A Southern Music: Exploring the Karnatik Tradition

by T.M. Krishna

T.M. Krishna, one of the foremost Karnatik vocalists today, begins his panoramic exploration of that tradition with a fundamental question: what is music? Taking nothing for granted and addressing diverse readers from Karnatik music’s rich spectrum and beyond it, Krishna provides a path-breaking overview of south Indian classical music.
Krishna advances provocative ideas about various aspects of its practice. Central to his thinking is the concept of ‘art music’, the ability to achieve abstraction, as the foundational character of Karnatik music. Excavating its various elements and examining them up close, he then unveils the majesty and grandeur of the form, in the process lending the reader a new eye with which to appreciate the music in its entirety.
But Karnatik music does not exist in isolation. In his explorations, he sights the visible connections and unappreciated intersections between this music form and others – Hindustani music, bharatanatyam, fusion music and cine music – treading new, often contentious, ground.
A Southern Music seeks to retrace the sources of Karnatik music even as it reflects on its self-renewing vitality today. To that end, Krishna examines a number of issues that Karnatik music must face up to: questions of gender and caste, the role of religion and of lyrics inspired by devotional sentiments, the diaspora and its relationship to ‘classical’ music, technology – and all this in a the world that has opened up very fast and very emphatically to new experiences, yet closed its mind to much that is its priceless inheritance.
Unquestionably, the definitive book on Karnatik music.

Genres: Music, Nonfiction, India, Art, Philosophy

719 pages, Kindle Edition

First published January 1, 2013

About the author

Thodur Madabusi Krishna a.k.a T.M. Krishna is a Carnatic vocalist, writer, activist and author. Both of Krishna's parents had deep interest in the arts, especially Carnatic music. Krishna's parents ensured that he received exposure to the classical arts from a young age. They arranged for him to receive music lessons from a very young age. Krishna began his musical training under Bhagavathula Seetharama Sharma. He later underwent special Ragam Thanam Pallavi grooming under Chingleput Ranganathan.

Krishna's performing career began at the age of 12 with his debut concert at the Spirit of Youth series organized by the Music Academy, Chennai (India). He has since performed widely at various festivals and venues across the world, including the Madras Music Academy, National Centre for the Performing Arts (India), John F. Kennedy Center for the Performing Arts, Lincoln Center for the Performing Arts, Esplanade – Theatres on the Bay, to name a few.

His music is often appraised as being soulful and full of 'raga bhava'. Among his many renditions, some of the most popular among his listeners include 'Jambupathe' in Yamunakalyani and 'Manavinala' in Nalinakanthi. His music during the last decade was reputed for his powerful, deep voice and his ability to sing rapid swaras in many rare ragas. He now shows a focus on Neraval, an improvisational form which he believes has been distorted over the ages. He is also famous for his 'innovations' in the method he presents his concerts, one of the primary issues that purists have being that he renders varnams (traditionally introductory pieces) in the middle of a concert. He is also working towards a project in which Dikshithar compositions from the Sangeetha Sampradaya Pradarshini are rendered exactly according to their notation in the book.

Krishna speaks and writes about a wide range of issues, not confined to the cultural sphere. His interests span the breadth of leftwing activism, be it the environment, the caste system, social reform, religious reform, combating communalism, innovation in classical music and so on. He has started and is involved in many organizations whose work is spread across the spectrum of music and culture. Recently, he has spoken out against the revocation of Article 370, the destruction of statues.

Krishna is part of the team of activists that organizes the Urur-Olcott Kuppam Festival (Chennai Kalai Theru Vizha) in Chennai and the Svanubhava initiative in Chennai. He has been part of inspiring collaborations, such as the Chennai Poromboke Paadal with environmentalist Nityanand Jayaraman. He has collaborated for performances with the Jogappas (transgender musicians) and has brought on to the concert stage the poetry of Perumal Murugan. He also speaks in various conferences and academic institutions, including Harvard University, Chennai Mathematical Institute, the Indian Institutes of Technology, and the Indian Institutes of Management.

Among his awards are the prestigious Ramon Magsaysay Award (2016) in recognition of ‘his forceful commitment as artist and advocate to art’s power to heal India’s deep social divisions’, the Indira Gandhi Award for National Integration (2017) for his services in promoting and preserving national integration in the country, and the Professor V. Aravindakshan Memorial Award (2017) for connecting Carnatic music with the common man.

Reviews

[Girish · Rating 2 out of 5]

Edit 2018: With all the scandal around Carnatic singers singing Christian songs, the author seems to be promoting this book as a proof of what is happening. It is not even related. Just thought should let anyone who bought this book based on the promo know what they are getting into. This book is equally snobbish

When one reads a book over 3 years - the writing on the wall is quite clear as to the liking of the reader. However, if I have to objectively look at the book as a reader who enjoys the Kutchery for the musical experience having absolutely no idea of the grammar and syntax - The book is not for me! In fact, the book is not for anyone who is not already trained in the theory of music. Personally - I am a fan of his all engrossed singing, but as an author he is too engrossed to take the reader along.

