Music Season

The Performers Rasikas, critics and the patrons are the four pillars of the fine art.
The ringing sound of the bell is heard well before the elephant is seen.
Even before announcement of music season, all the news papers magazines ,both in vernacular and English are flooded with information reg kutcheris,musicians,their profile etc.
Every day we read hundreds of reviews reg the past and present performances.
Most of the critics comment only on the positive aspects of the concert ,perhaps for fear of not being a source of discouragement to the performing artist.Many popular journals prefer not to offend the popular artists.
It is often reported that vidwans keep a constant touch with the media.
While the critics are expected to be honest to the musicians as well as to the target audience,the musician also should be honest and be prepared to accept when mistakes are pointed out, as much as they accept the accolades.
Just like musicians, critics also try to showcase their talents during the music season. No doubt, many rasikas love to read the reviews more frequently than even listening to performances.
Subbudu's criticisms were at the extreme.
Critics revel in usage of high sounding musical phrases and exhibit their
rich vocabulary more particularly in the music season.If we go thro the papers for a week,we may notice that the review contains ununderstandable phrases like,"Forced Accentuation,Adventurous Inclination,Breezy complexion,Compellingly Revealed,Structural Cohesiveness,Passionate Gracefulness,Individual Identity,Over Amplification,Over stretched,Full Stream Articulation,Enunciation of Sahityas,Delineation of Raga Bhava,Succint Korvai,Dynamic Intonation'"-to cite a few examples.Knowingly or unknowingly we seem to cherish such bombastic expressions.
Is it not ridiculous that we are not prepared to accept that a simple,straight forward Carnatic Music Review can be more eloquent than forced accentuation?
It is said that senior vidwans do not worry much about the reviews and have got enough matured thinking as to " "POTRUVAAR POTRATTUM,THOOTRUVAAR THOOTRATTUM ",
(" Let anybody praise, let anyone criticize") though they may be the first ones to read the review and feel elated.
But the critics also seem to be more particular in showcasing their verbal eloquence rather than passing an impartial judgement on the performances.The responsibility of the critics towards budding artists is a significant one.They have to be gentler and kinder to younger generation,but should never hesitate to point out the mistakes in a softer tone.While commenting on young performers they can add a special para containing suggestions for improvement.They can also note to publish general guidelines for cultivating a mind set to take criticism as a sincere feed back and positive step for improvement.It is better if the critic writes a feature article on the performer highlighting all his positive trends,indicating at the end suggestions as given above.This will help grooming the young vidwan elevating him to the desired level.
Critics comment only about the main artist.They usually add one or two sentences about the violinist adding a phrase' ably supported by'.Mritangam is siphoned off to the last sentence.Not to speak of other percussion instruments as Ghatam Khanjira, Morsing etc.Having strived hard, what encouragement do they have?
Critics never point out even if there is a major slip in rhythm.It is a common complaint that in India the rhythm or tala aspect is not at all reviewed properly.
Reg reviews in Tamil magazines,they carry objectionable statements couched in incorrect expressions,since there are only a handful of critics capable of writing in Tamil.
Music critics have a significant role to play.Most reviewers seem to possess more knowledge than musicians themselves reg ragas and kritis,but understandably lack exposure in Rhythm.In the interest of the preservation of our cultural heritage,senior musicians can organize periodical workshops and confernces for the critics with special reference to Talam.There is a pressing need for a course of some sort on CRITICISM of Carnatic Music ( both Tamil and English) for journalists entering the field.Though very few experts will be willing to allot the quailty time for this work,it is an important task to be undertaken,if our music is to reach its deserving heights.
Happy Music Season.

Jayasala42

 

Thank you Geeta for your kind response.Some five years back Shri T. M. Krishna, a popular musician took objection to the remarks of the editor of the Hindu, Shri N. Ram that all musicians are thin skinned and want only to be appreciated.There was mud slinging on both sides and the discussion was stopped half way.
jayasala 42

 

Thanks Balaji,
Subbudu was overboard.He didn't leave anyone.M. S.,MLV, Semmangudi and others.There was a board outside Music Academy-Dogs and Subbudu not allowed.
Jayasala42

 

Thank you Thyagarajan Sir. Many people throng the hall only to visit the canteen.There weretimes when there was crowd in the canteen only during 'thani aavarthanam'.But today canteens are always full.
jayasala42

 

Dear Jeeves,
We can create Bhava through bhajans and Naama sankeetrhans also. If Music, as an art form, has to thrive, it should have all the lakshanas as aalaapanas, swaras, kritis etc etc combined with Bhava.
Mere Bhava or mere kalpanaswars and technical expressions may not make a kacheri meaningful.
Though Thyagaraja sang'sangeetha gnaananu Bhakthi vina-( What is music without Bhakthi) he has so many kritis rich with music expressions completely bringing out the essence of ragas and it is not mere Raama Stotram.

jayasala 42