Chapter 1 Song in South India This chapter focuses upon song, familiar in all cultures as a basic way to organize sound and communicate musically. In Karnatak music, songs form a composed core around which traditional styles of improvisation are created. In South India, vocal and instrumental performance is almost always based upon song and instrumental techniques are frequently based on singing styles. (1) Map Skills AA 1. Locate India on a world map or globe. 2. After reading pages 11-14, locate the following on the map of South India in text (Figure 1.3): a. State of Tamil Nadu b. City of Tanjavur c. Town of Tiruvaiyaru d. City of Cidabaram (2) Explanation of Indian Names (CD track 2) AA Bangalore Nagaranthnammal, Tanjavur Brinda Bangalore Nagaranthnammal the ancestral place Tanjavur Brinda given name Vina Dhanammal Vina instrument she played Dhanammal given name Madurai Shanmukavadivu Subbulakshmi (MSS) Madurai ancestral place Shanmukavadivu mother s name (the elegant beauty of Shanmuka, son of Siva) Subbulakshmi given name MSS initials by which she is known Maha Vaidyanatha Ayyar Maha great honorific prefix Vaidyanatha given name (a name for Siva as healer) Ayyar Smarta Brahmin caste suffix Coimbatore Raghava Ayyar Coimbatore ancestral place Raghava given name (a name of Rama)
Ayyar Smarta Brahmin caste suffix T.N. (Tiruvavadudurai Natesa) Rajarattinam Pillai Tiruvavadudurai ancestral place Natesa name of adoptive uncle (his uncle) Rajarattinam given name (literally King-jewel ) Pillai respectful caste suffix used by many male non-brahmin musicians Ariyakudi Ramanuja Ayyangar Ariyakudi---ancestral place (also his nickname) Ramanuja given name (name of an 11 th century Vaishnavite philosopher) Ayyangar Vaishnava Brahmin caste group Kancipuram Nayana Pillai Kancipuram ancestral place Nayana darling (a nickname birth name was Subramania, son of Siva) Pillai respectful caste suffix used by many male non-brahmin musicians Have students read Figure 1.4 in text and listen to CD track 2, then use the following questions as basis of class discussion and activities. 1. Musicians from many cultures have often become known by nicknames or by the instruments they play. For example, Louis Armstrong was often referred to as Satchmo, a diminutive form of the nickname satchel mouth. What other examples are familiar to students? Create names for members of the class (or other people) modeled on the South Indian names in the chart above. 2. What other processes of naming are used in other cultures? For example, in Iceland (and older Norse traditions), a child was referred to by a given name with the suffix being a form of the father s name based on gender of the child: the Icelandic singer Bjork s name is actually Bjork Gottmundsdottir (Bjork, Daughter of Gottmund); the explorer Leif Erickson s name meant Leif, son of Erick. In some cultures, the family name is listed first followed by the given name. What would names of class members be using these other modes of naming? (3) Composers: Tyragaraja and Muttuttandavar Pages 1-4, 8-9, 11, 21-23 S, C/U Tyagaraja is one of the Trinity of important late 18 th /early 19 th century South Indian composers along with Syama Sastri (1767-1826) and Muttasvami Dikshitar (1776-1835). He composed hundreds of devotional songs dedicated to his personal deity (ishta devasta). Rama. Muttuttandavar, who lived in the coastal city of Cidambaram, was the earliest composer of Tamil language kriti. He was a member of the Brahmin caste of hereditary temple musicians who played ritual music in the periiya melam ( great ensemble )
Read pages 1-23 for more detailed background information on the life and works of each composer. The following questions may be used to guide class discussion. Following discussion, complete Worksheet 1.1 1. What is the importance of Tyagaraja in South Indian music traditions? 2. Discuss Tyagaraja s lifestyle and relation with his students. 3. What historical role did the region of Tamil Nadu play in South India culture, history, and economy? 4. Tyagaraja chose Rama as his personal deity and addressed Rama in most of his songs. Have there been similar practices by composers in other cultures? 5. To which caste did Muttuttandavar belong? 6. What duties did members of this caste perform? 7. Discuss Nataraja-as-Siva. How does Muttuttandavar s choice of Nataraja as his istha devata (personal deity) influence his choice of text when composing kriti? (4) Danava Bhanjana Pages 1-9 (CD track 1) Danava Bhanjana ( Destroyer of Demons ) is a devotional song typically performed in a devotional setting by an amateur group with each line first sung by a soloist, then by the full group. Accompaniment may be provided by harmonium and a variety of percussion instruments. The text of Danava Bhanjana is in Sanskrit and Hindi and is sung in praise of the Hindu deity Rama, the protagonist in the epic Ramayana. (5) Exploring the Context of Bhajan S, C/U Read pages 1-9 focusing upon structure of bhajan form, purpose of bhajan, text and meaning, then use the following questions to guide class discussion: 1. Under what circumstances would a bhajan usually be performed? 2. What set of circumstances in western and other cultures are comparable? Discuss similarities and differences. 3. Are there practices similar to the uncharvritti bhajana in other cultures?
