Taking the stage
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Eminent musician Ranganatha Sharma, who was in Bangalore for a two-day workshop, stressed the importance of concert singing technique
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USEFUL INSIGHTS Ranganatha Sharma spoke extensively on two vital aspects of music: abhyaasa gaanam and sabha gaanam
He's that rare combination of successful performer and musicologist. K.N. Ranganatha Sharma, senior lecturer, Madurai's College of Music, has given over 1,000 performances both in India and abroad. This disciple-son of Semmangudi's direct disciple has won awards for expertise in ragam, tanam, pallavi and for vocal music from the Music Academy, Chennai, among other distinctions.
Currently pursuing his research on laya, Ranganath Sharma was here in Bangalore to conduct a workshop on concert techniques. He spoke extensively on the two vital aspects of music: abhyaasa gaanam or music-learning process and sabha gaanam music at the public-performance level. It's probably easy to sing to perfection a traditional composition. But bringing into it one's own creative component is the difficult part. To be able to unleash the potential of a piece, uncover all its intricacies, and to innovate even while one is performing, requires potential and imagination of a different kind. And this ability of a performer is what draws the rasika to concert after concert to listen to the same ragas, since each sabha gaanam expert makes each rendering different with his manodharma. A single raga can have its essence displayed in five minutes or even 50 minutes without repetition of the sangatis.
"Though sabha gaanam is the goal of every student and every teacher too for his student, it requires relentless practice; listening to great artistes especially past masters; strong abhyaasa gaanam; great patience; maintaining a musical atmosphere around oneself; and ideally a teacher who is a combination of teacher and performer. For instance, Semmangudi, GNB, MLV, S. Ramanathan, Muthaiah Bhagavathar, are of the calibre who can cultivate a student for sabha gaanam," observes Ranganath Sharma.
Music is not getting the attention it deserves at the academic level too, laments the musician. "Currently, Carnatic music is offered as a subject only at the graduation and PG level. It should be offered at the school level itself, alongside maths, science, history, literature, etc. When students enter a graduation-music course, they already have a grounding, making it easier for them and the teacher. The vast body of knowledge as also the scientific and mathematical base of Carnatic music makes it as worth studying as the other subjects."
Mr. Sharma further notes that how even for graduation or PG courses, there aren't many takers. One reason is the lure of engineering, medicine, management, humanities... "Also, there's a widespread misconception that classical music offers few job opportunities and they also pay poorly. Actually there are opportunities galore for teachers at the graduation and PG levels in several music colleges. One can even make it as a playback singer where a Carnatic music background has tremendous advantage. Private music teachers also seem to be doing well for themselves. Lastly, with the proliferation of sabhas and NRIs sponsoring foreign trips for artistes, besides recorded music opportunities, a career musician has never had it so good either in terms of exposure or payment."
Also, the UGC conducts lecturership-eligibility exams for Carnatic music only in theory, not practical, a vital aspect. "This means a lot of theory experts are being churned out and students lose out on the experience. They will be ill-equipped for sabha gaanam and the creativity it demands." And so, Ranganath Sharma feels that the UGC must ensure proficiency in practical also before awarding the certificate. Ultimately, the aim of music is to elevate the listener to a spiritual experience. Once, that's achieved, the musician has truly arrived as a performer.
ARUNA CHANDARAJU
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