The Shaping of an Idealcarnatic Musician Through Sādhana 8121207460, 9788121207461

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THE SHAPING OF AN IDEAL CARNATICMUSICIAN THROUGH SĀDHANA

THE SHAPING OF AN IDEALCARNATIC MUSICIAN THROUGH SĀDHANA

Dr. Pantula Rama

GYAN PUBLISHING HOUSE NEW DELHI-110002

The Shaping of An Ideal Carnatic M usician Through Sadhana © Pantula Rama ISBN: 81-212-0746-0 All rights reserved. No Part of this book may be reproduced in any manner without written permission. Published in 2008 in India by Gyan Publishing House, 5, Ansari Road, Darya Ganj, New Delhi-110002 Phones : 23282060, 23261060 Fax : 011-23285914 E-mail: [email protected] Website: www.gyanbooks.com Lasser type Setting by : Quick M edia, Delhi Printed at : Singhal Print M edia, Delhi

DECLARATION I declare that this thesis has teen written by me and has not previously formed the basis for the award of any degree, diploma or other similar title.

CONTENTS Acknowledgements Abstract 1. Introduction 2. Objectives of the Present Study 3. Methodology 4. Learning Carnatic Music 5. Physical Practice 6. Analytical Sadhana of Compositions Dhatu and Matu and their Samanvayam 7. Manodharma Sangeetam 8. Laya Gnanam 9. Listening and Observation 10. Lakshana Gnanam as an Aid to Lakshya Sadhana 11. Teaching for Self Development and to become Complete Musician 12. Concert Planning and Execution 13. Role of Age Factors and the Requisite Sadhana 14. Influence of Social and Socio-Economic Factors with Reference to Sadhana 15. Conclusion Appendix – A : Questionnaire Appendix – B : Views of Great Musicians of Carnatic Music Appendix – C : Advice to Pupils Bibliography Index

Acknowledgements It is my humble duty and pleasure to acknowledge heartfelt gratitude to each one of those who have contributed in a big or small way in bringing out this book. Firstly I would like to thank Sangeeta Vidushi Prof.V. Gowri Rammōhan who has guided and supervised this thesis with her valuable suggestions. She has also showered special affection on me personally with her kind hearted and softspoken nature in motivating me at many junctures in the course of working on this book. I fall short of words in acknowledging the contribution of my Guru, the great Vidwān Sri. Ivatūri Vijayēswara Rao, who fits exactly into the category of an Ideal Guru discussed in this thesis. He has not only shaped the musical part of me but also my personality on the whole, thus making me a self-sufficient musician. This thesis is a result of all the musical and human values established by him in me. He has also spared his valuable views in his interview. I pay my obeisance to him and Smt. Sūryakãntam - my Gurupatni, for the parental love and affection with which they have groomed my musical career. My parents, Violin Vidwān Sri. P Gopāla Rao and Veena Vidushi Smt. P. Padmāvathi can be termed as the ideal parents who have spared no stone unturned for the development of my musical knowledge. I pay my homage, to my father who has also tutored me in music for a few years and has been instrumental in recognising my musical abilities and bringing them out. He has been with me throughout the process of this thesis in compiling the required material, editing and miscellaneous work such as the computer work etc. I also pay homage to my mother who has given me moral support all the time and spared me from domestic responsibilities, shouldering them herself. I am greatly indebted to Sangeeta Vidwān Sri. T.R. Subramanyam, who has been kind enough to help me obtain the interviews of some great musicians of Chennai. I am also indebted to him for his immensely valuable views in the course of his interview and I pay my respects to him. I humbly express my heartfelt gratitude to the great Violin VidwānSri.Dwāram Durgā Prasāda Rao who has been a source of all round contribution and inspiration in the course of the thesis. He has not only expressed his valuable views in his interview but also conveyed the precious views of the Violin Virtuoso Sri Dwāram Venkata Swāmy Naidu and my Parama Guru, Violin Maestro Sri Dwāram Narasinga Rao Naidu. He has also provided a large volume of material in the form of books, articles and also personal material collected by him. He has been a guiding star at many places in the book. I pay my humble obeisance to all the following great musicians in addition to those mentioned above, who have been kind enough to spare their valuable time and part with their views in the interviews, and have permitted me to present them in my book– 1. Sri. Semmangudi Srinivasa Iyer 2. Sri. Nēdunūri Krishnamūrty 3. Sri. P.S.Nārāyanaswāmy 4. Sri. T.N.Krishnan 5. Sri. Lālgudi G.Jayarāman 6. Sri. M.S.Gopālakrishnan 7. Sriman N.Ch.krishnamāchāryulu 8. Sri. Annavarapu Rāmaswāmy 9. Sri. N. Ramani I am extremely grateful to the eminent Violin Vidwān Sri. M.S.N. Murthy for giving his valuable views on Violin playing to present them in my thesis. He has also thrown light on many other subjects in this book. I am greatly thankful to Sri M.Sōmasundar for sparing his computer and also bearing the responsibility of its proper functioning till the completion of the book. I am thankful to Sangeeta Vidushi Smt. Manda Sudhārāni and Sangeeta Vidushi Kum. Mandapāka Sārada for sparing me their valuable books.

I owe my indebtedness to Sri. D.S. Narayanan, a connoisseur of Carnatic music for his help in translating the Tamil interviews into English. I am thankful to my disciple Smt.V. Aparna who assisted me in obtaining the interviews of great musicians at Chennai and also helped in editing some of the interviews. I am also thankful to my disciple Kum. Dhārwāda Aruna for helping me in editing the interviews. I affectionately thank Kum. Jyōtsna, Kum.Y.Vijaya, Kum.Y. Sunita, Smt. Chandana and Kum. K.K.A. Pallavi (budding musicians), for assisting me in feeding the material to the computer. I fondly thank Miss. M. Sudhā Samyukta (student of music) and Master P. Satya Jayadev (budding mridangist) for lending me their Dictionaries and Thesaurus.

Abstract The fast changing trends in general, are affecting the overall growth and individuality of the society with both positive and negative perspectives. The positive effects are obvious. However, the quickness of thought and a penchant for perverted innovations are creating a feeling in the younger generations that – ‘nothing is indispensable’. They are drawn irresistibly towards the glitter of the motto – ‘use and throw’. The greatest victims of this attitude are ‘Art’ and ‘Culture’. Adjudication of anything by its utilitarian values is causing a sense of indifference towards art and thereby, culture. Art in its pristine and ideal state is a result of the dedicated and committed efforts of idealistic individuals, in any period. When we talk about music, history might have witnessed many such unknown great people in its unwritten pages. However our ideals are centered on the all-time paragons of Carnatic music such as the Musical Trinity – Thyāgarāja, Deekshitar and Syāma Sāstry, belonging to the ‘Golden period’. It is the responsibility of the younger generation of musicians to research, revive, practice and carry on the ideals and traditions of the past. The present study is one such earnest endeavour. The present generation of musicians owes its gratitude even more to the post-trinity and early modern period musicians, who have bridged the gap between the past and the present and have added new flavours with the fragrance of their individual styles. Therefore, the scholar has deemed it necessary to meet some of the great musicians of the early modern period and take their views and present them in this study. The great musicians are – 1. Sri. Ivaturi vijayēswara Rao (Guru of the scholar) 2. Sri. Semmangudi Srinvāsa Iyer 3. Sri. Nedunuri Krishnamūrty 4. Sri. T.R. Subrahmanyam 5. Sri. P.S. Nārāyanaswamy 6. Sri. T.N. Krishnan 7. Sri. Lālgudi G. Jayarāman 8. Sri. M.S. Gopālakrishnan 9. Sriman. N. Ch.Krishnamāchāryulu 10. Sri. Annavarapu Rāmaswāmy 11. Sri. Dwāram Durgā Prasāda Rao 12. Sri. N. Ramani In addition, the valuable views of Smt. D.K. Pattammāl were elicited from an interview published in a newspaper. Further, the study is carried forward to analyse in detail, the various requisite aspects of Carnatic Music, ‘To Shape An Ideal Musician Through Sādhana ‘ 1. Learning music and the various factors involved in it. 2. Physical practice of vocal (voice culture etc) and violin. 3. Analysis of dhātu (music) and mātu (lyric) and their samanvayam(correlation and conjunction) in compositions. 4. Manodharma Sangeetam. 5. Individual style of an artist. 6. Laya. 7. Listening and observation.

8. Lakshana gjnānam as an aid to lakshya sādhana. 9. Role of teaching in self-development of the individual into a complete musician. 10. Role of age factors. 11. Influence of social and socio-economic factors on sādhana. The present research is also based on the scholar’s practical experience of learning, practicing, listening and teaching of Carnatic music.

1 INTRODUCTION Music is one of the most complex types of art. Its role reigns supreme in human existence because, it is only second to ‘speech’ in the direct expression of the inner self of a human being. On further contemplation, music has an edge over speech in creating entirely different and special sounds than those that are found naturally. These sounds serve the purpose of expressing thoughts, feelings, emotions and passions, which are inexpressible otherwise. Hence, while speech is the direct language of the human ‘being’, music is the direct language of the human ‘soul’. As this utilitarian purpose of music transformed itself into a complete art form following the cultural and regional backgrounds of different parts of the world, individual systems of music are developed. Changes have been inevitable in the teaching, practice and performing methods of these systems in the course of up keeping and updating their traditions. There has been the constant pressing need for reviewing and revising these methods from time to time in accordance with the prevailing conditions of the given period of time. This need projects itself more frequently in the present scenario of fast changing trends all around. It is a time-tested fact that, to achieve something, one has to fix a goal first. In doing so, if one aims at a high ideal one can realise his ambition at least to some extent. Hence, the ideal state of a musician is taken as the target in this study. It is important to define the terms ‘Ideal Musician’ and ‘Sādhana’ at this juncture. Ideal Musician The word ‘Ideal’ is defined as – ‘according to one’s highest idea’ (An international reader’s dictionary, Micheal West, 1965). In the present context, the word ‘Ideal’ is used in its adjective form. It has as its synonyms - perfect, consummate, supreme, classic, absolute, complete, flawless, exemplary, archetypal, model, quintessential etc (The concise Oxford Thesaurus, Betty Kirkpatrick, 2001) According to the Funk and Wagnalls Standard Desk dictionary (1983) ‘ideal’ in its noun form is defined as - 1. A concept or standard of supreme perfection 2. A person or thing taken as a standard of perfection 3. A high principle; lofty aim 4. That which exists only as a concept of the mind. The adjective form of the word ‘ideal’ is defined as - 1. Conforming to an absolute standard of excellence 2. Completely satisfactory: an ideal situation 3. Capable of existing as a mental concept only; utopian; imaginary 4. Pertaining to or existing in the form of an idea or ideas 5. In philosophy - pertaining to or existing as a platonic idea. The word ‘idealism’ in its noun form is defined as - 1. The envisioning of things as they should be or are wished to be rather than as they are 2. Pursuit of an ideal 3. That which is idealized 4. In literature and art, the imaginative treatment of subject matter in accordance with preconceived standards of perfection: opposed to realism. 5. In philosophy - any of several theories that there is no reality, no world of objects or thing in itself apart from a reacting mind or consciousness and therefore that reality is essentially spiritual or mental. The word ‘Idealist’ (noun) is defined as - 1. One who formulates or attempts to live in accordance with ideals 2. An exponent of idealism in literature, art or philosophy. ‘Idealism in philosophy - A theory of reality and of knowledge that attributes to consciousness, or the immaterial mind, a primary role in the constitution of the world. More narrowly, within metaphysics, idealism is the view that all physical objects are mind- dependent and can have no existence apart from a mind that is conscious of them. This view is contrasted with materialism, which maintains that consciousness itself is reducible to purely physical elements and processes - thus, according to the materialistic view, the world is entirely mind-dependent, composed only of physical objects and physical interaction. In epistemology, idealism is opposed to realism. The view that mind-independent physical objects exist that can be known through the senses. Metaphysical realism has traditionally led to epistemological skepticism - the doctrine that knowledge of reality is impossible, and has thereby provided an important motivation for theories of idealism, which contend that reality is mind-dependent and that true knowledge is gained by relying upon a spiritual or conscious source’ (“Idealism”, Microsoft® Encarta® Encyclopedia 2000. ©1993 - 1999 Microsoft corporation) The philosophy and literature and art of India are primarily based on this concept of idealism. More so is the case with classical arts and the art of classical music in particular.

A contemplative analysis of the above factors leads one to understand that ‘Ideal’ in the present context - i.e. ‘The shaping of an ideal musician’, involves in it, the essence derived out of an amalgamation of all these. This is because the art of camatic music encases within itself, all these factors, and is incomplete without any one of them. From ancient times, music has been primarily vocal music. Any other development has followed the human voice only. So, the term ‘ideal musician’ is discussed in terms of vocal music in the present context. Sarngdēvā in the Prakeernaka Adhyāyam of his Sangeeta Ratnākaram presented the various categories in singers, the best of which, is the ‘Uttama Gāyaka’ (R.K. Shringy & P.L. Sharma, 1989 -p. 150) Hridya sabdah susāreerō grahamōkshavichakshnaha -13 Rāga rāgānga bhāshānga kriyāngōpānga kōvidaha Prabandhagānanishnāto vividhālapti tatvavit —14 Sarvasthānōttha gamakēshvanāyāsa lasadgatihi Ay atta kantasthālagjnaha sāvadhānō jitasramaha —15 Suddhacchāyalagābhigjnaha sarva kāku visēshavit Anēkasthāya sanchāraha sarvadōsha vivarjitaha —16 Kriyāparōyuktalayah sughato dhāranānvitaha Sphūrjannirjavanō härirahahkrudbhanjanōddhuraha -17 Susampradāyō geetigjnairgeeyatē gāyanāgraneeh The vocal experts declare the best singer as one who has the following charecteristics – good tonal quality of voice; inherently gifted voice; good discernment of initiating and finishing (a rāgā);well versed in singing rāgānga, kriyānga and bhāshānga rāgās;expert in singing prabandhās and knows the essentials of the different forms of ālapti; who commands a natural access to the gamakāsarising from all the 3 registers, and a self controlled voice; who is aware of musical time (tala), and is attentive and indefatigable; who knows suddha and chāyālaga compositions; who is an expert in all the specific intonations; who commands the movement of different sthāyās; who is free of all blemishes; given to regular exercise; mindful of laya (tempo); versatile and retentive; who has the capacity to hold his breadth while singing with great passion and to arrest the attention of the audience, and who excels in the exposition of ragaand belongs to a good tradition. Sārangdēvā also mentioned 5 types of singers – Sikshākārōnukārascha rasikō ranjakasthatha – 19 Bhāvakaschêti geetagjnāh panchadha gāyanam jaguhu Anyuna sikshanē dakshah sikshākārō matah satam – 20 Anukara iti prōktah parabhangyanukarakaha Rasavishtastu rasikō ranjakah srōtru ranjakaha – 21 Geetisyātisayādhānādbhāvakah parikeertitaha One who is capable of imparting flawless instructions is considered by the wise to be sikshākārā - the educator. The imitator of another’s style is called anukara- the imitator. One who gets absorbed in the aesthetic delight (rasa) is rasika the aesthete, one who entertains the listeners is ranjaka and one who is extremely expressive in the delineation of the song is known as bhāvaka (the inspirer of emotion) – (R.K. Shringy & P.L. Sharma, 1989 – p.151) An inference can be drawn from the above that a blend of the characteristics of sikshakāra, rasika, ranjaka and bhāvaka in suitable proportions is required to satisfy the requisites of a complete musician.

Sādhana Sadhana is the time-tested method to achieve the goal. YōgiVemana in his ‘Vēmana Satakam’ says Sadhanamuna panulu samakooru dharalōna - i.e. ends can be achieved in this world through sādhana. This three syllable word apparently so simple is very complex in deed and its depth and implications are known only after one starts the process of sādhana. However the bitter experience is rewarded in its fruit. The word sādhana should be first understood in its present perspective. Sādhana is the end to its preliminary – abhyāsa i.e. practice. For the word sādhana a dictionary gives the meaning – siddhi – sampatti or accomplishment/fulfillment/completion. Taken as a sanjna visēshanam the word means only the final step of the process. However, sādhana taken as a verb – kriya padam – means the process of achieving - perform/bring to grip/learn/win etc. Abhyāsam is the process and sādhana is the achievement. Abhyāsam is the process of repetition – āvrutti. Sādhana is also termed synonymous in the dictionary with abhyāsa. This sādhana is different from sādhanam, which

means instrument. Music is centuries old. Many a great musicians is born and many a great Guru is born. Music was learnt and taught successfully all these years. Music was taught even before a systematic method of teaching sarali, janta, alankāram, geetam, swarapallavi, swarajati, varnam, keertana, kriti etc. in a graded manner was established. It is an accepted fact that this system has revolutionized the teaching method, with merits of its own and it has benefited the music aspirants of even average merit. Similarly, the present study is aimed at analyzing afresh how best sādhana is useful in shaping an ideal musician, in spite of the fact that this subject is age-old. The subject of sādhana has been dealt with in its greatest detail in the great work Yōgavāsishtam of sage Vasishta, and in the Bhagavadgeeta, said to have been uttered by God Himself, and brought in its poetic shape by Vyāsa in Mahābhārata. Various Upanishads also describe sadhana. There are references to this subject in the purānāsBhāgavata and Rāmāyana also. Sri Sankarāchārya has also laid stress on sadhana in his ‘Sadhana Panchaka upadēsa slōkās’. Sadhana is the word precedent to the objective as in – Sangeeta sadhana, Vyāyāmasādhana, Yogasādhana, Ādhyātmikasādhana, Mokshasādhana, etc. Whatever be the objective the steps involved in sadhana are similar. Bharthruhari in his subhāshitas enumerates three types of people. The first type comprises of the mean people who in anticipation of troubles do not start at all. The second type of people who are mediocre, start the work, but discontinue midway, on facing great obstacles. The third type is the staunch ones who never stop in spite of great hurdles. They carry on with great enthusiasm till they achieve the goal. The emphasis here is on perseverance, zeal and hard-work i. e. sadhana. “Any one can do what others do” - This was the motto of Thomas Young, the great physicist, musician, and acrobat-scientist! (Gleb Anfilov, 1966). This hard rule implies sadhana in its complete sense. Before dealing with the different aspects of sadhana, it is worthwhile to have a look on what the scriptures say on this subject

YōgavāsishtamSwāmi Rāmateertha has described this work as the most wonderful of all philosophical works. This treatise of 32,000 slokas, is divided into six prakaranas – 1. Vairāgya prakaranam (1,500 slokas) 2. Mumuksu vyavahāraprakaranam (1,000 slokas) 3. Utpatti prakaranam (7,000 slokas) 4. Sthiti prakaranam (3,000 slokas) 5. Upāsana prakaranam (5,000 slokas) 6. Nirvana prakaranam (14,500 slokas). In the first chapter the three main stages in human life viz. childhood, youth and the old age are described. Childhood is the symbol of agjnānam (ignorance), chānchalyam (unsteady mind), and kāmakrôdha (temptations and desires). Youth is associated with the evils of atyāsa (greedines), dwēsham (hatred), madam (intoxication), asūya (envy), garvam (pride), atikāmam (excessive sensual desire) etc. Old age is the seat of sôkam (sad feeling), moham (attachment) viyogam (separation), vishādam (tragedy), chinta (repentance) and avamānam (insult). If the nature of these ills is understood, the mind gets set to the first step of sadhana, known as ‘ihāmutra phala bhoga virāgam’. The other steps are ‘nityānitya vastu vivēkam ‘, ‘samādi shatka sampatthi’ and ‘mumukshutva’. Jagadguru Sri Sankarāchārya has also mentioned the same ideas in his commentary of the Brahmasūtrās. In the first chapter of Yoga Vāsistham, Viswāmitra, the Guru, comes to the conclusion that Sri Rāma has acquired all these four qualities which are the pre-requisites for sadhana and hence is eligible to acquire knowledge. In the second chapter, a detailed discussion is made regarding the necessity for human endeavour and the sadhana sampatthirequired therefor. Vasishta explains to Sri Rāma that success is achieved by the combination of four factors 1. Samam (the quality which imparts peace of mind) 2. Ātma vichāram (self appraisal) 3. Santosham (happiness) 4. Satsangam (good company) Purusha prayatnam (human endeavour) is of two types. Ucchastram sāstritamchêti Dwividham pourusham smrutam

Tattrōcchāstra manardhaya Paramārthāya sastritam Ucchāstra purusha prayatnam is unscientific human endeavour, which is not regulated by proper practices. The outcome of such an endeavour is fruitless and disastrous. Sāstrita purusha prayatnam is sadhana as per prescribed rules. Proper results can be obtained only by this type of sadhana. It is generally thought that past actions influence the present. One should relentlessly carryon with the present effort till the effect of past actions is nullified. Praktanah purushārdhōsou mam niyōjayateeti dheeh Baladadhaspadeekarya pratyakshādadhikā na sou A sādhaka should never get disappointed that he is unable to control himself or that he is unable to concentrate. He should also never compare himself with another lazy fellow. He should continue his efforts forever. Sadhana was explained in Yōgavāsishtam as follows. One should always remember that the body is perishable. He should not allow ignorance to overcome him. He should make friends with good people only and read good books only. He should not indulge in excessive pleasures. Vivēkam, sacchāstra vichāram and satsāngatyam imply nothing but sadhana chatushtayam. A person who wants to acquire sadhana chatushtayam, should equip himself with the three intelligent means. They are – 1. Sadāchara (good conduct), 2. Satsāngatyam (good company) and 3. Sacchāstram (good literature) Any individual fails to follow these means mainly because of laziness. alasyam yadi na bhavēt jagatyanardhaha kō nasyat bahu dhanikō bahu srutōva ālasyādiyamavaneeh sasāgarantā sampurna narapasubhischa nirdhanaischa Vasishta tells Rāmā- ‘Oh Rāmā, If laziness is not prevalent who does not become rich on this earth, and who does not become educated? We find so many poor and uneducated on this earth because of their laziness only. Just because of laziness only all these people turn out as beasts in human cast’. If a person fails to achieve the desired objective in spite of his systematic effort, he should not get disgusted or feel sorry. He should continue his effort again and again. Yannasaknōmi tasyārdhē yadi duhkham karōmyahamA Tadamarita mrutyōrmēyuktam pratyaha rōdanamAA Every achievement is the result of effort and trial. Effort is nothing but the reaction of the senses (spandana). This reaction or (sympathetic vibration) is of three kinds. 1. Samvitspandana 2. Mānasa spandana 3. Indriya spandana. Samvitspandō manah spandaha aindriya spandayēvacha Yētāni purushardhasya rûpānyēbhyah phalōdayaha An individual’s effort obtains the result some times by his studies, sometimes by the Guru and some times by itself and never due to fate. Sāstratō gurutaschaiva swataschēti tri siddhayaha Sarvatra purusharthasya na daivasya kadachana Vasishta says, Oh Rāmā, this fate (daivam) is created out of imagination. There is no kāryam or kāranam for fate. So you ignore this imaginary daivam and depend on your own effort, which is the best of all. In my opinion, God is like the sky, and is active and pensive too. Sakala karana karya vivarjitam Nija vikalpa vasādupakalpitam Twāmanapēkshyahi daivamasanmayam Srāya subhāsaya pourushamuttamam Daivamakasa rupamhi karōti na karōticha Pūrva karma or the past action itself is vidhi (fate). Spanda(reaction) is associated with the mind. Mind in turn is the illusory form of the Paramātman. Paramātma alone is real and it is the Truth. Other things created out of illusions are unreal. Karma and Daivamare such illusions only. Vasista clearly instructs Rāma to depend only on self- effort. ‘Sāstrās contain many valuable things. Out of that multitude, guru decides which is the easiest and most suited for you to achieve your goal. Sāstrās and Guru may give you

good instruction, but you yourself have to put all that into practice. Final result is based on how precisely and assiduously you act. I, myself, depended on selfreliance and obtained the desired objectives. I never achieved any thing by vidhi balam (Divine power). This idea of ‘Divine power’- is created to console weak-minded people, who lose their mental balance at adversity. ‘Vidhi’ (fate) is in fact not a reality. Daivamāswāsana matram- duhkhē pēlava buddhishu Vasishta quotes the antaryāmi brahmano of the Vēdās to clarify that the individual himself is the pragjnātma, fateor divine power. Nānyatōsthi drashta nānyatōsthi srōta Nānyatōsthi manta nānyatōsthi vigjnata Importance of abhyāsa (practice) is reiterated in YōgavāsishtamYadyadabhyasyatē lōkē tanmayēnaiva bhooyatē Itya kumaram pragjneshu drushtam sandēha varjitam Since the vāsanās of sādhaka are a mixture of subha and asubha, he should follow the instructions of the sāstrās and the Guru. If he continues the abhyāsa on those lines, his subha vāsanās get solidified. Guru sastra pramanaistu nirneetam tāvadāchara The three steps involved in acquiring knowledge are- 1. Sravanam (listening) 2. Mananam (memorising) 3.Nididhyāsam(profound and repeated meditation). There are certain precautions in following these steps, which Vasishta explains to Rama. 1. Sravanam (Listening) – Rajastamōbhyām rahitam suddhasatvānupātineem Matim atmani samsthapya gjnanam srōtum sthirō bhava The mind should be devoid of rājasa and tāmasa. It should acquire suddha sattva stature. With that state of mind you should listen to gjanam. 2. Mananam (Reflection) – Dhiyādrushtē tatvē ramana matanam jagatamidam After listening from the learned or Guru, the substance should be meditated upon. Reflection on the substance removes the dilemma of impossibility and sets the mind to accept the facts. 3. Nididhyāsam (Cogitation) – The information gathered by listening from the Guru and there after subjecting it to cogitation or reflective thinking, it remains to overcome the feeling of unnaturality, and get familiarised by constant musing. This whole process has three steps involved in it. 1. Knowledge obtained from books. 2. Knowledge imparted by proper Guide. 3. Personal experience. As long as these three are separate, it is of no use. Real Knowledge is acquired only when the three- sāstrōpadēsa, gurūpadēsa, swānubhava trayam- is combined together. Vasishta summarises the four tips for sādhana as belowSantōshah paramo lābhaha satsanga paramagatihi Vicharam paramam gjanam samohi paramam sukham Chatwara yētē vimala upāyā bhava bhēdanē Happiness is the ultimate benefit, good company is the ultimate path, self-realisation is the ultimate knowledge and tranquility is the ultimate pleasure. These are the four great tips for destroying the worldly bondage. The content of Yōgavāsishtam is thus a great source of information and inspiration for self-reliance and sādhana. The BhagavadgeetaAs Warren Hastings has observed, - ‘the teachings of Bhagavadgeeta are supreme for those who aspire to achieve greater heights.’ In Bhagavadgeeta, different yogas were preached. Yoga, was defined by Patanjali as – Yogaschittavritti nirōdhaha - control of senses is yoga. Different yogas can be construed as different paths leading to the same goal. Yoga is achieved by detached sādhana.

Asamsayam mahābāho manodurnigraham chalam Abhayasenatu kounteya vairāgyēna cha gruhyatē (6-35) To achieve these goals through the different paths sādhana is the common factor. Firstly weakness at heart is to be avoided. Klaibyam masmagamaha pārtha naitatvayyupapadyatē Kshudram hrudayadourbalyam Tyaktvōttishta parantapa (2-3) Bhgavadgeeta advises fearlessness, boldness, and enthusiasm coupled together with self-confidence and devotion. Undue haste and over doing are detrimental. Calm and steady mental faculty is to be practiced. Health has to be kept up with good habits like proper food, proper sleep, proper conduct etc. Nātyasnatastu yōgōsti nachaikāntā manasnataha Nachātiswapnaseelasya jāgrato naivachārjuna (6-16) Yuktāhāravihārasya yuktachētasya karmasu Yuktaswapnāwabōdhasya yōgō bhavati duhkhahā (6-17) Too fast and too slow - both extremities are not advocated for sādhana. It should be at proper pace. The body and mind tend to be lethargic and drag the individual towards sensible pleasures. This tendency is to be changed slowly and step by step, and the mind diverted towards the goal with great self-discipline and detachment. Abhyāsa should be a perennial process. ‘Nirantaram ‘sarvakālēshu ‘antakālēpi ‘- are the words used in the Geeta i.e. without any break, at all times, till the end (of life or till the achievement is realised). When the mind deviates it should be controlled. Yatōyatō nischarati man as chanchalamasthiram Tatastatō niyamyai tadtttmanyēwa vasamnayēth (6-26) The mind and body do not remain under control for a person who is lured by worldly pleasures. Bhōgaiswarya prasaktānām tayāpahruta chētasām Vyavasāyātmika buddhissamādhau na vidheeyatē (2-44) Another important factor to be advocated is to be devoid of doubt and disbelief. Samsayātmā vinasyati -One with doubtful mind perishes. Sraddhāvān labhatē gjnānam -Concerted interest with belief leads to knowledge. Importance of sraddha was stressed many a time in the Geeta. It was said that with regard to - God, holy place, priest, mantra (gospel), astrologer, doctor and teacher- as the attitude is, so is the result. Dēvē teerthē dwijē mantrē daivagjnē bhishaje gurau Yādrusee bhāvanāyasya siddhirbhavati tādrusee Thus positive attitude, belief and concentration are stressed. Bhagavadgeeta condemns depressed mood, inaction, disbelief, nonbelieving (the existence of God), and indulging in worldly pleasures, as these do not suit the person who wants to achieve. Further, exhibitive sādhana or tapas, which over strains the body, should be avoided Asāstravihitam ghōram tapyantēyē tapōjanāha Dambhāhankāra samyuktāha kāmarāgabalānvitāh (17-5) Karsayantassareerastham bhūtagrāmamachētasaha Māmchaivāntassareerastam tān vidhyāsura nischayān (17-6) Bhagavadgeeta advocates attainment of right knowledge, by which every thing else should become known. Gjnānamtēham savigjnānamidam vakshyāamyasēshataha yath gjnātvānēhaBhūyō any a gjnātavyam avasishyatē (7-2) - i.e. instead of acquiring unnecessary voluminous knowledge, the essence and cream should only be retained through sādhana. This implies the pivotal practical knowledge of higher level with lesser effort and intelligence under right guidance. The same principle was enunciated in the Upanìshads also. Yasmin vigjnātē sarwamidam vignātam bhavati.

Another important point stressed in the Geeta is adherence to ones own duty. Going astray for multifarious and unconnected activities surely ruins the progress. Swadharmō nidhanān srēyaha paradharmō bhayāvaha Also Srēyānswadharmōvigunaha paradharmātswanushtitāth Swabhāvaniyatam karma kurvāpnōti kilbisham (18-47) In the Geeta, five types of characters are grouped who are condemned to doom. They are 1. The sinners 2. The dull people 3. Mean men 4. Those who are over powered by ignorance 5. The devilish na mam dushkrutinō mudah prapadyantē narādhamāh māyay āpahrutagjnānā asuram bhāvamāsritāh (7-15) Four categories of people who crave for elevation are mentioned in the Geeta. They are 1. Ārtihi – who have ardent desire 2. Jignāsuhu – those who aspire to attain the knowledge 3. Arthārthi – those interested in the result or benefit 4. Gjnāni – who become knowledgeable in the real sense These may even be taken as the different steps or stages passed through during sadhana. Bhagavadgeeta has also stipulated the right place and posture, congenial for sadhana Suchau dêsêpratishtapya sthiramāsanamātmanaha Natyuchritam nati neecham chēlāj’ma kusōttaram (6-11) Tatraikāgram manah krutwa yatachittēndriya kriyaha Upavishyāsanēyugjnyādyōgam atma visuddhayē (6-12) Samam kaya sirōgreevam dharayannachalam stiraha Samprēkshyanāsikāgram swam disaschanavalokayan (6-13) Slow and steady practice was preached in Bhagavadgeeta for success, as below sankalpa prabhavan kāmām tyaktva sarvānasēshataha Manasaivēndriya grāmam viniyamya samantataha (6-24) Sanaissanairuparimēth buddhya dhrutigruheetayā Ātma samstham manah krutva na kinchidapi chintayēth (6-25) The main implication of sadhana is self-improvement, with the belief ‘God helps those who help themselves’. The great principle of self-development is stated in Bhagavadgeeta thus – ‘One has to elevate oneself and should not be down trodden. A person himself is his well-wisher and he himself is his own enemy. Self-control and sadhana lead to elevation, where as, temptations and pleasures lead to down fall’Uddharēdātmanātmānam nātmānamavasādayēth Ātmaivahyāthmanō bandhu rathmaiva ripurāthmanaha (6-5) The ladder of sadhana has karma (action) or arduous practice at its lower step and freedom from action (hard work) at its higher steps. This explains the benefit of practice. It (the process of action – karma-) becomes easy gradually and transforms into habit. At that level it takes different shapes namely internal voice, repetition, vision etc. Thereby stability and tranquility are attained. Ārurukshōrmunēryōgam karma kāranamuchyatē Yogārûdasya tasyaiva samah karana muchyatē (63) Thus initially practice is for the sake of practice. Later it is for attainment and finally it ends with attainment. That is real sadhana. Thus the subject of sadhana was dealt with exhaustively in the Bhagavadgeeta and a proper understanding and application to the desired field yields the richest harvest.

In the oldest of scriptures, the Vedas and Upanishads also the subject of sadhana was dealt with. Sadhana in upanishads – Kēnōpanishat – The ideal for any musician is to realise the Nādātmā. In Kēnōpanishat the real Pranava (Brahma) and the other one (the one which is practiced) were distinguished. This can be interpreted in terms of nada also because nada is Paramātman in the shape of Ōmkāra or Pranava (Ōmkāra Rūpa Parabrahma) Yadvāchānabhyuditam yēna vāgabhyudyatē Tadēva brahmatvam viddhi nēdam yadidamupāsatē (1-5) Kathōpanishat In Kathōpanishat the Shānti Pātham (invocation for peace) mentions the combined effort of the teacher and the taught Ōm sahanavavatu sahanoubhunaktu Sahaveeryam karavāvahai Tējaswināvadheeta mastu Mavidvish avahai Ōm santih santih santihi - Let God save both of us and look to our growth. Let both of us toil with spirit. Let our curricular activity be concentrated and fruitful. Let us never hate us each other. Let peace prevail. This invocation is intended to disperse the three obstacles for the curriculum namely – 1. Ādhyātmika (physical) 2. Ādhibhowtika (natural) 3. Ādhidaivika (super natural). As in Geeta, importance of undiverted-concentration and true interest (sraddha) was emphasized in Kathōpanishat Tamhakumaram santam dakshinasu Neeyamānāsu sraddhāvivēsa sōmanyata (Prathamādhyāyaprathamavatti-2) For imparting knowledge to an aspirant, certain qualities and qualifications are essential. These are enumerated in kathōpanishat. Dēvairatrēpi vichikitsitam kila Twam cha mrutyōyanna sugjnēyamāttha Vaktāchāsya twātdruganyō na labhyō Nānyō varastulya ētasya kaschit. (1-1-22) Svōbhāvā martyasya yadantakaitat Sarvēndriyānām jarayanti tējaha Apisarvam jeevitamalpamēva Tawaiva vahāstava nrutyageetē (1-1-26) Yasminnidam vichikitsanthi mrutyō Yathsāmparāyē mahati bruhinastam Yōyam varo guda manupravisthō Nanyam tasman nachikētā vruneetē (1-1-29) A life of elevation and achievement is possible only with fourfold sādhana i.e. sādhana chatushthayam. They are – 1. Nityānityavastu vivēkam (judgement of distinguishing the eternal and mortal) 2. Ihāmutra phala bhoga virāgam (deserting the worldly and heavenly pleasures) 3. Samadamādi shatka sampatti (mano nigraham, indriya nigraham, ānandānvēshanā viramanam, sahanam, santi and sraddha) 4. Mumukshutvam (desire for moksha) This sādhana chatushthayam, meant for moksha sādhana has to be properly applied for sangeeta sādhana also. Ignorant people reckon themselves as great scholars. They are comparable to the blind lead by the blind Avidyayāmantarē vartamanaha Swayamdheeraha panditam manyamanaha Dandramya mānāh pariyanti mûdāh Andhēnaiva neeyamānā yathāndhāh (1-2-5) This implies that, the process of sādhana should be guided by the right person and the disciple should know the true extent of his own knowledge. Kathōpanishat describes how great knowledge is imparted by wonderful, scholarly and skillful teacher, to brilliant and prodigious disciple. Other average students are not even provided the opportunity to listen to such session and even if they happen to listen they cannot follow it.

Sravanāyāpi bahubhiryō nalabhyaha Srunvantvōpi bahavo yam na vidyuhu Āascharyō vakta kusalōsya labdhā Āascharyō gjnātā kusalānusisthaha (1-2-7) Knowledge is never gained if taught by incapable person, even if the disciple strives hard to correlate the substance in all possible ways. There is no other go for him except approaching the proper and capable person (Guru) who can clearly impart the real knowledge. This situation arises because the subject is so subtle and cannot be comprehended by logic Na narēnāvarēna prōktayēshā Suvigjnēyō bahudha chintyamānaha Ananyaprōktē gatiratranāstya Aneeyan hyatarkyamanupramānāth (1-2-8) A Guru who mastered certain intricate and intangible matters concerning the subject, will be eager to dissipate his experience to really deserving disciple only Naishatarkēna matirāpanēya Prōktanyēnaiva sugjnānāya prēshta Yāmtwamāpaha satyadhrutirbatasi Twādrungnō bhûyānnachikētaha prashta (1-2-9) There are many more gems of ideas in the Upanishads on this subject. However some of the main themes are listed above. In the words of Abraham Lincoln – ‘Determine that things can and shall be done, and then we shall find the way’ (Kalam, 2002). In the words of the President of India, Sri. A.PJ. Abdul Kalam - ‘Vision ignites the minds’ (Kalam, 2002). These are the statements made by the leaders of two nations, which are to be followed by every aspirant. The sādhana pattern and its various elements, exhaustively discussed in the above scriptures are valuable aids for sādhana in any field. Hence, apt application of the same, is discussed in the ensuing chapters with reference to the shaping of an ideal Carnatic Musician.

2 OBJECTIVES OF THE PRESENT STUDY The objectives of the present study are the following1. To analyse the various factors involved in the learning of music such as the right age to start learning, the role of parents, atmosphere, family background, aptitude, motivation, teacher (Guru)- student (sishya) vis a vis their relationship, mode of teaching etc. 2. To study the different aspects of physical practice of vocal music including- voice culture, its care and maintenance, general care of health, lifestyle and some reference to instrumental practice viz. Violin. 3. To study and analyse the sādhana of compositions- their dhatu, matu, their correlation, structure, tempo, meter, prosody and variety. 4.

To study mainly, the five manodharma aspects of Carnatic music- viz. Rāgam, Tānam, Neravu, Pallavi and swarakalpana and the factors affecting manodharma.

5. To study the various aspects of laya sādhana. 6. To evaluate the effect of listening and observation as aids for sādhana. 7. To study the role of acquiring lakshana jnānam (theoretical knowledge) as an aid to lakshya sādhana (practical attainment). 8. To examine the benefit of teaching of music to the teacher himself. 9. To study the importance of planning and execution of a concert and the various aspects underlying. 10. To assess the role of age factors and examine the sādhanatechniques suitable to different age groups. 11. To evaluate the influence of social and socio-economic factors on sādhana. 12. To present the views and experiences of great musicians on the shaping of an ideal musician through sādhana by interviewing them personally. 13. To analyse their views by comparison and contrast. In this view, the present study aims at taking up the Carnatic system of music and making an in-depth study of the shaping of an Ideal Carnatic Vocal Musician, with occasional reference to instrumental music viz. Violin, through sādhana.

3 METHODOLOGY A total number of twelve musicians were personally approached by the scholar and interviewed in detail to give their views on the shaping of an ideal musician through sādhana. These musicians are reputed at the national level as great musicians and are graded ‘A’ or Top grade by All India Radio, in terms of their merit. A common questionnaire (see Appendix A) was presented to all of them. The interviews were recorded according to the preference of the interviewees. Ten of the interviews were recorded with an audio recorder 1. Sri. Ivatūri Vijayēswara Rao (IVR) 2. Sri. Semmangudi Srinivasa Iyer (SSI) 3. Sri. Nedunūri Krishnamūrty (NK) 4. Sri. T.R. Subramanyam (TRS) 5. Sri. P.S. Narāyanaswāmy (PSN) 6. Sri. T.N. Krishnan (TNK) 7. Sri. Lalgudi G. Jayarāman (LGJ) 8. Sri. M.S. Gōpālakrishnan (MSG) 9. Srimān N. Ch. Krishnamāchāryulu (NCH) 10. Sri. N. Ramani (NR) One interview could be noted down in the form of salient points – 11. Sri. Dwāram Durgā Prasāda Rao (DDP) One interview had to be retained in memory and written almost immediately after the interview, as desired by the interviewee. 12. Sri. Annavarapu Rāmaswāmy (AR) One of the interviews was taken from a newspaper clipping, as the scholar could not obtain the interview of the musician and also owing to its relevance to the present subject. Only relevant portions from the interview were taken from the clipping and presented as it is – 13. Smt.D.K.Pattammāl (DKP) It was not, however, possible to get structured ‘answer to the question’ - format of interviews as, such an approach would disturb the flow of involvement with which, the Vidwāns were sharing their musical experiences and views. No time limit was set for the interview sessions and the interviews were allowed to take their own course at times, to maintain the preciousness of the event, due to which, some unexpected and valuable views have surfaced. Hence, the material in the interviews has been presented under the heading – ‘Views of Great Musicians’. The interviews were taken in English, Telugu and Tamil, depending on the language, which the interviewees preferred and later on translated into English. The interviews, which were in Tamil, were translated with the help of a Tamilian connoisseur of music. The interviews have been presented word to word as far as possible. Slight editing has been necessary at some places to maintain the continuity of the interview. The detailed account of the interviews is included in Appendix - B. the contents of the interviews were analysed in an objective unbiased way to study the factors that contribute towards the shaping of an ideal musician through sādhana. Material was also collected from other sources like books, articles, journals, newspapers, audio- cassettes, and personal information from various sources and self-experience of the scholar.

4 LEARNING CARNATIC MUSIC The Right Age for Learning Music It is never too late to start a good deed. There have been examples of people who started learning music at a late age and yet have become successful musicians. But, human faculties like grasp, observation, concentration, alertness, sharpness, memory, retention power, flexibility, and the aptitude to learn are generally proven to be more efficient and sharp at a tender age. This factor is relevant also for most of the fields other than music. In countries like Russia, it has been observed that very young children are tested for their aptitude and accordingly vigorous training is imparted to them in the chosen field to mould them into great masters of the same. As the individual enters later stages of life he/she is challenged by various limitations— 1. Physical limitations – The flexibility of voice or other limbs of the body reduces slowly. 2.

Psychological limitations - Along with a decrease in the levels of grasp, memory, concentration and retention power. The individual faces mental blocks such as inhibitions and nervousness, rigidity to learn, inferiority or superiority complexes, ego factors.

3. Social limitations - Pressures and responsibilities of family life, or social obligations and economic pressures. Thus, it is always easier to shape an ideal musician, beginning at a young age. It is evident from their interviews that almost all the great musicians have started learning at a very young age.

Motivation for Learning Music The motivation for learning music could be in the form of any one of the following— 1.

Parents who motivate and initiate their children – these are again of different types depending upon the family background -

(i) Families with musical backgrounds - positive and negative effects— (a) Positive—Parents from families with musical backgrounds may continue pursuing the art as tradition and lineage whether they are practicing musicians or not. (interviews of TNK, LGJ, MSG, DKP, NR, NCH, DDP) (b) Negative—Parents who are practicing musicians themselves may be averse to continue the art in the family due to various reasons- their lack of success, the hardships they had to face to become successful in the society. (ii) Families without musical background— Genuine interest of music, inspiration of relatives, neighbours or acquaintances, complexities like comparison and competition with other’s children, the parent’s inability to have successfully learnt music in their childhood, success stories of child prodigies – all these factors become the motivating factors in families without musical backgrounds. (interview of TRS) 2. The learners aptitude for music— It is divine destiny if the learner himself has got an aptitude and the inspiration required from within. There are some cases where the child is motivated by some relative, friend, a connoisseur of music or a musician. In these cases the responsibility and effort of the parents is greatly reduced. Some children take to learning music impulsively. They start while on vacations spree or by seeing other children.

