The 11th day of The Music Academy Morning Academic Conference 2024 began with a prayer by the students of the Advanced School of Carnatic Music, followed by a lecture-demonstration on ‘A Tuned Mridangam’ by Vidwan Thiruvarur Bhaktavatsalam and Valangaiman Navaneetha Krishnan.
Bhaktavatsalam describes the Mridangam as a percussion instrument made from jackfruit wood, coconut wood or ‘Kodukka Kattai’, with cow, goat or buffalo skin used for the ‘Valantharai’ (right side) And buffalo or goat skin is used for ‘thoppi’. on the left). The older the hide and wood, the better the tonal quality. He emphasized how external factors such as light, humidity, air conditioning and weather affect the tuning of the shruti. While hot temperatures can be controlled, cold temperatures can warp or cause equipment to warp and even create foul odors.
On a lighter note, Bhaktavatsalam shared an anecdote about Thanjavur Upendran, who used to take around 10 mridangams to concerts to deal with these issues.
Mridangams vary in length and structure. The measurement of ‘Daggu’ Mridangam is 24 inches, measurement of ‘Sthayi’ Mridangam is 22 inches and others are 18 inches.Mridangams are classified into ‘Kuchi’ and ‘Kappi’ depending on the particles of stone placed between the membranes. Bhaktavatsalam explains that the Thoppi is tuned to ‘Ati Mandhara Sthirai Shadjam’ (lower tonic) and the Valantharai is tuned to ‘Madhya Sthirai Shadjam’ (upper tonic), thereby ensuring that all 16 ‘kannus’ (tuning points) of the Shruti are in tune. resonate with.
Navneet Krishnan explained in detail about ‘Sadam’, the circular black part on the Valantharai, made of iron grains and rice. Adjusting the sadam – scrunching it up to reduce the ‘metoo’ or adding layers to lift it up – requires precision.
Mridangist Sumesh Narayanan said that a drop of water is often spread the size of a coin so that the sadam can be gently scraped without creating a crack.
Bhaktavatsalam shares insights from his Gurukulvasam, and his presence of mind in cutting the varu to accommodate the ‘echu kannu’ (high-pitched kannu) in a rare case of emergency during a concert visit, Where his mridangam initially increased from F# to G#. Due to temperature difference. He credits Vidwan TV Gopalakrishnan for suggesting the size of the mridangam for different sruthis, such as the Daggu mridangam of 25 inches in length and 7 to 8 inches Y (diameter of the Velantharaya) for bass pitches like A# and 25 inches Length Staayi Mridangam with 6.5 inches Y. High pitches.
Modern challenges in the maintenance of the mridangam include the decline in the quality of cow hide as well as the use of plastic fermit instead of ‘seerutti’ rava paste for the thoppi. However, there is a significant difference in tonal quality. In cold weather conditions, the wood expands, making the topi inflexible. This is mitigated by the application of castor oil and further maintenance by the mridangam makers.
During the question-and-answer session, mridangam player Trichy Sankaran highlighted how electronic tambourines with harmonic frequencies affect the tuning of mridangam as compared to traditional tambourines and asked a question to Vidwan Patri Satish Kumar about the difference between Nat and Meetu Chapu. How to handle the difference. Bolt Mridangam, in which it was later mentioned that many artists have different ideas for different sruthis. Trichy Sankaran also mentioned an old practice of playing Tani Avtaranam on the tambura with only ‘Sarani’ and ‘Anusani’ strings.
The Sangeeta Kalanidhi-nominated TM Krishna concluded by emphasizing how difficult it is for mridangists to manage their instruments in parallel while enhancing the music created on stage. He mentioned how ‘Kalasala’ affects the tone of each stroke played and how the playing technique should be changed accordingly, including rotating the mridangam to find the pitch-perfect ‘Kannu’. He also shared his research findings on ‘Kittankallu’ (Sadam), which contains ferric and iron elements and also a layer of quartz in the Thada stone. He celebrated the artistry of the mridangam makers, who were the first to experience the sound of this instrument, and underlined the deep interplay of art, science and tradition in crafting this iconic instrument.
Carnatic music in Tamil cinema
Subhashree Thanikachalam presented a lecture along with performances by Santhosh S and Vigneshwar VG on how ragas have influenced and shaped film music over the decades. , Photo courtesy: K. pichumani
The second session of Day 11, titled ’70 mm: A Cinematic Identity’, explored the seamless interrelationship between Carnatic music and Tamil cinema. Presented by Subhashree Thanikachalam, with performances by Santhosh S and Vigneshwar VG, the lecture highlighted how ragas have influenced and shaped film music over the decades.
Subhashree began by emphasizing that while film songs are often based on Carnatic ragas, they often deviate slightly from the strict classical framework, allowing cinematic freedom to evoke the desired emotions. While tracing the history of music in Tamil cinema, he mentioned Kalidas, Which consisted of approximately 50 songs in a Broadway-style format. Pioneering TP Rajalakshmi established herself in the field as both a playback singer and actress.
The session highlighted the significant contribution of renowned music composer Papanasam Sivan to cinema as Carnatic elements made their way into films. Prestigious Mr. His collaboration with Ramanathan brought a game-changing movement in film music. Vigneshwar demonstrated this evolution on the keyboard by playing the prelude to MKT Bhagavathar’s ‘Vadanam Chandra Bimbamu’, which incorporated Western shades while remaining rooted in Sindhubhairavi. Similarly, great composers like C.Ramachandra introduced vibratos and jazz elements, as exemplified in ‘Kannaum Kalandhu’. of the famous CR Subburaman Chandirani He was credited with introducing the Hawaiian guitar, a sound that captivated audiences.
Discussing stalwarts like MS Vishwanathan and TK Ramamurthy, Subhashree explained how their tunes resonated deeply with the audience. Panama Simple tunes like ‘Varugiral Unnai Thedi’ based on Raga Attana were introduced, showcasing string orchestration. The renowned KV Mahadevan, though a disciplinarian in raga grammar, would sometimes take cinematic liberties, as seen in ‘Unnai Kandha Kannum Kannalla’ (based on Mohanam), where the vocals brought unique colors to the composition.
The genius of maestro Ilaiyaraaja was highlighted through his innovative use of rare ragas GrahabhedamWhere changes in tonal centers allowed seamless transitions between ragas. Examples include ‘Sangeethame’ (Mayamalvagoulai from Rasikapriya) and ‘Rathiriyil Poothirukkam’ (Hamasanandhi), where the challenges of the vocal lines were also solved musically.
KV Mahadevan’s songs like ‘Pattum Naane’ (Gaurimanohari) and ‘Partha Vizhi’ (Pavani) showcased his ability to weave Carnatic nuances into the story.
AR Rahman’s compositions, including ‘Neela Kaigiradhu’ and ‘Swasame’, are derived from ragas like Kalyani and Behaag. Popular director and Music Academy executive committee member Rajeev Menon shares how Unnikrishnan’s ‘Janero’ inspired Rahman’s ‘Uyirum Neye’.
In his summary, TM Krishna considered the dynamic aesthetic principles of Indian cinema. He questioned whether orchestrating ragas changes the essence, leaving the audience with a thought-provoking musical dilemma. Ultimately, the session celebrated the power of cinema in democratizing Carnatic music, embracing creative freedom as well as bringing its beauty to millions of people.
published – January 01, 2025 04:07 PM IST
