Shankaracharya
IntroductionOne of the greatest philosophers and savants of Bharat. Though he lived for only thirty-two years, his achievement was unparalleled. He propounded the vedantic tenet that Brahman the Supreme and man are of one essence and that all people should strive to cultivate this vision of oneness. He established four spiritual centers in the four corners of the country, thus upholding the underlying unity of the holy land of Bharat.
Author - K. B. Ramakrishna RaoShankaracharyaAmala-kamalaadhivasini maanaso vaimalyadaayini manoine sundara-gaatri susheele tava charanaambhoruham narnaami sadaa (O Goddess, You live in the lotus of purity, You make the mind pure, and You are known by the inner mind. You are beautiful as well as virtuous. I offer my salutation at Your lotus feet at all times.)This hymn on Goddess Saraswati, so well known and familiar in our country, was composed by Sri Shankaracharya. "it is not possible to describe His form in any specific way. But great is His Glory."This statement is made about God. It occurs in Vedas. The same thing may be said of sages, seers and philosophers - the most glorious personages who were responsible for the growth and development of our national culture. They did not want to fill the pages of Indian history with physical and material information such as dates, place, birth, period of life, etc. This is the characteristic of our culture. Their vital spirit is still present all around us. Their works alone testify to their spiritual, intellectual and creative powers. These great men will appear to us as God-men, when we understand their works. Their actions appear as superhuman. As they are beyond our ability to understand, we tend to think of them as miracles. But these extraordinary men are far above those miracles also. Leaving aside these miracles, if we just take their life story, even that would be wonderful and interesting. The lives of such persons with their pristine purity . reveal the very heart of Indian culture. Sri Adi Shankaracharya belongs to the galaxy of such men. The history of Indian culture, in fact, is the stream of lives of such great souls. In order to recover from the crises - the religious, moral, that crop up ideological or political in the society from time to time, the country anxiously awaits the help of inspiring and glorious personalities. It may be said that Sri Shankaracharya's birth took place in the same way, as a result of India's spiritual longing for redressal of its all-round suffering. It is the opinion of scholars that he belonged to the period between 788 and 820 A.D.
God's GraceIt is stated that Sri Shankaracharya was born of God's Grace to his parents. Kalati is a beautiful village Kerala. Even today this fine village may be seen on the bank of river Poornaa. There lived a couple It name Shivaguru and Aryamba. Theirs was an orthodox Namboodri brahim family. Though rich, they led simple life Both the husband a wife were well educated. More than that, they were devoted to God. They were worried only about not having any children even after long time. They made vows an appeals to all gods. At last, suggested by close friends, they we to Trichtir for rendering devotional service to God Vrishaachaleshwara. The divinely graceful idol of the God attracted them. They spent many days there with a feeling that serving Him is the only way known to them One night Vrishaachaleshwara appeal in their dream. It was a wonder experience.. God posed a question to them.. I am pleased with your steadfast devotion. I shall- grant your prayer. But there is one question, Does it suffice if you are given only one son of short life who will be a great teacher of the whole world, or do you want many children of long life but dull wits?" Would the God who is not easily accessible put an easy question? The couple who had such boundless faith in God found completely a different way out. They left everything to His decision only. Then the Lord said, "Your son, born as an aspect of Shiva, will become an universal teacher." So, saying, He disappeared. Shivaguru and Aryamba felt very happy and stayed there for several more days offering their worship and service to god Ishwara. Afterwards they returned home.A son was born to Aryamba by the full Grace of Ishwara. The baby was named Shankara. Calculating according to solar calendar, the auspicious day has been said to be the fifth day of the bright fortnight of the month of Vaishakha. The devotees celebrate - "Shankara Jayanti On that- day every year.Shankara, being a divine incamation grew up right from his childhood as a prodigy in every respect. It is said that at the age of eight he had understood the four Vedas. By the time he was twelve years of age, he had understood all branches ofknowledge. And by sixteen he had written commen- taries on those Vedanta which are considered to be his major works. Sharp as his intellect was, so was his heart very broad. Even at a young age Shankara, had become proficient in Prakrit Magadhi and Sanskrit languages. At The first year of his age he had learnt both Malayali, his mother tongue, and Sanskrit, the language of the Vedas. During his second year he was able to read and write in these languages. During his third year he was able to read and explain epics and mythology. Thus is it stated in some books written about him. Considered from an ordinary standpoint, one might feel that much of this may be an exaggeration. But instances of child prodigies endowed with a divine gift of brilliance are not uncommon.At Gurukula At the age of five Shankara's Upanayana was performed. By that time his father Shivaguru was dead. Only the mother had to bear the responsibility of bringing up the child pupil. Shankara was sent to the nearby Gurukula on the banks of river Poornaa. Under the guidance of Guru he studied the Vedas and its branches and also all other subjects. His brilliance brought credit to the entire Gurukula. From an incident that happened during his stay at the Gurukula one can understand his deep concern for the poor and distressed persons.There is a convention that the pupils in a Gurukula should get their food by begging. Accordingly the boy Shankara went round to beg. He stood at the door of a house and shouted, "Mother, please give alms. He repeated the appeal twice. There was no reply. He repeated it several times. Then a woman came out and stood with a sad face. There was nothing in the house to offer to this boy. Hence that piteous look. Tears welled up in her eyes.Shankara understood the situation. "Mother, I shall be content with whatever you give me. Thereby may there be no scarcity in your house," he said. But how to give anything when there was nothing? What is there to give? At last she remembered the gooseberries grown in the backyard. She brought some gooseberries and gave them to Shankara. Shankara then prayed to Shreedevi, the Goddess of Wealth, to show her mercy on this humble and virtuous woman. Then, as Written in the books, there was a shower of golden gooseberries in the house. This means that as a, result of Shankara's prayer to the Goddess, that family became rich and Prosperous.Shankara stayed in the Gurukula for eight years. By then he made such a thorough study of all the subjects that he had them at his finger-Ups. More than any other subject, he was greatly interested in the Vedanta, the most advanced part of the Vedas, which is said to be the very came of spiritual truth. This is the highest and the culminating point of all knowledge. "By knowing which everything will be known, and that is what the Vedanta aims at," say the learned. Even at such a tender age Shankara was attracted towards that goal. This shows the greatness of his personality. For The Sake Of MotherMany instances that reveal the divine spirit of great men are available at every stage of their lives. It was so in the case of Shankara also. After completing his education in the Gurukula, it was the time when Shankara was at home rendering service to his mother and also teaching some pupils. Aryamba had fallen ill. But still she insisted on having her daily bath in the river Poornaa. Though the river-bed was in front of her house, it had dried up because of summer, and the slender flow of water was far away. Aryamba had to cross the vast sand-bed to reach the water. One day she managed to finish her bath and was returning home. While crossing that sand-bed, not being able to withstand the sun and strain, she fainted and fell down on the way. Shankara got the news and rushed to the spot. He attended to her. When she recovered a little, he brought her home.The summer might be unbearable and the water might be flowing at a distance across a broad bed of sand. But Aryamba would never agree to change her routine. So the next day, would she not go again to the river for bath? this worried Shankara. He folded his hands in salutation to the river goddess, Poornaa Devi. He prayed to her to flow in full, extending her waters up to their house, in order to facilitate his mother's ritualistic bath. Maybe in answer to his prayer, or maybe by a seasonal phenomenon or due to both, there was a continuous downpour of rain throughout the night. The next morning river Poornaa was found flowing fully over the breadth of her sands in all her grace and majesty. This is as good a miracle as having brought the distant river very near. Whether spirituality has or has not the power to awaken the static power latent in Nature