Role of Teacher The Indian philosophy of thinking augments the role of the teacher well beyond the mundane object of giving information or educating about a particular subject. It contains in it the stature of a ‘GURU’. The literal meaning of the word is ‘one who eliminates darkness’ or one who enlightens (N.R.Sastry, 1990)Gusabdastvandhakäraha Gururityabhidheeyatē

syath

rukārasthannirōdhakaha

Andhakara

nirōdhitva

Sri Thyagaraja says‘Gurulêka etuvanti guniki teliyagabōdu’ karukaina Hridroga gahanamunu gotta sad...gurulēkaTanuvu suta dhana dāra dāyādi Bandhavulu Janiyinchi chedaru Jalini karunatō Manasu nantaka jēyu mandanuchu tatva Bōdhana jēsi kāpādu Tyāgarājāptudanu- Gurulēka.... Guru is described as one without whom, a meritorious person of any caliber remains in the dark. The disease of the physical body is ‘Vyādhi’. The harsh disease of the mind is Ādhi’. This abysmal ‘roga ‘ can be beaten only by a Guru (Tāpatrayas- Ādhyātmika, Ādibhoutika and Ādhidaivika). Further, Guru is like the doctor, who protects by giving medicine, for the detachment from ‘ēshanas’ or desiresDhanēshana, dārēshana, putrēshana and the cycle of the birth and death of these relations, in the form of ‘tatva bōdhana’- Tatva or the truth. This tatvaor the primary elemental contribution of the creation is different for followers of different systems of philosophy – (Sūryarāyāndhra Nighantu – 3,1988, p. 247) 1. Bouddhās - Sūnya 2. Charvakās – Prithvi, Appu, Tējas, Vāyu 3. Ārhatās – Jeeva, Ajeeva 4. Another version in Ārhatās – Astikāyam – this is of 5 types-Jeeva, Ākāsa, Dharma, Adharma, Pudgala. 5. Another version of Ārhatās - Jeeva, Ajeeva, Asrava, Bandha, Samvara, Nirjara, Moksha 6. Dvaitās – Swatantra, Aswatantra 7. Visishtādvaita – Chit, Achit, Eeswara 8. Pasupat, Nakuleesa & Saiva – Pasu, Pati, Pāsa 9. Sānkhya - Avyakta, Buddhi, Ahamkāra, Panchatanmātra, Panchabhūta, x0113;kadasēndriyas, Ātma 10. Yoga - The above and Eeswara 11. Advaita - Brahman Also, in the kriti ‘Nee chittamu’ – Dhanyasi, Thyāgarāja says – Guruvē chillaginja guruvē bhramaramu Guruvē bhaskarudu guruvēparusavēdi Guruvē uttamagati. Guru is like a – Chillaginja – A type of seed which, when rubbed on a rough surface and mixed in water, separates the impurities from the water. Likewise, the Guru clears the pollution of the mind. Bhramaramu – A bee which, changes an insect into a bee by holding it and buzzing around for a long time. Guru also makes the sishya as knowledgeable as himself. Bhaskarudu – The Sun, who ends darkness with his luminescence. The Guru also illuminates the disciple. Parusavēdi – The root of a tree, on the touch of which, any metal is turned into gold. The Guru also touches the mind of the student to transform an illiterate into a scholar. Thyāgarāja finally says that Guru is the ultimate – ‘uttamagati’. Muttuswāmy Deekshitar says – Sri guruna pālitōsmi sacchidānanda nādhēna __________ tāpatrayāteetēna vēdānthārdha vēdyēna vikalpa roga vaidyēna nādāmruta supādyēna navanādhēnadyēna sādākhya kala karēna sadāsivāvatarēna nādānta vihārēna navachakrādhārēna Padāmbujēna parēna bhēdādi vidārēna Ādi guruguha varēna kadi matānusārēna Another patāntharam (as followed in Sangeeta sampradāya pradarsini) is tāpatrayasamētena, which is however not suitable to the present context. The role of a teacher in shaping an ideal musician out of talented student should be multifocal. The Guru’s responsibility begins with testing the child’s in built capabilities and talent. It is not possible for any teacher

to assess the child’s talent completely at the outset. Basic requirements like sruti and swara gjnāna, laya gjnāna, the nature of the voice, can be known by asking the child to sing any song which they have previously learnt (may or may not be classical). If the student does not know even that he can be made to sing the fundamental notes. (as mentioned by NK) The teacher will gradually come to know about the strong and weak points of the student. A student with good or extraordinary talent, a student with average talent and a student with very little talent should be dealt with individually and their training should be in accordance with their talent. The strong points of the student should be highlighted and weak points should be carefully strengthened or in cases where they cannot be rectified, they should be camouflaged. On the basis of such profound thinking, the ‘Gurukula’ system of ancient India took shape. An endeavour is made here to analyse the mode of teaching in the ‘Gurukula ‘ system, the modern institutionalised system and the private tutoring system.

Gurukula system – In this system, the role of the Guru is the role of the system on the whole. In the olden days, as soon as the ritual of ‘Aksharābhyāsam’ was performed, the child was left under the care of an able Guru. From then on, the student would be another member in the family of the Guru along with the Guru’s blood relations and other disciples. The Guru would slowly convert the student into a disciple. The two words have a marked and yet a subtle difference in their meaning. Along with the process of academic training the disciple would be groomed to face the bitter truths and hard ships of the world by way of sharing the duties of the Gurukula (domestic and administrative). He would develop a sense of unity and equality with the other disciples, as there would be no difference in the treatment of the disciples, based on their financial status, class, caste, colour or creed. The disciple would be greatly benefited by listening to the lessons and taking the help of his senior colleagues. He would be able to learn them faster when his turn would come. Likewise, interaction with his juniors would enable to revise all that he has learnt. Making the juniors practice, would train him up to develop teaching skills. (as opined by AR, PSN, IVR) The main advantage of this system is that the disciple is always under the direct or indirect supervision of the Guru and thereby the chances of his going astray musically or otherwise are remote. By the time the disciple finishes his ‘Vidyābhyāsam’ and faces the outer world, he is all set to start a new life and a career of his own. However, the rigidity and over stretched discipline maintained at the Gurukulam, would prove too terse for the student sometimes.

Modern Institutionalised System Modern institutions, which teach music, like the music colleges or schools, cater to the needs of a large number of interested students because of their easy approachability and the option of free choice. The syllabus is framed for a specific number of years due to which, the student has an idea of how many years he is going to spend in that institution. At the end of this period, the student is awarded with a certificate or degree, which is a measured proof of his music education. However, this system has been revealing many loopholes. Firstly, the large number of students disables individual attention to the particular needs of a student. Therefore, genuinely interested students are forced to take private tuition. Secondly, the prescribed time period may not be sufficient for the student to develop as a self-sufficient musician. There is another danger of the institutions awarding degrees and certificates to the students immaterial of their caliber just to prove the success rate of the institution and the efficiency of the faculty therein. Thirdly, the personal touch between a Guru and sishya is lacking in this atmosphere. Any small attention paid by a teacher towards a student is misunderstood as bias and partiality. In this system of group teaching, the teacher is always faced with the dilemma of which group to concentrate on – the talented, the above average, the average or the below average. The talented and the above average students feel suffocated and undernourished if stress is laid on the other two categories. The below average student feels lost and confused if the teacher advances fast in tune with the standard of the other three groups of students. This factor could be viewed in another angle also. The average and the below average students are benefited by the presence of the above average and talented students in trying to cope with them and competing with them in a healthy

atmosphere.

Private Tutoring System In this system, the student goes to a Guru of his choice and learns music. This system is more or less a blend of both the Gurukulasystem and modern institutionalised system. In the present situation, this system proves to be the ideal system of music education as it covers the merits of both the other systems and also some additional merits of its own. The Guru does not have to accommodate the student and take care of his needs other than music. Likewise, the student is also not compelled to offer his services to the Guru otherwise if he does not choose to do so. It is however an entirely different aspect when the relationship between the two is strong and healthy. When the disciple has respect and love towards the Guru and the Guru has love and affection towards the disciple, then, whatever they do for each other, whether it be a favour of the Guru to the disciple or a service on the part of the disciple to the Guru, it is voluntary, heartfelt and mutual. In this system, the Guru can offer the advantages of individual as well group training to the students. However, commercial attitude on the part of both the teacher and the student, disrupts this harmonious arrangement.

5 PHYSICAL PRACTICE Practice of Vocal Music Voice culture in Indian music was given a very important place in the ancient period. Musicologists like Bharata, Sārngadēva etc gave utmost importance to this particular field, as the human voice was the first instrument from which, man could produce sound pleasing to the ear. A musician was primarily a singer – Gāyaka. As mentioned earlier, an ideal gāyaka was attributed with specific qualities (R.R.Iyengar, 1972, p. 135) - ‘A voice melodious and brimming with perfect grace and vigour, notes following one or other in perfect pitch…(p. 137 – 140). This stress on voice culture continued even until the golden period of the Trinity, i.e., the 18th and 19th centuries. Unfortunately, the later contemporary period has witnessed deterioration in this particular field. As aptly mentioned by Dr. Sri. Nārāyana Menon in the 9th conference of the International society of music education in Moscow in July 8th to 14th, 1970 ‘The quality of the voice as such is comparatively unimportant in Indian music’ (ISME-p. 72). This must have been stated, keeping in view the contemporary singers. An in-depth study of the compositions of the trinity period reveal a scientific emphasis on voice culture, catering to many factors like range, flexibility, breath control, tonal quality, diction modulation etc. The advent of amplification systems and digital corrections and filtering, has relaxed the singers’ need to develop a natural, rich, pure voice. The fact that is being overlooked is that these artificial devices can only increase the volume and change the external quality of the voice. What cannot be achieved is the original flavour of the natural voice. When the voice is trained and maintained systematically and scientifically, these devices will help in producing a resonant and vibrant voice with very less effort. The important features involved in the development of the singing voice are1. Developing a musical mentality. 2. Developing right control over the vocal instrument. The first feature has been discussed in other chapters of this thesis. This chapter mainly discusses the second feature. The first step in voice training, in Indian Carnatic music is fixing the sruti or the ādhāra shadja, the fundamental note. Each voice has to be trained individually beginning with the fixation of the fundamental note Sa. (as said by NK) A female voice at a tender age, say 3 years generally ranges from 5½ s- G# and above to high pitches of 1 – C also. With growing age this sruti stabilizes to the srutis below 6 – A. The male voice is thin like the female voice at a tender age and in most cases changes in to the bass voice with growing age stabilizing at srutis from 7 – B onwards. It is the responsibility of the teacher to test the student’s voice, and fix the sruti and make variations when necessary. Initially, the fixation of the sruti should be made with the following things in mind1. The ādhāra shadja should be produced comfortably. 2. The voice should be able to produce the tārasthāyi panchamacomfortably. It is generally observed that the notes below the ādhāra shadjacan be gradually produced as the voice is trained because the vocal chords tend to thicken with age. This is a process of trial and error and should be carefully done. As mentioned earlier - the voice is also an instrument and is highly individual in nature. No two voices are exactly the same. The common components of any musical instrument are - a generator or motor, a vibrator and a resonator. The ‘vocal cords’ act as the vibrator. The sound produced herein is amplified by resonance in the throat, mouth and nasal cavity. Apart from these, the voice is one step ahead of other instruments with the addition of ‘articulators’ - the mouth, teeth, tongue, lips, cheeks and palates – (Peckham, 2000 - p. 18) - that give the voice an edge over other instruments in producing words with music. It is essential at this juncture to study the voice and its different parts – A Vibrator – The vocal chords are located in the larynx- simply called the voice box. The larynx is situated on top of the trachea

(windpipe) - a cartilaginous tube through which air passes to and from the lungs. The larynx is suspended in place in the neck by a complex series of muscles commonly referred to as strap muscles. These muscles are capable of influencing sound by elevating or lowering the larynx. When an individual thinks of speaking or singing, all these muscles and the nerves in the larynx respond to the instructions from the brain. The respiratory system provides adequate air pressure to vibrate the vocal cords and sound is produced. The entire process is very quick and follows the thought of speaking or singing only by a fraction of a second. The external larynx is made up of the hyoid bone, the thyroid cartilage and cricoid cartilage in that order from the top. The Adams Apple or the protruding bump at the front of the throat is the front part of the thyroid cartilage. Thyroid cartilage is larger and more prominent in men than in women. The cricoid cartilage at the bottom of the larynx connects the voice box to the trachea. The epiglottis is a flap like cartilage on top of the larynx, which prevents food and liquid from going down the trachea into the lungs. The arytenoid cartilages are positioned on top of the back of the cricoid cartilage with a flexible joint that enables complex motion. They open and close during breathing and phonation and are involved in changing pitches. The vocal chords are quite small. They stretch across an opening about 7/8 of an inch to 11/2 inches for men and % to 7/8 of an inch for women. They are thicker in men than in women. The process of breathing involves the trachea, the lungs, diaphragm, ribcage and associated muscles and abdominal muscles. The diaphragm is a flat muscle curved in a double domed shape separating the chest cavity from the abdominal cavity. It connects to the bottom of the ribs and is the floor of the ribcage while inhaling it descents to the lower position drawing air into the lungs. While exhaling it rises to a higher arched position to expel air from lungs. The ribcage is made up of bones and cartilage. During breathing the attached inter-costal muscles open and close the ribcage filling and emptying the lungs. The abdominal muscles cover the entire abdominal region running vertically and diagonally across the belly. The lower abdominal muscles relax outward during inhalation and contract inward slightly during exhalation. During singing the ribcage should stay open while the abdominal muscles move on slightly. This is called support. It enables the diaphragm to ascend to its high position at a slower rate resulting in sustenance of longer phrases and better pitch control.

Resonators The resonating system of human voice contains a complex series of air containing spaces in the head and neck called the vocal track. The size, shape and aperture of individual cavities effect tone quality, as does the texture of each resonator. The pharynx is the area behind the nasal cavity (nasopharynx), mouth (oropharynx), and larynx (larynxopharynx) which is the gateway to the esophagus. The sound quality is effected, by changing the size and shape of the mouth, using the jaw, cheeks, lips and tongue. The pharynx also effects tone because it is muscular and flexible. Just above the vocal chords are two small folds called the false vocal chords, which do not vibrate in normal singing and speaking. The space between the true and false vocal chords called the ventride is small but an important resonator. The nasal cavity produces distinct vibrations originating from the naso-pharynx when the voice is freely produced. The Indian system of interpretation of sound production is however spiritual and more introspective. The giants of ancient India treated the subject of music with much more reverence than mere sound production. They have termed it as Nādōpāsana- ‘the quest of the divine through contemplation of sound’ (R.R. Iyengar, 1972 - p. 2) ‘Nāda’ is the result of combination of Prana and Anala i.e. air and fire. ‘The ancient yogi technique converts the breath into mind’s stuff. By spiritual advancement one is able to cognize the breath as a mental concept, an act of mind: a dream breath. – (Yogananda, 1946, p. 240). ‘The prana and anala awaken the ‘Kundalinishakti’which turn into a coil in Moolādhāra, the lowest of the six nerve centers in the spinal column. This shakti vibrates as sound known as Ōmkāra or pranava. This sound travels up the spinal column kindling every one of the other five nerve centers - Swādhisthānam, Manipūrakam, Anāhatam, Visuddhi and Āgnya situated respectively in the region of the genital organs, hand, heart, throat and the space between eyebrows. The sound moves from Āgnya to the mind and crosses two more subtle regions before it reaches Sahasrāra - the thousand petaled top chakra where the soul abides. When the sound vibrates in the Sahasrāra, it becomes Mahākundalini, a dynamo of spiritual light and power. The sacred syllable ‘Ōm’ gave birth to the Vēdās. From Sāmagāna arose the seven notes of the music scale’ (R.R. Iyengar, 1972, p. 3)

Description of ‘Ōm’kāram – ‘Ōm’ is composed of the three syllables – ‘a’, ‘u’ and ‘m’. These syllables are the first forms of sound that emanate from the human voice. When a man opens his mouth, the first sound that can be produced in that position is ‘a’. This process of opening the mouth is known as ‘vaktra vivaranam\ When he tries to close the mouth, the sound ‘u’ is produced. This process is ‘samvarana prayatnam’. When he closes the mouth completely, then the sound ‘m’ is

produced. This process is ‘samvaranam’ (Krishnamacharyulu, 2000). These three sounds are common for all the creatures in the creation of God. All other sounds are produced in between ‘akāram ‘ and ‘makāram ‘ only from different positions of the mouth. According to the Vēda – Akārō vai sarvavāk - any sound is basically akaram. Ōmkāra prabhavāh vedāh Ōmkāra prabhavāswarāh Ōmkāra prabhavam sarvam Jagat sthāvara jangamam - Vedas, swaras and the entire universe have originated from ‘Ōm’kāram only. In Bhagavatgeeta, Lord Sri Krishna says – Aksharānām akārōsmi This ‘Ōm’kāram is svayambhū i.e. self-existent. There are many interpretations for Ōmkāram which is the root for everything in this creation. The significance of practicing pranavam is explained as follows – Pranavādyāstathā vedah pranavēparyavasthitah Vāngmayam pranavam sarvam tasmātpranavamabhyasêt Also according to Upanishat – Pranavōdhanuh sarōhyātmābrahma tallakshyamuchyatē Apramattēna vēddhavyam s=aravattanmayō bhavēt - Ōmkāram is the bow. Ātma is the arrow. The target is the ‘Brahman’. If the target is aimed at carefully and the arrow is shot, then the Ātma is filled with Brahman i.e. one has Brahma Sākshātkāram. It is obvious that the ‘Veda janita Nāda’ is the Pranavam. So, the practice of the Pranavam or its component elements – akāra, ukāra, makāra, is a must for the attainment of the goal i.e. the Brahman. In this case - Nāda Brahman. This can be understood as the process of Nāda suddhi or purification of the Nāda or tone. (interviews of IVR, DDP, SSI) The ancient musicologists like Bharata, Matanga, Sārangdēva etc have framed many patterns of notes which are very useful in developing the flexibility, range and quality of the voice. The ārohi, avarohi and sanchāri varnās, various tānās, alankārās are all examples of this fact. ‘Carnātāka sangeethapitāmaha’ - Purandaradāsa has rendered yeoman service to the field of music by compiling all the above to form a systematic music education course starting from saraliswarams, jantaswarams, dātuswarams, alankārās, geetās and varnās. It depends upon the intelligence of the individual, how best these are used in training of the voice into a good Carnatic music voice. It will be appropriate to take up different aspects of voice culture and see how best the above can be used in practicing them -

I. Breath Control Good posture is the first requirement. This provides an alignment that maximizes lung capacity and releases tension. Carnatic music is sung in the squatting posture. The basic requirement is to keep the spine and the head straight. The legs should be crossed freely so that, long intervals of practicing do not create numbness in them. The chest should be comfortably high. Efforts should be made to keep the ribs open. This enables steady flow of air to vocal chords. The abdominal muscles should be relaxed and contracted respectively while inhalation and exhalation. This is rib/abdominal breathing. Chest breathing and rib breathing increase the strain on the throat muscles resulting in poor intonation, lack of sustaining power, poor tonal quality, breathlessness etc. The following exercises have proved to be effective in the scholar’s self- practicing, teaching career and experience (i) For all levels from beginners to established musicians– A deep inhalation should be taken. Beginning from the ādhāra shadja each note of the octave should be taken. The vibration of the fundamental note should be felt near the navel. This vibration should ascend from the navel to the head in each note till the upper shadjaand back to the madhya shadja. Each note should be sung first in swaram and then with the vowel sound ‘ā’. The note should be sung with a natural voice with the mouth wide open vertically in its maximum volume and sustained till this volume begins to dampen with a gradual exhalation. Gradually the period of sustaining this note increases. There should be no wobbling, shaking, shivering or tremors during this practice. This can be practiced in all 3 octaves at advanced levels.

‘The yōgis of India have discovered a great art of breath control- the ‘Prānāyāma’. Throughprānāyāma the body becomes strong and healthy. Voice becomes sweet and melodious. The inner anāhatasounds are distinctly heard. The mind becomes Ëkapara- one pointed. The mind is prepared for dhārana and dhyāna’ – (Swāmi Sivānanda, 1979, p. 96 106) (ii) For advanced level of musicians1. The following techniques of Prānāyāma are especially beneficial for musicians (Swāmi Sivānanda) – (a) Breath observation (b) Kapālabhāti (c) Bhastrika (d) Bhramari These are excellent in increasing the breath control. ‘He who knows how to breathe and how to pronounce, knows well how to sing’- Pacchiarotti (1744-1821) 2. The jantaswaras and alankaras can be sung in increasing degrees of speed. In this practice breath management can be done in the following ways: (a) Retaining the breath for as long as possible. It is essential to remember that breath retention should be done only as long as the full volume of the voice is produced. Singing after that, strains the throat muscles and vocal chords and may cause giddiness. (b) Inhaling quickly at short intervals of swara passages gradually. These inhalations should not be noisy. These exercises are beneficial in overall maintenance of breath and also when there is defective breathing technique.

II. Range and Registers The 3 octaves are presently termed as ‘tristhāyi’. However, the word ‘sthāyi’ denoted a part of raga delineation in the earlier days. The correct usage for an octave is ‘sthāna’. However the term ‘sthāyi’which is in use at present is used for further discussion here. An ideal Carnatic music voice should have 3 octaves range of singing. The mandra, madhya and tārasthayi, beginning from the mandra shadja to the atitāra shadja. (as mentioned by NCH, NR) [s. r. g. m. p. d. n.] s r g m p d n [s. r. g. m. p. d. n. s.] There are rare instances of another V octave in the anumandra sthayi and V octave in the atitāra sthayi. But on average only 2 octaves of range are observed in most of the singers. Most of the Carnatic music compositions are also set in a range of 2 octaves only. (NR) Very young children say at the age of 3 to 5 have very short vocal chords thus producing only 1 octave or 8. Their basic pitch is also high. This range gradually increases to 11/2 octave in the age of 6-8 with the addition of notes in the tārasthayi. The lower range or the mandra octave can be sung clearly only after this age. It is advisable not to strain children below this age to increase their lower range. It may cause permanent damage to their tone quality. In the beginning stages the range has to be increased gradually note by note. The child should be made to sing his/her natural range and then a note on the upper side and a note on the lower side added. After achieving clarity in producing these, the next two notes should be taken and so on. At first the sound may not be audible. But the note has to be imagined and the note sustained in that particular place. E.g. lower notes near the navel and chest, higher notes in the head. This should not be overdone. Nabhi hritkanta rasana nāsādulayandu — sōbhillu... - Jaganmōhini - Thyāgarāja Kanthāduttishtatē shadja rishabhaha sirasah sthithaha nāsāyaschaiva gāndhārah urasō madhyamah swaraha urasah sirasah kanthat uttithaha panchaswaraha tāludesāt samutpannō dhaivatastu yasaswini nishadastu samutpannō vāggeēya sarvasandhitaha -Bruhaddesi- 85, 86, 87. Initially 2 octaves can be practiced by taking madhyamam as shadjam i.e., from mandra sthāyi madhyamam to tārasthayi madhyamam which is generally sufficient for normal singing. Gradually the janta and alankaras should be practiced in all the three octaves in varied degrees of speed. An interesting observation is that ‘mandra sadhakam’ or practice in the lower range also increases the range in the higher octave. This is more so in the case of male singers and vice versa in female singers. (in the view of NK) The writer has observed that deliberate practice of rāgālāpanaand tānam in the 3 octaves greatly increases the

range. ‘A vocal register is a series of consecutive pitches that have a similar tone quality and are produced using the same muscular actions of the vocal mechanism’ (Peckham, 2000). A voice with a little or no obvious register changes can be called an ideal voice. The change in register has been compared to gearchange in a car transmission by Anne Peckham. The number of registers is a debatable issue in the Carnatic music. However, ‘practically’ the ideal number of registers that a voice can have is 3 - one in the lower (chest), one in the middle (middle) and another in the upper octave (head), and ‘scientifically’ – 2. This is based on the type of muscle groups present in the voice. Changing registers smoothly requires muscular coordination and practice. This is called blending. Apart form the above 3 there is another register even higher than the normal range of pitch called the falsetto, more popularly known as false voice. Western musicians mostly men use this as an additional asset in the very high ranges. In case of women, this is called the flute voice (S.A.K.Durga, 1997). In Western Music, the ‘Bel canto’ voice production came into vogue very popularly around the 18th, 19th centuries. It is an Italian word defined as – ‘Beautiful singing – term often used vaguely by teachers, authorities on singing etc, with reference to the finally cultivated voice, particularly implying suitability to the agile yet smooth voice production demanded in the operas of Bellini, Donizetti etc’ (A New Dictionary of Music – Penguin). Also – ‘Literally beautiful song or singing usually applied to fine, sustained singing in Italian manner, with emphasis on beauty of tone, phrasing, agility and ability to take high notes without strain. Works of Bellini, Donizetti, Rossini (among others) depended on such singing’ (Collin’s Dictionary) As mentioned above this type of voice may not be suitable for all types of compositions and in all octaves. It is merely a cultivated beautiful voice, which not organically natural. Unfortunately, singers of Carnatic music are resorting to this tonal quality in all octaves to minimise their effort in producing complex phrases, speed and good range. They are depriving themselves and the listeners the pleasure, beauty and scope of a natural voice. An interesting observation is that the fundamental pitch of the great masters of earlier days used to be generally higher than what it is now. A list of the ādhāra sruti of some old masters from old gramophone records has been given below to illustrate this point. There may be slight differences in the srutis mentioned because of differences in the recording and playback compatibility –

1. 2.

Name of the artist

Some compositions in the record

Ādhāra sruti

Sri. Rājam0101;nikyam Pillai Sri. T Chowdayya

Intakannandamemi-Bilahari

4½

Rāgam, Tānam, Pallavi- Sankarābharanam (7 stringed violin) Nādopāsana, Raghuvamsa (4 stringed violin)

5

3.

Sri. Subramanyayyer

4.

Sri. Ariyakkudi Rāmānujayyangār Sri. Chembai Vaidyanātha Bhāghavatar

Kundāragē Anupama gunāmbudhi Rāgamālikā Slōkam- Veneemūlē

1½ 3 3

Sri. Dwāram Venkataswāmy Naidu

Raghuvamsa

3¼

RTP- Kalyāni Kēdāram, Sindhubhairavi Geetārdhamu Neevē Pālimparā

5 4 5 4 5 5½

5. 6.

7. 8. 9. 10.

Musiri

Sri. S.G. Kittappa Sri. B. Kittappa Sri. B. Demudu Iyyer Sri. Palladam Sanjeeva

Nagumōmu-Abhēri

5½ 4½

Giripai nelakonna

14. 15. 16. 17. 18.

Rao Sri. T.N. Manikyam Sri. B. Rāchappa Smt. Shanmukha Vadivu (veena and vocal) Smt. M.S. Subbulakshmi Smt. Bangalore Tāyi Sri. Marla Sūryanārāyana Smt. D.K. Pattammāl Sri.B.S. Rājayyangar

Sujana jeevana Endundi vedalitivō Rāmanannu brōvarā Nagumōmu

5½ 6½ 1½ 4 4

19.

Sri. Subbayya Bhāgavatār

Sāntamu leka

3¼

20.

Smt. Dhanammāl

Sri Raghuvara

21.

Sri. Semmangudi Srinivasa Iyer Sri. Vinyāka Rao Patwardhan Ustad Abdul Karim Khan Desamangalam Subramanya ayyar (veena)

Mānasa sancharare

4½ 5 2½

Jōgi mat jā

4½

Evarani

4½ 4½

Sri. K. Janārdanāchāryulu

Vinatāsuta

5

11. 12. 13.

22. 23. 24. 25.

Chesinadella ēmō teliya (jāvali-khamās)

6 3 5½

The decrease in sruti can be attributed to the advent of the microphone. High pitch was a must in those mike-less days for more volume and greater reach. Now the effort on the part of the artist is greatly reduced owing to the facility of the amplification system. (as mentioned by IVR, DDP). If the above list is observed carefully, one can see that the ādhāra sruti of female voices is more or less stable as compared to the male voices. This may be attributed to the naturally high frequencies of female voices. In the case of instruments also higher srutis were required for more volume. Even when one is practicing without a mike, the acoustics and surrounding atmosphere (due to apartment culture etc) is not suitable for loud and natural singing or playing. Indian Classical Music demands a more natural voice production, in which, the beauty and softness of the voice are derived by rigorous and vigilant practice. Smooth transition between registers can be practiced in the following waysThese exercises should be sung very slowly at first otherwise they will result in apaswaras or wrong notes. 1. Take the same note of two octaves. S / [S.] – up-glide, R / [R] and so on S [S.] – without glide, R [R.] so on. Similarly, S 1 [S.] – down glide[S.] S – without glide 2. S [S.] S.... with and without glide [S.] S [S.]... with and without glide 3. [.S] S [S.], [.R] R [R.].... with and without glide 4. M P G D, R N, S [S.], [.N] [R.], [.S] [G.], [P.] [M.] and so on. These exercises produce a very uniform voice and also increase the purity of notes. Descending patterns are more useful than ascending patterns in achieving smooth blending of registers. Caution – these exercises should be practiced very carefully under proper supervision or critical self-checking. Otherwise there is a danger of developing faulty notes.

III. Diction Good voice production is based on articulated and enunciated production of vowels and consonants. Words should be pronounced in congruence with the music being sung. All these factors together, deliver good diction. (NCH) The first step in achieving good diction is to minimize muscular tension. This can be done through relaxation. The pharynx and the mouth are the chambers of vowel production. The position of the mouth, tongue, lips and teeth should be tension free. In the beginning years of learning, the student should be guided towards this relaxation by ‘indirect control’ (Clippinger, 1932) i.e. the student should be taught exercises of relaxation without him/her being conscious of the tension, resistance, rigidity, interference or contraction. When ever there is rigidity that particular muscle should be made to move freely. For e.g. lip trill can be used for rigidity of lips, swaying of the tongue in and out can be used for wrong placement of the tongue etc. Any sound that allows rush of air out of the vocal cavity is a vowel. Any sound that obstructs the airflow is a consonant. Carnatic musicians of yesteryears have advocated the practice of saraliswaras, jantaswaras and alankārās with the primary and diphthong vowel sounds i.e., ā, ee, ū, e, ō and an additional anusvāra i. e., m sound. When started at a very young age, the child is devoid of any inhibitions in practicing these, which develops into a good habit in later years. One of the methods of relaxation when the vowels are not produced properly is to ask the student to speak it. This enables him/her to retain the sound. As words are generally sung higher than spoken, the slight natural adjustment to vowel sounds when singing, called ‘vowel modification’ is naturally made. The most important vowel sound is the akara or ‘ā’ sound which is useful in practical application throughout the singer’s career. For proper production of this sound, the mouth should be considerably open vertically, teeth unclenched and wide apart, the lips free, the tongue should be flat. The points to be observed in correct vowel production are— 1. Free tone - If there is any interference, the place of interference should be located and relaxed. 2. Purity of note 3. Steadiness of note 4. Resonance of the note 5. The quality should be sympathetic & emotional 6. Effortless production. The manner of articulation of vowels and consonants in Sanskrit is given below. In these some are voiced (there is vibration of vocal chords) and some are unvoiced (there is no vibration of the vocal cords)—

The semi-vowels and the spirants in Sankrit are as follows —

Point of articulation Velar Palatal

Semi vowel

spirants

voiced ha ya

unvoiced sa

Retroflex Dental Labial

ra la va

sha sa -

The best way to achieve good diction is to listen attentively and carefully. It is the responsibility of any singer to know how each word is pronounced if he/she is singing in a language other than their own. Any language sounds musical when it is abundant with vowels. Italian and Telugu are two such languages, which is probably why, the best works of Western music are composed in Italian and most of the compositions of Carnatic music are in Telugu. The illustrious example being, two of the musical Trinity themselves. It is the responsibility of every Carnatic musician to learn how to pronounce this beautiful language. The phonetic spelling is absolutely important for a singer. Each sound element of a word should be distinct and clear. For e.g. whenever there is anusvāra following a consonant, it should be pronounced as the anunāsika of the following consonant group. For e.g.- Chandana, Champaka, Sangeetam, Pandita etc. The pronunciation of [.sa], sa and sha should be clearly different. It has been a general practice to pronounce [.sa] as [.sha], which is a wrong practice. Janta swaras or double notes should be produced with great power, emphasis and clarity. For e.g. S S should be sung as S s[.n]S. After the 1st shadja, the voice should go to nishāda place and from there without singing ni, shadja should be sung with a small forceful push. This should be maintained while singing in higher speed also. Flexibility of the voice can be increased by practicing the basic sarali dātu, janta and alankārās in 3 octaves in increasing order of speeds. The general practice is to sing them in 3 speeds one the double of the other. But, to gain better facility, it is better to increase the speed in an analog progression i.e. in between steps also. The singer should always practice speed one step higher than what he/ she is ably to sing easily. Phrases likeSrs - S, Rgr - R..... Srs - Srs, Rgr - Rgr... Srs — Srs — Srs - Srs.... The singer can formulate his own versions of jantaswaras and alankārās to provide more exercise to the voice. For e.g. to enhance the stressing powerApproximately eight notes per second, stress after every 4 notes ssss rrrr gggg.. ssss ssss rrrr gggg ssss ssss ssss ssss... The janta swara known as pedda janta or big janta is very useful in toning up the voice in many waysssss srrg ssss srrg ss srrg ss srrg srrg sss rrr gg ss rr gg mm... It lends great strength, stamina and power to the voice. All the above-discussed factors can be achieved through the practice of this jantaswara when sung both in swaram and akāram. All these can be practiced in different ragas also. Practice of geetams initially in 2 or 3 speeds and at an advanced level in 4 speeds (starting from the lowest speed possible) stabilizes the voice and also laya perfectly. Great tonal quality and resonance is achieved through this. Geetams should be sung either flat or with the minimum gamakam possible. SwaraPallavior the jatiswaramsopens the imagination of the student to a variety of extempore swarapatterns. There is practical application of the jantaswaras, dātuswarāsand alankārās practiced until then. (IVR) A great boon granted by great composers is the varnam. Full- fledged use of gamakam, which is the most essential and unique phenomena of Carnatic music, starts from varnam. This is an excellent source for warming up. Musicians who cannot spend time for regular akāra sādhana can achieve 60-70% of the results obtained therein through varnasādhakam only. (as viewed by almost all great musicians) Different methods of varnam practice for voice control-

1. Practice in 2 speeds 2. Practice in 3 speeds 3. Practice of 3 or more varnams at a stretch (without break) in the maximum speed possible. 4. Practice in akāram etc. The different gamakas used in Carnatic music, known as the Dasavidha gamakas can be perfected by varnam singing. Varnamslike ‘Sarasijamukhi’ in Arabhi accentuate janta. Bhairavi varnam in Ata tāla itself is concise and explicit encyclopedia of all these gamakas. The intermittent pauses in a varnam develop good vowel production and continuity of sound. Practice of individual branches of Carnatic music like rāgam, tānam, kritis etc will be dealt with, in relevant chapters.

IV. Modulation and Expression Modulation of a note known as ‘Kāku’ is one of the factors influencing expression. Proper punctuation and articulation constitute modulation. Aesthetic sense and understanding of the subtleties of handling the swara and the words contribute greatly to proper modulation and expression. It is very important for a musician to give emphasis to the aspect of modulation by deliberate practice and keen observation while listening to the music of great masters. Such practice results in a spontaneous and natural modulation and distinct expression. (NCH)

Defects in Singing The defects in voice production and their remedies have been vividly discussed by Dr.S.A.K.Durga, in her Master of Literature thesis ‘Voice culture’ with special reference to South Indian music (1997). Sarngdeva has given an exhaustive list of 25 defective singers in the Prakeernakādhyāya of Sangeerta Ratnākaram, slokas25-38 – 1. Sandashta – one who clenches his teeth while singing 2. Udghushta – one having an unpleasantly loud sound 3. Sūtkari – one producing a whistling sound while singing 4. Bheeta – one who is gripped with fear 5. Sankita – one who is doubtful or apprehensive 6. Kampita – one who exhibits involuntary tremor 7. Karāli – one who looks frightening by opening his mouth wide open while singing 8. Vikala – one who is agitated and imperfect 9. Kāki – one whose voice is hoarse like crow 10. Vitāla – one who is imperfect in reckoning tāla 11. Karabha – one who cranes his neck like a camel 12. Udbhata – one whose voice is shaky like that of a lamb 13. Jhombaka – one who displays a large number of veins 14. Tumbaki – one who inflates his throat like a gourd 15. Vakri – one who twists his neck while singing 16. Prasāri – one who stretches his limbs 17. Nimeelaka – one who closes his eyes (continuously) while singing 18. Virasa – one who lacks aesthetic sense 19. Apaswara – one who sings faulty notes 20. Avyakta – one who lacks clarity and expression 21. Sthānabhrashta – one who is imperfect in reaching all the octaves 22. Avyavasthita – one who is disorganised 23. Misraka – one who mixes up (different rāgās)

24. Anavadhāna – one who lacks concentration 25. Sānunāsika – one whose accent is nasal All the above defects should be carefully avoided. The use of a recorder and a mirror is helpful in checking and correcting these defects.

Tips on Productive Practicing The most important thing to be remembered about practice is that any amount of practice done without proper understanding and intelligence is a waste. Wrong practice only leads to more damage than positive results. Undoing the harm done by wrong practice is a next to impossible task. Hence proper planning of the mode of practice and proper organisation of time are all very essential in the routine of a sādhaka. Some useful tips in this direction are as follows— 1. Practice should always be done with the accompaniment of a proper pitch provider- a tambura, or sruti box. 2. The singer can use a mirror to check whether the posture of the body and positions of the mouth are correct. This will help in avoiding strained facial expressions. 3. The singer has to be either supervised from time to time by a teacher or an advanced musician should self-check by recording his/her practice sessions. 4. Practice should never be mechanical. It should always be intelligent. 5. The 1st rule for practice is consistency. If the singer is not regular, it is better to opt for a lighter or less strenuous mode of practicing. Akāra sādhakam is more harmful than useful if not done regularly. 6. Practicing at the same time daily and also at different times of the day helps the musician to get seasoned to the effects of the different times of a day on the voice quality. Akāramshould generally be practiced in the early morning. For some, early morning practice may not be suitable. They should practice immediately after sunrise.

Voice Care and Maintenance of Overall Health This is a very debatable issue. Different singers express different opinions about this subject. Many singers are too conscious and careful about their voice. They take a lot of precautions like drinking only warm water, not getting exposed to cold weather at all, speaking very less, putting a taboo on food items like sour things, oily things, spicy things, cold items etc. There is yet another group, which does not have any restrictions at all. The age-old saying – Ati sarvatra varjayēt - is the golden rule. The first group tends to get affected by colds and coughs, developing voice problems and infections etc at the slightest relaxation of precautions or any small change in the weather. The second group generally tends to lose the flavour of the voice. After much experimentation with both the methods, the writer has observed that a balance between both the systems ensures a good quality and health of the voice. First of all the general health and stamina should be sound. Moderate exercising, good food habits and good sleeping habits are important. (NK) Regular intake of honey and lemon with lukewarm water and Chyavanprāsh (an Ayurvedic preparation) early in the morning (empty stomach) has proved to be very effective in controlling sinus and phlegm problems and developing stamina. A small glass of fat-less hot milk along with a pinch of powder of pepper and cardamom at night is also very helpful. When the general stamina is developed, the body can be habituated to changes in weather, cold water baths etc gradually. Frequent and wide travelling for performing concerts requires the body to be accustomed to all kinds of changes - food, weather, time zones etc. Regular and vigorous practice also builds voice stamina. In the beginning the sādhaka may face problems like sore throat, cold etc. If it is a simple nasal cold, the singer may continue to practice. But if there is pain in the throat, loud talking & shouting or overtalking is not advisable. It is best to either rest the voice completely or practice lightly for brief periods of time at regular intervals depending on the intensity of the problem. Gradually the problems subside and the voice is strengthened enough to sustain any amount of practice or external conditions. It is important to build immunity to all the external factors. Mental power and will, also play a major role in this. Every individual singer should study his/her health and voice thoroughly, make experiments and arrive at the results most conducive to his/her system. A regular, disciplined lifestyle is always prescribed as the best. Even if it is not possible due to some reasons, it is essential to keep the mind peaceful, focussed and ever attentive to musical thoughts and ideas. The personality of a musician reflects in his/her music. Any aberrations therein express themselves in the music. So, the mind should be pure, unbiased, free of all malice and solely dedicated to the motto- ‘Music for the music’s sake’. As said in the

Bhagavadgeethakarmanyevādhikārastē maphaleshu kadachana The ideal sadhaka’s job is only to work, without temptation of the returns.

Practice of Violin Violin, is an instrument, which is a jack of many trades and a master of all of them too. The general assumption that the origin of violin could be traced back to ancient India, is quite far fetched in the sense that, the similarity in appearance and functioning between the ancient form and the modern form is barely recognisable. The contribution of the west in this regard is monumental. The present shape and structure of the violin is a greatly refined one and may not require any major modifications for centuries to come. It would not be an exaggeration to say that this great instrument has inspired many a great composer of the west to compose music specially meant for it. The features that make the violin such a unique instrument are – 1. Its ability to resemble the human-voice and also excel individually as a solo and orchestral instrument. 2. Its tonal quality – volume, resonance, timbre and expressive nature. 3. Its compatibility to the human body, which provides great facility in handling the instrument. 4. Facility in transporting the instrument. 5. High sensitivity of the instrument – physically and musically. 6. Stylishness and grace of the instrument. The entry of the violin into Indian music is surely a landmark in the history of both, the violin and Carnatic music too. The total concept of concert performance and the roles of the main and the accompanying artists have witnessed remarkable changes following the inclusion of violin in the Carnatic music scenario. It has replaced Veena and the flute in the accompanying role. Learning and practice of violin is generally acclaimed as a very difficult task due to which, the number of artists who take to violin and master it is comparatively less. Given below are some important points concerned with the practice of violin and its maintenance– 1. The first and foremost requirement is the habituation of a good posture. It is the responsibility of the teacher to see that the student acquires a good posture. The teacher must constantly remind the student to correct any defect in the posture. A good posture results out of the correct placement of the body limbs and holding the violin and the bow correctly. The back should be kept straight, the right hand elbow should not be raised, the fingers of the right hand should hold the bow firmly but lightly, the left hand should be comfortably placed under the neck of the violin and the palm circled around the neck. The placement of the violin differs from person to person. Some place it nearer to their neck and some, near their chest. The legs should be folded properly – the right thigh over the left foot. The placement of the violin scroll also varies from person to person. Mostly it is placed near the ankle of the right foot. Some place it nearer to the thumb of the right foot. However the former placement is more stable in nature. Likewise holding the bow is also not generalised as such. Some hold it very near to the frog and some hold it a little further towards the center of the bow. 2.

A violinist has to achieve complete control over the instrument. For this, control of the bow and facility of the fingers and the coordination of both left and right hands is very important. Various exercises for fingering and bowing have been mentioned, in the ‘Views of great musicians’.

3. The selection of a violin is a great art by itself. The first thing to be observed while selecting a violin is to see that it is undamaged. The wood should be seasoned or, if it is new violin, the wood should be of good quality with good grain etc. The violin should preferably be of a standard make. The sound should at the least be reasonably good at the time of purchase. It can be enhanced further by adjustments such as checking the sound post, the bridge, the fingerboard, the polish of the violin, the tailpiece etc. The position of the sound post and the bridge are of utmost importance in the production of good tonal quality. Basically the violin should be suitable to the artist physically in its size and shape depending upon the height and

build of the artist and his hand structure. The shape of the neck (its thickness etc) plays a major role in the suitability of a violin to an artist’s hand. The height of the bridge should be adjusted in accordance with the requirement of the artist, based on the pitch to be played, the type of strings, height of the finger board etc. The tension and temper of the strings should be convenient to the artist. The quality of strings should be good. There is no general rule as such for all the above adjustments for the production of good tonal quality. It varies from violin to violin and person to person. Every artist has an inherent tonal quality in his hand. This influences almost 50% of the quality of the sound. However proper adjustments do produce positive results because of the high sensitivity of the instrument. Slightest modification is sure to bring out a distinct change in the tonal quality. The shape and weight of the bow is also very influential in the tonal quality and also the facility of playing certain bowing techniques. 4.

Care and maintenance of the violin is a delicate process. The violin should be handled like a newborn baby. It should be cleaned regularly with a clean piece of soft cloth and occasionally with a cleaning polish to get rid of any traces of dust or rosin, which is used for friction in the bow. The strings are to be replaced at the slightest hint of any damage or unpleasantness in the sound. The adjusters of the tailpiece are to be carefully cleaned and oiled. The hair of the bow – preferably a horse-hair one, should be replaced and washed at regular intervals. The violin should be kept in a weatherproof case and should not be exposed to extremes of climate. There are many more subtleties in the care, maintenance and technicalities of violin, which may be studied in depth by violinists, in order to procure a sweet and melodious tone. A proper repairer should be immediately approached to attend to any damage of the violin.

5. It is beyond doubt that the violin exhibits an almost human response to the care and attention bestowed upon it by the artist. In the case of a serious and dedicated artist, a mysterious bond is formed between him and his instrument whether it is the Tambura, the violin, the Veena or any other instrument. The views of eminent violinist Sri M.S.N. Murthy are very relevant in the present context of violin playing and its practice – ‘Violin is an irreplaceable instrument in Carnatic Music. Its adaptation to Carnatic Music is from band music. There have been changes in the posture and the tuning of the violin in Carnatic music. The change in posture (from that of the western musicians to Indian musicians) is due to gamaka. The change in tuning is on the basis of the tuning of the veena. The change from madhyama sruti to panchama sruti is to increase the range in the lower octaves. The basic fingering technique of using the three fingers – the forefinger for ‘ri’, middle finger for ‘ga’ and the ring finger for ‘ma’ in the saraliswara, is a universal concept for all Carnatic violinists. This may have been introduced by Bālaswamy Dikshitar, Vadivelu etc. Whoever it might be, is a great person. The fingering of an artist develops according to the tonal requirement of the artist and his individual style. The four strings of a violin have individual tonal values. The same phrase can be played on different strings with a different effect. Usage of the same phrase on different strings, is the artist’s individual choice. Initially the student is exposed to and affected by the fingering and style of his teacher. Later on, depending upon the individual requirement and caliber of the artiste, changes in fingering may occur. A violinist has two roles to perform – 1. Accompanist 2. Soloist Fingering – An accompanist’s fingering should be flexible so as to cater to the different types of music sung by the different main artists. It may be called dynamic fingering i.e. to be able to play any phrase used by the main artist. Whereas, in the case of the soloist, his fingering is governed by his mental make up. Bowing – Violin is famous for its continuity. As Indian music is basically vocal music, importance to the sāhityam being heard on the instrument is a necessity. This requires 2 methods – 1. Changing the bow for every syllable 2. Giving accentuation in the same bow for different syllables. Both the above are employed as per the requirement.

Swaram playing requires cut bow or different bows for each swara. Tānam - It is a combination of different bowing techniques – cut bow and spring bow. Staccato also adds beauty to tānam. The only composition which gives scope for the practice of all these is varnam. In a nutshell, all the above-mentioned are achieved more or less by practicing varnam. The development of individual style of a violinist depends to some extent on the main artists he accompanies. Accompaniment to a vocalist and instrumentalist is not the same. It is the responsibility of the accompanist to understand this and play accordingly. An ideal accompanist should allow himself to tune in along with the main artist without losing his identity. A Soloist should basically counter the handicap of the lyric not being heard, with the tonal quality he produces. A successful solo style is one, which can enthrall the audience throughout the concert, without losing the classical idiom. A soloist has to have more range on the instrument as compared to the accompanist as, escaping to the lower octaves for easier playing or sometimes the need to play in the lower octave is permitted in accompaniment’. The famous Violin Virtuoso - Yehudi Menuhin’s views on practice (Conversations with Yehudi Menuhin – Robin Daniels) – ‘I love practice. For me practice is a period of exploration of renewing sensations. The tactic element of violin playing is a strong element because everything changes continually. No octave is the same distance as another octave. Intonation is not fixed. There is no single note or sound, which is always the same. The infinite subtleties of tone production depending on the slightest inflection, pressure and speed and position are so great that it is without question to master each one separately. You have to master a range of sound, you have to master an area. With the violin you perceive the whole space and range from the greatest pressure to the smallest, from the fastest speed to the slowest, from the lowest position to the highest. All these elements interact with your awareness and use of the body and parts of the body from tightness to looseness, heavy to light giving you myriad of possibilities,.. . which you use, intuiting as you play,... Violin playing is a live process, never twice the same and yet there can be a methodical approach which, more and more, I realise is primarily an approach of subtlety and not of attack power and attack – in the musical sense of the word – come as a result of balance and a sense of finesse being aware of the smallest possible difference. Once you have established your range in all respects – speed, weight, placing and so on, range of vibrato – from the widest to narrowest, from slow to fast – your ability to create the type of sound you want, whether you are playing down bow or up bow, should come naturally. It is an extraordinary fact that, as you play, your intention is translated into minute movements not only of your fingers but, of muscles in the back. In that way I suppose violin playing is no different from any other craft or skill. The artist’s intention goes straight into the cutting edge of his knife or the stroke of his brush’.

