Indian Music

"Shyama Sastry, born in 1762, a scholar, well versed in Sanskrit and Telugu, was an ardent devotee of Mother Goddess Sri Kamakshi. He was a person who spoke to the Goddess and to whom the Goddess spoke. His mastery over Tala and Laya was indeed exceptional. He composed in intricate time-measures and signed as Syama Krishna...He was also architect of the musical form called Svarajatis, which was originally a dance form converted into an attractive musical form."

"The second jewel of the Musical Trinity, saint Tyagaraja, has been immortalized by his Pancharatna Kriti. An author of both music and Sahitya (literature) or an Uttama Vaggeyakara, his compositions mostly emanated from him as a Dhatu-Matu-karu (one who is the author of both music and literature) during his inspired moments. His kritis are noted for their musical content and beauty of language and presentation....Perhaps the supremely divine quality of his music emanated from his spiritual prowess and devotion to Bhakthi as also his irrevocable faith in Lord Rama."

"The lyrics of Tyagaraja are often in the form of a “dialogue”, where he converses with God and solicits divine response. Some of them are also in the form of “exercise” in self-introspection, “discourses” on God’s glories , and “philosophical expositions” highlighting the impermanence of human existence and of worldly possessions."

"The songs of Thyagaraja reflect the spiritual climate of the Vedas and the Upanishads and also implied teachings of the epics and the puranas."

"To Thyagaraja one sure method of purging one’s mind of all evil and of purifying the mind is through music, remembering God and reciting his glories. To him music was not a source of sweet sounds; it was verily the path to God. Thyagaraja clearly says that those who do not understand music do not qualify for salvation. He goes to the extent of saying that music itself is in the form of God. . **Venugopal, in "I Want To Be In The Creative Field", 3E (1 November 2009), P.xxxiii"

"The greatness of Tyagaraja seems to lie in the fact that here was a man who lived close to our times, but still was able to realize and express the ancient spirituality of the Hindus to us in a form we could understand easily and appreciate."

"The sheer range of ragas and talas of these ‘simple’ divyanama compositions [of Tyagaraja] with their repetitive structure must have taught the people around the great composer the essence of Carnatic music."

"Muthuswami Dikshitar, the third of the Musical Trinity, composed Kritis and Raga Malikas. A wanderer in search of spiritual bliss and a master in Sanskrit literature, famous are the Tiruttani Kritis that he composed in praise of Lord Subramanya. Later, while on a pilgrimage to Kanchipuram, presided over by Goddess Kamakshi, several master pieces were composed by Dikshitar in praise of the Goddess."

"Many royal personages adorn the pages of India’s musical history and amongst them the position of Swati Tirunal, a versatile genius, a linguist, a gifted musician and composer in as many as six languages Sanskrit, Telugu, Malayalam, Marathi, Hindi and Urdu, it was during his time that Travancore became an important centre for music."

"M. S. Subbulakshmi, D.K. Pattammal and M.L. Vasanthakumari are widely considered the 'Female Trinity' of Karnatic Music. They performed in an era in which the Karnatic world was male-dominated."

"India has a classical music tradition that is around five thousand years old….Indian classical music is of two kinds viz, Hindustani and Carnatic. Hindustani music is indeed unique, developed in the northern region, while Carnatic music is indigenous to the south. Carnatic music is considered as one of the oldest system of music in the world."

"The kutcheri form itself is not older than 200 years. Historically, there are any number of examples in Carnatic music of interaction with, and adaptation from, other musical systems (the adoption of the violin in the 19th century being the earliest and most obvious instance)."

"If millions cherish this music, it is because of the power and beauty of its imaginative and emotional appeal."

"Great musicians such as Ariyakudi Ramanuja Iyengar, Semmangudi and M.S. Subbalakshmi, were not afraid to innovate and respond to modern times. A failure to come to terms with change runs counter to the spirit of creativity. The Chennai festival is the world's largest cultural event, larger than the Woodstock festival in Edinburgh."

"Acoustic quality is a real concern to artistes, since the overall impact of a performance depends on the symmetry between appropriate amplification and feedback on the stage. Debate on some of these wide-ranging issues will shape the future of Carnatic music in the 21st century."

"It is vital for the mega event — the extraordinary Chennai music season — to retain the character of a self-regulating enterprise, something it has managed to do over many decades."

"The annual Music festival season in Chennai is a felicitous reminder that music continues to be a way of life for hundreds of performing artistes and thousands of ordinary people."

