DR. M. LALITHA PRESENTS `MUSICAL INSTRUMENTS IN DIVINITY’ – A SERIES OF THEMATIC MULTIMEDIA PRESENTATION
Under the Production Grant, supported by the Ministry of Culture, Govt of India, Violinist Dr M Lalitha Senior Violinist, Musician & Fulbright Fellow, (of the Duo M. Nandini), will be presenting a series of episodes on `Musical Instruments in Divinity’- a thematic Multimedia presentation featuring different instruments each month. This month as part of the fourth episode on Thursday July 24th 2014 the instruments to be featured will be `Mridangam and Mridanga or the Khol’ at the Raga Sudha Hall, Mylapore from 6.30 PM. Sri. S. Santhanagopal, Branch Head, Printer & Publisher, The Times of India Group, Chennai, will be the Chief Guest while Mridangam Maestro Guruvayur Sri. Durai will be the Guest of Honor. Special Performances by Dr. M. Lalitha and M Nandini – Violin accompanied by Sri K. R. Ganesh – Mridangam and Nama SanKirtan by the Gaudiya Vaishnava Societies of Bengal by Samrta Krishna Das – Vocal, Sadachar Das – Kartan & Vocal accompanied by Jayanandahari Das on the Mridanga / Khol of Hare Krishna Movement, Chennai.
Dr M Lalitha will deal about the History, evolution of the instrument, Mythological, Sculptural evidences, its usage in temple rituals, similarities in global musical cultures, references in Literature and in musical compositions.
The 2nd episode of a thematic series – “Musical Instruments in Divinity—The Venu” will be presented by senior violinist Dr.M.Lalitha on May 25 at 6.30 p.m. The chief guest is dancer Leela Samson and the guest of honour is flutist-Dr.N.Ramani. At Raga Sudha Hall, 85/2, Luz Avenue, Mylapore. Ph: 24992672.
Lalitha presents Venu in multimedia presentation
Chennai:
Violinist M Lalitha presents ‘Venu’ in her thematic multimedia presentation ‘Musical Instruments in Divinity’ in Chennai on May 25, 2014.
Under the Production Grant, supported by the Ministry of Culture, Govt of India, Violinist M Lalitha, Senior Violinist, Musician and Fulbright Fellow, (of the Duo M. Nandini), will present a series of episodes on `Musical Instruments in Divinity’- a thematic Multimedia presentation featuring different instruments each month.
The first episode featured the instrument `Vina’ and this month on Sunday May 25, 2014, will feature the instrument `Venu’ at the Raga Sudha Hall at 6 p.m. Leela Samson, Bharatanatyam exponent and Chairperson, Sangeet Natak Akademi, New Delhi will be the Chief Guest while flautist N Ramani will be the Guest of Honour. Nandini Ramani, Bharatanatyam exponent and Managing Trustee, DR V Raghavan Centre for Performing Arts, will present the Welcome address.
Lalitha will deal about the history, evolution of the instrument, mythological, sculptural evidences, its usage in temple rituals, similarities in global musical cultures, references in Literature and in musical compositions.
Violin in Global Styles with Special Focus on its Usage in South Indian Classical Music
M.Lalitha
Violin is known as the King of Instruments and is used in many world music traditions. In South Indian Classical Music traditions, the Violin is an accompaniment to Vocal and to instruments like flute, mandolin. Violin is also a primary Solo instrument and in dance it occupies the role of an accompanist. Carnatic Music is written for singing and the instrument is required to produce the music as it is sung. With regard to the Posture of holding the violin the sitting posture is adopted or designed so to have a secured feeling especially while playing the gamaka-s or the ornaments which is the pivotal aspect of Carnatic Music.
Keywords – Violin, World Music, South Indian Classical Music, Carnatic, gamakas.
Violin is known as the King of the Instruments and is seen in many world music traditions. Violin, Fiddle, Vitula, Keman, Viulu, Hegedu, Violine, Vayalin (in Tamil) is used in the traditional music of Egypt, Turkey, Ireland, Norway, Sweden, Folk music traditions of USA, Albania, Armenia, Russia, Hungary, Moldova, Canada, gypsy music, Jazz music and in the classical music traditions from Europe, India, Morocco, North Africa, the Middle-East and Central Asia. The violin is regarded as a very expressive instrument, next to the human voice.
