S Adityanarayanan
The third day of the 98th Annual Conference and Concert at the Music Academy featured two enlightening lecture performances, the first of which was by R. It was given by Hemlata on the topic ‘Similar Phraseology in Non-Related Ragas’. He started by explaining the concept of associated ragas, which are similar Use Or Swaras and are often derived from melakarthaIn contrast, non-associated ragas do not fit this definition but still display shared phraseology. Hemlata classified these similarities into four groups – which were found in climb-descent Structures of ragas, which appear only in compositions, which are specific mentalityAnd which have evolved over time as phrases move from one raga to another.
in search of him melakartha With regard to ragas, Hemalatha emphasized on analyzing ragas phrase-wise rather than scale-wise. He featured it with Thodi and Kalyani, who share Dheerga Gandhar phrase (G, GRR, RG, R) and other overlapping elements, such as R, G, D and N serving as trust The notes in both slow and fast passages. He further noted the interchange of phrases between thodi and kalyani etc taalVarnam.
Moving on to compositions, he discussed common phrases such as pmrgmrs In Gaula, Purnachandrika and Saranga, where the final is Ri always involves one Karwai To relieve sweet stress. That’s how he shed light gmp dp s In Purvakalyani and Begada, as well as Aarohi (pm dns) and descending (SND NDP) phrases shared by Saurashtra and Devgandhari. Another example was the opening phrase ppmgmCommon to Dhanyasi and Atana, where the preceding and following phrases form unique raga identities. He concludes this category with the example phrase srgrnsrsndP Found in both Anandbhairavi and Kedargaula.
The third category focuses on phrases unique to Manodharma. Hemlata shed light srsn The phrase, shared by Bhairavi and Begada, and notes how Bhairavi Nishadham Nyasa Probably evolved from Anandbhairavi. he compared DSR/DSR SRG Phrases in Saveri and Purvakalyani, showing how the approach to these phrases remains consistent despite the differences dhaivatamThis is how they discussed PMR/PMGR Phrases in Surati and Arabic emphasize their aural similarity despite differences in intonation.
In the last category, Hemalatha examined the migration of phrases in ragas. he cited dnsrsndm In Rithigowala, which originated in Nattakurinji, Reflecting important developments in the history of Ritigaula Language melody.
they also discussed sn dn ds nr, sA phrase most commonly associated with Atana, now sometimes found in Canada. idiom m g p m dp Begada seems to have been borrowed from Hamir Kalyani, which in turn integrates Kaishiki Nishadham ,N2) from Hindustani ragas, Kedar and Behaag.
During the discussion, the Expert Committee provided additional information. Veteran scholar Suguna Varadachari noted that even in shared phrases, emphasis is placed on the specific Swaras is different—for example, begada emphasizes GandharaWhile Sahana does this RishabhSangeetha Kalanidhi designer TM Krishna said that the ragas allow RGMR experiment can also allow PMRSAs seen in Saranga in Sampradaya Pradarshini. Concluding the session, Krishna highlighted the importance of studying ragas through a phrase-based lens and reflected on the concept of “association” in music. This fascinating session gave the audience new perspectives on non-associated ragas and their complex phrasings.
songs of sadness
A Ramanathan and S Ramesh. Photo courtesy: K. pichumani
In the second lecture performance of the day, S. With the help of Ramesh A. Ramanathan presented a thought-provoking lecture demonstration on the topic ‘Izhappin Valiyum, Vailiyin Izhappam’ – focusing on Oparri songs at the Music Academy.
Oppari, often thought of as merely a lamentation and associated with bad omens, is re-examined by Ramanathan, who aims to change this perception. He began by mentioning Bharathiar’s admiration for the music of regular people and how Bharathiar loved folk genres. Kummi, pallu padalgal, Nondi Padalgal and Kalyanam PadalgalFound them melodious both lyrically and musically. Ramanathan highlighted that Tamil culture integrates music into every stage of life from birth to death, including celebrations such as naming ceremonies, ear piercing rituals, job accomplishments, weddings and even funerals. Are included. Historically, music was a community activity centered on the people, but the division between classical and folk traditions created distance over time.
Ramanathan said that when he went to record taalatu In songs, women often ask for a child to sit on their lap so that it can help them express emotionally in a better way. However, this type of simulation support could not be replicated in the OPRI context.
Oppari songs, usually initiated by women, arose from their more sympathetic nature and ability, after initial hesitation mar kuduthal – Hugging others and sharing their grief. While men gathered outside for activities etc. Irappu Kummi and other demonstrations (seen as cathartic) initiated by women inside the house oppari As a form of emotional release. Ramanathan explained about the different types of OPapri – Marangeetham, coli sindhugal, Vibathu Padalgal And Kailasa Patu (Songs sung to symbolically send the deceased to Kailasham for salvation).
Ramesh’s performance oppari The songs exemplified his raw emotional power, with his crying seamlessly integrated into the melody. Ramanathan emphasized that Opari songs focus on the positive qualities and cherished memories of the deceased, which provide therapeutic value for the bereaved. he used expressions like ‘Vai Vittu Azhudhaal, Noi Vittu Pogam’ (If you cry well, you will be free from illness) and ‘Sogathilam Sugam’ (happiness in sorrow) to express the cathartic purpose of opparistructure of one oppari The song, which follows the Muna-Madhiri-Nerapagarappu pattern, was considered similar to Kummi Songs.
Opry This is not limited to mourning individual loss, but extends to mourning environmental degradation, loss of birds, and other forms of collective grief. Ramanathan gave examples and Ramesh sang some songs which enhanced the audience’s understanding of the genre. Concluded with the views of the Lake-Dam Expert Committee. Rita Rajan drew parallels with professional mourners in other cultures abroad, while Music Academy secretary V. Sriram highlighted the presence. Erangal Padalgal in Arunachal Kavi RamnatakamTM Krishna pointed towards Bharatiyar Erangal Padal After the death of Subburama Dixit. Krishna said that in Carnatic music, songs that talk about loss and yearning often strike a deep emotional connection with the audience. He praised Ramesh’s ability to quickly convey each person’s emotion oppari Without wasting any more time, get into the zone of the song. He compared the aesthetic experience of listening to Opari songs to the tragedies of Greek theatre. Krishna concluded the session with a call for a more inclusive approach to art, suggesting that such an approach could lead to a more compassionate world. Audiences gained a new understanding and appreciation of Opari, realizing its profound cultural and emotional significance.
published – December 19, 2024 07:11 PM IST