6 ANALYTICAL SĀDHANA OF COMPOSITIONS ‘DHĀTU’ AND ‘MĀTU’ AND THEIR SAMANVAYAM (Special Reference to the Compositionsof the Trinity) Carnatic music of today is mainly surviving because of the great compositions of great vāggeyakārās or composers. This area of music, called the ‘kalpita sangeetam’ has become the backbone of south Indian music. If the unending number of sabhas and a galaxy of musicians of Carnatic music are surviving, it is largely because of the creations of the great composers. It is the minimum responsibility of a musician, therefore, to understand and analyse this great heritage and carry on the authentic versions (both lyrical and musical) of these compositions to the future generations. It maybe easy to preserve an antique but it is difficult to preserve it in its original form. This can be achieved only when it is maintained properly and any damage whatsoever is repaired from time to time. Indian music has witnessed a long chain of evolution in the field of musical compositions. Compositions have undergone changes, some are completely obsolete and very few forms still survive the onslaught of changing trends. This process has witnessed the two sides of the coin. Great treasures have been lost on one hand. On the other hand, gradual refinement in composing styles has produced highly evolved forms of music. The impact of ‘kalpitha sangeetham^has been so tremendous that it has been influencing absolute music also. The ‘manodharma sangeetham’ of today is completely replete of sangatis or phrases adapted from the compositions. The earliest forms of music like the Dhruvās and Geetis of Bharata’s period and the Prabandhās of Matanga and Sārngadēva period are all outdated now. It is a matter of interest however, that the influence of the Prabandhās is still evident in the structure of today’s musical forms like the varnam, kriti, keertana etc. Another great misfortune is that many compositions of ancient music are available now only in the lyric form. The original music is not known. It is therefore left to the contemporary musicians to understand their lyrical structure, imagine the musical structure and give a concrete shape to the same. The earliest forms like Tevāram (7th AD), later forms like Ahstapadis( 12th AD), Annamayya Sankeertanās (14th AD), Dēvaranāmās of Purandaradāsa (14th AD), Ramadāsa Keertanās, Kshetrayya padās, Nārāyana Teertha tarangās (17th AD), have all lost their original musical format. They were mainly of the ‘bhajana sāmpradāya’. All the above compositions are being set to tune by the musicians of the modern period and sung in contemporary Carnatic rāgās and tālās. Many of the early age rāgās and tālās have become obsolete now. It is only after 15 th century that is 600 years back since now that compositions have been preserved with both lyrical and musical content. Great composers like Rāmaswāmy Deekshitār (17th AD), father of Muttuswāmy Deekshitār, (Ashtottara sata rāgā tala mālika– the longest composition in Carnatic music), Oottukkād Venkata Subbayyar (17121794) (group songs – pancharatnās, Ambikānavāvaranās, tillāna, an opera “Sundara Vilāsam “ on Jayadevā etc), Pachchimiriyam Ādi Appayyā (Bhairavi ata tāla varnam, Hussēni swarajati), PallaviGopāla Iyer (Kalyāni and Todi ata tala varnas, many tāna varnās, kritis, Navaratnamālika) –(R.Rangarāmānuja Iyer, 1972) – were predecessors and elder contemporaries of the trinity period and were trend setters and path makers for a new era of music, highly refined in both lyric and music. It appears that the best in all fields chose to glorify this world at the same period of time i.e. the 18 – 19th century. Greatest contributions have been made in the field of music, both in the East and West simultaneously. The Trinity of South Indian music, Thyāgarāja, Muttuswāmy Deekshitār and Syāma Sāstry, the Trinity of the West, Mozart, Beethoven and Bach have made contributions nonpareil. South Indian music had reached its zenith during this period. Post Trinity compositions have mostly followed the trinity style of composition only. Any new trend different from this style is yet awaited. Every five centuries in the process of evolution has witnessed major changes and new trends. It is inconceivable as to how the Carnatic music scenario will be two or three centuries from now. Therefore, it is appropriate at this juncture, to study, analyse and discuss the compositions relevant and alive in today’s practical and practicing music. “The great scientist and the great composer are alike in one respect – both of them are great poets”. – Einstein.

Varnam Varnās are the compositions that bridge the ‘abhyāsa gānam ‘ section and the pradarsana gānam’ section. They fit in perfectly in both the sections. They offer scope for vigorous exercise of the voice and also laya. They are presented in the beginning of the concert to warm up the voice and build an effective tempo of the concert. On the other hand, they can be presented as complete works of high standard Carnatic music because they are strengthened with a concrete framework of gamaka and rāga bhāva. Varnās are sung in madhyama kāla, 2 or 3 speeds or other varieties of ‘gati bhēdam’(variation in gait) etc. (As mentioned in almost all the interviews)

Structure of a Varnam A varnam is broadly made up of two parts – the first part (Purvāngam) and the next part (Uttarāngam). The first part again constitutes the Pallavi, Anupallaviand the muktāyi swaram. The first two have both swaram and sāhityam of two lines each (two āvartams) while the last may or may not have a sāhityam and is set either in 2 or 4 lines. The second half has a charanam (swaram and sāhityam) of one line each followed by 4 or 5 chitta swarās. Chitta swaram is sung after each charanam sung. The first charanam is generally a series of long notes and pauses. This is also generally set in one tāla āvartam. Exemptions like Ārabhi varnam (Sarasijamukhiro) have 2 āvartams in the first chitta swaram. There is one chitta swaram with sarva laghu swaram in many varnas. Generally the third chitta swaram is structured in the above format. Eg. dp d m p – Darbaru d p d m p - Saranga The last swaram covers the entire gamut of the rāga with pauses on the jiva swarās at half or full āvartam or the last kriya of the āvartam. Eg.

The graha or opening swara of a varnam is inevitably a jeevaswara of the rāga. All varnams are composed in tālās with two drutams - ādi tālam, ata tālam or triputa tālam. There are exceptions like the jhampe tāla varna – viriboni in Kēdāragoula. The reason for the above choice is that such a structure of tāla provides a proportionate balance between the first and second halves of the tāla. The same reason can be attributed to the starting of ata tāla varnās after a gap of two kriyās.

The normal division of 10 + 4 in the ata tāla is intelligently balanced as 8 +6 by reducing the pūrvānga and increasing the uttarānga in the song. Varnās are mainly of two types – Tāna varnās and Padavarnās. The former is suited for music and the latter for dance. The sāhityamin padavarnās is more complex and the muktāyi swaram and chitta swarās also have sāhityam. The musical structure is also more continuous in nature and offers for extemporization of sangatis, thus providing scope for the dancer to improvise on the abhinaya and footwork. On the whole there is the influence of the padam style on the padavarnās. On the other hand the lyric of the tāna varnam is very simple in nature (more like the jāvali) with lots of pauses in between two syllables. Both the varnam styles follow the ‘madhura bhakti’ style. The prosody is also very simple. Yati (the starting syllables of two lines of a stanza coincide), Antyaprāsa (the last syllables coincide) or dwiteeyākshara prāsa (coincidence of the second syllable) are the common prosodic beauties observed. Eg. Vanajākshirō ee virahamōrvane Vāsudēvuni tōdi tēvē Vinavē nagapuramuna Velayu sri soundarya rajuni - kalyāni ādi tala varnam The author places his signet in the form of ‘vāggēyakāra mudra’mostly in the anupallavi. Eg.

Cheluvudaina sri venkatēsa – navarāgamālika varnam (mudraof Patnam subrahmanya ayyer) Special attention should be paid to the articulation of a varnam. Perfect vowel production is required in the lyrical diction. In the musical diction, a special technique resembling the action of a spring is to be used, both in vocal music and instrumental music (especially the violin by the use of ‘spring’ bow technique) for speeds of and above madhyamakāla. The vowels corresponding to each note should be produced from the vocal cords (with a distinct demarcation between each note) and not by the movement of the chin. The whole varnam is structured with many swara groups and patterns of threes, fours, fives etc. Eg.

The above pattern can also be divided as follows –

For effective presentation proper stress and accentuation should be maintained at the beginning of each such group. When rendered with full vigour and all the above factors in mind, varnam is a quality concert piece with technical excellence and rhythmic beauty. Some great varnam composers are Pachchimiriam Ādi Appayya, Patnam Subrahmanya Ayyar, Vina Kuppayyar, PallaviGōpalayyar, Mysore Vāsudēvāchāri etc.

Kriti The next and the most gigantic and phenomenal form of composition in Carnatic music is the ‘ kriti’. It has been a matter of much debate and discussion regarding the usage of the terms kritiand keertana. Musicologists of recent times have finally arrived at a clear demarcation between the prototype of a kriti and a keertana. According to Prof. Sāmbamurty, the kriti is a composition with complex lyrical and musical structure where as, a keertana is simple in its tune and words. However, when the meanings of the words, kriti and keertanaare considered literally, kriti is a composition or a creation. A keertanais that which is in praise of the Almighty or a great personality, a patron etc. in conformity with this observation, most of the compositions of Carnatic music are keertanas as they are all dedicated to God. It is unnecessary to maintain rigidity in defining a keertanaand a kriti separately. Even after careful distinctions made by musicologists, practical musicians have been using them in a more free sense. However, the broadly accepted version brings out an inference that, compositions of the ‘bhajana sampradāya’ are keertanas and the others - kritis. The compositions of the trinity have compiled all the significant and salient features of composing styles of the pretrinity period and have moulded themselves into songs of intrinsic beauty and great aesthetic appeal. Thus they represent the whole family of this great form (kriti). An analysis of these compositions would be the analysis of the entire kriti family. The scholar’s endeavour would be mainly to deal with aspects that have not been discussed widely until now. The first question that arises in the researcher’s mind is – why, should language or lyric follow music at all? What, is the common element that has made them so entwined and inseparable? The answer that the writer has been able to derive is that, it is sound (nāda) and rhythm (laya) that are common in both. Music is abstract and language definite. The vagueness of the abstract in music is given a conformation in the language and the harshness of the concrete in the language is softened by the music. In Sanskrit verse, a quarter or a pāda is regulated by the number of syllables called varna or akshara , or by syllabic instants called mātrā. In the metres that are based on varna, balance is regulated by the pattern of short (laghu - |) and long (guru – U) syllables organised into ganās. The metres based on syllabic instants are regulated by the number of mātrās in a pāda. The former is called varnika chandas and the latter mātrika chandas. There are also metres based only on the number of syllables. These metres are framed in the form of verses called vrittās. Each gana is made up of 3 syllables. The different combinations of long and short syllables form 8 ganas (Appakaveeyam and Sulakshanasāram) Ya = | UU

Ma = UUU Ta= UU | Ra= U | U Ja = | U | Bha = U | | Na = | | | Sa = | | U Ya Mā Tā Rā Ja Bhā Na Sa la gam – the structure of the ganais determined by taking three syllables beginning with the syllable of the name of the gana. For eg. Ya gana is – ya mā tā = | U U and so on. La gam are extension syllables i.e. they denote the remaining syllables of the pāda of a vritta. Apart from the vrittās of Sanskrit verse, the Telugu verse has admitted some new forms like the Kanda, Seesa, Tētagiti, Ātaveladi etc. Two additional ganās - Indra and Sūrya are also present. Indra – ta, bha, ra, sa, one guru and 4 laghus Sūrya – guru, laghu, laghu, laghu, laghu - (N.Ch.Krishnamāchāryulu, 2000) The structure of a song is framed by its tala. The gait of the song is determined by the number of syllables in the lyric and further adjustments are made to fit in the tāla. Different vrittās follow different gaits comparable to the gatis of tāla. For eg – Gati

Vrittam

Trisra Sugandhi, Vicikilita, Panchachāmara Chaturasra- Nalini, Todaka, Tōtaka, Praharanakalita, Manigananikara, Vidyunmāla, Mānini, Sarasija, Kraunchapada, Kavirājavirājitam, Aswagati, Tanvi, Bhāskaravilasitam Khanda Sragvini, Tvaritagati, Vanamayūra, Bhujangaprayāta, Padmanābha, Layagrāhi, Layavibhāti, Lahari, Mangala mahāsri, Dandaka, Misra Tarala, Mattakokila. Sankeernam - Aparijitam Further, the nine types of ragadas in Telugu fit in for specific talas Rupaka– Eka – Jhampe –

3 mātrās - Hayaprachāra, Turagavalgana, Vijayam angala 4 mātrās – Madhura gati, Hari gati 5 mātrās – Dvirada gati, Vijayabhadra (double of dvirada gati)

Triputa & Ata – 7& 14 mātrās - Harinagati, Vrisahabhagati (Appakaveeyam – pg.271 &272, N.Ch.Krishnamāchāryulu, 2000, Pg. 307, Dr. Salva Krishnamurty1995) Matra kala laghulassyat tagganascha pachantadau Syuh shattancha chatustridvisankhya matrayutah kramat The libretto composition has gone through a long process of evolution in which prosodic rules were modified and new rules were framed. The first rule in this process is the pādaniyama (number of words and terms is fixed), then comes the gananiyama (number of ganas is fixed) and later, the varnaniyama (number of letters is fixed). The latter arrangement does not have a fixed placement of laghusand gurus. The next rule to be followed is mātrāniyama (number of matrās is fixed unlike the placement of laghus and gurus). The last arrangement is mātrā samaka ganās or time units of 3 or 4; 4 or 7 mātras. In Telugu, a pāda was made up of 18 mātrās at a particular point of time. Later it was reduced to 16 mātrās. The 5 ganās formed of mātrās are – Name

gana

symbol

no. of matras

Shat Pancha

sha pa

UUU UUI

6 5

Chatur Tri Dvi

cha ta da

UU UI U

4 3 2

The jāti made up of these 5 ganās is called ‘Atyukta’ jāti. Out of the first ‘sha’ganās arise, 4 ganās of 2 letters known as ‘rati’ ganās. Then, there are 3 lettered ganās of ‘madhya jāti’ known as ‘kāma’ or ‘smara’ganās and also 4 lettered ganās of pratishtajāti’known as ‘bāna’ ganās. In gadya prabandhās (prose) like vachanās, vinnapās, chūrnikāsetc the above ganās are available. Bharata advises to scan for 4 mātrās in ‘ārya vrittās ‘, 5 mātrās in ‘geetikas’ and 6 mātrās in ‘vaitāliyās’. Sriman N.Ch.Krishnamāchāryulu, (2000) has further compared the structure and variety in the prabandhās of Sangeeta Ratnākarato the compositions of present day music (pg. 300). He has given a vivid picture of the Ëla prabandhās and compared the compositions of Deekshitar and Thyāgarājā and the different constituent angās of a kriti to those of the Ëla prabandhās. Most of the musical compositions follow mātra chandas – Shōdasa mātrāh pādēpādēyatra bhavanti nirasta vivādē Paddhadikā jaganēna viyuktā charama guruh sā sadbhirihōktā - Chaturdandi Prakāsikā:170-171 Each pāda is made up of 16 mātrās. Another important prosodic rule mentioned by Ahōbala in Ahōbalapanditeeyam is – Eka mātrō dvimātrasyāt teetē tālānusāratah A short letter can be doubled but a long letter can not be shortened. Based on this, the libretto is adjusted in the frame of the tāla following mātrā chandas. Regarding Yati and Prāsa – Prabandha geetam tānēshu keertanēpada varnayōh Tālāvruttātmakam pādam gāyakāh parichakshatē Prabandhādhitrikēprāsa visramau chārutāvahau Na tayōh kutrachit hānam api dōshāvahu vidhum Keertanādi trayē nityā prāsa visrāma sangatih Sanskrutēpādavinyasāh tadyōgē abhyuchchayō matah (Ajantaparichchēda, atharvanakārikāvali :103-105) Of the six types of compositions – prabandha, geeta, tana, keertana, pada and varna, yati and prāsa are sine qua non in keertana, padam and varnam. The other lyrical beauties are yamaka, anuprasa and various alankārās. Keertanās are ‘Niryukta prabandhās’. The angās of Ëla prabandhās and their comparison to the kriti : Anghri –

It is like the ‘sāki’ sung before songs. It is divided into two parts of the same duration and is alliterated with antyānuprāsa. Prayogam It is also termed as ‘mēlāpaka’ by Someswara (Ratnāvali) and others. This is compared to the rāgā – phrases sung at the end of each anga Pallavam –

This is a Pallavi consisting of 3 quarters. The first and second quarter, are in the slow tempo and the third in the fast tempo. Many of the kritisof Deekshitar are an example of this.

Udgrāha –

This is the anupallavi consisting of three parts with the same tune and set to a tempo similar to the pallavi. The name of the addressee should be present in the third part of the udgrāha.

The udgrāha is followed by the prayogam again. Dhruvam This is comparable to the charanam of a kriti. It consists of three pādās – two in the medium and one – in the slow tempo. The first and second pādās are of the same tune while the third is different in its dhātu. The third pādā should be marked by the name of the nāyaka in praise of whom the prabandha is composed. Ābhōga - This is the anucharanam or the second part of the charanam, which is similar to the anupallavi. The vaggēyakāra mudra should be included in this section. This is sung twice and then the dhruva is

repeated. This is commenced in the vishama graha. The special mention of the graha of this part indicates that all the other sections commence in the sama graha. (N.Ch.Krishnamāchāryulu, 2000, p. 302; R.K. shringy, Premlata sharma – 1989, p. 222) Anghrau khandadvayam sānuprāsamēkēna dhātunā-33 Tatah prayōgastadanupaūavākhyam padatrayam Dvē stō vilambitē tatra truteeyam drutamānataha –34 Ëvam pādatrayam gēyamudgrāhē tulyadhātukam Kēvalam tu truteeyēnghrau sambōdhana padānvitaha –35 Prayōgō(a)nyō vidhātavyō na pallavapadasthitihi Amum prayogam mēlāpam prahuhu somēswarādayaha –36 Stutyanāmānkitō madhyavilambita padatrayaha Dhruvastatastatrapûrvamēkadhātu padadvayam –37 Bhinnadhātu truteeyam syādābhōgastadanantaram Gēyō vāggēyakārēna swābhidhāna vibhttshitaha –38 Punargeetva dhruvē tyāgō grahastu vishamo bhavēt Ëlāsāmānyalakshmaitat pûrvāchāryairudeeritam -39 However Prof .Sāmbamoorty (south indian music - book 5) and S.R.Jānakiraman (sangeeta sāstra sāramu) have made a different comparison – Udgrāha - Pallavi Melāpaka - Anupallavi Dhruva Charanam Ābhōga -

Anubandham

However, the first comparison seems to be more convincing. Apart from the above angās, the kriti form of today has many more beauties in its construction such as – 1. Samishti charanam – The Pallavi is followed by charanamcombined with madhyamakāla sahityam. The anupallavi is absent in such cases. e g. Rāgādirahita-Sri Guruguha–Dēvakriya ragam–Deekshitar 2. Chittaswarās – The anupallavi and charanam of a kriti are followed one or more of swara. e g. S, r g m n d n m d m g r s d | S,... — Niravadhisukhada Ravichandrika - Thyāgarāja 3. Swarasāhityam – The anupallavi is followed by swaram and the charanam is followed by sahityam of the same swara. In some cases this is sung in the higher tempo after the sahityam is sung in the lower speed. e g. n p n n s n n S ;, n s g r s... ni ra va dhi ka su kha da ni ra ta mu ga... - Janani – Reetigowla – Subbraya sastry 4. Solkattuswaram – It is similar to the chittaswaram and consists of different jati syllables. e g. p m g m r g m s s r S n s r s n p ta ka dhi mi ri ga ma dha na ku jham ni sa ri ki ta tha – Sri maha ganapati ravatu mam – Gowla - Deekshitar 5. Madhyamakāla sahityam - It is a sahityam of medium tempo higher than that of the remaining part of the kriti, which comes after the pallavi anupallavi or the charanam. e g. Darahasayuta mukhāmburuhē – Sri Saraswati – Ārabhi - Deekshitar With this background it would be easier to study the dhātu and mātu of a composition and also their correlation.

Thyagaraja Thyāgarāja is crowned as the Vāggēya/kara chakravarthikThe variety of compositions that Thyāgarāja offers is incomparable. (as viewed by IVR, SSI, LGJ, MSG). The structure of the kritis is different for each variety. The utsava sampradāya keertanās and divyanāma keertanās have a Pallavi and many charanās. All the charanams are of the same tune. Some of the keertanās have an anu pallavi in which case, the tune of the charanam is the combination the Pallavi and the anupallavi. In some, the Pallaviand charanam have the same dhātu throughout. The general format of majority compositions of Thyāgarāja is – a pallavi, anupallavi, charanam and anucharanam (same dhātu as the anupallavi). The Pallavi generally starts with a vādi swara or an important note of the raga in the middle octave. The entire gamut is explored by means of sangatis – embellished, nourished and nurtured variations of the original musical phrase. Though the entire gamut is covered in the anupallavi and charanam also, the emphasis on a particular group of notes gives a specious impression that only a part of the octave is being explored in each section. The

anupallaviis generally in the middle and upper octaves. The lyric is also typical in its format. The Pallavi is a spontaneous but firm statement of a strong feeling or emotion. The anupallavi is an extension of the above statement. The charanamdemonstrates the above two sections with lucid and convincing examples from the Purānās, Rāmāyana, Mahābhārata etc, or a clear logical explanation of the same. However, the musical trinity is composers not by profession like Mozart, Beethoven etc, but only by virtue. Neither the music nor the lyric is pre-planned or composed separately. These songs are a medium of sublime expression opening doors to the path of jnānaand vairāgya and attaining salvation. So, the music and language are interfused together – one enriching and elevating the other. This is called ‘samanvayam’ or conjunction of both. it appears as if Thyāgarāja portrays the ‘mamēkatvam’ of ‘jeevātma’ and ‘paramātma’in the form of vāk and gēya bonded together. The music and verse are filled with emotions of equal intensity. Thyāgarāja is a ‘sagunōpāsaka’ matured into ‘nirgunōpāsaka’. The sangatis in his kritis (probably taken from ‘vistāraja dhātu’ mentioned in the Vādyādhyāya of Sangeeta Ratnākaram of Sārngdēva – Rangaramanujayyar, 1978 – p. 254), are all musical expressions of the sagunatvam (attributing qualities to God). ‘Guna’ also means a string, repetition and multiplication inter alia. Sangati means union, conjunction, applicability, knowledge, questioning for further knowledge etc. when these meanings are contemplated upon, one arrives at a conclusion that Thyāgarāja chose this instrument of sangati to practice sagunatvam and attain (beatitude). Vaggeya Samanvayam of Thyagaraja Project document submitted in the scheme of junior fellowship awarded by the ministry of human resource development.

Thyāgarāja proves himself as a nirgunōpāsaka by opting for renunciation in his last days. He did not even compose after that. One of his last kritis - ‘Paramātmudu veligē muchchata’ – reveals that the supreme spirit is Omnipresent and All - pervasive. Endowed with great poetic abilities, Thyāgarāja presents a wide array of innovative versification in his musical dramas – Naukācharitam and Prahlāda Bhakti Vijayam, in the form of various vrittas, jatis, gadya, chūrnika, dandaka, daru etc. His kritis are of highest order in mātrā chandas and freelance compositions. Some vrittas in his kritis are as followsTōtaka-Girirā / jasutā / tanayā / sadayā - Bangāla rāgam - Ādi AswagatiPāpagha/nābhrasa/meerana/pāmara/ Pālita/pāvana/ nāmacha / nā - Sārasanetra - Sankarābharanam - Ādi Mātrā chandas-Paddhadi-Bhavanuta nā hridayamuna- Mōhana- Ādi Many varieties of yati, prāsa, and alankāra (sabda and ardha)feature in his compositions with a natural and spontaneous flow both in Telugu and Sanskrit. As mentioned by Bhartruhari – Jayanti tē sukrutinah rasa siddāh kaveesvarah Thyāgarāja is an unsurpassed ‘rasasiddha’ or highly accomplished in poetic sentiment. The origin of the concept of raga in Indian aesthetics is attributed to dramaturgy. Probably this is why Thyāgarāja chose to compose the Gēya Nātakās. The pancharatnās of Thyāgarāja are the only compositions, which have been composed intentionally with a design. They agree with the prabandhā style of ancient music and the varnās of the modern times. It is interesting to note that this group of kritis is of great relevance to the present study. Thyāgarāja reveals a five-fold path of sādhana to the sādhaka. 1. Object of sādhana (focussing) – The first ratna‘ Jagadānandakāraka ‘ in Nāta is an invocative piece in praise of Lord Rāma. Rāma is the object of Thyāgarājā’s sādhana. The whole kriti is focussed entirely on Rāma in different forms and perspectives. 2. First and foremost it is important for a sādhaka to be introspective and self-critical. ‘Dudukugala’ – a kriti in the rāga Goula is one such great example. After setting a goal, Thyāgarāja first censures himself with an exhaustive list of captious admonitions. Such severe, sharp and critical insight ensures that any misdemeanour of the individual is kept at bay. Only such a pure mind can achieve the ultimate. 3. The third gem - ‘Sādhinchenē ‘ in the rāga Ārabhi is a gospel made by Thyāgarāja on the various requirements of true sādhana – sama, dama, titiksha etc – Rutam cha swādhyāyapravachanē cha Satyam cha swādhyāyapravachanē cha Tapascha swādhyāyapravachanē cha Damascha swādhyāyapravachanē cha Samascha swādhyāyapravachanē cha - Taittiriya Upanishat One has to follow the path of righteousness, truth, penance, restraint and tranquility.

4. Thyāgarāja’s sādhana is rewarded with the divine vision of Lord Rāma in all his beauty and splendour which is described in the fourth pancharatna – ‘Kanakanaruchirā ‘ in Varali. 5. Thyāgarāja does not forget to thank all the great souls who have inspired him and paved a path (of devotion) for realising his goal (moksha). He pays his obeisance to each one of them with great reverence in the last ratna – ‘Endaro mahānubhāvulu’ in Sri rāgam. It is the humble duty of the sādhaka to acknowledge and accredit one and all responsible and instrumental in his sadhana. The above piece is more or less a ‘phalasruti ‘ for all his work.

Deekshitar Muttuswāmy Deekshitar is the youngest of the trinity. He has espoused a unique style of composing kritis. All his compositions with a few exceptions are in Sanskrit language in which he was erudite. This has earned them great veneration and universal acceptance in the world of music. This and his fascination for slow tempo or vilamba laya have placed his compositions in the ‘mārga ‘ paddhati. The format of his kritis is an innovation by itself. The introduction of madhyamakāla sāhitya (also known as mitram), after the pallavi, anupallavi, or charanam or sometimes after all the three or two sections is a neology. This enhances the aesthetic beauty of the composition by providing a graceful contrast from the vilamba laya of the kriti. Muttuswāmy Deekshitar has rendered great service not only to the world of music but also to the Hindu religion and its followers. He traveled far and wide south and north of India and composed at least one song or a group of songs (Abhayāmbikā navāvarana kritis, Panchalingasthala kritis etc) on the local deity wherever he went. Modern day concert performers are greatly benefited in planning their concerts with the compositions appropriate to the place and occasion. The humble lovers of music have the satisfaction of singing the glory of local deity when they are on a pilgrimage. Deekshitar has composed kritis in all the seventy two mēlakartāsfollowing the asampūrnamēla paddhati (the scale of the mēlakartamay or may not have all the seven notes as a rule). Each kriti of Deekshitar is an encyclopedia for the raga in which it is composed. The majestic approach with which the composition is dealt is remarkable. Deekshitar’s compositions are exceptions as far as the general format of the kriti is concerned. The charanam of a Deekshitar kritidoes not have a section that resembles the anupallavi like the compositions of other composers. His kritis are full of beseeching vocatives and descriptions. They are either imploring or thankful in nature. The strict grammarian that he is, Deekshitar is equally terse in self-analysis and discipline – Manasa guruguha rupam bhajarē – Ānandabhairavi – rupaka Hiranmayeem Lakshmeem - Lalita – rupaka Muttuswāmy Deekshitar can be called as a ‘musical scientist’. Musically his compositions are treatises of rāgabhāva, and academically, they are treasures of astrology, grammar, mantra-tantra āgama sāstrās, philosophy etc. They are full of rhythmic yati(ceasura), prāsās (alliterations), and complex sandhis (euphony) and samāsās (compounds). He has composed kritis in all the vibhaktis(inflections of nouns) – navāvarana kritis. (SSI) It is said that Deekshitar’s compositions can be learnt or sung only by expert musicians. Incidentally, many of the kritis taught to beginners are Deekshitar’s compositions – Sri Gananadham – Eesamanōhari – Rupaka Sri Saraswathi – Ārabhi – Rupaka Sri Saraswathi hitē– Manji – Ādi Sri Guruguha – Dēvakriya – Rupaka etc. These are small kritis which can be sung with simple, straight, notes at first and as the learner advances in his scholastic pursuit, the same kritis can be sung with gilded embellishments. Sri Muthuswāmy Deekshitar has performed a rare and special feat in adopting Hindusthani Rāgās for his compositions. Not only that, he has clearly demarcated both the Hindusthani and Carnatic systems by composing two kritis in the same raga in both styles. For e.g. Akhilāndeswari (Hindusthani) and Chētasri (Carnatic) in Jujāwanti rāga. Notwithstanding the controversy about the authenticity regarding the authorship of the kriti Akhilāndēswari the comparative analysis can be appreciated. Generally, the kritis of Deekshitar can be read like a poem along with the tālam. The deergham and hrasvam of the syllables is strictly maintained. In some places, the deergha swaram is elongated a little more in order to bring out better

sāhityabhāva. Depending on the situation, this long note indicates emphasis at a particular place, or a much-needed pause. Even vilamba kāla kritis follow this rule. The speed of the kriti may be increased and read to prove this point. For e.g. –

Another interesting point to be noted is that, wherever more sāhityam is required, Deekshitar uses the higher degree of speed to avoid monotony and lengthiness. This may be deduced as the reason for the origin of the madhyamakāla sāhityam in the first place. Keeping in view all the above and many more of his contributions it can be emphatically said that Deekshitar was a versatile genius.

Syamasastry The greatness of Syamasastry lies in the fact that, he has been placed at a high altar as one among the trinity, in spite of the limited number of compositions composed by him in limited number of rāgās. An analysis of his compositions reveals another interesting perspective of a sādhaka. He has ardently sung in the praise of the Divine Mother. He pictures her in all possible forms of ‘ shakti’. She is a mother (amba), sister (sahodari), friend, philosopher and guide. Such pinpointed devotion towards ones goal is a must for a sādhaka. Further, this interpretation of a single entity in more than one form is observed in his music also. For e.g. 1. Kritis like ‘Karunānidhi’ in todi can be sung in more than one tāla viz. Rupaka and trisragati ādi. 2. The same dhātu is set to lyric in two languages – Telugu and Sanskrit – Birānavarālicchi and Himādrisutē in Kalyāni – set to trisragati ādi and rupaka tālas. Further, he has brought out a variation in the original format of misra chāpu tālam commonly known as viloma chāpu. This concept must have taken shape from the concept of ateeta graha i.e. the song starting before the tālam. Repeated usage of the ateeta graha might have recast it into a new tālam. (NCH) e.g. Nannubrovu Lalitha — Lalitha Ninnuvina — Purvi Kalyāni etc. Syāma sāstry’s love for rhythm, especially the chāpu tālam must have led him to probe into its potentialities in new directions resulting in compositions of innovative rhythmic structures. The rāga Ānanda Bhairavi is another such fascination to Syamasastry. He has exploited this raga in innumerable ways in his works – Pāhi sri girirāja sutē, Marivēre, 0 Jagadamba etc. Syāma sāstry’s swarajatis , also known as ‘ratnatrayam’ – in Bhairavi, Yadukula Kāmbhoji and Todi are paragons of absolute melody and brilliant rhythm (SSI). The ascending order of the scale (murchana) in which the swara sāhityās commence (Bhairavi & Yadukula Kambhoji) and the limited range in which each swara sāhityam is composed, are paradigm for gradual and stepwise ragaexpansion. Syāma sāstry’s rare talent in expounding an idea in more than one form is seen once more in the Yadukula kāmbhoji swarajati. As mentioned earlier each swara sāhityam starts •with a note of the murchana in the ascending order – S R M P D S. One can observe a strange similarity between the dhātu of 2nd & 3rd; 4th & 5th; and 6th & 7th swara sāhityās –

This is achieved by intelligent and subtle arrangement of swarapatterns within the same range. These swaras are used as long notes on one swara sāhitya and short in the other. A long note is replaced by a double note (janta), or two short

notes. Syāma sāstry is not influenced by any other system of music. All his compositions characterise themselves with pure elements of Carnatic system of music. When the works of the three composers are analysed together, we come upon some interesting points. All three of them were born with Divine power and initiated by great Providential Gurus. They had led normal lives of a householder and accepted the problems of the day to day life without shunning any responsibility. At the same time, they were unperturbed by the temptations of worldly pleasures. The root elements of the compositions of the trinity are Bhāva, Rāga and Laya. However, one of these elements plays a predominant role in each composer. ‘Bhāva’ is Thyāgarājā’s forte; ‘Rāgā’ – Deekshitar’s; and ‘Laya’ – Syāma sāstry’s. This is in accordance with their individual personalities. This does not mean that the other two elements are inferior in any way in their compositions. It only reveals the fact that the composer has some special contribution to make regarding that particular element. It can also be said that they have exploited the essentials of ‘Geeta’ (swara, laya andpada) and ‘sangeeta’ (bhāva, rāga and tāla)to the maximum extent possible and have added the flavour of aesthetic beauty to each of these elements.

Authenticity of a Composition With the advent of print, audio and visual media, learning a new composition has become a matter of child’s play. Where as, some decades ago, a sincere musician would have to learn a composition in the oral tradition from the Guru (who may or may not allow him to notate the same while learning) or by listening to it from some great singer (in a concert or in private) and note down whatever could be grasped and retained. The advantage in this practice is that the learner is completely attentive while learning the song and assimilates the same until it is ripe and mature. Secondly the learner realises the value of the composition because it is hard earned. (As viewed by almost all the interviewees) The coin has the other side too. The inability of the learner to grasp the nuances of the music and lyric of the song, or to note it down properly, lead to a distorted and mutilated form of the same. Even greater hazard lies in the fact that this distorted form is carried on generations together from Guru to sishya (disciple). However, any musician would be able to amass only a limited number of compositions that were practiced perfectly. The result would be soulful rendering of, at least those few songs. Today’s musician can learn one or even more songs per day. But he has neither the will nor the zeal to practice them thoroughly. Hence, the compositions that were composed with so much fervour, sound dull and lifeless in spite of the good voice quality and diction of the present day musicians. Further, when the musician lacks judicious acumen about the authentic version of a song, he tends to compile all and sundry compositions through the audio-tape or printed books and is wrongly acclaimed as a musician of wide repertoire. It is compulsory for a musician to be able to recognise the authentic version of a composition. The following measures would greatly help a musician to achieve the above 1.

The language and pronunciation of the song should be correct. When a singer takes up a composition in a new language or comprising of unfamiliar words, it is essential to know the meaning and correct pronunciation of the same.

2.

The grammatical structure of the dhātu should be correct. Any phrases, which are not admitted by the raga in which the composition is set, disturb the musical structure. Such a composition is not valid. There is another angle to this rule. There are some very rare and special phrases in some ragas known as ‘ Visēsha prayōgas’2. These prayogas are the result of a spark of brilliance exhibited by the composer on the spur of the moment. They may not conform strictly to the arrangement of notes in the mūrchana. For e.g. –

r s n p m r, dp m r s -Arunāchalanādham-Sāranga-Deekshitar There is a tendency to point out such phrases as unconventional and restructure them into the regular format. The above prayoga is changed into - r s n d p m, r g m r s. this tendency is a hindrance to the opening up of new vistas in the field of creativity. It is important that the original style of the composer is not disturbed. Many musicians have an inclination towards a particular composer’s style of composition. They tend to frame any composition into that mould. The resultant effect is that, the identity of the composition is lost. Also, the sangatis of a kriti should not be freestyle improvisations like neraval. All the imagination of the singer should be put to use in singing manodharma sangeetam and not in the sangatis of a kriti.

However, when the artist has authoritative and exceptional caliber, he can decorate a particular phrase or add a little glitter on the whole. 3. The lyric of the song and the lyrical structure of the song should be understood and rendered properly. To achieve this, the musician should either have full command over the language and the metrical science (both musical and lyrical) or take the guidance of an expert in that area. As discussed earlier, compositions go through the whims and fancies of many generations of artists. In the process, first hand templates of the songs are always at the risk of getting disturbed at one stage or the other. Ignorant musicians even go to the lengths of attributing such disruptions to the inability of the composer himself. Paper submitted in the National Conference of South Indian M usic, Visakhapatnam, 2000.

It is generally observed that, musical compositions are subject to prosodic abuse in the hands of many a musician. One or two syllables, or sometimes, even words are wrongly placed either before or after the pāda in which case the fati and prāsa maitri’ is disturbed. For e.g. the general prosodic format of a kriti of Thyāgarāja is as follows – Taking the charanam of kriti – 1st & 2nd line present dwiteeyāksharaprāsa maitri. 1st &3rd line present dwiteeyākshara prāsa maitri3rd &4th line present yati maitrikalasāmbudhilō dayatōnama — rulakai adi gaka gopi - kalakai kondanetthalêdā karunakara Thy agar ajanuta — Brōvabhārama — Bahudari — adi It is the responsibility of the artist to carefully correct any distortions in these rules. The structural beauty of the composition is greatly enhanced and elevated by such corrections and strict adherence to prosodic values. It may be understood here that such rearrangements need not be interpreted as irreverence of any sort towards the Guru or the ‘pātāntharam ‘ taught by the Guru. 4.

Care should be taken to see that the implementation of long and short syllables should be procedurally and aesthetically correct. The beginning of a kriti – graha, is of three types - Sama, ateetaand anāgata. Apart from these, sometimes the gap in beginning the kriti is due to shortening of the starting syllable. For e.g. –

-Pantuvarali — Rupaka — Rāmadāsa In the above kriti the eduppu or ettugada is after a gap of two aksharās. The point to be observed is that, ‘e’ in ‘enna’ is a long syllable. It is shortened for the purpose of ‘rakti’. The gap in the beginning of the kriti is a result of this slight aesthetic adjustment. So, the original structure of the kriti is -

As there is space for the starting syllable to lengthen itself, this passage is in conformity with the rule that a long syllable should not be shortened. A careful and observant attitude towards the above factors is sure to result in a harmonious outcome of ‘Dhātu – mātu samanvayam ‘.

7 MANODHARMA SANGEETAM The evolution of music has witnessed many stages before acquiring, the presently prevalent, performance oriented stage. It is an inevitable fact that any art is performance oriented to some extent. The quality of art exhibited varies in its standards depending upon the level of dedication and the nature of creativity involved in it. It is not known exactly as to when these terms kalpita and manodharma sangeetam came into usage, but they have become a part of standard musical terminology. It is essential at this point to meditate upon the terms – Manodharma sangeetam and Kalpita sangeetam. Manodharma is Manas and Dharma put together i.e. nature, temper, disposition, character or volition of the mind. Tadēva sukhaduhkhādyupalabdhi sādhanam- Indriyam pratijeevam bhinna manunityamcha - TarkaKaumudi. Coming to the aspect of manodharma sangeetam, it is the music which is not reproduced, but produced extempore of the artist’s own free will, choice and imagination. To be precise, this music is already existent in the artist. The shape of this music depends on various internal and external factors. In widely used words, aesthetic sense of the artist, the personality or temperament of the artist and above all the gift or talent for music. Now, the first question that intrigues any one is whether manodharma can be practiced. The answer lies in dissecting the above factors and analysing them individually.

Aesthetics It would be necessary to first define what aesthetics is: ‘Aesthetics is that branch of knowledge, which deals with the historically determined essence of human values, their creation, perception, appreciation and assimilation’ – Yuri Borev, Aesthetics, 1981, p. 13. Yuri Borev has compiled the views of great thinkers, which are presented below - p. 12 – ‘Aesthetics is a part of philosophy, which served to present a picture of the world in toto’ – Greek natural philosophers and Pythagoras ‘It concerned itself with poetics and the nature of beauty and art and tried to sum up the experience of the latter’ Aristotle. ‘Aesthetics bordered on ethics’ - Socrates ‘It was a division of theology seeking, with the help of art, to induce man to serve God’ - Tertullian, Thomas Aquinas. ‘It examined the relationship of nature and art’ - Leonardo da vinci ‘It attempted to set standards for art’ - Boileau ‘It analysed sensual cognition of the world through art’ - Baumgarten ‘It confined itself to the realm of the beautiful, or to be more precise art, and not just any art but the beautiful in art only, its goal being, to define the place of art in the overall system of the universal spirit’ - Hegel ‘It sought to supply individual artistic trends with a theoretic foundation, e.g. romanticism - Novalis. Aesthetics is a fine sense of what is good, or appropriate, nurtured by the knowledge and culture of the artist’s individuality. However, the concept of aesthetics undergoes complete transformation, contextual to the Indian panorama. The Indian thought perceives beauty in its absolute, transcendent form, where the subjectivity and objectivity i.e. the quality of experience and the quality of the object conjugate in sui generis experience. Here, all traces of objectivity are nullified. This is ‘rasa’ in its ideal state. The art is universalised and there is the experience of ‘ brahmāmananda’. Thyāgarāja says - ‘nādalōludai brahmānandamandavē manasa’. He gives a list of great seers who have experienced the ‘kamalabhavasukhamu ‘ or brahmānanda in the 7th charanam of the pancharatna- ‘endaro mahānubhāvulu’ ‘parama bhāgavta mauni...’. In such a state, there is no place for any emotive experience. All emotional barriers are surpassed. Bharata terms this aesthetic experience as ‘guna’ and the one perceptive of this as ‘guni’.

Raso vai saha - rasam hyēvāyamLabdhvā(a)nandeebhavati - Taittiriya – 2.7.1 ‘Rasa is the basis for manda, which is one of the three aspects of ultimate reality - sat, chit, ānanda. Rasa is as though the essence of these three aspects and in turn the basis of ānada, the most fundamental of the three.’ It would be essential to quote Mrs. Premlata Sharma, (2000) in this context - ‘Rasa theory and Indian music’ - Indian aesthetics and musicology, 2000, p. 100 ‘The ingredients of rasa are - vibhāva (cause), anubhāva(effect), sancāri bhāva (auxiliary mental states); the proper presentation of these makes the sthāyi bhāva enjoyable (āsvādaneeya). The cause and effect relationship inherent in different situations of life, when depicted through drama, tends to free the audience from the bondage of rāga - dvēsha (attraction and repulsion) and enables them to relish the bhāva in its universified (sādhāraneekruta) state without any particularities or limitations of space, time, or individual entity (dēsa, kāla, pātra). Hence artistic enjoyment is alaukika i.e. unlike the common experiences of life. It cannot be equaled with memory, imagination or direct experience. That experience brings about the cessation of all mental activity (samvidvishrānti) for the duration of its own existence. It brings about temporary liberation of the mind from bondages of ‘I - ness’ and makes possible the experience of basic mental states (sthāyi bhāva) in their universalised form. The mind becomes free from all ‘particular’, or binding or limiting factors of a given situation, which accompany it in actual life. Thus there is a perfect blending of tatasthya (neutrality) and tādātmya (identification) i.e. the audience completely identifies with the given situation and is at the same time detached or neutral because the situation does not effect their actual personal life in any way. This is a combination of bhoktrtva – the state of being the subject of an experience, and sākshitva – the state of being merely a detached witness. That is why even painful situations of life become enjoyable in drama’. It is not however, possible to experience this level of aesthetics always. Abhinavagupta, the great alankārika of the century A. D has made remarkable contribution to the field of aesthetics in his work – Dhvanyālōkalōchana (commentary on Ānandavardhana’s Dhvanyālōka) and Abhinavabharati (commentary on Bharata’s Nātyasāstra). 10th

He analyses rasa as a harmonious union of vibhāva (inciting or arousing factors i.e. any condition that produces or develops a particular state of mind), anubhāva (mimetic changes i.e. an external manifestation or indication of a feeling by appropriate symptoms such as looks, gesture etc), vyabhichāribhāva (transitory feelings or transient emotions and accessories), sthāyi bhāva (basic or persistent emotion). He also categorises aesthetic experience into different levels – The first level is the sense level. This is where the aesthetic experience begins. When one sees or hears a pleasing object, he perceives it directly. This is known as the hedonistic function of art i. e. art as enjoyment. This is true in the case of a layman. The second level is imaginative. The sense level aesthetics stimulates the imagination. This in turn stirs the emotions of the individual and creates a sense of involvement. This is the emotional level. When the emotion is very high, the emotionally affected person is free from his individuality. He forgets himself. This is the cathartic level or the level of emotional release. Final beatitude is experienced in the ultimate level of aesthetic experience discussed earlier, and the aesthete experiences a state of samādhi. Further Abhinavagupta also analyses the personality requisites for aesthetic experience – 1. Rasikatva – taste; the inherent faculty of recognising aesthetic elements. 2. Sahridayatva – aesthetic susceptibility. According to Premlata Sharma, it brings about identification with the focus of the artistic situation. It presupposes close and prolonged study of the theory and practice of the art concerned and frequent occasions of witnessing performances or exhibitions of the same. 3.

Pratibha – power of visualising the aesthetic image with full clarity. According to Yuri Borev, (1985) the perception of art is an intimate, private and personal process that takes place in the depths of the consciousness and is extremely difficult to record when observed.

4. Vāsana, Samskāra – the impressions of intellectual and cultural background on the subconscious mind. 5. Bhāvana, Charvana – contemplation and rumination. 6. Aptness of psychophysical state.

7. Tādātmya – capacity to identify with the aesthetic situation. The impediments to aesthetic experience analysed by Abhinavagupta in context with dramaturgy and their remedies – 1.

Pratipattāvayōgyata, Sambhāvana virahaha – inability to get at the suggested meaning. Remedy – sahridayatva.

