To be invited to sing at the Academy is an acknowledgment of merit. The system it has built does not allow for any leakage of funds. Several business houses have been incredibly generous with their assistance to the Academy whose main auditorium has world-class acoustics. The only problem is that it does not have sufficient physical space to accommodate the growing number of music lovers who want to become members.

Despite its track record of excellence, there were phases in the Academy’s early life that diminished its stature. One school of thought traceable to the 1940s believed the Academy was Brahmin-dominated and did not encourage Tamil music. This was partly true because, until recently, the emphasis was on compositions that were either in Telugu or Sanskrit. The doyen was Saint Thyagaraja, of course, who composed mainly in Telugu, mostly paying homage to Lord Rama. The two others who dominated the scene were Muthuswami Dikshitar and Shyama Sastri, who too composed verses in Sanskrit or Telugu.

The rebels of the Academy saw a Brahmin bias in the preference for the Carnatic music trinity, as Thyagaraja, Dikshitar and Sastri are collectively referred to. The setting up of a Tamil Isai Sangam (Tamil Music Union) in the 1940s went some way to assuage non-Brahmin sentiments. This also became a constraint because the Sangam, which also holds concerts that coincide with the main festival, frowns upon any musician singing non-Tamil compositions on its platform.

Fortunately, the Music Academy has changed its ways over the years and now, stalwarts like Sanjay Subramaniam have an excellent repertoire of Tamil compositions. The Academy also offers annual awards that recognise excellence. The highest of them is Sangita Kalanadhi. The announcement of the awards is eagerly awaited by the “rasikas”. While there is no visible nepotism or caste bias in this matter, a few awards do occasionally generate a debate, especially because of hawk-eyed critics and sensitive music lovers. There have also been questionable omissions. The music, however, goes on without any jarring notes.

What is noteworthy is that a large number of vocalists and instrumentalists, who perform during the season, or the rest of the year, are below 30 years. A good number of them are IT professionals or chartered accountants. Possibly these two vocations allow the luxury of leisure to learn and practise!

The number of those abandoning promising professional careers in the US and Europe to be a part of the Carnatic music milieu in Chennai is increasing. So is the growth of centres of Carnatic music in the US and Europe. Many Hindu temples in America are centres of teaching for young children. As an offshoot, the December season in Chennai now hosts an NRI festival that attracts a lot of children from abroad with an ambition to make it big in the Carnatic music world.

My only regret is that the North-South divide is still huge in the world of Indian music. There is no major exercise to integrate, although the tabla and sitar are quite popular in cities like Chennai. Also, Carnatic music in northern India is confined to the south Indian community in major cities such as Delhi and Mumbai. Ironically, Mumbai has contributed to Carnatic music: At least three famous vocalists, Bombay Jayashree, Aruna Sairam and sisters, Ranjani and Gayatri (whose abhangs are otherworldly), started their careers in the Maharashtra capital

To sum it up, Carnatic music is drawing recruits from different geographies. I expect it to flourish especially among the youth for decades to come.

An important aid is a technology that takes the art beyond the shores of India. The Academy, especially, is so technology savvy that it transmits performances live to other parts of the world. Do not, therefore, despise technology as an unwarranted intrusion into our lives. It is sometimes a blessing beyond words.

RK Raghavan is a former CBI director and a former high commissioner of India to the Republic of Cyprus. The views expressed are personal