Why are carnatic kritis mostly devotional?
Sundara Pandian
---------------------------------------------
This question comes to my mind
invariably, whenever I attend a
carnatic recital.
I find that most of the kritis
popular and performed often in the
carnatic concerts are devotional in
nature and one can't help thinking
why people have written kritis mostly
singing in praise of God.
It was a delightful change when
I attended a concert by Dr.Balamurali-
krishna. ( I hold the view that he is
the musician among the musicians. )
Dr.Balamuralikrishna, who was singing
the Tyagaraja kritis, switched to Tamil
with the song
"Thanga radham vandhadhu veedhiyilE"
[ A golden chariot came on the street.]
This is a romatic hit song that he
performed for a movie ( Does anyone know
the raga of the song ?).
One could point out "Thiruppaavai"
as romantic, but I would have to remind
him that the bottomline therein is also
devotional. I have heard one from this
work performed by Ariyakkudi Iyengar in
the sree raga. But "thiruppaavai" is not
often performed in the carnatic recitals.
Tamil poet Bharathi has written some
romantic kritis also, the so-called
"kaNNammaa songs", but the bottomline is
devotional also. ( The poet pictures
himself as a lover of Lord Krishna and then
he swaps the roles .) However, his kritis
were a delightful change to traditional
kritis speaking in praise of God. Bharathi
his written such kritis as well and his
kriti `nalladhOr veenai saidhE..' is very
popular nowadays in Tamilnadu. I also like
to add that Bharathi wrote kritis in the
days of India's freedom struggle ( Bharathi
died before India got independence ), on
Bharatha Maathaa ( Mother India ) and other
kritis in the lines of Indian freedom
struggle. I am writing this to indicate that
Bharathi has written kritis other than
devotional and some romantic kritis also,
even though they circle Lord Krishna.
I welcome a discussion on this topic.
- S.Pandian.
s...@cec1.WUSTL.edu
----------------------------------------------
R2...@vm1.cc.uakron.edu
s...@cec1.wustl.edu (Sundara Pandian) writes:
>
> Why are carnatic kritis mostly devotional ?
> ---------------------------------------------
> s...@cec1.WUSTL.edu
The philosophy as advocated by vedanta and bhagavata puranas (including
bhagavadgita) for the age of Kali or Kaliyuga is the path of Bhakti Yoga.
That is why you find such great bhaktas in this age like The trinity,
Annamacharya, Maharaja Swathi Thirunal, Gopalakrishna Bharathi, Kshetrajna
Purandaradasa, Swami Haridas .. just to name a few. All these composers
advocated the philosophy of Bhakti for the simple reason that it is easier
to follow than other forms of yoga. Hence being a part of Kali yuga, this
should not come as a surprise to us.
Other poets like Bharatiyar, Jayadeva, and others were primarily poets and
not classical music composers, though it is common to hear their compositions
in concerts. Hence, I think we should not include them in this discussion.
Bye now,
Hari r2...@akronvm.bitnet
Njan
In article <1682EC6...@VM1.CC.UAKRON.EDU> R2...@VM1.CC.UAKRON.EDU writes:
>In article <920723172...@cec1.wustl.edu>
>s...@cec1.wustl.edu (Sundara Pandian) writes:
>
>>
>> Why are carnatic kritis mostly devotional ?
>> ---------------------------------------------
>> - S.Pandian.
>> s...@cec1.WUSTL.edu
>
>The philosophy as advocated by vedanta and bhagavata puranas (including
>bhagavadgita) for the age of Kali or Kaliyuga is the path of Bhakti Yoga.
>That is why you find such great bhaktas in this age like The trinity,
>Annamacharya, Maharaja Swathi Thirunal, Gopalakrishna Bharathi, Kshetrajna
>Purandaradasa, Swami Haridas .. just to name a few. All these composers
>advocated the philosophy of Bhakti for the simple reason that it is easier
>to follow than other forms of yoga. Hence being a part of Kali yuga, this
Actually, Swathi Thurunal also wrote many "Padam"s for Mohiniyattam which
are more romantic than devotional... Some of the padams are regularly
used by singers in their concerts... "Aliveni" is an example...
regards,
Njan
Srinivas Budaraju
> I find that most of the kritis
> popular and performed often in the
> carnatic concerts are devotional in
> nature and one can't help thinking
> why people have written kritis mostly
> singing in praise of God.
> - S.Pandian.
I think it has to do with the patronage. In the
north, the Palace was the patron and hence the
secular compositions in Hindustani music. In the
south, temples were the patrons.
-Srinivas buda...@cae.wisc.edu
Rajan Parrikar
>In article <920723172...@cec1.wustl.edu> s...@cec1.wustl.edu (Sundara Pandian) writes:
>
>> I find that most of the kritis
>> popular and performed often in the
>> carnatic concerts are devotional in
>> nature and one can't help thinking
>> why people have written kritis mostly
>> singing in praise of God.
>
>> - S.Pandian.
>
>I think it has to do with the patronage. In the
>north, the Palace was the patron and hence the
>secular compositions in Hindustani music. In the
Devotional compositions abound in Hindustani music too (Swami Haridas,
Jayadeva, Surdas, Meerabai, Vishnu Digambar Paluskar, to name a few).
