chitravina ravikiran wrote:"The age was never dark! We have been in the dark about that age". ...
I am more familiar with the 'islAmization/mughalization' of forms such as kathak, but would be very interested to understand the changes this wrought in CM and bharatanATyam.chitravina ravikiran wrote:There is a significant void in our grasp of cultural influences and confluences. For instance, how many pure music treatises talk about Islamic forms that became part of dance in Tanjore belt and the CM forms that necessarily had to be created for the same?
I find it strange that a Subject like OVK has to be discussed -again and again -in the context of the Trinity.
chitravina ravikiran wrote:
Even leading musicians and musicologists are unaware of things that were commonplace in the pre-trinity era like complex talas, gati bhedams, jatis, multiple speeds and so forth. Because, their sources of reference (musical treatises) did not discuss these at length.
Some families might have a recipe, passed down from mother to daughter or mother-in-law to daugther-in-law, and we might deduce Iyer rasam tasted like this, as opposed to Iyengar rasam. But if some one came up with a new recipe and said this is how Rasam tasted in OVK's period, it's a matter of belief, not reason.
we can only guess about Thyagaraja's intent.
The antidote for this in our system has been the Sishya parampara, the unbroken line of disciples who would faithfully memorize and propagate the singing of their guru's compositions. Because of this, we can believe we "know" what the composers intended and how their krithis should be sung.
In the absence of such an unbroken line of oral transmission, one can only try to reconstruct the intent of the composers.
Ragam names might change, talam names might change, even meanings of common words and references might change, and we'd have no clue that it had happened. Unfortunately, this remains the case for many great composers, like OVK, Purandara, Ramadasu etc.,
chitravina ravikiran wrote: Reality is very different - in fact almost the opposite. The higher the number of quality musicians and composers who handle their guru's works, the greater the probability of it deviating from the original intent and even form & structure at times.
With audio recording technology widely available, it is possible to freeze these versions and use them for analysis and study
The popular composers' works change because gifted musicians adapt them to their own tastes
that these have been preserved almost intact from OVK's period,
But of course, this only applies to the sahityam, doesn't it? (I mean the tune/raga might have changed, and possibly the talam too)
chitravina ravikiran wrote:Ragas, tunes and talas will be fairly preserved if other imprints are less...
Whereas most of our composers were divinely inspired and in that state, they would be literally composing like Niagara falls.
the ragas themselves might have changed - notes might have been added or altered - over the time period we're talking about. At least, this is what I have heard in regard to Annamacharya krithis.
but as a musical scientist, do you really believe this (not the divinely inspired part - they certainly were - but that they spontaneously came up with fully finished masterpieces)?
Did Thyagaraja really compose 24,000 songs ? If he composed a new one every single day, it would still have taken over 65 years!
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