Western Classical Music (WCM) or Indian Classical Music (ICM); which is the superior genre? An urge to discern the delicate discrimination between the two divine forms of music has beguiled my ignorant mind, ever since I assumed pretensions of being a WCM connoisseur, through my myriad associations with maestros in the domain. Must confess though, my own vainglorious efforts at learning the violin has contributed, not insignificantly, to the affair.
Not that my appreciation of ICM is any more illustrious! Thanks, largely to attendance at carnatic music concerts during the formative ears, and a short stab at learning vocal carnatic music (contemporaneously), I perceive (could be incorrectly though!) to have developed an eye (or ear, in this case) for the divine stuff belted out by Indian classical musicians.
Comparisons, they say, are odious. Specially, when it involves exalted styles of music. And, it becomes doubly so, when engaged in by frivolous minds (like that of yours truly), with no formal underpinnings on either of the art forms. Whatever be the allegations (the cognoscenti contend that the extent of my knowledge (or the lack of it) on the subtler nuances of both forms of music can be equated to that of an ignoramus), no one can blame me for not being a rasika alike of Chopin or Chowdaiah. Period.
So on to the great debate! My beliefs have been built based on discussions with two towering personalities in WCM and ICM, both of whom I hold in very high esteem. I refer to Biju Lawrence - currently my younger son's violin guru (and formerly mine), and the Late Sadanam Murukajyoti - my elder son's maddalom guru. Both the maestros have had the benefit of formal education in learning to play the instruments that they wield with gay abandon, much to the pleasure of their devoted listeners. The first difference crops up here. While Biju has had the privilege of formal training in an academic setup (the Associate Board of Royal School of Music of London, going on to earn a Diploma from the institute), Murukajyoti was steeped in the traditional gurukulam style of didactic learning at the famous Kathakali centre at Sadanam, Kerala. Both qualified (with distinction, one has no doubt) from the respective hallowed portals, and went on to play (and create) music that is divine. So, the inevitable Q! What sets apart one form from the other, and as a corollary, which form is better? Any answers there?
The next major difference relates to the way music is played. WCM is structured and institutionalized through documentary artefacts like musical notes and sheet music. For instance, a musical composition can be played exactly as it was intended to, by the composer. Thus you get to hear a Bach or Beethoven piece (composed at the turn of the 18th/19th century) in all its pristine glory - accents, tones, dynamics, key signatures and all. No scope for any adulterations there! This undeniably, lends it a quaint historical edge. However, it is moot, if such rigorous adherence to originals, robs WCM of creativity and ingenuity, since the instrument player is restricted to "greatness" only on the basis of her/his virtuoso performance, and not on how she/ he can improvise on the original composition.
ICM, on the other hand, is not held hostage to such severity. Owing to the fact that it is usually taught by 'word of mouth', ICM lends itself to improvisations that at times, result in the generation of sublime creations. For instance, would the vistaaram of "pranava swaroopa vakratundam" from "vaatapi ganapatim" have been as melodious and entrancing had not Yesudas and TN Krishnan lend their own delightful variations to the original? As any self-respecting guru is quick to acknowledge, "prodigy shishyas", in emulating their gurus, often have a way of surpassing them in performance. Doesn't ICM have an edge in moulding geniuses then? Moot question that!
The last word on the subject however, has to be privileged to the venerable Nobel laureate, Rabindranath Tagore, who chose to take the wind out of the sails of such superfluous arguments by putting it rather succinctly "Music is the universal language. Here, one soul speaks to another."
Touche, is all one can offer to that!
Showing posts with label Western classical music. Show all posts
Showing posts with label Western classical music. Show all posts
Sunday, February 21, 2010
Monday, February 15, 2010
How I got hooked to Western classical music
Till I finished my undergrad education, I was an Indian Classical music aficionado. This state of affairs stemmed due to non-exposure to the divine form of Western Classical Music (WCM), having been brought up and educated in the laid back little town of Bhilai and the not-so-sleepy-but-definitely-non-urban milieu of Raipur. My induction to the Navy changed that forever. The naval band, brass, percussion and all, playing their mellifluous tunes, was the only saving grace during an otherwise rigourous training phase at NAVAC (the Academy), that tested ones physical (not to mention, psychological) endurance to its limits.
For the uninitiated, a short treatise, on the canvas of action viz. the revered parade ground, is in order. The landscape was terrorising to say the least! Here, many a sorry soul, had bitten the dust literally, forced as they were, to run around the perimeter - often 5 to 20 times - carrying the (~6.10 kg) rifle up in the air. This, for misdemeanours that would, in the civilised world, have at most, earned a questionable look! Then there were the much dreaded Drill Masters, wizened (through an overdose of imbibing, and "not-so-diplomatic" visits to foreign ports, if one were to hazard a guess!), with their stentorian boom and a homicidal demeanour. Hushed whispers in the corridors of NAVAC had it that under the penetrating gaze of these hoary gentlemen (?!), doughty devils had been known to soggy their derriere; as for the state of lesser mortals, the less said the better!
