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NAVYA C / KRIPA KRISHNAN

A child prodigy as a violinist, a timeless phenomenon, an all encompassing musician, and, a trendsetter in his own regard, Kumaresh joins us today as we walk through his journey filled with captivating stories and rich tales. We discuss his influences, individual expressions, historical connotations of the Violin and his underlying life philosophies. He speaks to his treasured relationships with his brother Ganesh Ji as well as with his wife, Jayanthi, a Veena Maestro and our very own honourable guest today. Needless to say we have here with us Jayanti Kumaresh, a child prodigy, an honorary recipient of the prestigious Bharatiya Vidya Bhawan award and of course a multi-faceted musician bringing even more color to the Veena and its sound. She talks to us about her earlier influences, her evolution as an artist, some technicalities about the Veena as well as her means of expression, the implications of the pandemic on her art and the entire paradigm shift in the industry that is fuelled by The

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Jayanthi Kumaresh What was your earliest influences in pursuing veena as an instrument to learn? My calling to the Veena came when I was 3 years old and I have been blessed to learn under my gurus who have taught me everything I know and made me the artiste I am today. I believe that I am able to express myself best through the Veena, an extension of myself. Coming from a family replete with musicians for the last six generations, Music was literally the mother tongue at home. The family was replete with Violinists and Smt Padmavathy Ananthagopalan ,my Aunt and Guru, was the only Vainika. My mother started me off on a journey with the Veena when I was 3 years of age. I don’t think I made a conscious decision, it just happened and then my Periamma (Guru) took me under her wing and my journey with the Veena continues. As a child, I used to hear my Periamma playing and was totally enamoured by her skill and virtuosity. Her tanams were amazing. I used to try to play every single tune I heard on the Veena, be it a vegetable vendor’s sonorous call to sell veggies or a film song playing on the radio in the neighbour’s house. Everything had to be played on the Veena and my friends and

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other students of my Mother would enjoy my little tricks on the Veena. When I left home to live with my Guru in Chennai, I started my journey with some serious music. Can you explain us more about Saraswathi Veena and how different it is from normal Veena? Every Veena from the south of India is either a Saraswathi Veena or a Chitra Veena/Gottu vadhyam. Actually, any string instrument is called a Veena. “Vanyanthe ithi Veena”; meaning, anything that can be played is called a Veena. Even human voice is called GATHRA VEENA. The Veena from North India is called Rudra Veena, Vichithra Veena or BEEN. The Saraswathi Veena is one of the oldest instruments. We have references of it right from the Ramayana and Mahabaratha times. There is mention of the Veena in the Sama Veda. It is an instrument where the essence of Indian music with its overtones and microtones (meaning Gamakas) can be played, so it is considered to be the closest to the human voice. One of the finest manmade instruments and also the National Instrument of India, playing it

is considered to be mystical and spiritual. Playing the Veena is considered to be a form of Kundalini Yoga. Also, you activate the nerve endings on both hands at the finger tips which is very good for the pituitary gland. Playing the Veena also increases our motor skills and playing any instrument increases the student’s memory potential because you have to multi-task. Its significance today is that it gives the student extra mental bandwidth to focus on education and other things. In today’s stressful times, it is very relaxing to play a music instrument, more so the Veena because it enhances your personality and the soothing tones of the Veena really has a calming effect on your mind. It’s a very beautiful experience to listen to it, to learn and to play it. How has the long journey of being a Veena artist been? Are there any memorable moments off the stage just before performing- that was challenging? I personally think that it is a great blessing to be a Vainika and play this esoteric and divine instrument. The Saraswathi Veena is the National Instrument of India and symbolises everything that India stands for. It is an interesting combination of attributes that makes this instrument very special. Its majestic appearance, its gentle and sensitive tone, its silences between notes, the ability to adapt to any genre, its unique ability to showcase all the subtle gamakas that is characteristic of the Indian music, its divinity and mystical nature. I have been a Vanika for the last 48 years and have enjoyed every moment of it. Of course, managing the physical logistics of carrying the Veena from place to place is a subject of its own. The most challenging aspects of the Veena are transporting it

How do you think digitisation has impacted Carnatic Music? Do you think it’s affecting the sanctity of the music form?

and amplifying it appropriately. Some testing times are when you are travelling between countries or states on a foreign tour and your instrument does not reach there on time or the airline has damaged your instrument and scenarios like this. The toughest part of being a Carnatic classical instrumentalist? Instrumental music is deregional and de-religious. The audiences for instrumental music is worldwide because the barriers of language and understanding the lyrics are crossed. Listeners world over enjoy instrumental music as a beautiful sonic experience. And hence, we also have a lot of performances abroad and a broader variety of audiences. Within India, pretty much, almost all states celebrate instrumental music and have great instrumentalists as ambassadors of Indian music. Sometimes I wonder if in Chennai, they understand instrumental music as much as they understand Vocal music. And if they do, why there are so fewer instrumental concerts as compared to Vocal music. How do you approach the lyrical expressivity through the instrument? Was there any composition or 7 that you found quite challenging to express the lyrics on stage? There are different layers of learning, understanding and presenting a composition. The Raga Bhava, Sahithya Bhava, Sangathi

structure, the rhythmic structure and the actual construction of the song. It really helps if you understand the meaning of the krithi, the importance of the lyrics and its resonance with the raga and the structure of the song, and the mood and pace of the song. I try and understand what the composer is trying to express in each song and try and design it to suit the Veena.. I don’t remember any particular instance when the lyrics of a song was challenging. The main weapon of a vocalist is the lyrics. Once the lyrics come in, the music becomes psychological. You need to fit it to a context, to a religion, to a region and the craving to understand the lyrics bothers your psyche. At a certain level, music is existential. If mere sound vibrations can either calm your senses or disturb them, then good music without lyrics can definitely elevate your mind, body and soul and take it to a higher plane of your choice. Instrumental music allows you to fix the narrative according to your imagination. It’s not fixed to a particular scenario. It affects you and influences you at the very root of existence. For instance, the magic on strings created by a resplendent multi-speed Tanam rendition is so unique to the Veena and is understood and expressed best on the Veena. The swara pallavis, vis a vis the lyrical pallavis composed just for the instrumental expressions is another example of expressions without the use of lyrics.

Digitisation has taken the music industry by storm. So many parameters have changed and musicians have learnt to adapt and benefit from the conveniences of digitisation. Of course, for every boon there is also a bane. So real time experiences are being missed. It is always a question of striking the right balance. I don’t think anything can affect the sanctity of music per se.. it may alter the experience. A lot of new possibilities have opened up for musicians because of digitisation. Sound quality has improved, presentations have improved, the opportunities to present curated content has increased and the reach of the music has become very widespread. How was lockdown treating you as an artist? Were there any interesting musical realisations during that time? The lockdown times were the most productive for me in terms of trying out hitherto untraveled paths. I have been doing a web series called Cup O Carnatic for the last four years. This aims at making it more enjoyable to appreciate Carnatic music in general and the Saraswathi Veena in particular. I had done three seasons of Cup O Carnatic and then the lockdown happened. That gave me the opportunity to do three completely new series called the Fun series, the kids series and the Guess the raga series. The Fun series explored a range of popular tunes familiar to most people by connecting them to Indian classical music. These were not covers. These were analogies and drawing parallels between two systems of music. This greatly appealed to a varied audience The

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and was very fulfilling. The Kids series was aimed at familiarising the kids to the Indian ragas and melodies. I used popular stories from Panchatantra and the like and presented them with a narration and a garland of ragas. This received a very heartwarming response from little ones and their parents alike! The Guess the Raga series on Instagram tickled the brain, humour and creativity of music lovers as they kept guessing the ragas with the clues provided for 50 days straight and at some point in time, this became viral. The greatest project during the lockdown time was starting the Jayanthi Kumaresh Academy of Veena. I once had a dream to create a Center of Excellence for Veena to make music accessible and to make the voice of the Saraswati Veena be heard by all, to make the Saraswati Veena discoverable worldwide, to make the twang of the Saraswati Veena permeate into every household across the globe. When the world became tightly connected virtually, my dream changed from brick and mortar buildings to pixels and bytes – and that resulted in the birth of the Jayanti Kumaresh academy of Veena. What is your opinion about fusion music and your memorable experiences during collaborating with international artists? When a tree grows, its roots delve deep into the earth to keep it grounded and safe while the branches and leaves are up in the air, exposed to the environment and ecosystem around it. Similarly, the foundation of our music that was acquired through rigorous training and practice from esteemed gurus holds us together like the roots of a tree. The exposed branches and leaves is where we adapt ourselves to the current environment. The deeper the roots, the taller the tree grows! Collaboration in today’s world is no longer an innovation, it has become a way of expression. Not only in the

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music world, but in everything that we see. Collaboration with different systems is an opportunity for us to show how our music stays relevant with respect to the landscape of the society today. It helps us showcase that Carnatic music is as old as 2000 years and as young as tomorrow. Tradition is only addition. What is innovation today becomes tradition tomorrow. My generation has had the opportunity to listen to the great masters of the past, who used to travel 4 days in a train to present a concert. Whereas today we are able to travel and perform two concerts in two different continents in the same day. With such a unique position, I believe my generation has taken up collaboration more as a way of life. To quote a great musician from the West, “The best definition of ‘Classical Music’ is music of any genre or style that is birthed from a pure and sincere motivation, empowered not by the energies of one’s self, but rather by something greater, which exists beyond time, history or culture.” With all this in mind, every classical form is contemporary in that era and becomes traditional in the next era. If it is an idea worth something, it will stand the test of time and will be appreciated and successively recreated generation after generation. I have had the opportunity to collaborate with musicians from the Hindustani system of music and also musicians from the West. One memorable experience was collaborating with the BBC Philharmonic and performing together at the South Bank for the Darbar festival. 9. Tell us more about your unique project 45 Ragas which went on for 124 minutes at a stretch? Raga Alapana is the pinnacle of an artiste’s expression. To draw the rasa and Bhava of the raga extempore within the boundaries of its grammar with precise technique and innovation is the ultimate expression of creativity that is so

unique to indian classical music. This album is a live recording of a concert in Chennai where I played 45 ragas non-stop, one after the other, with a single meaningful bridge linking one raga to the next. My inspiration came from a series of 45 raga concerts done by my Guru , the Veena wizard, Dr.S.Balachander. He performed several such concerts without any other accompaniments, with just Veena and the ragas. I played a few such concerts and one of them was also released as an album. 124 minutes nonstop. One artiste, one instrument and 45 ragas. How do you inspire yourself as an artist during the times of demotivation or innovation? The drive to keep getting better motivates me. Listening to inspiring musicians, watching someone practise, compose or teach inspires me. Being in an environment of music 24/7 ensures that the motivation is not lost. The top 5 most important qualities every aspiring Veena artist must have? Understanding the instrument Defining what one wants to do with it Willingness to practise Ability to listen, understand and learn Think beyond the frets

Favorite hobby during leisure hours? Gardening Your favorite veena artist? My Gurus The recent composition you are practicing? Vachamagochara in Kaikavasi

Favorite cuisine? Indian Veg jain with lot of veggies and less oil :-) Hindustani Music or Jazz?your preference? Both

