By T. M. Krishna
T.M. Krishna starts his sweeping exploration of the culture of Karnatik song with a primary query: what's track?
Taking not anything with no consideration and addressing readers from around the spectrum - musicians, musicologists in addition to laypeople - Krishna offers a path-breaking assessment of South Indian classical music.
Tata Literature reside! First publication Award for Non-Fiction (2014)
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Extra resources for A Southern Music: The Karnatik Story
By way of this time, shruti used to be now not a notional concept; shrutis have been real pitch positions or svarasthanas which may be utilized in track. This intended that there can be twenty-two svarasthanas due to the fact that there have been twenty-two so-called shrutis. however the early mela theoreticians have been cautious to transform basically these shrutis less than each one svara that have been getting used as svarasthanas in ragas. hence, melas have been created in basic terms while there have been present ragas that may be categorised less than them. This used to be commendable, yet retention of the time period ‘shruti’ and the ongoing harping at the relevance of the twenty-two shrutis and the variety of shrutis attributed to every svara in the tune was once incorrect.
Each artwork track shape supplies musicians the facility to acknowledge the cultured constructions that represent tune in any shape. With imaginative and prescient, it truly is attainable for musicians to exploit those talents to interpret all types of track. In providing Karnatik tune as universally adaptable, we additionally think its nature has to be replaced. after we regulate its nature, even though, what is still isn't any longer Karnatik tune. No artwork track shape is a free selection of components that come jointly. Karnatik song is a tightly packed entity, held jointly by way of a necessary middle.
Leela and M. L. Vasanthakumari have been a part of the cinema international, yet as playback singers. yet this too used to be to alter very quickly. South Indian movie song started to be encouraged by means of many musical types from around the nation and worldwide, like Hindi movie tune, Ghazals and well known tune from the West. The impact of Hindi movie track was once a significant factor, as a few of the Western impacts got here through Bombay. All this obviously lowered the ‘Karnatik’ parts in south Indian movie tune. through the Fifties, cinema was once the preferred leisure within the kingdom, slicing throughout all type and monetary divisions.
Nonetheless, svara combos are virtually mathematical in nature, and the brain can build them with way more ease. possible ask if an extended alapana is even worthy. Does it improve the aesthetics of the track if the strategy impedes the aesthetics of the raga? there's benefit in those questions. in reality, i ponder even if we have to examine the alapana extra at the foundation of its inventive enter instead of size of rendition. this doesn't suggest that shorter alapanas are higher. It simply signifies that we have to revisit the shape and constitution of the alapana in accordance with the raga selected.
Whilst any type of improvisation shifts the point of interest of the raga from abstraction to diversifications and mixtures, the aesthetics of the raga can't yet be affected. in relation to ragas that experience developed as scales, this won't be an issue, however it is one in relation to older phrase-based ragas. In those instances, the musicians must be way more cautious rendering mel-kala svaras, permitting their creativity to steer them in the direction of improving the classy kind of the raga inside of its phrasing. This seldom occurs, as musicians are pushed by way of the buzz that mel-kala diversifications and combos can create.