Talking about Rita Rajan varnamettu In the academic session of the Music Academy. Photo courtesy: K. pichumani
The first lek-dem of the second day, titled ‘Encapsulating a Raga: Varnamettu’, was presented by Sangeet Kala Acharya Rita Rajan. He began by explaining that varnamettu Refers to a tune that captures the essential characteristics of a raga. earliest recorded use of the word mettu This dates back to 1834, where it meant the tune of a song, as stated by JP Rottler. In Hindustani music, equivalent to varnamettu is called Bandish Or tuneRita Rajan spoke to N. on this subject. Ramanathan, K. Referenced earlier studies and articles by scholars such as Rukmini and TM Krishna.
He illustrated how traditional folk tunes naturally evolved into art music, citing examples like ‘Vilnai Otta’ and ‘Valli Kannavan’, along with recorded clips of VV Sadagopan and DK Pattammal’s productions respectively. Some ragas like Punnagavarali, Nadanamkriya and Yadukula Kamboji were highlighted as other prime examples where varnamettu It is taken from folk to Carnatic music. An interesting observation was made about Punnagavarali, where Kakali Nishadam Prominent in folk tunes but completely absent in Carnatic renditions.
Rita Rajan details how important melodic phrases in folk music were transformed into classical compositions. For example, the phrase ‘Srgrram’ of Nadanamkriya occurs in the padam ‘Payyada’ of Kshetrayya. He also noted varnamettu avoids the use of per madhyamEven in ragas like Sindhubhairav. He demonstrated its adaptability with examples from other genres, such as ‘Vatapi Ganapatim’ in Hamasdhvani, composed by Ustad Aman Ali Khan and the bandish ‘Lagi Lagana Pati Sakhi Sang’, adapted by Salil Chaudhary into a Hindi film song. Also used in ‘Ja’. I shouldn’t tell you. Reetha also drew attention to Shyama Shastri’s compositions like ‘Himadri Suthe’ and ‘Birana Vara’, which have the same opening line. Patnam Subramaniam Iyer’s ‘Manasu Karuga’ was adapted into the famous Marathi folk song ‘Yuvati Mana’. He further analyzed Surutti, where varnamettu starts at tara permanent shadjam and transition to a relaxed mediumm in Charanam, as seen in ‘Bhajan Parulke’ and ‘Verevvare Gathi’. There are compositions in Kamboji like ,Hey Rangsai’And ‘Koniadina Napaii’ displays a relaxing treatment dhaivatam In Charanam.
Rita concludes by showing how varnamettu Citing SD Burman’s adaptation of the Bengali song ‘Aruno Kanti Ke Go’ into the famous Hindi film song ‘Poochho Na Kaise’, it transcends genres. Similarly, VPK Sundaram has also used Tyagaraja’s compositions in Christian devotional songs. Rita insisted that film adaptations should be accepted as long as they serve the aesthetic beauty of the musical.
TM Krishna said this in his concluding remarks varnamettuAs to the basic structure of the raga, priority in teaching should be given to Aarohanam and Avarohanam, which fail to capture the essence of the raga. He also suggested publishing a book specifically varnamettu and pointed out its complexity using the example of multiple Swarajathis in Husseini. He observed that Muthuswami Dixit did not follow the Varnamettu tradition, except for his nottuswarams, such as ‘Santhatham Pahimam’, which was taken directly from the UK national anthem ‘God Save the King’.
V. Premlata speaking in the academic session. Photo courtesy: K. pichumani
The second lecture demonstration of the day was presented by V. Premalatha on the topic ‘Raga Description in Brihadeshi of Matanga’.
Premlata began by introducing the manuscript to the audience. He said the text is the first known Sanskrit manuscript to discuss ragas, written between the 6th and 9th centuries. Currently available version of macro countrywhich was published in 1928, comes from a single manuscript discovered in Travancore. However, this is incomplete. The manuscript reveals a very different system of tuning to that with which we are familiar today, where the position of the tonic (SA) is fixed. In the time of Matanga, the tonic was changeable, and the swaras (notes) were spread across 22 shruti positions. The key to understanding this system lies in Shadja Village And middle villagewhich were necessary to determine the intervals between notes, in accordance with the basic structures outlined in Dramaturgy,
Premlata told how macro country Defines a raga as “that which pleases the minds of people” and how it is identified by specific notes and varnas (musical phrases). This text serves as an important bridge between the Gandharva tradition described by Bharat Dramaturgy and emerging indigenous traditions. Matanga has identified 18 jatis or factors that determine the characteristics (characteristics) of a raga, and emphasizes its importance. Shadja And mediumGram In the etymology of ragas. He also introduced the concept of Geeti, or styles of rendering raga, which are classified into seven types: Shuddha Geeti, Gaudiya Geeti, Raga Geeti, Sadharita, Bhasha, Vibhasha, and Bhinna.
Finally, the Expert Committee, along with Krishna, stressed the need to understand historical texts in their own words, separate from contemporary interpretations and frameworks. He further said that ragas are ultimately identified by the way they are sung, not by the way they are theorized. Matanga’s roots run deep in the Karnataka region (not equivalent to the modern state), but he also incorporated the musical traditions of the wider Deccan region, providing invaluable insight into the development of Indian music.
published – December 17, 2024 06:51 PM IST
