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Kerala has shared the general musical culture of peninsular India from
the earliest times. South Indian music is generally known as 'Karnatic
music' because of its common features. Each region of the south has its
own culture. Kerala's music is known as Sopanam. Sangeetam (Music)
appears to have acquired its name from the 'Sopanam' which means 'Sanctum
Sanctorum' of the temple. Its essential features were born out of a happy
blending of the Vedic, the folk and tribal music of the region.
The characteristic features of this music are, simple
structure and peculiar forms of expression.
The structure of the Sopanam music is believed to reflect
the experience of the devotee in ascending the heights of devotion. Sopanam
music developed and became popular through the practice of singing invocatory
songs in front of the 'Kalam' of Kali (floor drawing of Kali) and later
on at the sanctum of the temple. There are a few powerful schools connected
with the temples like Pazhoor, Tiumandhamkunnu, Guruvayoor, Ramamangalam.
In these temples, this music had been hereditarily practiced by temple
singers. Neralattu Rama Poduval of Tirumandhamkunnu bani, Janardhanan
Nedungadi of Guruvayoor, Damodara Marar belonging to the Mudiyettu bant
of Pazhoor are some of the most effective experts.
Sopanam music as it is practiced in different schools,
maintains its rustic nuances with the feeling of devotion as its basic
quality. From the temple sanctum this music has taken many diversions
and grown as dance music in Ashtapadiyattam; the mould of which
was later adopted by Krishnanattam, devotional music in Kalam pattu and
dramatic music in Mudiyettu and Kathakali. In spite of its ramified developments,
it failed to become pure concert music.
The system got the greatest rejuvenation when 'Geet
Govindam' was introduced to Kerala in the local musical mould
during the14th and 15th centuries A.D. It was certainly a revival
of the pattu school of music which was preserved in the devotional tyanis
(simple prayers of two line structure, sung at the sanctum of the temple
along with different puja- ceremonial rites- at each time of the day).
The musician is inspired by the particular time, when the offering is
made to the deity and he selects ragas which is most suited for that time.
Such ragas are known as Samaya (time) ragas because time is the deciding
factor in singing. The singing of tyanis takes its roots from the music
of the earliest singers of the land as mentioned in the great text 'Chilappatikaram'.
The value of Kerala music, its primitiveness, nativity
and spontaneity can be assessed from its rudimentary usage preserved in
the rustic musical and dance forms of a wide variety. The region has maintained
in its flourishing repertoire some of the rare melodies specially
conceived for the purpose of embellishment of certain emotions. These
melodies are 'Pati', Indisa', 'Puraniru', 'Kanakurinji'.
Certain other ragas like 'Sri kandi', 'Desakshi', 'Nalatha'
and 'Samantamalahari' used in old devotional songs, can produce remarkably
fascinating lilt and swing of a local character. The rhythm accompaniment
to those songs with instruments like edakka, maddalam and chenda creates
a parallel process of graceful rhythmic music bringing out the universality
of sentiments with musical roots reaching into the past.
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