CULTURAL COMMUNICATION & INDIAN CLASSICAL MUSIC

A Study By Sujith R.Nair
(MCJ Graduate, M.G.University 2004-2006 Batch)

Dedicating this work to My Guru Kuttoor Ramakrishnan and B.Sasikumar

Acknowledgement

First of all, I express my gratitude to all my teachers, they directly and indirectly illuminated the desire to acquire knowledge. Secondly my Mother and God for giving me this opportunity to express my thanks to all those who have given me helping hands to make this study a success.

I have sincere gratitude to the Faculties, who have gave help to the completion of this book. I also have sincere thanks to my guide and my friends Bhagesh and Riju, and all other persons and music experts who gave help for this ambitious book other than above. More over my sincere thanks to Dr.S.Bhagyalakshmi and K.N.Rajeev Kumar, they gave more advice which are useful to me. Once again thanks to everybody.

Abstract

“Once or twice in a millennium the human spirit gathers itself in a mighty upheaval and a master-singer is born. He made of the stuff and revolution. He contains in himself all the past and the future. His brief sojourn on earth is a benediction”. This study reveals the process of cultural communication that creates such persons. Cultural communication and Indian Classical Music is a search in Indian Classical Music, to find out the role in culture.For the purpose of this study some reputed musicians and music students were interviewed. They expressed their opinions about the special character formation from musical training and its contribution in culture.The explanatory study shows that it is necessary to keep Indian classical music for the well being of our culture.

Sujith R.Nair

Cultural Communication and Indian Classical Music

Culture is the organised system of shared meanings, perception, belief held by persons belonging to some groups. The internal thread of an individual, that generally considered as good manners, ties to him to his society. Cultural communication disseminates the essence of one culture to some individual, group or generation. The general non-written laws conserves by good people and passes it to others for the well being of the society. Cultural communication facilitates it through different tools. Indian Classical Music is such a tool. Like culture, the Indian classical music also faced and conquered a lot of experiments. It owns a rich cultural heritage with strong scientific backgrounds. The cultural communication via Indian Classical Music imparts the idea that, a calm and quite mind gives concentration to every one, concentrated mind sees the real truth which helps one self and others to overcome hurdles. This culture manifestates divine perfection already existing in man.

Cultural Communication

Culture is the amalgam of human creations and experiences. It includes all that man has acquired in the mental and intellectual sphere of his individual and social life. Culture has the characteristics of communication, adaptation and integration. This special attribute differs man from other beings and makes him/her as a social being. Cultural communication is the process of interaction, interchange, transaction and sharing of certain qualities of one culture to some individual, group or generation. It helps to increase the commonality of the particular culture.

A social system cannot be sustained and properly maintained unless it is built upon the strong foundation of its cultural heritage. Culture regulates human life. Cultural communication created the total behaviour pattern of a group. Culture uprooted from societies traditional moorings. Cultural communication conservates and consolidates a nation’s spiritual strength, maintains its historic continuity, secures its past achievements and guarantees its future. By adopting and learning about culture one has to be able to live independently in societies own way.

Family is a significant institution contributing to the transmission of culture. Language is the basic medium for the cultural communication. Thus Cultural communication by every society to its next generation in the interests of the stability and continuity of the society. Without of it there can be no growth and progress of man. In a society the cultural communication happens through social knowledge imparting from family, religious beliefs, moral, education, law awareness, art forms and celebration of customs. From these the art forms are considered as the easiest and effective tool for cultural communication.

Culture

The term ‘culture’ is derived from the Latin word ‘cultura’, it means good manners and tastes. According to Edward Taylor, “culture is that complex whole which includes knowledge, beliefs, art, morals, law, customs and any other capabilities and habits acquired by man as a member of society”. Ellwood includes material and non-material aspects in it. Material aspect of culture includes man’s material civilization, tools, weapons, clothing, shelter, machines and even system of industry. The non-material aspect includes spiritual, civilization such as language, literature, art, religion, morality, law and Government. Culture is a social quality. It fulfils man varied needs- physical, mental, ethical and social. It is a special attribute of man as a social being. It is an evidence of his social heritage. Culture provides an indispensable guide for all aspects of life of man as the member of the society. It decides the pattern of life of a group of people. Culture consists of the ideals, values and emotional aspects of a group of people. It is internal and relates to the modes of living and thinking. Culture imbibed slowly and never be borrowed in their original character. In other words culture is what we are.

Characteristics of Culture

Culture is cumulative: The history of mankind is history of culture. All the elements of culture grow as a result of centuries of cumulation. Each generation preserves the old and adds something new. The culture we have today is the total of all the additions made by our predecessors.

Culture is Conservative and Transitive: If culture was not conserved and transmitted, all the human knowledge and experience would have been lost. Culture is acquired social heritage and this necessary for the progress of mankind.

Culture is Diffusive: Diffusion means the acceptance of cultural patterns from other groups. Cultural pattern of a group or a generation becomes accepted by different groups/generation.

Culture is in constant change: Culture changes as society changes or civilization changes. Every generation adds something new and modifies something of the old. 

Culture is in constant change: Culture changes as society changes or civilization changes. Every generation adds something new and modifies something of the old.

Cultural Lag

The idea of Cultural Lag forwarded by W.F.Ogburn, to describe a condition in which cultural changes in a society are not always congruent with its economic and other materialistic changes. In fast changing societies a gap is likely to be created between the pattern and the rate of change of the projective system and the maintenance system. For instance a society which all on a sudden becomes economically affluent because of the availability of some natural wealth would like to project a social system that would reflect the affluence in terms of the material gains in all walks of the human life. At some time appropriate changes to suit the novel demands of the new societal conditions being projected should be infused into that heritage. The absence of proper harmony between the two systems develops a ‘cultural lag’.
Resistance to change is the main reason for cultural lag. At first, the family tries to retain old behaviour patterns and transmits them to children. Secondly, there is a sort of inertia in man, and a fear for change which make man reluctant to welcome change. Thirdly, there may be vested interest s in a group. A particular religious section will never like to have change in their religious beliefs. Fourthly isolation of a particular group may hinder or obstructs cultural changes.

The Phenomenon of Mass Culture

Mass culture depends on our point of view and what ‘culture’ means to us. The concept of mass culture refers to a whole range of popular activities and artifacts-to entertainments, spectacles, music books, films- but it has become identified with the typical content of the mass media and especially with the fictions, dramatic and entertainment material which they provide. By western sociology, mass culture has three main features:
1. Immense popularity among all classes, but particularly among the working class in industrial, societies
2. Mass production and mass distribution
3. Unlike elite or ‘high’ culture its aesthetic and literary standards are low and commercialized, as its mass produced programmes aim at the mass market

Art, Perception and Belief

The use of imagination to make things of aesthetic significance or the creation of some thing beautiful and expressive is known as Art. Art is a sphere in which the creative skill is used. A person who uses skill and taste in practicing Art and producing it to entertain others is named as Artist. In cultural communication art and artist both contributes. Art reflects the inner human condition and also the values of the times. Art is a mirror in which people can recognize human condition.

Art has three aspects

1. Aesthetic Aspect (Music, Dance, Architecture, Abstract Painting)
2. Emotional Aspect (Drama, Novels, Old Master Paintings, Poetry)
3. Perceptual Aspect (Cartoon, Sculpture)

A belief is a perceptual framework which leads us to see the world in a way which reinforces that framework. Belief is the truth of a perceptual system. The perception can be changed by art. So we can mould ones belief through art and also culture.

Perceptual process force one to focus upon some thing and there by become conscious of that thing. The focusing and highlighting process is the way in which art can change perceptions. In other words reflection, focusing and highlighting lead to a change in perceptions. Once trend has started art can very quickly accelerate that trend.

Art secures three purposes

• To reflect the perception that exist
• To accelerate a change in perceptions
• To initiate a change in perceptions

Art does all this with assurance, dogma, righteousness, emotional intensity, blinkered vision and every trick of propaganda. Art must be interesting if and only if it is emotionally involving and attractive. We may rely on art for perceptual enrichment and for cultural communication.

Music – A fine art

The Indian word for Music is ‘Sangeetha’, which means a chorus or a song sung by many voices. In it vast compass Indian music includes all its forms, vocal, instrumental, choral, together with the allied art of dancing and gesticulating. As in all other advanced countries so in India music is considered to be a fine art. As such it may be defined as an art which employs sounds combined so as to be agreeable to the ear, as a medium of expressing ones emotions and perceptions, and creating in the hearers the emotions and perceptions decide by the artist. It is the finest art among the fine art. A music artist has a more difficult task to perform than the other artists, sculptures, painters, poets and architects, because while the later present their work in a tangible shapes with feelings expressed, the musician has to stimulate the imagination of his audience and there by engender in them those feelings to make himself understood. In sculpture or painting the desired effect being perceived through the eye and in music which is perceived through the ear.

Treatment of Music

In India Music was treated quite independently of Poetry or songs. At the start when the Hymns of Samaveda were sung over three thousand years ago, the tunes must have been composed to correspond with the subject matter of the songs, and, vice versa, songs composed to describe what the tune expressed.
The scientific treatment of Music as a subject distinct from poetry, enabled the Indians to compose, by suitable combinations, a variety of tunes, some to express particular feelings and stimulated particular emotions, some for devotional purposes, some soothing to the brain and pleasing to the ear, and so on, suitable for different hours of the day or different seasons of the year.

Differentiation from other fine arts

In the matter of expression Music has to exert itself much more for being effective than the other fine arts. While the other fine arts have prototypes in nature to copy, music has particularly none readily available. For a sculpture or a painting every phase of emotions can be found in every day life. Poetry has words by which to express itself. But in the case of music, it means evolving of principles by carefully considering the effect of each note and combination of notes. Many of the human emotions are expressible by variations in the tone of the voice, but these are difficult to catch.

The quality of exciting pleasure or cheering one up when one feels miserable, music surpasses all other fine arts. Any piece of music, vocal or instrumental, draws some sort of audience, the number and nature of hearers depending on the quality of music. Its attractiveness may be seen from the fact that almost every entertainment has music of some sort on its programme.

Indian Classical Music

Some thing that traditional in form, style and content; elegant, simple, serious, conventional; pure, restrained, immortal, time honoured, enduring, and well proportioned is known as classic. It received into the accepted canons of excellence, authoritative and having familiar historical literary association or having the formal duty and emotional control typical of the works of that civilization; orthodox, with in a received tradition are comes under the group of classic. Indian Music is such a type because of the incredible heritage, elegance structure and authoritative scientific foundation of its own.

The time when Indians became cultured artistically rich then starts the great musical heritage of Indian culture. Indian Classical music evolved through three stages- primitive- Aryans age, middle-bhakthi movement, Modern. After the twelfth century Indian Classical music divided into Hindustani scheme and Karnatic scheme. Before that it flowed uniquely. The division is also known as North Indian music and South Indian music.

Glance into Hindustani Music

I already mention that ancient musicologist divided music into two- Marga nad Deshi. Marga sangeet sety its goal to attain spiritual upliftment and salvation. Deshi sangeet more closer to ordinary man, because it can imitate and learn easily. Most hindusthani musical forms belongs to the second. There are many musical forms and types(Kharanas) in Hindusthani.

The Deshi music accepted widely because of its easiness ,sweetness, emotional stimulative capacity and simplicity.

Existing Musical forms and Kharanas

1. Drupad: Gwalior king Raja mansingh(AD 1480-1517) is considered as the father of modern Drupad. Which is the abbreviation of Druvapad. He and his wife Mriganayini conveined a musical conclave and published a book named ‘Manakudoohalam’ on the basis of facts emerged from it. This resulted the birth of modern Druvapad.

Four Kharanas(types)

• Gaudi Vany(Tansen)

• Khantar Vany(Naubat Khan)

• Nohar Vany (Sree Chand)

• Dagar Vany(Vraj Chand)

2. Khyal: An Urudu word means imagination. Niyamad Khan , a Muslim musician , formed the Khyal style. He was the palace singer of emperor Muhammed shah.

Four Kharanas(types)

• Kirana Kharana

• Punjab Kharana

• Gwalior Kharana

• Agra Kharana

3. Dumri: Originated in the period of Nawab Vaseedh Alisha(1840-1870), ruler of Avadh. It conceives the idea of flirting, Dumri songs are com[posed in simple Ragas and set to simple talas. It contains a pallavi and anupallavi. Commonly singer goes to raga rendering after pallavi.

Four Kharanas(types)

• Lucknow Dumri (Lyrically and musically high standard)

• Kashi Dumri

• Banaras Dumri(resembles Kajri, chaity folk songs)

• Punjab Dumri (Bade Ghulam Ali Khan’s Dumri, influenced by the Pahari and Mahiya Punjabi folk songs )

4. Tappa: Originated in Punjab. A musical branch which resembles Dumri. Love is the main idea.

5. Dadra: Same as the nature of Dumri. The name given because it set in Dadra Tala.

6. Tharana: Amir Khusru formed this style in 13th century.( Hindustani form of south Indian Thillana)
There are another forms like Thirvat, Chaturang, Ragamalika, Sarigam, and Bhajan are also decorates the Hindustani classical music field.

Light Music

Light music is the blending of classical music and folk music. The Ravindra sangeetam inspired north Indian branch of light music. There are two types’

• Semiclassical music like Gazal, Quwali, Bhajan, Bhav Geeth, and Raga Pradhan

• Geeth like folk songs and film songs.

