Discussion of Ragas!
ravishankar gundlapalli
I read this group quite regularly and have learnt a lot about Carnatic
music. The idea of having a discussion of Ragas is a great one and
definitely will help a lot of people who are trying to enhance their
knowledge. We can call it
"RAGA OF THE WEEK"
We can begin the discussion on a Monday and wind up on Saturday, may be.
Someone needs to take charge. The ideal thing would be if someone
actually presents a summary of the week's discussion on sunday.
My feeling is that there are enough knowledgeable people in this group
and this feature will be just great.
Ravishankar
--
-------------------------------------------------------------------------------
Ravishankar Gundlapalli
1700 Murfin Ave Apt 4
Ann Arbor MI 48105 USA
Anand Ramachandran
Well, enough talk.. Let's get on with the discussion:
I propose this week's raga: RAGA HAMSADHVANI
- I have always found this raga quite uplifting. Many
other ragas (even ones similar to this) have a depressing mood to them,
listening to the raga the first time. Raga Hamsadhvani has a very
pleasing major key to it. It is a Janya Raga of the 29th MelaKartha
Raga: Dheerasankaraabharanam.
The Raga is:
ARO: S R2 G3 P N3 S AVO: S N3 P G3 R2 S
One popular krithi in this raga is: Vatapi Ganapatim (appropriate
for the start of the discussion I feel) composed by Muttuswami Dikshitar.
With that, let the conversations begin!
-Anand Ramachandran
-zmae...@leland.stanford.edu
Ananth Srinivasan
Anand Ramachandran <zmae...@elaine51.Stanford.EDU> wrote:
>
[Discussion about Hamsadhvani]
There seems to be a preponderance of songs with the Ganapati
theme in Hamsadhvani (in addition to vAtApi, I can think of
Bhaja Mahe Sri Vinayakam among others). Can anyone shed light
on this? Or is it that these are uplifting songs to commence a
concert with due to the raga itself so that one hears them often?
--Ananth
Mahesh Saptarshi
the discussion on Raga Hamsadhwani. Before we go any further
I propose that we have the following "standard" notation for
the Saptaka. My friend conversant with Carnatic music tells me
that THIS is the standard notation used. I have yet to come
across this notation in Hindustani (I haven't been too far,
that might be the reason!).
The confusion arises when I see R3 and G3, etc. I thought that
there were only 2 R, 2 G, 2 D and 2 N in the scale.
The notation is as follows.
Note Notation Alternative notation
Sa S S
Soft Re R1 R1
Shuddh Re R2 G1
Soft Ga G2 R3 (sharp Re)
Shuddh Ga G3 G3
Shuddh Ma M1 M1
Sharp Ma M2 M2
Pa P P
Soft Dha D1 D1
Shuddh Dha D2 N1
Soft Ni N2 N2
Shuddh Ni N3 N3
May be most of you are already comfortable with this.
Corrections are wholeheartedly welcome.
Mahesh S.
V. Chandramouli
Hamsadwani!! A good choice to begin our discussions. Before going
further, the above proposed notation scheme is not satisfying. It abounds
in contradictions. Where is your G2 ? R, G are symmetrical to D,N and
your notation does not reflect this. In most books that I have seen,
they refer to the notes as R1,R2,R3 and G1, G2, G3 and similarly for D
and N. The confusion that there are only 2 R and 2G etc. comes about only
when you start applying Hindustani conventions in C. music ragas. What you
call as Shuddha in H. music is NOT the same as a shuddha swara in C. music.
I suggest when talking about C. ragas, the suffix 1,2 and 3 be used. This
notion of 3 R etc. has been beaten to dust on thios newsgroup. I can't believe
that I am clarifying this again. The H. folk who read this discussion
should at least make an attempt to understand the Carnatic conventions
instead of saying "I always though there are only 2 R!! What is R3 ?"