Kumaresh R What made you pick up violin as an instrument in the first place? Please share with your about your early stories and exploration to classical music. It is like this , just like how we can’t choose our parents and vice versa , choosing Music as a way of life or to play a particular instrument , just happens , it is neither by choice or coercion. Good things just happen . Your interpretation of violin is quite unique and also has influences of western counterparts, what is the inspiration behind it? I have always felt and maintained that Music is an individual expression . Though we learn many important compositions and many other facets of music during our formative and educational years , ultimately all this knowledge gets assimilated with in and the many hours of Upasana and analysis of various nuance brings in an experience which is very personal . This experience also has the deep input of the eco system that we

India to the west in the 6th century , when the Gypsies migrated from India to Iran …. And from their the journey of how the western music system evolved starts.

live in .. All shades of swaras are ingrained In our multi dimensional music system . Violin is a very unique instrument , though we have a strong history of it being an import from the west , there is also a equally strong and historical evidences available that , there was an instrument which resembles the present day Violin and this instrument has been in vogue in our musical space from sangam literature time which is almost like the 3rd or 4th century. It was called the Dhanur Veena . Bowed instruments have orginated from India , so to say we are getting influenced by the west in the classical music frame work is not correct. We have something called as the Shudha Swara phrases , which are very instrumental music phrases and can be explored and expanded the best on an instrument. These should not be mistaken as an import or influence from the west . But the argument on the other side has lot of substance , since music went from The

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How important is sound – for an instrumentalist point of view? What are the steps you usually take for the best sound on live/ or in recording? Sound is the most important component for life . Without sound nothing exists . Music is the highest expression of sound and so it is at the most fundamental stage of Music . To understand the sound of your instrument and in a deeper sense understand your Sound as a musician is the essence of one’s musical journey . To keep my instrument in its optimum is one of the most important feature in getting the best sound of my instrument . Also, while choosing the, pick up , I try and get that particular one which brings out the true tone of my instrument on a live concert scene and of course these days we have such high quality sound system that we get pretty good sound at most places . I normally record acoustic in a recording set up and most of the times I record at Laya Digi , where I get my best sound when it comes to recording .

Your association with Ganesh as a performer? Are there any memorable onstage moments that are truly spontaneous and still you guys pulled it off? I have been playing with my brother Ganesh ji for almost 50 years now . That is a phenomenal journey and we have so many unforgettable memories both on and off stage. There have been so many instances where we will reach the concert venue from different places get on stage and we will start the show at the same time with the same phrase . Once we had a concert at the

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Tiruvaiyaru Thyagaraja Aradhana , I was driving from Bangalore and Ganesh ji was coming from Chennai , he called up and said I have an idea and shall we try it out today . I was actually one hour from the venue . I said ok , and then we both rehearsed the composition in the car , he in his car and me in mine - on line , learnt that composition and boom on stage it came out like Magic . These are all blessed moments and a direct sign that there is a much higher force in operation and we are all being played.

at home . We both come from a very different musical thought process and hence there is so much to learn from each others perspective .

Your wife Jayanthi is a fantastic Veena player. How is your association with her in music? Are there interesting musical debates that happen in the house on a daily basis?

Some musicologists say that certain raagas are not suitable for instrumental playing, and certain raagas are quite good. Your take on this?

Jayanthi is a one of a kind artiste and a very special one at that . our collaboration is a very interesting one . Violin is a bowed instrument and hence it has a long and continuous sound where as Veena is a plucking instrument and hence the sound is a very short one . Moreover , both the instruments have a sound difference of an octave - Violin is an octave higher to the Veena , this fusion of the bass sound of the Veena and the higher sound of the violin brings out a very unique sound scape which is very delicate ,deep, and dynamic . Yes we do have many musical conversations and debates

What are the three most important qualities a Carnatic violinist should have? What are they and why? Learn to play the instrument Understand the qualities and potential of the instrument Think beyond lyrics based music and compositions

Thinking and reading about music is vastly different from actually playing and practising music . The understanding and experiences are fundamentally different . There are no limitations on any instrument , it is all in the mind . All Ragas are can be played in their most profound and subtle dimensions on any instrument. How did you spend your lockdown times? Were there any significant realizations musically as well as philosophically? I try to keep my mind in a very positive frame most times . So when

Rapid Fire: Your favorite global violinist Ganesh ji 2. Hindustani or Western Classical? Both /but more of Hindustani

the Lock down was announced , all concerts and travel got cancelled . At first it was a bit strange but slowly the silence in the air became an inspiration . Sound of silence is something which all of us must try to understand . It is so invigorating . Playing music for myself after a long time was a very magnetic experience . No audience , no time constraint, no compositional prioritises , I could just play for myself . The concept of Nada Upasana , Nada Yoga , Nada Bramha , all found an expression with in myself during this period . I could say that I found an expression to all my unrealised musical energies. I did 3 very satisfying projects during the lock down. Set up my portal www.fiddlingmonk.com , with more than 600 to 700 video lessons , on an interactive basis , for anybody from any walks of life to learn the Violin Set to music along with Jayanthi ji , the 108 verses on Maha Periyava of kanchi , also called as the 108 Andhaadhi, Released our album “ Run with Sa “, music specifically created for workout .

3. If you would pick any other instrument apart from violin, what would it be? Veena of course 4. Your recent listen in the music playlist that you heard in loop? Illayaraja , TN Rajaratnam Pillai and karaikuruchi - Greatest exponents of Nadaswaram 5. Your most favorite vocalist (genre no bar) SPB

out a meaningful collaboration. Tampering with sanctity of any music can happen even without collaborations . It all depends on how well the work is thought through and executed . Varnas in particular (say Viriboni- Ata Taala Varnam in Raaga Bhairavi), has long phrases which sound elongated and unsuitable for instrumental renditions. Do you feel the same- if yes, which composition made you felt this challenge? All these are myths created around the aura of vocal music . Any composition can be played in its best sound on any instrument . Instruments are the bed rock of our musical system . You see math Maata Saraswathi plays the Veena Krishna plays the flute Shiva plays the damaru and the list goes.

None of the divine entities sing . Instruments inspire the voice to get influenced the produce the desired sound. All Carnatic instruments of Short sound , meaning , they don’t have the natural linger or reverb and so the sound is very short - Hence , in Carnatic music , when vocalist sing the syllables are also short - ta da ri na In the Hindustani system , all instruments have long lingering reverb in their sound , hence the voice also replicates the same by singing long notes likeaaaaaaaaaaaaaaaa, So to say that it is difficult to play a composition on an instrument is just not true.

Your take on collaborations with fusion artists and independent musicians? Do you think its helping or tampering with the sanctity of Carnatic music? Music is like Dharma , as long as your conscience is clear you are fine . Similarly collaboration can happen only when you are in a good space with your musical expression . You must have a fair bit of knowledge and control of your art form to bring

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SHAURYA SINGH THAPA

10 ARTISTS TO LISTEN TO IF YOU LIKE

JAYANTHI AND KUMARESH The husband-wife duo Jayanthi and Kumaresh perfectly blend the two worlds of veena and violin for a neo-classical sound that recalls the past while reinventing the present. If you dig the work of this Carnatic duo, here are a few more classical and fusion artists that might pique your interest. MAATI BAANI Maati Baani is a folk, classical, and fusion duo that comprises multiinstrumentalist Kartik Shah and Hindustani classical vocalist Nirali Kartik. Having collaborated with musicians from over 30 countries, the husband-wife couple shows that music has no boundaries. AMBI SUBRAMANIAM The son of acclaimed violinist Dr. L Subramaniam, Ambi Subramaniam has grown out of the shadow of his father on his own. The 30-year-old is one of the country’s best violinists as of now and is also an active music educator. Coming to the latter, Ambi serves as the Associate Dean of the Subramaniam Academy of Performing Arts (SaPa), an institute

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that trains children to become musicians. RISHABH SEEN Hailing from Chandigarh, Rishabh Seen is a proponent of what he calls ‘Sitar Metal’. This fusion started when he uploaded metal covers on his sitar, eventually forming his own band called Sitar Metal. The sitar-wielding rockstar has definitely proven that no music style or instrument can be restrictive in the modern era. BAHAUDDIN DAGAR A leading proponent of the rudra veena, Bahauddin Dagar’s live performances are a treat to watch even for those who are just getting acquainted with the instrument.

As he puts it himself, ‘Veena is like an elephant. Even if one moves according to its character, it refuses you to take liberties. Being able to play veena is just the beginning; then its shows what to do. ‘ POLY VARGHESE Grammy winning Hindustani maestro Vishwa Mohan Bhatt innovated the guitar by adding a peghead and classical strings, creating what is known as the Mohan Veena aka slide guitar. Bhatt’s disciple Poly Varghese is another popular slide guitar player with a slew of calming compositions. He has also proven his expertise in Rabindra sangeet and Kabeer songs.

GINGGER SHANKAR Even though she is proficient in the violin, cello, and piano, Gingger Shankar is an IndianAmerican maestro who is a maestro of the double violin. For those who are unacquainted with the stereophonic instrument, it is a ten-string invention that includes the range of violin, viola, cello and double bass. With her double violin skills, Shankar has embarked on electronica and neo-Carnatic ventures while even collaborating with foreign acts like Smashing Pumpkins. NILADRI KUMAR In an age of the same old sitar players, Niladri Kumar became an innovator with his own unique creation known as the ‘zitar’. To put it simply, the zitar is a combination of the guitar and the sitar. Instead of the sitar’s twenty strings, Kumar’s instrument comprised of five strings along with an electronic pickup. Along with classical compositions, Kumar has also lent his skills for Bollywood songs like Dhoom 2’s Crazy Kiya Re and Life In A Metro’s Alvida.

VEENA SREEVANI True to her name, Veena Srivani plays the string instrument while adding her touch of Western experimentation. More than any original songs, her audiences would delight in the mashups that she posts on her ever-growing YouTube channel. Sreevani first made headlines when she uploaded a cover of Ed Sheeran’s Shape of You paired with AR Rahman’s Urvasi.

might be. A recent example of the meditative electronic music is happy birthday as Such as Essence by DJ and producer Atmanam.

ANUPAMA BHAGWAT Hailing from Chattisgarh, Anupama Bhagwat is one of the finest sitar maestros in modern times. She stands out in her performances with the Gayaki style, a lyrical method patterned after the human voice. Newer converts to her music can get a glimpse of her talents via Darbar Festival’s YouTube channel. APOORVA KRISHNA Accomplished Carnatic violinist Apoorva Krishna has had her fair share of classical compositions. But what is noteworthy about her discography is how smoothly she can connect with her collaborators, no matter how diverse the genres

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NAVYA C

Best Practices which a Carnatic Vocalist must Follow

Being a vocal student of Carnatic music is a lifetime bond. It doesn’t have any limits or an end. The versatility of Carnatic music lies in its various kinds of compositions, scales, expressivity that always has something to dig more on. However, Carnatic music is an embodiment of discipline- whether it comes to following the composer’s notation, staying true to the notes, and confining to the principles of the raaga. To attain good melodic knowledge along with rhythmic expertise, every Carnatic vocalist must follow these seven best practices: 1. Interact with Your Guru:

No matter how much of technological advancements happen, and one can learn a composition listening over the Internet, the relationship you have with Carnatic guru will heavily impact your discipline, and overall approach towards music. Along with learning the lessons, interact, discuss and fearlessly ask every doubt to your guru and excel in the practice.

