In Conversation with Jyoti Hegde
There is a story about Panini, the legendary grammarian who formalized the grammar for Sanskrit language.
Panini, in a deep meditative state (Samadhi), had a vision of Lord Shiva. Shiva appeared before Panini and played 14 sounds on his hand-drum, Damroo.
Panini noted down the 14 sounds as sets of certain letters of the Sanskrit alphabet.
In effect, these 14 sounds provided a way to classify the whole of the Sanskrit alphabet in 14 sets of randomly selected letters. In retrospect, it turned out to be an iconic accomplishment.
Panini used these 14 sets of letters as the first ever “look-up table.”
This massively simplified his articulation of the rules of grammar. He could codify even complex grammar rules with a simple look-up table rule on the lines of—‘operation A performed on set X gives set Y’—which essentially means that the operation A executed on any member of set X transforms it to the corresponding member of set Y.
Till today, linguistics and computer scientists still wonder: how did Panini come up with this arrangement of 14 sets, which made hundreds of rules of Sanskrit grammar simple and lucid?
This narrative explains two important points.
The Mystique of Genius
Genius has always been a mysterious, almost mystical phenomenon.
How could an individual compute, deduce, analyse, or create stuff instantaneously which others struggle to even make sense of?
How could someone see in precise detail what others cannot even sense an existence of?
Indian thought has always perceived genius as an inspiration from the divine.
Similar views are expressed in other ancient cultures as well. The movie Amadeus portrays the arch-rival of Mozart experiencing a melt-down when he sees the notes of Mozart’s composition. He describes it as an act of taking dictation from the divine.
Super-intelligence as a divine gift is what has kept Indian geniuses across all ages very grounded. They do not showcase their skills as an arrogant display of individual superiority, but express profound gratitude for the divine gift in the form of a genius skill. The flow of genius through a human mind is regarded as the flow of the divine consciousness and is treated with utmost sanctity.
The lore of Shiva appearing before Panini and playing those 14 sets of sounds on his drum could well be a metaphor for an intuitive flash of insight that Panini received during deep contemplation. For sure, it was, like all genius creations, a flash of brilliance that transcends all rational explanation.
The Fine Art of Abstraction
The other significant aspect of this narrative is India’s fascination with Abstraction. Sanskrit Grammar is one of the finest examples of abstraction. Millennia ago, Sanskrit grammarians had created a grammatical framework that baffles current day linguistics and computer scientists with its precision and unambiguity.
This was only one of the reflections of the Indian sages’ compelling desire to find the common, generalized threads across all bodies of knowledge. They analysed and synthesized ad infinitum and were able to distil insights into structures and frameworks that could help bring excellence to every aspect of life.
Everything that most of the world would consider as a law, a rule, or a commandment was a framework in the Indian spiritual thought, which if pursued, would lead to an experience of brilliance. This held true even for subjective phenomena like art and entertainment.
Most of these works of abstraction are instances of genius minds in action, and demonstrate insights beyond rational explanation. There is no wonder that most of these works are regarded as creations of divine inspiration and involve Shiva or other gods and goddesses in the process of their creation.
Welcome to Indian classical music – the fascinating universe of Ragas, the amazing world of genius, divine inspiration, and a scintillating example of abstraction.
The mystical world of Ragas
Raga is a concept unique to Indian classical music. Since it does not have parallels in any other form of music, it can at best be described as a framework for improvisation of music.
Raga is far more complex than ‘scales.’ Even the concept of ‘scales’ in Indian classical music, called ‘Thaats,’ is quite intricate. Indian classical music has 10 well-defined scales in an octave. The modern scholars put this number at 32.
On the other spectrum, a Raga, though far more than a scale, is far lesser than a tune.
A raga is a set of 4, 5, or 6 notes and semi-notes, along with other structural nuances. These include identification of primary, secondary, tertiary, or prohibited notes of a Raga, the most commonly used ‘music phrases’ of the Raga, or the signature phrase that identifies the Raga, distinguishing it from other Ragas that use the same notes.
In essence, a raga is defined more by its ‘personality’ rather than the notes it is made up of.
It sets the boundaries of what a musician could and should do. A musician performing a certain raga has to stay within those limits.
