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Madhyamakala and its many facets

KavyaVriksha
KavyaVriksha
Published in
17 min readJun 16, 2022

Kāla is one of the key Components of a tala and refers to time. Madhyama means medium or middle; for instance, Ma the madhyama svara(musical note) is in the middle of the seven svaras.

As we listen to the same raga Kambhoji across multiple genres and composers, we realize that its many contours are also being shaped by the speed and tempo(kalapramanam) of the song. In the songs(in italics) there are additional facets of Madhyamakala which we will explore further.

Same raga (Kambhoji), different tempos

Vilamba laya or Vilamba kala(slower speed/tempo)

Madhya laya or Madhyamakala (medium speed/tempo)

Multiple speeds

Same tala (Adi), different tempos

The following examples are from these two lecdems

Vilamba kala

Madhyamakala

Druta kala

  • Vara raga laya in raga Chenchukambhoji, tala Desadi, composed by Tyagaraja

Hindustani music, different tempos

Hindustani classical music has the same concept of the three speeds (Vilambit, Madhya and Drut) and the tempo is sometimes mentioned along with the raga

Madhyamakala — medium tempo

In this lecdem, Dr T S Satyavathi shares that in the 12th century text Manasollasa, the author King Someshwara elaborates on the aspects of music that are pleasing and one such feature is “music which is evenly flowing, neither slow nor hurried, which is essentially music in madhya laya (or madhyamakala)”

And this preference seems to have persisted, centuries later, in Carnatic music, since most of the musicians tend to sing most of the songs in madhya laya.

Songs in Madhyamakala

Tyagaraja has composed songs in all the three tempos including many songs in madhyamakala.

In Indian Classical music, these tempos (slow, fast and medium) are relative; while in Western Classical music, the composers specify the exact tempo (perhaps, because multiple instruments need to play together in an orchestra).

In this lecdem, R S Jayalakshmi shares many interesting facts about the landmark book, ‘Oriental Music in European Notation’ published in 1893, by Chinnaswami Mudaliyar :

  • The author has indicated that the source of the notation of the Tyagaraja songs are Walajahpet Krishnaswami Bhagavatar, a direct disciples of Tyagaraja
  • The book also includes a precise tempo for each of the songs (as is done in western classical music)

As R S Jayalakshmi indicates, this gives us a window into how the song would have been sung at that time. Thanks to the marvel of the digital age, we can access this book in the archives of the Music Research Library.

Let us look at some examples mentioned in this fascinating book which provides the tempo in ‘Count by Quavers’ (“eighth note, beats per minute”)

Source : Oriental Music in European Notation, by A M Chinnaswami Mudaliyar (Music Research Library)
Source : Oriental Music in European Notation, by A M Chinnaswami Mudaliyar (Music Research Library)
  • Amma ravamma (sung in madhyamakala, but not slower than Girirajasuta as indicated by Chinnaswami Mudaliyar’s book )
Source : Oriental Music in European Notation, by A M Chinnaswami Mudaliyar (Music Research Library)
  • Tempo given for Marubalka is 100 (lower than 160 for Giriraja suta and 144 for Amma ravamma) but this song has been sung briskly, in a much faster pace, for over a century.

We know that ragas have evolved across centuries; this unique book by Chinnaswami Mudaliyar helps us realize that the tempo of these songs has also evolved over time. This change in pace has happened to Dikshithar’s compositions too. Many of the songs that are set to Suladi Talas such as Khanda Ekam/Jhampa are being sung in Khanda Chapu while songs in Triputa/Misra Ekam are being sung in Misra Chapu; this changes the tempo of the song, that was perhaps meant to be sung in Vilamba Kala, to a faster Madhyamakala. And for Dikshithar’s songs, the authoritative source is the Sangita Sampradaya Pradarshini, authored by his grand-nephew Subbarama Dikshithar and Chinnaswami Mudaliyar was instrumental for its eventual publication too in 1904.

Thillanas in Madhyamakala

Thillanas are usually set to a faster pace. Here are some thillanas in the middle tempo of madhyamakala.

Madhyamakala (second higher speed)

In this context, there is an exact doubling of speed from the first speed. And this second speed (middle of the three speeds) is the Madhyamakala. And this concept applies from our beginning lessons of the Sarali Varisais to the complex trikalam done when singing the Ragam Tanam Pallavi.

