Musical Musings - I

Inspired by tilotamma's post on Bangalore Nagaratnamma (http://tilotamma.blogspot.com/2005/07/bangalore-nagaratnamma-part-i.html), I have dug up an article that I wrote ages ago.

Musical Musings - I
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Listen to traditional Carnatic Music, and for anyone new - all artists will seem similar. Everybody sings some Raga Alapana, some Keerthana and some swaras. The same keerthana "Nagumo" has been sung so much that I guess, Tyagaraja Swami himself might just say "Chalu Chalu ra saami! Enough is enough". Everybody sings the same "Ta na na" or "G R S N D". So, why is it that people still go to concerts to listen to different artists?

Carnatic music has the concept of lakshana. Let's take the meaning - lakshana has to do with features, characteristics. When singing a raga, lakshana refers to the structure of the raga. For instance, a prayoga such as "M1 G3 P D2 S" is referred to by traditionalists as the Kambhoji stamp. That is the Kambhoji raga lakshana. In order to bring out the essence of the raga, its lakshana has to be established and followed. For instance, although Bhairavi and Kharaharapriya share some similar swaras, the prayoga "S,,(g2)R2 S N2 D2" is Bhairavi and not Kharaharapriya. Whereas, the prayoga "D2 N2 G2 R2 S" is the property of Kharaharapriya. The prayoga "M1 D2 P M1, G3 R2 S R2" is Aarabhi and not Devagandhari. With almost the same swaras, Devagandhari meanders while Aarabhi flows briskly.

However, texts on Carnatic music say that lakshana alone will not render music, what is more important is lakshya. Lakshya means goal (just like in Hindi - yeh mera lakshya hai, Tamil - Latchiyam). What is lakshya - it is a Bhava that the artist is trying to bring out, a story he/she is trying to weave. Lakshya is what the artist wants to convey through the lakshanas! While lakshana forms the foundation, it is lakshya that becomes the beautiful sculpture or the temple that the artist builds.

It is this lakshya, I think, that unconsciously makes us listen to the same raga from different artists. Often, we stop with saying that he/she has a wonderful voice, or this prayoga was good. But, the entire musical experience is brought out by lakshya, not just vocal feats or swara mastery.

It might help us to think while singing (or playing an instrument) that we are weaving a beautiful shawl, telling a story or putting together various flowers to adorn the Lord's garland. We can get really creative with this. Once we know that there is a goal, a Raga alapana will not be merely an exercise of singing on R, G, P, D, N or going up and down the scales as fast as possible!

Terms:

Swaras: The seven fundamental notes Sa Ri Ga Ma Pa Da Ni
Bhava: Emotion
Raga: Technically, a set of swaras. Practically, swaras and their prayoga. Aesthetically, a medium for evoking a bhava.
Prayoga: A method of utilising something (like Prayog karna in Hindi). In a raga, it refers to some particular way of singing that brings out the essence of the raga.
Alapana: Elaboration of a Raga - using syllables Aa, Ta, Na, Ri.
Keerthana: Composition

Ragas described here:

Aa - Arohana (ascension) Av - Avarohana (Descension)

Aarabhi: Aa - S R2 M1 P D2 S
Av - S N3 D2 P M1 G3 R2 S
Bhairavi: Aa - S G2 R2 G2 M1 P D2 N1 S OR S R2 G2 M1 P D2 N1 S
Av - S N1 D1 P M1 G2 R2 S
Devagandhari: Aa - S R2 M1 P D2 N3 S
Av - S N3 D2(+) P M1 G3 R2 S
D2 in avarohanam is sung as N1D and not plainly as D
Kambhoji: Aa - S R2 G3 M1 P D2 S
Av - S N1 D2 P M1 G3 R2 S
Kharaharapriya: Aa - S R2 G2 M1 P D2 N2 S
Av - S N2 D2 P M1 G2 R2 S

References:
Semmangudi Srinivasa Iyer's article in The Hindu on Lakshya and Lakshanas (I forget the edition)