How Carnatic Music is moving towards inclusive literature

The first Lec-Dem sister Margaret Bastin was performed by ‘Sarv Samarasa Kirtanigalam Cirtanigalam’ on the day 14 of the academic sessions of the Music Academy. He discussed Vallar’s intense contributions, which is believed to have learned and composed 6,000 verses, embedding his life experiences within him. He blamed his works for divine intervention. Vallar’s song ‘Annakam Ananakam’ reflects this divine connection.

Despite being written 200 years ago, Vallar’s compositions are relevant today. Vallar was not only a poet, but also a doctor, educational and reformer. Known for its powerful voice, he was often sung on high pitches. He praised deeply and took inspiration from figures such as Vedanayagam Pillai and Sundar, which was one of the 63 Nayans. Vallar’s songs reject caste and creed and encourage universal love.

Vidwan TM Krishna reflected on the unusual pair of Vallar and Vedanayagam Pillai, given that although he lived a different life, his philosophy shared the common land. Krishna saw his distinctive journey for God in search (‘Thedeal’) yet. Comparing between Vallar and Narayan Guru, he praised his ability to integrate social activism with spiritual teachings. Krishna introduced himself to Vallar’s compositions during concerts in Vadalur and mentioned other musicians who completed Vallar’s works, including Alathur Venkatesh Iyer and Guruvayur Ponmal.

He emphasized the role of Thiruvaduthurai subjure to provide a place for classical music, to overcome the obstacles of caste, creed and religion, preferred it at the Madras Sangeet Academy of his time. Krishna cited Arthur’s 1933 writings, which mentioned that many Christian songs were designed for Carnatic ragas such as Desiyatodi, Shadhadi and Sindhvi. Krishna also shared an interesting anecdote about the song ‘Irivanim Kindungangal’ popular in Namasantirtanam, composed by Nagor Hanifa. The song is presented as an Islamic and a Hindu devotional song. This example underlines the parlokic nature of Vallar and Vedayagam Pillai philosophy, proves that spiritual expression cannot be limited to a single tradition or identity.

Importance of Padam and Javalis

The second LEC-Dem Sangita Cala Archarya Arteree (2024) was on the subject of ‘Ragas and Jwallis expressed’ with some of his disciples by Getha Raja. His session offered a deep dive into the importance of Padam and Javalis in Karnataka music, especially through the tradition of the wealthy family. He recalled his experience of learning under unqualified T. Brida, emphasizing the intensive impact of this training on his understanding of ragas.

Geeta explained that Padams are distinguished by her long molds (sweet movements), especially in delayed arts (slow tempo), and traditionally set in rhythms such as metaphor, Triputa and Mishra Chapo. The beauty of Padam lies in their complexity, and they cannot be properly noticed due to their complex gamkas (ornaments). Therefore, Padam is passed through oral tradition.

In contrast, Geeta mentioned that Javalis are fast book compositions, but with the same expressive quality as the pads. Moving through select ragas, he performed and analyzed many compositions to portray these concepts. He started with Sankara Bharanam Padam ‘Manam Bhushanmu’, which was set in Mishra Chapu Taal, composed by Govindasamy Ayya. Like most Padam, it began with compliance. Geeta demonstrated a raga Alpana in place of Padam’s songs with syllables like ‘Tha Di Ri Na’ used in Alpanches. She pointed out the relationship between Varanamatu of this Padam and was found in other compositions like ‘Mansu Swinnamaina’ and ‘Mahalakshmi Jaganamath’.

Subsequently, Geeta Raga went to Bhairavi, who used to sing Kshatraya Padam ‘Ram Ram Pranasakhi’ (Adi Tala). He highlighted his unique Edptu (early point), which after ‘Samam’ matters five which he referred to as five ‘Matharis’. This specific use of Nishadam was compared to Muthuswamy Dikshithar’s composition ‘Balagopala’. He further explained the unconventional use of distinctive melodious phrases in a Jawali ‘Yela Radayne’ in Bhairavi, where TM Krishna indicated the replacement of ‘PMGR S’ for the specific ‘PGRS’ in raga phrases in equal contexts. . ,

Geeta concluded with a jawali in Paras, ‘Smara Sundaranguni’, composed by Dharmapuri Subbarayar, exposed the unusual use of medium per medium in her ‘DPP M’ phrase, which was exposed to the traditional grammar of the raga Does not follow strictly.

The session also included complicated discussion among experts including Ritha Rajan, who praised the marking of Kshatraya Padams by Sangita Kalanidhi Vedwally and talked about the potential impact of Thevaram on Padam’s Edups. He said that ‘Ram Ram Pranasakhi’ may probably be ready to take inspiration from ‘Tarayuni Brova’. Ritha also mentioned that in the Andhra traditions, Raga Ahiri and ‘Ram Ram Pranasakhi’ are sung in Jhampa Tal. Sangita Kala Acharya Suguna Varadhari told how she learned Javali ‘Ni Matle Mayura’ in Misra Chapu, compared to the popular Adi Taal version and explained the developed nature of Javali rendering over time.

In his summary, TM Krishna highlighted how the fundamental family replaced the inherited works, which by using the example of the composition by Sabbaram Dikster ‘Kanthimi’, their creative flexibility to challenge the grammatical boundaries of ragas using the example of composition. Emphasizing on. He also highlighted some of the major phrases found in the Padams presented earlier – the unusual spit in the ‘Bala Vinve’, which seemed like authentic Kamboji till now – a question came out to consider the minds of the current musicians, ” Do we box ourselves within the strict grammar installed ragas? “

Overall, the presentation provided valuable insight on Padam and Javalis as a form. His lecture contributed significantly to the ongoing discourse on Karnataka music, enriched the understanding of Padam and Javalis and highlighted his meanings, and the music heritage of the federal family.