In interim order, SC says T.M. Krishna should not be recognised as recipient of M.S. Subbulakshmi award

In interim order, SC says T.M. Krishna should not be recognised as recipient of M.S. Subbulakshmi award

Sub : History

Sec: Art and culture

Context:

• The Supreme Court issued an interim order preventing Carnatic vocalist T.M. Krishna from being recognized as the recipient of The Hindu-Sangita Kalanidhi M.S. Subbulakshmi Award.

About the case:

• The petition was filed by V. Shrinivasan, a Bengaluru resident and grandson of the late M.S. Subbulakshmi, who claimed that Krishna had made disrespectful and misogynistic remarks about the Bharat Ratna honoured singer.
• The petitioner argued that someone who insulted Subbulakshmi should not receive an award in her name.

Supreme court’s order:

• The order clarified that the decision was not a reflection on the Music Academy or The Hindu Group, nor a comment on T.M. Krishna’s singing ability. The interim order aimed to address the legal dispute regarding Krishna’s remarks about M.S. Subbulakshmi.
• The court emphasized that the Music Academy had the right to select the awardee, but until the matter was fully clarified, Krishna should not be presented with the award.

M.S. Subbulakshmi:

• M.S. Subbulakshmi (Madurai Shanmukhavadivu Subbulakshmi) was one of India’s most iconic and revered classical Carnatic vocalists.
• Subbulakshmi was the first musician to be awarded the Bharat Ratna, India’s highest civilian award, in 1998.
• She was also awarded the Padma Bhushan in 1954 and the Padma Vibhushan in 1975.
• She was also the first Indian musician to receive the prestigious Ramon Magsaysay award.

Classical music

The history of the system of music that prevailed in India from ancient times, goes back to the Vedas. The Indian musical system shows to what heights the genius of man could soar in quest of new forms of musical expression. Apart from its entertainment value, music was cherished and practised for its quality of lifting mankind to a nobler plane, enabling the soul to attain eternal bliss. The perfect tone system and the extensive raga and tala systems of Indian music, make it comparable with any other sophisticated musical system of the world.

The earliest treatise we have on music is the Natya Sastra of Bharata. Other treatises on music after Bharata, such as the Brihaddesi of Matanga, Sangeeta Ratnakara of Sharangadeva, Sangeet Sudhakara of Haripala, Swaramelakalanidhi of Ramamatya, etc., provide us a fund of information about the different aspects of music and its development during the different periods.

The ancient Tamils of South India had also developed an highly evolved system of music with its solfa methods, concordant and discordant notes, scales and modes, etc. A number of instruments were also used to accompany song and dance. The Tamil classic of the 2nd century A.D. titled the Silappadhikaram contains a vivid description of the music of that period. The Tolkappiyam, Kalladam and the contributions of the Saivite and Vaishnavite saints of the 7th and 8th centuries A.D. also serve as resource material for studying musical history.

The course of the evolution of Indian music saw the emergence of two different sub systems as Hindustani and Carnatic music. In Haripala’s “Sangeeta Sudhakara”, written in the 14th century A.D., the terms Carnatic and Hindustani are found for the first time.

• Carnatic music owes its name to the Sanskrit term KarnâtakaSangîtam which denotes “traditional” or “codified” music.
• Composed of a system of Ragam (Raga) and Thalam (Tala), it has a rich history and tradition.
• Carnatic Sangeet has developed in the south Indian states of Tamil Nadu, Kerala, Andhra Pradesh and Karnataka. These states are known for their strong presentation of Dravidian culture.

Renaissance of Carnatic Music

• The course of the evolution of Indian music saw the emergence of two different subsystems as Hindustani and Carnatic music. Both the terms emerged for the first time in Haripala’s “SangeetaSudhakara”, written in the 14th century A.D.
• The two distinct styles, Hindustani and Carnatic came into vogue after the advent of the Muslims, particularly during the reign of the Mughal Emperors.
• Purandardas (1484-1564), a prolific poet-composer and mystic of Vijayanagar, is considered to be the father of Carnatic music (Carnatic SangeetaPitamaha).
• Venkatamakhi is regarded as the grand theorist of Carnatic music. In 17th century AD, he developed “Melakarta”, the system for classifying south Indian ragas. There are 72 Melakartas at present.
• Tyagaraja (1767-1847), his contemporaries SyamaSastri and MuttusvamiDikshitar are together known as the “Trinity” of Carnatic music.