Despite their imperfections, the bi-weekly parade, with the naval band in full regalia, was an event that I used to enjoy, much to the chagrin of my beloved course-mates. I think, I had this thing for music. With the band in full flow, the drudgery of the dreary parade used to be transformed into a voyage of nirvana. To the extent that, I used to look forward in anticipation to the fortnightly affair, with the zeal and expectation, much as would a beggar, famished and starving for days, await a full meal. Don't think masochism has any limits!
Enough of digressions. Let me get back to the story of my tryst with WCM, that had all the elements of a classic love affair. It began with a crush, meandered through courtship and love, and culminated in a life-long relationship of loyalty and worship. Once, during the parade practice, the band played a haunting but unknown melody. Promptly, I stole some time from the busy (and tightly monitored) schedule, to meet up with the Band Master, with a view to investigate the matter. Mind you, there were life-threatening situations galore in this exercise! for instance, the place where the band used to practice, was out of bound for us (as were most other places in the Academy). This meant that one had to sneak stealthily during this enterprise, lest one be accosted by one of the dreaded Divisional Officers (Divos) or his henchmen, for punishments for infringements could be brutal and gruesome, bordering on the grave. But, fortune favours the brave! So, without any untoward incident, I kept my date with the Band Master, and, the rest, as they say, is history.
The venerable Master Chief (Musician) Petty Officer Class II, SM Lawrence (if I remember the name correctly), opened up an enchanting vista for me that had hitherto been unexplored. There was no looking back thereafter. I was besotted to the creations of Bach and Beethoven. And, as if that were not enough, you had the pieces from Haydn, Brahms, Mozart, Strauss, Bizet, and a host of other equally consummate composers to contend with. Later, once the infatuation ebbed (to be replaced with a more maturer phase of love) I had occasions to debate the superiority/ inferiority of WCM vis-a-vis classical Indian music with some veterans and maestros in the respective fields, without any clear answers forthcoming. But, that's another story. In any case, why bother, as long as both forms of music contribute to unalloyed listening pleasure!
For the uninitiated, a short treatise, on the canvas of action viz. the revered parade ground, is in order. The landscape was terrorising to say the least! Here, many a sorry soul, had bitten the dust literally, forced as they were, to run around the perimeter - often 5 to 20 times - carrying the (~6.10 kg) rifle up in the air. This, for misdemeanours that would, in the civilised world, have at most, earned a questionable look! Then there were the much dreaded Drill Masters, wizened (through an overdose of imbibing, and "not-so-diplomatic" visits to foreign ports, if one were to hazard a guess!), with their stentorian boom and a homicidal demeanour. Hushed whispers in the corridors of NAVAC had it that under the penetrating gaze of these hoary gentlemen (?!), doughty devils had been known to soggy their derriere; as for the state of lesser mortals, the less said the better!
Despite their imperfections, the bi-weekly parade, with the naval band in full regalia, was an event that I used to enjoy, much to the chagrin of my beloved course-mates. I think, I had this thing for music. With the band in full flow, the drudgery of the dreary parade used to be transformed into a voyage of nirvana. To the extent that, I used to look forward in anticipation to the fortnightly affair, with the zeal and expectation, much as would a beggar, famished and starving for days, await a full meal. Don't think masochism has any limits!
Enough of digressions. Let me get back to the story of my tryst with WCM, that had all the elements of a classic love affair. It began with a crush, meandered through courtship and love, and culminated in a life-long relationship of loyalty and worship. Once, during the parade practice, the band played a haunting but unknown melody. Promptly, I stole some time from the busy (and tightly monitored) schedule, to meet up with the Band Master, with a view to investigate the matter. Mind you, there were life-threatening situations galore in this exercise! for instance, the place where the band used to practice, was out of bound for us (as were most other places in the Academy). This meant that one had to sneak stealthily during this enterprise, lest one be accosted by one of the dreaded Divisional Officers (Divos) or his henchmen, for punishments for infringements could be brutal and gruesome, bordering on the grave. But, fortune favours the brave! So, without any untoward incident, I kept my date with the Band Master, and, the rest, as they say, is history.
The venerable Master Chief (Musician) Petty Officer Class II, SM Lawrence (if I remember the name correctly), opened up an enchanting vista for me that had hitherto been unexplored. There was no looking back thereafter. I was besotted to the creations of Bach and Beethoven. And, as if that were not enough, you had the pieces from Haydn, Brahms, Mozart, Strauss, Bizet, and a host of other equally consummate composers to contend with. Later, once the infatuation ebbed (to be replaced with a more maturer phase of love) I had occasions to debate the superiority/ inferiority of WCM vis-a-vis classical Indian music with some veterans and maestros in the respective fields, without any clear answers forthcoming. But, that's another story. In any case, why bother, as long as both forms of music contribute to unalloyed listening pleasure!
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