Light musicians vs traditional musicians

[srikant1987]

I was just thinking today ... when it comes to traditional music, we might have some expectation about a concert we're considering attending, even when we haven't heard the artist before. This is because we are familiar with what, say, Carnatic music, looks like in general.

But when it comes to light music, we entirely lay our trust on the musician alone, and we'd (at least I would) go for it only if I trust the musician to consistently produce aesthetically sound music.

The performer's own values and sensitivities become much more important in light music, in other words.

[saramati]

Think of Unnikrishnan, who has established himself in both the versions of music. Now-a-days, we have quite a number of artists who sing
both CM as well as light (filmi) music with elan and ease. Mahati is another example.

[vasanthakokilam]

Srikant's point is a good one. If it is an organized concert, there is an assumption of minimum quality in a carnatic concert which will make one go to a concert by someone who we have not heard of. That minimum quality assumption does not quite exist with light music.

[coolkarni]

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[karthikbala]

Srikant's point is a good one. If it is an organized concert, there is an assumption of minimum quality in a carnatic concert which will make one go to a concert by someone who we have not heard of. That minimum quality assumption does not quite exist with light music.

Depends on what you mean by quality ...
Quality of content or compositions, I agree is generally of a minimum quality. Personally I find that quality of rendition/delivery/performance varies far more extremely in Carnatic music than any other genre. IMHO, there is more tolerance allowing (some) singers to gloss over bad notes or bad equipment taking refuge behind the facade of high falutin Art Music and the fact that most audiences clap when they're supposed to...
In lighter and arguably simpler forms of music, there is less margin for error I guess, and drop in "quality" is perceptible to most of the audience (those that aren't tone-deaf), which is why you dont have erudite "reviews" patronisingly telling us in bombastic and confused prose whether we *ought* to have enjoyed a particular light music show or not.

[vijay]

Karthik it is true that the average ear would not find, say an SRJ or Nedunuri, very enjoyable to listen to - say, even a light song...it requires a certain refinement in taste to access their music. 10 years back I might have asked why these gents bothered to call themselves musicians.

There is more to art music (or at least CM) than voice and technical skill although it is also true that for those are who are gifted, classical music offers the greatest scope for the demonstration of their abilities. I believe that at its highest level CM is not a performing art at all...I know people who enjoy alaapanas in their minds!

In light music there is less margin for error but it the demands on the artiste - technical or intellectual - are also far less.

[karthikbala]

Karthik it is true that the average ear would not find, say an SRJ or Nedunuri, very enjoyable to listen to - say, even a light song...it requires a certain refinement in taste to access their music.

I agree, one has to cut out the "noise" and focus on the real "signal" and this is usually acquired over time. When first listening to recordings of the great Caruso from 1908-1920 period, I couldn't understand what all the fuss was about. It took some listening to get past the surface crackle and noise typical of early recordings.

What I was getting at is that some rank bad singing is given undue lattitude in the name of Art Music that cannot be understood by the Unwashed. IMHO there is good singing and bad singing, the rest is new clothes for the emperor

Incidentally, I never experienced any difficulty listening to Sri Nedunuri. He is in a league of his own.

[srikant1987]

Vijay, I don't know Nednuri ... I have heard SRJ's lec-dem. I was so impressed by the erudition I didn't notice how he sings (yes, it was a lec-dem with quite some demonstration!)

I've listened to his recordings after that, and indeed I was a bit surprised to listen to that after the impressive lec-dem. But yes, I now see the erudition in his singing also.

Nonetheless, I don't think erudition and "performing" ability aren't mutually exclusive.

Another thing: people are not a tenth as forgiving of a lack of performing ability stating erudition as a reason among instrumentalists.

[vasanthakokilam]

Quality of content or compositions, I agree is generally of a minimum quality.

Yes, that is the predominat thing. And to a lesser extent, if it is an organized concert, the reputation of the organization also adds to that minimum quality expectation. Also, on the average, the concert going CM audience expect a certain minimum quality and that acts as a governing mechanism so the organizers do not put anyone on stage.

BTW, as a minor point, regarding your valid points about lofty reviews that do not deserve one, we also see the opposite among CM rasikas, a form of which are seen in the comments by us here.
One little mis-pronounciation of a tamil or sanskrit word gets mentioned in the context of an otherwise excellent concert. On the other hand, Musicians looking at note books is a big no-no which seems to spoil the enjoyment of the music for some.

[arasi]

VK,
Yes, we are less forgiving today than we were fifty years ago with sAhityam, though at the same time sAhityam-awareness and correct pronunciation of words are on the wane! I have a feeling that our awe for the greats of the last era obscures incorrect words and careless splitting of words among some of them. The super communication machine of today is unforgiving because of its 'instant play' and of its capability for reaching thousands of listeners in no time at all. I have a feeling that there were as many critics in those days about bad rendering of sAhityam, but word didn't get round that quickly.
For some reason, sAhityam is also looked upon as a separate entity from the rest of the components of a performance today by some. Why this attitude, as if words exist separately from the performance? While nitpicking on the various aspects of a performance, why do they leave sAhityam alone (except when there is a a physical presence of them in sheet music, books and so on)? While I belong to the minority of rasikAs who are quite particular about the way the words are sung, is less knowledge about our own languages among the modern audience the reason for this?
I am sure the audience did notice and criticize when words were mispronounced in olden days, but the media wasn't a monster then as it is today for us to know about it.
On the one hand, we have intolerance for peeking at the words, on the other, the lack of paying attention to them (and the appreciation them). While I can understand elderly vocalists resorting to the written words in front of them (failing memory), I cannot in the world figure out why the young ones, all of them who have gone through the rigors of today's educational system which demands a lot of getting things by heart--are helpless without the words of a short song right in front of them...

[munirao2001]

I would like to share the opinion of Late Dr.Sandhyavandanam Srinivasa Rao, a Great Maestro, my Father and Guru on the topic of Sahithya for Musicians, Karnataka Music , in particular. in brief.

During the interesting discussions between Dr.P.B.Srinivos, Great Lalitha Sangitha exponent, DR.SS Rao told Dr.PBS that for Musician, both Apa Shruthi and Apa Shabhdha are to be avoided for creating the sublime music. Both Kavi Hridaya and Geeta Hridaya of the Vaggeyakara to be fully understood, realized to give the true experience of the greatness of the composition, while singing. Rasikas are kindled to think of the import of the Sahithya - Bhava and enhance their listening pleasure and enjoyment.
But about the primacy of Sangita over Sahithya for Musician, in creating the Great Nadanubhavam - Sangita is primary. Unintended blemishes in Sahithya should be ignored, during the listening and enjoyment process. Overemphasis on Sahithya, on such occassions of creative and sublime moments, is irrelevant. Ultimate experience of Nada, is berefit of Sahithya ! Only Nada reigns.