Guru Shishya Parampara in Indian music - Part 2

 

Part 2: The Commitment - What Does It Take to Stay?

A week later, the boy returned - this time with his father. The hesitation had softened into quiet determination.

The Guru gestured for him to sit.

Guru: “You’ve thought about it?”

Boy: “Yes, sir. I want to learn… properly.”

The Guru nodded.

Guru: “Good. Then let us talk about what that means.”

He switched off the tambura app.

Guru: “Practice is not something you do when you feel like it. It is something you do especially when you don’t.”

Boy: “How much should I practice?”

Guru: “Enough to become uncomfortable… and then stay there a little longer.”

The father smiled faintly.

Guru: “In this path, repetition is not boring - it is revealing. The same note will show you something new each day, if you are attentive.”

Boy: “Will you teach me concerts also?”

Guru: “Concerts come much later. First, you must learn to respect silence. Music grows in silence before it appears as sound.”

The boy nodded slowly.

Guru: “And there will be days when I correct you again and again for the same mistake. On those days, you must not defend yourself, you must observe yourself.”

The father leaned forward.

Father: “And what about discipline outside class?”

Guru: “Everything matters. How he listens, how he speaks, how he carries himself. Music is not confined to the throat, it reflects the mind.”

The Guru paused, then added:

Guru: “In time, I will also share why a raga feels the way it does, what lies beneath compositions, and how music connects to something deeper than performance.”

The boy’s eyes widened.

Boy: “Like… something spiritual?”

Guru (smiling): “If you stay long enough, you will discover that yourself.”

A brief silence settled.

Guru: “And one more thing, you must not compare yourself with others. In this journey, comparison is noise. Attention is music.”

The boy absorbed every word.

Guru: “So if you begin, you must stay. Not for me, for the music.”

The boy straightened his posture.

Boy: “I will stay.”

The Guru closed his eyes for a moment, then nodded.

Guru: “Then we begin - not today, not tomorrow - but from the moment you chose this.”

True learning is not measured by how quickly you progress, but by how deeply you remain committed when progress feels invisible.

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Guru Shishya Parampara in Indian music - Part 1

 

Part 1: The First Meeting - What Does It Mean to Learn?

The living room was quiet except for the soft hum of the tambura app on the Guru’s phone. The musician, celebrated across continents, sat cross-legged, smiling as the young boy and his parents settled in.

Guru: “So, you want to learn music?”

Boy (hesitant): “Yes, sir… I like singing. My teacher says I have a good voice.”

Guru (gently): “A good voice is a gift. But tell me, do you want to sing, or do you want to learn music?”

The boy looked confused. His parents exchanged a glance.

Father: “Isn’t that the same thing?”

The Guru smiled, as if expecting that question.

Guru: “Not quite. Singing is what the world hears. Learning music is what transforms you.”

Guru: “In our tradition, what you are asking about is not just classes. It is entering a Parampara - a way of life.”

The boy leaned forward now, curious.

Boy: “Will I learn songs quickly?”

Guru (laughing softly): “You will learn slowly. And that is the only way to learn deeply.”

There was a pause.

Guru: “In this journey, I don’t just teach songs. I observe how you listen, how you sit, how you repeat a note, how you respond to correction. I will shape your strengths and confront your weaknesses.”

Mother: “So it’s more personal than regular classes?”

Guru: “It has to be. Music is not information - it is transmission. I will not give you everything at once. I will give you what you are ready to receive.”

The boy absorbed this, unusually silent.

Guru: “And you, what are you ready to give?”

The question lingered.

Boy (after thinking): “Time… and practice?”

Guru: “And patience. And humility. And trust.”

He leaned forward slightly.

Guru: “This is not a transaction. It is a relationship. Over time, you will not just learn how to sing, you will learn how to listen, how to feel, and how to be still inside the music.”

The father nodded, now more thoughtful than before.

Guru: “If you come to me, you don’t just come for one hour a week. You enter a space where music and life are not separate.”

The tambura continued its quiet drone.

Guru (softly): “So I ask again, do you want to sing, or do you want to learn?”

The boy looked up, this time with clarity.

Boy: “I want to learn.”

The Guru smiled, not in approval, but in recognition.