Difference between Carnatic and Hindustani Music

1. Gitam

• Simplest type of composition, taught to beginners.
• Simple melodic extension of a raga with uniform tempo.
• No divisions, sections, or intricate variations; sung from start to end without repetition.
• Theme: Devotional or praises of musical luminaries/Acharyas.
• Notable feature: Use of gitalankara phrases (e.g., a iya, va iya).
• Composed in Sanskrit, Kannada, and Bhandira bhasha.
• Pillari Gitas by Purandaradasa are the first taught to students.
• Types:
  • Lakshya Gitas: Describe the raga lakshanas.
  • Composers: Purandaradasa, Paidala Gurumurti Sastry, and Venkatamakhi.

2. Suladi

• Similar to Gitam but of a higher standard.
• Talamalika: Sections in different talas.
• Fewer sahitya syllables; includes vowel extensions.
• Composed in different tempos – Vilambita, Madhya, and Druta.
• Theme: Devotional.
• Composer: Purandaradasa.

3. Svarajati

• Learned after Gitams; more complicated, a precursor to Varnams.
• Composed of three sections: Pallavi, Anupallavi, and Charanam.
• Themes: Devotional, heroic, or amorous.
• Originated as a dance form with jatis (solfa syllables).
• Syama Sastri composed svarajatis without jatis as brilliant concert pieces.

4. Jatisvaram

• Similar to Svarajati but has no sahitya (lyrics).
• Sung with solfa syllables only.
• Focus on rhythmic excellence and jati patterns.
• Used in dance music.
• Some forms include a mix of jatis and svaras.

5. Varnam

• Unique to Carnatic music; has no counterpart in Hindustani music.
• Combines all characteristic features of a raga.
• Helps attain mastery over raga, tala, and bhava.
• Theme: Bhakti (devotion) or Sringara (love).
• Two types:
  • Tana Varnam: Concert form.
  • Pada Varnam: Dance form.
• Sections:
  • Purvanga: Pallavi, Anupallavi, Muktayi Svaras.
  • Uttaranga: Charanam and Charana Svaras.
• Composers: Pachchimiriyam Adiyappayya, Swati Tirunal, Patnam Subrahmanya Iyer, and others.

6. Kirtanam

• Originated in the 14th century; simple music with Bhakti bhava.
• Used in both congregational singing and solo presentations.
• Structure: Pallavi, Anupallavi, and Charanam.
• Composers: Bhadrachalam Ramadasa, Tyagaraja.

7. Kriti

• Evolved form of Kirtana, rich in raga bhava and aesthetic excellence.
• Basic structure: Pallavi, Anupallavi, and Charanam.
• Added embellishments:
  • Chittasvaras, Madhyamakala Sahitya, Svara-sahitya, and more.
• Composers: Musical Trinity (Tyagaraja, Muthuswami Dikshitar, Syama Sastri).

8. Pada

• Scholarly compositions in Telugu and Tamil.
• Slow, dignified music with themes of Madhura Bhakti (divine love).
• Characters: Nayaka (Lord), Nayika (Devotee), Sakhi (Guru).
• Main composer: Kshetrajana.

9. Javali

• Light classical compositions; sensuous in nature.
• Set in Madhyama Kala and composed in Telugu, Kannada, and Tamil.
• Ragas: Paraj, Kaphi, Behag, etc.
• Resembles Thumri of Hindustani music.

10. Tillana

• Brisk and rhythmic form, similar to Hindustani Tarana.
• Used in dance and concerts as concluding pieces.
• Begins with jatis and includes sahitya.
• Composers: Swati Tirunal, Pallavi Seshayyar, etc.

11. Pallavi

• Creative form of music in Manodharma Sangeeta.
• Focuses on improvisation in raga and tala.
• Structure:
  • Prathamangam (first part)
  • Dvityangam (second part).
• Related to Khyal in Hindustani music.
• Kalpana Svaras and Niraval are key features.

12. Tanam

• A branch of Raga Alapana sung in Madhyamakala (medium tempo).
• Rhythmic and flowing musical patterns.