One reason why I love Carnatic music is because of the way it provides freedom for experimenting though within specified boundaries. Probably because I was brought up in a similar way (i.e.) a conservative rule-bound family which gave me the freedom to think and decide for myself.
As the art fraternity goes, passing on skills is predominantly hands-on and by word of mouth. And this gave rise to different schools of music (not in the literal sense, but more like a style of singing), each with its own uniqueness and specialty, and musicians at a level of the hierarchy added something on their own and passed it on. I had the opportunity to learn a few of the styles like Semmangudi, KVN, DKJ, Balamurali.
My initial discovery of carnatic music had been a very bumpy ride. The sarigama exercises and by hearting and reproducing keerthanams (songs) never enticed me and I hated music till my late teens. Later, it was solely my teachers and the kind of music I was exposed to that made that disinterest, interesting. Hence, as a tribute to all the teachers I have leant from till date, I present this series of posts from the next, called Guru Vandanam.
– Until next,