Adyar Times Interview
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Adyar Times - 2013.09.15
Kannukkul Pothivaippen - Thirumanam Enum Nikkah
My latest movie song, based on ragas Mukhari and Hamirkalyani Movie: Thirumanam Enum Nikkah Starcast: Jai, Nazriya Nazim Director: Anis Composer: Ghibran Singer: Charulatha Mani, Vijay Prakash, Sadhana Sargam, , Dr.R.Ganesh Lyricist: Parvathy Producer: Aascar Ravichandran Banner: Aascar Films Pvt Ltd Label: Think Music Related Content: Notes of Peace - Raga Mukhari Joy of Hamirkalyani Also, in "A Raga's Journey": Atana for Inspiring Valour Full of surprises - Ragas Vasantabhairavi and Begada Soothing the Senses - Raga Nilambari A Rare Treat - Raga Saramati Morning Ragas - Ramapriya and Rishabhapriya Pious Notes - Ragas Nasikabhushani and Vagadeeshwari Priya Principle - Ragas Rasikapriya and Ratipatipriya Versatile Nattai Positively Tranquil - Raga Harikambhoji Catchy and Classical - Raga Sankarabharanam Of Love and Longing - Chandrakauns and Surya Godly Gowrimanohari Kedaragowla’s Many Moods The Royal Durbar Joy of Hamirkalyani Power of Three - Ragas Mad
Dear Ms.Charulatha Mani,
ReplyDeleteThanks very much for your e-mail and informing about your new CD's/DVD's.
I clicked "Pakkala Neelabadi" and heard the song.I liked it greatly.You have sung it very well.You have very rightly said that it belongs to 'Kafi' 'that' of Hindustani Music.In fact the near equivqlent in Hindustani Musicto Carnatic 'Kharaharapriya' is only 'Kafi'.
The idea of giving the overall meaning of the lyrics( 'Pallavi','Anupallavi' and 'Charanam' separately) side y side is very good.In fact it would benefit the listener-rasikas to enjoy the kritis hearing them with 'bhava'.Keep it up.In fact many musicians may be singing the Telugu kritis of Tyagaraja and others without knowing the meaning of the lyrics.The musicians should sing with 'bhava' and enjoying the singing.
With best wishes
Santhanam.S
Dear Madam,
ReplyDeleteNamaskarams.I am a research scholar in IIT working on carnatic music
analysis. I have some basic doubts in how experts recognize raga. I will
be very grateful to you if you can enlighten me with your knowledge in
this matter. the following are the questions.
a) Do expert listeners search for a characteristic phrase in a rendition
to recognize a raga? Or do they look for a particular sequence of notes.
b) How long an expert has to listen to identify a particular raga. What do
they look for in a rendition?
c) In what way does two different renditions of the same raga differ?
d) How does one define improvisation?
Does improvisation include insertion of GAMAKAS in the notes? Or are
these embellishments pre-defined in the STRUCTURE of the RAGA.
For example if the SWARA "MA" is rendered with a GAMAKA at one instance in
the rendition, will it be rendered with the same GAMAKA throughout the
rendition?
e) Are GAMAKAS crucial towards RAGA identification?
f) Is the characteristic phrase of a raga unique to each raga? How many
motifs can be present for a raga? Can you give some example of
motifs(characteristics phrases) for some ragas where they are unique.
g)What is alapana? Does the phrases used in the alapana are based on the
rendition that is going to follow it or is it same for all renditions
belonging to that particular raga?
For developing raga recognition is it good to start with basic
geethams/varnams or to analyse Alapana of a raga?
Looking forward for your reply.
Regards
S.Sri Ranjani