கலைமகள் கண்ணீர்
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| [ courtesy: The Hindu] |
அவர் 1936-இல் 'சங்கீத கலாநிதி' விருது பெற்றபோது, சங்கீத அகாடமியில் அவர் வழங்கிய தலைமையுரை.
THE PRESIDENTIAL ADDRESS.
Lovers of music, I consider it fortunate to preside over this conference of this Academy which is working for the advancement of the cause of Music and if, I have been invited to take this honoured place, it is, I think, due not to me, but to my Gurus, Umayalpuram Krishna Bhagavathar, the direct disciple of Sri Tyāga Brahmam, Sundara Bhagavathar and Maha Vaidyanatha Sivan.
Our Music is certainly the greatest of the glories of our civilization and artistic achievements. And it is an art of hoary antiquity. Patronage of this art in the past was limited to royalty and the nobles but to-day it has passed to the common public. Institutions like the University have displaced, in the field of training in the art, the old Gurukula system.
The known power of music in curing physical and mental pain, and in holding in calm disturbed elements, in animals even, is only next to the unknown power of music in the spiritual field. It is the greatest Sadhana. There is no means easier for realising God than Music coupled with devotion Music is Näda; Nāda is Brahman.
The text or the Sahitya of a song is of un doubled importance and a singer must take care to master the text also correctly.
Music can be learnt neither by purely following a text-book, nor by merely hearing another singing. To learn it directly from a real master is the only good method.
Text-books on music are many, written from time to time. We know that when Music flourished very much in Tanjore, owing to contact with the Maharashtras at that centre, north Indian modes got into our music. The present Kathākälakshepa is based on the Maharashtra model. Such blending is natural and when one introduces a foreign element, he must be a man of knowledge and taste. Hybridisation must be prevented.
For our carnatic Music lo-day, the basis for theory is certainly the compositions of Tyágayya, Diksitar and Syāma Sastri. They should have based themselves on the theory then current but which we do not now know. I can affirm that the rendering of the song of these three composers to-day is much different from that which I was hearing thirty years . Those knowing the old and authentic Style are still alive. It is worthwhile assembling them and editing with variants the songs of these coinposers in as authentic a manner as possible. Otherwise, the music is in danger of drifting into a shape beyond recognition.
Regarding theory, neither Venkatamakhin's work nor Govinda's is to be singly relied upon. An examination of the compositions of the three composers shows that we have to evolve out of the two texts a new ecclectic text.
It is also necessary that musicians should popularise Tamil compositions. In these many respects, I hope, the Music Academy, through its Teachers' College and annual conferences, will work for the advancement of Music.
[நன்றி: கல்கி, Journal of Music Academy ]
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