The book is a thesis and critique on the form, presentation, evolution and innovation in the musical forms that originated in the Deccan peninsula and the 'corruption' of an art form into entertainment. The latter part is a historical evolution of each component of the Karnatic music. The book reads either like an Op-Ed in Hindu - High on opinion and pseudo-logical extrapolation of facts but low on merit - or like a scholar reference book (brought back memories of antenna design)!

The silver linings of the books:
- I felt The evolution of Kutchery format with the societal changes was a brilliant analysis. It takes upon the impact of religion, caste, sex as parameters to explore how the format has now inched out all other factors to become almost a Brahminical identity. This is very much plausible given the dominance of Brahmins in the South and the popular opinion on Devadasis and nadaswaram sidelined to marriages and temples. One of the reasons why Brahmins earned the irk of the society was their elitism that excludes the rest of the society. So it was ironical that the author does the same with you the reader - he leaves you out!

- The technology of music chapter on how the microphone impacted the modern kutchery and the acoustics of different pakka vadyams suitability for the kutchery was a revelaing analysis. Also, the chapter on history of musical presentations and how it could have evolved into today's kutchery format was well researched.

- There was some credit in the concept of manodharma within the syntax of the language. Afterall art cannot be for the performer but for the sake of art. However, I found the artist a bit contradictory with his view on evolution of the music. While he seems to be admitting all the while that evolution is inevitable with progress in so many factors, he becomes pedantic when it comes to artists who want to stick to the format or explore innovations. If each person's manodharma wants different things - what makes him all judgmental?

Coming to the rest of the book (80%):
As a person with some amount of pride, I think I am fairly intelligent enough to grasp a book. The book made me feel stupid for a good part of part 1 and part 3. See, what the author seems to have forgotten is that without an aural explanation - the words do not help understand. Could it be done any better - I don't know, but I am sure this was not the best possible presentation.

When the author actually makes statements like (no kidding!) "I am aware that this can be extremely confusing for the reader" or "I am not using the technical terms, so that we can understand the concept without getting caught in jargon" - I felt like shaking the author back to reality!

Even some part of his musings are neither here nor there. Sample this
"A raga belongs not to the literal but to the inferred. The inferred comes alive when the perceiver can be invited into the sound of the raga, which is born from every svara, every phrase, every phrase connection and the raga as a whole"

The snobbishness in the tone of the book and the unwarranted high handed critiquing are a turn off even for a neutral reader like me. Mr.TMK, it may be so that for the true beauty of music - words might not be important. When writing a book - words are all you have - so you cannot expect to exclude the reader.

It is a 'take notice' scholarly book - which I only had to read because I got it autographed.

[GS Nathan · Rating 5 out of 5]

A remarkable book written by a brilliant musician and artist. Krishna of course, is a famous Karnatik vocalist, with a deep understanding of the music, its idiom and its art. And that understanding and scholarship illuminates the book throughout. Speaking as an ordinary rasika, I have to say that this helped me understand the music I will always love, that much more.

Karnatik music is, as David Shulman says in the foreword to this book, a 'most subtle of musical traditions'. How this music came about, what it means and should mean to the performer and the rasika, what it has gained, what it has lost, what it has influenced and what influenced it, and more, is covered in magnificent scope through the twenty seven 'essays' in the book. If nothing else, I will forever 'receive' a kutcheri with an enhanced respect and understanding, and that is a big plus.

It is extremely rare that an artist is articulate (and interested) enough to explain his art in terms that even a layman can understand and appreciate. TMK (as he is known with 'Tamil English flair!'), provides a window into the performer's mind and art that the average listener has probably never been able to peer into. And I think, he has been deeply honest in the way he has gone about it, touching upon all the hot buttons and the arguments and the controversies that hover around the music - like in any human endeavour - taking a position on these and bringing it up for discussion and hopefully, debate. It would be deeply unfair to him and to the music if people dismiss his arguments without engaging with it or appreciating or matching the passion and the quest behind it.

Written beautifully with precision and nuance, it showcases his love for the art and the concern that, as it inevitably changes, the aesthetic that roots it and that the artist brings forth and shares with the rasika is not compromised in any way. A book to treasure!

[Srav · Rating 4 out of 5]

What is music? That’s what this book attempts to answer.

This book is excruciating to read. As many of the previous reviews have stated, it is quite long. 27 essays and 500 plus pages- this book is not for those merely interested in music. It is more directed towards those who already have a background in music and would like to further challenge their understanding of their art, just as T.M Krishna has done with this book.

My appreciation for T.M Krishna’s intellect is immense. I have religiously (no double meaning intended, sir) followed all of his political articles, watched most of his interviews and lecture demonstrations, and of course enjoyed his music as it is notoriously known to sweep its listeners into an aesthetic plane of paradise. Therefore, when I first discovered this book in the midst of 2016, my first response was to gather all the gift cards I had and order the book home. From that date, it has taken me 2 years to complete this collection of essays.

