Ariyakudi Ramanuja Iyengar's address to the Music Academy Conference in 1938
(English Translation)
(English Translation)
Music is a divine gift that God in His manifestation as Nada Brahman gave to the world. For ages, the divine art had been practised and professed by successive generations of musicians and lovers of the art and science and to this day music has maintained its continuous stream of progress. To learn the art, practise it correctly and gain real proficiency in it, it is essential for one to get divine grace and be instucted by a true master of the art. It is almost impossible to learn the art and science by being self-taught.
Use of Tambura Shruti
Music today has taken on new aspects and expressions. There are also numerous departures from the original practices and principles which are not at all wholesome. Of the instruments of sruti, there is none to excel the Tambura and yet there are a number of musicians who do not use that instrument for sruti. There are others who use it but fail to tune it up, if in the middle of the performance, the strings relaxed. The harmonium as a drone has many defects, for instance variation in the volume of sound between the blowing-in and blowing-out of the bellows of the harmonium is a source of inconvenience to the musician. Other defects too can be noticed by comparing the sound of the harmonium with that of the tambura.
Traditional swaram singing
The practice of eking out the singing of Kalpanasvaram in the course of rendering kritis, with snatches of raga is a heterodox method of rendering swarams. It is regrettable that very few of the musicians today follow the traditional method. This is only due to a desire to cater to the taste of the audience. Trying to satisfy an audience is not wrong, but it is quite possible to please the hearers without transgressing the bounds of tradition. Another common feature of present day musical performances is for the musician to follow the jati of the mndangam in singing the svara -- a practice not at all known to the traditional school. The masters always insisted on these being rendered in consonance with traditional practice, expenence and the pieces of the great composers.
Sahitya of pieces
Knowledge of the sahitya is essential for the success of musical rendering of any given piece. Otherwise, it will be a soulless performance. A knowledge of the language of the piece will enable the singer to enter into the spirit of it. Having regard to the pieces popular in South India, some knowledge of Telugu and Sanskrit is necessary for all musicians.
Miscellaneous pieces
In ancient days, it was not common for musicians to sing "miscellaneous pieces" after pallavi. It is a modern innovation. I have a feeling that it would be consistent with the spirit of tradition if musicians sing pieces from Gita Govinda, Ksetrajna padam, Rama Nataka KirtanaigaL of Arunachala Kavi, Nandanaar Charitram, Muthu Tandavar padam, Vedanayakam Pillai's compositions, Kavikunjara Bharati's pieces, Tiruvaasagam, Tevaaram, Prabhandam, Arutpa of PattiNatthaar or Thaayumaanavar. There is a wide field of choice here and elsewhere. It is a pity that these compositions are not as popular today as they should be. It is the duty of musicians to keep these current by singing them in their concerts. The late Vina Dhanammal was one of those musicians, who consistently adhered to the practice of rendering at least some of these pieces in her performances. It is a well known fact that Vina Dhanammal retained her greatness and popularity to the last day wihtout in any degree deviating from ancient traditions in the selection or rendering of her songs.
The compositions of Sri Subramanya Bharati provide a rich source for the musician to add his reportoire from. There are many poems of Bharati, which are rich in bhakti and other rasas and, by singing them the musicians will not only be rendering good music but also perform their duty to the country by popularising the songs of that great national poet.
Duty of Musicians
Since the inception of the conference, at its various annual sessions, discussions have proceeded on different raga, raga lakshanas and other matters of interest and importance to musicians and music. Broadcasting the results will accelerate the progress of music considerably and one of the means of spreading the knowledge would be for musicians and lovers of music to participate in the discussions. The present session will devote attention mostly to current ragas and I hope therefore that a large number of musicians and vidvans will participate in the discussions. It is the duty of all musicians to cooperate and help the success of the conference organized by the Academy, which has for its aim the promotion of the welfare of musicians and the advancement of music. Such an organization plays a very important part in bringing together musicians, who are notorious for rarely pulling together for a common purpose. I hope that the good work that Messrs. K.V. Krishnaswamy Aiyar, T.V. Subba Rao, T.L. Venkatarama aiyar, E. Krishna Aiyar and other connected with the Academy are rendering to the cause of music and musicians will bear fruit with the cooperation of all musicians. In conclusion, I wish the conference a successful session!
