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The Concept of Rasatatva and Presentation

Research · July 2017 DOI: 10.13140/RG.2.2.14877.61921

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The Concept of Rasatatva and Raga Presentation

M. K. Nawasalkar & R. K. Nawasalkar & Dr. Pt. N. Mangrulkar 1Research Scholar, S.G.B. Amravati University Amravati Arts, Commerce & Science College, Kiran Nagar Amravati (M.S.) India Abstract In the world of , when an artist enter the „Raga vishva‟, whatever the artist sense, is expressed through the art, and audience enjoy it through performance, which creates a „Resonating Bliss‟ is termed as the . Through Raga architecture and Raga Expansion, the achievement of extremity of Raga Sangeet is the ultimate aspire, and it is the brilliance testing point for an artist. Raga is a Thought, Emotion and Beauty. The combination of manifestation and aesthetics sense is a reward of superior presentation, and therefore the self (artist) and audiences releasement in the extreme flow of delight is the „Rasanubhava‟ for both , performer and listener. Keywords: Sthayee-bhava, Rasanubhuti, Emotions , Music, Bhava, Kakubheda.

1. Introduction Among the arts like Dance, Drama and Literature the imagination of Ras is assumed. The music is specially imposing art because it stimulate the sub conscious mind. “The point where words gets conclude exactly at a point starts „The Swara‟” as quoted by Gurudeva Rabindranath Tagaore. The basic intimate endeavor of art is to keep humans away from a objective elation and sorrow and is called as condition of „Rasanubhuti‟ (sensing the Rasa).

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2. Rasa Siddhanta In day to day life we regularly experience emotions like the pleasure and the sorrow. It affect us variably and these implications are nothing but emotions. These emotions are mentioned as Rasa in the sciences of art hence experiencing the Rasa is the aim of music. “Rasa is extremity of specific emotion of human conscience and the extreme try of that specific emotion is Rasa” is the opinion of „Shastrakara‟. On keen observation of these sentiment (The Bhavna), Nine major sentiments can found and it is the „Sthayee-bhava‟ (basic sentiments). These „Sthayee-bhava‟ transform into Rasa. Bharat Muni 600 BC. in his volume „Natya Shastra‟ elaborated eight Rasa with one addition as follows :-

1) Shrungara (Erotic) 2) Hasya (Comic) 3) Karuna(Tragic) 4) Roudra (Furious) 5) Veera (Heroic) 6) Bhayanaka (Terror) 7) Adbhuta (Wonder) 8) Shanta (Compassion) 9) Bibhatsa (Grotesque or Nausea) Though nine Rasa are assumed in regular practices still only four rasa‟s are assumed (valid) in music that are - Shrungara (Erotic), Veera (Heroic), Karuna(Tragic), Shanta (Compassion). Ancient pandit‟s elaborated the rasa‟s of seven notes.

Sa, Re - Roudra (Furious), Veera (Heroic), Adbhuta (Wonder) Dha - Bhayanaka (Terror) Ga, Ni - Karuna(Tragic) Ma, Pa - Hasya (Comic), Shrungara (Erotic)

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Though the „Shastrakara‟ have given the rasa‟s of each note still in fact the creation of rasa is not possible from a single note, but is created in combination with a supplementary note. Datta Marulkar in his book named “Ganasaraswatee” has worded thoughts of Kishori Amonkar – “Basically note is a medium for the expression of Bhava and the concept of raga has come in the need of creativity of Bhava”[1]. Factually music and literature are the sides of a same coin and their artistic architecture appear to be similar. Literature shares thoughts and music shares emotions. The notes are similar to alphabets. The combination of alphabets deliver a word likewise a group of notes creates a tune. A well arranged group of words forms a statement, this similarity is also found in music. During Bharat‟s period „Jaati‟ or „Marg Sangeet‟ is followed by „Deshi Sangeet‟, which remained for long time. In the process of evolution of Deshi Sangeet Rasa favorable Raga may have evolved. Sanskrit authors have defined raga as follows:

It means that a specific construct of sound garnished with a note which entertains common hoods, such a nicely garnished sound construct coined as Raga by scholars. While initiating the Raga an artist starts with “santha alapi”(a skill of presenting any note by a single alphabet “Aa” with a constant & slow speed ) and he meet the ends with appropriate notes with a specific and intense internal will, with arrangement of number of tunes the raga get developed. With numerous elements like tiny group of notes („Swara Samuaha‟), „Swara Sanhati‟, „‟ (Musical Ornaments), „Raga Purity‟, Kana (a particulate note), „Layakari‟ (Internal flowing element with specific constant speed), „Gamak prakara‟ a skill of attaining appropriate „Sama‟(first beat of Taala), Alpatava-Bahutva(short Length note- Long length note), placing of the Bandish (The Poem ), Designing the Tana (A particular design of notes ) a performer use it for presentation, during such applications artist has a challenge to its Musical brilliancy, Imagination and Presence of mind. At such concerts artist plays a role of both, The Composer & Performer. The Indian classical music sculptured with combination of number of components like - Thaata, Raga and Tala. Artist enjoys the creativity of art by viewing these elements artistically. This creativity uses the voice with “Swar Lagava”(initiating and placing a note).

