SOUND PLAY
Known for its cosmic
sound
ANJANA RAJAN
Nagaswaram Type Wind
Made of Ebony (hollowed out of a single block of wood)
Mainstream Carnatic
Exponents
Namagiripettai Krishnan, T.N.Rajaratnam Pillai, Sheikh Chinna Maulana,
S.Kasim & S.Babu and Mahaboob Subhani & Kalleshabi.
The nagaswaram, known as a mangala vadya or
auspicious instrument, is one of the most important instruments of
Carnatic music, with an important social role besides its musical
functions.
Believed to be derived from the pungi used by snake charmers, its
name is literally translated as 'voice of the snake' or 'sound of the
snake.'
However, in terms of sheer volume and sustained tones, its sweetness
and its close association with temple rituals in South India, the
nagaswaram also merits the other name it is often known by,
'nadaswaram.' Nada is the word used for the Cosmic Sound.
It is also the musical term used for a pleasing or divine tone
produced by an instrument, more often an individual characteristic
developed by gifted instrumentalists. In both these contexts the
instrument fits the bill as a 'voice of nada.'
Traditional aspect
Traditionally played in South Indian temples, the nagaswaram is an
integral part of a marriage ceremony, much like the shehnai of North
India.
The nagaswaram is so important a part of the marriage rituals that,
ingrained in the popular imagination, it is useful in cinema
soundtracks, where a few notes of the instrument are enough to indicate
the marriage or impending union of the characters in the story. But
apart from its role in marriage ceremonies, the nagaswaram is a temple
instrument used in processions with the deity, temple festivals and
other ceremonial occasions.
The nagaswaram is a wooden, conical shaped instrument about two feet
or more in length. Its mouthpiece at the narrow end contains a double
reed.
The nagaswaram is mostly made of ebony, hollowed out of a single block of wood, though other materials are also sometimes used.
The instrument has 12 holes bored into it, of which seven are
playing holes and the other five, located on the lower side of the
instrument, are used to adjust the tuning by filling them with wax.
While there are three types of nagaswaram, namely the bari nayanam,
the thithi nayanam and the kurun kuzhal, today only the bari is widely
in use.
The thithi is sometimes used in temples. It is smaller in size than
the bari and has a metal bell-shaped attachment at its wider end.
The smallest and most rarely heard is the kurun kuzhal, which, at approximately 12 inches long, is almost akin to a flute.
The role of the kurun kuzhal in temple festivals was to provide a melodic base for the drums (chenda melam) to play.
The playing technique of the nagaswaram is complex and demanding, both intellectually and physically.
Half-and quarter-tones are produced by adjusting the blowing, which
is considered more strenuous than the fingering technique used in flute
playing.
Besides, there is the circular breathing technique to ensure a
continuous air flow into the instrument. This allows sustained notes,
and most certainly induces concentration akin to yogic meditation. The
player performs what would normally be considered a contradictory feat:
taking air into the lungs while simultaneously blowing air out through
the mouth into the mouthpiece.
Difficult technique
Nagaswaram players who achieved legendary fame in the past include
T.N.Rajaratnam Pillai and Sheikh Chinna Maulana. The nagaswaram does
not seem to be as popularly taken up as a concerti instrument today as,
say, the flute, the veena or the violin.
This may be because of its nature as an outdoor instrument that is
not easily adjusted to chamber concert conditions, or because of its
relatively difficult technique. It does continue to be heard, however,
in concert halls as well as in temples and on ceremonial occasions.
Descendents and disciples of Sheikh Chinna Moulana, such as S. Kasim
and S.Babu, and of Rajaratnam Pillai, such as Mahaboob Subhani and
Kaleeshabi who play duet concerts, have made a name for themselves in
this difficult field.
http://www.hindu.com/fr/2007/11/16/stories/2007111651350500. htm
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