The Forte of Music and Research

Dr M A Madhuvanthi is a Carnatic classical vocalist and a disciple of Sangeetha Kalabhushani Vidushi Rupa Sridhar. She was the state second rank holder in the Senior Examination conducted by KSEEB, completed the Vidwat exam in 2005, and is a graded artist of All India Radio. She is a recipient of UGC’s Junior Research Fellowship and obtained a Doctorate in Music from JAIN (Deemed-to-be) University under the guidance of Dr Meera Rajaram Pranesh in 2019. Her thesis has been published as a book titled “A Study of Acoustics in Performance Spaces: With Special Reference to Indian Classical Music” by Vanamala Centre for Art and Culture (R).

She has also authored a book titled “Acoustics for Concerts,” published by Karnataka Ganakala Parishath during its Golden Jubilee Conference in 2020. She established her own music school, “Chittaranjani Centre for Music,” in 2018, where students at all levels of learning are trained in Carnatic vocal music. She has performed in most sabhas in Karnataka and abroad in countries like New Zealand and Malaysia. She has presented thematic concerts on a variety of themes, such as compositions of Sri Subbaraya Shastri, Sadguru Sri Thyagaraja, Sri Purandara Dasa, and Sangeetha Kalanidhi Vidwan Nedunuri Krishnamurthy’s tunes of Sri Tallapaka Annamacharya Sankeertanas. She has also presented lecture-demonstrations on various topics, including “Navavidha Bhakti as Seen in the Compositions of Various Composers,” “22 Shruthis in Carnatic Music,” and “Grahabheda.” Apart from performing concerts and teaching, she continues to be an independent researcher.

Excerpts from an Interview with Dr Madhuvanthi:

Please talk about your musical interests, influences, and background.

I was born into a musical family, with my mother, Sangeetha Kalabhushani Vidushi Rupa Sridhar, being a Carnatic vocalist, my maternal grandfather, Vidwan G. Krishnaswami, a Carnatic violinist, my maternal grandmother, Vidushi G.K. Jayalakshmi, a Carnatic vocalist, and my paternal uncle, Sri M.A. Sundar, a mandolin player. I grew up in a musical atmosphere, with classes going on at home most of the time. Music became a natural part of my life, and I spent most of my time in my mother’s classes, listening to other students learning their lessons and simultaneously picking up all the lessons.

I started formally training under my mother, Vidushi Rupa Sridhar, at the age of 6. I went on to complete Junior, Senior (where I obtained the State second rank), and Vidwat examinations in Carnatic vocal. I am a graded artist of All India Radio. I have also been extremely fortunate to have received guidance from Sangeetha Kalanidhi Vidwan Nedunuri Krishnamurthy Sir from 2002 onwards. I gave my first concert at the age of 17 and have since performed at many prestigious sabhas in Bangalore and other places, as well as in countries like New Zealand and Malaysia.

After completing my M.Sc. in Statistics from Bangalore University, I pursued a Master’s degree in Music from the University of Madras. I eventually left my corporate career in analytics to obtain a Doctorate in Music from JAIN (Deemed-to-be) University in 2019 under the guidance of Dr. Meera Rajaram Pranesh.

Tell us about your PhD thesis, which was published as a book—Acoustics in Concerts—and highlight a few important points from your research.

My research focused on the spaces in which classical concerts take place, as they are the biggest contributors to the acoustical experience of both listeners and performers. My aim was to study the various factors that determine this acoustical experience and to explore ways to improve it.

Sound and acoustics are the fundamental concepts in my study, as they provide the basic definitions of sound and nāda. I explored the concept of nāda and its production as described in ancient musical treatises. Some basic concepts regarding sound waves and the characteristics of musical sound were examined. I also researched references to performance spaces in literature, including ancient civilizations like the Assyrians, who had music as a part of their daily life. The Greek amphitheater, which still stands today, serves as a testament to the acoustical knowledge and advancements of the ancient Greeks. Their influence on later structures, as well as references to ancient Indian literature such as the Rāmāyana, Mahābhārata, and various musical treatises, were also studied.

Among the ancient structures still in existence, temples and palaces formed an important part of my study as they provide a link between past and present performance spaces. Performance spaces in ancient temples such as Badami, Aihole, Belur, Tanjavur, and Hampi were studied, along with special performance spaces in temples like Kūttambalam. Modern-day performances in temples were observed and analysed. Performance spaces in places like those of Tanjavur and Padmanabhapuram were described, and performances taking place in current times in places such as Thiruvananthapuram’s Kuthiramalika and Mysore’s Amba Vilas and Jaganmohana palaces were observed and analysed.

I also focused on contemporary performance spaces, examining various types of spaces such as halls, auditoria, and studios. I explored ways in which auditoria can be treated or designed to improve the acoustical experience for both performers and listeners. The study also delves into different techniques used for better sound propagation within auditoria, concert dynamics, the goals and features of a classical concert, the merits and demerits of amplification systems, and more.

I concluded with guidelines for enhancing the acoustical experience of concerts, the role of the audience, and the importance of team effort among performers. My thesis was published as a book titled “A Study of Acoustics in Performance Spaces: With Special Reference to Indian Classical Music,” which is available on Amazon. My other book, “Acoustics for Concerts,” which deals solely with the present-day concert scenario, is also available on Amazon.

Please briefly tell us about the music school you run.

With the blessings of my Gurus, I founded my own music school, “Chittaranjani Centre for Music,” in 2018, where lessons in Carnatic Vocal are imparted to students at all levels of learning. We have tiny tots excited about their first steps in exploring this wonderful world of Carnatic music, younger students in awe as they discover its intricacies, and students training at the Vidwat level, Master’s degree level, and above, who are unfolding new vistas in music and are ready to become full-fledged professionals. The teaching method here focuses on holistic training, enabling students to learn about every facet of Carnatic music and moulding them into successful musicians of substance, armed with the right knowledge.