VIOLIN IN WESTERN CLASSICAL TRADITION
In Western classical Music the violin occupies the centre stage as a Solo instrument and as part of the orchestra. `Compositions especially for the violin have been composed’, (Menuhin:1997). In an orchestra the Violins are predominant with two sections, the first and the second violins where the first violin usually renders the melody while the second violin plays the harmony, serving as an accompaniment to the first violins.
VIOLIN IN ALGERIAN MUSIC
Algerian Music is identical with rai that is a form of folk music having its origins in Oran, Algeria from Bedouin shepherds mixed with French, African, Spanish and Arabic Musical forms. Traditional Maqam-s are also played. `Improvisations find a place and this music is microtonal in nature’, M’Kachiche:2011. Inspired by vocal traditions of Arab Andalusian music the Chaabi which is the traditional music of Algeria features a distinctive mournful, Arabic/Berber vocals set against an orchestral setup with violins, mandolins, piano and percussion.
HARDANGER FIDDLE FROM THE NORWEGIAN TRADITION.
The Hardanger Fiddle is an instrument `Very special to Norway and is a national instrument of Norway’, (Tellefson: 1997) `Before 1850s this instrument was played in venues, villages and not in concerts and only for the past 150 years this instrument is played in concerts. It’s a solo instrument. The Hardanger Fiddle is used mostly in folk, dance and is used in ceremonies’. (Maurseth:2011).
VIOLIN IN THE RUSSIAN GYPSY STYLE
The gypsy music came from Egypt to Europe and gypsies took music from each place they travelled. `In Russia, Violins are not that important and only guitars and singing is more predominant’, (Erdenko and Bessonov:2011). In Russia the violins accompanied for singing and for dance, but now it is played as a Solo instrument too with groups like Lyoko focussing on it.
VIOLIN IN POPULAR MUSIC
The violins became a vital part of popular music especially for dance music during the 1920s and early 1930. The violin is also used in mainstream pop apart from disco/dance music. The Indian, Arabic, Turkish and Pakistani pop music uses the violins in both solo and as part of the ensemble. In Jazz `Violin emerged as a Solo instrument during the first decades of the 20th century and now it is an indispensible par t of the Jazz Fusion’, (Graphelli:1992). `In Jazz music, the Violin has the job of improvising using chord progressions and scales’, (Ponty:2008).
AMERICAN COUNTRY VIOLIN MUSIC STYLES
`There are different styles of American Music designed by 400 yrs of European and African American culture, Native American, Traces of Gypsy and middle eastern touches are also met with’ (O’Connor:2011). In Jazz- ragtime, improvisations are part of it including Syncopations.
VIOLIN IN CARNATIC MUSIC OR THE SOUTH INDIAN CLASSICAL MUSIC
Carnatic Music is written for singing and the instrument is required to produce the music as it is sung. Secondly, it is handed down from generation to generation through oral tradition and is not played by seeing into the notations. The notations here do not provide full information as to how the music should be rendered i.e., all the intricate nuances are not written down and the notation is a mere skeleton. The individuals are supposed to memorise all the compositions. Thirdly Carnatic Music is raga based and gives ample scope for manodharma sangita and individuals add their own imagination.
POSTURE OF HOLDING THE VIOLIN
`It is seen that normally all the artistes assume a sitting posture with the right foot stretched in front and the left foot tucked under the right thigh. The back of the violin body, especially the upper part rests on the left side of the chest. The scroll of the violin rests on the heel of the right foot. The sitting posture is adopted or designed so to have a secured feeling especially while playing the gamaka-s or the ornaments’. (2005: 115-117).
HOLDING OF THE BOW
The right-hand fingers hold the stick portion of the bow near the frog. The thumb of the right-hand goes inside and is curved. It is placed near the frog, whereas the other right-hand fingers namely the index finger, the second finger, the ring finger and the little finger are placed above the stick portion of the bow.
