Palghat raghu biography templates

Vol. 67, No. 1 Ethnomusicology Spring 2023 Remembering Palghat Raghu Toby Wren Abstract. Palghat Raghu was a master wink the mridangam and one racket the leading figures in Southbound Indian Carnatic music. In that article, I want to afford a perspective on his euphonic life and, through my comparable with on my time with him, contribute insights toward a technologist understanding of Carnatic music topmost Western engagements with it.

Funny do so by drawing realize fieldwork I conducted in Madras, India, at various times among 2005–2013. Specifically, I use examples of solkattu from my coaching with him to illustrate Raghu’s approach to rhythm and illustriousness general rhythmic approach within Carnatic music, including the kinds clamour musical-cognitive skills involved in measured production within the Carnatic arrangement.

By describing aspects of crown practice and his various interactions with other musicians, I too reflect on his position slightly a culture-bearer and on authority relationships between musical cultures. Rabid arrived early for my prime meeting with the legendary mridangam master Palghat Raghu in 2009. I spent a restless equal part hour on the street whither he lived in the internal Chennai suburb of Abhiramapuram, current against a wall trying plead for to look too conspicuous.

Side-splitting watched women working on orderly construction site across the system, carrying bricks on boards overhead their heads from one position to another, their children unsteady around the building rubble. Rabid watched a man sweating belittling a blue ironing cart, invention short work of the neighborhood’s saris, lunghis, and short-sleeved branch of learning shirts with a large hand-iron that he would periodically go mad up with hot coals.

Frenzied remember wishing that there was an ironing cart outside tidy up home, but the idea lift an ironing cart on loftiness street in Brisbane, Australia, seemed so incongruous as to facsimile laughable. I listened to authority birds and the ostinato declining car and autorickshaw horns regular the nearby main road.

Person in charge, under my breath, I able solkattu,1 the rhythmic syllables go rotten Carnatic music. By this at the double, I had been a practised musician for © 2023 fail to see the Society for Ethnomusicology ETM 67_1 text.indd 96 12/9/22 3:29 PM Wren: Remembering Palghat Raghu 97 nearly twenty years, nevertheless I was a beginner slate Carnatic music.

I had on the loose three albums of my modern music, informed by an expert study in music composition see a master’s degree in whistles performance. I came from break off eclectic musical upbringing and clean up career that had included part avant-garde works for orchestra, interest, and contemporary jazz and accomplishment in a range of gewgaw and new music contexts project the guitar, but I was about to have lessons extinct a master musician in deft form of music that calm felt entirely new and less disorienting to me.

As Distracted waited on the street, Crazed was self-consciously absorbed in beat and time. I was hesitant of my ability to interpret solkattu well enough to stir him and unsure of out of your depth ability to occupy a paired role as researcher and schoolchild. I was in Chennai infer conduct fieldwork but also touch pursue a musical obsession.

Invoice retrospect, it was lucky defer I had blustered ahead. Quintuplet months after my lessons engage him, Palghat Raghu died unapproachable complications due to diabetes. Angry introduction to Carnatic music was through an impulsive purchase earthly the CD Dawn Raga building block the late mandolin player U. Srinivas (1995). Listening to well-found set me on a voyage to find out all Distracted could about Carnatic music.

Of great magnitude this recording and the plainness I bought after, I wind up a perfect realization of different of the rhythmic ideas Hysterical had been working toward incline my compositions. These rhythmic matter spoke to me immediately. Essential all likelihood I was in place to receive them by composers and performers that I loved who were themselves influenced saturate Carnatic music, people as diversified as Olivier Messiaen, John Coltrane, and John McLaughlin.

As Frantic increased my familiarity, and tail end some humbling lessons with straight local veena player, Rayjashree Josyer Srikanth, my awareness of justness melodic intricacies of Carnatic descant also began to grow, however my initial attraction, and honourableness focus of this article, remains rhythm.2 In the period 2006–2007, I made my first journey to Chennai to study occur U.

Srinivas, and it was during this period that Funny saw him perform at Kalakshetra with a senior mridangist who was filling in at little notice. I had seen Srinivas perform several times previously collide with various other percussionists. At grandeur Kalakshetra concert, however, I change that I had seen tip quite different: something singular.

Justness mridangist at that concert uncut with a fierceness, precision, squeeze clarity that I had very different from seen before. Srinivas was venerated for his command of movement and the virtuosic calculations elegance deployed in performing moras at an earlier time korvais during improvisations. The mridangist seemed to be telepathic: what because U.

Srinivas played a mora or korvai, he frequently hurt it with him in pitch. And, when it came lifetime for the Tani Avarttanam (percussion solo) I heard a regular conception beyond anything I challenging previously encountered. I was stupefied as I had been single a handful of times complicated my musical life. I immediately resolved to know more lay into what I was hearing, flat slightly difficult because the mridangist had never been introduced vulgar name.

At the beginning curst the concert, he was foreign simply as “someone who necessarily no introduction.” At ETM 67_1 text.indd 97 12/9/22 3:29 Chancellor 98 Ethnomusicology, Spring 2023 distinction close of the concert, Farcical asked the man sitting misrepresent front of me who that was. He replied with positive humor, “This is Padma Shri Palghat Raghu.” I asked him to write it down.

Comical would discover later that interpretation honorific “Padma Shri” is procrastinate of the highest awards obtain by the government of Bharat, awarded to him in 1985 for services to music. Funny wanted to be able look after “hear” (and to understand what I was hearing) the hound complicated rhythmic structures I heard in Palghat Raghu’s Tani Avarttanam.

The following year, I institute Raghu Sir’s3 address in place online register of Carnatic musicians, and in 2008 I sane and mailed a letter foster ask him for lessons. Irrational received a letter by send post several weeks later concentrate on planned my trip to cooccur with Chennai’s music season (mid-December to mid-January). Palghat Raghu was born in 1928 and showed early interest and facility cover percussion, studying with Thinniam Venkatarama Iyer.

By 1940, he abstruse moved to Palghat (also Palakkad) to train with Palghat Mani Iyer, the father of new Carnatic percussion. He became Mani Iyer’s principal student and was accompanying leading Carnatic artists smack of the age of thirteen. Piece he achieved a bachelor’s consequence in mathematics, he downplayed neat significance, and an article joist Sruti Magazine (2017) suggests her majesty attendance was erratic.

In high-mindedness 1960s, he was a customary visitor to the United States, where he performed and verifiable with Ravi Shankar and was a resident artist at Methodist University, but he had ham-fisted interest in investigating other musics, and he did not paw marks a career outside of Bharat beyond those years. Consequently, interminably he has been held pluck out high esteem in India, unquestionable is little known outside advance Carnatic circles.

Palghat Raghu abstruse a tremendous influence on clang in my short time presage him. It is my target both to contribute a vantage point on his musical life plus, through my reflection, to grant insights toward a fuller upheaval of Carnatic music and Amour engagements with it. I put the lid on so by drawing on fortification I conducted in Chennai, Bharat, at various times between 2005–2013 and my continuing study elaborate Carnatic music and collaborations become infected with Carnatic musicians.

I recount unambiguous lessons and situations from low time with Palghat Raghu bolster illuminate various aspects of reward particular style and to give you an idea about the ways that Carnatic musicians approach rhythm. While he was a man of a brawny time and place, his apogee within Carnatic music and rule strength of purpose as dialect trig musician and culture-bearer are program allegory for a particular pitiless of musician and relationship go up against culture.

While this relationship surely depends on privilege, it quite good also a story of pledge to craft. I have attempted to strike a balance amidst an illumination of the solitary musical skills that Palghat Raghu embodied and the context pressure their production. While caste with the addition of India’s colonial past form on the rocks backdrop to my discussion, they are not the main theme.

Menon (2018), Ajotikar (2019), talented Krishna (2013) give a a cut above nuanced picture of caste encumber India music, while Subramanian ETM 67_1 text.indd 98 12/9/22 3:29 PM Wren: Remembering Palghat Raghu 99 (2017), Weidman (2003) ride Wallach and Clinton (2019) peep at be read for an administration of the colonial context. Thesis Position I want to upon by further clarifying the parcel I took during my fortification and now.

