Carnatic vocalist T.M. KRISHNA voices his thoughts on Carnatic music, its format and the experience it offers.
Over the past few years, I have tried to look at the Carnatic music performance structure in ways that are not common with regard to our memory of Carnatic music. I don't consider my interpretation of a concert an innovation; they are all questions, which I am posing both to myself and the community at large. This discussion is not about the appreciation (or not) of these changes. These are open to varied reactions depending on one's own conditioning and perception of music or even life.
The questions that bother me are “What is art music?” and “Is music and a performance of music the same? Is the experience of art music (I consider Carnatic music as art music) an entertainment or something more?”
The ‘something more' here does not refer to religious or spiritual experiences. In some ways, even they are part of the entertainment package. Therefore what I refer to here is openness to the experience of music and the freedom to accept and perform art music as an expression beyond the confines of a format.
Art music is a shared, intense aesthetic experience for all, and in my opinion, not a service of spiritualism, religion or entertainment provided by musicians to the audience.
In the past 100 years, we seem to have brought music and the performance to mean the same. This has happened to the extent that we view music only from the prism of a kutcheri. This has affected the music of many artists over the past century and the trap of a performance (by this, I mean to please and entertain an audience) has become the driving force of Carnatic music. People may feel that once you are singing in front of an audience, you are an entertainer, and you have to look at giving what the audience wants and perform according to conditioned norms.
I beg to disagree. To me, the space of performance is immaterial to art music. The music that I believe in is the same whether I sing in the private space of my home or in front of an audience.
The problem with the concert format that we hold so sacrosanct is that we have conditioned our experience based on the format rather than the music. This does not mean that we are not critical of the content but, by and large, the conditioned single paradigm concert has become the basis of our experience. The format is a convenience that gives us a method of presentation. The fact that it is very well conceived is not being argued but is it the only or even the best expression of the music? It is a fact that the format is only about a century old and does not define Carnatic music, which is a beautiful space of compositions and improvisations within a spectrum of ragas and talas. This is the music, its history and identity that we need to experience.
This does not mean anything and everything goes. To understand where presentation liberty ends and content integrity begins, every musician must respect history and understand it. As an example, let us look at alapana as a singular presentation. Any serious musician who has looked at the history of alapa/alapana will find that it shows in history a form that is far more fixed and structured than what we perceive of it today. Even notations from the Saraswathi Mahal Library show very fixed structures. Alapas have been notated for ragas without necessarily following it up with a composition. They have been presented as a piece with a beginning, middle and an end with clear subdivisions within. A complete form on its own.
Over the past couple of centuries or so, we have made the form fluid, less structural, more improvisational and fixed its place only before a compositional presentation. This does not negate it as a possible, complete presentation on its own. In fact, in some khayal traditions, the alap is presented independently.
What about niraval and kalpanaswara? History clearly shows us that both these forms have always developed as an exploration involving a composition, and therefore presenting them as independent presentations, is totally out of place. On the other hand, presenting a padam, varnam, or swarajathi (its older form), which are serious compositions, as central pieces has authenticity as these were some of the forms that dominated the sphere of compositional music in the past.
While any change to the kutcheri format seems to disturb us tremendously, it is astonishing that nobody seems to be bothered when ragas are massacred, compositions are given scant respect and all that is the aesthetic basis of the Carnatic experience is ignored.
Carnatic music's identity lies in its ragas, talas compositions, and creative forms. Who said a raga must be sung with these gamakas or that only some swaras must be used as anchors in a raga? People ask such questions.
The answers to all these questions are available if one is willing to dedicate time to understand ragas, their changes and present state. Every raga has within it a story of a few hundred years or more, for us to discover through serious exploration. We are happy to justify ragas being destroyed as new interpretations, innovations. The fact is they are not. The raga is far more than the swaras they are made of. Their identity has been created by centuries of travel, but even today they hold within the essential thread and the various characteristics that give them their form. Therefore, these innovations are nothing but irresponsible actions of self indulgence.
What about the quality of compositions presented today? Many times, they are equivalent to nursery rhymes. In fact, they only titillate and that seems to be enough. How many look for compositions that are multi-layered in sahitya and sangita?
Niraval singing and the various ways of exploring this form is dead today. Does anyone care about the position of the syllables while singing niraval? Kalpanaswaras are used only for two things, mathematics and a climax. Everything in between is irrelevant. Most of the time, tani avarthanams are mere displays of virtuosity with practically no aesthetic or intellectual value. We applaud vigorously to all this and more.