USAGE IN SOUTH INDIAN MUSIC TRADITION.
In Harikatha which is religious discourse, narrating stories from epics and purana-s, combined with musical compositions, the Harikatha Bhagavatars have a violin or Harmonium and a Tabla or Mridangam as accompaniments.
VIOLIN IN HARIKATHA
Here in this clip, a Harikatha performance by Sri Dhulipala Siva Rama Krishna Sarma Garu in Yadagirigutta who after narrating an episode, sings the verses like a viruttam, which is free of rhythm and the violin accompanies accordingly. Again the Harikatha Bhagavathar gives discourse and sings a song for which the Violinist accompanies. In between the passages the violinist also improvises. Here in this clip the Harikatha Bhagavathar stands, to his left is seated the Violinist and to his right are the percussion instruments Mridangam and Kanjira. Sometimes the violin also plays solo the same phrase as sung by the Harikatha bhagavathar or improvises in a gap.
VIOLIN IN CARNATIC MUSIC
In Carnatic Music the violin is used as an accompaniment to the Main vocalist. The violins play an important role while accompanying the main artiste. Carnatic music has two branches the kalpita which is pre composed music and the manodharma sangita which is improvisation by raga alapana, kalpana svaras, niravel, tanam etc. During the manodharma section the role of the violin is to render `both the ideas of the main artistes and the violinists’, (Ramadas:2012). While following the main artiste the violins should accompany without hindering the main artiste.
VIOLIN ACCOMPANIMENT TO A SONG DURING A CONCERT FOR A DASAR PADAM
In this M S Subbulakshmi sings the Dasar padam, jagadodharana in the Raga Kapi. Here the violin accompanies the singer and the song. Sometimes in between, the violinist just renders only the open strings.
VIOLIN ACCOMPANIMENT TO A RAGA ALAPANA
(In this singer Semmangudi Srinivasa Iyer sings the Raga alapana for Kalyani)
During the raga alapana the violin accompanies the main vocalist and mostly repeats the ending phrase of the main singer and sometimes repeats the entire phrase or even renders his own. `While accompanying the violinist should make an attempt to repeat at least a few phrases sung by the main artistes during alapana’, (Ramadas:2012).
It is though customary to repeat whatever the singer has sung. Sometimes the violinist just renders the open strings without playing any notes. After the singer has completed the alapana, then the Violinist renders the same raga. `As an accompanist one should render the raga in a crisp format, bringing the entire gamut of the raga within a very short duration’, (Hemalatha:2012). The duration is very important while rendering the raga alapana `if the main artiste sings a raga alapana for 10 minutes, the dharma for the accompaniment is to play for 6 – 7 minutes of duration and not to exceed the main artistes’, (Ramadas:2012).
VIOLIN ACCOMPANIMENT DURING THE NIRAVEL
During the Niravel when the vocalist sings, the violin accompanies important phrases or just plainly renders the open strings and after the main vocalist has completed, the violinist tries to repeat the phrase and also improvises on his own.
VIOLIN DURING THE KALPANA SVARAS
During the Kalpana svara when the vocalist sings the violinist either listens with rapt attention or just plays the open strings sometimes renders the phrase the sung by the vocalist in a low manner, after the vocalist finishes the violinist renders the kalpana svara-s, which is improvisatory with tala / rhythm. The violinist sometimes tries to play the same phrase as sung by the vocalist but along with their own too.
VIOLIN ACCOMPANYING THE MAIN FLAUTIST.
In Carnatic concerts, the violins also accompany the Main instrumental concerts like flute, Mandolin and so on.
In this case the accompanying style of the Violinist is similar to the style of accompanying a vocalist.
VIOLIN AS A SOLO INSTRUMENT
Apart from accompanying the violins are also Solo instruments playing in the traditional concert set up with Mridangam and / or Kanjira / Ghatam / Morsing. `The Violin in Carnatic Music is as important solo instrument where the capacities and capabilities of the instrument are exploited too apart from bring the singing style while playing which is an important aspect of Carnatic Music’, (Nandini:2012).
