Thank you Shri Rama and Kavi Rani; The truth shall triumph. KR IRS 4223 On Fri, 3 Feb 2023 at 23:48, Rama <[email protected]> wrote:
> > On Fri, 3 Feb 2023, 23:47 Rajaram Krishnamurthy, <[email protected]> > wrote: > >> Young voices put Carnatic music back on track >> >> 1 Forgive me, but it is raining music in the South these days, inspiring >> me, almost forcing me, to write about it. Yesterday, I attended a wonderful >> Carnatic music concert by Vijay Siva, whose strict adherence to classicism >> was soul-elevating. He had two tanpuras manned by live people behind him— >> none of the electronic tanpuras that are in vogue these days. Tomorrow, I >> plan to attend a concert by the Priya sisters. What is unusual about all >> this is not the fact that these musicians are good; it is that they are all >> so young; most of them are 40 and below. >> >> Happily, Carnatic music is undergoing a resurgence in South India. It >> wasn’t always this way. When I was a teenager in Chennai, Carnatic music >> was in danger of dying out. The older stalwarts such as M.L.V., M.S. and >> Balamurali were still singing, but there were no younger artistes to take >> their place. How things can change in a span of 20 years! Now, a growing >> number of enthusiastic and accomplished singers and instrumentalists are >> giving Carnatic music life while preserving its tradition. More important, >> it has found an eager and appreciative audience; one that is willing to >> cross oceans to partake of it— witness the NRI presence at Chennai’s >> December music season. >> >> * >> <https://www.comparecredit.com/credit-cards/tips/citi-simplicity-v3/?utm_source=taboola&utm_campaign=22023473&utm_content=2+Cards+Charging+0%25+Interest+Until+2024&utm_medium=native&image=http%3A%2F%2Fcdn.taboola.com%2Flibtrc%2Fstatic%2Fthumbnails%2F0b6142b2f1eb229394c87f160d9e2c34.jpg&network=Desktop&ad_extension_id=3585483678&placement=livemint.com&product=credit_cards&clickid=GiD-hDV8aGs4ZxmpUZ3_rPqfssocTD5zfO4_EnXzbCEnViDV3FEopqDO3dPH1aMF&utm_term=22023473%7Chindustantimes-livemint%7C3585483678&tblci=GiD-hDV8aGs4ZxmpUZ3_rPqfssocTD5zfO4_EnXzbCEnViDV3FEopqDO3dPH1aMF#tblciGiD-hDV8aGs4ZxmpUZ3_rPqfssocTD5zfO4_EnXzbCEnViDV3FEopqDO3dPH1aMF>* >> >> 2 No art can survive on the merit of the artistes alone. Art requires >> patronage, sponsorship and a discerning audience. Carnatic music is >> enjoying this rare confluence of factors. The musicians themselves are very >> good and there are enough of them to go around. Many are young and offer >> the potential for improvement for an audience willing to bet on them. Best >> of all, the four South Indian states have spawned an explosion of sabhas, >> concert halls and samajs that are willing to nurture and support a >> multitude of musicians. Bangalore has the Gayana Samaj, the Ram Seva >> Mandali, the Indiranagar Sangeet Sabha and others. Chennai has too many to >> count. Kerala and Andhra Pradesh sponsor cutcheris year-round. >> >> The four southern states each share a special bond with Carnatic music. >> Andhra Pradesh, arguably, is the mother lode and Saint Thyagaraja, its >> missionary son. The sweet Telugu language seems particularly suited to >> Thyagaraja’s songs, which mixed the familiarity of a lover with the >> impassioned pleas of a devotee. His kriti in the vibrant raga Atana, for >> instance, is typical of the questions that pepper his songs: Ela nee >> dayaradu? In modern terms, Thyagaraja draws a vivid portrait of how great >> the Lord is, and then provides the kicker: If you are so great, why is your >> grace eluding me? Ela nee dayaradu? >> >> 3 Dikshitar and Shyama Shastri, the other two in the divine trinity, >> sang mostly in Sanskrit. >> >> Kerala musicians render these with practised ease, given Malayalam’s >> affinity to Sanskrit diction. Kerala had its own princely composer—King >> Swati Thirunal. >> >> 4 The remaining two are no lightweights. Tamil Nadu has now become home >> to some of the best Carnatic musicians and the prestigious December season. >> Karnataka, where I live, is unique because it straddles Carnatic and >> Hindustani music, encouraging both in a way that is typical of this >> large-hearted state. Gangubhai Hangal is feted with as much veneration as >> Balamurali Krishna. >> >> After most concerts, I hang around outside and listen to the cognoscenti >> talk. I love listening to truly knowledgeable rasikas expound on the >> delights and merits of a particular raga, a kriti or even a sangati (a >> passage). >> >> 5 I haven’t been to IIT, but that’s