International Journal of English and Literature (IJEL) ISSN (P): 2249–6912; ISSN (E): 2249–8028 Vol. 11, Issue 1, Jun 2021, 61-66 © TJPRC Pvt. Ltd.
PANN PAIYUL KANCHI
K. SELVAJAYANTHI Department of Music, Measi College of Education, Chennai India ABSTRACT
Introduction
The major categories or styles in the Indian Music are of two types which are Hindustani and Carnatic Music. The Hindustani style is followed in the North India and Carnatic is followed in the South India. In Carnatic Music, all the South Indian Languages are used as well. Among them, the Ancient ragas in the Tamil Music are 103 which are mentioned in the oldest book ‘Panchamarabhu’ written by Arivanar.
Poetic Contents: Internal Classifications based on Sangam Literature
Conclusion
Among the 103 ragas, this PaiyulKanchi is the 102nd Raga. This raga has been rarely used by the Musical Composers,
but it shall be used in future compositions and shall be used in Spiritual Music as well. Article Original
KEYWORDS: Rare and Ancient Raga PaiyulKanchi
Received: Apr 13, 2021; Accepted: May 03, 2021; Published: May 13, 2021; PaperId.: IJELJUN202110
INTRODUCTION
Pann - PaiyulKanchi - Yohini
“Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.” says Plato. It is indeed essential for everyone to listen to good and quality music which can change our moods and make our hard life look easier for awhile. It also improves the imagination among the kids as well. The major categories or styles in the Indian music are of two types which are Hindustani and Carnatic Music. The Hindustani style is followed in the North India and the Carnatic is followed in the South India. In Carnatic Music, all the South Indian Languages are used as well. Among them, the Ancient ragas in the Tamil Music are 103 which are mentioned in the oldest book‘Panchamarabhu’ written by Arivanar. These ragas were born from SemPaalai (செம்பாலை), PadumalaiPaalai (ப翁மலைப்பாலை), KodiPaalai (க ா羿ப்பாலை), VilariPaalai (ힿளரிப்பாலை), and MaersemPaalai (கமற்செம்பாலை).
The Ragas which are born from SemPaalai are 8, PadumalaiPaalai are 22, SeavaazhiPaalai are 12, Arum Paalai are 26, KodiPaalai are 12, VilariPaalai are 5, MaersemPaalai are 18. So, 103 Ragas in Total. These 103 Ragas are divided in Subjective, Objective, Proximitive and Multiplicative manner. This classification is called as ‘YaazhThiram’(யாழ்鎿றம்) which was mentioned in the ‘YaazhNool’ (யாழ்ꏂை்).There are Four Major Inner Classification of the ragas by the Sangam Literature based upon the Moods, Nature, Location, etc., These classifications are also the base for the current ragas which exist till date. The book ‘PingalaNikandu’ (ꮿங் ைநி ண்翁)refers to the importance about those four inner classifications for the Ragas which are as
www.tjprc.org [email protected] 62 K. Selvajayanthi follows,
1. Four Major Ragas and Categories contains - 16
2. Skills from Paalai - 20
3. Skills of Kurunji - 32
4. Skills of Marudham - 16
5. Skills of Sevazhi - 16
6. Tharapandiram Paiyul Kanchi - 03
TOTAL - 103 Ragas
These Ragas are 2000 years old and they are still in use. These ragas were from the period of the famous Tamil Poets like KaraikaalAmmaiyar, Appar, Sambandar, Sundharar and so on. This Topic is about to explore about PaiyulKanchi, the one among the 103 Ragas.
According to Tamil Lexicon, Vol 5, University of Madras, 1982.
Paiyul
Disease
Distress, suffering
Poverty, adversity, straitened, circumstance
Confusion
Kanchi
Kancheepuram
Women’s Waist – girdle consisting of seven rings of beads or bells
An ancient secondary melody of the Cevvali Class
Yohini:
Female magician; witch, sorceress
A class of female attendants on Durga
Goddess
Kaali
The 58thMelaHemavathi is the root for this PaiyulKanchi raga. The Musical Notes in Hemavathi which are Sadjam, ChatursruthiRishabam, SadaranaGandaram, PradhiMadhimam, Panchamam, ChatursruthiDhaivadham, KaisigiNishadham. Based on these Notes, the Ragas had been developed lately. Those Ragas are as follows,
Kaivasi
Impact Factor (JCC): 7.2152 NAAS Rating: 3.12 Pann Paiyul Kanchi 63
Preamavuthri
Hemampari
Aamsappiramari
Chandraregi
Visayaranga
Kanchanavathi
Kanagapooshavali
Hemapriya
Yohini
Semagiri
Visayamandham
Neevi
Among this, Yohini is very similar to the PaiyulKanchi Raga.
