Why the tambura and nagaswaram are crucial to Indian classical music?

The Music Academy’s inaugural lec-dem session highlighted varied facets of the nagaswaram and tambura

The first lec-dem session of The Music Academy’s 98th Conference and Concerts marked the return of a thematic focus after 49 years. This is curated by this year’s Sangita Kalanidhi designate T.M. Krishna. The theme, ‘Aesthetics and Synaesthetics: Reflections on Raga in Indian Art’, introduced an insightful session led by violinist  R.K. Shriramkumar and tambura-maker Udayakumar, exploring the instrument’s  history and importance. Shriramkumar began by explaining the tambura’s historical roots, tracing its lineage to West Asia. Early depictions of the tambura appear during Swami Haridas’ time, notably in a painting of Tansen playing the tanpura. This indispensable instrument of Indian classical music owes its significance to the fixation of ‘sa’ (the tonic note), establishing the adhara shruti as essential for defining ragas. 

Shriramkumar emphasised that playing and tuning the tambura is an art, distinct from an instrument such as the veena. Its nuanced harmonics and overtones create a resonant foundation for melody, far beyond the monotony of a typical drone. He noted that a perfectly tuned tambura produces overtones such as chatusruti rishabham on the panchamam string and antara gandharam on the mandhram string. 

Udayakumar elaborated on the tambura’s intricate craftsmanship, highlighting that its body is crafted from aged wood for optimal resonance, and its bridge, made of ebony, rosewood or camel bone, must have a precise curvature to ensure tonal quality. The jeeva thread, carefully placed on the bridge, enhances the tambura’s rich tonal resonance.

The tambura has long been cherished by legendary artistes such as  K.V. Narayanaswamy, M.S. Subbulakshmi and Kumar Gandharva, who maintained their instruments with great care. Shriramkumar shared anecdotes, including M.S. Subbulakshmi’s treasured Trivandrum tamburas, Lakshmi and Saraswathi, gifted by Semmangudi Srinivasa Iyer. These tamburas, where the images were carved into the wood, are now rare as the workshops that produced them no longer exist. He also recalled K.V. Narayanaswamy’s habit of tying extra threads to the bridai to avoid relying on jamakaalam (floor mat) threads in case the jeeva tore!

In the concluding remarks, the Academy’s expert committee, along with Krishna recommended making the tambura mandatory in concerts and classrooms to preserve its role in Indian classical music. Krishna also questioned why the Miraj tambura is not placed on the ground but on the lap in Carnatic  performances, as the gourd base resonates more when kept on the ground, unlike the Thanjavur tambura, which is made of wood. 

The second lec-dem session, titled ‘Raga Unlimited: Nadaswaram Bani,’ was presented by vidwans A. Vijay Karthikeyan and V. Prakash Ilayaraja. They began by highlighting the prominence of raga alapana over kritis in temple concerts. A clip of nagaswaram stalwart T.N. Rajaratnam Pillai’s Thodi showcased his unique style, starting with a plain shuddha gandharam before introducing the kampita, a notable deviation from the vocal approach. Vijay also highlighted the deliberate pauses or the nidhaanam between sangathis in Rajaratnam’s rendition. Another clip of vidwan Vedamurthy Pillai’s Varali demonstrated a seamless transition from thara sthayi gandharam to mandhra sthayi gandharam, a feat requiring exceptional breath control.

The role of the thavil in raga alapana was also discussed, particularly its synchronisation in maintaining kalapramanam. The vidwans shared an anecdote about vidwans Mani Pillai and Mamundiya Pillai, who famously continued playing a raga alapana even after the temple procession had completed four rounds. A performance of Saveri showcased extraordinary coordination, with the gandharam held for nearly 20 seconds in perfect unison. Prakash emphasised the challenge of synchrony between two nagaswaram players, where both their manobhavams (state of minds) must align.