As long as he remains within the confines of a Raga, he could do anything his creative impulses get him to do, and he would create a compelling melodic composition.
So, ragas serve two-fold purposes –
- they restrict the movement of a musical composition, but
- they ensure an unlimited flight of creativity.
There are thousands of ragas. A maestro at Indian classical music is conversant with at least a few hundreds of them. A raga could lend to thousands of tunes of different genre, tempo, rhythm, mood, and emotion.
This allows even a learner to be able to improvise, compose, and innovate even at the most primitive stages of learning.
Just as Indian spirituality emphasizes exploring and discovering your own path, Indian Classical Music, which is a complete spiritual path in itself, embodies the same spirit of encouraging the learner to find his own music and own voice, by providing Ragas as the guiding framework.
The Consciousness of Notes
The tradition of Indian Classical Musical considers each note as a conscious entity.
Notes are considered to have a consciousness of their own and hence are dealt with utmost sacredness, sanctity, and devotion. Perfection of each note is the first requirement for a classical musician. Being out of tune is equivalent to betraying the divine consciousness embodied in each note.
A musician can find and express great depth and joy in prolonging just one single note. An adept can bring alive one note with immense life, variations, versatility, moods, and emotions.
An Indian classical musician does not treat notes as mere building blocks of a tune. Each note is regarded as having a persona its own. The artist isn’t in a rush to scrape through the notes to render a catchy tune. The artist proceeds note by note, giving each note its due regard, pause, and emphasis, one note giving way to the next one and the next. The audience can feel the impact of each note reverberating through his consciousness and making a lasting imprint.
Every additional note builds upon the vibrations reminiscent of the previous note.
Thus, a composition in Indian classical music represents a whole without losing sight of the parts.
The deep treatment of every note creates a sense of stillness in the midst of all movement. While the focus is on the tune, you do not rush to it, but arrive at it by savouring the deliciousness of every bite.
That is what imbues Indian classical music with its mystical powers of alchemy and transformation.
The Fascinating World of Veena
Veena is considered as one of the earliest musical instruments, and as the source of the creation of all other musical instruments in the tradition of Indian Classical Music. It has immense significance not only as a deep and intriguing musical instrument, but is recognizable as a prized possession of many gods, goddesses, and saints, and is symbolic of art, learning, intelligence, creativity, devotion, and a host of other sublime emotions.
The story of the origins of Veena is an ethereal one. It is said that Shiva created Veena, inspired by the form of his consort, Shakti, as a tribute to her curvaceous physique. Shiva mastered the art of playing the Veena, and then taught the art to the goddess of learning, Saraswati, who then taught it to Narada, the greatest devotee in the Indian tradition.
Such narratives can be looked at as metaphorical illustrations. For example, this story about the origins of Veena represents the acknowledgement of vibrations in the form of music as a means to attune to the Divine Consciousness, and as an instrument of devotion.
Music has always been sacred in the Indian spiritual tradition, not just for religious content, but for the embodiment of Sound as a way to resonate with Pure Consciousness.
There are various types of Veena, the three primary ones being Saraswati Veena, Vichitra Veena, and Rudra Veena. They differ in their structure, sound, playing styles, etc.
The Enchanting Resonance of Rudra Veena
Rudra Veena stands out with its distinct appearance and a deep bass resonance sound.
The form of Rudra Veena is extremely elegant and aesthetic. Creating a Rudra Veena is a fine art in itself. The Rudra Veena flaunts its tubular body and the two imposing resonators that are made of catabalash gourds and hand-crafted by artisans into beautiful nearly spherical shapes attached to the tube. It does take a huge amount of artistry to turn a perishable vegetable into the soul of a soulful instrument.
The Rudra Veena has 21 to 24 movable frets made of brass plates. These are adjustable to match the microtones of a raga.
The Rudra Veena has strings of various kinds and serve different purposes. Apart from the 4 main melodic strings, there are strings that allow the musician to play rhythm. Additionally, it has a drone string. The strings are pliable. By bending the strings, the veena player can create a sustained tone on a given note and even bend the microtones of the note to create a variation. This also allows the musician to stay on a note for a prolonged time without being monotonous, adding embellishments and adornments of a pulsating note.
It has a playing style that is very demanding on the body. It is held in an inclined position with one of the resonators at the top and another placed on the thigh of the Veena player.
