Truly fantastic interaction between TM Krishna and Baradwaj Rangan bit.ly/2T0limD The duo go far beyond the confines of music, but in related (to TM Krishna) spaces and explore several themes that are very, very interesting. Like Krishna explaining the kind of 1/12
2/12 privilege that is prevalent in the world of carnatic music and how it perpetuates one's world view beyond just music. This was in response to the question around 'Is music political?'. Rangan's question on film music using carnatic raagas and if that form of music is
3/12 also 'carnatic' or not dovetails into the controversial passage from his book that referred to Ilayaraja's use of Mari Mari Ninne in Sindhu Bhairavi. I still don't agree with Krishna on his perspective, but I liked the fact that Krishna counter-argues his own point (with
4/12 something I would use as an argument). In fact, Krishna has thought of counterarguments for several perspectives he puts forth in the interview and I could relate to that depth in exploring one's own thoughts - I try and do that every single day when I write on the topics
5/12 I'm interested in. After framing my perspective, I try and argue against myself, going to the extent of 'What would this argument's worst cynic/critic say that should/would make me give up my perspective and agree with that person because the logic is perfect?'. It really
6/12 helps in clearing my own thoughts :)
Then, to the question on why carnatic music is not accessible, the reason is brought back to the people who hold that musical form in reverence and disallowing anyone to selectively not like something - 'the right to hate', as Krishna
Then, to the question on why carnatic music is not accessible, the reason is brought back to the people who hold that musical form in reverence and disallowing anyone to selectively not like something - 'the right to hate', as Krishna
7/12 puts it. Finally, something I did not understand fully (like Rangan who was also grappling with it, I can see) is around the importance of the sounds of what is being sung. When Krishna concludes that he has gone so deep into this exploration that he
8/12 even 'listens differently', I know I have missed the point, or not knowledgeable enough to comprehend his level of awareness, understandably. When Krishna sings a PerumaaL Murugan verse in KeeravaaNi raaga, to my untrained ears/self, that is akin to U.Srinivas using a so-
9/12 called 'alien' (to carnatic music) instrument to articulate KeeravaaNi raaga, but I realize that Krishna is going into multiple dimensions in his argument - the words being sung, the social construct of those words and meaning, the worldview of the person who has articulated
10/12 those words, the sound (sonic/soundscape, as he puts it) of those words and finally, the form of music it could be defined under. Rangan's last question of the need to know carnatic music's basics to be able to appreciate music better gets a fantastic response from Krishna.
11/12 In my very, very limited understanding, I try to understand the 'why' of liking some (film) songs over others. If I hear a Chaarukesi-based film song, I melt immediately (unless the use of the raaga is atrociously bad). Or if I'm naturally and instinctively drawn to a song,
12/12 I'm able to pinpoint the reason as being the raaga Mayamalava Gowlai, for instance. That awareness of why something 'works' more than others help expand that interest significantly.
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