Historical Periods

Historical Periods




This is one of the things I wanted to know in the beginning, It is important to have some understanding of the historical periods of music. It adds to my enjoyment of it. These explanations are copied whole sale from Classical Insites Conservatory.
MedievalWhen we explore Medieval music, we are dealing with the longest and most distant period of musical history. It includes the Gregorian chant. Gregorian chant is monophonic, meaning music that consists of only one melodic line without accompaniment. Polyphony, music where two or more melodic lines are heard simultaneously, did not exist (or was not knotted) until the 11th century. Unlike chant, polyphony required the participation of a composer to combine the melodic lines in a pleasing manner. I don't know much about this period because I don't like this kind of music.
Renaissance

In the mid-1500s, a prominent bishop commented that music composed for the church should reflect the meaning of the words so that the listeners would be moved to piety. This concept seems like a no-brainer today, but it was a fairly new idea at the time. To suggest that Medieval composers had no desire to write "expressive" music would be unfair. But, it was the rediscovery of ancient Greek ideals in the Renaissance that inspired many musicians to explore the eloquent possibilities of their art.



The increased value of individualism in the Renaissance is reflected by the changing role of the composer in society. Unlike most of their Medieval predecessors, the great masters of the Renaissance were revered in their own lifetimes.

Sacred music was still predominant, though secular music became more prevalent and more sophisticated. The repertory of instrumental music also began to expand significantly. New instruments were invented, including the clavichord and virginal (both keyboard instruments) and many existing instruments were improved.
Baroque (1600-1750)Johann Sebastian Bach, George Frideric Handel, Johann Pachelbel, Antonio Vivaldi

Baroque music is often highly ornate, colorful and richly textured when compared with its predecessors. Opera was born at what is considered to be the very beginning of the Baroque era, around 1600.

Music's ability to express human emotions and depict natural phenomenon was explored throughout the Baroque period.

Although imitative polyphony remained fundamental to musical composition, homophonic writing became increasingly important. Homophonic music features a clear distinction between the melody line and an subsidiary accompaniment part.

The orchestra evolved during the early Baroque, starting as an "accompanist" for operatic and vocal music. By the mid-1600s the orchestra had a life of its own. The concerto was a favorite Baroque form that featured a solo instrumentalist (or small ensemble of soloists) playing "against" the orchestra, creating interesting contrasts of volume and texture.

Many Baroque composers were also virtuoso performers. For example, Archangelo Corelli was famous for his violin playing and Johann Sebastian Bach was famous for his keyboard skills. The highly ornamented quality of Baroque melody lent itself perfectly to such displays of musical dexterity.


Classical (1750-1820)Johann Christian Bach, Ledwig van Beethoven, Franz Joseph haydn, Wolfgang Amadeus

The word Classical has strong connotations, conjuring up the art and philosophy of Ancient Greece and Rome along with their ideals of balance, proportion and disciplined expression. The late Baroque style was polyphonically complex and melodically ornate. The composers of the early Classical period changed direction, writing music that was much simpler in texture.

Homophony--music in which melody and accompaniment are distinct--dominated the Classical style, and new forms of composition were developed to accommodate the transformation. Sonata form is by far the most important of these forms, and one that continued to evolve throughout the Classical period. Although Baroque composers also wrote pieces called sonatas, the Classical sonata was quite different.

One of the most important developments of the Classical period is the growth of the public concert. Although the aristocracy would continue to play a significant role in musical life, it was now possible for composers to survive without being the employee of one person or family. This also meant that concerts were no longer limited to palace drawing rooms. Composers started organizing concerts featuring their own music, and often attracted large audiences. The increasing popularity of the public concert had a strong impact on the growth of the orchestra. Although chamber music and solo works were played in the home or other intimate settings, orchestral concerts seemed to be naturally designed for big public spaces. As a result, symphonic music (including opera and oratorio) became more extroverted in character. Composers gradually expanded the size of the orchestra to accommodate this expanded musical vision.




Romantic (1820-1915)Johannes Brahms, Claude Debussy, Frederic Chopin, Felix Mendelssohn, Piotr Ilyich Tchaikovsky

Romanticism implies fantasy, spontaneity and sensuality.

The Classical period focused on structural clarity and emotional restraint. Classical music was expressive, but not so passionate that it could overwhelm a work's equilibrium. Beethoven who was in some ways responsible for igniting the flame of romanticism, always struggled (sometimes unsuccessfully) to maintain that balance. Many composers of the Romantic period followed Beethoven's model and found their own balance between emotional intensity and Classical form. Others reveled in the new atmosphere of artistic freedom and created music whose structure was designed to support its emotional surges. Musical story-telling became important, and not just in opera, but in "pure" instrumental music as well. The tone-poem is a particularly Romantic invention, as it was an orchestral work whose structure was entirely dependent on the scene being depicted or the story being told.

Color was another important feature of Romantic music. New instruments were added to the orchestra and composers experimented with ways to get new sounds from existing instruments. A large palette of musical colors was necessary to depict the exotic scenes that became so popular.

