100 Years - A Tribute

This is the centenary year of several legends like T.Brinda, Palghat Mani Iyer, Madurai Mani Iyer, T.K.Rangachari, etc. and the hundredth year of the living maestro Dr.Pinakapani. To observe the centenay year of these stalwarts, functions are held by their students, relatives and rasikas as a mark of respect and remembrance.

If an artist's centenary year is celebrated, it is because he has scaled heights and is far above the average. Otherwise, a centenary year would not have been observed. If these artists have reached such a level, it is because of the efforts they have put in, their hard work, focus and determination that took them to the top.

The aim of the centenary celebration should not be just to inform the public that these artists would have turned 100, but on the contrary, to make their efforts and contribution known to today's generation, with an aim that the youngsters look upon these maestros as role models and try to emulate them and follow the path shown by them.

This kind of emulation would itself be a true mark of homage to these vidwans and a means of paying respect to their soul.

25th Winter Music Festival

Sruthi Laya Kendra 

of

GURU KAARAIKKUDI MANI

25th Winter Music Festival 2012 0n 8th and 9th Dec

at Asthiga Samajam, Venus Colony, Alwarpet, chennai - 18. 

 

Award Function

8th Dec 2012 at 5.15 PM.

SRI GURU SURAJANANDA AWARD

to 

Sri KOOTHAPIRAN (Drama Artist)

SRI GOWRI MANOHARI AWARD

to 

Sri T.V. SANKARA NARAYANAN (Sangeetha Vidwan)

Sri GOPALKRISHNA GANDHI

Chairman Kalakshetra Foundation

formar diplomat and governor of West Bengal

Inaugurates the festival and present Award and felicitates the artists

Sri Venkata Narasimhan Endowent prize to

Sri J. SRIRAM

Concert Details : 8-Dec-2012

4:15pm
Thaniavarthana concert by Palghat Sri T.R. Rajamani & V.Kamalakar Rao - Double  Mridangam

5.15 PM
Award Function

6.30 PM
Sri Vidhya bhooshana - Vocal, Vittal Sri Ramamurthy - Violin, Srimushnam Sri Raja rao - Mridangam, Sri V.Suresh - Ghatam

Concert Details : 9-Dec-2012

4.15PM
Sri Ganesh & Sri Kumaresh -  Violin Duet, Sri Ananda R. Krishnan  - Mridangam, Sri S.V. Ramani - Ghatam.

6.30 PM

Sri Abhishek Raghuram - Vocal, Mysore Sri Srikanth - Violin, Neyveli Sri Narayanan - Mridangam 

Entry Fee Rs. 30. Will be Donated to senior aged musician

---

MLA Concerts - Sruthi Laya Kendra 

of

GURU KAARAIKKUDI MANI

in association with SRI KRISHNA GANA SABHA & KARTHIK FINE ARTS presents

MLA CONCERTS (Musicians Living Abroad)

ALL ARE WELCOME

21st & 22nd Concerts will be held at

Venue : Sri Krishna Gana Sabha, Kamakoti Hall, T.Nagar, Chennai - 600 017

21-Dec-2012 at 4:30pm
Ashwini Satish - Vocal (Singapore), Srividya R.S. Iyer - Violin, Sai Nivedan - Mridangam (Australia)

21-Dec-2012 at 6:30pm
Booshani Kalyanaraman - Vocal,  Dr.Jyotsna Srikanth - Violin (UK), Thirupathi Sudhakar - Mridangam


22-Dec-2012 at 4:30pm
Sreyas Narayanan - Vocal, A.G.A Gnanasundaram - Violin (UK), Sai Sarangan - Mridangam(Australia)

22-Dec-2012 at 6:30pm
Smt. Varalakshmi Anandakumar - Vocal, Nishant Chandran  - Violin (USA),  Kottayam G. Santhoshkumar - Mridangam

