Talk A meticulous and informative talk by Dwaram Lakshmi brought out the nuances of Carnatic and Hindustani styles of music. GUDIPOODI SRIHARI
Lecture demonstrations do help in comprehending subjects that need in-depth study. Noted vocalist Dwaram Lakshmi, well versed in Carnatic and Hindustani music, sets an example in a programme organised by Trividya Peetham working to promote arts and artistes. Lakshmi gave an authentic discourse on Carnatic and Hindustani systems, their origin and development; revealing in her demonstration individual beauties of the two systems and their influence on each other.
It was more a comparative study revisiting both the systems and also rendering bits of compositions exemplifying beauties of each.
Historically, North India was more exposed to invasions from Muslim countries that brought their culture with them. And their influence on Indian culture, resulted in creation of this system, now called Hindustani Music, Lakshmi explains. She then quotes Prof. Sambamurthy saying that he called Carnatic Music as ‘old and continuing system of music, having no influence of other systems’.
After talking of origin and evolution of music in India, Lakshmi dealt more with Hindustani system perhaps keeping in view all those sitting before her were Carnatic musicians or its lovers.
Lakshmi then demonstrated the difference in approach in rendition of Sankarabharanam and Bilaval its equivalent in Hindustani.
She gave names of Hindustani equivalents to some Carnatic ragas like Malkauns for Hindolam, Bhoopali for Mohana. Carnatic Abheri is Bhimplas in Hindustani music, Panthuvarali is Pooriya Dhanasree, Kharaharapriya is Kapi for them and Carnatic Kapi for them is Peelu. Mayamalavagowla is Bhairav, Valaji is Kalavathi, Chakravakam is Ahir Bhairav. Subhapantuvarali for them is Thodi.
‘There is a saying that Dikshitar brought this raga Subahapantuvarali into Carnatic system and composed kirtanas, she explains. Though they are differently named raga structures are the same, variation is there only in rendition style.
Lakshmi then dealt with raga delineation technique, giving a comparative picture.
‘We generally begin with madhyalaya (medium tempo). There is also difference in the style of presentation, each gaining different colours. She spoke on Gamaka structures and their role in music, demonstrating with rendition of a phrase — once with Gamakam and then sans gamakam. She demonstrated ‘Jaaru’ (slide) techniques like ‘Egujaaru’ and ‘Digu Jaaru’ demonstrating them, as part of this.
‘Our Carnatic system is full of mathematics.
Hindustani too has it but not as much as Carnatic system that starts right from saraliswaras in three kala speeds. Muktayis are full of calculations.
They too have some with different names but not as much as we have. Ragalapana begins with a Jeeva swaram. Avrutham for Hindusthani is ‘Chakkar’. We have laya in ragalapana but not specific. But you find this in nadaswaram and we notice Dolu giving signals in between,” she explains.
Dwaram Lakshmi was felicitated by Girish Kumar, former DGP of state. A book contemporary Gems of Carnatic Music , written by M.J. Daniel in Telugu and its translation was released.
Lakshmi gave an authentic discourse on Carnatic and Hindustani systems, their origin and development