Evolution is a natural process that spans across not only species, but language and culture as well. Anthropology, that studies evolution, delves into far more than how A ultimately finds it’ s way to Z. It studies environmental and sociological impressions made over time proving to be contributing factors in the evolutionary process. In the Anthropology of language and culture, one studies the various dynamics at play over the course of history that has shaped the current methodologies and practices today.
From Tradition to Stage The evolution of the Carnatic Concert Format
Evolution is a natural process that spans across not only species, but language and culture as well. Anthropology, that studies evolution, delves into far more than how A ultimately finds it’ s way to Z. It studies environmental and sociological impressions made over time proving to be contributing factors in the evolutionary process. In the Anthropology of language and culture, one studies the various dynamics at play over the course of history that has shaped the current methodologies and practices today.
Carnatic Music traces back over a millennia and has evolved from Music that was part of daily life of the ancient Dravidians. Cilappadikaram, one of the greatest Tamil literary works recorded, contains a treasure trove of information on the ancient Music and Dance traditions of Dravidian Culture. Dating back to the first few centuries, the epic cites some of the first traces of the concept of raga scales and even ascribes moods to each raga. In Hindustani music, this concept is widely applied, as there are specific ragas that are sung at certain times during the day and seasons. Musical compositions from this era generally depicted more of the environment, festivities, and major life events of the people of that time period. There were also many specifications pertaining to a musician’ s qualifications and their use of musical instruments. For example, certain wind and percussive instruments were used for a specific event like a battle, victory, or entertainment.
Early Dravidian musical compositions covered a variety of subjects such as God, Kings, nature, and more. Love songs like‘ Agam’ and other songs described heroic deeds of war
( Puram). However, from the 5th century on composers began to focus on the Bhakthi tradition which propagated worship and devotion through music. Saivite and Vaishnavite saints contributed massively from this period onward towards propagating Saivism and Vaishnavism in what was then a heavy Buddhist / Jain influenced period. Works such as Tevarams, Tiruvambaavai, Tiruppugazh and Tiruppaavai were conceived during this time period and are widely performed by musicians today.
In the last few centuries, history has given rise to many great composers. The three most prolific ones of today, otherwise known as the Trinity of Carnatic Music, have had a great influence on the format of concerts today. Thyaagaraja, Mudduswamy Dikshitar, Syaama Sastri, all contemporaries( late 18th century-early 19th century), taught many dedicated students within that time, who passed on their respective guru’ s compositions via oral tradition; more notable composers of other regions, both pre and post trinity, passed on their works as well, by means of either oral tradition or documentation. Maharaja Swathi Thirunal
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