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    Music Is My Coloring Book . - Archana Sivasubramanian (A Montly Feature On Carnatic Music, This Month Focusing On Raagas and Rasaas)

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    Archana Sivassubramanian
    The document discusses how ragas in Carnatic music evoke different emotions and feelings. It explores why listeners feel happiness when listening to Amruthavarshini, sadness with Sindhu Bhairavi, power with Thodi, and calmness with Hamir Kalyani. The author notes that film music has helped non-Carnatic listeners understand and identify ragas by incorporating the emotional feel of specific ragas into songs. The summary then analyzes the ragas Harikambhoji, Sahana, Kamaas, and Navarasa Kaanada - all janyas (derivatives) of Harikambhoji - and how their swara (note) structures and techniques bring

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    Music Is My Coloring Book . - Archana Sivasubramanian (A Montly Feature On Carnatic Music, This Month Focusing On Raagas and Rasaas)

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    Archana Sivassubramanian
    111 views3 pages
    The document discusses how ragas in Carnatic music evoke different emotions and feelings. It explores why listeners feel happiness when listening to Amruthavarshini, sadness with Sindhu Bhairavi, power with Thodi, and calmness with Hamir Kalyani. The author notes that film music has helped non-Carnatic listeners understand and identify ragas by incorporating the emotional feel of specific ragas into songs. The summary then analyzes the ragas Harikambhoji, Sahana, Kamaas, and Navarasa Kaanada - all janyas (derivatives) of Harikambhoji - and how their swara (note) structures and techniques bring

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    The document discusses how ragas in Carnatic music evoke different emotions and feelings. It explores why listeners feel happiness when listening to Amruthavarshini, sadness with Sindhu Bhairavi, power with Thodi, and calmness with Hamir Kalyani. The author notes that film music has helped non-Carnatic listeners understand and identify ragas by incorporating the emotional feel of specific ragas into songs. The summary then analyzes the ragas Harikambhoji, Sahana, Kamaas, and Navarasa Kaanada - all janyas (derivatives) of Harikambhoji - and how their swara (note) structures and techniques bring

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    111 views3 pages

    Music Is My Coloring Book . - Archana Sivasubramanian (A Montly Feature On Carnatic Music, This Month Focusing On Raagas and Rasaas)

    Uploaded by

    Archana Sivassubramanian
    The document discusses how ragas in Carnatic music evoke different emotions and feelings. It explores why listeners feel happiness when listening to Amruthavarshini, sadness with Sindhu Bhairavi, power with Thodi, and calmness with Hamir Kalyani. The author notes that film music has helped non-Carnatic listeners understand and identify ragas by incorporating the emotional feel of specific ragas into songs. The summary then analyzes the ragas Harikambhoji, Sahana, Kamaas, and Navarasa Kaanada - all janyas (derivatives) of Harikambhoji - and how their swara (note) structures and techniques bring

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 3

    MUSIC IS MY COLORING BOOK.

    -Archana Sivasubramanian
    (A montly feature on Carnatic Music,this month focusing on Raagas and
    Rasaas)
    There is this intense feeling in the head.That glorious feeling of flowing and gliding
    alongside the water. The headphones are on, with Jambu Pathae steadily gaining
    momentum in the charanam.The waves are calm, the sun is just up with the rays
    mirroring and feeling all that reverberation. You notice everything. You feel every
    minutia of what is around, and some more of what is beyond. Emotions become
    inexplicable and you are so lost that music consumes you to the point where you
    become that music..
    All of us know and have experienced this emotion. Lost myself in music has
    become , and was always, a clich. You experience and discover new emotions
    within and around yourself every time you listen to a raga,kind of justifies why raga
    means color or mood in Sanskrit. But why are we so happy when we listen to
    Amruthavarshini, so moved when we listen to Sindhu Bhairavi, so powerful with
    Thodi and so calm when Hamir Kalyani is played around? Why do we feel the way
    we feel and yet feel differently with every raga? Lets explore!
    Film music has been instrumental in helping the non-carnatic junta, understand and
    identify a raga. The Vaakiyakaaraas (composers) have contributed hugely in
    beautifying and adding extra more emotion to a song. The feel specific to a raaga
    combined with the lyrical essence completes a song. Upon observation, one would
    understand that the composers have handled their compositions keeping in mind
    the Lakshanam of a Raaga and the lyrics befitting the emotion specific to a
    particular raga.
    Sample this: There are innumerable number of Janya Raagas borne out of
    HariKambhoji .
    Aarohana: S R2 G3 M1 P D2 N2 S
    Avarohana : S N2 D2 P M1 G3 R2 S
    ( chathusruthi rishabham, antara gandharam, shuddha madhyamam, chathusruthi
    dhaivatham, kaisiki nishadham)
    Raagas like EdhukulaKambhoji, EesaManohari, Kaambhoji, kedaraGowla ,
    Naatakurinji- which are Janyas of Harikambhoji- have very heavy Gamakaas and in
    common parlance, should be sung stiff. Raagas like Sahana, Kamaas, Navarasa
    Kaanada whose parent is also Harikhamboji- focus more on the lilts and kaarvais
    and expound another new set of emotions . The Bhava-Swara Koorvais and Kaarvais