In addition to seeking out the sights and sounds of other places, composers began exploring the music of their native countries. Nationalism became a driving force in the late Romantic period and composers wanted their music to express their cultural identity. This desire was particularly intense in Russia and Eastern Europe, where elements of folk music were incorporated into symphonies, tone-poems and other "Classical" forms.

The Romantic period was the heyday of the virtuoso. Exceptionally gifted performers--and particularly pianists, violinists, and singers--became enormously popular. Liszt, the great Hungarian pianist/composer, reportedly played with such passion and intensity that women in the audience would faint. Since, like Liszt, most composers were also virtuoso performers, it was inevitable that the music they wrote would be extremely challenging to play.

The Romantic period witnessed an unprecedented glorification of the artist--whether musician, poet or painter--that has had a powerful impact on our own culture.


Modern (ca, 1915-Present)Aaron Copland, George Gershwin

The late Romantic period featured its own extremes: sprawling symphonies and tone-poems overflowing with music that seemed to stretch harmony and melody to their limits. It is certainly possible to view some early 20th century music as an extension of the late Romantic style, but a great deal of it can also be interpreted as a reaction against that style.

20th century music is a series of "isms" and "neo-isms." The primal energy of Stravinsky's Rite of Spring has been called neo-Primitivism. The intensely emotional tone of Schönberg's early music has been labeled Expressionism. The return to clearly structured forms and textures has been dubbed neo-Classicism. These terms have been employed in an attempt to organize the diversity of styles running through the 20th century.

Nationalism continued to be a strong musical influence in the first half of the century. The study of folk songs enriched the music of numerous composers, such as Ralph Vaughan Williams (England), Bela Bartok (Hungary), Heitor Villa Lobos (Brazil) and Aaron Copland (USA). Jazz and popular musical styles have also been tremendously influential on "classical" composers from both the United States and Europe.

Technology has played a increasingly important role in the development of 20th century music. Composers have used recording tape as a compositional tool (such as Steve Reich's Violin Phase). Electronically generated sounds have been used both on their own and in combination with traditional instruments. More recently, computer technology has been used in a variety of ways, including manipulating the performance of instruments in real time.

Tiruppukal as classical music and its role in the cult of Murukan

Tiruppukal as classical music and its role in the cult of Murukan


Saint Arunakirināthar, poet-composer of the vast Tiruppukal collection



Tiruppukal songs have been closely associated with Murukan worship since the 15th century and play a vital part in Murukan worship to this day. This study will look at Tiruppukal and the impact they have had upon Murukan worship.

Tiruppukal songs were composed by Arunakirināthar in the 15th century as 1,367 discontinuous songs. They can be described as lyrical hymns interwoven with the doctrines of Saiva Siddhanta philosophy1 and are also based on the hymnal tradition of Saiva and Vaishnava bhakti. The combined elements of all-India mythology2 with indigenous Tamil myths and legends concerned with the cult of Murukan give a feeling of harmony for people who belong to both cultures. In this way Tiruppukalsongs also play an important part in bringing harmonious integration of two cultures, Sanskritic and Tamil. This total penetration of elements Sanskritic and Tamil are happily blended together in Tiruppukal.

Tiruppukal songs can be divided into three main categories:
lyrical poetry of personal experience with autobiographical materials;
lyrical poetry with elements of philosophy; and
straightforward hymns praising Lord Skanda-Murukan.

Apart from the last category the first two contain teachings from which human beings can attain salvation. There are guides to humanity leading to perfect life, but the whole beauty is that they are blended with resonant music.

For Arunakirināthar, Tamil and Murukan are the same. In one of his Tiruppukal songs he praises Lord Murukan as Muttamilvitva, vinota, kita "Oh wisdom of three-fold Tamil,3 Oh beauty, Oh song!" This line alone brought an inspiration to the present study, making me to think about the interconnections within it. It led me to analyse Tiruppukal's place in Murukan worship as well as its influences on classical music. In connection with the former theme: the antiquity of Murukan worship and Tiruppukal's place in it, the application of Tiruppukal to temple worship and whether Tiruppukal has a ritual significance or is simply a complementary devotional practice, will be analysed. In favour of the other issue of the technical aspects of Tiruppukal and how it is a form of classical music will also be considered. In the concluding part of the study the question of how these songs undergo or face problems when sung in different places by different professionals will be analysed.
Tiruppukal's significance in the cult of Murukan

The antiquity of Murukan worship dates form the Cankam period. Scholars believe that Murukan worship began in South India around the Cankam period. One should perhaps ask what the word Cankam means. One definition says it is "The Cankam or Academy in Madurai (which) shaped and controlled the literary, linguistic and cultural life of the ancient Tamils"4 According to Nakkīrar, one of the Cankam poets, there were three academies.5

Tolkāppiyam, the oldest extant Tamil grammar of 2nd Century BC, divided the rhetoric of the subject matter of literature into two categories: akam represents the subjective aspects of life such as love with its emotions and incidents while puram deals with the objective aspects of life such as one's relationship with the outer world, with the community and the state. The word tinai, literally 'genus', denotes the main subdivisions of both categories of subject matter. In akam the tinai are the five aspects of love. In puram thetinai represents aspects of warfare and the praise of heroes. One would assume that in Cankam literature the references to Murukan worship mainly come under the category of akam literature. Murukan's association with akam would seem to be confirmed as he is regarded as the patron of the hilly tract, Kuriñci.6

Arunagiri worships Lord Murugan who had just rescued him from certain death by suicide. Painting from Tiru Avinankudi Tirukkovil, Palani.




