Fusion of academic and technical adroitness with aesthetic splendour

An analysis on the performance of a musical genius:

Comparative ideology and vocal creativity

By Ranga CHANDRARATHNE

Sujatha Attanayake's seminal career in music could be analysed according to the theory of comparative ideology. Comparative ideology in creating art is the application of comparative theory by a creative artiste.

Apart from employing diverse techniques such as Gamak, Tan, Meend, and singing styles such as Khayal, Dhruvpad, Tarana and Dhamar that measure their conceptual and expressive values, the guiding philosophy of the ingenuity of Sujatha's artistry, is the application of comparative ideology.

In my previous article on Sujatha Attanayake entitled 'Peerless voice that carries into eternity' (http://www.sundayobserver.lk/2011/12/04/mon01.asp), appeared on December 4, 2011 in Montage, the Cultural Paradigm of The Sunday Observer, I have extensively dealt with diverse techniques Sujatha employs in singing.

One of the prominent characteristics of applying comparative ideology and vocal creativity is to distinguish one tradition of music, specific styles, and techniques from other traditions of music and their corresponding styles, by not blending them all together.

When Sujatha sings in Tamil, she does not hint of the slightest Sinhalese influence, and when she sings a song in the North Indian classical music tradition, she is not influenced by South Indian or the Carnatic tradition of music although she is an expert in both. In rendering her voice to songs such as Bolan podi Nangi Tikkak Hitapan which is based on Sinhala folk music, she deviates from all the major traditions of music, and represents the authentic Sri Lankan female folk voice.A successful creation can be made by maintaining or controlling the conceptual value and expressive value of diverse music sources, and using them comparatively to achieve the desired objectives.

This process would automatically happen in a highly talented creator or a musician. The efficacy of the process is dependent on the quantity and the quality of the creator's or musician's imaginative virtue or imaginative intelligence. The value of a creation would be determined by this psychological process and its nature. Manifestation of comparative ideology is a psychological process that leads to meaningful art.

The complex psychological process which is very much a conscious process, is also automatic when it comes to naturally talented singers such as Sujatha Attanayake. It is a combination of signals from the nervous system that help to produce intricate musical notes and interpretive decisions on whether to apply a particular technique in measuring up its comparative and expressive value, all this within seconds.

The identification of diverse visions behind different traditions of music is also helped in the employment of comparative ideology. I have mentioned in my previous article, “Sujatha excelled in diverse areas in music she ventured into, in general, and stands out as a singer in particular. Compared with versatile Indian classical singers in North Indian and South Indian Carnatic traditions, Sujatha is the only Sri Lankan singer with a tonal range of voice as wide as those of Indian classical singers’.

She has the best tutored voice among the Sri Lankan singers. For instance, Sujatha Attanayake can sing diverse notes on a three octave scale beginning on Concert C. (Lower Octave, Middle Octave and Higher Octave). She could sing up to eight notes on the Higher Octave on the Concert C. In the same manner, she could sing up to 5-6 notes on the Lower Octave on Concert C.”

Vision of diverse music traditions are different as well as their defining characters. For instance, in North Indian Classical Music, the hallmark of the tradition is the enormous freedom enjoyed by the creative performer. The rudimentary building blocks of the tradition are Ragaas with much room for improvisation.

A prominent characteristic of North Indian Classical Music is the Monophonic Melodic Line. In a composition, music would gradually reach its zenith generating excitement, emotions and deep musical perceptions.

Malodic Line

A prominent characteristic of South Indian music or Carnatic music, is its compositions take on a more definite form, and the vision of South Indian music is built up on originality and definite and strict static concepts. The vision of Western classical music is largely based on the twin pillars of harmony and counterpoint holding up a melodic motif.

Comparative ideology in creations

It is obvious that a musician’s or creator’s music perceptions and the very idea for a creation emerges out of comparative ideology measuring up diverse musical motifs from diverse sources of music to suit the creation.

The comparative ideology will help musician to achieve his creative objectives in a successful manner. Among the factors that determines the quality and degree to which the comparative ideology is applied, are a musician’s knowledge, experience, and the understanding of ethno music and semi organised musical traditions.

The manifestation or non manifestation of music sources in a work of art made through imaginative virtue or imaginative intelligence is also vital.

Sujatha Attanayake, who is Sri Lanka's first ever female film music director/composer, stands out as an object lesson for a gifted musician who applies comparative ideology in directing and composing music.

Comparative ideology in applied music

In applied music, the successful application of comparative ideology depends on the above factors, and the success of a musical creation would depend on its application to achieve creative objectives. Naturally, the creator would endeavor to make the work as meaningful as possible.

In actuality, what the listeners would experience as creative or applied music is the musician’s vision on comparative ideology. Comparative ideology is born out of music perceptions on the part of the musician or creator.

The nature of the creator’s comparative ideology is determined on many factors such as the creator’s place of birth, the environment in which he or she is raised in, music education, cultural character, attitudes, perception of culture, knowledge and attitude towards foreign systems of music.

