In these days of 'Musical Renaissance' and 'Artistic Idealism" , Sangita (music roughly) like all other arts has become democratized - a Democratic Government having democratism in everything. No one need be reminded that the present condition of "Sangita" like all other arts is no doubt on progressive lines and is unconsciously or otherwise expanding to the very corners of the world. Expansion in fact is the life principle of any Art. But whether this expansion is in accordance with the fundamental tenets and the hoary traditions one must think over for a moment.

Recently a friend of mine put me a question "Sir, can you define the so-called Sampradya Sangeetha or High-Class Music? To me music in the first place must no doubt be pleasing to the ear! " He further quoted the well known verse: "sisurvetti pasurvetti vethi ganarasa"

To this I replied- "Dear Friend! Your authority is apparently sound. But I ask you another question in answer of your query. Does the snake or the cow or the child distinguish between a "Keertana" and a "Varna" or appreciate the elaboration of a "Raga"? Do you mean to say therefore that we are no better than a cow or a child?" Neverthless this momentary success over my friend did not give me a permanent satisfaction.

The term "Sampradaya Sangita" is not uncommon to the realm of South Indian Music. Like "Bhani", that is, individual style, this term has a mysterious background of associate ideas to the artists, patrons and rasikas. Its origin could be traced with almost perfect certainity to that art of music itself. Confining our attention more strictly to 'Carnatic' music, art music is at least 500 years old, assuming that before the time of Sri Purandaradasa, the Karnataka Sangita Pitamaha, "Sangita" as we understand had not much developed.

As far as Karnatic Music goes, Sampradaya Sangita means High Class Music satisfying the best of traditions. But the ideal has never been the practical and what has actually come to being is that the word "Sampradaya" has become more or less the fashionable watchword among the upholders of Art Renaissance. "Sastreeya Sangita" is another term employed at present though of recent origin.

The word "Sampradaya" by itself may be taken to mean "Orthodox Tradition" and our country is justly famous for its age-long traditions. There is a Sampradaya (accepted system) for all the things which are Indian in character - things relating to the highest philosophy and culture as well as to those of ordinary importance. In that sense India may be styled as a nation of "Sampradaya" and she has boldly maintained her inner spirit to this day inspite of innumerable vicissitudes due to her faith in age long traditions. Music is no exception and this Sampradaya has played a great part in its progress.

Sampradaya in Music, however, has a plural connotation. There is a Sampradaya from the initiation of a disciple right to the end of his Gurukulavasa (simultaneous stay and study at the residence of the Teacher). There is a distinct "Sampradaya" for the renderings of Karnatic Music and Hindustani - the twin sister of Bharata Varsha. There are besides different "Sampradaya" of singing, playing of instruments, swara kalpana, composition, kutcheri paddhati, musical celebrations and so on - characteristic of the different schools of musical thought and Guru-parampara. There are yet sampradhayas for rendering of compositions, stage presentation and Sangita bodhana. Thus "Sampradaya" as applied to music and allied arts comes to mean the well established and accepted mode of musical thinking and practice decided by the monumental contributions of the great master.

Sri Tyagaraja Swami, the saint of Thiruvayar (place near Tanjore) and the greatest authority of "Adhunika" Sangita was himself a staunch believer of Sampradaya. In his Arabhi Pancharatna in the third charana, he describes the Lord himself as Sangita Sampradayagadu, (Rangesudu sad ganga janagadu, sangita sampradayagadu - samayaniki). In the kriti "Vidulaku mrokkeda" in Mayamalavagowla, he gives an elaborate list of musical divinities of our country and pays homage to them. In his "Raga Pancharatna" , he gives a long list of Bhakthas as well as Nadopasakas like Prahlada, Narada, Thumburu and Anjaneya, and classes of Mahatmas. In the same composition, he includes among the various characteristics of the Mahanubhavas the power and knowledge to perceive the subtle nature of Swara, Raga, Laya and so on. Be it remembered that the great composer himself inaugurated that era of lyrical music for which his immense faith in the age-long tradition was responsible to a remarkable degree. The fact is that he knew fully well his indebtedness to his previous masters and took full advantage of the sound foundations they had already laid for his noble mission.

The term "Sangita" itself at this stage needs some consideration. Nobody at present thinks of the time-honoured three fold aspects - Githa, Vadya & Nritta. The present association of the term is only to vocal music! Githa, Vadya and Nritta are separate entities themselves. As such the original connotation is practically extinct in the popular circle though it is some times faintly hinted in the Academic Circles. Neverthless as artist will do well to have at least a working knowledge of the allied arts to make his own mastery perfect for the relationship of the time-honored "Taurya Trikka" is so intimate. They (Vadya & Nritta) have their own sampradayas.

