It is heartening to see the rise of many young Carnatic musicians. (Symbolic photo). , Photo Credit: Ragu R

The Carnatic music world has been hit by the general global cold. Like other areas, the youth here also think differently from their ancestors. Today there is an explosion of talent, intelligence, clear expression and self-confidence. Many young musicians are professionally qualified, which helps develop a rational mindset. This is manifested in many aspects. This sometimes creates unnecessary controversy. This is where the traditional establishment feels a sense of excess.

Ariyakudi Ramanuja Iyengar, who gave a structure to the Carnatic repertoire. Photo Courtesy: The Hindu Archives

The concert format as we know it today is perhaps a century old, as history has seen the likes of Konerirajapuram Vaidyanath Iyer, Tiger Varadachariyar, Kanchipuram Naina Pillai, Muttiah Bhagavathar and their contemporaries perform. In over a hundred years of performance and public display, some unwritten codes have remained in circulation. For example, devotional engagement with our music was taken as a sacred notion. Most of these composers were so learned that they would not have simply accepted the prevailing opinion. They should not be taken away from their credit for purposefully adopting such concepts. But now, the devotional relationship is sometimes questioned simply because it is an emotional and subconscious order.

There are other manifestations of assertive behavior, including questioning some aspects of this classical system. For example, dominance of one or two languages. Why Telugu or Sanskrit? Why not Tamil? (This is not the same as asking why not Tamil too?). Or that some communities have appropriated all the glory of Carnatic music and deliberately excluded others. This is an ongoing debate.

Audiences have become more welcoming of changes. , Photo Courtesy: Srinivasan KV

Carnatic music as we hear it today is an evolving product. There is great potential for a creative agenda that may give rise to a new incarnation. This will include spotlighting lesser-known Vaggayyas and compositions, developing further insight into the interconnectedness of devotionals and compositions (even as a neutral topic), making accompaniment more integral and co-working of the show. A deep dive into the makers (it’s now reached a pedestrian stage) and an essentially non-creative structure within limitations. The next vision of glory will lie in the pursuit of new knowledge. Not by challenging the old system for the sake of challenge.

The current generation of leading musicians has encouraged many young students to pursue this profession seriously. So, we are seeing an influx of 20-something talent. The essentials are conquered quickly and with dramatic ease.

Some would argue that this could disrupt the balance of beauty in music and conduct. In a way, they can be seen as capable and yet weak. But they are smart. They will find ideals of conduct or seekers of high conscience often considered inseparable in our music. They certainly understand that music can be taught but character comes from within and often comes with a bit of blur. A music career is a marathon, not a sprint. The music and character of top musicians cast a long shadow on the next generation. This then requires a lot of self-regulated introspection to act as their compass. Like every generation, there is optimism that our music reaches the next generation while maintaining the essence of the art.