The Hindu Editorial Analysis- 26th March 2024 | Current Affairs & Hindu Analysis: Daily, Weekly & Monthly - UPSC PDF Download

A Dissonant Chord in the World of Carnatic Music 

Why in News?

T .M. Krishna, the stormy petrel of Carnatic music, and this year’s winner of The Music Academy, Madras’s prestigious Sangita Kalanidhi award, is an ardent artist and an avid activist. As an artist he is rooted in tradition but his vision is new, seeking boundless horizons. He is nourished by the past but not circumscribed by it. Like a gushing mountain stream ever refreshing but bound by its banks. As an activist, both in the domain of music and on societal and civic issues, he espouses causes, amplifying the voice of the voiceless. He rules the feathers of the conservatives on the concert stage and those in power on civic platforms. Some would say he delights in poking the bull in the eyes.

Understanding Carnatic Music

• Carnatic music is a form of classical music that originates from South India.
• It is primarily composed in the traditional octave and is known for its rich musical heritage.
• Key Elements of Carnatic Music:
  • Kriti-based Composition: Carnatic music predominantly revolves around kritis, which are intricate musical compositions set to specific ragas and talas.
  • Structure of a Composition: Each Carnatic composition typically consists of several components like Pallavi, Anu Pallavi, Varnam, and Ragamalika, each contributing to the overall musical narrative.
  • Improvisational Aspects: Carnatic music allows for improvisation in the form of Swara-Kalpana and Thanam, enhancing the creativity and spontaneity within the performance.
  • Instrumentation: Instruments like the mridangam play a vital role in accompanying and enhancing the melodic and rhythmic aspects of Carnatic music.

Significance of Carnatic Music

• Carnatic music holds a significant place in the cultural tapestry of South India, particularly in regions like Tamil Nadu, Karnataka, Kerala, and Andhra Pradesh.
• Historical Evolution: The development of Carnatic music can be attributed to luminaries like Purandara Dasa and Venkatamakhi, who have shaped its theoretical foundations and musical principles.
• Musical Innovation: In contrast to Hindustani music, Carnatic music does not follow a Gharana system, providing artists with greater freedom for improvisation and creative expression.
• Melodic Structure: The classification of ragas into 72 melakarta modes forms the basis of Carnatic music's melodic diversity and complexity.
• Modern Adaptations: Through the Melakarta scheme and the integration of diverse musical influences, Carnatic music continues to evolve, incorporating both ancient traditions and contemporary elements.

Carnatic Music Elements

• Pallavi: The Pallavi represents the first or second thematic lines of a composition in Carnatic music. It is a crucial section often repeated in each stanza, considered the highlight or 'Piece de Resistance' of a Carnatic composition like 'Ragam Thanam Pallavi,' allowing for significant improvisation by the artist.
• Anu Pallavi: Following the Pallavi, the Anu Pallavi consists of two lines. It is typically sung at the beginning or end of a song, though not mandatory after every stanza or Charanam.
• Varnam: This piece is commonly performed at the start of a recital, revealing the raga to the audience. It is divided into Purvanga (first half) and Uttaranga (second half).
• Ragamalika: Often the concluding section of a performance, Ragamalika allows the soloist to improvise freely. However, all artists must return to the original theme by the composition's end.

Trinity of Carnatic Music

Sri Shyama Shastri (1763-1827 AD)

• Known for his compositions praising the mother Goddess Kamakshi of Kanchi, Shyama Shastri crafted three Swarajatis, also termed as 'three gems.' 
• He is credited with composing 9 kritis on Meenakshi of Madurai, referred to as Navaratnamalika. 
• Utilizing rare ragas like Manji, Ahiri, Kalgada, and Chintamani, he is recognized as the pioneer of swarajati musical forms. Noteworthy ragas employed by him include Manji, Chintamani, Kalagada, and Karnataka Kapi.

Sri Shyama Shastri

Sri Tyagaraya (1767-1847 AD)

• Sri Tyagaraya extensively utilized ragas in his compositions. The majority of his Kritis were in Telugu, with a few also in Sanskrit.
• He is renowned for composing several Samudaya Kritis (Group Kritis) like Ghana Raga Pancharatna and other Pancha ratna groups such as Kovur, Lalgudi, Tiruvattiyur, and Srirangam Pancharatna.
• A devout follower of Lord Rama, Sri Tyagaraya penned approximately 24,000 songs and musical pieces in praise of the deity.
• His musical innovations included the structured variation of musical lines during performances through the use of improvisation techniques.

Sri Tyagaraya

Muthuswami Dikshitar (1775-1835 AD)

• Muthuswami Dikshitar was a devoted Sri Vidya upasaka. His compositions predominantly focused on Devi.
• Credited with creating numerous compositions dedicated to Shaivite and Vaishnavite deities.
• His works featured detailed depictions of Hindu gods and temples, capturing raga forms through a distinctive veena-playing style.
• While most of his compositions were in Sanskrit, some were crafted in Manipravalam, a blend of Sanskrit and Tamil languages.

Muthuswami Dikshitar

Various Compositions in Carnatic Music

• Kriti: This form represents a sophisticated musical style in Carnatic music, emphasizing its longer structure and serving as a fundamental element of the genre.
• Pallavi: Known for its improvisational nature, the Pallavi is considered the most creatively expressive form in Carnatic music. It allows musicians to showcase their creative abilities and musical intelligence through intricate variations.
• Kirtanam: With a focus on devotional themes rooted in Bhakti bhava, Kirtanam is typically performed individually, highlighting emotional and spiritual connections.
• Jatiswaram: This composition involves rhythmic patterns and jatis, falling under abhyasa ganam. It exclusively features musical notes (swaras) without lyrical content (sahityas).
• Varnam: Comprising multiple swara groups known as varnas, Varnam showcases distinct melodic phrases and movements of ragas. It is often performed at the beginning of a concert.
• Suladi: Structured into various sections based on different talas, Suladi is a talamalika piece incorporating diverse rhythmic patterns. It contains fewer lyrical syllables compared to gitam compositions.
• Gitam: These compositions are characterized by their simplicity and smooth flow of ragas. Typically sung without repetition, Gitam pieces often celebrate various music luminaries with devotional themes.
• Svarajati: Featuring a blend of devotion and heroism, Svarajati compositions consist of three sections—Pallavi, Anupallavi, and Charanam. Syama Sastri is renowned for his contributions to this form.

Conclusion

Carnatic music has gained global recognition while maintaining its traditional essence and spiritual depth. With its high standards of performance and strong theoretical groundwork, Carnatic music stands at par with musical traditions worldwide.