[tscii]
Quote:
Originally Posted by Shakthiprabha
My question is (set of questions!)
Do u think carnatic music paves way to DIVINITY as assumed or proclaimed by many? If yes, do u think the musicians these days stick to the divinity in music rather than alapanis and swaras to show prowess? Name one or two musicians who u think oozes divinity whist singing?
SP – No worries with the spelling :) . As I told NOV the identity crisis is not that pronounced.
At the outset I would like to link
this article which should provide a little perspective on the view I hold.
One should define what one classifies as divinity. I will make the assumption that you refer to the acknowledgeable yet indescribable “higher” level oft referred to in discussions of music. I believe if this perceived divinity is the sole purpose, Shruthi from the tambura, or even just the repeated to and fro cadence of Shadjamam-Pancham-Shadjamam, should be sufficient right? As I have mentioned elsewhere, I wrote an outline (called Shadjamam thEdi) a long time back to explore a weird கருவறையும் கல்லறையும் ஒன்றே concept. The title was born of my opinion that the Shadjamam has the unique ability to denote beginning as well as completion and in having that power has the strong ability to elevate us to that “level” [which I think I identify with sAntha rasa].
But I guess it is fairly obvious that the rational mind will get bored from just listening to just those 3 notes. So the other notes and other rasA’s (shringAra, karunA etc…) are necessary to enjoy the sAntham. So I don’t think we should bind music to the perceived constructs of divinity. And I am happy that someone of the stature of Bombay Jayashri actually said that her first allegiance is to the rAgam in the link I quoted above. Also because she is one of those people I would list as sending me into rapures. I enjoy listening to Sanjay SubramaNiam, Sikkil Gurucharan and Sowmya as well. Another voice I have come to love recently is Balaji Shankar. Just pristine.