    specific to a raga combined with various Vakra-Varjya differentiators bring in that


    magic that is solely patented to that raga alone.
    There are quite a good number of film and Carnatic music compositions in
    Harikambhoji . Krithis like Dinamani Vamsa, Raamanukku Brovara and movie
    numbers like Orae Paadal Unnai Azhaikum generally tend to trigger that feeling of
    loss. Harikambhoji is generally used in places when one implores to his Lord or
    ruminates over a lost love. The Rasaa specific to Harikambhoji is brought in when
    the Kaishiki Nishadham blends with the other swaras of the raaga. Lets understand
    this better by taking into account a few Janyas of Harikambhoji:
    Sahana:
    Sahana from harikambhoji invokes Shringaara Rasaa. The Janya raagas despite
    their common parent are no similar to each other in any way. This is because of the
    swara structure attributed to each raga. The structure of sahana is:
    Sa Ri Ga Ma Pa Ma Dhaa Ni Sa
    Sa Ni Dha Pa Ma Ga Ma Ri Ga Ri Sa
    (Chathusruthi Rishabham, Antara Gandharam, Suddha Madhyamam, Chathusruthi
    Dhaivatham, Kaisiki Nishadham)
    The notes in the Aarohanam and Avarohanam do not follow a strict progression.
    Hence the note phrases contain such vakra phrases, lending a unique beauty to this
    raagam.
    In the song Paarthaen Sirithaen Pakkam Vara Thudithaen from the movie Veera
    Abhimanyu , the swara koorvais in Sahana have been utilized very well! This
    elusiveness is also well evident in Sri Dikshitars Navavarna Krithi set in Sahana.
    Kamaas:
    There is a longing in Kamaas. Perhaps it is only this longing that makes this Raaga
    difficult for film compositions because it is quite an ardent task to utilize the Swara
    Structure of Kaamas and make it suitably light for film music. The Shringaara
    Rasaa shines well with all tis frugal simplicity only in Kamaas.
    Navarasa Kaanada, another Janya of harikambhoji, has a fantastic Swaravali.
    Sa Ga Ma Pa Sa
    Sa Ni Dha Ma Ga Ri Sa
    The Aarohanam has very limited swaras, with a jump from Panchamam to the
    Higher Octave Sa and the Avarohana has no Panchamam. So in Navarasa Kaanada,
    the Kaishiki Nishadham becomes the Dheergaswara.

    In Sanskrit, Kaishiki translates to something that is powerfully fragile. Navarasa


    Kaanada utilizes the power of this Kaishiki Nishadha in full and brings in the Hasya
    Rasaa.
    Music is life giving. We understand a song despite not fully comprehending the
    lyrics. How strange! Why, do we even know what that popular Nakka Mukka
    means?How did Kolaveri di- a tamizh song- become that National cornerstone of
    TamPunk? You dont know Telugu yet you know what Saint Thygaraja means when
    you listen to the fan-fab-stic Ninnu Vina in Navarasa Kannada . Sometimes one
    wonders if understanding the emotions attributed to a raaga through logic will dilute
    the experience of meditative listening. But paradoxical that be, explaining emotions
    through grammar , in the authors opinion, will only help the listener appreciate a
    composition better . ..(to be continued)
    The author is a self-proclaimed learner student of Music, among other things. You
    can reach her at archana (dot) siva717 (at) gmail.com.

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