TM Krishna explains how one can identify whether a tune is a raga

The 12th day of the academic session at the Music Academy began with a lecture on ‘Conceptualizing an Abstract Raga’ by Sangeeta Kalanidhi’s designer scholar TM Krishna. He explored the concept of abstract ragas, their development, structure and significance in Carnatic music.

Krishna began to define ragas as melodic structures that develop in two different ways. The first type emerges organically over time through the development of phrases (phraseology) that collectively shape the identity of the raga. These ragas are fluid and still evolving today. The second type, as stated by scholar N. Ramanathan, is more theoretical and has been “artificially” constructed as a melodic structure. He noted that ragas formed through phraseology often lack strict aarohanam and avarohanam patterns, existing as groups of musical phrases with varying degrees of abstraction.

He then asked an interesting question – “How do we recognize that a tune is a raga?” He explained that a raga is defined by recognizable melodious notes or experiments. Using manji as an example, Krishna emphasized that although it does not follow a linear scale, its distinctive melodic phrases allow musicians to remain within its framework. He explained that not all phrases have equal importance – some phrases are more influential and defining than others.

overlap between chords

Krishna also addressed the overlap between ragas, highlighting that such overlaps are contextually valid. He illustrated this with Muthuswami Dikshitar’s ‘Chetashree’ in Dwijavanti, where the second accompaniment in the second line (‘Chintitartha Prada’) resembles Yadukul Kamboji, but fits seamlessly into Dwijavanti due to the melodic context of the composition. He argued that older ragas were less rigid about such overlaps, allowing more creative freedom.

Discussing the melakarta ragas, Krishna points out their rigidity, comparing them to synthetic constructions that limit exploration. In contrast, phrase-based ragas offer more flexibility. Degrees of hardness also exist. Melakarta ragas are the least harsh. Vakra ragas are harsh. Sometimes, if the ragas are too vajra, it can be a bit harsh. He cited Nalinakanti, a Vakra (zigzag) raga with minimal restrictions, as a raga full of exploratory potential. He explained how using GRM opens up possibilities. Giving the example of Kokilavarali, Krishna also emphasized that too many Vakrams in a raga can also be reduced. He noted how Hindustani musicians have preserved the reliance on grips (signature phrases) rather than scales, enabling musicians to improvise alapana for extended periods. This is something that Carnatic music can learn from Hindustani.

He further explained that many Hindustani ragas like Sindhu Bhairavi, Manda and Desh, when adopted into Carnatic music, retained their phrase-based identity without following rigid scales. Krishna then brought up Raga Atana as an example of a highly abstract raga without any defined scale, relying on specific phrases. He took two regions in the raga, from P to S in aaroha and S to P in avaroha and performed various phrases enabling the movement – MPNRS, DNSRS, PPRS PDNSRS in the former and SNPDNP, NRSNP, SDPM (which comes in the composition ‘Mumurtulu’) in the latter. Krishna explained how these experiments should be considered as information about the tempo of the raga.

Krishna looked at the concept of other swaras (foreign notes), which were once integral to raga development and are now often limited to a specific phrase. He also points out that in ragas like Sahana (Dhikshitar sect), where Antara Gandhaaram is the other note, in phrases where Antara Gandhaaram is used, Sadharana Gandhaaram (natural note) can also be sung. Today, in practice, phrases where other notes are used in a raga, the natural note is not allowed.

He also took the example of Begada and Subbaraya Sastri’s song ‘Shankari Neeva’, where there is a swara-sahitya passage, the line where the swara is ‘rndp’ which is difficult to sing at a fast pace with Kaisiki Nishadham and a will. Note that Begada always expands on Kaisiki Nishadham.

Krishna moved on to Kamboji, which he said was a very influential raga, so influential that its scale was never adopted in any other raga except Bhushavali raga. Krishna explained how ragas that use PDS in their ascension and SNDP in their descent enable PDNDP phrasing. This is found in the practice of Raga Kamboji, Saveri and Bilhari but interestingly, in Salgabhairavi we do not apply the same logic.

composition in abstract raga

Krishna explained that all this analysis helps in conceptualizing abstract ragas and proceeded to explain his work on a new raga over the last three years. Here, Krishna accepted Subbarama Dikshitar sect exhibition Because it helped him write Sanchari and demonstrated how a composition could emerge from an abstract raga. Krishna presented a new kirtan, ‘Shankaram Sharanagatha Vatsalam’ composed by Vidwan RK Sriramkumar giving life to the new raga Kannada Gandhara. He pointed out two Gandharams in this raga, Sadharan Gandharam and Antar Gandharam. Antar Gandharam is only Dheergam and it is only on Avrohanam. The Sadhana Gandharam here is a bit weak. He also pointed out the different behavior of swaras in the ascending and descending patterns of the raga.

