WHAT'S IN A RAGA ?

(post by Madhavi Ramkumar) 

Great musical compositions, in all genres across the world, have transcended time and space. In Carnatic Music too, they stand as testaments to the genius of their creators and to the greatness of the system itself, flooding the hearts and minds of listeners with joy and wonder over and over again. Artistes who perform them continue to find scope for individuality and inventiveness within the parameters of raga, thala and musical structure as prescribed.

That the same compositions are also inextricably linked, in many ways, to the period and the locale spanned by the lifetimes of their composers, may at first seem paradoxical. While many of them were intrepid pioneers in their own right, the language they employed and the ragas and thalas they stipulated were in all likelihood influenced by the environment they were familiar with. Further, the ragas specified by them must also be deemed to be a reflection of their melodic vision for the products of their creativity.

As such, would it be fair to change the raga as specified by the composer, and what would be the justification for doing so? If no raga has been indicated, the tunesmith or the singer is free to cast it in a raga of his or her choice. If not, there is an implicit obligation to conform to the mandate of the composer.

A case in point is ‘Karuna Cheyvan’, Irayimman Thampi’s immortal paean to Lord Guruvayurappan, arguably the most popular of classical krithis in Malayalam. In his introduction to ‘Omanathinkal’, a compilation of some of the musical compositions of Irayimman Thampi with notations published by the Kerala Sangeetha Nataka Academy, great scholar and musicologist Dr.S.Venkatasubrahmanya Iyer observes: “Of the Malayalam keerthanams (of the composer) ‘Karuna Cheyvanenthu’ in Sri Ragam and ‘Adimalarina’ in Mukhari are extremely well known. Both are prayers to Lord Guruvayurappan. Though the first is now being sung by many in Yadukulakamboji (the reason for this change is not understood), its structure in the original raga (Sri Ragam) itself has been included here” (translated from the Malayalam). The raga of the song has been mentioned unambiguously as Sri Ragam by V.Madhavan Nair ‘Mali’ also in his research work ‘Kerala Sangeetham’.

The popularity of the Yadukulakamboji version of ‘Karuna Cheyvan’ is generally traced back to Chembai Vaidyanatha Bhagavathar. There is no dispute about the appeal of this version, as the words and lyrics seem to coalesce perfectly and evocatively. However, and no disrespect is implied to the great master Chembai here, the original raga and tune are no less enchanting, and the composer’s choice is most apt and alluring. Irayimman Thampi was no stranger to Yadukulakamboji, as evidenced by the use of the raga for padams in his Kathakali plays, most notable among them being ‘Lokadhipa Kantha’ in ‘Dakshayagam’. He could very well have couched ‘Karuna Cheyvan’ in that raga had he so wished. But master musician and lyricist that he was, he chose Sri Ragam for his outpouring of bhakthi to the Lord. Composers such as Irayimman Thampi had a clear idea of the aural and emotive impact of the confluence of words and melodies, and adherence to their mandate would only be in the fitness of things.

In Carnatic Music, the use of ragas other than those laid down by the vaggeyakaras is a serious topic requiring much research. Two ragas for the same composition is not entirely unknown, as in the case of Thyagraja’s ‘Kantajoodumi’, extant in Vachaspathi and Lathangi. Some changes in form and ornamentation are inevitable with the passage of time, especially in view of the largely oral tradition followed hitherto. That there are many ragas in vogue today that were relatively unknown a century ago, and that some ragas prevalent in earlier times may have sunk into oblivion over the years, are also points worth considering.

‘Karuna Cheyvan’, however, falls into none of these categories, and we owe it to the composer and to the art itself, to try and preserve the work in its original form. Compositions such as this form part of musical history. If an artiste feels that the composition falls short on certain parameters, or that it can be improved upon, the option to choose another song or to create something entirely new is always open.

(c) Madhavi Ramkumar

STAGE PRESENCE

(post by Madhavi Ramkumar) 

While some musicians are born with it, others must at least attempt to acquire it, as otherwise the listeners are liable to find some painful experiences thrust upon them. As a music concert is both a visual and an aural experience, the demeanour of the artist on stage has a direct impact on the appreciation and enjoyment levels of the audience, and the importance of that intangible quality known as 'stage presence' cannot be over emphasized. It is evident from the ancient 

texts and treatises available to us that the subject rightly engaged the minds of our enlightened forbears, but is often glossed over at the present time. Details like stage decor, impeccable acoustics, punctuality, adherence to specific time limits, elimination of distractions, and so on are also not generally accorded the importance they deserve in Carnatic music recitals. This is, perhaps, a result of the unswerving faith in the greatness of the art itself, which continues to flourish even in the twenty first century, in spite of the overwhelming variety of alternative entertainment available through the media.

It is precisely because the art has the ability to evolve without detriment to its splendorous identity, that one must treat it with the respect and veneration it deserves, especially in presentation.