4. Text: Read translation and discuss similarities and differences between bhajan and devotional songs from other cultures. (6) Text and Meaning in a Bhajan AA As students listen to CD track 1 1. Use hand gestures to maintain pulse 2. Follow text and listening guide (Overhead/Handout 1.2), taking notes for follow-up discussion before subsequent listenings. Text of Danava Bhanjana ( Destroyer of Demons ) Line A: Danava bhanjana rama sayi syamala komala ram Destroyer of demons, Rama Sai, dark hued, soft and sweet Rama Line B: He rama rama jaya rama sayi, rama rama ram O Rama Rama, victorius Rama Sai, Rama Rama Ram Line C: Dasaratha nandana rama sayi daya sagara ram Son of Dasaratha, Rama Sai, ocean of compassion, Ram Line D: He dinom ke prabhu rama sayi rama rama ram Oh lord and protector, Rama Sai, Rama Rama Ram (7) Examining the Musical Substance of Bhajan AA After the first listening of Danava Bhanjana, the following questions may be used to guide classroom discussion: 1. How many times was each line of text repeated? In what order? 2. Describe each line s musical setting (range, texture, rhythms, etc). Are there settings of lines that are similar? Which setting differs the most from other lines? 3. Does the tempo remain constant? If not, identify places where there are changes. 4. Identify types of instruments used in accompaniment and label as chordophone, membranophone, idiophone, aerophone, etc. 5. Which western instruments, if any, does each most closely resemble?
6. Read information on harmonium in box on page 2. Discuss the pros and cons of using of this western instrument in South Indian music. What other western instruments have made their way into Indian music? Are there Indian instruments that have become popular in western music? (8) Tempo and Time in Danava Bhanjana AA During subsequent listenings to Danava Bhajana, the following activities may reinforce understanding of this song: 1. Identify tempo changes 2. Use hand gestures of adi tala to maintain pulse of song. (9) Performing Danava Bhanjana AA 1. Have students add notes on performance: tempo, texture, instruments, range, etc. to Listening Guide (Handout 1.1) 2. Learn and sing response to each section. (Listen carefully to CD to master pronunciation and melodic structure. Use time cues to identify sections.) In South Indian music, songs are learned through aural transmission. In most western traditions, songs are learned from notation. Is it possible to accurately notate music for this bhajan? Why or why not? See Supplementary Learning Activities for a suggested activity on notation. 3. Add instrumental accompaniment on appropriate classroom instruments a. What are the rhythms performed by instruments? Can a simplified rhythmic accompaniment be created based on these patterns? What classroom instruments would be appropriate for performing this accompaniment? b. What rhythmic patterns are performed by hand clapping? (10) Languages in South India Pages 12-14 South India is a patchwork of languages and dialects and many states were organized on a linguistic basis. The four states of South India each have an official Dravidian language: Tamil, in Tamil Nadu state, Telugu, in Andhra Pradesh, Malayalam, in Kerala, and Kannada, in Karnataka. The Dravidian languages are distinct from the Indo-Aryan group to which most North Indian and many European languages belong. Hindi, the most widely spoken contemporary Indo-Aryan language of North Indian is also learned by many South Indians. Sanskrit, is no longer spoken as a mother tongue ; however, many sacred texts are written in this language and it is used in sacred songs.