During the discussion among the expert committee members, V. Sriram inquired about Raga Hindolam and how modern compositions like ‘Maa Ramanan’ reflect earlier influences. Krishna pointed out that the opening phrase of the raga reveals its origin as a phrase-based raga rather than a MGMS scale-based raga.

Sangeeta Kalanidhi Bombay Jayashree concluded the session with a reflection on the tendency to sanctify ragas and emphasized how the true beauty of ragas is found within its phrases.

Many aspects of Yakshagana

‘Yakshagana’, a vibrant art form rooted in the cultural heritage of Karnataka, is a unique blend of theatre, music and dance.

The second academic session of 12 days at the Sangeet Academy, led by Vidwan Gururaj Marpalli and Professor Deepa Ganesh, explored the complex aspects of Yakshagana, highlighting its historical depth and evolving musicality. The session included the vocal accompaniment of Sasikiran Manipal Bhagwat, and the percussion of Koodali Devdas Rao on Maddalam and Nagraj Barkur on Chende.

Professor Deepa Ganesh started the session by emphasizing the intrinsic connection of Yakshagana with Karnataka. With all compositions performed in Kannada, this form is often referred to as ‘Gandharva Gana’. This art, which is about 1,000 years old, has been recognized by the name ‘Yakshagita’ in ancient texts like Sangeet Ratnakar.

Mainly practiced in the western regions of Karnataka, Yakshagana has influenced other art forms, including Kuchipudi, where its singing style is sometimes adapted. Additionally, the ‘Mukhveena’ (Nagaswaram) in temples across Karnataka shows the stylistic influence of Yakshagana.

Gururaj Marapalli elaborates on the musical structure of Yakshagana, noting that it lacks traditional raga characteristics, instead relying on mythological stories. While historical records mention 72 ragas, only about 20 are in use today, including Dhanyasi, Bilahari, Kamboji and Saveri in ‘Kalanugatham’. Interestingly, some treatises exist that mention an art form that once consisted of 105 ragas, such as Gaulanilambari, but many have faded away due to oral transmission of the tradition.

Yakshagana performances, which often last throughout the night, prefer ‘uttaranga’ ragas (higher octave ragas) to suit the miked, open-air setting.

At the center of Yakshagana are Bhagavata, the lead singer, and Arthanari, the storyteller, who is different from the traditional musicians. The performance evolved from vocal performance to dramatic ‘Tala Madel’, which included Vachika Abhinaya (spoken dialogue). About 70 ‘Prasanga’ (episodes) taken from Hindu mythology make up the core repertoire. Character entries are carefully choreographed, with scenes such as the Pandava entry lasting up to 20 minutes, generally devoid of song but rich with rhythmic ‘thathakara’.

There has been a significant change in the instrumentation in Yakshagana. In terms of Shruti, ‘Poongi’, an early drone instrument, gave way to the harmonium, which uses only Shadjam and Madhyam, abandoning Panchamam. Later it was replaced by electronic Shruti Pettis. The percussion began with the Thamte and Madel, but the Chende, introduced by the Koraga tribe, became dominant due to its faster, more imposing appearance. The power of the chenda affected the singing performance, changing the emotional tone of the performance.

Professor Deepa Ganesh highlighted the contribution of Matapadi Rajagopalacharya, who first notated Yakshagana compositions, inspiring the family of Mahabala Hegde, who later notated specific gamakas for Yakshagana in addition to notes and lyrics. Gururaj humorously notes that Ananda Bhairavi in ​​Yakshagana is the opposite of its Carnatic counterpart, describing it as Dukha Bhairavi.

The tala system of Yakshagana, consisting of seven talas, differs from Carnatic norms, with rhythmic patterns such as Eka tala (four talas with muktayi after the second avartanam), Jhampa tala (two rounds of five talas divided into four and six), Rupaka taala (six taalas of two and four), Triputa taala (seven taalas) and the special Kora taala, which also has seven taalas but exhibits unique internal divisions in the form of vilomana.

Urging to preserve Yakshagana in its authentic form, Professor Deepa Ganesh requested artists practicing other art forms to avoid carrying forward their practices to other art forms.

TM Krishna, designer of Sangeetha Kalanidhi, reiterated Gururaj’s statement that the compositions predate the ragas, which interestingly also relates to previous academic sessions conducted at the Music Academy, such as ‘Varnamettu’ and ‘An Abstract Raga Ki Concept’. He also pointed out how composers do not pay attention to ‘Shabadakriya’ and ‘Nishabdkriya’, where the balance between ‘action’ and silence is of utmost importance.

Gururaj also pointed out that people trained in Carnatic and Hindustani music should not sing Yakshagana as it loses its aesthetic value.

As the session ended, Sangeeta Kalanidhi 2023 Bombay Jayashree Ramnath summed up the proceedings, underscoring the importance of protecting this precious art form.