Sujatha Attanayake’s music perception is made up from the influence of diverse traditions of music and geographical zones (For a long period of time Sujatha lived in the United States). Since she has mastered major music traditions such as North Indian classical music and South Indian classical music, her comparative ideology is extremely rich.

For instance, the song Chanchala Nupura kinkini jaale in the film Hithaka pipunu mal (she sang the same song in Tamil, Vennil olikkum Iyarkain Naadam, in the same movie), songs in the Indian movie Wasawadatta which is dubbed in Sinhala, and in her duet ‘Kottakelingei Thambala Kannata Dunna’ which she sang with Dr.Victor Ratnayake, she mimics the voice motifs of a Tamil girl singing the song in Carnatic tradition.

Significantly, the Carnatic tradition of music is entirely different to Hindustani tradition and in fact, there are few singers who had mastered both traditions.

Mastery of traditions which are on the extreme end of the spectrum can be explained in terms of application of comparative ideology in creative domain with vocal creativity. Vocal creativity is a salient attribute of Sujatha Attanayake.

It is due to her sheer vocal creativity that she is able to sing songs in diverse traditions of music and such a different array of languages such as Sinhala, Tamil, Hindi, Nepali, Marati, Urdu and Bengali.

Pure notes

Her ability to produce pure notes can be described in terms of Imaginative Music or Manodharma Sangeet. As in the case of comparative ideology, music perceptions are born in the mind and would convert into signals in the nervous system that would reproduce such music through vocal codes.

It is through a complex psychological and physical process that Sujatha generates intricate notes. Her unique vocal code which can produce intricate microtonal intervals effortlessly is complemented by her knowledge and practice. For instance, in the song, ‘Kottakelingei Thambala Kannata Dunna’ the Tamil-texture of her voice is not generated through the mispronunciation of Sinhalese words but through finer features of Carnatic music.

She pronounced Sinhalese words perfectly yet with a Tamil texture generated by the Carnatic music motifs. Another fact which facilitates her singing in Carnatic tradition is her mastery of several languages such as Hindi, Tamil, Nepali, Marati, Urdu and Bengali.

Sujatha Attanayake and comparative ideology

The conceptual value and expressive value of a system of music is determined on Notes, Rhythmic cycles, Rhythm and Music compositions.

A significant aspect of Sujtha Attanayake’s singing is that she has established conceptual value and expressive value in her singing due to her mastery of major traditions of music such as North Indian and South Indian music and one can observe that how she apply comparative ideology in rendering her voice to songs.

In other words, when she sings, her voice generates appropriate notes through a complex psychological process which involves the application of comparative ideology. Although one may be cynical about such a process ever happen in singing, it is very much applicable to Sujatha’s singing as she would naturally apply her vast knowledge, practice and experience in rendering her voice.

However, these concepts such as conceptual value and expressive value and the comparative ideology can be applicable to only a very few vocalists in Sri Lanka. Sujatha Attanayake’s career in music is an example for the application of comparative ideology in diverse domains.

Her contribution to Sinhala culture

Prof. Wimal Dissanayke writing on her contribution to the Sri Lankan popular culture states, “ Like Dr. Amaradeva before her, Attanayake was keen to create a popular tradition of music that combined the essence of all three – folk, classical and popular - while not falling victim to the trivialities, debasements and vulgarisations of taste associated with popular mass musical culture.

In other words she was able to draw on the riches of the classical and folk traditions while taking advantage of the resources made available by popular mass culture.

When we examine Sujatha Attanayake’s songs and musical compositions this fact becomes evident. It is her considered judgment that we do not have the luxury of retreating into a golden past, and insulate ourselves from all Western influences.

That is not a realistic option. Instead, what she advocates is a realistic and forward-looking blending of the classical, folk and popular traditions so as to create a vibrant Sinhala musical culture that appeals to the people at large while not yielding to crass commercialism and the concomitant vulgarisation of musical sensibility.”

One of the major areas Sujatha contributed to enrich popular music culture is film music. She is an outstanding playback singer. Her songs have immortalised those films, capturing the imagination of the viewers.

For instance, the theme song of the film Parasatumal, Paraunua Malwala Suwanda Atheethe has not only became an all-time hit but also became a part of the musical legacy of the nation.Beginning with her first ever playback song which she sang for S.M. Nayagam’s film Sohoyuro in 1956, she rendered her voice to over 350 playback songs. She became the first Sri Lankan woman director of music when she directed music for the film Hariyata Hari.

Even in her playback singing, one can apply the theory of Imaginative Music (Manodharma Sangeet). One of the facts that made her playback singing an integral part of a film, was her ability to render the movie its defining character. A great number of her songs went on to become all time favourites, not all that surprising, as her unique voice and musical intelligence stirred the heart strings of the nation.

*********************

[Jeewana Wila Meda concert]

Sujatha Attanayake, Sri Lankan singer with the widest tonal range and who can sing in more than five languages including Hindi and Tamil will hold a solo concert after 20 years. Jeewana Wila Meda will be held at the Nelum Pokuna, Mahinda Rajapaksa Performing Arts Theatre on May 18 at 6.30 p.m.Munchee is the sole sponsor of the concert.

***********************