The Essentials of Karnatic Music

Hari Nagabhushanam

Karnatic music has two aspects, the transcendental and the conventional, the latter being conceived chiefly as a stepping stone to the former which is the true conception of music. The best exponents of the Karnatic school have laid stress on these two aspects and have demonstrated them by their own example. Ramadas, Purandardas, Narayana Thirtha, Narasimhadas, Thyagaraja, Kshetrayya, Dikshitar and a host of such ‘Bhakti Yogins’ furnish instances in themselves for my propositions.

Sri Thyagaraja

Of all these, Sri Thyagaraja is certainly a divine incarnation come out to preach to us, consistently with Vedic authority, what music is in its essence and how it secures our eternal emancipation. Sri Shankaracharya expounded the Vedic lore especially the ‘Prasthana Traya’ thereof and re-instated the ‘Adwaitic’ system of philosophy in its former glorious, indubitable and invulnerable position. Sri Ramanujacharya interpreted the same so as to recuscitate the ‘Visishtadwaitic’ system of philosophy and Sri Madhwacharya construed it with a view to re-establish the ‘Dwaitic’ system of philosophy on a firm basis. Thus, of course, they became the founders of the three main religious sects into which the whole of the Aryan population in India is divided at present. As time passed, the true spirit of the systems became lost and superficial vestures have remained only to create and widen the barriers of dissension and strife. Sri Thyagaraja therefore came out to restore unanimity among the followers of the three great exponents of the Vedic culture and effect a regeneration of ‘Nada Brahmopasana’ inculcated by the ‘Shrutis’ and the ‘Smrithis’ etc. He conceives that ‘Nada Brahmopasana’ is the backbone of Vedic culture, that the three great schools of philosophy above referred to are agreed upon its form and procedure, and that ‘Samgeetham,’ its conventional counterpart, serves as a universal religion and a common language not only for the whole of the Aryan Race in India but for the whole creation, human and superhuman.

The Religion of Sri Thyagaraja

True to his birth as an Andhra Smartha Brahmin of the Vydeeki sect, professing Sri Shankaracharya’s Adwaitic doctrine of Vedantic philosophy, he lived the life of a Sanyasin (ascetic) and preached “Jnana Yoga.” He declares that he has realised the identity of the ‘Paramathman’ (i.e., the ego within with the cosmic ego throughout), that the whole of creation is nothing but a manifestation of one ‘Atman’ so beheld, and that through ‘Nadopasana’ one attains ‘Atma Jnana’ i.e. self-realisation and ‘Atmanandam’ i.e. self-blissfulness. (Vide his songs of ‘Marugelara,’ ‘Vidajaladura,’ Undede-Ramudokadu,’ ‘Ethavunara Nilakada Neeku,’ etc.)

Again, true to his mission, he puts on the garb of an ‘Upasaka’ or ‘Bhakta’ and inculcates ‘Bhakti Yoga’ which is common to both Dwaitic and Adwaitic Schools and proclaims that ‘Nadopasana’ secures ‘Moksham’ (or salvation) and that ‘Samgeetham’, its conventional counterpart, effects the same if it is permeated with ‘Bhakti.’ Further he denounces in very strong terms that accomplishment in music for the sake of wordly prospects or sensual appeasement is infernal and unworthy of the posterity of the Maharishis. Again he chooses the name and form of Sri Ramachandra as best representing the address and the personality of ‘Parmathman,’ no note of discord being struck by any school of Vedic religion as regards His supreme divinity. Let us see why this is so.

The Divinity of Sri Ramachandra

The word ‘Rama’ literally means ‘he in whom everything is delighted,’ and its origin is traceable to the Vedas as an expression denoting the supreme ‘Brahman.’ Bhagavan Valmiki sings His praises in his sacred work of Srimad Ramayana with the following conception of Sri Rama’s personality as expressed therein: -

“Rama is a righteous man in the world. His motto is ‘Satyam’ and ‘Dharmam’, i.e. truth and virtue. In fact, virtue with its splendour has emerged directly from Rama.”

The inner meaning thereof may be stated thus: -

“Rama is that entity styled ‘Sat’ in the Vedas. He can be best realised through His attributes of ‘Satyam’ ‘Jnanam’ and ‘Anantham’. The cosmos has evolved from Him with the help of ‘Prakriti.’

This verse therefore conceives Sri Rama as ‘Paramathman’ spoken of in the following texts: -

1.“Oh Somya! this visible world (of name and

form) existed as ‘Sat’ before creation –

that ‘Sat’ which is one without a second

and which is also called ‘Brahman’.

2. “Brahman is ‘Satyam’, ‘Jnanam’ and

‘Anantham’

3.“That from which the visible creatures have

sprung up.”

Again, Bhagavan Valmiki further describes Sri Rama in the following terms: -

“Oh daughter of Janaka! Rama is a person shining with lotus-like eyes; He is beloved even of the animal creation; He has striking beauty and overpowering personality; He has been born with such qualities.”

“Oh daughter of Janaka! Rama is ‘Pundareekaksha’ i.e., Sri Maha Vishnu; He is endeared to the mind because He is the ‘Atman’ permeating the creation as its support; whatever is strikingly beautiful and whatever presents an overpowering personality are only His manifestations. Such an entity is only the birthless ‘Brahman’ now incarnate as Rama.”

Thus we see the first describes Sri Rama as the personal God, the second describes Him as the impersonal God, the only reality owing to which the whole creation is deemed to exist as it does, and the third describes how He can be best realised in the visible objects of creation.

Bhagavan Valmiki enumerates in the above two verses and many others of a similar kind the two ways of defining Brahman, namely ‘Thatasthya Lakshanam’ and ‘Swarupa Lakshanam’ spoken of in the above-quoted Vedic texts and also details the manner of realising Him, i.e., the ‘Upasana’ to behold Him. Therefore, in his conception, Sri Rama is evidently the personal and the impersonal ‘Brahman’ the Vedas describe at such great length.