To those who think that R3 and G2 are the same (if you are looking at a keyboard
for instance), you are wrong. I was speaking to Prof. Viswanathan the other
day about this and he was of the opinion that there are subtle differences.
The shatsruti rishabham or R3 when used is approached differently then when you
play G2. So the srutis are different. Listen to any composition in Nattai.
Can you ever hear a G2 (as in Todi) when the R3 is played so prominently ?
These subtle differences can be brought out in instruments like flute, violin,
veena etc. and not on a piano.
It is indeed very frustrating to see this issue keep coming up.
Anyway, coming back to Hamsadwani, another good composition is
Raghunayaka. Has anyone heard any RTPs in this raga ? In our raga discussions
perhaps, we can also include some information on RTPs if the raga in
question is not the "popular" RTP choices like Kalyani, Todi.
In me HAmsadwani, as does Shankarabharanam, evokes a feeling of devotion. There
is a majestic quality in this raga that I cannot quite pinpoint. Of course,
the emotions that one feels are more due to conditioning than anything else, so
others may not feel this way.
The note G is important here. Also the rather large interval (P, N) strikes me
rather strongly (in fact I use this as one of the clues that I use for
identification). In most of the renditions that I have heard, the artiste almost
always includes some flashy kalpana swara passages. Both Vatapi Ganapati and
Raghunayaka begin on the note G.
--Chandramouli
Pankaj Joshi
Mahesh Saptarshi <c1ma...@watson.ibm.com> wrote:
>Anand Ramachandran (zmae...@leland.stanford.edu) has started
>the discussion on Raga Hamsadhwani. Before we go any further
>I propose that we have the following "standard" notation for
>the Saptaka. My friend conversant with Carnatic music tells me
>that THIS is the standard notation used. I have yet to come
>across this notation in Hindustani (I haven't been too far,
>that might be the reason!).
>
>The confusion arises when I see R3 and G3, etc. I thought that
>there were only 2 R, 2 G, 2 D and 2 N in the scale.
>
>The notation is as follows.
>
>Note Notation Alternative notation
>
>Sa S S
>Soft Re R1 R1
>Shuddh Re R2 G1
>Soft Ga G2 R3 (sharp Re)
>Shuddh Ga G3 G3
>Shuddh Ma M1 M1
>Sharp Ma M2 M2
>Pa P P
>Soft Dha D1 D1
>Shuddh Dha D2 N1
>Soft Ni N2 N2
>Shuddh Ni N3 N3
For Hindustani the above scale could be written as
S r R g G m M P d D n N
>Mahesh S.
Luckily the Raga Hamsadhwani is found in Hindustani music also and
therefore I feel urge to discuss Hindustani performances as well.
My impresseion is that this raga has been adopted from Carnatic and the
scale remains same. The main rasa of this raga in HM is "Shringar"
according to the famous vocalist Kishori Amonkar and she translates it as
creation. I have found all Hindustani artists forever enchanted by the kriti
'vaataapi gaNapati.m bhaje ham'. Almost all the artist in HM have composed
their songs based on this Kriti. I have heard similar versions by Amir Khan,
Rashid Khan, V. G. Jog, Hariprasad Chaurasia, Kishori Amonkar, Vishwa Mohan
Bhat etc. There are some compositions that I heard repeatadly especially from
Culcutta based artists they are:
'laagi lagan kaisi sakhi sa.ng' and 'ga.ndha suga.dha ana cha.ndan
maathi tilaka dhare'.
Out of all recordings in HM that I have heard I found Veena Sahasrabuddhe
and Kishori Amonkars both intriguing and new. KA has recorded 3 compositions
in a 70 min recordings.
I find this raga suitable for emotions of bhakti, patriotism and love.
Pankaj
Mohan Ayyar
(V. Chandramouli) writes:
>Anyway, coming back to Hamsadwani, another good composition is
>Raghunayaka. Has anyone heard any RTPs in this raga ?
