Manodharma
Encyclopedia
Manodharma is a form of improvised music and is created on the spot during the performance, but within the confines of strict grammar
of music, as codified in the raga and/or the tala. It can be likened to speakers resorting to impromptu speech while reading from their prepared texts. Every carnatic concert has one or many music pieces that showcases the singer's prowess and intellect in the form of Manodharma sangeetham. It serves as an important and integral aspect of Carnatic music
.
, neraval, pallavi
, swaram and also kritis. The manodharma is cultivated after several years of constant learning, assimilating and experimenting with various forms of compositions like varnam
s, kriti
s, javalis, etc and also by listening to consummate artistes. Manodharma plays such a significant role that a capable artiste may never render a raga the same way twice. To bring out the quintessence of a raga, one has to resort to the exclusive and distinct raga prayogas of the raga which are mostly taken from the 'set compositions' like varnams, kritis etc. Unless, these prayogas are brought out in the raga alapana, the identity of the ragam can seldom be established. For a beginner to identify a raga, these "exclusive" prayogas are of immense assistance. Keeping in mind, the "lakshana" (swarupa) of the raga, its jeeva swaras and also the special prayogas, the artistes develop the raga, weaving patterns after patterns, using various combinations of swaras.
The caliber and finesse of a musician is often judged by his/her ability to bring out the excellence of a raga. Many musicians of the recent past, such as G. N. Balasubramaniam
, Madurai Mani Iyer
, Rajarathnam Pillai, Karaikkurichi Arunachalam, excelled in their application of manodharma bringing in many a sweet combination of notes of melodies, while limiting themselves to the confines of the raga concerned, embellishing the raga with their ability to produce melodic prayogas.
Grammar
In linguistics, grammar is the set of structural rules that govern the composition of clauses, phrases, and words in any given natural language. The term refers also to the study of such rules, and this field includes morphology, syntax, and phonology, often complemented by phonetics, semantics,...
of music, as codified in the raga and/or the tala. It can be likened to speakers resorting to impromptu speech while reading from their prepared texts. Every carnatic concert has one or many music pieces that showcases the singer's prowess and intellect in the form of Manodharma sangeetham. It serves as an important and integral aspect of Carnatic music
Carnatic music
Carnatic music is a system of music commonly associated with the southern part of the Indian subcontinent, with its area roughly confined to four modern states of India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu...
.
Background
Based out of Manodharma, Individual styles are developed. Manodharma has many aspects and performers develop distinct styles based on his/her musical values, interpretation and understanding. There is ample scope for manodharma when rendering raga alapana, tanamTanam
Taanam is one of the methods of raga improvisation in Carnatic Classical Music tradition, suited mainly for vocal music and veena....
, neraval, pallavi
Pallavi
In Carnatic music pallavi is the thematic line of a song. It is usually one cycle long and repeated twice in order to give the percussionist the idea of the chosen taalam...
, swaram and also kritis. The manodharma is cultivated after several years of constant learning, assimilating and experimenting with various forms of compositions like varnam
Varnam
Varnam is a form of song in the Carnatic music repertoire. A varnam is a relatively long piece and can range from 30 minutes to up to an hour. It is usually set to Aadi or Ata tala. It is the center piece in a recital of a Bharathanatyam dance. It is a tradition to start a recital in Carnatic...
s, kriti
Kriti
-Structure:Kritis typically contain three parts#Pallavi. This is the equivalent of a refrain in Western music.#Anupallavi. The second verse, which is sometimes optional....
s, javalis, etc and also by listening to consummate artistes. Manodharma plays such a significant role that a capable artiste may never render a raga the same way twice. To bring out the quintessence of a raga, one has to resort to the exclusive and distinct raga prayogas of the raga which are mostly taken from the 'set compositions' like varnams, kritis etc. Unless, these prayogas are brought out in the raga alapana, the identity of the ragam can seldom be established. For a beginner to identify a raga, these "exclusive" prayogas are of immense assistance. Keeping in mind, the "lakshana" (swarupa) of the raga, its jeeva swaras and also the special prayogas, the artistes develop the raga, weaving patterns after patterns, using various combinations of swaras.
The caliber and finesse of a musician is often judged by his/her ability to bring out the excellence of a raga. Many musicians of the recent past, such as G. N. Balasubramaniam
G. N. Balasubramaniam
G. N. Balasubramaniam , popularly known as GNB, was a legendary vocalist in the Carnatic tradition. He became the first superstar of Carnatic music, innovating the art through emphasis on laya control & reducing the gamakas which eventually made Carnatic music appeal to the lay and the learned...
, Madurai Mani Iyer
Madurai Mani Iyer
Madurai Mani Iyer was a Carnatic music singer, who was famous for his unique style. He was one of the most highly celebrated carnatic vocalists during the first half of the 20th century. He was renowned for his adept skills at singing kalpana swarams, neraval, and raga alapana...
, Rajarathnam Pillai, Karaikkurichi Arunachalam, excelled in their application of manodharma bringing in many a sweet combination of notes of melodies, while limiting themselves to the confines of the raga concerned, embellishing the raga with their ability to produce melodic prayogas.