Ramanisblog

Category: music

  • Carnatic Music From Tamil Music Pann 103?

    Though most of the Readers of Ramanis blog are objective and seekers of Truth,History based on Facts,there are a few who try to read hidden meanings and agenda.

    To them, I would like to state that this blog is an attempt at finding our cultural and historical roots that have been destroyed /are twisted to suit the invaders.

    Because of this misinformation,many/some tend to view our history and culture through the Prisms of Language and region.

    What one must remember is that,though there were 56 Kingdoms and at least as many languages from the Vedic /Ramayana,Mahabharatha period, I am yet to come across a reference where the culture or languages of one region look down upon the others.

    However,there were instances of religious bigotry between Hinduism,Jainism and Buddhism during the middle ages,no prejudiced views were there about languages,music and culture.

    Each was given respect and each took the best out of the other and became better.

    For example,Tamil customs were adapted to Vedic Traditions,like the Mangal Sutra(Thaali) and Apasthamba incorporated them in his sutras.

    Similarly,thiugh the Tamils were not Fire Worshippers like the Vedic People,they followed Sanaatana Dharma.

    This introduction is in the light of the information I am producing below,which is likely to raise the hackles of Carnatic Music lovers.

    Tamil as a language consists of three parts.

    Iyal,loosely translated as Prose ,is that which comes naturally in day to day Life,

    Isai,Music,which is the origin of Language  and

    Natakam,Drama or Theatrics.

    Isai is is from the word Asai, ‘Move’.

    Music as we know is from Vibrations.

    Vibrations are from Movement.

    Whether it is Vocal or Instrumental Music ,it is from Movement,vocal chords,strings,or vibrations from instruments.

    So The root word for Music Isai is from Asai,Move.

    Isai also means ‘to be in tune with’ ‘agree’,’ go together’.

    Recorded history from the earliest recorded Tamil Work Tholkappiam speaks about Isai ,called ,’Pann,.

    Pann means that which is refined ,cultured,orderly and elevating.

    One may note that Tholkappiyar was a disciple of Sage,Agastya,who wrote Veda Sutras and is considered as the co founder of Tamil along with Lord Shiva,Subrahmanya(Murugan in Tamil) .

    Shiva in Tamil is associated with Dance as Natana Sabapathy,the Lord of Dais and He is also considered as the root of Music.

    One may note that Sanskrit was born of Shiva’s Drum.

    Even today Shiva is worsipped with Tamil Music,Pann from Thirumurai of Thevaram and Thiruvasagam in temples.

    These are called Dravida Vedas.

    Please listen you visit temples in the south when the priest performs the,Kaala Pooja,the Poojas conducted at specific times in Times( 5 or six Times a day,depending on the custom).

    You may note the priest saying Dravida Vedam Sandhardhasyaami,we are offering You the Dravida Vedas.

    This is followed by Tamil Pann speicified for the Time the pooja is performed.

    This is followed by the priest announcing ‘ Veda Ghosham’

    Then Veda is chanted.

    *This practice seems to have originated just before the period or during the reign of Rajaraja Chola,1010AD.

    In Vishnu Temples Naalayira Divya Prabhandham is sung.

    The Pann,music of Tamil ,as of now is dated aroud 200 BC.

    However, in the light of evidence from Poompuhar which is described in detail in Cilappadikaaram, one of the,Tamil Five Tamil Epics,the date of Tamil is pushed back by 30,000 years.

    Then we have Arikamedu site,and a million year old site in Chennai.

    Then 74,000 year old Nataraja near Kurnool,Andhra Pradesh( Telengana?)’

    Thiruvannamalai ,Tamil Nadu which is 3.94 Billion years old,

    Thirupathi,the Northern boundary of Tamils is 2100  million years old..

    All this push the date of Tamil further back.

    The surprise is that this ancient Tamil quotes Vedas and Vedas quote Tamil.

    Please read my articles in detail on each topic.

    There are 103 Panns.

    Today  21,24 or 27 are used in Temples.

    There are 72 Mela Kartha Raagas in Carnatic Music.

    Please read my article on this.

    Tamil is unique in that it assigns a particular Pann to one landmass.

    There are five landscapes described.

    Kurinji,Marutham,Neydhal,Mullai and Paalai.