I have heard MLV sing a Pallavi in Hamsadhwani. Charumathi Ramachandran
has also composed a pallavi in Hamsadhwani Khanda Jathi Tisra Nadai. She sang
it in her SYdney concert in 1991.
The lyrics are:
Vinayaka vallabha nayaka
Gajananayutha, gananayaka, siddhi (Vinayaka)
This is derived from the following krithis:
Vinayaka ninnu .. (Hamsadhwani, Veena Kuppayyar)
Vallabha (Begada, Dikshitar)
Gajananayutham (Chakravakam/Vega Vahini, Dikshitar)
Gananayakam (Rudrapriya/Purna Shadjam, Dikshitar
Siddhi Vinayakam (Shanmukhapriya, Dikshitar)
She sang kalpana swaras in the 5 ragas pertaining to the listed
krithis.
Hamsadhwani is believed to be discovered by Ramaswamy Dikshitar
(father of Muthuswamy). The former has composed "Sri Subramania"
in this raga (I have never heard it though).
Some of my favourite compositions in this raga include:
Vara vallabha (GNB), Mooladhara murthe (Papanasam Sivan),
Sri Raghukula (Thyagaraja), Bhajamahe Sri (Tulasivanam - TVS sings
it). I think the raga is particular suited to instrumental music.
Nice phrases are: NGRS NRNP
NG (with jaaru downwards)
SRRGGP RGGPPN GPPNNS PNNSSR ... (janta swaras)
>always includes some flashy kalpana swara passages. Both Vatapi Ganapati and
>Raghunayaka begin on the note G.
Most compositions do start on G some exceptions: Sri raghukula (upper S),
Mooladhara (P).
Mohan Ayyar
may...@extro.ucc.su.oz.au
Rajan P. Parrikar
>In article <3gluik$c...@zip.eecs.umich.edu> vcha...@dip.eecs.umich.edu
>(V. Chandramouli) writes:
>>Anyway, coming back to Hamsadwani, another good composition is
>>Raghunayaka. Has anyone heard any RTPs in this raga ?
>I have heard MLV sing a Pallavi in Hamsadhwani. Charumathi Ramachandran
>has also composed a pallavi in Hamsadhwani Khanda Jathi Tisra Nadai. She sang
>it in her SYdney concert in 1991.
One of the finest Hindustani recordings in recent times in Raga
Hamsadhwani, IMO, is that of Kishori Amonkar - "Ganapati vidhan...".
I got my copy just yesterday. The girl has truly surpassed herself.
Muit magnifique! A refreshing change from all the chickenshit Hamsadhwanis
we have had to put up with since Amir Khansaheb's demise.
Rajan Parrikar
==============
email: parr...@mimicad.colorado.edu
mu...@cip.physik.uni-dortmund.de
....
: Some of my favourite compositions in this raga include:
: Vara vallabha (GNB), Mooladhara murthe (Papanasam Sivan),
: Sri Raghukula (Thyagaraja), Bhajamahe Sri (Tulasivanam - TVS sings
: it). I think the raga is particular suited to instrumental music.
: Nice phrases are: NGRS NRNP
: NG (with jaaru downwards)
: SRRGGP RGGPPN GPPNNS PNNSSR ... (janta swaras)
: >always includes some flashy kalpana swara passages. Both Vatapi Ganapati and
: >Raghunayaka begin on the note G.
: Most compositions do start on G some exceptions: Sri raghukula (upper S),
: Mooladhara (P).
-------
Another neat composition is VAraNa Mukha .. by Kotiswara Iyer. This is
the invocatory Kriti in his 72 Mela Kanda GAnAmudham. The kriti begins
with the phrase s R G P N S
Coming to H. Music, Amir Khan Saheb sings a Tarana whose opening phrase
has a Dhatu identical to that of Vatapi Ganapatim.
Finally, I hope this Raga discussion continues despite beginning with
Hamsadwani = Swan song ! :) :)
muthu
Ravi Pariti
I heard Hari Prasad Chaurasia's Hamsadhwani on Flute. He used
"Vatapi Ganapathim Bhaje" as Pallavi.