Evolution of Indian Music: Primitive, Middle, Modern

Primitive - The Vedic heritage

Man is creative animal and the noblest monument to the man is the art and science of music. From time immemorial man has made music to add further dimension to his expression of the magical or mystical, the emotional or the martial. Because he is also able to analyse, interpret and distinguish, man found some sound in nature pleasing and others note. He found meanings in the songs of birds and discovered rhythm in the movements of the heavenly bodies.

Music exists in all societies .It function in the sphere of religion and through the whole of man’s experience to the area of pure entertainment. It has, therefore, many forms- some very new, or at least seemingly so, and others of the great antiquity.

Indian Music, in its classical forms is one of the most ancient types still surviving. It has of course altered but basic elements would appear to be much as they were over two thousand years ago.

Aryans Invasion

Around 2000 BC, the Aryans come to the sub continent through the passes in the northwest and with their coming India entered the Vedic period of her history. The most plausible expound by Nirad Chaudhary that after leaving the region between the Danube and the Volga some Aryan tribes settled in Mesopotamia, then pushed into Iran and, later found their way into Northern India which came to be called Aryavartha, the land of Aryans. After they had subjugated the country, the Aryans organized the caste system so as to maintain their supremacy. They introduced their own culture and religion and , in their turn adapted some local customs and even gods. This was made easier by the fact that they settled down with the intension of coexisting with the original inhabitance of their new homeland.

The caste system allowed for many gradations in the social scale and it was worked out in such great detail and so interlocked with religion and economic conditions, that it operated with without creating tensions. The Brahmin were the priests and intellectuals, the kshathriyas the warriors, the Vaishyas the merchants, and the shudras the manual workers. All of these functioned as hereditary guilds. In the area of arts, this ensured that certain forms, techniques and styles were passed on from father to son in an unbroken tradition. This system that India’s music and dance have been handed down over hundreds of years with all the respect and love that great heritage richly deserves.

The e Aryan Brahmins produced great thinkers and scholars yet, strangely, they never wrote any histories; instead all subjects, including history, were presented in mythological form and given religious suction by being associated with the Gods. All learning was embodied in books called Shastras.

Brahman gurus considered that the highest knowledge was too valuable, perhaps even dangerous, to be rightly restored upon all men and were careful to pass it on only to those who were worthy of it and were capable of using it with discrimination. To make sure that it did not fall into the wrong hands it was expressed in symbolic terms and complicated riddle like verses or mantras.

Birth of Veda

The sacred scriptures consisted of four main Vedas- the Rigveda, the Yajurveda, the Samaveda and the Atharvaveda, and several minor ones. These, together with the two epics and the various puranas or stories concerning the Gods, had a close connection with Music for the Verses were chanted in set musical pattern. This early form of vocal music was known as Samagan from sama meaning ‘melody’ and gana meaning to ‘sing verses’. There were only three tonal accents- Udatta, Anudatta and Svaritha-, which were later named swaras, musical notes. Eventually a total of seven swaras was identified and came into use.
“Sama Vedatidam Geetham”- means Indian music originated from Samaveda. The mantra chanting resulted in the formation of sapta swaras (Seven notes).

Mantra chanting and Gana

In earlier times Veda mantras were chanted in single tone (shruti), known as ‘Archika Ganam’. After some centuries they accepted two tones, Udatta (high tone) and Anudatta (low tone). The mantra chanting in these two tones named ‘Gathika Ganam’ . The introduction of Svaritha in between Udatta and Anudatta caused to ‘Samika Ganam’ and the fourth tone ‘Prachaya’ below Anudatta resulted in ‘Swarantharam’. Thus there were four types of mantra chanting;

• Archika Ganam –Single Shruti
• Gathika Ganam- Udatta+Anudatta
• Samika Ganam – Udatt+Svaritha+Anudatta
• Swarantharam – Udatta+Svaritha+Anudatta+Prachaya

These evolution of mantra chanting of Samagana singers eventually reached in the creation of ‘Sapta Swaras’. But they didn’t aware about it at that time. The “ ga ri sa ni” swaras of Kharaharapriya raga were the tones.

As the Vedas underwent modifications and additions so also did Samagan. The Pre-Aryan music also developed at the same time and there was considerable cross- fertilization with the result that a form called ‘Jatigan’ emerged. This depended on the use of Jatis or sequences of notes and was the precursor of what was later to become the raga system.

Marga and Deshi Sangeeth

The Brahmins divided music into two categories: Marga Sangeeth – that which was pleasing to the Gods and which was sacred music- and Deshi Sangeeth- that which was pleasing to humans and which was secular and profane music. Both used the seven swaras but in Marga Sangeeth the melodic patterns were clearly defined as falling into seven classes: Archic used one note, Gathik used two notes, Samic three notes, Swaranthar four, Odava Five, Shadava six and sampoorna seven notes. It is clear therefore, that sacred music, the idiom in which the religious texts were sung in the temples, received more serious attentions.

Apart from religious and art music the first confined to temple worship and the second to the courts- it would be well to remember that folk music was always part of day to day life of common man. These were also troups of traveling musicians, dancers and storytellers who, apart from performing their vital function of entertainment and instruction, kept open the lines of cultural communication between one part of the country and another.

The Buddhist religious singers, Vaitalikas, invented distinct musical forms for men and woman and developed Kumbhasthun, a percussion instrument made by stretching leather over the mouth of an earthon pot.

Mysty Figures

1. NaradaThe earliest musicologist of India, who undertook the task of finding the relationship between sacred and secular music. Research has proved that Narada was the author of ‘Siksha’ (Learning or Training). This was the first work that examined Music in a spirit of scientific enquiry.

2. BharataIndia’s greatest writer on the arts, his book ‘Natya Sastra’, was regarded as a sacred book and was called fifth veda. It was, and still is, the most important work on Indian aesthetic and covers Music, Dance, Drama and criticism. Fifth Veda which induced “duty, wealth, as well as fame, and contain good counsel….”when the people world strayed from a righteous path “their happiness was mixed with sorrow”, which would be enriched by the teaching of all the scriptures and give a review of all the scriptures and give a review of all arts and crafts. So Natya Sastra took a recitation from the Rigveda, Song from the Samaveda, histrionic representation from the Yajurveda and the sentiments from the Atharvaveda.

Bharata said that it was the musician- the composer’s business- as, indeed, of every artist – to evoke a particular emotion or a mood which he called Rasa. He enumerates eight such emotional states and gave to each a presiding deity, and colour equivalent.

Some later authorities mentioned a ninth Rasa, Shasta or Serenity. These Nava Rasa, nine basic emotions, are fundamental to Indian Aesthetics. A short summary of these Rasas given by Bharathe are shown in the below table.

Name of Rasa Nearest equivalent Deity Colour

Shringar Love Vishnu Light Green
Hasya Humour Pramatha White
Karuna Pathos Yama Ash
Rudra Anger Rudra Red
Vir Heroism Indra Light Orange
Bhayanaka Terror Kala Black
Bibhalsa Disgust Sihiv as Mahakala Blue
Adbhuta Wonder Brahma Yellow

Middle (12 to 17th Century)

The Mugal attack in the starting of thirteenth century caused bad stage of Indian Music. After it Indian music flowed into two streams that is North Indian Music and South Indian Music. The renaissance work of king Raja Mansingh gave a new life to north Indian music. Purandara Dasa had also done a same work in south and that enriched the south Indian music too. He form the system of training in music that is being followed today. Purandara Dasa initiated the practice for starting music in the maya malava gowla raga, and formulated guided exercise like Saralivarishakal, janta varishakal, alankara geetas, swarajatis and varnas. The selection of maya malava gowla raga enabled the later developments of the 72 mela scheme.

The influence and inspiration of surroundings affected the so-called music and gradually the style as well as character of both changed considerably. The character of north Indian music protected by the king Raja Mansingh and other palace singers showed mere difference with the character of south Indian music kept and formed by Purandara Dasa and group. They rejected the worldly enjoyments. From there the growth of Hindustani music occurred in durbars and palaces of Muslim emperors. While karnatic music in hermitage like spiritual sages, shelter. Even though Karnatic music came under the protection of some rulers it didn’t change its devotional nature and saints lyrics/keertanas.

Bhakti Movement

The bhakthi movement stressed the brotherhood of man irrespective of religion or social background it combined the most attractive features of both Hinduism and Islam and produced saint like Kabir (1440-1518) who, though born a Muslim renounced formal islam and became the generative source of great poetry and music. Bhakti encouraged mysticism, as did Sufism, which was a pantheistic type of Islam, and both relied heavily on the use of music. The influence of Sufi thought through out the Islamic world that directly influence the later Muslim monarchs in India to encourage and even foster the Hindu arts. Bhakti movement encouraged the growth of Indian Classical Music.

Bhakthi

Which is declared by the lord himself in the Gita as the most important among the means to liberation, is instrumental in bringing about well being in life here and bliss in the life beyond. It can accomplish by loving adoration. Bhakti is divided into Sakama (aimed at accomplishing some desire) and Nishkama (without any desire).

Bhaktas (Devotee)

In Bhaktimanjari SwathiThirunal says, devotees are three grades, Uthama (superior), Madhyama (ordinary) and Adhama (inferior). The first finds God in everything, the entire universe to be his manifestations and has nothing to discriminate between one person and another or between one object and another, with the result that he is free from attachments and aversion alike. The second finds reason for discrimination; he loves the devote and hates profane. The third is contend with adoring the idols of God and does not concern himself with anything beyond.

Sadhana or Mode of Cultivation

The progress of devotee towards God by successive stages, known as Navavidha Bhakti. It starts with Sravana, that is listening to the recitation and exposition of the works like the puranas for the good of the world by establishing dharma. Sravana leads to Kirtana or utterance by one self by the names of the God and recitation of the scriptures and singing of his greatness and glory. This prepares him to a less vociferous expression of his devotion and instills in him the desire as well as the capacity to mediate on him. This Smarana. This leads on to the service at the feet of the lord, Padaseva, which in essence, is service at places of worship like temples and other holy places and service to other devotees. This association enables him to advance to the next stage, namely the performace of Puja to the lord in all detail and with full concentration of mind. Such ritualistic worship of images is Archana. He then begins to feel the presence of God before him and offer salutations in all reverence and joy. This is Vandana. The more and more he feel His presence, the more and more tendency for service, and this develops in him the attitude of being a willing and happy servant, which is the stage of Dasya. In due course, this feeling of the relation between the supreme master and the dedicated servant transforms itself into one of friendship, Sakhya. There is less of awe and more of a sense of belonging to oneself. This brings about unbounded joy and the devotee in his supreme ecstasy lies himself before God in absolute self surrender, Atmanivedana,and freed from all bondages, enjoys bliss. Of these nine forms of Bhakti, Kirtana is the most active and vocal in nature and also the most effective in the propagation of Music.

In Bhaktisutra of Narada defines Bhakti itself as the deepest love for the lord( Paramapremarupa). This form of Bhakti has been adopted by Jayadeva in his Gitagovinda.

Generally to the Bhakta, Bhakti is an end in itself. The attainment of God is his aim. He does not concern himself with the enquiry as to what would happen to him afterwards. Left himself, he would rather prefer to remain near God (Samipya). In eternal service to Him (Kainkarya) in the celestial world than choosing any of the other alternatives that may be offered to him like residence in heaven (Salokya) not necessarily in the service of God, similarly to Him (Sarupya) in all appearance, or merger Him (Sayujya). To him the world is real and birth in it is an occasion to acquire Bhakti.

Swathi Thirunal considers Bhakti as the easiest and surest means for Moksha. Bhakti through Virakti brings about Jnana which in its turn, leads to Moksha.

Mugal Era

Tansen was the main contributor in the Mugal era who composed music, experimental with sound and discovered the potentiality of mental vibrations. Originally he was a Gauda Brahmana and converted to Muslim Tansen often visited Hindu temples to pray and to chant the Vedic verses. His output of Drupads was vast and many were written in place of Hindu deities. To this day one branch of his descendants, known as the Seniyakharana (The school of Teansen), sing only the Drupad type of composition. He open the way for other Muslim Musicians to partake in , and create, Hindu religious Music.

Some of the best known ragas performed today were composed by Tansen. The list includes Miyan-ki-Malhar, Miyan-ki-Sarang, Miyan-ki-Todi and Darbari; the last written at the command of, and dedicated to, the emperor.

Musicologists remember Tansen as a Codifier. During his time there were thousands of ragas, often overlapping, with a confusing plethora of names. He studied their characteristics, improved some, got rid off others and finally made an acceptable list of about 400.

Music in South India has been deeply rooted in the temple and the alvars , composers on hymns and have always had an important part in it. Among the earliest alvars were Jnanasambandha in the 7th century and periyalvar in the 9th . Their tradition of music reached a high point with Purandaradasa. A conptempoary of Purandaradasa- Ramamathya- Swaramelakalanidhi and Kalinath- commentary writer of Sangitharatnakara (Saranga deva’s) were also contributed a lot.

Venkita makhi’s Chaturdandi-prakashika(1660) regrouped all the ragas under 72 parent scales or Melakartas and his system is still followed by the musicians of South India.

In North, a similar attempt at musical reorganization was made by Tansen. At the same time Raja Burhankhan, the ruler of Khandesh done another attempt and commissioned Pundarika Vithala for this work and the scholars produced his ‘Sadrega-Chandrodaya’. Another famous book ‘Sangita darpana’ by Damodar Misra completed in 1625. Surprisingly there was a spate of writing in all musical subject during Aurangazeb’s reign.