2. Subjective & objective limitations of time and space. Remedy – music before the beginning of the drama. 3. Nija sukha duhkhādi vivasee bhāva – influence of personal joys and sorrows. Remedy – music. 4. Prateetyapāya vaikalyāt sphutatvābhāva – lack of clarity due to insufficient stimulus. Remedy – histrionics. 5. Apradhānatā – subordination of the principal. Remedy – importance to sthāyi bhāva. 6. Samsayayoga – dubiousness of presentation. Remedy – the vibhāva, anubhāva, and sanchāri bhāvās should be presented together i.e. in universalised state. Sankara, the Buddhist philosopher said that aesthetic perception is marked by tranquility, peace and lucidity and the absence of carnal drive (Yuri borev, 1985, p. 39). Kalidasa singles out four principal goals of art – 1. To arouse the admiration of goals. 2. To create images borrowing the material from the world around the artist and the life of man. 3. To be a source of many sublime joys through aesthetic sensations: navarasās. 4. To be a source of everyone pleasure, joy, happiness and all beauty. V. Bahādur noted that the chief purpose of art is to ennoble man’s inner life and in order to inspire, purify and ennoble art must be beautiful (Borev, 1985). Here, one is reminded of the eternal saying Satyam Sivam Sundaram It is interesting to observe the likeness or semblance of the words aesthetics and the Sanskrit words ‘eesh ‘ and ‘ēsh’, meaning the Divine Supreme. Incidentally, Lord Krishna is ‘rasāmritamūrthi’ or the epitome of rasa. Premlata Sharma (2000) compiles the qualities of his beauty from Bhaktirasāmritasindhu and Ujjvalaneelamani (Rūpa Gōswāmi) - Uddeepana prakaranam as follows – 1. Saundarya – Placement of limbs is appropriate to the design. bhavēt saundaryamangānām sannivēsō yathōchitam 2. Rupam – That which imparts ornamentation to an ornament. Vibhushanam vibhushyam syād yēna tadrttpamuchyatē 3. Lāvanyam – The luster emitted from a figure every moment like the luster emitted from a pearl. muhtāphalēshu chāyāyāstaralatwamivāntarā pratibhāti yadgangēshu lāvanyam tadihōchyatē 4. Abhirūpata - The power of imparting similarity of ‘rūpam’to an object nearby, through the excellence of one’s own qualities. Yadātmeeya gunōtkarshairvastvanyannikatassthitam Sārttpyam nayati prājnairābhirûpyam taduchyatē 5. Mādhuryam – Sweetness – an indescribable factor of rūpam. Rupam kimapyanirvāchyam tanōrmādhuryamuchyatē 6. Mārdavam – Inability to bear the touch of the softest object i.e. extremely delicate and soft. Mārdavam kōmalasyāpi samsparsāsahatōchyatē An aesthetic experience in music is possible only when such qualities are satisfied. (DDP, AR, LGJ) The personality of an artist is influenced mainly by his relationships i.e. relation with one’s own self, with other individuals, with the society, with the nation, mankind and its history, natural environment, culture, and the universe as a whole. These relationships affect the artist in the form of philosophical, psychological, moral, ethical, social, political, historical, ecological, creative, aesthetic, cultural and the metaphysical problems of life. These in turn affect the art of the artist – in the case of a musician as musical expressions and in the case of a composer both musical, lyrical and poetic

expressions of varying shades. From a conscientious study of the above points, one can infer that these two aspects of aesthetics and personality of an artist can be nurtured and developed carefully. There is the third dimension or to be more precise, the first, to artistic creativity i.e. talent. A person’s artistic creativity can be ranked in the increasing order of degree - capable, gifted, talented and genius. American psychologist Guilford lists artistic capabilities as – ‘fluent thinking, analogies and juxtapositions, expressiveness, the ability to switch from one class of objects to another, adaptation flexibility or originality and the ability to lend desired outline to artistic form’ (Borev, 1985) Yuri Borev, (1985) – ‘To be artistically gifted means, to have a sharp perception of life, to be able to select objects for attention, to fix these impressions in memory, to extract them from memory and include them in the rich system of associations and links prompted by creative imagination. An artistically gifted person creates works that have lasting value for a given society over a considerable period in its development. Talent produces artistic values of intransient national and sometimes universal human relevance. A genius creates the highest human values relevant for all times. The measure of an artist’s genius is powerful perception of the world and depth of influence on mankind. Now, this is a dimension that is autonomous of any effort on the part of the artist. it is entirely a role played by the subconscious in its transit to the conscious and the super conscious. This phenomenon was accredited by Plato as – ‘an ecstatic, God -inspired, Bacchic state’. Homer – ‘a raphsod is a singer who sees light from above’. So, this is something beyond the human comprehension and is purely God given. This can only be polished and channelised in the right direction. It is like a diamond in its original state, which needs only to be cut properly to emit its brilliant sparkle. It is the prerequisite for the shaping of an ideal musician. This cognition of the inner music as a whole is the manodharma. Music makers and perceivers through the generations have discerned and exploited the sound of music in all forms possible – utilitarian roles such as, a filler for dance and drama forms; as rhythmic folk music corresponding to the respective movements of a particular work pattern (like rowing a boat, harvesting a crop, carrying a palanquin etc); as a close associate of literature and language and also in its absolute form. Recent developments have conceived a package of extempore forms of music as manodharma sangeetam. This includes – 1. Rāgam 2. Tānam 3. Pallavi 4. Neraval 5. Swarakalpana. Proper sadhana of these aspects of Carnatic music can be discussed on the basis of the elements analysed above.

Ragalapana The origin of ragalapana can be traced back to the grāma- mūrchana-jāti paddhati. Right from the time when man started recognising musical sounds as swaras and srutis, he has made attempts to arrange them in various patterns pleasing to the ear. The genius of human mind led him to discover the maximum number of musical sounds conceivable by the human ear. He could conceive the ascending order of swaras. Here lies the simple principle that, hot air travels upwards. ‘Swa’ is the self or one’s own; ‘Ra’ is heat or fire. ‘Nāda’ is ‘prānāgni samyogam’. Thus, swara is the manifestation of nada from the self. Nāda, which is universal, pronounces itself as swara, which is personal. Musicologists have understood this personal nature of swara and the myriad of images it can present. It is from this personalised aspect of a swara that so many scales (mūrchanas) and their improvisations (jātis), geeti-s(composition with words set to melody and rhythm in three tempos and embellished with four varnās (sthāyi, ārōhi, avarohi and sanchāri), have been possible. Matanga was the first to coin this word ‘rāga’ as absolute music and defines it as that which pleases or enamours one with the swaravarnās and their intonation or expression through different rasas. The rāgās with their dasa and trayodasa lakshanās (Sārngdēva) dasavidha and panchadasa gamakās, have attained a supreme stature in the history of Indian music. The words, ‘ālāpa’ and ‘ālapti’ were dealt separately by Sārngdēva. Rāgālāpa was defined as that which can exhibit the following ten elementsGrahāmsa mandra tārānām nyāsāpanyāsayōstathā - 23 Alpatvasya bahutvasya shādavauduvayōrapi Abhityaktiryatra drushtā sa rāgālāpa uchyatē - 24 -Raga vivekadhyaya – sangeeta ratnakaram Ālapti rāgālāpanamālaptihi prakateekaranam matam Sā dvidhā gaditā rāga rttpakābhyām visēshanāt -

189 - Prakeernakādhyāyam – Sangeeta Ratnākaram Ālapti is manifestation of rāga through vocalisation. It is of two types – rāga and rūpaka. The ālāpana of today is clearly the rāgālapti mentioned by S ārngdēva. According to him, rāgālapti is staged in four steps or swasthanās. This is similar to the description in Sangeeta samayasāra of Pārsvadēva 1.

The note on which the rāga starts or establishes is ‘sthāyi ‘. The fourth note from it is ‘dvyardha ‘ which is halfway from the starting note. Sounding of the note just below it is ‘mukhachāla ‘. This is the first swasthāna.

2. The second swasthāna comprises of sounding the dvyardhaand returning to the sthāyi. The eighth note from the sthāyiis double in pitch. The notes in between the dvyardha and the double-pitched note are ‘ardhasthita’ notes. 3. The rendering of ardhasthita notes and return is the third swasthāna. 4. Rendering of the eighth and returning to the sthāyi as the ending note nyāsa. The rendering of the swasthānās followed by the ‘sthāpana ‘ or the concluding part which is delineation of raga through small ‘sthāyās ‘ (one of the limbs of the rāga, having a wider scope than gamaka), with a pleasing, artfully posed and predominant jeevaswara. A thorough study of the nature of gamakas, sthāyās etc mentioned in Ratnākara, reveals the magnitude of the possibilities in the rāgā elaboration. Stories of a rāgā being sung for days together do not seem to be exaggerations at all when the exhaustive scope of the raga delineation with its complex and elegant constituents is analysed. Dr. M.B. Vedavalli has compiled the ancient origin of rāgā from different sources given below – Panchamarabu (Ārivanār, before 12th century A.D.) – ‘Niravalālatti mentioned in this work resembles rāgālāpana. Ālattishould be started with the sound ‘m’ using the consonants ‘t’ and ‘n’, which occur in tenna and tēna. It may be sung with kutrezhuttui.e. short vowels ‘a e i o u’ or nettezhuttu i.e. long vowels ‘A E I O U’. If it consists of short syllables it is called acchu and it is rhythmical. If it is sung with long syllables it is called paranai and it accompanies dance. Kattālatti has to be rendered as acchu and niravalālatti as paranai and pannālatti is based on pan (lyric). The syllables to be used in ālatti are tenna, tēna, and tennatēna. Silappādikāram (Illangō Adigāl, 2nd century AD) – This work refers to the word ‘vakkiri tittam ‘ in Arangetrukadai which is one of the features of embellishments to be introduced while singing particular passages of certain types of songs. Commentators on Silappādikāram have explained it by using the term ālatti and its characteristics, graha (mudal), amsa (murai), nyāsa (mudivu), bahutva (nirai), alpatva (kurai), tāra (valivu), mandra (mēlivu), madhya (saman), preserving the purity of swara (kizhamai), vinyāsa (varaiyarai) and samvadi (neermai). With the changes in rāgās, their ālāpana system has also witnessed some restyling. Sangeeta sudha and Chaturdandi Prakāsika of the 17th century AD, are the earliest works, which describe rāgālāpana that is similar to the present day rāgālāpanasystem. (IVR, NCH) Sangeeta sudha – This work uses the term ālaptika, which is of two types- rāgapūrva and rūpaka pūrvika. The rāgapūrva ālaptikais independent of the prabandha and consists of four sthānās similar to those mentioned in Sangeeta Ratnākara. Further there is the mention of six stages of rāga ālāpana – ākshiptika, rāgavardhini, vidāri, sthāyi, vartani and nyāsa. Chaturdandi Prakāsika – The ālāpa starts with the ākshiptikaor āyattam. It is instrumental in the growth of the rāga. This is followed by rāgavardhani, also called ‘yadupi ‘. This provides a clear and elaborate picture of the rāga which was previously crystallised into the introductory skeleton of the rāga – ākshiptika. This is also called ‘karanam ‘. This is followed by muktāyi or vidāri, a brief interlude between the 1st & 2nd rāgavardhanis. Then the next rāgavardhani is to be sung, followed by its vidāri, 3rd rāgavardhaniand the 3rd vidāri. Subbarāma Deekshitar gives a descriptive picture of these various stages in Sangeeta Sampradāya Pradarsini, Vol. 1, p. 101, 102. The next phase is the sthāyi, or the tracing of musical phrases from a note and ending them on the same note. This is again segregated into two parts – 1. Ārôhana sthāyi – This process has been described as the stepwise elaboration of sanchārās, in the ascending order, starting with each note of the rāgā and returning to the same note i.e. s r g m p d n. But the sanchārās are to be phrased in the lower octave i.e. from madhya shadja to mandra shadja and back to madhya shadja.Then, from madhya rishabham to mandra rishabham and back to madhya rishabham and so on up to the upper octave shadja,

twice in each note. 2. Avarohana sthāyi – This is exactly opposite to the arohana sthāyi. The order of the sthāyi note (note where the sanchāra begins and ends) is descending - s n d p m g r and the sanchārās are done in the octave above the sthāyi note i.e. s to s and back to s; n to n and back to n and so on. Sthāyi singing is generally done in a higher tempo only. The sanchārās in the sthāyi have been termed as ‘tānās’. This is followed by the 4th rāgavardhani and finally makarini. An important note of the rāga is chosen as sthāyi and after a brief sketch therein, it is concluded at any other note, followed by another ālāpana and finally rested at sthāyi note. After repeating this process four times, a sweeping sketch from the lower to the upper octave culminating at the madhya shadja, concludes the ālāpa. The above model of rāga delineation is stated as common to all rāgās by Venkatamaki and in the next sloka it is revised as suitable to the ragas formulated by his Guru Tānappāchārya. Venkatamakhi is very clear in suggesting that, each stage of rāgālāpa should be complete with appropriate treatment of the notes and phrases in accordance with the rāgalakshana and swarūpa. Proper gamakas and embellishments, pronunciation or articulation, avoidance of any material foreign to the body of the raga – all these factors are given utmost importance. Chaturdandi Prakāsika also describes another concept thāya. In a thāya, one note is taken as the sthāyi. After a sanchāra in the notes below the sthāyi, the raga is rested at madhya shadja. Then, four notes in the ascending order are taken and phrases above each note are elaborated for each note. Each sanchāram is ended at madhya shadja. These 8 sanchārās are again called tānās. After these have been sung the sthāyi is again taken and a brief ālāpa is followed by the conclusive part of the thāya from the upper octave to the lower octave shadja. One fact that is to be observed is that, the rigidity in the theoretical explanation of ālāpa or thāya may not have been the same when it came to the practical application, given the wide scope of elaboration. Though this model of ālāpa is applicable to the present system, it is an undeniable fact that many changes have taken place owing to the condensed time factors. With the increasing importance of public concerts of short duration and the predominant role of set music there in, the rāgā is left as a miniature compared to its colossal past. However, essence of the rāgā is the order of the day. The word ālāpana may or may not be used in this context. The word rāgamitself conveys the idea. It can be compared to the art of ‘bonsai’, where a tree is provided with conditions and environment conducive to the stunted growth of the tree but, the quality of produce is nearly the same as the original. Sādhana of rāga is itself a major proportion of the sādhana of Indian music. (As mentioned by all the interviewees) A faculty widely known as ‘swarajnāna’ is the fundamental requirement for any musician, more so, for rāgālāpana. This is a peculiar faculty enabling the individual to have a correct perception of the shape, tone and colour of a note for a particular raga. Thus, swarajnāna is not merely being able to recognise the swaras of which a musical phrase is made up of. Swarajnāna includes ‘rāgajnānam’also. A vivid example for this is that, some people have an uncanny ability to present any raga in a pure, unblemished form. They may not be able to recognise the note form of what they are singing. This is an inherent rāgajnāna, obtained by constant exposure to music or ‘vāsana samskāra’ discussed earlier. Our philosophers even attribute such a phenomenon to the ‘pūrvajanma sukrutam or samskāra’ i.e. the fruits of good deeds observed in the previous incarnation or the reminiscence of intellectual and cultural background of that birth. However, such music is limited in its scope when it lacks practice, as the musician cannot be free and fluent in further improvisation. There are still others who are adept in recognising the swara of whatever they sing or hear. Yet, they are unable to derive a proper shape of the raga. The blend of both these abilities is the ideal state. This faculty can be developed and sharpened through proper training and practice. Right from the stage when the student is learning geetams, swarajnānam exercises can be implemented. Starting with a single note, 2 notes, 3 notes and so on, the teacher can sing the vowel form ‘a’ and ask the student to identify the swaram. Phrases from the geetam itself can be included so that the student can take clue from a familiar phrase to recognise other notes, in this stage, only pure notes without any gamaka should be sung. Gradually with the advance in the syllabus, gamakam also can be introduced. The student is now fully aware of the pure form of a swara. So, any oscillation or embellishment of the note will not confuse the student much. Initially the student must be habituated to spell out the gamaka in a single note form even if it is slightly complicated. For e.g. pdp mpm G ; in todi can initially be recognised as d p p m G ; i.e. without anuswarās. Later, anuswarās, ravvās etc can all be clearly spelt in swara form. Here, a keen sense of timing is very important. The tempo of phrasing the notes is a decisive factor in the final outcome of a wellbalanced sangati in a rāga. Hence, this sense of timing and proportion should be habituated right from the beginning. The student should be insisted to sing the swara of a sangati with exactly the same timing as sung by the teacher.

As an extension of this exercise, the teacher can sing the sangatisof the raga in the swara form and ask the student to reproduce the same in ‘akāram’. Thus, the student is able to establish a keen sense of correlation between the two. Students with weak swara jnānamwould do better to learn an instrument like violin or veena wherein, they have to place the swaras physically. This improves their cognizance of the swara. In this way, the student is equipped with a sharp sense of swarajnānam and is ready to extemporise. With the basis of varnās, a stage where the student acquires minimum knowledge of the scale of the rāga, its shape and simple gamakam, simple keertanas and kritis should be taught. After teaching a few kritis, the student should be acquainted with swarakalpana, which is more concrete than rāgālāpana. Simple ragas should be taken for initial training. For e.g. Kalyāni, Mōhana etc. The teacher should sing small and simple phrases of the rāga and ask the student to repeat each phrase. The whole rāgashould be very brief so that the student is able to retain the shape of the rāga in his memory. Then the student should be asked to sing the rāga. If the student has any familiarity of the rāga by then, through listening, he will be able to sing the rāga to some extent. Otherwise the student may make an effort to present the rāga bit by bit. However, the student is bound to improve if persistent effort is made in this way for a period of time. The same rāga may be taken up for a few days continuously or 2 or 3 rāgās may be taught alternatively. The main factors to be explained at this stage are – 1. Jeeva swaras of the rāga 2. Graha and nyāsa swaras 3. Varieties of treatment of a note (gamakas) and the appropriate places where they are to be used. 4. Timing of a sangati. Here arises a debatable question regarding the teaching of rāgālāpana and other branches of manodharma sangeetam. Whether a beginner should be made to memorise a rāgālāpana taught by the teacher (either by writing down in notation or by repeated singing) or not. The writer has employed both methods of teaching and has come out with very useful results. Every student must be given a chance to try and develop rāga on his own. If there is no improvement even after consistent effort on the part of the teacher and student, only then this method of learning a rāga by heart should be opted as a last resort, in which case, the student is inevitably a mediocre artist in the making. He would definitely not have any contribution of his own to the field of music. This is like making a child walk with the aid of a walker. Even medical sciences are advocating against this, as it hampers the child’s natural growth process. Likewise, it is always better to let the improvising abilities of a student develop in a natural, unimposing way. It is true that a spoon-fed student is able to perform or exhibit a rāga sooner and faultlessly but, when it comes to the overall progress, he can sing only those rāgas, which have been memorised by him. Where as, a student who is trained to improvise on his own is more confident on the whole and is more consistent in the all round progress. There is a fragrance of freshness in a natural learner, which is absent in the other case. The student takes a very long time to develop his own approach of singing or playing or in some cases may remain an imitator forever. This may be one of the reasons for an increase in the quantitative standard of Carnatic music and decadence in the qualitative standards. Moreover the gap in the standard of the teacher and the student is pointed out in a glaring manner when the student sings the rāgam set by the teacher. The lack of originality reflects itself in the form of missing links at times when the student forgets the memorised rāgam and is unable to fill up the gap. However, as discussed earlier, an intelligent and careful balance between both the methods may bring out fruitful results in the case of below average students. A significant point to be remembered is that Carnatic music has got a great treasure of preset music in the form of compositions, which provide excellent material and structure for manodharma sangeetam, when utilised properly. There is also a glorious hierarchy of stalwart musicians whose music can be taken as an ideal for the budding musicians to follow. Once the student gets a feel of singing rāgam without groping for the swaras and simple gamakas, he is ready for the next stage of development of rāga.

Different Types of rāgā Development – The type of rāgālāpana is basically determined by the nature of the rāga itself. This is a fact universally accepted by all Carnatic musicians. There are rāgās with unlimited scope like – Todi, Kharaharapriya, Kambhoji, Sankarabharanam, Kalyāni etc; rāgāswith medium scope like Māyāmālavagoula, Keeravāni, Shanmukhapriya; rāgās with a limited scope like Nātakuranji, Ānandabhairavi, Reetigoula etc; and rāgās with very little scope like Punnāgavarāli, Jhanjhūti etc.

Another frequently heard coinage is ‘swarūpa ‘ rāgās. Rāgās like Yadukulakāmbhōji, Dhanyāsi etc are categorised in this section. Every rāga has a swarūpa i.e. a shape, structure or form. Nevertheless, the above rāgās are categorical in the sense that, their shape is more or less fixed. They do not offer much scope for alterations in the shade and colour of the rāgā as in the case of other rāgās. There is yet another category of rāgās, which are free-style in nature. Though they have a shape of their own, they can be elaborated freely on the basis of flashy swara patterns rather than structured sangatis. Rāgās like Amrutavarshini fall into this category. Then, there are the vivādi rāgās, which need absolute precision in handling extremely close notes distinctly. Tricky and complex rāgās like Kannada, Chenchukāmbhōji, Mālavi etc. require a lot of intelligence, cleverness, concentration and alertness. The scope of a rāga depends not only on its inherent nature but also on the capability of the artist. Even the most complicated of rāgās sound effortless in the rendering of a talented artist. The simplest rāgās, tend to cause strain when sung by incompetent artists. Even a rāga with limited scope, can be delineated in detail by an erudite musician. Thyāgarāja’s rendering of Dêvagāndhāri for 8 days does not seem to be an exaggeration when his compositions in Dêvagāndhāriare analysed. No two kritis start with the same note or reflect the same colour. Whether it is the grand ‘Ksheerasāgarasayana ‘, the soul stirring ‘Nā morālakimpavēmi’, the spiritually contemplative ‘ Tanalonē dhyāninchi’, the jubiliant ‘Koluvaiyunnāde ‘, the beautiful ‘ Vinarāda nā manavi’ or the firm statement in ‘Seetāvara ‘ – each starting with a different note of the Dêvagāndhāri scale, the rāga overflows with fresh and creative minutia of musical ecstacy. (IVR) Probably the raga Dêvagāndhāri derives its name because of the mystic and divine gāndhāram incomprehensible to ordinary human mind. For a genius who can compose so many kritis, each clothed in a new design, it is child’s play to render the rāga so extensively. In fact, Thyāgarājā’s compositions in Dēvagāndhāri are felicitous models for demonstrating different types of rāgādevelopment. ‘ Vinarāda nā manavi ‘ shows how a raga can be encased in a nutshell. It covers the entire essence of the raga in a concise form. To sing a raga like this, one needs a very clear and precise conception of the raga. It is like sketching the blueprint of a raga. All the vital ingredients of a raga should be covered in a very brief span. The intermediary links should be simple and candid. ‘Koluvaiyunnādē ‘ depicts a happy picturisation of a crisp ragain the medium tempo. The jeeva swaras rishabham and dhaivatamare used as pivotal notes, where the raga tends to draw itself at regular intervals of melodic passages. ‘Nā morālakimpavēmi’ and ‘ Tanalōnē dhyāninchi’ are slightly offbeat in their raga structure. An artist requires a spark of brilliance and innovative spirit combined with high order of aesthetic experience to be able to envisage a raga in such a novel fashion. The artist should possess the courage, zeal, capability and above all the authenticity to trespass into the latent zones of the raga. The piece de resistance is ‘Ksheerasāgarasayana’. This is a composition, which embodies the complete portraiture of the raga. It is very unfortunate that, Carnatic musicians of the present day are drifting farther and farther away from the concept of elaborate raga delineation. It is a matter to reflect whether a growing inclination towards readymade music is resulting in mental indolence or the inherent laziness in man is alluring him towards pre set music. He is no longer left with an ardour for creativity on his own and as such, is filled with a general sense of apathy when demanded of the same. Still ironical is the fact that any flicker of hope in the form of an enthusiastic genuine effort on the part of a creative artist is bluntly and brutally put out with the sardonic remarks such as – ‘what is the need for all this gimmickry? More importance should be given to devotional music’ etc. When the subject of devotional music arises, one is faced with a doubt about the nature of devotional music and the commonly attributed invalidity of absolute music in serving this purpose. Devotion in general, pertains to God. The devotional element in a person is an inherent quality and when this element is present in an individual, it reflects in all his actions. Absolute music would not be an exception in such a case. As Thyāgarāja rightly says – ‘Swara rāga sudhārasayuta bhakti svargāpavargamurā ‘. It is true that every artist cannot create music as heavenly as that of the great composers of yesteryears. For that matter, it is difficult to experience this ingredient of ‘bhakti’ and express it even while singing the compositions of great vāggēyakārās, if the singer does not possess it organically. However, the lyric and the high order of music of the compositions complete the job of conveying the meaning of the song and developing a sense of involvement in the singer. (DKP, IVR)

In the case of absolute music, the artist is entirely responsible for the outcome and hence requires greater capabilities and commitment. It is sheer incapacity and attitude of the musician, which disable him to develop this element of devotion in the creative counterpart of music. Be that as it may be, when a musician truly permeates this element in him, the scope of imagination and the sublimity in absolute music deem it a better instrument for exploiting the element of devotion. This can be compared to the production of a story in the form of a novel and in the form of a movie. No doubt, the movie is more captivating and enjoyable. But, the thrill that the reader obtains from imagining the characters and the settings of the story in a novel is beyond compare. Many a reader observes that movie versions of many books have been sources of disappointment to some extent. Likewise, the thrill, involvement and joy that an artist and the listener experiences, while singing or listening to extempore music is incomparable. Also, following the ‘karmayoga’, devotion towards one’s action is the ultimate bhakti.

Tanam Tānam is one of the most neglected areas in the present day music. Though veena players are still playing tānam not only before Pallavi but also before rendering kritis also, it has been reduced to a ritualistic affair. It can be said that the best form of tānam as we understand today was a very short lived one. It is only in the 19 th century that tānam acquired the structure and stature attributed to it at present. With the dwindling Pallavi singing tradition, the majestic art of tānam singing has taken a back seat in Carnatic music. It is essential at this juncture to trace the origin of the word tānam and its shape in the history of our music. The word tānam can be disintegrated as ta + a + nam where in, ‘takāra’ is the epithet of Sankara, ‘akāra’ of Brahma and ‘nakāra’ of Vishnu i.e. the trinity merge with the ‘m ‘kara bindu - Dr.M.B. Vedavalli in her book Ragam Tanam Pallavi-their evolution, structure and exposition (1995) has meticulously studied these areas of music with clear references from works of pre – sangeeta sudha(17th AD), the sangeeta sudha period and the post sangeeta sudhaperiod (up to the first half of 20th century). (SSI, NCH) Tāna was regarded with an entirely different view in ancient music. Bharata and Dattila have treated tāna in the sense of a ‘mūrchana’(scale). Shādava tānās are scales with 6 notes and audava tānās are scales with 5 notes. Matanga however differentiated a tānafrom a mūrchana, saying that, mūrchana is in the ascending order and tāna is in the descending order. Dattila described suddha and kūta tānās. Suddha tānās are scales with a straight order of arrangement of notes e.g. s r g m, m g r s etc. either ascending or descending. Kūta tānās are those in which, this sequence in notes is not followed e.g. s g r m etc. they can be ‘pūrna ‘ i.e. comprise of all the 7 notes or ‘apūrna ‘ - not having all the 7 notes. Somanatha mentioned the same in his Ragavibodha while describing ‘laghu prastāra’ in the prastāra prānam. There is also another variation in defining kūta tānās. Suddha tānās are those which reflect only one raga. Where as, kūta tānās reflect 2 or more ragas. Sarngdeva presented a clearer picture when he says – TanyantS vistāryantē iti tānāh i.e. tāna is that which is spread out and elaborated. Dr. Vedavalli has compiled substantial material about tānam from various works, the gist of which is presented here – Panchamarabu of Āravanār mentioned three types of ālatti - kattālatti, niravālatti and pannālatti where in kattālatti is comparable to the tāna of today. It is rendered with short syllables like - ta a a na a a tat tat ta a a nam tat ta a a. Commentaries on Silappādikāramhave given the same information. Tānam had acquired a special place in Carnatic music from the 19th century AD. After elaborate rāgālāpana, which is a melodic expression, tānam with its amalgamation of melodic and rhythmic passages proved to be a great contrast. It may even be said that the conception of this package of manodharma sangeetam arose out of the necessity for providing greater variety in a limited span of time. The development of tānam is mainly the property of the vainikās. The wide array of plucking and fingering techniques in veena - like lo, oli or karvai meetu (plucking to produce continuous sound), tadaor tattu meetu (rendering a staccato effect by the usage of one finger to cut the sound produced by the other), swara meetu, sāhitya meetu, kartari meetu etc of the right hand and all the dasa vidha gamakasincluding ‘tribhinna ‘ (which is only possible in veena playing) of the left hand, exploit and explore this rhythmic offshoot of ragam to the fullest extent possible. Great vainikas like Mysore Veena Seshanna (1852-1926), Veena Venkataramana Das of Vizianagaram (18661948), Pithāpuram Sangameswara Sāstry (1874-1931), Karaikudi brothers - Subbarāmiyer (1875-1938) & Sāmbasiviyer (1888-1958), Veena Dhanammāl, were masters of tānam playing, each projecting a special mark of their own. Subbarāma Deekshitar in his ‘Prathamābhyāsapustakam’, has mentioned that these tānas are useful only for

instrumental practice. He has used the word ‘tanna gānam’ for vocalisation of tānam. This tannakāram has been mentioned in the Sangeeta sarvārtha sāra sangrahamu of Veena Ramanuja (1885 AD) using the syllables tamna anamna nam tannam etc. Subbarama Deekshitar has given the notated form of some tanasin various ragas in his work ‘Sangeeta Sampradāya Pradarsini’. In the theory portion of the same book he has used the word ‘katakam’ (coined by Venkatamakhi) as synonymous to tānam. He explains that tānam comprises of āyittam, edupu, muktāyi, edupu (in accordance with the raga), sthāyi (sequentially), arohi, avarohi, sanchāri, makarini and muktāyi like the ālāpa. Also, the madhyamakāla(medium tempo) and ghanam (fast tempo) mentioned by him can be categorised under tānam. This distinction between vocal and instrumental tānam is observed in the ‘thāyās’ mentioned in the manuscripts of century, preserved in the Tanjore Saraswati Mahal library. The vocal thāyāsare known as ‘gātra dandi ‘ or ‘gatra moli’ and the instrumental thāyās as ‘antra dandi’ also called ‘jijāvari tāna’. Gātra dandicontain swaras and syllables like tam, nam etc as notated passages. They have different divisions like āyattam, eduppu, muktāyi, udgrahaetc. Jantra dandi has only swaras. These are very similar to the present day tānam singing. 18th

Sangeeta Kaumudi, the earliest work to describe tāna in its present state mentions ‘ tahana ‘ and the procedure for singing it with the example of Nāta rāga – Nata ragam samarabhya mandrē sthānē tathaivacha Madhyamē tārakē chaiva sthāyyāmapi yatha kramam —15 Sancharya madhyamāschaiva kalasya kārakaistathā Anantatva mitisasya nāmōcchārya punah punah –16 Tattadragasya samprōktānrāgabhāvānscha mûrchanāh Tattasthānēshucha vyaktam yadgeetam gāyakōttamaih –17 Tannāma tahanam chētiprahamēpārvati patihi Dvavinshad ghana rāgāscha yēvam gēyāh kramēnavai Raga kālēna samyuktam gānam sacchastra sammatam -18 Later works like Sangeeta sat sampradāya deepika of S. V Arangasami Iyyengar (1913 AD) in the tāna prakaranam and Sangeeta Sudhāmbudhi of K.V.Srinivāsa Iyengar (1929 AD) have used the word chitta tānas. Tacchur Singarāchāryulu in his Swara Manjariused the term ‘tānamulu ‘. Each section in all these works ends with the madhya sthāyi shadja. Prof. Sambamūrty in South Indian Music IV and N. Chennakesavaiah have mentioned tānās based on the arrangement of swaras as – chakra, vakra, misra, mālika, gambhira, vidyut tānās. In addition, Prof. Sambamoorty mentions different tānās compared to the gait of various animals – mānava, mayūra, asva, gaja, markata, mandūka, kukkuta. These tānās can be observed in the ghanarāga pancharatnas of Thyāgarāja, upon careful analysis. Thyāgarāja has crafted the swarasāhityās of the pancharatnas with perfect unison of music and lyric. For e.g. the 1st swarasāhityam of ‘endaro mahānubhāvulu’ – ‘sāmagānalōla’ – can be compared with gaja tānam when the words are replaced with tānam syllables. An interesting point which draws one to this analysis is that ‘gānam’ or music is ‘sāmaja’ – originated from sāma veda. An elephant is also known as sāmaja. It is only appropriate that Thyāgarāja addresses the Lord as sāmagānalōla in the gait of a sāmaja i.e. gaja. Moreover, the Lord himself is ‘sāmajavara gamana’ i.e. one with the beautiful gait of a sāmaja. The second swarasāhityam - ‘mānasa vanachara’ – can be assumed as ‘markata tānam’ – the gait of a monkey. Probably Thyāgarāja follows the saying that, ‘a diamond should be cut by a diamond only’. He uses markata tānam to steady the monkey-like erratic behaviour of the human mind – ‘mānasa vana chara vara sanchāramu nilipi’. ‘Hoyalu meera nadalu’ – the sixth swarasāhityam is set in the graceful gait of a peacock i.e. mayūra tānam. ‘Mānavatanu’ of ‘Dudukugala’ and ‘Bhāgavata Rāmāyana’ of ‘Endaro ‘ are both depictions of gambheera tāna owing to their depth and intensity of music. The art of tānam singing can lay its foundation in the tāna varnam. Bhairavi ata tāla varnam is an ideal example for portraying tānam. One can practice tānam by replacing the sāhityam of the varnam with tānāksharas. The most essential points to be kept in view while singing tānam are as follows – 1.

Tānam singing requires a special articulation combining various phenomenon like the spring, staccato (short, separate articulation of notes), slides, jump etc. especially the spring or the continuous and delicate bounce of the swaras should be strictly practiced and sung, unlike the smooth, continuous stretch of rāgālāpana.

2. The use of the tānam syllables should be judicious and appropriate in their placement. It is said that these syllables denote the word ‘ananta ‘ (one who is limitless). Hence the tānam should mainly consist of the ananta sabdam. The syllables should neither be too hurried nor spaced with too much of gaps between them.

3.

The prastāram should consist of several passages, each structured with closely knit swara phrases, jantas, successive short and long note patterns, dātu prayogas and also more flexible embellishments like the rava etc.

4. The rhythm should be continuously maintained except for the places when a passage ends with a short snatch of rāgam followed by rhythmic exposition of the next passage. 5. A variety can be obtained in the tānam by singing 3, 4, 5, 7, or 9 swara groups as a passage. 6.

There are different views on whether tānam can be sung in different speeds or the initial speed should be consistently maintained. It is true that the madhyamakāla provides maximum rakti or effect. But, a capable artist with a flexible voice can present the tānam in trikālam or 3 speeds. To sing the lower speed of tānam requires good control and weight of the voice and depth of the rāga. The higher speed requires good practice. Both of these can be achieved by the practice of varnam in trikālam.

7. The nature of the rāga in which the tānam is being sung also influences the nature of the tānam, in the choice of suitable gamakas. For e.g. some ragas like Nāta need crispness in the breaking of swaras where as, others like Varāli require a subdued continuity in doing so. 8. The duration of tānam should be proportionate to that of the raga. Half or three quarters of the time taken for the raga is sufficient for tānam. Sri Dwāram Venkataswāmi Naidu, a Nada yogi was a violinist nonpareil who invented a unique technique and style of tānamplaying. Sri Semmangudi Srinivasa Iyer has hailed Sri Ariyakudi Ramanuja Ayyangār as an exponent in tānam singing.

Neraval The word ‘neravu ‘ in Telugu means – complete, spread, multiply (vriddhi), family and followers, one who is great, clever and skillful etc (Sūryarāyāndhra Nighantuvu). It can be understood that neravuis a process of exploring the musical possibilities that can be offered by a phrase from a preset composition, there by accentuating on the meaning of the lyric. The basis of the conception of neravu can be attributed to the human tendency to dwell upon an idea with a multifarious perspective. For e.g. the lyric – ‘Bhūlōka vaikuntamidiyani’ – O! Rangasāyi– Kāmbhōji – triggers the imagination of an artist to describe the grandeur and divinity of ‘bhūlōka vaikuntam’ through the medium of music in various stages, in spite of the sangatis already present. Likewise, ‘kanulāra sēvinchi’ - Entani nē varnāintunu’ – Mukhāri – the musician gets so involved in the scene described (Sabari beholds Rama to her hearts content and offers delicious fruits to him), that, he either takes the place of Sabari or is enthralled by a mental picture of the scene. The musician is then, not contented with simply singing the lyric to complete the kriti. He is inspired to repeat the same lyric again and again with various expressions to picturise many more ways of serving Lord Rama. This concept has however wilted into a mechanical process followed compulsorily by every musician irrespective of the mood at that particular moment. The roots of neravu singing can be traced back to the period of Sangeeta Ratnākaram. Samgadeva has illustrated what was called as ‘Rūpaka Ālapti’. It is the second form of ālapti, the first being – rāgālapti. ‘rūpaka ‘ is defined as another name for prabandha. Rūpakalāpti is the ālapti, which is constituted in the framework of rāga and tala of a rūpaka. It is again twofold – Pratigrahanika and Bhanjani. Pratigrahana means, to take. After rendering sthāya (elaborated in rāgālāpana section), if a part of the rūpaka is taken up, it is called pratigrahanika. Bhanjanimeans that, which breaks. It is also twofold – sthāya and rūpaka. When a sthāya (phrase) from a rūpaka (composition) is presented in various ways, adhering to the original measure of the pāda (time duration), it is known as ‘sthāya bhanjani’. If the whole composition is sung indifferent ways, adhering to the original measure, it is ‘rūpaka bhanjani’. Other musicologists like Parsvadeva in Sangeeta Samayasāra (the available portion of this work mentions only pratigrahanika), Kumbha Rana in Sangeeta Rāja (points out the use of solfa syllables s r g etc in pratigrahanika), have presented the same views and categorisations about rūpaka ālapti. Musicologists view this rūpaka ālapti as the foundation for the development of the grand Pallavi tradition. The essential features to be followed in neraval singing are as follows -

1. The sāhityam for neravu can be chosen either from the pallavi, anupallavi, charanam or at times even from the madhyamakāla sāhityam of a kriti, provided that the lyric should be well suited to the purpose. Repetition of the sāhityam should be pleasant to the ear by way of good meaning and appealing words. Lyric that conveys harsh feelings should be avoided. Generally the phrase should be complete in its meaning. 2. The structure of the phrase taken up should be maintained consistently i.e. the original placement of the words or letters should not be tampered. Very slight variations are however allowed for the sake of vinyasa and convenience. (PSN, NK) 3.

It is essential to keep in mind the nature of the sāhitya, when the neraval is presented in the higher speed. All sahityās do not admit this. Even if a sublime sāhityam is sung in the higher speed the articulation should be subtle and delicate.

4.

In case of chauka kāla kritis, the madhyamakāla neravuadds greatly to the beauty of the piece. A certain weight and a chain-like continuity in connecting the syllables of the phrase greatly determine the quality of the madhyamakala neraval.

5. In the case of compositions containing music related words, it would be most befetting to sing Neraval elaborating such passages. For instance, ‘Rāga Tala Gatulanu’ is ‘Vāsudēvayani’ in Kalyani Rāgam.

Pallavi The tradition of Pallavi singing probably took form somewhere in the 18 th century AD. Since then, it has enjoyed two centuries of paramount glory. The popularity of compositions owing to their easy approachability and free circulation through various media, the technical complexity involved in Pallavi singing and listening, limitations of time factors etc are all the reasons for a decline in the patronage of the Pallavi tradition. However, there are a few musicians even now, who are enthusiastic and also capable of doing full justice to this art and carrying it forward for the future generations to come. It is said that Pacchimiriam Ādiappayya (1763-1787), court musician of Tulaja II, systematised the art of Pallavi singing. Syāma sāstry himself was sent by his Guru Sangeeta Swāmi to listen (not to learn) to the music of this great musician. It is quite a popular event that Syāma sāstry defeated Bobbili Kesavayya in a contest at Tanjore court by singing a Pallavi in the Sarabhanandana tālam, in reply to the Simhanandana pallavi of Kesavayya. Dr. M.B. Vedavalli has compiled references of books dealing with Pallavi exposition under four heads (p. 58-82) – 1. Those which give only the sāhitya of the pallavi- e.g. Gānēndu Sēkharam of Tacchoor Singaracharyulu (1912) gives sāhitya of 153 pallavis sung by stalwarts including minor ragas like Navaroj, Punnāgavarāli, Asāveri etc. 2. Those which have described the procedure of singing PallaviSangeeta Sampradāya Pradarsini of Subbarāma Deekshitar Sangeeta Swaraprastāra Sāgaram of Nada Muni (1914) 3. Those which describe the procedure for singing the Pallavialong with illustration of some of its aspects – Gānabhāskaramu of K. V Srinivasa Ayyangar (1918) South Indian Music –IV of Prof. Sambamoorty (1963) Rāgālāpana Paddhati Tana Mattu Pallavi of N. Chennakesavayya (1976) Carnatic music Pallavi tradition of Rangarāmānuja Ayyangar (1970) Pallaviratnamāla of Tinniyam Venkatarama Ayyer 4. Those which have illustrated in notation the theme of the Pallavi and the procedure to be followed – Pallaviswarakalpavalli of Tiruvottiyur Tyāgayyar (1900) Sangeeta tatvapradarsini of Vedanta Bhāgavatar (1934) South Indian Music Book VI of Prof. Sambamoorty. She has further enunciated the salient points presented in these books in a comprehensive manner. A careful analysis of these, personal experience, study and practice combined together enable the scholar to put forward the following observations and results regarding Pallavi singing – 1. Pallavi is an integration of pada, laya, vinyāsam. 2.

Musicians of the olden days envisaged the complete picture of a raga in different ways along with some lyric

around which it could be woven. This has consolidated into the great tradition of Pallavi singing. (DKP) 3. It is both an art and a science. 4. Originally the sāhityam of a Pallavi was taken from suitable pallavis of compositions of great vāggēyakārās. Later on, the system of composing lyric especially for Pallavi singing came into vogue. 5. A Pallavi is composed of three parts – pūrvāngam or prathamāngam (the 1st part), padagarbha (the central part of the phrase) and uttarāngam or the dviteeyāngam (the 2nd part). The padagarbham is called ‘ārudi ‘ in Tamil. It plays a dual role dividing and also connecting the two parts of the Pallavi and carries the essential central mood of the Pallaviin it. Padagarbha is of three types – (a) That which falls before the central beat. (b) That which falls on the central beat. The following rattai Pallavi (Pallavi with more than one āvarta and padagarbham) demonstrates both the above— Sankarabharanam — Ādi talam — 4 aksharas per beat; S , r G g r s r M G | ; ; ; m g | m P ; d p m g || .. cha . kka ga nee. .bha ja na je . se .. va. ri . r s r r m g S ; n S d NT | S ; ; dp | m g m g r m g s|| r g ki. . ta . kku va..ga ..la.. da ....sri. ra . ma .. .a nudinamu (c) That which falls after the central beat— Kalyani - Ādi — 4 aksharas per beat — ; , s , n d P , n d m g r g| M P ; ; ^ n P ; d m Up d n ...kan . ja da la.. . .ya... . ta ..kshi varade ka . . ma .kshi — Composed by the scholar. 6.

The length of the prathamānga and dviteeyānga should be proportionate in nature. In case of slight disproportion, generally the prathamānga is longer. In case of tāla whose pūrvānga and uttarānga are disproportionate in nature, the symmetry is maintained by the use of ateeta or anāgata graha to start the pallavi.

7. When the Pallavi is sung for the first time or written down in notation, it should be completely in its basic tempo. Phrases in the higher tempo should not be used in the basic structure.

Such a notation will not give a clear picture of the basic structure of the pallavi. Moreover it will pose difficulty in the latter improvisations like trikālam, gatibhēdam etc, as the correct duration of each letter is not portrayed clearly. 8.

Though there have been numerous variations in defining anuloma, pratiloma and viloma (refer to the table compiled by Dr.M.B.Vedavalli, 1995), the basic concept is to change the speed of the Pallavi with respect to tālam. This process is mainly of three types(a) Changing the speed in singing with the tala at its original speed. (b) Changing the speed of reckoning the tala, keeping the speed of singing at its original speed. (c) Changing the speed of both the song and tālam.

9. A Pallavi is meaningful and complete only when a verb is included. The meaning is incomplete if the pallavi is made up of all sambōdhanātmaka (addressing) words. However, pallavis consisting of only sambōdhanātmaka padās are generally sung because they convey the meaning in the sense of a dandakam. 10. Based on the arrangement of lyric, pallavis are of two types –

(a) Those which have less sāhityam - The syllables are placed at considerable distance from each other. This provides good scope for neraval and effective expression. Traditional four kala pallavis are good examples. These pallavis are preferable for standard usage. (IVR, TNK) (b) There are other pallavis, which do not offer much scope for neraval. The reason for this can be attributed to the abundance of sāhityam (yati pallavis etc) and complexity in the rhythmic structure. For e.g –

Such pallavis mainly reveal the literary beauties in the lyric, the laya gjnānam, concentration and the efficiency of the artist. Nevertheless, the hindrance in the musical flow hampers the aesthetic effect to some extent. Hence, such pallavis should be exhibited only in ‘vidwat sabhās’ where the technical excellence there in can be enjoyed and appreciated. 11. Pallavis in different tempos -

12. The practice of Pallavi singing should begin with standard pallavis like ‘Parimala Rangapate ‘ to get a proper understanding of its structure, neraval elaboration and other technical attachments like trikālam, gatibhēdam etc. (LGJ, TRS) 13. Given below are some intricate and complex pallaviscomposed by the scholar – a. Kalyāni 3 — Khanda Jati Ata Talam — 1st laghu — chaturasra gati

Other pallavis, which can be understood only through practical demonstration are – Dwitāla avadhana pallavis - Reckoning two tālās with two hands and singing the same pallavi. The average of the tālāksharāsof the two tālās decides the completion of one round of the pallavi. Generally tālās with equal duration are taken up for this purpose e.g trisra nada ādi and rūpaka tālam etc.

Shatkala Pallavi- The Pallavi is sung in 6 kālās, where in, the aksharas per kriya are as follows - 1st kāla — 1 akshara per kriya 2nd kāla — 2 aksharas per kriya 3rd kāla — 4 aksharas per kriya 4th kāla — 8 aksharas per kriya 5th kāla —16 aksharas per kriya & 6th kāla — 32 aksharas per kriya.