2. Be Consistent: Practicing

every day even for a little chunk of time will be more beneficial than a long stretch of practice that lasts rarely. Start off with 30minutes of practice everyday (preferably at the same time of the day) and stay consistent with it. Once the confidence is gained, expand the time slowly and work your way towards mastery!

3. Cumulative Practice:

Usually, the vocalists tend to focus more on the current lesson being taught and overlook the ones that have been already finished. This will make the vocalist lose touch

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over the learnings and compositions. Hence, make sure to revisit those old compositions which your guru taught some years ago. Trust us, the interpretation and perception of the composition wonderfully changes with this action!

4. Listening=Learning: Every

music teacher, irrespective of the genre emphasizes on this part; and Carnatic music is of no exception. Along with the lessons currently being learnt, take some time to listen to the musical greats – vocalists as well as instrumentalists. Also, listen to Hindustani Classical forms to understand how differently they interpret Carnatic raagas.

5. Face Your Fears: It is not

surprising that every vocalist has a fear to perform a particular kriti/ varnam because of its complexities or just the vibe. Whichever composition instills you fear, take it up as a challenge and divide the same into smaller portions. Down-up approach works greatly for complex compositions!

6. Practice Applied Theory:

Some vocalists find theory quite interesting and get carried away in learning the nuances of Carnatic music, the composers and their history which is downright helpful. But to be a successful Carnatic vocalist, applying theory to practice, and implementation is crucial. Whenever you come across a new theory concept, try ways to apply it then and there.

7. Attend Live Performances:

Watching a video at the comfort of your home might be tempting, but nothing can beat the experience of a Carnatic live concert. Attend various live performances that happen in the city featuring top artists which gives great insight into stage ethics, performance nuances, and how well they are presenting their music.

Artist Of The Month PRAVEEN SPARSH How did you pick up the mridangam as an instrument My parents say that as a 5 year old, I was quite troublesome and started drumming on whatever I found. Coming from a family of percussionists, (grandfather - Thanjavur Upendran, Mridangam artiste, great grandfather - Valaigaiman Shanmugasundaram Pillai, Thavil artiste) Mridangam, I think, was the most obvious and accessible choice. Tell us about your learning years of the instrument. As artists, we keep learning and it goes through interesting trails. Like any other artform, the basics were intense and rigorous, and the more advanced lessons were engaging on a deeper level. At this stage, I try to learn and express my voice through my instrument without barriers or transmission loss. What are some of the techniques you as a mridangam artist think one must learn to be good at it? Apart from certain basic aspects like regular practice and a healthy mind, listening while playing, I find, is an abstract, yet important aspect of being a Mridangam artiste (any artiste for that matter). When we are so caught up in what we want to play, we fail to listen to what others are doing or the sound of what we just played. What challenges have you faced as an artist? I don’t want to sound dramatic and say that being a Mridangam artiste is a challenge in this day and age. Infact, things have gotten better now. Like any other artform, the Carnatic music world also has its own set of problems, but we’ve at least gotten to a point now where they are starting to be acknowledged and small changes are happening. Tell us about your independent projects Recently I had the honour of working with Pradeep Kumar on ‘Pann’ India’s first programmable NFT. I’ve also produced “Unreserved”, an independent mridangam-centric album. Over the past year, I’ve arranged and produced an instrumental music album by my partner, Shreya Devnath. I’ve also been working on a few independent music albums by good friends and wonderful artistes, Sushma Soma, Aditya Prakash and Sid Sriram.

What’s your opinion about accompanying artists taking centre stage in India now? Has it become better? Somehow, hierarchy in humans is rightly condemned, but hierarchy in instruments is normalised. In a democratic setting, the ability and space to express an idea should not be governed by the instrument you play, or its perceived ‘role’ in the hierarchical system that is present in the conventional concert stage. As long as you have a genuine and honest voice, you deserve your space. Things are certainly getting better but we have a long way to go. Upcoming projects Apart from the live scene opening up a bit and travel getting back in the mix, I’m working on a full fledged ableton live set and working on some interesting collaborations. The

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Quirks & Queries

1. What made you pick the violin as an instrument?

Nandini Shankar

Belonging to a family of musicians with a rich legacy, it was natural for me to pick up the violin ever since I was a kid. Over 12 of us in the extended family play the violin! I also enjoy singing.

2. Talk to us about your learning years of the instrument I started learning the violin from my mother Dr. Sangeeta Shankar and my grandmother Padmabhushan Dr. N. Rajam at the age of 3. My elder sister Ragini and I used to learn together. At such a young age, I often was cajoled into practising and sometimes it was a discipline that I had to follow as part of my routine. I performed for the first time when I was 8 - and I absolutely loved the exhilarating feeling of being on stage. As years progressed, I began to find immense joy in the music and began to understand the true depth of Hindustani Classical music.

3. What are some techniques you found challenging to incorporate in your playing? Every technique can be mastered with practice. The biggest challenge is to master the art of being disciplined!

4. What are 3 most important qualities a violinist must possess according to you? a) Never-ending learning spirit b) Emotion in Music c) Love for the instrument

5. Tell us about your warm up and practise routine I usually practice in chunks of 45 minutes, multiple times a day. I try to get in at least one session of practice on the day of a concert, to warmup.

6. How important is collaboration to you? Tell us about some of your best collaborations Music has collaboration rooted in its essence - most musical genres in the world always have 2 or more musicians performing together. Collaboration expands mental horizons and often creates something new that was never possible by either of the two musicians alone. Among my favorite collaborations & bands are ‘Sakhi’ (Kaushiki Chakraborty’s band), inStrings (a fusion band with my family), The Kapi Dance (a track with my husband Mahesh Raghvan who is a Carnatic fusion artist) and various other tracks that I have worked on with some amazing musicians of the world.

7. Your upcoming projects

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I am now collaborating with my sister Ragini on a very special project, which is to be announced soon! It feels great to be back on stage during this concert season and perform regularly. I just returned from a tour in Europe and I am looking forward to the concerts that are lined up in India during December and January.

Transformation Awaits The road to The 2022 NAMM Show begins in the new year. Make plans to experience the reunion of the century and access new resources to transform your business, career and our industry.

The online global gathering to celebrate the people who bring music to the world returns. Join us Thursday, January 20 for a livestreamed event featuring Believe TV, live music, interactive brand pages and a NAMM Foundation fundraiser. The celebration continues, Friday, January 21, with live educational sessions and networking opportunities.

NAMM Show+, the new mobile and desktop platform, is the single, unifying, online tool that will unite our global community. Attendees of The NAMM Show can be more productive than ever while on campus, and people around the world can engage in The NAMM Show experience like never before.

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NAVYA C

s n a i c i s u c Indie M

i t a n r a C Focus on e m i T n w o d k c o L n -i

Carnatic Music is quite grounded and disciplined in the first place but over the years, the amazing music form has undergone many metamorphoses and interesting add-ons. Carnatic progressive rock is one such genre that has garnered much attention with lead vocalists staying true to the Carnatic compositions harmonizing with fantastic string sections and adding fusion aspects to it. During the lockdown time in particular, many Carnatic artists – experienced artists along with youngsters came up with exciting mashups and interesting fusion. These artists are vivacious, experimental and brought Carnatic music closer to the younger audience:

1. Harish Shivaramakrishnan: The power-packed lead singer of Carnatic progressive rock band Agam, Harish is a trained Carnatic singer. His amazing vocal range and selection of compositions and rehashing them is quite commendable to the core. Do not miss his Swans of Saraswathi, Manavi Aalakincharadate and Dhanasree Tillana. Apart from being an amazing vocalist, he also plays emphasis on rare compositions of legends such as Swathi Tirunal and Saint Thyagaraja. 2. Sooraj Santosh: This suave singer has a lilting voice that blends Carnatic vocals with folk flavours. The ever popular number Kaantha by Masala Coffee is an instant foot-tapping single. Sooraj is not just a fantastic Carnatic singer, but knows how to fuse it with western counterparts and add his own melodious beauty to the cover versions. 3. Arya Dhayal: This relatively young singer from the God’s Own Country is making waves with her

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swift voice. She has been making casual videos over Instagram handle playing ukulele and became an overnight star with her single. Her songs have a beautiful blend between Carnatic music and International pop. With her sweet smile and exceptional talent, Arya Dhayal is definitely making waves in the lockdown artists scene. 4. Vedanth Bharadwaj: A interesting musician who fuses Carnatic music, Hindustani verses by Surdas and Tulsi Das, and delivers them with mesmerizing style. He , along with his singing partner Bindumalini came up with a fantastic ensemble that fuses our culture together and bring distant genres closer! 5. Uttara Unnikrishnan: This sweet little powerhouse , the daughter of legendary playback singer Unnikrishnan has been winning over hearts with her lovely renditions. The videos of her along with her father singing so effortlessly is a treat to watch. She has definitely inherited the

unmistakeable sweetness from her Dad! Don’t miss watching the fatherdaughter duo videos which are so relish-worthy! 6. Aditya Rao: This innovative musician has brought tech feels to Carnatic raaga Abheri by fusing it the International pop number Shape of You by Ed Sheeran. Their mix has become one of the biggest hits for obvious reasons. With such experimental ideas, world genres come together in peace and perfection. 7. Mahesh Raghavan: Another highly skilled musician who brought in the feel of tech and synth sound to Carnatic music. His covers were making waves in the world of social media especially during the lockdown era. Relish these wonderful musicians who are making the world a better place during the times of Covid with their unique experiments and keeping the optimism going.

SHAURYA SINGH THAPA

5 Things You Need To Know About Christmas Carols

From Jingle Bells to Feliz Navidad, carols are a quintessential element of Christmas and are sang all over the world in Christian households. As it is the wintry month of December, fans of carols can glance through these facts that would give them more context behind these Christmas classics. THE REFORMATION PROMOTED CAROLS Following the event known as the Reformation, the Protestant sect of Christianity was born. Among the many changes that Protestantism introduced, this form of Christianity actively welcomed the use of music. In fact, the Reformation leader Martin Luther himself wrote carols and encouraged their usage as modes of worship.

THE FIRST-EVER CAROL Before Christmas songs gained currency, pagan songs marked the advent of a festival around Winter Solstice (that was supposed to resemble Christmas). But if one were to point their fingers at a particular song as ‘the first Christmas carol’, it would be Angels Hymn, all the way back from 129 AD. Given its date, no one knows the tune of this archaic song. The lyrics probably dealt with the reactions of heavenly angels after Jesus’s birth. A JEWISH CONNECTION One does not have to be essentially Christian to author some of the most iconic Christmas carols. Just take the case of Johnny Marks, a Jew by religion, who wrote Holly Jolly Christmas, and Rockin’ Around The Christmas Tree. Similarly, another Jewish man called Irving Berlin was the creative force behind Let It Snow and White Christmas.

spread the festive cheer but also increased sales. With copywriter Robert L May working on an assignment for one such book in 1939, he ended up writing Rudolph The Red-Nosed Reindeer (drawing on his childhood experiences with bullying). The poem was an instant hit and evolved into a musical carol. The rest, as they say, is history. JINGLE BELLS AND ITS VARIOUS MEANINGS Even though Jingle Bells is constantly associated with Christmas vibes and Santa Claus, the carol was initially written in a whole different context. Legend has it that songwriter James Lord Pierpont wrote it to describe the sleigh races in 19th century. As the song grew in popularity, it became a popular pick for the Sunday choir in American churches as well as a drinking song in bars!

