![]() Moreover, the arrangement is contemporary folk fusion, so it suits an eclectic audience,” shares Chandana. “It’s not only multilingual but also multigeneric-from krithis, devarnamas, and qawwalis. Everything from Tamil Andal, Haridasa of Karnataka, and Annamacharya of Andhra to Odia, Sanskrit, and Hindi bhajans are included in Marma. Marma was born out of the realisation that different paths of devotion ultimately lead to the divine within you,” she says. “Faith has never been a barrier for me,” she shares. Divinity through music The backbone of Marma is spiritual poetry. I throw questions at them and get immediate responses,” she says. “Usually, people keep quiet while watching a performance, but here, since I keep it very informal, people are free to speak in between. The Bengaluru audience is very responsive to this, she adds. Chandra takes viewers on a journey, talks in between, and the narratives are not just about one deity, faith, or mythological character but inspired from everywhere and interwoven together. I wish to express my thanks to the proprietor, "Saptaswara Musicals" for his keen interest shown in the preservation and propagation of the art by encouraging me to prepare this book, containing popular songs.Every performance of Marma is different, depending on the choice of compositions. Hence this book has been brought out for the benefit of carnatic music lovers. However for those who evince keen interest in learning this art and also those who have considerable skill in music, there is a desire to have a reference book with notation (including of-course the name of the raga and tala), which remains unfulfilled to a larger extent even till date. The fine art of music which is popular in Indian subcontinent for centuries has been gaining from strength to strength and becoming very popular especially in the southern part of India and also overseas. In performance, rhythm also plays an important role, giving texture, sensuality, and a sense of purpose to melody. Because of its contemplative, spiritual nature, Indian classical music is a solitary pursuit that focuses mainly on melodic development. I wish all success for his endeavour and I hope he will bring more such works in future. Most music has at least three main elements - melody, rhythm and harmony. It is needless to say that the notation is simple and clear. ![]() Thiyagarajan is one who has involved himself on this and has published the present book containing a chosen list of compositions. Many have worked on this and have brought out books containing compositions with easy notations. Then it became easier to learn any composition in a proper manner. ![]() Later a proper method of notating compositions gradually gained currency. The works of the period have no commas or semicolon or any such notational marks. The method of preserving compositions came in to use atleast from the times of Veenai Ramanuja Ayya but the notation method was not in a systematic way in those days. The uniqueness of our music system lies in these compositions which simply pave way to understand the real raga rupa and the melodic possibilities. Compositions are the concrete shape of each abstract raga form. Vaggeyakaras have simplified this process by creation of compositions. This would be possible only by meditation for each svara in the gamut which is called Nadopasana. But all of them will remain only as skeletons, until the svarupa of any particular raga is manifested. By ways of permutation and combination, innumerable raga scales can be deduced. Raga is the backbone of Indian music in general and of carnatic music, in particular. ![]() Carnatic music is great among all systems of music for the reason that it is raga oriented and also demands imaginative skill.
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