Music is either one of the most natural things in the world, or one of the most artificial – depending on one’s perception. Many discussions and arguments with friends who subscribe to the latter view, as opposed to my own, have led me to accept that the two views can co-exist.
Music could be defined as a special means of communication through organized, regular vibrations. Audible frequencies can be classified on the basis of regularity of vibrations into noise, sound and music. Strictly speaking, sound encompasses both noise and music but here it is being used to denote something in-between. We hear noise (many a time against our wish), listen to sound and enjoy music. As pointed out earlier, if we do not enjoy it, it would not be music to us.
Music can be appreciated mainly at two levels – emotional and intellectual. The majority of the people, at least in the initial stages, appreciate it by the former medium – they go by what it does to their hearts. But, gradually, they seek to understand more in order to enjoy better. Numerous people also enjoy some systems of music for spiritual or philosophical reasons, but that is another subject altogether.
A good system of music has an even measure of the emotional and the intellectual aspects. It is able to steal the heart and also satisfy the mind, which in turn makes it possible for it to transcend all barriers like region, religion, language and culture. It also has instant appeal to attract the uninitiated listener, as well as lasting values and substance that enable it to stand the test of time and thorough analysis. Carnatic music has all these qualities and several more, a few of which will be dealt with in some detail in the subsequent chapters.
Any system of music is only as good as its interpreters. In this context, Carnatic music has been well served by outstanding musicians and commands worldwide respect and admiration today. It is featured in major international events and attracts students and music lovers from across the world. Several musicians from other cultures who collaborate with Carnatic musicians find it amazingly systematic and sophisticated.
Yehudi Menuhin, the celebrated western classical violinist, wrote in his book, Unfinished Journey (published by Alfred A. Knopf Inc., P257) as follows:
“I found vindication of my conviction thai India was the original source (of music). The two scales of the West, major and minor, with the harmonic minor as variant, the half a dozen ancient Greek modes were here submerged under modes and scales of (it seemed) inexhaustible variety … the hundreds of raga(s) exploiting all possible notes in permutations of a subtlety we can scarcely conceive. Melodically and rhythmically, Indian music long ago achieved a complex sophistication, which only in the 20th Century, with the work of Bartok and Stravinsky, has Western music begun to adumbrate. Even the arcane rules of dodecaphonic composition had been anticipated and surpassed.”
Carnatic music is one of the most ancient systems in the world, perhaps the oldest among the prominent ones today Its roots can be traced to the Vedic times – placed between 3000 and 1200 B.C. – as also to the ancient Tamil culture. It would be no exaggeration to state that Carnatic music has combined several concepts from both Vedic and Tamil cultures. Today, it is one of the two major systems of classical music in India, the other being Hindustani music, which has blended ancient Indian and Persian concepts in an admirable fashion.
It is remarkable that Carnatic music, while among the most scientifically evolved systems in the world, has managed to absorb desirable aspects from several other systems and adopt them with an enviable catholicity of outlook without, in any way, prejudicing its originality and individuality. For instance, the violin and guitar have been successfully adopted from the West, just as a few ragas and compositional styles have been incorporated from Hindustani music.
Another noteworthy feature is that it is governed by well-defined, authoritative, theoretical principles that are, however, not so inflexible that they jeopardize practical, aesthetic expression of music. As for the practical side of it, Carnatic music can lay claim to a disciplined performing tradition extending back over several generations.