Hridaya Narayana wrote ‘Hridaya Kautaka’ and ‘Hridaya Prakasa’; Ahobal wrote ‘Sangit Parijata’; Fakir Allah wrote ’Raga Darpan’ in Persian and translated ‘Mankutuhal’

Modern (17th Century Onwards)

South Indian society has always been very tightly knit and caste conscious. The dynasty or the political system might change but these had little effect on the way of life, the religion, or art of the people. Many radical measures were introduced by Communist Governments but in the end religion and caste won the day.

Thyagaraja

Under Venkata Ramanayya, Thyagaraja studied Sanskrit, Telugu, Tamil, Yoga and Music. After his parents death he became more and more introverted and composed with greater fervour. While singing he is said to have often experienced mystical ecstasies and Darshans, divine visitations. Thyagaraja’s 200 or more kritis, religious songs are wonderful combination of words and Music. He used his native tongue, Telugu and wrote simple poetic prose. He then said his prose, poems to Sangathis, musical [phrases and taken from a variety of ragas. This was an innovation and started a healthy movement against the heavy, stilted verse that karnatic composers have come to accept as musical material. His Pancha ratnas were made up of five raga patterns and his monumental Shota raga- Ratna malika used as many as hundred. In a number of hymns Thyagaraja used folk melodies s and verse from folk song and thus became the preserver of folk art also.

Trinity

Thyagaraja(1760-1848), Shyama Sastri(1776-1835), Muthuswamy Dikshitar(1763-1827) were known as the Trinity of Karnatic Music and main contributors in modern age.

Music Conference

In 1916 the Maharaja of Baroda convened the first all India music conference at Baroda. The main objectives were:

a) to effect if possible such happy fusing of the Northern and Southern systems of Music as would enrich both
b) to provide a uniform system of notation for the whole country.
c) To collect in a great central library all available literature( ancient and modern) on the subject of Indian music and , if necessary to publish it and render it available to students of music.
d) To start an Indian man of Music series and conduct a monthly journal of music on up-to-date lines

Science of Music

Music has been defined as an act of combining sounds in such a way as to be agreeable to the ear. Sound is generated by the vibratory motion of the particles of a body by its getting in to a state of tremor due to any shock or otherwise. It is conveyed to the ear through an elastic medium such as air or water. The vibrations generated are transmitted to the air causing undulations, known as acoustic waves, which in turn cause vibrations in the membranes of the ear. These stimulate the auditory nerves, which conduct the sound- impulses to the brain, and make the sound heard.

Indian Musicologist has written about two kinds of sound, one inaudible to the human ear and one audible, and each was sub divided further. The audible sound, Anahadanada is described in the Sangitmakaranda as “ sound produced from ether. In this unstruck sound the Gods delights. The Yogis, the great spirits, projecting their minds by an efforts of the mind into this unstruck sound, depacts, attaining liberation”. The audible sound, ahatanada, is “struck” and is said to give pleasure. It is therefore, that which interests humans.

The word nada means sound and derives from na, breath, and da meaning fire. Madura nada consist of those sounds which are pleasing to the ear; that is musical sounds or those which have regular vibrations.
When a series of vibrations enters the ear at equal intervals of time, rapidly following each other, so that no intermission is perceived, the result is a musical sound. Musical sounds are distinguished from their pitch, loudness and timbre.

Pitch is what makes the sounds known as acute, shrill, high, sharp, grave, deep, low, flat, etc. It depends on the rapidity of vibrations of the particles of the air in contact with the ear.

Loudness depends on the violence with which the membranes of the ear are excited, and therefore on the extend or amplitude of the vibrations of the body emitting the sound.

Timbre is the peculiarity of impression produced on the ear by the tone or sound of the instrument or voice which distinguishes it from a like tone or sound of another instrument or voice. It depends on harmonies coexisting with the fundamental tone and their relative intensities.

Octaves

The notes of different pitch following each other or sounding together are more or less pleasing to the ear according to the coincidence of their vibrations in a given time. The whole range of notes from a particular note to its octave denotes the word octave. In Indian music this is called a saptaka. The human voice extends only to a little over 3 octaves. These are known as Mantra Sthayi, Madhya Sthayi and Thara Sthayi, corresponding to the terms bass, middle and timbre in European Music. The notes in the Madhya(middle tone) Sthayi are in the easy natural voice emanating from the throat; the Mantra(low tone) Sthayi notes require a little exertion of the chest or bosom, and the Thara(high or shrill tone) Sthayi notes cause some exertion to the head or brain.

Musical Notes

The relation of a note to another is expressed by ratio of their vibrations. This ratio is technically called the interval between two notes.

When obtaining Samaveda Riks – the original note was known as krishta (pulled or dragged). Perhaps because other notes were derived from it. The next four, which were the harmonics were known as Prathama(first), Dwithiya (second), Trithiya(Third) and Chaturtha( Fourth), respectively.The two newly introduced notes were called Mantra and Atiswarya.

In the Indian music the combinations of ratio fractions of tones are expressible by the number of shrutis between the two notes. Shrutis(from Sanskrit shru, to hear) are fixed notes with the smallest possible intervals compatible with each of them being heard as distinct from its adjacent notes. Sarangadev, the author of ‘Sangita Ratnakaram’ , specifies 22 shrutis.

Sangitha Darpana gives the following characteristics of shrutyis: that is they are fixed (in relation to each other), useful for the purpose of singing, distinguishable (from the adjacent ones), and in good concordant relations with other notes. They were allotted beautiful names, which, as given in Narada’s ‘ ‘Sangita Makaranada’ , were as follows,

Prasuna, Sidha, Prabhavati, kanta, Suprabha, Shikha, Diptimati, Ugra, Hladi, Nirviri, Dira, Sarpasaha, Kshanti, Vibhuti, Malini, Chapala, Bala, Sarvaratna, Shanta, Vikalini, Hridayonmalini and Visarini.
The scientific treatment of the subject music necessitated that music should be separated from poetry, which in turn required that it should have its own language. This meant that each note should be expressible by a single letter or syllable so that when combined together to form a tune might be quickly or easily pronounced. The selection fell on the letters ‘Sa’, ‘Ri’, ‘Ga’ ‘Ma’, ‘Pa’, ’Dha’ and ’Ni’. The selection was perhaps the best that would be made for easy and quick pronunciation, the gutturals (excepting ‘Ga’),the palatals and linguals, as also had letters (except ‘Pa’), and aspirates(except ‘Dha’), having been avoided.
Notes and corresponding letters,
Krishta - Nishada (meaning seated)
Prathama - Dhaivata
Dwitiya - Panchama
Tritiya - Madhyama
Chathurtha - Gandhara
Mantra - Rishabha
Atiswarya - Shadja.
The old Indian music makers standardized their main notes by fixed up animals, generally screaming in the same pitch, whose voices in their opinion corresponded with the notes in pitch, not necessarily the same octale.

They say,
the peacock cries Shadja, the cow lows in Rishaba, the goats bleats in Gandhara, the herron sounds Madhyama. In spring time, the Indian Cuckoo cries out Panchama, the horse’s neighs in Dhaivata, and the elephant trumpeting in Nishada. ‘Sangita Ratnakara’ gives the bird Chataka as uttering Rishabha, and a frog Dhaivata, instead of a cow and horse respectively.

Grama

Grama is a special arrangement of shrutis. In Natya Shastra, Bharata recognized three gramas, Shadja Grama, Madhyama Grama, and Gandhara Grama. At the time of Saranga Deva (12th century AD) only two gramas were in use. That is, the Shadja Grama and Madhyama Grama. Later on, Madhyama Grama was also merged into Shadja Grama, which is the only one Grama now in use.

Division of Notes

Notes are of two types- Prakriti Notes and Vikriti Notes. The notes which are Shudha (not modified) called Prakriti Notes and not Shudha are called Vikriti (modified) Notes. It defined in Chatura pandita’s Laksha sangita, quoting from ‘Sangita Saramrita’

Scales

For each grama there were formed 7 scales. Fixing the 3 gramas, the next series of scales were formed by placing their main notes ‘Sa’,’Ma’ and ‘Ga’, successively in the position of each of the other notes. This process is called ‘Murchana’.

Scale from which ragas are derived is known as Melas or Janaka melas(Janak means father) . Janaka melas should contain all the 7 notes whether in shudha or vikrita forms and the notes should be used in the correct order in both ascend and descend. The Indian terms are Arohana or Anuloma and Avarohana or Viloma respectively. Thera re 72 Janaka melas.

There are 4 classifications of notes in respect of their relatuions and use in ragas or tunes. They are Vadi, Samvadi, Vivadi and Anuvadi. The note which is frequently used in raga is called Vadi. Other terms used for Vadi are Amsha(chief part) and Jiva(life). Vadi note detremnies the character of the tune. Two notes which have 8 1nd 12 shruthis between them. That is which are at 9th and 13th shruthis from each other, are mutually called Samvadis(similar or equal). The pairs Nishada Gandhara and Rishabha Dhaivata are Vivadis(quaralling) to other Vadi notes and to each other. Other terms are Varjita (dis allowed) Ananyasta or Astapraya(almost thrown out or absent) and Manakasparsha(very little touching according to their use).Vivadi’s form a sort of opposition as being the second samvadis to the samvadis od the vadi notes, they can assert themselves against the vadi notes, and may alter the import of the tune.The rest of the notes are called Anuvadis which help the vadi and samvadi notes.

Tune

Every tune can be divided in to two parts, one ascending and the other descending. It may happen that before reaching the extreme limit we may have one or more turns. e.g. ‘sari sa ga ma dha ni dha sa’. This make the tune tortuous and it is called Vakra (meaning crooked or tortuous).

A tune or part of a tune having all the seven notes (either Sudha or Vikrita) is called Sampurna (Complete), that with only sin note is called Shadava (sin) and that with only fire notes is called Audava (meaning sky or Akasha, which, being the fifth of the fire divisions of matter).
The process of evolving tunes from the Janakamelas by employing the full or a smaller number of notes, as above, in both the Arohana and Avarohana portion is called Murchana. It divides itself into the following nine classes:-
No.1 – Sampurna – Sampurna (7-7), mela
No.2 – Sampurna – Shadava (7-6)
No.3 – Sampurna – Audava (7-5)
No.4 – Shadava – Sampurna (6-7)
No.5 – Shadava – Shadava (6-6)
No.6 – Shadava – Audava (6-5)
No.7 – Audava – Sampurna (5-7)
No.8 – Audava – Shadava (5-6)
No.9 – Audava – Audava (5-5)

Ragas or Melodious Tunes

The word used for a tune in Indian music is Raga. A Raga is spoken by learned men as that which is embellished with the colour of musical notes, has its separate tune and import, and is pleasing to the mind. (Sangita Darpana).

Features of Raga

The notes composing should be so arranged as to be melodious.
Any adjunct to it.
It should be clearly distinguishable from other ragas.
Each raga has a name (Its tune may be capable of conveying a particular emotion/idea)
It should sung at a time when the state of mind conforms with its import

Classification of Melakartha Ragas

Melakartha Raga is the Raga which contain all 7 notes. It is also known as Janak Ragas. There are 72 melakartha Ragas, placed in to 12 chakras (12 wheels/12 groups) in 2 sections. One section is Sudha Madhyama called ‘Purva melakarta Ragas (36) and other is Pratimadhyama called Uttara melakarta Ragas (36). The 12 chakras (12 groups) are Indhu (moon), Netram (Eye), Agni (Fire), Vedam, Banam (Arrow), Rithu, Rishi, Vasu, Brahma, Disi, Rudran, Adhityan. The name of Chakra indicates the number of the group contains 6 raga each. This classification is done by Venkitamakhi with respect to the Shruti change of each notes. The name of charkas and its meanings.

Indhu (Moon) 1 - Only one moon
Netram (Eye) 2 - 2 Eyes
Agni (Fire) 3 - There are three Yaga Agnis
(Garhapatyagni, Aahavaneeyagni and Dhakshinagni)
Vedam 4 - 4 Vedas (Rigveda, Yajur, Sama and Adharva)
Banam (Arrow) 5 - Kama Devas 5 Arrows
Mulla, Mampoo, Chentamara, Nilambal and Asokam)
Jasmine, Mangoflower, Lotus(red),
Ritu 6 - 6 climatic changes
(Greeshmam, Varsham, Sarath, Hemantham, Sisiram and Vasantham)
Rishi 7 - Sapta Rishis (seven sages)
(Atri, Brighu, Kutsan, Vasishtan, Gautaman, Kashyapan and Angirassu)
Vasu 8 - Asta Vasukkal ( Jalam (water), Druvam, Chandran (moon), Bhoomi (Earth), Agni (Fire), Vayu (Air), Prabhatam (Morning) and Sayam Sandhya)
Brahma 9 - 9 incarnation of Brahma created 9 races, one of them is Human race.
Dishi 10 - 10 directions (magnitudes) (Vadakku (North), Thekku (South, Kizhakku (East), Padinjaru (West), SE, NE, NW and SW)
Rudras 11 - 11 rudras
Adhityen 12 - 12 suns, (Dhatavu, Mitran, Aryama, Rudran, Varunan, Suryan, Bhagan, Vivaswan, Poosha, Sanitatvashta, Vishnu)

Tana

Tana is used to expand a raga, and consist of certain number of the notes put in different orders, Tanas are of two kinds, Shudha and Kuta (illusive, not straight).

