In this post and the next one, we'll take a look at a couple of different methods of learning carnatic music- this topic has been of great interest in our Sunday music learning sessions at Kalaranjitham and we have students who vouch for one or the other. The method's are, learning by listening (ear method) and learning using notation-based system and I'll share the advantages of both.
Western and Carnatic music have different methods of using notation and both work with practice. In western music, vocalists and instrumentalists use staff notation, where the lyrics appear directly in the pitch positions. The advantage with the staff notation, is that music is registered visually in the brain at the correct pitch of the notes. In carnatic music however, the notes are placed above the lyrics so registering the notation becomes a two step processing. First when we see the notes our brain establishes the pitch positions, then the brain superimposes the corresponding lyrics above the notes to produce a synchronized song. When this is done repeatedly, over time this gets easier.
I was interested in how some carnatic vocalists sing without formal training. Upon observation, I noticed the existence of several flaws (vidwans or well-trained musicians usually can catch this), when a vocalist renders a song by purely listening and has no knowledge of the raga or the meter (thala). I've heard these types of vocalists arguing for their flaws, by pointing out that even many trained musicians do this today! Such an imitation, by an untrained vocalist, is a sufficient model for purposes of analyzing the mechanism by which the human brain is able to achieve the feat.
Since the working of the brain is too complicated, and much remains unknowns, we only get an outline of how the process involved. The mental process involved in learning by listening is closer to the western music model. Coding in the brain happens in a simultaneous process. The brain registers the lyrics along with the corresponding pitch. Thereby, in this method, the intermediate step of translating the notes into the pitch is skipped. Unlike the traditional carnatic music teaching method which enforces a separation in learning lyrics and notations, in this method repeated listening of a song, trains the brain to automatically fuse the lyrics into their respective pitch. By continued, focused listening and good retention one learns to get a better grip on reproducing the song. When done correctly, the result of course depends on the quality of rendering in the model chosen.
Both methods are adopted in carnatic vocal training. Instrumentalists however mostly follow the notation method. Some vocalists, like me, are trained in the notation model. In most music schools, a vocalist must also learn an instrument for this background knowledge purpose. After good training in the notation method, all vocalists are expected to gain enough knowledge to identify the underling notes (swaras) and beats (thalas) when a song is sung. This then is a merging when a singer can effortlessly pick p new songs b just listening. Finally both methods carry the student to the same level of swara and thala knowledge.
In olden days when the oral tradition was popular, writing down music was not encouraged so the notation method was not much used. Students were expected to learn by listening and repeating and the talented ones with a good ear, developed the skills gradually. Though of late this method of learning carnatic music without the help of notation may be popular again, I feel that there is value and advantages to learning b the notation method. This helps one acquire knowledge of note positioning (swarajnana) faster which helps learn instruments like veena, violin or flute easier. This also increase precision in raga and thala as notation has these elements built into it. In Indian music, a song's charm lies in the ragas which support the lyrics.The thala or beat adds embellishments and grace. Learning concept for ragas and thalas is very subtle.
Knowledge of the following two are essential for Indian classical music. Lakshana jnana and Lakshya jnana. Lakshana jnana is the knowledge of musicology, the theoretical knowledge of the subtle layers of the ragas and thalas. Lakshya jana refers to knowledge acquired just by listening carefully to master artists rendering music. People lacking in formal training and Lakshanan jnana might be able to reproduce the music they have heard but with flaws. Such presentation when rendered in a loud voice might wow an audience at social events but the flaws are evident to well-trained musicians
If you ask, is having the Lakshanan jnana alone adequate? The answer is a NO! That is the complexity of Indian music! Ragas are very complex entities and Lakshanan jnana alone will not provide sufficient grasp of a raga. Each raga has it's subtle sruthi or micro tone manipulations without which a raga's personality (swaroopa) will be missed. Acquiring this essential knowledge requires very carefully listening to masters rendering the raga. Ragas like, Ahiri and Atana which employ many notes (swaras) foreign to the framework of the parent raga makes their employment a tricky affair! By listening and understanding how experts navigate the challenges, we can attempt to acquire the necessary skills in due course.
The conclusion is that a proper blending of Lakshana jnana and Lakshya jana is very essential for rendering Indian music. That is why a master teacher,who possesses both knowledge is absolutely essential for a student.
