Pata'antaram' is the secretive beauty of classicism in the composition of a composer, as envisioned by either the vaggeyakara reflected in his own written notations or by a guru who envisions the vaggeyakara hridayam, partakes the knowledge and practitioners and rasikas attach value to them or in absence of the two kinds mentioned above, a stylist rendition in acceptance, endorsement and support or if all three kinds are absent, popular artist's work getting in acceptance, endorsement and support in its establishment. Is there no creativity in compositions performance? There is recreativity of the original creativity, with its values shining forth, afresh or anew. It's similar to the value attachment to western classical music performance of notated works, with the spirit of the composer. Vaggeyakaras works had the ideal of serving the patrons needs for materialism, physical pleasure; realism, mano ranjakatvam, sensuous pleasure; idealism of adhyatmika, metaphysical, psychological for practice in devotional forms and art forms of classical music-be it sadas or sabha performances. Patronage is only for popular performers, uncaring for licentious and reverence only to the idealists-in the past, in the present and will be in future, with very few exceptions.
Today only I watched. Carnatic music is shastriya sangitam, classical music of : kalpita, premeditated and kalpana-imagination, ideation, discovery and rarely, creative; Lakshya, values of practice and Lakshana, defined and discipline in learning and practice. It is 'class' and 'classicism' in balance and harmony delivering intellectual pleasure-both in first time experience and in recall experiences. Higher attachment of value is for kalpana in art form, as it leads to growth and development of art form by enriching the knowledge as well as experiences of joys and pleasures in listening, appreciation. Learning first principle is strict conformance to lakshana and lakshya-kalpita. In practice, the first principle is kalpana rooted in kalpita knowledge. Practice is by convention of both strict conformance and artistic liberties creating rasanubhava. Performarative musical quality delivery's aim is to deliver pleasure to the patrons and win their support. Ideals for the performers are three-pleasure to the learned; pleasure to the general, uninitiated or with minimal exposure gaining perception of quality; pleasure to both the learned and to the general, kinds of listeners. Performers with the first ideal can not take any liberties; performers with the second ideal can take liberties; performers with the third ideal, can take liberties, such liberties taken is the realm of unconscious with the exception of few learned. Popularity of the artists should not result in permissiveness, merits in classicism should be premium. Tradition is form and body of works of excellence, of eternal values. Any works of discoveries and creativity of excellence is seamlessly absorbed in tradition.
Would've been great if the two young musicians were not constantly cut off by the elders and the moderator.
Meaningful discussions, thanks..
சென்னையில்தானே நடக்கிறது. ஆடியன்ஸ் எல்லோரும் தமிழ் தெரிந்தவர்கள் தானே எல்லோரும் தமிழிலேயே பேசினால் என்ன.
Pata'antaram' is the secretive beauty of classicism in the composition of a composer, as envisioned by either the vaggeyakara reflected in his own written notations or by a guru who envisions the vaggeyakara hridayam, partakes the knowledge and practitioners and rasikas attach value to them or in absence of the two kinds mentioned above, a stylist rendition in acceptance, endorsement and support or if all three kinds are absent, popular artist's work getting in acceptance, endorsement and support in its establishment. Is there no creativity in compositions performance? There is recreativity of the original creativity, with its values shining forth, afresh or anew. It's similar to the value attachment to western classical music performance of notated works, with the spirit of the composer.
Vaggeyakaras works had the ideal of serving the patrons needs for materialism, physical pleasure; realism, mano ranjakatvam, sensuous pleasure; idealism of adhyatmika, metaphysical, psychological for practice in devotional forms and art forms of classical music-be it sadas or sabha performances. Patronage is only for popular performers, uncaring for licentious and reverence only to the idealists-in the past, in the present and will be in future, with very few exceptions.
Today only I watched. Carnatic music is shastriya sangitam, classical music of : kalpita, premeditated and kalpana-imagination, ideation, discovery and rarely, creative; Lakshya, values of practice and Lakshana, defined and discipline in learning and practice. It is 'class' and 'classicism' in balance and harmony delivering intellectual pleasure-both in first time experience and in recall experiences. Higher attachment of value is for kalpana in art form, as it leads to growth and development of art form by enriching the knowledge as well as experiences of joys and pleasures in listening, appreciation. Learning first principle is strict conformance to lakshana and lakshya-kalpita. In practice, the first principle is kalpana rooted in kalpita knowledge. Practice is by convention of both strict conformance and artistic liberties creating rasanubhava. Performarative musical quality delivery's aim is to deliver pleasure to the patrons and win their support. Ideals for the performers are three-pleasure to the learned; pleasure to the general, uninitiated or with minimal exposure gaining perception of quality; pleasure to both the learned and to the general, kinds of listeners. Performers with the first ideal can not take any liberties; performers with the second ideal can take liberties; performers with the third ideal, can take liberties, such liberties taken is the realm of unconscious with the exception of few learned. Popularity of the artists should not result in permissiveness, merits in classicism should be premium. Tradition is form and body of works of excellence, of eternal values. Any works of discoveries and creativity of excellence is seamlessly absorbed in tradition.
Sashikiran is so annoying