A Shudha Tana has all its notes in the natural order, either in ascent or in descent, as rigama and magari are Shudha Tanas of the three notes, ri ga and ma. A Kuta Tana has not got its notes in the correct order. Ri ma ga, ga ri ma, ga ma ri and ma ri ga are Kuta Tanas of the same three notes.

Rhythm or Timing

The element of time is as essential to music as to any other affair of the world. As a regular succession of sound vibrations is necessary to make the sound musical, as a regular coincidence of the vibrations of musical notes makes these notes at proper intervals is required to create a melody; so for good music it is essential that the component melodious pieces should follow each other at regular and appropriate intervals of time. This keeping of time was affected in India by clapping of hands, and was hence called Tala (Clapping of hands, from a palm of the hand). The practice is still in vague.

The interval between two claps or strokes, which is termed a laghu (Small). The interval is also considered in another way. That is, in terms of syllabic instants, called matras. A matra is taken as the shortest time in which a syllable could be properly pronounced. A Laghy ranges from 3 to 9 matras. Its usual value is taken as 4 matras.
8 Kshanas = 1 lava; 8 lavas = 1 kashtha,
8 Kashthas = 1 nimisha; 8 nimishas = 1 kala;
8 Kalas = anudrutha or anu/virama, 2 anus = 1 pluta and
4 laghus = 1 kakapada
Another terms of time depends singing speed Laya (motion from the root to move); when quick it is called Druta Laya (quick); when slow it is called vilambita Laya (retarded); the ordinary once being known as Madhya Laya (middle).
The old music-makers devised seven talas known as Jati Talas (Jati means class/species) from which all the other talas were derived. The Sapta Talas are follows.
No.Tala Notation or Anga No. of matras No. of stroke Possible modifications
1. Ekatala I 4 1
2. Rupaka OI 2+4=6 2 IO
3. Thampa IVO 4+1+2=7 3 VOI, OIV
4. Triputa IOO 4+2+2=8 3 OOI, OIO
5. Matya IOI 4+2+4=10 3 OII,IIO
6. Ata IIOO 4+4+2+2=12 4 IOOI,OOII, OIIO
7. Druva IOII 4+2+4+4=14 4 OIII, IIIO, IIOI

Harmony

When two or more concordant notes are sounded together, they form what is called harmony. The Indian word for harmony is Laya (Union, fusion, from the root to adhere, to vanish). The chief instruments for this purpose is the Tambura, which has three wires representing Shadja and one representing panchama. The vina, the sitar, the sarangi, and other similar instruments have also entra wires or strings tuned to shadje, panchama etc, which resonate and enhance the volume of music.

Kinds of Harmony

1. Swara Laya
Swaralaya is the harmony provided by the individual notes.

2. Amsha Laya (A part)
If one instrument plays the raga from the beginning and the other at the same time starts from say the second part in a lower octave the two instruments will be playing in harmony is known as Amsha Laya. One part will be following the other without actually overtaking.

3. Anyonya Laya (mutual Harmony)
Anyonya Laya obtained between two ragas of different tunes. The tune must be sung or played on the same tala. They have a pati patni Bhava (Husband wife).

Time of Ragas

Time determined by the physical and mental condition of the singer. It was said that a raga to be attractive must be sung at a time when it pleases the mind. That is, when its tune or import is in conformity with the state of mind of singer, or the hearer or the both.

The day and night may be divided in to four periods.

1. Day break to mid-day
2. Mid-day to evening
3. Evening to midnight 
4. Mid-night to day break

Of those, mid-day to evening is the period when a man feels most tired and sluggish and can bear the least strain. On the other hand, from midnight to morning one feels the most brisk and smart and, unless troubled by sleep, can exert one’s self much better than in any other period. The other two periods are mid-way between them.

As regards strain in singing, the Komala or flat swaras are easier than tivra. The purvanga (sa-ma) is easier than Uttaranga (pa-sa). Hence it may be taken as a rough gender rule that the purvanga ragas with Komala swaras should be sung in the period mid-day to evening; purvanga ragas with tivra swaras from midnight to day-break; and Uttaranga ragas with Komala swaras from the day to mid-day.

Some other technical terms

The performance of classical musician on a stage is known as concert. Concert convince us that through music we can shield ourselves from the sardid perils of actual existence, and since it thus ministers to human welfare. The term Kirtanas in music signifies a devotional songs set to a raga and tala. Kriti, a crystallized musical structure mounted an a rhythmatic setting in an exalted poetic and devotional medium. It is a vehicle of musical impression. Kirtana has generally three angas or sections, pallavi, Anupallavi and Charana. The pallavi is the burden of the song to be repeated at the close of each of the song to be repeated at the close of each of the other sections. The Anupallavi completes the picture of the raga which the pallavi starts delineating. The Charana is a combination of the structural features of the pallavi and Anupallavi and may be single. The musical form of a song, as is well known, is called its Dhathu or Vounamettu and the poetic form to which this music is applied is called its mata or sabitya.
A distinction is sought to be established between ‘Kirtana’ and ‘Kriti’ by modern musicologists is that the Kirtana is comparatively simple in its musical structure and scope, while Kriti is a more fully developed musical piece with embellishments and scope for elaboration and crystalising in itself the effect of raga. Any Kirtana with an aesthetically sound structure, which affords enough scope for a full and impressive presentation of its raga and bhava and the pleasing improvisations of an imaginative singer, can well be considered Kriti.

Grahaswara: The starting note (swara) of a raga (Tuno) or a song

Nyasa Swara: The ending note of a raga/song (old definition)/long breath swara or Jiva swara (main swara) (new definition)

Amsha Swara: Most often using note in a raga, which repeats more than other notes.

Chaya swara: Which shows the character of the particular raga.

Mathu: Lyric of song

Varnam: It is the name of a song. In earlier stage it is considered as a path of notes.

Thanavarnam: Which creates new path of a particular raga note/a practice song.

Padha varnam: A dance song which contains ten notes of a particular raga and its special ways. Also known as Chauka Varnam.

Nishadhantya Raga: A raga which travels from Mantra Sthayi Nishadha to Madhyasthayi panchama/Dhaivata. Eg: Navaraj, Kuranjhi. Madyama ragas sung in Madyama sruti.

Swarantaca Raga: Raga contains only four swaras/notes. Actually this is not a raga, only unarrangement of notes.

Communication

The English word ‘communication’ is derived from the Latin noun ‘communis’ and the latin verb ‘communicare’ which means to make common. Similar etymological origins include community, communion, commonality, communalism and communism. The closest Indian Language equivalent to the original concept of communication is ‘sadharanikaran’.

Communication, in its simplest sense, is a human relationship, involving two or more persons who came together to share, to dialogue and to commune, or just to be together at a festival or time of mourning. Communication is thus an act or a process of social and cultural ‘togetherness’. Communion with oneself, with God, nature, the world of spirits, and with one’s ancestors are also forms of communication.
Communication is the name we give to the countless ways that humans have of keeping in touch not just words and music, pictures, and print, nods and becks postures and plumages; to every move that catches. Someone’s eye and every sound that resonates upon another’s ear. In the beginning after all was ‘Aum’ or the ‘word’, the first sound ever made or heard. In Indian tradition the ‘word’ is the Shabda Brahman, the divine word.

Communication and Language

Sensory communication alone was not enough for man to survive. Hence the evolution of symbolic communication called language-from non-verbal gestures, grunts and grimaces to the verbal, and then to written and printed word. Language is inseparable from culture which is its very source of sustenance; Language embodies and expresses a community’s culture. The ‘arts’ have grown out of this same fundamental desire and need to express oneself and to reach out to others. Cro-magnon men and women adorned their caves with paintings of animals and hunters; the modern artist shows a preference for the abstract and ‘pop’, for the electronic and computer arts, for ‘virtual reality’.

Defining Communication

Interaction, Interchange, transaction, dialogue, sharing, communion and commonness are ideas that crop up in any attempt to define the term ‘communication’. According to Denis MacQuail, communication is a process which increase commonality. Shared culture and a common interest brings a sense of commonality or a sense of community. The Sanskrit concept of Sadharanikaran in Bharata’s Natya Shastra comes closest to the sense of communication. Sadharanikaran is a social process which can be achieved only among Sahridayas (means ‘of one heart’), people with capacity to receive message. This is an innate ability acquired through culture, adaptation or learning. According to this, communication is a relationship based on common and mutual understanding and feeling.

Deris MacQuail sees ‘human communication’ in linear terms as the sending of meaningful messages from one person to another. These could be oral or written, visual or olfactory. He also takes such things as laws, customs, practices, ways of dressing, gestures, buildings, gardens, military parades, and flags to be communication.

Ashley Montagy and Floyd Matson view ‘human communication, as a clash of symbols, and it covers a multitude of signs. Communication is the ground of meeting and the foundation of community or the essential human connection.

W.S. Cardon, a leading exponent of Kinegics, the science of body language define communication as a process of mutual participation in a common structure of rhythmic patterns by all members of a culture.

Types of Communication

Communication has been classified in to several types: in terms of the Verbal and non-verbal; the technological and non-technological; the mediated and non-mediated; the participatory and non-participatory; and so on. One common typology relates to the size of a social group or the number of people involved in the experience of communication. Such typology ranges from Intrapersonal, interpersonal and transpersonal, to the group and the mass.

Communication As ritual

James Carey, the American anthropologist, has been foremost in promoting a ‘ritual’ model communication. Horace Newcomb, Robert Alley and others also promote this perspective. Their approach says as that, ‘all members of the public-not just message senders are considered to be actors contributing in some way to the pattern of meaning of a nation or region. They object to a ‘transportation’ model which defines communication as the transmission of messages for purpose of ‘social control’, communication is thus a process of creation, representation and celebration of shared belief.

Five needs for human communication

Psychological need - communication needs to perform the organ, sleep, thinking etc. It is a mental activity.

Safety needs – To protects or to escape from other animals.

Social need- To maintain and establish relation with each other, acquire needs etc.

Self ethic – have to secure his own contribution, taste, passion, tradition, heritage, values, hall mark, etc in the society.

Self realization – Inquiry for the answer of the question Who am I?

Indian Communication Theories

According to I.P. Tewari the Indian Theories of Communication forms of a part of Indian politics; and can be traced to a period between second century B.C. and first century A.D. in the works of Bharata. It hinges on the concept of ‘Sadharanikaran’.

The most important assumption in the process of Sadharanikaran is that it can be achieved only among Sahridayas, i.e. , only those who have a capacity to accept a message. This is an innate ability acquired through culture, adaptation and learning. It only denotes the quality of mind or receptivity on the part of the audience. It may, however, quality the depth or level of sensory experience that shapes the human personality.

The human psyche in terms of this theory is composed of permanent moods, called Sthaibhava. These moods are capable of arousing a corresponding state of feeling, rasa. There are nine permanent moods and they give rise to nine rasas or forms of aesthetic pleasure. The state of arousal of the nine permanent moods is termed rasa Utpathi.

The secondary moods and may help to manifest the permanent moods are called Sanoharis or Vyabhichari bhava. There are 33 Vyabhichari bhavas. In addition, there are Vibhavas and anubhavas, the emotion that unite a man and women in love. Thus Indian communication theories, highlights 50 bhavas including nine Satvik bhavas.

The concept of sadharanikaran, one of the fundamental concepts in Indian aesthetics, also has religious implications. As in the Vedanta, objects of experience are held to be not the ultimate reality but only manifestations of that reality; so words and expressed meaning are regarded as the mere external experience of act, and the emotional mood which a work communicates is thus the essence of reality-the highest communication endeavour indeed.

Rasa is the act of the ordinary, but it can be understood only by the sahridaya and the only proof of its existence is the aswada, the taste, which only a sahridaya has the or she alone is capable of sadharanikaran.

Yadhava points out that the term was first used in the tenth century by Bhattanayaka in a commentary on the Natya Shastra to explain the sutras related to rasa. Bhattanayaka stressed that the, essence of communication lay in achieving commonness and oneness.

At the community level, Yadava notes, the saints, Sufis and Brahmins of old propagated religious and cultural values through simplication and illustration. This practice continuing today in the traditional media of rural folk throughout the Indian sub-continent. This dimension of sadharanikaran seems to have become the common heritage of the Indian people.

In Sadharanikaran the source is perceived as having a higher status, and the receive of the message, a lower status. The relationship is hierarchical, of ‘domination’ and ‘subordination’. A relationship idealized and romanticized in the Guru-Sishya tradition.

In Indian tradition, communication is an inward search of meaning- a process of meaning to self-awareness, then to freedom, and finally to truth. It transcends language and meaning. The Intrapersonal dimension is of greater importance in Indian approach, for individualism and manipulation have no place in it.

Music Communication

Music belongs as science, combines the sounds, which philosophy distinguishes in such a manner as to gratify our ears, or affect our imaginations, or by uniting both objects, to captivate the fancy while it pleases the sense, the language of beautiful nature, to raise correspondence ideas and emotions in the mind of hearer.

According to Swati Tirunal, good music should have a universal appeal; it should display the diverse emotional moods; it should always delight the mind and be an antidote to sorrow; it should celebrate the glories of Divine; and it should possess a superior quality by conforming to the highest standards of the art.

In the communicational aspect the perceptions, are transformed into emotions through ideas, based on previous experience, which require words to form them, and words have a much closer psychological connection with objects perceived by the eye than with those perceived by the ear.
Music, being perceptible through the ear, thus takes time to have its effect on emotions. The help of words in the form of songs or poetry is therefore sought, and acting is resorted for better effect.

