MUSIC

“Music is the highest art and to those who understand it is the highest worship.”-

“Swami Vivekananda”.

Music is one of the God- given gifts to the human race and one among the upa- Vedas (Gandharva vedam) and lalitha kalas. It is of universal appeal influencing not only the eminent people and enlightened personalities but also the layman, the beast and the plants alike. It is observed that a serpent could feel the charm of music. Even the infant, the cow and the like are captivated by the sound of music. It is a language of pure sound itself and is capable of expressing subtle thoughts and refined ideas.

Indian music has the rich tradition culture from immemorial. The tradition (or) Sampradaya is handed down to us through Guru- Sishya parampara and also by aural tradition. Sublime ideas and delicate shades of feelings can be effectively portrayed through the medium of music. We find that music has a humanizing influence and it is a powerful factor in the musico therapy. i.e. Ananda bhairavi which reduces blood pressure and kalyani rejuvenates etc.. Bhairavi raga gives rebirth- example: Nampaduvan, who was one among the 12 alwars, used to offer solely Bhairavi ragam on every ekadasi day at Tirukudungudi Temple. Once he was caught hold of the Brahma rakshasa while he was proceeding to the temple. As per the request of the Rakshasa, Nampaduvan started performing the Bhairava ragam ( Kousika pan) which gave relief of curse to the Brahma rakshasa and he got back his original form of King. Offering Music is a proud and

privileged accomplishment of a refined person. Thus music is the most important means of revealing culture, tradition and the personality of the people from the memorable past.

ARIYAR SEVAI (SRI RANGAM) KAISIKA PURANAM

RITUALISTIC MUSIC IN TEMPLE

The saints and musicians of ancient India whose spiritual genius had undoubtedly stood the test of time inspite of several odds, served as the pillars supporting the great edifice of Indian thought. They evolved and developed an easier path for their emancipation through ‘Devotional music’. The Bhakthi movement insisted that chanting God’s name is the only means of attaining salvation in this kaliyuga.

Namasankirtana is a form of Mass- prayer , an occasion for a religious – cum- social gathering seeking universal welfare. ‘Nandi Namam Namacivaya yenum cindaiyal Tamizh Gnana Sambandan sol cindayil magizhndu yetta valta banda pasam arukka valtargale”, says the divine child Tirugnana Sambandar in the above stanza of Namacivaya Tiruppadhigam. This stands testimony for the “hymnal performance” with Sandam- Sindaiyal and melody’ In the last stanza of “ Ennapunniyam ceidanai Nenjame”. He quotes “Gnana Sambandan iyattriya Tamizhmalai Adarittu Isaikkattru

vallalarr solak kettu ugandavartammai Vadiya vinai Marumaikkum Immaikkum varuttam vandadai Yaven”.

Those who patronize and practice the above Tevara hymns will be freed from the sins.

Tirugnana Sambandar composed his padigams with his swanamamudra as Karaikal ammaiyar.

The ‘Muthamil’ has 3 fold divisions – Iyal- Isai & Nataka tamil. Isai tamil, a performing art is a combination of music & poetry or sahitya which inspires the laymen and learned alike.

Tol kappiyam, the earliest work on Tamil grammar is dealing with music exhaustively. It consists of three chapters eluttu (orthography) col (syntax) and Porul (poetics), while framing the grammar for the above 3 chapters the Tolkappiyar also forms the grammar for musical notes.

The eight togai nools (or) works which are in ‘agaval ‘ metre and paripadal , kuruntogai, kalitogai Aynkurunuru are more suited for singing with tala.

Silappadhikaram – This work is a treasure trove for music and allied arts. It consists of 30 ‘Kadai’ meaning that which is narrated (or) rendered with music

The other Kappiyams like Kamba ramayanam also consists of several musical form such as Viruttams.. Ceevagachinthamani and Periyapuranams of Sekkizhar have enormous musical forms to be rendered.

Cittrilakkiyams like Kuravanji, Pallu, Parani , Pillai Tamil, Kalambagam, Tudu, ula, madal, we find musical forms like viruttam, kirtana kanni cindu that are to be rendered in different time measures.

SAIVA SAMAYA NALVAR TWELVE ALWARS

The contribution of Tevaramoovar- Adimoovar- Tirugnana sambandar, Tirunavukkarasar and Sundaramoorthy collectively known as Tevaram. – the garland of songs that adorn the Lotus Feet of Lord Siva. Tevaram and other tirumurai – 12 Nos. called Pannirutirumurai and Divyaprabandam are sung with tala & without tala i.e. layangam & suddhangam.

The ancient tamil works mention four types of tempos- Mudanadai, varam, koodai & Tiral. Thevaram is grouped under varapadal. The hymns are rendered in kattalai metre.

Tevaram and other tirumurai – 12 Nos called Pannirutirumurai.

Tirumurai – Contribution Composer 1.2.3- Thevaram also called Tirukadaikappu Tirugnana sambandar/, Aludaipillai 4,5,6 Thevaram also called Thevaram Tirunavukkarasar/ appar/ aludai arasu 7 Thevaram also called Tirupattu Sundara murti / aludai

Nambi8 Thiruvachagam also includes Manikavachagar/

Thirukovaiar aludaiya adigal

9 Tiruisaipa& tirupallandu 9 composers

10 Tirumandiram Thirumoolar

11 Mootha thirupadigam Karaikal ammaiyar Arpudathiruandadhi Irattaimanimalai Ponvannattandadi Cheraman perumal Moothanayanar thiruirattai manimalai Kapilar Thirumurugatrupadai Nakkirar

12 Periyapuranam / Chekkizhar Tiruthondar puranam

Thirumurais are classified into three groups, panmurai, talamurai, Adanganmurai.