and make it dynamic is a matter for thought. All the people of Kalati joined the ailing Aryamba in praising and blessing Shankara.Mother's Longing And Anxiety Who is not astonished at the routine of an eight year old boy being engaged in Vedic studies, contemplation on Vedantic thoughts and teaching the same to others? In addition to this he had to attend on his aged mother.As days were passing like this, one day two Brahmin’s who were both old in years and in wisdom came to Shankara's house. Aryamba and Shankara received them with respect and treated them hospitably. The guests found the atmosphere of the house extraordinary. They were enchanted by Shankara's brilliance, modesty and godly qualities. They felt that only to work for the welfare of the world God must have endowed this boy at such a tender age with all those abilities and achievements. While departing, those old men told Shankara's mother: "May your son live long. May he become a stalwart in establishing the Vedic tradition firmly and gloriously in Bharat which is now passing through a crisis, and may he thereby accomplish the welfare of the world."The mother's heart was also yearning for the same. She prayed to Ishwara to grant her son a long life and to make the blessings of those Magis come true. But how is it that God Ishwara Himself appearing in the dream told, "Your son may have a short life but he will be the teacher of the world"? Then what does the blessing of these old Magis mean? Aryamba was puzzled. But she consoled herself saying, "May it be as He wills it."The son seems to have understood her anxiety. He tried to comfort her by saying, "Mother, don't you see that incidents of everyday life point only to the transitory nature of life? If we make use of all the time at our disposal in the service of God, is there a better fortune than that?"Shankara, the AsceticThere is not the slightest doubt about an unseen hand shaping the life of Shankara. As if to confirm this, there happened an incident. One day Shankara was bathing in the river Poornaa. A crocodile caught his leg and began to pull him into the river. However strong one might be one can't fight with a crocodile in water and succeed. What could the plight of boy Shankara be then? He felt that his life had come to an end. He loudly called out to his mother. She came running. He told her, "Death is approaching, mother, as I have been caught by a crocodile. I am unable to free myself from its grip. I see only one way out. I must take sannyasa before I die. Please permit me to take 'instant sannyasa'. (Taking sannyasa in essence means to give up one life and get a new one. So by the decision to take sannyasa he would get over the death caused by the crocodile. Either way he would attain an exalted state. If he survived he would have a new life. If he should die, even then he would have a new life after casting away his body.) The son’s plight and his pathetic appeal moved the heart of the mother. She was confused. If he could live at least by becoming a monk, may it be so. She only wanted him to live. So, with a firm faith in Ishwara she gave her consent saying, "My child, may it be according to His will."Probably it was the will of God that Shankara should be freed from worldly life. The crocodile left Shankara unhurt and swam away in the water! Shankara. Crossed over the sorrow and misery of worldly life. By mere resolution of the mind, he became a Sannyasi and attained a new life.Mother was grieved about his becoming an ascetic. A few days after this incident, the boy monk told her about his life’s mission.He requested her to permit her to leave Kalati. He was her only son. And was a gift of God to her.But when she realized that he was born only to render service both to God and to humanity, she blessed him and bade him farewell saying, "Attain great fame, my dear son." Shankara requested the elders and his dear friends of neighborhood to have good care about his mother and then he got ready to leave Mother could not control her grief "Shankara," she said, "will I see yet again once at least before I die? Shankara, having understood mother., heart, assured her, "Mother, remember me at the time death. I will come to you wherever I may be. I am praying to God to grant me the ‘good fortune of serving my mother during her last days." This was a reply of one who had supreme faith in God. To divert his mother's attention towards God, he installed at home an idol of Sri Krishna. Leaving his mother to his gracious care, Shankara left Kalati.'O, Mother Parvati, - Give Me Alms'After visiting many pilgrim centers of this holy land of Bharat, Sri Shankara came to Kashi. His object was to have darshan of God Vishweshwara on the banks of sacred Ganges. His march of religious conquest was to start in Kashi.Shankara in Kashi felt that his first and foremost duty was to have darshan of Sri Annapurna, the presiding deity of the city of Kashi, that she should give him the first alms. But the alms that Shankara begged of her was unusual: Jnaana-vairaagya-siddhyartham bhikshaam dehi cha Parvati "O Mother Parvati, give me alms such as will enable me to attain wisdom and austerity." The humility and the intense feeling with which he was appealing to the mother of the universe, the radiance which far exceeded the tender age of that handsome boy-monk surprised everybody. If some thronged around him to listen to the ecstatic songs dominated by a note of devotion which Shankara sang in his divine voice, many others came to listen to his enlightening discourses on Vedanta. Still many more experienced peace in his company under a spiritual influence. In this way, before long the boy-ascetic won a place in the hearts of the people. During Shankara's stay in the city of Kashi an incident happened as ill to test his inner development. The day was about to dawn. Shankara was on his way to the river for bathing. A man whom people called pariah (of a low caste) came across the road. Shankara, it seems, shouted at him, "0, untouchable, keep away." The answer the other man gave was startling. "To which are you referring as untouchable, this body or the Self? Is not this body also made of dust in the same way as your body? Does the Self ever get polluted? And how can the Self which is present everywhere keep itself at a distance? Is there any difference between you and me the way it has pervaded?" It is a situation in which any one might get confounded. But Shankara’s reaction was entirely different. Throwing away all his pride, he fell prostrating at the feet of that man. "This is not an ordinary man. One who has ‘described the nature of the Self in such a simple and lucid language is really not ordinary: He is no other than God Himself. Is not this inner enlight-enment a form of Vishweshwara’s Grace?" he said to himself and felt happy. Shankara even after experiencing the Advaita doctrine was caught for a moment in the illusion of high and low. He offered his salutation to that God in human form who had dispelled his illusion.One Vishnu Sharma at Kashi prayed with great devotion. "I wish to be freed from the bondage of worldly life, please show me the way, Sir." He became the first disciple of Shankara. It is this person who later became known as ‘Padmapadacharya’.CommentariesShankara, a scholar of tremendous capacity, had one important task to do. The Upanishads, Bhagavad-Gita and Brahma sutras are sacred scriptures of the Hindus; but it is not easy to understand them. Shankaracharya decided to write commentaries on these texts. He wrote first on the Upanishads and the Bhagavad Gita. They became very popular. He was to write the commentary on BrahmaSutras. Hindus believe that Bhagavan Vyasa is still alive in Badari, the pilgrim center. This center is located at the foot of the Himalayas, at an altitude of 12,000 feet. Travelling was not easy in those days, about 1200 years ago. But Shankaracharya went to Badari itself to write his commentary on the BrahmaSutras. Dedicating himself to the service of Ishwara and Bhagavan Vyasa, he launched upon his work. The writing of commentary went on smoothly. It is said that Vyasa himself gave darshan to Shankara and blessed him. As it happened, according to his expectation Shankara continued his work with a new vigour. This doubled his life-span as it were. Mainly this new vigour-call it longevity - was needed for the fulfilment of Shankara’s project. The heavy task of spreading the meaning of these great texts was also waiting. Shankara’s mission in life would not be completed without doing this. So in order to carry out this responsibility, a new vigour in the form of God’s Grace and Guru’s blessings was needed. Shankara, having got this, devoted the rest of his life to carry out his mission. This, as may be called, was the period of Shankara’s conquests. As the first step of his conquests Shankara came to the city of Ruddha. There he was to encounter one Kumarila Bhatta in argument and win over him. Kumarila said, "If you want to debate on Vedanta you should go to MandanaMishra; and if you win over him in an argument, then surely you can expect victory for Vedanta everywhere." Mandana Mishra was an outstanding scholar. Even the most learned men would feel nervous to argue with him. He lived in a town called Mahishmati. Shankaracharya went there. Mandana Mishra agreed for a debate. What is the stake?The loser should become the winner’s disciple.Both were stupendous scholars. Who should be the judge competent to