Category: Music

NOWKA CHARITRAM

INTRODUCTION

OPERAS:

Saint Sri Tyagaraja… the great Rama Bhaktha,, Avatara of Purandaradasa, previously, Valmiki, before that Narada Himself.. wrote Nowka Charitram.

Nowka Charitram is a Opera. Opera is a musical drama.  Opera is a drama of any description set to music.  Actually in some dramas, there is no music and there are some dramas with music, it is merely incidental.  But for Operas music in an indivisible element. In fact is forms an integral part of it.  Whereas drama is a literary form, opera is a musical and a literary form combined.

Gita Govinda of Jayadeva 12th century and Krishna Leela Tarangini of Sri Narayana Theertha 16th century are classic examples.  Both these works were however designed by the respective authors as dance drams. But in South Indian Languages operas come only from 17th century.

Operas are popular in all countries. In German, there are words to express the opera meaning. In the history of every country, we find that the opera comes later than the drama.  The European opera had its origin about three and half centuries ago.  It had its beginnings in Italy and since then has had a continuous development ( Prof. P. Sambamoorthy)

Operas are interesting art forms.  Well trained orchestraspovide the musical accompaniment in operas.  Operas appeal o the initiated and the uninitiated alike.  In the Opera, the happy consummation of all the fine arts. It is not right to think that opera is merely a concert in costume. Music is not super imposed on the play.

Points to be kept in mind for operas:

1. command over the language
2. command over music
3. playwright
4. effective characterization
5. point or the main subject
6. a wide command of vocabulary
7. imagination power
8. dialogue writing skill
9. capacity of beautiful comparisons
10. creative ability of a high order.
11. complete knowledge about music
12. knowledge of Raga and their Rasa
13. prompt imagination of scene and expression of the characters.     —– to be continued.

INFLUENCE OF MUSIC

The influence of music upon emotions has been studied for a long time.

Experiments and observations have been collected, recorded and discussed.  We know that music can elicit certain psychological , psychosomatic reactions with the spheres of circulation, respiration and others.  it is found that music can influence the mood and other psychological conditions in a large group of people.  Here music definition differs and also the effect differs from individual to individual.  Effects may be classified as physical, emotional, behavioral, quantitative, qualitative, integrative, etc.,

music may vary, effect may vary but yet we can find out the required result by careful planning proper control over the situation, proper conduct of experiments a various levels.

we need musically trained psychiatrist and musicologist to be present and engaged in the activity.

—to be continued

DR.V.V.MEENAKSHI JAYAKUMAR

 

December Season

Madras Music Season or December Music season is an event hosted every December & January in Madras.  Spanning some seven to eight weeks, many kutcheris are performed by great musicians.  The Music season encourages renowned and upcoming young artists to display their talent and skill.  Rakisas and Artists come not only from India but also from abroad.

The All India Music Conference was held in 1927 concurrently with the Annual Session of Indian National Congress in Madras. The Madras Music season was first started in the year 1927.  Concerts would be held at various venues at different places every year.  December is the favourable weather conditions and attracted more tourists during this period.

— to be continued.

 

 

KI.VA.JAGANNATHAN (MUKTI DAY:  04^TH NOVEMBER 1988)

KI.VA.JAGANNATHAN known as Ki.Va.Ja, was a student of noted Tamil Scholar Sri.U.Ve.Swaminatha Iyer.  Ki.Va.Ja was a Tamil Journalist, Writer and Poet.  He was awarded the Sahitya Academi Award.

He has written commentary on Abhirami Andhadhi.  Andhadhi is a unique kind of Tamil Poetry constructed such that the last or ending word of each verse become the first word of the next verse then making the poem a garland of verses.

What is Performing Art?

Excellent explanation by Sangita Kalanidhi R.K.Srikandan.

“ A Performing art is its simplest and most obvious form and meaning, is an art which lives only when it is being performed.  That is, these arts live only in time.  The sound of music lives only for the second it is created.  But it leaves huge shadows of wonder and beauty and vanishes.  Only a memory is left….. (the) kind of experience provided is different from emotion recollected is tranquility.

A musician’s life, vocal or instrumental, is focused on the instant of execution, because a performing art is a performing art only when it is being performed… A musician makes his body as instrument at least for the duration of the performance, for the experience and expression of spirit.”

BANGALORE NAGARATHINAM AMMAL

Bangalore Nagarathinam Ammal a devoted lady whose wealth, time and life were dedicated to Classical music and who immortalized her life by taking the initiative to construct the Samadhi of Sri Tyagaraja. With single minded devotion she did the Kumbhabhishekam on January 7, 1925.  She started the annual celebrations on a firm and grand scale.  Daughter of Smt.Puttulakshmi, She learnt Sanskrit, music and violin.

She composed

Sri Tyagaraja Ashtothra Namavali in Sanskrit,

Panchee Karana Bowdheeka in Tamil and Madhyapanam in Telugu.

It is said that She reprinted the telugu classic “Radhika Swayamvaram” of Muddu Palani, a courtesan of the 18^th century.

She was a great musician and on her music Sri. Vasudevacharya says:

“ A queen among dancers and singers, she was an apostle of modesty.  The pride of the Kannada land, she was a selfless soul and had the boons of beauty, learning and wealth in equal proportions.. her respectful demeanor in the presence of senior vidwans attracted me.  She stood as though come to offer worship, never even looked up… spoke little… a divine charm hallowed her beauty.

Her style of singing was religiously classical.  She had accurate layagnana.  Her voice combined the melodic sweetness of a female voice the dignity of a male voice.  As she had a sound knowledge of Bharathanatya, her singing had an emotions appeal.  Yadukulakambhoji was her favourite.  She was never afraid of any challenge from any musician.”

PRANAMS TO THE GREAT NAGARATHINAMMAL (BANGALORE)