Sangeetanubhava
WHAT IS SANGEETANUBHAVA?
What exactly is music? One may be tempted to reply, "Elementary, my dear Watson! Anything that is musical to the ears is music!”
It is by no means an easy task to define music but one may understand it as a special means of communication, through organised, regular vibrations. Audible frequencies can be classified, on the basis of regularity of vibrations, into noise, sound and music. (Strictly speaking, sound encompasses both noise and music but here it is being used to denote something in-between.) We hear noise, listen to sound and enjoy music. If we don't enjoy it, it won't be music to us.
Thus we come across people with a wide range of tastes and expectations, who may agree or disagree as to what music is. For instance, a person who likes fast exciting rhythm-based music may find slow alapanas or songs dreary and boring. On the contrary, a person who adores peaceful, tranquil melodies may find the super-fast stuff quite unmusical. To such a person, it may well fall under the category of noise. High-class music will have its loyal followers irrespective of country, region, religion, race or age. Carnatic music is undoubtedly such a system.
Carnatic music, like many other systems across the world, can be appreciated mainly at two levels - emotional or intellectual. It has generally been observed that the majority, at least in the initial stages, go by 'what it does to their heart'. But gradually they seek to understand more in order to enjoy better. Of course, there are many who enjoy it for spiritual and / or philosophical reasons too.
A good music system is one where both the emotional and intellectual aspects are present in even measure. It must also have enough instant appeal to attract the unexposed listener as well as lasting value and substance in order to stand the test of time and thorough analysis. In this context, Carnatic music, which is one of the most ancient music systems in the world, commands world-wide respect and admiration even in the 21st century.
Carnatic music is one of the two major systems of classical music in India, the other being Hindustani music. One of its greatest virtues is that while it is among the most scientifically evolved independent systems in the world, it has also managed to take in desirable aspects from any system and adopt them with an enviable catholicity of outlook, without in any way, prejudicing its originality and individuality.
For instance, the violin and guitar have been successfully adopted here from the West, just as a few ragas have been incorporated from Hindustani music. Again, Carnatic music is governed by well-defined theoretical principles but without jeopardising the practical, aesthetic expression of music since it has a disciplined performing tradition extending back to several generations.
Some of the key terms you may come across when dealing with Carnatic music are: Raga, Tala, Kriti, Varnam, Padam, Javali, Alapana, Tanam, Neraval, Kalpanaswara and Tani avartanam. These will be dealt with in the subsequent sections.
Characteristics of Carnatic music
- Carnatic music is melody based and not harmony based. In simple terms, this means that by and large, stress is placed on rendering one note at a time. Counterpoints or chords (where more than one note is heard at a time) are generally not used.
- The system gives equal importance to melody and rhythm.
- There is an even balance between re-creativity (soulful interpretation of the compositions of great masters) and creativity (on the spot improvisations).
- Carnatic music is a fine blend of science and art.
- The concerts are generally solo or duet but ample opportunities are given to the accompanists to display their skill.
General Tips on Appreciation
Here are a few tips on how you can enhance your appreciation levels:
- An open mind is probably the first and foremost step to cultivate the art of listening. This will go a long way in increasing your ability to enjoy the familiar as well as the unfamiliar.
- Perseverance pays. You may not get the hang of a system overnight but repeated exposure will contribute to a greater understanding of its finer aspects.
- It is also equally vital that you exercise your independent judgement and not go by the tastes and opinions of your peers, for, it is a fact that the same piece of music can suggest different things to different people. It may even bring different responses from the same person in different hearings.
- It is advisable to start with instrumental music and then go on to vocal; the former has been found to be more communicative to the unexposed listener.
- It would also be desirable not to go in for too many technical details in the initial stages like names and definitions of every aspect connected with the system. It is better to focus your attention on the actual music - melody, rhythm etc., preferably one thing at a time. For instance, you can try to distinguish the differences in the tonal qualities and capacities of different instruments, the rhythmic vigour of different artistes and so on. Gradually you can try to recognise and even anticipate the events, like the possible tune of the succeeding line and the change in tempo. With attentive listening and sufficient exposure, you can easily perceive how different effects are created and how they affect you.
- You can slowly start participating more actively while listening. You can, for instance, hum the tune along with the artistes or try to maintain rhythm with them. Just ensure that it is not done too loudly in a public concert!