RUDOLPH THE RED NOSEDREINDEER Was Born In A Department Store Based in Chicago, the department store known as Montgomery Ward used to distribute free colouring books to children in the early 20th century. This campaign not only The

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Indie Music Pieces which have Indian music counterparts

Indian Classical Music has inevitable influence not just on film music but also on independent artists- not just at Indian level but also at global arena. International bands such as the Beatles, and Led Zeppelin found inspiration in Indian Classical music and it would be surprising to see even Pink Floyd draws inspiration from our music genres. Incidentally, Indie musicians have heavy influence of Carnatic music on their original compositions over the decades. Let us dwell into such music compositions that have Carnatic music counterparts: 1. Wedding Bells- Chitti Babu: The Carnatic veena exponent’s all time masterpiece Wedding Bells is a fantastic composition. The usage of veena’s sound as wedding bells is one unique feat done by the musician and we realize why Chitti Babu is the unisputed veena legend! 2. Giri Raja Sutha- Remember Shakti: One of the pioneers in fusion music bands, Remember Skahti brings a Jazzy twist to this legendary composition penned by Saint Thyagaraja. The usage of U.Srinivas’s mandolin, John McLaughlin’s electric guitars, and Zakir’s table- this is an undisputed masterpiece. 3. Indian Rain- Colonial Cousins: A lilting melody composed in raag Madhumaat Saarang (Madhyamavati in Carnatic Music), the song has jazz flavours with the vocals of Leslie Lewis. Hariharan brings magnetic aalap which does complete justice to the raag. Close your eyes and listen to this composition- you can actually hear the drizzle falling off the balcony with utmost peace. 4. Krishna Nee Begane- Colonial Cousins: The marvelous composition Krishna Nee Begane got utmost popularity after Colonial Cousins remastered it in their own style. The idea of universality and global peace was also brought into this Carnatic composition. 5. Kalyani Connection- Guitar Prasanna: An interesting twist to Raaga Kalyani was done by Guitar Prasanna who brought Jazz influence along with a tinge of Heavy Metal. However, the Raaga Kalyani gets a global makeover with this masterful guitar player. 6. Nada Vindhu Kala- Anil Srinivasan and Sikkil Gurucharan: This fantastic duo bring suave unplugged feels to Carnatic music and make the overall ambiance to a new experience altogether. Anil’s soft yet grand piano blends effortlessly with Sikkil Gurucharan’s traditional vocals.

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KANUPRIYA MODI

Exploring The Thumri

A Soulful Rendition

The Roots of Thumri An interesting vocal genre or style of Indian classical music, Thumri originates from the word ‘thumakna (ठुमकना)’. It means ‘to walk gracefully with dancing steps making the ankle-bells tinkle’. Thumri is a form of classical music rendition that finds its origins in the 19th century and is linked to Kathak, a classical dance form. Evolving from the Land of Nawabs, Lucknow, this was the bandish ki thumri or bol-baant that began in the court of Nawab Wajid Ali Shah. According to historical records, the late 19th century led to a new version of Thumri. It was slow-paced, independent of dance, and called bol-banav, from Varanasi.

Thumri v/s Khayal Thumri has two parts, the sthayi and the antara. It supports tala-s such as Deepchandi, Roopak, Addha, and Punjabi. These tala-s come with a special lilt that’s not present in the tala-s used in Khayal. Thumri compositions are mostly in raga-s such as Kafi, Khamaj, Jogiya, Bhairavi, Pilu and Pahadi. These ragas are marked by the free movement they allow the artist, since they do not depend on rigidly formulated tonal sequences. They let the singers enjoy the liberty to mix raga-s or move out of the raga for adding vibrancy to the rendition. The khayal unfolds a raga with great detailing and attention. However, Thumri expresses the shringar with a combination of melody and words. The contours of a khayal are fluid. Thus, a khayal singer can express a wide range of complex emotions. A Thumri singer

goes straight to the emotional core of a composition and evokes each yarn of amorous feeling, each strand of sensuous sentiment, with great discretion. Khayal aims at achieving poise and splendour; Thumri is romantic in spirit.

Thumri Singers Some Khayal singers who rendered beautiful Thumris and sang it their own way are Abdul Karim Khan, Faiyaz Khan, Bade Ghulam Ali Khan, Bhimsen Joshi, Madhav Gudi, Rajan and Sajan Mishra, Barkat Ali Khan, Jagdish Prasad and Prabha Atre. Thumri is all about the emotions or ‘bhaav’. The song with the soul. It is mostly rendered by women. Girija Devi is fondly remembered as the last Thumri Queen. In an interview with a renowned publication she once said, ‘Thumri has become a mix of raag and regional music. But I try to retain the purity of words and swar which need a lot of bhav to make it lyrical’. Shubha Mudgal is also known for the Thumris she beautifully presents. According to her perspective in an interview, she mentioned, ‘There are not many thumri specialists today, and neither is it a form that finds acceptance with electronic media. It may become rare or even extinct if not given due attention’. Thumri involves the repetition of a particular bol. The singer cannot sing the same words in the same manner every time. There need to be a lot of variations. In order to keep this light-classical form of music alive, we need to encourage the connoisseurs and performers to continue taking initiatives and host Thumri festivals and workshops across the country.

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Top 10

Carnatic Music Instrumental Listens of all Time

Although Carnatic music pays heavy emphasis on the vocalist renditions because of the beautiful lyrics penned by legendary composers, the instrumentals have their own grace and beauty. They give a relaxed feel to the mind and some of the legendary instrument players express the lyrics breathtakingly even through the melody. Over the years, Carnatic instrumental renditions have undergone innovative changes and yet stayed strong to the roots. With the Margazhi season on, and Carnatic music getting the front seat in the year, here are the top 10 Carnatic Music Instrumental Listens of all Time:

1. Raghuvamsa SudhambudhiKadanakutuhalam- Patnam Subrahmanyam Iyer: Over

the years, this has been a favourite for Carnatic instrumentalists for obvious reasons. With its gripping notes and progression, the composition instantly sets an ambience through instrumentals. We recommend listening to U.Srinivas’s mandolin version and Chitti Babu’s Veena rendition of this composition for the racy interpretation- yet staying so strong to the composition’s roots.

2. Vaatapi Ganapathim Bhaje-Hamsadhwani- Mt. Dikshitar: It is usually customary

to begin a Carnatic Concert with Hamsadhwani raagam as it is closely associated with Lord Vinayaka. Vaatapi Ganapathim is an evergreen composition and a crowd’s favourite over generations. With its intricacies and breathtaking simplicity in right balance, we recommend listening to Kadri Gopalnath’s Saxophone rendition of the same- for a new age twist!

3. Manavi Aalakincharaadate- Nalina Kanthi- Saint Thyagaraja: A raaga with twisted notes, Nalinakanthi is a beautiful choice for instrumentalists. Thyagaraja’s majestic composition does complete justice to this raaga- in utmost elegance. The beauty of a

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composition lies in its simplicity and bigger reach- Manavi Aalakincharadate does exactly the same. Almost every rendition of this composition in different instruments is appealing!

4. Maathe MalayadhwajaKhamas- Muttaiah Bhagavatar: Though a daru varnam as per the composition style, it is quite challenging to perform this in instrument. With its multiple jathis, and variation of rhythmic structure, the composition unleashes the experimental prowess of Bhagavatar. With its instant appeal, the raaga gets complete justice from the composer- and various legendary instrumentalists who have performed it over the years.

5. Kamakshi Amba- BhairaviSyama Sastry: This magnificent composer is known for worshipping goddess Kamakshi and dedicated his life and compositions to the deity. The swara jathi is progressive over each note for every charanam- and the crescendo “ Syama Krishna Sahodari” gives goosebumps to any listener.

6. Jagadananda KaarakaNata- Saint Thyagaraja: The first of Thyagaraja’s golden pancharatnas, this composition is a majestic beauty. It sets the mood instantly and various instrumentalists have interpreted it in wonderful ways. The raaga Naata,

and Thyagaraja’s etched notes sound supremely brilliant even after a million listens.

7. Shiva Shiva Shiva Anaraada- PanthuvaraliSaint Thyagaraja: Panthuvarali is known to be deeply philosophical and has its own sublime beauty because of the prathi madhyamam. This simple yet masterful composition speaks about Shiva Tatvam in style, and is also instantly appealing for instrumentalists to perform. 8. Raja Raja Radhite- NiroshtaMuttaiah Bhagavatar: An impressive composition with subtle presentation, Raaga Niroshta gets amazing makeover by the master composer. A rare raaga indeed, but the composition brings interesting multitudes of emotions.

9. Bantu Reeti KoluvuHamsanaadam- Saint Thyagaraja: This composition is evergreen in every respect. Saint Thyagaraja completely does justice to the unique raaga with the melodic progression and again- a crowd’s favourite as well as instrumentalists alike!

10. Dhanasree TillanaSwathi Tirunal: A fantastic tillana brings in the zeal and enthusiasm to the listener, and this is a perfect composition set in the raaga Bhimpalasi- with Hindustani styled nuances.

AKARSH SHEKHAR

11 REASONS WHY YOU SHOULD LISTEN TO CLASSICAL MUSIC EVERY DAY 3. Playing an instrument can improve the ability to learn languages. According to the Northwestern University of Illinois, the brain connections that occur when an instrument is played can aid in other forms of communication such as speaking, reading, or understanding other languages.

1. The positive influence of classical music in the treatment of some diseases has been demonstrated. Well, there are several neurological disorders that, although they have no cure, use music as a form of treatment: Alzheimer’s, Parkinson’s disease, Tourette’s syndrome, and different forms of autism. For example, according to research published in The Journal of Cardiothoracic Surgery, listening to classical music or opera after a heart transplant can mean the difference between success and failure, as music has been found to reduce anxiety, pain, stress, and nausea. 2. Listening to classical music could combat insomnia. The University of Toronto assures that “the rhythms and tonal patterns of this type of music create a meditative mood and slow brain waves”, which helps to fall asleep faster. This is due to the rhythms and tonal patterns of this type of music, which create a meditative mood and slow brain waves.

4. Classical music reduces stress and could help lower blood pressure. According to some studies, listening to soft classical music a few times a week would help reduce your stress and anxiety levels. And if stress is reduced, this, in turn, affects blood pressure, according to comparisons made in a study at the University of San Diego between classical music and jazz, pop, or others. Those who listened to classical music had lower blood pressure levels. 5. Listening to classical music, as well as learning to play an instrument and musical language could improve academic performance across children of all age groups. Music has been shown to be effective in instilling perseverance, discipline, and rigor in the students who study it. For example, through a study carried out in the USA, it was also shown that those who had some type of music education had better grades in the university entrance exams. Those who studied music scored 61 points more than their peers in verbal tests and 42 in mathematics, while those who played instruments obtained 53 and 39 points more respectively in both tests.