The book is split into 3 parts: the first, second, and third book. The first book, titled The Experience, is meant to slowly ease readers into understanding the technicalities of music and the creative process that goes into improvisation. It’s very rigid in terms of writing and reads more like a textbook, especially for those who are already knowledgeable in the technical aspects of music. My favorite part of this book was the essay on creative thought and the katcheri format. What is commendable about his analysis of the katcheri format is T.M Krishna’s ability to view the katcheri not only from an artist’s point of view, but also from an audience point of view. The katcheri has really become a way to please the audience because as time increases, it is true that the artist’s success is based on the ability to appease the audience’s expectations. However, T.M Krishna does a good job respecting the audience’s role while also questioning their intentions: what, really, do we want out of the katcheri? Audiences get finicky during long alapanas, leave during Tanis, and talk loudly before the concerts while the artist is getting prepared. This form of unsaid acceptances are called into question to make an insider garner an outsider’s view. And that’s difficult to do.

Book Two is really the essence of the book’s spirit. Book Two delves deep into cultural aspects of music. Many of the thoughts presented in these essays are thought-provoking. The book explains a lot of unquestioned ideas such as why Brahmins are particularly associated with Carnatic music and why Nadaswara artistes have remained as temple and procession artists. More importantly, it questions ideas that have never been seen as wrong. In this book, the best essays were the ones about religion, caste, the Tamil Isai, gender, and machines in the realm of Carnatic Music. These essays bring about some amazing points about why Carnatic music does not have a bringer audience and are definitely worth a read. But, the main problem with this book was the redundancy. The book repeats the same history in various portions of the essays but fails to bring any new insight about what the event’s role was in the analysis of this phase of history. The idea that Devadasis were lower is established a hundred times, but each time it is established making the same point that they were not “pure” to the Brahmin community rather than making some other unique point that compels the reader to think differently. In this, the editors should have taken more care into cutting unnecessary phrases and sections. This book can easily be shortened by a 100 pages, just by removing redundant information. Krishna sir, once it is established, it needs only to be referred to not explained again.

Special insight though, I will be giving to the essay about NRI students and music. Everything he said is true. I assume his insights do come more from Ramakrishnamurthy and Sandeep Narayan than his own insights, as they are NRI musicians whom I respect immensely. The mindsets of Carnatic music students here in the U.S is hindering the musical environment. Unfortunately, my self-confidence has also taken a large beating because of the competitive nature found here as has been the case of many students. However, wherever there’s something worth fighting for, there are obstacles too.

Book Three was a blur. Frankly, I have nothing much to say about it. The reason I say this is because everything is already discussed in the past, and the editing is done so poorly that even reading is cumbersome. It reads like a history textbook and can be- once again- cut short by a large amount. Plus, the amount of times T.M Krishna asks the reader to bare with him or agrees that what he is saying is complex already gives leeway for the reader to skim or skip than stick with him to understand the content. The editor and Krishna should have paid more attention to giving this last book succinctness. If it’s too complex, they should have made the collective decision of cutting information out if they cannot simplify it further. Rather, the form of acceptance that the author is not doing much to simplify the book does not help the reader’s enthusiasm. It’s a rather shoddy ending compared to the previous book.

Overall, this book is a gem in Carnatic musicology and will be cherished greatly in the future. It brings about many interesting and important viewpoints and helps integrate paths for change; however, lack of editing and complex explanations that can be simplified demote the reader’s enthusiasm for understanding and eventually make this an unnecessarily tiring book to read. I give it 4 stars, only because I've gained a lot from it as a Carnatic music student. That being said, I solely recommend it to serious musicians and students who wish to understand more about the music. Otherwise, my Carnatic music recommendation would be to read a Carnatic Summer by V. Sriram.

[Abhishek · Rating 4 out of 5]

This is a difficult book to read simply because of the task TMK has taken up, which is to seek to understand fundamental questions. The book starts off with trying to understand what music is. It might be easier and perhaps more rewarding to simply listen to music instead of trying to make this difficult intellectual journey, but undertaking it is important. To quote TMK, "But whether it needs to be defined or not, it certainly needs to be understood; so important it is to our beings. It needs to be understood in order to give us a concept of what it is we hold so close. It also needs to be understood because, by understanding something so vital to us, we understand something of ourselves."

The book is a series of 27 essays which seeks to deconstruct Karnatik Music. It might be difficult for somebody who has never heard Karnatik Music to relate to and appreciate it. This is despite TMK's wordsmithing skills which have helped to trace the arc of his thoughts as he makes a logical persuasive case for his arguments. The book is much more palatable and a "must-read" for all connoisseurs of karnatik music who are interested to know more. Not all the essays are of the same difficulty. The ones on caste, language, gender, film music, technology are all much easier to read compared to the ones on certain fundamental concepts. The last few essays trace the evolution of Raga, Tala and the presentation format right from the 12th century and are filled with a lot of detail. I ended up skimming through them as I wanted to finish the book.