Trikalam in Ragam Tanam Pallavi

  • Trikalam (4 Kalai Pallavi is in Vilamba kala, hence Trikalam progresses to higher speeds; also includes Tisram)
  • Trikalam (Pallavi is in Madhyamakala and so during Trikalam, the slower speed is sung, then the higher speed)

See Trikala in Ancient Texts and in Modern Practice, by N Ramanathan for more details on this topic

Tanam

In this lecdem, R Vedavalli explains that Tanam is also called Madhyamakala. Tanam is sung after the raga alapana and before the Pallavi, when presenting a Ragam Tanam Pallavi. A tanam is also sung sometimes before a kriti. And yes, the tanam’s tempo is in madhyamakala. The tala is not put explicitly for tanam and usually, there is no percussion accompaniment. Sometimes,(mostly in concerts in Kerala), there is percussion accompaniment.

Sikkil Gurucharan shares many interesting aspects of tanam:

See Tanam in Karnataka music, a study by Shivakami R.K for more details on this topic.

In this lecdem, R S Jayalakshmi illustrates several distinct musical phrasings that occur only in a tanam such as :

  • ‘janta svaras’ (double svaras such as ppd ppd pd …)
  • ‘dhatu svara combinations’ (jumps such as smgm spdp …)
  • ‘pratyagadha gamakas’ (snnd pdpm ..)

Tana Varnams owe their name to the fact that they have these specific patterns. Learning how to sing a tanam starts with analyzing these foundational tana varnams, and by converting their underlying musical notes and patterns into the tanam format.

Madhayamakala in Ragas

“the beauty of the raga emerges from laya and merges into laya.” — T S Sathyavathi in this lecdem

Raga Alapana

In her lecdem, R Vedavalli explains that kalapramanam(tempo) definitely matters during raga alapana (free form improvisation of a raga). The raga alapana usually starts in the slower speed and then, moves to faster speeds.

In his lecdem on Ragas, S Ramanathan demonstrates how allied ragas with similar svaras get their distinct identities based on the speed/duration of their svaras and oscillations; the same svaras are sung faster in Arabhi while being elongated and sung slower in the ragas Sama and Devagandhari. The madhyamakala svaras are a characteristic feature of Arabhi.

Gamaka

In this lecdem, K S Narayanaswamy deconstructs a gamaka(oscillation):

Raga Scale

Hindustani Raga Basant’s scale includes madhyamakala svaras as illustrated in this Sangeet Sarita episode.

Hindustani music has a unique type of raga called Jod raga which is essentially an amalgam of two ragas. It is not just the underlying notes, it is also the underlying laya of the raga that helps us identify the component ragas.

Madhyamakala in Kritis

There are two different facets, namely:

  • Madhyamakala Sangatis (musical phrasings with multiple variations for a single line of the song). This is a special characteristic of many of Tyagaraja‘s songs and employed by many other composers too.
  • Madhyamakala sahitya(lyrics): a subset of the lyrics and their underlying musical notes are in a faster speed. This distinctive feature occurs in almost all of the compositions of Muthuswami Dikshithar. This occurs in the songs of other composers too.

Let us explore each of these aspects in greater detail with the help of scholars.

Madhyamakala Sangatis

In this lecdem on the Structural differences in Aditala compositions, T S Sathyavathi explains that “the simple structure is made more complex by the sangatis; we can clearly observe that the sangatis are responsible for bringing out the differences in the structure; it is not just a progression of the raga, it is also making the layakiri(rhythmic intricacies) grow within the frame of adi tala.”

In MADHYAMAKĀLA FORMAT IN THE MELODIC STRUCTURE OF TYĀGARĀA KĪRTANAS, Kavitha Shivakami. R, shares the example of the popular kriti Daarini and its cascading sangatis (the madhyamakala phrases are in bold format in the notation below):

Source : MADHYAMAKĀLA FORMAT IN THE MELODIC STRUCTURE OF TYĀGARĀA KĪRTANAS by Kavitha Shivakami. R

We can see that these madhyamakala phrases in the sangatis have janta (double svaras) and dhatu(jumping) patterns; the same patterns highlighted by R S Jayalakshmi as being instrumental to a Tanam.

The same insight is shared by Kavitha Shivakami. R in this research paper : “What is unique in these madhyamakāla phrases? The extraction of these madhyamakāla phrases from such compositions provides the base material or the source to develop patterns in the rendition of the manōdharma form tāna. The stress, punctuation and accent employed accentuate the tāna effect in rendition.”

Madhyamakala sahitya

In this lecdem R S Jayalakshmi shares the following critical insight on manifestation of madhyamakala sahitya :

In 1-kalai kritis (1 beat per count of tala) with 2 syllables per beat, madhyamakala sahitya has double number of syllables, 4 syllables per beat; for example : Sri Nathadi Guru Guho, madhyamakala sahitya in the last 2 lines of the anupallavi and charanam

In 2-kalai kritis (2 beats per count of tala) with 4 syllables per beat, the madhyamakala sahitya still has 4 syllables. for example : Meenakshi Me Mudham, madhyamakala sahitya, in last 2 lines of the charanam, underlying musical notes are in second speed.