The Natya Sastra, which expounds, in some detail, the attributes desirable in a musician, is proof enough that centuries ago great emphasis was laid on various aspects of a performance. According to the author, an attractive voice, command over rhythm and a pleasing personality are essential for a musician. A singer's voice should possess several attributes, including audibility at a distance, lack of harshness, sweetness and uniformity of timbre in higher and lower passages. It is interesting to note that undesirable mannerisms and awkward gestures of musicians have caught the attention of theoreticians down the ages. Govinda Dikshitar's Sangeeta Sudha, for instance, categorizes performers according to their individual peculiarities. Among them are 'prasari', whose ungainly movements deplete the surging tide of music, 'karali' who has a contorted face and wide open mouth, 'seetkara' whose loud intake of breath fragments his singing, 'karabha' who cranes is neck strenuously, ‘avyakta' who mutilates words and swara-s and produces unintelligible sounds, and many more. Ideal settings  for stage performances have also been described in works like Silappadikaram, and it would therefore be incorrect to presume that such notions are applicable only to Western classical arts, and that the idea itself is an import from the West.

An overly dramatic manner, vocal idiosyncrasies, and a display of other unpleasant traits on stage serve only to detract from the overall impact of the performance. On the other hand, too stern or too disinterested an air could also alienate the audience. An artist of the calibre and stature of M.D. Ramanathan may get away with his own brand of presentation, but it is disheartening to see young musicians in the limelight, most of whom are well informed and conscious of the increasingly cosmopolitan environment of the new millennium, paying scant  attention  to  this   aspect. Some prominent singers have gone on record stating that voice culture is required only to the extent that it facilitates expression of ideas. If expression of ideas is the major criterion, the vocalization itself would seem redundant in some cases, as the ascent and descent of swara-s, gamaka-s, and even the most intricate of sangati-s are etched out in physical terms, with gesticulations and expressions to match.

Teachers and well wishers would be doing a signal service to everyone concerned by providing unbiased feedback to aspiring vocalists, and ensuring that unwelcome tendencies are nipped in the bud. This is not of course to say that a vocalist should perform with a deadpan countenance and no physical movement whatsoever, which would be next to impossible. 

The 'bhava' inherent in the music is bound to find expression in the body language of the musician as well. It is, however possible to cultivate a presentable stage persona, of which a proper posture and a straightforward manner of marking the tala may be considered the bare essentials. Most musicians could take lessons from the matchless M.S. Subbulakshmi who is grace and dignity personified on stage, and needs no awkward movements and no grimaces to produce the quality of music that she does, with equal emphasis on both raga bhava and sahitya bhava. One may argue that one must stick to the dictates of one's own personality and individuality, but there is no gainsaying the fact that a performing artist must at least strive to project an agreeable appearance, as a mark of esteem for the audience.

Though the status of voice culture in Carnatic music continues to be the subject of an inconclusive debate, some of the top ranking artists of the younger generation definitely require a greater stress on clarity of articulation,  and on voice production, especially in the raga alapana. The unalloyed joy that a clean 'akaara' could produce is often marred by distortion of the vowel sound, and other lacunae in the projection of the voice. Some great exponents of Carnatic music have, in the later stages of their career, had difficulty taming their recalcitrant voices and aligning it to sruti. But the crowds have still flocked to their concerts, applauding their experience and the wealth of musical ideas they have striven to put across.

One must conclude, then, that there is some elusive, ineffable quality in the genre that transcends voice, surroundings and other external trappings. A mature exposition of a raga like Todi by a seasoned artist can delight and on occasion uplift a discerning audience, even if the voice is less than perfect. The genius of the system is such that the use of the gamaka-s and correct values of swara-s peculiar to the raga, and elements such as impeccable rhythm and unfettered manodharma can weave a web of .magical beauty. Some connoisseurs go so far as to discount an outstanding voice at face value, the premise being that the musician must certainly be lacking in other and more important attributes. Nevertheless, a clear ringing voice, conditioned' to the best that it can be, could add a further dimension of appeal, take another step towards perfection, and even propel the imagination to the highest echelons of creativity.

A resplendent stage presence is the unmistakable hallmark of a consummate performing artist, one who has striven earnestly to arrive at and maintain the golden mean between uncontrolled histrionics and an apparent lack of involvement. Obviously, it is the culmination of a great deal of thought and practice, which must be undertaken simultaneously with the musical training itself. The audience could fulfill its responsibilities by arriving on time and remaining seated through the performance. People walking in and out at will, and conversing with each other, can undermine the artist's concentration and may even prove unnerving at times. The organizers could on their part try and create an ambience that would elicit the very best from the artist - a proper sound system being the very least of its components. The voice and accompaniments need to be balanced effectively so that each is distinctly audible without drowning the other. After all, what is presented on stage is the fruition of a lifetime of rigorous study and dedication combined with the confidence and courage to face an audience. All the elements that go into the making of a concert have to be meticulously attended to, making the experience a rewarding and memorable one for performer and listener alike.

MADHAVI  RAMKUMAR

(Cartoons by Sarathy)

Originally published in the May 2004 issue of Sruti Magazine