In the early Cankam period bards and poets would go from court to court, sing to the king, praise him and receive some recompense. There are references in Puranānaru, one of the anthologies: one bard tells another whom he meets on the road that he should visit a king to become rich. Such a poem of recommendation on the road is calledArruppatai seemingly in the same category as Tirumurukārruppatai or Guide to Lord Murukun, one of the Pattu Pāttu suggests that those who need spiritual guidance should go to the god Murukan.7 This was possibly written by Nakkīrar.

Paripātal, another anthology belonging to the Cankam period, is our main Cankam source for Murukan worship. The whole anthology as extent is divided into praise of Visnu, Murukan and the river Vaikai. The poems 5,8,14.17,18,19 and 21 are in praise of Cēvvel in Paripātalas we have it. For example Paripātal 5 dedicated to Cēvvel mainly describes the birth of Murukan8 and his heroic actions. Finally in line 76 the poet says that 'Those who doubt it shall not attain the feet of Murukan'. This line alone is testimony of Murukan bhakti of that time.

These anthology poems in praise of Murukan show the antiquity of his worship. The way in which they praise Lord Murukan show the importance of Murukan or Muruka bhakti at that time; one may say those poems laid the foundation for Muruka bhakti in the first place. Even in the very ancient period Murukan worship existed, but it achieved its peak in medieval times and was popularised from Arunakirināthar's Tiruppukal period onwards.

In addition to Tiruppukal's popularity in Murukan worship, one way ask how Tiruppukal hymns contributed to Murukan bhakti and what caused Arunakirināthar to compose these songs in the first place. In order to answer these questions firstly it is important to look at Arunakirināthar's life in brief.

Several versions of the life of Arunakirināthar have been told, but it has to be stated that in the absence of clear evidence people draw their own conclusions. It has been said that Arunakirināthar was born into a family of Ruttirakanikaiyar, women who were devoted to temple service of dancing and singing before the deity at pūjā time. His birthplace was Tiruvannāmalai. When he was young he lost both his parents and was brought up by his sister.

A parallel belief is that young Arunakiri led a licentious life and was affected by leprosy. But Sri Kumāra Gurudāsa Swami, one of the biographers of Arunakirnāthar, suggests that he never led such a life. Confusion may have arisen due to elaborate descriptions of attractive women in Tiruppukal. Scholars may put forward different views but it is evident that the first part of Tiruppukalcondemns worldly pleasures and the latter past praises Lord Murukan.

Such an ardent devotee as Arunakirināthar, one might say, would not have led such a proligate life. Arunakiri realised the illusion of life and surrendered himself to Murukan. The more he surrendered himself, the more he was anxious to see Murukan. But his desire was never fulfilled and out of depression he flung himself from a Tiruvannāmalai temple gōpuram. Murukan came to the rescue, commanded Arunakiri to sing, and gave him the lead as 'muttaitaru'. From that moment onwards Arunakirināthar composed thousands of Tiruppukal hymns. His Tiruppukal are so fluent and melodious that they are called nectar. Through his songs he said many things which are relevant to humanity for attaining moksa 'salvation'.9

There is no clear evidence for Arunakirināthar's life and the incidents in it are matters of legend. But even if things happen according to the present day belief, one should take his life as an fine example for bhakti marga. In bhakti marga the fundamental principle is that all human beings are born with certain weaknesses; when they do something wrong they need somebody to correct and guide them and assure them that they can overcome their failings. Only in bhakti marga one could see such hope, and the story of Arunakirināthar remains a good example. Through his songs he also made Murukan bhakti accessible for ordinary people as the Nāyanmār and Alvār did.

From his period onwards the Tiruppukal became popular in temple rituals. Temples played a vital part in peoples' lives in Tamil nadu from at least the period of the 6th century onwards. Temples and pilgrimage became very special elements of Tamil culture from the time of the nāyanmār Saiva saints. Following the same tradition, Arunakirināthar also went around the shrines of Murukan and composed Tiruppukal on those sthalas. Songs on the ArupataiviÏtu, 'Six Divine Armouries'10 of Murukan were and remain popular. By praising the Lord in connection with the nearby landscape of those sthalas he also made ordinary people feel proud of their terrain and brought them closer to the Lord. In this way the bhakti marga was propagated by Arunakirināthar.

