The day of academic sessions 10 s. The presentation of Somya began with ‘Understanding a raga through the interpretations of’ T. Brinda and S. Ramanathan ‘. He started his talk by discussing the importance of Petanthara (tradition) and how it continues to shape contemporary music. He emphasized the importance of teachings of a guru, while accepting how artists often add additional organizations (music phrases) to leave their unique imprint on a composition. He described music expression as a dynamic language, which is developing through constant ideological changes.
Using examples of Savery, he highlighted the difference in interpretation. For example, in ‘Ivan Yaaro’, S. Ramanathan raised Gandhim and Nishadham slightly, while in ‘Shri Rajagopala’, notes will not be elevated. However, Mukta MA insisted on reducing notes in Severy.
Somya said that now the classified Severy under Malawa Gaula was listed under the first old texts. He emphasized the importance of understanding and interpreting these changes, as well as warning Swar to the tendency to ’round off’. He explained the concept of ‘alpotwam’, which refers to subtlety in both volume and frequency, advocating the balance between traditional adherence and innovation in music.
Connect between Alpana and Kriti
Somya expressed her opinion that a raga should maintain a relationship with the composition being presented. While he encouraged him to stick to the prayers contained in the composition, he also welcomed the innovation for the fans. Using suffering as an example, he explained how Gandharam is mainly handed over rare phrases in the ‘Giripai’ of Tyagaraj, which is still rarely heard today. His students performed these sangatis beautifully, portraying the nuances. She further expanded in detail on the ragas under the Kanada Nakshatra, such as Atana, Tahna, Abhogi and Kannada.
While infection in the pheasant, he has his mentor S. Based on the teachings of Ramanathan, Jiva Svera and Dhawat’s subtlety highlighted the prominence of Nishadham. He vice versa with a fundamental school, which gives more prominence to Dhawam, but refined to avoid looking like Kedargovala, and cited examples such as ‘Bhajna Perulek’ and ‘Mariada Teliakanek’.
He suggested that these stylistic variations between different schools can provide a vast area for research, even suitable for doctoral studies.
Somya encouraged the students to stylistic development and detection of baggage (traditions), emphasizing that no one is perfect or wrong. Finally, he emphasized the importance of enjoying music, as it naturally inspires curiosity about its origin, development and aesthetics.
Use of Gandham
During the Q&A session, experienced musician and Guru Suguna Varadhari highlighted the Sahna Ata Tala Varna by Patnam Subramania Iyer, where the phrase ‘MGGRS’ uses both Sadran and Antara Gandharam. This facility is still being sung. Somya said that it is important to explain the information correctly, as they cannot always tell which Gandram to use.
Senior Karnataka composer Bombay Jayashree praised Somya for giving a practical and attractive music lesson.
RS Jayalakshmi on notation for Nirawal
Pro. Jayalakshmi performed her lecture on ‘Notation’ for Nirawal by Kallidikurichi Vedanta Bhagavatar. Her granddaughter and veena artist Charulatha Chandrashekhar accompanied her. , Photo Credit: K. Pitchhumani
Veena Vidushi Prof. in the second lecture performance of the day. Jayalakshmi, his granddaughter Chandrashekhar assisted Kallidikurichi Vedanta Bhagivatar on the subject of information for Nirawal.
Jayalakshmi began by highlighting the complexity and challenges involved in noteing a complex aspect of Karnataka music.
Kallidikurichi Vedanta Bhagwatar, who lives between 1878 and 1940, was a versatile musician – about 100 Critis, a guru and a hariotha artist’s composer. He trained under Subbarama Dikshati and Ambi Dixit.
Vedanta Bhagwatar called a book Cigarettesalso known as Pallavi Parizam Where the information of Nirawal has been mentioned. However, Jayalakshmi focused on her manuscripts in this lecture, which provides valuable insight into her work. especially, Pallavi Swarakalpavalli (Around 1900) includes notation for Kalpana. Under the manuscript, in the manuscript, Pallavi, Alapana, Nirwal and Swarms, Vedanta Bhagavatar were assisted by his student Kallidikurichi Mahadev Bhagavatar.
RS Jayalakshmi noted the absence of Tanam in these manuscripts, which otherwise documentation of detailed notation for other Manodaramam aspects.
Careful approach to signaling
Veteran Venika and scholar showed a manuscript of eight-Kali Pallavi in Shankara Bharanam with ‘Madhyasa Slaughter, Hare Krishna’. She explains in detail on the explanatory aspects of speed, rhythm execution and gamkas, which is not clearly mentioned in the manuscript. Charaulath performed this Pallavi and Jayalakshmi explained how Vedanta Bhagwatar noted Anu Swas and how the literature in Nirawal remained in line with the placement base melody. Despite the long pool cycle (128 math), Pallavi’s words were significantly excluded, showing how more importance was given to music. RS Jayalakshmi highlighted unusual phrases in the nomination, such as GPS, usually found in the modern rendering of the raga Kadanakuthuhalam.
Nirwal Notation emphasized the rhythmic pattern of Vedanta Bhagwatar, some of which pushed the infrastructure by a pulse. Vedanta Bhagwatar included the pattern of 7, 5, 3 and 9 (Missram, Khandam, Tisram, and Sankernum) and even noted Trikalam for Nirwal, which was displayed by Charulath. Interestingly, the same Pallavi is also noted in the raga tolerate, further shown to be careful for Vedanta Bhagwatar’s signature.
Vedanta Bhagwatar also noted Kalpneshwar and suggested that his pattern could be adapted to Nirwal. RS Jayalakshmi, Secretary of Music Academy, V.K. Addressed a question of Shri Ram, which confirmed that the manuscripts of Vedanta Bhagwatar did not use symbols from their guru Subarbama Dixit’s Samapradya state. Senior composer Guru Suguna Varadhari said that the SNP phrase in the lower octave also appears in Tyagaraja’s ‘Kshira Sagara Vihar’.
The expert committee recommended the students to practice four-Kalis and eight-Kali Pallavis. It was noted that the manuscript lacked notes for Dhurita Kala Nirwal, only Sama Kala Neerwal was documented. In addition, Jayalakshmi said that Vedanta Bhagwatar’s Sangita Tatwa was the first lesson to use the word Tatva Pradesh Nirwal, which mentioned Nidhar as Santa with the first works.
Published – January 11, 2025 05:53 pm IST