TM Krishna: Manodharma - A Lec-Dem Part Three
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- เผยแพร่เมื่อ 18 เม.ย. 2017
- First Edition Arts curated MANODHARMA as part of its Karnatic Modern Series of events featuring TM Krishna. This was an extended Lecture-Demonstration on the subject of Creativity and Improvisation in Carnatic Classical Music.
This is Part Three of a three-part series.
In this segment TM Krishna explains and demonstrates the concepts of Taanam and Composition in Carnatic music.
As a postscript he briefly answers questions on the subjects of Javali, Form and Content and the place of Bhakti in Carnatic music. He concludes with a comment on the importance of Language in the Raag system.
A great resource for both students of music and rasikas alike. Immensely Informative and wonderfully entertaining in equal measure, as only TM Krishna can. - เพลง
Brilliant lec dem by TMK ! Wonderful accompaniment by Akkarai Subbalakshmi and Praveen Sparsh. I think this tops or equals the CMI lec dem given by TMK few years back.
Mr. T. M. Krishna is not only great singer He is a great teacher as well. How beautifully he is explaining all the nuances of Tanam.. No words to express.. Awesome..
A rare treat of intellectual and aesthetic experience. Very ably supported by the brilliant violinist Akkarai madam. What fine chemistry between them!
TMK's knowledge and able to demonstrate to the listeners is amazing.
lecture demo of T.M.Krishna is very interesting and gives good knowledge about manodharma sangeetha to all music students
Excellent lecture. great for music students as well as music lovers. sabhash to subbalakshmi for her genius n compatibility
Fantastic lec-dem! Thanks to FEA for the wonderful video and audio quality and the keen editing. Great work, looking forward to more on this channel, you've earned a subscriber :)
That is like that. This is like this. Yes!!!!!!!!!! Not just in Indian music. All over the world people strive to make links. But it's okay to be different. The similarities always speak (or sing) for themselves. The differences don't make one better or worse than another... they expand our palette and our universe of listening. We are all humans, but our differences deserve respect and thoughtful appreciation. Peace. This is beautiful.
Genius
Clear compostion prounounciaton is very important in carnatic Music.
a genious who has gone to the depth of every song and raaga will be competant to explain and fine company he has with violin and mrudangam
Brilliant analysis to put it mildly. I'm a big fan of TMK's Music. He talks of layers...he talks of language, interestingly I just wished that some thought had gone into the meaning of Dikshidar's lines...meaning is the sublime of all the layers of music he is talking about. If Bhakti was a limiting factor for music then the fundamental understanding of the need for Raagas is entirely missed. Carnatic Music is Raaga based. Yes. But why? Because Raagas define the non verbal emotivity of Bhakti Maarga. Raagas convey Bhakti in a way words cannot, they bridge the gap of the said and the unsaid. A point which was missed. The most important layer so to speak was named an intrusion to be left to choice or classified strictly under Namasankeerthana. Reminded me of the Kaustuba Deer which doesn't know the self emanating most pleasing fragrance it gave out. Pity.
As you say!
I hope my words convey the necessary amount of humility that is required to be carried with them when you read them.
The maarga is, as one treads it, for one; as one is led to tread, for the other; as one follows another's trodden path, for yet another but most importantly, I think, to put it as humbly as is possible, the maarga is also influenced by the perspective in which some express their understanding or about a concept.
TMK has quite clearly taken out religious intonations from his opinions and in his analysis but has it, in anyway, taken away the non-verbal emotivity of the raagas in his vocal rendition, in this very lecdem?
In part 2, he actually uses Lathangi, I think, when describing neraval in a raaga alapana (with lyrics "Bhoologa vaikuntam..." (assuming that we agree that most lyrics are used typically with certain raagas - for instance, "vaathaapi ganapathim..." in Hamsadhvani) that very few would use in a Lathangi style and that has to come from his deep knowledge and discipline to be within the scale and the scope of the/a raaga) so his knowledge range of raagas has not been limited or diminished by his non-belief in bhakti as the source upon which a raaga is built, rendered or vocalised, as a rule.
You have possibly filled the layer that does not exist in TMK's world of raagas, but may exist for many of the rasikas and possibly, other musicians but the metaphor of the Deer caused me to comment for TMK and also possibly, inspired by your own well-expressed comment.
He has amplified on the sahitya question in later lec dems, since this is a persistent confusion. All he says is this, the emotive manifestation of the sahitya meaning alone is inherently personal to the listener, and not necessarily relevant to the music. What is the relevant is the flow of syllables as the hooks on which the raga is strung. That sahitya moves you to bhakti is your personal experience of the divine. Mine is the unexpected moves in a melodic line..how does it matter..we are all moved by something...that's what matters
Aha what a wonderful transition from Sahana to Varali. Brilliant lecture demo. Akkarai is superb.
Beautiful लेक demo ,with ग्रेट ability to sing and explain ably इस wonderful, may The Almighty bless him with very good health and long life
Blessed to listen to this phenomenal music
Though I listened to all the parts of this lec dem, I wish I was more informed about the theory of Carnatic music to appreciate more of his presentation. Hope I could see one of his performances in person. One day perhaps.
Great to hear this session...very interesting.. Thank you 🙏🥰
31:21 MindBlown 🤯❤
KMT 's voice is like well tuned piano. His use of Sanskrit fits with woval support. His motor skills are excellent. I mean all faculties of his mouth. Tal unki ragome chalta hai.
Master you are TMK Sir🙏🙏🙏
Simply splendid 👌👌❣️❣️
Wonderful,Really fantastic...astonished I'm, apnake pronam pronam pronam, jyoti serampore,calcutta,
Fabulous. Thank you.
excellent demo!!!
Excellent oration.........
Who are the supporting artists, please? I really like the violin. She's brilliant.
