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CMUS 106  

CMUS 106- LECTURE MATERIAL Statement of Interest:

Over the progression of the term, an area of musical study that I wish to further educate myself with would be Carnatic Music. This is a method of harmony that is ordinarily correlated with the Southern part of the 

Indian Subcontinent. Carnatic Music would be a very unique type of musical study, because Carnatic Music does not just consist of an individual performer, there are also many different exclusive instruments associated during the performance as well.  I did not grow up learning and understanding the elements of Carnatic Music, however; I’m interested in this area of musical study because Carnatic music is a category of a classical music that developed from Hindu traditions. This would relate to my musical background because I am a singer, being a singer I always wished to explore the different aspects of musical studies, so this would be a great opportunity to get involved in something different other than western musical styles. Additionally, I’m captivated in experimenting Carnatic music because not only being a different style of music it’s basically learning a different language, and that really motivates me.  Another inspiration to learn this particular area of music would be my personal goals, as being a Hindu I have not been deeply involved in my religious background. As a result learning this aspect of musical study that is rooted from Hinduism would let me be more involved in my own religious beliefs.

There is the understanding that Hindu classical music is originated from the gods and goddesses so as I learn to further educate my 

self about this musical genre I will become more educated about the Hindu Religion as well. Another aspect to further study this musical genre would be the understanding that I lived in India for half a year and during this time period, I began to study the basis of Carnatic music but as I travelled back to Canada I forgot the elements that I had learnt and discontinued the study of this musical genre. As a result of this one of my personal goals would be too begin to touch up on the basic elements, and study and learn the musical pitches, rhythms, etc. Additionally, as I learnt some of the elements of Carnatic Music years ago I know that it is not an easy task to begin and complete, especially in a very short period of time, so my personal goal would be too not only just learn how to sing this musical genre but to learn and understand the history, and the various different origins that would be linked to the traces and development of Carnatic music.   

Plan Of Action:

To begin the study of Carnatic music, there would be various different goals that would need to be achieved. This study of the musical genre would need to be completed in a very systematic method. To begin, the history and the traces of Carnatic music would need to be researched and further investigated, and the various different pitches, rhythms and musical elements would need to be practiced on a day-to-day basis. Another major purpose that would need to be achieved would be the studying of the different language ( Tamil) that would be incorporated in music. To work towards these goals, an agenda would need to be set for the first week the history of Carnatic music will be examined and studied so there is an understanding of its background. Secondly, the different musical styles and elements would need to be memorized and thoroughly understood. Lastly, to study the language everyday for about 30 minutes the list of words will be practiced so the pronunciation and everything is systematically learnt. To manage my time, there would be a set agenda indicating the times that all of these tasks would be completed so this would result in proper time management.

The resources that I would use would be hard cover copies, such as books, videos, and audiotapes that will be checked out from the library. 

Hard copies would be used because in my perspective checking out these books at the library because it would have authentic information. To document the project I will have a small notebook, which would have dates written down and the tasks that would be needed to completed for that particular day, in this documentation the struggles, the achievements and developments will be recorded continuously. This notebook will also have an area for improvements and I will jot down areas that I would need to practice more on. Another item that would be used is a recording device, so I can listen to the recordings and write down notes on where I would need more practice.     

Musical Agenda for Carnatic Music

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October 10th 2014:

The history, development, and the traces of Carnatic Music were researched to understand more in depth about how this particular musical

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study came to be.  These aspects were researched first so the learner is able to understand certain elements of this musical study in a more thorough manner.  The various different pitches and notes were examined and recorded so it can be practiced on a day-to- day basis.  Online tutorials and web pages were researched to prepare myself to learn the notes.  October 11th 2014:  As researched was completed on the previous day, I started to learn the notes that are incorporated in Carnatic Music.  The different notes and verses were written down daily, and practiced.  The basic elements were learnt: Sruti, Swara, Raga, and Tala.  These forms were learnt through a special composition called the Kriti. 

