"Acharya" means "teacher"; "Sampradaya" means "school" (pronunciations: AA-chaar-yuh; SUM-pruh-daa-yuh) |
"Gayaka" means "singer", Vadaka means "instrumentalist". Nartaka means "dancer" (pronunciations: GAA-yuh-kuh; VAA-duh-kuh, NUHR-tuh-kuh) |
1. They were musicologists in addition to being practical musicians | 1. They were practical musicians only, often unlettered |
2. They were "Lakshyanavid", meaning that they knew the Lakshana or theoretical characteristics of the art music system - the foundations of the science, logic, art and philosophy that supported the system | 2. They were only "Lakshyavid", meaning that they knew or were concerned with only the end goal of their craft, viz., entertainment of the patron with a view to reward, to the exclusion of the inner scholarly discipline which was the bedrock of the system |
3. They were the "Nayaka" - the teachers or the Shikshakara" | 3. They were the "Gayaka", "Vadaka" or "Nartaka" - the professional and commercial practitioners of music |
4. They handed down their knowledge along their "Shishya Parampara" - their "student lineage". Knowledge flowed from Teachet to Disciple and if the disciple happened to be the teacher's progeny, that was merely a coincidence. | 4. They handed down the intricacies of their craft along the lines of their "Putra Parampara" - their "offspring (son) lineage" in a dynastic or "heriditary" manner. The father taught all he knew to his son "Khas-ul-khas Taleem", and to a much lesser degree to a few close and sepcial students "Khas Taleem" and still less to other general students "Aam Taleem". ("Khas" means "special", "Aam" means "general" and "Taleem" means "instruction" |
5. As a result, this was the true Sampradaya system in conformity with the highest principles expounded by the musicological Texts. Unfortunately, today it is all but extinct, although several groups and institutions lay claim to a direct linkage to this system.
(Fortunately, their ignorance of Sanskrit, lack of scholarship and inability to explain the great musicological Texts quickly expose them to all who take the precaution of investigating - something the user of their services is strongly recommended to do beforehand!) |
5. This method of Putra Parampara became the "Gharana" system of transmitting music down generations in later periods.
(As an intersting aside, a very high-profile and highly funded music institution in Kolkata began by proclaiming that it was furthering the true Gharana system of music but after a lecture (in 1988) by Dr Chintamani Rath that touched upon Sampradaya/Parampara and Gharana, the institution replaced "Gharana" in its proclamation with the expression "Guru-Shishya Parampara". And thus the sad effort to elevate pedigree continues!!) |
6. They were not court musicians and did not trade their music for personal material gain, dedicating it for Higher Causes. | 6. They were court musicians and all of them picked up their craft without being properly initiated into the background comprehensive discipline followed by the Acharya Sampradaya. Hence they were all "Anukar" or followers. Some performed for the "Rasika" or enlightened patrons and some others performed for the entertainment of the common people - these were the "Ranjaka". Yet some others, called the "Bhavaka" presented emotional songs and later became Gharana or families (in the sense of blood-relation) of Alapa singers/instrumentalists. |