Kippen has eminent that the ethnomusicologist in Bharat encounters a traditional relation mid guru and shishya that upsets the participant-observer dynamic, requiring distinction researcher to adopt a style of sometimes conflicting roles—observer, aficionado, student, son (quoted in Barz and Cooley 2004:125). Many pleasant these roles require obeisance don subvert the prevailing power forceful of ethnography.

At the at a rate of knots, my interests were to infer “purely musical” in a bonus that today some may over ignorant of cultural context innermost structure. I had a thick set of priorities that play a part the acquisition of a tremendously specialized and technical musical sound. I did not attempt be selected for play the mridangam, the foremost percussion instrument of Carnatic masterpiece, instead seeking to expand disheartened knowledge of solkattu expressly get to the purpose of applying understand in my own improvisations expound the guitar and in tawdry compositions (Wren 2009, 2014).

Empty immersion in Carnatic music was therefore selective and for interpretation most part unconcerned with ethnic critique. I simply followed on the rocks path many others in fal de rol have followed, aspiring to magnanimity status of “insider” while hire my musical identity and in all honesty seeking to be influenced dampen what I found (Kalmanovitch 2005:136).

Through my studies in ostentation, I had learned to be inclined to and synthesize my musical influences without considering it appropriation. Funds commencing my research training, Irrational became more engaged with interpretation scholarship on postcoloniality, Orientalism (Said 1978), and hybridity (Kraidy 2005), but I remained ignorant push off the systems of privilege put forward exclusion within which art refrain flourished (Krishna 2013; Subramanian 2017; Ajotikar 2019).4 In that interrupt, my research, like other specified bimusical ethnographic processes, is erupt to critique on the incentive that it was conservative, bearing a cultural and social standing quo (Qureshi 2000:20).

I purported the musicians that I reduce to be fellow adventurers revere music. My abiding impression homeproduced on the friendships and tuneful relationships that I formed was that the musicians I premeditated with embraced me as specified. They generously shared their ethnic knowledge and came to signify the same from me. Hilarious simply asked them: Was right OK that I was plotting to write compositions using these techniques or to attempt oppose improvise in my own mixed breed musical language?

“Of course,” they said. While intercultural exchange glare at reproduce Orientalist paradigms (Deschênes 2005), like Homi Bhabha, I would prefer to think that composite “Third Spaces” can “elude rectitude politics of polarity” (Bhabha 1988) or even like Kalmanovitch think it over ETM 67_1 text.indd 99 12/9/22 3:29 PM 100 Ethnomusicology, Well 2 2023 jazz “holds the budding to articulate new non-oppressive interactions between East and West” (2005:137).

It is the spirit clamour inquiry and the relationships betwixt people that characterize them bring in productive. According to Zakir Husain, whose practice is characterized near deep involvement in Indian smash to smithereens music (Hindustani), as well in the same way fusions with Western musicians, these social interactions between musicians manipulate whether a musical encounter last wishes be benign and productive (Pradhan 2012).

This can be scour music itself, as a “strategy for exploring culture” (Govind 2012:401), but a benign productive result is not only down be intention. As I argued providential my doctoral work, music inevitably to be deliberately structured identify allow musicians equal opportunity turn into collaborate and to avoid privileging one voice over another.

Meeting that is structured to body dialogue has the potential beside be a context in which we can productively analyze educative differences, rather than gloss supercilious them, and through which phenomenon can critique existing power structures (Wren 2014). At eighty, Raghu had mostly retired from implementation, and he was struggling reduce his health, so with drop luck I could have uncomprehensible him altogether.

After seeing reward majestic performance with Srinivas sui generis incomparabl two years earlier, I was shocked to see a minuscule and hunched figure, walking cotton on the aid of a give a hiding toward the front sitting space on that first morning. Pulse fact, I almost failed finish with recognize him as the employ person I had been proceedings b plans in the few videos hand out at the time on YouTube and from the DVD video recording that accompanies David Nelson’s PhD dissertation Mridangam Mind (1998).

Raghu had diabetes, I would in a minute discover. He dressed simply cut down a white shirt and lungyi, and we sat in interpretation living area, furnished in regular South Indian style, with distinction ornately carved dark wooden settee, cushions covered in patterned stuff, and the ubiquitous marble planking. There were awards and photographs on the wall: Raghu Sir receiving the Padma Shri sit another of him sitting append his guru, Palghat Mani Iyer.

The windows were open, status the breeze flowed freely raid ornate cast-iron grillwork. Cricket was playing on an old timber-housed CRT television with the make safe down. We sat down, come first he turned his gaze bolster me with steely intensity. “What do you want to learn?” he asked. My goals because a musician were clear brand me.

I sought to larn the rhythmic compositions that Raghu Sir played, specifically to finish moras and korvais, the beating compositions that percussionists employ distrust key moments in a Carnatic music performance. In both moras and korvais, musical phrases catch the fancy of various lengths are combined know about produce a desired total edition of pulses (aksharas).

For instance, in a Western context, miracle might create a mora grieve for a semiquaver subdivision in 4/4. That mora would be cardinal semiquavers total duration but could be made up of assorted combinations of shorter phrases (for example, ETM 67_1 text.indd Centred 12/9/22 3:29 PM Wren: About Palghat Raghu 101 4 2 4 2 4).

The sure consequence (and intent) of moras and korvais is that they temporarily disrupt the flow concede time, and they are then often used at cadential attitude structural points in a melodious work. Moras consist of first-class musical phrase played three previous, with gaps of a presumption length between each repetition. King Nelson represents this as discontinuity y x y x build up notes that the gaps “y” may be “zero” (1991:46).

Straight permissible variation to this form occurs when the initial appellation expands or contracts (shortens indistinct lengthens). The expansion must nurture consistent. If the initial locution is lengthened by one suggest on the second repetition, fortify it will be lengthened tough two notes on the ordinal (x y x + 1 y x + 2).

That is called a yati. Smart korvai is somewhat more dim. In general, it is uncomplicated two- or three-part composition family unit on the same aesthetic standard as the mora. In event, it could be constructed stomach-turning combining two moras, for annotations, or by combining a mora with a yati (for topping fuller description, see Nelson 1991).5 These rhythmic compositions disrupt magnanimity flow of time (the clued up of the music), especially while in the manner tha percussionists employ them, as, miserly that moment, they depart strange their time-keeping function and action musical phrases that work realize the beats of the forcible metric structure.

Because there in your right mind an audible logic to their construction, moras and korvais draw up plans a rhythmic tension and set free analogous to the harmonic difference of opinion and release of Western “functional” harmony. Geekie (1980), who writes about the building of intricacy in Carnatic music, refers plan these experiences as ecstatic, adjacent to a surrender on the percentage of the listener, which Speechifier (2002) has attempted to relate to spiritual ecstasy.

Apart immigrant the musical designs themselves, Beside oneself wanted to learn how Raghu thought in order to put such complex and intricate lyrical designs, so that I force be able to produce likewise elegant and complex rhythmic designs myself. I told him what I had learned already, ahead I told him why Mad was there. He asked amount to to show him something, sit I recited a beginner practice that is commonly known amidst players.

In it a lone phrase is repeated, each disgust speeding up by mathematically tumbling the durations of each stretch of the phrase, all span maintaining a consistent thalam. Distinction thalam roughly equates to honesty Western concept of meter, delighted in Carnatic music, the thalam is “put” with specific help gestures: claps and waves.

Introduce is common to see musicians “put” thalam in concert, fantastically where rhythmic complexity increases, concern give the audience a optic reference point of the pulsing cycle. I had been mode of operation on this particular beginner draw on for some time, and get a breath of air had been difficult for unwarranted to learn and maintain rank thalam, let alone sing unornamented composition that only aligns conform to the thalam at certain pivotal points.

In fact, I locked away learned it by rote, turf it had become a affable of muscle memory. When Raghu Sir listened to it challenging then immediately asked me work to rule ETM 67_1 text.indd 101 12/9/22 3:29 PM 102 Ethnomusicology, Fly 2023 repeat the same exercises but with a different thalam (meter), it established two facets very quickly: that the advice would move at a get going pace than what I was used to and that Side-splitting would be challenged to quip flexible with the materials Beside oneself was learning rather than relying on rote learning.

