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SAMAKALIKA SANGEETHAM Ka-Im-Eni Kwkoxw RNI : KERBIL/2011/36735 ISSN : 2319 - 3506 LCCN : 2008 305 152 SAMAKALIKA SANGEETHAM ka-Im-enI kwKoXw SAMAKALIKA SANGEETHAM A Journal Dedicated to Music PUBLISHED BY SAMAKALIKA SANGEETHAM (A CHARITABLE TRUST) WITH ASSISTANCE FROM SANGEET NATAK AKADEMI, NEW DELHI Founder- Editor: A.D.Madhavan (1941 - 2015) Editor: Radha Madhavan Associate Editor: Unnikrishnan Palakkal EDITORIAL ADVISORY BOARD Chief Advisor Dr. M.M. Basheer Art & Layout Kodankandath Antony Francis Karnatic Music Umayanalloor Vikraman Nair Dr. R. Abhiramasundari Hindustani Music R.K.Das Dr. Indrani Chakravarti Literature Dr.Priyadarsanlal - Malayalam Dr.M.N. Karassery - Malayalam Dr. C. Rajendran - Sanskrit Dr. R. Surendran (Arsu) - Hindi For Copies please contact 9846162317 (English & Malayalam) SAMAKALIKA SANGEETHAM Volume 8: Issue 2: October 2017 ()23 hmfyw 8: e°w 2: HIvtSm-_¿ 2017 (23) A Bilingual / Biannual International Journal Dedicated to Music RNI: KERBIL/2011/36735 ISSN: 2319 - 3506 LCCN: 2008 305 152 First Published: October 2017 Rights Reserved Typesetting: Bhavana Graphics, Tali, Calicut Printed at: Printersport, Puthiyapalam, Tali, Calicut - 673002 Printed & Published by: Radha Madhavan Sangeetham', 28/189 A, Ullasnagar Colony Road, Pottammal, P.O.Chevarambalam, Kozhikode 673 017, Kerala, India Mob: +91-9846162317 e-mail: [email protected], sangeethajournal @ gmail.com Webpage: http://www.admadhavan.org/sangeetham.htm All rights reserved. No part of this publication may be reproduced, stored in retrieval systems, or transmitted, in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the Publisher. Rs.150/- TABLE OF CONTENTS Dear Music Lovers: Radha Madhavan Bounding of Music with Theatre: Dr. Bhallamudi Padma Priya(6) Tâlams of the Golden Age of Malayalam Film Songs: Dr.Parvathy Hadley(15) Choice ofRâgas in Attakathas of KuttykunjuThankachy: Dr K L Saraladevi(22) Essentials on Evolution of Music with Ref. to Devi Cult: Dr Saroja Raman(30) Khemchand Prakash A Song Half-Sung: Unnikrishnan Palakkal(37) The Onslaught of Hindi Film Music on Classical Music: Pandit Sujan Rane(54) Study of Literary and Musical Forms in TeluguYakshagânâs : S.Sailaja(60) Impact of Music on Human Psychology and Physiology: Shwetha R Mohan(73) My Interaction with a Maestro..I: Ramkrishna Das(80) It Is Music….No Story…. (Part 14): Artist Kodankandath Antony Francis(84) Perception of Melody inKarnatak Music: B Suvasini(89) Comparative Features ofKriti and Sonata: S J Jananiy (97) LIVING LEGENDS(106) OBITUARY (114) BOOK REVIEW (121) AWARDS INVITE(123) F¥p-sIm≠v a≤y-am-hXn?: tUm.-{]n-b-Z¿i≥em¬ (124) tIc-f-Ønse Xmf-߃ tUm. at\mPv Iqdq¿ (129) irwKmcw, IY-I-fnbn¬˛ Nne B´-ß-fn-eq-sS˛ tUm. C.-F≥. \mcm-b-W≥ (151) cmK-hpw `m-hhpw IY-I-fn-kw-Ko-X-Øn¬: kn.-Fw.Un.\-ºq-Xn-cn-∏mSv (160) \oe-I-WvT-in-h-s\∂ kp{_-“-Wy≥: tUm.-t__n {iodmw (168) Nß-ºp-g-bnse cmK-Xm-f-߃: tUm.-A-RvP\ hn.-B¿. (172) kwKo-X-Øns‚ CS-h-gn-bn-eqsS: ]n.-Un.-km-hn{Xn (178) tamln-\n-bm-´-Øn¬ tIc-f-Xm-fßfpsS {]tbm-Kw:imen\n (181) amXr-I-\ym -N-cnXw B´°Y: cm[m-am-[-h≥ (187) ]pkvX-I-]-cn-Nbw (190) Front cover MUSIC OF CHENGILA - Venkitakrishna Bhagavathar Backcover PRADOSHA NRITHAM by Artist Sasi Edavarad, Kozhikode Dear Music Lovers…. It's time again for me to share my thoughts with you yes... my joy, my anxiety, my satisfaction… Joy gets multiplied. Anxiety gets divided. Satisfaction shared. As we all know quite well, the first issue of SAMAKALIKA SANGEETHAM, the Journal dedicated to music, was published in the month of October 2006, as a result of the unstinted dedication and hard work of late A D Madhavan.With continuous nursing and care given by several groups of friends and supporters of music at large, the Bi-annual, Bi-lingual Journal grew inwardly as well as outwardly. RNI Registration, ISSN Registration and Library of Congress, Washington, USA Certification etc were granted; later SS was registered as a Charitable Trust. As reiterated several times, SAMAKALIKA SANGEETHAM is a MUSIC FAMILY where each and every member has a responsibility towards its well- being and growth. It is not for just a few to write, another few to invest while for some others to merely place aside the journal when they receive it. No, every page of SAMAKALIKA SANGEETHAM waits for your perusal, your criticism, your appreciation. Only then, this eleven-year-old will be able to attain maturity. Lethargy on ourpart may lead to, I am afraid, even an untimely death.There is at present a drought of quality-articles that we regularly receive, and this time, the paucity was more pronounced. Hence this rather “starvation-thin” look of this particular issue. We hope that our dear music-lovers will see the problem in its proper perspective and send in more articles on varied topics, concerning music. Having