Interesting choice but excellent!!
Ravi
V. Chandramouli
|> [...Rest deleted...]
|> Nice phrases are: NGRS NRNP
|> NG (with jaaru downwards)
|> SRRGGP RGGPPN GPPNNS PNNSSR ... (janta swaras)
|>
|> >always includes some flashy kalpana swara passages. Both Vatapi Ganapati and
|> >Raghunayaka begin on the note G.
|>
|> Most compositions do start on G some exceptions: Sri raghukula (upper S),
|> Mooladhara (P).
|>
|> Mohan Ayyar
|> may...@extro.ucc.su.oz.au
The varnam "Jalajaksha..." too begins on G. It would be interesting to see
of all the compositions we know in this raaga, how many begin on G. I find this
characteristic about Mohanam too. Perhaps we can discuss Mohanam next week :-).
Are the phrases NRG, NG... etc. allowed in Shankarabharanam ? Aren't these more
characteristics of Kalyani ? I could be wrong too but if I am not, then how
appropriate is it to classify it as a janya of Shankarabharanam ?
According to some schools of thought this should be a janya of the Mela 27 since
the missing D defaults to D1 and the M defaults to M1.
--Chandramouli
Krishnamurthy Muralidharan
There is a Tamil movie song from the movie "Then Nilavu" which I think
is based on "Hamsanandi" and it goes like:
Kalaiyum Neeye, Malaiyum Neeye,
Katrum Neeye, Kadalum Neeye. ,,
Bye,
--Murali
Shiva Shivakumar
>
>Hamsadhwani is believed to be discovered by Ramaswamy Dikshitar
>(father of Muthuswamy). The former has composed "Sri Subramania"
>in this raga (I have never heard it though).
>
>
non-Ganesha kritis in Hamsadhwani : Sri Raghukula, Raghunayaka, and the
"Sri Subramania" mentioned above. I wouldn't mind Hamsadhwani batting
middle-order now and then and praising someone else ..
Hamsadhwani also is one of the few ragas that has 2 Adi tala varnams. The
second one, which is not sung often, is 'Pagavaari' by Patnam Subramania Iyer.
It has some interesting phrases in the last chittaswaram : SGPS_ GPNR_ PNRG_RNPS_
NPGS_SGPS_ SRG (S-- )
My brother talks about a super jugalbandhi in Hamsadhwani featuring the
great Ramnad Krishnan and a Hindustani vocalist, whose name I don't remember
(definitely not a famous one). There is a Ramani/Hariprasad concert
recording (no, I don't have it) featuring this great raga !
Since there was some talk about Subbudu recently, I have to share this
with the nettors. Once he referred to Chittibabu's Hamsadhwani as
'himsadhwani' !!
regards,
Jagadisan Shivakumar
>Mohan Ayyar
>may...@extro.ucc.su.oz.au
Mohan Ayyar
>
>Hamsadhwani also is one of the few ragas that has 2 Adi tala varnams. The
>second one, which is not sung often, is 'Pagavaari' by Patnam Subramania Iyer.
I think there is another Hamsadhwani Adi tala varnam also. It is in praise
of Lord Ganapathi as well. It is possibly a composition of the
late Tanjore S. Kalyanaraman.
Mohan Ayyar
may...@extro.ucc.su.oz.au
Shiva Shivakumar
Thanks for the info. Actually, when I made the above statement, I was thinking
of only the standard varnams that were sung by the musicians of the yesteryear.
Balamurali has composed several varnams and I guess there are many ragas with
2 or more adi tala varnams.
regards,
Jagadisan Shivakumar
Srini Pichumani
>Since Hamsadhwani is a south Indian raag, how did it become
>popular in the north? Who performed the the first recordings
>in NIndian style?