Bhagavan Vyasa conceives Sri Krishna in the same manner in his sacred work Srimad Bhagavata and says this at one place: -

“Barring a butcher or a self-murderer, who will not say ‘it is enough recounting the virtues of Bhagavan’ –a recounting which ‘Muktas’ i.e., self-realised ‘yogins’ indulge in, which ‘Mumukshus’ i.e., seekers after self-emancipation, consider as a panacea for repeated births, and which pleased the ears and the hearts of ‘Vishayees’ i.e., sensualists.”

The above description of Sri Krishna agrees closely with that of Sri Rama in the foregoing and declares that He is the supreme ‘Brahman’ in whom the whole creation has its rejoicing. Indeed the name and personality of Sri Ramachandra are such that they attracted even ‘Muktas’ like Bhagavan Vasishta and Bhagavan Viswamitra to love and adore him in self-identity to their self-absorption, that prompted compeer Avataras like Bharata, Lakshmana and Satrughna to reverence and bow down to him in all sincerity to their heart’s content, that induced ‘Mumukshus’ like Guha, Hanumantha, and Vibhishana to worship and serve him in all meekness for their self-emancipation, and that tempted ‘Vishayees’ like Sugreeva and his following to revere and obey him in all earnestness for their spiritual elevation. Valmiki who had been living a most sinful life became Brahmarshi Valmiki as he constantly thought of Rama and uninterruptedly recited His sacred name, true to the initiation of the “Sapta Maharshis.” Again he has become the father of Sanskrit poetry and the author of the greatest and noblest of Sanskrit poetic works because he has written the life of Sri Rama, completely absorbed in devotion and love.

In fact, even the name of Sri Rama, not to speak of His personality, is enchanting to the highest degree even to His enemies like Ravana, and I venture to assert that there is no word in the world’s literature, which is so sweet to the ear and so palatable and tractable to the tongue.

There is no wonder, therefore, that Sri Tyagaraja has selected Sri Ramachandra and His sacred name to represent the ‘Paramathman,’ and ‘Aumkara’ His address, so that the one may constitute the ‘Alambana’ i.e., the objective, and the other the medium for the spiritual meditation of a ‘Bhakti Yogin’ in the course of his ‘Geethopasana.’ He realises that Sri Rama is acceptable to all sects and endeared to all people from every standpoint as a supreme incarnation of ‘Parapara Brahman’ i.e., personal and impersonal God, and has hence addressed his songs principally to Him with His glorious name as the catchword thereof.

One who studies the life of Sri Thyagaraja in the dim-coloured light of Western education and not in the effulgent search-light of Vedic culture will find that he has some though not all the moral and intellectual weaknesses man is heir to, such as wrathfulness, jealousy and self-conceit; and that he holds religious ideals which change from the low depths of polytheism, to the highest summits of pantheism. Vide, ‘Endaro Mahanubhavulu’, ‘Giriraja-suthathanaya’, ‘Marugelara’, etc. Again his ‘Bhakti’ appears to range from what is called ‘Moodha Bhakti’ i.e., blindfold popular devotion, the meanest conception thereof, to ‘Antharanga Bhakti’ i.e., altruistic introspective devotion, the highest culmination thereof.

Thus it looks as if he were passing from one stage of evolution to another and becomes a perfect man as age advances like any other human being. This conclusion follows if we view his life in the light of the Western method of criticism of great personalities like Shakespeare, Milton, Dante, Carlyle, Wordsworth, Ruskin and so on. Whatever may be the height of knowledge which the Westerner has reached in the sphere of material scientific inventions, it cannot be supposed for a moment that he has fathomed the depths of spiritual culture in any degree. Hence he is no safe guide to us in matters spiritual such as the criticism of the religious leaders. Sri Thyagaraja is one who, as already observed, comes out into the world with a particular mission from God, that of cementing differences among the followers of the three schools of Vedantic philosophy through ‘Nada Brahmopasana’ and as such he plays the role of an ‘Upasaka’ and in doing so he presents a variety of changes as taking place in him as consequences of his ‘Upasana’, and appears as if he had been afflicted with many of our mental infirmities and intellectual deformities. But if you let your vision penetrate deeper and deeper, you will find that he is a ‘Jnana Yogin’ as perfect as Sri Shankaracharya himself, and that to save the world from the agonies of life, he espouses the cause of ‘Bhakti Yoga’ in which aspect he is as perfect as Sri Ramanujacharya or Madhwacharya. Hence some of his songs have a double meaning, one appealing to the ‘Jnana Yogins’ and the other to the ‘Bhakti Yogins.’ Vide ‘Dwaithamu Sukhama’, ‘Marugelara,’ ‘Bhajanaseyave Manasa,’ etc. Even though he is perched upon the highest peak of ‘Sanyasam’ or ‘Nivrithi’ inculcated by the Upanishads as interpreted by Sri Shankaracharya, he always puts on the insignia of ‘Garhasthyam’ or ‘Pravrithi’ and moves with us in the labyrinths of changing faith and oscillating devotion. This is the way in which an Avatar like Sri Ramachandra or a ‘Loka Samgraha Jnani’ like Janaka would act in pursuance of the following texts: -

“You are bound to do ‘Karma’ at least with a view to effect ‘Lokasamgraham’ i.e. to elevate mankind by social service, just because Janaka and others attained self-realisation, doing ‘Karma’ alone.”

“Whatever a leader does, others (his followers) do that alone; whatever ideals he acts up to, the world follows them.”

Sri Shankaracharya comments on the first of the above verses as follows: -

“They (Janaka and others) attained self-realisation through ‘Jnanam’ alone but doing ‘Karma’ for the sake of ‘Lokasamgraha’ without being bound by it as laid down by the verse ‘Guna Guneshu Varthamthi’; though ‘Karma Sanyasam’ was achieved by them, they attained self-realisation doing ‘Karma’ alone;this means they did not abandon ‘Karma’ “.

Hence Thyagaraja who is an Avatar according to me, or a ‘Loga Samgraha Jnani’ such as he declares himself to be in his song ‘Dasarathe, Runamu Deerpa Na Tharama,’ selects and observes throughout his life a course of conduct which presents him in a cloak of humanity with all its patches and decorations.