Rajan Parrikar
==============
email: parr...@mimicad.colorado.edu
D Jayasimha
>
> I find that most of the kritis
> popular and performed often in the
> carnatic concerts are devotional in
> nature and one can't help thinking
> why people have written kritis mostly
> singing in praise of God.
> - S.Pandian.
Not surprising, really. Indian music is spiritual in character and what
better vehicle to express musical sentiments other than through bhakti.
Another powerful reason is that almost all the composers of yore have been
"bhaktas." Purandaradasa, the Pitamaha of Carnatic music, who systematized
the foundations of Carnatic music, was the most well known representative
of the "dasa koota," a diverse group of bhaktas under Saint Vyasaraya.
The Trinity (of composers) were either bhaktas or tantrics and so their
compositions were dedicated mainly to their "ishta devatas." The influence
of the Trinity has been so powerful that later composers have not only
followed the musical styles but also the lyrical styles of the former.
I must add that Purandaradasa was also a social reformer of his time and
has quite a few compositions which are secular in nature (some of them are
humorous too). Of late, Balamuralikrishna has attempted a few secular
compositions.
jayasimha
Rajan Parrikar
>>In article <920723172...@cec1.wustl.edu> s...@cec1.wustl.edu (Sundara Pandian) writes:
>>
>> I find that most of the kritis
>> popular and performed often in the
>> carnatic concerts are devotional in
>> nature and one can't help thinking
>> why people have written kritis mostly
>> singing in praise of God.
>
>> - S.Pandian.
>
>Not surprising, really. Indian music is spiritual in character and what
>better vehicle to express musical sentiments other than through bhakti.
The following episode illustrates with telling effect the potency of
bhakti and faith in Indian music.
There are several versions of this story of Swami Haridas, who was
Tansen's guru, and all of them drive home the same point. I have chosen
the one offered by B. Chaitanya Deva in his book, "An Introduction to
Indian Music".
---------
pp96
Though one of the greatest musician of his times, the saint [Swami
Haridas] was completely indifferent to laurels and turned his face
from all fame. Once Emperor Akbar wanted to hear him. It was
impossible to bring the Swami to the royal court; and the hermitage
was out of bounds to kings and such like. Therefore, Tansen thought of
a ruse. Akbar would go in rags as a tamboora bearer with Tansen to
Nidhuvan! The two went as planned and the Emperor listened with rapt
wonder to the divine music. On return to the court, Akbar remarked to
Tansen, "How is it that with all your virtuosity, your music is so
insipid compared to your guru's?" Tansen replied, " What else can it
be: for I sing to the Emperor of this land but he sings to the Emperor
of Creation".
---------
Rajan Parrikar
==============
email: parr...@mimicad.colorado.edu
***deleted***
>
>jayasimha
Umesh Mokate
I think it has to do with the composers. In carnatic most of the legendary work
is done by saints like Tyaagaraajaa, Puarandardaasa etc and naturally their
work is devotional in nature. It has nothing to do with patronage in south. Do
you want to say that in south the kings did not give patronage to musicians?
In Hindustani, on the other hand, the legendary work in present day Kayaal
singing is done by Hindus and Muslims together. In this case, palace patronage
of Muslim kings did have an influence and naturally it came out with various
shades. We find many devotional pieces in Hindustani too along with others.
Another point I think must be taken into account is that even though a piece
is devotional in nature, in khayaal singing, artists try to bring out the
mood of the raag rather than the devotional mood (i.e. words are given less
importance than raaga's abtract mood). So one does not feel the prominence
of devotion. If words are given importance, then it becomes a Bhajan.
In Hindustani music, there were composers like Surdas, Haridas, who were
saints well versed in classical music. But in general, in Hindustani music,
most of the composers are not saints but artists from different backgrounds
and it reflects in the variety of compositions available.
On the other hand, in Carnatic kritis, words are of importance because that is
how the founders sang it. I doubt if Tyagaraaja sang his kritis with raag
aalaapanaa, kriti, naraaval, kalpanaa swaram, etc. when he was going around
for alms. Also I doubt if he used to have "regular" meetings in which he
would sing his kritis in the above said manner along with the accompaniment
of Mridamgam and Veena. I would imagine he doing it like bhajan rather than
trying to bring out other moods in his music. So the point is: most of
the composers in Carnatic are saints and they used the "vehical" of classical
music to bring out their devotion. I feel that other parts (like aalaapana,
kalpana sawram, narawal, Tanni etc.) were added on by later artists to make
it "more" classical. If someone has references telling that Tyaagaraaja himself
used to sing/compose all his kritis in the manner they are rendered by
present days artists, then please let me know.
Oh, I did not expect that it will become such a long comment!
Umesh...
Rajan Parrikar
1) Not necessarily. Just listen to Pandit Jasraj. In his art, one finds
a happy marriage of lyrical beauty and classical technique.
2) Some ragas are traditionally devotional in nature and they are
referred to as ones with 'bhakti-ras'.