(11) Understanding the Linguistic Patchwork of India AA (1-5); S,C/U (6-8) 1. Many residents of India speak at least two languages. Why is this essential? 2. Danava Bhanjana contains phrases in Sanskrit a language not spoken as a mother tongue in South India. Why is this language used in bhajan? 3. What language group is dominant in North India? 4. What language group is dominant in South India? 5. Community survey: What languages are spoken in your school s community? Survey parents and neighborhood to identify languages. Consider: How many people speak a language other than English as their first language? How many people speak multiple languages? 6. Discuss bilingual/multilingual issues in western culture including identification of languages spoken in your communities. (See above activity) 7. Compare the use of Sanskrit in sacred musics to the use of Latin in western art music. 8. Identify several languages from India and locate regions where each is spoken on a map of India. (12) Kriti: Unnai nambinen Pages 15-19 Unnai nambinen is a kriti, a three-part form that is structurally more complex than bhajan and is used by contemporary Karnatak musicians to provide outlets for their virtuosity and creativity. Though the texts of kriti and bhajan are both devotional in nature, the kriti is used in a wider variety of performance circumstances than the bhajan which is almost exclusively performed in devotional contexts. The text was composed by the 17 th century Tamil composer Muttuttandavar and the musical setting was written in 1941 by T.N. Swaminatha Pillai. The kriti evolved from earlier forms such as the sankirtanam. Both forms included a pallavi ( sprouting ) and carnams ( feet or stanzas) with the performer returning to the pallavi between sections. The kriti also includes an anupallavi ( continuation of the sprouting ) placed between the pallavi and the caranam. Kriti, like bhajan, are devotional in nature, but are performed in a wider variety of settings including more secular, virtuosic contexts.
(13) Structural Matters: Kriti, Sankirtanam, Bhajan S, C/U 1. Discuss the development and structure of the kriti including comparisons between Kriti, sankirtanam, and the western rondo form 2. Which western musical form does kriti form resemble? 3. How does the definition of Pallavi as sprouting and Anupallavi as continuation of the sprouting explain the performance techniques? (listen to CD track 3, noting performance style and techniques at time points identifying pallavi and anupallavi) 4. Discuss the differences in performance context between bhajan and kriti. Under what circumstances is each performed? 5. Discuss virtuosity in kriti performance. Is the authors comparison of kriti ensembles to a small jazz combo effective? Why or why not? Consider the size of the ensemble, focus of ensemble, and use of improvisation when discussing this issue. (14) Comparison of Forms and Practices AA 1. Compare sankirtanam and kriti to each other and the western musical rondo form and Complete Handout 1.2. Below is an example of how the complete comparison may look: Form of Sankirtanam A: Pallavi Form of kriti A: Pallavi Form of Rondo A: Rondo theme Comparison of Form: Sankirtanam. Kriti, Rondo B1: A : Caranam 1 Pallavi B: Anupallavi B: Episode 1 reprise A : Pallavi reprise A : Rondo reprise B2: Caranam 2 C: Caranam C: Episode 2 A : Pallavi reprise A : Pallavi reprise A : Rondo reprise 2. Have students complete Handout 1.3 to compare bhajan such as Danava Bhanjana and Kriti such as Unnai nambinen. Below is an example of how the completed comparison may look.