    Please read my posts on these labd divisions.

    The first music instrument was Yaazh ,like Veena.

    In Vedas Sama Veda is set to music and it is dedicated to Lord Shiva.

    In Vedic traditions,Veena is decribed as the first musical instrument.

    In Tamil, it is Yaazh , a type of Veena.

    Goddess Saraswathi has it in her hands.

    Also the  the Drum of Shiva,Damaru.

    In Tamil,’Parai’ Drum is also considered as the earliest musical instrument along with Yaazh.

    ‘

    அசையும் சீரும் இசையொடு சேர்த்தி

    வகுத்தனர் உணர்த்தலும் வல்லோர் ஆறே”

    		 ”
    “ “இசைப்பு இசையாகும் என்கிறது” *-That which is moved/vibrated is Music’”

    இசைப்பு என்பது யாழ் போன்ற இசைக்கருவிகளை இசைத்தல் ஆகும் என்பது இந்நூற்பாவின் பொருள்.

    “ அளபு இறந்து இசைத்தலும் ஒற்று இசை நீடலும்

    உள என மொழிப இசையொடு சிவணிய நரம்பின் மறைய என்மனார் புலவர்’

    		 ”

    இசையொடு பொருந்திய யாழ் நூலில் இசையிலே எழுத்து ஒலிகள் அளவுகடந்து ஒலித்தலும், ஒற்றுக்கள் நீண்டு ஒலித்தலும் உண்டு என்று அறிஞர் கூறுவர் என்பது இதன் பொருள்.

    *In Yaazh,written letters sound long and the consonants short’

    இசையைத் தொழிலாக கொண்ட மக்கள் உபயோகப்படுத்தும் இசைக்கருவிக்குப் பறை என்றும், இன்பமாக பொழுது போக்கும் மக்கள் பயன்படுத்தும் இசைக்கருவி யாழ் என்றும் தொல்காப்பியத்தில் இருவகை இசைக்கருவிகளைப் பற்றிக் குறிப்பிடுகிறார் தொல்காப்பியர், தொல்காப்பியம் பொருளதிகாரம்அகத்திணையியல் 18 ஆம் நூற்பா தமிழர் வாழ்க்கை நெறியின் அடிப்படைப் பண்பாட்டுக் கருவூலங்களைக் குறிப்பிடுகிறது.

    “ தெய்வ முணாவே மாமரம் புட்பறை

    செய்தி யாழின் பகுதியொடு தொகைஇ அவ்வகை பிறவும் கருவென மொழிப

    		 ”

    இங்கு தெய்வம், உணா, மா, மரம், புள், பறை, யாழ் ஆகிய பொருள்கள் சொல்லப்பட்டுள்ளன. இந்த ஏழும் தமிழர் பண்பாட்டுக் கருப்பொருள்கள். ஏழு கருப்பொருளில் ஒன்று யாழ். மற்றொன்று பறை.’

    Pann and Equivalent Carnatic Raagas.

    ‘பண்கள் மொத்தம் 103 என்று குறிப்பிடப்பட்டுள்ளன. தேவாரத்திலும் திருமுறைகளிலே குறிக்கப்பட்டுள்ள 24 பண்களைக் கீழே காணலாம். அவற்றுக்குச்சமமான தற்கால இராகங்கள் அருகே தரப்பட்டுள்ளன.