In fact, real music is above language. It is primarily concerned with the sweetness and aesthetics of sound, with its various shades and combinations. Language is only a subsidiary peg to hang the raiment on. That music can even dispense with language and rise to sublime heights is shown by the Raga alapana, Thanam etc, by the voice. The instruments like flute, veena, violin, sarangi, sitar, etc are sweeter in sound and are independent of language. Music to be universal must be above language and sahitya has only a parochial value. So the essence of music is its form.

Diffusion process of classical concert

A performance of Karnatic music or Hindustani music vocal, instrumental (percussion) or both, is known as classical concert. When a connoissour presents it to his audience, the musical introspection of that person builds so many forms of communication. The rasikas felt inspired and elevated to witness the transaction of the aesthetic depth in to music. The Praga delineation or Raga rending soothe the rasika and gaves them intense delight. Even silence also communicates in concerts. Silence, is not absence of sound, it is the language of soul enjoying the peace of sangitha.

Artists allow the listener to fall back upon his own gift, his own analysis, judgements and imagination. The artist does question the listener were you absorbed in the music? He is oblivious to the truth that a master work awakens in us reaction of spiritual order that are already in us waiting to be aroused. A concert is a reinnarnation of a series of ideas implict in the work of arts.

To good Rasika, good concert, is the world inside the world, smelts the smell of Atman, cuts his time into pieces and slowly varishes it from his conscious and give him a meditative mood. It is the convergence of so many souls in to one soul, energetic communication between singer, nature and audience.

Concert Communication

In communication perspective concerts goes through different stages, like intra level, inter level, group level and mass level.

Intra level communication

The individual reflection of each artists, contemplation and meditation to music. He/she enduring power from it, that is the particular mind set achieved from practice. Conversing with the Divine and with spirits. It may be termed as transpersonal communication.

Inter level communication

In this stage the artist is the connecting link between music and audien. Performer creates a stable inter level balance between him and his listener with music. Here happens two type of inter communication. First is face to face communication between artist and audien; second is communication between music and audien.

It is personal, direct and intimate allowing for maximum interaction and exchange of aesthetic pleasure, imagination etc, from music and gesture. Inter level communication is the most perfect form of communication that two persons an attain. The effectiveness of this communication depends up on factors like taste of audien, courage of artist, talents of accompanying artists, technical concert communication are, the phatic state, the personal stage of the intimate stage.

1. The phatic stage: The initial exploring stage of concert, begins often with Vandanam. The personality, fame, appearance etc of performer and accompanying artists are very much concerned in this stage.
2. The personal stage: Introduces personal elements in to the concerts, exposing the style, rendition, voice modulation, manodharma, using of rare compositions to reveal knowledge, showing particular gestures to catch the attention etc are some tricks from artists side for to establish inter communication.
3. The intimate stage : In this stage audience interacts with artists. They request the artist to sing some raga, kriti etc., that they like. It shows the closeness of the relationship between artist and audience.

Group level communication

Group communication shares all qualities, though in a much less measure. In concert, the main artist and accompanying artists works as a single body, by the activity of group communication. The effective support by the accompanying artists to the main artist decides the success of concert. The ‘Thaniyavarthanam’ session in Karnatic concert, shows and experiences us that how a healthy group communication achieves its optimum. It is a sort of conscientization.

The factors like timing, group alertness knowledge, effective support etc of main artist and accompanying artisits contributes the good result of group communication in concert.


Mass level communication

Concert through mass media is comes under mass level communication. Mass media in India considers classical concert as a treasure house of cultural heritage. They counts it like so because concerts are far less expensive organs, are easy of access, are frequently participatory in nature and communicate directly and effectively at personal level. Only need is the taste towards it from listener/audien.
The success of mass level communication measure from the listenership or viewership. Now a days some books, the press, the cinema, television, radio, video and internet like mass medias extended concert as a tool of mass communication. This influences social values, practices and develops a new layer of mass culture.


Significance of Music in communication

We know that communication is an expression of a communities culture. The messages and information about culture are transmitting through communication. The message and information through music effective and easy to remember. It is the best medium for all time to express idea smoothly and directly to the heart of the listener. The voice modulation, i.e., ascending and descending, of source gives lively effect to message. Sound vibration affects the receivers mental state. Communication through music multiplies the emotion of the receiver. It refines the emotion as well as purifying the mind of listener. So music cultures communication.

Communication through music is also said to possess medicinal properties. It is particularly effective in soothing the brain. Many diseases of the brain and nerves have been cured by appropriate communication through music. Thus music supplies medicinal power to communication.

The musical sound ensuring artists and listeners. It helps them to achieve transcendental communication, i.e., communication beyond senses. Raga, the cultured emotion, in music enlarges the imagination and thinking power of people. So the communication process becomes much more effective. Therefore, music plays a significant role in concerning all these facts and more communication process.


Cultural communication and Music

Music and other fine arts are comes under the aesthetic aspect of Art, hence psychological and ultimately of the deepest human importance. The unique quality of free naturalistic sensitive character of music appealing directly to the heart and minds of people. In that way it has the magical ability to attract attention of mass very quickly. Music possesses charismatic and hallucinating power. It also has the strength to arise impulse or to cool down one from rage. So we can say that it is the most appropriate medium of all time to convey a message and most effective medium for cultural communication.

In a cultural communication music on an unavoidable dominant place. Day to day life of human beings directly or indirectly related to music. It is the part and parcel of their cultural activities. Music uprising the real truth of life through various forms, in the social and religious context. Thullal Pattu, Velan Pattu, Pulluvan Pattu, Brahmanic Pattu, Parayan Pattu, Thottam Pattu, Poora Pattu, Padayani Pattu, Kalamezhuthu Pattu, Tharattu Pattu, Koythu Pattu (Harvest Song), Mappila Pattu,Oppana Pattu, Ona Pattu, Kathaklai Padangal, Thiruvathira Pattu, Bhajaan Pattu, Sopana Sangeetham, Nadaswaram, Panchari Melam, Panchavadya Meam etc. are some examples for different forms of music used in cultural communication. In almost all events occurs in social system connected to music. The community events like marriage, birth, death celebration includes some sort of music in it.


Indian Classical Music as a Cultural Communicator

Indian Music at grass root level indigenously originated and later influenced by so many other cultures. Even though it doesn’t changed its basic character. Indian Music adopted different forms, styles, and language but never avoided the fundamental values and heritage. Its spiritual strength maintained its historic continuity.

The division after Mugal invasion, that is to Hindustani music and karnatic music, Indian music as its classical form accepted some new plan in the peripheral level, by the association of religion and surrounding. Now, modern era, also follows the path that created by the forefathers.
As said earlier culture is the behavioural pattern of the group, the behavioural pattern forms by constant touch with so many inner and outer things of each individual. Emotional and intellectual part of human attracts and regulates those things. In the case of Indian Classical Music, a tool for cultural communication, it preserves certain good qualities of old culture and transmits it to next generation, those who like and studying it. A Music artist a musician quite naturally becomes a role model in society and his qualities being diffuses to his surroundings. He mastered the theory of his art not merely from books but from the practice of the virtuosi of his time. Our common humankind learns to walk erect seen in him the complete man. He profoundly affects our destiny by giving us new eyes. The extension of consciousness by which, evolution takes a leap forward is always the work of the seer, the Kranta darsee.
Classical Music emits characters of culture through traditional methods of teaching system, adding philosophies in lyrics , celebrating customs, purifying emotions by sound variations, practicing ‘sadhana’ and ‘upasana’ ( ‘sadhana’ means practicing of musical lessons and ‘upasana’ means concentrating), by stimulating the spiritual inquiry, by enlarging ones imagination etc.

Social significance of the study

The organized system of shared meanings, perception, beliefs held by persons belonging to some group is culture. This system developing gradually by the influence of so many factors. Indian classical music is such one. The tradition set by the Indian classical music upholds certain knowledge, beliefs, moral, customs etc. The training process of classical music molds the character of student, insists ordered life, creates some special perceptions in him and arises the spirituality inside. Overall it develops some good citizens.

Indian Classical music provides a clam and quiet mind to people. So it can necessarily plays a role in modern society. The classical concerts stimulates the good emotions in audience and gives them concentration. The calm and quiet mind and concentration helps one to see the real truth , which in turn helps oneself and others to overcome hurdles. Classical music culture manifests the divine perfection already exist in man through concentration in lessons.

Culture, the general non-written laws or internal thread of an individual, protects by classical music. So we can say that it facilitates the smooth functioning of society. One who acquires sufficient knowledge in classical music is considered as a peace contributor, or otherwise he generally accepted as a Gods own person. He firmly follows the values inherited through Classical Music Culture and disseminates it to his surroundings.

Classical Music can be beneficial for any one, although it can be used therapeutically for people who have physical, emotional , social, or cognitive deficits, even those who healthy can use music to relax, reduce stress, improve mood, or to accompany exercises. There are no potentially harmful or toxic effects . Music therapists help their patients to achieve a number of goals through music, including improvement of communication, academic strengths, attention span, and motor skills. They may also assist with behavioral therapy and pain management. Here music therapist use the techniques such as singing, listening, instrumental compositions, creative movements, guided imagery and other methods appropriate(dance, art, and psychology).

Studies have found that classical music people with emotional problems to explore feelings , make positive changes in mood, practice problem solving and resolve conflicts. It can strengthen communication and physical coordination skills, and improve the physical and mental functioning of those neurological or developmental disorders.

Now a days, in music therapy classical music is used as a pain management device. Pain and music appear to process in the same part of the brain. Which means that the stimulus of music can override the pain stimulus. It help to reduce pre- operative and pre-procedural anxiety and fear by reducing the perception of pain. So this study has the multi dimensional significance in society.

Purpose of the study

India, as a nation admired by all others in the world because of its rich cultural heritage. The inherited property preserving through various tools. Indian classical music is such a tool. It more strengthens the bold basement of Indian culture. Cultural communication and Indian Classical Music is a minor attempt to explore some facts of Indian classical music and its cultural features.

Aims and Objectives of the Study:

To find out the social significance of Indian Classical Music
To find out how Indian Classical Music functions as a cultural communicator
Role classical music in the formation of particular belief and perception in some people.
To study the communication process of Classical Music
To study the evolution of Indian Classical Music
To study more about science of music.
To explore the dynamism of Indian Classical Music
To find out the necessity of Indian Classical Music in a modern society.
More over, to make aware, those who never taught/know, about the great Indian Classical Music.

Scope of the study

Indian Classical Music is fundamentally a performance art. It is more abstract and calls for greater skills in both execution and comprehensions. It is Nadopasana and entertainment and also enriches our culture.
The study is a sort of excavation from Indian Classical Music. It covers cultural communication process of Indian Classical music, how it conservates, transits and transforms culture, the role of Indian classical music in a modern world and the historical as well as scientific background of Indian Classical Music. This study is just concentrating a single side of multidimensional subjects like music. So those who are interested can do further research on the same. Therefore the scope of this study would be widened once they start.

Limitations of the Study

Through efforts have been made to collect maximum data , lack of time and personal have affected the perfection of the study. Opinions of Hindustani musicians and musicians from outside Kerala were ignored. So all musicians interviewed were restricted to the boundaries of our sate and only in Karnatic music. Another limitation of the study is to find a comprehensive textbook covering the aspects of ‘Cultural communicant and Indian Classical Music’

Review of Literature

Culture and Indian Classical Music, both are boundless and growing by giving and taking each other. Actually Indian classical music imbibed in Indian Culture. It has polishing and injecting something to our great culture. Of course, books on culture and music were available plenty. But the topic was narrowed down to ‘ Cultural Communication and Indian Classical Music’ the task of researcher was become a little bit tough. The main challenge faced was to correlate and narrow down from both these vast subjects. For that the researcher collected data separately from books dealing with music and culture.

Rai Bahadur Bishan Swarup’s ‘Theory of Indian Music’ , Reginald and Jamila Massey’s ‘Music of India’ were help the researcher a lot in knowing the growth and science of Music.

It is not fair with out mentioning Dr.K.Sivarajan’s ‘Education in the Emerging Indian Society’, because it gave the researcher and immense light into Indian Culture. The simplicity of language and communicating ideas in very short words are the specialty of this book.

Dr. Leela Omcheri’s ‘ Sangeethathinte Padavum Paadavum’ made the researcher aware of Hindustani music. Dr. Venkita Subrahmania Aiyer’s ‘Swathi Thirunal and his Music’ shown the path of a great musician’s life. It also shows how a musician converting ordinary to benedictory and the steps of training like Sadhana and Upasana.

K.T.Ravindra Nath’s ‘Ragasudharnavam’ helped the researcher in understanding technical terms and how vedamantra chanting resulted in the formation of swaras/tones. Ananda.K.Coomaraswamy’s ‘The Dance of Siva’ removed the ignorance of Indian artistic concept.

Keval.J.Kumar’s ‘Mass Communication in India’ taught the researcher about communication and its subtle levels, functions etc.


METHODOLOGY

Explanatory method is adopted here as it is a very popular form of qualitative analysis and involved a careful and complete observation of a social unit, be that unit a person, a family, an institution, a cultural group, or even the entire community, or a situation. It is a method of study in depth rather than breadth. It deals with the process that take place and their interrelationship. The object of using this method is locate the factors that account for the behavior patterns of the given unit as an integrated totality.
This study can be regarded as an explanatory qualitative multi disciplinary study deals with the role of Indian Classical music in Cultural Communication.


