Saturday, 23 December 2023

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.


 

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Saturday, 13 May 2023

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.