6. Music helps overcome dyslexia. Studying musical language or playing the piano has been shown to significantly improve coordination in dyslexic people. 7. The “Mozart effect” is the term used to describe the series of supposed benefits produced by listening to the music composed by Wolfgang Amadeus Mozart, which claims that it temporarily improves spatio-temporal reasoning and shortterm memory. 8. Music helps integration, as shown in this case of an autistic girl who expresses herself through music, or as this initiative in favor of cancer patients who are taught through music to understand what they feel about others. 9. During pregnancy, classical music stimulates the foetus. Although it is doubtful that the “Mozart effect” is entirely true, it has been proven that music stimulates the foetus, which is good for its development. And it doesn’t have to be Mozart necessarily. 10. Studying music in childhood improves adult brain functions. An interesting study carried out at Northwestern University, in Evanston, Illinois (USA), showed that individuals who had studied music “had better brain responses to complex sounds”; which translates into “benefits ranging from better auditory perception, greater executive function and a more effective use of communication tools.” 11. Music improves children’s memory, concentration capacity and stimulates the right brain area, improving the ability to carry out any other artistic activity, such as painting, thus promoting the holistic development of the child. The

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KRIPA KRISHNAN

In conversation with

Ashwath Narayan

Ashwath Narayanan is a contemporary pioneer in Carnatic music currently based in Chennai. Hailing from a family of carnatic music enthusiasts, Ashwath started his journey very early on. He has always been able to find the sweet spot with regards to the balance between music and education, and now, an alternate career as an IT consultant. Interestingly enough, for a rather fun fact, he had his own band back in the day creating covers and independent fusion music.

There are a lot of conceptions about how carnatic music can be extremely stringent compared to other forms of music. Ashwath believes that although this may be true, there is still a lot of creativity and freedom within the established confines that can be explored. He likens it to a painter and his canvas - even within the boundaries of the canvas you can unleash your creative flair. In fact, the whole Melakartha scale of raga classification, according to him, is more of a school of thought as opposed to an objective means of raga identification, clustering etc. Ultimately it boils down to the artist and how they chose to embed their flavor in their performances and of course there can be infinite variations in how this is done. Moreover, Ashwath talks about how artists should not be judged solely based on their performances but rather their holistic persona and how they express themselves. He considers himself to be more bold and advocates challenging the status quo whilst being cognizant of preserving the tradition. He believes that although many carnatic artists are referred to as performing artists, the performance aspect is a mere subset of their entire offering. The dynamic/interplay of carnatic music has evolved over time especially with the advent of different forms of mainstream, and very recently, non-commercial/independent music. Ashwath draws parallels with the game of Chinese Whispers wherein a certain word is passed around via a whisper/secret

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amongst a few individuals and the test is to see if the starting word remains unchanged across the transfer. He alludes to the importance of the guru-sishya (teacher-student) relationship in all landscapes of classical music and its historical significance. Prior to digital advancements, the nature of all knowledge transfer and communication was subject to mere oral means, and in some cases, cassette tape recordings. This inevitably had given rise to ambiguity and varied interpretations, which were essentially compounded through generations. Although the rudimentary core may have been preserved, there has been a lot of change in the way carnatic music is expressed and communicated. Nowadays, we see the emergence of the carnatic flavor in light music and all types of fusion. This has allowed Ashwath to perceive music as a whole from a new lens. It has invoked confidence to really think outside the box and be creative in his endeavours as a carnatic vocalist and performer. Apart from the carnatic legends, he draws inspiration from other non-carnatic musicians like Illayaraja, AR Rahman, and KV Mahadevan. The major pivot in the evolution of carnatic music may just be around the corner owing to the pandemic. We lived in a world where in person classical concerts/kutcheris were closely integrated with cultural, and in some cases religious, ties. Now, with the onset of streaming platforms and further advancements in digitization, that culture of in person attendance is dispensable. This then warrants a change in the way carnatic music is socialized, expressed and even monetized! He strongly believes that there needs to be more education and awareness on how individuals can successfully leverage social media platforms to showcase their work in the realm of carnatic music. Even if Covid subsides entirely, digitization and online streaming will not. There needs to be a movement around integrating digital means of communicating and performing in carnatic music, which essentially requires support from a myriad of stakeholders - artists, listeners, producers, event management etc. Ashwath believes it may be more cumbersome than not to be a full time carnatic musician albeit not impossible if certain criteria are met. Unfortunately, there are various societal constructs that really influence the trajectory and growth of an aspiring carnatic singer, of course, in addition to the inherent skill, talent, capabilities and hard work. As humble as he is, considering himself as privileged, he himself has a source of income flow that then enables him to solely focus on music whilst practising, creating and performing. The

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SHAURYA SINGH THAPA

Colonial Cousins presented fusion in the Indipop scene before anyone knew fusion: Score Indie Classics

Colonial Cousins was the debut album by the duo of the same name, comprising of playback singer Hariharan and singer/composer Leslie Lewis. While Hariharan is quite a common name for anyone who harbours an interest in Bollywood and South Indian playback singing, this side project of his is a distant memory that only people from the 1990s would remember. The genre was essentially fusion, with Lewis and Hariharan singing in English/Hindi with the latter adding Hindustani and Carnatic ragas. It is to be noted that fusion was still a relatively new concept for Indian music in the late 90s. There was no Coke Studio or Karsh Kale back then with basic blends of multiple singing styles doubling up as fusion.

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So, even if Colonial Cousins dropped nascent attempts in the genre, they at least contributed to the earliest phases of the movement. Released in 1996, their album hit platinum sales in India and was one of the earliest fusion attempts to achieve such success. The most well-known track from the album might be Krishna, a moving song on preaching love through all schools of faith. In times of communal imbalance and religious extremism, a song like this is probably more relevant than ever. Then, there was the peppy number Sa Ni Dha Pa, a song that found the two artists exchanging verses and harmonising in their bilingual nature.

The album’s success proved the marketability of Indian fusion to foreign audiences. In fact, following the release, Colonial Cousins became the first Indian act to be featured on MTV Unplugged. Since then, the duo has dropped four studio albums even though their debut can arguable be considered as their magnum opus. The Indipop act has also gone on to score two Tamil films in the 2010s. Hariharan continues to enjoy a successful playback career while Leslie Lewis aka Lezz continues scoring and singing for Tamil and Marathi films. If not together, the two also embark on regular tours, winning over both old and new fans.

INDIAN SCIENTIFIC MUSIC

EASWARAN ANANTRAM

THE LEGEND

OF TANSEN Tansen is a combination of two words – Tan – fast phrases in music & Sen – King or Warrior. This was a title bestowed on Raja Vikramjit Singh of Gwalior. He was a phenomenal vocalist and a genius of a composer.

Once, as he was called to the court of Emperor Akbar, the “Jahanpanah” asked him to sing a Raga called the Deepak Raga. Tansen stood perplexed in the court unable to refuse the Emperor. He knew one thing for sure Deepak Raag is a powerful raga that heats up the air. The notes of the ragas are heavy with even more emphasis on the serious ones He asked for time, around a week’s time to prepare for the performance. The Emperor was curious and agreed to this request, as he eagerly yet patiently waited for the day to come. Tansen was lost in the practice of this Raga and preparing himself for the fateful performance. The Raga if sung in full force, was said to even burn the singer to ashes. The evening of performance arrived. Tansen muttered up his courage and proceeded towards the court where he was greeted by the townsfolk and the nobles alike – in absolute silence. So much so, that Tansen could hear his own heart pound in fear. He takes his space, calming himself down by performing a raga familiar to him. The sun had long set, but the enthusiasm of the people was resolute. The Emperor said, “Please proceed to the Raga of the Day, all of us are eager to watch you sing

this incredible Raga”. Tansen was silent for a bit. He then replied “Jahanpanah, please ensure all the lamps are turn off, the air is going to get pretty hot in sometime. If these precautions are not taken, the Palace may catch fire”. As instructed, all lamps were turned off. Pitch Darkness and Pin drop Silence, something which would generally instil fear in one’s heart; but, as soon as Tansen started singing, people felt the warmth of the early morning sun.

my Daughter Saraswati to come and sing for me!!! only she can relieve me of this torment”

His powerful rendition of each note kept turning up the heat and with every phrase he sang people started feeling the pinch of the increasing temperature. Tansen was now visibly uncomfortable! The phrases were becoming faster and making the atmosphere even more unstable, slowly from the reminiscent smoke from the flames of the lamps that were turned off, one lamp becomes on again! Tansen had his eyes closed, totally oblivious to what just happened, people were visibly feeling the heat as the Emperor removed his jacket to get more comfortable. All lamps start going on, and all the lamps in the Durbar were now lit. Tansen kept going on, till he had to stop. The heat in his body was killing him, the acidity, the boiling fluids in his body wouldn’t let him go further. The murmuring in the court stopped as the Great Tansen ran outside to grab a pot full of water. He gulped it down whole! But his body didn’t seem to calm down. That’s when he requests the Emperor as he pants, “Please allow

This, is the legend of the power of Ragas. The next session will continue with Ragas on the Varsha Rutu. This story served as a nice prequel to the same! Happy Reading!!

Saraswati came running to her father’s rescue as she started with Raag Miyan ki Malhar, Tansen’s creation for rain. Just minutes into her rendition and the people of the Durbar could sense petrichor and subsequently, the rains came pouring in as Tansen also joined his daughter in the rendition which had calmed and soothed his body in an instance.

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Best Margazhi Performances to Watch out this Season The Margazhi season is eagerly awaited by all Carnatic music lovers all over the world for its classy lineup of artists. Margazhi concerns in Chennai are like a gold standard for Carnatic Music along with insightful lecture demonstrations by top artists. These lecture demos as well as concerts have garnered much attention for their academic prowess , supreme ambience and networking with like-minded musical connoisseurs as well. We bring you some of the best Margazhi performances to watch out for this season:

The ensemble of Palakkad R.Ram Prasad on the vocal, Trivandrum Sampath on the Violin, Arjun Kumar on the Mridangam and B.Rajasekhar on Moharsing is scheduled on December 20th,2021 at 5:45 PM. This concert promises to be versatile as well as features interesting artists for a brilliant evening guaranteed!

The talented K.Bharat Sundar on the vocals is collaborating with H.K.Venkataraman on the violin, Tiruvarur Bhaktavatsalan on the Mridangam and Chandrasekhara Sarma on the ghatam for a fantastic ensemble for sure. The buzz has been quite high on this interesting combination.

The second concert featuring Sriranjani Santhagopalan on the vocals, H.M.Smitha on the violin., B.Guru Raghavendran on the mridangam and G. Guruprasanna on the kanjira is on the December 21st,2021 at 5:45 PM. Do not miss this lovely ensemble that might explore some rare unheard melodies for sure!

The Veena exponent Jayanthi Kumaresh is collaborating with K.U. Jayachandra Rao on the mridangam and Trichy S. Krishnasamy on the ghatam for a suave oncert on December 22nd, 2021 at 7:30 PM. Relish this marvelous instrumental feast on a breezy winter evening!

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December 26th 2021 has two back to back amazing concerts featuring the extremely talented vocalist Sudha Raghunadhan with Embar S.Kannan on the violin, Patri Satishkumar on the Mridangam and R.Raman on Moarsing.

The concert is followed by multitalented Sikkil Gurucharan on the vocals, with V.Sanjeev on the violin, Sangeetha Kalanidhi Umayalpuram K.Sivaraman on the mridangam and U.N. GIridhar Udupa on the Ghatam. This ensemble is surely going to earn much attention and buzz for the unique collaboration that wasn’t explored much before.