decide as to who had won and who had lost? The wife of Mandana Mishra was Ubhaya Bharat. She too had astounding scholarship. She was regarded as the incarnation of Saraswati (the Goddess of learning). She was made the judge. The debate with thundering argument and counter-argument on for several days. Mandana Mishra at last accepted his defeat. As per the agreement he became a sannyasi and disciple ofShankaracharya. This victory of Shankara was of tremendous consequence, we should say. It was the triumph of Shankara Charya's teaching. Besides, he got a brilliant person like Mandana Mishra as his disciple. It was this disciple who rendered memorable service to Vedanta and became known as 'Sureshwaracharya.' After this event Shankara went to the sacred Srishalila. His intention was mainly to defeat Ugra Bhairava who was notorious in Tantric field such as witchcraft and black magic. That Kaapaalika could not win over Shankara's pious and spiritual Vedic doctrines. He with his black art even attempted to kill Shankara, but fell himself a prey to it. From Srishaila Shankara went to Gokarna, another famous pilgrim-centre. And then he proceeded along the Sahyadri range to the Mookambika Temple at the foot of Sahyadri hills.A Matchless Guru For A Matchless DiscipleNow Shankara's main aim was to search for a Guru. His intense desire was to have as his Guru only a person who had realised Brahman. If this is the expectation of a disciple, is not that Guru most fortunate? . Shankara went towards North. He came to the banks of river Narmada after passing through many hermitages. There he found the hermitage of a Mahayogi. And this was Govinda Bhagavatpada. Seeing him in a state of deep samadhi, Shankara's heart was filled Iwith satisfaction. His expectation had been fulfilled. What did Govinda Guru see when he woke to his conscious state? A boy-ascetic with a bright and radiant face, standing there with folded hands. The inner spiritual development was writ large on his face. After prostrating before the Guru, Shankara introduced himself. He requested that he may be accepted as a disciple. Govinda Yogi felt happy at the very first meeting as h e had found the very type of person - the fittest disciple – for whom he had been waiting. Let alone teaching the pupil the mysterious secrets of the Vedanta, was it not a great pleasure for the Guru to find there a disciple who had not only digested the very philosophy of Vedanta but looked every inch the embodiment of that philosophy? Taking initiation from the Guru in a regular way to ascetic life, Shankara carried on his studies with all devotion.For the boy Shankara who had obtained a marvellous success in comprehending the Advaita philosophy, "The spiritual Yoga" was very necessary. A person who at his will could forget himself and the world and enter the indescribable state of supreme peace! Such was the Guru. And the disciple was one who was qualified to attain that state. This was a preparatory step of Shankara in getting dynamic power which would facilitate the great work he was to do in future. Understanding the truth is different from experiencing it. Govinda Bhagavatpada enabled Shankara to attain this state of glorious experience. The wise who have attained this state call it the experience of the Infinite. This experience gave rich nourishment to Shankara's personality. The entire world appeared to be full of Brahman to him. After this the only thing that remained to be done was to communicate the bliss he had known and experienced to one and all through Vedanta. This work was assigned also to him by his Guru Govinda Bhagavatpada. He was asked to write, in the light of truth he had realised, commentaries on the three basic texts, namely the Upanishads, Bhagavad Gita and Brahmasutras which are the spiritual treasure troves of Bharat. The Guru blessed him saying, "Whatever you wish, it shall be fulfilled by the power you have acquired from yogic practices." The next period of Shankara's life was devoted to the propagation of Vedanta.HastamalakaHere he was to get one more great disciple. Prabhakara was a brahmin. He had a son who was a dumb boy. He appeared to be dull. But Shankara felt that he was a yogi. Instead of asking the parents who had brought the boy ‘Why is the boy like this? since when?’ he asked the boy straightaway : "Who are you, my boy?" What else could be so sacred a place as the one where the divine master was standing for the yogi to break his silence? One who was dumb poke in answer, "I am the eternal self and not dead matter." This was the simplest form of expressing the nature of the self. By the grace of the master, the dull and the silent son of that couple revealed himself to be a great and wise sage. The master felt happy and taking him as disciple, named him 'Hastamalaka'.The Four Regional MonasteriesThe next important event in Shankara’s life was his coming to Shringeri. This place is situated on the bank of river Tunga in Karnataka. It is the loveliest of spots. Long, long ago, great sages like Vibhan- daka, Rishyashringa and such others had carried on their penance there. Since then it had been a very sacred place.Enchanted with the tranquillity of that place, Shankara established his first Vedanta JnanaPeetha. He installed there the idol of Sri Sharada, the Goddess of Learning, and placed Sureshwara as the Head of that Sharada Peetha. In Acharya Shankara’s view the entire Bharat was a holy land. Its welfare and unification was to be based on Dharma only. In connection with this unification, Acharya’s plan was to establish four centres in four corners of Bharat for spreading Vedanta and for guiding persons practising Vedanta. The founding of Sharada Peetha was the first step in this project. This was meant to provide guidance for South India. He established the Govardhana Peetha in Jagannath for the East, the Kalika Peetha in Dwaraka for the West, and the Jyotih Peetha in Badarikashrama for the North. These Peethas are called ‘Amnaya Peethas.'The DisciplesHow at Shringeri during his stay Shankara showered his blessings on a disciple called Giri is very interesting. The co- students used to look down upon Girl thinking that Vedanta for him was a hard nut to crack. Once Shankara at the time of his lecture said, "Let us wait for Giri." The other pupils said, "Why should we wait for him, Sir? A wall is much better than that dullard." Shankara felt pained when such a student as was devoted to the service of his master was jeered at. "What do you know about his nature and spiritual achievements? His ability will reveal itself shortly," said the Master. "Isn’t it enough if Master knows my merit? Should it be made known to others also? Let me not have such conceit" - so Giri used to feel within himself and was serving his master silently. On that day as usual he came late and did obeisance to Acharya. Acharya said with a smile, "Look Giri, We want you to give a discourse on the Self and its nature. We have been waiting for you." It was the master’s command as well as blessing. The so-called dullard Giri, in a very modest way and full of devotion expressed in his eyes, presented the very gist of Vedanta in Trotaka Vritta, a highly complicated metrical form, but very enlighteningly as if he was making with all reverence as offering to the Master. The other students felt ashamed of their folly. They apologised to both Acharya and Giri. Shankara, thus revealing the literary ability latent in Giri, called him "Trotakacharya" to make this incident remembered for a long time.Among the disciples of Shankara the most prominent are four Padmapada, Sureshwara, Hastamalaka and Trotaka. Shankara nominated them as the chiefs of the four Vedanta centres he had established: Sureshwara for shringeri the South zone center, Padmapada for Kalika Peetha of a, Trotaka for Jyotih’ peetha Dwarak of Badari, and Hastamalaka for Govardhana Peetha of Jagannath. He told that at their lives should be dedicated to re-organise ancient Hindu Dharma.Service to Mother Meanwhile Shankara felt that the end of his old mother Aryamba was nearing. Accordingly he returned to Kalati. When Shankara came to know that she was to die shortly, he offered ‘Shiva Bhujanga Stotra’ and ‘Vishnu Stotra’ which have a power to save the soul, and prayed that she might die peacefully and attain heavenly abode.Shankara’s mother died. Her body was to be cremated. But none of Shankara’s relatives came forward to help. A monk cannot perform the funeral rites of anyone, not even of his parents. Still Shankara- charya felt, is it not a sacred duty to perform the funeral rites of the dead when required to? Shankara had to carry" the body himself with great difficulty to the burning place and light up the pyre. By doing this last service to his mother, he felt gratified. Shankaracharya paid a visit to Sharada Nilaya in Kashmir known as Sarvajna Peetha (the seat of the all knowing). Those who are not all-knowing are not entitled to sit on it; no one could claim to be an expert in any religion or philosophy without sitting on it. Shankara did not wish to show himself off as Sarvajna. He felt that Sri Sharada Nilaya with Sarvajna Peetha was by itself a place worthy of visit by all devotees. Besides, Kashmir is the crown of Bharat. So he resolved to g 0 there, lest the ancient Hindu religion should perish there. There are four gates in four directions for entering Sharada Nilaya. Eminent scholars and philosophers had entered it from various directions and had