Swarakalpana As discussed earlier, musicians of yesteryears practiced and experimented in many ways to come out with musical forms with the foremost and basic purpose of ‘janaranjanam ‘ i.e. entertaining the people (audience). The word ranjanam includes in it many factors – to delight, to please, to satisfy, to win over, to stimulate, to colour, to gratify or propitiate etc. With devoted sādhana, the true artist tries to elevate the musical content by aiming the above mentioned factors towards the ideal i.e. realisation of God through self – realisation. Swarakalpana is one such very successful tool for janaranjanam. Kumbharana has mentioned the usage of swarasyllables in the exposition of Pratigrahanika, a variety of rūpaka ālapti (12th century). Pallaviswarakalpavalli of Tiruvottiyur Tyagayyar (1845 – 1917) and Sangeeta Tatva Pradarsini – I of Prof. Vedanta Bhagavatar (1934) have dealt with the swarakalpana section. Swaras in various rāgās and talas from simple to advanced patterns have been clearly notated. Student of Carnatic music is first familiarised with this branch of manodharma sangeetam as it consolidates the shape of the rāgain the student’s mind. Some salient points to be practiced 1. The nyāsa swara or the ending note should be in perfect conjunction with the graha swara or starting note of the lyric where the swarakalpana is rendered. There are three types of nyāsa – uttama, madhyama and adhama. Uttama – it is the note preceding the graha swara. For e.g. – g m p d n + vāsudēvayani — kalyāni — ādi Madhyama – it is the note following the graha. For e.g – p d n g r + vāsudēvayani Adhama – it is the same note as the graha swara. For e.g – m p d n s + vāsudēvayani This categorisation has been made on the basis of the effectiveness of the usage. However, the uttama and madhyama may sometimes vary contextually. For e.g. – n s g r g + manasu ranjilla — koluvaiyunnādē — Bhairavi r g m p d + manasu m p d n s + manasu The second prastāra is equal or even better in its effect aesthetically, than the first. The third prastāra has a nyāsa swarawhich neither precedes nor antecedes the graha swara of the kriti. Nevertheless it is more soulful and appealing and in a way enriches the meaning of the phrase where swarakalpana is taken up. Therefore, it depends on the judgement of the musician, to choose the appropriate the nyāsa swara; his skill and aesthetic sense in implementing it properly. 2. Through intelligent practice and alertness the completion of the swara passage should naturally blend with the preceding prastāram and the on coming lyric. It is an unhealthy practice to conclude a swarakalpana in a stiff and mechanical manner with an abrupt demarcation using a preset pattern of the required number of swara syllables. This practice can be overcome only with a determined effort. Emphasis on fluent swara prastāra is the only way out. In the beginning the student may simply go on singing the swara prastāra without the tension of completing it. Then the student can practice only the finishing patterns by continuously singing various patterns of different groups of swaras 3,4,5,6,7,9 etc. Then, slowly both the above can be combined together to produce a smooth blend. 3. Each swara passage should be based on an idea instead of mechanically going up and down the scale of the raga. One can take a particular range of swaras, execute varieties like janta, dātu, varja, vakra prayāgās wherever admissible, use rava as central theme (as, s n M, d s n M, d r s n M etc in Pūrvikalyani) and other gamakas.This will enrich and brighten the swarakalpana and avoids monotony. (AR) 4. Swarakalpana is most aesthetic only when it is replete with good ragabhāva. 5. The kālapramānam of swarakalpana should be consistent. Sometimes, due to various factors like starting the kriti in a slow tempo, dragging by the accompanists etc, the tempo of the swaratends to be slower than what it ought to

be. This results in dullness in the overall effect. There have been stalwart musicians who, in such a situation, used to gear up the mood and effect of the piece by adjusting the tempo of the swara to a slightly higher degree. Likewise, such adjustments are made when the tempo is more than what is required. In a concert the mridangist plays an important role in maintaining good kālapramāna. A wise and experienced mridangist leads the vocalist in arriving at an effective tempo even if the latter is slightly astray. In conclusion it may be said that the quality of manodharma sangeetam depends mainly on the spontaneity and ruling instinct of the moment in producing it. However assiduous and intelligent practice lends consistency in achieving these factors.

Development of Individual Style of An Artist Style in art is that essential positive or constructive element in artistic expression, which sets it apart from others. According to Yuri Borev- Art criticism interprets style as “ limited multitude of elements which are stable, qualitatively definite and expressive. Style is the tendency of all the elements in a work of art towards its center, the centrifugal force, which unites them in a single whole. Style ‘centralises’ a work of art and becomes the pivot of the creative process. Style determines the most general features of a work of art and the basic principle of the organisation of the artist’s world. ‘An object’s style is ... an indicator of its material and spiritual function within a given culture; in other words style reveals the functional characteristics of an object or phenomenon’. – Pg. 151,152. Before analysing the style of an individual it is important to understand that style exists at various levels. 1. The fundamental style of culture in the history of mankind. 2. The national level-Indian music on the whole manifests a style. 3. The national style of a certain period – Carnatic and Hindustani. 4.

The style of parallelly operating regional art trends – different schools in Carnatic music like the gharānās of Hindustani music. Tanjore, Mysore styles of south etc;

5. The individual style of an artist – e.g. Ariyakudi style, Semmangudi style, GNB style, Dwaram style etc; 6. The artists’ style in different periods – Picasso’s ‘blue and rose’ periods. 7.

The style of a work of art – e.g. Thyāgarājā’s style of composing a kriti; Deekshitar’s style of composing a kritiwith the madhyamakāla sāhitya; Syāma sāstry’s viloma chāpu compositions etc.

8. Style of an element in the work of art - pancharatna 9. The style of the era – it leaves its stamp on all the above like classicism, romanticism, realism, modernism etc; Each of these levels influences the others in one or more ways:

Individual Style of An Artist According to Yuri Borev (1985), ‘it reflects the type of his figurative thinking. The individual style emerged as soon as the man has been shaped as a personality and acquired self –awareness and individuality of tastes, principles and actions’. Alexander Blok (famous Russian poet) – ‘the style of each writer is so closely linked to the content of his soul that, a discerning eye can see the soul through the style. Borev (1985) Yuri Borev (1985) –‰ our epoch of condensed time human life has become more capacious than ever before. The formerly stable characteristics of a mature personality, i.e. individuality, type of mentality, value – orientations – can now under go drastic changes in the course of the artist’s life, as a result of which the style of his work also changes and can be described as the style of artist’s this or that period. Picasso’s “blue” and “rose” periods differ stylistically, but at the same time both bare the stamp of the painter’s individual style, since throughout all the metamorphoses, even qualitative ones, the personality retains its kernel, and what others see is the same but different man - Pg. 153 E.Krishna Iyer (1933) – ‘Style... takes a highly personal colour, according to the individuality of a singer. It is not mastery of the technique so much as the play of those individual graces, imagery and emotion and the manner of presentation which are beyond the realm of technique that marks a stylist ... it has to be heard, understood, followed and enjoyed ... though each artist may have some individuality of his own, it is not all who have developed it into markedly appreciable styles. Perhaps a distinct and catchy style is mostly a freak of nature and born with the artist, irrespective of any profundity or depth of knowledge or intensiveness in practice’.

Flute Mahalingam in his article ‘On Bani’, conceives bani or style as the sum total of the soil component and the personality component of art. He explains the soil component as the natural factors like ‘Geographical peculiarities, climatic rigours, oddities in the surrounding natural phenomena’ which influence an artist. The personality component of an artist includes the nature of his disposition, the state of his intellectual powers, the intensity of his passions, the range of his imagination, his capacity for feeling and expression ... ‘Art reflects personality against a certain background’. G•N.Balasubramanyam in the article ‘Stock taking’ – ‘Style in many arts is the presentation of a mode of thinking and a pattern of expression. The style of any artiste depends on the time and place of the artiste, the developed capacity of his medium and the demands of his audience at whatever level their powers of understanding art are. Tradition and individuality in art, especially in our music are not at all incompatible, just the contrary. No one can deny that a great artiste is one who is able to give the stamp of his own genius and style to whatever is traditional in art. He is a great artiste who, by the impress of his musical and artistic personality is able to transmute the medium of his expression beyond its innate and limited capacity and by strictly adhering to classical tradition, is able to achieve a unique personal and individual style and manner of his own. It is the music of such master, that outlives their times and is cherished by posterity’. A style is not developed intentionally. It develops on its own. In the process of continuous sadhana, the artist accumulates some tastes and impressions of his own, from the traditional system and values followed by him. Further the manodharma of the artist guides him to unfathomed regions of musical elements lying deep within him. Somewhere along the way it springs out and expresses itself in the form of a style belonging only to the artist. (All interviews) Not only the ‘manas ‘ but also the ‘sāreeram ‘ (voice or instrument – the medium) of the artist plays an important role in shaping a style. The inherent character of the medium channelizes the thought process of the artist to a large extent. For instance, a particular musician may have a voice gifted with great facility of speed. This property guides the artist in shaping his music by exploiting the same. The music presented by such a musician may be a cascade of brilliant passages in the fast tempo, which thrill the listener. Yet another musician may be endowed with a voice with great depth and weight and the ability to sustain the vilamba laya. In this case, the musician stirs the heart of the listener with the ‘deerghatva ‘ (continuity) in his music. The wisdom of the musician lies in assessing his strengths, projecting them and converting his limitations into strengths. For e.g. a musician who cannot sustain long notes even after consistent effort, owing to the nature of his voice, can practice singing short and meaningful phrases connected by well timed silences. This in turn may sprout as a special style. The style of a musician is distinct, remarkable, mature and long standing only when the artist’s physical character, mental character and his taste coincide and agree with each other. Otherwise, the out come is confusing and strenuous to both the musician himself and the listener. Supposing that a musician has a voice with a natural flair for good gamakam and slow tempo, he should possess the same mental ability and character to visualise the graces of vilamba layaand gamaka suddham (purity) and above all should have a penchant for the same kind of music. On the contrary, if he is attracted or influenced by a great master of the fast tempo, he is sandwiched between his taste and his natural elements. He may try to move earth and heaven in the direction of his tastes and lose his natural ingredients in the process. Even if he is successful to a point in achieving the qualities he seeks, these qualities strike out in unaesthetic proportions from his music. The music of great masters reflected the wisdom in blending the above factors, to produce evergreen styles. Majority of musicians today try to bundle up whatever qualities they fancy and come up with a graphic representation of the same. Popular demand plays a major role in this kind of attitude. Every performing musician is faced with this dilemma of art for the elite and the mass. The elite is always a smaller group in comparison to the mass. The art for the elite has a certain air of opaqueness about it owing to the complexity of technique and the symbolic expression of the truth in art. On the other hand, the art belonging to the so-called mass culture is transparent and more direct in its expression. It requires hardly any intellectual effort to be understood and thus caters to the pleasure of more number of audiences. The purpose of an ideal musician is to make the audience forget the stipulations of the art, give a human touch to the art by drawing a parallel between art and life and offer perception of the real in art by perceiving it himself. This can be achieved only by striking a balance in gratifying both the elite and the mass. In the words of Yuri Borev (1985) – ‘Only the golden mean, the balance between lucidity and obscurity, a combination of clarity with the difficult-to-grasp “residue of meaning”, easy recognition of reality through the figurative but not their coincidence, a blend of familiarity and novelty produce a truly valuable work of art and form a style which does not fade with time and does not oppose the general public to the connoisseurs but makes a connoisseur out of everyone. This disposes of the fatal contradiction of art- that between art for the elite and art for the masses’.

8 LAYA GJNANAM The existence of the entire universe is based on laya or rhythm. Every object in the creation of God has an underlying laya. The planets revolve around the sun. The earth revolves around itself. Every movement is governed by a perfect rhythm. Any small aberration in this arrangement is enough to end the Creation. (LGJ) Likewise, every human being has a sense of rhythm deep within him. It may be regular or irregular. When one contemplates on the rudiments of sound production, one can see that nada is an extension of laya. To be more explicit, laya corresponds to the movement of an object and movement produces sound. When sound is stretched and the smallest measure of sound produced is isolated, it is the laya. Scientifically speaking – laya is the duration of a movement. The frequency of a sound is the number of vibrations per second. Hence, technically sruti and laya have a common principle. It is very essential for a student of music to have a basic of sense of laya inherently even before starting formal training. The laya Gjnānam can be improved by various methods, depending on the basic laya Gjnānam of the student. (IVR, NK, SSI, PSN, NR) Laya is expressed in terms of tala in Carnatic music. Our ancestors have chosen the simplest and most universal rhythm i.e. chaturasram for the first exercises in the curriculum of a beginner – saraliswaras and jantaswaras. These are practiced in three degrees of speed. The next exercises are the alankārās in the seven tālās – dhruva, mathya, rūpaka, jhampe, triputa, ata and ēka. They are also practiced in trikāla. Practice of geetam and varnam also in three speeds strengthens the laya. They can also be practiced in four speeds. Another very important section of the abhyāsa gānam is the swarapallavi. It also known as jatiswaram, which is a part of the performing wing in the art of dance. The swarapallavi is the first composition in the syllabus of Carnatic music, which admits 4 counts per beat i.e. 2 kalās. The combination of notes with 8,6,4,3,2 or one gap in the swarapallavienables the student to have a proper understanding of swaraprastārāswith different lengths of notes. The Pallaviof a swarapallavi creates the illusion of comprising three speeds. For e.g. –

Practice of swarapallavi and varnam in the three speeds habituates control over 16 counts per beat. The initial speed can be changed from time to time. It can be very slow, medium, fast and so on so that, all the layas – vilamba, vilamba madhya, druta etc – are exercised properly. Apart from these there are some exercises for strengthening the laya of a student – Initially only a beat can be used to reckon the tāla in these exercises. Later on using other angās of different tālās can practice them. In the notation given below, the vertical line denotes the beat –

This exercise should be practiced with alankārās in al the 7 tālās.It helps the student in obtaining good command over vinyāsam i.e. crossing of notes in between two regular intervals. The student may take the aid of vowels in between two notes for the second and third exercise in the beginning i.e. – , s-a r - g-a m |ap-a d\-a n-i s|-a . . . Later on these breaks should be blended smoothly and the note should balanced in between the beats without having

to stress on the vowel endings. Gati bhēdam is another important phenomenon in laya sādhana.This should be practiced in two ways – 1. Keeping the laya of the song constant and changing the layaof the tāla. Taking the first saraliswaram (the hyphen indicates a kriya) -

Here, the interval between each syllable of the song is kept constant.

2. Keeping the laya of the tāla constant and changing the layaof the song.

Khandam - ta ki ta ta ka dhi mi – ta ki ta ta ka dhi mi and so on for misram and sankeernam also. Here the interval between two kriyas of the tālam is kept constant. In place of two or four syllables per kriya in chaturasramthe speed of the song is increased to fit in 3,5,6,7, or 9 syllables per kriya. The above exercises should be practiced first with sarali, jantaand alankārās. Then, varnams can be practiced with gati bhēdam. All these exercises should be practiced under the strict supervision of the Guru. Otherwise any discrepancy in maintaining the laya properly is left unchecked and the student develops a faulty laya. After the student has attained a certain capacity to check himself the aid of a metronome can be taken to check whether the practice is accurate or not. Sri. Akella Mallikarjuna Sarma (2001) prescribes the use of two hands for reckoning tāla the beginning to strengthen laya i.e. – right hand beat – left hand beat

By the time the student starts swarakalpana, he should have a clear idea of all the 5 jātis and gatis at least theoretically and should be able to execute simple versions of these practically. The next important feature in laya sadhana is the kālapramānamof a composition. Each composition – a keertana, kriti, padam, jāvali, tillana etc - has a kālapramānam of its own. To understand the correct kālapramānam of a composition and maintain it consistently is a great art by itself. Apart from the elemental kālapramānam, the mood and skill of the artist and the requirement of the situation also influence the tempo of the composition. For e.g. ‘Ninuvinā nā madendu ‘ of Thyāgarāja in Navarasakannada ragam is generally treated as a fast tempo piece. However, Dr. Mangalampalli Balamuralikrishna (audiocasstte – Thyāgarāja krutulu) has sung this kriti in a slow tempo, which has

contributed greatly in enriching the meaning of the kriti. Not all compositions admit such variations. Similarly, each musician has a particular kālapramāna for a kritidepending on his individual style. Old timers used to sing kritis in higher tempo than the present day musicians do. Not only that, when one observes the music of a particular musician for a few decades, one can see that, the compositions or for that matter, the music on the whole is faster in the younger years compared to that in the later years. The reasons for this change are that the musician acquires a certain kind of steadiness with maturity and secondly age factors force him to slow down. The situational influence in this context can be understood as follows. Some times after a vilamba kāla kriti, the situation demands a contrast in the tempo in which case, a small kriti like ‘sara sara samaraika sūra’ can be sung in a fast or very fast tempo. Another important aspect in laya sādhana is to have a clear perception of the mārga (degree of speed) of a kriti. While notating a kriti the correct mārga should be opted to avoid any confusions. There are instances of the same kriti being sung in two different mārgās because of such confusions. For e.g. ‘sukhi evvaro ‘ – kānada– ādi – Thyāgarāja, ‘muddu momu’ – sūryakantham – ādi – Thyāgarāja etc. The above mentioned factors pertain to the practical problems confronted by musicians in general. Proper attention to these factors is sure to produce encouraging results.

9 LISTENING AND OBSERVATION The experience of any great musician reveals the fact that listening and observation are two of the most important instruments of sādhana in the field of music. There have also been rare instances where a musician has been successful only by way of listening and observation without any formal training whatsoever under a guru. Listening and observation follow a gradation in the life of a musician - Active, Passive, Voluntary, Involuntary, Casual and Critical. The first stage in the life of a musician begins with passive listening and observation. As an infant, one is exposed to all kinds of sound without any participation on one’s part. It is well known story of Mahābhārata that Abhimanyu was in his mother’s womb when Arjuna explained the complicated formation of ‘padma vyūha’in warfare and the technique of breaking it. Subhadra fell asleep but the fetus in the womb was attentive. Seeing that Subhadra was dozing off, Arjuna cut short the narration. He did not explain how to breakout from the ‘Padma Vyūha’. This small incident was so significant that it determined the course of Abhimanyu’s life and that of Mahābhārata on the whole. Today it is a medically proven fact that external sounds have great effect on the fetus. Medical experts generally advise pregnant women to listen to good music for the healthy development of the baby. Previously pregnant ladies would make it a point to attend Kathākālakshēpam, Cutchēris, Pravachanās etc. They believed that such an exposure would enable the baby to grow up into a physically, mentally and spiritually sound human being the mother sings a lullaby or switches on the radio etc. A crying baby is pacified with a soft song. So, the baby is already emphasising its role as an active listener. As the child grows, it starts responding involuntarily to music available in its surroundings. It is often seen that, when an elder child is being taught music in the house, the younger ones tend to grasp the lessons faster even without sitting in front of the teacher. The biographies of many great masters reveal the fact that their talent was discovered only when they start pointing out the mistakes of an elder sister or brother and corrected them all in a playful mood. In such cases, the child may never have the intention of listening to the music lesson of the elder sibling. It is only an involuntary and instinctive attention that the child pays. However, in the case of a prospective musician, the involvement and interest in listening to music and learning it develops at a young age when provided with a congenial atmosphere (musical families etc.). As the formal training in music begins, the role of the child becomes two-folded - as a voluntary listener and a participant. At this stage the student is repeatedly told that listening is very good for self- development. Hence, he deliberately listens, even without knowing what or how of the music. He is a casual voluntary listener. An element of critical outlook sprouts from this kind of listening. This is the point where the probabilities of the student developing into a serious mussician open up. The ideals of a musician take shape only through this stage. One can say that there is no such thing as casual listening for a musician. It is entirely the privilege of lay audience. Even if the musician makes an effort to listen to music for relaxation, he can not but think of the technique and grammar there in.

Critical Listening In the olden days when music was learnt in the Gurukula system, the sishya (disciple) was constantly exposed to the music of the guru and the senior disciples. The learning process was also made easy because of this. As the disciple would be repeatedly listening to the lessons of his senior colleagues he would be able to grasp the same when it was his turn to learn and practice them. Moreover, there would be constant check over whatever he would sing or play. However, it is a matter of doubt whether he would have any opportunity of listening to other Great Masters. Probably an interaction between the gurus would enable the student to listen to another musician. Another probability was to accompany the guru when the guru himself went to attend the concert of another musician or during some conference of various musicians at a royal court or sabha where the Guru was participating. (PSN, TNK) The present scenario of Carnatic music presents varied options of listening, like Chamber Music, Live Concerts, Audio-Cassettes, Video-Cassettes, CD’s, Radio & Television, Internet etc. (SSI, LGJ, PSN, TNK, TRS, NR)

Chamber Sessions This is probably the most ideal situation for a musician to both perform and listen. Both the performer and listener are free from any distractions involved in the formal atmosphere of an auditorium or hall. The communication between the performer and the listener is more direct and intimate. There is a personal touch to the whole atmosphere. In such a congenial atmosphere, the student is inspired to pay rapt attention to the concert and grasp the nuances.

Live Concerts Live concerts are always more fruitful in achieving good results in the sense that they create a better sense of responsibility in the performer as well as the listener, compared to pre-recorded music. The fear of not being able to hear the music for a second time forces the student to be on guard to grasp any new idea presented on the stage. This inculcates the habits of good concentration and alertness and also sharpens the memory and retaining power of the student. The spontaneity factor in a live concert carries itself to the listener and the impact is manifold. Electronic media like audio & videocassettes, CD’s etc are greatly advantageous to the student due to their easy availability and the facility of repeated and spot accessibility of the music recorded in them. Observation in music is a derivative of critical listening. In the general context also, the observation levels vary from individual to individual. Some people have a keen sense of observation by nature whereas, some are happily oblivious to their surroundings. However, it cannot be generalised that people who are generally observant are also musically good observers. Musical observation needs special skills and grooming.

Some Important Points to be Remembered and Practiced Regarding Listening and Observation in Carnatic Music 1. The listener should posses an intense and pointed concentration power. For this, the Sādhaka must practice the good habit of living in the present as mentioned in the Geeta.He must neither think of the past or the future. Only then, he can digest whatever he listens, in toto. 2. The listener should develop an integrated as well as heterogeneous outlook while listening. He should be able to hear the song or music as a whole and also as individual units. For e.g. a raga is made up of sangatis and the sangatisin turn are made up of swaras. Even so, the sangatis are something much more than swaras and the scope of the raga, extends well beyond sangatis. The sādhaka should be able to disintegrate the swaras and sangatis separately and also unite them in to a melodic whole while listening. Only then, he can produce a raga with a wholesome effect without compromising with clarity of the sangatis and the swarastherein. (NK) 3. Likewise, while listening to a concert, the sādhaka should be able to take in the complete setup of the concert and its constituent units as separate entities simultaneously. He should be able to observe the technicalities of the accompanying artists also. 4.

Specialties of the performer like the tonal quality, style etc should be carefully observed. For e.g. Karaikudi Sāmbasiva Iyer never used Tambura or any other aid, fundamental srutiin his performances. His dexterity in using the side strings of the veena, perfect sense of sruti would leave the audience blissfully oblivious of this fact. The listener must try to understand the mind of the performer.

5. The sādhaka can develop his observation capacity at the beginning by putting in deliberate effort and by being in the company of those who are good observers. Gradually, he is able to sharpen this ability and reaches a point where it becomes a natural faculty for him. 6. It is important to retain whatever one has heard or observed. A general complaint from the students is that, they seem to understand everything when they hear it. But, when they go home and try to practice it everything goes blank. A simple but effective exercise to improve observation and memory power is as followsThis exercise can be practiced visually and musically also. The student should casually look ahead and then close his eyes and try to recollect as many things possible from that single glance. Likewise, the student can play a song on a tape and try to reproduce as much as possible after a single hearing, beginning with small phrases. 7. The student should be as critical in listening to himself as he is listening to others. Electronic media are greatly useful in this matter. The student can record various aspects of his music and check whether he is right. (TRS)

8. The sādhaka should be unbiased, impartial, ego-less, unconditional & positive in his listening and observation. 9. Repeated listening of the same tape or the same musician may lead to wrong influences, which should be checked from time to time. 10.

Too much of listening may affect the freshness of the sādhaka if the attitude of the listener is not original and individual. One should always remember that one can follow an inspiring ideal (Anusarana) but one should never try to imitate anybody (Anukarana).

11. Initially, a student must be guided properly in choosing what to listen and what not to. However the student should have an open mind and try to accept what is good in anything that he hears. The student should be strictly refrained from negative criticism of any sort. It is the responsibility of the parents and teachers to see that they discuss only the positive points of any music and not the negative ones in front of young children. The knowledge of what is wrong should be acquired by the student himself, from a thorough knowledge of what is right. (NR) 12. The student may listen to all kinds of music whether Carnatic, Hindustani or Western classical, Folk, Light or even Film music at times. But, he should not be carried away with any particular music. He should be like a swan in receiving all good and filtering out all that is bad and unnecessary.

10 LAKSHANA GJNANAM AS AN AIDTO LAKSHYA SADHANA Lakshanam literally means an attribute or quality and lakshya is the target. The theoretical background of any science or art is its lakshanam. The practical application of any science or art is the lakshyam. The conflict as to, which of the two is greater, is baseless and irrational because they are mutually dependent factors. Lakshya is like a river and lakshana is the bank, which channelises the river in a proper direction. The river is flooded when the bank is broken and the existence of the bank is meaningless when there is no river at all. (as viewed by all the interviewees) Human mind is a wonderful phenomenon, which is constantly involved in the process of unraveling the mysteries of this universe in the form of discoveries and inventions. It is however not satisfied with dredging up what is already existent. It is constantly driven by a frantic urge to improve, refine and modify. Hence, man tries to choose what is best and give it a proper shape and structure. He picks out the entire salient and significant qualities or lakshanas from the lakshya and formulates a set of rules, which become the guidelines for future generations to come. Therefore what is lakshya for a lakshanakara becomes lakshana for the lakshyakārās who follow it. Bharata, Sārngdēva etc were evidently great lakshyakārās who have rendered yeoman service to the field of music by conceptualising all that they have practiced. (SSI, IVR, NCH). Lakshanam is to music, what grammar is to language. It is true that there have been many great musicians who never bothered to study the theory of music. However, the significant point that is to be understood in such cases is that, these musicians have an innate knowledge of the quintessence of music. Thereby possessing a natural cognition of its lakshanam. However, when ideals like Thyāgarāja or Deekshitar are considered it is a well known fact that apart from the above said knowledge, they had a strong foundation of sāstra gjnānam as clearly mentioned by ThyāgarājaSangeeta sāstra gjnānamu sarttpya soukhyadamē manasa - Mukhari ragam – Adi talam. The compositions of Deekshitar clearly reflect his erudition in the sāstra of music. It is only on the basis of such great knowledge that they have set forth, such a legacy of musical excellence. Lakshana gjnānam helps an average musician to discriminate between right and wrong and inspires a creative musician to come up with innovative and inventive ideas. It is generally observed that the depth in the study of musicology varies from individual to individual depending on their role in the field of music. A busy performing musician is generally disinclined towards its study, owing to general indifference or time constraints. A general comment, which is often heard is- what is the use of wracking our brain on something which is not of any practical use now? One should understand that musicologists of the ancient period have developed all that is available easily now, from a state of nothingness or nihility. For e.g. the notes Sa, Pa and Ma; the concept of ādhāra sruti, the development of ragas etc, which we take so much for granted now. It is amazing to even assess the genius of the masterminds who could formulate them. It would seem ridiculous even to think of the time when these concepts were not conceived. Those were intellectual giants who dared to think differently and selflessly. A simple study at the minimum of some of these great lakshana granthās would generate a new surge of thought process which may lead a practicing musician to keep alive the lost treasures from the annals of the history of music and open doors for new ventures. One may face the dilemma as to where the quest should end. The simple answer is - Any theory that can be practiced and is pleasing to the ear and the mind is acceptable. Also, in those days it was impossible to record any practical music, when there was no proper notation system or any devices to record & preserve the music of the lakshyakārās unlike today. It is only the contribution of lakshanakārās of that period which has preserved our musical heritage.

Hence, the ideal state in this context would be to view lakshyaand lakshana with ‘Beejānkura nyāya’- the maxim of seed and sprout. They stand to each other in the relation of both cause and effect.

11 TEACHING FOR SELF DEVELOPMENTAND TO BECOME ACOMPLETEMUSICIAN There is a saying that the noblest deed on this earth is ‘ dānam’or giving away. ‘ Vidyā dānam ‘ is supposed to be one of the best dānās.

Moral Responsibility A musician can be deemed as complete only when he is a good teacher also. In the life of a musician, striving hard all his life, gaining knowledge and becoming a successful performer, all put together make a sizeable amount of contribution to the society. In a way these are also contributions of the society to the individual in shaping him into a musician. No doubt, through this hard-spent life, the musician contributes to the society by entertaining, soothing and purifying the human mind. However, the major contribution of a musician can be in the form of teaching, thereby continuing another generation of musicians. (AR, IVR, TRS)

Exercise of Self-development It has been the experience of many great musicians that a musician learns more through teaching than through learning. This can be analysed in the following points – 1. Depending on the talent of an individual, some concepts are taken for granted while he is in the process of learning. While teaching a student however the individual is compelled to dissect and study the very same concepts and ideas. For e.g. a musician may not have had to think much about the structure of raga when he was in his student days. It may have come easily to him. It may not be easy in the case of his students. They may have the requirement of analysing and explaining the same in detail and by bits and pieces. Thereby, the musician is inadvertently drawn to the minute details of what he is singing. (TRS) 2. Different students require different handling. Hence, the teacher has to be equipped with the ability to understand the particular need of a student and cater to it individually. In doing so, the teacher gains the knowledge, not only of his own style but also of many other styles. To make the student understand what is suitable for his voice or instrument, the teacher must be able to practically demonstrate different voice or instrument techniques and prescribe what is best for the student. This requires great flexibility, open mindedness and intelligence. (NR) 3. To maintain a good tradition, the teacher must ensure that the versions of compositions are standard and authentic. While singing or playing by himself he may take some liberties in rendering the compositions. When he is teaching, he cannot do so, as he is faced with the responsibility of carrying the tradition to the next generation. The pattern of all the students of a teacher should be the same. Hence, the teacher should first crystallise the shape and soul of a composition in his mind and digest it thoroughly. 4. According to their intelligence, students may have doubts and queries, which the teacher must clarify. It so happens that sometimes the teacher may not know the answer. He should be modest enough to accept his lack of information on that particular aspect and then try to find an answer. The scope of the knowledge of the musician widens in this process. 5.

It is very difficult to teach below average and above average students. A brilliant student keeps posing new challenges to the teacher and a constant necessity to provide new material. The teacher has to experiment in many ways for the sake of the student out of which he procures innovative results. (IVR)

6. A true teacher gradually develops the good qualities of patience, open mindedness, generosity, freshness of thought etc.

12 CONCERT PLANNING ANDEXECUTION As mentioned earlier, the shape in which a musician is molded depends on the targets aimed at, by him. There are some who aspire for name and fame, some who crave for money, yet others for recognition etc. The ideal musician is however, is one who practices music for music’s sake and for the divine realisation of the self. The individual, who reaches this stage, attains purity in whatever he thinks, speaks or does (trikarana suddhi). The musical trinity, were definitely such ideal musicians. (DDP) It is true that they never craved for public concerts or patronage in courts of kings etc but they did not hesitate to sing at the abode of God i.e. various temples where public was also present. They carried the mind and soul of the audience along with them to divine presence through their music. Hence, one should realise that the purpose of public singing should be to create an atmosphere of sanctity wherein one can cleanse ones thoughts. To reach this plane both the musician and the audience have to traverse through the stages of entertaining, alleviating and finally enlightening. The musician on his part does not have to dilute his music to achieve success in the first two stages. A child who is averse to drinking milk need not be offered an unhealthy soft drink. The same protein rich milk can be flavoured with chocolate or some other healthy ingredient to tempt the child. Likewise, the performer can flavour his music by adding some spice to it. A little planning and spontaneous executing of a concert along with the hard-earned knowledge and experience would make it interesting, enjoyable and valuable in its content. The various factors involved therein are as follows (LGJ, MSG, TNK, NK)

1. Choice of Items This is the most important part of concert planning. To be precise there are no rigid rules as for the schedule of a concert is concerned. Different musicians have different ways of making a concert plan. Nevertheless, some useful tips can be taken into account for better effect(a) The occasion of the concert— When the concert is based on some theme like a particular composer, raga or deity, items pertaining to that theme are chosen carefully. (b) The voice condition of the artist— The voice is a sensitive medium prone to changes owing to various factors like climate, food habits etc. Sometimes the voice goes through a phase wherein its natural qualities undergo change for a period of time-short or long. Depending on the condition of the voice before the concert, one can include pieces like - items with limited range when the voice does not permit more range and items with high range when the voice is free; items of average tempo when the voice does not facilitate fast tempo and items of multifarious tempos when the voice is flexible enough; steady and slow pieces when the voice is stable and mellifluous etc. Not only the compositions but also the extempore music should be sung according to the voice condition. Sometimes the colour of the voice, changes just before the concert starts or even during the course of the concert. The artist should be subtly aware of the change and have the wisdom and intelligence to re-shape the concert spontaneously. (TNK) (c) Contrast and varietyIn Carnatic music, the success of a concert greatly depends on the variety presented. There should be a clear contrast in the ragas chosen, the tempo of the compositions and the composers. Generally, the concert is planned such that all the dwādasa swarasthānamsfeature in the concert. Rāgas with different swarasthānās are chosen so that on the whole all the 12 notes or a at least a majority of them are included so that the contrast is achieved.

2. Spontaneity Planning a concert is only a guideline and outline of the concert. The worth and capability of a true musician is understood only when he is spontaneous in his presentation. This spontaneity originates through the following factors (a) The mental and physical condition of the artistThe mood of the artist is linked with various factors such as his physical condition, the surrounding conditions such as the behaviour of the people (organisers, audience etc), the accompanists, the climate, the acoustics etc. Above all these, the inherent mental condition at that particular point plays a great role. If the artist is jubilant it reflects in the form of vibrant music. When the musician is not in the best of the moods or, in a melancholic mood, he can make his music beautiful as‘the sweetest songs are the saddest ones’. The artist should be able to rise above the momentary limitation of his physical conditions with the strength of assiduous practice in the general course of his life. (b) Pulse of the audienceA musician should never stick to a pre-planned list of items when the pulse of the audience does not match with it. He should be able to make impromptu changes in his schedule by sensing the vibrations emitted by the audience. For e.g. when the audience comprises largely of dilettante people, it would be foolish to impose highly technical stuff on them. It would be wiser to include some familiar and bright pieces in such a case. (All interviewees)

3. Wide Repertoire The musician should be well equipped with a wide repertoire of compositions of different composers to suit any condition and occasion. (DKP)

4. Good Sense of Proportion This is a must in presenting a concert effectively. The length of a rāgālāpana, neraval or swarakalpana should be proportionate to the length of the kriti. The number of items presented should be in a balanced proportion to the total duration of the concert. It should be neither too many nor too less. (LGJ)

5. Confidence and Perfection The artist should sing with good confidence. Only then he can communicate with the audience properly. Moreover, regular practice at home in a concert format (not necessarily the same items to be sung in a concert) enables the artist to feel confident and render with perfection even while being spontaneous in execution on stage. Nervousness and stage fear will not hamper the overall picture of the concert. Whatever is sung or played must be presented with precision and neatness. Experimentation on stage is not very advicable.

6. Accompaniments At the outset, the main artist should have a minimum knowledge of the functioning and technique of the accompanying instruments. This will enable him to understand the difficulty of the accompanist and treat them with regard. At times, this knowledge helps the musician to enhance the role of the accompanying instrument for special effects. The artist should have an open mind in treating the accompanists with a team spirit and vice versa. This ensures a healthy relation between them and a pleasant atmosphere in the concert. The accompanists will also try and contribute their best towards success of the concert. There should be no question of who is great or who is not. The sole aim of all the artists on stage should be to offer the audience and themselves music worth the time spent on it. None of them should hesitate to give a lead to the other, when the situation demands. Any ill feeling between them will mar the beauty of the whole concert. It is the responsibility of the main artist to ensure that the accompanists are also treated properly by the organisers and be compassionate to their problems, physically and technically. (TRS)

7. Role of the Amplifying System and Acoustics Another very important factor in today’s concert music is the role of the microphone and acoustics. Adaptability to the amplifying system is something that an Indian musician should learn from the musicians of the west, not withstanding the fact that the conditions vary vastly from the West to the East. Hence the musician is often faced with the tribulation of unprofessional amplification systems, lack of experienced sound engineers and presence of disturbing ‘mike men’. Be that as it may be, the role of the artist lies to the extent of adjusting himself to the given conditions and making the best of it. The musician should understand the modulation of the voice when using a mike without losing its natural element and at the same

time not sounding too loud and harsh. All said and done, the total appeal of a concert is greatly influenced by the personal touch of the artist added to it. This is what makes it distinct and fresh. The artist passes through various stages while in a concert, in his endeavour to satisfy himself and the audience. In the words of the great violinist Sri. Dwāram Durgā Prasāda Rao- ‘The flashy nature of a concert (chamatkāra) sustains its spirit for some time. But continuous presence or (sākshātkāra) is the ideal aim of a concert’. This is possible when the musician is truly involved in himself (Antarmukha) and thereby involves the audience also. In such a mesmerized state, whatever the musician sings – May it be rāgālāpana for the entire duration of the concert or just a small sangati- is sure to captivate the audience and enthrall them. The artist is freed of all the external pressures and distractions. An ideal state pervades wherein, the music, musician and the listener conjugate in a blissful union.

13 ROLE OF AGE FACTORS AND THEREQUISITE SADHANA The greatness of Indian music lies in the fact that its value is judged more by the content and less by physical aspect of the medium of conveying it. As aptly said by Sheila Dhar (2001) ‘Hindustani musicians undergo rigorous training and possess incredible skill and control. However, the central object of their labour is not the cultivation of a ‘beautiful’ tone but the development of an almost limitless capability of articulation. The physical sound of the music is, in ideal circumstances, only a medium and not the end product. To the connoisseur, a voice is only as beautiful as what it conveys. The physical body of the music is to the musician what a writing tool is to the poet. The listener is trained to tune into the highly charged state of consciousness of the performer rather than to the physical condition of the sound that carries the music. Consequently, Indian ears are somewhat indifferent to the outer perfection of musical sound. Some of the most revered musicians have been and are people in their seventies. Their glory is the truth of their experience and though their voices might have lost superficial luster, the purity of their intention still shines through and is always the focus of attention for the initiated listener’ (p. 14 - The Raga:an inward journey) Nevertheless, when the musician devotedly goes through the sādhana discussed in the earlier chapters, he is endowed with a strange strength of voice or limbs which overweighs the limitations presented by the aging process. However, if the musician has developed wrong techniques of practice in his younger years, or has not practiced properly, he gets along comfortably in the young age because of his physical strength. But when he grows older, the results of lack of practice and wrong practice manifest themselves in the form of occupational palsies. (NR) The intelligence of a musician is revealed in choosing the right kind of sādhana suitable to his age. Hard and mechanical practice in excess (where the mind is uninvolved) like akāra sādhana etc is suitable for the musicians from his childhood to an age of 20 or so. The age between 20 and 30 is ideal for continuing their practice along with gaining concert experience. In the case of child prodigies, the responsibility of the musician is far more compared to an average musician. Their prodigious talent and easy assimilation of knowledge along with growing popularity distracts them from proper practice. It is the responsibility of the Guru and the parents to strictly monitor the practice sessions of the child. Otherwise, there is every danger of the child prodigy going into oblivion owing to the lack of input on his part. The age between 20 and 30 is very crucial as that is the age when the voice and the style of the musician are established. The musician in his thirties and forties enjoys the fruits of his labour to the fullest. This is the age when the musician starts sensing the freedom from the trepidation of an unsettled voice, lack of knowledge etc. This freedom opens up new horizons for him to explore and envisage. He is in the pinnacle of physical and mental strength in this period. Hence, he should make full use of this advantageous situation to mature and ripen his music by continuing his sādhana with undeterred determination. After this age begins the period when the growing age starts showing. This is the stage when the musician does not have to practice as rigorously as before. A brief warm up with fundamental exercises (which can also be replaced by varnam practice) and practice in the concert pattern is enough. Excess practice at this stage may even prove to be disastrous. The performances on stage provide ample practice to the musician. When the musician grows older, the emphasis on physical practice is replaced by sādhana on the mental and spiritual plane. Widening one’s repertoire, teaching students to ensure the safe growth of music in next generations etc become central in the musicians life. As observed by many a great musician, an artist is a student till the end of his life. There is always more left to learn than what has already been learnt. According to Sri Rāghava R. Menon (1976) – ‘The whole of learning music in our culture is a process of transformation than a learning’. In continuation he says – ‘Indian music is also notionally divided into the same four stages of the well-known Hindu divisions of life. These are ‘Saisava’ or infancy, ‘Brahmacharya’ or the period of development, ‘Grhasta’- the life of a householder and ‘Sannyāsa’, which is the stage of renunciation’. ‘During saisava the child’s ambience has the drone of the tānpura and the sounds of practicing and singing voices.

Music at this stage is absorbed subliminally in play and dream’. ‘Then begins the stage of a musical Brahmacharya. While this period may coincide with the other larger brahmacharya of continence and servitude to the Guru, in music this only means that during the practice the notes of the scales no expressions or feelings or bhāvās are allowed to enter into the enunciation of the notes. This has to be done deliberately as a vital stage of the process of swara-making’. Sri. Rāghavan further says that this stage includes gaining proper understanding of gamakas, maturity of the voice, development of musical ideas automatically etc. ‘The brahmacharya of music is the most critical and indelible experience in the saga of human growth and change both in the realm of spirit as of the vocal cords and no one comes through such an experience without profound changes in his outlook towards himself and the world around him... It is a long and lonely haul. and few and only the stoutest-hearted survive to run the whole course and reach the promised land beyond the rainbow...the sāstras say that within each note right at its centre lies a little door and within it is a sanctum where the presiding deity of the note resides. This door has to be unlocked and the student must enter it’. Sri Raghavan illustrates that this stage of ‘working on the swara’is sadhana. The stage of grhasta includes in it the learning of raga, technique of laya, learning various compositions, singing in public places and earning one’s livelihood. The stage of sannyāsa begins in the old age, where the singer retires and spends his life in devotion towards God, teaching disciples and guiding them in their journey. However the work on the swara never stops. He quotes the example of Bade Gulām Ali Khan – ‘He continued to practice even after he got a stroke that disabled him. He often said that to stop singing is to die even if life in a formal physical sense continued to animate his body. But then music was for him his very life, not merely an occupation or a career or device by which he earned his living. His life turned into the path of ‘Swara’’ a long time ago and those on that road do not make a distinction between living and singing. To such men the word sadhana is synonymous with life’. As rightly said by Dmity Kabalevsvy – Pg. 3 8 - ISME conference- ideological principles of music education in the Soviet Union‘The genuine musician must be a first class artist and creative thinker, a wise teacher, and an active builder of the new life. These high demands embody the principles on which our music education is based, and relate equally to the composer, the performer, the musicologist and consequently to music teachers’.

14 INFLUENCE OF SOCIAL AND SOCIO-ECONOMIC FACTORS WITHREFERENCE TO SADHANA Man has always believed in the saying- ‘where there is will there is a way’. However, as man is a social animal, his survival and the survival of his personality depends in great proportions on the social and socio-economic factors surrounding him. The development of musical art is basically in the form of images created in the individual. The positive or negative elements in the society are bound to influence these images which in turn influence the art as a whole. Social security and socio-economic stability go a long way in keeping the mind and body of the artist channelised towards the development of his art, thereby contributing to the development of the art in general. The growing commercialisation in the society and the glamour, which accompanies it are the greatest threats to the ideals in art today. (DKP, TRS, IVR, AR, MSG) The ideal in a musician can survive only when he is totally independent of the glitter of the commercial world for satisfying his ego, mind and needs. He should be satisfied with the basic needs required for his survival. There should be constant endeavour on his part to search and seek the ideal in art by setting high examples, striving to be in the company of such paragons and go on with his sādhana with this inspiration. He should believe in ‘simple living and high thinking’. Such a steadfast attitude is sure to realise the ideals of a musician.

15 CONCLUSION A conscientious study and analysis of the various concepts discussed in the preceding chapters, enables the scholar to deduce the following conclusions and results – 1.

sādhana constitutes not only of physical practice of voice and instrument but also intellectual practice, which is common for both vocalist and instrumentalist.

2. The musicianship of an artist can be raised to ideal levels only through Sādhana, based on high levels of talent, inherent in the artist. Either one of these qualities (sādhana& talent) is incomplete without the other. 3. The role played by the parents, the Guru and the society on the whole, is a very significant one in the shaping of an ideal musician. The positive or negative roles played by these elements are directly proportional in their effect on the present cause. 4. An ideal musician is one who strikes a perfect balance between traditional and innovative values. In other words, the knowledge acquired by him should be based on traditional values and the contribution made by him to the sphere of musical knowledge should possess innovative values. Such an innovation, is bound to be encompassed by traditional values that offer it the strength of authenticity and longevity. 5. An ideal musician is bound mainly by two dharmās (code of conduct or practice) – Sareera (physical) dharma and Mano (mental / pertaining to the soul) dharma. The hard and assiduous practice on the physical plane elevates him to the aesthetic levels of the mental plane. The sadhana of this exalts him to the ultimate plane of Divinity. Here, the word ‘Divinity’ need not necessarily be understood as something concerned with God. It can be discerned as a Supreme level of Consciousness derived from staunch belief and commitment towards a particular noble cause or goal. 6.

A musician can be termed as ideal or complete only when he contributes to the present and future of the music from whatever he has gained of its past and present. This is possible only in the following ways – (i) In the form of individual musical excellence and, (ii) In the form of shaping future generation musicians. (iii) In the form of promoting musical activity and atmosphere in the general sense (by encouraging music organisations, taking up the task of organising music programs, encouraging upcoming talent, maintaining healthy relations with other musicians etc)

7. The sadhana of a musician is not permitted to his younger days only. A musician should be a nityasādhaka. A musician is a student all his life if he has the zeal and attitude to learn. Age is no barrier for him. However the methods and techniques of sadhana do vary at different stages of life. 8. Though performing in public is a major function of a musician, one should not crave cheaply for the glamour of the platform. Performing opportunities should follow the merit, worth and demand (of the listeners) for the artist and not simply the desire and temptation of the artist. Also it is responsibility of the artist to set high standards of music safe keep them instead of being carried away by the low standards set by a section of people (listeners, organisers or artists). 9. An ideal musician can be shaped only when he is unperturbed by any negative trend – social, economic or socioeconomic – and continues relentlessly in the path of sadhana prescribed by great thinkers, philosophers and lakshya-lakshanakārās. 10.

The scope of the study cannot be limited only to the material presented in this work. It offers a wide scope for further research in future also.