Western education has enshrouded our minds and has enslaved our hearts so much that we begin to argue that we have a right to review the lives of ‘Avatars’ and ‘Mahapurushas’ and point out their virtues and drawbacks, all the while labouring under the misapprehension that they as human beings like ourselves are amenable to our criticism. We forget that humanity ranges from the carnivorous cannibal to the most philanthropic Mahatma, that the ideals guiding the conduct of persons differ according to the degree of their cultural evolution, and that hence we are not fit to judge persons occupying a position of giddy eminence above us. Consequently we should not venture our opinion with regard to the conduct of saintly characters and it should be our sole aim to dive deeper and discover a solution to the apparently irreconcilable incongruities therein. Sri Thyagaraja being one of such Mahatmas, we should study his life with an open mind eager to receive enlightenment further and further out of his unfathomable resourcefulness. In this connection let us bear in mind the following verse in the ‘Geetha’: -

“What is night’s darkness to creation is daylight to a ‘Samyamee’, i.e., a ‘Jnani’, and what is daylight to a ‘Jnani’ is night’s darkness to creation.”

Again, a superficial critic such as a person who is not well-versed in Sanskrit or Telugu, or one who has not understood the spirit of languages, may say that Sri Thyagaraja’s linguistic accomplishment is anything but noteworthy, that the language he used in his songs is full of ungrammatical laborious constructions and that he lacks felicity and clearness of expression. Here also he is too high for us to judge. Just as Sri Rama is God enshrined in his heart, so is Srimad Ramayana his constant companion for his thought and expression. Just like Srimad Ramayana his songs are such that a boy can be said to understand and that even Pandits fail to expound. Again Srimad Ramayana contains many words which cannot be reconciled with the rules of Panini’s grammar; so also Sri Thyagaraja’s songs may have expressions here and there which defy the rules of our incomplete Telugu Grammar. Such words and expressions are styled ‘Arsha Prayoga’ and we have no right to say they are wrong. In fact we shall have to evolve a separate grammar from his works which will explain the linguistic beauties thereof, on the lines of the Vedic grammar and the Shakespearean Grammar. In one word his grammatical constructions are most musical and most original, and his style is most chaste, idiomatic, simple, homely and fertile. In every way he is a transcendental personality and as such the rules prescribed for our conduct do not bind him in any manner. (Vide, Sri Shankara’s ‘Bhashyam’ for the fourth aphorism in ‘Uttara Mimamsa.’)

Thus a critical study of Sri Thyagaraja’s life and his works will convince everyone that he is a ‘Vibbuti Avatar’ of God come out into the world to re-habilitate music in its original purity of conception, to redirect it in its proper channels of spiritual communion, and to replenish it with original composition breathing complete divinity throughout, holding himself out as one who has realised ‘Jivanmukti’ through ‘Nadopasana.’ His glory radiates all over the country and is sure to captivate the whole world one day. Many of his songs echo the foregoing observations about Sri Rama and himself. Let us accordingly feel proud that he was born among us in South India like the three great teachers of Vedic religion, and make sincere efforts to carry out his mission by propagating his ideals through precept and example.

Geethopasana: How To Be Conducted

We now come to the next subject; how we have to conduct our ‘Geethopasana’ in accordance with his ideals.

‘Geethopasana’ goes by the name of ‘Samgeetham’ in ordinary Shastraic literature as already observed. The word ‘Samgeetham’ literally means ‘well-sung’ and it is technically used as indicating a combination of ‘Geetham’, i.e., vocal music, ‘Vadyam’, i.e., instrumental music, and ‘Nritham’, i.e., dance music, according to some authors; and ‘Geetham’ and ‘Vadyam’ alone according to some others. Of these ‘Geetham’ is set down as the vital function and the other or others as auxiliary. Again ‘Geetham’ is said to be one of three forms –‘Ekala Geetham’, ‘Yamala Geetham’ and ‘Brindaka Geetham.’ ‘Ekala Geetham’ means solo music, ‘Yamala Geetham’ denotes music by two persons, and ‘Brindaka Geetham’ signifies congregational music. The first of these kinds is in vogue at present, the second is very rarely seen, and the third is employed by untutored folk in their divine worship and is known by the name of ‘Sevamelam’, loosely pronounced as ‘Shavamola’ in Telugu parts. Of course, these three types of vocal music are conceived so as to serve three different purposes as I view them. ‘Ekala’ is one who can conduct the divine service single-handed in a manner worthy of himself. ‘Yamala’ is one who rises to the occasion better in combination with another, than in a single-handed performance. ‘Brindaka’ is one who mixes with many, either to lead the service or to be led by them therein. Of course, these three types of vocal musicians have their significant features recommending themselves to us but the first and the last deserve special note. The one is a representative of ‘Antharanga Bhaktas’ and the other, of ‘Bahya Bhaktas’. The middle one, i.e., ‘Yamala’ musician may be taken to represent one kind of ‘Bahya Bahkti’ which consists in a ‘Guru’ (i.e., teacher) teaching his ‘sishya’ (i.e., disciple). It is regrettable that ‘Ekala Geetham’ is now represented in a majority of cases by musicians who do not bother themselves about spiritual ideals, that ‘Brindaka Geetham’ is relegated to congregationalists who do not trouble themselves about the technique of the art, and ‘Yamala Geetham’ is almost forgotten for ever. Hence it behoves us to reform and reinforce the three types of vocal music so as to elevate the present level of our Karnatic music.

‘Bhava’, ‘Raga’ And ‘Thala’

The first essential of vocal music or music in general is the expression of ‘Bhavam’, a term which cannot be adequately interpreted in English. It literally means ‘that which exists’, and therefore implies mental concepts popularly denoted by the term ‘ideas’ since they are such as live on. A mental concept is one which is generally conveyed by means of words. In fact, language is conceived as a medium to convey ideas. Language sometimes fails to do so, owing to the intensity of emotion, and the man involuntarily falls into sobs or laughter as the case may be, or is induced to sing to himself. If, in such a state of the mind, he tries to express himself in words, they come out in a dictioned metrical manner which we call poesy, all in an unconscious mood. This proves that sobs, laughter, poesy and singing owe their origin to intense feeling, ‘emotion’ as it is called, and are hence identical in their functions and the effects produced thereby. As between poesy and singing, the former is an expression of less intense feeling than the latter, generally speaking, and both shape themselves automatically in certain cases and proceed with increasing effect. Both grief and joy give rise to these four ways of expression when they become too heavy to be contained and controlled. Laughter is better endured than sobs, poesy is better appreciated than laughter, and singing is more pleasing than poesy, and hence constitutes the highest and noblest expression of emotion in a most acceptable form. Involuntary poesy and automatic singing develop into poetry and music as we understand them. That is, the former are the commonplace media of the expression of feeling, and the latter the cultured forms thereof. Consequently poetry abounding in feeling cannot employ profuse phraseology but is pointed and laconic. So also music seething with emotion cannot have the cloak of words but is a succession of pleasing sounds in a well-arranged form.