"Classical Carnatic music is but the continuance of ancient Indian music as it was prior to the advent of Persian influence and the attendant evolution of the Hindustani style. The Tamil areas in the South had from pre-historic times a well-developed, scientific, distinct style known as Pann. The Indian (later called the 'Carnatic' from the days of the work Manasollasa) and the Tamil Pann had coalesced invisibly during the middle ages and presently the South has the Carnatic music and the North has the Hindustani music - of course, both raga-based with common and distinct features."

"...invested Indian music, more particularly the Carnatic music of South India, with a tremendous range of nuances and aesthetic values retaining the basic religious and spiritual core...South Indian music belonged primarily to temples and gained its momentum from devotees of the Lord who often spurned royal patronage."

"The major works in the rich musicological tradition are Matanga Muni’s Brihaddeesi (9th century) Saarnggadeva’s 13th century classic Sangitaratnaakaraa, Raamamaatyaa’s Svaramekalanidhi three centuries later and Goovinda Dikshitar’s Sangitasudha in the middle of the 16th century.... Govinda Dikshitar’ son Venkatamakhi is the first landmark classic that still has a bearing on contemporary Carnatic music. His Caturdandi Prakaashika (1660) is relevant today mainly for the classification of the Carnatic raga system, although his actual descriptions of raagas prevalent in his time are of only historical interest now....The Carnatic music as we know today is very different from the music that was described in these treatises."

"The region south of the Vindhyas was referred to as Karnatakam and hence the name. The word Karnatakam also stands for ‘that which is very old’ and scholars have interpreted it to mean that this music form is an old one. Yet another explanation is that the word derives from Karna (the ear) + Ata (to haunt) or ‘that which haunts the ear’. That would certainly be an apt description for Carnatic Music."

"Around the seventh and eighth centuries South India saw also a great surge of devotionalism with the emergence of a number of devotee-poet singers who expressed their deep devotion in thousands of metered verse set to classical music. ...These poet singers were the Alvars and the Nayanmars, who to a great extent constructed the foundation on which the edifice of the future Carnatic music was built."

"...the South witnessed the birth of great devotee-musicians such as Ramadasa, Puranadaradasa, Annamacharya, and Kshetragnya."

"...in the South [South India], the 16th and 17th centuries were of tremendous significance in the history of Indian musical literature. The Swaramelakalanidhi of Ramamatya, a Minister of Rama Raja, Prince of Vijayanagar, focuses attention on the fact that the music of South India was evolving in its own way and acquiring a distinct identity and character. In fact one of the most important treatises on the Karnatak system was the Caturdandiprakashika of Venkatamakhin written in 1660 AD, in which the Classification of Ragas in terms of 72 basic scales (Mela Kartas) was first advocated. According to the Mela Karta system, these ragas correspond exactly to the 72 basic scales in the ascending and descending structures."

"Purandara Dasa of the fitheenth-sixteenth century, who is said to be the father of present day classical Carnatic music, initiated a system of teaching Carnatic music and presented the initial scale of notes to be taught to a beginner. Purandara Dasa was a great devotee given to spending his whole life in meditation on God and singing his praises."

"The contributions of these great people culminated in the late eighteenth century and early nineteenth century in a golden era of Carnatic music. Three great composers – Thyagaraja, Muthuswami Dikhsitir, and Shayamasastry - dominated the scene, and Carnatic music reached a pinnacle in both its aesthetic and its technical aspects. P. 453"

"Carnatic music as we know today can at best be traced to the early or middle of the eighteenth century. One of the most important reasons being the unbroken lines of guru-sisya (teacher–disciple) that have come down to the present day bringing with them compositions and musical practices of distinct traditions."

"Carnatic music being not the family heirloom of isolated families, but rooted in the community spawned a lot of talent, largely people who could participate in group singing, and of equal importance, several generations of composers, all in all in and around the cultural centre of s South India - Tanjaavur (Anglicized as Tanjore)"

"In general, Karnatak music is characterized and structured by a great degree of precision and rigidity in framework and is based on a strictly organized system. The percentage of fixed compositions rendered by artists is also relatively high in Karnatak music...embellishments on fixed compositions is one of the prime elements of a Karnatak musical performance. Further in Karnatak system instrumental music very closely follows the vocal pattern."

"In Karnatak music, a great deal of emphasis is also placed on the Sampurna (heptatonic) scale types, Melas as a means of classifying ragas [musical scales]....the 17th century text Chaturdanda Prakasikha lists out all the possible melas which could fit into the Karnatak system of music. This 72 Melakarata system still provides the basis for classification in the Karnatak music."

"There should be rhythm There should be melody, but there should be peace. There should be meter and prosody, there should be no confusion,... But there should be the love of the Lord in the song."