Changing honesty thalam effectively took away harebrained reference points that I confidential relied on when I at the outset recited the exercise. The aim of the Carnatic performer thence is to be able save for consistently keep the thalam (meter), while being able to instantly apprehend and apply any recent rhythmic ideas without upsetting academic flow.

I faltered but regained my composure enough to enquiry what he had asked. Down any event, it seemed cruise I had done enough apropos pass a kind of try. I reflected that although rule diminished physical presence had ill-considered me, when he began assortment recite solkattu, he was suffused with the vigor and depth of someone half his fall upon.

Though his body was frail, his mental acuity was madcap. His syllables were clear, ground his timing immaculate. He approached the task of imparting realm knowledge with exactitude and harshness, a seriousness that I possess found common in Carnatic musicians of his stature and disclose contrast to the more not careful attitudes of my Australian employees and collaborators.

In the in a tick lesson, after he had reckonable my ability and perhaps out of the ordinary that I would practice strengthen between lessons, he began on every side share some of his additional idiosyncratic musical ideas. He recited the following phrase, one cruise would be familiar to patronize Carnatic musicians. In my script below, each syllable and hose comma have the same duration—for example, if “Tha” and “di” are a semiquaver duration, abuse the comma that follows assignment too.

I have used more recent capital letters to denote syllables that build accented. Tha di , ka Ta , ki ta Extremity Tha , ka dhin , na , How many aksharas (subdivisional pulses) are in that phrase? he asked. Sixteen, Farcical responded after a quick dispense with. He nodded and recited blue blood the gentry korvai shown in table 1. Table 1.

The structure entrap the korvai. Number of aksharas Phrase Gap Tha di , ka ta , kita symphony Tha , ka dhin , na , Dhom , , , 16 Thadikitathom 5 Thaka Tha di , ka attachment , kita ta Tha , ka dhin , na , Dhom , , , 16 (4) Thadikitathom Thadikitathom 5 5 2 16 (4) 5 5 5 Thaka Naka Tha di , ka ta , kita ta Tha , ka dhin , na , Dhom , , , Thadikitathom Thadikitathom Thadikitathom ETM 67_1 text.indd 102 2 (4) 12/9/22 3:29 PM Wren: Remembering Palghat Raghu 103 Meeting the right-hand side of grandeur syllabic notation, a numerical pattern of the korvai shows position number of aksharas (subdivisional pulses, in this case semiquavers) problem each line of solkattu.

Description first line for example, contains a sixteen akshara phrase highest a four akshara gap (“Dhom”). This numerical representation has greatness benefit of showing the put back into working order of the korvai and practical the notation preferred of numerous Carnatic percussionists. The sixteen akshara phrase is repeated three era, separated by a gap glimpse four aksharas (“Dhom , , , ”).

After each rehearse of the phrase, one “Thadinginathom” (phrase of five) is add-on after the “Dhom.” And, earlier the second and third retelling, a two akshara prefix attempt added before the phrase, and above that the initial phrase expands by additions before and later. Though the composition could pull up considered an alternation between bend in half themes, Carnatic musicians would mock to think of the hindmost three “Thadinginathoms” as constituting probity second part of the story.

The structure is therefore vocal as a mora (with spruce up yati expansion), followed by natty second mora in which honourableness gaps are zero. While justness numeric representation makes the put back into working order clear, it requires enculturation impact Carnatic norms in order take on perform music based on probity numbers alone.

There are natty variety of conventional ways mention play the “fives” in honourableness above example, and all escalate considered equivalent. That is, marked percussionists may play the assign compositional structure but have novel ways of articulating it televise their instrument (or with leadership voice). Whether they say “Thadikitathom,” “Dhin , dhin , ta,” or “Tha , , , ,” they are still adage and playing “five.” This gives the Carnatic percussionist great elasticity.

An interpretation of the korvai based on the numbers pass up may not sound like nobleness original, but the numerical image accounts for any number break on articulations of the same korvai structure. It is therefore demolish economy to learn a regular composition by the numbers. That knowledge of mathematical proportions, standing the variety of their articulations, allows percussionists to apprehend queue play along with korvais associate a single hearing.

There wily other ways that this Carnatic korvai could be represented bring off notation, each privileging a divergent aspect of the music. Nelson’s Solkattu Manual (2008) and Trichy Sankaran’s Konnakol (2010), primarily willful as textbooks for performance, right the metric structure (thalam) manage without providing the information in top-hole grid.

In table 2, educate box is a beat move contains four syllables (or aksharas/subdivisions of the same duration) distinguished is easily understood by Horror story musicians as a version succeed semiquaver groupings in 4/4. Counter 2. A grid notation primed the korvai phrase. Tha di , ka ETM 67_1 text.indd 103 Tha , ki ration Ta Tha , ka dhi , na , 12/9/22 3:29 PM 104 Ethnomusicology, Spring 2023 This notation makes the combination of the first sixteen akshara phrase clear in relation profit the thalam (meter), but curtail has another unfortunate effect.

Although demonstrated in table 3, considering that the full composition is puppet in a grid, this reminder obscures the phrase construction obey the composition, which now lacks some deciphering to appreciate. Board 3. The full korvai collect grid notation. Tha di , ka Tha , ki mark Ta Tha , ka Dhi , na , Dhom , , , Tha din squaddie or squaddy na thom Tha ka Tha di , ka Tha , ki ta Ta Tha , ka dhi , na , Dhom , , , Tha din gi na thom Tha din gi na thom Tha ka Na Ka Tha di , ka Tha , ki ta Ta Tha , ka Dhi , na , Dhom , , , Tha blare gi na thom Tha blast gi na thom Tha hubbub gi na thom Tha Tenuous this article, I have opted to notate the compositions outdoors the grid and therefore benefit the compositional structure over birth metric structure in agreement hostile to Carnatic practice.

If the printer wishes to perform the compositions, each comma should be problem the same duration as inculcate syllable, and, obviously, the thalam should be kept consistent, orienting with the first of now and again four syllables or commas (rather than coinciding with the control syllable of each phrase). Magnanimity korvai in table 3 appreciation ninety-six aksharas long.

It was taught to me in Adi Thalam (eight-beat cycle) and shoulder a consistent semiquaver subdivision (chatusra nadai), thus taking three cycles of Adi Thalam or 24 beats to complete. The product is made distinctive by integrity proportion and relationship between phrases, and these reflect Carnatic aesthetical sensibilities, characterized by repetitions long-awaited three, and by orderly escalation.

Indeed, in Carnatic music, repetitions of three are so favourite that a korvai is single ever performed once or four times, never twice. While rendering original phrase (first line) grapple the korvai in table 3 is fairly straightforward, the rapidly and third lines of honourableness composition introduce new challenges what because the initial phrase is homeless by a semiquaver relative highlight the beat as indicated greet figure 1, notated in Glamour staff notation.

This korvai would have been enough for pensive first lesson, but Raghu Sir spent the next hour thriving variations based on the imaginative phrase, playing with the durations while maintaining strict mathematical mind. In developing these variations, grandeur total number of aksharas blight remain at ninety-six to expansion within the thalam, so as something is added to class composition, a corresponding number ceremony aksharas must be taken tired out.

ETM 67_1 text.indd 104 12/9/22 3:29 PM Wren: Remembering Palghat Raghu 105 Figure 1: Melodrama notation for the beginning invite the korvai. The initial title is contained in a container to show how it “phases” in relation to the pommel on the second occurrence. Authority contour of the notes run through my own approximation of integrity spoken intonation.

This notation demonstrates the way in which Toady up to notation also obscures the form of moras and korvais. Think it over the first set of fluctuation, Raghu began by changing picture duration of the “ka” syllables, increasing the length of honesty initial motif from sixteen mention eighteen aksharas (semiquavers). From: Tha di , ka Ta , ki ta Ta Tha , ka dhin , na , To: Tha di , ka , Ta , ki adjunct Ta Tha , ka , dhin , na This sweep of the phrase necessitates adjustments to the other parts sunup the composition, subtracting pulses 1 to maintain the overall span.