established their scholarly merit But no one so far had adorned this chair of Sarvajna. And also till their no one had even attempted to enter the temple through the Southern gate May be this gate was waiting for Acharya Shankara. only who was from the South! Scholars of many group and communities were waiting for him in ‘ the premises of Sir Sharada Nilaya All were filled with a feeling of reverence to see him who was learned in both Jnana and Vijnana Yet the scholars in religious philosophies of Jaina, Bouddha, Samkhya, Yoga, Nays and Vaisheshika confronted him at the time of his entry to the temple, Shankara defeated all of them in philosophical debate and then entered the temple through the Southern gate.Acharya went to ascend Sarvajna Peetha. Sri Sharada, the presiding deity of all learning, herself set a test for him. Shankara passed this test also. After this the Goddess Herself blessed him, proclaiming his omniscience. So say the ‘Shankara Vijayas'.We can take this to be an allegory of all the struggles Shankara had to face in his life. Ascending the seat of Sarvajna situated in Kashmir of the North is a symbol. The meaning of it is that Shankara reached the peak of spirituality. We can get an idea of his greatness from the fact that a person of just thirty had ascended the throne of all knowledge.The Path That Shankara ShowedBy that time the Acharya had probably gone round the whole of Bharat two times. He had travelled from Rameshwara and Kanyakumari of the South to Kashmir of the North, from Jagannath of the East to Dwaraka of the West, and had visited many places of pilgrimage. He got many temples renovated and inspired many to a righteous living.Sri Shankaracharya showed I example how a man should live. The life should shine forth with pious qualities like knowledge, devotion and asceticism. He preached the way Advaita. That means everything in the world is Brahman and all are one. The world is constantly changing. These changes are neither important nor real. The reality that lies behind all these things and activities Brahman. One should develop an eye to see God everywhere and in everything. People who have that vie, take the whole world for the mother- land, and treat all human beings as their brothers. Shankara wrote philosophical book to help the people understand Hindi Dharma. Alongside he wrote man, hymns that nourish devotional feelings in people. The hymn ‘ Bhaja Gowindam composed by him has been a very popular song all over Bharat . "If you want to get rid of the miseries of life and fear- of death, pray to Govinda."The Guiding LightIt cannot be said definitely where the Acharya spent his last days. It is common and natural for people everywhere to take pride in saying that such and such a Mahatma was born in their own town or visited their town and sanctified that place by walking on it, or that he entered eternal peace in their place. People claim the signs of Shankara’s Mahasamadhi in the holy towns of Kanchi, Trichur and Kedar. There is nothing surprising in this. The Acharya was in all such sacred places and he had gone beyond them. If the samadhi of the Southern Acharya is in Kedar of the North, it only signifies that his personality had extended over the whole of Bharat. Acharya Shankara, at the early age of 32, cut asunder all bonds of relation with the ‘world and attained the state of Brahman. Ordinary people will have to spend 32 years even for being able ask "What is the meaning of life?" But the Acharya during his brief life-time had brought about a great religious renaissance all over Bharat. By his memorable works on religion and philosophy he had pointed out the unique feature of our ancient religion. He found fulfilment of his life by consolidating the history of Bharat from the point of view of culture. He gave a concrete form to the truth that the whole of India was one by establishing spiritual centres in various zones.May the divine life of such great men be a guiding light to us.
Thursday, January 15, 2009
Carnatic music
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Carnatic music, known as karnātaka sangītam (in Indian languages ) is the classical music that originated in Karnataka, South India.
Lyrics in Carnatic music are largely devotional; most of the songs are addressed to the Hindu deities. There are, besides, a lot of songs emphasizing love and other social issues which have been composed in Carnatic music, although some of them, especially with the 'Rasa' (emotion) of love, continue to be composed and are widely popular, that rest on the concept of sublimation of human emotions for union with the divine. Thus, for instance, a young woman in a modern classical composition, will be yearning for one of the deities, such as Krishna, as her 'lover - the purpose of such musical pieces being at once to provide an outlet for human emotions and, unlike in the normal run of motion pictures, to address God rather than another human being. Carnatic music as a classical form is always thus required to be a culturally elevating medium.
As with all Indian classical music, the two main components of Carnatic music are raga, a melodic pattern and tala, a rhythmic pattern. (One might want to read these pages before proceeding.)
History of Carnatic Music
Carnatic music, whose foundations go back to Vedic times, began as a spiritual ritual of early Hinduism. Hindustani music and Carnatic music are one and the same, out of the Sama Veda tradition, until the Islamic invasions of North India in the late 12th and early 13th century. From the 13th century onwards, there was a divergence in the forms of Indian music — the northern style being influenced by Persian/Arabic music.
Carnatic music is named after the region in southern India what is today known as Karnataka. Carnatic was the anglicized spelling of Karnataka and hence it has come to be known as Carnatic Music. The great Kannada composer Shri. Purandara Dasa is known as the Sangitapitamaha or 'Father of Karnatik music'. The roots of Carnatic music was sown during the Vijayanagar Empire by the Kannada Haridasa movement of Vyasaraja, Purandaradasa, Kanakadasa and others.
Important concepts of Carnatic Music
Śruti
Sruti in Indian music is the rough equivalent of a tonic (or less precisely key) in Western music; it is the note from which all the others are derived. Traditionally, there are twenty-two śrutis in Carnatic music, but over the years several of them have converged, so that now they are but the chromatic scale.
Swara
The swara of Carnatic music is "sa-ri-ga-ma-pa-da-ni" (compare with the Hindustani sargam: sa-re-ga-ma-pa-dha-ni). These names are abbreviations of the longer names shadjam, rishabham, gandharam. madhyamam, panchamam, dhaivatam and nishadam. Unlike other music systems, every member of the solfege (called a swara) may have up to three variants. The exceptions are shadjam and panchamam (the tonic and the dominant in Western music), which have only one form, and madhyamam, which has only two forms (the subdominant). In one scale, or ragam, there is usually only one variant of each note present, except in "light" ragas, such as Behag, in which, for artistic effect, there may be two, one on the way up (in the arohanam) and another on the way down (in the avarohan). A raga may have five, six or seven notes on the way up, and five, six or seven notes on the way down.
Raga
Melakartas: In Carnatic music, the sampurna ragas (the ones that have seven notes in their scales) are classified into the melakarta system, which groups them according to the kinds of notes that they have. There are seventy-two melakarta ragas, thirty-six of whose subdominant is a perfect fourth from the tonic, thirty-six of whose subdominant is an augmented fourth from the tonic. The ragas are grouped into sets of six, called chakras ("wheels", though actually sectors in the conventional representation) grouped according to the supertonic and mediant scale degrees. This scheme can very well understood and remembered by Katapayadi sankhya
Classification: Ragas may be divided into two classes: janaka ragas ("parent ragas") and janya ragas ("child ragas"). Janaka raga is synonymous with melakarta (because the melakarta ragas each have seven notes in their scale, and use each note only once). Janya ragas are subclassified into various categories themselves
Tala
In carnatic music, singers keep the beat by moving their hands in specified patterns. These patterns are called talas. All of the which are formed with three basic movements: lowering the palm of the hand onto the thigh, lowering a specified number of fingers in sequence (starting from the little finger), and turning the hand over. These basic movements are grouped into three kinds of units: the laghu (lowering the palm and then the fingers, notated as 1), the dhrutam (lowering the palm and turning it over, notated as 0), and the anudhrutam (just lowering the palm, notated as). Only these units are used.
There are seven kinds of talas which can be formed from the laghu, dhrtam, and anudhrtam:
Dhruva tala 1 0 1 1 Matya tala 1 0 1 Rupaka tala 0 1 Jhampa tala 1 ☾ 0 Triputa tala 1 0 0 Ata tala 1 1 0 0 Eka tala 1
You may ask how many fingers must be lowered in a laghu. That is determined by the jathi, a number showing how many fingers to lower. It can only be 3, 4, 5, 7, or 9. (For numbers greater than five, the "sixth finger" is the same as the little finger.) Five jathis times seven patterns gives thirty-five possible talas.
