| A Study of Musical Patterns in the Varnas of Lalgudi G. Jayaraman |
| KarnÄá¹aka classical music has rich and diverse repertoire of compositions, and the contributions of the Trinity—TyÄgarÄja, MuddusvÄmi DÄ«ká¹£ita, and ÅšyÄmÄ ÅšÄstri—are foundational to the tradition. The compositions of the trinity have influenced and inspired the next generation of composers. Among the 20th century composers, LÄlgudi G. JayarÄman stands out as a unique composer due to his multifaceted contributions as a violinist (both soloist and accompanist), teacher, composer and a tunesmith.
LÄlguá¸i G. JayarÄman is popular for his varṇa-s and tillÄna-s. He has composed 22 tÄna varṇa-s, 4 pada varṇa-s, and 36 tillÄna-s, in different rÄga-s. His compositions are popular in the KarnÄá¹aka classical music repertoire and in BharatanÄtÌ£ya performances. Characteristic of his style, subtle rhythmic intricacies are seamlessly woven into the melody in his composition. JayarÄman was the first in KarnÄtÌ£aka classical music to bring into violin playing the feature of ‘poruttam-s’. Poruttam, meaning appropriateness or alignment, refers to the melodic and aesthetic continuity between the ending of a svara passage and the beginning phrase of the melodic line. He has used the concept of poruttam-s in his varṇa-s and tillÄna-s, irrespective of the rÄga and tÄla.
The varṇa, as a compositional form, plays a crucial role in bridging the gap between abhyÄsa gÄna (music for practice) and sabhÄ gÄna (music for concert performance). Varṇa-s provide a comprehensive portrait of the rÄga by capturing the essence of the rÄga in terms of characteristic and viśēṣa prayÅga-s, making them invaluable in both pedagogy and performance. This paper aims to study, understand and analyse his style of implementing simple and intricate musical patterns in this compositional form.
           The study is based on published notations and select recordings available in the public domain. The methodology adopted is analytical and through a case-study approach. Select varnÌ£a-s of the composer are taken up for analysis. Theoretical descriptions of the rÄga-s are examined in relation to the features of the rÄga as seen in the selected varṇa-s. By examining the melodic structures, musical patterns and key phrases evident in these varṇa-s, the study sheds light on the composer’s innovative approach to employing musical patterns without compromising on the purity of the melody and aesthetics of the rÄga.Â
His varṇa-s, while adhering to the traditional frameworks of rÄga grammar, also exhibit his distinct creative genius, reflecting a deep understanding of both theoretical frameworks and aesthetic expression of the rÄga. The musical patterns underlying the compositions would be of immense help to the music students in developing their manÅdharma as well.
This study highlights the unique stylistic elements of LÄlguá¸i JayarÄman ’s varnÌ£a-s, demonstrating how his compositional approach bridges tradition and innovation. In doing so, it also emphasizes the need for further research into 20th-century composers who have contributed to the rich compositional heritage of KarnatÌ£aka music. |
| Author: Mr Ravindranath R
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Submitted on : 16-Sep-2025
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Arts : India/Music/Karnataka Classical Music |
| Journal ID : 1917-162-9968
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| Views: 77/ Downloads :0 |
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