26th & 27th Concerts will be held at

Venue: Karthik Fine Arts  - Bharathia Vidhya Bhavan's Mini Hall, Mylapore - 600 004

26-Dec-2012 at 4:30pm
Aswin Srikant - Vocal (USA), K. Gokul - Violin (USA), Sai Shiv - Mridangam

26-Dec-2012 at 6:30pm
S. Srinivasan - Veena, Balaskandan - Mridangam (USA), Madipakkam Murali - Ghatam

27-Dec-2102 at 4:30pm

Mahadevan Sankaranarayanan - Vocal, Arun Ramamurthy - Violin (USA), M. Ravichandra - Mridangam (Australia)

27-Dec-2102 at 6:30pm

Akkarai S. Subalakshmi & Akkarai S. Sornalatha Violin Duet, Kirupakaran - Mridangam (UK), N. Guruprasad - Ghatam

Knowledge Building VS Money Minded

Learning music in india is an area marked by high levels of competence and expectations, mainly because recognition is got only when there is some sort of qualified certification from the various high level organizations. But when we take the case of music abroad, the scene is different. There is a great level of commitment among classical music learners, who are settled in abroad. Urged by a need to ensure that their children are not spoilt by unnecessary distractions and to retain their native identity, there is a quest amongst them to learn Carnatic Music. Such training is also a great advantage as an extracurricular activity when these youngsters study in the University. Unfortunately, these innocent seekers of music are often taken for a ride. Many of the great artistes visit these foreign places and take classes there for such children. But, except for a few, many are more concerned about the monetary returns of such teaching rather than the progress of their pupil. In such a quest, they hasten to organize festivals, feature their students in them. Even if the student is mediocre, he is praised to the skies, thus giving him and his doting parents a false if flattering opinion of himself. In a span of say, couple of years with just a few monthly visits thrown in, the gure is in a great hurry to witness the arangetram of the pupil, in a field where traditionally the parents rush for such a day.

The arangetram abroad is often treated as a social event. But the role of a guru should be much more. He should create a thirst for knowledge to his student, so much so that the disciple should pester him for more and more , rather than worry about his performance. If this present trent goes on, there will be serious repercussions for the quality of music in general. Innocent parents, ignorant of the mediocre standard of their children, on getting concerts for their children in Chennai (easily done through money power in many a venue), feel that their child has reached star status already!

The first blame for this sad and unhealthy trend falls squarely on the unscrupulous guru's who consider that teach such a foreign based community is a sound money making venture, rather than a sacred relationship between teacher and taught. When the unwitting seekers of music abroad come to know about the true motives of these unethical teachers, it will be a black mark for Carnatic music and musicians in general.

Ofcourse, let us not forget that in the middle of such opportunists, there is a large section of genuinely committed teachers of music who have their disciples interest first and foremost in their heart. May their tribe increase. May the glow of our great fine art spread to every corner of the glove in all its splendour.

Creeping Corruption

We often boast that India is the largest democracy. Along with this boast, we can also be 'proud' of its large scale corruption and backdoor politics.
This is amply proved by the fact that in many cases, one individual often holds several important posts. Why is this ? Is there a shortage of manpower in our country? Obviously, there is more to this than just selection on merit.

When allegations of corruptions are made against some politicians, there is normally a huge clamour for their resignation, but nothing normally results. This 'virus' has entered the art field also. In fact, it has taken on a 'Viswaroopam'.

Creeping Corruption

When a government appoints someone to a top post, it is with some confidence in this candiate's abilities and also the belief that at least 80% of the finds handled,  will be put to correct use. Misuse of funds will pass as long as it remanins unnnoticed. But there is no smoke without fire. When it is discovered, especially in the field of art or in the music institutions, it creates depression and dejection in artists.

In the field of politics and politically based organizations, means like fasts , strikes and protests bring the problems to the public eye and help dispensing of justice. Unfortunately, in the field of music, there is no such means to bring the wrongdoers to book. Only then would the culprits be known to the public. Otherwise, like the politicians who enter the police vans with a broad smile on their faces, the accused in the art field will keep attending important functions without any guilt feeling or whatsoever.