Like Carnot’s engine, which was theoretically designed to be an ideal machine with 100% efficiency, but could not be proved practically, it may be very difficult to attain the state of ideal for a musician. Notwithstanding, it has been proved

time and again in the history of mankind that, whatever could be imagined or envisioned in the human mind could definitely take shape in reality too. Great luminaries in the annals of Indian music like the Musical Trinity have proved this by realising such ideals through individual paths. The standards set by such models serve as goals of their descendants. An ideal musician encapsulates the past, enriches the present and enlightens the future.

APPENDIX-A Questionnaire QUESTIONNAIRE PRESENTED TO THE INTERVIEWEES 1. What was the atmosphere in which you underwent your initial training? 2. Which mode of sādhana did you opt for keeping your voice / instrument in control? 3. What is the role of sādhana in the development of individual style and what are the different stages involved? 4. In your opinion what is the sādhanakrama to be adopted for the development of manodharma and laya? 5. What is the place of analytical sādhana of dhātu (music) and mātu (lyric) of the compositions of great composers and their samanvayam (correlation)? 6. What role does teaching play in the self-development of a musician and his shaping into a complete musician? 7. How is sādhana important for the proper planning and performance of a concert? 8. How far is lakshana gjnāna instrumental in lakshya sādhana? 9.

What is your message with relevance to the sādhana for the future generations facing fast changing socioeconomic trends?

APPENDIX-B Views of Great Musicians of Carnatic Music 1. IVATŌRIVIJAYĒSWARA RAO (IVR) Atmosphere of Initial Training – I had my initial training in the Maharajah’s College of Music – Vizianagaram. My training continued there till I finished my Diploma exam and attained the level the performing small concerts. At first i.e. up to varnams one Sri Lōvaraju was our teacher (for 3 years). That is because we had two lecturers for violin. Then he passed away. From then on Sri Dwāram Narasinga Rao gārucontinued for the remaining 4 years in the college. So to say the whole fingering was changed. In those days we did not have rigidity of timings for each period. In the 5 hrs that we spent in the college, our lesson would be for % hr or so in the morning. There might be a theory class in the evening. The remaining time was spent in practicing or chatting. From morning 8.00 – 10.30 and again from 2.30 – 5.00 in the afternoon. The natural atmosphere with a lot of trees etc was also very congenial for practice. It was the only college in the whole of Andhra. Hence students came from Kurnool, Warangal and even Hyderabad to learn. Many boys who took to music as the main occupation were present then. Some of them did not have opportunities to opt for academic education, some could not shine in the academics and others were genuinely interested in music. Even elder people of 30, 40 or 50 years age would join the college Diploma course was instituted in the year 1948. I had joined in 1947. In the first year any student was taught vocal music. Only after that one could choose any instrument of his choice. So, the atmosphere resembled ‘Gurukulavāsam’. So we used to wait for Gurugāru’s signal for commencing the class and then learn from him. However that lesson, be it for % hr or 5 mints would be sufficient for 5 hrs of practice. I used to get time to practice for about 8 —10 hrs per day in the college and at home. Even the old students used to come there and used to either practice or discuss about music. So, there used to be that atmosphere of music all around. Nowadays, everything is commercialised. Keeping aside the regular class, there is no general knowledge in music. After the college hours, I used to go to my Gurugāru’s house in the evening and spend time there from 6 to 8, either listening to him, talking to him, playing the tambura while he played or playing along with him. Talking to him was itself a great education. If I did not go one day, they would be worried. Every moment that I spent near him was an education. I used to gather lot of information by observation. I used to take clues from whatever he said. For example if he said — ‘playing ‘Vēyi Tristhāyi’ makes me happy’, I would think that it is a good exercise and immediately practice the same.

Physical Practice for Keeping the Voice or Instrument in Control This is a completely individual thing for different individuals. God does not give everybody the same things. So, practice depends on what one has got inherently. Some people have a greater facility even without practicing. But, there is always something, which is difficult for everybody. If that is practiced more one can overcome the difficulty and practice of what is already easy, makes it more perfect and improves its clarity. There is a definite difference between what is achieved by sādhakam and what is played by way of intelligence and flexibility of fingers. It is wrong to think that intelligent people do not have to practice. Both are equally important. During the course of sādhakam when a particular target is achieved, one gets new ideas and in this way the duration of practice goes on increasing. When one does not practice he has to limit himself only to those ideas that he can sing or play easily and avoid difficult ones. Also, each person has a weak point somewhere or the other. By sādhakam this may not be completely rectified but it may be controlled to a large extent. Then we come to know that this should not be exhibited in the public. However this weakness can be made a strong point by covering and converting it in a different direction. In the process some other plus point may emerge. That is how we have great musicians who are experts in raga some — in swara, some in pallavis etc. if you don’t practice you will neither know your strong points nor your weak points and hence there is a danger of exposing only the weak points.

Exercises of fundamentals, varnams etc comes under this. This practice has to be continued for a long time. After certain period it is inevitable that such sādhakam is stopped due to various factors like physical limitations, time restrictions etc. Intelligence and practice when put together give the best results. Lack of any one of these, reflects a slight anemic tendency in the music. The voice or instrument gets stale after certain time if there is no practice. Hence, Practice is endless. It is absolutely correct to say that ‘ practice makes a man perfect’. Even Thyāgarāja has advocated the path of practice — ‘niddura nirākarinchi mudduga tambura batti..., vēkuvajhāmuna velayuchu tambura chēkoni...’ etc.

Individual Style We cannot do anything for the development of individual style. In my opinion school or tradition is a ‘sampradāyam ‘. Style is a ‘bāni’. This is already created by God — GNB bāni, Semmangudi bāni, Faiyaz khan bāni etc. Some people may have the facility of great speed in their voice while some practice a lot to achieve that speed. Likewise in the slow tempo also. In instrument some may have the precision of playing pure notes while others may have the flexibility of gamakam. Some may have the expertise of blending both. Some may take a particular concept and research and practice the same to develop a new style. There may be others who aspire to possess all that is good and derive a new style with a blend of all these. Whatever one does, the particular aspect in which one is gifted, projects it self definitely. And that is not universal. In the same way while listening, melody is also not universal. The concept of melody may be different for different persons. Some may like a thin and shrill voice. Yet others may like deep, voluminous and sonorous voices. Likewise, in instrument, some may prefer to have a soft tone, which can be obtained by simple manipulation of fingers. However, the full and round Nādam, which fills the whole atmosphere in circles is the one that could reach the ears of thousands of audience without the use of a microphone. This requirement has faded with the advent of mikes etc. That volume is inherent in artist. It can not be acquired artificially. Even veenas in 6 sruti could be heard like that in those days. Manodharmam and lakshya — Lakshana gjnānam — In our Indian music, manodharmam occupies the most important place be it Carnatic or Hindustani. In our music a sangati may have the same notation but it sounds different when sung by different persons. So, our music has a set of aspects prescribed for manodharma sangeetam. To learn these, kalpitam sangeetam is prescribed, out of the learning and practicing of which, each musician chooses and picks out the elements which are to his personal liking. The great vāggēyakārās, who were exponents in manodharmam, put all that in the form of compositions. Thus they have educated us indirectly. It is said that they have sung some ragas for days together. We do not know how they did that. But when we take some of their compositions and observe the development of raga therein, we can conclude that, if we can sing a raga for 8-10 mints based on these compositions, there is definitely a scope for such genius people to have sung a raga for 8 days. They were the path-makers. Thyāgarājā’s compositions in Dēvagāndhāri are shining examples for this. Essentially four forms of kalpita sangeetam aid in developing manodharma sangeetam – Geetam, Varnam, Keertana and Padam.When it comes to rāgam, geetam is like an introduction (ākshiptika). Varnam elaborates it a little further. Keertanas elaborates it even further and gives it a complete shape. Padam is that in which, the raga is mature and ripe and exists in the form of Nādam immaterial of the sangatis therein... demonstration with Kalyani ragam... likewise with swarakalpana also. Theoretically speaking, varnam is known as practice music. All the 5 branches of manodharma sangeetam are demonstrated therein – the pūrvāngam demonstrates rāgam and tānam; the uttarāngam demonstrates swaram – lower speed, higher speed, sarva laghu, taggimpu swaras etc are all covered. Even the concept of ‘jāga’ (gap with which a song is started in a tālam) is first observed in a varnamonly. Take for instance Bhairavi ata tāla varnam. Also the different grahās are demonstrated – the varnam starts in anāgata graham, the first and second chittaswaras are in ateeta graham and the last chittaswaram is in sama graham. So, they have framed the Lakshanam in the lakshyam itself for both song and tālam. Even before varnams there were Lakshana geetams wherein the sāhityam explained the rāgaLakshanam. One section was in praise of God. The remaining part was a practical demonstration of the rāgaLakshanam. There is no Lakshanamwithout lakshya. However, when it is bound by some rules it remains systematic and thus acquires longevity. So only one who is as great as these pathmakers, is entitled to make any changes whatsoever. Also, each raga has got a different character of its own. Some ragas offer more scope and some are very small ragas. However the capacity of the musician increases the scope of the raga. Take for example, ragas like Kharaharapriya, Harikāmbhōji etc. These ragas would not have any identity if Thyāgarāja did not explore them. When these ragas emerged as major ragas, many small janya ragas existing only on the basis of swarasthānās, slowly faded into oblivion – Saindhavi, Chittaranjani etc.

I am talking about rāgam in more detail because all the others are derivative branches of ragam only. After singing rāgamelaborately, it is followed by tānam, which is rāgam couched in simple laya. When the laya is exhibited distinctively and sāhityamis included it emerges as pallavi. Pallavi should include the salient features of rāgam and tānam also. Rāgabhāvam and laya are very important in pallavi. Swarakalpana should also be based on this. All these are available in kalpita sangeetam. When we keep on singing regularly we come upon new ideas in manodharmam. So, manodharmam is taught by kalpita sangeetam. The Guru teaches both these together. The role of the Guru is to teach the important aspects of these two, to explain through Lakshanam and demonstrate through lakshyam and to make the student execute practically, all that has been taught. The role of the Guru extends beyond educating him. It also includes molding of the personality of the student, making him self sufficient in developing his own manodharma and grasping from listening to others. That is true ‘Gurutvam’.

Laya — The intention behind the saying – ‘srutirmāta layahpita’ is that, sruti is like the mother who takes care of the child with love and affection to see that the child grows well and develops a healthy mind. Though the father also possesses love and affection he acts strictly at times to discipline the child. Laya is like that. Rāgam also has laya.This is symbolically represented in our music by short passages on the Dōlu (Tavil) in between the rāgam. Sometimes the Dolu vidwānsplay such beautiful phrases that, it appears as if, the rāgam acquires beauty because of the Dolu phrases. So, everything in this Creation is governed by laya. The beauty of any musical phrase offered by the sruti is sustained only with laya. Without its discipline, the phrase goes astray by losing its expression. This laya is expressed externally in the form of tālam. Sometimes either one of this may be weak. The musician should practice, overcome and cover this weakness. Once Naidu garu, while demonstrating some ‘sabdās ‘, said – ‘If you think that this is of janta swaras standard I can tell you such sabdās daily for 2 years up to the varnam standard. However, these are not for felicitations or cutchēries or for anybody to listen and enjoy. If these are practiced, then in the regular course of singing, that practice reflects it self to make even the greatest of scholars count the stars. A lay listener enjoys. To make him enjoy like that without any external strain on our part and his, all this sādhakam is required. Tristhāyi etc are not for exhibiting on the stage. You should also not think that even so much practice of all these things has not earned you the title of ‘Sangeeta Kalānidhi’. But, these pave way for attaining such standards’. It means that they should be utilised in such a way. They should also be practiced aesthetically. If you practice blindly and mechanically, there is no use. You should practice with proper understanding. It has been rightly said in the keertana – ‘telisi rāma chintanato ‘. Therefore ‘telisi’ (by knowing) is the key word for sādhana.

Analysis of dhatu, matu and their samanvayam — This is also a sādhana. It is a sādhana only when the regulations and exemptions therein, are carefully taken into account. Sāhityamin its isolated state has a separate articulation. When it is blended with music, the pronunciation is different. There is difference in taking breadth. There is difference in applying and removing ‘deergham ‘. The correct understanding of what and how to do is sādhana. Take for instance Pancharatnas. If you sing pancharatnaswithout sādhana, you will not have an understanding of either the music or the lyric and you will not be able to justify either of them. The reason for sangeetam to be used before sāhityam in common usage is that, music is the instrument to express our feelings. It is put in words by sāhityam. The feelings in our mind come out in the form of nādam keeping aside the facial expressions, gestures etc. In poetry, the words may not be set to particular tune. But the music is latently present. Some people’s speech sounds harsh and is intolerable because it is unmusical. So a sāhityakāra has got music latent in him. When a sangeetakāra has knowledge in both and can blend both, then he can convert the music which is ‘āpātamadhuram’into ‘ālōchanāmrutam’ and the sāhityam which is ‘ālōchanāmrutam’into ‘āpātamadhuram ‘. Only then he can become a great vāggēyakāra. A fitting example is Thyāgarāja. When music and lyric are blended together, one should observe certain factors such as the weight required for each letter, and the weight required for the corresponding music etc. All this can be understood by learning from a Guru who is knowledgeable in all these. Then you should have the power of assimilating all that you have learnt...demonstration with ‘sāntamulēka’ in Sāma... Pingali Lakshmeekāntā Rao, a great poet once said – ‘The greatness in Thyāgarājā’s compositions can be understood in ‘sāntamu lēka’. The feeling ‘sāntamu lēka soukhyamu lēdu’ (there is no happiness without tranquility) first moved Thyāgarāja. Then the raga Sam a surfaced to express that feeling. Then the sahityam took shape to explain that feeling to others. The sahityam did not take shape in the beginning itself’.

The expression in ‘jagadānandakāraka’ is entirely different from ‘kanakanaruchira’ though both are in the same tāla – Ādi. The bhāvain the latter decides its tempo. Sometimes when the sahityam is more, it may require more swaram as in ‘‘jagadānandakāraka ‘. Then the weight in the sahityam can be reduced slightly and the weight in the swaram can be increased slightly to give the desired effect. Sometimes you have to sing the whole sahityam in a single breadth. It is like a breathing exercise. The beauty is lost if you break the sahityam in between. One should not have a partiality for any one of these – sangeetam or sahityam. Both should be treated with equal importance. And the importance to either of these shifts from one to other contextually. So, one should be able to blend both music and lyric and also retain the individual greatness of both. This needs practice also, for breath control, modulation etc. you should gain parallel experience in both music and lyric. It is more so for singers. In case of instruments, you cannot understand the lyric. Yet you are moved by the ‘nādagunam ‘‘swaragunam ‘ or timbre, which causes all the desired emotions in the listener even without the lyric. The importance is mainly for bhāvam. The effect of Nādam differs from composition to composition. In the same way the kālapramānam also differs. You can observe this in the Pancharatnas. Each has its own kālapramānam based on the central bhāvam... demonstration... Music by itself can reflect the bhāvam. According to me, nādamis more important than ‘aksharam ‘ in representing navarasās and thereby the experience of the bhāvam (as far as the musical compositions are concerned). Sometimes it so happens that what is seen is more effective than what is imagined. So it would be appropriate to say that, if music is the soul, than lyric is the eye. We should understand all this and practice. Prior to this one should be inherently gifted as said by Thyāgarāja – ‘sangeeta gjnānamu dhāta vrāya valerā ‘.

Teaching for Self-development This cannot be generalised. There is no benefit for the teacher by teaching the basics. However, when the student reaches an advanced stage, the intelligence and knowledge of the student may benefit the teacher by way of inspiration.

Concert Planning According to me, if one is a regular sādhaka, there is no need for special planning or practice for a concert. He is ever ready. However, necessary changes should be made spontaneously in the middle of a concert depending on the time factors and the pulse of the audience.

Message If one aims at the ideal state of a musician one should definitely opt for the path of rigorous and dedicated sādhana. There is no other option.

2. SEMMANGUDI SRINIVĀSA IYER (SSI) Initial Training I had my initial training under Semmangudi Nārāyanaswamy. After two saralivarusai I was taught Geetam. I never practiced sarali.I only heard at home. However if I have to teach you now, I would say that sarali sādhakam is a must in two or three speeds. Initially practice how to control the breath and hold each note as long as possible (deergha swara). Sing with ‘visrānti ‘. You have to stress on Nādôpāsana. Afterwards you can increase the speed to the highest degree possible.

Physical Practice For voice culture, one can practice ‘a ‘ kāra, ‘e ‘ kāra, ‘u ‘ kāraand ‘m’kāra i.e. the components of ‘OM’ kāra. I did not do that. Everybody used to sing. My brother used to play and teach well also. In our music the most important thing is the ‘ Varnam ‘. It includes all the essentials of our music. Similarly small keertanas can be taught. When you teach small children, you must not teach them complicated sangatis etc. They should be taught in a simple and straight manner so that they do not feel afraid and can learn easily. Children with good grasp and interest can learn very easily if taught like this. For those who struggle to learn, it may be difficult. Importance of sāhityam, manōdharmam –

Before teaching kritis, tell them the sāhityam. Sāhityam should be memorised. Then they will not find it difficult to conjure it up. Similarly each phrase should be sung twice. It is like ‘Veda’. Veda is chanted twice. Music is Gāndharva Veda. In concert also you should repeat each sangati. Musiri used to say - ‘in Gramophone only once is enough. But, otherwise you should be habituated to sing twice. Then it will get registered in your voice. In the slow and steady sādhana, the swarasthānās will acquire life in the vocal cords. We generally refer to komal, teevra etc. in srutis they say - ‘small’ and ‘big’. All these concepts of 12 and 16 swarasthānās have come in the middle or later period. The concept of 16 swaras is a mistake. There are only 12 swarasthānās. In veena there is no 13th place. By some manipulation they have made it 16. I told T.V.Subbarao and T.L.Venkataramayyer when we all practiced together for AIR audition at Mysore – In my opinion these 16 swaras have emerged only for the sake of Nata and Varāli. They agreed with me. Varāli Gāndhāramis slightly less. Similarly Nāta Gāndhāram is also less..(when prompted by Sri T.R.Subrahmaniam that it was shatsruti rishabham)– these people have made it shatsruti. What is shatsruti rishabham? It is sādhārana gāndhāram only. Is it not? ... demonstration of shatsruti rishabham and dhaivatam. Subbarāma deekshitar said – if you have to sing suddha gandhāram, it should be sung like Asāvēri gāndhāram. It is atrocious to sing all the 12 swarās consecutively. If you let vivādi swarās enter your voice, a little ‘ apaswaram ‘ is bound to come. For certain people with good voice it may come easily. Even then it may spoil your voice. I am not saying no to it. I used to sing the rāgamālika of 72 Mēlakartas. I can sing all the chakras. M.S has given a record of ‘kanakāngya...’ demonstration... In this way Umayālpuram taught me all the 72 ragas. If you simply sing one or two chakrās nobody will listen. It may appear suddenly as an apaswaram. You should habituate it (vivādi) to your voice and enjoy. Singing rāgālāpana etc is not correct. Strictly follow what the elders have practiced – ragas that have been practiced from time immemorial. We have ragas from the cradle to the graveyard. Where can we go leaving these? If you sing a concert without ghana ragas will the concert be effective? Rāgamshould be sung in a majestic way with joy. In our music, if one swarasthānam is straight, than the next should be oscillated. E.g. Māyāmālavagoula – s r g m – m g r s. Sankarābharanam – s r g, m – both plain and oscillated. Kalyāni – s r g To know the shape of each raga they (great musicians and musicologists of the past) they have made it like this. demonstration of 4 variations of madhyamas of sankarābharanam... like this, they have conceived 22 srutis. I have made my own concepts out of thinking. How to hold a swaram for the rāgam to take shape, can be understood only while singing it practically. They (vāggēyakārās)have made so many keertanas. Practicing them it self is sufficient. If you sing them properly, automatically rāgam and swaram will come. It will be flawless and spontaneous. In the beginning swaras should be elongated and pure. Then gamakam should be added. How will you get suswaram (purity of note) if you use gamaka in the beginning itself? This is the way to teach. My brother has given me all this wisdom. He was a very good singer. Let me tell you something – the singing of Ariyakkudi Ramanuja Ayyangar should be taken as authentic and authority by every student of music - Beautiful singing - Veena sampradāyam.Kōnērirājapuram’s was lengthy music. In veena, when you pluck the string the sound gets cut immediately. Hence only small phrases are possible. Rāmānujayyangar’s music was like that. His madhyamakālais inimitable. Musiri sings long music with a pure tone. It depends on the usage of the voice. The gamakas featuring in each raga should be understood from the compositions and sung. If you start varnam, which is sringāra rasa and mainly intended for dance, in the beginning (of a concert), you can sing it in one or two speeds. You can follow it up with keertanas. Nowadays there is no music if you don’t sing swaram. It has been reduced to a state of time pass. Throat gets strained. However it can also be sung beautifully. There are a lot of good things in our music that we keep aside and go in for bogus. In AIR, a vidwān of north India said – ‘why do you struggle with the spelling (sargam)?’ I asked him which sargam do you want? Swarakalpana is a great art. And sang swaramin Sankarābharanam for ‘mahima teliya tarama’. He did ‘sāshtānga namaskāsram’ to me. Keep the raga in mind. Swara is only a spelling that is only for name’s sake. In a raga how many oscillations you should give for a raga is specified. It is there in the keertanas. Take for instance, ‘Kamalāmba’ in Bhairavi – I cannot even talk about it. Thinking about it brings tears. Those people have nourished these kritis like that. Ayyangar sings – badari vana moo la (akshayalinga vibho) How beautifully he used to sing! Chembai used to say I will sing. You listen – ‘karakalita.’(sankarāchāryam). How they used to sing!

parama gjnāna... the neraval was like an oceana ship sailing in the ocean. Our music is not swaram. Rāgam is not simply swaram. Swaram is only the skeleton. On top of it, come the flesh and skin. Tānam is basically meant for veena. ‘Ananta sabdam’ is tānam.Ariyakudi was the only singer who sang tānam superlatively, nobody else. I used to sing a little. Veena Venkatadri Bhagavatar used to play every day in his house. Tānam has a style of its own. For a rāgamthere is one kālapramānam. Similarly, for tānam also there is a particular kālapramānam. It should not be sung haphazardly. Neraval – I did not emphasise much on neraval. I did very little. Musiri used to sing good neraval. It was like rāgam. Ayyangar also used to sing. For pallavi neraval is different. In the neraval for a keertana, the sāhityam gets broken which I cannot accept. K.V.Narayanaswamy and T.K.Govindarao follow this rule to some extent... Demonstration of Musiri’s neraval at ‘parama gjnāna rasālavāla – Sankarācharyam... I used to sing swaram very well in the lower speed. I like it very much. Me and Lalgudi featured in a concert - what accompaniment! He can also sing well. That was ‘jugalbandhi’. TRS – One inspired by the other. Manodharma can be learnt only through listening. In sādhanathere was nothing else. I have only listened in depth to my elders’ music. I have heard Vaidyanatha Ayyer, Pushpavanam Ayyer... Pushavanam’s music will never go out of your heart. One is filled with visrānti. With closed eyes, the raga unfolded in his voice in coils - one into the other and so on. It cannot be caught very easily. However there was a lot of visrānti and one could derive a full satisfaction. I have heard Konerirajapuram at a young age. It was like a car speeding on a culvert and sliding down. We would get jerked. There was tremendous breath control. When he and Govindasami Pillai came together – ‘Na bhooto na bhavishyati’. Pushpavanam’s music was glittering. It was also majestic and fluent. I tell you, all that I have heard has brought good improvement in me. It cannot be denied. There is a doubt whether they have given much importance to theory. Nowadays everybody sings according to the theory. No mistakes. But, you know what it is like? With all this repetitions, 5 mints. Will sound like half an hour. Before the south - west monsoon arrives, a strong wind blows which causes body pains etc. However it does not remain forever. It will vanish automatically. Cool breeze comes followed by the spring. aha…can’t describe. Music should be like that. It should carry depth. That will only give satisfaction to the listener. When questioned whether his success is only because of listening, the answer was - yes. Is it possible to teach rāgam and swaram? No. Sastrigal has composed Yadukulakāmbhōji Swarajati – how many permutations and combinations! We feel so happy. All three swarajatisare three gems. Navāvarana kritis of Deekshitar are so beautiful! I have produced a program over AIR of these kritis. Trivandrum AIR airs it every year.

Development of Individual Style Individual style has developed due to music in the family and maximum listening to Ariyakkudi and Dhanammal. If you are knowledgeable enough to listen to the music of these two, that itself is enough. Musiri was the only person who immersed himself in his music in those days. Once, in Coimbatore, he was singing with no mike for an audience of 1000 people. His voice made the auditorium silent...syāmalāmbikē bhavābdhitaranē ... the listeners’ attention is totally drawn towards the music. It was impossible for them to divert themselves. Viswanatha Iyer’s music can be called an electric current. He produced so many things in his voice that it was impossible to follow that. Ayyangar’s concert – you can easily follow. He sings twice in place of once. When asked why he sang repeatedly he replied – to make the listener get habituated. Individual style is also developed following the voice type of an artist. The artist should understand the range of his voice beforehand. Ayyangar used to sit in a concert and see what dosage he should give the audience. How much will they digest? Can they follow him? He used to sing accordingly. Singing for one’s own satisfaction is different. If I sing in the bathroom and listen to myself automatically tears will come to my eyes. Nobody else is listening. slokam – mūlau gangau sasānkau.…Nādanāmakriya – recited by Kanchi Sankaracharya Chandrasekharendra Saraswathi. I have stopped giving concerts. Especially the level of accompaniments should be in balance with the main artist’s standard. Placing small children as accompanists does not suit me. I have to guide them. They may be afraid, etc. Because of all this, I have stopped singing. Irrespective of my voice, when I sing a concert, people will religiously sit and listen to me. However I do not wish to become cheap.

There is no one to teach, like Pattamma. Not only that, she has the ‘yôgyata ‘. She has learnt a lot of Deekshitar kritis and is still learning.

Lakshana Gjnānam Simple reading books and the arohana and avarohana of a rāgam is not Lakshanam. It is only a bone – a code. The body has to be formed and assume life. ‘Donnai ku nai ādhārama – naiku donnai ādhārama’? This debate regarding the superiority of lakshyaand Lakshanam over each other is still going on. The nature of swaras, their gamakas and ragas can be understood only by ‘yukti ‘.My brother used to say – ‘don’t break you head much. If your ‘buddhi ‘ goes ‘vakra ‘, your music will deteriorate. Sometimes it so happens that an artist, who sings well initially, is faced with unnecessary confusions and dilemma in endless thought and finally his music deteriorates. Not only that, as discussions with others increase, the music decreases. Another thing is that, unwanted mannerisms should be avoided. I used the mirror and checked my mannerisms. Ayyangar’s music was devoid of any mannerisms. Ta da ri should not be sung suddenly in the rāgālāpana. Only ‘na’ should be used. This is the right way to sing. Ayyangar used to say – there should be ‘nalinam’ – softness in singing – pleasing. Sing like him. Do not sing like an air - tight box. One’s music should be possessed of ‘vinayam’ (modesty and humbleness).

3. NEDUNÜRI KRISHNAMÜRTHY (NK) Mode of sadhana and Requirements for Learning Music In our Carnatic music system a fixed system of sādhana was never prescribed. Each individual had to formulate his own system out of his personal experience. For instance, the practice techniques of instrumentalists differ from those of the vocalists. In the case of vocalists, the nature of sādhana depends mainly on the nature of the voice, pitch of the voice etc. This is different at different stages of life. The first questions that arise about learning music are – what are the requisites for learning music? Is it necessary for the learner to have music traditionally? Can one be introduced to music without any background of music in the family? Is the learner entering the field of music out of his own interest or is influenced by other factors? Does he have any knowledge of music? Will he be able to learn music? Etc. There is no necessity for a learner to have a musical background. Some people without any background at all, turn into great musicians. To assess whether the aspirant is capable of learning music, one should check the following – the voice of the student, his ability to reproduce whatever is heard, ability to repeat the swaram sung by the teacher, swarajnanam etc. we ask the aspirant to sing a song and see whether the sruti an laya aspects are present in the required level.

Voice Culture The next step is voice culture. This includes fixation of the pitch. The methods required for voice culture are already present in our system of music. Even the posture of sitting (straight), placement of the shoulders (firm) etc, are all included in this stage. However, the preliminary ‘Abhyāsa sangeetam’ starts only at a young age. At this stage the only important aspect is ‘pure note’. Here there is no necessity for over stressing on the nature of voice etc. At this stage there should be no stress on gamakas. One must concentrate on the gamaka aspect, only from the varnam stage. Fixation of ‘ādhāra sruti7 is the most important aspect. Many people face this difficulty of fixing their sruti. In our music our compositions suggest the sruti. That is, the range in the compositions becomes a decisive factor in fixing one’s sruti. In the lower octave, panchamam should be comfortably accessible. In the upper octave it is sufficient if one can touch gāndhāram and madhyamam. If the sruti is not fixed properly, the voice becomes strained and unsettled. This is different for gents and ladies. For ladies slight variations in the sruti do not tamper the nature of their voice as they have natural voices. Female voices tend to get strained only when they opt for over practice. They need not practice as much as the males. Gents voice tends to change at a certain period of their life. At this transition point, ‘mandra sādhakam ‘ is very important. The improvement of range in the middle and higher octaves is directly proportional to the improvement of range in the lower octave. Sri Omkarnath Thakur stated this, in an article of his. I have read it in a magazine. That is the secret of the voice culture of Hindustani musicians. While singing a rāgālāpana, they take a lot of time to reach the madhya shadjaand fix themselves there i.e. they prepare the ground (for further delineation). So, why did not this system of practice enter the Carnatic music system? The reason is, their music is basically raga oriented whereas, our music is composition

oriented. However, when you practice at home, this system proves to be very useful. Hence voice culture involves – mandra sādhakam, singing without getting strained etc. Sadhana does not mean that one should sing for hours together and strain the voice. The facility of acquiring a state where you can sing anything you like with effortless ease is Sadhana. Mechanical practice is not advisable. There are cases when such practice has led to the hoarseness of otherwise soft voices. The aspects that are very important for a ‘standard music’ are – 1.Pure swarasthānam, 2.Carnatic gamakas in a correct way, 3. Modulation of sound. These three aspects should be concentrated upon. Then, in course of time, analysis of compositions etc., knowledge of listening – all these contribute to the shape, bhāva and timing of the raga automatically. These are the basic principles. The deficiency in any one of these aspects leaves the listener dissatisfied. While cooking, a dish may have been cooked with utmost care. However, a small pinch of excess of salt is enough to spoil the entire taste. Likewise, there are such minute things to be observed in music. So, music is also ‘Ālochanāmrutam ‘. It is ‘Āpātamadhuram ‘ when it is an art. When it is an education i.e. when you analyse and think about it, music is ālōchanāmrutam. Talking of modulation, it is a natural phenomenon, which gets absorbed in an artist automatically. For e.g. you would not sing the upper shadjam as loud as the lower shadjam. So your pitch itself suggests. Further, the usage of ‘e’kāra should be very limited in raga. Ariyakkudi’s greatness lies in the fact that, he always sang ‘ a’kāram.The nature of his voice and its modulation is such. He used to sing ‘a’kāram with a rich resonance. It would fill your ears and heart. Another plus point in him was that he sang all the necessary classical phrases with a sense of completeness. In this way, if we go on studying each point, we can derive voice culture from each of them. Further, singing of chowka kāla is a major voice culture. Practicing trikāla varnam suggests many things .You can learn how to – hold and sing, sing with a sense of completeness, sing gamakāswith a broad sense, sing lengthy notes etc. if you have to explore the raga in – depth chowka kālam is the only resort...demonstration of padam ‘lēmarō ‘ – sāvēri and ‘bhāmakāsapadu’ – rāmabāna – sāvēri... see how many variations you can get. Then you will require more material without which, the hollowness of the music is exposed. However, in madhyamakāla, one can get away with the speed. In the slow tempo, you need depth, which in turn requires more thinking power. Then you will obtain material from your pāthāntharam – like oxygen. This is one aspect. Then, when you are singing, every moment you should keep checking whether you are singing the sangati with correct timing and modulation. Music should always be as though it is coming from your soul and not from your vocal cords or voice. That is possible only when you feel it. So, this aspect is very, very, very important for presentation. Practice of slow tempo varnam enables you to - balance your tālam, habituate gamakas, concentrate on the pauses etc. When questioned whether there are separate phrases for slow and medium tempos or the same phrase could be sung in chowka kalam – Phrases are common. The shape of the phrase is derived out of the kālapramānam chosen for it ...demonstration... However, in some ragas, you can observe a grand shape in the chowka kālam...demo...each raga has got its own kālapramānam. Can you treat Ārabhi and Dēvagāndhari in the same way?

Manodharmam To develop manodharma you should first sing small phrases bit by bit. Sometimes it so happens that such small phrases are ripe with bhāva. The raga should be a combination of small phrases of slow and medium tempo, a flow of fast phrases, stage wise development, good range etc. whatever you sing should project the essence of the raga. That will give a specialty to the raga.

Development of Individual Style Development of individual style is not a small thing. It requires a sort of originality in abundance. To establish one’s own style means, to gather material first and sing it in one’s own manner. From that and the nature of voice or the creative ability if one derives a style, it may be good. In music nobody is complete. Each person has a specialty of his own. You can not judge whether a particular style is great or a particular music is great. You can only say that this music is good. It has some greatness in it. That much we can say. What is that greatness? Nobody can come up, make a footing, establish oneself and sing upto an old age, without some greatness or the other. Even if somebody comes up like that he can not make a permanent standing. We should be able to grasp that particular greatness in that person. You see, all vitamins are not obtained in a single thing. We eat a lot of things – one having vitamin ‘C’, another having ‘A’ and so on. For e.g. Musiri was special in singing neraval. We need that.

We should practice that. Ravva phrases, janta phrases etc are the forte of Semmangudi. Good phrases replete with rich gamakam are to be taken from Ramanujayyangar. GNB has taken all these and has sung amazingly. You will find as much material as you want. There is no end to the ‘kalpana ‘. Leave out the drawbacks and weaknesses of others and grasp the strong points only. The nature of the voice only enables one to recognize that this is so and so. However, the style of the individual independent of the nature of the voice. When we gather material and keep on singing various ideas, if we arrive at something new, then it appears special – like a mirror. Then that is our style.

Teaching for Self-development Teaching is very important for a musician to make himself complete. It can be said that a musician is a student always. He learns not only in his student life but also when he is a teacher. He learns from the mistakes of the students and also from their merits. Some special observation and analysis is required while teaching.

Lakshana gjnānam — Lakshana gjnānam is also very important for the musician to make his music authoritative. Once he has a sound knowledge of the Lakshana, nobody can point out – ‘this is wrong’. Likewise, knowledge of the sāhityam and its meaning will help the musician to sing correctly and with bhāvam. It also helps in manodharmam. My advice is – practice with an open and vigilant mind. Take care of your health by adopting good food habits and lifestyle. Be alert for any good material from any source. Grab it immediately and make it your own. Let not local admiration and popularity satisfy you. Your aims should be to achieve universal acclaim.

4. T.R. SUBRAMANYAM (TRS) Sādhana – At the outset, it is very important to define the word ‘ sādhana’. sādhana is the vehicle to achieve certain things. It is the instrument. ‘Sādhakam ‘ is totally physical. Dedicated practice is called sādhakam. Sādhana is more than practice i.e. the dedication level expected is much more. It has got a spiritual backing – like yoga sādhana. In the mundane sense, sādhana is the equipment, which helps a person to go through a passage. It also means achievement. Mere practice also helps achievement. What is achieved by sādhana is much more than what is achieved by sādhakam. Sādhana is known as ‘sādhanai’in Tamil and ‘sāmagri’ in Hindi. You can achieve anything by sādhana. The word sādhana is used in this context because of the divinity attached to it. Because the subject of music is supposed to help achievement of things far above earthly level, so this word sādhana has to be used. In western music they use the word ‘practice’ which is a mundane word. By saying just practice, they attain mechanical perfection, which is not what we aim in our country. Sādhana means to get merged with the sruti. There is no corresponding word for sādhana in English. According to Indian languages, sādhana means 2 things – 1. Mode 2. Achievement.

Atmosphere of Initial Training Me and many others like me, had very unmusical atmosphere around us. None realised the divinity of music. Parents in those days did not consider music as serious for a boy. In those days, in middle class families, the habit was to initiate only girls into music. That too, for the sake of ‘pellichūpulu’ (the formality of the boy seeing and the girl and finalising the match for marriage). Middle class people could not afford big fees. Local musicians used to come and teach music. It was under such conditions that my sister learnt music. Because I had inclination I was also made to sit along with her. In those days, women who knew music were looked down upon. So girls would have to behave very carefully so that nobody thought that you are immodest. So, modesty was thrust upon you crudely. All this was in 1930’s. We were all very small. But my sister was very afraid to sing in the ‘pellichūpulu’. Then I was asked to sing along with her. That was the atmosphere. However, it was a different scene in Lalgudi Jayaraman’s house. His was a musical family right from the beginning. The atmosphere was very serene. Not like our house. Nowadays every body talks about divinity. Nobody knows it. This is my humble opinion. I had discussions with so many people. I find it very enlightening to spend time with Lalgudi Jayaraman and having discussions with him. Ragas are to him like children are to us. Suppose, you take Nātakuranji, he will say, ‘I have

been playing this rāgam for 60 years now. Still it is illusive to me. Bismillah Khan was offered many a palace to live in but he preferred only the banks of the Ganga. About Malkauns, he said – ‘itnē sāl sē itnē log is rāg ko gā rahē hain. Phir bhi mujhē Mālkauns sē pyār hai ‘ – I still love that raga! That means, the involvement towards the subject has got Divinity. I have that now when I am 70 years old. I never knew that when I started music. Many musicians do not reach that level at all. They live and die at a much lower level. But sadhana is a much different level. In our country, composers are supposed to be saints. I don’t believe in this. In foreign countries, for e.g. take Shakespeare – they have even recorded the perversions of Shakespeare. I have read them. But we think a composer should be a saint. It need not be so. My Guruji used to say – ‘we don’t need the stories that Thyāgarāja brought a dead man alive by singing ‘ Nā jeevādhāra’ etc to understand his greatness. One ‘chakkani rāja mārgamu’ is enough. ‘Dakshināmurtē ‘ is enough to understand the greatness of Deekshitar. People who have composed such masterpieces can not be ordinary people’. There is provision in literature for all this. When I say I see divinity in music, I do not mean all this. I have reached this approach after 60 years of learning music. In those days many of the music teachers were not famous at all. But many of their disciples have become famous. Now there are people who charge the tuition fee in four digits and also per day. In America, they take fee per hour. But in those days, they used to take Rs. 5/- only per month and they used to teach daily without any holiday. And all this was for the girl’s ‘pellichūpulu’. I also learnt in the same way. It became serious only after listening to GNB. GNB’s music influenced me a lot. I began listening to others music only because of the liking developed towards music because of listening to GNB. Before that we used to listen to Ariyakudi, Semmangudi etc. My father was a very great enthusiast lover of music. Musicians were invited to my house and their concerts arranged. I used to offer my services to them. They used to say- ‘this boy will shine in music’. I had my own doubts whether they were serious about it or they used to say it just to please my father. Not only for me but, for many of my age, GNB was the starting point. His music used to influence greatly. In those days women singers were looked down upon. However, girls were crazy about M.S.Subbulakshmi I went to study M.A (Sanskrit) to Kerala University. Semmangudi was there at that time. He told my father that this boy has got gift in music. Music college was started at that time in 1949 by Govt. of India and Musiri was the principal. Semmangudi and Musiri were great friends. All the posts in the university were held by musicians only. Everybody proposed Musiri’s name for the post of Principal. He refused to accept until there were qualified teachers and good students. Then the student hunt started. Students were given stipend. That is how I joined there.

Sādhakam– There is no scientific and orderly methodology for sādhakam.In our country sadhana is compared to ‘tapas’ or penance. ‘Tapas’is only ‘kāyaklēsam’ i.e. when you admit body to pain, the soul should be cleansed. It is said that sages have all done ‘panchāgni tapas’ – 5 agnis. On 4 sides they will rise fire and they sit in the middle and look at the Sun, which is the fifth agni. That means, the body will be put to lot of inconvenience and discomfort. But that was their motto. In music also they say that you should get up at 4 ‘0’ clock in the morning and stand in neck-deep water in a lake or pond and practice. I do not believe in that. It is said that Konerirajapuram practiced in this way and became a Nāda Yogi. It is not possible in all parts of the world owing to different climatic conditions. In English they say – ‘what is there in the nature can be nurtured but nature cannot be created. It is the same with laya also. It should be inherent in a person. Likewise the voice also. It should be basically a good voice. Then you can hone it further. I found out by experience that the best method of sādhakam is- keep on singing and keep the vocal chords in service and make them trim. If you cannot get any phrase try repeatedly to get it. The sādhakam I did was – if I was unable to sing something say, a pallavi in trikālam, or a vinyāsam in that, varnam in trikālam, trisram and trisra paikālam, etc. When I did not get it in the first attempt, I used to keep on trying till I got it. Practice of varnams is more useful for instrumentalists. For vocalists singing kritis repeatedly and getting a hold over them is the greatest sādhakam. For about 25-30 years in my life I did rigorous sādhakam. The practice of now is different from what I did then. I did not do anything other than sādhakam. I have been singing in all my waking hours with the aid of good sruti. My vocal cords were trim all the time. I did not need any rest even before a concert. I did not have any restrictions whatsoever. I and Sivaraman (mridangist) used to practice a kriti say ‘rāgasudhārasa’ in a kālaprāmānam and sing swaram in the double speed the kālapramānam, and then again the same kriti in a different kālapramānam. Like that we practiced that single kriti for 4 hrs at a stretch. I had the great privilege of practicing with all the leading accompanists of today, who are of my age. They were up and coming artists then. They used to practice with me day and night to benefit out of the practice of laya aspects and calculations etc. I have practiced with leading violinists like M.S.Gopalakrishnan,

Chandrasekharan, T.Rukmini etc and mridangists like Sivaraman, T.V.Gopalkrishnan, Upendran etc. So I was like a fully charged battery all the time. I was warmed up all the time. Even in Vijayawada I practiced like that. I used to sing in 2 %, 3 sruti in those days. I have faced the wrath of neighbours who did not have an ear for music as they thought that I was a troublesome neighbour with all the noise I was making. When I practiced only with mridangists, I lost the habit or rāgam singing. So I started practicing with violinists. This is possible only when you come across compatible persons with compatible disposition. It is not possible if there are ego problems. Then I used to do what is called as deliberate practice i.e. practicing the same rāgam for hours together etc. Also there was the endurance test i.e. singing in the higher octave deliberately for a long time to see how long one can endure. I used to sing a 4 % hrs concert without taking an ounce of water in between. These are all the techniques I put myself into. I recommend these to others also. Quantitatively they must be singing a lot. That helped me a lot.

Development of Individual Style This is a very good question. A style may be derived out of sādhana. For instance, while singing swaram, we may try to adopt the technique, which the mridangists adopt for ending, and practice it. Then that develops into a style. That becomes very handy for us. In a concert we can develop a particular calculation on the spot without prior preparation. So, the style of being adventurous on the platform has become my style. If you practice crudely and mechanically you will be able to exhibit only what you have prepared. That is not correct. While practicing it self, you should explore endless possibilities and varieties in that particular aspect. While listening, a student of music must be extremely alert. I can remember a sangati sung by Ariyakudi 70 years ago, even now. So, while listening to other musicians you absorb as much as possible and then put it into your own style. Then it will come in a different way. It takes time to mature. So, listening to leading artists and practicing it, is definitely a method of developing individual style. I was also greatly benefited by listening to my own practice sessions and self-checking. Another rare experience I had was that I was teaching music right from my 15 th year. I was a teacher when I didn’t know anything. Even in academics it was like that. I used to teach the subjects in which I was good at like Mathematics, Arithmetic, Sanskrit etc to my fellow students. Then I used to realise and gain knowledge out of the inadequacies of the students. I gathered material from all sources. As mentioned in one Veda – ‘Let good thoughts come from all directions’. I followed it virtually and it helped me a lot.

Development of Manodharmam – Definitely, for manodharma the main source is listening to others. I was influenced profoundly by GNB. Whether it be ragam or the imagination i.e. in introducing intelligence, GNB stands first. Then the most popular musician was Madhura Mani. I used to observe in which area he is singing, there is so much of appeal to the people. There are places where he was tremendously applauded, when, I was not impressed by him, at that moment. Then I realised that the kālapramānam and his dealing of swara patterns was the reason. I used to see how GNB developed a raga for such a long duration. Also, Alathur brothers. Now I find that there is one big handicap of not being able to listen to such giants for all of you. What you listen now is all sub-standard stuff. Nobody is so inspiring. I listen to the music of a child also with great care and attention. I developed that mental make-up. But still any person singing today is not inspiring. You have the advantage of preserving equipment like tape recorders etc. We did not have all that. But we had the great privilege of listening to great giants. There is a committed dedication by which you listen to the details. An average student does not have that. He must be above the average. Brinda was our teacher. I was initially apprehensive to learn from her. But later I realised the secret of her music. You cannot sing Brinda’s style without ‘sruti leenam’. Such softness in the music created an impression on me. I took a long time to become an admirer of Brinda’s style. She used to teach wonderfully – more so the kshetrayya padas. In those days the teaching was very unscientific. The students learnt out of intuition and not by tuition. Regarding laya, general education helped me to some extent. I understood gati bhēdam as singing the same music in a different speed. What is speed? Time and distance or space and distance. I analysed and learnt all these things – what is trisram or khandam, what is its gait, on which finger it has to come etc – by my own analysis and of course listening to the concerts of great masters. I.e. listening scientifically, listening keenly, listening with dedication and with a purpose. In those days they could make an impression because of their dedication, regard and devotion towards music. You must listen to the tapes of great masters.