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The manifestation is the presentation of „Shruti Yukta Swar Lagava‟ (initiating and placing a note with minute subordinate notes) with impregnated tunes. Rootedly in indian classical music each note is well bred and encircled with „Aasa‟ (an aura of a note) in such a way that a nonstop spring of musical beauty remains flowing. The vocal recital becomes very distinctive with reference to origination of Rasa with the help of „Kana‟, „Meend‟, „Gamak‟. During emotionally aesthetics presentation of music, Raga plays a vital role along with deep sense of „Bhava‟. Presence of bhava in raga creates manifestation of a specific arrangement of notes, and the appearance of talent of artist becomes pleasurable to the audience. If music is assumed as compulsorily spontaneous, then note appears to be self-drenched in bhava. When the bhava combines with rest of the notes, it results in highly elevated explained bhava, this creates a tune and with application of that tune results in the formation of high tides of joy in the minds of artist and the audience, giving a uncommon sculpture of creativity of rasa. Regarding the brilliance of artist “The divineness is the characteristics of the brilliance. The subject or the object touch by a brilliance get enlighten with divine and the observing person senses an unelectable pleasure”[3], as this is the aim of art, the musician must have genuine brilliance. Regarding the Indian classical concert, the concept of note design become most essential. When elements of note-design are complementary, it create a good impact on audience therefore in early stage of raga arrangement, attempt of placement of „Raga Chalan‟ (a fixed basic architecture of Raga) and note design through various tunes is noticeable. “unless and until two tunes are complementary to each other it is impossible to create a bridge between and it is impossible to originate „The Continuity‟[2]. the manifestation occurred through deep consideration of Khayala, its basic Laya, a Raga concept and a grammar can be assumed as a peak point of the presentation . With respect to rasa an artist considers one component i.e. emotion directing difference of notes, this is „Kakubheda‟ in music world. Though a single note is rendered repeatedly, still the performer make a micro change according to internal emotion, ultimately the difference moves forward in accordance with note and utterancial emotions and it senses diversity. It results into diverse experience of „Swaravinyasa‟ (a minute stop less touch to a note) and raga indicating group of notes (Raga Vachak Swara Samuha). From such principles of components it comes in lime light that more the view of performer is mental, emotional, faithful and spiritual more effective will be the art of elaboration of raga

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rasa. The utility of „Theka of Aaghata‟ play a vital role in increment of beauty with rest of the component as mention above. Various patterns of „Laya‟ like „The Aada‟, „The Kuaada‟, „The Beeada‟ come to the „Sama‟ with great elegance and become deeply complementary to the ultimate fruiting of Rasa, through which it become more joyful. For concreting the situation of production of rasa, a deep need of favour of „Vilambit Laya‟(a slow speed recurrence of the beat cycle) is essential. For clarifying the raga it will take more time for which a long frame of tala is needed and is option less. The bhava favour of raga along with rare raga in which combination of two or more raga‟s and elegant mixing of Bhava of more than one raga is made. Through this way number of raga bhava are used to join two different raga‟s of diverse bhava, for such kind of joining of raga‟s a clear boundary is necessary, it is only possible to draw the needed border line in „Vilambit Laya‟, so the need of Vilambit Laya in vocal music is a rasa favorable need. Though the performance of each artist for creation of bhava may or may not be alive example of manifestation and an intellectual, but the base of artist is pleasurable to both audience and performer. The pleasure accomplished with all components when get transformed into rasa creativity, then essentially with ascending order till last recurrence it attends the extremity of manifestation. A performer deeply dedicated, ascetic, „Thought – sprouted‟ with activity will result in a musical dawn and if it became rasa favorable, it will be a favorable experience of music. 3. Conclusion During the presentation, a performer views his silent senses coming into the sculpture and himself rewards the aliveness to it and enthrone those senses. It means that, when a singer tries to elaborate his experiences at the moment his efforts of arts come into manifestation. Briefly, it is the presentation of proper combination of „Art side‟ or „Bhava side‟ of music before the audience is the fundamental principle of presentation.

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References: 1) Marulkar, D. 2003. “Ganasaraswatee”, Shripad Prakashan 2) Haldankar, S. 2003. “Julu Pahanare Doan Tambore (Agra, Jaipur Gayki)”, Rageshree Sangeet Pratishthan. 3) Fadke N.S., Pratibha Sadhan.

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