MUSIC IN TAMILNADU, INDIA

MUSIC IN TAMILNADU, INDIA

The music and dance of Tamil Nadu had their beginnings in the temples. From early times, different groups of people were appointed to sing divine songs in the temple. Officers called Thevara Nayakams or leaders of the world of music, arranged the private worship of kings and group singing. Odhuvars, Sthanikars, or Kattalaiyars offer short musical programmes in the temples by singing the devotional Thevaram songs. Musicians had total reliance on divine grace. They lead the chorus in the temple congregational prayers to the accompaniment of the Sarangi. Sarangi was in use in the temples of Tamil Nadu till the end of the nineteenth century. The temples at Madurai, Tirunelveli, Sucindram, and Alwar Tirunagiri have musical pillars. Such pillars are found in the Artha Mandapam where the singing of Thevaram was accompanied by the music from the stone-pillars. CARNATIC MUSIC What is Carnatic Music? : It is the classical music of Southern India. The basic form is a monophonic song with improvised variations. There are 72 basic scales on the octave, and a rich variety of melodic motion. Both melodic and rhythmic structures are varied and compelling. This is one of the world's oldest & richest musical traditions. Why Carnatic Music? "...I [Todd M. McComb] value Carnatic music first for the effectiveness with which it can build positive mental discipline. It helps me to focus and organize my thoughts, and it helps to eliminate negative mental habits..." Indian classical music is categorized under two genres. These are Hindustani and Carnatic. Broadly speaking, Hindustani developed in the northern regions of the country, while Carnatic music is indigenous to the south. Carnatic music is considered one of the oldest systems of music in the world. Imbued withemotion and the spirit of improvisation, it also contains a scientific approach. This is mainly due to the contributions of such inspired artists as Purandara Dasa, known as the Father of Carnatic Music, and other scholars who codified the system and gave it a clear format as a medium of teaching, performing, prayer and therapy. The basis of Carnatic music is the system of ragas (melodic scales) and talas (rhythmic cycles). There are seven rhythmic cycles and 72 fundamental ragas. All other ragas are considered to have stemmed from these. An elaborate scheme exists for identifying these scales, known as the 72 Melakarta Ragas. Carnatic music abounds in structured compositions in the different ragas. These are songs composed by great artists and handed down through generations of disciples. While the improvised elaboration of a raga varies from musician to musician, the structured portion is set. These compositions are extremely popular, with a strong accent on rhythm and lively melodic patterns. Three saint composers of the nineteenth century, Tyagaraja, Muthuswami Dikshitar and Shyama Shastri, have composed thousands of songs that remain favourites among musicians and audiences. An important element of Carnatic music is its devotional content. The lyrics of the traditional compositions, whether mythological or social in nature, are set entirely against a devotional or philosophical background. The Nineteen Forties were a rather turbulent period for Carnatic Music in Tamil Nadu because of the Tamizh Isai controversy. More than a controversy, it was a move by some well meaning people to increase the number of Tamil songs being sung in concerts in Tamil Nadu. Started by Raja Sir Annamalai Chettiar and spurred on by individuals like Sir R.K.Shanmugham Chettiar and journalist Kalki Krishnamurthy, it tried to create a lot of awareness among musicians and rasikas that language had a role in music. Today after so many decades, without the existence of a formal movement, we do find musicians and rasikas enjoying Tamil songs in Tamil Nadu, Kannada songs in Karnataka and so on. Listeners do make fervent appeals to musicians about singing songs in the language they are familiar with and musicians oblige them without much ado. Intricacies of Folk Music Tamil folk music is remarkable for the tala intricacies. Very ancient classical ragas or melodies like Manji, Sama, Navaroz, Kalyani, Karaharapriya, Thodi, and Nadanam-k-kria are used in the folk-songs. Many instruments are used in folk music. Musical Notation Of Tribes The hill-tribes have a natural fondness for music and they are known for the preservation of ancient culture. The Pulayar tribe describe their melodies as talams. According to them, their melodies are derived from the cooing of birds such as kanamayil, Kanakkozhi. Talam and melodies are named after their deities. Karaganachi talam, Mangalanada talam, Kundhanada talam, etc. are all specific melodies. The chaya of classical ragas like Sudhasaveri, Saraswathi, Sankarabharanam, Andolika, Brindavanasaranga are to be seen in these beautiful melodies. Their orchestra is known as Singaram (literally meaning beauty), consisting of two small sized Nadhaswarams or Sathathakkuzhal, two drums or melam and a pair of cymbals or Kaimani, Veelikuzhal (flute) and Maththali (a long drum) are played by them to invoke the gods. They sing while they dance. Some of their music is rudimentary only serving as a background for dance. Melody of the Kulavai The Kulavai sound is made by the women engaged in agricultural work with a turn of the tongue which they move swiftly side ward. The Kulavai song is sung in beautiful melody, particularly in Thanjavur where agricultural prosperity and music tradition alike have been kept up. Women stand in knee-deep slush, planting the seedlings and they raise the Kulavai sound to expedite work and to honour visitors. Anyone passing between paddy fields has to make token payments or tips to these women, if they greet him in chorus. Nayyandi Melam Nayyandi Melam or Chinna Melam is a rustic imitation of the classical melam or Nadaswaram and is intended purely as an accompaniment to folk-dance-drama to cater to the tastes of the unlettered audience. This orchestra consists of two Nadaswarams, two tavels, a Pambai, a Thammukku, and a pair of cymbals. The peculiarity of Nayyandi melam is that the instrumentalists also dance while playing the instrument. The troupe is in demand as an accompaniment to Karagam, Kavadi, Dummy-horse show, and gypsy-dance, popularly known as the dance of the Kuravan and Kurathi.