Tiruppukal hymns were and are usually sung by otuvār, the community of 'reciters' of sacred hymns in temple worship. When temples became popular there started rules and regulations for temple worship and its rituals. As its basis is the Saiva Agamas system of philosophy telling the method of Siva worship, twenty-eight in number. The Kamika Agama, which rules most of the temple rituals of South India, suggests that hymns in Tamil should be sung immediately after the daily worship in temple rituals. In this way, songs differ from temple to temple according to their deities. In Murukan temples, otuvār mainly sing Tiruppukal.

In temple rituals, the otuvār normally sings Pañca Purāna11 'five special hymns' which are included in the Panniru Tirumurai. At the end of this they sing Tiruppukal as a complimentary song to Murukan and this practice still continues. Tiruppukal hymns are not included in the twelve canon Panniru Tirumurai, but one may ask how Tiruppukal is included in the concluding part of the Pañca Purānam in the temple worship.

An answer is that Pañca Purānam hymns are sung to cuttānkam or viruttam, without tāla type (except for Tēvāram). After that arrhythmic singing, Tiruppukal sung in fast tempo may give a touch of active feeling or satisfaction to the listener. In this way Tiruppukal imparts rhythmic mood to the singing: The songs are composed in rare tālas and are popular for their unusual style calledcantam, 'syllabic rhythmic pattern'. e.g.tana, tanana, tantana etc., Even though they are not part of the Tirumurai and are supplementary songs to Lord Murukan when they are included in the Pañca Purānam, they are regarded very highly and have ritual significance.
Tiruppukal as classical music

In connection with this theme are Tiruppukal's technical aspects: cantam or syllabic rhythmic patterns, its rare tālas and ragas, and how it became a forerunner of krti and kīrtana and a constituent in Carnatic music concerts - these will be analysed briefly.

Almost everybody knows Tiruppukal as a highly sophisticated form of classical music composed by Arunakirināthar. But only some may ask whence did Arunakirināthar draw his inspiration for his Tiruppukal, with its highly sophisticated syllabic rhythmic patterns or cantam.

Tamil cantam is drived from Sanskrit chandas, metres, one of the six Vedāngas: Siksā, Kalpa, Vyākāranam, nirukta, Chand and Jyotisa. Tese are associated with pan, for poetry in early times was connected especially with devotional singing. From around 6th century AD onwards poetry, devotional songs set to fixed pans or ragas existed in Tamil Saiva and Vaisnava texts. The poets who first employed metres of the cantam type were Tiruñānacampantar and Tirumalicai Alvār. The structures of Kalippa and Paripātal12 were superseded after the 6th century AD by such Pāvinam or auxiliary metres. These were used in epics and prapantams but this style achieved its supremacy in Arunakirināthar's Tiruppukal. Astapadi songs of Gita Govinda by Jayadava and many Sanskrit compositions: such as Sivastuti of Patañjali set in popular metres also inspired Arunakirināthar. Another striking example is one of the Tirumurai saints' works. In the eleventh Tirumurai, the Koyil nanmanimalai of Pattinattār (10th cent. AD) and a classical Tamil epic, Takkayakamparani by Ottakūttar (12th cent. AD) also contained cantam metres which may have inspired Arunakirināthar.

The Sanskrit candas classified long and short syllables in vedic metrics and singing. Rg and Yajur vedas are in verse, measured by syllables. Later they were adopted into Tamil prosody to use in metres sung without tāla or cuttānkanga. There are two types of candaswhich were found in Sanskrit classical poetry: Aksarachandas and Mātrāchandas. In Tamil poetry Aksarachandas came to be in use from the Tēvāram period and songs combined with cantam are called cantappā.

The Tiruppukal songs also interwoven with cantam are thus called cantappā and the composer of Tiruppukal is therefore referred to as Cantappāvala Peruman. Example below shows how cantam, tāla and songs are interwoven.

Taka dimi Taki Ta : Ta Ka Taka Tadimi
Akara mu. Mā. Ki : .. Panu mā. ki
Timi dimi Toku : Dimi To .. ku
Atika mu. mā. ki : Aka mā .. ki

Here the rhythmic structures comes as 4 + 3, thus it is in a Mis&215;ra or seven aksara grouping. normally the rhythmic structure comes as 3 + 4 Takita-Takadimi but here it comes in a viloma, reversed structure: instead of 3 + 4, 4 + 3.

Another unique device found in Tiruppukal is known as tōnkal, which is an extension appearing in the end of each verse or kandikai.This is rhythmically different as well as a help in differentiating the second verse from the first, the third from the second, etc., Theyati or caesura is an important unit in Tiruppukal. In the particular Tiruppukal that was mentioned earlier, the yati connected withtōnkal comes as Murukone, vekukoti perumale etc., The tōnkal present in a Tiruppukal usually follows the same rhythmic pattern, as a rule throughout the piece. For instance:

"Ikaramu mā. ki : Ivika lu mā. ki//
Inimayu mā. ki : Varu vō. ne//

Here varu vōne is a tōnkal. The same metrical arrangement comes with the rest of the lines as vativōne, utaiyōne etc.,

The function of tōnkal is adding an additional beautiful touch to the poetry. Originally, tōnkal in Tamil, meant endant' or 'medallion'. As a pendant gives extra beauty to a chain, in the same way Tiruppukal as a chain completes its beauty with tōnkal. Rajagopala Iyar. (JMA Vol. LI, 1980) describes its function as "tōnkal affords free elbow room for slight elongation of the type to the exigency to the particular tāla, to round up the avarta".