Reading the book also helps us understand and question arts in general in terms of the aesthetics, intent and form. As TMK says every art form is different in terms of these. One essay has him traversing and charting the origins of different forms of music such as jazz, Rock, Rap, R&B etc. To him, Karnatik Music is "Art Music". Its power lies in its ability to create emotional abstractions. It is not meant to evoke religious feelings(as many people might have understood) or patriotic feelings or for some other practical utilitarian purpose. Arts Gratia Artis(Arts for Arts sake) comes to my mind. All of us can relate to this in some sense. Listening to any piece of music generates sublime evanescent feelings which takes us elsewhere. But other forms of music such as film music, religious hymns have a particular end at sight which Karnatik Music doesn't.

Overall, a very admirable effort to write on a difficult topic by a top-notch artist, public intellectual of our times.

[Soundar Phil · Rating 5 out of 5]

T.M. Krishna’s A Southern Music: The Karnatik Story stands out as a comprehensive and bold exploration of Carnatic music. Authored by a musician known not only for his artistry but also for his unflinching critiques of the politics within the music industry, this book goes beyond the surface to unravel the nuances of a rich, complex tradition.

I usually keep my Instagram book reviews concise, usually capture the essence of a book within a page, focusing on its themes, concepts, and ideas without revealing the storyline, especially in fiction or non-fiction. However, this book’s depth, thesis-like structure, and the profound effort behind its creation made me feel that a short review wouldn’t suffice.

Moreover, recent events surrounding the Sangita Kalanidhi MS Subbulakshmi Award to T.M. Krishna motivated me to write this extended review. The controversy, rooted in Krishna’s critiques of rigid practices and fanaticism in the music world, as well as his comments on Subbulakshmi, has polarized opinions. The Supreme Court’s decision to deny the award was a turning point, compelling me to pen this blog as a gesture of support for T.M. Krishna and his work.

My journey into Carnatic music began with Tamil recitals featuring the compelling and distinctly unique voice of Maharajapuram Santhanam, standing apart from the typically silkier tones, alongside the instrumental brilliance of legends like Pandit Ravi Shankar, Zakir Hussain, and Vikku Vinayakram, the Grammy award-winning artist. I delved into random Jugalbandi performances by classical musicians, film music rendered with a classical touch, and attended a few live performances during the music seasons.

Around 2018, I discovered T. M. Krishna’s work, with Sharadhe Karunanidhe being the first video I stumbled upon. This led me deeper into his Tamil compositions and eventually into his impactful contributions to the social, musical, and political spheres. While I don’t claim to be a connoisseur, I have always admired the unique sounds and emotional depth that Carnatic music offers.

My introduction to Krishna’s writing came through Sebastian and Sons, where he illuminated the lives and struggles of mridangam makers, delving into the intricate politics surrounding the craft. The book offered detailed insights into the artist-maker relationship, viewed through the lenses of social dynamics, monetary rights, class and the realities of their lives. This work left a lasting impression on me with its emphasis on the inequalities within the Carnatic music ecosystem.

The book is designed with three distinct parts,
The Experience | The Context | The History

The Experience
It begins by exploring the diverse influences that have shaped this rich tradition, ranging from the Nama Sankirtanas by saints like Bhodendra Saraswati, Sadhguru, Marudanallur Sadashiva Brahmendra, and others, to the Abhangs of Tukaram, Kirtanas of Purandara Dasa, Bhajans of Meerabai, Ashtapadis of Jayadeva, Tarangas of Narayana Teertha, and the works of Arunachala Kavi, a prolific Tamil Carnatic composer.

We are introduced to Harikatha, a captivating blend of storytelling and music, and delve into its historical roots and cultural significance.

The core of Carnatic music is meticulously dissected. We learn about the fundamental building blocks: the swaras (notes), their variations, and how they are organized. The concept of time in Carnatic music, with its unique divisions of Chauka, Madhyama, and Dhruva, is explained in detail.

The book then explores the crucial elements of Tala (rhythm), Laya (tempo), and Kriya (movement), emphasizing their vital role in shaping a captivating performance. We gain insights into the esteemed tradition of Vaggeyakaras (composer-musicians), the crucial role of teachers in preserving this art form, and the technical nuances of performance, including Sahityam (lyrics), Mattu (speed), and Tattu (precision). Traditions maintained over the years following “Bani” (Singing Style).

The structure of Carnatic compositions is examined closely. We learn about the core components: Pallavi, Anupallavi, and Charana, and how they are interwoven to create a unique musical tapestry.

The book then delves into the diverse forms of compositions, such as Varnam, Padam, and Kriti, highlighting their historical origins and the contributions of renowned composers like Purandara Dasa, whose compositions continue to be celebrated in the training of aspiring musicians.