Ragalapana

This is the conception of ‘Ragalapana’ which is one of the unique features of the Karnatic school. ‘Thanam’ and ‘Pallavi’, other special features of our school, may be treated as particular aspects of ‘Ragalapana.’ The ‘Sthayee Bhavam’ (or central idea) in music, whatever form it may assume, song, ‘Ragalapana,’ ‘Thanam’ or anything else, should invariably be ‘Bhakti’ or devotion to God, as already observed, and it has to be interwoven by one or more of the nine ‘Rasas’ (i.e., the nine types of intense emotion). Accordingly, in singing a song in which words or sentences are employed to express the ‘Rasas’, the ‘Sthayee Bhavam’ or the central thought should be constantly kept in view, the words should be distinctly and intelligibly pronounced so as to make the hearers catch and follow the ideas at once. Further, the musician should now and then be addressing God by such words as ‘Rama’ and ‘Krishna’, and his musical expatiation of the song should serve as a commentary upon the thoughts comprised therein. Again he should keep before his eyes the image of Rama or Krishna or whomsoever he addresses, and pour out his heart to Him as he sings in sincere devotion. Secondly, if he is making ‘Ragalapam’ proper, in which no language is generally employed to express emotions but which apparently consists in a modulation of the musical notes making a melody, he should induce before himself a concept of God such as he best appreciates–say of Rama or Krishna or Siva–and singing the ‘Ragam’ in a fashion which suggests that God is ‘Nada Brahman’ and that He can be best realised through ‘Nadopasana’. Just as a musician when he sings a song has to extol the virtues of God as they are described therein, he has to glorify, when he sings ‘Ragam’, God’s attributes as they are symbolized in Vedic texts.

Sri Thyagaraja prescribes the rules which a musician has to observe while singing any kind of musical part–song, ‘Ragam’ ‘Pallavi,’ etc.

1. ‘Who is that wise man who can lull you, Rama, by his music combining it beautifully with ‘Mridangam’ and ‘Thalam’,

2. and using extempore expressions which signify ideas contained in the Upanishads and singing them with accuracy in pronouncing ‘Swarams’?

3. Is it possible for Thyagaraja to worship you by means of a song which possesses the poetic beauties of ‘Yati’ and ‘Visrama’, the stylish grace of ‘Draksharasa’ (i.e.. grape-juice) the sense-grandeur of ‘Navarasas’, and the spiritual culture of ‘sadbhakti’ and ‘vyragyam’ (i.e., intense devotion and ascetic renunciation).”

Thus we see that Thyagaraja ordains what a musician should say, what he should. think about, what he should express and how he has to sing and so on. He rules that he should use expressions which convey ideas contained in the Upanishads, while singing ‘Ragam’, song or anything else, clothe them in ‘Bhakti’ and ‘Vyragyam’ and deliver them with verbal ornamentation, etc. While it is so laid down by the great preceptor, our musicians disregard his command and say Ri, Ri, Ri; Ni, Ni, Ni; A, A, A; Ha, Ha, Ha, etc., and so on, which ejaculations have no sense whatever. Should we tolerate all this? I used to hear great musicians of old sing ‘Ragam’ saying “Tha Da Ri Na Thom” and I was all the time thinking that it must be some expression with a great meaning, being used by those who held ancient ideals. Sometime back the real expression dawned upon me with its import to my great relief. The above expression is a shortened or rather a mutilated form of “Thath Are Anamtham Aum” or “Thath Are Nantham Aum.” Now the meaning of the expression is clear as daylight. “Oh seeker after truth, ‘Thath’ is ‘Anantham’ or ‘Nantham’ and it is ‘Aum’.” It means “‘Brahman’ is infinite and He is ‘Aumkara’.” We see now that this expression brings out in brief the idea contained in the ‘Mandookyopanishad’ already referred to, a most beautiful and appropriate conception indeed. It conforms to the ideal set up by Sri Thyagaraja in the above song. But, alas! our present-day musicians, at least the majority of them, have lost sight of this ideal and have incurred the ban of meaninglessness for our sacred music. Let us therefore try and get rid of this stigma by compliance with Shastraic ideals. Let us bear this in mind, and let our musicians use the above expression or similar ones such as ‘Ne Dam’ ‘Anantham’, ‘Aum’ etc., etc., so as to bring out the Upanishadic conception of the impersonal God, or say ‘Rama,’ ‘Krishna,’ ‘Govinda’, ‘Shankara sambho,’ etc., inorder to address ourselves to the personal God. Again they may take up a ‘Slokam’ addressed to God, personal or impersonal, and comment upon its meaning, by way of explanation, by their singing the same, with such addresses to God here and there, as mentioned above.

The next question is, what should a musician say when he sings ‘Thanam’ or ‘Ghanam’ as it is sometimes called? The word ‘Thanam’ is either an incorrect form of ‘Anantham’ or a correct expression meaning ‘Ekathanam’ which means the same thing as ‘Anantham’. Hence, as the usage goes, he should inter-weave ‘Thanam’ with the expression of ‘Thanam’ or ‘Anantham’. It is regrettable that our present day musicians have altogether given up singing ‘Thanam’. The very fact that it is also called ‘Ghanam’ indicates it has a noble part to play.

Pallavi

Now coming to ‘Pallavi’ it is something which is in the nature partly of a song and partly of ‘Ragalapana’. The central idea is expressed by means of words and ‘Shthula Thalam’ is employed throughout its course. These two factors make it a song-like production. Again, the major portion of it consists in dilation of musical notes, and in this aspect, it has something in common with ‘Ragalapana’. I say ‘something in common’; because unlike in ‘Ragalapana’, the musician indulges more in singing ‘Swarams’ themselves, in mathematical proportions making combinations and permutations thereof, than in modulating the musical sounds according to ‘Bhavam’. Hence the musician who wishes to acquit himself well in this branch of music should bear in mind the ideals of the other branches–song, and ‘Ragalapana’–and effect a reconciliation as it were between them.