Madhyamakala sahitya in Muthuswami Dikshithar’s compositions

As stated earlier, Madhyamakala sahitya is a distinctive feature in Dikshithar’s compositions. As R S Jayalakshmi highlights in her lecdem, Dikshithar followed the Raganga raga framework; these do not have a linear scale like the melakartas; their contours make it far more complex to introduce madhyamakala sahitya especially in the rare ragas.

Madhyamakala sahitya in daru varnam

In her thesis on the Musical compositions of the Dikshithar family, Sumitra Vasudev points out how this motif is employed so skillfully even in his varnam, Nee Saati in raga Sriranjani, tala rupakam; “It is in Telugu and comprises of pallavi and anupallavi sections, and svara sahitya portion in vilambakala in the first segment and madhyamakala in the second.”

In her lecdem, R S Jayalakshmi shares various patterns of madhyama kala sahitya that Dikshithar has created, based upon her analysis of the over 200 songs in the Sangita Sampradaya Pradarshini. These insights are summarized below along with links to the specific songs that were highlighted. Some additional examples have also been included.

  • In his very first song, Sri Nathadi Guru Guho in raga Mayamalagowla, tala Adi, and there are three speeds in the underlying musical phrases in the very first line

Madhyamakala Sahitya in the sections of the kriti

A kriti has multiple sections, such as the pallavi, anupallavi, and charanam.

‘There are no songs where there is madhyamakala sahitya only in pallavi’[1]

All 3 sections

‘There are 14 songs found in the Sangita Sampradaya Pradarshini with madhyamakala sahitya in all 3 sections.’[1]

In anupallavi and charanam

Only in anupallavi

Only in charanam

Madhyamakala sahitya in tala Misra Ekam

R S Jayalakshmi points out there are two different patterns for songs in tala Misra Ekam that has 7 counts.

‘One following the tala, one syllable for each unit’ [1]

  • Akshaya linga vibho at daksha sikshana ( that also has a yamakam pattern (“repetition in the same stanza of words or syllables similar in sound but different in meaning”

‘7 syllables that double to 14 syllables’ [1]

These songs are mostly sung in Misra Chapu tala today.

In Perception of Tala in Karnataka Music, N Ramanathan explains the possible rationale : “The name Miśra-ēka would suggest an Ēka-tāla with a Miśra-jāti Laghu. But Subbarāma Dīkṣhithar explains its form in the context of notation thus –For the sections of miśrajāti ēka tāḷa, after sections of three and four syllabic units, one [vertical] line each is placed but in some contexts one line is placed after the entire seven syllabic units. In other words he is implying a ‘Cāpu’ or a Miśra-cāpu’ like tāla structure.”

Madhyamakala sahitya pattern in tala Khanda Ata

Khanda Ata has two khanda jathi laghu(5 units each) followed by two drutams(each 2 units) for a total of 14 units, split as 5

In Perception of Tala in Karnataka Music, N Ramanathan points out that in Kamalambikayai in this tala, the sahitya syllables are ‘distributed in a 3+2+2–3+2+2 pattern’; however, in the madhyamakala sections at the end of the anupallavi and charanam, they are distributed as 7+7.

Madhyamakala sahitya with yati pattern

Yati is one of the Components of a tala. In the Art and Science of Music, Vidya Shankar defines Yati as “Yatis are various rhythmic patterns ‘that occur in the words or svara passages of songs. Srotovaha Yati widens gradually like a river(pattern of words or rhythmic syllables increases) while Gopuchcha Yati tapers down like a cow’s tail(pattern of words or rhythmic syllables decreases).”

In the following songs, Dikshithar introduces madhyamakala sahitya in the yati pattern :

Madhyamakala sahitya in first line for just one or two words

Madhyamakala sahitya, starting with atheetha eduppu

  • Seshashalanayakam, raga Varali, tala Rupakam, madhyamala sahitya that starts with purandaradi where pu is at the end of the previous tala cycle and just before the start of the new cycle and this is called atheetha eduppu
  • Shri Matrubhutam, raga Kannada, madhyamakala sahitya that starts with suvasitanava where the su is at the end of the previous tala cycle; this atheetha eduppu will be clearer when sung in Misra Jati Eka tala rather than misra chapu in which it is being sung now
Atheetha eduppu for Madhyamakala Sahitya in Shri Matrubhutam in Misra Jati Eka Tala; source : Sangita Sampradaya Pradarshini

See Eduppu, the pivotal point where the lyrics commence in the tala cycle for more details about different kinds of eduppus.