My apologies, it's in the credits. Cheers.
That prati madhyamam, makes me cry!!
Enjoyed thoroughly 👌👌👌
🙏🙏🙏
56:59
Could someone tell me what the name is of the composition of Dikshitar that T.M. Krishna uses as an example at the very end? The one with the syllable 'Khsja'. Would be a great help! thank you :)
Akshaya Linga Vibho in Shankarabharanam
Many many thanks Gokulanand Iyer! ! :)
58:50 Did the great composers intend music as an art from which the listener can carve out bhakti if he wanted it ? Or did they use the art to give bhakti, which they considered higher than art ?
How is Krishna so confident that great composers selected art over bhakti ?
He did his research Girish. There a number of compositions of tyagaraja that are sringara bhava and erotic in aspect...but unfortunately buried by the association of tyagaraja with only bhakti. He was a multifaceted giant like other members of the Trinity
T M Krishna is great tretise of Carnatic music. He has good musical lineage being direct student of semmangudi srinivasa ayyar. But his opinion on relation between music & bhakti is unfortunate not for him but for followers of Trinity of Carnatic music. I need not reiterate the compisitions of tyagaraja "samgeeta gnaanamu bhakti vina san maargamu kalade manasaa" and
"nigama sirorthamu kaligina nija vaakkulato swara shuddhatato
Sogasugaa mrudanga taalamulu jata goorichi chokka jeyu dheerudevvado" the meaning of second composition is that rithem & music are only additions (jatha) to the saahityam(nija vaakkulato) which is fortified with meanings of Upanishads (nigamasirorthamu). There are many other compositions which reiterates the above. "Chaotic mix of seven notes is what type of music like the sounds of frogs & cranes" this is the meaning of another composition of tyagaraja.
The bilahari song which he sang at 24:58 is awesome. Does anyone have full version of that song
It is not a composition just a one line lyrics for pallavi...
And the Pallavi is - Paramananda Govinda Mukunda.
எங்கியோ போய்டீன்ங்க சார். 🙏🙏🙏🙏🙏🙏 ஒரு நாள் உங்களை சந்திக்க வேண்டும். 🙏🙏
My rather naive question is whether anyone has considered carnatic music as a medium for say a Urdu, Bengali, French or Italian composition?
Yes, I can say that for Bengali. Rabindranath Tagore has composed several Bengali songs based on pure Carnatic music. The lyrics are in Bengali but the musicality is Carnatic.
@firsteditionarts may I ask what are the specifications of the microphone used for TM?
Sibendu Das it depends from venue to venue. Some venues have their own sound setups as in the case of this video. Otherwise Krishna typically uses a Shure SM58.
@@FirstEditionArtsChannel thank you so much for the information. And thank you a lifetime for bringing such treasure troves of musical experience to one and all. Bless you!
@31:37 he says Ga of thodi and ri of madhyamavati are the same... But G2 is the ga of thodi and Ri 2 is the ri of madyavati isn't it..? is that crct..?
He means when you sing it with gamaka, they are the same. Not the swarasthanas.
Can someone assist to identify the song sung at 17:10
It is a Pallavi. It is just one line which may or may not be from a composition. It is then improvised. The particular pallavi you are asking for is as follows:-
Dasharathe Karuna Payonidhe Inakula Tilaka.
T M Krishna is great tretise of Carnatic music. He has good musical lineage being direct student of semmangudi srinivasa ayyar. But his opinion on relation between music & bhakti is unfortunate not for him but for followers of Trinity of Carnatic music. I need not reiterate the compisitions of tyagaraja "samgeeta gnaanamu bhakti vina san maargamu kalade manasaa" and
"nigama sirorthamu kaligina nija vaakkulato swara shuddhatato
Sogasugaa mrudanga taalamulu jata goorichi chokka jeyu dheerudevvado" the meaning of second composition is that rithem & music are only additions (jatha) to the saahityam(nija vaakkulato) which is fortified with meanings of Upanishads (nigamasirorthamu). There are many other compositions which reiterates the above. "Chaotic mix of seven notes is what type of music like the sounds of frogs & cranes" this is the meaning of another composition of tyagaraja.
If there is no Bhakti element in the writing, why did all the composers write on Gods and Goddesses,? They could have written on human emotions, Nature or rulers or social conditions. Most of the compositions are a longing for the Lord's darshan, praise in elation etc.
The problem is having only a rational understanding of things which never lets us explore other facets....
TMK just another pseudo secular intellectual liberal speaking his bullshit everywhere. None can replace our MS Amma, Yesudas, Balamurali . Legends remain legends for a reason
So there are facets which are neither rational nor bhakti too ryt
What is this aversion to Rationality? Humans are rational beings. Rationality is what allows us to comprehend everything around us. Carnatic Music primarily developed in temples. That's why devotional themes encompass it. On the other hand, Hindustani Music primarily developed in royal courts. It has compositions covering a range of topics. Just because Carnatic Composers restricted themselves to making only devotional compositions does not imply that, other emotions cannot be expressed through Carnatic Music.
There is no aversion to Reason or logic. To look at everything through this lens will not let you explore the spiritual or the Bhakthi side. But unfortunately Bhakthi is not a common thing for everyone to revel in it. To me Carnatic music is Bhakthi music primarily. The musicians have used music as a medium to grow in consciousness and scale spiritual heights. This is the case with everything in ancient India. Hindustani music under heavy influence of iconoclastic Islamic rule would have become secularised.
@@youtubaravind common men of spiritual bhaarath had other stuffs to care and work for. After bhaaratheeyans attained a level of satisfaction on all aspects, we will then care about bhakti n carnatic music. Ppl who talk about carnatic music are very far from ancient india 🤣People pf navya Bharath never know who these megalomaniacs are.