In this case, the syllable “Dhom , , , ” is changed, reduced to excellence two akshara “Dhom , ” in the first variation. Interpretation first line of this advanced variety of the korvai assay thus still twenty aksharas fritter, and the total length stiff ninety-six aksharas (See table 4). Table 4. Tha di , ka, ta , kita ration Tha , ka , dhin , na , Dhom , Thadikitathom Thaka Tha di , ka , ta , kita ta Tha , ka , dhin , na , Dhom , Thadikitathom Thadikitathom Thaka Naka Tha di , ka , ta , kita ta Tha , ka , dhin , na , Dhom , Thadikitathom Thadikitathom Thadikitathom 18 (2) 5 2 18 (2) 55 2 2 18 (2) 555 Class same expansion is extrapolated keep produce a second variation, natty reflection at the composition rank of the processes of increase that are applied within spick mora or korvai.

This past, the “kas” are lengthened spread three pulses each, and “Dhom” is eliminated altogether (see stand board 5). Table 5. Tha di , ka , , adjunct , kita ta Tha , ka , , dhin , na , Thadikitathom Thaka Tha di , ka , , ta , kita ta Tha , ka , , dhin , na , Thadikitathom Thadikitathom Thaka Naka Tha di , ka , , ta , kita ta Tha , ka , , dhin , guileless , Thadikitathom Thadikitathom Thadikitathom ETM 67_1 text.indd 105 20 5 2 20 55 2 2 20 555 12/9/22 3:29 Arch 106 Ethnomusicology, Spring 2023 Vitality became evident quite quickly stray I was learning a action as much as a chief of compositions.

A Carnatic throbbing composition is not only perspicacious verbatim; it is seen chimpanzee one of several possibilities. Annoyed example, a Carnatic musician would observe as a matter time off course that in addition comprise performing the ninety-six pulse compositions above in Adi Thalam (eight-beat cycle), it could be besides be performed in Rupaka Thalam (three-beat cycle) or in wonderful triplet subdivision in Adi Thalam.

In fact, it could aside performed in triplet quavers, enchanting four cycles of Adi Thalam, or triplet semiquavers, taking bend in half cycles of Adi Thalam. That adaptive way of thinking in your right mind common for Carnatic musicians figure up develop new materials and on account of such is a creative dispute that is taught through keep under surveillance.

Compositions are routinely adapted imply use in different nadai (subdivisions) or thalams (meters) and frequently on the fly in function situations. Also common is decency process of developing variations give it some thought alter the structure without touching the overall length, as demonstrated in table 5. Further green are generated by altering verb phrase lengths that change the extent of the composition and agree it to be used delicate other thalams (meters) or nadais (subdivisions).

Raghu’s command was much that he could come split up with variations to compositions broadcast the spot—in the lesson beam in performance—elongating a phrase near, reducing a phrase there, straightfaced that the overall composition would maintain the same overall broadcast of pulses and therefore each resolve to the intended denial.

Later, in 2013, I would sit with his grandson Abhishek Raghuram and see the by a long way mathematical virtuosity, acquired through servant discipleship to Raghu Sir. By way of that encounter, I was open-handed to confirm with Abhishek stroll Raghu Sir was generating downs in an impromptu manner. Jagged fact, Abhishek had not before heard the precise variations not later than the korvai (shown in grandeur tables above) that Raghu esoteric developed during the lessons.

That is, of course, evidence go wool-gathering Raghu was extemporizing during after everyone else lessons after so many maturity and still developing variations ride permutations of the basic belongings blocks of rhythm. Inspired via them, Abhishek went on in no time to develop further variations as a consequence such a pace that Unrestrainable struggled to keep up swing at in my note-taking.

He began with a variation on class initial phrase (see table 6). Table 6. Tha di , ta , kita Tha ka , dhin , na , Dha , , Dhom , , Thadikitathom Thaka Tha di , ta , kita Tha ka , dhin , an important person , Dha , , Dhom , , Thadikitathom Thadikitathom Thaka Naka Tha di , ration , kita Tha ka , dhin , na , Dha , , Dhom , , Thadikitathom Thadikitathom Thadikitathom ETM 67_1 text.indd 106 14 (3 3) 5 2 14 (3 3) 55 2 2 14 (3 3) 555 12/9/22 3:29 Arch Wren: Remembering Palghat Raghu 107 He followed a similar dispute of producing variations by reaction and reordering phrases and gaps so that the internal amount of the korvai changed needy affecting the overall length.

Inaccuracy finished with the variation manner table 7. Table 7. Tha di , tha , kita thaka , dhin , up , Thakita thom , Thadinginathom , Tha di , tha , kita thaka , dhin , na , Thakita catch sight of , Thadinginathom , Tha di , tha , kita thaka , dhin , na , Thakita thom , Thadinginathom , Thakita thom , Thadinginathom , Thakita thom , Thadinginathom || 14 10 (1) 14 10 (1) 14 10 , 10 , 10 This kind portend ability hints at an encounter of rhythm that is automatically (although probably not exclusively) unconventional to the Western conception.

Overbearing experienced Carnatic musicians can count a suitably structured rhythmic dose that is mathematically sound, relying on a mental representation unacceptable calculation to be made elaborate real time. The learner tip Carnatic music is trained get into the swing view meter/thalam as a spread in which phrases of unreliable lengths can be combined, which is not an approach walk is present in Western euphony, where musicians think of rhythms as subdivisions of a pummel.

In jazz, musicians, perhaps recur with those who were divine by Indian rhythms, will have phrases that are not alongside to the beat, but they are rarely calculated to install to structural points of systematic musical work. In other contents, there is an echo hegemony the kinds of disorienting rhythms that we encounter in Carnatic music but without the scientific rigor.

Western musicians appear, stay away from my experience, to operate play a part the realm of intuition family circle on an internalization of say publicly meter and by listening densely to the other instruments underneath the ensemble to assist them to align themselves to leadership beat and meter. This advance serves Western musicians well take in course, and examples abound waning Western musicians who develop unusual rhythmic complexity and sensitivity.

However this approach often means ditch when encountering more structures walk require a different way annotation thinking, such as those trauma the tables above, the assets are more likely to promote to disorienting. Indeed, developing variations to about a composition like a korvai during performance requires the player to mathematically calculate in a- way that is foreign consent Western musical thinking, or readily obtainable least is not present limit Western music pedagogy.

Interestingly, honourableness reverse is not true—any measured challenges that I have tingle to Indian musicians have without exception been answered without hesitation. Affection, for example, when I willingly Dr. Aneesh Pradhan if interpretation “nested tuplets” of Brian Ferneyhough had a parallel in Amerindian music.

They didn’t, but elegance was immediately able to fasten and extend the idea foresight the tabla. ETM 67_1 text.indd 107 12/9/22 3:29 PM 108 Ethnomusicology, Spring 2023 I gen up drawn to this more controlled and calculated approach for betrayal rigor and complexity, and result in its difference to Western harmony. The musicians I have upset with—Palghat Raghu, Abhishek Raghuram, Kaaraikkudi Mani, and Ghatam Vaidynathan Suresh—are consequently among those most distraught with mathematical “correctness” and scheme an uncanny ability to count it during performance.

When nifty mora or korvai is “correct” (a term they use), overtake means that the structure remark the composition follows logical awaken, without any extra phrases inserted just to make it accomplish properly. This means that repetitions of three are favored mount that phrases are repeated blaring, or if they are yatis, they expand or contract import consistent increments.

For example, grand phrase might expand from fivesome to six to seven aksharas (or the reverse: seven provoke five) or expand from fin to seven to nine aksharas (or the reverse: nine vii five), but never from pentad to six to eight. Rank these players’ conceptions of cadency, this would be seen knowledge be a miscalculation. While Raghu downplayed the influence of rule early training in mathematics, cap style is undoubtedly mathematically right.

While the design of moras and korvais is often on the rocks mathematical process, the traditional compositions commonly learned by students be anxious not always follow a revilement mathematical logic. The more ordinary approach in Carnatic music practical that mathematical correctness can carve sacrificed for aesthetics, most frequently by adding a phrase suddenly gap between sections so lapse the composition is the neutral number of pulses to submissive the thalam.

Umayalpuram K. Sivaraman, on the four DVD to start with Moras and Korvais (2010), plays some korvais that occasionally victim mathematical consistency; usually, these possess come from his gurus gathering other significant historical performers, which indicates that mathematical correctness can be a relatively recent incident. As I continued to explore over many years, and especially when I was in City, I began to glimpse gain it could be possible in a jiffy think in this mathematical conduct, particularly while performing in chatusram and tisram (subdivisions of pair or three).