Talas which used in Tiruppukal are called canta tālas, a combination of jatis and aksarās. numerous laya phrases or jatis are used in Tiruppukal. Many of these are not used even in South Indian dance forms. Arunakirināthar mentions some of the tālas which were used in his period; Puta vetāla vakuppu, a composition which tells about the battle between Lord Murukan and Surapadma.

Here he gives an account of rare tālas such as caccaputam, caccaputam, satpita, putirikam, urgatitam, tarppanam, carccari, kokilapriya, kankalam and utsava. Here, the first five tālas are believed to derive from the five faces of Lord Siva and are called Mārgi Tālas and the rest of them belong to the 108 Desi Tālas.13 Both are considered among the rare tālas of Carnatic music. Herein, the 108 tālas use thecaturasra laghu of four beats only in addition to the other five tālāngas, of 1,2,8,12 and 16 beats. But in Tiruppukal, 3,4,6,7 and 9 aksara varieties and their variations are used abundantly14.

In Puttavētāla vakkuppu he mentions how devils and ghosts performed a terrible dance on the battlefield in order to scare the gods' army. Besides telling the story, he mentions the pans and tālas current in his time. It is interesting to note that Arunakirināthar composed his work just before Venkatamakhi (1635).

Arunakirināthar mentioned few ragas and pans; nowadays Tiruppukal songs are sung to pan that are identified with ragas popularly used in Carnatic music and that came into use just after Arunakirināthar's period. It is worth observing that in Arunakirināthar's time even foreign ragas were used but pan (like Janaka or parental scale) and tiram (janya or child) scalar patterns were used. There were altogether:

4 Pans (Kaicikai, Sikārmaram, Kuriñci, Pañcamam)
3 Tiramas (Vipañci, Cikanti, Varati)
1 Janaka rāga (Bhairavi)
6 Janya rāgas (Mōhanam, Gaulai, Bauli, Varāli, Rañci, Patamañjari)
2 Bhasanga ragas (Kauda, Lalitai)

which were mentioned in Putuvētāla vakkuppu.

It has been frequently mentioned that Arunakirināthar composed Tiruppukal in the style known as citra kavita, 'artistic poetry' similar to prabandhas, but without pallavi, anu pallavi and carana sections. Prabandha types of composition disappeared gradually with the appearance of modern forms. In Carnatic music the forms kīrtana and krti already in use e.g., by Purandaradāsa (1494-1564), were brought to perfection by Tyāgarāja, Muttuswami Dikshitar and Syama Shastri.

Following Arunakirināthar's footsteps in the cantam structure Tyāgarāja and Muttuswami Dikshitar are to some extent indebted to the cantam style. Muttuswami Dikshitar adopted the cantam structure as Madhyakāla prayōga and composed many krtis with this style. Similarities between Cantakulippu15 and Madyakāla prayōga portrary the adaptation of cantam style in Dikshitar's krtis clearly.

In connection with Tiruppukal's impact on Carnatic music, another important element can be pointed out. Arunakirināthar in many of his Tiruppukal uses the mudra or ankitam, effectively his signature. This is a feature of devotional poetry seen long before, e.g. in Tiruñānacampantar's Tēvāram and Jayadeva's Gita Govinda. This tradition has been popularly used by the musical trio and the other composers later.

Another important point that is worth observing here is the supreme skill of Arunakirināthar, both in vannam 'colour of sounds' andocai, the basic tone and rhythmic flow of Tiruppukal, yet further concepts inherited from Cankam literature. Kamil Zvelebil states "vannam is the prevalent phonaesthetic quality of a stanza, determined by the quantitative relations and structural positions of bocoid and contoid phonemes" (Smile of Murugan p. 244). Tiruppukal songs have been accepted as a constituent in Carnatic music concerts for their rhythmic words rare rāgas and tālas in fast tempo that give a feeling of action to the singers and audience, combined with a vivid sense of devotion.

Without difficulty Tiruppukal songs gained popularity from both religious and musical perspectives. They are popularly sung by different professionals in different places. When songs are recited by otuvār, their treatment is subjective. As Tiruppukal promotebhakti in Murukan worship, the community of reciters of sacred hymns believe that the words should be understood properly; without understanding the words of the text, people cannot approach the feet of Murukan and thereby the final goal of moksa. It is very important to understand the words of the songs in devotional practice. Thus the otuvāra place emphasis on words and reduce musical ornamentation in their singing during temple worship. For this reason, it is believed that musical elaboration should be restricted to a minimum.

On the other hand, classical musicians use musical elaboration in Tiruppukal in concerts. The rāgas and tālas with syllabic rhythmic variations are a real treat for classical musicians. These allow them to express their musical imagination and thereby to explore much appreciated improvisational talents. In stage performances one could handle a Tiruppukal as one of those krti or kīrtana and be appreciated by the audience easily.