Only if these trends are stopped the music will thrive and flourish in the long run.

Laws & Loopholes

Where there is law, there are loopholes. This observation seems to hold good for carnatic music too. Just as the temples did in the past, today, the sabhas, the media and the government play a major role in fostering our music and upholding quality, especially in the case of upcoming artistes.

With the aim of preserving quality, these organization demand a non-commercial audio recording of the artiste and slection is made based on the decisions of a reputed panel of judges. In order to ensure a fair ruling, each candidate is assigned a number instead of divulging the name. A laudable practice indeed. It is also obviously understood that the members of the panel maintain strict confidentiality about their role as jury members. However, it is being observed that many of them, not only disregard this confidentiality, but actually exhibit their roles as jury members by displaying it on their letter heads and business cards.

The consequences are not far to seek. Aspiring candidates naturally have the tendency to approach the members and tell them the items they have rendered, thus making null and void the fair practise of giving numbers to candidates.

This is a typical case of a good ideal being spoilt by ambitious personal interests. In the process, the authenticity of the proceedings is destroyed. Music is a very small level community. when such things go on in this small world, it is little wonder that high level irregularities take place at the state and central government levels thus hindering the efforts to bring about positive growth in our country.

Let us condemn this in our field, Let us vote in favour of quality in fine arts and ensure the growth and enrichment of our great cultural heritage.

Culture - No Culture

Irrespective of its financial situation, every establishment gives its employees a wage hike regularly. This applies to both government and private organizations. If such a hike is not given, the employees go on strike and somehow get their demands settled.

In the field of culture, especialy fine arts, and specifically music, no such hike is ever contemplated. In fact, whenever there is a financial crunch, the first sector to get targeted is the field of culture. And this, when we boast loud and long about the richness of our culture heritage!

We see that even when it comes to artists from the North and Southern parts of India, there is a great divide in the respect of honorarium.

We also note that even in times of acute financial crisis, huge amounts continue to be spent on Political Rallies, the military etc. Yet, allotments given to culture are continuously going down not just in india, but all over the world. The international music festivals are on a low key note, grants allotted to universities have been reduced, and festival committees are holding their programs with a keen eye on lowering costs.

We all know that in this hard world, only music can give solace. Even a desperate terrorist would soften up (at least temporarily) when he listen to some kind of music.

When the greatness of this art has been universally acknowledged, is it not the duty of the government and the corporate sector to ensure that the grants are given generously as befits the status of our great cultural heritage?

Unfortunately, if this present trent continues, there will be only talk about our great culture and no culture any more.

Shifting Scales - II

We are interested in obtaining one scale from another scale. One way to get one scale from another scale is to rearrange the intervals. The interval between the 1st and the 2nd note may be made short and the interval between the 2nd and the 3rd note may be made long. For example from the scale of the 29th mela Sankarabharanam, if the scale of Kharaharapriya has to be obtained, then the interval between the notes R and S is shortened, the interval between N AND S is lengthened and so on.

If the major scale of the western music is taken into account, and if the whole lock stock and barrel of the scale is shifted from C to G, then F sharp is obtained. The process by which a scale can be obtained from another scale, is the process of modal shift of tonic. Here the mode is retained. In other words the sequence of the intervals is retained. It must be remembered, that the tonic or the aahara sadja alone is not shifted. 

Take for example, the scale of Sankarabharanam. It is S R2 G2 M1 P D2 N2 S. In this scale, if the Aadhara sadja, is shifted to the position of rsabha and if the interval between the svaras are maintained, then a new scale is obtained. Here only the scale is taken into account and not the raga. This is due to the fact that in carnatic music, each raga has the shape of its own, due to the various type of gamakas employed.