how I feel about Carnatic music >> “daads" who can connect the dots between raga Yaman Kalyani and kaapi in a >> way that I can only dream about. Similar to thermodynamic equations, >> Carnatic music, too, has its own jargon, which takes a while to understand. >> But once you get the hang of it, it is like being admitted into an >> exclusive club. You can watch the “daads" debate the merits of a particular >> niraval and nod as if you know what they are talking about. Or, you can >> wander incognito into Internet newsgroups such as “Rec.music. Indian- >> classical.com” and listen to expositions on music. >> >> 6 The above is the view of self-exposure in 2023 online watching the >> sabha kutcheri through the net on subscriptions. Sales of CDs of >> yesteryears were quite good, mainly bought by the young and middle aged. >> Also the knowledge of Carnatic music can be known from the DVDs being >> released as ALBUMS by young ones with the drums and saxophones, delivering >> in Carnatic words and tunes. T M Krishna and Sowmya are running the portals >> confidently which shows the sustenance. As VEDIC WAY OF LIFE will not be >> obliterated but survive with the changes on time, so too , the Carnatic >> music shall survive and sabhas will be there. May be as Temples in Western >> nations refurbish, may be the sabhas rise up here and Americans may >> continue to sing carnatic deviating from RAP. Madurai Mani style and GNB >> may not be heard; but youth will cherish the values with the drums. After >> all the percussion is only rendering the thalas and vocalists the brugas. >> KR IRS 3123 >> >> >> >> On Fri, 3 Feb 2023 at 06:42, Rama <[email protected]> wrote: >> >>> >>> >>> >>> From: Rama <[email protected]> >>> Date: February 3, 2023 >>> >>> >>> Menu >>> >>> <https://anandkumarrs.com/2023/01/08/carnatic-musics-ageing-conundrum/#content> >>> anandkumarrs <https://anandkumarrs.com/>*An Interesting post 0n present >>> Carnatic music trend .....Courtesy Anandkumar Trichy * >>> <https://anandkumarrs.com/> >>> Carnatic Music’s “Ageing” Conundrum! >>> <https://anandkumarrs.com/2023/01/08/carnatic-musics-ageing-conundrum/> >>> >>> The ‘*Season’* has almost drawn to a close in Chennai. Of course, the >>> *‘Season’* here implies the Carnatic music season, also called the >>> December music season or the *Margazhi* festival. When the *Season *comes >>> to an end in Chennai, offshoots of the same prop up in other cities like >>> Mumbai, Bangalore, Hyderabad, etc… In fact, as I write this, *Margazhi >>> Mahotsavam* – a mini-Carnatic event is going on in Mumbai, where I live >>> presently. >>> >>> The last time I attended the *Season* in Chennai was in 2019. The 2020 >>> *Season* got marred by Covid. The *Season* made a comeback in 2021 and >>> one could almost enjoy the season “online” except for the canteen. So, this >>> year’s festival (2022) is a return to the *Season* we all know in its >>> full pomp and glory – Full-fledged *Kutcheries* in *sabhas* and >>> auditoriums where we can see the artists in flesh, listen to the music in >>> real and of course savour the delicacies in the canteens in person. >>> >>> I don’t know how the *Season* went off in Chennai this year. From >>> whatever little I gathered from the media, it seems that the response from >>> the *rasikas* was quite overwhelming and the *Season* has been a >>> roaring success. Yet, I feel that Carnatic music is in the throes of an >>> “Ageing” conundrum which is what I want to talk about in this post. >>> >>> Are today’s youth attending Carnatic music concerts? I don’t have a >>> conclusive view on this yet but, my question arises from the signals I get >>> while attending concerts. In Mumbai, in the last few years whenever I have >>> attended Carnatic concerts, the audience comprises freshly minted senior >>> citizens mainly, some super senior citizens, a relatively smaller bunch of >>> those in their 50’s, and then kids in their teens who are probably still >>> learning Carnatic music (before the 10th/12th bugs hit them). One can >>> hardly find people on the right side of youth (the 20s/30s) or the wrong >>> side of youth (the 40s). Even if they are, they will be few and far in >>> between. But you can find these groups in cinema halls, in live music shows >>> and stand-up comedy gigs. >>> >>> Now, I am not sure if the scene is any different in other cities. When I >>> used to attend the *Season* in Chennai, the situation was quite >>> similar. Having said that, it is not my case that Carnatic music has no >>> appeal among