The first step in any true learning is not talent - it is the willingness to be transformed beyond what you initially seek.

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Notes That Touch the Divine

 

The Spiritual Resonance of Ancient Indian Classical Music

The applause had barely settled in the grand auditorium when the renowned Indian musician placed his tanpura aside and smiled at the audience. Someone from the front row raised a hand.

“Your music felt… meditative. Is that intentional, or is it just how Indian classical music sounds?”

He leaned forward, amused. “It is intentional, but not in the way you think. In our tradition, music is not merely performed; it is invoked.”

A murmur of curiosity spread.

“In ancient India,” he continued, “sound itself was considered divine. The Vedas speak of Nada - the primordial vibration from which creation emerged. So when we sing, we are not just producing notes; we are aligning ourselves with that cosmic vibration.”

Another listener asked, “And what about the structure? It felt very… deliberate.”

“That is the beauty of raga,” he replied. “A raga is not just a scale. It is a living entity, each one carries a mood, a time, even a personality. When I chose tonight’s raga, I wasn’t just selecting notes; I was inviting a particular emotional and spiritual space into this hall.”

A young student leaned in. “So the emotion we felt… was designed?”

“Designed, yes, but also discovered,” he said. “A raga guides both the musician and the listener. It creates a pathway. If you walk it sincerely, it leads you inward.”

There was a pause before someone asked about the slower, almost trance-like opening.

“That comes from traditions like dhrupad,” he explained. “It is one of our oldest forms. There is no rush, no ornamentation for display. It is austere, meditative. The idea is to dissolve the ego of the performer and let the sound reveal itself. When done right, it can take both artist and audience into a state of stillness.”

“And how does one learn something so… deep?” another voice asked.

He smiled gently. “Through the guru-shishya parampara. You don’t just learn technique, you absorb a way of being. A guru doesn’t only teach you how to sing; they teach you how to listen, to sound, to silence, and to yourself.”

The room fell quiet.

He picked up the tanpura once more, plucked a single note, and let it linger.

“Remember this,” he said softly. “If music only entertains you, it has done its job. But if it makes you pause, reflect, and feel something beyond yourself, then it has touched the divine. Seek that, not just in music, but in everything you do.”

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Krishna - A Pan Indian Musical Janmashtami

 

Gokulashtami

Celebrating Krishna Through Music Across India

Gokulashtami, or Janmashtami, marks the divine birth of Lord Krishna - the playful cowherd, the enchanting flautist, and the guru of the Bhagavad Gita. While the festival is celebrated with vibrant rituals and festive revelry, it is music that brings Krishna closest to his devotees’ hearts across India. From ancient temples to modern concert halls, and from the language of saints to the screen melodies of film music, the celebration of Krishna unites the nation in song.

In Kerala, Gokulashtami is immersed in the chanting of Narayaneeyam, the Sanskrit magnum opus by Narayana Bhattathiri, especially at the renowned Guruvayur temple where Krishna is revered as the divine child. The kritis of Maharaja Swathi Thirunal, rendered in Malayalam and Sanskrit, add the classical grandeur of Carnatic music to the festivities, painting Krishna as both child and cosmic guide.

In northern India, devotion is dominated by the voices of Bhakti poets. Soordas, with his soulful Braj Bhasha bhajans, evokes the maternal tenderness of Yashoda and the playful leelas of Krishna in Vrindavan. Alongside, Meerabai - the saint-poetess of Rajasthan - sings of her rapturous love and surrender to Krishna, whom she calls her Giridhar Gopal. Her emotionally charged bhajans fill temples and homes during Janmashtami vigils, embodying a personal and ecstatic devotion.

In Tamil Nadu, Krishna’s musical celebration takes on unique cultural layers. The kritis of Oothukadu Venkata Kavi, enchant audiences with images of Krishna’s playful grace. But perhaps most profound is the legacy of the Azhwars, the Tamil bhakti poet-saints, particularly Andal. Andal, poured her devotion into the Tiruppavai, a collection of thirty lyrical hymns sung especially during the sacred month of Margazhi. Her poetry transcends her personal devotion, becoming a timeless guide to selfless love and service.

In Karnataka, Gokulashtami resonates with the simple simple Kannada devarnamas of Purandaradasa. His devotional songs, easy to sing yet deep in meaning, bring Krishna’s miracles, mischief, and compassion into every household and temple.