A significant portion of the book is dedicated to Manodharma, the improvisational heart of Carnatic music. T.M. Krishna elucidates the ideal approach to Manodharma, its potential pitfalls, and how it has been interpreted by different artists. He shares his own insights on how to approach a Manodharma recital with authenticity and artistic integrity.

Finally, we are introduced to the various forms of Manodharma, including Alapana, Niraval, and Kalpana Swara, understanding how these improvisational techniques are employed to create a truly unique and mesmerizing musical experience.

The Context
This section of the book delves into the broader context surrounding Carnatic music, exploring its multifaceted connections to other art forms, the kutcheri form, its relationship with Hindustani music, its impact on Indian cinema, and the socio-political factors that have shaped its evolution.

Carnatic Music in Dance: It examines the intricate interplay between Carnatic music and Indian dance forms like Bharatanatyam, Mohiniyattam, and Kuchipudi. While Carnatic music serves as the foundation for these dances, its aesthetic presentation adapts significantly to suit the unique demands of each dance form. Krishna highlights the subtle yet crucial differences in how music is interpreted and performed in a dance context versus a purely musical concert setting.

Carnatic vs. Hindustani Music: A comparative analysis of Carnatic and Hindustani music, the two major classical music traditions of India, is presented. The discussion explores their historical origins, cultural contexts, and the distinct paths of evolution they have followed. Krishna also addresses the ongoing challenges and conflicts that arise in performing, interpreting, and presenting these two traditions, particularly in terms of their distinct aesthetics and performance styles.

Carnatic Music and Indian Cinema: This section delves into the fascinating relationship between Carnatic music and Indian cinema, particularly within Tamil cinema. The book explores how Carnatic music and its artists seamlessly transitioned into the world of film music, captivating audiences with a blend of traditional styles and cinematic appeal. It also examines how film music evolved over time, drawing inspiration from Carnatic ragas while adapting them for the silver screen.

The Role of Lyrics in Carnatic Music: The book explores the often-debated role of lyrics in Carnatic music. While some listeners may be captivated by the music itself, the significance of the lyrics and their underlying meaning is also crucial. The discussion explores the history behind these compositions, the artist’s perspective, and the importance of interpreting the music through its aesthetic qualities rather than solely focusing on the literal meaning of the words.

Religion and Carnatic Music: This section delves into the complex relationship between religion and Carnatic music. It examines whether Carnatic music is inherently religious or if religion has been intentionally interwoven with its concerts and compositions over time. The discussion explores the perspectives of listeners and performers, questioning whether Carnatic music should be primarily viewed as a form of religious devotion, a means of audience engagement, or simply as an art form appreciated for its aesthetic value.

Socio-Political Influences on Carnatic Music:

Gender Inequality: This chapter explores the historical and contemporary challenges faced by women in the Carnatic music world. It highlights the historical exclusion of women from this male-dominated field, the impact of the Devadasi system, and the contributions of pioneering female artists like MS Subbulakshmi and DK Pattammal.

Caste and Class: The discussion examines the significant influence of caste and class on the Carnatic music industry. It highlights the historical dominance of Brahmins, the marginalization of certain communities, and the systemic biases that continue to exist within the field. The chapter emphasizes the need for greater inclusivity and democratization of Carnatic music, moving beyond its current elitist structure.

The History
The final part of the book provides a comprehensive historical overview of Carnatic music, tracing its origins, evolution, and the intricate elements that define this rich classical tradition. This chapter essentially provides a deeper historical context for the musical concepts explored in the “The Experience” section.

Raga, Tala, and Gamakas: Delves deep into the history and evolution of ragas, exploring their intricate structures and variations. Explores the development, types, and structures of talas, emphasizing their crucial role in rhythmic foundations. Provides insights into the nuances and ornamentations of gamakas, which add depth and expressiveness to Carnatic melodies.

Tamil Tradition and Raga Development: Highlights the profound influence of Tamil tradition on the evolution of ragas, discussing the role of scriptures, literary works, and traditional forms in shaping the development of ragas in song formats.

Historical Contexts and Contributions: Explores the contributions of legendary musicians from the older periods, examining the influence of temples, royal patronage, and various cultural periods, including the impact of British influence, on the evolution of Carnatic music.

Trinity Musicians and Real-Life Incidents: Shares fascinating anecdotes about the Trinity of Carnatic music: Tyagaraja, Muthuswami Dikshitar, and Shyama Sastri, and provides real-life examples that illustrate their profound impact on the tradition.

The Role of Instrumentalists and Vocalists: Explores the dynamic relationship between instrumentalists and vocalists in the development of Carnatic music, highlighting the contributions of various musicians in shaping the form and performance practices of Carnatic music.

I personally believe that the intricate details presented in this section require patience and dedication to fully comprehend. While independent research is encouraged, I strongly feel that guidance from a knowledgeable teacher is essential for truly grasping the depth and nuances of this rich tradition, especially for a casual reader like myself.