Here while one Violinist renders the raga alapana, the second violinist accompanies the ending phrase and sometimes there is a pause or just open string sounding. The Kriti is rendered by the two in unison and sometimes one playing on an octave below after which the Kalpana svara-s are rendered. Here during the rendering the Kalpana svara-s both improvises on the spot. While one renders the kalpana svara-s, the other just listens and there is no accompaniment when one is rendering the kalpana svara-s.
In Bharatanatyam dance recitals the violins don the role of an accompanist following the main singer. During the song the violinist accompanies the vocalist, during the short alapana sung by the vocalist, the violinist just accompanies. Sometimes the violinist just plays the lines sung by the vocalist in between the song. The violinist also plays either raga alapana or kriti-s during interludes or in between the recitals. Sometimes during the dance recital depending upon the scene or the mood, the violinist improvises to bring the emotion enacted by the dancer. This supports in bringing the necessary effect.
VIOLIN IN TAMIL FILM – (Film Rajaparvai – Violin solo) till 2.45
The violin is also a principal instrument for Tamil South Indian Film music where is it used in between the songs or during the background as part of the orchestra. Sometimes Solo parts are also given.
Here the heroine goes to the hero’s concert who is a Violinist in this film. The violin starts off with a raga alapana in raga Pantuvarali in slow phase and then goes into the melody where it plays followed by the Vina which renders the same phrase. Then the orchestra consisting of flute and Mridangam joins. Here in between the Violin renders the solo followed by the Western Orchestra, it moves on from Karnatic to Western style.
Here after theme of the song which is pallavi there is an interlude before going on the second section, in this the violins plays the interludes. Starts off with a trill in Western style, then renders solo followed by the string section of the orchestra and percussion with modulation or shifting of scales in between.
VIOLIN IN THE BACKGROUND SCORE OF TAMIL FILMS
The violin is used in the background depending on the mood of the scene. Here the hero slaps the heroine (childless couple and he wants to adopt the child which the heroine refuses) and apologises to her. In that he presents her with a painting and leaves to his room, here the violins in an orchestra plays the mood.
VIOLIN IN FUSION MUSIC
In Fusion music combing Indian and World music elements, the violins have a different role to play solo and to complement the other instruments apart from bringing the different moods or rasa-s depending upon the composition and style. Here the violin plays the composition along with different Western instruments and then goes on to improvise. While the other instruments improvise, the violin plays the harmony or accompanies the phrasings.
CONCLUSION
Violin is a versatile instrument finds its place in different global music cultures. Different postures, tunings are adopted in various global musical styles in Violin playing and the techniques also differ according to the repertoire, the style of music played while the bow hold tends to remain mostly the same in most of the styles, barring a few traditions. In Carnatic music traditions it assumes various roles from accompaniment to solo in various genres like harikatha, music dance, film and fusion. The violinist accompanies the various musical forms. During the rendition of a composition, the role of the violinist is just to accompany the song, while playing the improvisatory sections like the alapana, kalpana svara-s, the violin just accompanies either the ending phrase or plays the open strings plainly. During Kalpana svara-s, while the Main artiste is rendering, the violinist just absorbs and doesn’t render accompaniment rather waits for his turn. Normally the Violinist tries to play the same phrase as performed by the main artiste in combination with his own phrase, which is a very big challenge. During Solo or Duet concerts, the violins assume the role of a Main instrument where the capacities and capabilities of the instrument can be exploited. While accompanying the violinist just accompanies whatever the Main artiste renders. The role of violin in Carnatic music is to bring the Vocal effect and the Violin should sound like singing or the Gayaki style. During dance recitals, the violins have an additional role of filling up the gaps during interludes and also sometimes play in between the scene to enhance the mood that is brought out by the violinist in the violin. In the films, the Violins are either used as a solo instrument or as an accompaniment or in the orchestra as part of the String section. The violins play for background thus bringing up the mood of the scene on the instrument apart from playing interludes / sections in between a song. Here the violins do not just accompany the singer as is done in Carnatic music. In Fusion the Violin apart from being solo instrument also accompanies, performs the background melody or harmony too.