Compositions
Composers of Carnatic music were often inspired by devotion and were usually scholars proficient in Kannada, Telugu, Tamil and Sanskrit. They would usually include a signature, called a mudra, in their compositions. For example, all songs by Tyagaraja have the word Tyāgarāja in them, all songs by Muthuswami Dikshitar (who composed in Sanskrit) have the words guru guha in them, songs by Syama Sastri have the words "Syama Krishna" in them and Purandaradasa, the father of carnatic music (who composed in Kannada), used the signature 'purandara vitala'.
Kīrtanas
Carnatic songs are varied in structure and style, but generally consist of three verses:
Pallavi: This is the equivalent of a refrain in Western music. Two lines.
Anupallavi: The second verse. Also two lines.
Charana: The final (and longest) verse that wraps up the song. The Charanam usually borrows patterns from the Anupallavi. Usually three lines.
This kind of song is called a keerthanam. But this is only one possible structure for a keerthanam. Some keerthanas, such as Sārasamuki sakala bhāgyadē have a verse between the anupallavi and the caraam, called the ciaswaram. This verse consists only of notes, and has no words. Still others, such as Rāmacandram bhāvayāmi have a verse at the end of the caraam, called the madhyamakālam. It is sung immediately after the caraam, but at double speed.
Varnas
A Varna is a special kind of song which tells you everything about a raga; not just the scale, but also which notes to stress, how to approach a certain note, classical and characteristic phrases, etc. A varna has a pallavi, an anupallavi, a muktāyi swara, whose function is identical to that of the chiTTeswara in a kriti, a charaNa, and chiTTeswaras, after each of which the charaNa is repeated.
Special compositions
Some special sets of compositions deserve to be noted here, the Pancaratna Kīrtanas of Tyagaraja, Kamalamba Navavarna Kritis and Navagraha Kritis of Muttusvami Dikshitar.
The Pancaratna Kīrtanas (lit. five gems), composed by Tyagaraja in Sanskrit and Telugu, are a set of five compositions regarded as the masterpieces of the great composer. The first one is in Sanskrit, while the rest are in Telugu. They deviate from conventional structure in that they all have between eight and twelve caranas. Sādincanē Ō Manasā, the third of the compositions, deviates even more in that after the anupallavi, there is a short phrase after which the caranas are sung. Also, instead of repeating the pallavi after each caranam, the phrase between the anupallavi and the first caranam is sung.
Dikshitar's nava-aavarana-kritis (literally,'nine-veils compositions') are addressed to the supreme divine in its female principle according to which the male-female division, so universally observed in life forms, is essentially the manifestation of one and the same Divinity. The Navagraha kritis are respectively sung in devotion to the Sun, the Moon, and the other planets, which thus popularises in a subtle manner, that Man owes his very existence to a highly remote chance - maybe one in a billion - for living on earth in a precisely conducive environment of celestial configuration, and he must understand this fact with his rational and spiritual makeup, with Kritis of this unique type. This set of Dikshitar creations, like most of his others, are considered remarkable for recalling the sastra-ic aspects - the scriptural profunditions of Hindu religious philosophy - and the lay listener either sings them with implicit faith either even without an understanding their meaning, or with some effort, gets to know by attending scholarly lecture-cum-demonstrations and/or reading books or papers (nowadays rather widely available online on the WWW.). It is said that the mature Carnatic musician sees the multidimensional charm of the special and non-special Kritis that are at once rich musically, educative philosophically, and disciplining religiously to the singer, player and the musician, provided the necessary inputs at appreciating the many charms.
Another prolific composer in Carnatic Music, King Swati Tirunal, too, has composed hundreds of songs which are particularly noted for their lyrical charm, and Swati too has to his credit a set of special compositions which are sung on the festival occasion of 'Navaratri' (lit., nine nights) in which three days each are devoted to the three deities, Durga, Lakshmi and Sarasvati.
Improvisation
There are four main types of improvisation in Carnatic music:
Raga Alapana: This is usually performed before a song. It is, as you may expect, always sung in the ragam of the song. It is a slow improvisation with no rhythm, and is supposed to tune the listener's mind to the appropriate ragam by reminding him/her of the specific nuances, before the singer plunges into the song. Theoretically, this ought to be the easiest type of improvisation, since the rules are so few, but in fact, it takes much skill to sing a pleasing, comprehensive (in the sense of giving a "feel for the ragam") and, most importantly, original ragam.
Niraval: This is usually performed by the more advanced concert artists and consists of singing one or two lines of a song repeatedly, but with improvised elaborations. (A similar thing used to be done in Baroque music). (Kalpana)swaram.The most elementary type of improvisation, usually taught before any other form of improvisation. It consists of singing a pattern of notes which finishes on the beat and the note just before the beat and the note on which the song starts. The swara pattern should adhere to the original raga's swara pattern, which is called as "arohana-avarohana"
Taanam: This form of improvisation was originally developed for the veena and consists of repeating the word anantham ("endless") in an improvised tune. The name thaanam comes from a false splitting of anantham repeated. When the word anantham is repeated, i.e., "anantham-anantham", the laws of sandhi dictate that the consonant at the end of the first word be dropped, hence "ananthaanantham" When the rule is applied to a long string of ananthams, you get "ananthaananthaananthaananthaa..." which got falsely split as "thaananthaananthaanan...", or "thaanamthaanamthaanam...".
(Ragam Thanam) Pallavi Pallavi means: words (padam), rhythm (layam) and improvisation (viñāsam) This is a composite form of improvisation. It consists of Ragam, Thanam, then a line sung twice, and Niraval. After Niraval, the line is sung again, twice, then sung once at half the speed, then twice at regular speed, then four times at twice the speed.
Concerts
Carnatic concerts are usually performed by a small ensemble of musicians, who usually (but not always) meet only on the stage. The group usually has a vocalist, a primary instrumentalist, and a percussionist, in that order of importance. Primary instruments are usually string instruments, such as the vīṇā and violin, although wind instruments such the flute may also be used.
The importance given to the vocalist in performances is a reflection of Carnatic music's focus on the singer and its rooting in the poetry of the Sama Veda; any instrumental rendition is merely a transcription of the vocal line. However, in recent years, purely instrumental concerts have become popular.
Support
The tambura, the most common kind of drone instrument, is traditionally used at concerts to remind the singer of the tonic, so that the singer may stay in tune throughout the performance. However, not only is the tambura unwieldy, it is also fragile, and is thus increasingly being replaced by the more compact śruti box (also known as the "electronic tambura").
In addition to the tambura, there is almost always a violin or a veena to provide support for the artist. Besides playing along with the main vocalist, the violinist or vina player also gets the chance to take part in the improvisation. All of the support instruments take turns while elaborating or while exhibiting creativity in sections like Niraval, Kalpana swaram and such.
Percussion
Percussion instruments, such as the mridangam, ghatam, kanjira are used to help the singer in keeping the beat, but they may also improvise. The morsing is also seen in some concerts and it accompanies the main percussion instrument and plays almost in a contrapuntal fashion along with the beats.
Content
Carnatic concerts, these days, last for typically no more than 3 hours. The artist may render about 10 to 15 songs. The richness and depth of artistry of the content may vary greatly based on the artist and to an extent based on what the audience request.
The teaching of Carnatic music
Traditionally, a student of Carnatic music goes to the house of the teacher for lessons. Both student and teacher sit cross-legged on the floor (usually on a mat). The teacher either starts playing the tambūrā or turns on the śruti box. The student sings an elongated "Sā...Pā...Sā (upper octave)...Pā...Sā..." and the class begins. Mayamalava Gowla is traditionally the first raga taught to the student.