"Karnatak music is characterized by an absence of purely instrumental compositions. The vocal form referred to as Ragam-Tanam-Pallavi is generally the main item at a Karantaka Kacheri (musical recital). The term Ragam refers to Alapana, unbounded by a fixed time measure. This is followed by Tanam, which though rhythmic is unmeasured. The final section is the Pallavi, a composition of words and melody set on a particular |Tala. The composition could be traditional or composed by the performer himself.... Ragam-Tanam-Pallavi is the longest item in a recital in Karntak music. It reflects and skill and imagination of the performer."

"The Kirtana or kriti, a devotional song, provides a blend of text, melody and rhythm. The kriti may be followed by an Alapana and consists of three sections called Pallavi, Anupallavi, and Charanam comprising of lines of devotional poetry."

"Other forms include the Varnam, a completely composed piece, designed to show a Raga in all its pristine purity. Pada and Javali are two kinds of love-songs depicting poetic imagery characteristic of the Bhakthi movement. The Tillana is rhythmic and is in very fast tempo."

"...the musical ambience in the cultural centre of Tamil Nadu – in and around Tanjaavuur in the times of the great composers, several factors point in the direction of the Carnatic music fraternity being fairly large and also a fair amount of musical sophistication can be attributed to them. The bhajana tradition had exposed the common people to a lot of music. For instance, consider the practice unjavrutti (going along the streets singing and collecting food for the day) that, unarguably, the greatest composer of Carnatic music – Thyagraja - is supposed to have unfailingly followed all his life. It meant that the community in which he lived was exposed to his music every day of their lives"

"...the robust health of the Carnatic music fraternity made the “golden age” of Carnatic music possible...became possible because of interaction in the music community, the “core” musical knowledge that the composers could take for granted and the intense awareness of the tremendous musical activity by the composers."

"...to learn the idioms and phrases that define the ‘grammar’ of the major ragas of Carnatic music is through learning the great compositions of these ragas....in Carnatic music, fixed texts are used to create the ‘lexicon’ of Carnatic music and ‘grammar’ of particular ragas"

"...the Carnatic music system is arbitrary in principle, even though some features may be conditioned by mathematical laws....the only law of mathematics that Carnatic music adheres to is the law of doubling the frequency of the fundamental for the octave."

"In Carnatic music, one can create new ragas (not just tunes) which have never been though of before. In that sense, raagas are open ended in Carnatic music."

"...the Carnatic music representation requires only a three (or at most four) levels of flat structuring (i.e. with no internal hierarchical structure), theorists of Western music have argued for the need for an enriched structure. Thus while Carnatic music seems to be satisfied with the limited structuring at the phonological/phonetic levels, Western Classical music seems to work from the syntactic end."

"Rulers and landed aristocracy vied with each other in their patronage of composers and musicians and the cyclical patronage of royal Courts at Vijayanagar, Tanjore, Trivandrum, Pudukottai, Mysore, Ettayapuram, etc."

"The Tallapakkam stalwarts, Purandara Dasa and the Trinity could have struck mines of gold but chose, by deliberate intent and conviction, to practice the concept outlined in the song 'Nidhi chala sukhama.' The Saint of Tiruvisanallur, an intellectual seer, cried to the Lord not to curse him with wealth."

"The word 'Karnafacam' refers not only to some undefined parts of Peninsular India but also to what is traditional and ancient. 'Carnatic' is presumably a derivative of it. Carnatic Music is taken as the Indian music legated to posterity by ancients like Bharata, Sarngadeva, et al, as invasions and external influences happened to mould in North India a modified style now broadly classified as Hindustani music. Carnatic and Hindustani styles do retain the common heritage of being raga-based. In the Tamil areas of the South, 'Pann' or Tamil Isai has had a hoary antiquity."

"Luxuriant Tamil music metamorphosed into Carnatic music. Someswara Bhooloka Malla Varman (1116-1127 A.D) of the Western Chalukyas who authored the prominent thesaurus Manasa Ullasa called the music of the South - of the Tamils included - as 'Karnataka Sangeetham and the term has turned immortal."

"The kritis of Tyagaraja and others, on the contrary, are conceived generally as musical compositions; and their poetry, however impressive, is mainly a verbal scaffold for raising a musical structure. Musical thought, rather than poetic thought, seems to determine their structure pattern."

"Music is the highest art and, to those who understand, is the highest worship, declared Swami Vivekananda. Purandara Dasa fully understood it; and had thoughtfully followed the Sthula Arundhati Nyaya in taking the students of music step by step. The method is named after the venerable lady and not after her exalted spiritual spouse Vasishta! A rare and rich tribute to Womanhood indeed! Quite a large number of ragas are named after women. The presiding deities of Learning and Fortune are Goddesses."