Is Sampradaya static or dynamic? Does it do any improvement for the Art-Science of Music? Or is it a hinderance? What are the relative functions of sastra and sampradaya? And how are they related to each other? These and more are some of the knotty problems that confront a real aspirant of music.

Sangita-Music as we at present understand is predominantly an art though it has its scientific aspects as well. Hence Tyagaraja in his Mukhari composition "Sangita Sastra Gnanamu" says that the knowledge of sangita sastra leads to salvation. This should not be narrowly interpreted to mean the superiority of the sastra aspect alone; for, he refers to sangita in most of his own compositions as more of an art and upasana marga. To this could be cited a good many compositions like "Sangita Gnyanamu" in Dhanyasi and "Nadopasana" in Begada. The fact is that the sastra attepts to explain the art and both are inevitable parts of the whole; and the knowledge of the one naturally presupposes that of the other. Barring some of the fundamental conceptions of the 'Svara" Sangita sastra like Nada and Sruti, and their unchangeable relationships which are however universal, the main body of its depends upon the art side. This body as it is, comprises topics like Raga Lakshana, Thala Lakshana, musical forms, vadyas and so on. As such it has to adjust itself to the existent art form and expression. Thus the composer - Lakshanakara, Professor of Music, and the Vidwan form a "Trio" by themselves which of course will never be complete without the addition of the fourth aspect - the Rasika.

The relationship between the artiste (Composer and Vidwan) and the Rasika is one of paramount importance for the maintanence and progress for any school of art. This might seem to be a stubborn fact perhaps which cannot be denied; and when the ideal vidwan and composer are appreciated by ideal rasikas, the function of "Sastra" and "Sampradaya" are simultaneously fulfilled and if the existing sampradaya and sastra rightly fulfills this ideal, then they can be taken to be the right kind.
Thus the fulfillment of the above ideal is the real criterion of the right kind of sastra and sampradaya. And it should therefore be dynamic and never static. This should not however be misconstrued for elusiveness. Neverthless the student of music (the aspiring artists) will do well to think for himself with due regard to the directions of his preceptor and the established traditions. Developing in art is the golden key to unlock the subtleties of the Divine Art. My Master used to say "Who knows as to how Tyagaraja Swami sang this composition? Do you think that music is your grand-father's property? "

Perhaps this might be a forceful hit to those maintaining narrow notions about sampradaya. There are people even now believeing that only those who are born near the banks of Caveri and drank its sacred waters will be blessed with the rare knowledge of music. One cannot however underestimate the spiritual values of holy rivers and the power of association of great persons like, Tyagaraja. At the same time, too much of "Hanging" also is not advisable. In all such cases, the "Golden Mean" of Gitacharya (Krishna) may be safely adopted. One must thus be able to distinguish the husk from the corn. The spirit should be at any cost preserved intact. The forms must necessarily change, for stagnation approximates to death. My Master used to compare Sampradaya to a naturally beautiful woman, adoring herself with different sets of jewelries and silk garments for different occasions each time, the apparent form changing. This comparision he used to give in defence of the apparent freedom in his rendering of classical compositions. The modern musical standards are on the whole praiseworthy. The Music Sabhas, the Music Institutions and the systematized courses all these contribute not a little for the maintanence and propogation of high class music. The All India Radio no doubt plays an important part in this direction. The National Program (inclusive of Carnatic & Hindustani) is a recent and novel enterprise. The screening of the artists is the best precaution that could ever be thought of. And in all these one is naturally exhilarated. But a deeper consideration makes it apparent that the art of music is becoming more and more commercialized. More often than not, popularity and public applause set aside to the background of the real art. The "Depth" of art with its subtle suggestiveness and enormous possibilities of artistic expression has been miserably sacrificed for the comparatively shallow varieties which naturally cover a greater breadth. Let us all with all our miught aspire for the ideal art which is as broad as the skies and at the same time as deep as the deep waters containing, as it does, infinite varieties. The duty of the vidwan, therefore, is to whisper to his eager rasikas, the subtle realities of his highly developed faculty of unequalled 'Pratibha'. The duty of the rasikas is to make themselves fit for such a noble transmission, and lastly, the duty of our National Independent Government, is to see that the Artists and Rasikas mutually prosper and benefit by their transactions. That shall be the ideal realization of the "Kala Loka" - the ideal realization of Modern Bharatha Varsha.