    பண் இராகம் தேவாரம்
    நட்டபாடை நாட்டை “நத்தார்படை ஞானன்”
    கொல்லி நவரோஸ் எல்லையில் புகழானனும் இமை
    இந்தளம் மாயாமாளவகௌள முன்னிய கலைப்பொருளும்
    குறிஞ்சி ஹரிகாம்போதி கல்லால் நிழல்மேய கறைசேர்
    செந்துருத்தி மத்யமாவதி
    யாழ்முறி அடானா —
    சீகாமரம் நாதநாமக்கிரியா சூலப் படையானை
    நட்டராகம் பந்துவராளி இத்தனையாம் ஆற்றை அறிந்திலேன்
    தக்கராகம் காம்போதி மடையில் வாளை பாய மாதரார்
    பழந்தக்கராகம் சுத்தசாவேரி கொல்லை முல்லை நகையின்
    பழம்பஞ்சுரம் சங்கராபரணம் கண்ணனும் நான்முகன் காண்
    தக்கேசி காம்போதி பரக்கும் பெருமை இலங்கை என்னும்
    செவ்வழி யதுகுல காம்போதி பொடிகள் பூசிப் பல
    பியந்தைக் காந்தாரம் நவரோஸ் அன்ற வான்நிழல் அமர்ந்து
    காந்தாரம் நவரோஸ் உறவியும் இன்புறு சீரும்
    காந்தார பஞ்சமம் கேதாரகௌளை மந்திர மறையவை
    கொல்லிக்கௌவானம் நவரோஸ் நஞ்சியிடையின்று
    கௌசிகம் பைரவி வாழ்க அந்தணர் வானவர்
    பஞ்சமம் ஆகிரி பொடிதனை பூசும் மார்பில்
    சாதாரி பந்துவராளி செந்தமிழர் தெய்வமறை நாவர்
    புறநீர்மை பூபாளம் சீருறு தொண்டர் கொண்டடி
    அந்தாளக்குறிஞ்சி சாமா கல்லூர்ப் பெருமணம் வேண்டா கழுமலம்
    மேகராகக் குறிஞ்சி நீலாம்பரி நீறுசேர்வதொர் மேனியர்’

    Source.

    Pann ,Tholkappiyam

    PaN and the Raaga equivalents

    PaN Raaga Samples
    Nattapaadai Naattai GIF MP3
    Kolli Navaros GIF MP3
    Indhalam Mayamalavagoula GIF MP3
    Kurinchi Arikambhodhi GIF MP3
    Chendhurutthi Madhyamaavadhi GIF MP3
    Yaazhmoori Ataanaa GIF MP3
    seekaamaram NaadhanamakkriyA GIF MP3
    Nattaraakam PandhuvaraaLi GIF MP3
    Thakkaraakam Kaambodhi GIF MP3
    Pazhandhakkaraakam Suddhasaaveri GIF MP3
    Pazhampanchuram Shankaraparanam GIF MP3
    Thakkesi Kambhodhi GIF MP3
    Sevvazhi Yadhukulakaambhodhi GIF MP3
    Piyandhai Gaandhaaram Navaros GIF MP3
    Gaandhaaram n^avarOs GIF MP3
    Gaandhaarapanchamam Kedharagaulai GIF MP3
    Kollikkauvaanam Navaros GIF MP3
    Kausikam Bhairavi GIF MP3
    Panchamam Akiri GIF MP3
    Saadhaari PandhuvaraaLi GIF MP3
    Puraneermai Bhupalam GIF MP3
    Andhaalikkurinchi Saamaa GIF MP3
    Megaraagakkurinchi Neelaampari GIF MP3
    Viyaazhakkurinchi Sauraashtram GIF MP3
    Saalaraapaani GIF
    Mohanam

    Source. https://shaivam.org/siddhanta/tisai.html

    Carnatic Music was systematised in during Middle ages by Purandara Dasa.

    https://en.m.wikipedia.org/wiki/Carnatic_music

  • TMS The Voice of Sivaji MGR Stilled.

     

    TMS The Tamil Singer.
    TMS Veteran Tamil Singer passes away.

    TM Soundararajan, fondly called TMS by his fans is no more.

    Tamil film Industry  moved into Light Music genre with entry of TMS.

    Before him were Singers cum Actors like Thyagaraja Bhagavathar, PU.Chinnappa and others were from the Classical Mould, not that they were professionally well-informed in Carnatic Music, but they followed the Classical pattern as advised by the Music Directors.

    It was TMS, who brought the light music touch to Classical music.

    Even the tough ragas were rendered in an effortless and easy manner that reached the common man’s ears easily, as in ,

    Maharajan Ulagai Aalallaam,(Karnan)

    Madhavi Ponmayilaal Thohai Viriththaaal-(Iru Malarkal)

    Hs mimic of Thyagaraja Bhagavathat is  so perfect, one is confused whether it was Bhagavatahar or TMS.

    Radhe Unakku Koopam Aahadhadi (Kulamgalal Radhai)

    Is it a Folk Number?

    TMS started it, though mama ,Maama song was there before him,

    Ennadi Rakkamma( Enga Oor Raja)

    Pathos?