Final Thoughts
A Southern Music: The Karnatik Story is not merely a book about Carnatic music; it’s a profound exploration of its soul. By delving into its history, dissecting its technicalities, and critically examining its socio-political context, Krishna presents a nuanced and multifaceted portrait of this rich tradition. He challenges conventional narratives, encourages introspection, and advocates for a more inclusive and democratic approach to Carnatic music.

This book is not for the casual reader. Its depth and intricate detail demand patience and dedication. As you delve deeper, you’ll find yourself taking notes, researching further, and perhaps even seeking guidance from knowledgeable teachers to truly grasp the nuances of this complex tradition.

In essence, A Southern Music: The Karnatik Story resembles a rigorous academic thesis, offering a comprehensive and insightful exploration of Carnatic music that will challenge and reward the inquisitive mind.

[Abhay · Rating 3 out of 5]

Some insightful and thought provoking essays about the evolution and direction of Carnatic music as it stands today - how can it become more inclusive and offer avenues for artists to grow? Other essays that get into the history and technical aspects of the music did not interest me much.

[Vidhya Nair · Rating 4 out of 5]

What a book! Everything you expect from a T M Krishna publication. Probing, questioning, illuminating, dispelling assumptions and prejudices, what’s normal, what’s new. The context, history. Who’s great and who’s greatness should be questioned. But at the core the book is about the essence of Carnatic music and what makes it what it is. The art music that it is, it’s many components and what is required to express oneself as an artiste and how to appreciate this art. It’s really essential reading for any Carnatic music student. An for the rest of us it’s a book that makes sense of this universe and what more we can learn, explore and deepen our appreciation. The references at the back of the book are so detailed, it should put to shame all his detractors who are mostly talking out of their ass.

[N · Rating 4 out of 5]

A book of contrasting sections, objectives and quality. When he speaks of his internal experience of music, he is at his best, an absolute master letting us glimpse the transcendental nature of music when performed and understood at its highest level. The technical chapters are fascinating, and useful. The history section went right over my head, and having finished reading the book, I am perhaps now ready to begin reading the book. The section on Context, his polemical, was neither insightful nor original nor nuanced, so its ranty 'edginess' was just annoying.

Notes
The art form as subjective (my personal effect given my lived experience) and the objective (pulling me out of myself and towards the abstracted object), both are required. One is innate, the other is cultivated.

Aesthetikos, aesthesis (sense, perception) + ikos (anything that is obtained empirically) has to do with senses, but not about what I sense, but how to sense, a more erudite, reasoned, critical view of feeling.

Who decides sophistication? He makes the case for it being purely cultural, like how British thought all Indian culture was low-brow. But is there no objective metric to define this? He addresses it briefly saying though folk music like koothu don’t have an expressly defined grammar/syntax, it is there. Is it?

Music isn’t just about sparking an emotional state, there are many intents based on which it can be classified: Folk music (tied in with community rituals and practices), Film Music (Indian Theater has always been inseparable from music and dance, still seen today, latter create heightened content), Harikatha, Namasankirtana, Bhajans (shared transcendental experience of group chanting. Why do I sneer at this, either I’m right, or there’s something wrong with me – TBD: Something wrong with me, decided. Shamanic rituals), Western Pop (cultural phenomena like hiphop from dub and R&B), Carnatic as art form (interested only in exploring the technical aspects of itself, melody, rhythm, prosody).

What we end up calling creativity is actually just imagination, whereas the transmission of that into actually creating something tangible is creativity. Not enough for it to be making connections in the mind, but giving it expression and life.

Tambura is described so beautifully, as a musical awakening in the musician’s mind, containing all the possibilities of musical space.

Smallest unit of melody (svara) is a complex unit itself using the gamaka, becomes both the micro as well as the macro, a fractal melody?

Phrases develop over time to characterise the ragas aesthetic form. Pachelbel?

Time Vs interval. Flow Vs non flow. Time as rhythm, hence we have a ticking clock, or the day/night/seasons/year rhythms. if no repetitive pattern how would we measure time? Similarly Laya (speed) measures the interval. Like pitch, laya (speed) is also subjective, could've changed over the centuries.

A lovely way of looking at the way music ‘creates’ time. Layers of melody, svara, rhythm create multiple senses of time. Different experiences of time.

Length of syllable related to length of melody. Stress on syllable also has stress on swara in that raga. Raga is svarupa, or integrated form. This is why melody sounds different in different language lyrics. Similarly, choice of words is affected by raga flow.

Linguistically void text also has value, jathiswaram. Sa re ga all sound different. Different sounds produce different emotions. Different from saying aa aa aa.

