We were in company of the child I referred to in the first part, having our respective afternoon beverages. And I hummed "હરી પર અમથું અમથું હેત', one of my favourite Amar Bhatt compositions, I feel has devotional overtones.
Suddenly he asked his grandmother, "why is nanaji sad?" The question
set me thinking. The child understands emotions. He is trained for the same, I
am sure. May be these days all educational systems must be helping infants and
pre-primary children to be emotionally intelligent, and I am not aware. That
was not what I was wondering about. He had linked pathos to devotion or misread
the emotions, perhaps. Or is it that these two emotions are closely linked? I
tried to find an answer.
What he had made me learn is, both pathos and devotion involve strong emotions.
Pathos is a quality that evokes feelings of pity, sorrow, or tenderness, often
associated with suffering or vulnerability. Devotion implies a strong feeling
of love, loyalty, or dedication towards a person, cause, or object. While pathos
can be a component of devotion, especially when related to religious figures or
spiritual beliefs, it is not a defining characteristic, but vulnerability
is a connecting link. Devotion can also encompass feelings of joy, gratitude,
and reverence. The emotions can easily be misread, at least by a 4-year-old, I
concluded.
My learning process was in motion. It was my humming of a song that he
interpreted. He had attempted, unknowingly, to link the tunes to emotions and came to a conclusion. I should therefore learn about how emotions are linked to music and how to relate music to emotions while listening.
The question that required answer was, “I understand Hindustani classical
music system is elaborately designed and intricately woven in to feelings and
time through various ragas. Which are the ragas linked to pathos and
which ones with devotion? Are there ragas which reflect both emotions?”
I asked my newly explored Chinese Chatbot.
Bot Thought for 63 seconds (here is the process as described by it. I am copying it here for those exponents of Hindustani Classical music to help me evaluate if the Bot was analyzing correctly.)
“Okay, let's try to tackle this question about Hindustani classical music ragas linked to pathos and devotion. The user wants to know which ragas are associated with these emotions and if any ragas reflect both.
First, I need to recall what I know about ragas and their
emotional associations. Ragas in Hindustani classical music are indeed
connected to specific moods or times of day. Each raga has a particular set of
notes, phrases, and often a prescribed time when it's performed, which
contributes to the emotion it evokes.
Starting with pathos, which is a feeling of sadness or
sorrow. I remember that ragas like Darbari Kanada and Marwa are often
associated with deep emotions. Maybe also Bhairavi? Wait, Bhairavi is usually a
morning raga but is also used in thumris and can express devotion. Hmm, maybe I
should check that.
For devotion, ragas like Bhairavi, Yaman, and Bhimpalasi come
to mind. Yaman is a evening raga that's often serene and could be devotional.
Then there's Malkauns, which I think is more meditative but might have
devotional aspects too. Also, Raga Kafi is sometimes used in devotional songs.
Now, the user also asked if there are ragas that combine both
pathos and devotion. That's a bit tricky. Maybe some ragas that have a poignant
quality but are also used in devotional contexts. For example, Bhairavi might
be a candidate since it's used in both sad and devotional pieces. Another
possibility is Raga Desh, which can be melancholic but also used in patriotic
or devotional songs. Or maybe Raga Todi, which is known for its pathos but
could be used in devotional settings.
Wait, let me think again. Todi is a morning raga with a
serious, introspective mood, often associated with sadness. But could that
introspection also be a form of devotion? Maybe. Similarly, Raga Puriya
Dhanashri is another one that's sung in the late afternoon and has a poignant
feel but might also be used in devotion.
I need to make sure about the specifics. For example, Darbari
Kanada is definitely associated with deep pathos and is a late-night raga. Then
there's Raga Shree, which is evening and has a solemn, devotional tone. Also,
Miyan ki Malhar is a monsoon raga that can evoke both the joy of rain and the
sorrow of separation, which might bridge emotions.
I should structure the answer by listing ragas for pathos,
then for devotion, and then the overlapping ones. Also, mention how certain
ragas can evoke multiple emotions based on how they're rendered. Maybe include
examples of famous compositions or times when these ragas are performed. Also,
clarify that the emotional impact isn't just from the scale but from the
phrasing, tempo, and performance style.
Wait, but I need to confirm some details. For instance, Raga
Yaman is often considered a romantic or serene raga, but in devotional
contexts? Maybe through bhajans. Bhairavi is definitely used in both. Also,
Raga Kedar is another evening raga that's devotional.
I should also be careful not to mix up Carnatic and
Hindustani ragas. The user specified Hindustani, so focus on those. Avoid
mentioning Carnatic ragas unless necessary.
So, in summary:
Pathos: Darbari Kanada, Marwa, Todi, Malkauns (though
Malkauns is more meditative), maybe Chandrakauns.
Devotion: Bhairavi, Yaman, Bhimpalasi, Kafi, Ahir Bhairav.