The genius of Jyoti Hegde
In this write-up, we explore the world of Rudra Veena with one of its greatest contemporary exponents, Vidushi Jyoti Hegde. Vidushi is a honorific conferred to the greatest female icons of Indian Classical Music. Jyoti Hegde is the first female exponent of this grandiose instrument.
Jyoti Hegde had been learning the musical instrument Sitar for years. One day she watched her guru, Sri Bindu Madhav Pathak, play Rudra Veena in a college event. The profound resonance of the Rudra Veena stirred something deep within her, igniting a desire for its mastery in her heart. Hooked by the sound, she passionately persuaded her guru to teach her Rudra Veena.
She faced immense resistance from her loved ones, including her guru, regarding her decision to learn Rudra Veena. This gigantic instrument, because of its size and shape, and the style in which it is held, was physically demanding, and was considered unsuitable and harmful for a female body.
She persisted in her decision to pursue Rudra Veena and after a sustained resistance, her guru gave in and her fascinating journey with this mystical instrument got started.
The artists who pursue any classical art form in India do so almost with the dedication and rigor of a reclusive monk following a spiritual discipline. This rigor, the years of dedicated learning and practice, and the spark of genius all show up phenomenally every time Jyoti performs.
Besides, like the true spirit of the tradition of Indian geniuses, she is extremely grounded. She takes great pleasure in working in her areca-nut farm, taking care of cattle, dogs, and cats and is involved in many activities that reflect her deep connection with the nature and the earth.
Here is a performance video of hers that portrays the deep sound of Rudra Veena as well her immersive consciousness as she plays on her revered instrument. You can observe the deep resonant sound of Rudra Veena, the plucking style including the rhythm, the bending of strings to prolong a note, and many other finer aspects of Rudra Veena:
NS: The Veena has many connotations in Indian spirituality. Many goddesses and saintly figures carry Veena and are known to be stalwarts in the art of playing Veena.
What does Veena mean to you?
JH: Veena, in its technical sense, covers all chordophones native to the Indian subcontinent.
Among these instruments, Rudra Veena holds a profound significance. Regarded as the ancestor of all Indian chordophones, it carries a special title.
For me, my instrument isn’t merely a tool for showcasing my artistry; it represents my entire being. It speaks for me.
My connection with the Rudra Veena began with a love at first sound. At the age of 18, its deep resonance resonated with my soul, even before I fully understood its spiritual essence.
I picked up the instrument because I just fell in love with it and decided to learn it regardless. My goal was never to carve out a niche in my field or to become the first female Rudra Veena master. At that time, I was too young to contemplate the future or aspire to excel. My focus was solely on my passion for the instrument, and it rewarded me abundantly.
The beauty of the Rudra Veena lies in its representation of both nature and human creativity. Its gourds, harvested from the farms, are transformed by human hands into resonators capable of producing heavenly melodies. Since the day I committed myself to the Rudra Veena, there has been no turning back. My life feels incomplete without it.
It’s not just an instrument; it’s my partner in life. I firmly believe that when you wholeheartedly embrace your instrument, treating it as a companion, it responds in kind. If you confine your instrument to mere practice sessions, your music will likewise be confined. Embrace it fully, and it will open up endless avenues for creating music of your own.
NS: There are many types of Veena. What is special about your instrument, Rudra Veena?
JH: Veena has many types, each with its own unique characteristics. Among them are Rudra Veena, Saraswati Veena, and Vichitra Veena. Each type of veena possesses distinct qualities, with Rudra Veena standing out for its exceptional tonal quality and profound resonance. Unlike other instruments, Rudra Veena is intimately connected to the player’s body, with its resonance traveling through the body in what I personally experience Naad-yog. Its sound captivates us, with each note cherished and revered.
The tonal character of the Rudra Veena closely resembles that of the human voice, showing a lively quality that feels more akin to vocal expression than typical instrumental sound.
Rudra Veena is a custom-made instrument, meticulously crafted to fit the measurements of the player’s body. So my Rudra Veena cannot be played by you or I cannot play yours.
Crafting a traditional Rudra Veena requires precise measurements and years of artisanal training to achieve the perfect tonal quality.
NS: What are the different playing styles in Rudra Veena? How would you describe your style?