I don't have the facts regarding recordings ... but apparently
Ustad Abdul Karim Khan was one of the first to sing khyals in
this raga. He lived in Madras for a while in the late 10s/20s
(?) and interacted with Carnatic musicians like the legendary
veena Dhanammal. Reportedly, he was also one of the first to
introduce svara-singing in the mainstream H. tradition.
Corrections/Refutations/Comments ?
-Srini.
Naag
Srinath Bala
i am posting this for a friend of mine:
replies to sent to ve...@pop.nih.gov
***********
It seems back home there was a major uproar by Siskel and Ebert of Karnatik
music Mr.Subbudu. Mr.Subbudu apparently has heavily criticized Unni
Krishnan for singing in film music. The first very popular song of
U.krishnan is "Ennavale Ennavale" in the movie Kathalan. Unni krisnan has
got great classical music training. His voice is superb and it is not
another imitation of SPB or Yesudas the two great film music moguls. Also I
would like to mention that there is a another singer Unni Menon. please
don't get confused. Unni menon 's few popular songs are Ponn mane kobam
eno(film:oru Kaidiyin Diary), Kannukku Maiyalagu (film: Pudiya Mugam), pudu
vellai malai ingu (film: Roja). I had the oppurtunity to interview unni
menon last year for a radio program,and Unni Menon was making a point that
he wish that he had proper Karnatik music training before he entered the
film music field. He also mentioned that he started learning Karnatik music
after entering into to film music realizing the integral part of classical
music training for film music.
Unni krishnan on the otherhand has mastered the karnatik
music and has given numerous concerts all over India and now is getting
popularity in film music. Why is subbudu so concerned?. Is it because that
he is afraid that the classical music field might lose him?. Also there is
really nothing wrong in mastering both the fields. Let us go back in
history. The great melody queen M.S. Subbulakshmi(has acted), has sung in
film music and has given numerous Karnatik concert as well. Similarly Dr.
Balamurali Krishna and K.J. Yesudas have done the same. So there is no
reason why U.Krishnan should get all the bashing. Let U. Krishnan make the
decision. Who knows he may follow the foot steps of yesudas in terms of
music career. He may shine in both the fields. By the way Unni krishnan has
given a new song in the movie "Sathi Leelavathi". It is not 100% catchy
like Ennavale. Nevertheless it is very good. On a side note those who
haven't seen Sathi Leelavathi it is a hilarious and very well taken movie
by Balu Mahendra.
Bye Netters
---------------------------------------------------------------
Dr.K.V. Venkatachalam ph.D.
Section on Steroid Regulation (SSR)
Endocrinology and Reproductive Research Branch (ERRB)
NIH, NICHD
Bldg 49/6A36
Bethesda,MD 20892.
Tel#(301)496-5909
Fax#(301)480-8010
Have a Nice Day.
Ramasubramanian Ramakrishnan
I do not know what Subbudu's criticism was about. But
in general, film music experience can corrupt classical music
of musicians. GNB, MS Subbalakshmi were are doing
'film' music when the film music was essentially classical.
Today, the film music world is different. There is all kind
of innovations/experiements going on in film music because
of the influence of various forms of western music.
Voice culture is important for good classical music. For film music,
one needs a different kind of training and the product does not
usually sell in the classical world. I think what Subbudu is
trying to say is that Unnikrishnan may loose his classical depth
if he does a lot of film music. I think the main reason why classical
folks jump into film music is money. Well as long as Unnikrishnan
takes Yesudas's attitude and does not care about such criticisms
from purists, I do not see anything wrong. If Unnikrishnan really
wants to pursue his interests in classical music, he should stay
away from today's film music, I think.
Subu
Mani Varadarajan
> It seems back home there was a major uproar by Siskel and Ebert of Karnatik
> music Mr.Subbudu. Mr.Subbudu apparently has heavily criticized Unni
> Krishnan for singing in film music.