Shifting Scales - I

The word “scale”, means an ordered presentation of notes abstracted from any melody, put in a particular order, may be in the ascending order.In South Indian music, it will be in terms of svarasthaanas. If we say C scale or D scale, they are just that set of seven notes because they just take part in melody. In the 72 - mela scheme, all the 72 are scales. 

Scales may be having seven, six or five notes, put in order.  Modal shift of tonic is the process by which the tonic or the Aadhara sadja is shifted from svara to svara, keeping the sequence of the intervals of the original scale in tact. This process gives new scale.  In common music language this process is known as the Grahabhedam.  In ancient tamil music, this process was known as Kural tiribu, Pannuppeyarttal and Paalai Pannal.

Seven Commandments

The very fabric of Indian music is based on the Sapta Swaras. In the same way, every artiste- be he vocalist, instrumentalist or percussionist is guided by the ‘Seven commandments’ of:

Sa: The Sanctity of Carnatic music
Ri: The richness of this great fine art
Ga: The Galaxy of great musicians- the predecessors of this age, who are a great source of inspiration.
Ma: The maturity that he aspires to gain with experience in the field
Pa: The passion for his art
Da: The aim to dazzle his audience, but maintaining dignity all the time.
Ni: The niceties and nuances of the art that separate the good from the best.

Alas, some of today’s trends seem to follow a ‘Vakra’ mode. Today’s scene witnesses various combinations like: S M P N D S

Snobbism

Money

Pay

Noise 

Disrespect for senior musicians 

Shady

Or S R G D N S

Scheming

Recommendations

Gallery

Degrading others

Narrow mindedness

Selfishness

We all know that though both Sampoorna and Vakra ragas are essayed, it is the Sampoorna ragas (like Kalyani or Thodi) that offer unlimited scope for development, ragas that can be unfurled for limitless hours. These ragas stand the test of time.

However attractive a Vakra raga may seem, it will be impossible to essay a Kuntalavarali for hours on end. Scintillating it may be-but for a few moments only. These ragas are time bound.
In the same way, it is the ‘Seven commandments’ – the ‘Sampoorna path’ that will stand a practitioner in the long run, even long after his life time.

If one is guided by the mottos of the ‘Vakra mode’ however, the ‘moments of glory’ will soon vanish.  It is always the enduring values that stand the test of time. 

Let us remember Saint Thyagaraja’s immortal Chakkani Rajamargamu. Why follow the by-lanes when the Great Path is available?

Artist ?

The 'Youth revolution' in Carnatic music is witnessing certain imbalances today. Concert artistes are always denoted as Vocal (Main) and accompanists (Supportive) artistes. The paper advertisements also feature the concert in the order of the Vocalist (or Instrumentalist in an instrumental concert), the violinist and the mridangam. Remuneration for these artistes also follows the same trend, i.e, the vocalist gets the lion's share with the accompanists getting less. It so happens today that concerts of many of the young, crowd pulling artistes who are in great demand, feature senior accompanists who have been dominating their field for decades. In this case, these stalwarts, who are so responsible for bringing up the level of the concert to great heights, are paid less than the young 'main' artiste who may not have even been born when the concerned accompanist was on his way to the peak. Such a discrepancy seems unjust. Is it fair to pay a top level, world famous, senior, experienced, crowd-pulling violinist or mridangam vidwan less just because he is 'not main'? Should there not be acknowledgement of his senior status, by virtue of which the concert reaches unprecedented heights? The organizer should surely take cognizance of such stature and seniority and give the supportive artistes their dues.

In the All India Radio, artistes are paid according to their grading, irrespective of their position as 'main', 'accompaniment', etc. Remuneration is fixed and thus there is no differentiation between a main artiste and otherwise. If such a stand was taken in the Sabhas, one could well imagine the controversies that would be stirred up! The only solution seems to be to acknowledge that all the members of a concert team play an equal part in the success of the concert and give payment without differentiating between their roles. Otherwise, it would be like paying the batsmen more, the bowlers less and the wicket-keepers much lesser for the same cricket match the team has won together!

