Voice of Tianzhu

  As one of the four major music systems in the world, Indian music has a long history. Its classical music system can be divided into “Hindustan music” in North India and “Karnataka music” in South India. These two kinds of music originated from the same musical tradition, and began to diverge in the 13th century, forming their own independent musical styles, theoretical foundations and performance forms. North Hindustani music is popular in the area north of the Vendiya Mountains. It absorbs elements of Persian, Arabic, and Turkish music, and uses the palaces of princes and nobles as the center of performance. Karnataka music refers to the music of the Karnataka states, including Tamil Nadu, Andhra Pradesh and Kerala, which is more of a continuation of indigenous Indian traditions and less influenced by foreign musical elements , its singing and performance are composed of three basic elements: melody, rhythm and continuous tone. Wiener, bansuli, and Nagswaram are melody instruments, mudanga drums and getham are rhythm instruments, and tambu Pull is a continuous musical instrument.
  It seems that all civilizations are full of fantasy myths, which cast a strange color on the growth and changes of all things in the world. The origins of vener and bansuli are contained in the ancient and beautiful myths of India. Veena is the wife of Brahma, the incarnation of Saraswati, the goddess of knowledge, and symbolizes Saraswati’s body. Saraswati was born on the thumb of the left hand of Brahma, and is in charge of poetry and music. He is the protector of art and science. He can bring wealth, offspring and courage to people. He is a deity that readers must respect and meditate on. The status and function of Emperor Wenchang are similar to those of Chinese Taoism. In all matters concerning study, Goddess Saraswati must pray to Goddess Saraswati to bless his studies. Bansuri is often associated with God Krishna, who is the eighth incarnation of Vishnu, the god of protection. He was a cute shepherd boy when he was young, holding a bansuri and liked to play with cowgirls. He was helpful and hated evil, and entered the city with his brother Dali Rama, killed the king, and rescued his imprisoned parents. When he grew up, he took back the milkmaid Radha who loved him and was forced to marry someone else. Krishna used the melodious melody of the bansuri to summon the devout and his lover.
  Nagswaram is a kind of double-reed long suona. It was only played in Hindu temples in the past, but now it is often used in weddings and other festive occasions. Therefore, its players have a good income. Tambra provides a background or foil sustained sound for instrumental players or singers. Its owners may be palace nobles, rich people, poor people, or even beggars. Today, in Karnataka concerts, Tambra players are usually students of the lead player or young players who accompany the teacher with respect. The mudanga is a barrel-shaped, double-sided drum that the player can place horizontally on his lap or on the ground and play with his palm and fingers. Getham is a specially made clay pot drum that players can tap on different parts of the pot with their wrists, fingers or fingernails to produce varied tones.
  Religion occupies an important position in the life of Indians, it not only reflects the spiritual level of Indians, but also affects the social and cultural life of Indians. Since Karnataka music, like religion, is completely controlled by the Brahmin monks at the apex of the caste system, there is no clear boundary between music and religion. Brahmin monks believe that music is a way to communicate with, talk to, and please God, and no other form can express devotion and reverence to God more perfectly than music. Such as: similar to the musical genre of the etude “Vanam”, most of the lyrics express prayers to God. “Kriti”, which occupies a large proportion in Karnataka concerts, is the most dynamic vocal genre since the 18th century, and most of its lyrics are filled with solemn heroism and noble and devout religious sense. Karnataka music rarely involves mundane joy, anger, sadness and music. Even if it expresses the theme of love, it is limited to the emotional sparks between gods and gods or between gods and people. Like Krishna’s love with Radha, it strongly implies the human soul’s quest for union with God.
  In Karnataka concerts, performers and audiences are looking forward to the ideal state of “Oneness with Brahma”, and what they are after is a kind of religious liberation. When the performer plucks the strings of Tambra, the musical cycle begins, with a deep sound that transports the listener into a hazy and chaotic universe. The audience entered a meditative state of contemplation during the presentation and circling of the theme, and their applause and admiration were shown in the interlude showing the performers’ skills, which symbolized the “transcendence” in the practice.
  The heritage of Karnataka music is passed down from the heart to the heart – master to apprentice or father to son, so there is no corresponding notation. Indians believe that improvisation is not suitable for notation, which limits the development space of performers to a large extent. However, the improvisation of Karnataka music is not entirely random, it must follow the Indian aesthetic theory – ras. Ras means “mood” or “flavor” in Sanskrit and includes: erotic, comic, tragic, angry, heroic, terrifying, repelling, surprising, serene, and improvisation is precisely to achieve This “flavor” is used.
  In ancient India, the performances of Karnataka music had strict seasons and time regulations, such as: Mayamarafghura could only be performed at dawn; Sri could only be performed at dusk, just like the famous Indian scholar Chatanya. David said: “Man’s mental state at dawn or dusk is often between conscious and unconscious, which is also when a person sits down to pray or meditate, at this time the inconsistencies formed by the dropped Db, Ab, Bb, etc. The atmosphere of harmony is suitable for a dream-like mood.” Indians believe that a certain kind of music can only be effective if it is performed for a certain period of time, otherwise it will lose or reduce its value, or even bring disaster. However, with the development of tourism, radio and television industry in India, the time boundary of Karnataka music has been broken, and the time theory is also in the process of dying out.

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