BHAJAN KRITI PROFESSIONALISM Performed by amateurs Performed by professionals GROUP SIZE PERFORMER ROLES Relatively large usually having several vocalists singing in call and response; similar to community/congregational choir Group performance with no focus on soloist as virtuoso Smaller group comparable to string quartet or jazz combo Centers on one or two virtuoso artists sitting in the center, leading the ensemble, and flanked by melodic and rhythmic accompanists FOCUS text vs music Focus on devotional text Focus more on music FOCUS purpose Devotional Virtuousic (15) Defining Classical in Two Cultures S, C/U After reading information regarding meanings of classical music in Indian music (pages 10-11), the following questions may serve to guide class discussion: 1.What does classical mean in Karnatak traditions? In western traditions? 2. What similarities and differences exist between how the term classical is used in Western Art Tradition and Karnatak Tradition? Have students complete Handout 1.4 to compare the meaning of classical music in South Indian and Western Art Tradition. Below is an example of how the completed chart may look: WESTERN Music performed as written from printed score/parts Compositions learned from printed score/parts and may/may not be memorized Term classical implies that the music is beautiful, sophisticated, and time honored. Music may be sacred or secular Reverence for great composers in specific styles, genres, and historical periods KARNATAK Music contains extensive improvisation Compositions learned through aural process and memorized Term classical implies that the music is beautiful, sophisticated, sacred, and time honored Reverence for great composers in specific styles, genres, and historical periods
(16) Preparing to Listen to Unnai nambinen Pages 23-33 AA Before listening to Unnai Nambinen (CD track 3), have students learn solkattu (rhythmic solfege) and hand gestures for Adi tala and perform these while listening. (These are discussed more fully in Chapter 2) Pulse: 1 2 3 4 5 6 7 8 Hand gestures: clap pinky ring middle clap wave clap wave Solkattu: ta ka di mi ta ka di mi (17) Understanding Unnai nambinen S, C/U While listening to CD track 3, follow text (given below) and Listening Guide (Overhead 1.3 and Handout 1.4) for Unnai Nambinen. After the initial listening, the following questions may serve to guide class discussion: 1. Describe vocal techniques including ornamentation of melody, sliding pitches, tone quality. How are these similar to or different from the vocal techniques employed in Danava Bhanjana? 2. Describe how mridangam and violin interact with the soloist. Is the author s comparison to a jazz combo an accurate description of the process of interaction? Review this description and compare jazz combo performance techniques to this performance. 3. Song and performing in a singing style are of primary importance in the music of South India. Instrumentalists seek to emulate the techniques and styles of vocal performance thereby creating such a style in instrumental performance. Describe how the instrumental techniques imitate vocal qualities and techniques. Identify specific examples by time on the CD. 4. In particular, listen to examples of pitch sliding in voice and violin. Students should sing specific passages using pitch sliding to gain a better understanding of this technique. (Ornamentation will be more fully explained in Chapter 2.) 5. Identify instruments used in this piece and classify as chordophone, membranophone, aerophone, idiophone, etc. Karnatak ensemble include the soloist (instrumental or vocal) seated in the center, a melodic accompanist (often a violinist), rhythmic accompanist (often the mridangam a double headed membranophone), and a supporting chorodphone (often the tambura). Frequently, the tambura player also sings a supporting
vocal part. Other percussion instruments sometimes used in a secondary rhythmic accompaniment may include kanjira(lizardskin frame drum with jingles similar to tambourine), ghatam (open-top tuned clay pot idiophone), or morsing (a jaw harp idiophone). Discuss possible instrumentations. and possible suitable classroom instruments which could be used as appropriate substitutes. 6. Look at photograph of violin in karnatak position (Figure 4.2 in text). Notice the playing position of the violin. Many folk cultures, such as the Cajun culture in southern Louisiana, hold the position in a similar position. Discuss reasons why this position may be preferred. 7. Have students experiment sliding tones on a string of the violin to replicate the sounds produced on CD of Unnai nambinen. Are there other western instruments capable of such techniques? Are students aware of instruments from other cultures capable of this technique? 8. The mridangam is capable of articulating at least fifteen distinct sounds. Each sound has a name in Karnatak drum language and players use this system of mnemonic syllables to learn new pieces. If possible, obtain a guide to mridangam playing and allow students to experiment with producing sounds on a mridangam or conga. If a guide is not available, experiment with varied means of producing distinct sounds mimicking sounds heard on CD or observed in a video of a mridangam performance. (18) Adding an Instrumental Accompaniment to Unnai nambinen C/U During subsequent listenings, advanced students may wish to take part in the following activities: 1. Obtain kanjira, ghatam, and morsing (or appropriate classroom instruments as substitutions tambourine, clay pot drum, mouth harp) and allow students to experiment with producing tones and rhythms heard on CD. 2. The tambura is a long necked-lute used to provide a drone that reinforces the tonic pitch of the main artist. Allow students to experiment with producing drone pattern on tambura, if available, or substitute retuned guitar, lap dulcimer, or keyboard instrument (hold down sustain pedal). For purposes of demonstration, the chart below provides a tuning of the tambura strings to produce a typical drone.
If students are able to identify the pitches used on CD, selected students may play drone during subsequent listenings.
