TM Krishna: Manodharma - A Lec-Dem Part One
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- Опубліковано 18 кві 2017
- First Edition Arts curated MANODHARMA as part of its Karnatic Modern Series of events featuring TM Krishna. This is an extended Lecture-Demonstration on the subject of Creativity and Improvisation in Carnatic Classical Music.
This is Part One of a three-part series.
In this segment TM Krishna points out the identifying "Sound" of Carnatic music and what makes it unique. He goes on to explain and demonstrate the ideas, structures and main principles of Alapana.
A great resource for both students of music and rasikas alike. Informative and entertaining in equal measure, as only TM Krishna can.
He said he is not here to convert anybody but I am sure he ended up converting a lot of them, with sheer beauty of his singing. :D
There is such musicality to TMK’s speaking voice! Hundred fold expansion to his musical voice 🙏🏻
When TMK performs...carnatic music erupts in volcanos...sheer energy and such powerful voice yet silken alignment with sruthi...what more can be said!!!
Shoutout to the violin player.. she is so good at it, it reflects on her face. She deserves attention too!
👍👍👍👍👍👍👍👍👍👍👍👍
No I feel he is very modest
Akkarai Subhalakshmi (and her sister Akkarai S Sornalatha, ‘Akkarai Sisters') is a very established singer and Violinist.
She's an extremely established and renowned carnatic vocalist and violinist as well!
This man continues to amaze me. Such depth in his understanding and analysis, and a voice that penetrates deep into my heart. He is a gift. Thank you for these exceptional videos; they are Gold.
So nobody is gonna talk about the really cool shirt/kurta that he’s wearing? 😊
How wonderful! My sincere salutations to this great ambassador of divinity. Esp.@ 23:49
TM Krishna : Kampita Gamaka : Carnatic = Descartes : Pineal Gland : Human
&
So insightful. Being an ardent follower of TMK, I can notice how in this lecture, he's being less skeptical about "general" opinion. For example, TMK gave a 40 part lecture in 2012. He seemed too disturbed by anything that a rasika took for granted and used in conversation like "light raga". I'm glad to see that change. Now, I feel that by not being blindly skeptic, he is giving the listener and the rasika the respect she/he deserves for being one in his talks. Way to go. Look forward to more such shows!
Is the 40 part lecture the CMI one ?
Prasad Sarangapani yes, correct
Do you have a link to the 40 part lecture ?. Could you please share
Please search here on UA-cam for "CMI Lectures - T.M. Krishna", the playlist will be the first result.
Aàà
Just love to hear him sing and now the lec-dem is even more beautiful, could never stop admiring , genius 🙏
The positional value of a swara is irrelevant to the idea of raga. The moving value of a swara is what is relevant to the raga. Well said!
Really humbled by these musicians. Beautiful explanation by Krishna ji and Subbulakshmi ji accompanies his voice so neatly. Thank you so much for uploading this.
Excellent sir! Hats off to you and Akkarai shubhalakshmi ma'am :-) each second in this lec- dem is so precious!
23:58 the moment where you can see how sweet and huge his passion is for his art form
I wd say the four Vivaldi Swaras have respective swara " isotopes" and in 180°parabola off sound occupy clear position within a range and three such positions are recognised the third variety coincides with the next first category of the upward swara.Combination and permutation yields 36 ragas with one sadhram madhyam. With prathi madhyam these36 form another set of ragas totalling 72 mela kartha ragas in Karnatic music.They are ideentifiable by Kadapatiyogam. Andrespective Swaras. Outstanding lecture demonstration by the versatile great artiste Shri TM Krishna
Please read Vivadi for Vivaldi Print error
Some times we feel what happens once great talents like TMK can leave behind for us and the upcoming generation .... This video is one among that.... It's impossible to match and even think about a talent to the scale of TMK
This is a lovely lec-dem! Very informative and beautifully demonstrated by both Vid TM Krishna and Vid. Akkarai Subbalakshmi. Thank you.
Only a person with wide practical experience in Carnatic Music shall be able to talk extempore this way. I admire the way he is putting things. They are original ideas.
"Manian"
Guru par excellence.. respect and admiration for Vidwan T M Krishna have increased manifold after listening to this lecture demonstration..Not many can even come close to this type of dedication and understanding of the nuances, the purity and upper crest exposition/ rendition..
❤❤💐💐
"Jigsaw puzzle of phrase form" (e.g. Athana) - *very* well put!
TMK did a very good analysis of the fact that Sur/besur is an emotional concept attached to our perception of the music. The conventional concept of Sur that TMK refers to is the harmonics generated on an open pipe (or a taut string and its compliments, forgive me for being physics-y), and is a rather western concept. These two are inherently not related. It so happens that we find harmonics on a string melodious. Carnatic music has taken this difference to heart, and it beautifully illustrates how notes that are not necessarily steady on the harmonics of a string can also produce melody through these kampita gamakas.