Madhyamakala sahitya with Raga Mudra

As we are aware, Dikshithar incorporates the raga mudra (name of the raga) in his songs and sometimes, it is included as part of the madhyamakala sahitya.

Madhyamakala sahitya with tanam like patterns

Madhyamakala Sahityam in Narasimha agaccha Source : Sangita Sampradaya Pradarshini (English Transliteration)

Madhyamakala sahitya followed by chittasvara in madhyamakala

Madhyamakala sahitya in Ragamalika

Manodharmam for Madhyamakala sahitya

Neraval(improvisation of lines in the song)

Kalpana Svaras(improvisation based on the musical notes)

Madhayamakala Sahitya in Tyagaraja Kritis

In this lecdem on the Structure of Tyagaraja Kritis, R S Jayalakshmi shares examples of patterns of madhyamakala sahitya in Tyagaraja kritis.

Madhyamakala Sahitya in entire charanam

Madhyamakala sahitya in first line for just one word

Madhyamakala svara and sahitya in Pancharatnas

The Pancharatnas have madhyamakala svara and sahitya in their charanams. And the ragas that they are composed in, namely Nattai, Gaula, Arabhi, Varali and Shri are known as Ghana ragas, particularly suited for tanam.

Madhyamakala Sahitya in songs of Pre-Trinity Composers

Madhyamakala Sahitya was introduced into songs by pre-trinity composers :

  • Jaya jaya in raga Nattai, tala Khanda Chapu, composed by Purandaradasa, madhyamalakala sahitya (end of anupallavi and both charanams)
  • Inkadaya in raga Vegavahini, composed by Ramaswami Dikshithar (the father of Muthuswami Dikshithar) with madhyamakala sahitya in the charanam followed by svara sahitya; Sumithra Vasudev also shares this poignant anecdote associated with the creation of this song that the composer sang daily in prayer, for his son Chinnaswami Dikshithar’s eyesight to be restored.
  • Adi kondaar in raga Mayamalavagowla, tala Adi, composed by Muthuthandavar, madhyamakala sahitya in entire charanam
  • Kalyanarama in raga Hamsanadam, tala Adi, composed by Oothukadu Venkata Kavi where madhyamakala sahitya is introduced as is done in Harikatha by the repetition of words/syllables.

Madhyamakala Sahitya in songs of Post-Trinity Composers

  • Brihadamba in raga Sankarabaranam, tala Misra Jhampa, composed by Tanjore Ponniah Pillai and madhyamakala sahitya (which is also denoted in the notation)
Notation of Brihadamba in in the book Thanjai Peruvudayan Perisai, by K P Kittappa and K P Sivanandam

Madhyamakala Sahitya/Jathis in Thillanas

Percussion for Madhyamakala Sahitya

“The gait of a song has emotion, in addition to the raga bhava (melody/musical emotion), lyrical emotion and meaning” — Arun Prakash in this lecdem

In the explanation for the madhyamakala sahitya section in this song, T S Sathyavathi illustrates its underlying rhythmic pattern using Sollukattu(spoken rhythmic syllables) and clarifies that the the same pattern can be played on the mridangam by the percussionist :

  • Vanajaksha in raga Gambeeranata, tala Adi, composed by Mysore Sadashiva Rao

In multiple lecdems, Arun Prakash emphasizes the critical importance for the percussionist to learn the songs to fully understand the “compositional structural split of the lyric and melody and how it goes together.” And it is particularly important to “study the kriti” to be able to play the same underlying patterns in the madhyamakala sahitya in Dikshithar’s compositions. He adds that if it is an unknown song, the percussionist needs to understand the pattern, when the singer sings the line of the song for the first time and play it the second time.

Multiple examples with explanations on the percussion nuances based on the split of syllables in the song :

References

1. Lecdem — Madhyamakala in Dikshithar Compositions by R S Jayalakshmi and summary

2. Lecdem — Structure of Tyagaraja Kritis by R S Jayalakshmi

3. Lecdem — Layam in Tyagaraja Kritis by K S Kalidas

4. Music Research Library: The Art and Science of Carnatic Music by Vidya Shankar

5. Music Research Library: Trikala in Ancient Texts and in Modern Practice, by N Ramanathan

6. JMA 2002 — Layam in Musicological Perspective by S A K Durga

7. MADHYAMAKĀLA FORMAT IN THE MELODIC STRUCTURE OF TYĀGARĀJA KĪRTANAS by Kavitha Shivakami. R

8. Perception of Tala in Karnataka Music, by N Ramanathan

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KavyaVriksha
KavyaVriksha

Written by KavyaVriksha

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