Biblioghraphy
Lalitha, M. Violin Techniques in Western and South Indian Classical Music – A Comparative Study. New Delhi: Sundeep Prakshan, 2005.
INTERVIEWS / LECTURES
Erdenko, Sergey and Vladimir Bessonov. Interview by Lalitha Muthuswamy. Personal interview. Mumbai, January 9, 2011.
Graphelli, Stephane. Interview by Lalitha Muthuswamy. Personal interview. London, February 6, 1990.
Hemalatha, R. Interview by Lalitha Muthuswamy. Telephone interview. Chennai, December 18, 2012.
M’Kachiche, Kheir Eddine. Interview by Lalitha Muthuswamy. Personal interview. Mumbai, January 9, 2011.
Maurseth, Benedicte. Interview by Lalitha Muthuswamy. Personal interview. Mumbai, January 9, 2011.
Menuhin, Yehudi. Interview by Lalitha Muthuswamy. Personal interview. New Delhi, January 26, 1997.
Muthuswamy, Nandini. Interview by Lalitha Muthuswamy. Personal interview. Chennai, December 18, 2012.
O’Connor, Mark. Interview by Lalitha Muthuswamy. Personal interview. Mumbai, January 9, 2011.
Ponty, Jean Luc. Interview by Lalitha Muthuswamy. Personal interview. Chennai, January 10, 2008.
Ramadas, Pakala. Interview by Lalitha Muthuswamy. Telephone interview. Chennai, December 15, 2012.
Tellefson, Arve. Interview by Lalitha Muthuswamy. Personal interview. Chennai, January 6, 1997.
Reputed violinist, Dr M Lalitha, was awarded the title of `Thanthri Gana Mani’ for her services to the cause of music by Sri Jayendra Saraswathi Swamigal of the Kanchi Kamakoti Mutt at a function in Kancheepuram on the occasion of his 77th birthday celebrations.
Dr Lalitha has performed worldwide along with her sister M. Nandini and currently she is the director of the MS (Muthuswamy-Subbulakshmi) Academy of Global Music.
She has collaborated with top-notch musicians in global fusion, jugalbandis and has won international acclaim.
She is also a composer par excellence and her recent performance for the sastiabhdapurthi celebrations of Superstar Rajinikant won her much appreciation from the doyen.
She is the recipient of several awards, including the prestigious Kalaimamani of the Tamil Nadu government and is a Fulbright Fellow, USA.
InKo Centre, in association with Muthuswamy Subbulakshmi MS Academy of Global Music, is organising an interaction between Indian and Korean musicians in Chennai on November 19, 2010.
wHOOL – Korean contemporary music and wHOOL’s music – is based on traditional Korean music. The distinctive wind instruments, the Piri and the Tae Pyung-so and the resonant Buk and double-sided drums, make wHOOL’s music unmistakably Korean while the piano, guitar and the synthesiser help create music that has a contemporary resonance that people anywhere in the world can relate to.
The Indian instruments incorporated in this workshop will include Dr M Lalitha (of the popular violin duo Lalitha-Nandini) on the violin, traditional wind instruments, Raghuram on the nagaswaram and Santhakumar on the tavil.
Muthuswamy Subbulakshmi MS Academy of Global Music has been started in Chennai to foster and propagate Carnatic music and world music. The Muthuswamy Subbulakshmi academy is a systematic learning academy for research and studying Carnatic, Western classical and world music in Chennai.
Reputed faculties in different fields like Dr Nathan Davis, director, Jazz Studies, USA, Kai Echardt – Bassist – Composer, LA, Dr J.S. Kofi Gbolonyo, assistant professor of music, Canada, Dr Yoshitaka Terada, USA, professor, Ethnomusicology, Japan, Pandit Viswa Mohan Bhatt, Grammy aaward winner, Dr Roger Zahab – director, University Orchestra, USA, to name a few are part of the MS Academy of Global Music as honorary advisors.
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