To summarize, in devotional practice, words remain important to promote bhakti. The otuvār has to observe the rules in handling words without damaging the actual meaning of the text, so music takes the second place. In contrast to this, in stage performances the music remains very important and the text's importance counted as secondary.

Finally, from the Cankam period until today in South India, Tamil music and religion, whether Saivism or Vaisnavism, are interrelated. The connection has been embedded in South Indian minds since age after age. The reason is that Saiva Siddhānta philosophy shows an easy path to moksa through music. And classical music is a form of worship of God Siva in particular, as the divine origin and embodiment of music and its fulfilment. In the same way that the divine beings and their attributes are outside human intellect, music too acquired and esoteric and well-nigh mystical significance.
End Notes
Saiva Siddhānta includes the sastras which are relevant to South Indian Saivism. The philosophy of Saiva Siddhānta mainly enumerates 'Mupporul'; pati, 'Lord', pasu, 'soul' and pasam 'the three-fold bondage'. The twenty-eight Saiva agamas and other texts such as Civa˜anapotam, Civa˜anacittiyar and Irupa Irupattu all formed the origin of Siddhānta philosophy.
What Milton singer tended 'great tradition'.
Three-fold-Tamil is known as iyal, isai and natakam.
Kamil V. Zvelebil: The Smile of Murugan p.45
The first Cankam which was situated in 'Southern Madurai' lasted 4,400 years. Members who took part in it included gods and sages such as Siva, Skanda, Kubera and Agastya and it was submerged into the sea. The second Cankam situated in Kapatapuram lasted 3,700 years and was also submerged into the sea. Finally the third Cankam was situated in present-day Madurai and lasted 1,850 years.
Tolkappiyam. Porul - 5. line 2: "Ceyon meya mai-varai y-ulakam-um" The mountain region presided by Murukan.
The difference in the application of the term arruppatai as between Tirumurukārruppatai and others such as Perumpan arruppataihas been discussed many times. It is suggested that this represents a medieval re-use of a Cankam term: it will be recalled that Tirumurukārruppatai is also included in Tirumurai XI.
J.R. Marr: The Eight Anthologies p.382 op.cit. "There Indra requests Siva no more to unite with Uma and the embryo already in her womb is removed by Indra and given to the seven sages. Theses gave it into the care of their wives but Aundati refused to share in looking after it. It was cut into six and cast into fire and six wives consumed the pieces. Each gave birth to one god. They were all on a lotus raft and the children were playing when Uma saw them. She joined them into one God, the six faced Skanda": Arumukam.
In the sense understood by Saiva Siddhānta.
The six are: Tiurverakam, Palamutircolai, Tiruttani, Tirucentur, Palani and Tirupparankundram.
Tevaram, Tiruvacakam, Tiruvicappa, Tiruppallantu, and Periyapuranam. These five main texts and some other form the Panniru Tirumaurai or 'twelve-fold sacred wry'.
"Paripatal poems may be composed in a number of metres. Tolkappiyam the oldest grammar in Tamil, states that the four parts of Paripatal are Koccakam, Arakam, Curitakam and Eruttu. The commentary explains that Koccakam is a part where in short lines recur like pleats in a garment. Arakam is characterised by a rapid succession of short syllables, Curita Icam is the closing portion and Eruttu is the same as Taravu". J.R. Marr, op. cit.pp.3740375. Taravu is the same as the verse-component of Kalipattu.
An interesting variant of the used interpretation of these as the 108 classical talas by reason of their names at least going back to such medieval texts as Sangitarantakara and beyond.
P. Sambamurthi was of the opinion that the analogues capu talas have their origin in folk music.
In Indian music seven swaras S-R-G-M-P-D and N form the scalar pattern there are seven jati syllables to-dhi-tam-nam-ta-lan anddhin that form the tala pattern. Among the basic seven syllables cantams are selected, introducing the concepts of vallinam 'hard' and mellinam 'soft' consonants, viz the plosive and nasal series. Also utilised are the itaiyinam middle letters: y, r, l, v, l and l. From these combinations thousands of different patterns can be woven. This process is called cantakkulippu.

Fiordland     Milford Sound - Mitre Peak     Moeraki Boulders     Pancake Rocks     Abel Tasman National Park     Abel Tasman National Park     Appletree Bay     Coquille Bay     Fox Glacier     Golden Bay - Wharariki Beach     Lake Rotoiti     Pupu Springs     Tasman Glacier Lake     Torrent Bay     Papakorito Falls at Aniwaniwa Lake - Waikaremoana

