Date: Fri, 19 Feb 1993 22:23:25 GMT
Message-ID: <krisna.730160605@cs.wisc.edu>
References: <1993Feb19.142933.22774@hellgate.utah.edu>
Subject: Re: just intonation ...
In article <1993Feb19.142933.22774@hellgate.utah.edu> vchandra%asylum.cs.utah.edu@cs.utah.edu (V Chandramouli) writes:
So I wonder how a RTP in any of these raagas will be like? In fact,are there any RTPs at all in any of the vivadi raagas? I asked some music teacher back home and she said in Tamil: RTPs in these raagas won't hold ("pidikkathu"). Is it really true ?
I have always maintained that vevAdhe rAgas are no different and no more/less difficult to perform than the popular vAdhe rAgas. Many vevAdhe rAgas were not explored until the advent of the mAELa scheme and until the formalization of the concept of vevAdhe in terms of svaras in a scale. It will naturally take time for these rAgas to come into vogue and for musicians to discover newer and "more" musical prayOgas in these rAgas.
When I hear someone proclaim that vevAdhe rAgas are not suitable for serious music, I am inclined to think that their attitude is a case of sour grapes---in other words, it is the so-called musicians that have never handled vevAdhe rAgas who claim that these rAgas are inferior. I will claim that only those who are unqualified as musicians make such stupid assertions about vevAdhe rAgas. We do not need such ignoramuses setting the tone of musical practice.
pallavEs have been performed in many vevAdhe rAgas. AIR Madras has recorded one in rasekapreyA by cette bAbu a few years back. That composition alone is enough to convince listeners of the vast musical possibilities of vevAdhe rAgas---in my opinion, greater possibilities for innovation than many of the popular vAdhe rAgas. Those who claim that RTP in vevAdhe rAgas will not catch on should listen to this recording---and eat their words.
I would also suggest that those really interested in the structure of the mAELa rAgas seriously consider buying one or more of the following:
A careful study of the above should dispell any prejudices about vevAdhe rAgas. Given the choice between listening to 2 hours of "good" harekAmBojE or a "mediocre" raGupreya, I would always choose the latter.
During the music season of 1991 (Madras), Vijay Siva performed an RTP in the rAga vAgadhESvarE. Although I am a great admirer of Subbudu's reviews, I was more than somewhat piqued when he flamed Vijay Siva for the choice of the rAga---he dismissed vAgadhESvarE as "just harekAmBojE with a different reShaBa" (which is no different from saying the same about SangkarABaraNam/kalyAnE and the madhyama note). I would have thought a critic would commend a young artiste for the specific choice, and make an appeal to senior artistes to experiment in a similar manner.
Increasing popularity of vevAdhe (and in general, rare) rAgas requires a lot of attitude shift in the mindset of the listeners and critics. Let us hope it comes about. And let us also hope that people being introduced to karNAtaka music, do not start off with biases against vevAdhe rAgas.
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