All the above accusations hold good for me as a musician. Have I raised any serious objections to all this? Where do my sensibilities lie? Is this not the real sampradaya that we are destroying? We, the musicians, the new age rasikas and even those who have heard the masters and take great pride in the past, have lost the basic sensitivity to feel the difference. The musical character of alapana, niraval, kalpanaswara, tanam, numerous compositional forms and tani avarthanam, need serious thought, questioning and discussion. All the above mentioned abuses of Carnatic music happen very much within the haloed precincts of the kutcheri padhathi.
It is important that we also recognise that these are not issues that were created today but have been accentuated by the social environment of the last decade. The fact is that they are a result of hundred years of kutcheri music. Any serious questioning of the masters of the past does not reflect disrespect; it actually reflects introspection and the deep influence of the greats on music. They still remain the masters and will always. I do question them but much before I do that I first question myself.
What is the difference between watching a variety entertainment programme and a Carnatic music concert? What is the difference between namasankirtanam and a Carnatic music concert? What is the difference between watching a trapeze artist and a singer? We do need to seriously question the Carnatic art music experience. These are only questions and it is for everyone to look for answers if they so seek.
Every question I have raised is relevant as much to life as it is to Carnatic music. The battle between the confines of social structure (concert format) and the experience of the sensitive, aware self (ragas, talas, compositions, etc.) is part of our core, is a similar struggle. May be our perception of life itself needs inquiry for us to get some answers to the questions. Until then, at least for me, these questions will remain and the journey shall continue.
Keywords: Carnatic vocalist, Carnatic music performance, T.M Krishna
TMk is hungry for success, money , name and fame. He just wants to portray himself as a brand ambassador of Carnatic Music. He is concentrating on the "extras" rather than the core and content. His music won't stand for long. One day he might come to a conclusion that Western music is nothing but Carnatic music and he supports this thought using his "Art Music" concept. And believe me there are people who support him.
TMK's article is thought provoking and written with a good amount of analysis ; but as several of the comments posted above observe, seems to lack a coherent message. As a listener of all forms of music, and all styles of music, and as a person who equates music to one of the purest forms of connects with spirituality, I think it is a moot point critically analysing music or its renderers.
Any form of music that brings joy to the listeners, in my opinion, is good music. Any form of music that connects the renderer to higher forms of evolution and thinking, is self introspection. For the lucky few, the first and the second blend together, and the listener can experience the same connection, as the renderer. I think that is where we should leave it at.
Contd: My point here is every artist has their own uniqueness. In that sense, TMK provides what others dont. A bit of a surprise every time. So it should not be generalized to all musicians and expect variety and non conformity from everyone. TMK is unique because of this. If every one goes out on their own format, TMK will lose his edge.
"People may feel that once you are singing in front of an audience, you are an entertainer, and you have to look at giving what the audience wants and perform according to conditioned norms.
I beg to disagree. To me, the space of performance is immaterial to art music. The music that I believe in is the same whether I sing in the private space of my home or in front of an audience. "
Not to pick on Mr TMK, but vidwans/vidushis with this opinion, please remember this when negotiating contracts with sabhas or temples or hosts. Please remember this when you think of the ticket receipts and per ticket cost of a senior katcheri.You are indeed an entertainer and if you sing ragam thanam and no pallavi, a part of the audience will go disappointed. they may be repetitive to you and to the few fans who come to your concert every week. But not to the most rasikas who go to different artists concerts to see how different artists sings N or S or R or Pallavi for the same ragam and their style.
This is a continuing debate I have been having with TM for sometime. To me, the audience experience is as important as the artist's experience. Where would you sing Krishna if there was no audience? Is singing to yourself enough? Asking again, is carnatic music not a means to earn your living too, for you?
The post
from: R. Sridhar
Posted on: Feb 13, 2012 at 06:52 IST
especially the part
"Learning music with a single minded focus to become a 'performing artist' and sing in the academy, should change. We might then discover amazing music & talent. "
Well said Mr. Sridhar, you hit the nail on the head. This is exactly the culture that is prevalent both in the homeland of carnatic music as well as in the western world where much of the current generation, is driven on this basis.