Do not miss out Sangeetha Kalanidhi A.Kanyakumari’s violin concert featuring L.Ramakrishnan on the violin, K.V. Prasad on the mridangam, and B.S.Purushottam on the kanjira on December 27th,2021- 7:30 PM.

December 28th has two amazing back-to-back concerts in which the first features Sangeetha Kalanidhi Sanjay Subrahmanyan on the vocals, S.Varadarajan on the violin, Neyveli B Venkatesh on the mridangam, and N.Guruprasad on the ghatam.

This marvel is followed by Trichur Brothers- Ramkumar Mohan and Srikrishna Mohan on the vocals , with H.N.Bhaskar on the violin, Praveen Sparsh on the Mridangam, and Nerkunam Dr.S.Sankar on the kanjira.

December 30th, 2021 will witness the amazing violin duo Lalgudi G.J.R.Krishnan and Lalgudi Vijayalakshmi along with Anantha R.Krishnan on Mridangam and Suresh Vaidyanathan on the ghatam. Margazhi is a wonderful time to celebrate the grandeur and the mesmerizing experiences that Carnatic music has given us on a global scale. Relish these concerts and celebrate the magic Carnatic Music which is immaculate in every respect.

AKARSH SHEKHAR

How To

Improve Your

Mix Without

Changing

Any Gear Protect your ears Healthy monitoring levels are a start, but since we’re ultimately dealing with our perception of sound, the other side of the equation is our ears - we need to optimize them to monitor accuracy. We don’t want to turn this article into a public service announcement, but what we’re essentially talking about here is staying healthy. Classic scenario: you mix a song for 15 hours, adjusting it to perfection. You play it the next day and it sounds absolutely terrible. Assuming you have a modicum of engineering talent, accurate monitors, and a decent crew to work with, hearing fatigue is the most likely culprit. Just as strong monitoring fatigue the ears, so does critical listening at nominal monitoring levels for hours on end. So, take breaks, rest your ears, and know when to finish, before you hit the point of diminishing returns. Get a good night’s sleep and be fresh again the next day. (If you are nocturnal, the principle is still valid). This will make your mixes sound better and protect your ears from damage in the long run. Visualize your mix in three dimensions As you record, overdub, and rough mixes, you’re developing a mental picture of your final mix, or at least you should. In cognitive science, this is called structural visualization,

and it’s a skill shared by architects, astronauts, and yes, successful recording engineers. Visualize your mix in a manner of height, depth and width. Your universe is populated with objects (instruments, voices, and effects), each of which has a frequency range (height), a stereo pan position (width), and a relative volume (depth). If you make your recordings in such a way, your mixes will be far more interesting than normal. Use high quality tracks This first one may be a no-brainer, but it’s quite possible that if you’re having a hard time mixing a song, the tracks themselves may be the problem. Garbage in, garbage out, as they say. It goes without saying that all instruments and voices must be in tune. In the setup, make sure there is no excessive frequency clumping (this can be mitigated a bit, but not fixed, with EQ). Maybe that dubbed rhythm guitar part would sound better one octave or would be played on a different instrument. You’re painting with sound, a delicate touch here, a bold brushstroke there, and you need high-quality sounds in your palette. Set your monitor to a reference level Hollywood movie mix soundstages are calibrated to 85 dB and stay there, so re-recording engineers

have absolute reference and are never fooled by fluctuating monitor levels. According to the FletcherMunson curves, 85dB is where the frequencies sound flattest. Loud reproductions accentuate your ears’ perception of bass and treble frequencies and consequently tend to make mixes sound more punchy than they actually are. In contrast, quiet monitoring levels attenuate the extremes, leaving the mid-range. Mix with high monitoring levels and you’ll end up with a negligible mix. Monitor too quietly - your mix will have tons of highs and lows, and vocals and other midrange instruments won’t be loud enough. You get the idea. Use an SPL meter for calibrating your monitors. Of course, 85dB is a good starting point, but in smaller rooms, it can be uncomfortable. Having a reference in the range of 70dB - 80dB in such cases is fine. You can still enjoy very loud playback with the band from time to time, and of course, check your mix on small speakers. But doing your most critical work at your established benchmark level is a big step toward achieving radio-ready mixes that adhere to the Goldilocks principle: the right thing to do. The

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THE DIFFERENT TYPES OF COMPRESSORS FOR THE PICKIEST AUDIO ENGINEERS

Learning and knowing about the seven main audio compressors is one of the aspects that every good audio engineer must master. Why is compression very important? Because it helps you both to control the dynamics and to add color to the sound. As there is so much supply of plugins from different brands, we can find ourselves lost on which one to use in a specific situation. An audio engineer’s work requires not only good taste or judgment when it comes to embodying our brand in a piece of sound. It is just as important to know the different tools to shape the sound at our convenience in a technical and meticulous way. We will take a look at the different types of compressors that exist in the digital world, both the emulations of old analog equipment and the benefits that technological advances offer us.

it can be a very transparent compressor.

VCA compressors VCA compressors are an acronym for “voltage-controlled amplifier,” which is the way this compressor behaves. Reacts to peaks that exceed the threshold given by the user. They are known for having a fast response and are an ideal choice for material with a lot of transients. Most offer precise control of their parameters including attack, release, threshold, and ratio (attack, release, threshold & ratio). Depending on how you configure

OPTO compressors Compressors normally divide the input signal into two parts: One is sent through the detection circuit, which determines how the compressor will act, and the other is the audio operated by the compressor that is then sent to the output. In an optical compressor, the detection circuit is unique; the audio signal is converted to light, which drives the opticalelectronic sensor that determines the amount of gain reduction. The response of this configuration is

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FET compressors FET compressors use a particular component called a “field effect transistor” which was designed to emulate the behavior of tube circuits. They offer much faster reaction times than VCAs. Some have no threshold control as the amount of compression is dictated by the combination of the signal amplitude and the input control setting. The higher the input, the more the signal is compressed. FET compressors are not your go-to for transparent dynamics control as they impart a distinctive sound to the sonic material. The most famous is the Urei 1176, used on thousands of classic albums and offers fast, aggressive compressions that come in handy on vocals, drums, guitars, and more.

smooth and transparent. Unlike other types of compressors, they have fixed ratios, usually 3: 1. The most famous compressor is the Teletronix LA-2A, which has earned its place in all studios around the world and is used on countless recordings. Non-Emulator Digital Compressors While compressors that emulate their analog versions are very popular, there are many compression plugins that do not emulate the behavior of any of these devices, but instead take advantage of the precision and versatility that digital technology offers. Multiband Compressors They allow you to focus on various frequency bands defined by the user, they are commonly used on the master bus and in mastering situations, but they do not mean that they can be used in a mixing context. They tend to be a bit more complicated to use in that you have to set crossover points between the frequency bands and configure the compression parameters for each of them independently. By allowing you the ability to specify frequency areas, multiband compressors not only control dynamics but can also be used for frequency manipulation at the same time.

AKARSH SHEKHAR

BACK FOR THE ATTACK

How To Keep Your Back Safe While Touring Musicians, especially those that tour continuously and perform in numerous venues tend to always have a lot of load, figuratively and literally, on their back. Deciding what equipment to carry and what to leave behind is always a big challenge. However, one thing is very important, all touring musicians need to keep their backs safe while carrying all that gear around. Remember to always lift with your legs and not your back, that one piece of advice will go a long way in protecting your back. The most dangerous activity for a touring musician’s back is moving the heavy equipment from a vehicle to the cart, dolly, or whatever you’re using to get the gear into the building. If you go one step further and carry all the stuff yourself, you need to be even more careful with all the heavy metal. The initial movement of large, heavy, or bulky gear out of your trunk or back seat is probably the most critical and dangerous part of the entire process of moving musical equipment. Taking it back from the venue into the transport vehicle is another critical part of the process. Here are some great tips for every touring musician to take care of their back while moving gear:

STRETCH Don’t laugh, stretching is very important. You have likely been sitting in the car, potentially for hours driving to the location. Give your muscles a chance to breathe a little and stretch when you get out of the vehicle. Stand up straight with your feet shoulder-width apart, hands on your hips, and look straight ahead (don’t tilt your head back). Lean back slowly and gently, hold for about five seconds, and return to the starting position, standing again. Squeeze your glutes (the “gluteal” muscles) and bend your hips forward. Squeeze your shoulder blades back and together. Take a deep breath and exhale. Then repeat all of that a few more times just in case. It barely takes a minute, but it makes a world of difference.

your attempt to show off your superhuman strength. BUILD A BRIDGE To take the stress off your back when reaching forward to do something (the movement is called a “trunk bend”), place one hand on a nearby stable surface while extending one leg back slightly for balance. . The key is not to have both feet on par. The construction of a bridge supports and strengthens the upper body and subsequently reduces the load that is placed on the lower back. Once you lift, the closer you can ho ld the load to your body, the better. WATCH YOUR BODY MECHANICS In particular, minimize twisting while carrying a load. Move your feet so your body is facing towards what you are lifting, after that try to have the location where you are placing the gear perpendicular (at 90 degrees or even less than 90 degrees) to where you are starting to be able to minimize the amount of rotation required to complete the transfer. Keep the load as close to your body as possible for the best leverage.

PLAN AHEAD If you have gear in the back seat, be sure to park where you can fully open the car doors. To limit the amount of push-ups/twists, try to keep things on one side of the car, or take an extra moment to walk to the other side if necessary (instead of stretching the seat and pulling the gear towards you to get it). outside the door). GET HELP It may take a few more trips, but that’s a small sacrifice compared to throwing your back and regretting The

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Top

Carnatic Fusion Bands that are Bringing in the Waves World Fusion might be a tough ballgame in itself but Carnatic Fusion is a wonderful mastery altogether. The tremendous scope of the genre led many legendary Carnatic musicians to explore realms from the roots by collaborating with Jazz, Rock, Heavy Metal or even Chillout genres and yet bring out amazing results. The richness of Carnatic music lies in its melodic strength. Perhaps this is the reason why many Carnatic musicians had no problem to fuse with almost every international genre present in the world without much efforts. For this lovely Margazhi season which celebrates the grandeur and eternity of Carnatic music, we bring you the top seven Carnatic based fusion bands that brought in the musical waves for decades altogether:

1. Remember Shakti: Featuring

the top legends of the globe such as John Mclaughlin, Zakir Hussain, U.Srinivas, Shankar Mahadevan and many more, the band is a revolution in itself. Their fusion ensemble of Giriraja Suta is a marvel even till date. The unique blend between Classical Carnatic music to Jazz drumming, complex poly rhythms of Cuba leading to Hindustani Tabla- everything Remember Shakti created (and still creating) is sheer magic.

2. Madras String Quartet:

Carnatic Music and Western Classical Music has many features in common such as discipline, chord progression and somewhere the blend happens effortlessly. Madras String Quartet harmonized the amazing melodic progressions of Carnatic music by adding lilting layers of strings – to bring in fantastic fusion moods. They brought in a royal feel of western grandeur to every Carnatic composition which is truly deserving of course.

3. Karnatrik: A fantastic band

that has given rock twist to Carnatic music with Jazz undertones.

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With the usage of Saarangi to give a north Indian touch, this band cannot be missed at all! The way they have harmonized the melodic progressions of Carnatic compositions is exemplary.