Thullal

Caste ridden and laden with the evils of discrimination and oppression, Kerala society was in dire need of a messiah who could bring men back to their senses. Even fine arts had become the forte of the rich and the learned; the elite Brahmins spoke a Malayalam heavily spiked with Sanskrit and this influenced the music of the dance forms such as Kathakali. This dialect was beyond the understanding of the lower classes that started to feel culturally deprived. At this time, about 200 years ago, emerged Kunjan Nambiyar. An artist par excellence, Nambiyar was extremely well versed in dance, music and poetry. He brought the fine arts into the lives common masses. Art, Nambiyar believed should bring entertainment to the spectator, immaterial of his caste, religion or social status. Also it is the artist's cardinal duty to highlight the social evils and malpractices society indulges in. Only through the mass appeal of art can the injustices and inequalities aced by some be addressed. His thinking and expert skills made way for the new art form Nambiyar propounded, Thullal. Rich in music, rhyme, rhythm ad meter, Thullal is also replete with satirical wit and humor. Nambiyar combined a semi classical dance form with social sarcasm and criticism. But he did use his iron fist within a velvet glove. His humor was explosive and those he targeted, often ended up laughing at themselves. Nambiyar's themes were taken from the ever popular epics, but Nambiyar added his own charm and made these legendary characters more mundane. They were prone to the biases of society and therein he created space for his own brand of ruthless humor. Nambiyar was undiplomatic and relentless in his jest. He could forgive the more ordinary vices of human nature but was quite intolerant of egotism and guile some men showed. He exposed the innermost weakness of the "crafty" and showed that they were as prone to trickery and dogma as the rest.

Nambiyar was an extremely knowledgeable musician and his musical plays composed for Thullal show proficiency in classic music ragas and beats (taala). Carnatic ragas such as Bilaahari, Shankaraabharanam, Kaambhoji, Naattakurunji, Mohanam, Aanandabhairavi, Punnagavaraali, and Indolam are used. Often a raagamalika or taalamlika (medley of ragas or taalas) is found in a play. This is used with dramatic effect to heighten the thrill of the scene. Nambiyar weaves together religious mythology and the desires and aspirations of men thereby transporting the spectators o a different world altogether. The language is straightforward Malayalam, the simple diction of the common man. Various classical dace forms and folk have been combined to create an experience enjoyable to the masses. The music is rich in beats and the dancer is accompanied by 2 percussionists- a cymbalist and a maddalam player. The cymbalist repeats the Thullakaran's (dancer's) lines for a dramatic effect.

The Thullal starts with an invocation sung by the cymbalist and the Thullakaran praying salutations to God and his orchestra. The solo artist then does a jig in front of his orchestra (i.e. with his back to the audience). Then he turns and the play starts. The dancer now sings a line and when it is repeated by his percussionist he dances to the tune Extensive use of body postures, hand gestures and facial expressions are used by the dancer to express the meaning of the verses. The performer takes up the role of detached narrator and yet gives an impassioned performance to the same lyrics the very next instant. The dance performance is spangled with pieces of vigorous footwork.

It is believed that Nambiyar ceated his initial play to avenge an insult by a Chaakiaar dancer. However he later developed it intensively. Thullal is classified into three types depending on the rhythm and meter and also according to the differences in costumes and dance. The 3 varieties of Thullal are as follows:


Ottan Thullal: Ottan Thullal is well loved and perhaps is regarded with the most favor among the masses. The music is high in tempo and the dance fast. The attire or costume of the dancer includes a knee length white and red skirt worn around the waist, a chest plate decked essentially with a number of metal and glass beads. The other ornaments are also pretty gaudy and decorate with tinsels, glass etc. Like in case of Kathakali the face is painted green and the lips and eyes are highlighted to bring out a spectacular effect. Head gear (such as crown or serpent head) is also worn and is striking. Bells are tied to the calf above the knee to provide a jingle every time the foot is struck with force.


Seethankan Thullal: In the Seethankan Thullal the rhythm and the tempo is not as fast paced as the Ottan Thullal and more emphasis is laid in the body movements and gestures as means of expression. In this form of Thullal the skirt is similar to Otta Thullal but the artist wears a head gear and armlets made of the leaves of tender coconut. Virtually no face make up is applied except for the highlighted eyes.


Paraya Thullal: In this Thullal the skirt worn around the waist is red in color and the make up is very basic. The headgear is elaborate though. The pace and tempo of this Thullal is the slowest making space for graceful body movements and elaborate gestures and expressions.

Though there is no strict rule, but generally Parayan Thullal is performed in the forenoon, Seethankan in the late afternoon, and Ottan after sundown. All three types of Thullal are not performed together. Last year a leading artist Mr. Prabhakaran and his children performed all 3 types of Thullal together on the same stage. The word Thullal in Malayalam mean a “prance like movement” also used to signify dance. Other kinds of Thullal such as Thumbi Thullal and Kolam Thullal are performed in Kerala during Onam and the temple festivals. But these are dainty folk dances performed by women to celebrate and are not dance or music rich as the Thullal founded by Nambiyar.

INDIAN CLASSICAL MUSIC

INDIAN CLASSICAL MUSIC

The music of India is said to be one of the oldest unbroken musical traditions in the world. It is said that the origins of this system go back to the Vedas (ancient scripts of the Hindus). Many different legends have grown up concerning the origins and development of Indian classical music. Such legends go a long way in showing the importance that music has in defining Indian culture.