Popularity - Fame

December may be the last month of every year but for some young and upcoming musicians and dancers as well as some artists abroad, it is a welcome month. Quite so as this is the time for showing their mettle in the fine-arts world which has also become a highly competitive one. This is quite cheering. But this natural urge and enthusiasm in them to gain name and fame is misused by some who are supposed to represent the press to earn cheap and easy money.

In this festival season, I observed some people thronging an young artist right inside the artist’s room after the performance introducing themselves as press reporters, demanding money for publishing the artist’s photo and an article about the programme. On such occasions, the artists who are not so experienced, in their desperate mood fall easy prey. I do not know how such so called press people gain easy access to the artist’s room itself without proper identification. I feel that people who represent leading magazines and newspapers will never adopt such mean tactics. What can be done to curb this unhealthy practice requires serious thinking and suggestions by all.

Btw, Is this the intelligence of the press reporters to barge inside the dressing room to get the money knowing the performer’s love towards on popularity and fame?

Fractions To Fractures

All of us are interested in some sport or the other. Some are addicted to Cricket. Many have a fascination for Soccer or Football as was evident from the recently held world cup soccer in Germany. We also hear about the fierce combats of boxing, wrestling and the violent rugby shows. If we keenly observe, apart from being a sport all these have one thing in common, which is a set of rules and regulations. They have a ground or a ring within which they compete following the rules and regulations. They do not try to go beyond the boundary and explore extra-ordinaries. Their actions are closely watched and misconduct against rules and regulations is reacted upon appropriately.

If you draw a parallel of this to our music, we have exhaustively worked out possibilities based on which rules and regulations are built. For centuries great scholars, beyond our portrayal have contributed to these rules and regulations. Respecting their conclusions, some of the points which are of only theoretical interest are deliberately left unexplored by our predecessors. For an instance in Layam, tempos are broadly classified in to five. When from Chaturasram (4 matras per beat) we go to tiram (3), Kandam (5), misram (7) and sankeernam (9) there is natural change of pace with definte matras conforming to each beat. We can have permutations, combinations multiplication, sequencing and so on within this larger boundary. The unexplored possibilities within this strong disciplined fence remain still infinite.

If such is the case, where is the necessity to attempt unusual pace changes like tisram of kandam, kandam of misram, misram of sankeernam etc? In all these attempts fractional values are assigned per beat which make them musically and rhythmically deficient. Even if one tries to substantiate it as his aptitude or gift, aesthetics are mislaid. While we have a dress code for occasions, rules for rituals, behavioral disciplines in every walk of life, why not avoid that which is disregarded by our precursors? Why attempt on the fractions in layam? Beware! Fractions can lead to Fractures!

"Cheap" publicity

The press is playing an important part in the publicity of a concert. The artiste wants to perform and get a good name and a good review in the paper. The reviewer also wants to be praised for their reports. So he takes care of the matter and the language.
After seeing the paper in this season, I feel that a new category of publicity seeker has started out.



This category is not a performer or a critic. But they give free views in the "Letters to the Editor". In this, they are putting controversial subjects and false ideas that can't be proved and just try to make a name. I am surprised that the papers which are supposed to be reputed allowing this. Normally, even when we give a private advertisement in the paper, they ask us not to use certain objectionable words, etc. In that case, how can such papers allow these kinds of scandalous matters without filtering?

• Just because the writers are big shots


• Writers have a good influence


• Writes have a good english/Tamil knowledge


• News papers doenst want to lose their subscribers

It is not fair that they can say what they want in an e mail without any filtering.

House full

The music season of Chennai has always generated a 'fever of excitement' that is not found in the other months. Though music festivals are held in all parts of the world, Chennai, the Hollywood of music stands unparalleled for sheer numbers and enthusiasm.

Naturally, season's tickets for the programmes get sold out even before the rasikas know about the artistes, the singer/accompanist combinations, and so on. In addition, members are given concessional rates and naturally, avail of this opportunity.