Now I may be questioned whether the several forms of music dealt with above have a Shastraic origin. The answer is that they have, but the names given to them may differ. The names of the several forms of music as we have them now are those of ‘Geetham’ ‘Varnam’ ‘Keertana’ ‘Ragalapana’, ‘Thanams’ and ‘Pallavi,’ etc., and the names used for them in ancient works on music seem to be ‘Geetham’ ‘Prabandham’, ‘Sooladyam’ ‘Namavalitham’ ‘Churnika’, ‘Natakam’ and ‘Alipta,’ etc. This is not the place where I can discuss the comparative merits of the names and forms of the several aspects of music in old and modern times and draw out the necessary forms of difference between them. Hence I have left out such a discussion here.

The Element of ‘Ragam’ in Music

Having said so much about the first ingredient of ‘Bhavam’ in music, I have to take up the next essential element of ‘Ragam’ and say something about it. ‘Ragam’ consists in a proper pronunciation and expression of musical sounds in the course of singing, and this pronunciation and expression we call ‘Akaram’. This aspect of music is dealt with in ‘Sabdabheda-prakaranam’ of ‘Sangeeta Ratnakaram’ and I wish to mention a few things in this connection. A study of that chapter will convince the reader that the pronunciation and expression of sounds should be as natural as possible and should have no conventions about it. If the voice is not commendable in itself, it should be so tutored as to square up the angularities and produce sweet sounds by proper modulations. Sweetness should be the ruling principle of the articulation of sounds, and it is the result of the natural frame of the voice trained and modulated at the feet of a well-accomplished teacher so as to be rid of conventions, artificialities, and eccentricities in the manner of sound production. The musician should therefore keep himself within the bounds of his voice as regards its pitch and expedition, and ought not to over-reach himself. We see a tendency now on the part of our musicians to over-estimate their abilities in this respect and to imitate a Patnam Subrahmanya Iyer or a Maha Vydianatha Iyer of ever-memorable reminiscences, with the result that their delivery is all too artificial and unfinished. Again the musician should avoid the several ‘Swara Doshams’ enumerated in works on music, especially such as we term ‘Graha Swara’, ‘Viswara’, and ‘Apaswara’. Further he should constantly keep himself alive to the fact that the primary aim of music is self-realisation through sound and should pronounce the musical sounds in such a manner as will take him to the goal. What this manner of pronunciation can be will have to be deduced from authorities such as the following: -

“Saying ‘Aum’, (the Upasaka) should concentrate himself upon ‘Atman’”.

The above Vedic text is explained by Anandagiri, the great and versatile commentator of Sri Shankara’s works, in the following manner: -.

“The moment a ‘Samadhi Nishtah’ i.e. one who is accomplished in self-communion says ‘Aum’ and concentrates himself upon ‘Atman,’ he merges ‘Akara’ of gross form in ‘Ukara’ of subtle form, then again ‘Ukara’ in ‘Makara’ the cause thereof, and then ‘Makara’ in ‘Prathyagathman’ i.e. the Ego within, who is beyond the cause and the effect. So doing, he becomes a ‘Samadhi Nisntha’ i.e. one who has realised ‘samadhi’ or blissfulness.”

This explains how ‘Pranavopasana’ the basis of ‘Geethopasana’ is practised by ‘Jnana Yogins’ and success therein is achieved by them. Hence it follows as a corollary that the same result is obtained through ‘Geethopasana’ if you pronounce the musical sounds in conformity with the above principle as explained in the following verse, with the mind centred upon God: -

“That sound is termed ‘Chehala’, perfect, which is neither very loud nor very feeble. Such a sound is produced in the case of males by ‘Akantha Kunthanam’ i.e. the modulation of free expression or production of sounds through the voice in a particular manner, and in the case of females always with no effort on their part.”

How such musical sounds can be produced in compliance with the above text so as to accord with the Vedic conception of ‘Pranavopasana’ has to be learnt effectively from a practical ‘Geethopasaka’ and no discourse thereon however long and lucid can bring home the matter so vividly. The long and short of this discussion is that a vocalist should bear in mind that all sounds and all words have their start and finish in ‘Aumkara’ and produce them in a manner suggestive of this conclusion by the requisite modulation of the voice and the necessary regulation of the mouth including the tongue and the lips, all the time concentrating his mind upon ‘Nadabrahman.’

The Element of ‘Thalam’

We come to ‘Thalam’ or time-keeping. It is said to constitute the third element of ‘Geetham.’ The following oft-quoted maxim may be referred to in this connection: -

“ ‘Shriti’ is the mother and ‘laya’ the father of Music.”

The meaning of this maxim is clear. Just as a child is born of a mother and thrives in her care, music owes its existence and melody to ‘Shriti’ i.e., the starting unit of sound and accurate attunement of musical sounds to the unit. Again, just as a father contributes to the child’s well-being, ‘laya’ i.e., accurate proportion of time-units makes for the diction and dignity of music. The Karnatic school has recognised this principle and has given a prominent place to ‘laya’ in its arrangement. ‘Thalam’ when spoken of as an element of music means ‘laya’ and not the different ‘Thalams’ such as ‘Dhruva’ and ‘Madhya’. So also ‘Bhavam’ and ‘Ragam’ as constituting the other such elements are shown to mean word-concepts and sound-combinations. These three words have acquired an extended meaning, of course not unconnected with, but as a continuation and development of, their primary meaning, and are used in that extended sense in the several chapters in works on music dealing with ‘Bhava-Prakaranam’, ‘Raga-Prakaranam’ and ‘Thala Prakaranam’ respectively. These ‘Prakaranams’ deal with the several ‘Bhavams’ or phases of emotions, the several ‘Ragams’ or melodies arising from sound-combinations, and the several ‘Thalams’ or modes of time-keeping. They are too numerous to be discussed here and may be out of place as well. In this connection it may be stated with propriety that the three ‘Prakaranams’ are too elaborate and too accurate to stand in need of any further interference on our part. Many of our musicians have been coming into prominence even without a knowledge of the rudimentary principles, and therefore we shall do well to insist upon the bulk of our musicians at least to acquire a knowledge of the fundamentals of music instead of trying to add to the list of ‘Ragams’ and ‘Thalams’ already too innumerable even to remember their names. It may not be out of place to mention here that many of our notables will not be able to sing at least twenty ‘Ragams’ at full length with all the freedom required for the task.