Why explanatory method selected

We know that culture is an innate ability. It is a discipline in people, that one can experience from his behavior. So explanatory study is the best method to study. There the unit is studied in minute details we make complete study of the social unit covering all facets. Mere quantitative information is not required here. Neither the laboratory nor the empirical nor the historical method is suitable to this study. This study helps to know the impact of Indian classical music on the public, how it conservates, transits and transforms culture. This study helps to understand the behaviour pattern of a concerned unit. The hypothesis along with the data which may be helpful in testing them.
This method enhances the experience of the researcher and in turn increases his analyzing ability and skill. Information collected will help the researcher to frame questions to conduct interviews. Depending upon the prevalent circumstances researcher can use one or more of the research methods. Case study techniques are of immense value in taking decisions regarding social management problems as well.

Tools

Personal interviews with people related to the classical music field, is the tool applied for this study. As the topic is restricted to Indian classical music a massive scale survey is not possible. General public hardly aware of this type of cultural communication and its influence;


Personal Interviews

Here the interviewer asks questions in a face to face contact to a person or group of persons. It may be in the form of direct personal investigation or indirect oral investigation. In certain cases it may not be the persons concerned, hence direct personal investigation technique may not be used.
The method of collecting information through personal interview is usually carried out in a structured way. As such we call the interview as structured interviews. Such interviews involve a set of pre-determined questions and of recording the answers by writing down or using standardized techniques like Tape recorded. In this study structured questions in direct personal investigation is used.


Why personal interview is selected as the tool

Answers like yes or no or impetuously marked ticks will not serve the purpose of this study. Hence questionnaire is not at all possible here. Interviews are likely to derive answers in a wider manner. Respondents can answer the questions by highlighting on their experience or knowledge. In order to find some background information for the study the history related to this topic were gathered by reading various book written by various authors.

Personal interviews are more likely to create a friendly rapport between the interviewer and the interviewee. With a polite behaviour the interviewer can gather true and frank opinions from the interviewee. Moreover, in personal interviews interviewer can ask questions according to the mood of the interviewee. This will in turn helps in maintaining the rapport with the interviewee. The difficulties attached with telephone interviews can also be overcome through personal interviews. In short, the weight of mental rapport in personal interview is simply worth in gold.


Sample: Why it is selected?

Sample selected to conduct the study is mere other than in the field of classical music. In fact, the general public is so far least aware about the contribution of Indian classical music aspects are considered as a link between the music and culture. They conservates, transits and transforms culture through this subject. So they are taken as samples for the study.

Two music student were also selected as samples (Bhagesh and Naveen), because they reflecting the mental state and thinking pattern of new generation. For the credibility of the study these samples were selected from different places.


Character of the Sample:

Classical musicians from different places from Kerala were selected as samples for this study.
Classical musicians include those musicologistor, music directors or music composers or music teachers or music student with 10 years plus experience in the field of classical music.

Two music students were also selected for the study

Experienced classical musicians were selected with a perception that under the light of their experience, they can highlight the omissions of Indian Classical music which contributing to culture more authoritatively.

Unlike the general public these classical musicians definitely have that experience to point out the impacts. So general public are intentionally kept away from the survey.These samples were being taken from different districts in Kerala including Trivandrum, Kottayam, Pathanamthitta and Alappuzha.Men and women classical musicians were selected.Some of them have had taken PhD.Due to the limitation of time and money opinions of classical musicians from outside Kerala were deliberately ignored. So all musicians interviewed were confined to the boundaries of our state itself.


Distribution of Sample:-

‘Snow ball” method of sampling technique is used in the study. One experienced person in fact suggested the name of another person who got sufficient knowledge about the subject and that person then suggested the name of others and thus the process continued. In the end, all the samples mentioned were surveyed to conduct the study. The first sample and the latter suggested samples are snow-balled into a particular number which definitely helped in the study of this topic.


Hypothesis:
1) Classical Music conservates the culture
2) Classical Music transits the culture
3) Classical Music never transforms culture
4) The character of the student changing when he undergoes musical training
5) The preparation making a good classical musician
6) Classical Music creates some good perceptions
7) Classical Music provides a calm and quiet mind
8) Classical Music is not necessary in modern society
9) Classical Music is imbibed in culture
10) Classical Musicians faces cultural Lag


Operational Definitions:

Empirical Method: Under this method the researcher gather information from his personal experience.
Historical Method: Under this method the researcher gather information by going through various historical document.

Direct Personal Investigation: There are face to face investigations conducted with a particular person in order to gather information for the study.
Indirect Oral Investigation: Here questions are asked to a person who is a close associate of the real respondent.
Structured Interviews: In this type of interviews questions are asked in a structured format to the respondents who helps in the easy processing of data.


Results and Findings

Classical Music performing artists, teachers ,music directors, composers, playback singers, music students in Kerala were selected as samples for this study. Most of them are masters in their concerned field. Two students selected to conduct the study, because they reflects the thinking pattern of new generation. All musicians were selected with a perception that, under the light of their knowledge they can point out the various sides of cultural communication of Indian Classical Music. Unlike the general public these experts definitely have that experience to highlight the impacts of traditional Indian Classical Music. So general public were intentionally kept away from the survey. Classical Music has a generally accepted set of rules in learning and performing, that’s why there is no language age or area barriers in selecting sample. Only need is their knowledge and experience.
“Snow-ball” method of sampling technique is used in this study. One experienced person infact suggested the name of another person who got sufficient knowledge about the subject and that person then suggested the names of others and thus the process continued. In the end, all the above –mentioned samples were surveyed to conduct the study. The first sample and latter suggested samples were snow-balled into a particular number in order to attain the purpose of the study.

Interpretation of data:

The researcher framed ten hypothesis for the purpose of this study. Each hypothesis are represented as H1 , H2 etc:-. the findings that were derived from the data collected ate stated as follows:


H1. Classical Music conservates culture

This hypothesis was proved right as all experts supported the same.
In this case expert opinions were in favour of this hypothesis. Most of them believes that the Guru (teacher) Sishya (student) relation conservates the culture. The particular tradition of Guru influences the shishya and the order of behavioural pattern and dedication of student absorbed from this results conservation opined Bhavana Radhakrishnan . Musicologist Dr. S.Bhagyalakshmi said that the scientific treatment preserves the culture. Dr.B.Arundati highlighted the spiritual character keeps culture. Famous violinist and composer R.Mahadevan believes philosophical thinking of great composers conservates culture through Classical Music. Flutist and music director Kudamaloor Janardhanan stresses the idea of interaction between teacher and student.

Classical Music family background(hereditary), influence of Temple festivals, trend setters inspiration, musical customs like Navarathri Sangeetha Utsavam, concerts through mass media like All India Radio, Music periods in School Curriculum, musical competitions and friends influence etc were also contributes in the conservation of culture.

The opinions of experts stated below:

Sl.No. Name Opinion

1. Dr. S.Bhagyalakshmi M.A.,Ph.D (Music)Karnatic Musician, Musicologist (State Institute of Childrens Literature, Sanskrit College Campus, Trivandrum.) says- Day to day life of each human being associated with culture. Music is part and parcel of their cultural activities. The ordered scientific treatment of music resulted in the formation of classical music. This conservates culture.

2. Dr. B.Arundati M.A.,Ph.D (Music),Karnatic Musician, Playback singer, Music Teacher (Department of Music, S.N. College, Kollam) says- Spirituality exposing character, Bhakti oriented approach and ‘Nadayogam’ like practices conservates culture.

3. Dr. Bhavana Radhakrishnan M.A.,Ph.D (Music) Karnatic Musician, Playback singer, Music Teacher (Department of Music, S.N. College, Kollam) says- Guru’s influence, order of behavioural pattern and dedication of student etc conservates culture.

4. Kudamaloor Janardhanan (Flutist, Music Director, Karnatic Musician) says- Interaction between Guru and student conservates culture.

5. Prof.Palkulangara Ambikadevi (Karnatic Musician, Visiting Professor of Department of Music, Kerala University) says- Tradition, Traditionalists and hereditary in classical music conservates culture.

6. R.Mahadevan(Violinist, Composer, Karnatic Musician, Music Teacher (Model School, Thyckadu, Trivandrum) says- Great composers philosophical thinking and its injection in lyrics conservates culture.
7. Manakala Gopalakrishnan(Karnatic Musician, Teacher (DIET Chengannur) says- Traditional classical musicians conservates culture

8.K.N.Rajiv Kumar, Karnatic Musician, Faculty (M.G.G. Sangeetha Vidyalaya, Thiruvalla) says- The trend setter conservates culture. That influenced personality disseminates his culture.

9. Bhagesh, M.A. Music student( Music Department, Kerala University, Vazhutakadu, Trivandrum) says- Bhakti, spirituality in classical music and Guru’s inspiration conservates culture.

10. Naveen, (M.J.C. Student, School of Communication and Information Sciences, M.G. University, Kottayam - Music Student) says-
Performers inspiration conservates culture.


H2. Classical Music Transits culture

This hypothesis was proved true as all experts supported the same.

All experts agreed this hypothesis. Majority of them expressed the opinion that the teacher and teaching practice transits culture. In S.Bhagyalakshmi’s opinion the self transformation ideas and style of teacher is essential in cultural transition. B.Arundati said that ‘Guru Bhakti’ and code of behaviour strictly following quality of classical musician helps the transition process. The innate ability that acquired by traditionalist in classical music transfers it to his disciple who really worth it. This accelerates the cultural transition.
The philosophical inculcation in lyrics by great composers also transits culture from generation to generation. Because philosophy are the essence of culture. Feeling through eager attracts the attention of audience and stimulates the particular emotion inside them. The selection of raga to lyric by the scholars tending the real honest audience to study about the relation between raga and philosophy. This educates the common people about our principles of life.
The predetermined, absolute and unchanged values included in practices helps one to achieve self realization. This concept in classical musicians also transits culture. The cultural transition process occurred in places such as Temple, Schools, Guru’s house, Musical Sabhas etc were it happens through classical concerts and open discussions.

Experts opinions conceptualized follows:

1.S.Bhagyalakshmi says, The role of teacher is essential in transition of culture. The style, self transformation ideas and influence of teacher transits culture. The period and age factor are very much concerned.

2. B.Arundati says, Guru Bhakti, code of behaviours etc transits culture.

3. Bhavana Radhakrishnan says, Feeling through raga transits culture.

4. Kudamaloor Janardhanan says, Philosophical aspects of classical music transits culture.

5. Prof.Palkulangara Ambikadevi says, Taste and dedication to Guru transits culture. The obedient and patient character of student facilitates the smooth flow of that particular culture.

6. R.Mahadevan says, Internal changes through Nadopasana and meditation power of classical music transits culture.

7. Manakala Gopalakrishnan says, The teaching practices transits culture

8. K.N.Rajiv Kumar says, Science behind music transits culture.

9. Bhagesh says, Learning process transits culture.

10. Naveen says, Practices and lyrics transits culture.

H3. Classical Music never transforms culture

This hypothesis was proved wrong as all experts refused to agree with it.

In the co native meaning cultural transformation is the change of culture. That is gradual changing from the existing culture. Majority of experts opined that the sound waves and its vibrations in neurons in brain transforms culture. B.Arundati said that the sound vibrations soften the mind and it accelerates the refinement of mentality. Bhavana Radhakrishnan stated that the ragas(Tones) ability to purifying mind transforms culture. S.Bhagyalakshmi and Kudamaloor Janardhanan believes in the individual effort to transfer. In R.Mahadevan’s opinion the special environment creation such as Gurukula tradition transforms culture. K.N.Rajiv Kumar, Faculty of M.G.G. Sangita Vidhyalaya expressed the idea that Sadhana and Upasana in Classical music transforms culture. Represenatives of new generation Bhagesh and Naveen also expressed their opinion. Bhagesh said that feel attracts and concentration transforms. In Naveen’s word Absorption acceptation and practice doing the transformation work.


Why they opposed the hypothesis:

1. S.Bhagyalakshmi says, The cultural transformation depends on the individual. By feeling the music, the sound waves and its vibrations changes individual and group.

2. B.Arundati says, Sound vibrations soften the mind and it accelerates the refinement of mentality. A good respectable Guru transforms culture of his students in this way.

3. Bhavana Radhakrishnan says, Rags ability to purifying mind, the discipline through music practices, reading music books etc transforms culture. Mainly classical music decreases the ego of individual.

4. Kudamaloor Janardhanan says, Individual effort transforms culture. It depends on teacher and student.

5. Prof.Palkulangara Ambikadevi says, Guru’s behaviour transforms.

6. R.Mahadevan says, Gurukula tradition and that special environment creation transform culture.

7. Manakala Gopalakrishnan says, Self exposing and reputation mentality of people attracts to classical music and learning methods transforms culture.

8. K.N.Rajiv Kumar says, Sound variation transforms mind. Sadhana and upasana changes culture.

9. Bhagesh says, Feel attracts and concentration transforms.

10. Naveen says, Absorption, acceptation practice hearing understanding of classical music transforms culture.


H4. The Character of the students changing when he undergoes musical training

This hypothesis was proved right as majority of experts agreed it.

In this case experts favoured by expressing different opinions. Majority believes that the repeating process of practice changes the character of the student. Prof. Palkulangara Ambika Devi, S.Bhagyalakshmi, Kudamaloor Janardhanan, Manakala Gopalakrishnan, K.N.Rajiv Kumar and Bhagesh were said so. B.Arundati said differently, that is, the closeness and influence of teacher changing the character of the student. Bhavana Radhakrishnan also expressed almost same idea that the attachment, intimacy, and interaction of teacher causing the changes in student. R.Mahadevan stated that the students tendency to follow the path of teacher moulds the character.

