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Nuances of Music in Kerala Performing Arts

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Nuances of Music in Kerala Performing Arts I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 Volume 1-Issue: 6 August 2021 University Research Publications, Ernakulam, Kerala Nuances of Music in Kerala Performing Arts Preethy.M Research scholar Department of Dance Sree Sankaracharya University of Sanskrit, Kalady Abstract Kerala has a wealthy culture in vocal, percussion and performing arts. It is associated with the custom of numerous religious, rituals, in temple and sacred groves. Sopana sangeetham is specialised song of kerala. Where in predominance is continually given to tala. The akara alapna constant to the tala premises is a feature function of kerala sangeetham. This may be visible in kerala performing arts like kudiyattam, kathakali, krishnanattam, mohiniyattam, thullal, theyyam, mudiyettu, in addition to the tribaldance. Sopana sangeetham is the earliest musical tradition of kerala, which is distinct in form and expression from classical carnatic music. In musical significance sopanam denotes a style of singing, set to a Tala, which is very slow in the beginning with a few notes set to a Tala treating every note of raga as its sthayi note, stopping on it for long going up and gliding down to its basic note, like the Hindustani raga Aalap. Kerala Talas, Ragas and also specialised style of music rendition are the key constituent of kerala performing arts tradition. Key words: Kerala tala, raga, performing arts, sopana Kerala is a land of art forms and each and every cultural arefacts of Kerala has an indepth influence with its art whether it is classical or folk. There are different varieties of 'pāttu' in kerala. Pāttu means song. Such as krishippāttu, kalamezhuthu pāttu, velanpāttu, pananpāttu, Bhadrakalippāttu, sastampatu, onappātu, thiruvathirappāttu, unjalpāttu, vanjippāttu, Gandharvanpāttu and other varieties. Many of these patterns are devotional or ritualistic. The tradition of music followed by a folk for generations is called folk music. The folk music with its own distinctive sruthies and layas belongs to local community or sub culture. The folk music really come between the primitive music and classical music.The folk music of Kerala reveals the power and cham of companionship. The traditional livelihood of people is the fundamental to 86 I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 Volume 1-Issue: 6 August 2021 University Research Publications, Ernakulam, Kerala their music and art. Folk art forms have played an important role in sustaining and nourishing our culture and they have no substitutes. Music is the only media which influence all tastes. According to Bharda "drama is colourless without music". Beauty lies in both the arts. Vachikaabhinaya is the expression through speech and songs. It plays a vital role in taking the bhava to its zenith. Kerala is rich in traditional arts, folk arts, and temple arts. These all are interrelated. Kerala's performing arts has got a unique face, as it has been developed focusing on the" Talapaddati". The word Sangeeta is a union of music, dance and vadyas rightly said by sarangadeva "Geetam vadyam tadha nritham trayam Sangeetamuchyathe". Hence music cannot exist only with the laya patterns. Sopana sangeetham is a specialised singing style of Kerala where predominance is always given to Tala. The akaralapana fixed to the Tala premises characteristic feature of Kerala own style of Nuances of music in Kerala performing arts and music. Sopana music is mainly dramatic music with religious colour. Regarding the ragas of sopana music is based on old Pan-paalai scheme of the Dravidian music resembling the principle of Raga Anga paddhati. The leading ragas of sopana music are padi, puraneeru, kurijni, Indolam, Kanakkurinji, Ahari, poovali, bhupalam, phanam, Tondu, khandharam . Various instruments of sopana at the theater includes mizhavu, chengala, Ilathalam, Edakka, Thalam, Kuzhal. These ragas,talas and instruments are used in Kerala's performing arts like kathakali, krishnanattam, koodiyattam, Tullal and in Mohiniyattam also. Kunjan Nambiar brought out his talent in music by introducing different types of ragas like Indeesha, Dukha kantaram, puraneeru, of talas like marmam, kumbham, karika, panchari, kundanaachi. Raga and Tala which were familiar to the poet were also included in his thullal. Kavalam Narayana panicker composed many pieces specifically for mohiniattam in the Kerala Talas such as chamba, karika, Ayyadi, Navakam, Kundanaachi, Adantha, Marmam, Kumbham, Lakshmi etc. Kerala rhythms are used in almost every art forms of Kerala.. For Keralites, Art is a part and parcel of life. Be it classical or falk Kerala in a land of art forms. Kerala performing arts has got a unique face, as it has been developed focusing on the ‘TalaPaddathi’ The word ‘Sangeetam’ is a union of music, dance and vadyas as rightly said by Sarangadeva ‘Geetam Vadyamthadha Nrutham Trayam Sangeethamuchyathe”. Hence music cannot exist only with the Laya Patterns ` Kerala music tradition in commonly known by the name ‘Abhinaya Sangeetham or Sopana Sangeetam. There are mainly 11 aspects which are unique for this ‘Paddhathi”.