However the advent of modern historical and cultural research has also given us a good perspective on the field. This has shown that Indian music has developed within a very complex interaction between different peoples of different races and cultures. It appears that the ethnic diversity of present day India has been there from the earliest of times.

The basis for Indian music is "sangeet". Sangeet is a combination of three artforms: vocal music, instrumental music and dance. Although these three artforms were originally derived from the single field of stagecraft. Today these three forms have differentiated into complex and highly refined individual artforms.

The present system of Indian music is based upon two important pillars: rag and tal. Rag is the melodic form while tal is the rhythmic.

Rag may be roughly equated with the Western term mode or scale. There is a system of seven notes which are arranged in a means not unlike Western scales. However when we look closely we see that it is quite different what we are familiar with.

The tal (rhythmic forms) are also very complex. Many common rhythmic patterns exist. They revolve around repeating patterns of beats.

The interpretation of the rag and the tal is not the same all over India. Today there are two major traditions of classical music. There is the north Indian and the south Indian tradition. The North Indian tradition is known as Hindustani sangeet and the south Indian is called Carnatic sangeet. Both systems are fundamentally similar but differ in nomenclature and performance practice.

Many musical instruments are peculiar to India. The most famous are the sitar and tabla. However there are many more that the average person may not be familiar with.

All of this makes up the complex and exciting field of Indian classical music. Its understanding easily consumes an entire lifetime.

Basic concepts in Carnatic music:- Importance of Shruthi (pitch) -

Panchama shruthi(tonic and perfect fifth) and Madhyama shruthi( perfect

fourth as tonic) and Laya(rhythm) with swara(solfege) concepts with

historical meaning, octave classifications called sthayi, basic

talas(rhythmic cycles) popularly used, and introduction of carnatic music

notes and its varieties.

• Voice range training and breathing methods:- Use of full voice and

head voice in solfege training and breath control-akaara,ikaara,ukaara and

makaara saadhakam

• How a Raga(Melodic scale) is formed:- Combinations of swaras,

melakartha(mother raga) scheme, janya raga(child raga) concept,

varieties possible in janya ragas – varja(missing notes), upanga(belonging

notes), bhashanga(alien notes) varieties.

• More details on raga:- Janya Ragas continued – vakra(zig-zag),

sampurna(wholesome) ragas, Number system(katapayadhi sankhya)

followed in the melakartha scheme and its identification mechanism,

• Saptha Tala Scheme:- Rhythm varieties, concept of graha with

examples, tala angas(parts of a talam), aksharas(tala counts),

kaarvai(extension of note), gathi bedhas(transfer from one tala pattern to

another within a basic tala variety)

• Solkattu training:- Clusters of intricate rhythmic beats called “Solkattu”

are orally recited to add interest to a musical composition.

• Methods of writing Carnatic music:- Musical notation, symbols used ,

using written music notation to sing.

• Small important topics:- Gamaka(note oscillations), anuswara,

jaaru(slide in notes), spuritham or briga, sahitya(lyrics), swarakshara,

sangathi, kala pramaana(speed employed in a song)

• Structured Learning of Carnatic Music:- Swaravali, Jantai, Tara sthayi

and Dhaatu varisaigal (swara lessons for practical singing), Alankaras(

use of saptha talas in singing), Geetham(use of sahitya in a song),

Swarajathi( concept of sollukattu or rhythmic syllables, meaning of jathi and its use in a song), Varnam and its varieties, Kriti, Keerthana,

Viruththam or Shloka.

• Composers in Carnatic music and scope for creativity:- The Trinity,

Shri Purandaradasar hailed as the father of carnatic music learning,

traditional and modern composers at a glance, creative concepts in

carnatic music - alapana, neraval, kalpanaswaras, tanam, pallavi,

grahabedha or shruthibedha.

• Instruments generally used for a concert and musical pattern

followed:- Musical structure of a typical Carnatic music concert including

thani aavartanam( solo by drummer or mridangam artiste), thukkadas, folk

number, bhajan, concept of tillana and mangalam( concluding musical

piece).

• Practice and performance:- Guru-sishya parampara(direct learning from

teacher), sadhagam(hours of practice), concert listening techniques, how

to become a performing carnatic music professional.

Beautiful' makes an impressive opening








Though a small budgeted film,'Beautiful' featuring Jayasuriya, Anoop Menon and MegnaRaj made an impressive opening across 46 centres in Kerala yesterday.The movie also made to select centres in Chennai and Bangalore. Directed by V K Prakash in the scripts of Anoop Menon, the movie witnessed encouraging collections, and reviews all around are impressive.

Telling the story about the intense bonding of two friends, one laid in bed and other a musician, the interval and climax punches are greeted with standing ovation in almost all the release centres. The movie which is just below two hours is expected to do well and is now listed as the best from its director, who usually plays techno-games and experiments with his viewers.

The movie also have few good songs by Ratheesh Vega and quality cinematography by Jomon T john.