Its Arohanam : S -R2- M2- P- N
Avrohanam : N1- P- M2- R2- S
The Musical Notes, that is, the Sadjam, ChatursruthiRishabam, SadaranaGandaram, PradhiMadhimam, Panchamam, ChatursruthiDhaivadham, and KaisigiNishadham refer to the Five Ancient Ragas. Kandaram and Dhaivatham are left behind in this Raga. There is SudhaMadhima in Madhiyamavathi Raga. Yohini is the direct alternate for the Madhiyamavadhi Raga. Dr. S. Jayalakshmi mentions in her “Silapathigarathil Isai Selvangal” book that the Yohini raga will escalate the Spiritual feelings without fai
Ragas born from Maersempaalai
Tara Pann (Gandharam)
Nagayaandhi
DiviyaVaraadi
Soorthunga Raga
MudirndhaKurinji
Santhi
Azhungu
Theasi
Andhi www.tjprc.org [email protected] 64 K. Selvajayanthi
Varunam (Thakanaadhi)
Aanandhai
Pavuni
Seruththi
Paadai
Nalli
Koothalli
Maangalli
PaiyulKanchi
According to the Panchamarabhu, these are the 18 ragas which are evolved from the MaersemPaalai.
Yohini Raga Sanjaram
R… MPNP MR… RMPNP…
PMR… RMP… PMRS… SṆP̣ṆS…
SRM – RMP – MPN – PNṠ - Ṡ Ṙ Ṁ Ṙ Ṡ …
Ṡ NPN – PMR – RMP… PPNP PNP…
MPM – RMR – SRS – SRMPNṠ …
Ṡ Ṙ Ṁ Ṗ Ṁ Ṙ - Ṡ Ṙ Ṁ Ṙ - NṠ Ṙ Ṡ - PNṠ N
MPNP – RMPM – MRSR – SṆ…P̣ṆS…
Yohini Raga – AbiramiAnthathi
ThanamTharumKalviTharum
P- M – R M. R. S R M P…
OruNaalumThalarvariya…
M P N P N Ṡ ………….
ManamTharumTheivaVadivumTharum
Ṙ Ṁ Ṙ Ṡ … Ṡ Ṙ Ṁ Ṙ … Ṡ N P
NenjilVanchamillaEnamTharum
M P N P N Ṡ … Ṡ Ṙ Ṁ Ṙ
NallanaEllamTharum Anbar
Ṡ …….. N P M R MPN
Impact Factor (JCC): 7.2152 NAAS Rating: 3.12 Pann Paiyul Kanchi 65
EnbavarkkeGanamTharumPoonguzhalal
P N P ... P M R……. M P N P N
AbiramiKadaikankale…
P N P N Ṡ …………
GanamTharumPoonguzhalal
P M R…….. M P N P N
AbiramiKadaikankale…
P N P N Ṡ …………
Geetham
S R S R M P
TheanThamizhisai
R M R M P N
Naan Padithida
M P MPNS
VendumEniya
Ṡ N Ṡ N P M
Isai Niraive
N P N P M R
ThuthiThiduvom
P M P M R S
VanangGiduvoam
S Ṇ P̣ Ṃ R S
EraiVanaye
The specialty of South Indian Music is the ragas will have connection with the soul. There was only one kind or type of Music throughout India during the period of ThevaraMoovar. So, we shall assume that Tamil Music and Ragas had a great impact over Indian Music. The Great Saint Thiruvalluvar has said about the ragas in the following Kural.
“பண்என்னாம்பாடற்埁இலயꮿன்கறை் ண்என்னாம் ண்கணாட்டம்இை்ைாத ண் .” - 573
“Where not accordant with the song, what use of sounding chords? What gain of eye that no benignant light affords?” - 573
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Meaning
Of what avail is a song if it be inconsistent with harmony? what is the use of eyes which possess no kindliness.
CONCLUSIONS
Among the 103 ragas this PaiyulKanchi is the 102nd Raga. This raga is been rarely used by the Musical Composers, but it shall be used in the future compositions and shall be used in Spiritual Music as well.
REFERENCES
1. Tamil Isai Kallori – PannAarachiKootam - 2015
2. PreetiBala Sharma, “Music: A Tool of Non Verbal Communication (with Special Reference to Indian Music)”,International Journal of Communication and Media Studies (IJCMS) ,Vol. 3, Issue 4,pp, 1-6
3. T. Indira Rao &HongsandraRamaraoNagendra, “The Effect of Active and Silent Music Interventions on Patients with Type 2 Diabetes Measured with Electron Photonic Imaging Technique”,International Journal Humanities and Social Sciences (IJHSS),Vol. 3, Issue 5, pp, 7-14
4. ShveataMisra& Ina Shastri, “Encroachment of Music on Loneliness in Widowed and Bachelor People”,IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL),Vol. 2, Issue 7, pp, 79-86.
5. K. Rama Mohana Rao &Edukondala Rao Jetti, “A Study on Impact of Ambient Music on Organized Retail Customers' and Employees' Behavior”,IMPACT: International Journal of Research in Business Management (IMPACT: IJRBM),Vol. 4, Issue 3, pp, 79-86
Impact Factor (JCC): 7.2152 NAAS Rating: 3.12