*1 87 I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 Volume 1-Issue: 6 August 2021 University Research Publications, Ernakulam, Kerala 1. Rhythmic Rendition of Akaara Singing akaram to the rhythm of Chengila is unique practice in this which included the word aanandam. The extention of first letter ‘Aaa’ of Ananda is called Aakara Alapana. 1. Singing the Kattala Swaram Singing jeeva swaras of the raga in the akaara. It starts from the Adharashadjam to Panchamam alone the fundamental notes and returns to adharashadjam. Second stage starts at Panchamam and reach to melshadjam and back to panchamam. Then melshadjam to uchastayi to melshadjam. Fourth stage Panchamam to lower Panchamam. 2. Applying Air Thurst This brings the tandava( masculine) aspects of the majorly lassya (feminine) aspects of bhakti singing. The effects in Idakka also enhance the singing and conveying the mood and feelings to the listeners. 3. Singing the tyaani It sings just after Kattalaswara, which has a couplet structure, a basic structure of sopana music. It is the composed with respect to the poojas. Similarity between this couplet structure and Geeta Govinda that it could be assimilated to sopanasangeetam so easily and effectively. ( Tyanis are short songs sung standing on the sopana of a temple with the accompaniment of Idakka. This has been called Kottippadiseva or in general term sopanasangeetam. Tyani usually doesn’t have the sections like pallavi, anupallavi and charamam. 4. Kooradakkam A special characteristics of a sopana music of starting and ending the renderings of the composition by playing of kooru in Idakka. Kooru is a special playing in idakka letting the listeners get to know that the singer going for a new composition. 5. KalayappattuSystem 88 I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 Volume 1-Issue: 6 August 2021 University Research Publications, Ernakulam, Kerala Here the singing stops at the last beat of one rhythmic cycle and enters the next one as an ashabda. This method of incorporating ashabda into the rendition itself clarifies the nature of tala. 6. Rhythm Controlled singing Rhythm rendered in this system of music. The rhythm keeps the pace and beauty of sopanasangeetam and this merging of rhythm and rendition that makes sopana music so special. 8 Special type of Gamakas Gamaka is the movement of music from one swara to another or from one swara to itself. There are 10 gamakas mentioned in sangeetharathnakara, of which sopana music uses 3 of them – andohita, spurita and kampita. 9. The appearance and disappearance of Ragas Here, the singer involves another raga amidst singing one particular raga and exists peacefully without disturbing the essence of the first raga. Exquisitely talented muscian can precisely without letting off the musical aesthetics of the former raga. 10. Abhinayasamgeetham The rhythmic backbone of sopana music is its simple, yet emotive aspects, makes it apt for expressing the content of performances in various art forms like kathakali, mohiniyattam, krishnanattam. 11. Mnemonic Ingredient The combination of mnemonic with the song helps to highlight the quality of music and to express the emotive aspects very effectively. HrudayaTalaVyavastha 1. Ekam x √ Thai 2. Roopam x x √ Thi Thai 89 I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 Volume 1-Issue: 6 August 2021 University Research Publications, Ernakulam, Kerala 3. Chempada x x √ Thi Thai 4. Karika x x √ Thi Thai 5. Panchari x x x x x √ Thi Thi Thai 6.Marmam x √ x 푥 √ x √ x 푥 푥 푥 √ Thai Thi thai Thi thai Thi thai 7. Lakshmi Thithitai Thimrutatai Thithayka Thimrutatai 7. Kumbatalam x x x ✔ x ✔ x ✔ Thi Thai Thi Thai Thi T hi Thai x x ✔ x x ✔ x ✔ Thi Thai Thi Thai RAGAS Ahiri, Indalam, Indisha, Kanakkurinji, Kambodi, Kedaragowlam, Kurinji, Gandaram etc. Koodiyattam Moodhan, sreekandhi, Thondu, Arthan, Indalam,muraleendalam,veladhooli,tarkan, puraneeru etc. Art Form Percussion Instruments Koodiyattam Mizhavu, Kuzhitalam, Edakka, Kurumkuzhal and Sanghu Krishnanattam Cymbals, Sudhamaddalam and Toppimaddalam Kadakali Chengila, Elathalam, Chenda, Maddalam and Edakka and Shangu Ottamthullal Mridangam, Idakka and Cymbol 90 I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 Volume 1-Issue: 6 August 2021 University Research Publications, Ernakulam, Kerala Mohiniyattam Mridangam/ Maddalam, Idakka, Flute, Veena andCymbols. CONCLUSION Kerala has a wealthy culture in vocal and percussion tracks. It associated with the custom of numerous religions, rituals in temples and sacred groves. The ritualistic track of Kerala ample with many ragas and Talas. The Sopana Sangeetam is entirely own to Kerala.
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