Pallavi means shoot of plant. Alliteration perfected in the south. Either first syllable, or second, or last. Anupallavi identified by second syllable alliteration of first pallavi line. Prasa (alliteration) also mnemonic devices

Context
Anything that brings down the aesthetic possibility and immersion in music should be tagged as such. If religion rules all Karnatic with an iron fist, to the detriment of exploration, then its reign must be weakened. Similarly, if it requires other faiths like Islam to sing about Hindu gods, it is like a tax, how much talent are we losing out on because of these barriers.

Arguments made by male musicians against accompanying women vocalists: shruti too high (mridangam sounds metallic, violin sounds thin and error-prone), but they accompany high-shruti males or instrumentalists? Restrictive technique (women vocalists aren’t as forceful/aggressive so mridangam can’t let loose), but requiring power in every recital is just as restrictive?

Raga Evolution
Frequency exists independent of listener, property of the wave. Pitch is the discrete perceivable parts of wave frequencies. Tone is the emotional experience of this perception, a combination of frequencies, its harmonic overtones etc, hence timber/texture/tone from tonos: tension of a stirred mind

Bharata in Natya Shastra divides music into Gandharva (art music) and Gana (performance for audience)

22 distinct frequencies in an octave that is perceivable by the human ear. 7 swaras each with multiple shruti positions. Focus then turned from swaras to swarasthana as defining the raga.

Raga-evolution was first organic, emergent ragas, and then computed artificially using swarasthana and melakarta, not other way around where janya-ragas were subsets of melakarta.

Why did it take so so many centuries, more than a 1000 years for someone to start computing melakarta combinations? It was literally the first thing I did before I knew anything about carnatic music. Reveals a very different bent of mind today, rational, mathematical, and possibly missing a more transcendental access to music.

Raga is more than a collection of notes, need to access this transcendental layer rather than focus on the placement of swaras. But isn’t this like saying words have meaning that transcends the arrangement of letters of the alphabet and therefore you must access the meaning and not focus on which alphabets are used? How does an illiterate access the meaning of a text. Potential argument against is that we’re again accessing music through our literate minds that reduces everything to symbols. Like languages that have different written version and different oral version, since sound has a different quality and therefore is wasted if made to adhere to the same format as the written word, music might be accessed as if by an illiterate, responding not to its symbolic construction but to its emotional effect. But anti-anti is the appreciation of how amazing it is that something as ineffable and intangible as an emotion can actually be represented as a symbol, a mathematical ratio of frequencies or a sequence of notes. There is beauty in observing the elegance of Euler’s equation in symbols.

Non-linear ragas have more complexity and more room for exploration, since the musical turn of the non-linear point of the raga has potential for generating very different moods within same raga.

Tala Evolution
Laghu = 1 matra. Guru 2. Pluta 3. Matra = 5 eyelid flutters. a) Time is not objective, each person’s unit of time (eyelid flutter) is different, b) Time and frequency of sampling visual field vs darkness when eyes closed, like Pralaya and Brahma sleeping. Link between information and time, speed of light vs spacetime.

[Dinesh Jayaraman · Rating 3 out of 5]

An educational collection of essays critiquing various aspects of Carnatic music from a man who is considered by many to be among the more important figures in this era of musicians.

Given that the Carnatic music community rarely ever washes its dirty linen in public, the fact that TMK is willing to straight-talk and raise uncomfortable questions is in itself laudable, as is his intellectual curiosity about his art and its evolution.

This book is at its best when TMK laments how the relatively recently evolved kutcheri form of presenting Carnatic music might have changed it forever, how caste and gender chauvinism among the predominantly Brahmin male musicians in the last century have deprived the art of a wider community of musicians and listeners, and how the music must not lose its essence and patronizingly "adapt to modern tastes" to gain a greater audience. TMK also believes that the Hindu ownership of Carnatic music is a lie and that religion should have nothing to do with the music. In fact, TMK comes across as agnostic/atheist, which is especially great considering how most Carnatic musicians make a fuss about how it is only in complete surrender to a deity that the music may be produced or even truly appreciated.

That said, my first criticisms of this book still stand. TMK and his editors are guilty of that great writerly sin - laziness. Laziness to re-draft and condense what I can only assume is a first draft, riddled as it is with grammatical errors, repetitions, clunky-sounding turns of phrase and generally vague passages. And laziness to think about any clear target audience - parts of the text seem addressed to performing musicians, others to connoisseurs, yet others exhibit a pedantry that could only be aimed at the layperson (such as myself), whom too it would annoy.

End result: at over 500 pages long, the book demands of its readers a lot of what it itself does not exhibit - diligence. No fair!

[Madhavan · Rating 4 out of 5]

Good narration style. It is interesting to read the story from a practitioner of music having a revolutionary thinking.

[Chandar · Rating 4 out of 5]

This is an extensively researched book and Krishna establishes his mastery over both theory and practice of Karnatic music. He has copped a lot of criticism in recent times for his unabashedly liberal views, on music as well as socio-political issues, but here he bats for what he calls art music - a creative pursuit that seeks to be free of all dogmas and social considerations to create unique experiences of art - and comes across as quite a purist with an orthodox conceptualisation of what Karnatic music is, or should be.

