Music
Music had its origin in the primitive dances and plays, developed
by the ancient people in propitiation of the deities of the hills
and forests. The development of such art forms as Kuthu Kudiyattam,
Astapadi Attan, Krishnanattam, Ramanattam, Kathakali etc., gave a
fillup to music in later days. An indigenous classical music called
the Sopana Sangeetham developed itself in the temples of Kerala, in
the wake of the increasing popularity of Jayadeva's Gita Govinda or
Ashtapadi. The Kathakali padas composed by scholars like Irayimman
Thampi and the Tullal songs of Kunjan Nambiar also enriched the musical
culture of Kerala. The reign of Swati Tirunal, the ruler of
Travancore, is called "the Augustan Age of Kerala Music". A great
patron of music, he attracted to his court some of the gifted musicians
of the age. In collaboration with his Guru Meruswami who was well-versed
in Hindustani and Karnatic music, Swati Tirunal composed a number
of songs in popular ragas in a variety of languages. Four musicians
from Tanjore by name Vativelu, Ponnayya, Chinnayya and Sivanandan,
otherwise known as the "Tanjore Quartet", lived in his court. To Vativelu
goes the credit for the introduction of violin in Karnatic music.
The Tanjore brothers were also highly gifted in Bharata Natyam and
under their influence Swati Tirunal composed Varnas, Swarajits, Padas
and Tillanas for staging this dance form. Subbukkutty Ayya, a master
of Veena, was also leading light in Swati's court.
In addition
to the musicians mentioned above who came to Swati's court from
outside Kerala, several gifted local musicians also enjoyed his
patronage, the most celebrated among them being Shadkala Govinda
Marar. Marar was a rare musical prodigy. He devised a Tamburu with
seven strings instead of the usual four. He also achieved the unique
distinction of being able to sing pallavis into six degrees of time
and this won for him the title Shadkala. At Swati Tirunal's instance,
Marar went on a futile mission to Tiruvayyur to fetch Tyagaraja
to the royal court. Tyagaraja was so much impressed by an inspired
musical performance of Govinda Marar at the place that he composed
and sang on the spot that famous Telugu song "Entaro mahanubhavalu,
Anstariki Vandanamu" (There are ever so many great men in this world
and I bow to all of them). Two other Kerala musicians who adorned
Swati's court were Paramesware Bhagavatar of Palakkad and Maliyakkal
Krishna Marar. Irayimman Tampi, a close associate of Swati Tirunal,
was also a musician and composer of high calibre who lived in the
royal court and collaborated with the Maharaja in his efforts to
promote the cause of cultural development.
The
tradition of Kerala in the field of music has continued unsullied
in modern times. To the galaxy of modern Kerala musicians belong
such stalwarts as Vina Kalyanakrishna Bhagavatar, Kathakalashepam
Anantarama Bhagavatar, Palghat Mani and Chembai Vaidyanatha Bhagavatar
who have substantially enriched Karnatic music by their valuable
contributions.
Kerala
has developed its own typical temple arts in which instrumental
music plays an important part. Chenda Melam which is played with
such instruments as Chenda, Kombu, Kuzhal etc., is a feature of
all temple utsavams. Tayambaka which involves the elaborate display
of talas on a classical piece of drum (Chenda) is also typical
of Kerala. It is performed in several sessions, each session having
its climaxes and anticlimaxes. Panchavadyam is another unique
art in which the sounds emanating from five musical instruments,
(Maddalam, Idakka, Timila, Kombu and Elathalam) and two auxiliaries,
Sankku (Conch) and Kuzhal, in varying pitches are synchronized.
As in Tayambakam so too in Panchavadyam, each session lasts for
hours. Nagaswaramelam, otherwise called Pandimelam, is another
set of Vadyams played in connection with temple pujas and on such
auspicious occasions as marriages.
| Idophonic Instruments |
| Aramani |
Chandravalayam |
Chengala |
Elathalam |
| Thalara |
Kaimani |
Kinnam |
Kool |
| Kuzhithalam |
Piriyankoolu |
Ponthi |
Villu |
| Wind Instruments |
| Cheenam |
Kaalam |
Kombu |
Kurum Kuzhal |
| Kuzhal |
Nagarwaaram |
Otakkuzhal |
Peepi , Sankhu |
| Percussion Instruments |
| Aravana |
Chenda |
Chettivadayam |
Dakka |
| Davil |
Dolu |
Edakka |
Kadumthuti |
| Maddalam |
Mattaalam |
Mrindangam |
Mizhavu |
| Murasu |
Nagaari |
Nagaaram |
Para |
| Sudhamaddalam |
Tammittan |
Thappatta |
Tappu |
| Takil |
Toppi Maddalam |
Timila |
Tudi |
| Udukku |
Urumi |
|
|
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Stringed Instruments
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| Nanthuny |
Pullavan Kudam |
Pullavan Veena |
Tamboru , Veena |
Sopana Sangeetham
Sopana Sangeetham is a very ancient form of temple music in Kerala.
The word Sopana means a flight of steps leading up to the sanctum
sanctorum of a temple. Devotional recitals rendered on these steps
came to be known as Sopana sangeetham. Besides, the musical notes
(ragas) too have an ascending (aarohana) and descending (avarohana)
nature. Even though over fifty types of musical instruments can
accompany Sopana sangeetham, Edakka is most commonly used.
Kathakali Sangeetham
Kathakali music belongs to the Sopana category of music which is
typical of Kerala and is characteristically slow, strictly adhering
to the tala (rhythm) giving full scope for abhinaya (acting). The
bhagavathar or the singer plays a key role in the staging of the
art form. The Bhagavathar plays a key role in a Kathakali performance.
He is not just the singer, but also the manager of the entire show.
Among the noted Kathakali singers of yester years are Appukuttan
Bhagavathar, Thiruvilwamala (1851-1930), Ettiravi Namboothiri (1809
- 1908), Kannappa Kurup (1845 - 1921), Kunjiraman Nambisan (1871
- 1916), Kunju Podhuval (1879 - 1940) and Krishnankutty Bhagavathar.
Kathakali, especially its verses and music are an enormous contribution
to Malayalam literature and music. Aattakkatha, the literature part
of Kathakali, forms a separate division in Malayalam literature.
There are around 500 Aattakkathas and a few among them are Nalacharitham
aattakkatha, Keechakavadhom aattakkatha, Dhuryodhanavadhom aattakkatha
etc. Compared to others Kathakali music is more involved and complex
clarifying the meanings of mudras or hand gestures, describing the
context and expressing the depth of emotions enacted by the artiste.
With Kelikottu, an orchestration, the performance begins percussion
music - Suddha maddalam marks the ritualistic beginning of a Kathakali
performance. Two back up artistes hold up a curtain and remove it
to signify the start and finish of each scene. Vocal musicians or
bhagavathars standing at the corner of the stage sing, the lead
singer called Ponnani bhagavathar keeps time with a resounding gong
called the Chengila. He is assisted by Shankidi who plays a pair
of Ilathalam (small cymbals).
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