In Andhra Pradesh and Telangana, the poetic kirtanas of Annamacharya are a mainstay. Sung in Telugu in praise of Lord Venkateswara - regarded as a form of Krishna - their literary beauty and spiritual warmth make them central to Janmashtami celebrations.

In Maharashtra, the abhangs of Sant Tukaram and Namdev honor Vithoba, seen as Krishna, while in Odisha, the dance and song of Jayadeva’s Gita Govinda immortalize the divine romance of Krishna and Radha.

Echoing these traditions, film music in Bollywood and other parts of India continually draws inspiration from Krishna’s stories and bhajans, carrying his spirit to modern mass audiences.

Thus, Gokulashtami becomes a national concert - where Sanskrit verses, Tamil pasurams, Braj bhajans, Telugu kirtanas, Kannada devarnamas, Marathi abhangs, Odia ashtapadis, and vibrant film songs all become notes of Krishna’s immortal flute. Diverse in form, united in feeling, the music of Janmashtami proves that Krishna’s melody belongs to every heart and every language.

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Dr M Balamuralikrishna - Musical Genius

My earliest memory of hearing Dr. Balamuralikrishna's vocal music live was at a concert in Shanmukhananda in Mumbai. The year must have been somewhere in the mid-1980s when I was around 16 or 17 years old. The hall, with a capacity of around 3000, was jam-packed. My grandfather accompanied me, and we managed to find two seats in the first-floor hall. Chairs and loudspeakers were arranged in the foyer, and rasikas were seated on the staircases.

After this concert, I must have listened to recorded music of BMK’s for thousands of hours. Whether it was his rendition of Badrachala Ramdas Krithis, Sadguru Tyagaraja’s ghana raga Pancharatna Krithis, Dikshitharval’s Navagraha Krithis, Syama Sastri’s Devi Brova, or several of his own unique varnams, Krithis, or thillanas, the rendition had a style of its own.

In the following paragraphs, I would like to share whatever little I know about this great musician, musicologist, and composer.

Dr. Mangalampalli Balamuralikrishna (BMK) was born on July 6, 1930, in Sankaraguptam, East Godavari district of Andhra Pradesh. He was a versatile musician, who excelled in both vocal and instrumental music. BMK had a remarkable voice and a unique style of singing, which made him one of the most celebrated musicians of all times.

 

BMK was born into a family of musicians. His father, Pattabhiramayya was proficient in playing the flute and violin. He showed a keen interest in music from a very young age, and his father recognized his talent and began teaching him music. As per information available in the internet, BMK gave his first public performance at the age of 8 and by the time he was 15, he was an established musician having composed Krithis in each of the 72 melakartha ragams.

BMK was a child prodigy, and he quickly gained recognition for his musical abilities. He was a self-taught musician, who learned to play a variety of instruments, including the violin, mridangam, and kanjira. He was also a prolific composer, who wrote more than 400 compositions in various languages, including Telugu, Sanskrit, and Tamil. As per Wikipedia he has given over 25000 concerts during his lifetime.

 

BMK was known for his unique style of singing, which was a blend of various musical traditions. He was also known for his ability to sing effortlessly in a wide range of octaves.

BMK was a musical innovator, who experimented with different musical genres and instruments. He popularized the concept of jugalbandi, or musical duets, in which two musicians of different styles perform together.

He has created unique ragas - ragas with 3 swaras (Ganapati) or 4 swaras (Lavangi) and talas (Mukhi talas – Trimukhi, Panchamukhi, Saptamukhi, Navamukhi). The tala system is more elaborate. Readers can google to find out more about this.

He was one of the most celebrated musicians of his time, and his contributions to Indian classical music are immeasurable. He was the recipient of numerous awards and honors, including the Padma Vibhushan, the Sangeet Natak Akademi Award and the Sangeetha Kalanidhi.

 

BMK's legacy as a musician and composer continues to live on, and his contributions to Indian classical music have inspired generations of musicians. His compositions are widely performed, and his unique style of singing remains a benchmark for many aspiring musicians.

He was not just a musician but also a philosopher, who believed that music had the power to bring people together and break down barriers. He was a staunch advocate of cultural diversity and believed that music was a universal language that transcended all boundaries.

