BOOK REVIEW A SOUTHERN MUSIC-THE KARNATIK STORY

Passages of his book sound deliberately provocative and will certainly generate controversy,
as befits a vital artistic tradition that has proven capable of repeatedly renewing, even re-
imagining itself over the course of six or seven generations.
These words by David Shulman in the Foreword gives a good idea of what a reader can
expect in T M Krishnas A Southern Music-the Karnatik Story. T.M Krishna, noted
Carnatic vocalist takes readers through a sojourn into the deep intricacies of Carnatic music
and generates several thought provoking questions regarding this musical tradition in India.
This book has been divided into three sections-the experience, the context and the history.
The author advises in his note to read the experience section before proceeding to the
history. Each broad section has several essays that discuss each aspect in a clear manner.
The first section describes the various experiences that the musician and a listener undergo in
the Carnatic tradition. The second section looks deeply into the social context in which
Carnatic music developed and the final section discusses about the history of the
development of Carnatic tradition.
T.M Krishna deals with a plethora of themes related to the past, present and future of South
Indian classical music in this book. The book starts with the question of what is music? and
delves deeper into the founding principles of Carnatic music like svaras, raga, tala, laya, etc.
T.M Krishna also talks about the training of Carnatic singers, kutcheri, and compositional
forms of Carnatic music etc. The main argument of the author in this book is the
interpretation of Carnatic music as art music-which has the ability to achieve abstraction
and can move the individual beyond the space of personal emotion to one of created
emotion. In order to achieve this level of abstraction, the author argues that the receiver of
music must be a serious seeker of art and be aware of the art itself. Krishna says that the
intent of Carnatic music concert is to bring about an aesthetic experience which divorces
itself from other external intents like promulgation of religion. Another major question that is
addressed in this section is what is the degree of freedom in creativity that a
musician/performer enjoys in the realm of Carnatic tradition? The beauty of Indian classical
music tradition is that it allows you to improvise without affecting the basic nature of the
composition. There is constant interplay between the composer (the vaggeyakara) and the
musicians creativity, which the musician internalises and this in turn, opens new avenues for
exploration in raga and tala. Thus, Carnatic music cannot be said to be the repetition of same
old varnas, kirtanas etc. but involves a lot of scope of improvisation and creativity from the
part of the performer. This is the reason why we enjoy the same song sung by different
performers in different ways.
In the second section of the book, the author tries to address the social context of Carnatic
music and its relation with other art forms like Bharathanatyam, Hindustani music etc. He
finds that these art forms have influenced the development of each other directly or
indirectly. For instance, the Tillana which was a Bharanatyam related compositional form,
was brought into the Kutcheri presentation where it became popular. Today, Tillana is
considered to be integral to both the art forms. The author also tries to address several
criticisms aimed at Carnatic music. He severely criticizes caste and gender hegemony in
Carnatic music. Music is something that supersedes caste, class or gender boundaries. It is
inconceivable that such a great tradition is understood, appreciated and learnt only by a
minority in the community. There is a great need of social reform to make Carnatic music to
be more inclusive and egalitarian.


The author discusses the various changes brought into Carnatic music by modernisation.
Taking the example of promotion of Carnatic music by scholars and south Indian diaspora in
North America, the author has illustrated the spread of Indian classical music to an
international arena. With the spread of technology like social media,e-guru etc. Carnatic
music is now reaching a global audience. This era also witnesses the presence of western
instruments like saxophone, clarinet, keyboard and mandolin into the Carnatic music genre.
This has brought about a vast change in the perception of sound in Carnatic music. Another
important change is the introduction of Carnatic music elements in film music. The author
argues that with the change in context of films from mythological to socio-political ones,
there was a shift in the nature of music away from the Carnatic tradition. The author
discusses the complex relation between classical music and film music through the Illayaraja
phenomenon and the Rahman effect. Thus a Cine-Carnatic tradition is established which
is more soft than the heavy Carnatic music. Now formal training in classical music is not
considered as the sine qua non for being a playback singer. This has apparently created an
identity crisis for popular playback singer cum classical performer who has the
responsibility to balance and insulate both the classical as well as film cultures.
In this book, the author has tried to give a comprehensive idea of the South Indian Music
tradition. He has traced the social context of the development of Carnatic music giving lucid
explanation of why Carnatic tradition has been dominated by Brahmin community. He has
also clearly explained the fundamental principles of raga, tala and laya in Indian classical
music. He is not afraid to call a spade a spade and has vociferously criticized the inherent
problems in Carnatic tradition and the need to make it an inclusive space for all sections of
the society which requires concentrated efforts from the government, musicians and music
aficionados. He has brought in several stimulating questions like can an atheist render
Carnatic music concert? ,could western instruments be used effectively in Carnatic music
without affecting its essence? , etc.
However, the author contradicts himself in many instances. He tells about the need for
creativity in musical sphere but finds Illayarajas transposition of Marimari ninne- a
Tyagaraja composition in raga Kamboji into raga Saramati as unacceptable. He also raises
provocative question regarding the issue of language in music. He portrays a linguistically
fractured Carnatic music community which has overemphasised the role of language in
music. This sentiment has created an impediment to Carnatic music being an art form. But
doesnt rendering music in a language that can be understood by people enhance their
appreciation of music?
Apart from these contradictions, complete strangers to Carnatic music might find this book
difficult to comprehend. There should have been more illustrations to explain the basic
constructs of Carnatic tradition. This book tends to be a bit too technical towards the end.
This book is not intended for readers to get completely accurate answers to all the questions
discussed. However, it generates enough interest and knowledge in readers to explore more
and find their own answers.










BOOK REVIEW
THE SARASVATI FLOWS ON: THE CONTINUITY OF
INDIAN CULTURE
AUTHOR: B.B LAL
PUBLISHER: ARYAN BOOKS INTERNATIONAL, NEW DELHI(2001)



Submitted by: Sini Susan Varghese
Roll No: 14520010