4. Colonial Cousins: The decade

of 90s has celebrated Indipop like no other decade could do. Featuring the extremely talented vocalist Hariharan along with the sound master Leslie Lewis, Colonial Cousins have brought Krishna Ne Begane Baro- a Carnatic masterpiece a new twist altogether. Their music may be based on Indian classical, but the universal aspect of music is something the band always followed. Listen to their Indian Rain- based on raaga Brindavana Saaranga with some magical guitar and suave counter vocals by Leslie Lewis.

5. Sikkil Gurucharan and Anil Srinivasan: A sweet duo

featuring marvellous vocals by Sikkil in Carnatic style powered by amazing grand piano chords of Anil Srinivasan. Their album Madhirakshi is a crowd’s favorite always and forever. Their band proved time and again that

minimalism can bring some greater impact always in comparison to grandeur.

6. Ragabop Trio: Featuring

the wonderfully talented Guitar Prasanna , Ragabop has been doing some impressive global fusions. They have multiple influences that are not just confined to Carnatic music- and that’s what makes them extra special to hear.

7. Agam: Relatively a

modern band, led by Harish Shivaramakrishnan’s powerful vocals, this band has given a Hard rock twist to Carnatic Music. Their biggest strength is the strong rhythm section fused with mesmerizing lead guitar solos. Their Swans of Saraswati (based on Saint Thyagaraja’s Bantu Reeti Koluvu) and Dhanasri Tillana are two amazing masterpieces from the band. Their recent laid back rendition of Saint Thayagaraja Swami’s Manavi Aalakincharaadate also garnered much praise and admiration.

KEY PREPARATION STEPS FOR RECORDING CLASSICAL MUSIC Divide and conquer It is common to divide the process into pre-production (before recording), production (recording) and post-production (editing, mixing and mastering). It is not that these names are the height of originality but, at least, they are very clear. THE PLACE A different characteristic of classical music recordings is that they are not usually made in recording studios. Unless they are specialized in this category and are of a good size. To record classical music you need spaces like auditoriums or churches. That they are wide so that the sound of the instrument develops and diffuses. If you try to listen to a piano, clarinet or violin from very close, you will notice that the sound is not exactly wonderful. It sounds raw, aggressive, and lifeless. But if you move away, you will notice how it grows, softens and sounds what we are used to. This happens because sound waves need a space to unfold and humans also need a minimum of reverberation in the room for it to sound acceptable to us. Most conventional recording studios are medium or small in size. Very few have space for a choir, an

orchestra, or both together. A conventional recording studio (pop, jazz, rock etc) is usually designed with short reverberation times (sometimes almost nonexistent). In this way, the sound that is recorded can be better controlled and if more ambience is necessary, it is then added digitally. This lack of reverb is not appropriate for recording classical music because it affects the “naturalness” with which we perceive the sound of the instrument, in addition to making musicians feel uncomfortable. You have to find a recording location with the appropriate reverb for the music you are going to record. PROFESSIONALISM After a lot of hours of planning, rehearsal and expenses (room rental, piano tuning) the technical part of the recording also deserves the best you can afford. It is essential that a sound technician is a musician and has a solid background in classical music. You don’t want to spend your recording time explaining the difference between a violin and a viola or between a symphony and a concert. If you cannot count on a producer to just be dedicated to the musical part, you will need the technician to also take notes on the score and give you a hand in the production with a musical vision “from the outside”.

AKARSH SHEKHAR

LOCATION The logistics of organizing the recording may seem secondary. But if you don’t get your homework done, it can turn into a nightmare. What happens if you cannot get to the wonderful hermitage by car to unload the equipment? Or if at lunchtime there is no place in any restaurant and you have to travel 20 km more? Sounds unlikely, but it can happen. Think about the distance of travel, the type of transportation available, access, and parking options. Also, take care of the food and catering. Plan where you are going to eat and how many people (better to reserve). Coffee and cookies in the middle of the recording can also be essential and are details that help a lot to make the day relaxed and productive. THE SCHEDULES Plan arrival, rest and departure times. Prepare a sheet with the schedule of all the pieces to be recorded and at what time of the sessions. The best thing is to dose the effort, not to leave the most difficult for last. Clarify the session start and end times well. This can save you from misunderstandings and bad faces with musicians, room personnel, and technicians. It is important that there is a margin of time between blocks and don’t forget the breaks.

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AKARSH SHEKHAR

What Is The Ideal Equipment For Recording Classical Music? Mics

The preferred microphones for classical music are those that do not “color”. Perhaps you have already noticed that in the recordings of the voices they often have a very warm and “rough” sound that we find very pleasant. Among other elements, it is achieved thanks to the type of microphone used. Especially with large diaphragms. However, in classical music, we always want the sound to be as close to reality as possible. This is why we prefer the small diaphragm (or pencil) ones. They offer a flatter frequency response and respond quickly to transients (sound bumps). In reference to the polar pattern, Omnis (which pick up the sound in 360º) are preferred because they better capture the atmosphere of the room and, especially, the bass. Although if the room has too much reverb or the sound is not good, you can use cardioids to ensure a minimum of sound quality. Lately, thanks to new manufacturing technologies, ribbon microphones for classical music have become fashionable again due to their highly analog sound.

Preamps

The preamps are the great unknown to those who have nothing to do with the world of sound. But they are a critical point in the audio chain. A previous is the microphone input to the sound or recording equipment (apart from the cable, of course). The

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preamps are necessary because the sound coming out of the microphone is very weak and does not have enough power. The previous one is in charge of raising it to the level that the table or card needs to operate. In classical music, it is important that the preamps are clean and not “colored”. It is also vital that the background noise (all microphones have it) is extra-low since classical music has a very large dynamic range and the pianísimo sound can be close to imperceptible.

Sound card

This is where you will connect the preamps. Many cards already have them built in. The first decision is how many entries you need to record at the same time. For classical music, two microphone inputs are essential to be able to make the stereo. With eight inputs you will be able to solve most of the recordings and if you already have 12, very exceptionally you will need more. Classical music should be recorded at least 88.2 KHz. Using high frequencies makes the instrument’s environment pick up better as there is “something” in those frequencies. The crucial point is the converter analog sound to digital. The quality of this is the crucial point of a sound card, especially in classical music.

Software

There is a great variety of programs and practically all of them are of

quality. The main difference is that some focus more on recording and others more on production (with loops, virtual instruments etc). Yes, it is important that you work at 64bits to be able to make use of the maximum power of the plugins you have and so that the audio is not constantly “truncated” in the bits that do not fit when working at 32.

Monitors

Look for ones that emphasize flat response, meaning that no frequency is highlighted above another. “Hi-Fi” monitors are not suitable for working with classical music because their sound is “sweetened” and they do not reflect the reality of what you have recorded. The consequence will be that what you mix with your monitors will change a lot when you transfer it to any other equipment. The rule is, know your monitors. Because the perfect flat response does not exist, but if you know that “foot limps” you can compensate for it in the mix.

Embracing Immersive Audio Apple Music’s recent spatial audio collaboration with Dolby has now positioned immersive audio right in the music mainstream. Genelec is now receiving a huge number of enquiries from music engineers ready to make the move to immersive, so here is some practical advice for those looking to find out more. What is immersive audio? Unlike stereo and surround sound formats, immersive audio contains an extra ‘height’ layer above the listener, to create a sense of envelopment and realism like never before. While there are several fine immersive formats including Auro 3D, MPEG-H and more, Dolby Atmos currently has the highest profile. A typical Dolby Atmos ‘7.1.4’ configuration has 7 studio monitors at ear level, arranged as three monitors at the front (the ‘L-C-R’ positions) and four monitors covering the side/rear positions. The 4 height monitors are positioned above the listener, and one or more subwoofers generally handle the ‘.1’ element – all combining to create the 7.1.4 system. The beauty of immersive audio is its ability to be consumed on a wide variety of playback devices including smartphones, tablets and laptops – since an immersive mix can also be experienced in ‘binaural mode’ via a pair of standard headphones or loudspeakers. It’s this accessibility that is helping to push immersive audio into the mainstream.

Mixes you can trust The creative possibilities of immersive are hugely exciting, but as the channel count and mix complexity increases, the importance of neutral, uncoloured studio monitoring with precise imaging becomes even more important. The only reliable way to ensure reference-quality immersive monitoring is to position the monitors carefully and then calibrate them all for playback level, frequency response and time-of-flight – so that you’ll experience accurate, consistent performance from each monitor in the system. That way, you can produce immersive mixes you can trust to sound good on any device or playback system. Since so much music recording and mixing is now taking place in smaller spaces, the need for accurate, compact monitors that can be positioned and optimised for any acoustic space has become absolutely essential – and that’s where Genelec comes in! Smart Active Monitoring The Genelec Smart Active Monitoring range starts with the tiny 8320 nearfield monitor and culminates with the mighty 1236 main monitor, creating a range that can handle immersive audio in any size of room. Each monitor contains internal DSP hardware, which integrates tightly with Genelec GLM calibration software.

GLM’s reference microphone kit allows your room’s acoustics to be accurately analysed, after which each monitor and subwoofer can be automatically calibrated by GLM for level, distance delay, subwoofer crossover phase and frequency response. At that point you have many options for personalisation if required, and GLM also works as a powerful monitor controller. This level of flexibility makes GLM the perfect tool both for fine tuning an already excellent room, or for those working in more challenging spaces not originally designed for creative use. Using headphones? There may be situations where the use of headphone monitoring is required, particularly for mobile audio professionals working remotely in ad-hoc environments. While we believe that in-room monitoring is the gold standard for producing immersive mixes, check out our Aural ID technology, which creates a reliable immersive listening experience with a far more natural sense of space and direction than has been previously possible with headphones. So, dive in and enjoy the exciting new world of immersive audio! And if you need advice simply contact immersive.helpdesk@genelec.com www.genelec.com

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KRIPA KRISHNAN

The theory of

Raags/Raagas with an

emotional twist! Music is universal, yet a subjective experience. It manifests in culture and religion, connecting masses of people on a both conscious & subconscious level, such as what we see in Church choirs, Mosque and Temple prayers. It can also serve to unite people of different time periods, as with the contemporary and evolving genre of ‘fusion’. Music can also serve as a medium of communication, or rather, language for those in different countries! We see so many cross collaborations these days with Indian Ragams/ Raags being played on atypical instruments like the Oud or even fretless Indian instruments that can play quarter tones . Many artists are challenging the status quo and attempting to unravel the conventional human conditioning to certain sounds and rhythms and challenging the original norms of what a Raag should sound like or even how a Ragam/Raag should be identified. Of course, that then warrants an understanding of the philosophical and, interestingly enough, physiological underpinnings of the associations between Ragams/ Raags and human emotions. The first step is to understand the concept of tonal intervals. Various studies and literature reviews

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have actually shown these tonal intervals can be manipulated to elicit different types of emotions. A tonal interval is essentially the ratio of each interval’s frequency with the ‘root’ note (e.g., Sa). For example, during an Alaap (Expression of raga via a slow tempo not bound to any rhythmic cycle) an increased frequency of occurrence of major intervals (i.e. Shuddh swaras / Natural notes) induces more positive emotions whereas an increased frequency of occurrence of minor intervals (i.e. Komal swaras / Flat notes) induces more negative emotions. In fact, the raags with a higher occurrence of notes Shuddh Re (Major Second) and Shuddh Ga (Major Third) were associated with stronger emotions relating to ‘calmness’. Ragams/ Raags with a higher occurrence of notes Komal Re (Minor second) and Komal Dha (Minor 6th) were associated with stronger emotions relating to ‘sadness’. Now, during the gat (an expression of the raag most often rendered at a faster tempo bound to a rhythmic cycle) of the ragas, a higher emotional arousal was observed. The emotion associated with calmness during an Alaap was perceived as ‘Happy’ whilst the emotion associated with sadness during an Alaap was perceived as ‘Tense’.