The opinion that Subbudu is a class A crack is widely gaining
acceptance among music circles. Heed not his meaningless
ramblings.
Rajan P. Parrikar
>hi,
>i am posting this for a friend of mine:
>replies to sent to ve...@pop.nih.gov
>***********
>It seems back home there was a major uproar by Siskel and Ebert of Karnatik
>music Mr.Subbudu.
Okay, so you don't like Subbudu. But did you have to loot his izzat
in this manner by comparing him to two clueless, indigent, dessicated,
flagging boobs? (use the dictionary meaning for a change)
:-)
>Mr.Subbudu apparently has heavily criticized Unni
>Krishnan for singing in film music.
Is it possible to post the relevant article or tell us why Subbudu
thinks so? Does he fear that Unni will be 'lost` to film music therbey
robbing the classical duniya of a promising talent? In which case it
is a legitimate concern, IMO, coming from a longtime critic and a genuine
lover of the tradition such as Subbudu.
Or is it a function of the condescension with which a lot of c, i, d,
f boobs view film music? Who refuse to acknowledge that doing film music
at its highest level is difficult and non-trivial. Such panjandrums are
legion in the Hindustani punditocracy. I didn't realise they had
company from down South too! Anyway, we shall withhold further comment
until more data is available vis-a-vis Subbudu's comments.
Regards,
Ramana Mani
Srinath Bala <ba...@amazon.UUCP> wrote:
>hi,
>
>i am posting this for a friend of mine:
>
>replies to sent to ve...@pop.nih.gov
>
>***********
>
>he is afraid that the classical music field might lose him?. Also there is
>really nothing wrong in mastering both the fields. Let us go back in
>history. The great melody queen M.S. Subbulakshmi(has acted), has sung in
>film music and has given numerous Karnatik concert as well. Similarly Dr.
>Balamurali Krishna and K.J. Yesudas have done the same. So there is no
>reason why U.Krishnan should get all the bashing. Let U. Krishnan make the
>decision. Who knows he may follow the foot steps of yesudas in terms of
>music career.
Neither Balamurali Krishna nor Yesudas have been spared by Subbudu's
pen. So there is no reason why he should not bash Unnikrishnan also! :-)
Ramana
Srikanth Gopalan
: hi,
: i am posting this for a friend of mine:
: replies to sent to ve...@pop.nih.gov
: ***********
: It seems back home there was a major uproar by Siskel and Ebert of Karnatik
: music Mr.Subbudu. Mr.Subbudu apparently has heavily criticized Unni
: Krishnan for singing in film music. The first very popular song of
: U.krishnan is "Ennavale Ennavale" in the movie Kathalan. Unni krisnan has
: got great classical music training. His voice is superb and it is not
: another imitation of SPB or Yesudas the two great film music moguls. Also I
: ---------------------------------------------------------------
: Dr.K.V. Venkatachalam ph.D.
: Section on Steroid Regulation (SSR)
: Endocrinology and Reproductive Research Branch (ERRB)
: NIH, NICHD
: Bldg 49/6A36
: Bethesda,MD 20892.
: Tel#(301)496-5909
: Fax#(301)480-8010
: Have a Nice Day.
Subbudu did not spare T.N.Seshagopalan either. When TNS acted in a movie
called 'Todi Ragam' and possibly composed music for the same (not sure about
this though), Subbudu promptly dubbed him Nashagopalan.
-Srikanth
K.R. Subramanyam
>Mani
Couldn't agree more on that point.
However, Subbudu or no Subbudu, I am troubled by Unni's sudden plunge into
filmdom. Despite his filmi voice, Unni has very good classical taste. Part of
his classicism is due to his close interaction with the YACM gang such as
Sanjay Subramaniam, Sriramkumar and the likes. Now obviously he is interacting
with a different set of people. I hope his new found friends don't corrupt his
taste.
I have hope. Anybody who has trained under Muktha (or Brindha) can't go wrong
....well almost....there is the "new" Aruna Sayeram to consider......
