T.M. Krishna on how one can recognise if a tune is a raga

Day 12 of the Academic Sessions at The Music Academy began with a lecture by Sangeetha Kalanidhi designee vidwan T.M. Krishna on ‘Conceptualising an Abstract Raga’. He delved into the concept of abstract ragas, exploring their evolution, structure and significance in Carnatic music.

Krishna began by defining ragas as melodic frameworks that evolve in two distinct ways. The first type emerges organically over time through the development of phrases (phraseology) that collectively shape the raga’s identity. These ragas are fluid, continuing to evolve even today. The second type, as described by scholar N. Ramanathan, is more theoretical and is “synthetically” constructed as a melodic structure. He noted that ragas formed through phraseology often lack strict arohanam and avarohanam patterns, existing instead as clusters of musical phrases with varying degrees of abstraction.

He then posed an intriguing question — “How do we recognise if a tune is a raga?” He explained that a raga’s identity is built from recognisable melodic nuggets or prayogas. Using Manji as an example, Krishna emphasised that although it does not follow a linear scale, its distinct melodic phrases allow musicians to remain anchored within its framework. He elaborated that not all phrases carry equal weight — some phrases are more dominant and defining than others.

Overlaps between ragas

Krishna also addressed overlaps between ragas, highlighting that such overlaps are contextually valid. He illustrated this with Muthuswami Dikshitar’s ‘Chetashri’ in Dwijavanti, where the second sangathi in the second line (‘Chinthithartha prada’) resembles a Yadukula Kamboji but fits seamlessly into Dwijavanti due to the composition’s melodic context. He argued that older ragas were less rigid about such overlaps, allowing more creative freedom.

Discussing Melakarta ragas, Krishna pointed out their rigidity, likening them to synthetic constructs that limit exploration. In contrast, phrase-based ragas offer greater flexibility. Degrees of rigidity also exist. Melakarta ragas are the least rigid. Vakra ragas are rigid. Sometimes, if ragas are too vajra, it can become a bit rigid. He cited Nalinakanti, a vakra (zigzag) raga with minimal restrictions, as a raga rich in exploratory potential. He pointed out how G R M prayoga opens up the possibilities. Krishna also emphasised that too much vakram in a raga can also be curtailing, citing the example of Kokilavarali. He noted how Hindustani musicians have preserved the reliance on pakads (signature phrases) rather than scales, enabling musicians to improvise alapana for extended periods. This is something Carnatic music could take from Hindustani.

He further explained that many Hindustani ragas, such as Sindhu Bhairavi, Maand and Desh, when adopted into Carnatic music, retained their phrase-based identity without adhering to rigid scales. Krishna then brought out raga Atana as an example of an extremely abstract raga without a defined scale, relying instead on distinctive phrases. He took two regions in the raga, P to S in the ascent and S to P on the descent and showcased different phrases enabling movement — mpnsRS, dnsRS, ppRS pdnsRS in the former and SnpdNP, Nrsnp, SDPM (which comes in the composition ‘Mummurtulu’) in the latter. Krishna noted how these prayogas should be treated as information about the movement of a raga.

Krishna noted the concept of anya swaras (foreign notes), which were once integral to raga development and are now often limited to one specific phrase. He also pointed out that in ragas like Sahana (Dhikshitar Sampradaya), where the Antara Gandharam is the anya swara, in phrases where the Antara Gandharam is used, Sadharana Gandharam (natural note), could also be sung. Today, in practice, phrases where the anya swara is used in any raga, the natural note is not allowed.

He also took the example of Begada and the song ‘Shankari neeve’ by Subbaraya Sastri where there is a swara-sahitya passage, the line where the swara is ‘rndp’ which is difficult to sing at a faster speed with Kaisiki Nishadham and one will notice that always the Kaisiki Nishadham in Begada is extended.

Krishna moved on to Kamboji, which he said is a very dominant raga, so dominant that its scale has never been adapted into another raga apart from Bhushavali raga. Krishna explained how ragas that have PDS prayoga in the ascent and SNDP prayoga in the descent enable a PDNDP phrase. This is found in the practice of ragas Kamboji, Saveri and Bilahari but interestingly in Salagabhairavi, we do not apply the same logic.

Composition in an abstract raga

Krishna pointed out that all of this analysis aids in conceptualising abstract ragas and moved on to explain his work on a new raga over the past three years. Here, Krishna acknowledged Subbarama Dikshitar’s Sampradaya Pradarshini because it helped him write sancharis and proceeded to demonstrate how a composition can come out of an abstract raga. Krishna presented a new keerthana, ‘Shankaram sharanagatha vatsalam’ that was composed by Vidwan R.K. Shriramkumar giving life to the new raga Kannada Gandhara. He pointed out the two gandharams in this raga, the Sadharana Gandharam and the Antara Gandharam. The Antara Gandharam is only Dheergam and it is only on the Avarohanam. The Sadhana Gandharam here is a little weaker. He also pointed out the different behaviours of swaras in the ascending and descending patterns of the raga.