 

Dr. Balamuralikrishna was a musical genius, whose contributions to Indian classical music will always be remembered. He was a visionary, who pushed the boundaries of traditional music and experimented with different genres and instruments. His unique style of singing and innovative compositions continues to inspire and influence musicians all over the world.

It would be difficult, very difficult for me to list down songs rendered by BMK which are my favorites, but this would probably be the top 5 – Maha deva sudham (Arabhi),  Nagumomu (Abheri), Thanga Radham Vandhadhu (Abhogi – film song), Thillana (Kunthalavarali), Ramchandraya Janaka (Mangalam).

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Music - Universal Language

 

As a person who was born in a family of musicians (from my maternal side), good music always found a prime place on our family. My grandfather was a renowned bhajan virtuoso. My grandmother was a bhajan maestro and a vocalist for dance programs. My mother and her siblings learned classical music and were performers. By extension, myself, my siblings, and my cousins were always exposed to some type of good music throughout our student days. Family get togethers would invariably have some discussion around music. Though none of us embraced music as a profession, understanding & appreciating good music became a way of life for us,

As we were spread out geographically, the types of music we were exposed to were varied. As true connoisseurs of music, we exchanged notes and made sure that those who were left out from our type of music listened to it and broadened their spectrum of music listening.

In due course I learnt that music is a form of expression that has been present in human societies for thousands of years. It is a language that can be understood by people from different cultures and backgrounds. This makes it a universal language that connects people on a deeper level. Music has the power to invoke emotions, convey messages, and bring people together regardless of their native language or cultural differences.

 

Over a period of time I realized that music as a form of expression has evolved throughout human history. The power of music to connect people has remained constant, even as the language and forms of music have changed over time.

Music as an universal language goes beyond languages spoken by men. Even if you don't understand the words of a song as it may be set in a language you don't understand, you can still like the tune, beat, and feelings in the music. For instance, you may not understand Telugu or Tamil, you can still enjoy songs by AR Rehman or Illayaraja. The emotions in the music still matter, even if you don't get the lyrics.

It is the emotion in the music that makes it a universal language. Music has the ability to convey complex emotions and feelings that can be difficult to express through words alone. For example, a sad music can evoke feelings of sadness or melancholy in the listener, even if they do not understand the lyrics. Similarly, an upbeat song can bring feelings of happiness or excitement to the listener, regardless of their language or cultural background.

 

Music can also be used to convey messages and stories that are important to different cultures. In many cultures, music is used as a way to preserve and share history and traditions. Traditional folk songs often tell stories of historical events or cultural practices that are important to a particular community. Even if a person from another culture does not understand the language of the song, they can still appreciate the message and the importance of the story being told.

Another reason why music is considered a universal language is that it has the ability to connect people across different generations. While music may change over time, the emotional impact and cultural significance of certain genres and songs can be passed down from one generation to the next.

Music can also be a tool for cultural exchange and understanding. Through music, people from different cultures can share their traditions, beliefs, and experiences with others. For example, the popularity of K-pop (Korean pop music) has led to an increased interest in Korean culture around the world. 

 

To sum up, music is a universal language that connects people on a deeper level. While the language and forms of music may differ across cultures and time periods, the emotional impact and cultural significance of music remains constant. Music has the power to transcend linguistic and cultural barriers, convey messages and stories, connect people across different generations, promote cultural exchange and understanding.

 

 About the Author

Music & Maths - Part 1

 

My uncle Sri L R Ramaswamy (Ramu Mama to me) & Smt Nagalakshmi Santhanagopalan (disciple of Dr S Ramanathan & Prof T R Subramanian) played a major role in getting me interested in the technical aspects of music. Had it not been for these two, concepts such as Sruthi Bedam, sooladisaptathalas, scheme of 72 mela ragas, etc would be as foreign to me as Greek National Anthem to a 5-year-old school boy in India.

In one of our evening theory music classes my fellow classmates were surprised when I was able to perform without hesitation (& error) the arohana avarohana of any of the 72 melakarta ragas when our Nagalakshmi teacher would mention only the number of that raga, at random!  