Having come to such a consensus, it is difficult to generalize this cross-culturally. It may be apt for a layman/non-native listener but the effects may actually vary based on context, associations etc. For example, a raagam like Ananda Bhairavi (carnatic) is relatively based on a minor scale, however, it is commonly used in film to evoke more positive associated emotions. Further, arrangements also play a critical part in modulating how one perceives the Ragams/Raags. For example, arrangements can be used to change the tempo, or gat. It ultimately boils down to the contextual significance, the associated arrangements, and any preconceived notion of the Ragams/Raags itself. Now, can listeners consciously dissociate themselves from these empirically proven effects of Ragams/Raags? Is it subject to how the artist actually expresses the raagam/raag? Can we actually use these methods to manipulate emotion? Is it possible to change human conditioning through such tools?

NAVYA C

Top 7 Classical Ragas to HEAR THIS Margazhi Season Margazhi is the season for celebrating the grandeur of Carnatic Classical music. From experts to classical music connoisseurs, the ambiance is bright with exclusive concerts, featuring expert musicians throughout the month. We bring you the top seven classical ragas to hear this Margazhi season to make the year-end even more memorable.

1. Kharaharapriya: It is said that this raaga is one of the first scales that was discovered since the inception of Classical music centuries ago. It would be interesting to note that western classical music also celebrates this scale with the name Dorian. However, the treatment of Kharaharapriya is amazingly beautiful in Carnatic compositions. Being a full-scale raaga (where all the seven notes are present), multiple artists have brought the best of it. We recommend listening to Chakkani Raaga Maargamu and Pakkala Nilabadi – incidentally both these compositions are penned by Saint Thyagaraja. 2. Kalyani: The beauty of Kalyani raaga lies in its prathi madhyamam ( the note ma with a slightly higher frequency than the suddha madhyamam). Suitable for a range of emotions such as love, devotion and even spirituality, Kalyani is a golden favorite for Carnatic music lovers. Sundari Neevanti, Vasudevayani by Saint Thyagaraja and Himadri Suthe by Syama Sastry are must-listens in this raaga.

3. Hamsadhwani: Unlike the full scale ragas where all the notes are present, Carnatic music pays great emphasis on pentatonic scales as well. Hamsadhwani is one such most celebrated scale and as per the norms, it is a perfect raaga for opening a concert. Vaatapi Ganapathim by Mt. Dikshitar and Vinayaka Ninu by Veena Kuppaiyar are our picks for this season. 4. Charukesi: A peculiar raaga with interesting melodic progression, Charukesi a wonder by itself. It perfectly suits the wintry chill and sets the mood instantly. This raaga has been popularly explored in Hindustani Music as well with the same name. Listen to Saint Thyagaraja’s Aadamodi Galada – a masterpiece in itself. 5. Kedaragowla: This fullscale raaga speaks of grandeur, royal feels and powerful vibe. Kedaragowla might have similarities with the ever-popular scale Shankarabharanam but a beauty in itself. Carnatic music is all about treating the notes with unique approach and Kedaragowla perfectly matches this definition. Listen to the suave composition Venu Gaana

Loluni penned by Thyagaraja to experience the divine. 6. Aarabhi: To make the wintry days brighter with musical tones, Aarabhi is the perfect choice. The raaga has been heavily explored by ancient and modern composers alike. Moreover, it instantly sets the pristine environment within no time. Listen to Saint Thyagaraja’s pancharatna kriti Saadhinchene, and Mt. Dikshitar’s Sri Saraswati set in the same raaga. 7. Shanmukhapriya: A peculiar raaga that is a jewel exclusively present in Carnatic Music, Shanmukhapriya is amazing in every respect. The progression of the scale evokes multitudes of emotions and every composer treats it in a different manner. We recommend Marivere Dikkevarayya by Saint Thyagaraja and Valli Naayaka Neeve by the experimental composer Muttaiah Bhagavatar in this gifted raaga.

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How did the idea of a digital learning platform come about? Tell us more about the inception of the same. Music is something that I as an individual has always been passionate about and I had the fortune to work in the Music industry playing a significant role with Universal Music Group. The idea of creating an Institution that imparts effective music education had been my dream and tried working on this idea in 2015 but life had other plans and I joined my friends in their silicon valley based startup in AI space. I rekindled the idea in 2020 when my music lessons got online thanks to the pandemic, and my first class that I took, was my Eureka moment. I Started working on the idea and realized that this is an area that had a huge scope for a digital disruption. The venerated music training methods of India are ready to meet the technological opportunities of the new age to create a never before learning experience for the music aspirant of today

In conversation with Ashish Joshi Founder & CEO - Artium Academy You have an amazing team of faculty heads, some of the biggest names in the industry. What was the process of selecting the same? Music, as we have mentioned, is the biggest consumed Performing art and has been taught and learnt in India since ages under the Guru Shishya Parampara which involves a very traditional way of learning the art. Much said and done, the world is changing and so are the needs of the customers. So we decided to bring the Maestros of the Music Industry to become the part of our Academic Board and design our curriculum based on their years of experience and excellence. With this objective we approached the Maestros and the idea of designing Curriculum focused on Performance Oriented learning struck a chord with them and they graced our Academy with their presence and skills Music education is the need of the hour. How do you think your platform can create a change in this regard? Well, we all know the benefits that Music brings in our lives. It works as an enabler for Cognitive growth in children, builds creativity, works as an aid to de-stress, rejuvenates, builds confidence in people etc. The western

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society has included Music as a life skill and Music education is a part of growing up years in school. In India, it has been considered as an extracurricular activity. This is changing now with growing awareness and aspirations. However there are many music aspirants globally who are looking for a good quality of learning experience which goes beyond their neighbourhood music school. Artium aspires to be a thought leader in technological research and innovation to enhance the power of self assessment, to capture vast data from human judgement, feed machine learning towards creation of AI-supported systems, and facilitate the reach of qualitative pedagogy to the deserving across the globe. On our platform, users also get access to personalized dashboardS, learning tools, graphs, virtual auditoriums for live gigs, and practice studios. Can you please throw light on the different courses offered We currently have the following Courses Classical - Hindustani (Faculty Head - Shubha Mudgal) and Carnatic

(Faculty Head - Aruna Sairam) Popular Film Music - Hindi (Patron in Chief & Faculty Head - Sonu Nigam), South (K S Chithra) We would be soon launching our Western Vocals. Guitar / Piano courses along with Drums / Tabla What is the criteria for a student to enroll in a course? Is there a process of selection? We believe that - “Every Human being can sing” / Human Race is a Singing Race. On this premise, we offer learner centric courses suiting one’s voice and musical faculty. The assessment of one’s voice and interest is done by the teacher during the Free Trial Class that one could subscribe for click here https://artiumacademy.com/web/ registration using our methods of assessment If there is a change you can bring to the current scheme of things in the education field, what would it be and why?

to talented and interested students to make a career out of it is something that we will aspire to bring as a change in the space. We believe that we have a huge potential to introduce many more courses that would complement one to become a talented musician. Indian parents are slowly warming up to ideas of arts / sports as alternate career options and research says that people are open to working on subjects that are not conventionally “mainstream”. Artium has a vision to revolutionise the music teaching / learning process and we shall try to be agile and innovative while building the platform Any events that we can look forward to? Would like to say, “Many” instead of “Any”. Artium is on the path to create some unique offerings. We would be launching Master Classes and other Course offerings as we progress and you would hear more from us on these.

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7 ULTIMATE CARNATIC COMPOSITIONS TO

HEAR THIS MARGAZHI SEASON Margazhi is the celebration of the grandeur and eternal aspects of Carnatic Music. With cold winters setting up making days shorter and nights longer, the season is a perfect time to relish the greatness of legendary composers through their immaculate contribution to the music form. With its vastness and tremendous scope of experimentation, we bring you a curated list of Ultimate Carnatic Compositions to hear and experience this season!

individuality and elegant beauty. This composition shows the pain behind a composer, who was criticized for not earning worldly wealth enough. The composition is with purest of devotion coupled with the pain which the composer went through. A masterpiece that is offered to Lakshmi- the female deity, Hiranmayeem cannot be missed this season.

1. Intha Kannananda MemiBilahari- Saint Thyagaraja: A solid tribute to the grand raaga Bilahari , Saint Thyagaraja speaks of happiness in seeing his favourite deity Lord Rama. The composition swiftly speaks about the joy and wonder that we experience, which is spotless and purest to the hilt.

4. Maathe Malayadhwaja- Daru Varnam- Khamas- Muttaiah Bhagavatar: Though it is a varnam, the complexities of the compositions are ten times higher. With various combinations of jathis, matching with suitable literature, Maathe is a wonderful composition to raise the energy levels instantly. It actually eliminates the inexplicable gloom winter brings by, and brightens up the day.

2. Manasa YetulorthuneMalayamarutham- Saint Thyagaraja: Suitable to the chilly winds of winter, Malyamarutham literally means the breeze from the mountain. True to the raaga’s name and its progression, Saint Thyagaraja goes into an introspective mode by an ode to self, on not to deviate the mind with unnecessary pursuits.

5. Manavi AalakincharadateNalinakanthi- Saint Thyagaraja: With longer nights this winter, Nalinakanthi gets the best treatment for the master himself. Though on the simpler side, the composition gathered much attention even in current generation listeners. The crescendo in charanam is another highlight of this composition.

3. Hiranmayeem LakshmiLalitha- Mt. Dikshitar: Lalitha is a rare raaga but has its own

6. Maanasa Sancharare- SaamaMysore Vasudevachari: As they say quality matters over quantity,

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Mysore Vasudevachari is a perfect example of it. Maanasa Sancharare is a gem of his compositions, which slowly lulls the emotions and restores balance of mind. Though on the simpler side, the composition has won millions of hearts over the years. 7. Sudhamayi- AmruthavarshiniMuttaiah Bhagavatar: In comparison to the musical trinity (Saint Thyagaraja, Muttuswami Dikshitar and Syama Sastry), Muttaiah Bhagavatar is more on the innovative side with his memorable compositions. Set in the magical raaga Amruthavarshini, Sudhamayi is short and at the same time elaborate to relish for days. 8. Saroja DalanetriShankarabharanam- Syama Sastry: Being a staunch worshipper of goddess Kamashi, this legendary composer has written maximum compositions in the name of the magnificent deity. Saroja Dalanetri is a chowki kaala kriti ( slow tempo) and sets the complete elegance of Raaga Shankarabharanam in style! Though there are thousands of kritis that would take multiple lifetimes to relish, these above-mentioned compositions are guaranteed to make your Margazhi season extra special this year!

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