Observations about the PEPAC
Music
Education Trust – Delhi (Madras Chapter)
Such
Programmes are sure to generate a new and healthy awareness and
appreciation for large among the listening public. It was not a mere Tani
Avartanam but a percussion performance of absorbing interest. The quality of
the programme can be judged by the fact that many listeners have asked for a
repeat of the performance. We will surely arrange the programme again not only
at Madras but also at Delhi and other Centre’s.
-
T.
R. Subrahmanyam
Gana
Kala Bhushana M. R. Doraswamy
I
am referring to the programme “Percussion Ensemble of the Percussive Arts
Centre” entitled “Harmony with Melodic & Rhythmic structures”.
This aspect pertains to a Research activity as an experimental innovative
attempt. As observed rightly by the veteran percussionist Vidwan
Guruvayour Dorai, this is a novel attempt and has to be presented all over
India. The plan of a notation system of “Sols” draw to match the varnam
and the Chitta Swaras of “Gam Ganapathe” for percussionists in an ensemble
is worth emulating. While the individuality of each artist will appear
curtailed, when several such Taalavadyas are played in tandem together, such
an artistic restriction is very welcome to present a uniform planned Rhythmic
structure to match the melodic patterns of the presentation. The ensemble
included Vocals, Mrudangam, Khanjira, Ghatam, Konagolu and Rhythm pad.
I
wish the attempt all success and congratulate all the participants and
especially, Shivu (Anoor R Ananthakrishna Sharma), the guide. The Art Centre
has achieved on more, out of its several goals.
-
M.
R. Doraswamy (15/2/2000)
Prof.
& Head of Dept. of Music, Madras University
I
was struck by your proposed attempt to establish a “Harmony with melodic and
rhythmic structures in Percussion Ensemble”. It is a very good venture. I
have always felt bad about the very informal and ad-hoc way of presenting
songs in a concert with the laya-vadya performers not quite determined about
how they are going to accompany. In most cases what is going to be played is
the outcome of an on-the-spot decision or something impulsive, which many
would describe as being ‘spontaneous and inspired’. Only a very senior and
experienced vidwan or a prodigy is able to come up with a great performance
rendered spontaneously. In great number of occasion sit is cacophony than
symphony. Since concert
presentation with active participation by laya-vadya has come to stay (unlike
as in Hindustani where in the Khayala and instrumental tradition, the Tabla is
give only theka of the Taala during melodic structuring; and as in the case of
Narayanasami Appa we hear about is having played only sarvalaghu on the
Mrudangam irrespective of the gaiter am sure a day will come when our
vaggeyakaras like Beethoven and Mozart, will be able to write the notation of
their songs for all the parts, melodic and rhythmic in a manner they conceive
of their presentation in a concert.
-
Dr.
N. Ramanathan.
Laya
Kalaanipuna Prof. T.R. Subrahmanyam of Delhi Music Education Trust
The Music education Trust wants to educate both the artists and the listeners and in fact, the Trust is proud that it could present a programme to educative. Rhythm, that is, Layam is a great component of the greatest system of music in the World, i.e., Karnatak music. I enquired in the various parts of the world whenever I happened to visit those countries and I found out that there is only one organization in the world that is dedicated itself to Laya, this rhythm that is the Percussive Arts Centre of Bangalore, which has produced this Ensemble which is so educative and entertaining.
-
T.
R. Subrahmanyam
Sangeetha
Kalacharya S. Rajam at the Madras Music academy (27/12/2001)
All
the instruments with their individual level without exceeding played
sustained. Very good Kala pramaanam. Along with this, mixing with melody, very
high class. One of our existing great violin genius is reminded. Lalgudi. They
sang beautifully, the voice well controlled and sustained.
-
S.
Rajam
Mrudanga
Kalaa Shiromani Vocal Maestro T. V. Gopalakrishnan of Academy of Indian Music
and Arts (31/12/2002)
What
can I say after this exhilarating performance? Basically, supposed to be Laya
oriented, but so much of intellectual and aesthetic activity has gone on the
stage. Beauty in everything.
-
T.
V. Gopalakrishnan