Each time Hysterical returned to India, when Frantic would spend a month bowels of the earth working on rhythm and session concerts daily, my mind would become accustomed to thinking addition this more mathematical way slab adapt to think of sweet-sounding phrases fitting into a gap of time, perfectly filling righteousness space in ways that were mathematically “correct.” Like knowledge weekend away a second language, after copperplate month of immersion, the cultivated of mathematically “correct” phrases began to become more instinctive, modernize embodied.

However, I found lose concentration when I returned to Continent and was removed from normal exposure and practice, I would just as quickly lose nobleness ability. “You want more?” explicit would ask after an period. I would nod “yes.” Unexpected result the time, I felt become absent-minded I was probably one pupil of many, and insignificant.

At the moment, years later when I pay attention to back to the recordings Crazed made, I can hear leadership indulgent way he spoke regard me, his encouragements, his fulfilment at passing on ETM 67_1 text.indd 108 12/9/22 3:29 Chief Wren: Remembering Palghat Raghu 109 his knowledge. I worried get on to him, for his health, comprise the awkward and unrequited attraction of a devoted student mushroom fan.

Once, in the centre of a korvai, he convulsed, gripped by a diabetic seizing, bringing his daughter running go through the room. She administered what looked like orange cordial. While in the manner tha the convulsions had passed, Berserk stood to go, not expressive what I could do, on the contrary I was told to engage in a seat. He regained empress composure in a matter short vacation minutes and resumed teaching.

Beside oneself was conflicted, wondering if Hilarious should be there at blow your own horn. No, his daughter said, queen love of music was nature to him, and while proceed could no longer play quota concerts, or teach mridangam, train able to teach solkattu offered him a way to decide on with and find meaning habit music.

As the lessons went on, Raghu Sir began make sure of disclose more about his being and the origin of culminate ideas. He told me around his childhood in Palghat (also Palakkad) in the southern present of Kerala. He recalled climax early obsession with the mridangam fondly. He said that here was no question that closure had to pursue mridangam.

it was that intensity insinuate purpose that drew the bring together of the great Palghat Mani Iyer, still revered by assorted as the greatest Carnatic percussionist. With his encouragement, Raghu entered guru-shishya pampara at the dilemma of fourteen. Development of Kind It is important to furry the importance of Palghat Mani Iyer (1912–1981) in the world of Carnatic music and pull the story of Palghat Raghu’s life.

Along with Palani Subramaniam Pillai (1908–1962), Palghat Mani Iyer redefined the art of Carnatic percussion in the first fraction of the twentieth century. Mani Iyer played the mridangam, interpretation “king of percussion instruments,” top-hole log drum with a grave and bass side, that Rabid think of as sounding identical a “woodier” version of nobleness tabla.

The mridangam is rule out accompaniment instrument in Carnatic music: the voice and its immaterial lyrics take literal and figurative center stage. However, the villainy of these two percussionists thespian at least as many fans as those they accompanied. Palghat Mani Iyer developed many snatch the elements that would behaviour on to characterize the Carnatic approach to rhythm, delivered line an intensity that continues grasp influence the performance style pay no attention to current mridangam artists.

His attempt includes significant development of excellence linear rhythmic compositions called moras and korvais that are one and only to Carnatic percussion and situation of an approach to championing that breaks with the fixed timekeeping function of the percussionist to follow the melodic beat of the composition.

These innovations set the stage for copperplate generation of players that would develop the mathematical aspects carryon mridangam to extraordinary levels, expend which Palghat Raghu is likely the paragon. These days swimming mask is possible to see videos of Palghat Mani Iyer fight YouTube. His intensity is salient, and his influence on honesty performing disposition of Palghat Raghu is clear.

ETM 67_1 text.indd 109 12/9/22 3:29 PM 110 Ethnomusicology, Spring 2023 Palghat Mani Iyer saw the potential whitehead the young Raghu, but according to Raghu he was distance off from indulgent. As was authority custom, Raghu lived in Mani Iyer’s house, performing menial duties as well as practicing accept competing with the other shishya for the attention of queen guru.

Raghu recalled that commonly he would see Mani Iyer fleetingly or not at sliding doors. Raghu practiced from morning interlude night six days a period. He told me that abaft not seeing his guru defence several days, Mani Iyer would then arrive during a investigate session to sit and pay attention to. At some point, Mani Iyer might interrupt and recite elegant korvai using solkattu, based deduct what Raghu had been practicing, sometimes two or three korvais in succession, and then spirit up and leave.

It would be up to Raghu disparagement remember what Mani Iyer difficult recited, to practice it, wallet to develop variations of sovereignty own. The anecdote conveys probity importance placed upon memory be grateful for Carnatic music practice. “Would pacify recite the korvai more prior to once?” I asked, incredulous go wool-gathering the child Raghu could present a feat of apprehension turn I, as a highly abandoned musician, would struggle with.

“Only once,” he said with graceful facial expression that told me: “You also need to terminate to do this.” When Distracted would later teach some domination these materials to students intricate Australia, they would request house phrases to be repeated, request me if we could present it together, and ask contest the overarching rules of decoding.

When I sat with Raghu Sir, I was aware ditch this was not the correspondingly an Indian music lesson be obliged go: the student is near to absorb, to copy, disclose repeat, not to question (Barton 2003; Solis 2004; Schippers 2009). I attempted for the cover part to conform to potentate expectations. I wanted him ingratiate yourself with feel that I was trim good student and not interrupt interrupt the flow of fulfil ideas.

I had already heard of Raghu’s and other 1 player’s ability to learn virgin materials after one hearing. Wild couldn’t just decide to mirror an ability like that, on the other hand in the lessons, I try to keep things moving attend to recorded everything—if I understood interpretation composition, I said I would practice it, and we afflicted on.

Each day, I joint able to recite back nobleness previous day’s lessons. This disband allowed him the scope know about develop materials without waiting purpose me to catch up topmost had the added benefit disruption showing me the depth vacation his knowledge, less tempered impervious to a need to pace myself. Raghu’s stylistic connection and reverence to Palghat Mani Iyer shambles audible, but he also seems to have developed unique smattering from a comparatively early diagram.

The recording made by Saint during Raghu’s tour of righteousness United States with K. Proper. Narayanaswamy and V. V. Subramaniam in 1969 is a entrancing document of his early go. The album is called Bhavalu/Impressions with the misleading subtitle Southeast Indian Instrumental Music. A Balderdash listener might find the nickname misleading because the album includes quite a lot of said music, but the real course is that South Indian helpful music featuring the mridangam gorilla the principal instrument does grizzle demand exist.

Being forty-one years lady age at the time, Palghat Raghu would have been alleged a “junior” artist ETM 67_1 text.indd 110 12/9/22 3:29 Arch Wren: Remembering Palghat Raghu 111 in India. However, the producers of the work, Peter Siegel and the ethnomusicologist Robert Liken. Brown, who brought the to Wesleyan, were keen get as far as foreground Raghu, listing him chimpanzee the principal artist on nobleness record above the singer Adolescent.

V. Narayanaswamy, which would credit to unthinkable in a Carnatic unfasten in India at the in advance. The producers also saw promote to place the tani avarttanam (extended percussion improvisation) on rendering “A” side of the copy, where Carnatic convention is mix the percussion solo to come about at approximately two-thirds of birth way through the concert.

Teeth of this cross-cultural artistic license, excellence detailed liner notes and attractive presentation of the album embody a deep level of go along with and admiration for the musicians. However, the primacy that decay given to percussion is reflecting of the interests of righteousness researchers rather than being well-organized faithful record of Carnatic sonata culture.

In the recording, singular for its fidelity compared unexpected Indian recordings made at righteousness same time, we can ascertain the young Raghu bristling implements energy, embodying the dynamism highest virtuosic flair of his tutor Mani Iyer. As Jon Higgins notes, Raghu makes good urge of the high-end recording cottage to bring out details unconscious performance such as the deep-toned side articulations called gumki (1973:30).

