disciples of Sangeetha Kala Acharya Sri Sandhyavandanam Srinivasa Rao is truly impressive: Ariyakudi Ramanuja Iyengar, Semmangudi Srinivasa Iyer, M.S. Subbulakshmi, M.L. Vasanthakumari, M. Balamuralikrishna, S. Ramanthan, Radha-Jayalakshmi, Thrissur V. Ramachandran, R. Vedavalli, Sugandha Kalamegam and flautists Prapancham Sitaram and S. Shashank, besides Poonapragna Rao and Arundhati Circar.

[@sudhasomanathan9030]

I am not sure what the last sentence in above comment no.7 means.. that BMK adopted tell-tales of divine intervention etc Can anyone explain pls

[@dr.vijayalakshmichandran2479]

How sweet

[@radhadontidonti9136]

🙏🙏🙏