He deals with every aspect of Karnatic music, from the elements that we experience, the context or setting in which we experience it, and the history and evolution, especially the last five hundred years. Even his detractors cannot dismiss his reasoning even if they disagree with his tastes, because every assertion is backed by references or a logic! Readers trained in Karnatic music will find much to learn.

[Prashanth Nuggehalli Srinivas · Rating 3 out of 5]

While elaborate in its detail, rather pedantic in style and possibly an easier read for someone who's deeply into the theory of Carnatic Classical Music. Having learned Carnatic music for nearly a decade, I found some of the chapters engaging especially in the initial parts but several parts of the last few chapters tend to be repetitive. Overall, the book could have done with a lot more editing and reorganisation such that chapters for a more general reader and chapters for someone academically interested in Carnatic musicology could have been distinguished and the reader better navigated. That said, an overall illuminating read on Carnatic music, its structure, history and its key actors.

[Paul Mathew · Rating 5 out of 5]

Book deals with evaluation of carnatic music including the influence of socio-political environment during the period.
Some chapters are too technical that reader should have some understanding on basics of Carnatic music to understand it fully.
Book not only discussing abt the ragas & Kirthanas but also abt different musical instruments and its evaluations.
Overall a good book if you like to know the development of Carnatic music over the ages.

[Yuvan Aves · Rating 5 out of 5]

A great companion to students of carnatic music. The text and insights of the author augment the traditional lessons and kindle interest to plunge deeper into the art form.

[KC Comal · Rating 3 out of 5]

Had to skim the super technical bits, but still very informative.

[Koduvayur Harikrishnan · Rating 2 out of 5]

Neither Here Nor There!
This book was bought by me soon after it was published, with a lot of expectations, as the author was one of my favourite singers in those days. I found it disappointing then.
Re-reading it now, at this juncture of the author's involvement in all sorts of unwanted controversies, I find it verbose, extremely difficult to read, and full of holes. It meanders all over the place, tripping over cliches (p62:"laya is in the raindrops, in the falling of the leaves, in the heartbeat..." - have a heart, Mr Krishna!), states the obvious in many places (p63 "total number of beats equals total number of kriyas"; p112 : "When I use 'slow' and ‘fast' I do so in relative terms" - how about adding, "Understood, children? Now repeat after me"). The author declares that playing the mridangam during tanam is wrong (p130). How sweet! Yet in his concerts the mridangam is asked to play even before the start of a kriti! One rule for you, one rule for me? This is hypocrisy at its best! And he reduces Varnam to varna (as in the four Varnas of society, may be - after all the author is totally seized with all this) and tanam to tana - it is obvious he is playing to a rather special gallery of readers. A man who waxes supreme about "equality" only identifies a violinist as a male (p139 and many others). He declares that (some of the) musicians teaching students in North America are opportunistic (p382). Going by the current standard of musicians from the USA, I would say more power to such teachers! He says (p302) “In the need for applause …. The musician jettisons religious orientation.” Very true, but only if he is talking about the 2024 Sangita Kalanidhi awardee! I could go on and on.
The bottom line is this: The author posits himself as some kind of ultimate authority on the subject, and talks down to the reader. This is NOT for the connoisseur, nor the lay rasika. This is for certain chosen people - such as those who decide international awards or push devious agendas. And perhaps for the author to lay claim to having written a book in his field of vocation. At 600 pages and about INR 800, this book is more about self-propagation (without any real fuel!) and says very little that is new about Carnatic music. If only the author had read some seminal works that have been around from before he was born! And Harper Collins has done itself little by way of favour with this publication. Save money, look up Google for sensible and authentic information.

[Balasubramaniam Vaidyanathan · Rating 4 out of 5]

Carnatic music is given a classic status. The performers and listeners adore the music. It poses formidable difficulty for the new listeners to appreciate. I have grown listening to this wonderful music. But it is very difficult for me to explain why I like this music. This book attempts explaining the experience of listening this wonderful music. Not only that, it also points out the problems the music is facing - Some I agree and some I don't. But TMK is honest in giving his view points.

All over the world, classical music ( be it western, Hindustani or any classical tradition) faces a declining listenership. This is a cause for concern as these arts are highly evolved and provides an experience that popular music traditions cannot give. Unfortunately, Carnatic music today has become a preserve of a classicist community. Also, today we are at a situation where most people want to be performer than an appreciative listener. TMK explores issues, the historical context and genuine concerns. As TMK himself acknowledges, there is no solution that is in sight. But this book is soul-searching exercise that is coming out of extreme passion for the art. Many of the points will also be applicable other other classical music traditions. A must read book for Art Music lover....

[Shravan Tata · Rating 4 out of 5]

Krishna takes you on a journey of life through music. His take rational and logic into abstract concepts is amazing. Gave me a comprehensive picture of Karnatik music and its evolution through Indian history.