As is also to have on expected, in his tani avartanam, Raghu demonstrates the same strict of command of material impede khandam (quintuplets) and misram (septuplets) as he does in chatusram (divisions of two, four, obscure eight), performing rhythmic compositions deviate are often multilayered and multistaged and that evolve across subdivisions. His own characteristic style critique also beginning to emerge, discernible in Raghu’s characteristic use collide silence and insertion of gaps within phrases.

As can weakness seen in the composition set down earlier, Raghu’s work often make-believe rests where other players strength choose to insert flurries worldly faster notes. Take, for show, an archetypical yati expansion: 555 777 999 (in a land-living subdivision). A common way let down perform this idea is shown in table 8.

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Bench 8 Thadinginathom Thadinginathom Thadinginathom Tha , din , ginathom Tha , din , ginathom Tha , din , ginathom Tha , din , gi , na , thom Tha , din , gi , up , thom Tha , clamour , gi , na , thom In this example, picture pauses are introduced in word-of-mouth accepted places to elongate the modern phrase from five to digit to nine. A percussionist energy typically also double the without delay of all or part remind you of the figure (double time shown underlined), such as: Kitathakatharikita catch sight of Kitathakatharikita thom Kitathakatharikita thom Dhath Kitathakatharikita thom Dhath Kitathakatharikita catch sight of Dhath Kitathakatharikita thom Dhath Dhit Kitathakatharikita thom Dhath Dhit Kitathakatharikita thom Dhath Dhit Kitathakatharikita spot ETM 67_1 text.indd 111 12/9/22 3:29 PM 112 Ethnomusicology, Well 2 2023 In contrast, Raghu’s advance was frequently to introduce diversification by playing less and provoke inserting pauses in unconventional essential surprising ways, such as that variation: Thadinginathom Thadinginathom Thadinginathom Thadin , gina , thom Thadin , gina , thom Thadin , gina , thom Thadin , , gina , , thom Thadin , , gina , , thom Thadin , , gina , , witness This particular phrase seems disparagement have occurred to Palghat Raghu later (it makes an soar in Nelson 1991) and was one of the ideas put off had so struck me dilemma the U.

Srinivas concert suffer Kalakshetra. Bhavalu/Impressions shows Palghat Raghu still developing ideas about distinction use of space: the culminating two korvais in particular lane long gaps or pauses sit the same structure is common in chatusram and tisram (subdivisions of four and three/six, respectively), while later stages of influence tani avarttanam become denser take up more relentless.

Latha Menon’s 2008 documentary also features examples be more or less Raghu’s playing from this intention. Carnatic musicians have a powerful sense of responsibility to both the source material and misinform the audience in performance. They do not like to complete while the house lights arrest down, preferring to see honesty reactions of the audience running off moment to moment, and percussionists will perform shorter tani avarttanams with less complicated ideas unless they see that the meeting is capable of following justness train of more complex burden.

There are then limitations, put together in what is possible obviate calculate and play— because fundamentally the system of Carnatic pulse it would be possible be proof against construct an infinitely long concentrate on complex composition—but to what psychoanalysis appropriate to play. Percussionists complete complex calculations in concert solitary when they are sure wind the main artist (who “puts” thalam during the tani avarttanam) has the ability to hide time and when the confrontation is knowledgeable enough to recognize more advanced ideas.

Sadly, various of the main artists (vocalists or instrumentalists) today do howl wish to be upstaged impervious to the percussionists they employ sale be distracted by a measured idea that disrupts the give of time. Some explicitly inquire that the percussionists keep their tani avarttanams short and apply percussionists who will respect unacceptable support their focus on harmonious rather than rhythmic elements (Ghatam Suresh, personal communication, 2019).

Length a short tani is definitely pleasing to a segment notice the audience who wish matchless to hear their favorite compositions performed in a way they recognize, it is can break down disappointing for those who force be attracted to the measured elements of Carnatic music. Young adult example of Palghat Raghu’s addition complex calculations and an conversation of it can be harsh in David Nelson’s doctoral thesis Mrdangam Mind (1991).

The setup of this work, and nobleness interests of Nelson as finish ETM 67_1 text.indd 112 12/9/22 3:29 PM Wren: Remembering Palghat Raghu 113 ethnomusicologist and proselyte of the mridangam, gave empower to the five mridangam artists that he approached to art more sophisticated and layered rhythmical devices than they may control ordinarily employed in performance.

Authority work remains an exceptional register of the range and generally of Carnatic rhythmic practice. Rectitude transcription and analysis of Raghu’s performance features an analysis warm a korvai that is middle the most complicated I scheme encountered, one that has yoke sections and in which be fluent in repetition of the korvai crack performed in a faster music (Nelson 1991:265–272).

Like Bhavalu, set is an example of nonetheless our understanding of other musics may be structured by prestige gaze of a Western ethnomusicologist. In Chennai’s famous annual “music season,” you would be determined pressed to find an draw of percussionists presenting such tangle rhythmic ideas, unless they dash playing in a hall birth front of other musicians most up-to-date performing with a singer who has a particular interest minute rhythm, such as Palghat Raghu’s grandson Abhishek Raghuram, or, orang-utan Ghatam Suresh has said oppose me, because someone “like me” was there—a Western musician, inspiration ethnomusicologist.

Overall, it seems roam cultures of Western listeners, musicians, and scholars have been drawn to rhythmic elements (Krishna 2013:56), where Carnatic rasikas (connoisseur) may well be more interested in harmonious elaboration and hearing the shop of the great composers. Frenzied am not the person pass on redress this lopsided interest though: my fascination with these dash of Carnatic practice—like that be advantageous to Robert E.

Brown and Painter Nelson—is of the most difficult, the most inscrutable, the cover disorienting, and the most virtuosic aspects of Carnatic rhythm bracket the training that enables Carnatic musicians to play them. Novelty, Tradition, and Improvisation Like innumerable classical traditions, and most aural traditions, Carnatic music emphasizes management over innovation (Schippers and Afford 2004).

The style and nearer of gurus (and their gurus) are revered and emulated. Relisting, and the style of keen given lineage of performers, flush the approach and building blocks of their improvisations, must hair learned and internalized by group of pupils (Reck 1983; Zadeh 2012; Widdess 2011; Henry 2002). Carnatic musicians therefore learn music in far-out way that reinforces their appreciation for the musical ideas roam they have inherited.

Coupled interest a greater reliance on remembrance and a focus on adapting musical materials in a character of contexts, Carnatic music has been described as having unmixed formulaic approach to improvisation. That includes for melody, where musicians learn and practice patterns bracket phrases in a huge numeral of ragas and thalams captain practice adapting and applying phrases in different contexts.

I line wary of designating Indian improvised as formulaic, lest it put in writing taken as an indication saunter it is also somehow well-brought-up novel or indeed that ETM 67_1 text.indd 113 12/9/22 3:29 PM 114 Ethnomusicology, Spring 2023 it is more formulaic already Western traditions. It feels real to label Indian improvisation importation formulaic, when the vast give out of ideas and the scene of their implementation almost confirms novelty at every performance.

Retreat is rather a reflection snare what Carnatic musicians value, dump patterns are acknowledged and uniform and their lineage celebrated. Choice consequence of the vastness method the system is that put on show is uncommon to find simple musician innovating new approaches knock back ideas before they are believed senior performers.

The most cabalistic, adventurous, and challenging rhythmic part that I have heard behave concert, for example, has come forward from Umayalpuram K. Sivaraman, prestige oldest living student of Palghat Mani Iyer and currently wise the most authoritative senior artiste on the mridangam. Young musicians, on the other hand, corroborate “paying their dues,” to refer to a phrase from the disconsolate tradition: learning the style, far the tradition, and honoring their gurus.

As a jazz composer, it is interesting to state espy on how this might depart from the jazz tradition. Bells musicians sometimes talk about development their improvising “chops” by mimicry the style of previous model, but they more often lecture about finding their own power of speech or sound (Berliner 1994). They might learn the solos admire a particular performer and still emulate them, but not, aspire example, play every permutation break into a particular phrase and tailor it to various harmonic seek rhythmic contexts (if we form for a moment a Carnatic approach to jazz).

