Use of lock and raga in various performance styles

On the last day of the academic sessions of the Sangeet Academy, a lecture was given by scholar Parasala Ravi on ‘Tala Laya Sampraam, Jaiti, Gati and Jathti’.
Ravi emphasized the importance of time in rhythm, saying that it is the most important element to understand the pool through his organs in Mridangam. He explained in detail on three primary organs – Lagu, Dhrutam and Anandarm.
The value of Lagu is determined by assigning the life, which are classified into five types -: Tissaram, Chatusram, Khandam, Kisram, and Sankernum. The lock system consists of 175 talas, derived from a combination of seven primary talams – pole, Matya, metaphor, jump, Triputa, ATA and ECA – with five zones. As a result, there are 35 talms (7 x 5). Additionally, each rhythm is associated with five rivers, causing a total of 175 Talm (35 x 5).
Ravi presented a self-planned chart of different chakras in the lock system. He reported that Talas can be identified through Kartanam, although not all 35 Talams are represented in Kirtanam.
Discussing the RTP (Ragam, Tanam, Palvi), Ravi highlighted the prevalence of complex pools in such compositions. While drawing similarities for 72 Melakarta ragas, he referred to the existence of the 72-tal system.
Ravi then clarified the common confusion between Gatis and the rings, stating that the Gati is invisible, while Nadai is visible. The difference is why the word ‘Nadai Pallavi’ is used. Ravi also discussed the prominence of batter in Bharatanatyam and emphasized the need to understand the nuances of the rhythm for the Mridaiists. He highlighted the importance of Matra in the rhythm structure, explaining that some people interpret it in terms of letters for corevis, while others consider matriarchy.
Ravi also shared a formula to determine the calculation required to start ‘Edappu’ for Korvai. He also distinguished between Aksharadakalam and Aksharam – the east represents the base units or count in a Talam, while the latter reflects the count within the penis. For example, a simple accustomed Talam can have eight Akshansalam and 32 Aksharam.

Considering the traditional practices, Ravi said that Vanam was once primary pieces, followed by Thanh Austanam in the sub-classes. However, contemporary musicians often avoid playing Thani Avrtanam during Pallavis due to a light mood set during the ragamalika section. Instead, it is preferred in sub-classrooms to maintain its impact. During the interactive session, Ravi addressed the role of gurus in teaching. He said that responsibility is to be taught and guided, while students should develop their personality and take inspiration from others.
In his closing comments, Sangita Kalanidhi designer TM Krishna said the lecture was widespread and well structured.
Raga in Melatur Bhagwath Mela
Thiruvaiyaru brothers – S. Narasimhan and S. Photo Credit: K. Pitchhumani
The last lecture performance was done by Thiruvaiyaru brothers – S. Narasimhan and S. It was presented by Venkatsson – ‘Ragas in Melatur Bhagwath Mela’ on this subject. The session discovered the rich music tradition of Melatur, a village located 18 km from Thazavur in Tamil Nadu.
Shri Narasimhan highlighted the contribution of Melatur Venkatrama Shastri, who composed about 12 Natakas, out of which 10 are in practice.
A specific performance of the Bhagwath fair begins with the fair pack, including Cholakattu and a meditation slokam. Narasimhan explained the concept of Mukha Jati, including introducing characters in the play, and demonstrated its application.
The lecture highlighted the complex use of ragas to portray various emotions and characters in the Melatur Bhagwath Mela tradition.
Raga Begada was performed in the play Vigneshwar DarshanamTo highlight its use in presenting a character. Raga Devagandhari, strongly sung, depicted the commanding entry of Hiranyakashipu Prahlada CharitamRaga Atana was used to introduce a female character HarishchandraAn interesting deviation from its specific use. Raga Bhairavi, who was often associated with devotion, was used Prahlada Charitam To express the heartiest petition of Prahalda to Lord Vishnu through an elegant Swara-literature part. Raga Ghanta also said the sad hour in the Melatur tradition, beauty expressed the sorrow of Chandramathi. HarishchandraIn Cama VadhamRaga Ahiri captured the lament of Dawaki about the loss of his children, while Raga Saveri, which was usually employed for compassion juice, was used to entered the entry of Kamasa. Viewers were also introduced for the use of raga Anandbhairavi Ushbanani Natakam Rich in Sriringara juice through a Pada Vernam.
The session concluded with the performance of Raga Garibwikani Prahlada CharitamWhere Prahalda prays to Lord Vishnu to emerge from the column and save it. Narasimhan expanded in detail on a variety of creative form of Daru, including Swagatha, Pralabh, Varnana and Samvadha. He also said that ragas like Darbarikanada and Indubhairavi have been part of the Melatur tradition since 1968.
The session concluded with the reflections of the specialist committee led by Ram Kausalya, who encouraged the audience to experience these plays in Melatur to fully appreciate their essence. Santita Kalanidhi’s design TM Krishna expressed praise for the Thiruvayaru brothers and her team, emphasizing that the performance only gave a glimpse of the grandeur of Bhagwan Mela. He highlighted the significant contributions of Melatur Virbhadray, which is one of the musicians in the form of Carnot music.
This incident ended with Thiruvaiyaru brothers Prahlada Charitum, To mark the end of the academic conference at the Sangeet Academy.
Published – 27 January, 2025 02:26 pm IST
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