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Carnatic music, like most other music systems of the world, has two
dimensions: an emotional dimension and an intellectual dimension. The
emotional dimension is supported by the melodic system, which is the
foundation for both Carnatic and Hindustani music.
In melodic system, music progresses with succession of individual
notes. The system gives a performing artist great freedom to improvise
and, consequently, in enhancing the emotional experiences or the nadha
anubhava of the listeners. One of the most notable and creative outputs
from this melodic system is the raga. A raga is produced when swaras are
arranged in specific ascending and descending orders. A well executed
raga would give rise to emotions such as joy, anger, peace, or
compassion in the minds of a listener. One may ask why should the same
notes, when arranged in a different order invoke a different emotion in
a listener. This question is difficult to answer because emotions are
subjective and abstract and they cannot be described merely by words.
Regardless of our inability to describe, we would yet agree that
listening to Carnatic music energises certain inner forces in our
minds, leading to mystical experiences.
While emotional and mystical aspects dominate Carnatic music, we
cannot conclude that the music is purely a subjective experience. The
subjective experiences do not arise in empty space. The emotions arise
only because each individual correlates what he or she hears with prior
experiences acquired from the real world. In this sense, listening to
music is also an intellectual exercise.
The intellectual process is induced by aesthetic attributes of the
music such as laya, thala, swara kalpana, or neravals. It is these
attributes that also differentiate the music from other natural
phenomena. For example, while the sounds of flowing water and the
rustle of trees also give rise to subjective emotions, we do not
characterize them as music because they lack the intellectual elements
of music. We cannot codify the sounds of flowing water into cyclical
thala or repeatable swara patterns. Therefore, what makes listening to
music a mystical experience is the combination of emotional and
intellectual attributes. As scholars declare, music and mathematics
together lead to true mysticism.
The presence of both emotional and intellectual dimensions is the
reason why Carnatic music is defined as both Gandharva Vidya (music of
the Gods) and Sangeetha Kala (the science of music). Although the two
definitions may appear to point us in two different directions, they
indeed point to the same objective. As a Vidya, music takes us from the
known to the unknown. Using known attributes such as swara,
thala, and other defined aspects, music leads us to abstract inner
workings of our minds.
In contrast, as a kala or a science, music guides us from the
unknown to the known. Similar to the sciences, it starts with assumptions
about unknown human emotions and beliefs. Through experimentation and
observation, it then constructs rules and structured processes related
to aesthetic attributes of music.
The definition of Carnatic music as both a vidya and a kala, points
to us that both the artistic and the scientific dimensions are integral
to the music. However, the definition does not clarify whether one of
these two dimensions is more important than the other. To find an
answer to this question, we must examine the objectives behind the
pursuit of music. The primary role of Carnatic music is stimulating
human emotions. The music appeals to us because of its inspirational
influence on our inner spiritual forces. Saint Tyagaraja describes this
phenomenon as Nadopasana. He explains the concept of Nadopasana in
several of his compositions (e.g. Nada Thanum Anisam, Sobhillu Saptha
Swara, Nadopasana, and Swara Raga Sudha). He describes Nadopasana as,
'Merungutaye Mudamagu Mokshamura' or music that leads to the
realization of the existence of blissful heaven. When viewed from this
focus, the subjective, inductive, and inspirational attributes of music
appear more important than the scientific dimension.
Before we conclude that music is purely a fine art and the
scientific aspects are less important, we must ask a few questions. Can
music be pleasing if there were no grammar or rules pertaining to swara
singing, alapana or neraval expositions? Would rasikas be satisfied if
a concert performance is devoid of all aesthetics? How would music
sound if laya or thala is no longer necessary? Since it is based on
sound, can the rules of acoustics be ignored? The answer obviously is a
resounding 'no'. We need kalpana swaras because they contribute to
bhava. We need laya and thala because they impose order. In their
absence, music will lose both harmony and melody and it be unwise to
call them music. When viewed from this focus, the objective and
rational attributes of music appear more important than the artistic or
emotional dimension.
Since we are unable to determine whether the artistic or the
scientific domain should govern music, a safe conclusion would be that
both should govern equally. If we accept such a conclusion, the next
question is what role should each play within the scheme of music?
Perhaps, this is an easier question to answer. We can compare the
relationship between art and science of music to a movie making. In a
movie, the actors and actresses are the ones appearing on the screen.
They are the ones who narrate the story to us and involve us
emotionally. However, these actors and actresses could involve the
audiences only because the director guided them through the dramatic
aspects, managed the technical team, and encouraged them to portray his
vision of the story. Like the actors in a movie, in music, the
emotional attributes should be the ones that lead the listeners through
the emotional journey. The technical or scientific attributes, like the
movie director, should be the force that molds the expressive and
emotional domain. But, similar to the director, while reminding the
audiences of its influence, it should also refrain from appearing in
every frame. When art and science each play their respective roles
judiciously, the music will be a true Nadopasana.
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