M.Greenberg
ANY descent into filmdom cause for alarm. Without watchdogs of Subbudu's
order, there will be peanut shells to clean up after future classical
programs -
Biju Rao
>Ustad Abdul Karim Khan was one of the first to sing khyals in
>this raga. He lived in Madras for a while in the late 10s/20s
>(?) and interacted with Carnatic musicians like the legendary
>veena Dhanammal. Reportedly, he was also one of the first to
>introduce svara-singing in the mainstream H. tradition.
>Corrections/Refutations/Comments ?
>
>-Srini.
If Ustad Abdul Karim Khan introduced Hamsadhwani into H music, the raga
should be one of the Kirana gharana's "standard" ragas - like
Shuddha Kalyan or Abhogi. Yet it is not.
The earliest Hindustani vocal recording that I know of is Amir Khan's.
Lately Kishori Amonkar and Jasraj have begun to sing it often.
Yet I have never heard Bhimsen Joshi, Gangubai Hangal, Firoz Dastur, or
any of the other Kirana
stalwarts sing it in concert and do not know of any recorded
performances of the raga by them either.
Does anyone have any more information on this?
sr...@uoft02.utoledo.edu
>In article <3hdr0s$h...@gazoo.sdd.comsat.com>,
>Srinath Bala <ba...@amazon.UUCP> wrote:
>>popularity in film music. Why is subbudu so concerned?. Is it because that
>>he is afraid that the classical music field might lose him?. Also there is
I am not any fan of Subbudu, but only because of watch dogs like Subbudu does
the music standard maintain some sort of semblance. Not everything that they
say should be taken at face value, but any sincere musician will look into it
and see if there is any truth in what he says and try to make any amends if
necessary. No point in putting down critics outright. Critics are what they are
supposed to be from their point of veiw.
>>really nothing wrong in mastering both the fields. Let us go back in
>>history.
This is something which I personally can never agree with. Call me a
conservationalist or anything, but this is not practical. When you are talking
about vocal music you are talking about dealing with sensitive organs of the
human body which cannot adopt to different things so easily. The voice gets set
in a particular fashion when you train it for Carnatic Classical music. This is
not the same vocal technic to be used in Film music. Vice versa, a film
musician 'cannot' sing classical music, however hard he tries. It can only be
classical music with a strong filmi accent (like those sung by S.Janaki etc..)
One can argue to any amount on this issue, but unless one has the experrience
trying to train his or her voice he wouldnt understand this concept.
>The great melody queen M.S. Subbulakshmi(has acted), has sung in
>>film music and has given numerous Karnatik concert as well. Similarly Dr.
Let us not bring MSS into this discussion. She is beyond all this comparison.
>>Balamurali Krishna and K.J. Yesudas have done the same. So there is no
^^^^^^^^^^^^
Mastered both film and classical carnatic music ????? :-)
>>reason why U.Krishnan should get all the bashing. Let U. Krishnan make the
>>decision. Who knows he may follow the foot steps of yesudas in terms of
>>music career.
Sure,if thats all that is expected of him. He will definetly be a big hit
musician, and already is.
In my opinion, I dont see anything wrong with his going into film music, as I
had observed that he had a leaning towards the lighter music even in his
concerts. The only thing that has kept him going is his traing with the strong
carnatic musicians and his association with the likes of Sriram etc..
Sathish
PS: The opinions expressed are strictly personal and are an outcome of my
conservative outlook towards music. So please dont take any comments as
personal.
Vallath Nandakumar
I hope that peanut shells come into the concert hall (figuratively
speaking). I consider classical music another form of entertainment,
unless perhaps it is conducted in a temple for worship. Classical
music in India is often linked to spontaneous enjoyment, and I hope
this doesn't become like Western classical music concerts which are
way too formal.
My only concern is that film music may lure talent away from
classical. I am not worried about "plebiarizing" the audiences.
Vallath Nandakumar