Vadyam

So far I have dealt with the three elements of ‘Geetham’ which is itself the first and the most vital element of ‘Samgeetham’. Next I wish to say something about ‘Vadyam’ which comes next to ‘Geetham’ to make up the idea of ‘Samgeetham.’ ‘Vadyam’ has assumed a very important place in the system of Karnatic music. It is divided into four kinds of ‘Thatha’ ‘Sushira’, ‘Anavaddha’ and ‘Ghana’ vadyams. Stringed instruments such as the ‘Veena’ and the ‘Vayuleena’ (violin) represent the first kind; bored instruments such as the ‘Venu’ (flute) and the ‘Nagaswaram’ (pipe) represent the second; skin-covered instruments such as the ‘Mridangam’ and the ‘Mardalam’ represent the third; and sounding instruments such as the ‘Chirithalam’ (cymbal) represent the fourth. The principal function of ‘Vadyam’ is conceived as accompaniment to ‘Geetham’ (i.e., vocal music); but ‘Thatha’ and ‘Sushira’ Vadyams (i.e., stringed and bored instruments) are considered to have two aspects–one as solos and the other as accompaniments, inasmuch as they are not only useful to help a vocalist as accompaniments but are capable of producing ‘Geetham’ i.e., music composed of ‘Bhava’, ‘Raga’ and ‘Thala’ in its various phases. Of these, the ‘Veena’ is of Vedic origin and immemorial repute. It is a superb instrument of a most scientific nature, and no other instrument can vie with it in point of melody and adjustability and accuracy. It only wants in richness of sound so as to command big audiences. Some ingenious brains may work at it and make up the want by any original contrivance. The violin or ‘Vayuleena’, as I term it, is believed to be a foreign instrument but I am convinced it must owe its origin to the genius of the Aryans themselves. I venture to make such a presumptuous statement because it is more adapted to our system of music than to the Western conception of music. Perhaps it represents one of the several varieties of ‘Veena’ spoken of in our works on music, which have evidently become obsolete and whose origin and development we are not able to trace with certainty. However this may be, it is an instrument which can claim equality with our venerable ‘Veena’ from every standpoint. If we compare and contrast both of them, they vie and outvie each other in certain respects. The deficiencies of the one are made good by the efficiencies of the other. In respect of richness and continuity of sound, the ‘Vayuleena’ is far superior to the ‘Veena,’ but in regard to distinctness and accentuation of sound, the ‘Veena’ excels the other though to a limited degree. The ‘Vayuleena’ is unmatched as an accompaniment to vocal music and the other is unparalleled as a permanent record of musical ‘Shruties.’ The virtues of both instruments being discussed, we have to lay down that both of them are perfect instruments, and none others can stand comparison with them, whatever be the degrees of difference between themselves. In this connection, I cannot but regret the fact that the ‘Veena’ has of late been falling into disuse owing to the popularity of the ‘Vayuleena’ and I consequently appeal to the lovers of indigenous art, especially of Vedic origin, to encourage the art of ‘Veena’ playing and revive its glory.

Next has to be reckoned the most sacred instrument, the ‘Venu’ of divine origin. Bhagavan Sri Krishna is said to have mesmerised the whole creation, animate and inanimate,human and superhuman, all alike with His strains on this instrument. His was a divine master and the improvised melodies must have been such as no human or superhuman genius could sound the depths of and the whole creation was therefore dumb stricken with the intoxication of the ambrosia of His transcendental music. Blessed were those beings who had the mysterious fortune to enjoy such music to their souls’ eternal comfort! The great Sarabhasastry–eternal peace to his soul! –is renowned as having reclaimed the lost treasure of ‘Vamsee Nadam’ and established a reputation worthy of the Avatar who first exhibited its superb possibilities. It is an instrument which may rank next to ‘Veena’ and ‘Vayuleena,’ judging from the present condition of its adaptability to our music, and will have to be placed above them by reason of its connection with the divine Avatar of Sri Krishna from which it is implied that its possibilities are far surpassing those of any other instrument.

Next comes the ‘Nagaswaram’ of immemorial origin and long-standing fame. But for the fact that it has to be blown with the mouth, it would have been taken up by the upper castes as well and mastered by them to a further degree of perfection. Even as it is, it has to be conceded that it lacks nothing to be styled a perfect musical instrument of almost all-round adaptability. The southern parts of the Madras Presidency have acquired a special distinction in the art and have excelled the other parts of the province, perhaps owing to the fact that there are a number of temples with extensive endowments of great., antiquity, which render immense encouragement to this art.

Both ‘Venu’ and ‘Nagaswaram’ are now used only as solo instruments and not as accompaniments to vocal music, and rightly so. The volume of the sound produced by them, especially the latter, is too overwhelming and hence they are not useful as accompaniments. But there are instances to show that ‘Venu’ can serve the purpose of accompaniment as well.

Of the ‘Anvaddha’ instruments, ‘Mridangam,’ ‘Mardalam’ and ‘Kanjari’ have won a name for themselves as accompaniments to vocal music and instrumental music. Their chief purpose is accompaniment alone. ‘Mridangam’ is an essential accompaniment to vocal or instrumental solo-music. Just the same part is played by ‘Mardalam’ as accompaniment to ‘Nagaswaram’. Strictly speaking, these instruments have no place as independent functionaries, but a practice has of late taken deep root in our province, especially in the case of ‘Mridangam’, to give the ‘Mardangika’ an independent chance to display his mastery of the art, apart from his capacity to accompany the principal musician. This practice, though of recent growth, is commendable if the artist keeps within his bounds; but I regret to remark that many of our present day ‘Mardangikas’ do not seem to understand that their foremost function is to accompany and not to lead the performance and misuse the trust reposed in them by taking an unduly long time for the exhibition of their talents.