In this situation, the number of daily tickets being sold is limited. Many rasikas seeking to attend that day's concert have to go back without getting a ticket.

However, on entering the hall, one is surprised to see that there are still quite a few vacant seats. This is because of the non-attendance of some of the season's ticket holders or members for some reason or other.

On one hand, many rasikas are deprived of a daily ticket. On the other hand, there are still seats vacant in the hall. How to solve this problem?

The solution seems to lie in reserving the admission of the season's ticket holders and members.

Just as a passenger boarding a flight has to check-in at least an hour in advance, or a train traveler at least 30 seconds before the departure, it may be made mandatory for such a ticket holder to report on time, or with a minimum grace time of say, 5 minutes. Failing which, his seat could be sold as a daily ticket.

Such an arrangement will allow genuine rasikas to listen to their favourites without disappointment and in addition, prove an encouragement for artistes who can sing to a really full hall instead of one that merely bears the sign 'Sold out'.

Hypocrites

It is a well known fact that a master in his chosen field is held in great esteem by the public. This applies to musicians as well as other famous personalities. The image he carries is spotless, making him a role model for others to emulate.
However, when such people interact with others in, say, lectures, speeches, discussions, interviews, etc. , they sometimes betray facts about their characters that are anything but admirable. This reveals their true nature and is a proof that what they have been projecting to the public is nothing but a drama.
Truth always comes out in the end.
It would be in the interests of these celebrated personalities to genuinely be what they show to the world. Otherwise, they will not only be displaying their weaknesses to the public, but also the fact that their behaviour is hypocritical.

Future of music- Promise or compromise?

Music has been described as the food of life. Sabhas play a central role in feeding the rasikas with this fine art. They organize concerts, jugalbandhis, and fusion ensembles with the aim of giving quality music without compromising the dignity of the art. The comfortable ambience of the Sabhas provides an ideal environment for listening as well as performing.
In recent times the phenomenon of Event Managed programmes has set in. Though many of these provide excellent fare, the general trend seems to be far from welcome. The scene is generally as follows:



Music has been described as the food of life. Sabhas play a central role in feeding the rasikas with this fine art. They organize concerts, jugalbandhis, and fusion ensembles with the aim of giving quality music without compromising the dignity of the art. The comfortable ambience of the Sabhas provides an ideal environment for listening as well as performing.
In recent times the phenomenon of Event Managed programmes has set in. Though many of these provide excellent fare, the general trend seems to be far from welcome. The scene is generally as follows:

Social evenings are organized by event management companies in hotels and bungalows on city outskirts. Music programmes are arranged as part of the entertainment. The general aim of these get-togethers is to provide fun. Liquor is served freely. Cigarette smoke fills the air. Dancing and swimming go on in full swing to the accompaniment of the shrieks of happy children in the play area.
The musicians play on in this ambience. Such evenings are organized for executives and foreign delegates as a means of relaxation.
What an irony! On one hand Sabhas are striving hard to nurture music in all its grandeur, in a dignified atmosphere. On the other hand such event managed programmes take place in an atmosphere of vice giving a wrong impression to the executives and foreigner delegates for whom, caught up in their busy schedules, this may be the only exposure they have to our music.
Who is to blame for this state of affair? Is it the host of these parties? Or the event management companies who benefit hugely but throw bread crumbs at the eagerly accepting musicians? Or is it the musicians themselves who, unwilling to slog their way up the ladder prefer the easy path of money making by participating in such tamashas, and thus compromise their art?
Only two solutions to solve this problem.
One, let the concert take place in a clean ambience and the partying begin later.
Or better still, let the event management companies keep our music out of such affairs altogether. Like oil and water, vice and music do not mix. After all, pleasure has many varieties. Haven’t we all seen the joyful expression on the film villain enjoying the aftermath of his ‘deed’ as he sits surrounded by various ‘diversions’?