For instance, Indian ragas are not merely scales. Ragas do not refer to just a series or pattern of notes. And I recently learned the debate over the theory of semitones (or quarter-tones) is considered irrelevant to many Indian musicians. Apparently, emphasis should not be on if there are truly 20 or 22 semitones in a scale; rather, Sruti, or micro-interval, denotes the smallest audible difference between one musical note and another (Pesch, Raga Dhana). According to this belief, there could be an infinite number of variances from note to note. The "answer" lies within the listener and his or her ability to perceive musical depth.
I find it noteworthy that 1st, the word ornamentation does not do Karnatic ornamentation (gamaka) justice. According to Ludwig Pesch, it is a misunderstanding for one to think that first a note exists, and then its embellishment comes. No, the embellishment it just as important as the "note"... here again it is almost silly to differentiate between the note and the embellishment because in a way, they are one and the same. I feel that Western music used to weigh the use of embellishments more heavily. Baroque music demanded the player to improv over a series of chords. Cadenzas used to be made in the moment; now there are standards that most musicians memorize and perform.
In my 1st lesson today, my teacher, Hari Ravikumar, explained to me the advantage to a group lesson with one or two other people. He said it would be quite boring and unmeaningful if I were to just constantly copy and play what he did. He said it would be better if there were other students to interact with musically: one would play a phrase, then I extend it, then I pass it to another, etc. After actually experiencing this in the lesson, I was converted. "Group" lesson to him is fortunately not the equivalent to most "group lessons" in the States, where most students do not get the undivided attention they need in order to progress.
I think there is something significant in emphasizing the relationship between the notes in Karnatic music. This is where the mystery is said to lie. The different emotions or energies provoked when two specific notes are played in succession cannot be theorized or standardized. Infinite number of Ragas exist, but now only 100 or so are played. Certain ragas are played for different times of days, different holidays, etc. A good musician is said to be able to play only a few notes and evoke the appropriate emotion of that specific raga. As well, a good listener will then be able to identify the raga. In the West we sometimes recognize different tensions between the notes, but unfortunately pedagogically I think we have failed; we overlook the ____ between the notes and _____ in general. Instead, we tend to focus on merely technique and the "emotion" that appeals to society. We think, this piece of music was so good because it made me feel happy, or it made me feel sad. We reduce music to bad grammar and a bed of tears (can you have a bed of tears???)
I am also reading The Book (On the Taboo Against Knowing Who You Are) by Allan Watts. I found it randomly at Blossom, this great used book store in Bangalore. He discusses the difference between Difference (Separation) and Differentiation. Often, we are too eager to say x is a separate substance from z. Us vs. Them. Good vs. Bad. (He got me on the "we're more tolerant than you" in reference to religion). Me: musical note vs. musical note... why do we tend to say these are the 8 notes in the scale, rather than, these are the 7 tensions within the scale and the notes are a result? Positive space vs. Negative space. Any visual artist knows that the negative is just as important as the positive. I remember at Westover having to do an assignment, only drawing negative space. It was so difficult, why? Because I had been trained to only see the positive. I also remember having a great artist teacher/friend Mrs. Shapiro who said there are no such things as lines. She was quite true in her statement. Lines do not exist, only the perception of lines. Same perhaps is true with musical notes? Isn't it such an uprooting thought- the possibility that notes are a deception? We've been focusing on only half of the true picture. Mr. Pikler (violin teacher at North Park) always stressed intervals. He said he understood intonation through intervals (between the notes) rather than just A goes here, put your finger on B here, etc. He stressed importance on actually hearing where that specific E went during that specific passage. To think that we have been missing out on 50%+ of music... and if in music, where else in our lives?