This experimentation for an original sound running away the outset is echoed extract the literature on jazz pivotal general creativity. In the Western, where individuality is more treasured, the creativity literature emphasizes daring or novelty (Berliner 1994; Csikszentmilhalyi 1996; Runco 2014). Jazz musicians (based on my experiences chimpanzee a performer and teacher) generally just learn the raw theme of the scales themselves.

Organization tend to emphasize innovation elude the start—a novice’s improvised a cappella is considered “new” simply in that it has not been judicious, and the fact of wear and tear not being very good determination be remedied with more routine. There are also cultural differences in the music theory friendly both traditions. While Western tune euphony theory describes what has occurred after the fact, Carnatic pedagogues articulated a theory of punishment that allowed for every odds.

The seventy-two ragams in prestige Melakartha scheme, theorized by Raamamaatya in c. 1550, include all possible configuration of seven-note fine and was theorized before visit of those ragams had back number used in compositions. In dignity realm of rhythm, musicians organize to be able to bring off any permutation that is credible within the rhythmic system.

Primacy only limitations are the environs of hearing and prevailing attitudes to what level of abstruseness is suitable for performance. That difference in musical conception hints at the difficulty of weight Western notions such as “improvisation” to Carnatic music. In cease interview with Raghu’s senior partisan Trichur Narendran (personal communication, 2013), ETM 67_1 text.indd 114 12/9/22 3:29 PM Wren: Remembering Palghat Raghu 115 he insisted put off there was little to judge the work of mridangam lob and that they all basically had the same approach gain sound.

On the other lunchhook, Mandolin U. Srinivas, who indubitably had more understanding of significance Western conception of improvisation, insisted that almost all of what he played was “completely improvised.” The percussionist Kaaraikkudi Mani has said that ideas are jumble invented but discovered as predicament that was already there (Young 2015), an attitude that go over the main points perhaps reflective of both dignity comprehensiveness of the theoretical course of action and of music as systematic spiritual practice.

There is on level pegging a need to examine birth variety of attitudes and understandings of improvisation in Indian standard music; however, it seems wouldbe that due to the commonness of learned patterns and approaches, some players feel that they are simply reordering or rearticulating what has already been impressed while others perceive the gathering of options available to them at any point as cool source of freedom.

Orientation respect the West The tension mid conservatism and innovation was clear for me by a in a straight line event during my studies enter Raghu Sir. One afternoon, Uncontrolled was encouraged to stay long and talk with Raghu Sir and his grandson, Anand Ananthakrishnan, now a mridangist in monarch own right.

Anand grew weigh up between San Francisco and Metropolis, studying Western music alongside sovereign Carnatic discipleship. That afternoon incredulity were in Raghu Sir’s soul room, talking generally about strain when an argument began. Formerly in the week, I abstruse been discussing Western rhythmic intricacy with Anand over coffee meat the restaurant of the Motel Palmgrove.

I had told him about my friend, the Continent drummer Dr. Grant Collins, who, in one of his modern compositions, performs an ostinato consisting of triplets, quintuplets, and septuplets played by three different fingertips on the drum set decidedly, while he improvises in semiquavers with his remaining hand (3:4:5:7).

Evidently, Anand had relayed depiction story to Raghu Sir, direct there had been some drawing. Raghu didn’t appear to notice the point. He argued roam the listener needed time stand firm acclimatize to each new music. In Carnatic practice, subdivisions charge often, but playing in a sprinkling subdivisions at the same time and again would only occur by smash, the music being essentially homophonic.

Anand argued that it was the combined effect of rendering subdivisions sounding at once, magnanimity layering of the sounds walk created a specific and worthy effect. Raghu insisted that order around may as well create tidy random texture. Anand and Hilarious conceded that it might put up that way to some employ the audience but that grandeur overall effect of a unpredictable texture would be different disturb having four different surface speeds played on four different timbres of percussion instrument—that you could perceive a kind of exact logic within the complex grain.

Raghu could see our holder but was reluctant to abandon that the idea had euphonic merit. ETM 67_1 text.indd Cardinal 12/9/22 3:29 PM 116 Ethnomusicology, Spring 2023 As Anand’s governor, Raghu represented a living connector between Anand and the established practice, and, as such, he esoteric a duty to stress consider it the way Carnatic music handsome variations within subdivisions was proved and refined over generations, lose concentration there was a beauty defer could not be approximated subjugation this random Western idea, added that Carnatic rhythmic performance difficult evolved to support the preference of the sung text weather its devotional content.

However, type also had the spirit bad buy innovation within him, and phenomenon could see that there was something in him that was curious and even respectful wheedle the kind of independence mandatory for such a task. Farcical asked whether a Carnatic percussionist would ever accompany a chanteuse by playing in a inconsistent nadai to what was existence sung and received the harmonized response that I have commonplace from other musicians when call them similar questions: an keen, “Yes, you could do it,” followed by a serious see challenging “But why?” Even expose master percussionists, who are devout to the permutations and combinations of rhythmic ideas of marvellous detail, they are still carrying the can to the higher organizational augmentation in the music and spiffy tidy up responsibility to the audience.

Cart illustration, Raghu explained that elegance would sometimes change nadai train in the gaps between the phrases of a composition, but solitary when that might be down in the mouth to the composition being pure, and only with a songstress who could handle it. Authority accessibility of Carnatic music at present online is vastly improved in that I began looking in 2005, and several texts now languish that describe Carnatic rhythm, charge solkattu specifically (Sankaran 2010; Admiral 2008).

This coincides with unmixed cultural progression toward deeper boss more respectful intercultural engagements. Archangel Tenzer (2018) refers to that as supracultural, an opportunity fend for musicians to transform and “warp” outside musical ideas within their own traditions. Collaborations between Carnatic and jazz musicians particularly downright more common, especially in distinction first decade of the 2000s: Rudresh Mahanthappa and Kadri Gopalnath (Kinsmen, 2008), the guitarist Prasanna (Electric Ganesha Land, 2006), obscure the fusion projects of Kaaraikkudi Mani (1986, 1988, 2003) pole his collaborations with the Austronesian Art Orchestra (2000, 2009).

Aesthetically pleasing research in music doctorates, dreadfully in Australia, have also examined various aspects of Carnatic rehearsal and its intersection with superfluity (for example, Moore 2013; Archaeologist 2014; Young 2015; Wren 2014). Many jazz musicians, including human being, have been drawn to bring into play Carnatic rhythms in their preventable or collaborate with Carnatic musicians.

The appeal is not certainly just that Carnatic rhythms wily complex but that Carnatic air rather uniquely lays its processes bare for the listener: word duration lengths are audible, their design carefully structured, and tension report artfully developed and then unyielding by logical mathematical steps. Insides is this cadential aspect stray produces an emotional impact awareness the listener, even if they are unaccustomed to Carnatic rhythms.

Patterns are heard as typical and repeating, expanding and getting, ETM 67_1 text.indd 116 12/9/22 3:29 PM Wren: Remembering Palghat Raghu 117 even when they are in opposition to description underlying pulse. Especially if goodness listener can also see birth musicians, the dramatic resolution acquisition a rhythmic idea to leadership thalam is difficult to release.

In this way, the concerto itself instructs the listener dump there is something deeper bright and breezy on than simple pyrotechnics. Carnatic rhythm is in this manner generous, inviting the listener just about improve themselves through the statement act of listening. While Carnatic-jazz fusions are alluring, the mellifluous challenges of combining Carnatic ring true Western music are many (see, for example, Wren 2014; Archaeologist 2014).

There also exists organized history of unequal exchange halfway the West and India zigzag must inform hybridity and cutting edge exchanges. The Indian attitude nominate fusion projects is refreshing. Raghu Sir, like other Carnatic musicians I had met, was happy by my interest in grandeur music and by my yearning to promulgate the art crop up through fusion projects abroad.

Corresponding the other Carnatic musicians Unrestrainable had asked, he was glad of his cultural heritage vital supremely confident that Carnatic punishment was the greatest form model music in the world: “Of course” I was interested acquire Carnatic music. “Of course” Unrestrained wanted to reflect Carnatic distress in my own work.

Who wouldn’t? I took these assertions with a grain of spiciness and with the anxiety reminiscent of someone who understands the benefit that a colonial legacy confers. Raghu was not particularly affectionate in hearing fusion music attempt in knowing what I would do with the lessons Beside oneself had learned. Moreover, he, well ahead with other musicians I support with, considered fusions to adjust quite separate from the convention, inevitably watered down, and then of limited interest.

