South Indian Classical Music "Lecture"

To me, if one is peacefully tuned into the rhythms of nature, any type of art will be sensational and revealing. But, to mere mortals existing in the realm of monkey mind and constant differentiation, it helps to have some introduction to the structure of the music. This morning we had a lecture on South Indian Classical Music, which was really more of an interactive concert; "a bridge between what you know and what happens on stage." Gathered around on colorful blankets in the same room that we had orientation, four experienced musicians sat before us and earnestly began to unravel some mysteries of the entire world we'd just become immersed in. It really came at a perfect time because, after having seen a couple of concerts and taking about a week of lessons, there was some mystery that could have turned into unfounded mythology, or go completely unobserved.

Some take aways that were helpful to me, but PLZ check my handiwork and excuse my inevitable misunderstandings... There is a drone, a tambura, which can be produced with the instrument itself, or from an electronic accompaniment (drone box). Tala is a way to "measure time in cycles." We can keep it with our hand tapping on the knee or in the air or against the wall... Given the concerts we've been to, it seems that anywhere you're called to keep tala is the place to keep tala! Once you know the form of the songs, there is only improvisation on stage, and as such, everything revolves around raga and tala - melody and rhythm. Raga is held by melodic instruments - typically voice, veena and/or violin. Note - the violin was adopted from the British, but there is a completely different tuning, fingering and theory behind the practice of South Indian Classical violin. Tala generally held by the mridangam, ghatam, and/or jaw harp. There's typically two percussive elements, as there is a passing of percussive prowess toward the end of concerts, in which they trade measures of improvised rhythm until they converge back up with the melody.

Accompaniment is the main duty of the mridangam - or really any tala-carrying instrument. The raga and tala go hand in hand, and everything revolves around the interplay of these two elements. There are lyrics to many of the ragas. There is also much space for swara improvisation, in which the vocalist plays with the sol-feg analogous notes in time with the other instrumentalists. Overall there are at least 6 sections in a concert, but, like most other things I've experienced while here, the rules are just boundaries to be understood and played with rather than strictly adhered to..

One of our lesson rooms - ghatams on the far left, tambura front left corner, and mridangams along the wall. 

Many say that music is a path to reaching heaven. Or, as we've been keen on referencing on this trip, attaining the "ultimate reality." Whatever that might be to a person, the cyclic and interactive as well as improvisational nature of this music is sure to provoke a sense of peace. Or potentially confusion induced calamity, depending on the level of understanding and connection available to the listener.