October 12th 2014: I started to sing the notes: Sa, Ri, Ga, Ma, Pa, Dha, Ni & Sa.  The notes were practiced. There are about 7 verses that would be in Varisha’s and these would be the training sessions.  Varisha 1 was practiced more thoroughly on this day.  I had dealt with many frustrations, I watched videos and listened to  

audios, however when I practiced I was unable to achieve the similar tunes as the professional individuals whom are singing.  One of the successes that I had experienced on this day was that I memorized the notes for Carnatic Music.  October 13th 2014:  The different rhythms and tunes were listened to, and I tried to incorporate the notes along with the rhythm of the music.  I had experienced many frustrations on this particular day because I was unable to make the notes and the rhythm match along with each other.  I was very off tune, so on this day I had to repeatedly try to practice singing the notes along with the tune so it would flow in a rhythmical pattern.  October 14th 2014:  The many of the different techniques listed above were repeated on a daily basis.  The frustrations and progress was recorded and areas of improvement were marked.  Areas of improvement were marked, and on a day-to-day basis I practiced the areas that I needed to improve on.  October 15th 2014 On this particular day, I had improved on all of the basic factors to sing Carnatic Music.  As a result, I started to practice a basic song day by day, and I  

recorded these singing from the first day to the 4th day to understand how well I had improved on particular areas of the song.  October 20 2014  I started to practice different songs with different Sruti’s and Swaras.etc, to understand how difficult it was to further improve myself.  I was able to practice one new song as I further listened to different clips repeating the beats of the song.

October 21st 2014 On this particular day, I started to practice the basic of Carnatic music and practiced it till I fully got the hang of it.  As I further practiced the Varisha’s I was able to memorize the notes

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and the beats of the song.  From this day further, I repetitively practiced the songs and recorded areas that I still needed to improve on.  Practicing the songs on a day-to-day basis really helped me understand each element of the musical study.  As I practiced this daily I was able too memorize and improve in various different areas in a short time period.   

Analysis:

During the process of learning the musical genre of Carnatic music there were various different hurdles that were dealt with. The process of learning these different musical aspects was very difficult, however as I had a set agenda I was able to practice many of the different categories within Carnatic Music within a small time period. I had endured various different frustrations, and these were not being able to memorize each notes of Carnatic music, and even understanding the concepts of it. Another hurdle that I had encountered with understood the rhythm, the pitch value, and tunes. However, as these obstacles were tackled, the learning experience was a very pleasant one. To complete this musical study in a short time period, I had a numerous number of musical inspirations, which made the process of learning this more lenient. I was motivated to learn and study each element of Carnatic music because I had viewed that famous Carnatic Music vocalist were really passionate about what they were doing. Furthermore, I had found a variety of different websites that broke down process of learning Carnatic Music that made it easier to learn.

My inspiration to further develop my study on Carnatic music was M.S.Subbulakshmi, she was an act of inspiration as she was a Carnatic Vocalist, she was the first individual to be awarded the Bharat Ratna, which 

was India’s highest Civilian honor, and secondly she was the first Indian musician to receive the Ramon Magsaysay award (MSSTribute, 2014). She was an individual whom learnt Carnatic music as she was a youth and her first recording was released when she was 10 years old. Starting to sing as young girl, as she further developed in Carnatic music and received various different awards (MSSTribute, 2014). M.S.Subbulakshmi was an individual whom had lived a pleasant lifestyle because of many of the good deeds that she had done, on top of this she contributed to society as well. Due to these finding, I was really inspired by her to further practice the musical study of Carnatic music.  Koduri, Ishwar, & Serra (2014) provide the different aspects of Carnatic music in their article, these aspects would be them assessing the component of Raga and analyzing varnams, which is a particular form of 

musical composition. Following this they approach the task of automatically obtaining a compact representation of the accentuation of a recording from its pitch track (Koduri, Ishwar, &Serra, 2014). They analyze approaches of Carnatic music based on the parameterization of pitch value and the distribution’s that occur by the melodic context of Carnatic music. This study would outline the factor of how the different aspect that are incorporated in Carnatic music each have a different purpose, and how each of the aspects would contribute to complete the musical study as a whole.