Importance of sāhityam – In Tamilnadu the greatest, say, general weak point is their lack of concern for sāhityam. Even Tamil songs. I wrote an article on pātāntharam. In Tamil, pātāntharam means the style of rendering a song, which differs from person to person. Now Thyāgarāja’s disciples have the Umayālpuram pātam, Tilasthānam pātam, Walajipeta pātam etc. They fight among themselves about whose pātam is the correct one. Once I brought one Telugu pandit who told that both the pātams were wrong. From the same Thyāgarāja how can so many pātāntharams come? Did he teach his song differently to every student? That may happen according to the reception capacity of students. A bright student may pick up in one way and a not so bright student may pick up in another way. And those with good voice and without a good voice can pick up in different ways. So, Thyāgarāja Swāmy would not have sung the various different pātāntharams. They don’t have any moral authority to claim that this is the correct pātāntharam. A person should know the sāhityam and sing. Care for sāhityamenhances the value of the composition. This also comes under sādhana. My stay in Andhra, for 12 years was a big boon. I picked up some Telugu and it has become a second nature in me to go into the details of sāhityam in any language. Familiarity with a great language like Telugu is definitely an asset. Of course, basically I have a sort of working knowledge in Sanskrit that helped a lot. It might happen that what has been taught to us has some mistakes in it. But when we sing we should take care to understand the meaning and stress on correct sāhityam, correct pronunciation etc. I not only tried to catch the meaning by referring books and asking people who knew that language, but also the correct accent. There are some people who go to the other extreme to bring out the sāhitya bhāvam by breaking the words of the song in an unmusical manner. That is carrying it too far. So, both the extremes should be avoided. There should be a via media somewhere. When I sing I put myself to test whether the listeners are able to understand the sāhityam. They should be able to write it down clearly. I made special observation while listening to my tapes on the stress to the vowels and consonants. Thus I have developed and it has helped me a lot. As told earlier, regarding dhātu-mātu I could tolerate the two extremes and that has helped me at last to find out that the truth lies somewhere in between.

Teaching for self-development – Mudugondan Venkatramayyar had written an article in which he said – ‘what you learn from the Guru is only 1/4 th. Another 1/4th is your own development. Another 1/4th is by listening to others and another 1/4th is by teaching others’. I was impressed by this. By teaching you get a better hold of the situation. We can understand subtle differences while teaching. In English there is a saying – ‘Wise men profit by the blunders of others. Another great advantage in teaching is that, by teaching certain songs to others, my version of the song has improved. Prime Minister Churchill said once – ‘Jhonson will you lend me a shelling, which I may not return?’ So, in our music, what you have learnt from others you need not return. You can keep it to yourself definitely. Liberally borrow from others (artists). That has been my policy and I have been benefited a lot. Even from a child there are things to learn. How not to sing, the child will tell you definitely. Vidwān will tell you how to sing. The student taught me to observe subtle differences by drawing my attention towards them in his singing...demonstration... definitely teaching is a big source of learning. That is my considerable feeling. I am a solid example of that, being a beneficiary of teaching. When you teach bright students it is advantageous in a way. However you can also learn even if you teach an average student if you are alert and keep your eyes and mind open.

Planning and Performance of a Concert I told you in the beginning itself. If you are trim in sadhana, no plan is necessary. Just sing. That’s all. In recent times, that is, for the past 50 years, people have started writing about concert planning and have made it a big issue. You don’t require a genius to plan a concert. Do you require a genius to say that Pantuvarāli should not be followed by Pūrvikalyāni? People fret and fume about this. I used to tell – have things in your fingertips. Just sing anything. That’s it. Sadhana should make you ready for handling any situation. I had faced several occasions like that. I would be planning something and something else would be forced upon me due to various factors like inefficiency of accompanists etc. Good sādhakās are trim and can sing anything. Planning becomes so easy for them. That is negotiability. They can negotiate any situation spontaneously. Also you must keep all the songs at your fingertips and ready – at least major portion of them. I have done like that. Of course, I might have forgotten the songs that I learnt at later age. The songs learnt in childhood have been sung

repeatedly in concerts. So they are all fresh in my memory. I do not believe in concert planning at all. In fact, planning in advance makes it mechanical. Some people get very upset if they have to make even a slight change in the pre-planned list. No, I don’t prepare a list at all.

Lakshana gjnānam as an aid to lakshya sadhana – Theory and practice in our country are like east and west. They never meet. In fact they are going opposite ways. To blend them is so difficult and many of the Lakshanakārās are so dry in music and many lakshya pradhāna singers are illiterate in Lakshana. That, unfortunately is the case. Great musicians of the past did not have much Lakshana gjnānam. However, people like my Guru used to say that their aesthetic sense was such that, whatever they sang became Lakshana. ‘kavi vākyampracharancha vākyārdhaha’. I remember Prof. Sambamoorty with gratitude. He was the one who initiated me to Lakshana gjnāna and made me understand its value. There are some people who are dry musicologists. A great subject like music is near them but they don’t know it is there. They are like the ants circling around a mango, getting crushed and meeting the end of their life there. They never get to taste the mango. Only the insect, which goes inside, enjoys the mango. So, that is one type. I have maintained my love for practical music, by meeting the challenge of theory also. I tell my students – try to enjoy music and know about the details of the Lakshana. Let other things come on their own. The facts of the musicology can be understood by any person of above average intelligence. Just any person of ordinary intelligence can understand theory. But how many can understand a ‘Bhairavi’? That is my attitude towards theory and practical. My general observation is that vocalists are not doing sādhakamat all. Instrumentalists are slightly better. Violinists and Mridangistsare practicing well. Sādhakam and care for sāhityam – both are diminishing. Keep the system musically alert all the time. That is my suggestion to youngsters. And listen the music with open and perceptive mind unendingly and relentlessly. I have walked 15 miles to listen to GNB’s music, in my high-school days. Now you will get music at the press of a button. Listen to music with alertness. Get yourself exposed to it as much time as possible and listen with open eyes and open ears. Try to have the company of fellow artists and accompanists. Select such a person in whose company there is mutual benefit. In general, this generation, the glamour for performing is more than for actually practicing and learning. This has become a bane to the youngsters. I am saying it with some authority because when I was seriously learning music, I never thought, I will perform. I went on learning. That’s all. The center of attraction should not be the platform. It should be music. So, this malady should be somehow kept under check and the real fascination for music should be developed. If cutchēries come, let them come. And the parents also spoil the children like anything. The children of today do not understand the pursuit of excellence. So, this tendency must go from the minds of the students as well as the parents.

5. P.S.NARAYANA SWAMY (PSN) Atmosphere During Training at Childhood About fifty years back, when I was about five years old the musical atmosphere was different. Chances were remote to listen to good music. There were no recording facilities during those days. Therefore mind should be concentrated on that music only while listening to music. There should not be any diversion. At the age of around eighteen if you listen to a concert fully for three to four hours it fully enters your mind. You grasp the ideas. During those days if you want to learn a particular keertana, which you have heard from your favorite master, it is not so easy. You have to learn it from your vādyār (guru) and he has to teach the same; you cannot ask him for that. Suppose you listen something from radio you cannot record it and practice immediately as there was no recording facility. You have to note down the notation forth with and practice it immediately. This is not so easy. However I should tell you one thing. If it was Ramanujayyangar, he mostly repeats the lines for example ‘o ranga sāyi’. On attending to some four of his concerts in which he sang the kriti you could grasp, note down the notation and get an idea of the kruti. For these attentiveness and dedication was essential. But now you can record completely and simultaneously attend to other jobs and practice whenever you get time. In those days interest and enthusiasm used to develop because one has to listen and practice repeatedly to remember. Now a days that enthusiasm is absent because we can practice at our leisure. Those days there was musical atmosphere but opportunity to listen to concerts was very much less. If we want to listen to a concert – vocal or nādaswaram, at some village it has to be planned in advance and we had to start to that village two days in

advance. Another thing is that the gurunādhar used to teach a lesson only once or twice. We had to write it in notation then and there itself and it has to be practiced immediately. Now that tradition of writing in notation is lost except for a few. If notation is written it is easy to sing. That is a great advantage. That was the way we used to improve the knowledge of music in those days and such was the atmosphere that prevailed those days.

Sādhana for Voice Control As far as I am concerned, I started learning music at the age of six. After that, in the beginning stage I went to a nādaswara vidwān.He was the one who told me the method of practice. It was nothing special but normal practice of saralivarasai, jantavarasai, alamkāram, varnam all in three or four speeds (kālams) and to sing them in akāram also. He did not tell me to practice tristhayi but he told me to practice to attain a ‘reach’ and not to go beyond that. Develop slowly, sing up to gāndhāra if you can reach. Sing for four days in that range; afterwards madhyamam and then panchamam.He did not tell me to go beyond that (I do not know why!). The name of that nādaswara vidwān was Somasundara pillai of Tirupandaram. He was very strong at laya - even upto four kālams.Singing the first kālam slightly faster and thereafter dragging the second kālam should not happen... demonstration by singing s r g m p d n s upto five kālams). For attaining the reach I was never asked to sing in kalyāni or sankarābharanam or so. I have practiced only in normal māyāmālavagaula. After the stage of varnam the practice should be in three speeds or two. Actually he told me to sing in trikālam. Then rāgam was not taught to me by anybody. It has to be developed by one self. My guru also did not teach meSemmangudi did not teach me rāgam. They would not teach rāgam. Attending to his (guru’s) concerts, listening, listening and listening to him we have to develop ragam. On listening to concerts not only rāgam- the tempo of the keertana i.e. which keertana should be sung in what speed, the ‘kālaprāmanam ‘ of that keertana can be understood. Another aspect is the duration of the rāgam. How to sing Hamsadhwani and how to sing if it is Kalyāni. If you sing kalyāni for fifteen minutes you should not sing a small keertana. You should sing a keertanaappropriate to the duration and development of that rāgam. My guru used to insist on that. Then - the method of singing swaram I am telling the method adopted by my vādyār (Semmangudi) swara kalpana can be made to all the kritis. But it should not be too lengthy; brief swaram for each keertana is better; sarwa laghu is very important. Mostly sarwa laghu swaram only should be developed. Calculation should be correct and clearly known. One should not sing at all without correct laya. With sarwa laghu laya can be attained. It is not possible to sing a pallavi for any thing else without sarwa laghu. So mainly it should be based on sarwa laghu. I used to sing pallavi widely in those days. Regarding tānam rendering – nowadays, chances are lesser to listen to tānam. Old masters, my guru and others were singing tānam. In singing tānam each one differs from other. One sings fast, one sings slowly and some other at medium- each one has ones own (type of tānam). But all are good and each one has its own merit. One has to choose according to his voice. Tānam singing has to be developed by intensive listening only, vādyār does not teach. Rendering neraval is also the same way. It is wrong to sing half āvritam with excess of sāhityam and the remaining has akāram. We cannot say that the division comes exactly while singing neraval however some people say that the first half of sāhityam comes in the first half and the remaining in the half yedam (space) only. For example - veda sāstra ta | twārdhamu | lu delisi It can come exactly with the spacing but during kalpanam that part – sāstra go slightly this way that way. That is allowed. So we cannot say that it is wrong. Normally for any vidwān it is not possible (during extempore neraval) to sing with that exact measure. Based on manodharmam it slightly differs and it need not be worried about. But it should not be excessively split. As veda sāstra…l…. tatwārdhamulu | telisi That is wrong. It is better to set each part to its own measure. Next comes swara kalpana. He (guru) used to sing mostly half āvrittam swaram. Ara (1/2) avrittam and kal (1/4) avrittam. Swaras- there lies the effect. Further those swaras should be with raga bhāva.Singing the swaram simply (without aesthetic sense – rāga bhāva)is highly undesirable. The swaram should be pleasing to listen. Then who ever may sing like that it will be good in its own way. That should be understood by listening to concerts of all – not only concerts of my guru. When GNB (G.N Balasubrahmanyam) sings half avritta swaras , say, in Mālavi , he sings very well. Such

sangatisflow in which, we never anticipate- such prayogas! So by listening to all we can take some from this and some from that. But main pattern should not change. Each one is of its own type. By type- I mean only voice production. Basically if it is Sankarābharanam swaras will be sung only in Sankarābharanam and none else. Depending on the type of voice, we hear differently. Whatever we find good in it we may take a portion of it. What I mean to say is that we used to develop knowledge of swara kalpana (and such aspects) in those days by listening and listening. Thus we have to develop our selves. The guidance for that is from the Gurunāthar.He too does not listen to us, check and say that this is wrong. You sing yourself and people listen. The audience will tell whether you are right or wrong. The result is based on that only. In those days only such rendering was expected. Chances for singing (concerts) were rare. Only beyond the age of thirty years one used to get a chance for singing. Before that there was no chance- no concert. Now concerts are held at Madras (Chennai) frequently. Only two concerts were held in a month then. Two or three in separate areas- that is all. Now in only one area forty programs are conducted, that too daily! Those days the organisations of sabhas were not giving chance (to youngsters). Chance has to be awaited and in the mean time one has to gain experience by singing and practicing.

Voice Culture What all practice I did in childhood was actually my practice. After that I did not do much of practice. But I did sing in mornings during Gurukulavāsam. Then I used to do some akāra sādhakam and then keertanas, rāgas etc. beyond the age of twenty years I did not give importance to that type of practice. Singing ragas, varnas etc., experimenting on them and also on swara kalpana, and on listening to a concert trying to singing that way- I did such type of practice only and did not do akāra sādhakam and that type. In earlier days I practiced at five and half sruti because of that age. Afterwards there was no cognisable change in my voice. What I mean is that my reach could not go up to ‘two sruti’- (D of chromatic scale). One reason for that is as follows. After the age of twenty, when I go along with vadyār I had to sing along with him in one sruti only (C). I did not practice beyond that sruti. So my reach was limited to orukatta (one sruti) only. And it is not possible for me to sing in rendu katta (two sruti). There was no change in my voice i.e., break of voice (which normally happens with male children) at that age. I was not affected much that way. So I continued to sing the same way only.

Individual Style of a Musician Concerning me it cannot be said that I have copied my vādyār’s style. I will not copy it. I used to think which sangati suit in which rāgam and the like and developed my own style. It is not possible to teach such things. It should come of ones own mind. For e.g. if we want to sing sāvēri it can be P;;dpmg;;rsrmpDp;; Or pDP;mpddpmG;rsrM;pdpmpddpmP; To sing in this way to bring about a variety we have to try for our selves and develop. If practiced in that way, something like a style is achieved. If a number of concerts are performed, that style gets established. Otherwise it is difficult to establish a style. Those days there were no many concerts even, to develop individual style. So each aspect such as rāgam should be experimented without changing the basic sampradāya. Keeping the tradition in view and without changing the arohana avarohana kramangal (Lakshana of ascending and descending order) we can make an effort to develop and present a new style. It is important to note that the development of an individual style depends on the voice. If you want to sing at the reach of your guru you should have such voice and reach. If you do not have that reach you should not copy him. To produce the same music in your voice you have to train yourself to develop it.

Importance of sahityam in Compositions Each aspect of carnatic music is developed on the basis of compositions only. If you take Kambodhi many a composer composed different kriti in that raga. Each one is of its own type and has prayôgās suited to it. Detaining them only we should develop the raga. Even there are some rare kritis i.e. kritis in rare ragas. If we want to sing those ragas with the usage of ārōhana-avarōhana kramam it will not come out properly. However if we follow a kritior two of great composers like Thyāgarāja swāmy, Pūchi Srinivāsayyangār or Deekshitar in that raga, we can attain (the raga in its proper shape). On following the format of raga in such kritisit is possible to develop those rare ragas also in proper way by adopting the swara patterns used in it. Carnatic music is mainly the music developed by composers. Because elderly

vidwāns have established it by seeing the variety of pāthāntaram it is important that we do not change it. Introducing sangatis in a kritiunnecessarily, is to be avoided. Original sangatis in a kriti only have to be used. Simply because there is a pause there is no need to introduce sangatis. There is much scope to improvise sangatis in music as in neraval. Sangatis should be improvised there only and not in the keertana proper. (My vādyār used to stress on that). Then only the keertana will be proper and attains a shape in which it can be sung to some extent universally. Thus by learning a number of compositions in a particular raga –say thirty kritis in kalyāni – we can sing that rāgam well. That is one great specialty of the place of compositions in carnatic music. Sāhityam must be given importance to certain extent, even if it is in Telugu (a language with which the musician is not familiar). Some people deviate. But it is good to sing giving importance to sāhityam.But I do not like giving importance to sāhityam only. Because – for example ‘yenta rā nee tana’. It has to be elongated at enta rā. The composition is like that. The value of the composition, santhapraasam as they call in Tamil, is to be maintained. We can cut a word and elongate but the full meaning should be understood and sung without leaving the sāhityam. Nowadays, some people are breaking the sahityam into half while singing anupallavi normally. But when performing the concert the one-fourth measure is the setup. So traditionally it is sung in that setup with a sangati. I do not say that it is wrong. The beauty of the keertana lies in it – the pattern is so - and hence there is nothing wrong in it according to me; but sāhityam should not be sung wrongly. If we do not know we can refer to the book and know what is correct even if we do not know the language.

Role of Teaching There are many methods of teaching. In teaching the sangati of a kriti some students are unable to catch if the whole sangati is taught even if you elaborate the swaram. Then you have to break it at appropriate points and teach it in parts. For example, valachi padamu nammite (p, d sndp mpdp d,).If taught like this as a whole it is not understood. Then ask them to sing up to -vala – first. Then chi- padha. Teach it in lower kālam first and then in higher kālam. Then combine both. Like that it can be taught in parts to those who can not catch properly. When a keertana is taught a sangati should not change. Its always desirable that they do not change. They should remain as a ‘chitta ‘. Why because, if scope is given for kalpana today there is the likelihood of interposition of another kalpana tomorrow. They will be singing one sangati today, tomorrow another and it will go on changing like that. That is not permissible. When one pāthāntaramis taught it should be insisted to follow it correctly. A performer may not be a good teacher. About 50% performers can not be called as teachers. The drawback is that the performer has number of concerts. He may have certain draw backs in his singing. He goes on singing with those drawbacks only. The students on listening to them tend to sing like that only. That is the wrong way and should not be practiced. The teacher should have the capacity to analyse what is correct and what is wrong and he should be able to guide the student properly. If the teacher does not have that capacity his students will remain at normal level.

Self Development of a Musician by Teaching There is chance for musician’s self-development by teaching. Definitely there is an advantage. We are repeatedly singing for the sake of teaching, which you may not do for your self. While teaching a sangati repeatedly if the swaram is slightly changed it may improve. Like wise it may be better if it is sung with some weight. That way it has advantage and the musician himself gets advancement on teaching to many students. However it is not possible to become an ideal musician by teaching alone. The teacher should be clear in his ideas. For some students notation is given, some sangatis are taught and the student goes away. By that there is no much scope for development either to the teacher or to whom he taught; taking tuition for money is no teaching at all. A student has to be groomed to develop as a singer. Then only one can become a teacher. By such teaching the teacher also attains some development. But this is not applicable to all teachers. It depends on the mind of the teacher. I think the number of teachers with such combination is very much less. My guru is one such teacher. If he teaches a niraval, he sings niraval and the class ends with it. He sits and goes on singing. Then he gets new ideas, which are unimaginable. On listening to it we gain some knowledge. For him also, the ideas are useful for implementing in concerts. He sings with freedom and hence most probably he should also have had some development. Vādyār used to sing rare ragas in the house. For e.g. Suddha Bangāla. He did not sing them in concerts. He himself was afraid that it may not come out properly in the concert. So I am afraid even more. So, one should remember that a concert should be performed with some fear. One should have what is called - bhaya bhakti- for getting music properly. In any concert we should sing what we know perfectly. Then only we get that control. Over singing should be avoided, to limit accidental mistakes.

Concert Planning No special practice is required for a performance, but it is important to plan a concert well. For some people only it is possible to sit on the stage and then decide what to sing. It is possible for me also - but the main thing is that - allied ragas should not come mostly. The concert should be planned like that. Such planning comes easily for some and for some with difficulty. My guru is well experienced in that. He never told us what his concert plan was; but what he sang used to come out correctly- avoiding allied ragas. Those days some big vidwāns used to sing well, including three allied ragas in their concert. However we feel that one raga listened similar to the other, though there was no mistake. Thereby the effect would be reduced. Also, there should be variety in tala. When performing a concert on a platform, there should be variety. Further, proportion in the concert is important. In a concert of three hours which raga should be of what duration- that proportion should be planned. Singing one raga for 5 mints. And another for two hours is not correct. One or two ragas can be sung for 5 to 10 mints. And the main raga can be elaborated for 20 mints. maximum. Then only the tempo of the concert will be good.

Importance of Lakshana – Lakshana is certainly important. Lakshya itself is not sufficient. Lakshya sangeetam is based on kalpana. Lakshana is like grammar. It is possible to sing music only if basic Lakshanam is known. Lakshya keeps Lakshana as its base. Without knowing Lakshana one should not sing at all. Lakshya will not be clear without Lakshana.The singer does not know what mistakes are committed by him, if he does not know the Lakshana.

Message for Future Generations with Reference to sadhanaPresent day musicians are singing well with gifted voices and good reach. They possess all good qualities required and without any deficiency. The only thing, which is missing is ‘bhaya bhakti.’ Moral fear is undoubtedly reducing. Every body has to realise it by themselves. The reason for that is as below. Today your voice is good. You can sing very well. Suppose your voice is lost in a span of fifty years. What will you do? Then only that ‘bhaya bhakti’ comes in. Realisation such as ‘I am unable to sing this sangati’- ‘this is wrong’- ‘that should not be sung’- etc begins. At that time, it will not be possible to sing without that sangati. When the voice was good the sangati was sung many times. And when the voice fails he will be afraid to sing the same. Then he will not be able to perform a concert at all when such a fear complex creeps in. That is why that bhaya- bhakti about sangatis is required. A control is essential as to the duration of the raga, the essentiality of the sangati and the ‘alavu’etc. when singing fast it should not be continuously fast. All these will stand only for some time. If certain age is reached all this will go. The attraction for this will also go. As I was telling, when a sangati is with faster and faster tempo it’s appeal is lost. When a sangati is sung, the listener should be able to follow it. It is not possible for them to follow if the faster tempo is continued... demonstration in Save ri ragam… the habit of singing thoughtfully (nidanam) will be lost if the fast tempo only is habituated. That fast tendency is more nowadays. All are singing well, knowing Lakshanam and lakshyam also. Earlier people were singing without proper knowledge of Lakshana. Now it is not like that. But, sāvadhānam should be cultivated. It does not come with sadhakamalone. It comes with age and sadhana.

6. T.N. KRISHNAN (TNK) Atmosphere of Initial Training I started learning when I was a boy of four. I did not even know how to read the clock. So, I was not aware of the atmosphere or any thing else. A boy of four now is different from what a boy of four was then. My father (Nārāyana Iyer) was a far-sighted teacher and vidwān. He somehow impressed upon me. Though I did not know anything about music, he found out that I had talent and it should be developed. He is responsible for everything. He made me practice daily for minimum 4 hrs in the beginning. Initially I did not learn or practice janta etc. I practiced all that later on. I learnt varnams, small keertanams etc. First my father taught me ‘‘jalajāksi ‘ varnam in Hamsadhwani. Also, there was no other distraction like now. And his way of teaching was so good that, whatever he taught me would get registered as soon as he taught me once. This registering is very important. Once it is registered, you have to repeat like mantra. So, that is the environment in which I started. I learnt from my father from the age of 4 up to the age of 12. I gave my first performance at the age of 8 in my own village, Tripununtara. There were no mikes or electric lights in the temple. So, by the age of 8 he has taught me to reproduce whatever anybody sings or plays. I could translate the swaram of the rāgas etc and could find out mistakes also if somebody sang something wrong. After that he used to compel me to play 8 hrs a day. Not only that he used to inspire me by saying – ‘you know Dwāram, Chowdiah etc used to play for 12 hrs, 14 hrs a day. Luckily I have seen all these people when I was 7 years old.

I particularly came to Madras to listen to Dwāram in 1935. Chowdiah also. For many concerts, in the last moment Chowdiah would not come. Then they would ask me to play. My father was a good player, a good teacher and he gave me opportunity to listen to the great masters. In Ernākulam, where we used to stay there was no electricity. We used to go to the municipal park. There through the speaker they used to relay music from Madras and Trichi, from 7.20 to 9.00. That was the prominent time for Carnatic music. I have listened to all these people first like that only – Dwāram, Karaikkudi Sāmbasivayyar, Tiger, Musiri, Ariyakudi, Chembai and even Semmangudi. That was my listening opportunity. Now you have got cassettes, CD s etc. Then it was not like that. We used to have those 75-rpm records. In fact I have learnt the Kalyānirecord because of his record only. Afterwards I have developed in my own way – that’s a different thing. To be precise you know a format. That 3% mint record has got that value. But now there are 1 hr records – no value. So I was already a violinist by then who was rated as a good upcoming artist. People used to encourage my father that I had a bright future etc. But my father never accepted that. Even now if he was alive, he would not accept me. He will say – ‘still you have to go a long way. You have to practice’. At the age of 95, when I was idling some time one day, suddenly he said – ‘why, I don’t see you practicing nowadays?’ That type of Guru is important. Now the general trend was that the elders never accepted when children played. But now every child is a prodigy now. In our case it is different because ours is a long family of musicians. We didn’t know anything else. Now the parents they themselves say - ‘oh! He is a genius’. Those days they never use to say like that. That way it is easier now to get name. I played in the All India Radio when I was 11. After 12, the Japanese bombed Madras. We were all in Cochin – harbour area. So we were evacuated and forced to vacate our house and all. So we shifted to Trivandrum. I was already playing small, small performances – solo. Then Semmangudi Srinivāsa Iyer came to Trivandrum. That was in ‘40 – ‘41. Then I got the opportunity of meeting him. I was studying in Trivandrum and I was also with Semmangudi – a sort of grooming. I used to go to him, he used to sing for me – like that. It was a sort of apprenticeship. So many musicians used to come from Madras. Mahalingam came to Trivandrum. In the mean time I had played to Chembai, Ariyakudi. As I told you I got the opportunity when Chowdiah did not come. Then when Mahalingam came in ‘42, I played with him. That was the turning point. He liked me and immediately after going to Madras, he sent a telegram asking to play for his concert in Rasika Ranjani Sabha. From that day, I didn’t go back to Trivandrum. My home was Madras from then. After playing so much then I practiced sarali, janta etc. But by that time my father had taught me all the big kritisEndudāginādo, Sri Subrahmanya – all those kritis and ata tala varnams I knew when I was 9. So, my main practice was ata tāla varnams and ādi tāla varnams in all the 3 speeds starting at 4 ‘o’ clock in the morning and that practice has paid me even now. Because after that when I was growing I had so many distractions, I listened to so many kinds of music, there will be confusion, I had left my parents, there was no one to control.

Physical Practice at Various Stages of Life You have put it rightly – various stages. At every stage we must know what we are playing and learn what to practice. Whether to practice with accompaniment or with microphone (which is happening today). That nobody will tell you. You must know your defects and deficiencies. My father has taught me one thing – practice ata tāla varnam. Even now, whenever I want to practice – only ata tāla varnam. That takes care of the control. For the techniques, the varnam should be played in one string, different octaves, different nadais etc. Whatever you play - varnam, kriti or pallavi, you have to play number of times. Even new kritis one should be afraid to sing. Now, paper is there, new kriti is there, sahityam is there and the result is also the same. People say – they play all new things. But we did not know so many new things. We knew only 10-15 songs or so. By mere practicing music should come naturally without your knowledge. There is nothing special about physical practice. You must be able to play with all fingers, without fingers, (laugh), without the bow hair, if there are no 4 strings you have to play on 3 strings only – so you have to be thorough. It is not possible to say which finger to use for which sangati. When I play I do not know with which finger I am playing. For general instruction I can suggest – you play with this finger. There are different sounds and different feelings that you play with different fingers and strings. That one should learn by themselves. Even the Guru can’t teach you that. You will learn that by experience. You must play whatever your Guru tells you try to create some other things out of it. Tāna varnam helps one in practicing spring etc. Also, you must try to examine and find out from where the sound comes. It will not come on its own. Even for the Tambura, when we tune, it has a soul. We have to bring it out. We have to bring out the sound first. Only then start playing. You should be precise and know what you are playing. But it will take years. Even now I have not got that. I realise every

time that I can do better than what I did yesterday. So that is a life long learning process. One must enjoy his playing. Unless you understand how can you enjoy? Whether you are playing the right note, with sruti and all that. First we have to learn that sruti sense. You must listen to the tamburaalways. And whenever you play or sing there should be a pause. Then only it will give you that sound. But now what happens is, without that pause, some noise is going on, it is like a factory now. And then the presentation – you must know how to present it. That is very important. The Guru will teach patāntharam, songs and all those things. But, how to present, what to sing, what not to sing – these are all in your hands.

Development of Individual Style Style will come only after prolonged singing and performing for many years. Straightaway you won’t get a bani. It will take years to get a bani. If somebody gets a bani very soon, then it is not a bani.It is imitating somebody. A style will come only with several years of performing, developing within ourselves, thinking about the music etc.

Manodharma & Laya – Thinking and singing is different; thinking and making it one’s own is different. You may be rendering the ārōhana and the avarohana correctly. But it should come by repeatedly doing the sādhakam and it should come naturally. A natural feeling should be there. And once you do that and by sādhana if you play or sing something repeatedly, you start forgetting the ārōhana- avarohana.The scales may not be correct. But, if you are doing just like tapas, even the wrong phrase will suit naturally. So again, sādhana is the main thing. It will come only when one goes into the depths. Theoreticians may say that is wrong. But so many will not even recognise that he has gone wrong. Sometimes there are some liberties. But the performer should be able to reason it. Laya also should come without our attempting that. It should flow fluently. For that also - practice (is responsible). When you stress more on layam, the melodic aspect is gone. You must remember that both (laya & melody) should be blended together always. There are many musicians who do not think about it. Perhaps there are one or two musicians who do it very brilliantly. They know what they are singing and how to bring out the rāga (bhāva). Only very selected people do that. Some very intelligent musicians- they can do that.

Analytical Sādhana of dhātu and mātuSāhityam is very important, no doubt. You must know the meaning of the sāhityam. But when you perform you should not be always thinking of meaning only. Some times it varies because of sangati and all that. There is no harm. But the understanding of the meaning is very essential. You are singing the sangatis with the swarams, you know. Just for the meaning only you need not sing so many sangatis. You may cut short the sangatis. When you are performing you are adding and putting so many sangatis – that does not matter- because you are playing or singing improvisations only; but you are not improvising sāhityam. It is more important that the sangatis are exhibited properly. But we have to satisfy both the people. If it (the composition) is simple, you sing in a simple way. But when you are putting sangatis, you are singing for sangati’s sake. For example, in darini telusukonti, nā jeevadhāra etc. The meaning is simple, but you are using so many sangatis.. So, there you are giving importance to the sangatis only and you can not say that you have sung without knowing the meaning. By putting sangatis you get sādhakam for your throat or fingers. Sangati is for that purpose only. If you ask them to sing janta varusa, they would not do it, because they are tired of that. When you are going up note by note, there is a thrill also among the audience also. However, while singing you should know the sāhitya intact and its meaning also. You have to show that you have understood that line. And in neraval also, when you do neraval you have to use it like that with padachēdam.

Role of Teaching in the Self-development of a Musician By teaching only one can learn. The best way to learn is to find out a student and teach. Whenever they commit a mistake, you start correcting them. By correcting them you correct yourself. So, teaching is a very good way of learning.

Importance of sādhana for Proper Planning of a Concert Sādhana is not important for planning performance. Planning is important for performance. But sādhana is always necessary. You must practice always. Think about music always. As far as presentation is concerned, you get the inspiration from the audience. I do not pre – plan my concerts. Suppose the health is not good or voice is not in good condition - then a preplanned item may not be executed properly. The artist should have the freedom to decide there and then, what to play. You must go there (on stage), sit there, tune the tambura, and the moment you put the tambura you will get an inspiration

from the audience. It may be the same Vātāpi Ganapatim, even then, it should come (from within) that – ‘you play Vātāpi Ganapati today’. So, planning should be within your self always – whether you perform or don’t perform. Before the performance don’t plan. It should be spontaneous.

Lakshana Gjnānam for Lakshya Sādhana – Lakshana Gjnānam is very important. Because you should be able to reason whatever you sing or play. When somebody asks you then you should be able to explain and satisfy them. Whether it is right or wrong you should be able to answer. You cannot simply say that it is Lakshyam. Or at least one should be able to attribute it to the tradition in which they have learnt and justify it properly.

Message My advice to future generation is – Stop reading music (keeping the book in front of you) in all the concerts. Carnatic music has come to a stage where people have started reading music like film music. By reading music how can you convey the message to yourself or the audience! It should be banned by the organisers. No music books on the platform. The other thing is Sādhakam. Never play or sing a song, which you are not thorough with. It is just like our ‘pickle’. Only when you have sung a song for 10,000 times, attempt a new song or composition on stage. Do not attempt a new song just because somebody requested. You must digest it. You must realise the feeling of the song. Then only the audience will be able to appreciate you. It is like that – if I smile, you smile; if I cry you cry. If the artist starts to struggle with his music, the listeners will also be struggling. So we must be thorough, prepared and we must be happy when we perform and feel at home. Then they (audience) will also be happy and quite at home. Music is for what? It is for giving a good atmosphere, good relaxation and to enjoy. When we perform - only when we enjoy, the people will also enjoy. So, that is my message.

7. LĀLGUDI G. JAYARĀMAN (LGJ) Atmosphere of Initial Training In my younger days I was staying in a village where you cannot think of any other kind of transport except for bullock carts. I used to wake up at 4.30 AM and from then I used to practice till 6.30 AM and then have a break. At that time there used to be absolute silence. There was no other sound except for the sound made by the trees waving due to the breeze. There was no disturbance at all, which helped to develop concentration. There was no radio or electricity. Only an oil lantern was there, which my mother lit near the God and put near the place where I was practicing. My father would lie down and listen whether my practice was ok. Now you cannot have that type of atmosphere where you can concentrate. In this noise, it is very difficult to find silence. But, one advantage is that you have tapes to listen to. We did not have any tapes. When we heard a song in a concert, we had to memorise it. We had no other way of preserving. Now, you can record any song you want in the concert there itself and then listen to it after the concert also. As we had no tapes, we used listen carefully to ourselves and practice. That was the only way to judge ourselves. Now you can record your music and then hear it and judge. The disadvantage you have is the lack of silence. If you have perfect silence around you, you can concentrate easily. I learnt till the age of 11. At the age of 12, I gave my first concert – with my father. There were no mikes. Only my relatives who already knew how played were present. So, I was not afraid to play in my first concert. That was in 1942. It is 60 years now. I still remember all the keertanas learnt then like a stamp because of the silence. Now you are learning so quickly and in the same speed, forgetting it. The atmosphere was very favourable for sadhana.

Fundamental Training It differs from one person to the other. It is not correct to give the same training to everyone. It is different for instrument and vocal. It depends on the individual taste, instrument (medium) and knowledge. As I am a violinist there is a lot of technique involved. I was made to practice swaram first – 1 swaram in a single bow then 2,4,8 and 16. Again the same in 2nd and 3rd speeds, without and with gamakam and then in gamakam with speed. This is suitable for violin. However, one should learn vocal music first. Then one can play the same on the instrument. One should know the sāhityam. Only when you know the sāhityam you get the complete bhāvam. To get the true ‘swarūpam’ of music, one

should sing the sāhityam of those great composers. Similarly, one should mug up more keertanas of various composers like Thyāgarāja, Deekshitar, Syāmasāstry etc. Only then you should sing rāgam and then swaram. Vocal musicians have tālam in their hand. For violinists, that is not possible as both the hands are engaged. Initially, you can ask somebody to put the tālam. My father used to put tālam with the leg. Whatever he played, it used to be precise. He tied a small bell in his leg and used to strike it whenever there was a sasabda kriyaand keep it silent when there was a nissabda kriya. Tirukkodkaval Krishnayyer used to say that music should not be like circus – from here to there and there to here. In circus only important thing is thrill. Music can give both enjoyment and thrill. With the latter aim in mind, you are successful for the first time. After that it becomes a matter of routine. With the first aim i.e. rasikatvam, you will go on enjoying forever. Rasa gives eternal pleasure. Sādhakam should not be merely mechanical. Music should also come in between. Sādhakam can be compared to a lorry. Suppose you are driving a lorry in top speed. What is the use? You should have material in it. You should fill it up with the commodity of music. Then, the enjoyment is extraordinary. Otherwise it is a waste. In sangeeta sādhakam, you should catch hold of soulful music. Sangeetam is main. All other things - exercises in the three octaves etc, are secondary. So it should be held as primary and all other things can be mixed along with it. That will lend beauty to whatever you do and also give ‘ānandam ‘ – happiness.

Physical Practice Violin is a very fortunate instrument. It can be used for both solo and accompaniment. It can accompany vocal and many instruments like veena, flute, gottu etc. Practice of violin should not be like wrestling. Like dance, which should be subtle and delicate and not like a bear jumping from a tree. It should be flexible and graceful. Sādhakam should also be graceful. I would practice ‘tristhāyi ‘ in a different mēlakarta daily for 3 hours –Kalyāni, Vāchaspatí etc, swaram in tristhāyi, varnam – ādiand ata tālam in 3 speeds etc. Practice of varnam will help in getting good gamakam and raga bhāvam.

Development of Individual Style Exclamation... You should practice for a long time to develop individual style. Straightaway you will not get independent style even if you try hard. In the beginning, you should understand different styles – Ariyakudi, Maharajapuram, Semmangudi, Madhuramani, GNB, Alathur brothers, how they sing, appreciate and enjoy all these. Then discriminate between all these. Then take all the good things, mix them and keep on playing. Then it will get mature. After 30 years or so, you will get one style of your own. Before that even if you sit and do penance, it will not click. Only you will know what you are doing. Others will not understand it. It should mature and ripen like the fruits. However you cannot generalise this. For some people, years pass but no music goes in. the period of time is not important. The stuff that has gone inside is what matters the most.

Manodharmam – In vocal music you should do akāra sādhana more, with the tambura, to attain sruti suddham. Hindustani musicians have mastered this. Each swaram is elaborated for hours together and attains glitter like a precious stone. The swaram should come from the heart. So, first master the swaras, swarasthānās etc. Then, master the voice completely. Voice is also a machine or instrument. It should be practiced to attain purity and perfection. Then, swaram should be sung. In singing swaram, swarasthānas should be proper with good gamakam. You should learn how to sing with gamakam. Only with that music should be learnt. Then the voice gets stabilised. You should be filled with musical sense. This you can achieve by observing and analysing keertanas … demonstration of swaram in Sankarābharanam... you should observe the links between the swaras. The proper handling of swaras to get good raga bhāvam can be understood by singing swara (swarakalpana). Talking about laya, if one does not possess laya suddham there is no use. There is laya in everything. We do not know the beginning, continuance or ending of time. We just exist in the present. We do not know about the time billion years ago. So, there is time in everything – when you sing, when you walk, when you look - leave alone all that, even when you don’t do anything the time does not stop. It goes on. Rāgam has laya. Keertana has laya. Laya is endless. When you sing the phrase of rāgam with proper kālapramānam, then the layais correct. You should neither overdo the gamakam nor ignore it. It is like cooking. For

cooking you need salt to obtain taste. But, will excess of salt be tasty? Likewise gamakam provides taste to the swaram. Taste is not derived from the salt but the measure in which it is added. That is the secret. So, you should know how much gamakam to give, where to give and how to give. So there is laya in everything – swaram, keertana, rāgam etc. This is a very interesting thing. Rāgam is not confined to ārōhana-avarōhana, gamakam or brigās. One can understand this only after years of traditional training. Laya is a big subject. Sruti is a big subject. When you sing a phrase and hold the upper shadjam, it should be blended with the tambura. Then there is oneness – advaitam. There lies the Divinity. In such a position there is oneness with the audience also. The kālapramānam of a kriti should be understood properly. Simply knowing the swara is a waste. It is only a skeleton. It should be ornamented with raga bhāvam. All these things you have to observe. Only sādhakam is going to get you nowhere. You should improve your knowledge. You will gain experience after repeated listening. Tānam is basically for veena. That instrument provides the facility for tānam. In vocal music, after singing a rāgam elaborately, tānam is sung before the pallavi. That also has got a particular kālapramānam. On the violin it should be exactly like singing. Q: Do you use spring bow etc for tānam? I use it sparingly. Not like jugglery. That may be good for the audience to listen. But what is good for us is more important. That is the measure I follow. Pallavi is a very advanced stage. First one should practice keertana with the correct kālapramānam. Then one should practice the pallavis sung by great musicians in 3 speeds. The most important thing is neraval. I term neraval as ‘sanchāri bhāvam’. In Tamil the meaning of neraval is not very nice. So I have coined this usage. The words or the sāhityam in the keertana are travelling (transiting) in the raga. That is why I have named it like that. You see, sangatishould not be sung for sangatfs sake only. It should convey bhāvam.It should be meaningful and purposeful. Q: How did you accompany such an intricate pallavi like Simhanandana pallavi with Mudugondan so flawlessly? Good command over laya has helped me in accompanying such pallavis. Even a normal pallavi requires lot of sadhana. After practicing simple pallavis in the beginning, whenever people like TRS used to come we used to analyse the laya aspects. The tālam should be stable. It should not waver. After singing the pallavi in 3 speeds you can sing trisram. It is possible only for the pallavis, which start from samam or % ‘edam’ (gap). 3/4th or 1/4th edam pallavis do not admit this. You can also do chaturasra trisram. So the scope is endless.

Teaching for Self-development It cannot be generalised. It depends on the capacity of each individual.

Sadhana for Concert Planning and Performance It is a separate sadhana by itself. It is a different experience. Experience is the only way to gain knowledge. Correct decision is another important thing. Wrong practice is very harmful. One understands by experience how to plan a concert, how the audience will respond etc. In the beginning some speed keertanas will be effective. The ragas, talas and the composers chosen, should offer variety. Including Vivādi ragas in the concert is another aspect. You may or may not sing a pallavi. One can understand all this by experience. You cannot frame any rule for this. You should see how the audience and the hall is, and make necessary changes.

Importance of Lakshana gjnānam – Both Lakshana gjnānam and lakshya gjnānam are required. Both of them should be in equal proportion. Again the example of salt comes in. The right measure is the answer for everything in life. That lends beauty to everything and results in happiness. That is the key for success.

8. M.S.GOPALAKRISHNAN (MSG)

Initial Training I underwent training under my father Parūr Sundaram Iyer. In those days we were exposed to continuous music all the time. I was made to practice for at least 8 – 9 hrs a day. My father observed military discipline. Initially we were taught and made to practice, sarali, janta, datu etc. While learning and listening we had to apply utmost concentration.

Physical Practice As mentioned earlier, first I used to practice sarali, datu, janta etc in tristhāyi and in 3 speeds. Then I used to practice the varnam in 3 speeds on the single string and on different strings with single finger, double finger, flat notes, gamakam etc. In bowing practice, the kalapramanam is to be maintained steady. I used to practice the stroke of the bow in the maximum and minimum time possible – from 5 sec to 1 mint or so. It is like ‘Pranayama’. At later stages my practice constituted playing more kritis. One should aim at an absolute tone and sound. Whatever note played, should produce a pleasing effect. Whether one is playing Hindustani or Carnatic, there should be perfection in the tonal quality, clarity in bowing and no scratching.

Development of Individual Style Individual style of an artist is developed by listening. Tradition and aesthetic sense also plays a major role in the development of individual style. When the artist practices various techniques, gradually his own style is developed... demonstration by singing.

Role of Teaching A teacher should have thorough knowledge. Sarali varasai should be first taught as plain notes and then with gamakam. Swarasuddham (purity of notes) is important. Different schools teach violin in different methods of placing fingers. The fingers should be placed perfectly which will ultimately give correct sound. What ever is played, it should appear effortless by practice. It should appear as easy for others and the difficulty should be known only when they try. Proper practice of varnam in two kalams is essential.

Coordination with Accompanists Some famous musicians get angry when a supporter commits mistake which causes further moral fear in him. Cooperation of the accompanists with thorough understanding would fetch fruitful results for the success of a concert. If you propose to sing a new item, which you might have practiced thoroughly for a considerable time and if the accompanists is not aware of the item of your style, the performance will not be a success. It does not give satisfaction to the audience. It may only satisfy your ego. The supporter and the audience should know the item before hand. This is mandatory in the concerts abroad. I am sorry to say that the accompanying artists are not sincere nowadays. Sincerity, honesty, dedication, devotion, loyalty and due concentration, are essential for accompanists. In earlier days, we used to accompany great vidwans like GNB, Balamurali, Chembai, Choudayya, etc with devotion and with full freedom in a competitive manner. Good vocalist with proper and appropriate side supporters will not only give satisfaction to the performers, it attracts audience as well. Nowadays talking is also very important. We have to announce before hand the ragam, talam etc. The trend of the audience has also changed. They go away in between the concert. This is not a good sign. But what can we do for that. In olden days the four hours of concert passed without the knowledge of time while everything is now tailor-made. This is a sorry state of affairs. Another mean mentality is presently prevailing. If some body specializes in anything we criticize rather than encouraging. I do not like this trend at all. That is why many instrumentalists go for solo.

Solo vs. Accompaniment You have full freedom to play in solo while accompanying in a concert you have to play according to the main artist in their style only and you cannot deviate. It is like husband and wife. However in solo you can have special practice and freedom of style. From another angle solo performance is difficult also because he is the main artist. Vocalist or instrumentalist, he should have capability to attract people. For that he should have special practice, ‘pathantaram’ etc.

Concert Planning In a concert we should cater to the tastes of different audience which we should assess. We should know many items,

as the audience ‘request’ their choice. Our concert normally consists of varnam, one kriti, then a kriti with small ragam and swaram, then another small kriti and afterwards the main item followed by taniavartam, next another kriti and thereafter ragam-tanam-pallavi. Towards the end the concert can feature a javali, viritham etc. If you plan the concert with this idea there will be some good effect for both the artist and the audience. Bhajan in the beginning itself and then heavy items is not good. As we follow an order in the meal like sambar- sadam, a rasam, a curd-rice etc. we should follow a sequence in music also.

Importance of Sadhana Sadhana is always important. Without sadhana you cannot do anything. Is it possible to simply take violin, go and play a concert! For that daily practice is needed as you get hunger daily. If you practice for two days the hand moves by itself, for those who have the habit of practice. Maximum practice should be done in young age only. Afterwards you do not get time with other responsibilities, personal and official. ‘halamu ponu, mata nilachunu’ - the time rolls on but the word remains. Similarly time passes but practice remains. If morning goes night comes. So in younger age practice should be made to the maximum possible extent. After around fifty years of age physical strength automatically reduces. Only in younger age vigorous practice is possible. Afterwards the performance is based on the strength of the earlier practice and experience only. If one is playing concerts at advanced age it is all the grace of god and the blessings of guru. When offered a concert simply preforming without practice is not correct whether it is vocal or instrumental practice is very important just like taking meals. (laughs jovially). Sadhana is like a penance for sangeetam.

