What is voice culture? How does one improve it?
X. Rosario Rajkumar, Tiruchi
Voice culture is the skill of properly utilising the voice apparatus which covers the entire portion starting from the head to the abdominal muscles. One needs to train under a voice guru for deeper understanding. But some basics can always be followed like singing with the spine erect and the entire body relaxed; using a well-tuned tambura; and open throated singing.
What is your opinion about music reviews? Do they really help artists improve their performance?
E. Lakshmanan, Chennai
Rarely, yes. The best feedback comes from the guru or seniors. For the most part, Finnish composer Jean Sibelius’s comment on music critics continues to stand vindicated. (‘Pay no attention to what the critics say; no statue has ever been put up to a critic.’)
There are many kritis in apoorva ragas . Why don't master musicians like you sing kritis in such ragas more frequently and maybe popularise unexplored melodies?
V. Valli, Chennai
The answer lies in your question itself! Apoorva ragas are apoorva because they are not common.
Why? Either because of their potential to sustain extensive treatment (Punnagavarali, for example, has restricted prayogas and cannot exceed an octave) or because of the vibrations they emit. We clue into this from the way they have been employed by composers. It would require a genius to reinvent them.
You used to organise youth programmes and select rasikas followed by exams for the next level. I had been selected from my school, Kendriya Vidyalaya, Chennai, in 1994. It was so encouraging and motivating for young aspirants like us. Do you still help talented aspirants? Please provide details.
N. Ramya, Bengaluru
My friends and I still continue with that project, quietly. I can be contacted at nvijaysiva@yahoo.com
Even today people talk about how Ariyakkudi Ramanuja Iyengar’s kutcheri was always the best; his bani is still the best. What was so special about his concerts? I notice that your kutcheri format too is on the lines of Ariyakkudi.
Thirukkodikkaval K. Venkataraman, Chennai
At a time when music patronage was shifting from royal houses to sabhas and rasikas, there was a need to re-design the entertainment elements in Carnatic music in order to keep the patronage simmering, without compromising on values.
Ariyakkudi masterminded the change in the format with tremendous skill and foresight. This format continues to feed the music concert circuit and its economy today.
It is in sync with the Indian decorum of entertaining, be it food or storytelling, and hence special — highly satisfying to the mind and soul and also popular. My concert formatting is basically Ariyakkudi’s but cosmetically customised to suit my comfort.
I am a Carnatic music practitioner. While practising, I am able to sustain up to nishadam and on swaras beyond upper shadjamam. But I am not too comfortable at mel shadjamam. Also, my laya becomes erratic while singing along with the mridangam. Could it be due to lack of confidence?
Bala Krishnan, Chennai
No. It is the lack of technical knowhow. When you go beyond ‘dha’ or ‘ni’, wear a broad smile on your face and flush nasality into your tone. Listen to a lot of concerts concentrating on the chemistry between the vocalist and the mridangam artist. Practise often with a mridangam artist.
This familiarity will ease your lack of control over laya.
What is the future of Carnatic music? Is it economically viable especially for full-time musicians? How to get youngsters interested in this art ?
V. Nagarajan, Chennai
Shall answer all of them in one shot.
Nature’s way of helping the human mind mature and search for deeper happiness has kept the survival of Carnatic music, namasankirthanam, yoga, religious discourses and practices, unchallenged. Concern is to take it to the uninitiated early in their lives.
Piloting them into music appreciation, like we do for our children into cricket appreciation, through group programmes or individual interactions, is a sure way to disseminate.
Luckily many of the present-day musicians are equipped to do this. Support from parents, schools and sponsors can help. Rasikas can guide their acquaintance. Also, making available authentic recordings can widen it further. At the macro level, the Carnatic music circuit today is on a cosy financial pedestal, much to the amazement of its counterpart across the Vindhyas and other nations.
Many of us (full-time professionals) retained our growth rate during the recent economic meltdown. At the micro level, with adequate talent, one can launch a full-time career, initially with meagre returns; grow with experience, clean habits and constant fine honing of skills to attain the upper middle class league, before choosing to retire.
What happened to YACM, the organisation you founded along with some of your contemporaries and which was responsible for bringing young artists to the fore?
Vidya Raghavan, Virgiania, USA
I too am enquiring about its whereabouts but not its ideals! The drive to take music to the doorstep of the youth prevails and if each of us did our bit for it, the search for YACM will happily end.
Often, artists do not mention the name of the raga. Why not do so especially when the raga is a rare one? Also why does a vocalist remain silent when people walk out during the thani?
E.S. Chandrasekaran, Chennai
There are rasikas who expect these announcements while some detest it. In fact, my concert contract offers to circulate a song list with necessary details.
But of late, there are very few takers for this! Understandable, given the popularity of the Internet and search engines.
Rasikas could attempt to cultivate the habit of registering in their mind small aspects of a new raga or song.
Later on, they can educate themselves on more details (like most rasikas did till 1970s). After all, knowledge gained through effort lasts longer.
As for the thani question, if he/she requests them to stay back, it could be an embarrassment to the mridangam artist.
If expressed sternly, the rasika could take it as an insult! Silent and strong disapproval is the best he/she can express at that point of time.
Your concerts are interesting but they also leave us with an impression of having been in an ambience of strict discipline — under a headmaster or a preacher rather than in an atmosphere of friendly camaraderie. Any comments?
Sowmya. N, Chennai
I am happy that you have mentioned two categories of people who are or supposed to be responsible individuals, who respect norms, tradition and law.
Surely your perception would make my school headmistress (Mrs. YGP) and advisors proud.
Wish I am blessed to naturally and spontaneously express the gentler side of me as well!
If an artist has to keep the style of his guru intact, how can new styles evolve? We find that over the years, you have developed a style of your own but within the paramentres of the DKJ bani. How does this happen?
K. Girija, Chennai
Styles blossom organically and are not synthetically generated. The guru plays the first, silent catalyst in opening the vistas for exploration in the disciple, allowing various authentic contemplations to unfold — thus creating a new facet of his own style in his disciple.
Like what Sri Ramakrishna Paramahamsa did to Swami Vivekananda and Vyasaraya Swamigal did to Purandaradasa.
The curriculum for this: developing a healthy mind, discerning between long standing and short lived values in music and utilisation of the voice potential.
(To be continued)