Another source that also helped to learn the different elements that are incorporated in the musical study of Carnatic Music was an article illustrated by, Prashanth and Venugopalan (2011). In the article they 

systematically explain the different elements that are incorporated in Carnatic Music, explaining each element of it sufficiently. In the article they provide a system that takes a wave file as input, analyses the frequency characteristics and performs note mapping (Prashanth and Venugopalan, 2011). The study created by these two individuals, helped the reader thoroughly understand each aspect of Carnatic music and as they systematically explained each element of it, it made the reader understand it more meticulously. As a result of this finding, it was easier to learn the musical study.  Demonstration Skills – Carnatic Music:   

Basic Theories:

Shruti: is the musical sound with systematic vibration. This is pleasing to the ear.  Adhara Shruti: Note- Saaaa- Basic note is the swara, which is suitable

for the singer in the vocal music.  Shadja: of the middle octave is the Adhara Shruti in music.  The Adhara Shruti is what creates the element of swara, this is the sound that is very pleasing to the ear. There are 7 notes in this. 

There are two categories of Carnatic Music, this would be Sapta Svaras, and these terms would be abbreviated to create the notes of the musical study. Shadja, Rishabha, Gandhara, Madhyama, Panchama, 

Dhavivatha, Nishaad. To create the notes these would be translated to, Sa, Ri, Ga, Ma, Pa, Dh, Ni. The small letters in these notes have a purpose as well; the small notes indicate that there is duration of 1 unit time. The capital letters would indicate that there is a representation of units of 2 units of time. This would contribute to the study of the basic notes and the purpose of each unit. Secondly, these notes would be transferred into the simple arrangements of a category called Saralevarase The Saralevarase is the arrangement of 7 notes in a systematic scaling or sloping order, after this these notes are transferred to a set called the Thaala. Thaala is when you measure the speed of music. This is a crucial part of music because without the Thaala this musical study cannot develop. To complete, the basic study of Carnatic music there is another added physical element, this would be Laghu, which is a beat from the palm and counting of fingers, this is incorporated in Carnatic music while singing you perform the Laghu as well. Following this notion comes the Drita, which is one beat from the palm followed by an open palm. The thaala consists of a Laghu and 2 Dritas, S R G M P D N.S.   

Demonstrating Practical Skills of Carnatic Music:

All of these learnt theories of Carnatic Music would be incorporated into one and the Thaala’s, Laghu’s, and Drita’s will be practiced

to perform a basic song. The two lines before the notes indicate 2 units and one bar indicates 1 unit.  || s r g m | p d | n s ||. || s n d p | m g | r s ||.  As singing these notes according to the beats of the Svara’s the Drita is practiced (which is the hand clapping).  There are degrees of speed, so according to the beats, the rhythm of the music is changed.  First Degree:  || s r g m | p d | n s || - in this degree there is a single svara sung in each each unit.  Second Degree:

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|| s r g m p d n s | s n d p | m g r s || - in the second degree there

are double svaras that are sung in each unit.  Third Degree:  || s r g m p d n s s n d p m g r s ||. | s r g m p d n s | s n d p m g r s ||. – in the third degree there are four svaras sung in each unit.  Learnt Musical Piece:  Varshia 1 :  || Sa Ri Ga Ma / Pa Dha Ni Sa ||  || Sa Ni Dha Pa | Ma Ga Ri Sa ||  Varshia 2:  || Sa, Ri, Sa, Ri, | Sa, Ri, Ga, Ma || || Sa, Ri, Ga, Ma, / Pa, dha, Ni Sa ||  || Sa, Ni, Sa, Ni , | Sa, Ni , dha, Pa ||  || Sa, Ni , dha, Pa || Ma, Ga, Ri, Sa, ||  Varisha 3:  || Sa, Ri, Ga, Sa, | Ri, Ga, Sa, Ri || || Sa, Ri, Ga, Ma, | Pa, dha, Ni Sa ||  || Sa, Ni, Dha, Sa , | Ni, Dha , Sa, Ni ||  || Sa, Ni , dha, Pa | Ma, Ga, Ri, Sa, ||  Varisha 4:  || Sa, Ri, Ga, Ma, | Sa, Ri, Ga, Ma || || Sa, Ri, Ga, Ma, | Pa, dha, Ni Sa ||  || Sa, Ni, Dha , Pa , | Sa, Ni, Dha , Pa ||  || Sa, Ni , dha, Pa | Ma, Ga, Ri, Sa, ||  Varisha 5:  || Sa, Ri, Ga, Ma, | Pa,--, Sa, Ri || || Sa, Ri, Ga, Ma, | Pa, dha, Ni Sa ||  || Sa, Ni , dha, Pa | Ma, --,Sa, Ni ||  || Sa, Ni , dha, Pa | Ma, Ga, Ri, Sa, ||  Varisha 6:  || Sa, Ri, Ga, Ma, || Pa, Dha, Sa, Ri || || Sa, Ri, Ga, Ma, | Pa, dha, Ni Sa ||  || Sa, Ni , dha, Pa | Ma, Pa, Sa, Ni ||  || Sa, Ni , dha, Pa | Ma, Ga, Ri, Sa, ||  

