In the Morning LEC DEM session of the Music Academy, violin Widavan HK Narasimamurthy spoke about the importance of Manodarma.
At this year’s conference, the 13th day of LEC DEMS and the concert at the music academy started by Vidya HK Narasimamurthi with a session, with his disciples HN Bhaskar, MySore Srikanth and Sindhu. This theme ‘Violin used to teach Manodharma Sangita’.
Narasimhamurthy emphasized that the creative aspect of Manodharm, or Karnataka music, is one of the last chapters in a never -ending learning journey of a musician. He emphasized the importance of mastering basic exercises such as Sarli, Janta, Datu, Alankar, Gatham, Vernam and other basics, as these are the necessary conditions to develop Manodarma. He then proceeded to explain the components of Manodarma Santa in Karnataka music: Alapana, Nirawal, Swarm and Tanam. Narasimhammurthy said that earlier artists often employed Sarwa Lagu more widely. He said that today’s artists often prepare a manodarma, which he argued, goes against his real essence of spontaneous creativity.
To clarify its points, Narasimhamurthy explained in detail on basic exercises for violin. He performed Sarli Varisai without Gamkas, in which Srikanth started at Mandra Octave, after which Bhaskar was also playing with Gamkas. He explained that not all the vowels took Gamkas and showed this concept using Ragas Shankara Bharanam and Mayamalavagowala. All three violinists played the role of Sarli Varisai, both with Gamkas, and without both with three speeds in Shankara Bharanam. He recommended practicing all compositions on a single string, which dedicates at least two hours every day for rigorous practice.
The session also covered the phrases and the specifics of stopping in playing. Narasimhamurthy insisted on leaving gaps between phrases and maintaining composer even during rapid route. Bhaskar advised musicians to listen to concerts with an analytical perspective of a musician rather than normal listeners, and used as information to study the aesthetic attitude of various singers and to improve skills with someone.
To display Manodharma’s application, Srikanth was tasked to play a little without a note fifth, while Bhaskar showed Begada, which was focusing on the border between Shadjam and Dhiwhamtham.
Narasimhammurthy emphasized the importance of Stakkato Baong, which he especially called the “Cutting Dhanush” to play Tanam. It was performed by Srikanth and Ragas Natakurinji and Bhaskar in Kapi in the Raga. Narasimhamurthy highlighted the need to effectively bring out the essence of the raga, even during a short -term concert.
During the discussion of the later expert committee, scholar Shriram Parashuram indicated the importance of recognizing both stock and unique phrases in the essay of a raga. Narasimhammurthy reiterated that when the guidance of the Guru is important, the artist would eventually have to free and develop self -sufficiency in creativity. Ram Kausalya attracted similarities between the vocal and instrumental traditions in the Manodarma training. Narasimamurthi also praised the late scholar Nedunuri Krishnamurthy, who without repeating the pattern for the ability to present more than one hundred incarnation to Kalpana.
Senior Mridangist K. Arunprakash said that the role of a violin player is the most challenging on the Carnatic concert stage.
TM Krishna appreciated the simplicity and effectiveness of the lecture performance. He highlighted the diversity of playing styles between Srikanth, Bhaskar and Sindhu, which was a will for Narasimhmurti’s teaching methods. On the matter of Narasimhmurthy, Krishna said in detail that Manodharm’s self-intelligent knowledge and students emphasized the role of Guru to reach this knowledge.
TM Krishna concluded, saying that the session not only illuminated the process of teaching Manodarma, but also provided valuable insight into an artist’s behavior, approach and stage dynamics. He said that these qualities collectively contributed to the development of Manodarma. He also said that violin solo concerts need more importance in the form of vocal concerts. For this, he said that we would need to change our conditioning.
Song Padalgal
M. Alumlai and team in session | Photo Credit: K. Pitchhumani
In the second session of the day, M. Alumlai was shown, who presented a practical LEC Dame on the origin, development and socio-cultural significance of the ‘song Padalgal’- a style that was deeply inherent in Chennai’s urban fabric. The session began with the discovery of linguistic development of Chennai Tamil. Alumalai detected its emergence for the confluence of diverse linguistic effects brought by Gujaratis, Urdu speakers, Telugu and Kannada migrants. As a result of this amalgamation, separate ‘Madras Bashai’ – is the language that outlines the anthem Padalgal.
The presenter highlighted the socio-geological division in colonial Chennai:
• Vellai Nagaram (White Town)-Fort is concentrated around St. George, which was mainly settled by British and upper-class porters.
• Karuppu Nagaram (Black Town)-Including areas such as Visarpadi, Tondiyarapet, Perambur and Chintadripate, where the working class and marginalized communities lived.
The linguistic exchange between these spaces led the development of a unique urban dialect, rich in Sanskrit, Urdu, Telugu and other languages.
• For example, the word ‘Kasamlam’ (Earth Garbage) is derived from Sanskrit ‘Kashmanam’.
• Urdu words such as ‘Daulat’ (Dhan), ‘Jalalsa’ (Utsav), ‘Maja’ (Fun), and ‘dishonesty’ (dishonesty) originally entered colloquial.
• Telugu contributed words like ‘Naina’ (father) and ‘Dabboo’ (Paisa).
Alumalai also discussed how linguistic forms are adapted over time, simplifying pronunciation and syntax:
• ‘Azagaga Iruku’ (this is beautiful) turned into ‘Sokka Iruku’.
• ‘OD Via’ (Aao Running) became ‘Odia’.
• ‘Dhuratram’ (smell) was replaced by ‘Gabbu’.
The etymology of colloquial phrases was equally attractive.
• English phrases such as ‘Don’t Beer Me’ developed in ‘Bejar Ah Pochu Da’ – a local expression of annoyance.
Padalgal’s performance practice was deeply associated with the living experiences of the marginalized communities of Chennai. A notable tool associated with this tradition is ‘Kottuangchi’ (a collision device made of coconut shells), which gives the songs a rhythmic intensity. In his early forms, the song Padalgal included the doodle Sangat including kitchen utensils, harmonium, tabla and dholak. Over time, Style absorbed effects from cinema music, where these contributions popularized Gaana in the mainstream culture.
Alumalai insisted that the song Padalgal crossed entertainment and worked as a music chronicle of living realities. Its songs capture the struggles and aspirations of the urban poor, including ‘Madi Vidu’ (multi-storey housing) from the slums, despite the offering of the shelter, failed to ensure economic security. The songs of the song sung by Rahman, which were part of the Lake Dame, were ‘Ang Singara Payti Ilai, Nangu Okkar Thinnai Ilai, Nangu Porndhu Oru Illa, Namma Wazakai Nargathila’. It roughly ‘In our beautiful hometown, there is no verandah for us, the place we were born, our life is in hell.’
Style reflects a festive approach to life, even the funeral songs (killing songs) to honor the deceased through music. The discussion also touched the emergence of the song rap among young artists, showing its adaptability for contemporary forms.
The music questions of the audience discovered aspects such as: The song is beyond the background score, the significant time of the signature used in Padalgal, the possibility of 3/4 and 6/8 rhythm and the initial instrument, including the Haronium and Peruction.
In his closing address, TM Krishna appreciated the vocal techniques and voice modulation displayed by the song artists, highlighting his ability to express emotional depth through rhythm and raga. This session considins how the song Padalgal remains an oral tradition, preserves history and conflicts that are often unspecified in written records. The Executive Committee accepted the privileged distance that often separates the mainstream audience from the experiences of the song artists and appreciated the session for promoting more understanding and praise of this vibrant art form.
Published – 13 January, 2025 03:47 pm IST
