Hello Ram gaaru:
Thanks for your thoughtful response. I try to answer a couple of critical
points/questions.
(Mostly deleted.)
>More over, BAva/mood comes prior to the svaras/words. So emotion is the
>first step before some words are uttered or svaras are generated. Depending
>on the mood, the flow almost always takes the path of a good tune(in the
>suitable rAga) and then the words follow. There could be some situations
^^^^
This should be 'rythm', not necessarily a 'raaga' (I explain the difference).
>where the words come out prior to tune but even in those situations, those
>words have a rhythm and rhyme associated with them. Whenever a poet comes
>out with a poem there is almost always an inherent tune apart from the
>Candassu. What do you think is the source of it ?? (I believe it is the basic
>emotion/BAva.)
Agreed. bhaava comes first and then the words according to the 'rythm'.
There are two 'rythms' here. (I didn't go for the details in my earlier
post for the length of it.) The structure of a poem based on chandassu (in
jaati vRttaas) has mostly 4 maatraaa gaNaas as the unit, which forms its
own structural 'rythm'. In music, especially in Carnatic music, the minimum
set of 'svaraas' to form a 'raaga' is 5 (aUDava: aUDava 5 and 5 svaraas in
aarOhaNa and avarOhaNa). If one considers one 'svara' is at least
equivalent to one maatra in terms of sound value, I feel, a 5-maatra based
'raaga' can't direct the structural formation of a '4 matatraa based poem.
At the best, the 'raaga' (any raaga of choice/suitablity) can aid the poem
to render, only after it has been formed on its 'own structural basis'. So,
the structure of telugu poetry 'gaNaas' are on a much more minute scale
compared with that of the musical 'raaga'. So, my guess is a musical
'raaga' doesn't control the structural formation of a poem, but can aid it
once it is formed based on the bhaava/suitability. In case a of a very good
'vaaggEyakaara', all these things happen together in no time, making it
tough/unnecessary to assess which is controlling what.
So, the 'intrinsic poetic rythm' (not raaga, as you said above) is the one
that controls the choice of words according to the bhaava/mood while
writing poetry. This is also rythmic, but not the 'music' what people are
referring to i.e., 'raaga-oriented' music.
This reminds me of a question of my friend. 'padyaanni caduvutaara,
paaDataara?' It can be both read out or sung out. In the former, it is
based on the intrinsic rythm of poetic structure; whereas in the latter, it
is applied with additional 'musical' rythm (raaga). This is best visualized
in a 'danDakam'. It can be just read out in a very rythmic way without any
application of musical 'raaga'. It still sounds musical. This is because of
its structural 'rythm', not 'music' based rythm of a 'raaga'.
>Another point is that a rAga does not only comprise the ArOhaNa nad avarOhaNa
>but also the gamakamulu and the svaralakshaNamulu. But Candassu has no
>variations like this.
This is taken care of by 'telugu' language , because its words end with
'owels', which are very suitable for any 'gamakaas'.
With regards,
Prabhakar Vissavajjhala