While this practice itself is thus deplorable, there has sprung up another undesirable circumstance, especially in the Tamil country, to arrange a medley of instruments besides the ‘Mridangam’ such as the ‘Kanjari,’ the ‘Dolak,’ the ‘Ghatham’ and the ‘Moorsing’ to accompany the leading musician. This combination is being persisted in inspite of the trenchant criticism of learned theorists and artists to the effect that it is quite opposed to the ideals of our Karnatic system of music, the chief function being not only hampered but thrown into the background by the unduly disproportionate prolongation of the secondary functions. In such combinations, the auxiliary functionaries overpower the principal artist in their attempts to outwit one another and drown him amidst the uproar of their ill-harmonised instruments. It may also be remarked here with due respect to the artists who are displaying unprecedented mastery over the instrument, that ‘Kanjari’ is most unsuited to play the part of an accompaniment to vocal music and instrumental music such as ‘Veena’ and ‘Vayuleena.’ Perhaps it deserves a place in a ‘Nagaswaram’ entertainment. Hence it behoves the true lovers of the sacred art of music to discourage such unhealthy practices.

Again the Karnatic school has, true to the spirit of our shastras, kept alive the art of ‘Jantra-gathra-geetham’ i.e., voco-instrumental music, as I style it, which consists in oneself carrying out the functions of a vocalist and an accompanying instrumentalist at the same time. This kind of music has of late become a rare commodity in the Tamil country and I feel proud to note that Andhra Desa has got on its rolls even now many musicians who represent the art in its pristine purity. It is of course an art in itself and a musician who holds perfect sway in both the arts of vocal and instrumental music is given a higher place, by our shastras, in the scale of musicians. It is one of the several qualifications which make a ‘Vaggeyakaraka,’ the noblest of musicians, according to the dictum of author of ‘Sangeetha Ratnakara’. Indeed a musician of this type deserves special distinction by virtue of his rare genius to wield two different arts to perfection, and also by reason of the fact that such self-contained music is sure to be crowned with greater success than ordinary musical combinations where different individuals come together to perform different functions, sometimes with adverse interests and ill-harmonised hearts, even apart from their disparities of accomplishment in their several arts.

There is a variety of ‘Veena’ which has gained ground in our parts as a solo-instrument. I mean the ‘Maha Nalaka Veena’ or ‘Gotu Vadyam’ as it is called. Though not a perfect instrument, owing to the fact that it cannot produce all the ‘Gamakams’ to perfection, it is one which can captivate us with its melody and execution. It is really an ingenious discovery of an original brain and deserves our commendation.

Last but not the least, the instruments falling under the category of ‘Ghana Vadyam’ such as the ‘Chiri Thalams’ i.e., wooden or bronze cymbals, are necessary adjuncts to ‘Geetham.’ Sri Thyagaraja makes mention of these things in his song of “Sogasuga Mridangathalamu.” Again his paintings represent him as holding such an instrument in his hand. These things go to establish that they are as essential as ‘Mridangam’ to complete the conception of ‘Geetham.’ But we do not come across the use of such instruments in our ordinary musical combinations. Different varieties thereof are used as essential accessories, in ‘Sevamelam’ or ‘Brindaka Geetham’ and not in individual performances. A study of the lives of great ‘Bhaktas’ like Thyagaraja and Ramadas will convince us that they hold such an instrument, in the left hand, a ‘Thambur’ in the right hand, and wore ‘Gajjallu’ i.e., small sounding cylindrical bells to the legs when they were engaged in ‘Geethaopasana’. The importance of the last-mentioned equipment can be best realised when we deal with the subject of ‘Nrittam.’

The earthen pot is another instrument which has acquired much popularity with us in our musical combinations; It is a very simple instrument but a very fine one to amuse us either as a primary accompaniment in the place of ‘Mridangam’ or as an additional counterpart of it. Strictly speaking, it does not fall within the four kinds of instruments above stated, but it may be classed by general sufferance among ‘Anavaddha’ instruments. It may be exhilarating to us to note that the Karnatic school has preserved the prestige of the Aryan system of music even in the sphere of musical instruments, and that it has monoplised almost all the important instruments enumerated above and placed them on an eminence worthy of the glory of our nation in the province of music. Perhaps I shall not be mistaken if I assert that the ‘Chittar,’ the ‘Sarangi’ and a number of other instruments, most in vogue in the Northern Provinces, savour of Mussulmanic culture and conception and are not capable of being adapted to Karnatic ideals of music, but our instruments described above are facile enough to produce any kind of music based upon the principle of melody as well as that of harmony.

Nrittam

Next I take up the subject of ‘Nrittam’ which constitutes the remaining element of ‘Samgeetham’ according to Sarangadeva, the author of ‘Samgeetha Ratnakarai.’ It is one of the three essentials to make up ‘Samgeetham’ as shown below: “Dance, vocal music, and instrument, the three together are styled ‘Samgeetham.’” Some other authorities say thus: “Some style it ‘Samgeetham,’ which consists of ‘Geetham’ and ‘Vadyam.’” According to the latter view, ‘Nrittam’ is not necessary to make up the idea of ‘Samgeetham.’ Hence it becomes clear that there is a difference of opinion among the ancients themselves as to whether ‘Nrittam’ forms an essential ingredient of’ ‘Samgeetham’ or not. The difference will dwindle into a nominal one when we recall to our mind that all the authorities concede that ‘Geetham’ is of primary importance and the other or the others are in the nature of supplements. We have seen that the highest purpose of music is to control the three agencies of action–the mouth, the body and the mind–and thereby concentrate the spirit on ‘Paramathman,’ so that the devotee secures the state of ‘Samadhi’ or blissfulness. The three agencies are said to be controlled and concentrated when they are completely engaged in the service of God to the absolute abstraction of other objects as stated in the following verse of ‘Srimad Andhra Bhagavatha’ of the blessed Potana: -

“The hands are those alone which serve ‘Kamalaksha’ i.e., the lotus-eyed one;

The tongue is that alone which praises ‘Sri Nadha’ i.e., the consort of Lakshmi;