today’s youth and hence it has no future. In fact, it is the >>> contrary mainly for two reasons. >>> >>> One, in the last two decades, there has been a huge influx of exciting >>> talent in Carnatic music which is a very encouraging sign. This has >>> completely demolished the arguments of the 80s that Carnatic music faced an >>> existential crisis. Today, Sanjay Subrahmanyan who is only in his mid-50s >>> is looked upon like a veteran *a la* Dhoni in CSK. That Sanjay keeps >>> evolving himself to be in tune with the *rasikas* of today and tomorrow >>> with his engagement style is another matter. The *Sabha* schedule is >>> packed with concerts by those who are in their prime youth. So, it is not >>> that the youth are not taking to Carnatic music. >>> >>> Two, as I mentioned before, the younger generation of today is taking up >>> learning Carnatic music in a more enthusiastic way than it was in my >>> generation. So, it is not “uncool” anymore to learn Carnatic music. >>> Particularly the NRIs have been trailblazers in this regard with a lot of >>> fresh talent in Carnatic music coming up from among the NRI youth. >>> >>> It’s clear, therefore, that while Carnatic music is not an anathema for >>> the youth, I find them reluctant to spend time attending typical Carnatic >>> concerts. Therefore, the questions are – what are the reasons for this >>> phenomenon and what can be done to correct the situation? >>> >>> One of the main reasons I have heard is that Carnatic as a style is too >>> slow and so not so cool to follow. And it is also difficult to appreciate >>> the nuances of the music unless one has some basic knowledge. I agree that >>> there is a need to de-mystify Carnatic music among the masses. Here I find >>> attempts of some of the mainstream Carnatic musicians like Sanjay >>> Subrahmanyan, Sikkil Gurucharan, and Vijay Siva to constantly explain the >>> influences of Carnatic music on film songs in a simple, lucid manner >>> through their YouTube channel, very laudable. This creates interest even >>> among those who don’t know Carnatic music. The availability of social media >>> platforms has also helped them to reach their content widely. Another >>> person who has been putting conscious efforts to de-mystify Carnatic music >>> is Subhasree Thanikachalam. She and her team have been doing these themed >>> concerts where they present a typical Carnatic Kutcheri format but with >>> popular film songs with simple explanations. >>> >>> Then there is the *“Agam Model”*. *Agam* is a rock band that came into >>> the scene ten years ago and soon earned the epithet of “Carnatic >>> Progressive Rock”. Today, I find that this band is extremely popular among >>> the youth. In their concerts, Carnatic is nicely blended with metal to give >>> a very high energy and frenzied experience which the youth of today seem to >>> lap up. On stage *Agam’s* lead singer, Harish Sivaramakrishnan is like >>> the pied piper of yore making the audience sing along to his tunes which >>> are even Carnatic based. I was surprised to see youngsters finishing the >>> lines of popular *kritis *like *Ranga Pura Vihara* ( A Muthuswamy >>> Dikshitar *Kriti* immortalised in our souls by M.S.Subbulakshmi) and >>> *Manavyalakinchara* (A Tyagaraja Kriti in the mellifluous raga – *Nalina >>> Kanti*) (Check out the clip here >>> <https://www.youtube.com/watch?v=bvcSfHn4Fek>) which are of course the >>> band’s most sought-after numbers. Their rendition of these kritis has >>> garnered huge hits on YouTube as well. I am told that *Agam* has a cult >>> following among senior citizens as well. So, is creating a Carnatic-based >>> genre where Carnatic vocal is fused with Western music riffs on guitar and >>> western percussion an answer to the conundrum? >>> >>> I am certain that there is no one answer. With the advent of technology >>> and with Senior citizens increasingly relishing watching concerts online >>> from the comfort of their homes, soon Carnatic music may be facing the same >>> “Theatres VS OTT” conundrum as the film industry. It is therefore high time >>> that the practitioners of the Carnatic genre gave some thought and find >>> ways and means to get the youth to the *Kutcheri* halls and solve this >>> “ageing” problem. In Tamil, one is called a *Karnatakam* type, if he >>> is old-fashioned. Carnatic music should not slip into that definition if it >>> is not already. >>> >>> *Cartoon courtesy – Keshav from The HIndu* >>> >>> >>> >>> >>> >>> 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