In this exclusive column for KutcheriBuzz, Sylvie shares her experiences of learning carnatic music in India....(Sylvie has got this column translated from French).

"In 1977, I attended a concert given by Sri. N. Ramani and thus discovered, in Paris, the greatest flautist of South India. It was a revelation for me! Then and there I decided to give up Western classical music.

Being born in a family of musicians - my mother is a violinist, in my early years I wished to play an instrument which turned out to be the transverse flute. I then sold my silver flute to buy a one-way ticket to Madras and I set out to learn Carnatic music.

Upon my arrival, Sri N. Ramani gave me a warm welcome. He offered me my first flute and my first class. Since then, I have never stopped learning this magnificent music, sharing my life between France and India, encouraged and supported by my mother.

I have had the rare chance to experience the Guru-Sishya relationship, following the pure tradition. My master descends from a long line of musicians. He first appeared on stage when he was 6 years old. His grand-father began to teach him to play the Murali flute; then he became Mahalingam's disciple. Today, he has created a style of his own, more harmonious, melodious, introducing extremely elaborate rhythmical subtleties which are beautiful to play.

The instrument itself, the Murali flute, is a pierced bamboo stick which produces a sweet and refined sound only comparable with the simplicity of its manufacture. This has greatly contributed to my being fascinated by this music.

With the support and the trust of my Guruji and so many days spent together playing and repeating untiringly all the wonderful ragas, compositions and kalpana swaras, I have acquired some equanimity which helps me give concerts in India or elsewhere. In Karnatic music we study numerous compositions. To begin with, this tradition requires that the students learn ten varnams. These splendid compositions can be played in two or three tempos.

Then the student is allowed to start studying keertanas, compositions giving way to improvisation under the form of alapana and kalpana swaras. Most keertanas proceed from the creative genius of the three greatest composers, Thyagaraja, Muthuswami Dikshitar and Syama Sastri, also known as 'the Carnatic trinity'. They are the source of the precious Carnatic repertoire. The complexity of some of these compositions is such that several months are needed to play them correctly.

Each raga is a feeling, a state of mind which enables us to progress spiritually; it enlightens our soul. We are a few Westerners to benefit from the good luck of learning at the feet of the greatest masters of India. While I play Carnatic music, some of my French friends play Hindustani music.

I also like to teach. It is a responsibility and a great emotion to hand down what one has received. I have students both in India and France. Waking up each morning, feeling the complete happiness of doing what one likes best on this earth, feeling completely at home, in one's own place in India, immersed, encouraged by all in Madras, the capital of Carnatic music where so many concerts and festivals praise the gods Krishna, Saraswathi, Ganapathi, Rama, Siva.

I have always been fascinated by the fact that India has been capable of preserving its traditions. In India one finds the greatest sources of knowledge where you can find what you seek. Only regular practice and daily work enable us to progress on the chosen path.

My very dear friend, Don Cherry, a Jazz Trumpet-player, also trained in Indian music, used to tell me, "We need two lives to learn and understand music..."

On the learning path there are moments of doubt and despair when one is faced with the depth of knowledge before you. I owe everything to my Guruji.

Contact: Sylvie Lecerf, 78, Rev. Dutot, 750/5, Paris, France.