In the next post, we continue examining the usefulness of learning through notation, stay tuned and keep listening to great masters.
Western and Carnatic music have different methods of using notation and both work with practice. In western music, vocalists and instrumentalists use staff notation, where the lyrics appear directly in the pitch positions. The advantage with the staff notation, is that music is registered visually in the brain at the correct pitch of the notes. In carnatic music however, the notes are placed above the lyrics so registering the notation becomes a two step processing. First when we see the notes our brain establishes the pitch positions, then the brain superimposes the corresponding lyrics above the notes to produce a synchronized song. When this is done repeatedly, over time this gets easier.
I was interested in how some carnatic vocalists sing without formal training. Upon observation, I noticed the existence of several flaws (vidwans or well-trained musicians usually can catch this), when a vocalist renders a song by purely listening and has no knowledge of the raga or the meter (thala). I've heard these types of vocalists arguing for their flaws, by pointing out that even many trained musicians do this today! Such an imitation, by an untrained vocalist, is a sufficient model for purposes of analyzing the mechanism by which the human brain is able to achieve the feat.
Since the working of the brain is too complicated, and much remains unknowns, we only get an outline of how the process involved. The mental process involved in learning by listening is closer to the western music model. Coding in the brain happens in a simultaneous process. The brain registers the lyrics along with the corresponding pitch. Thereby, in this method, the intermediate step of translating the notes into the pitch is skipped. Unlike the traditional carnatic music teaching method which enforces a separation in learning lyrics and notations, in this method repeated listening of a song, trains the brain to automatically fuse the lyrics into their respective pitch. By continued, focused listening and good retention one learns to get a better grip on reproducing the song. When done correctly, the result of course depends on the quality of rendering in the model chosen.
Both methods are adopted in carnatic vocal training. Instrumentalists however mostly follow the notation method. Some vocalists, like me, are trained in the notation model. In most music schools, a vocalist must also learn an instrument for this background knowledge purpose. After good training in the notation method, all vocalists are expected to gain enough knowledge to identify the underling notes (swaras) and beats (thalas) when a song is sung. This then is a merging when a singer can effortlessly pick p new songs b just listening. Finally both methods carry the student to the same level of swara and thala knowledge.
In olden days when the oral tradition was popular, writing down music was not encouraged so the notation method was not much used. Students were expected to learn by listening and repeating and the talented ones with a good ear, developed the skills gradually. Though of late this method of learning carnatic music without the help of notation may be popular again, I feel that there is value and advantages to learning b the notation method. This helps one acquire knowledge of note positioning (swarajnana) faster which helps learn instruments like veena, violin or flute easier. This also increase precision in raga and thala as notation has these elements built into it. In Indian music, a song's charm lies in the ragas which support the lyrics.The thala or beat adds embellishments and grace. Learning concept for ragas and thalas is very subtle.
Knowledge of the following two are essential for Indian classical music. Lakshana jnana and Lakshya jnana. Lakshana jnana is the knowledge of musicology, the theoretical knowledge of the subtle layers of the ragas and thalas. Lakshya jana refers to knowledge acquired just by listening carefully to master artists rendering music. People lacking in formal training and Lakshanan jnana might be able to reproduce the music they have heard but with flaws. Such presentation when rendered in a loud voice might wow an audience at social events but the flaws are evident to well-trained musicians
If you ask, is having the Lakshanan jnana alone adequate? The answer is a NO! That is the complexity of Indian music! Ragas are very complex entities and Lakshanan jnana alone will not provide sufficient grasp of a raga. Each raga has it's subtle sruthi or micro tone manipulations without which a raga's personality (swaroopa) will be missed. Acquiring this essential knowledge requires very carefully listening to masters rendering the raga. Ragas like, Ahiri and Atana which employ many notes (swaras) foreign to the framework of the parent raga makes their employment a tricky affair! By listening and understanding how experts navigate the challenges, we can attempt to acquire the necessary skills in due course.
The conclusion is that a proper blending of Lakshana jnana and Lakshya jana is very essential for rendering Indian music. That is why a master teacher,who possesses both knowledge is absolutely essential for a student.
In the next post, we continue examining the usefulness of learning through notation, stay tuned and keep listening to great masters.
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