The only devil's advocate argument I would have is that - if youngsters do not have some milestones to reach, what is it that one learns and practises this art form for?
Wonderful article. Yes it is art music. I would like musicians to recall the great service rendered by M.B.Srinivasan who presented carnatic raga in Choir format. A format Cartnatic art presentation lacked lot.
The only virtue of carnatic music held sacrosanct is the bhakti element, not the
format. Carnatic employs manodharma and randomness to guide a musician
through a concert as compared to the rigid format employed in western classical.
The past master’s have created many a delightful paddhati. Musiri’s bhava
pradhana, Alathoor’s laya complexities, MDRs vilambita kaala, Madurai Mani Iyer’s
garland singing and Lalgudi’s pathantharam speak volumes of experimentation be
it the rendition of raga, krithi, niraval or swara. Dr. BMK’s concerts break every rule
and ritualism. The arrival of GNB (and MLV) marked a great shift in style and
presentation. Thus TMK’s observation that past-masters got entrapped in a format
is frivolous when they have in fact challenged the very format. Random questions
without a proper approach, reason, necessity, reference and essay will not make an
article of substance. Perhaps, the new-age rasika (as TMK designates) should hear
more the music of the past to interpret
It is true that kalpanaswarams and Thani (sometimes the musician reaching High pitch) invoke applause. But it is part and parcel of the whole concert Again some Vidwans indulge in certain “gimmicks” to entertain the listener. However the fact remains, true rasikas remember Madura Manis Ananda Bharavi, Chemmangudis Kapi and MSs Ahiri even after four decades. None remembers The so called “variety entertainment.
My dear friend Krishna, You are a self-styled Crusader and hence this
job of extenuation. Your strong music and establishment can certainly
handle this. Many of the 50 plus musicians, and a fortunate (though
younger) myself, have lived and played with the inimitable
Dr S Balachander, the greatest revolutionist.
But Please note Even today, compulsions apart, aesthetic and
intellectual values in percussion (in accompaniment and in tani) have
been the virtuous experience of many 'humble'musicians. "KANDAVAR
VINDILAR!"( Be it the performer,reviewer nor the listener). Best
wishes.
TMK's questions seem honest to me and do not appear as word wizardry. Dismissing the piece as TMK seeking publicity is trying to deflect the issue. Like in every field the person who asks uncomfortable questions of himself and others, is unwelcome. Because we are so fond of the status quo and resist change. I think TMK should form a team like minded, young, research oriented musicians and students and start conducting experiments and record them. He should also experiment with taking the 'art music' out of the tyrannical clutches of the cutchery format. Even if the experiment fails, we would have at least tried.We must use the internet more effectively for such experiments. Learning music with a single minded focus to become a 'performing artist' and sing in the academy, should change. We might then discover amazing music & talent.
It isn't immediately clear whether TMK primarily laments the fall in content quality or advocates breaking free of the constraints of structure. Perhaps he means to say that as long as there is no compromise on content quality, deviations in structure must be allowed. So far so good. And TMK certainly IS one of those professionals who have earned such liberties. BUT, if he argues for a blanket relaxation of the constraints of structure, citing the reason that it shouldn't matter because the more important factor, content quality, is falling down, anyway, then we have a problem.
Going by his own logic, if content quality is already going down and people are "happy to justify ragas being destroyed as new interpretations, innovations," structure-imposed constraints are perhaps the only factor that can ensure that such "irresponsible acts of self indulgence" of some practitioners of Carnatic music do not end up hijacking Carnatic music too far from itself.
I am not surprised by the many voices of dissension and denial, in the comments section. TMK has achieved what he has set out - create a debate - or even a furore. But in the process, he has asked many questions, which, to me appears unanswered - even by the many dissidents here. Their comments simply seem to delve into a denial mode - almost bordering on 'how dare you' at times. To me, all the questions he has raised are very valid. The so-called masters of the past had clearly stuck to a formula, and do not want to venture out of it - of course with a few exceptional performers. TMK has raked it up, and rightly so. TMK has been sysematically experimenting on the format of kutcheris over the last few years. Only time will tell which of them will stick which won't. I am sure he is not naive enough to realize that only a few of his experiments will make the cut. But then, someone has to, from time to time, question the status quo, and TMK has done it, and to me, that argurs well.