Music is Universal Music is one without any geographical barriers. Ideas such as - this singer belongs to Madras, he is from Vijayawada, the artist is from Bombay etc. are to be avoided. It is great to remain beyond politics. Is it possible for us (carnatic musicians) to survive without Tyagaraja swamy! I am telling from my experience if you sing tamil only is it possible for you to come forward? Similarly telugu (or any language). In telugu many compositions were made. Annamacharya has composed. When he was alive, he was not recognized and his compositions were not understood. Now thousands of them are popular. Similarly Purandara Dasa also, and he is called ‘pitamaha’. The kriti attained its present shape with pallavi, anupallavi and charanam in the period of Tyagaraja swami, Deekshitar and Syamasastry. Futher developments followed later (without the barrier of language). If a kriti is learnt through the mouth of a guru there is a prestige and authenticity for it. The present day guru is the cassette. However, for learning effort is required.

Need of Lahshana Jnanam for lahshya Sadhana For any ragam we should know the Lakshanam and play. If you try to play as lakshya only it is not proper. One may be singing well but he if he is not aware of Lakshana he will not be able to answer if somebody questions. Even otherwise, as professional musicians we should do justice and have a thorough knowledge of all aspects of music. Teaching definitely helps a musician in his self-development. A student should not depend on the teacher only. After learning some ten kritis he has to learn by himself- by listening to great vidwaans, their cassettes, radio and attending their performances. You must attend all the concerts if you are free. You should not choose with considerations such as the artist is of A grade or B grade or so.

Message for Future Generations The younger generation have to practice well if they want to improve. We cannot bell the cat. If really interested, one can certainly do it. If you tell a disinterested person will he do sadhana? If one is really interested and desires to progress, then he has to practice to do full justice.

9. NALLAN CHAKRAVARTULA KRISHNAMACHARYULU (NCH) Sadhana— It is first important to define what is sadhana. ‘Sādhakam ‘ is that which attains. ‘Sādhanam ‘ is to attain. It also means the equipment required for attainment. ‘Sādhaka ‘ is one who attains. ‘Sadhana’ includes ‘abhyāsam ‘ also.

For a musician to attain ideal state, three things are required – 1. Gjnāna sakti 2. Utsāha sakti 3. Kriyā sakti Every body has the utsāham i.e. the zeal. However, one should also have gjnāna sakti (strength of knowledge), which pertains to the mind and kriyā sakti (strength of action), which pertains to the body. One should have ‘ avagāhana’ (understanding), ‘gjnāna samupārjana ‘ (acquiring knowledge), practice, ‘vimarsa ‘ (critical analysis) etc. First and foremost, the requisites for proper sādhana are - srutiand laya. Both are God-gifted – ‘Seetāvara sangeeta gjnānamu dhāta vrāyavalera’. Sruti is mainly concerned with the ‘manas’. Laya can be attributed with some measure, which is not possible in the case of sruti. Only on the basis of these, any further development is possible. Then, a proper Guru is required. The ‘ sishsya pātra’ itself should be proper. Further, ‘sāstra gjnānam’ is required technically. As mentioned in Naishadham – Adheeti bodhacharana prachāranaih Amazingly, music is so different from other sāstras. If there are thousands of people pursuing other fields, not even hundred people would be pursuing music. That is the uniqueness of music. Not only those who learn music but every person has got strains of music in him, be it in the form of apaswaram. That is also a swaram! But not everybody has the knowledge of sruti i.e. blending the swaras in consonance with the ādhāra shadjam. That is why the usage – ‘kolāhala saptaswaras’ – ‘kolāhalah kalakalah sirastyām vāditam’.If there are ten people talking simultaneously, you can here the sound but the conversation is not clearly understood. You have to discern the words separately. In the same way, swaras have to be discerned from the ‘kōlāhalam ‘ of nādam. That is sruti gjnānam. That discernment is ‘ānandam ‘ – ‘kolāhala saptaswara gruhamula gurutē mokshamura’. That discernment or knowledge is moksham i.e. ‘sangeetānandam ‘. Therefore, if this is God given, then all the others will be sādhanas. After a Guru is found, one goes through two stages – grahana(grasping) and dhārana (retaining). Also manana, dhyāna etc are also required. Like in poetry, where one cannot create poetry by calculating ganas or simply by knowing chandas, it is difficult to shine in music by simply having sruti gjnānam. One may not be able to grasp the correct articulation required. Great musicians of the past have overpowered their limitations and converted them into great strengths through sādhana.

Initial Training My uncle, Sri. Chilakamarri Kēsavācharyulu, who was an ordinary musician, taught me about 10 varnams and 15 kritis. My father took me along with him to the gānasabhas at Eluru, where I grasped all the required material. The first concert that I heard was that of Naidu garu. After a brief training period of 3 months, I accompanied Chembai. Afterwards I was put under Sri. Parupalli Ramakrishnayya Pantulu garu at Vijayawada.

Physical Practice I am not a staunch follower of sādhakam or physical practice. It depends on what one aims at. Styles like that of M. S. Gopalakrishnan and T.N.Seshagopalan need a lot of physical practice. Ordinary playing or singing requires ‘ avagāhana’(understanding). However, the basic elements required are - Tatvam (slow tempo), Ogham (speed) and Ghanam (including āhata, pratyāhata etc - ‘Tatvamogho ghanam kramāt’. We have various exercises in our music, which make a part of sādhakam. ‘Sarali’ is derived from ‘sarani ‘, which means path. Alankāras are for achieving control. The Vedas mention ‘amnāyam ‘ - repeated practice. Ghanam comes in varnams. The Musical Trinity has transformed dēsyās into ghanam. Further, Nāda suddhi is very important. Modulation is another significant aspect. It is known as ‘kāku swaram’ – ‘kākustriyām vikārōyah vikāram sōka bheetyādibhirdhanē ‘. Also, proper pronunciation is a must. One should have ‘akshara suddhi’. Saptaswsaras are not only s r g m p d n but also a e u ru ae i o. They should be pronounced properly. Opening the mouth (vivarnam)properly to get a good nādam is necessary. Whatever you do, one thing should be kept in mind - ‘yadvidya karoti tadēva veeryavattaram bhavati ‘ – that which is done by proper understanding is purposeful.

Development of Individual Style

In my case, listening to the music of my preceding generation musicians has helped in the development of an individual style. It was commented that my style is a mixture of Kumbhakonam and Papa.

Manodharmam – There are two things – Gāndharvam and Gānam - ‘Gāndharvam gānamucchasya bhēdadvayamudaharitam’. All that, which is concerned with swaras, is Gāndharvam and that which is concerned with language is Gānam. So, up to alankārās, it is Gāndharvam and from geetams it is Gānam - ‘Anādi sampradāyēna tattadgāndharva...Sangeetam srēyasē hētuh.T. Gāndharvam is the sāstram that has been derived from the research of various researchers since ancient times. ‘Yatvāggēyakārēna rachitam Lakshanānvitam deseebhāshādibhih proktam tadgānam janaranjanam’ – Gānam is that, which is in the regional languages and set to prosody by composers. It said to be janaranjanam. That does not mean that Gāndharvam is not pleasant. It only means that man surrenders easily to language. Everybody can understand the bhāvam easily. Music strikes as soon it is heard. The regional languages deliver the meaning to a layman easily. Q: Can the manodharma branches of music be understood as Gāndharvam? Yes. All that pertains to manodharmam can be understood as Gāndharvam. We have included manodharmam in Gānam also. In the ancient vāggēyakārās period there was not much manodharmamin Gānam. Q: When did it start? It must have started since the Trinity. Q: what about ‘rūpakālapti ‘ etc which were prevalent, even in the ancient times? Those were prevalent. That is why they have continued until now. So, Gānam is becoming more janaranjanam because it is easier to know language than music. In Carnatic music, Gānam is occupying an important place now. Nobody asks you ‘how many ragas do you know?’ They will ask – ‘how many kritis do you know?’ Hindustani musicians are giving more prominence to Gāndharvam. That is my opinion. You think about it. We should always be grateful to the second and third generation of musicians after the Trinity, who might not be very intelligent but have brought down the highly evolved musical treasure safely to the present day musicians. They have protected the ‘ tatvam ‘ of the Trinity. If you take the case of people who claim that they have invented new ragas etc, just think whether anybody other than them are singing those ragas. ‘Ranjakasswaras’andarbhaha rāgaha’ - a ragam is that, which is pleasant in effect resulting from the nādam emanating from a delightful arrangement of swaras. Take for example the raga Navarasakannada – s g m p s - s n d m g r s. It could have been s g m p s – s p m g s. But then, it would have remained merely a scale. Only the former can be a rāgam. Our ancestors have created ragas and not mere scales. Also the rāgās were created on the basis of the place where they originated. For e.g. Kāmbhōji derives that name as it was found in the Kāmbhōja dēsam. Ābhēri was named so because it was found in ‘Gollapalle ‘. There are ragas named after the nature of the rāgam.When the rāgam is predominant with rishabham, it was called ‘Ārshabhi’. It transformed later into Ārabhi ...demonstration... RsR–m gR-Dpm gR–rm pDpm gR-srsndsrsR–ssrrm gR-sndR-sndP m grsR–rrm g r s R – r p m g r s R - r r s n d d R – m g r s r s R – r p m g r s R – d p m g r s R... and so on. See how beautifully somebody has done this. A rāgam should give scope for varnālankārās, sthāyi bhāvāsetc. Let us take another rāgam Ritigoula. The person who gave it the shape s g r g m n d m n n s – s n d m g m P M g r s is great. If somebody makes it s g m n n s – s n n m g s, then the greatness will be that of the person who is able to sing it. All these changes come because of the concept of a mūrchana. There are many ragas that can not be confined to a mūrchana. Take for instance – Athāna or Yadukulakāmbhōji. Yadukulakāmbhōji is derived from the word ‘erukala ‘ (a tribe). Mukhari means that, which blesses. It is said that Kanakāngi is Mukhari (mēlam). I will show you how this is possible. demonstration... One thing that is to be understood is that all these have been derived out of an indistinct Nādam. Only like the vowels and consonants have come from the different positions in the mouth. So, the evolution of ragas and their present structure etc should all be studied and understood carefully and practiced. Tānam is derived from the word ‘Ananta ‘ which means God. Tananta, nanta, etc are all pertaining to God. I have heard the tānamof one Sri Madhura Subrahmanyayyer – wonderful! That was 40 years ago. Tānam is basically created

by Vainikās. They have the scope for various graces. There is no particular rule as to which, tānam is sung. It includes all gatis – chaturasra, khanda, trisra etc. There is one more thing – the ancient meaning of tānam is sruti.It also means to extend or develop. But, Kalidasa in his Kumārasambhavam says – air is going into a bamboo reed out of which a sound came out. It seems as if it is providing sruti to the Celestial beings, who were singing there - ‘Udgāsthitham kinnara sandurinām...Tānapradāyitvamivōpagantum’. That is how ‘Tānpura’ – that which provides sruti, came into vogue. It is tambura now. See, ādhāra sruti is the base for developing anything. That is why tānammeans sruti. The tānas like kūta tānas etc have transformed into the present shape. So, tānam is sung with the word ‘ananta ‘ along with a little laya and without tālam. Khandavilli Janārdanāchāryulu, a disciple of Sri Dwāram Venkataswāmy Naidu gāru, used to play different varieties of tānamlike mandūka tānam etc. I have composed some anuloma viloma pallavis in sāhityam...demonstration... 1. Siva sankaruni rāni patita pāvani parama kalyāni – sarasa bhāvani rasabhāvani sabhāvani 2. Tyāgarājagurō Rājagurō Ajaguro Māmava – Nayamahitē Yamahitē Mahitē

Laya – Laya has to be inherent in an individual. There is nothing that one can do about it.

Analysis of Compositions There is a song in our Vaishnava sampradāyam, composed by a Pandit who was a contemporary of Thyāgayya gāru – ‘Mangalammani pādaramma Sri Ranganādhuni’... It resembles Nannu vidachi kadalakura’ with a tinge of Ānandabhairavi and antara gāndhāram. This means that Thyāgayya gāru took many such compositions composed before him and shaped a style of his own. Gamakam, anuswaram etc must have evolved from Thyāgayya gāru only. Compositions of that period (before Thyāgarāja) must have generally been in druta kālam. Even the Padās, which are sung in slow tempo now, must have been in that tempo only. This is an aspect to be observed. The prosody of a composition should be correct. Generally one who is concerned with the knowledge of language thinks about these things. Even a musician does not think about these things when he does not have an inclination. One should have prosodic knowledge too. When we take the compositions of the Trinity, Syāmasāstry did not attempt certain things like ‘paddhadi chandas’ etc. However the kritis of Thyāgayya are full of this. Syāmasātry has mainly concentrated on misra gati. His ādi tālam is different from the others. Some kritis of Thyāgayya like 0! Rangasāyi are also like that. Deekshitar’s compositions adhere strictly to the similarity in the number of syllables in the lyric and in the tālam. The madhyamakālam, which was opted by Deekshitar has been used by all Haridāsās including Sri Nārāyana Dāsu. It is also called ‘mitram ‘. Mitram means that which bridges both the tempos. This is used only in Telugu. Madhyamakālam is Deekshitar’s specialty. Swarasāhityamis Syāmasāstry’s specialty. Thyāgarāja’s compositions include all these but they are not projected like in the others. They are blended with the remaining composition. Those vāggēyakārāss were geniuses who had the experience of Divine consciousness. Hence, whatever they did was effortless, fluent and spontaneous. They discerned what was present before them, gained knowledge in the prosodic science and had the talent of implementing all that. Such experience cannot be achieved on deliberate and mechanical effort. That is how they have become ideal to us.

10. ANNAVARAPU RĀMASWĀMY (AR) (This interview has been presented from the memory of the scholar, as it was not recorded at the time of interview either in tape orin writing, as desired by Sri Annavarapu Rāmaswāmy)

Initial Training I had my initial training under Sri Maganti Jagannātha Chowdury. Later at the age of 15, i.e. in the year 1941 I was put under Gāyaka Sārwabhouma Sri Pārupalli Rāmakrishnayya Pantulu gāru, where I learnt in the ‘ Gurukulavāsam Paddhati’. Whatever I am today, I owe all that to him. He treated all of us like his children and he had a special liking for me. He was a large hearted man. We belong to the lineage of Sadguru Sri Thyāgarāja Swāmi.

Physical Practice We were taught vocal music first. Then only we were taught how to play the same on the violin. To achieve control over the instrument, rigorous sādhakam is a must. Moreover, violin is a very difficult instrument. Like veena it has got no marked steps. Of course, every instrument has its own difficulties. So, I have done a lot of practice to keep the instrument in control. Good posture and correct way of holding and handling the instrument is also very important. One should maintain the instrument neatly. In vocal also it is very important that one should develop a very good voice culture at the outset. I am particular that my students concentrate on this. Myself and your Guru, (the reference is to the scholar’s Guru Sri. Ivaturi Vijayēswara Rao) have a similar way of thinking in this regard and many other things. So, in voice culture, the first and foremost thing is ‘Deergha swaram\ The more you concentrate on deergha swaram the more suddham (purity of note) one will attain. Also, one has to practice tristhāyi akāram, janta, alankāram etc in different ragas. Also one should concentrate on proper pronunciation and diction. Graces like Ravva, Sphuritam etc should be practiced separately to attain precise clarity. Initially only pure notes should be practiced. Later on gamakam and its proper utilisation can be practiced. In violin, I have practiced both bowing and fingering techniques for good coordination of the right and left hands. In bowing the various exercises that I practiced were – 1. Open string - single bow for a long duration. 2. Single swaram in single bow for a long duration 3. Increasing the number of swarams per bow 2,4,8,16,32,64 up to 128 4. Various techniques of bowing such as spring, jump etc. Co-ordination – 1. Janta, ravva etc 2. Tristhāyi in different ragas. 3. Use of different fingers for different situations. 4. Varnam practice in various speeds and gaits and with good gamakam. 5. Practice on single string and otherwise. These and many more practice techniques which I devised myself according to the situation helped me a lot and I am making my students also practice all these according to their requirement. These will help in attaining sruti and swara suddham, good speed, nāda suddhi etc. When these are practiced, then one can achieve a facility in singing or playing, which will help in a fluency in whatever one plays or sings – rāgam, swaram or keertana. However practice should be done intelligently and not in a crude way.

Development of Individual Style I personally feel that individual style can be developed, only by listening to great masters and assimilating all the essential qualities. I have done that only. The additional advantage that I have is that, I have accompanied many stalwarts. All that experience has helped me a lot. ‘Manas’ is the most important thing in the evolving of an individual style.

Manodharmam and laya – In our music manodharmam is the most important aspect. So, to develop manodharmam, one has to learn compositions of great vāggēyakārās first and from them derive one’s own manodharma. Rāgam is the backbone of our music. Any other branch of manodharma sangeetam should have rāgabhāvam primarily. For this one should first have facility of voice or instrument followed by good understanding of the various gamakas and other graces required for a rāgam and on top of it one should possess good aesthetic sense. Stage wise development of rāgam should be practiced. The treatment of rāgam depends on its nature. Some have more scope while others have less scope. All these things should be analysed. Tānam is a special aspect. Practice of varnam will help in this. We use spring bow for tānam. In swarakalpana, one should show a lot of variety. As I said earlier I have accompanied many great masters and have won their appreciation. I used to be very alert while playing swaram. I rarely failed. Let it be mathematical calculations or sarva laghu, I used to reply immediately and precisely for whatever the main artist sang. Even in rāgālāpana, after the main artist finishes his delineation of rāgam, the accompanist should not play the rāgam in the same

way again. It will be boring and disturb the overall effect. I used to follow keenly while they sang and then I used to play only the essence in my own style, without disturbing the mood in which, the main artist sang. I have played many intricate pallavis with different artists very successfully. An accompanist has to be very spontaneous in various aspects – grasping the mood of the main artist and keeping in line with it, grasping the calculations that he is singing, framing the essence of the rāgam, implementing all these in one’s own method and style – all this he may have to do in a split of a second sometimes. So the standard and efficiency of the accompanist should be far greater than that of the main artist. While singing neraval one should take care to split the sāhityamcorrectly and stick to the original structure. On the instrument also the sāhityam should be clearly understood while playing the neraval. Regarding laya, there should be some laya gjnānam before hand. Only then it can be sharpened. While practicing varnams and keertanas one should observe correct kālapramānam. The Guru should check all that. I am very particular about all these things. Practice of various tempos and gatis is very essential.

Dhatu – matu and their samanvayam – I have to my credit certain compositions, some of which are on my Guru. It is very important for a musician to learn the sāhityamproperly and understand its meaning. Also, one should know the correlation between the music and lyric. Otherwise the bhāvam, which the vāggēyakāra intends to convey, is lost. Both are incomplete without the other. Even in instrument, there is a clear difference between playing without knowing the sāhityam and its meaning and playing with a good understanding of the dhātu-mātu samanvayam.I insist my students to first learn the sāhityam properly and also the meaning and bhāvam. The greatness of the compositions of the vāggēyakārās like the Trinity is that both their music and lyric are spontaneous and brilliant.

Importance of Lakshana gjnanam in lakshya sādhana – Theoretical knowledge is very important. Only then the practical will be correct. Otherwise, there is every chance of the lakshya being marred by unwanted and wrong usage. However, this knowledge need not be gained only by reading Lakshana granthas. It could be also be understood from the works of great composers like the Trinity and the music of great masters of yesteryears.

Role of Teaching in Self-development A musician is complete only when he teaches whatever he knows to others. It is his minimum responsibility for having benefited so much from music. Otherwise any amount of knowledge, name, fame or money that he has acquired is a waste. A Guru should be very generous and open-minded when he teaches. He should see that the student becomes self-sufficient. I have not only taught music to my students but also have helped in grooming their personality and their settlement in life. Teaching benefits the Guru also. A musician gets a new inspiration while teaching. He learns from the mistakes of the students. After all a musician is a student for all his life if he has the inclination to learn. There is always more left to learn than what is already learnt.

Concert Planning and Execution Sādhana is definitely required for effective planning and performance of a concert. The basic rule is that while exhibiting on the stage, the presentation should be flawless. All the experimentation and practicing should be done at home. Selection of items plays a very significant role. Whatever you play or sing the basic motto should be ‘rakti ‘. Audience pulse should be observed carefully.

Message All that I can say is that, devotion towards God, the Guru, and music is the fundamental requisite. Talent mixed with vigorous sādhana is the only solution for the shaping of an ideal musician. The musicians of this generation should steer away from the temptation of glamour and stardom and take to the path of sādhanawith steadfast devotion in order to attain the ultimate success.

11. DWĀRAM DURGĀ PRASĀDA RAO (DDP) (This interview has been presented on the basis of the salient pointsnoted down in the course of the interview. The interview wasnot audio-recorded, as per the wish of Sri. DwāramDurgā Prasāda Rao) In the present context, it is important to define what an ‘ideal musician’ is, at the outset. There are musicians who are average, above average, good and great musicians. However to find an ideal musician is quite difficult. In my opinion, our ideals should be centered on people like the musical Trinity. The values that they have established from a thorough knowledge of the tradition of their past, are universal ideals even today.

Individual Style There are many concepts in our music that are misunderstood, misused and widely used. The concept of style is one of them. There are two things – school and style. School pertains to a tradition. Style pertains to the ‘hridayam ‘ of an individual. It is dependent on so many factors such as – the life principles, techniques, personal life, ideals, character, place, the assimilation power and practice of the individual. For instance you can say that the music of Ariyakudi is a form of conventional creation in stylised art. You can discover it at a stage. The different qualities of a musical phrase like – proportion, effect, kāruva, silence, balance, ojas – all these things govern the style. Naidu gāru used to say – as said by Thyāgarāja ‘sarasa sangati sandarbhamu gala giramulu’, the reason behind that is ‘mānasika lakshya suddhi’. And the lakshya is Paramātma. The conduct of the student near the Guru is an important factor in sadhana. Bhāvana is the first wave of response to a particular stimulation caused in a still pond (the mind). From this sthāyi bhāvam is produced, which results in ‘rasānubhavam ‘ (aesthetic experience). This aesthetic experience is the essential for an ideal musician. This requires – sruti suddham, laya suddham and bhāva suddham. There are different art periods – classical, romantic and modern. Modern pertains to all periods. The classical and the modern periods have equanimity. Classicism stresses on purity of form, fundamentals and leisure. When there is a breach in the society then romanticism arises. In dramatics, Bharata says that the actor should generalise his own feelings on all the bhāvas. This is the culture of the audience. Only then a rasa is obtained and there is ‘ sahānubhuti’ In classical thoughts, as we can compare with sculpture – the chain is - Gunam → Elements → Media → Form → Fundamentals. In music the elements are – Nādam → sruti, swaram, laya. That which is heard is laya. That which is not heard is sruti (the principle of a film).

Manodharmam – Regarding manodharmam, it is not something, which can be imitated from others or by others. It is individual for every person. For manodharmam the essential elements are – Purity of Swaram, akāra sadhana and Pātra suddhi. Pātra is the swaram. Rāgam is filled in the pātra. Rāgam is that which pleases the listener’s mind. That state of ‘chidānandam ‘ is the result of bhakti. It is the experience of truth. It all depends on what our aim is. Whether it is performing in concerts or in Divine presence. Whatever it is, one should be able to sing with ultimate bliss – ‘Satchidānandam ‘. That is the ideal condition. The mind is raised to such a state only when one follows the path of hard, rigorous and mechanical practice at the initial stage without the involvement of the mind. This will result in the weariness of the hand or voice. However the senses should be alert during the course of this practice. Out of this weariness, a great strength and stamina is developed, which is permanent. There are various exercises for violin practice like – tristhāyi in different ragas, the 12 swarasthānas, single string practice, practice with the pointing finger (which is to be used partly) etc. The reason for using the middle finger more is that it is the longest and the strongest finger. In bowing one can practice different number of aksharās in a single bow – 4, 8,16 and so on. In Jantaswarās the ‘Pedda Jantaswaram’ is very useful. The purpose of fundamental practice is as follows. The essential elements are in the pure form individually. Like ‘Ōmkāram ‘ is found in its isolated state. Except diamond all others are unavailable in their pure forms initially. They have to be extracted from the roughage, like in the case of Gold.

So, they can be obtained only by practice. They can be ornamented later on. The Guru plays a significant role in this. So, choice of a proper Guru by way of his reputation is the most important thing. Now I will tell you some of the exercises, which were practiced and taught to us by my father Sri Narasinga Rao gāru and my grand father Sri Naidu gāru. Sri Narasinga Rao gāru – 1. One should practice familiar ones in the beginning. 2. 1000 tristhāyi in Māyāmālavagoula rāgam with plain notes and plain bowing (This would take around 1 hr 10 mints). 3. Practice of Natural Harmonics or Upper Partials known as ‘flageolets’ with gamakam. 4. Jump bow (the word violin is derived from ‘Vitulari’ which means a fawn, because of the jumping quality of the bow). 5. Practice of janta. 6. Double-stops. 7. Practice of varnam (i) Single string - 2 speeds (ii) Starting from any position and playing the varnam. 8. Bowing practice (i) Tremelo (ii) Strokes (iii) Jump (iv) One-way bowing (v) Circular movement (Suzuki method) (vi) Spring – the forefinger movement is converted into wrist movement. (vii) Staccato – movement in a limited span. Sri Venkataswāmy Naidu gāru – 1. Practice of strokes of bow for different groups of swaras – SRGM, SR GM, SRG M, S RGM, S RGM-R GMP, SRG- MRG-MPG… 2.

S S R R..., S R G M P D...this should be practiced with the maximum possible bow length and nearest to the bridge.

3. Practice with the slowest bow possible. 4. Stretch of fingers – this exercise was prescribed by Malcolm – S R G P , S G P D , P G R S , D M R S . 5. Kāruva or deergham and Silence – Etimologically – sa a a a a Sa ... Sa sa sa sa Exercise for silence – S R G M – silently think ‘M’ four stops. Any suitable swaram can be chosen for this. S R lift the bow G M (silent) R G lift the bow M P (silent) and so on. 6. Todhimi sabdas Naidu gāru also advocated nature contemplation and personal sacrifices. Limitation itself is strength. Finally in my opinion, the music of a great musician is characterised by assured performance. And it is a fulfilling experience to listen to the music of an Ideal Musician even once.

12. N. RAMANI (NR)

Initial Training - Musical Atmosphere during Childhood I was fortunate enough in my younger days. My grand father was a flutist. He was teaching vocal, violin and harmonium also. I was about 5 years old at that time. It was a village and the house was like a college, with incessant music atmosphere. I had exposure to that music only during my childhood. Not only that, of course. There was a temple at that village, where nādaswaram was played by an old vidwān. Though he used to repeat the same ragas, he used to play nicely and I used to listen Dhanyāsi, the morning ragas, Bilahari, suddhasāvēri and the like and I could identify ragas. I could understand some basics when my grandfather taught to other students. I evoked interest in flute because of T.R.Mahālingam, who is my maternal uncle. When I heard one of his concerts at a nearby place, I was interested in flute. I took a flute and started playing. Some time later I could listen to his recording also and attempted to play in his plan of playing. Once when he came to our house, I played in his presence. Then he asked me to come to Madras (Chennai). I lived with him for some time. I was staying previously at Tiruvārur. I was born in Tiruvārur.but my grandfather was staying at a village called Sikkil, near Nagapattanam. I was there till I was about 8 years old. Thereafter I joined in a school in Tiruvārur. My mother’s side is a music family and my mother plays veena, and violin. Still she is teaching one or two students. I would not play veena because it causes a mark on the finger. It gives a problem for playing flute. I know a little bit of playing veena but I left it because it definitely causes a mark on the finger. I was some times playing violin also. During my stay at the village, I met Mr. P.S.Nārāyanaswāmy. We both were practicing with enthusiasm. Still I was 10 years of age. People used to appreciate my music but I do not know how far I was correct. At that time there were many musicians at Tiruvarur and we were listening to all the leading vidwāns like G.N.Bālasubramanyam, Chembai Vaidyānātha Bhāgavathar etc. when they give concerts at nearby places. Even it was a marriage concert, we used to go and listen, let it be at a place 25 miles away. We used to go in a group and during the concert one used to note down the sāhityam and another, the swara notation. After returning, we recollect and then memorise. Previously I did not have notation for many songs. On hearing them repeatedly and practicing, I used to keep them in my memory. I do not forget them even now because they were learnt when I was young. There was no tape recorder at that time. I was telling about 40s. Even radio was rare at that time- there was no radio at our house or in my street. Some big man in the next street- the hotel man or so – was having a radio. We used to go there and request them; thus we could listen to radio some times. There were some musicians and we were all very friendly. Every evening we meet and discuss about the music. We used to sing and play and have a nice sitting. It helped us. We did not waste our time, but we could not do any thing new because there was no opportunity at the village. We could hear the radio concerts only once in a way because the radio owners did not cooperate always. During music season they were relaying concerts (live). Radio was available to us from 50s and there was choice of stations also. We heard only carnatic music. At that time they used to tune in to radio Ceylon only for Hindi songs at shops and hotels. They would not select carnatic music. But some times we used to listen to radio in the park. They were tuned to Tirucchi station of AIR. They were switched on at 6 PM and switched off at 9.30-10 PM. At that time major music concerts were broadcast at 7.45 to 9.00 PM on Tuesdays and Fridays and we used to wait and listen to those concerts, even at loss of studies. Some times the sāhityam was not clear and we were following whatever we could grasp and correct later by referring to books. We used to take all this trouble because of our interest. That was my childhood experience and the sort of life I lived. During my stay at Tiruvārur, Ālattur Venkatesa Iyer (father of Ālattur brothers) visited that place in connection with the work of renovation of Deekshitar’s place. He was a great musician. He was famous at that time for playing harmonium with gamakam. It was interesting to hear how he was bringing in gamakam and his adjustment of kārvai and jumping to the other notes and make it fine. He liked me as a small boy. I used to help him by taking care of his baggage. I used to accompany him to places like the big temple of Kamalāmba and he used to put questions to me and give me some exercises also. Those helped me. In the beginning there was no such practice for me. In earlier days my grand father gave me some practice and because of that the tālam remains steady for a measure. This sense should automatically come to mind and it should not be adjusted. It does not remain permanently unless practiced well. The tālam and laya should remain steady in the mind. Some people are gifted with the sense of perfect sruti alignment and steadiness of laya. Many people have that sense inherently but they do not utilise it. Even if they have very good voice, they have to practice. Some are unable to benefit out of their gjnānam due to some reason or other like non-availability of proper teacher in villages, family restrictions on the education of girls (in those days) etc. It is different nowadays. I never forget the practical experience I gained from other musicians of that time such as Ālattur Venkatesayyar. Though I did not learn any pallavi etc, these basic exercises helped me.

Excercises for Strengthening the laya For strengthening laya I was asked to practice s r g m p d n ss n d p m g r s in the first kālam , then in second kālam for two times, trisra for three times, third kālam for four times, khanda for five times, trisra mēl kālam for six times, misra for seven times and finally - the fourth kālam for eight times. I was made to practice all these exercises at a very young age, and it was very useful for me. Not that it is difficult, but the mind should be set to that. Similarly varnam also has to be practiced. For flute, first only one sthāyi has to be practiced. And then the mēlsthāyi varisai not exceeding the madhyamam. Traditionally Harikāmbōdi swaras are taught first because it can be played with open fingers. It can be played up to madhyamam of mēlsthāyi with perfect notes i.e. without false note. If panchamam is touched it will be only a false note. It has to be with skill. In the lower octave also it should be practiced up to panchamam. In my opinion, our compositions extend only up to two octaves and hence there is no need for singing up to panchamam etc. in the higher octave. The practice of singing higher has started for appeal and it has become common nowadays. Take any composition, for example- ‘brova bhārama’ or any other kriti. They do not go beyond ga or ma. Likewise, in rāgās also - in Ānandabhairavi you do not go below ‘ni’. To get range you have to practice from lower octave ‘Pa’ to higher octave ‘ma’ like - pdns, dnsr, nsrg… from lower octave to middle octave and up to higher octave srgm. Such practice will help in singing or playing swaram also. Practicing a song with notation and tālam has advantage. With tālam you can play a number of varieties especially on instrument. You can play staccato note, gamakās, plain notes, the toottukāram, akāram, and many more. If the setup is practiced in one raga, it can be used for other ragas also. Different exercises have to be improvised depending upon the need. The problem with flute is that false notes occur if you play beyond two octaves. With false note it is difficult to get gamakam.For our music, gamaka is very important. So we are changing the flutes. This causes tonal variation and tonal quality differs... demonstration on flutes... thus we can get two octaves on single flute and by changing the flutes we can get all the three octaves. Previously they were using single flute only - even my Guruji also (T.R.Mahālingam). If the length of the flute is doubled, we can get with the same fingering. We have to adjust the blow a little... dem onstration... My ambition is to play in different octaves on flute and get flat notes as in violin. It is difficult for an instrumentalist to follow the vocal music exactly. As far as flute is concerned we can achieve this by changing flutes. This requires more practice. I did such practice. In hindusthani flute also, I try to get carnatic style. Though it is difficult, I am adopting it. I am able to get a range of 2 % octaves properly.

Benefit of Teaching An artist himself is certainly benefited by teaching. While teaching, you get many ideas and you can correct your own mistakes also.

Change in Style Previous generations were all playing in one style, and I gave considerable thought to it. I have heard all the flutists in younger age. The old style used to comprise plain notes and mostly fast.demonstration. even Palladam was playing this type. Some used to play with gamakam. Then I heard T.R.Mahālingam on flute. He was playing with very heavy sound and lower octaves and gamakam - everything was beautiful. Thereafter I practiced like that and played like that for a long time. After sometime I changed my concert pattern after listening to various other vidwāns like – Ariyakudi, Lālgudi, T.N.Krishnan, Pālghāt Mani Iyer etc. After gaining some concert experience you can know how the audience is enjoying and how it can be changed a little bit for improving the effect of the concert. Practice should be different in different stages of life according to the age and requirement. For example, it is required to play a rāgam both briefly and elaborately. And so, it has to be practiced in both ways. The way of thinking and practicing depend upon the requirement. I have now crossed 65. I am still practicing, and I can perform and I also wish to teach the techniques to interested students.

Imporatance of sāhityam – Even in instrument, sāhityam is very important. The knowledge of sāhityam inculcates bhāvam. The various stages of emotion are better expressed if one knows the sāhityam. A deep study of the sāhityam and its prosody is of definite advantage. It gives more depth in singing. Not only the

sāhityam, but its bhāva, its swaram, gamakas everything is involved in it and sometimes you cannot explain. Whatever you play, it should be similar to what you sing.

Manōdharma – Sādhana required for manōdharma aspects comprises of not only physical practice. A lot of thinking is also required. You can handle apallavi in different ways. Even a difficult pallavi can be made very simple while teaching. Likewise even a simple pallavi can be made intricate during performance with proper improvisation by proper analysis of sāhityam. Some pallavis are more suited to instruments. Instrumentalists can not put the tālam themselves. And it is a drawback while playing intricate pallavis like the ‘Nada pallavis’. Even if somebody else puts the tālam they may not put it properly.

Concert Planning Nowadays it is all, unpredictable. Different people attend different types of concerts and their tastes are different. Earlier, my concerts were featuring heavy ragas. Nowadays the second half is planned with lighter varieties. So I think it is all, individual.

Sādhana The main thing required for sādhana is dedication. I mean dedication towards art. Think great of music. You must have proper guidance of the Guru in addition to your individual effort. Concentration is another must. Presently, disturbances of city traffic, telephone, domestic atmosphere – all these disturbances have to be obliviated by concentration and dedication. As a teacher we should not hide any thing (like the olden day musicians). You must have a lot of patience. Hard work and sacrifice are essential for a musician.

D.K.PATTAMMAL (This excerpt has been presented from the interview of Lakshmi Devnāth with Smt.D.K.Pattammāl, for ‘The Hindu’, owingto its relevance to the present subject. Salient points of theinterview have been presented word to word) ‘She is 82. ...Pattammāl is the personification of humility born out of wisdom’. -Comments Lakshmi Devnāth. DKP- I do not like to take the credit for all the success that you are attributing to me. I thank God for all the gifts and support given to me in various forms. Do you know that I was the first woman from a brahmin family to ascend the concert platform. (This achievement she owes to the first man in her life-her father, Damal Krishnaswamy Dikshitar, who defied the social norms of his time and launched his young daughter ‘Patta’ as a concert artiste. It was a proud Rajammal (mother) who watched her little prodigious daughter successfully storm what was hither to considered a male bastion). DKP- Not just my mother, my mother-in-law too was very proud of me. (The unstinted support of her life partner the second man in her life was also a very significant factor in the recognition of Pattammal - the musician. Assessing the true worth of Pattammal’s unlimited potential and realizing that his career could probably stand in her way, Easwaran did not hesitate to resign his job in 1942- just with in three years of their marriage and devoted himself to promoting his wife’s career. Thus fortified by supportive pillars on all the sides, Pattammal not only quickly reached the pinnacle of achievement and fame but also stayed there). DKP- In those days I never thought any thing except music. My father would wake me up at 3 a.m., wipe my eyes with water and then make me practice. I sang up to 6 a.m. took a short break and then practiced again from 8 a.m. Facilities like tape recorder and scripted songs were not available then. Memory being the only learning and recording tool available, music aspirants were required to work hard. A kriti had to be memorised to the extent that it could be recalled at will. In the process it acquired a refinement that left a lasting impression on both the singer and the listener... The present generation is undoubtedly very intelligent. But look at the number of activities they are involved in. academically they aim at reaching great heights. In addition they learn swimming, karate, tennis..hmmm, one should put in a minimum of three to four hours of singing a day. It is an absolute must. (At this point she breaks off and remarks-) If any child is willing to take this up as a full time subject, the Government of India should take care of all related expenditure. This is my request to the Government. Please do not forget to mention it. But in spite of all their varied activities the children are doing exceedingly well and there seems to be a big spurt in

music.. I agree that there is a vast spread of music. Unfortunately it is a spread without depth. (Sings the first line of Brovavamma in Manji)‘Inda azhuttamodapādanam’ (it should be sung with emphasis and emotion.) I learnt this from Naina’s mother. When she sang the phrase ‘Devi thālla,’ I cried. Such was the feeling she evoked with those words. At a later date I remember Rukmini Devi crying when she heard me sing this song. My sincere advice is that if you have chosen this subject, devote your life to it. One hour of morning practice is equal to two hours of slogging at any other time of the day. You know even now on days I feel like singing I get up at 4:30 a.m. I made Nitya (Nityasree) get up at 4:00 a.m. and practice. Practicing varnam in two kālams is of supreme importance and one should draw up a practice schedule and stick to it. (Thus Pattammal worked with such concentration that her treasury soon over flowed with kritis of different kinds. Also considering the lack of facilities it was amazing that she acquired a vast repertoire that evoked the admiration of veterans like K.V.Narayana Swamy.) D.K.P — Honestly I feel I do not know much but one must learn a wide variety of songs for a proper understanding of different aspects of this subject. My repertoire includes songs of Thyāgarāja, Syāmasāstry, many songs of Deekshitar (which I learnt from T.L.Venkataramaiyyer), Gopalakrishna Bharati, Papanasam sivan (that I learnt from sivan himself), Tirruppugazh and Tevaram that I learnt from Appadurai achari, Bharatiyyar songs (these I tuned myself), many pallavis from Tirupati Narasimulu Naidu and several others. (Pallavi Pattammal as she was admiringly known, invaded another closely guarded male terrain quietly but surely) D.K.P — The pallavi formed the main item in my concert. You know Dr.V.Raghavan would look forward to the pallavis that I presented in the academy year after year. (What she considers, as the ultimate tribute was that mridangam maestro Palghat Mani Iyer appreciated her laya gyanam and accompanied her on several occasions). Mind you, not in the capacity of a sambandhi but in recognition of my vidwat. He said this on several occasions. “I feel that the pallavi should stand out in a concert. It should be preceded by a very potent rāgālāpana. T.L.Venkataramayyer even taught me Dasavidhatānam. In the pallavi there should definitely be some vishamam (a tricky calculation) for e.g. even if it is the 32 aksharas of ādi tala we can divide it like this. (Demonstrates by singing trisra nadai for the laghu totaling 12 beats and khanda nadaifor the dhrutam adding to 20 beat). Those days we also had this practice of singing the varnam and pallavi in the same raga. My interest in laya originated from listening to Nayana Pillai’s concerts. But the present day trend is not one of merely abridged pallavis but condensed concerts. I agree you know in those days the audience was also equally dedicated. They had great expectations from the artistes and would listen with attention. Mr.Eswaran - Some members of the audience would go to do their sandhyavandanam and come back. Those days cutcheries were attended mostly by music lovers. The audience today is of a miscellaneous nature. Some of them come for mere entertainment or other compulsions and leave midway through the concert. D.K.P - We find a change in the value system all around. Youngsters are also not very respectful to the elders. L.D - Can you tell us about the fabled Nayana pillai? D.K.P - I grew up listening to Nayana’s concerts but never learnt directly from him. However my pātāntaram includes his as I learnt many songs form his sishya N.S.Krishnaswamy Iyengar. One should have heard Nayana sing sukhi evvaro (kanada), buddhiradu (sankarabharanam) and ... What a deep sonorous voice he had! It used to fill the hall though there was no mike in those days. He would sing pallavi alone for 3% hrs and follow it up with tiruppugazh.Above all his music had kachchitam (precision). L.D.N - What do you mean by kachchitam? D.K.P – See, there are many things that go to make up good music. One important aspect is proportion. By this I mean proportion of kalpana to kalpitam i.e. how much of manodharmam should be there with reference to any particular song. My advice is that it should be in accordance to the size and musical depth of the song. There is no need to produce a deluge of kalpana swarams. Also I do not approve of singing kalpanana swarams without raga bhāvam.Another important aspect of good singing is correct uccharipu(pronunciation). There should be no padachedam (indiscriminate splitting of words). As a child I sang every day before the Paramāchārya of Kanchi. He said that I was blessed with Vāksuddham. That was a great Āsirwādam for me. Latter in my career I, as a professional musician I often sought the guidance of linguistic scholars. Bhāsha gyānam is important for bhôva-laden singing. This should be coupled with bhakti. L.D.N - Bhakti towards God or music?

D.K.P - Undoubtedly towards both. And we should have bhaktitowards great composers like the trinity as well. It is indeed our great fortune that we have the privilege of singing their compositions. We should meditate on their compositions. Thanks to them we are surviving. Unfortunately today money seems to be the most important factor. It is around this that everything revolves. I have toured around the world but there is no place like India. Even today, I teach students, take care of some house- hold chores and my husband still plays tennis.... Deekshitar shed his mortal coil as he sang the lines – ‘meenalochani pāsamōchani’. I have no desire for the riches of the world. I have one last wish. I would like to die while singing (her eyes shine with tears). DKP - We should conduct our life with dignity. LDN - I recall the casual remarks of vidwān S. Raj am - “Pattammal’s voice matched the dignity of Deekshitar’s kritis.Dignified – yes. That perfectly sums up both the lady and her music.

APPENDIX-C 1. Do not be lazy and neglect feel of home practice and that blame your teacher for your poor progress. 2. Be patient when your teacher correct year. Remember that he is at the drudgery of teaching all day and all week. 3. Make a determined effort never to need to be told of the some fault twice. The nerous stream on the teacher would be very much lightened of pupils would observe this simple rate. 4. Never pass a note which is not perfectly in two or bring out a tone which is compleasant to hear. Every note from the violin should be musicial. I fit be seratchy, or false or haroh the fault is in the playes. 5. The regular in your attendance at year lesons and potential to a misceta. 6.

Never hesitate to ask your teacher the reason of any thing violin playing is a science and can bear the closet sectionary and the strictoot eotigation.

7. Do not bose your teacher by playing anything that he does not act for remember that he is worried and you are fresh. 8. Do not dictate to your teaches by playing what course of study he is to give you. If he need direction in that hi not fet to be your madotes. 9.

Never be conciated over your own attainments or jealous of there of other pupils. Remember that pride goes before fall and that the gratest players the world has seen have all be conspicuous for their modeoty.

10. Keep your violion in order. In putting the strings on, always term the endo inwardo so that the coil of string round the peg, inside the scroll box, shall always lock the peg and preent slipping. 11. Keep your naito short and your hands scrupuously clean. 12. Take the violin and how into your hands at every possible moment, even if it be for only ten minutes at a time. 13. Practices scales everyday, giving each note a box and making copy not sing. 14. Never study music formere display. Remember that there is a soul inspiritc music which is found only by those ho forget themselves and seek it doutly and eagerly. The player who shows off is unmoved himself and never moves another. 15. Never attempt to play is public what is difficult it to you at home. The simplest songs often produce the greatest impression. There more of expression than of execution. 16. Never be beaten by a passage however difficult it may at first appear, but practices those fear lines alone (pallavi devepallorist forms) for an hour. Rose tree that it shall not master you but year mastes it. 17. When your violin seems “out of sorto” and seratchy and irritating look to your own temper. 18. Do not we mach resin. Remove every pasticle of ice in dast from the breast of the violin. Keep your violin as clean as you keep your own body and soul. 19. Keep constantly in your violin case a complete set of streaings a spare bridge. A mute, a cake of resion a spare bow. 20. Keep the bridge of your victin perpendicular do not adjaol the bridge from the top, but pinch the string in just with the thumb and fore finger of your right hand pressed hard against the bridge which will case it back quantly and safely. 21. Donot judge of your propreso by that of others. As in the case of the base and the tortoise, it is generally slow and sare that view the race. 22. Try to study musical history so that you may know something of the men who harm done so much for year before you had a being. 23. Read all the musical journals and books your can tesidieal that has been written about the violin it will help your to

become modest. 24. Practice at times before a mirror as it with lead you to acquire a graceful style of borrowing learn to know eactly how your bow incroming the strings by the tone you are producing. It that be rough of scratchy be sure your bow is not desiriting a straight line or lying property on the string. 25. Finger the notes firmly and making the janta swares hit the string as with hammer at every beat. 26. Learn to make your victim sing and never play without putting some of your soul into the music. 27. Do not expect success without hardwork and regular house of practice and never attempt to play without strict, counting the time. 28. Do not learn of pertunity to hear a fine performer. 29. Do not allow the palm of the hard to touch the neck of your violion. 30. Do not play in a slowly style, but he careful and present keep at all times. 31. Do not play always pieces that you can play but study those that are just a little too hard your row. 32. Do not forget that a flexible wrist to very necessary to a violet. 33. Do not lean-forword which playing. 34. Do not forget to hold the bow firmly yet losely and gracefully. 35. Do not waste your time on petty exercises. 36. Do not fail to practice and punctualy as house so year can daily. 36. Do not toxch the hair of the how with your fingers. 37. Do not break your engagements. 38. Do not encourage and habit that makes year narrow.

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