With the advance of telecommunications, new ways of teaching Carnatic music have arisen. It is not uncommon now for a student to receive lessons by telephone or even webcam.
Since the late 20th century, there has been some attempts to create Carnatic music grades by music conservatories, which provide standardized tests between different Carnatic teachers. Although such attempts have not met with great popularity in India, standardized exams are often used in countries, like Canada, Great Britain, and France, where there is a high concentration of South Asian expatriates. One of the most widely recognized conservatories of music, is the Toronto-based Thamil Isai Kalaamanram which was formed in 1992. In 2005, it held exams for over 2000 applicants ranging from grades 1 to 7.History of notation in Carnatic music
Contrary to what many people think, notation is not a new concept in Indian music. In fact, even the Vedas, although orally transmitted, were written with notation. However, the idea of notation in Carnatic music was not well-received, and it continued to be transmitted orally for centuries. The disadvantage with this system was that if one wanted to learn about a kīrtanam composed, for example, by Purandara Dasa, it involved the formidable task of finding a person from Purandara Dasa's lineage of students.
Written notation of Carnatic music was revived in the late 17th century and early 18th century, which coincided with rule of Shahaji II in Tanjore. Copies of Shahaji's musical manuscripts are still available at the Saraswati Mahal Library in Tanjore and they give us an idea of the music and its form. They contain snippets of solfege to be used when performing the mentioned ragas.
Form of modern notation
Melody
Unlike Western music, Carnatic music is notated almost exclusively in tonic solfa notation using either a Roman or Indic script to represent the solfa names. Past attempts to use the staff notation have mostly failed. Indian music makes use of hundreds of ragas, many more than the church modes in western music. It becomes difficult to write Carnatic music using the staff notation without the use of too many accidentals. Furthermore, the staff notation requires that the song be played in a certain key. The notions of key and absolute pitch are deeply rooted in western music, whereas the carnatic notation does not specify the key and prefers to use scale degrees (relative pitch) to denote notes. The singer is free to choose actual pitch of the tonic note. In the more precise forms of Carnatic notation, there are symbols placed above the notes indicating how the notes should be played or sung; however, informally this practice is not followed.
To show the length of a note, several devices are used. If the duration of note is to be doubled, the letter is either capitalized (if using Roman script) or lengthened by a diacritic (in Indian languages). For a duration of three, the letter is capitalized (or diacriticized) and followed by a comma. For a length of four, the letter is capitalized (or diacriticized) and then followed by a semicolon. In this way any duration can be indicated using a series of semicolons and commas.
However, a simpler notation has evolved which does not use semicolons and capitalization, but rather indicates all extensions of notes using a corresponding number of commas. Thus, Sā quadrupled in length would be denoted as "S,,,".
Some Artists
One of the earliest and prominent composers in South India was the saint, and wandering devine singer of yore Purandara Dasa (1480-1564). Purandara Dasa is believed to have composed 475,000 songs in Kannada and was a source of inspiration to the later composers like Tyagaraja. He also invented the tala system of Carnatic music. Owing to his contribution to the Carnatic Music he is referred to as the Father of Carnatic Music or Karnataka Sangeetha Pitamaha.
The great composers
Thyagaraja (1759?-1847), Muthuswami Dikshitar (1776-1827) and Syama Sastri (1762-1827) are regarded as the trinity of carnatic music. Prominent composers prior to the trinity include Vyasaraja, Purandaradasa,Kanakadasa. Other prominent singers are Annamacharya,Oottukkadu Venkata Kavi, whose exact lifespan is not known, Swathi Thirunal, Narayana teertha, Mysore Sadashiva Rao, Patnam Subramania Iyer, Poochi Srinivasa Iyengar, Mysore Vasudevacharya, Muthaiah Bhagavathar and Papanasam Sivan, to name a few.
Modern vocalists
Mangalampalli Balamurali Krishna and DK Pattammal are some of the art's greatest living (as of 2006) performers. Semmangudi Srinivasa Iyer, a doyen of Carnatic music, who had taught three generations of acclaimed musicians, and who was often acclaimed as the second Pitamaha of Carnatic music, passed away on October 31, 2003. M.S. Subbulakshmi, who enthralled audiences across language barriers, is usually credited with popularizing the Carnatic tradition outside South India. She passed away on December 11, 2004. Legendary singer belonging to the Dhanammal school of music T. Brinda was known for her gamaka laden interpretations of core carnatic ragams and also her vast repertoire. She was awarded the Sangeetha Kalanidhi in 1976.
The pre-Independence era had doyens like Alathur Venkatesa Iyer, Ariyakudi Ramanuja Iyengar, Chembai Vaidyanatha Bhagavathar and Maharajapuram Viswanatha Iyer. Semmangudi Srinivasa Iyer, G.N.Balasubramaniam were quite popular post-Independence alongside the named veterans in the field. Another great singer who made his own mark with soulful rendering was M D Ramanathan.
Contemporary vocalists include Madurai T.N.Seshagopalan, T.V.Sankaranarayanan, Sarojini Sundaresan, Sudha Ragunathan, Sanjay Subrahmanyan, Rose Muralikrishnan, Priya sisters (Haripriya and Shanmukhapriya), Kiranavali Vidyasankar,Gayathri Girish, Aruna Sairam, Ranjani & Gayatri, R. Vedavalli, and Bombay Jayashree. (For a full list, see this page. Large festivals of Carnatic music always include performances by such people.
To date, there is only one Westerner who became a Carnatic musician of some popularity. His name is Jon B Higgins ("Higgins bhagavatar").
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Carnatic music, known as karnātaka sangītam (in Indian languages ) is the classical music that originated in Karnataka, South India.
Lyrics in Carnatic music are largely devotional; most of the songs are addressed to the Hindu deities. There are, besides, a lot of songs emphasizing love and other social issues which have been composed in Carnatic music, although some of them, especially with the 'Rasa' (emotion) of love, continue to be composed and are widely popular, that rest on the concept of sublimation of human emotions for union with the divine. Thus, for instance, a young woman in a modern classical composition, will be yearning for one of the deities, such as Krishna, as her 'lover - the purpose of such musical pieces being at once to provide an outlet for human emotions and, unlike in the normal run of motion pictures, to address God rather than another human being. Carnatic music as a classical form is always thus required to be a culturally elevating medium.
As with all Indian classical music, the two main components of Carnatic music are raga, a melodic pattern and tala, a rhythmic pattern. (One might want to read these pages before proceeding.)
History of Carnatic Music
Carnatic music, whose foundations go back to Vedic times, began as a spiritual ritual of early Hinduism. Hindustani music and Carnatic music are one and the same, out of the Sama Veda tradition, until the Islamic invasions of North India in the late 12th and early 13th century. From the 13th century onwards, there was a divergence in the forms of Indian music — the northern style being influenced by Persian/Arabic music.
Carnatic music is named after the region in southern India what is today known as Karnataka. Carnatic was the anglicized spelling of Karnataka and hence it has come to be known as Carnatic Music. The great Kannada composer Shri. Purandara Dasa is known as the Sangitapitamaha or 'Father of Karnatik music'. The roots of Carnatic music was sown during the Vijayanagar Empire by the Kannada Haridasa movement of Vyasaraja, Purandaradasa, Kanakadasa and others.
Important concepts of Carnatic Music
Śruti
Sruti in Indian music is the rough equivalent of a tonic (or less precisely key) in Western music; it is the note from which all the others are derived. Traditionally, there are twenty-two śrutis in Carnatic music, but over the years several of them have converged, so that now they are but the chromatic scale.
