I have a few questions:
1. What is sOpAnam music? This is the style of music that is used in 'mOhiniattam': to me it just sounds like CM in very slow speeds - the singing goes with the languorous beauty of the dance form. Can someone explain the nuances, and post some tracks for illustration?
2. I read recently, that there is a move, lead by Mr. Panigrahi (husband of the doyenne of Odissi, the late Sanjukta Panigrahi) to have the SNA declare Odissi music as a third form of classical Indian music - in addition to HM and CM. How is it different from the other 2? Kulkarni sa'ab, do you have any exerpts to post?
THANKS
Ravi
Music in dance
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srkris
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Kerala has had its own pristine musical heritage, known as Sopana Sangeetam. Sopanam literally means the steps leading towards the sanctum sanctorum of the temple. The singer standing to the left of the sopanam sings Jayadev's Ashtapati (Geeta Govinda) in praise of Lord Krishna with Edakka (a typical Kerala percussion instrument). The general belief is that the name Sopana Sangeetam might have been evolved from this.
In Sopana Sangeetam "music was considered to be only a vehicle for the words of the composition, its function was to help in the expression of bhavams (different moods and feelings) by the actor as well as appreciation by the audience and so ornamentation by employing gamakas (a technique used in Carnatic music) was avoided. The influence of Carnatic music has made the style almost extinct. ('A dictionary of Kathakali' by KPS Menon).
Another typical characteristic of Sopana Sangeetam is that it employs the gradual ascending and descending of laya (speed) most poetically. The best example of the individuality of Sopana sangeetam is the traditional Kathakali music.
It is believed that traditionally Mohiniyattam was having Sopana style of singing and at the time of the revival of the art form during the period of Maharaj Swati Thirunal (1813-1846) the influence of Carnatic music had crept in.
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Sopana Sangeetham
This is sung in front of sopana (steps in front of the sanctum sanctorum). Sopana sangeetham has a distinct style. Bhakti movement in Kerala influenced sopana sangeetham-and most of the lyrics (asthapathi) are based on Jayadevaâ??s (thirteenth century poet) immortal work Geeta Govinda. The song varies according to the time of performance and the deity. Musicians always stand on the left side of the sopana and singing stops once the shrine opens. Instruments used are edakka and chengila.
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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.
In Sopana Sangeetam "music was considered to be only a vehicle for the words of the composition, its function was to help in the expression of bhavams (different moods and feelings) by the actor as well as appreciation by the audience and so ornamentation by employing gamakas (a technique used in Carnatic music) was avoided. The influence of Carnatic music has made the style almost extinct. ('A dictionary of Kathakali' by KPS Menon).
Another typical characteristic of Sopana Sangeetam is that it employs the gradual ascending and descending of laya (speed) most poetically. The best example of the individuality of Sopana sangeetam is the traditional Kathakali music.
It is believed that traditionally Mohiniyattam was having Sopana style of singing and at the time of the revival of the art form during the period of Maharaj Swati Thirunal (1813-1846) the influence of Carnatic music had crept in.
------------------------------------------------------------------------------
Sopana Sangeetham
This is sung in front of sopana (steps in front of the sanctum sanctorum). Sopana sangeetham has a distinct style. Bhakti movement in Kerala influenced sopana sangeetham-and most of the lyrics (asthapathi) are based on Jayadevaâ??s (thirteenth century poet) immortal work Geeta Govinda. The song varies according to the time of performance and the deity. Musicians always stand on the left side of the sopana and singing stops once the shrine opens. Instruments used are edakka and chengila.
--------------------------------------------------------------------------------
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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srkris
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Rama Podhuval being honoured by President of India.
Rama Podhuval
Sopana Sangeetham found one of its greatest exponents in Rama Pothuval (1916-1996) who also learned Karnataka Sangeetham from Chembai.
Here is what his website (http://njeralathu.com/) has to say about Sopana Sangeetham:
Sopanasangeetham- a song sung with the accompaniment of Idaykka especially in the temples of Kerala. This song will be sung only when the inner sanctum sanctorum of the temple is closed for customary ceremonial offerings to gods and goddesses. Members of the Maaraar and Pothuval community has the privilege of doing this. It is also sung with the accompaniment of another musical instrument named chengila. It is customary to sing this song, which will be in praise of the respective god or goddesses, the temple is dedicated to. It will be sung from the time the inner sanctum sanctorum closes to the time it opens. The lyrics will most probably be either in Malayalam or Sanskrit. The 24 songs in Geethagovintha, which is known to be India�s first light music composition is sung according to the time of a day
In the past there existed four different castes in Kerala.- Brahmin,kshthriya,vaisyar and soodhra. The Maaraar and Pothuvaal community belonged to the Sudhras, lower in status compared to the other castes. They used to sing the Sopaanasangeetham from inside the temple. But Njeralathu Raamapothuvaal made the most important and notable contribution towards this genre of music. He rebelled against this, breaking it free from the shackles of customary rules and started singing the song anywhere he liked. This was done with the notion that he ardently believed in- God is omnipresent. And thus he named the Sopaanasangeetham that he sang outside the temple as Bhajanam or prayer and popularized it as the 'Janahitha Sopaanam' (the sopaanam according to the interest of the public) of the masses and the common man.
