The Voice of Music

What is the role of a voice? Is it a vehicle that carries the melody, the instrument that drives the song, the distinctive character that gives identity or the intangible that adds an important layer of emotion? What makes certain voices stand out, even if they are not texturally pleasing or tonally resonant?

Does a very melodious and pleasing voice, though incapable of producing certain nuances essential for the music, rank higher than one that has a slight nasal twang or a crack in the timber, but capable of producing the necessary elements that form the core of the music itself? The nuances of a voice and its multiple interpretations are very genre specific. Any voice that is pleasant to the ears, pleasing in tone and robust in nature doesn’t necessarily qualify for music. What makes a voice special, more than its tonality and melody, is its music.

There are many misconceptions in our understanding as to what qualifies as a good voice. There are also very interesting ironies that exist. Our understanding of a voice is so strongly driven by the music, that often, great voices are interchangeably attributed to great musicians with average voices, because of their superior musicality. Striking a balance between both, where the singer understands the complexity of his voice and his strengths as a musician, is where the challenge lies. Open throated singing is also sometimes wrongly attributed to those with loud voices. There are times when this excessive volume sacrifices the beauty of music. The subtlety of a Ramnad Krishnan singing a restrained, yet powerful rishaba in the top octave while exploring Bhairavi, is aesthetically as important as Brindamma's hauntingly nuanced raga delineations which are more driven by free flowing musicality, rather than pointless open throated exercises.

We constantly hear declarations from the assumed aficionados and even experienced music listeners that Karnatic musicians practice poor voice culture and do not pay enough attention on improving their voice quality. Keeping the voice in shape means to maintain good voice health, to understand what diet and exercise works for each voice, and to practice good voice culture. Voice culture is deeply ingrained in this system of teaching, beginning from sarali varisai. A student's voice starts taking shape from the first class, when the first note is taught. Finer aspects of how to use the voice, where to use syllables and where to take pauses for breaths, are so beautifully and naturally positioned in the alankaras, gitas and varnas, that it becomes a part of the subconscious of every student. These tools also help serious musicians to maintain and strengthen their voices over the years. Being a genre that is strongly driven by the usage of gamaka, roughly understood as an oscillation of a note, there are innate challenges that come along with it. The subtlety of plain notes is used as a contrast and adds value only as an occasional participant between these gamaka oriented notes, depending on context and usage. The concept of gamaka is introduced very carefully during the formative years of a music student, who gains comprehension of its nuance over time. The voice is moulded with this specificity towards gamaka, to create music that is true to this genre. Voice culture is not a two month course that magically transforms your voice; it is a continuous process that needs rigorous work. While seeking alternative methods of voice culture is fashionable, it is important to note that each genre requires a particular method of voice training that patiently sculpts a voice, groomed and shaped in a specific fashion, to suit that particular genre of music. Seeking voice experts from alternative musical genres and coaching your voice under a different atmosphere and then adapting that training to a completely different form of music that requires an entirely different understanding of vocalisation, might not necessarily be the right choice.

Musicians who effectively used their voice to communicate their musical values through genuine human layering, have always had a lasting impression with listeners. When we think of great voices in this genre, there are a few widely accepted names that include MSS, Voleti, KVN, Maharajapuram Santhanam, among others. But, weren't the voices of Madurai Mani Iyer, Ramnad Krishnan, T Brinda, MD Ramanathan, and Semmangudi equally special, even though they don't fit the criteria of being a conventionally melodious voice? What made them so distinct?

In experiential terms, do we want to listen to mundane music from a crystal clear voice or passionate music from a recalcitrant voice? I can't think of anyone who can pour their heart out with more passion than Semmangudi mama, while exploring a raga like Kharaharapriya or excel at shruti shuddham like a Madurai Mani Iyer, whether he is adventurous with a Kapinarayani or singing the traditional Kambojhi. MDR's interpretations were solely his own, stunningly adapted to suit his baritone voice, while DKJ's intrinsic struggle in his voice added an unimaginable layer of emotion and modulation that made even the seemingly simple songs like Mahadeva Shiva Shambo and Gangadgishvaram stand out. RK Shrikantan and Nedunuri Krishnamurthy are two of the most prolific examples of people who maintained their distinctively quirky voices till their very end. TV Sankaranarayanan and Dr. Balamuralikrishna are modern day instances of longevity, who continue to demonstrate top notch voice quality, painstakingly preserved through the years.

The voice and the music are manifestations of human expression. This deeper layer of comprehension gives us the complete picture of what a voice can be. When musicians find their inner voice, they find their expression of music. To appreciate this freedom of creative expression is to capture the idea of the voice. Every artiste has a unique voice and a distinctive style that suits their musical values. To understand both of these independently, and to be able to bring these two together in a seamless manner, is where the intellect of the musician makes a difference. To recognise that the music and the voice do not exist independent of each other is to know that the beauty of music is in the emotion of the melody, which is transported by the voice. Without honest music from the heart, what chance does a good voice stand? Originally written as part of my column titled ‘Unheard Melodies’ for Bangalore based Performing Art Magazine – Saamagaana, The First Melody