Both: Bhairavi (sorrowful yet devotional), Shree (solemn and
devotional), Puriya Dhanashri (poignant devotion), maybe Miyan ki Malhar
(monsoon raga with both joy and sorrow).
I should also note that the context and lyrics play a role. A
raga's emotion can be influenced by the composition's lyrics, especially in
devotional songs like bhajans or khayals. So even a raga typically associated
with pathos can be used devotionally if the lyrics are devotional, and vice
versa.
Also, mention the concept of rasas in Indian aesthetics,
where each raga aims to evoke a particular rasa. Pathos would align with Karuna
rasa, devotion with Bhakti rasa. Some ragas might blend these.
Make sure to provide a few examples for each category and
explain briefly why they are associated with those emotions. Maybe include a
note on how time of performance affects the mood, like late-night ragas being
more introspective or sorrowful.
Need to verify the details again. For example, Malkauns is a
pentatonic raga known for its gravity and can be both meditative and somber.
Darbari Kanada is a late-night raga with heavy use of gamakas, creating a
mournful effect. Marwa uses the augmented fourth interval, creating tension and
poignancy. Todi is a morning raga but with a serious, somber mood.
For devotion, Bhairavi is often used in bhajans, as is Yaman.
Raga Kedar is another one used in devotional contexts. Ahir Bhairav is a
morning raga that's serene and used in devotional singing.
So, putting it all together, the answer should list the ragas
under each category, explain a bit about their structure and time, and mention
any overlaps where a raga might evoke both pathos and devotion. Also, clarify
that the emotional impact can be subjective and influenced by performance
context.”
Bot finally Responded:
In Hindustani classical music, ragas are intricately linked to emotions (rasas) and times of day, creating a profound connection between sound, sentiment, and context. Below is a structured overview of ragas associated with pathos, devotion, and those that may evoke both:
Ragas Linked to Pathos (Karuna Rasa)
- Darbari
Kanada
- Time: Late night
- Emotion: Profound sorrow, gravitas.
Uses slow, gliding meends (glissandi) and heavy
ornamentation to evoke a mournful mood.
- Marwa
- Time: Sunset
- Emotion: Restlessness, longing.
Features the augmented fourth interval (tivra Madhyam), creating tension
and introspection.
- Todi
- Time: Morning
- Emotion: Melancholy, solemnity. A
serious raga with microtonal nuances, often associated with pleading or
introspection.
- Malkauns
- Time: Midnight
- Emotion: Meditative sorrow. A
pentatonic raga with a somber, hypnotic quality.
- Chandrakauns
- Time: Night
- Emotion: Ethereal sadness. Uses the
flatted fifth (komal Nishad) for a haunting effect.
Ragas Linked to Devotion (Bhakti Rasa)
- Bhairavi
- Time: Morning (often concluding
dawn performances)
- Emotion: Devotion, surrender. Widely
used in bhajans and thumris, with a serene
yet poignant character.
- Yaman
(Kalyan)
- Time: Evening
- Emotion: Divine love, tranquility. A
foundational raga for devotional compositions, blending warmth and
reverence.
- Ahir
Bhairav
- Time: Early morning
- Emotion: Spiritual awakening. Combines
folk and classical elements, often heard in temple hymns.
- Kedar
- Time: Night
- Emotion: Joyful devotion. Associated
with monsoon festivals and Krishna bhakti.
- Bhimpalasi
- Time: Afternoon
- Emotion: Lyrical devotion. Popular
in khayal and thumri genres for its
expressive phrasing.
Ragas Reflecting Both Pathos and Devotion
- Shree
- Time: Late afternoon
- Emotion: Solemnity and reverence.
Blends introspection with devotional grandeur, often used in temple
rituals.
- Puriya
Dhanashri
- Time: Twilight
- Emotion: Poignant longing for the
divine. Combines a plaintive mood with spiritual yearning.
- Miyan
ki Malhar
- Time: Monsoon
- Emotion: Joyous rain and separation (viraha).
Celebrates nature’s bounty while expressing the pain of separation, often
linked to devotional themes.
- Bhairavi
(in certain renditions)
- Context: While typically devotional,
its use in thumris and semi-classical forms can evoke
sorrowful longing (viraha bhakti).
Nuances to Consider
- Lyrical
Context: A
raga’s emotional impact can shift with lyrics. For example, Todi might
express sorrow in an instrumental alap but devotion in
a kirtan.
- Performance
Style: Tempo,
phrasing, and ornamentation (e.g., meend, gamak)
influence whether a raga leans toward pathos or devotion.
- Time
of Day: Ragas
performed at twilight (e.g., Marwa, Puriya) often blend transitional
emotions, mirroring the interplay of light/darkness or separation/union.
These classifications are fluid, as the same raga can evoke
diverse emotions depending on the artist’s interpretation and the listener’s
perspective. The beauty of Hindustani music lies in this emotional versatility,
allowing ragas to transcend rigid categories.
I am learning from the younger one.
No comments:
Post a Comment