I don't understand what TMK wants to convey. Of course Carnatic music is predominantly bhakti oriented and almost all vageyakaras from the past till the present compose on their istha devathas,barring a few exceptions. Even today an old not so well recorded concert of Madurai Mani Iyer makes the listener ecstatic and experience goosebumps
I am surprised that The Hindu which often prides in publishing scholarly articles
allows such word wizardry and often irrational analyses of history,
sociology and concepts of music as espoused in this article by TMK! Is it because
he is a reputed musician? Does that qualify the editors to publish, whatever is
written by practising musicians, without an introspection? Editors should proof-
read articles written before publishing. This read looks like TMK just wants to be in
the eye of the public, even if the time or situation does not warrant it. TMK is a
brilliant musician and I sincerely hope his new-found passion to analyse society,
sociology and history via music does not intrude on his genius capacity as a
performer.
all music lovers, i am just a carnatic music[also hindusthani,western classical and
certain film music] lover and not a musician or musicologist. i am wondering what
sri.t.m.krishna is trying to elicit answer for. i do not know the origin of the term "
art music". to me music is the best form of art since it expresses and elicits
feelings including love,affection and devotion,ideas and ideals and above all can
create a state of tranquility and peace of mind.we need not bring in discussion
about religion or spiritualism. the real answer to any rhetorical question that may
be posed by sri t.m.krishna is in the superb performance by him last year at the
SOUTH INDIA MUSIC ACADEMY concert in los angeles,california, where he sang the
great kirthana,dhanushkodi[?koti] rama in the raga thodi.what an unforgettable
rendering it was! i will describe carnatic music as DIVINE MUSIC and not as art
music.hindusthni music is a close second. thank you sri krishna and the HINDU.
from:nathapet srinivasan
TMKs article seems just words without any specific question to address. The music
of the past masters for example Semmangudi, MS, Dhanammal, MDR, GNB, MLV or
Lalgudi can hardly be termed entertaining! It is in fact the present-day generation
that sees music as an entertainment, with a propensity to make every concert a
spectacle! Could one not mellow the conscious to slide into the sub-conscious
while listening to the thani of Palghat Mani Iyer or Vellore Ramabhadran? Again it
is the present generation which uses the talavadya to 'arouse'. The beauty of the
carnatic musical lies in its ability to integrate the physical, emotional, intellectual
and spiritual dimensions of man, so that at its most intense level, the very music
becomes a prayer, with ones very being. It does not matter whether one classifies
this as art or entertainment. These are just semantics. If the artist 'feels the
chaitanya within' on any 'stage' or 'space' , the evolved audience would follow with
their eyes closed.
Glad to see the well timed introspection from an artist who respects and practices
innovation - hope this generates more thought and debate among other musicians
and audience alike. Sadly, the attempt in the earlier part of the 20th century to frame
our music (and dance) tradition to a rigid format has largely made the current
experience mechanical, creating a 'what it means to be a rasika and how music
should be enjoyed handbook'. Few contemporary musicians are capable of creating
an aesthetical experience, where one is involved and becomes a part of the music -
the complex 'rasanubhava'. I also wanted to highlight the issue of 'content', where
filtering compositions in the name of technical complexity (music) and sringara
abhinaya (dance) has made us lose rich traditions of the past. Thank you for this
article and looking forward to more of your writing and music.
Sir,
A really thought provoking article. When attending multiple kuthceries, you start predicting and once that happens, you are following a pattern and not losing yourself in the joy of music. I completely agree with you sir and I do hope this debate becomes a larger intellectual discussion amongst the music fraternity.
If there was no thani avarthanam, the percussion artists may lose their
value, they should come to the kacheri for giving only the rhythm, is it
?
"Most of the time, tani avarthanams are mere displays of virtuosity with
practically no aesthetic or intellectual value. We applaud vigorously to
all this and more." This is ridiculous, every vidya has its own
aesthetic values and even thani has also that..
Sri
Excellent analysis.Surely as you said Art music or Carnatic Music can’t be confined to a format. It is an Ocean. For that matter any knowledge is Infinite. Just a format is fixed a few decades back. Audience sit and enjoy it. Carnatic concert experience is more than an entertainment. Since ‘Art music’ gives more than something beyond entertainment. You can call this something as Spiritual, religion or some other name. Many sincere musicians will surely try to improvise and bring their maximum even within the format. It instills fear to see a Trapeze artist and enjoyment to hear a carnatic musician sing swaras. May be you should try what you said!
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