JH: Presently, there exist two predominant playing styles of Rudra Veena: Dagarbani and Khandarbani.
The Dagarbani style involves modifications to the traditional Rudra Veena, resulting in changes to posture, tonal quality, and an increase in weight. This style places a strong emphasis on intricate designs with Swar and Shruti, focusing on precise perfection in intonation and measured improvisation.
On the other hand, Khandarbani, the tradition to which I belong, prioritizes vigour, charm, and the subtle expressions of Raag. It encompasses both heroic presentations and meditative qualities.
NS: What’s your state of consciousness when you practice or perform?
JH: When I hold my Rudraveena, the world around me fades away. Despite my human duties to society and family, I embrace them proudly. Yet, when my fingers touch the strings of my instrument, I surrender completely. It transports me to a realm of joy and meditation, where my Rudra Veena becomes my sole companion in a dialogue of harmony.
As a musician, I try to transcend to a place of pure tranquillity, where my art is not merely a performance but a heartfelt conversation with my instrument.
NS: It is said that Rudra Veena is the musical instrument that comes closest to human vocal singing. It is also considered to have deep connections with our body. Could you give some insights and perspectives on this, based on your own personal experience?
JH: One lesser known aspect of playing the Rudra Veena is that you cannot set it down while tuning. If you place the instrument down, tune it, and then lift it, the tuning suddenly changes. It is intricately linked with the body. The tuning remains inconsistent until it is snugly against your body.
Besides, it is deeply intertwined with breathing. Any irregular breathing pattern while playing will continuously affect the veena’s tuning. This change is distinctly noticeable. Therefore, practitioners of the Rudra Veena must engage in regular Pranayama and Yoga.
As for my personal experiences with the Veena, they have been nothing short of profound. Each time I immerse myself in its melodic embrace, I feel a deep sense of connection with centuries of musical tradition and culture. The Veena has taught me patience, discipline, and a profound appreciation for the nuances of sound. Through countless hours of practice and performance, I have experienced moments of pure transcendence, where the boundaries between myself and the music dissolve, leaving only a sense of unity and harmony.
Moreover, the Veena has been a constant source of inspiration and solace, guiding me through life’s highs and lows with its soul-stirring melodies. Whether performing on stage or practicing in solitude, the Veena has been my lovely companion, encouraging me to explore the depths of my musicality and creativity.
My journey with Rudra Veena is filled with countless moments of awe, wonder, and self-discovery.
NS: Your life appears to be one seamless Sadhana. With or without music, you are always serving the nature and the Divine in some way.
We would love to know the Jyoti Hegde beyond music and Rudra Veena.
What else are you passionate about?
JH: Music is my entire world. Additionally, I am a cheerful person. Terms like ‘anxiety,’ ‘sorrow,’ or ‘tiredness’ are absent in my dictionary. I believe this mind-set has been involved in shaping my musical concepts. Music brings me joy, and my joyful outlook, in turn, enhances my musicality. It’s a symbiotic relationship. Beyond my musical pursuits, I find deep fulfilment in various sides of my life that have contributed to my personal growth.
Nestled within the serene beauty of our huge arecanut farm, my home and Gurukul for my students is situated near Sirsi, a quaint hamlet enveloped by lush forests teeming with diverse wildlife and rich biodiversity. Working alongside my husband, an agriculturist, on our farm is one of my hobbies. My culinary skills bring joy to my students, who eagerly appreciate the meals I cook, affirming my proficiency in the kitchen.
Painting is another passion of mine, a skill I cultivated from a young age and eventually improved as I learnt it from a professional artist. Though destiny initially led me down a different path, it ultimately put me into world of music! I practice Pranayam and Yog in regular basis. Our lives are enriched by the presence of our beloved cattle, dogs, and cats, whose companionship brings boundless joy. Together, my students and I lead a contented rural life, immersed in art, love, compassion, and the beauty of nature, all emphasised by the transformative power of music.
Living in harmony with nature is supreme to me, as I believe music finds its origins in the natural world itself. I instil these values in my students, encouraging them to perceive music in every aspect of life, not solely within the confines of an instrument. Viewing my students as my own children, we engage in rigorous practice, indulge in nourishing meals, and share moments of happiness!
That’s what musical life is.