Swara
The swara of Carnatic music is "sa-ri-ga-ma-pa-da-ni" (compare with the Hindustani sargam: sa-re-ga-ma-pa-dha-ni). These names are abbreviations of the longer names shadjam, rishabham, gandharam. madhyamam, panchamam, dhaivatam and nishadam. Unlike other music systems, every member of the solfege (called a swara) may have up to three variants. The exceptions are shadjam and panchamam (the tonic and the dominant in Western music), which have only one form, and madhyamam, which has only two forms (the subdominant). In one scale, or ragam, there is usually only one variant of each note present, except in "light" ragas, such as Behag, in which, for artistic effect, there may be two, one on the way up (in the arohanam) and another on the way down (in the avarohan). A raga may have five, six or seven notes on the way up, and five, six or seven notes on the way down.
Raga
Melakartas: In Carnatic music, the sampurna ragas (the ones that have seven notes in their scales) are classified into the melakarta system, which groups them according to the kinds of notes that they have. There are seventy-two melakarta ragas, thirty-six of whose subdominant is a perfect fourth from the tonic, thirty-six of whose subdominant is an augmented fourth from the tonic. The ragas are grouped into sets of six, called chakras ("wheels", though actually sectors in the conventional representation) grouped according to the supertonic and mediant scale degrees. This scheme can very well understood and remembered by Katapayadi sankhya
Classification: Ragas may be divided into two classes: janaka ragas ("parent ragas") and janya ragas ("child ragas"). Janaka raga is synonymous with melakarta (because the melakarta ragas each have seven notes in their scale, and use each note only once). Janya ragas are subclassified into various categories themselves
Tala
In carnatic music, singers keep the beat by moving their hands in specified patterns. These patterns are called talas. All of the which are formed with three basic movements: lowering the palm of the hand onto the thigh, lowering a specified number of fingers in sequence (starting from the little finger), and turning the hand over. These basic movements are grouped into three kinds of units: the laghu (lowering the palm and then the fingers, notated as 1), the dhrutam (lowering the palm and turning it over, notated as 0), and the anudhrutam (just lowering the palm, notated as). Only these units are used.
There are seven kinds of talas which can be formed from the laghu, dhrtam, and anudhrtam:
Dhruva tala 1 0 1 1 Matya tala 1 0 1 Rupaka tala 0 1 Jhampa tala 1 ☾ 0 Triputa tala 1 0 0 Ata tala 1 1 0 0 Eka tala 1
You may ask how many fingers must be lowered in a laghu. That is determined by the jathi, a number showing how many fingers to lower. It can only be 3, 4, 5, 7, or 9. (For numbers greater than five, the "sixth finger" is the same as the little finger.) Five jathis times seven patterns gives thirty-five possible talas.
Compositions
Composers of Carnatic music were often inspired by devotion and were usually scholars proficient in Kannada, Telugu, Tamil and Sanskrit. They would usually include a signature, called a mudra, in their compositions. For example, all songs by Tyagaraja have the word Tyāgarāja in them, all songs by Muthuswami Dikshitar (who composed in Sanskrit) have the words guru guha in them, songs by Syama Sastri have the words "Syama Krishna" in them and Purandaradasa, the father of carnatic music (who composed in Kannada), used the signature 'purandara vitala'.
Kīrtanas
Carnatic songs are varied in structure and style, but generally consist of three verses:
Pallavi: This is the equivalent of a refrain in Western music. Two lines.
Anupallavi: The second verse. Also two lines.
Charana: The final (and longest) verse that wraps up the song. The Charanam usually borrows patterns from the Anupallavi. Usually three lines.
This kind of song is called a keerthanam. But this is only one possible structure for a keerthanam. Some keerthanas, such as Sārasamuki sakala bhāgyadē have a verse between the anupallavi and the caraam, called the ciaswaram. This verse consists only of notes, and has no words. Still others, such as Rāmacandram bhāvayāmi have a verse at the end of the caraam, called the madhyamakālam. It is sung immediately after the caraam, but at double speed.
Varnas
A Varna is a special kind of song which tells you everything about a raga; not just the scale, but also which notes to stress, how to approach a certain note, classical and characteristic phrases, etc. A varna has a pallavi, an anupallavi, a muktāyi swara, whose function is identical to that of the chiTTeswara in a kriti, a charaNa, and chiTTeswaras, after each of which the charaNa is repeated.
Special compositions
Some special sets of compositions deserve to be noted here, the Pancaratna Kīrtanas of Tyagaraja, Kamalamba Navavarna Kritis and Navagraha Kritis of Muttusvami Dikshitar.
The Pancaratna Kīrtanas (lit. five gems), composed by Tyagaraja in Sanskrit and Telugu, are a set of five compositions regarded as the masterpieces of the great composer. The first one is in Sanskrit, while the rest are in Telugu. They deviate from conventional structure in that they all have between eight and twelve caranas. Sādincanē Ō Manasā, the third of the compositions, deviates even more in that after the anupallavi, there is a short phrase after which the caranas are sung. Also, instead of repeating the pallavi after each caranam, the phrase between the anupallavi and the first caranam is sung.
Dikshitar's nava-aavarana-kritis (literally,'nine-veils compositions') are addressed to the supreme divine in its female principle according to which the male-female division, so universally observed in life forms, is essentially the manifestation of one and the same Divinity. The Navagraha kritis are respectively sung in devotion to the Sun, the Moon, and the other planets, which thus popularises in a subtle manner, that Man owes his very existence to a highly remote chance - maybe one in a billion - for living on earth in a precisely conducive environment of celestial configuration, and he must understand this fact with his rational and spiritual makeup, with Kritis of this unique type. This set of Dikshitar creations, like most of his others, are considered remarkable for recalling the sastra-ic aspects - the scriptural profunditions of Hindu religious philosophy - and the lay listener either sings them with implicit faith either even without an understanding their meaning, or with some effort, gets to know by attending scholarly lecture-cum-demonstrations and/or reading books or papers (nowadays rather widely available online on the WWW.). It is said that the mature Carnatic musician sees the multidimensional charm of the special and non-special Kritis that are at once rich musically, educative philosophically, and disciplining religiously to the singer, player and the musician, provided the necessary inputs at appreciating the many charms.
Another prolific composer in Carnatic Music, King Swati Tirunal, too, has composed hundreds of songs which are particularly noted for their lyrical charm, and Swati too has to his credit a set of special compositions which are sung on the festival occasion of 'Navaratri' (lit., nine nights) in which three days each are devoted to the three deities, Durga, Lakshmi and Sarasvati.
Improvisation
There are four main types of improvisation in Carnatic music:
Raga Alapana: This is usually performed before a song. It is, as you may expect, always sung in the ragam of the song. It is a slow improvisation with no rhythm, and is supposed to tune the listener's mind to the appropriate ragam by reminding him/her of the specific nuances, before the singer plunges into the song. Theoretically, this ought to be the easiest type of improvisation, since the rules are so few, but in fact, it takes much skill to sing a pleasing, comprehensive (in the sense of giving a "feel for the ragam") and, most importantly, original ragam.
Niraval: This is usually performed by the more advanced concert artists and consists of singing one or two lines of a song repeatedly, but with improvised elaborations. (A similar thing used to be done in Baroque music). (Kalpana)swaram.The most elementary type of improvisation, usually taught before any other form of improvisation. It consists of singing a pattern of notes which finishes on the beat and the note just before the beat and the note on which the song starts. The swara pattern should adhere to the original raga's swara pattern, which is called as "arohana-avarohana"
Taanam: This form of improvisation was originally developed for the veena and consists of repeating the word anantham ("endless") in an improvised tune. The name thaanam comes from a false splitting of anantham repeated. When the word anantham is repeated, i.e., "anantham-anantham", the laws of sandhi dictate that the consonant at the end of the first word be dropped, hence "ananthaanantham" When the rule is applied to a long string of ananthams, you get "ananthaananthaananthaananthaa..." which got falsely split as "thaananthaananthaanan...", or "thaanamthaanamthaanam...".