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meena
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sopanam (Sa + upa + yaanam = the way upwards) means the steps leading to the inner sanctum of Keralaâ??s temples where devotional songs and religious compositions are sung. This music which has evolved during the past 1000 years or more now manifests itself in the music of Kathakali.
Mohiniattam dancers using sopana sangeet, the indigenous music of Kerala, today use the shuddha maddalam. Vallathol felt that the lasya qualities of Mohiniattam was best brought out by the use of thoppi maddalam and mridangam.
shankar there was a nice article on sopanam sangeet on narthaki site, audio clips see if raaga.com carries.
Mohiniattam dancers using sopana sangeet, the indigenous music of Kerala, today use the shuddha maddalam. Vallathol felt that the lasya qualities of Mohiniattam was best brought out by the use of thoppi maddalam and mridangam.
shankar there was a nice article on sopanam sangeet on narthaki site, audio clips see if raaga.com carries.
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rshankar
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Thanks Meena and Chembai!
Are you aware of any ashtapadhi sung in the 'sOpAnam' style: maybe even 'priyE chArushIlE'...I can then compare it to the current versions in CM/HM.
I saw a clip of Deepti Omacherry Bhalla dance to sOpAnam music, but I did not appreciate the lack of gamakam. Going by what Chembai posted, is 'sOpAnam' music more scalar, because it eschews gamakas?
Ravi
Are you aware of any ashtapadhi sung in the 'sOpAnam' style: maybe even 'priyE chArushIlE'...I can then compare it to the current versions in CM/HM.
I saw a clip of Deepti Omacherry Bhalla dance to sOpAnam music, but I did not appreciate the lack of gamakam. Going by what Chembai posted, is 'sOpAnam' music more scalar, because it eschews gamakas?
Ravi
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srkris
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rshankar
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Take your time posting the 'ashtapadhi'...I know you are busy!
BTW, I was very impressed that a style of music has evolved in Kerala around sanskrit songs composed by a poet in Orissa! Talk of national integration! Isn't it 'priyE chArushIlE' the one that was completed by the Lord himself? If so, I believe that it is also called the 'mrithasanjIvinI' because Jayadeva sang it to revive his wife Padmavathy when she (apparently) died.
Ravi
BTW, I was very impressed that a style of music has evolved in Kerala around sanskrit songs composed by a poet in Orissa! Talk of national integration! Isn't it 'priyE chArushIlE' the one that was completed by the Lord himself? If so, I believe that it is also called the 'mrithasanjIvinI' because Jayadeva sang it to revive his wife Padmavathy when she (apparently) died.
Ravi
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coolkarni
yes.here they are .do you have any exerpts to post?
GRAB THE VCD FOR THE AIR MARKETING DIVISION , AT THE EARLIEST.
odissi-kelucharan mahapatra and samyuktha panigrahi
IT IS ONE OF THE FINEST VCDS ONE CAN HOPE TO OWN.
I have put up two audio tracks from this.
http://rapidshare.de/files/7460950/odissi_1.mp3
http://rapidshare.de/files/7459926/odissi_2.mp3
i have also posted two very short video clippings
http://rapidshare.de/files/7461643/Kelu.mpg
http://rapidshare.de/files/7461933/KELU_2.MPG
mesmerising stuff !!!
cannot help thinking about Balasaraswathis remark to an admirer,quoted in the Higgins Book review.
"you think it is the Dance ? Listen carefully .It is the Music....''
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rshankar
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Kulkarni sa'ab,
Thank you so very much. I was really VERY LUCKY to have seen Sanjukta perform live several times and also see a lec-dem that she gave when I was in Chandigarh. She, in my opinion was 'odissi' personified on the stage...her chauka was so clean, the triBangI was awesome!
Regarding the ashtapadi, can our HM experts here tell the difference between the style of ashtapadi singing for 'odissi' versus the traditional HM style? Just wondering if it is so different to merit a separate status.
Thanks.
Ravi
Thank you so very much. I was really VERY LUCKY to have seen Sanjukta perform live several times and also see a lec-dem that she gave when I was in Chandigarh. She, in my opinion was 'odissi' personified on the stage...her chauka was so clean, the triBangI was awesome!
Regarding the ashtapadi, can our HM experts here tell the difference between the style of ashtapadi singing for 'odissi' versus the traditional HM style? Just wondering if it is so different to merit a separate status.
Thanks.
Ravi
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srkris
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chithra
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Srkris:
Could you tell me who has sung the Ashtapathy clip you posted? Also, what is the percussion instrument being used? At the begining I hear one drum, and about 0.48 min into the clip, I began to hear a deeper gumukki which persists till the end.
>>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.
Any illustrative full length (preferably) clips for the above Melodies and the Ragams? Many Thanks,
chithra
Could you tell me who has sung the Ashtapathy clip you posted? Also, what is the percussion instrument being used? At the begining I hear one drum, and about 0.48 min into the clip, I began to hear a deeper gumukki which persists till the end.
>>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.
Any illustrative full length (preferably) clips for the above Melodies and the Ragams? Many Thanks,
chithra
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rshankar
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- Joined: 02 Feb 2010, 22:26
A very brief explanation about sOpAnam music, and eDakka in mOhiniATTam...
http://video.webindia123.com/interviews ... /index.htm
http://video.webindia123.com/interviews ... /index.htm