Reflection:

This project really helped myself tie into my cultural and religious beliefs and values. As a result of this self-directed term project, I was able to 

learn a musical study that is very unique. As an outcome of this project I was able to thoroughly learn and understand a musical study in a short period of time. Due to this project I was able to get closer to my Hindu beliefs and understand thoroughly understand the different elements of it. However, there are many things that I would’ve done differently, firstly I would’ve signed up for Carnatic music classes so I would’ve had an instructor to teach me the basic elements of this particular musical study. I would’ve done this certain feature differently because I would’ve been able to properly study the accents and the tunes that would be attached to Carnatic music. I experienced many different successes and frustrations during this journey of studying Carnatic music. During this study the successes that I endured would be the understanding that I learnt how to incorporate the notes and the rhythms of the music in a short period of time. However, there were many frustrations during this process I was unable to understand the rhythm and the tunes of Carnatic music immediately I had to repeatedly practice and seek extra help through YouTube tutorials or even online tutorials. I will definitely continue to develop the new skills and knowledge for the future, I want to further enhance my Carnatic Music skills by attending classes that systematically teach you the different dynamics of this wonderful musical study. I would like to further develop these particular learnt skills and understand the various different elements of Carnatic from a professional’s perception. I want to further educate myself about this unique musical study because by doing simple research. I educated myself about the evolution of Carnatic music, which was really interesting. I really enjoyed learning these musical pieces, however I wished to record myself vocalizing the notes and the songs, however I had fallen sick. Aside from these factors I would definitely further develop my knowledge and practical skills for this musical genre.  Underscoring:  A cue: Example: Viewing Secret Window 2004: in the film the music is used to highlight his paranoia, the music is used to emphasize his emotions at that point.  Dog  Short section of music used to highlight an important scene in a film.

With a cue you can hear the music start out and you can hear the music cut out.  With this you can start to think where does it start; where does it end;

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and the purpose for the music.  Wall-to- wall music: (The Lost Boys: 1987)  Music running through a long section. Opposite of a cue, it can be music running throughout the entire film.  Great example of source music because in the film the characters are listening to the radio in the beginning of the film.  The film has burrowed music.  Great example of how source music goes into underscoring, moving out of the story space, and becomes underscoring.  The lyrics reflect what we see visually.    

Types of Film Scores: Original Burrowed: Example Viewing: Social Network 2010)

An arrangement: they burrow a tune or melody for another source and they make it their own. They orchestrate it and re arrange it.  He burrows piece from in the hall of the mountain king. This piece is

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from 1876 and it original form has been in the orchestra.  A synthesizer was used, so instead of orchestral sounding it went electronic sound, but you can still hear the main elements of the songs.  An Adaptation:  When a director doesn’t change the piece.  In the reservoir dogs, there is an example of adaptation   

Sacramento Cue. Burrowed Music Scores:

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Moody may not match action on screen running counter to action

Compilation Score (silent era)  Adapted score (contemporary) – in a bunch of Terentino’s films he uses a bunch of adaptive pieces.  Establishing Mood:  Mood can remain consistent  Mood can change in relation to story

Example: In reservoir dogs the mood did not match what was occurring in the film.  Viewing: The Thin Blue Line 1988. The work of Philip Glass. 

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