(Ragam Thanam) Pallavi Pallavi means: words (padam), rhythm (layam) and improvisation (viñāsam) This is a composite form of improvisation. It consists of Ragam, Thanam, then a line sung twice, and Niraval. After Niraval, the line is sung again, twice, then sung once at half the speed, then twice at regular speed, then four times at twice the speed.
Concerts
Carnatic concerts are usually performed by a small ensemble of musicians, who usually (but not always) meet only on the stage. The group usually has a vocalist, a primary instrumentalist, and a percussionist, in that order of importance. Primary instruments are usually string instruments, such as the vīṇā and violin, although wind instruments such the flute may also be used.
The importance given to the vocalist in performances is a reflection of Carnatic music's focus on the singer and its rooting in the poetry of the Sama Veda; any instrumental rendition is merely a transcription of the vocal line. However, in recent years, purely instrumental concerts have become popular.
Support
The tambura, the most common kind of drone instrument, is traditionally used at concerts to remind the singer of the tonic, so that the singer may stay in tune throughout the performance. However, not only is the tambura unwieldy, it is also fragile, and is thus increasingly being replaced by the more compact śruti box (also known as the "electronic tambura").
In addition to the tambura, there is almost always a violin or a veena to provide support for the artist. Besides playing along with the main vocalist, the violinist or vina player also gets the chance to take part in the improvisation. All of the support instruments take turns while elaborating or while exhibiting creativity in sections like Niraval, Kalpana swaram and such.
Percussion
Percussion instruments, such as the mridangam, ghatam, kanjira are used to help the singer in keeping the beat, but they may also improvise. The morsing is also seen in some concerts and it accompanies the main percussion instrument and plays almost in a contrapuntal fashion along with the beats.
Content
Carnatic concerts, these days, last for typically no more than 3 hours. The artist may render about 10 to 15 songs. The richness and depth of artistry of the content may vary greatly based on the artist and to an extent based on what the audience request.
The teaching of Carnatic music
Traditionally, a student of Carnatic music goes to the house of the teacher for lessons. Both student and teacher sit cross-legged on the floor (usually on a mat). The teacher either starts playing the tambūrā or turns on the śruti box. The student sings an elongated "Sā...Pā...Sā (upper octave)...Pā...Sā..." and the class begins. Mayamalava Gowla is traditionally the first raga taught to the student.
With the advance of telecommunications, new ways of teaching Carnatic music have arisen. It is not uncommon now for a student to receive lessons by telephone or even webcam.
Since the late 20th century, there has been some attempts to create Carnatic music grades by music conservatories, which provide standardized tests between different Carnatic teachers. Although such attempts have not met with great popularity in India, standardized exams are often used in countries, like Canada, Great Britain, and France, where there is a high concentration of South Asian expatriates. One of the most widely recognized conservatories of music, is the Toronto-based Thamil Isai Kalaamanram which was formed in 1992. In 2005, it held exams for over 2000 applicants ranging from grades 1 to 7.History of notation in Carnatic music
Contrary to what many people think, notation is not a new concept in Indian music. In fact, even the Vedas, although orally transmitted, were written with notation. However, the idea of notation in Carnatic music was not well-received, and it continued to be transmitted orally for centuries. The disadvantage with this system was that if one wanted to learn about a kīrtanam composed, for example, by Purandara Dasa, it involved the formidable task of finding a person from Purandara Dasa's lineage of students.
Written notation of Carnatic music was revived in the late 17th century and early 18th century, which coincided with rule of Shahaji II in Tanjore. Copies of Shahaji's musical manuscripts are still available at the Saraswati Mahal Library in Tanjore and they give us an idea of the music and its form. They contain snippets of solfege to be used when performing the mentioned ragas.
Form of modern notation
Melody
Unlike Western music, Carnatic music is notated almost exclusively in tonic solfa notation using either a Roman or Indic script to represent the solfa names. Past attempts to use the staff notation have mostly failed. Indian music makes use of hundreds of ragas, many more than the church modes in western music. It becomes difficult to write Carnatic music using the staff notation without the use of too many accidentals. Furthermore, the staff notation requires that the song be played in a certain key. The notions of key and absolute pitch are deeply rooted in western music, whereas the carnatic notation does not specify the key and prefers to use scale degrees (relative pitch) to denote notes. The singer is free to choose actual pitch of the tonic note. In the more precise forms of Carnatic notation, there are symbols placed above the notes indicating how the notes should be played or sung; however, informally this practice is not followed.
To show the length of a note, several devices are used. If the duration of note is to be doubled, the letter is either capitalized (if using Roman script) or lengthened by a diacritic (in Indian languages). For a duration of three, the letter is capitalized (or diacriticized) and followed by a comma. For a length of four, the letter is capitalized (or diacriticized) and then followed by a semicolon. In this way any duration can be indicated using a series of semicolons and commas.
However, a simpler notation has evolved which does not use semicolons and capitalization, but rather indicates all extensions of notes using a corresponding number of commas. Thus, Sā quadrupled in length would be denoted as "S,,,".
Some Artists
One of the earliest and prominent composers in South India was the saint, and wandering devine singer of yore Purandara Dasa (1480-1564). Purandara Dasa is believed to have composed 475,000 songs in Kannada and was a source of inspiration to the later composers like Tyagaraja. He also invented the tala system of Carnatic music. Owing to his contribution to the Carnatic Music he is referred to as the Father of Carnatic Music or Karnataka Sangeetha Pitamaha.
The great composers
Thyagaraja (1759?-1847), Muthuswami Dikshitar (1776-1827) and Syama Sastri (1762-1827) are regarded as the trinity of carnatic music. Prominent composers prior to the trinity include Vyasaraja, Purandaradasa,Kanakadasa. Other prominent singers are Annamacharya,Oottukkadu Venkata Kavi, whose exact lifespan is not known, Swathi Thirunal, Narayana teertha, Mysore Sadashiva Rao, Patnam Subramania Iyer, Poochi Srinivasa Iyengar, Mysore Vasudevacharya, Muthaiah Bhagavathar and Papanasam Sivan, to name a few.
Modern vocalists
Mangalampalli Balamurali Krishna and DK Pattammal are some of the art's greatest living (as of 2006) performers. Semmangudi Srinivasa Iyer, a doyen of Carnatic music, who had taught three generations of acclaimed musicians, and who was often acclaimed as the second Pitamaha of Carnatic music, passed away on October 31, 2003. M.S. Subbulakshmi, who enthralled audiences across language barriers, is usually credited with popularizing the Carnatic tradition outside South India. She passed away on December 11, 2004. Legendary singer belonging to the Dhanammal school of music T. Brinda was known for her gamaka laden interpretations of core carnatic ragams and also her vast repertoire. She was awarded the Sangeetha Kalanidhi in 1976.
The pre-Independence era had doyens like Alathur Venkatesa Iyer, Ariyakudi Ramanuja Iyengar, Chembai Vaidyanatha Bhagavathar and Maharajapuram Viswanatha Iyer. Semmangudi Srinivasa Iyer, G.N.Balasubramaniam were quite popular post-Independence alongside the named veterans in the field. Another great singer who made his own mark with soulful rendering was M D Ramanathan.
Contemporary vocalists include Madurai T.N.Seshagopalan, T.V.Sankaranarayanan, Sarojini Sundaresan, Sudha Ragunathan, Sanjay Subrahmanyan, Rose Muralikrishnan, Priya sisters (Haripriya and Shanmukhapriya), Kiranavali Vidyasankar,Gayathri Girish, Aruna Sairam, Ranjani & Gayatri, R. Vedavalli, and Bombay Jayashree. (For a full list, see this page. Large festivals of Carnatic music always include performances by such people.
To date, there is only one Westerner who became a Carnatic musician of some popularity. His name is Jon B Higgins ("Higgins bhagavatar").
INTRO
just an attempt to write; but so far no clue: how i begin ? well i will try to post as many as possible some might be trash for somebody wait and see!
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