In above said all statements the participation of student is almost to change. If he fully dedicated to hid Guru, then the training process became much effective. The real Guru helps his student to develop spirituality, self realization, realization of truth, goodness and beauty. He prepares him for a holy life by development of intelligence and rationality.
Detailed opinions of experts are:

1. S.Bhagyalakshmi says, The soft approach of teacher and repeating lessons improves the patience of student. This changes the character.

2. B.Arundati says, The attachment of student to teacher gives him disciplined behaviour. It removes the negativity of the student. This closeness and influence of teacher changes the character of student.

3. Bhavana Radhakrishnan says, Attachment ,intimacy, interaction and more mingling to good Guru creates a tendency in student to accept good qualities like God belief. Which in turn results the change in character.

4. Kudamaloor Janardhanan says, By training student understands do’s and don’ts. This types of injecting perfection in his thoughts changes character.

5. Prof.Palkulangara Ambikadevi says, Individual clearness and regular practice changes the character.

6. R.Mahadevan says, By following the path of teacher and experiencing the power of music awakening knowledge inside disciple. This light changes the character.

7. Manakala Gopalakrishnan says, Systematic way of practice, truthfulness and clean habits changes the character.

8. K.N.Rajiv Kumar says, The disciplined practice gives order to the life of students and that changes character.

9. Bhagesh says, The Shruti Sadhaka and concentration to lessons changes character.


H5. The preparations making a good classical musician

This hypothesis was proved right as all experts supported it.

We know that without preparations no one can achieve great goals, same in the case of classical music. The intensity and dedication of preparations decides the success of a good classical musician. Most of the interviewed experts generally said what are the preparations they had done and doing now. The main preparation aroused by all is regular sadhaka(practice) and hearing. Dr.S.Bhagyalakshmi pointed out that preparations helps one from diversion and concentration. In the part of preparation B.Arundati heard a lot of concerts through radio and also found a good Guru. Manakala Goplakrishnan opined that first of all he dedicated fully to music and found a Guru and became a vegetarian.

The intense desire to become a Classical musician Bhavana Radhakrishnan at first stage heard a number of concerts and hard worked with regular practice of musical lessons. In the preparatory stage classical musicians develops a code of conduct and concept. They firmly believes in Guru Bhakti9devotion to teacher), consider teacher as God and kept some discipline in life, said R.Mahadevan. Now days the youth festival like competition preparation also converts some to become great musician.

More we can understand from the words of experts:

1. S.Bhagyalakshmi says, Followed traditional ways of learning. Had done vocal exercise and Sadhaka at Brahma Muhurtham(time before 5.30 am). Became systematic and concert oriented. Heard a lot of standard concerts. Avoided diversion and concentrated highly on music.

2. B.Arundati says, Listened radio lessons and concerts. Had done regular practice. Found a good Guru and now also studying music.

3. Bhavana Radhakrishnan says, Intense desire to become a classical musician resulted in hearing and regular practice. Continuous learning and observation to all kinds of music.

4. Kudamaloor Janardhanan says, Tried to understand from available sources. Concentrated in keeping tradition when accepting new things.

5. Prof.Palkulangara Ambikadevi says, Promptness in practice, that is had done sadhaka regularly and participated in competitions and other stage performances.

6. R.Mahadevan says, Honestly followed the family tradition, Guru bhakti, discipline in life self dedication and selected musical surroundings , wife, friends etc.

7. Manakala Gopalakrishnan says, Full dedication to music. Learned and practiced with friends. Found a good guru. Became a vegetarian food taker.

8. K.N.Rajiv Kumar says, Dedicated to music, done daily sadhaka. Lived with Guru. Studied academically. Became a music teacher, married a musician and formed a rasika sabha.

9. Bhagesh says, Heard a lot, became a patient student and satvik food taker. Concentrated shruti and laya.

10. Naveen says, Regular hearing and practice, food control, reading and enjoying through surfing in Internet musical sites.


H6. Classical Music creates some good perceptions

This hypothesis was proved right as all experts argued the same.

Perception, way of seeing the world, creating through classical music proved good in the modern world. Because it firmly holds some values, morals and ethics. The tradition and mode of cultivation in classical at grass roots level similar to Indian culture and philosophy. In fact, we can say that classical music is the aesthetic expression of Indian philosophy. The sadhana and upasana creates the particular perception inside a classical musician.

S.Bhagyalakshmi said, “through music musician wants to change the world”. He/she always stands with peace, calm and preserves the truth. B.Arundati perceives the world sincerely and keeps some values in behaviour and morality in actions. Prof.Palkulangara Amkika Devi wants perfection in all things and developed a devotive mind. The perception of Bhavana growing from observation. She in her nature accepting all and wishes to give some thing to the world. Kudamaloor absorbed a pragmatic approach towards trend.

R.mahadevan and Manakala Gopalakrishnan believes in secularist perception.. Both perceives the world and co-being with no religion, no caste, no language, and no age bar. That is, brotherhood approach equality and likes to associate with a common interest. Willing to give something to society, love to all and oneness with nature and God, Praising for goodness of whole world were the opinions expressed by K.N.Rajiv Kumar,Bhagesh and Naveen respectively.

Those who divulged view:

1. S.Bhagyalakshmi says, Through music he/she wants to change the world
2. B.Arundati says, He/she perceives the world sincerely. Artists always trying to become a perfectionist, seeks perfection in all things. Keeps some values in behaviour and morality in actions.
3. Bhavana Radhakrishnan says, Artists always observing nature, learning continuously, accepting all and also wish to give something to the world.
4. Kudamaloor Janardhanan says, Pragmatic approach in creation and towards trend.
5. Prof.Palkulangara Ambikadevi says, Fulfillment to all thing and devotive mind
6. R.Mahadevan says, He perceives world with no religion, no caste, no language, no age bar. Wish to give pure music to people and also wish to contribute something to music.
7. Manakala Gopalakrishnan says, Brotherhood approach, equality and likes to associate with a common interest.

8. K.N.Rajiv Kumar says, Willing to give something to society. Desire to contribute Peace, sensitive to surrounding , childish innocence.
9. Bhagesh says, Love to all and wish to oneness with nature and God. Idealistic way of approach.
10. Naveen says, Praying for the good ness of whole world.’Loka Samasta Sukhino Bhavantu’

H7. Classical music provides a calm and quiet mind

This hypothesis was proved right as all experts supported the same.

B.Arundati said that refined method of hearing depressing baser emotions and that providing calm and quiet mind will occur only when one who gets concentration. In classical music the raga(tone) and tala(rhythm) both helps one to attain concentration. Ragas special ability to certain the emotional root of human and meditation power supplies calmness. Rhythm breaks the actual movement of human beings and sets the speed of him with the songs speed. One performance or audience acquire this by striking his hands on the thigh or hand. S.Bhagyalakshmi opined that raga vibration in brain slows down the vibration of the neurons and which in turn helps one to attain calm and peace. Bhavana said, ”the pleasant feel of raga gives us concentration”. ”Full concentration, dedication and involvement provides calm and quiet mind”, stated Kudamaloor Janardhanan. Manakala was highlighted the love of intense delight in providing calm and quiet mind. In Ambika Devi’s statement it is clear that the meditation power through emotional intensity supplying by classical music gives the calm and quiet mind. K.N.Rajiv Kumar expressed a different and interesting opinion. That is , the formation of creative level of mind while singing and listening provides calm and quiet mind. The detailed expressions revealed by experts are given below:

1. S.Bhagyalakshmi says, Just by listening and involving classical music giving a positive energy. Raga vibration slows down the vibration of neurons. That provides calm and quiet mind.
2. B.Arundati says, Refined method of hearing makes positive changes in people. It depressing the baser emotions. By escaping from baser emotions one may get calm and peace. Classical music provide this.
3. Bhavana Radhakrishnan says, Raga’s ability to catch emotion and going to soul gives concentration. The pleasant feel through special arrangement of notes in the classical music provides calm and quiet mind.

4. Kudamaloor Janardhanan says, Full concentration, involvement, dedication, imagination, sound variation, shruti, tala etc collectively and uniformly provides calm and quietness.
5. Prof.Palkulangara Ambikadevi says, Emotional intensity of classical music gives meditation power and that provides calm and quietness.
6. R.Mahadevan says, Classical music gives us concentration and that concentration provides calm and quite mind.

7. Manakala Gopalakrishnan says, Intense delight through classical music gives peace, that peace provides calm and quiet mind.

8. K.N.Rajiv Kumar says, By involving and hearing classical music ones mind forgets past and future and stays in present. It is a creative level. That creative level provides calm and quiet mind.

9. Bhagesh says, Satvika tradition in classical music provides calm and quiet mind.

10. Naveen says, Intense enjoyment of classical music gives calm and quiet mind.

H8. Classical Music is not necessary in modern society

This hypothesis was proved wrong as all experts refused to agree.

The modern society lack a lot of factors in the cultural content. The way of living and speed of life drastically changed. The sudden change from traditional society to modern society causes the losing of some good qualities of old. As a traditional art form classical music preserves some of them. So all experts repelled the hypothesis and opined that it is very much necessary such art form in modern society for the balanced mental state of human beings.

Majority of experts said that classical music gives mental peace, satisfaction and order to life, such things largely be deprived of from modern society. In.B.Arundati’s opinion without balanced mental state there is no calmness, relaxation and psychological upliftment. So it is necessary to find out some way to keep all these. The pure act form such as classical music for certain extent supplies all these things. That’s why she opposed the hypothesis. Kudamaloor Janardhanan said that it is a cultural need. R.Mahadevan expressed the idea that classical music training removes selfishness and improves concentration and memory. K.N.Rajiv Kumar stated that classical music removes all stress and strain and supplying a perfect balance of mind setup. Naveen considering Classical music as a catalyst to maintain values, spreading integrity feeling and providing secularist thinking in modern society.

Experts opposing because:

1. S.Bhagyalakshmi says, In modern society people want relaxation, classical music provides relaxation with no side effects. It gives mental peace with harmless. Classical music is highly essential in Music therapy.
2. B.Arundati says, Classical music provides a balanced mental sate to modern society. It gives them mental calmness, relaxation and physiological upliftment. Also it refines the human mentality and character.
3. Bhavana Radhakrishnan says, Like yoga, classical music providing peace and mental satisfaction. So it is very much necessary in modern society.

4. Kudamaloor Janardhanan says, Modern society is not much aware of culture. So it is a cultural need to popularize classical music culture.

5. Prof.Palkulangara Ambikadevi says, Modern society lacking calm and quiet mind setup. Classical music gives it them.

6. R.Mahadevan says, Classical music is the most pure form of act. It removes the selfish mentality . It increases memory through concentration. Modern society carries and lacks above said things. So it is necessary to preserve classical music.

7. Manakala Gopalakrishnan says, Classical music is necessary because it provides peace and order to life.
8. K.N.Rajiv Kumar says, In modern society planning creates so stress and strain. classical music removes all stress and strain and exposing positivity. It gives perfect balance of mind setup, concentration in soul and completeness feeling. Also it helps one to overcome from swinging mentality to a settled state.

9. Bhagesh says, classical music spreads spirituality. It is highly essential in modern society. classical music is more creative than any other art form . also it decreasing the mental tensions. So it is necessary.
10. Naveen says, It helps the modern society to maintain values and provides them integrity feeling and secularist thinking.

H9. Classical Music imbibed in culture

This hypothesis was proved right as all experts supported the same.

We know that culture is an innate ability of human beings. The pure art form such as classical music comes under the non-material aspect of culture. It, fulfils man’s physical and mental needs and an example of social heritage. Classical music consists of the ideals, values and emotional aspects of people. It is internal and relates to the modes of living and thinking . Ragas in classical music is the purified emotional expression of a trained artist. Classical music also has the characteristics such as cumulation, conservation, transition and transformation same as culture. So it is clear that it imbibed in culture.

Experts expressed valuable concepts with the light of their experience in the concerned discipline. S.Bhagyalakshmi defined culture very elegantly and intelligently. She said , “what gives us Morality , Universality, Sovereignty, Integrity and Creativity is culture”. B.Arundati said that culture is the mental refining factor. In Bhavana’s opinion it is the energizing factor of mental growth. Kudamaloor said that it as a discipline and Ambikadevi stated culture as a spiritual uplifting thing. R.Mahadevan made clear that culture is the real mental training and attention. Manakala said another definition. He said,” Culture is the guardian of tradition”. Naveen believes culture as the integrating and uplifting factor of human race. Bhagesh opined that culture is the basic subtle element that regulates man. Majority of experts expressed the concept similar to K.N.Rajiv Kumar , that is, it is the purifying factor of mind.

Concepts about culture in experts own words:

1. S.Bhagyalakshmi says, What gives Morality, Universality, Sovereignty, Integrity and Creativity is culture. That is music imbibed in culture.
2. B.Arundati says, What gives the positive refinement of mind is known as culture.
3. Bhavana Radhakrishnan says, What gives us the mental growth is culture.
4. Kudamaloor Janardhanan says, Culture is discipline.
5. Prof.Palkulangara Ambikadevi says, What gives us the spiritual upliftment is culture.