The Sambandar’s Thevaram could be compared to Vatsalya Bhava. i.e. the relationship of mother and child. The same Bhava is experienced in the composition of Shyamasastri one of the Tiruvarur trinities.

Thirunavukkarasar’s tevaram is in Dasa marga. i.e. Master & servant. This is experienced in the compositions of Saint Thyagaraja, another of the Tiruvarur trinities.

Sundarar Thevaram is Sakhya Bhava i.e. friend . This is reflected in the compostions of Sri Muthuswami Dikshitar, another of the Tiruvarur trinity with Mantra, Thantra and yantra kirtanas.

Tevara hymns are rendered according to time theory i.e. gana kala niyama.The pans are classified as pagal , iravu and podupan.

The pagal pans are to be sung in day time. To quote a few1. Puranirmai – Bhoopala raga2. Nattapadai - Natakurinji raga3. Nattaragam- Pantuvarali raga4. indalam - Mayamalava gowla/ Hindolam 5. Takkesi - Kambodhi raga

The Iravu pans are to be sung at night 1. Megaragakurinji - Nilambari raga2. Andalikurinji - Shama3. Seekamaram - Nadanamakriya4. Thakka ragam - Hamsavinodhini

5. Kurinji - kurinji Podhu pan are the pans that are to be sung at any time – 1. Sevvazhi- Yadukulakambodhi. 2. Senthurutti – Madyamavati ( the best suited time is afternoon)Gnansambandar sang Puranirmai ( Bhoopala ragam) when heReached Madurai early in the morning. The Bhava atpudam is well brought out in the padigam Mangaiyarkarasi.Manikavachagar’s Thiruvempavai& Thirupalli yezhuchi is sung in this pan.The musical forms Thirukurunthogai, Thirunerisai, Thiruviruttam and Thiruthandagam were sung by Appar without pans

Manikkavachagar has composed Tirupponusal in the raga Kurinji.

The musicology also includes the Physics of Music dealing with facts relating to pitch , intensity, timbre, sruthis, swaras, laws of vibration of stretched strings, laws of vibration of air columns, direct law, inverse law and facts relating to ragas etc.

In a Karnatik music concert, the performer presents compositions, alapana,

niraval and kalpana svaras. The “compositions” which are presented in a concert are pre-

composed and come under the head “Kalpita Sangita”. Alapana, Niraval and

Kalpanasvara come under the heading “Manodharma Sangita”.

1. Raga Alapana:

This is nothing but improvisation of a particular raga, in various octaves. It is also

referred to as raga essaying.

2. Niraval:

The term ‘Niraval’, literally means filling up. In musical parlance, this term is used in

the sense of improvisation done to a meaningful line of sahityam taken from a

composition, usually a kriti.

3. Kalpana Svara:

Svara kalpana is nothing but improvisation of svara passages, sung to a particular

theme. The theme is repeated after completion of a cycle of svaras. Makutam for the

svara passages also adorn and add beauty.

MS THE INDIAN NIGHTINGALE

Kalpita sangita:

The following musical forms are rendered in the head Kalpita Sangita.

Abhyasa Gana:-

Sarali varisa, Janta varisai, Dhatu varisais, Hechchu Sthayi varisais, Daggu Sthayi

varisais, Alankaras, Gitas, Varnams (Akara sadhakam is also taught).

SIRKALI MOOVAR

Compositions:

Tevaram, Tiruvachagam, Divyaprabhandam , Thiruppugazh, TiruArutpa, Sidhdhar

Padalgal, Compositions of Sirkazhi Muvar, Gopalakrishna Bharathi, Mayuram

Vedanayakam Pillai, Uttukadu Venkatakavi, Purandara dasar, Tyagaraja Swami,

Muttusvami Dikshitar and Syama Sastri and his descendents and Svati Tirunal.

TIRUVARUR TRINITY

MAHAKAVI BHARATHIYAR

Folk musical forms:

Kavadi Chidhu and Kummi, Talattu, Etrappattu, Nadavuppattu, Oosal, Ammanai

Musical forms in Harikatha and Bhajana:

Panchapati, Todayam, Mangalam, Saki, Ovi, Dindi, Abhang and Bhajans,

Compositions of GuruTrayam, Ashtapadi, Tarangam, Compositions of Badrachala

Ramdoss, AnnamaCharya and Haridasas of Karnataka.

GURUTRAYAM

NARAYANA TIRTHA

UNCHAVRITTI

HARIKESANALLUR MUTHIAYA BHAGAVATHAR-HARIKATHA EXPONENT

Musical Instruments:

Yazh

FLUTE

VEENA

VIOLIN

Instruments like, Yazh, Violin, Veena, Tambura, Mridangam, Flute,Ghatam,

Ganjira,

Folk instruments like Magudi, Dappu, Tuntina,

Temple instruments like Nagasvaram, Maddalam,Pancha Mukha vadyam, Kuda

Muzha, Idakka, Jenda,

NAGASWARAM

TAVIL

TEMPLE BELL

Hindustani musical instruments Like Sitar, Sarod, Bansuri, Tabla, Santoor are studied.

SITAR

SAROD

Raga Classification:

This includes Pans, Janaka ragas, Jayna ragas, Upanga ragas, Bhashanga ragas, 72

Mela kartha Scheme and Raga Lakshana-s.

Tala System:

35 Tala scheme, Varieties of Chapu tala and tala dasa pranas are covered.

Musical Prosody:

This includes yadugai, Monai,prasa, yati, yamakam and other isai anigal.

Physics of Music:

This includes topics like sound transmission, dvigunatva, 22 strutis, recording and

transmission of sound through media like Radio, tape recorders, Television, internet and

E-learning, Websites and Blogs etc.

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