During the discussion amongst expert committee members, V. Sriram inquired about the raga Hindolam and how modern compositions such as ‘Maa Ramanan’ reflect earlier influences. Krishna explained that the raga’s opening phrase M G M S reveals its origins as a phrase-based raga rather than a scale-based one.

Sangita Kalanidhi Bombay Jayasri closed the session with reflections on the tendency to sanitise ragas and emphasised how the real beauty of ragas is found in between its phrases.

The many facets of Yakshagana

‘Yakshagana’, a vibrant art form rooted in Karnataka’s cultural heritage, stands as a unique blend of theatre, music, and dance.

Vidwan Gururaj Marpally explained the intricate facets of Yakshagana during his Academic Sessions presented by The Music Academy.
| Photo Credit:
K. Pichumani

In the second Academic session of Day 12 at The Music Academy led by Vidwan Gururaj Marpally and Professor Deepa Ganesh, the intricate facets of Yakshagana were explored, shedding light on its historical depth and evolving musicality. The session featured vocal accompaniment by Sashikiran Manipal Bhagavath, and percussion by Koodli Devadas Rao on the maddalam and Nagaraj Barkur on the chende.

Professor Deepa Ganesh opened the session by emphasising Yakshagana’s intrinsic connection to Karnataka. With all compositions rendered in Kannada, the form is often referred to as ‘Gandharva Gana’. The art form, nearly 1,000 years old, has been recognised in ancient texts like the Sangeetha Rathnakara under the name ‘Yakshagita’.

Predominantly practiced in the western regions of Karnataka, Yakshagana has influenced other art forms, including Kuchipudi, where its singing style is sometimes adapted. Additionally, the ‘Mukhaveena’ (Nagaswaram) in temples across Karnataka reflects Yakshagana’s stylistic influence.

Gururaj Marpally elaborated on Yakshagana’s musical framework, noting that it lacks conventional raga lakshanas, instead of mythological narratives. While historical records mention 72 ragas, only about 20 remain in practice today, including Dhanyasi, Bilahari, Kamboji, and Saveri in the ‘Kaalanugatham’. Interestingly, there exist some treaties that mention the art form once encompassed 105 ragas, such as Gowlanilambari, but many have faded due to the oral transmission of the tradition.

Yakshagana performances, often lasting through the night, favour ‘Uttaranga’ ragas (higher octave ragas) to suit the mikeless, open-air settings.

Central to Yakshagana is the Bhagavatha, the lead vocalist and Arthanaari, the storyteller, distinct from conventional musicians. The performance evolved from vocal performances to the theatrical ‘Tala Maddale’, incorporating vachika abhinaya (spoken dialogue). Around 70 ‘Prasangas’ (episodes) form the core repertoire, drawing from Hindu mythology. Character entrances are meticulously choreographed, with sequences such as the Pandava entry lasting up to 20 minutes, typically devoid of lyrics but enriched by rhythmic ‘Thathakaaraas’.

Instrumentation in Yakshagana has undergone notable changes. In terms of sruti, the ‘Poongi’, an early drone instrument, gave way to the Harmonium, which only employs shadjam and madhyamam, omitting the panchamam. This was later replaced by electronic sruti pettis. Percussion began with the Thamte and Maddale, but the Chende, introduced by the Koraga tribe, became dominant due to its louder, more commanding presence. The chende’s power influenced vocal delivery, shifting the performance’s emotional texture (bhava).

Professor Deepa Ganesh highlighted the contributions of Matpadi Rajagopalacharya, who first notated Yakshagana compositions, inspiring Mahabala Hegde’s family, who later notated the gamakas specific to the Yakshagana as well in addition to the notes and lyrics. Gururaj humorously noted that Ananda Bhairavi in Yakshagana starkly contrasts its Carnatic counterpart, describing it as Dukha Bhairavi.

Yakshagana’s tala system, comprising seven talas, diverges from Carnatic norms, with rhythmic patterns such as Eka tala (four beats with muktayi coming after the second avartanam), Jhampa tala (two rounds of five beats split into four and six), Rupaka tala (six beats of two and four), Triputa tala (seven beats) and the special Kora tala, which also has seven beats but as viloma exhibiting unique internal divisions.

Professor Deepa Ganesh concluded by urging the preservation of Yakshagana in its authentic form requesting artistes practicing other art forms to refrain from pushing their practices into other art forms.

Sangita Kalanidhi designee T.M. Krishna echoed Gururaj’s statement that compositions predate ragas, which interestingly also related to the previous academic sessions conducted at The Music Academy such as the ones on ‘Varnamettu’ and ‘Conceptualising an abstract raga’. He also spoke about how musicians do not pay heed to ‘Shashabdhakriya’ and ‘Nishabdakriya’ where the balance between the ‘Kriya’ and silence is of high significance.

Gururaj also pointed out that people trained in Carnatic and Hindustani music should not sing Yakshagana as it loses its aesthetic value.

As the session drew to a close, Sangita Kalanidhi 2023 Bombay Jayasri Ramnath, summarised the proceedings, underscoring the significance of safeguarding this treasured art form.