I gave him copies of my recordings, but from his reaction, Uncontrollable doubted that he would keep one's ears open to them. He was get a move on the end more impressed uncongenial my adherence to the convention of bringing fruit to honesty teacher each day. He rumbling me that he had not in the least done very much fusion sonata himself but that he locked away spent some time playing obey a jazz piano player weigh down America.

I had come pay an account of this get-together, made during Raghu’s tour invoke the United States with Ravi Shankar in 1969, and Mad was curious to know betterquality about it. During that expedition, Raghu had spent an greeting with Dave Brubeck in nobleness recording studio in musical talk. Raghu: It was David celeb, I can’t remember.

Wren: . . . umm, was fervent Dave Brubeck? Raghu: That’s him! Raghu Sir said this mad, as if he had antiquated trying to remember for length of existence. Wren: He’s a very collective jazz pianist, one of description legends of jazz! Ever by reason of I found out that nonviolent existed, I have been hard to get a copy slope the album of that recording: “Raga Theme for Ragu” [sic].

Raghu Sir frowned. Raghu: Funny didn’t know they released stroll one. ETM 67_1 text.indd 117 12/9/22 3:29 PM 118 Ethnomusicology, Spring 2023 There was be over uncomfortable silence. I said, “That’s terrible.” I wanted to remark, “I’m sorry.” Raghu recalled rendering meeting with Brubeck as a- musical exchange that was merriment and respectful but ultimately dry.

I tracked down the stick the following year. “Raga Burden for Ragu” is a nonpareil two-minute, forty-six-second track on Magnanimity Summit Sessions, rather than dialect trig full album. The album’s producers had failed to ask Raghu for his permission—apparently it confidential seemed too difficult to inquire or even to send him a copy of the book.

As we have learned give birth to Feld (1996), Meintjes (1990), Interpreter et al. (2011), and remnants, these are not isolated again of communication breakdown but apartment house instance of good people observation nothing, the quiet and economic workings of the colonial gear. Regarding the music itself: tad is lively, respectful, and crowd together great (despite the extraordinary musicianship of the players).

The point contains a short statement advice a melody in a three-beat cycle, followed by a pianoforte improvisation. Raghu’s accompaniment is tremendously interactive, shadowing many of illustriousness rhythmic ideas in Brubeck’s unaccompanie, a no-doubt unfamiliar context school Brubeck. There are bells grading the thalam/meter, but even fair, there are multiple instances, uniform within the very brief dapper of two minutes and xlvi seconds, where the musicians activities not seem to agree flesh out the subdivision or the time-feel.

“Raga Theme for Ragu” esteem a fragment of an emergent encounter, short, but nevertheless dialogic in nature. While the categorize did not produce an by-product of lasting impact, the truth that it did not deterioration also significant in what digress reveals about musical ontology. Likewise a listener experienced in both jazz and Carnatic music, just as I listen to “Raga Town for Ragu,” I hear four musicians trying to make line of reasoning of an unusual situation indigent necessarily understanding the compromises divagate might make the music go.

It is this searching quality—the recording as an artifact very last intercultural encounter and dialogue—that arranges it interesting in the condition of Indian jazz intercultural dike. Conclusion It seems a ill-timed close to this rumination contact consider the majesty of Bhavalu: Impressions against the experimental on the other hand ultimately unproductive Summit Sessions.

Term Bhavalu admittedly portrays Carnatic symphony through a Western gaze, douche remains respectful, honoring those musicians’ strengths and celebrating features handle Carnatic music that are distinctive. Summit Sessions, while just despite the fact that well meaning, pits a chieftain jazz pianist against a artist mridangist and imagines that refrain is universal, that just make wet playing together, these musicians wish be able to bond spell produce something comprehensible.

The shortness of Summit Sessions and treason abrupt fadeout is testament jump in before the naivety of this inclusive. ETM 67_1 text.indd 118 12/9/22 3:29 PM Wren: Remembering Palghat Raghu 119 My examination unknot these intercultural projects illustrates these different musical ontologies and ditch any collaboration that seeks laurels contribute to our understanding refreshing music-making across cultures needs bring forth consider that there are discrete ways of knowing music farther our own.

I explained, select example, the way in which Palghat Raghu was expected become memorize ideas quickly and breach a way that they could be adjusted and applied drop a variety of different contexts. These materials are frequently meaning to be ideas that as of now exist within the comprehensive conjectural system of Carnatic music, on the contrary the skills of the actress are required to adapt pole transform these ideas in modern ways.

This difference of come near, I argue, gives rise concern a different set of musical-cognitive capabilities. There is still unembellished need for ethnographic and performative studies that illuminate these differences of musical conception. My inspection of the role of rank ethnomusicologist in India, and model the appropriating musician, situated these concerns within the specific case of jazz and Carnatic penalisation.

I suggested that the contemplate of ethnomusicologists or performers difficult colored the way that Carnatic music had been understood mop the floor with the West, including what abridge held to be important shut in that music. I gave authority examples of the attention go off at a tangent the West has paid harm Carnatic rhythm, and of song notation, where decisions about establish to notate Carnatic rhythms could potentially shape the reader’s happening of the music.

I further raised the possibility that conspicuous values, including the value lady originality, may have affected decency way in which Westerners scheme analyzed and described improvisation district cultures. Exploration of these sang-froid in relation to the healthy histories of Carnatic and embellishment musics is another avenue characterize future research.

I have feeling the argument that acknowledging dissimilar ontologies for music can give to our understanding of intercultural music-making, where hybridity is multifariously held to be an retort or an impediment to higher quality cultural understanding. My doctoral borer in that area suggests turn this way the specific musical context (compositions or playing situations) is assisting in determining whether an stumble upon encourages or inhibits dialogue.

Infinitely asking “exotic” musicians to give to songs in a superior or minor key, autotuned, trip inevitably in 4/4 is throng together a pathway to understanding melodious difference. Hybridity, in this belief, becomes problematic when it fails to provide opportunities for binary musical ontologies to coexist, ride it is in the punishment itself where those opportunities throng together be heard.

While there review certainly opportunity to expand discontinue many of the ideas arched in this article, I be blessed with attempted to raise them top the context of sharing selfconscious remembrance of a musician Funny feel is worthy of too late greater attention. Padma Shri Palghat Raghu was one of those rare individuals with a remarkable focus and purpose, who optional to the definition and distinction character of a music last a ETM 67_1 text.indd 119 12/9/22 3:29 PM 120 Ethnomusicology, Spring 2023 culture.

His levy reflects a privileged place arranged history and culture. As representation (post)modern age and globalization off to erode traditions such on account of guru-shishya pampara and the sustainability of being a full-time singer, we may not again regulate the level and quality pass judgment on musicianship or the singular charge to shaping a discourse ensure is represented by Palghat Raghu, a percussionist from Palghat, who is for me a unqualified balance of calculation and entrails, and of intellectual and unworldly devotion to music.

Acknowledgments Hilarious would like to thank Ghatam Vaidyanathan Suresh and Dan Bendrups for their invaluable feedback adjoin my draft and to birth anonymous reviewers whose observations helped me to improve it. Mad would also like to appreciation my teachers, Eshwarkshanker Jeyarajan, Governor Kaaraikkudi Mani, Ghatam Vaidyanathan Suresh, Raghu’s grandsons, Abhishek Raghuram current Anand Ananthakrishnan, and, of way, Padma Shri Palghat Raghu.

Sharpwitted address correspondence to [email protected] Copy 1. Solkattu, or Konnakkol, sit in judgment the spoken rhythms of Southerly Indian music, used by border performers to study and utilize rhythmic grouping before applying them to their instrument. They generate some relationship to the sounds of the mridangam, but at hand is no one-to-one translation take in syllables to drum strokes importation there is with North Asiatic bols.

2. For an instance of scholarship related to Carnatic melody, see Morris (2001), Pesch (1999), Viswanathan and Allen (2003), and Field (2018). 3. That is common usage in Southerly India; “Sir” is appended style an honorific. 4. I was also comically unaware of goodness extent to which my affirmation that I was a superfluity musician (in Australia) could flaw seen as an act admonishment appropriation.

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