NAVYA C
Raaga & Emotions A Deeper Study
The concept of Raaga ( Scale in Western Classical Music ) is quite the backbone for the foundations of Indian Classical music- whether it is Carnatic or Hindustani . A raaga is defined as the range and combination of notes which when performed together-create a great meaning to the listener . While Music as a whole itself has the inherent ability to express any emotion with mastery and poise , Indian Music has the credit of being the most complex as well as exquisite approach to the concept of Raagas .
From times immemorial , there is a strong belief that a set of particular raagas are greatly known for evoking certain emotions . The similar approach is also followed by classical composers from the musical trinity comprising of Thyagaraja , Muttuswami Dikshitar and Shyama Sastry . For example , a raaga like Mohana is extensively used for positive devotion and also sublime love . However , a deep melancholic feeling like sadness or pathos is straightforwardly presented in a raga like Shivaranjani or Hindustani raaga Puriya Dhansri . There is a great history that the raaga Bilashkani Todi was created by Tansen ’ s son Bilas Khan and used for extreme sadness as well .
Coming to western classical music , a “ happy ” scale is inherently the C major scale ( which has all the white notes ) and various pentatonic combinations of the same . Any optimistic or happy song along with a celebration composition is evidently done in a major scale and that instantly gives a positive feel . However , when it comes to darker songs or sad undertones , classical composers like Mozart , Franz Schubert also chose minor scales ( the greatest example is Schubert ’ s Unfinished Symphony no . 7 ).
Conventional music teachers also encourage the students to think on these lines when it comes to songwriting .
Interestingly , the similar approach has been used by film composers which led to great limitation as far as raaga choices are concerned . For example , a raaga like Abheri is totally confined to devotional numbers and Subhapanthuvarali became confined to feelings of estrangement or separation . But a new wave of thought began which defied such rules and led to great expansion of boundaries in music . The usage of raaga is such a convention that a raaga like Madhyamavati is typically used only for concluding a concert in Carnatic Music . However , a new wave of thinking has begun which pondered over this link between a raaga and an emotion . This led to a fresh idea that a scale need not be the only obvious choice when it comes to evoking a feeling . In short , the composer ’ s approach towards a raaga ( scale ) which makes a difference altogether .
Just like how an emotion doesn ’ t have a clearly defined graph , the raaga in which it is composed needn ’ t be limited to only certain choices . With deeper level of understanding and unique approach , a entire new aspect of music composition can be done which can open new horizons of performing and music ! In short , raga is much beyond the notes it comprises of . In short , raga is much beyond the notes it comprises of .
World Fusion and Classical Fusion music in particular is exploring this lesser addressed aspect of it with their own individual style . New age Carnatic composers such as Dr . M . Balamurali Krishna explored rare raagas of Carnatic Classical music and elevated the compositions with their rendition and tune instead of just the scale alone . The expertise of the composer does more of the talking rather than just the existing theoretical knowledge .
This viewpoint will surely open new doors on classical music which makes it even more amazing to relish and appreciate .
The Score Magazine
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