|
|
MUSIC
AS A MEANS OF EXPRESSION
Indian Music has developed on the lines of Marga and Desi forms. The rendering of the Desi style of the Indian music emphasises more on the emotional feelings and comparatively less on the musical prosody. though the Desi conforms to the basic musical tenets, namely Swara and Laya, such conformity is not in strict adherence to the prosodic requirements. When we try to analyse the Desi style of music in the systematic Marga approach it will be found that the Desi is based on simple, often incomplete scale (Raga) system set to simplified beat. The different forms of folk songs- Pallay Padhaalu(rural songs), Aeyela Paatalu(romantic songs), Sthreela Paatalu(Women's songs), Jola Patalu (lullables), Thathvaalu(Philosophic renderings), Sankeerthana Sangitham (hymns) etc., can be |
 |
|
|
|
|
grouped under the Desi category.
Marga: Systematic codification of sound and rhythm and strict adherence to the prosodic Raga (scale) and Taal (Rhythmic formulations) are the characteristics of the Marga style of the Indian music. The scientifice adoption of the simple Desi note and rhythmic patterns has resulted in the codified and more comprehensive Marga style. The Sruthi(pitch) and Sthayi Bhedha(pitch systems) are prepared on the basis of the combination of the basic seven notes - Sapta Swara's and are categorized as swara Bhedha's, Swaranathara's. The mutual harmonic combinations of the notes have been categorised as Vaadhi, Samvaadhi, Anuvaadhi and Vivaadhi notes. Theoretically different raga-s are created on the basis of notational permutations and combinations, taking into account the combination among one note to
|
|
|
seven basic notes. The scale sof one note - Archika(belonging to the Rig Veda), two notes- Gathika(Gatha-s were religious non-vedic songs), three notes - Saamika (belonging to Sama veda) four notes - Swaraanathara (=hiatus), five notes - Audava (pentatonic), six notes- Shaadava (hexatonic) and seven notes - Sampoorna(Heptatonic), have been formulated to create the base for the raga system. Thus the 72 Melakarta Raga-s, the basic seven note complete scales (Sampoorna raga-s were created on the basis of the little harmonic variations of the seven notes.
The seven notes, Sa-Shadja, Ri-Rishabha, Ga-Gaandhaara, Ma-Madhyama, Pa-Panchama, Dha-Dhaivatha and Ni-Nishada are placed with little variations at tweleve such notational positions having sixteen names, each note identified by two names. The sum total of five note, |
|
|
six note and seven note combinations will add up to 34, 848 raga-s or scales. We will not come across all these raga-s enumerated with proper nomenclature in any of the standard text books of Indian music. It is therefore possible to create a new combination of notes - Moorchana, that is not in vogue and give a name that is not found in the textbooks and claim a new raga is discovered and even go the extent of claiming a right. It is also possible that with careful perseverance, time and inclination, one would come across the same combination in the texts to disprove the claim of discovery. If one successful in creating a new combination of notes that is not in vogue and is able to successfully adopt such a scale of a musical rendering, his efforts will withstand the test of time and he deserves all appreciation.
The Marga style of Indian music has
|
|
|
developed the concept of rhythm or beat on the lines of more complex timing and meter divisions. Thus this style enable Swara (notes) and Laya (beat) to assert their individuality without the necessity to rely on the support of the language.
The Indian system of raga formulation is unique in that the Desi and Marga forms of music is distinctly separated by the importance attached to the raga system or lack of it. Any form of music that does not conform to the nuances of raga prescriptions is not recognized as a classical form.
For the accomplished classical music practitioners, the depth of their involvement in the raga enables them to not only to enjoy the ecstasy of the musical rendering by also provides unique visual experience.
For them raga-s are the personification of God. To quote Saint Thyagaraja:"Raaga sudha rasa paanamu chesi ranjillave
manasa...."
|
|
|
He believed that Naada sudha rasamey Rama Chandra Parabrahmam. According to him the nectar of Naada provided by Raga was divinity itself.
A raaga is created within the parameters of Graha, Nyaasa, Amsa notes, Its individuality is also decided on the basis of the grace provided to it within the limits of Pancha Dasa Gamaka i.e., fifteen types of Gamagaka;s. The fulsome practice of the raga-s in their completeness has resulted in the clear division of Indian music into the more classical form that is marga and
desi.
Gradually the influence of raga found its way into all forms in the world of Indian mysic. The method of story telling through music in the form of DEsi is known as Burra Katha and that whic followed Marga is known as Hari Katha.
|
|
|
|
|
|