In Hindustani we have andolan in Darbari without the andolana it loses its essence. Pardon if I sound like a.newbie i am learning sitar
Just admiring his lecture demonstrations ❤❤❤❤❤❤
❤
Awed by just how articulate a person must be to condense Manodharma into words. Amazing! Thank you for this video.
Avar paadrathukku ivanga asaraamal vaasikkiraanga paarugo... So good!! Hi mam.. you are great...!
22:58 - 24:30 wonderful analysis. Such nuance and finesse, even if sung exactly the same way on two different days, will impact the audience based on his/her mood!
The aesthetics, Kala, manassu,athma in his revered presentation,genius In the ocean of music.Goddess Saraswathi in every cell.An adroit,virtuoso of eternity.
wonderful demo. it is difficult to explain what ur singing. he isamusician with true knowledge
Manodharma is a difficult topic for a LEC DEM and I think TMK has done a good job covering basics. Again, this topic is something which needs more of a discussion rather than a lecture. It is very subjective in nature.
He is a genius.
Absolutely
A superb piece that shows not only the beauty and signature of Carnatic music, but also the deep scholarship and theoretical understanding of T.M. Krishna, in addition to his talent as a vocalist. Indian cultural organizations in the US that mostly cater to the Indian diaspora and have failed to make a significant inroad into the Western music enthusiast should use people like Krishna to expand their horizon. We need more musicians like Krishna with all the strengths mentioned above supported by an equal felicity with English.
V. Ramaswami bbbbbp
Thanks, TMK. You are a great teacher, for sharing your knowledge in full, and not being possessive .
Beauty, beauty, what a beauty of his knowledge, hats off to u TMK
@@gautamv952 thenks😅
@@anuraagprasannashendye3154 You are welcome, my friend! 🙂
Music is the wine which inspires one to new generative processes - Ludwig van Beethoven
This is a wonderful series!
Very well said at 24:01, I am exploring "MA" as relating to "Mother Side, Maternal Side" and "PA" as relating "Father Side, PATERNAL Side". Now listening this with the imagination of "MA as Mother" and "PA as Father", you will emotionally get connected and it will give you a sense of listening your own life. Trust me its true.
I guess at some point extreme intellect is thr same as beauty.
Top class comment
Hear is an ocen infront of us.Thank you sir.
Sangeetha sadguru
Saastaanga vandanam
For
Your
Excellent
Never before
Demo
Paadhaabhi vandanam once again...
J.k.Bharavi
Film writer
Such a great learning experience. Thank you for sharing this.
great sir, highly informative and inspiring
Such an amazing person and full of knowledge flowing.
Such a nice lec dem! Learnt a lot! Thank you for uploading
Amazing lecture, as articulate and lucid as his music.
Mesmerizing 🙏🙏❤️❤️❤️
Sir super , oru oru ragama eduthu sollithanga sir engala madhiri ethanayo very poor students kooda help aagaum sir.
Very informative. Kodi Pranamam🙏
Music maestro articulating beautifully. I dont know about music much although. The person on Violin has midas touch and fantastic. When TMK appreciates shabhaash is a magic moment. All good job team.
tm krishna legend in music
awesome demo....
Super class sir,, thanks......
This was a superlative lecdem.
Thank you Krishna ji, very useful for the students of music and music therapy as music improvisation is found an excellent medical aid to the mentally-challenged
linear circular? you mean helical haha :D
Awesome concert
Waw superb class
Thanks for sharing the knowledge
beautiful and effective communication of points
His Audience will be very knowledgeable to understand this.
👌👍
U
R
Wonderful
In
Shaasthra
And
Exponent
in
Naretion
2
you are inspired me
As a student of Carnatic music...TMK sir is my aaradhya daiva🙏
Thanks sir....
My
Master...
Pranamaami
Padhe padhe
This can be demonstrated in terms frequency or Hz value where compitham between one end of spectrum and another without stability. We can call them unstable Shruti in a way. Whereas when the frequency converges, a Sudha Shruti forms. SA PA SA are dead notes. They have no life. But, they act as measure of the octaves.
Violinist excellent.
I
Also
Wants
To
Touch
Ur
Parents
Gurus
Because
They
Have
U
Blessed
Kampita is the predominant gamaka that gives the flavour of Carnatic music cannot be accepted altogether.
Perhaps, kampitha is dominating our music for the past 100 years or so. If we look into older books like Sangeetha Sampradaya Pradarshini (SSP), the use of kampitha is very limited , even in the ragas like Anandha bhairavi, Neelambari and Sahana. I am not saying that gamaka is totally eschewed; It is not used profusely as we are using it now. Still, the raga svaroopam is intact and we get a perfect Carnatic appeal.
What I am trying to say is, we cannot give a generalized statement like this based on the present music. Everything has been changed and we should look back to get the real colour of our music.
Interesting point. But as far as I have read, If there is one thing constant with Indian music, it is that it has been an organic body of knowledge that has gathered the genius of centuries of intuition and intellect and consistently evolved. In that sense don't you think that it is not the old but rather today's music that is the most complete?