OVERHEAD 1.1/WORKSHEET 1.1 EXPLANATION OF INDIAN NAMES Bangalore Nagaranthnammal, Tanjavur Brinda Bangalore Nagaranthnammal the ancestral place Tanjavur Brinda given name Vina Dhanammal Vina instrument she played Dhanammal given name Madurai Shanmukavadivu Subbulakshmi (MSS) Madurai ancestral place Shanmukavadivu mother s name (the elegant beauty of Shanmuka, son of Siva) Subbulakshmi given name MSS initials by which she is known Maha Vaidyanatha Ayyar Maha great honorific prefix Vaidyanatha given name (a name for Siva as healer) Ayyar Smarta Brahmin caste suffix Coimbatore Raghava Ayyar Coimbatore ancestral place Raghava given name (a name of Rama) Ayyar Smarta Brahmin caste suffix T.N. (Tiruvavadudurai Natesa) Rajarattinam Pillai Tiruvavadudurai ancestral place Natesa name of adoptive uncle (his uncle) Rajarattinam given name (literally King-jewel ) Pillai respectful caste suffix used by many male non-brahmin musicians Ariyakudi Ramanuja Ayyangar Ariyakudi---ancestral place (also his nickname) Ramanuja given name (name of an 11 th century Vaishnavite philosopher) Ayyangar Vaishnava Brahmin caste group Kancipuram Nayana Pillai Kancipuram ancestral place Nayana darling (a nickname birth name was Subramania, son of Siva) Pillai respectful caste suffix used by many male non-brahmin musicians
OVERHEAD 1.2 Text of Danava Bhanjana ( Destroyer of Demons ) Line A: Danava bhanjana rama sayi syamala komala ram Destroyer of demons, Rama Sai, dark hued, soft and sweet Rama Line B: He rama rama jaya rama sayi, rama rama ram O Rama Rama, victorius Rama Sai, Rama Rama Ram Line C: Dasaratha nandana rama sayi daya sagara ram Son of Dasaratha, Rama Sai, ocean of compassion, Ram Line D: He dinom ke prabhu rama sayi rama rama ram Oh lord and protector, Rama Sai, Rama Rama Ram
OVERHEAD 1.3/WORKSHEET 1.2 Danava Bhajana LISTENING GUIDE: TIME TEXT LINE ACTIVITY NOTES 0:00 none Harmonium intro 0:05 0:14 0:22 0:30 0:39 0:48 A A B 0:56 1:04 B 1:12 1:21 A 1:29 1:37 C 1:46 1:54 C 2:02 2:10 D 2:18 2:27 D 2:35 2:42 2:49 2:57 A B Tempo changes 3:04 3:11 A 3:18 3:26 C 3:33 3:40 D 3:47 3:54 D 4:02 A All sing together 4:10 Transition to next bhajan begins
TIME OVERHEAD 1.5/WORKSHEET 1.4 Unnai nambinen Listening Guide SECTION LINE NOTES 0:01 Pallavi 1 0:08 0:14 0:20 Melodic variation on word unnai 0:26 0:32 Holds fifth note of scale 0:39 Anupallavi 1 Holds tonic pitch of sambo before continuing 0:45 1 0:51 1 0:57 2 1:03 1 1:09 2 1:15 Pallavi reprise 1 Melodic variation on word unnai 1:20 1:26 Holds fifth note of scale 1:32 Caranam 1 1:38 2 1:44 1 1:49 2 1:55 3 Holds last syllable of tudikkinra on tonic pitch 2:01 3
2:07 4 2:13 3 2:18 4 2:24 Pallavi reprise 1 Melodic variation on word innai 2:30 2:35 Holds fifth note of scale 2:41 Ends
OVERHEAD 1.4/WORKSHEET 1.3 FILL IN THE MUSICAL BLANKS The following versions of sections of Danava Bhanjana are the result of a class experiment in notating South Indian music. The class was divided into four groups with each group assigned a section of the bhajan to notate. Because of the differences in tonal systems and the use of ornamentations, students found exact transcriptions impossible. The final results represent a framework for each section as agreed to by the students in each group after considering many possibilities. The group assigned the C section of Davana Bhanjana could not agree upon a version due to a particular rhythm and ornamentation. Listen to the CD following the notated versions from this project. What differences do you hear between the notated versions and the performance? What changes in notation would you suggest? Advanced students may wish to participate in a similar exercise and create their own notated version of the sections. Non-traditional or iconic notation may be considered as an alternative for mapping this bhajan.