Needless to say, I was not aware of the name of most of the ragas, as we were still in the process of learning by heart the names of these 72 ragas. What surprised my class mates more was my attendance in this theory class was a mere 5% as I was preparing & appearing for my Chartered Accountancy Entrance examination parallelly & could not set aside time to attend theory classes. It was at this stage that Nagalakshmi teacher made a statement which still reverberates in my ears. MATHS & MUSIC ARE INTER RELATED; IT IS EASY FOR ANY ONE WHO KNOWS UNDERSTANDS & LOVES ONE; TO LEARN THE OTHER VERY EASILY. After 4 decades since, as my understanding of music matures gradually I am still trying to understand the full implication of what she said. 

 

 

Maths & Music - Talam / Layam: In Indian music one compares sruthi to mother & layam to father. Initially one can observe the nexus between Maths & music when the beginner starts with sarali varisai. The paatu vadhiyar or teacher would insist on the talam & sarali being rendered simultaneously. Emphasis normally would be on talam initially. The lesson has to end exactly at the beat where the talam ends. As one progresses from sarali varisai & janta varisai & mel sthayi to Geetham, the relationship between maths & music under goes a slight change. The emphasis shifts to melody from laya. Probably because of the variation in raga; having practised & being exposed in the initial stages only to Mayamalavagoulai, the student gradually gets familiar with Malahari, Mohanam, Bilahari, Sudha Saveri, Kalyani, Kamas, etc. At this stage irrespective of the talam the student is comfortable juggling ragams & talams as he / she is already familiar with the sapta talas, having practised the lessons in different speeds one is bound to have a sense of achievement having mastered a fair bit of maths & music!  After Geetham the student cruises gently to varnams – starting with basic Adi tala varnams. The maths gets a bit complicated when one starts with Viriboni – the Bhairavi Ata tala varnam. As we all know the eduppu for ata tala varnams is not in samam. So one has to be extra careful when rendering the ata tala varnams in 2 or 3 speeds.

 

Once the student successfully masters several varnams the vadhyar / teacher starts with the customary Vinayagar krithi. At this stage the student is encouraged to attend live concerts & to hear recordings of established musicians to increase kelvi gnanam. In a typical live concert when the artists render the kalpana swara part in a song, there is a very high chance of a “formation - swara korvai” in the end. Certainly, this involves some maths as one has to ensure that korvai ends in the proper swara & proper tala sthanam where the eduppu of the sahityam / song begins! For the student this is yet another bit of maths in music. The pinnacle of combining maths (laya / talam) & music is the RTP; rendered in a complicated talam in 3 speeds. Occasionally thisram, kantam, mishram would be thrown in for good measure alongwith Anulomam, pratilomam.

 

 

Maths & Music – Other aspects:   One would remember my opening para where I have mentioned that some people can sing / perform a melakarta ragam if they know the number of the ragam (in the scheme of 72 melakarta ragas), even without knowing the name. A little bit of basic maths can help one to perform this perfectly!

The 7 swaras Sa, Ri, Ga, Ma, Pa, Dha Ni have to be placed in a mela raga in the proper ascending order.

Of the 7 swaras Sa & Pa have only 1 type each, Ma has 2 types, Ri, Ga, Dha, Ni having 3 types each, but Ri 2 = Ga 1 & Dha 2 = Ni 1.  Also Ri 3 greater than or equal to Ga 1 & Ga 2, similarly Dha 3 greater than or equal to Ni 1 & Ni 2.  The total number of ragas is therefore: 3(Ri) * 2(Ga) * 2(Ma) * 1(Pa) * 3(Da) * 2(Ni) = 72.

The numbering scheme splits the 72 ragas into 36 Sudha Madhyama Ragas & 36 Prathi Madhyama Ragas. The 36 ragas are further grouped into 6 ragas in 6 groups (called chakrams). 6 (ragas) * 6 (chakrams) * 2 (Madyamams) = 72.

 

Let me end this with 2 quotations linking music & mathematics.

Martin Gardner - A surprising proportion of mathematicians are accomplished musicians. Is it because music and mathematics share patterns that are beautiful?

Gottfried Leibniz  -  Music is the pleasure the human mind experiences from counting without being aware that it is counting.

More about the nexus between (Indian - carnatic) music and maths in my next.