said this much, I have the satisfaction that this time too we are able to bring plenty of variety: from Yakshaganam to Kathakali to Mohiniyattam; from Film Music to Karnataka Sangeetham; from Kathakali Sangeetham to Brahmani Amma Pattu. Performing anything, with music in the background, fills us with a new energy this is a well-accepted theory. Doing anything that interests us - be it learning, cooking, teaching, walking, reading, writing, washing, cleaning, being in the company of friends or plants or animals - anything for that matter, gives us immense pleasure and indescribable joy…the same self-forgetting stage of immersing ourselves in bliss that music provides for the music lovers. But the moment the same is thrust on us, then the experience gets reversed. We get tired, bored, disgusted, irritated…. This has been my personal experience, and I am sure, of many other individuals as well. What I have realised is: there is MUSIC within every one of us with its raga and tala. As and when we bring out this music latent in us, we experience laya. Our expressions become a kind of tala-raga-laya-sammilita-sangeetham. Not any more can loneliness threaten us. We become one with Nature. An abundance of LOVE is felt inside…. in such rare moments, hatred vanishes. Face becomes bright with a pleasant smile that soothes those near us. Life moves on as theArohana andAvarohana of a beautiful raga. Mana eva manushyaanaam Kaaranam sukhaduhkhayoh Radha Madhavan Editor ------------------------------------------------------------------------------------------ DISCLAIMER THE VIEWS AND OPINIONS EXPRESSED IN THE ARTICLES PUBLISHED IN THIS JOURNAL ARE OF THE WRITERS' ALONE, AND DO NOT NECESSARILY REFLECT THOSE OF THE EDITOR AND MANAGEMENT OF SAMAKALIKASANGEETHAM. SRGMPDNSBounding SNDPMGRS of Music SRGMPDNS with Theatre SNDPMGRS Dr. Bhallamudi Padma Priya B Com graduate, MPA (Theatre Arts) and Ph D. Ex- head and Assistant Professorof the Dep.t of Theatre Arts at Potti Sreeramulu Telugu University. Fields of activity includes acting, direction, make-up & costume design, stage design, stage lighting and choreography Address: D 196, N R R Puram Colony, Phase I, Borabanda, Hyderabad 18 Email: [email protected] If we go through the history of Theatre, we can see that its genesis or the roots are in the pre-historical age. The theatre has originated as a part of communication or of sharing knowledge. Primitive man to share his experience of hunting, started to demonstrate how he hunted the animals. That is when he started to 'Act'. To make it more effective he added one more person as the animal. He could feel that something is missing. To fill that gap, he covered the other person with the hide of the animal he hunted. With this the 'make-up' added to the show, the first step of the technical attachment to the theatre is taken. For some more effect, he added shouts to his display. The persons around watching started to clap. One more addition to the charade was music. Since then music has become an integral part of Theatre. In India, theatre has developed as a part of rituals. In 6 Samakalika Sangeetham SRGMPDNS SNDPMGRS SRGMPDNS SNDPMGRS agamas, rituals are being performed with music and dance. Every deity had to be offered veneration by separate râga, tâla, and mudras. On such occasions, ballets and devotional stories from mythology are also performed. All these led to the development of the total theatre concept in India. When it became a complete theatre, the form included an amalgam of each and every one of its element, like dance, music, make-up, costume, set, lighting, etc. For ages it continued as a total theatre. As modern aspects came into existence, slowly the total theatre concept got lessened. Mainly, the importance of dance and music got reduced. The music is mostly used only for the background. For each and every occasion and daily routine of life, we observe that music has a big part. Let us see how it happens. In the morning, when we wake up to the musical chirping of birds, the temple bells, namâz from the mosque. It's a wake up music. Likewise, in our daily routine we travel with music. In celebrations, functions and fetes music creates the mood, help to build the atmosphere. If music is a part and parcel of life, and theatre a slice of life, then theatre can never be detached from life and society. Each and every issue of the society is reflected in theatre as well as life. From ancient days, music is bound to theatre. But how the bond is created has to be discussed in detail. Music is used in theatre, in many places and situations, for different purposes. Nâtya Shâstra of Bharatha is the basic source for ancient Indian dramaturgy. It discusses so many elements; from the writing of a play to the success of its production.
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