@@arjun_ragafanatic It depends on the angle and perspective. Our music has evolved a lot and we have gained a lot in this process. At the same time we have lost the structure of many ragas too. Our compositions has been changed a lot. Music can change but not the compositions as they are to be preserved to understand the musical thought process of the particular composer.
Super
Thyaaga raajar vandaa..ungalai hug pannikittu aaseervaadam pannuvaar
N
He only eligible to bless ..hug u sir
at 39th min, Mr. TMK says that there are in-built layas and an overall laya to the alapana, if so, why Mridangam players don't follow the singer during alapana, just like the way violinist seconds the vocal singer during alapana in carnatic concert? is it because mridangam following the player disturbs the laya pattern which is in-built in the alapana? or is it difficult to be intuitive to know the laya patterns in alapana? or is it because it is difficult to follow both laya and swara by mridangam? these questions are not to criticize the demonstrator but true questions of a novice in carnatic music
The answer lies in the difference between laya and taala. The fact that there is an inner sense of pulse or time doesn't translate necessarily to trying to confine the phrases to cycles of a certain number of beats or to have a certain clapping pattern like rupaka or triputa. The opportunity for such manodharma comes instead in neraval where the phrases are bound by such a cycle with fixed placement of syllables as he has explained. Even in tana singing, where the laya is very obvious, TMK asserts, and I agree, that mridangam participation is inappropriate as it forces the singer into a pattern of fours for example and so unnecessarily restricts the beauty and diversity of the possible permutations and combinations.
Thank you Amr!
Actually, on this very note, Sri Vikku Vinakayram accompanied TMK on the ghatam when he was singing a Begada Alapana. In fact, that video is on FEA's channel, from TMK's concert at Afghan Church in Mumbai. I believe it's not commonly done simply because it takes an immense amount of skill on the part of the percussionist to first catch and then follow the moving laya patterns of the alapana.
I love everything save his derogatory comments about nyasa. There's another tradition a couple hundred kilometers north in which nyasa is relished and not described as "easy."
There was nothing derogatory about nyasa. He just said nyasa is not necessarily suitable for every raga.
Good point Dhruva. :-) thanks for clarifying. I do think that nyasa is not easy the way he describes it. Our minds race and it takes discipline to remain still. :-)
I totally agree with you. As someone who just started learning manodharma, I find it very hard to remain still and I just end up repeating phrases. I am not sure how easy/hard it is for professionals.
And I have learnt only the nyasa format. It was interesting to find that there are other ways too.
Dhurva, I am so pleased to have a pleasant conversation with honest sharing on UA-cam. Don't most of these comment sections turn out to be yelling? I wish you all the best in your musical pursuits, and thanks for your thoughtful response.
Thanks!
True. The internet is pretty caustic, it is rare to find someone polite.
Spic and span research, knowledge and very detailing knowledge described scientifically. Linguistically speaking, HE is very true, its all about "SOUND". ("SOUND" intensity can be found from the following equation: . Δ p - change in pressure, or amplitude ρ - density of the material the "SOUND" is traveling through vw- speed of observed "SOUND". The larger your sound wave oscillation, the more intense your "SOUND"will be.) Psychologically suggesting, School, College and University young students should listen his lectures, will increase their Maturity Level. We measure "SOUND" intensity (also referred to as "SOUND" power or sound pressure) in units called decibels. are named in honor of Alexander Graham Bell, the inventor of both the telephone and the audiometer. An audiometer is a device that measures how well a person can hear certain sounds. Enjoy hearing TECHNO SPIRITUALITY.
TMK deserves ' nazar lagi raja. Tore bangle par. Subha can complete rest of song.
Bookmarked for future reference:
How you can approach a note in different ways - 23:00
Is he demonstrating kampitam there at 23:00?
@@maliniaravindan5349 not just the kampitam. All possible ways, with or without a gamaka. A shudhdha swara is generally the approach of Hindustani music whereas Carnatic music approaches a note with a nyasa or with some gamaka.
@@funnyketh thank you.
@@maliniaravindan5349 Its called 'Briga' if you want to get more technical.
@@funnyketh I kinda know what is briga. I have some more doubts related to gamaka. Will you be able to help me?
There are skippable ads present in the middle of the video.
FEA, are you aware of this???
Wonderful 👌
Oh
Incarnation of sangeetham...
U
Know
The
Root
Of
Aananda baashpa dhaaraas
Hehehe...I come here only to see his expressions while singing!! Violiner never catch this guy!! Once she had wrong line on violin then he corrected with his eyes! Like what the hell did u do kinda look...I became fan to his expression since then!!
M
Manodharma lec part 1 telugu lo cheptara
Thy guy on tanpura from thanjavur? He is on eternal acceptance. Very irritating. Should stop shaking his head.
Thank you for saying this :)
Funny!! :-) :-) :-)
I didn’t even notice!
Double agree!
Lol..!!
In my opinion TMK should avoid the use of word sound....It is not sound...It is a musical note...