3) As someone (Jaisimha?) has pointed out before, Indian music IS
spiritual in nature. It does not follow, however, that our music is
sectarian.
Rajan Parrikar
==============
email:parr...@mimicad.colorado.edu
<deleted>
>
>Umesh...
>
>
>
>
ban...@sundagger.lerc.nasa.gov
>In article <1992Jul29....@microsoft.com> ume...@microsoft.com (Umesh Mokate) writes:
>>. . . in khayaal singing, artists try to bring out the
>>mood of the raag rather than the devotional mood (i.e. words are given less
>>importance than raaga's abtract mood). So one does not feel the prominence
>>of devotion. If words are given importance, then it becomes a Bhajan.
> ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>
>1) Not necessarily. Just listen to Pandit Jasraj. In his art, one finds
Or to Dinkar Kaikini, for that matter!
>a happy marriage of lyrical beauty and classical technique.
On the other hand, dhrupad singing, especially in (Dagarvani) alAp,
uses no words, merely syllables that remind one either of chanted
mantras or of the sound of the vINA. And dhrupad is one of the most
devotional forms of Hindustani classical singing!!
Many of the khayals have "devotional" lyrics too.
>3) As someone (Jaisimha?) has pointed out before, Indian music IS
>spiritual in nature. It does not follow, however, that our music is
>sectarian.
Hear! Hear!!
Cheers
Amitava
Umesh Mokate
>>is devotional in nature, in khayaal singing, artists try to bring out the
>>mood of the raag rather than the devotional mood (i.e. words are given less
>>importance than raaga's abtract mood). So one does not feel the prominence
>>of devotion. If words are given importance, then it becomes a Bhajan.
> ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>
>1) Not necessarily. Just listen to Pandit Jasraj. In his art, one finds
>a happy marriage of lyrical beauty and classical technique.
I was talking of "general" rendering of Khayaal in Hindustani music, not any
particular singer. There are many Khayaals whose poetry is devotional in nature
but is not felt that prominently.
In Pt. Jasraj's case, it is so because he pronounces the words very clearly.
It is one of the aspects of his gharaanaa. How about other gharaanaas?
How many singers can you list who do such rendering?
>2) Some ragas are traditionally devotional in nature and they are
>referred to as ones with 'bhakti-ras'.
I guess you are referring to "shaant-ras" i.e. the mood or character of the
raag is peaceful in nature.
>3) As someone (Jaisimha?) has pointed out before, Indian music IS
>spiritual in nature. It does not follow, however, that our music is
>sectarian.
Yes, I completely agree with it.
>
>Rajan Parrikar
>==============
>email:parr...@mimicad.colorado.edu
>
Umesh...
Rajan Parrikar
>>>Another point I think must be taken into account is that even though a piece
>>>is devotional in nature, in khayaal singing, artists try to bring out the
>>>mood of the raag rather than the devotional mood (i.e. words are given less
>>>importance than raaga's abtract mood). So one does not feel the prominence
>>>of devotion. If words are given importance, then it becomes a Bhajan.
>> ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>>
>>1) Not necessarily. Just listen to Pandit Jasraj. In his art, one finds
>>a happy marriage of lyrical beauty and classical technique.
>
>I was talking of "general" rendering of Khayaal in Hindustani music, not any
>particular singer. There are many Khayaals whose poetry is devotional in nature
>but is not felt that prominently.
>
>In Pt. Jasraj's case, it is so because he pronounces the words very clearly.
>It is one of the aspects of his gharaanaa. How about other gharaanaas?
>How many singers can you list who do such rendering?
This is not to pick nits but I was, in the main, responding to your rather
misleading line "If words are given importance, then it becomes a
Bhajan". And as an example of someone who combines a feel for lyrics
with classical technique, I chose Jasraj. It is true, however, that
there aren't many of this type.
>
>
>>2) Some ragas are traditionally devotional in nature and they are
>>referred to as ones with 'bhakti-ras'.
>
>I guess you are referring to "shaant-ras" i.e. the mood or character of the
>raag is peaceful in nature.
No. I am referring to the Bhakti-ras.
Umesh Mokate
>>
>>>2) Some ragas are traditionally devotional in nature and they are
>>>referred to as ones with 'bhakti-ras'.
>>
>>I guess you are referring to "shaant-ras" i.e. the mood or character of the
>>raag is peaceful in nature.
>
>No. I am referring to the Bhakti-ras.
>
Sorry for being picky, but "bhakti-ras" is not one of the 9 ras defined in
Sanskrit literature (and in other languages which are derived from Sanskrit).
They are: Shaanta, Veera, Roudra, Bibhasta, Haasya, Karuna, Atbhoota,
Shringaara, and Bhayaanaka.
Are there different "rasas" associated with classical music other than nav-rasas
of Sanskrit? If so, please give us more information on it.
Umesh...
Rajan Parrikar
Yes, there are several ragas which are said to embody the
Bhakti-ras (Ragas Bhairavi and Todi, for example) other than the
nine rasas you've cited of the original Rasa-Bhava theory. Another
ras often used to describe ragas is the Anand-ras. Perhaps these
rasas are subsets of the original ones and are formed by combining
two or more rasas.