6. R.Mahadevan says, Real art training and attention is culture.
7. Manakala Gopalakrishnan says, Culture is the guardian of tradition.
8. K.N.Rajiv Kumar says, What purifies mind is culture.
9. Bhagesh says, The basic elements , that helps a man to try to become a complete human is culture.
10. Naveen says, The integrating and uplifting factor of human being is culture.


H10. Classical Musician faces cultural lag

This hypothesis was proved right as majority (80%) of expert agreed with it.

A society’s cultural changes not congruent with its economic and other materialistic changes is named as ‘cultural lag’. The idea was formulated by W.F.Ogburn. In fast changing societies a gap is likely to be created between the pattern and rate of change of the projective system and the maintenance system. The absence of proper harmony between the two systems develops a ‘cultural lag’. Resistance to change is the main reason for it.

In the case of classical musician in globalized and fast developing country like India the harmony between maintenance system and the projective system is not proper. From the revelation of experts almost eighty percentage of classical musician faces cultural lag. It occurring because of various reasons. Developing world promotes competition, competition mentality decreases the tendency of perfection. Most of the classical musician expecting perfection, so it is one of the main reason. Kudamaloor opined that the perfection expecting mind of classical musician are reluctant to accept novelty.

The idealistic way of approach of classical musician is also a reason for cultural lag. The idealistic persons believes in God and spiritual values. They consider mind and spirit as ultimate reality. So their values are pre determined, absolute and unchanging. So far as most of the great classical musicians followed the idealistic path. That is why they resisting to accept pragmatism and unwilling to accept new way of speedy life with profit oriented mentality and selfishness. Modern world persons believes in pragmatism. Pragmatism upholds the power of man as supreme, does not believe in God or spiritual values. Pragmatist making their values and are not predetermined.

B.Arundati the only one opposed the hypothesis. She listed lack of scientific awareness , general education, broad mindedness, transparency in behaviour and accepting variety for the cause of cultural lag.

Why they agree:

1. S.Bhagyalakshmi says, Yes, way of living of present generation is not acceptable.
2. Bhavana Radhakrishnan says, Yes, fastness of modern generation is not adjustable.

3. Kudamaloor Janardhanan says, Yes, perfection expecting mind not accepting novelty.
4. Prof.Palkulangara Ambikadevi says, Yes, way of life and speed is not catchable.

5. R.Mahadevan says, Yes, fast life and disturbances are hating.

6. Manakala Gopalakrishnan says, Yes, Selfishness and profit oriented mentality is not acceptable.

7. K.N.Rajiv Kumar says, Yes.
8. Bhagesh says, Yes, Speed of life is not adjustable
9. Naveen- Not responded.


Why Arundati Disagreed:
1. B.Arundati says- No, “I am accepting variety characters of music. I like broad mindedness, transparency in behaviour, scientific awareness and general education. So I am not facing any cultural lag”

Chapter IV

Conclusions and Recommendations

From the light of the study and experts opinion, the researcher assuming that the knowledge emitting from Indian classical music (especially karnatic music) is deeply rooted in Indian philosophical systems. It can be traced back to the Vedas(period extends from 2000 BC to 500 BC). We can see the ultimate reality- Atman and Brahma, which are the two major principles on which rests the whole structure of Indian philosophy in Indian classical music tradition. Classical Musician accepts the Katopanishadian concept, that is, the object are roads , the body is the chariot, the senses are the horses, the mind is the reins, the intellect is the charioteer, the ego is the enjoyer and the Atman is the Lord sitting in the chariot. They also believes that senses are higher than objects, the mind is higher than senses, the intellect is higher than mind, the subtle reason is higher than the subtle reason and the Atman is the highest reality. Classical musician realizing it by transcending subjective-objective quality through his hard sadhana(practice) and upasana(concentrating).The knowledge acquiring by musician from Guru is lower and by sadhaka upasana is higher).

The study makes clear that Indian Classical Music conservates, transits and transforms our culture. Musical training moulds the character of students, honest preparations making a good musician and from all these process there creates a particular perception inside that person. The pure act form like classical music provides calm and quiet mind to people, so all of the experts opined that it is very much necessary in modern society, that lacks these things. In the concept of every one classical music is imbibed in culture. The main problem aroused is the ‘cultural lag’. Majority of interviewed experts facing it.
As far as the first hypothesis is concerned, Classical Music conservates the culture, all experts agreed with this. Some of them said that the character like spirituality, scientific treatment , Traditionalism and hereditary conservates culture. Bhavana Radhakrishnan and Kudamaloor expressed the opinion that the Guru’s influence, students dedication and their interaction conservates the culture. Composers philosophical thinking and performers or trend setters inspiration also comes up as the conservating factor.
The Second hypothesis , Classical Music transits culture, also proved right. All the experts agreed with the hypothesis .B. Arundati supported with stating that guru Bhakti(devotion to teacher) of student compel him to follow some code of behaviour and this mentality transits culture. Learning process , practices, science behind music, raga feeling, philosophical aspect etc are other factors. The transmission happens only when students fully dedicates to Guru.

The results of the third hypothesis , Classical Music never transforms culture, was proved false. The opinions of the experts differ when compared to the idea of the hypothesis. Ragas ability to purifying mind through sound vibration in brain, the special environment creation in training, learning methods, students mentality of absorption, acceptation and concentration are the key factors transforming culture.
After analyzing fourth hypothesis , the character of student changing when he undergoes musical training, it was revealed that experts had no doubt about it. B.Arundati and Bhavana Radhakrishanan expressed almost similar view. Arundati said closeness and influence of teacher moulding the character and Bhavana said attachment, intimacy and interaction changing. Concentration on lessons, disciplined practice, systematic way of practice, acceptation of Guru’s path, regular practice, repeating lessons were the other’s opinion.

Going by the results of the fifth hypothesis, it is pretty clear that the outcome is approving the hypothesis. Here S.Bhagyalekshmi said, she had taken preparation because to avoid diversion from subject and concentrated hard on music. B.Arundati and Mankala Gopalakrishnan at preparation level found out good Guru. They focused in regular practice and listened a lot of concerts. Some others kept discipline in life and dedicated fully to music at the preparatory stage.

The sixth hypothesis fixed to find out the internal growth is also proved right. All the experts expressed positive opinion towards this hypothesis. They agreed that the Classical Music creating some good perceptions inside the musician. Secularism , love to all, pray to the goodness of whole world, fulfillment, peace contribution, wish to give, sincerity, perfection are some of the elements in experts perception.
All the experts opposed the eighth hypothesis, which mentioned that Classical Music is not necessary in modern society. R.Mahadevan opposed because the most pure act form like removes selfishness and improves concentration and memory. K.N.Rajiv Kumar delivered a different view point. That is, it will help the modern society people to overcome from swinging mentality to a perfect balanced one. The practice and hearing gives mental peace and relaxation with harm less, provides satisfaction and order to life, spreads spirituality , decreasing mental tensions , helps to maintain values, secularist thinking and integrity feeling were the others reason for disagreement . So it is a cultural need.

The ninth hypothesis, Classical Music imbibed in culture, was proved right as most experts believed the same. From the concepts of experts about culture it was understood that classical music imbibed in culture. In these S.Bhagyalakshmi’s definition was interesting. She said,” what gives us morality ,universality, sovereignty, integrity and creativity is culture”. Positive refinement of mind, guardian of tradition , basic elements helps man to become good, the uplifting factor of human beings etc were also aroused from rests.

The last and tenth hypothesis was also proved right. Majority of experts agreed that they are facing cultural lag. Kudamaloor Janardhana made clear that the perfection expecting mind of real Classical Musician never wish to compromise with the speed and adjustments of the projecting culture of modernism. Selfish and profit oriented mentality too hating some of the experts . S.Bhagyalakshmi facing cultural lag because of the rejection of way of living of modern generation.

But B.Arundati opposed the hypothesis. She thinks the lack of general education is the main cause , if some one in Classical Music facing so.

Going by the result of the study the researcher found that Indian Classical Music is the elite traditional abstract art form which has direct influence on human psyche. It has the dynamic power to change the world. It helps people to understand inner self and inner reality. The purified emotional flow of raga is not just the experienced inner reality of singer but it is the truth that pervaded whole in the universe. Classical Music training sublimates the sound as well as emotion singer. His concert arises the greatness of humanity and holy calmness in audience mind. It is the ever best act form that stimulates the maximum aesthetic pleasure in hearer and singer.

Glimpse of the personality of Musician

The spiritual personality of the individual is something that has to be cherished by one and all of us.

Cultivation of detachment or the removal Ahamkara(ego) is implied in the Classical Music teachings. Vairagya is the name given to that attitude towards the world in a selfless approach.

Acquisition of knowledge(Jnana) is of at most importance. Detachment is a precondition of the right knowledge. The training at this stage is three fold. Sravan,Manana and Nidhidhyasana. The first stands for study under a proper Guru mainly from his spoken words. Sravana is supplemented by manana or continued reflection upon what has been learnt with a view to attaining and intellectual conviction regarding it. This training is further supplemented by nidhidhyasana or meditation which assists directly in the realization with in one self of the unity underlying the multiplicity of the universe. Classical Music training prescribes several upasanas or meditative exercises in later stages. Power of concentration and sympathetic imagination are sought to be cultivated through upasana.Dharma, Artha, Kama, and Mokshs practice of righteousness , acquisition of wealth, enjoyment of earthly good and pursuit of one’s occupation and finally the preparation for attainment of realization of the ideal self is the concept underlying their life.

The promotional work of classical music act form happening through out society in different ways. Festivals in worship centres and cultural centers are one among them. The concert programmes in temples, music festivals like Swati Tirunal sangeetholsavam, Chembai Sangetholsavam, Thygaraja sangeetholsavam etc are examples. These all are a sort of meditation and praying.

The practice of celebrating some customs also promoting classical music. Family customs like Navarathri Gommakom, Sri vidya upasana(pooj aveppu) and individual customs like Guru vandanam,Gayathri mantra chanting are occasional and regular practices in some people. The social custom like Sangeeta Aradhjana (musical worship) and Arangettam(Debut of concert) promoting Classical Music for a certain extent. The film music too plays unforgettable role in its promotional work.

Recommendations:

Even though this study was conducted to determine the cultural communication of Indian Classical Music certain recommendation can be given to those who are interested in further research of this topic.

Non-verbal communication(gestures) in concerts

Musical customs and its influence in society

Religious implication of Classical Music
Philosophical background of classical music.
Raga, Human emotions and behaviour
Time nature and music
Transcendental communication in Classical Music
Relation between spirituality and Classical Music
The role of music in creation
Music and love
Emotional intense through music
Aesthetic concept and Indian Classical Music
Temple Sculpture and Traditional songs
Social structure and Classical Music
Cultural lag in Classical Musician

A fully dedicated Classical Musician always like to be in the state of ‘sachidananda’. That is the absolute puer existence , pure knowledge and pure bliss all in one. It is Satyam(Truth), Jnanam(Knowledge) and Ananam(Bliss). It is Satyam, Sivam and sundaram(Truth, Goodness and Beauty). By knowing it, the unseen becomes seen and the unknown becomes known.

Human beings becomes real human when he follows culture. Pure act forms like Classical Music arises the self conscious reason in the meta physical phase, which is the monopoly of human beings. Art forms contributes massively to the preservation and transmission of culture.

Indian Classical Music like art forms rejuvenates the universe by creating concepts and imagination beyond world inside the artists. The constructing flames emitting from artists pervades to mass and stabilizes and fastens the process.

The gifted art form Indian Classical Music encourages the creativity and cultural expressiveness from the depths of tradition. It produces family harmony, social harmony, develops higher vision and mutual love in people. So it is the duty of each cultured man to look after it for the next generation.

Bibliography

Books

1. Dr.Venkita Subramonia Aiyer,’Swati Tirunal and his Music’, College Book House, Easwar printers , Thiruvananthapuram.
2. Rai Bahadur Bishan Swarup, ‘Theory of Indian Music’, Mittal Publications, Delhi.
3. Dr.K.Sivarajkan,’Education in the Emerging Indian Society’, Eighth revised edition,Central co-operative stores, Calicul University.
4. Reginald and Jamila Massey,’Music of India’,
5. Ananda K. Coomaraswamy,’The dance of Siva’,Munshiram Manoharlal Publishers(P)Ltd,New Delhi,1917.
6. Keval J Kumar, ‘Mass Communication in India’,3rd Edition, Jaico Books,Mumbai,2004
7. K.T.Ravindranath,’Ragasudharnavam’, Kerala Bhasha Institute
8. Dr.Leela Ohmcheri,’Sangeethathinte Padavum Paadhavum’,DC Books,1996.
9. Edward De Bono,’iam right you are wrong’, Penguin books,1991.
10. Kothari R.C, Research methodology
Journals
1. I.P.Tewari:’Indian Theory of Communication’,Communicator,New Delhi, March 1992,pp 35-38
2. J.S.Yadava:’Trends in Communication Research’,Paper presented at the National Seminar on Communication Research: Trends and Priorities, New Delhi: Indian Institute of Mass Communication Research,1984.

Appendix

Questions asked to the Respondents:-

1. How Classical Music conservates culture?

2. Cultural transition happens through Classical Music. How?
3. How Classical Music transforms culture?
4. What is the necessity of Classical Music culture in a Modern society?
5. How Music provides a calm and quiet mind?
6. How Music artist perceives the world?
7. What is the concept of culture in terms of classical music?
8. What are the preparations done so far as to become a classical musician?
9. How the character of student changes when he undergoes musical training?
10. Do you faces cultural lag?Why?