The eyes are those alone which gaze upon ‘Sura Rakshaka’ i.e., the Saviour of the Gods;

The head is that alone which falls prostrate before ‘Sesha Saayi’ i.e., the recliner on the Sesha serpent;

The ears are those alone which hear Vishnu i.e., the Omnipresent;

The ‘manas’ or mind is that alone which is concentrated upon ‘Madhu Vairi’ i.e., the enemy of Madhu;

The legs are those alone which go round ‘Bhagavan’ i.e., the possessor of the six great virtues;

The ‘Buddhi’ or Ego is that alone which meditates upon ‘Purushottama’ i.e., the noblest of ‘Purushas’ or Egos;

The day is that alone which is spent in thinking of ‘Devadeva’ i.e., the God of the Gods;

The learning is that alone which proclaims ‘Chakrahastha’ i.e., the wearer of Chakra by the hand;

The teacher is he alone who teaches about ‘Kumbhini Dhava’ i.e., the Lord of the Universe;

The father is he alone who says ‘oh son! realise Hari’ i.e., the purifier of all sins.”

The verse gives us in a nut-shell how divine worship and spiritual communion should be practised and perfected through the subjugation of the three agencies of action. It contains immense thought and requires voluminous commentation to elucidate it thoroughly. The epithets used to denote God are very ingeniously conceived by the author and prescribe the sort of service required of every limb and sense organ. The limbs and the sense organs perform different functions for the common end of divine service and spiritual communion, but the question is in what manner they are enabled best to do the same according to the conception of the great Poet. The answer is that ‘Samgeetham’ consisting of the three parts of ‘Nritta’, ‘Geetha’, and ‘Vadya’ affords the best method of service in compliance with such an ideal, ‘Geetham’ composed of ‘Bhava’, ‘Raga’ and ‘Thala’ engages the three agencies of the mind, the mouth, and one of the hands; ‘Vadya’ which in this connection means ‘Thambur’ engages the other hand, and ‘Nrittam’ engages the legs and the whole of the body. Small cylindrical bells are applied to the legs to produce Sweet sounds indicating the ‘Prasthara’ followed in the course of ‘Nrittam’. Thus all the organs of the body, grosser and subtler, sensory and active, are concentrated in the service of God and spiritual communion as enjoined by the divinely inspired Poet, so as to induce a state of absolute blissfulness called ‘Samadhi.’ The blending of the three parts of music which take the appellation of ‘Thowrya Trikam’ seems to be a conception drawn from the following phenomenal circumstances. Some persons when they go into a blissful state of mind fall into a musical reverie, so to style it, when they begin to chat and prattle, to sing and dance, all in ecstasy, not knowing What they do. Hence it follows that the same physical and physiognomical symptoms may be observed when a ‘Bhakta’ or a ‘Geethopasaka’ gets enraptured in a state of ‘Samadhi.’ But this kind of blissful state, being the highest and noblest, is rendered most acceptable and enjoyable as the symptoms proceed in the shape of well-ordained and well-regulated movements of the three agencies of action, which movements are termed ‘Thowrya Thrikam.’

Some authors have prescribed ‘Geetham’ and ‘Vadyam’ alone as constituting ‘Samgeetham’ and have dispensed with ‘Nrittam’ as an element of it. The reason for this seems to be that blissfulness is not in every case accompanied by automatic dancing and dallying, and hence ‘Geetham’ and ‘Vadyam’ alone are considered sufficient, firstly to set at naught the objective functions of the senses and the limbs for their entire centralisation in the subjective self, and secondly for the expression of the blissful condition in the most pleasing form.

Sri Maheswara is said to be the first personage who performed ‘Nrittam’ and has thereby given us the fundamentals of many of our literary sciences. Again, Sri Krishna Bhagavan is said to have displayed His divine accomplishment in this branch of the art as well and has acquired the title of ‘Thandava Krishna.’ Further many of our ‘Bhaktas’ seem to have rendered divine service with ‘Nrittam’ as an important accessory.

Such being the conception and history of the art, it has to be regretted that it has nowadays been relegated to the ranks of the nautch girl so that she is enabled to allure and captivate the lewd admiration of her officious paramours. Of course our ‘Bhagavatars’ so-called, who perform ‘Harikatha’ performances, are expected to have the equipment of ‘Nrittam’ also as one of their attractive features and do display it in some manner or another. Again we see it represented in our ‘Bhajana’ parties conducted by untutored folk. I doubt whether the ‘Bhagavatars’ or the ‘Bhajana’ parties display the art with any knowledge of its principles and purposes. We have a band of Brahmin ‘Bhagavatars’ so-called at Kuchipudi a small village near Masulipatam, who, the tradition goes, have been ordained by a great Sanyasin of old to enact a drama-like work of his describing the youthful exploits of Sri Krishna Bhagavan, from generation to generation. These Brahmins pursue the art of dramatic enactment as a profession even to this day in obedience to the command or rather the anathema of the saintly sanyasin, and display their skill in this art of ‘Nrittam’ as well in their own way. It is considered that some of them are certainly great adepts in the art and have acquired it by a proper study of, and an assiduous application to, its principles. Apart from such rare instances which also may not reach the high watermark of perfection, the art seems to have receded from the hands of its proper guardian-angels. Hence it behoves us to revive and popularise it among the upper classes of our society.

Conclusion

In conclusion, I appeal to my Hindu brethren to live up to the ideals of the Maharshis who are our boasted ancestors, in every sphere of our activities, and still better in that of the divine culture of ‘Samgeetham.’ and thereby ennoble ourselves in the eyes of the Almighty, ‘Paramathman’ for the attainment of eternal bliss through His purifying grace. What is contained in the following verse may be borne in mind with profit to ourselves, in this connection: -

“He is termed a real ‘Gayaka’ on earth, who has a sweet voice and a steady mind. who worships God and the Brahmins, who is a musician pre-eminent among his many peers, who knows what is ‘Adi’ and what is ‘Graham,’ who realises all the purposes of ‘Ragas,’ and is an adept in thoroughly pleasing the audience, who has mastered many shastras, besides knowing ‘Neethi’ and who is of a pure heart.”

Reprinted from Vol. II No.2, Mar-April, 1929, 185-211

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