An academic session at The Music Academy that highlighted phrases common in ragas
S Adithyanarayanan
The third day of the 98th Annual Conference and Concerts at The Music Academy featured two enlightening lecture demonstrations, the first of which was delivered by R. Hemalatha on the topic of ‘Similar Phraseologies in Non-Allied Ragas’. She began by explaining the concept of allied ragas, which share common prayogas or swaras and are often derived from the same melakartha. Non-allied ragas, by contrast, do not fit this definition but still exhibit shared phraseologies. Hemalatha categorised these commonalities into four groups — those found in the Aroha-Avaroha structures of ragas, those appearing only in compositions, those exclusive to manodharma, and those that have evolved over time as phrases migrated from one raga to another.
In her exploration of melakartha ragas, Hemalatha emphasised analysing ragas phrase-wise rather than scale-wise. She illustrated this with Thodi and Kalyani, which share the dheerga gaandhara phrase (G, Grr, rG, r) and other overlapping elements, such as R,G,D and N serving as nyasa swaras in both slow and fast passages. She further noted the interchangeability of phrases between the Thodi and Kalyani Adi talavarnams.
Moving to compositions, she discussed common phrases such as pmrgmrs in Gowla, Poornachandrika, and Saranga, where the final Ri always includes a kaarvai to release the melodic tension. Similarly, she highlighted gmp DP S in Poorvikalyani and Begada, as well as ascending (p m D N S) and descending (s n d N d P) phrases shared by Saurashtram and Devagandhari. Another example was the commencing phrase ppmgM, common to Dhanyasi and Atana, where preceding and succeeding phrases create unique raga identities. She concluded this category with the example phrase of srgrnsrsndP found in both Anandabhairavi and Kedaragowla.
The third category focussed on phrases unique to manodharma. Hemalatha highlighted the sRsN phrase, shared by Bhairavi and Begada, and noted how Bhairavi’s nishadham nyasa likely evolved from Anandabhairavi. She compared dsR/dsR srG phrases in Saveri and Poorvikalyani, showing how the approach to these phrases remains consistent despite the difference in dhaivatham. Similarly, she discussed pmR/pmgr phrases in Suruti and Arabhi, emphasising their auditory similarity despite variations in vocalisation.
In the final category, Hemalatha examined the migration of phrases across ragas. She cited dnsrsndm in Reetigowla, which originated in Nattakurinji, reflecting on significant evolution in Reetigowla’s history as a bhashanga raga.
She also discussed sn dN dS nR, S, a phrase typically associated with Atana, which is now occasionally found in Kaanada. The phrase M g P m D P in Begada seems to have been borrowed from Hamir Kalyani, which, in turn, integrates the kaishiki nishadham (N2) from the Hindustani ragas, Kedar and Behag.
During the discussion, the expert committee provided additional insights. Veteran scholar Suguna Varadachari noted that even in shared phrases, the emphasis on specific swaras differs —for instance, Begada emphasises gandhara, while Sahana does so with rishabha. Sangita Kalanidhi designee T.M. Krishna observed that ragas allowing rgmr prayogas might also permit pmrs, as seen in Saranga in the Sampradaya Pradarshini. Concluding the session, Krishna highlighted the value of studying ragas through a phrase-based lens and reflected on the concept of “allyship” in music. This engaging session left the audience with new perspectives on non-allied ragas and their intricate phraseologies.
Songs of grief
A. Ramanathan and S. Ramesh
| Photo Credit:
K. Pichumani
The second lecture demonstration of the day saw A. Ramanathan, assisted by S. Ramesh, present a thought-provoking lecture demonstration on the topic ‘Izhappin Valiyum, Valiyin Izhappum’ — a focus on oppari songs at The Music Academy.
Oppari, often perceived solely as a lament and linked to bad omens, was re-examined by Ramanathan, who aims to change this perception. He began by referencing Bharatiar’s admiration for the music of regular people and noted how Bharati loved folk forms such as kummi, pallu paadalgal, nondi paadalgal and kalyanam paadalgal, finding them sweeter, both lyrically and musically. Ramanathan highlighted that Tamil culture integrates music into every stage of life, from birth to death, including celebrations like naming ceremonies, ear-piercing rituals, job achievements, marriages and even funerals. Historically, music was a communal activity centred around people, but the divide between classical and folk traditions created a distance over time.
Ramanathan said that when he went to record taalatu songs, women often asked for a child to be placed on their lap so that it could help them emote better. But, this sort of simulation help couldn’t be replicated in the oppari context.
Oppari songs, typically initiated by women, after an initial hesitation, arose from their more empathetic nature and capacity for maar kuduthal — embracing and sharing others’ sorrow. While the men gathered outside for activities such as irappu kummi and other performances (which was seen as cathartic), women inside the house initiated oppari as a form of emotional release. Ramanathan explained the different types of oppari — maranageetham, kolai sindhugal, vibathhu paadalgal and Kailasa paatu (songs sung to symbolically send the deceased to Kailasam for salvation).
Ramesh’s performance of a few oppari songs exemplified its raw emotional power, with his crying seamlessly integrated into the melody. Ramanathan emphasised that oppari lyrics focus on positive qualities and cherished memories of the deceased, providing therapeutic value for the grieving. He used expressions such as ‘Vaai vittu azhudhaal, noi vittu pogum’ (if you have a good cry, you’ll be free of disease) and ‘Sogathilum sugam’ (pleasure in grief) to convey the cathartic purpose of oppari. The structure of an oppari song, which follows a Mun-maadhiri-Nerpagarppu pattern, was noted to be similar to kummi songs.
Oppari is not limited to lamenting personal loss but extends to mourning environmental degradation, loss of birds, and other forms of collective grief. Ramanathan cited examples, and Ramesh sang a few such songs, broadening the audience’s understanding of the genre. The lec-dem concluded with reflections from the expert committee. Rita Rajan pointed out parallels with professional mourners in other cultures abroad, while the secretary of Music Academy V. Sriram highlighted the presence of irangal paadalgal in Arunachala Kavi’s Ramanatakam, T.M Krishna pointed out Bharatiar’s irangal paadal for Subburama Dikshitar when the latter passed away. Krishna noted that in Carnatic music, the songs that spoke about loss and yearning often established a deeper emotional connection with the audience. He praised Ramesh’s ability to quickly embody the emotion of each oppari and get into the zone of the song without taking much time. He compared the aesthetic experience of listening to oppari songs to the tragedies of Greek theatre. Krishna concluded the session with a call for a more inclusive approach to art, suggesting that such perspectives could lead to a more compassionate world. The audience left with a renewed understanding and appreciation of oppari, realising its profound cultural and emotional significance.
Published – December 19, 2024 07:11 pm IST
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