    Ponaal Pogattum Poda.

     

    Veethi Varai Uravau Veeduvarai Manaivi,

    Love on a serious note?

    Naan Pesa Ninaippathellam(Paalum Pazhamum).
    Love in a frolicking,, light-hearted yet soulful’

     

    Ullam Endroru Koilele Deivam Vendum Anbe vaa(An be Vaa)

    Valor?

    Achchanm Enbathu Madamaiyada,

    Comic?

    Neeye Unakku Enrum Nigaraanavan(Bale Pandiya)

    He changes his voice to suit MGR, Sivaji and to Jaisankar as well.

    Listen to this for Jaisankar.

    Vennila Vaanil varum Veleayil Naan Vizhithtirunden (Mannippu?)

    Bhakti Bhava with a bit of arrogance by the character.?

    Paattum naane, Bhavamum Naane(Thiruvilaiyaadal)

    His songs on Lord Muriga were a treat to ears.

    Ullam Uruguthaiyaa,

    Muruga Enrazhikkava,

    Unnaich chollaaatha Naalilillai’

    I can go on and on.

    Please check out TMS numbers.

    RIP.

     

     

     

    Born in a Saurashtra community in Madurai in 1923, Thoguluva Meenakshi Iyengar Soundararajan languished in poverty and could not afford a formal training in classical music. He left Madurai in search of a career and joined the Royal Talkies in Coimbatore for a monthly salary of Rs. 50. Only in 1950 did opportunity knock at his door. He rendered his first song in the film Krishna Vijayam. The song was ‘Radhey nee yennai vittu pogathadi’ and the music director, S.V. Subbaiah Naidu. TMS’ devotional songs — ‘Karpagavalli nin porpagangal pidithen’ on Karpagambal, the deity of Kapaleeswarar Temple in Mylapore, ‘Mannaanaalum Tiruchenduril mannaven’ and ‘Ullam uruguthayya’ on Lord Muruga — remain popular even today.

    The Hindu.

    http://www.thehindu.com/features/cinema/tms-voice-of-sivaji-and-mgr-no-more/article4750275.ece

  • MS Live Concert NamaRamayana UN Videos

    Born in Madurai, Tamil Nadu on September 16, 1916, as Kunjamma, Subbulakshmi grew up surrounded by music. Initially, her mother Shanmugavadivu, a veena player, trained her.

    Intrigued by gramophone records, Kunjamma would roll a piece of paper and sing into it for hours. She cut her first disc at the age of 10. The songs were maragatavadivu andOothukuzhiyinile in an impossibly high pitch.

    From her formative years, MS worked hard to perfect her diction, understand the inner meaning of the composition and spent months memorising Sanskrit texts. Even in her seventies, she learnt new songs and recorded them.

    “Music is an ocean and I am a student. For a vocalist, voice practice is important. It has been my habit to learn the meaning of songs I have to sing and the correct pronunciation of each word,” she once wrote in a magazine, when she was 73.

    It was through the Columbia Gramophone Company records that she was first noticed in Chennai even before she was in her teens.

    When she was 15 or 16, she was invited to sing at a wedding, where she sang for two hours while the audience sat mesmerised.

    By 1932, she had become a sort of cult figure for a whole generation of youngsters. In 1932, her mother Shanmukhavadivu decided to shift to Chennai.

    The move was a blessing in disguise, as MS got a break in films, acting in many successful ones, including the all-time Indian classic Meera.

    In 1933, the year of the Mahamaham, a festival celebrated every 12 years in Kumbakonam, film director K Subramaniam organised a concert of MS in the town.

    MS took the town by storm. It gave her a chance to give a concert at the Music Academy in Madras.

    Magazines like Ananda Vikatan began reviewing her performances regularly and she was constantly referred to by the press as ‘Nightingale’.

    It was at this time she met Thiyagaraja Sadasivam, a freedom fighter and fairly well-known figure in Chennai’s political scene as a protégé of the late C Rajagopalachari, popularly known as Rajaji. They fell in love and married in Thiruneermalai, near Madras, in 1940. From then on, her career took a new direction.

    Subbulakshmi’s first movie Sevasadanam was released in 1938 in which she acted as a poor girl married to a rich old man. It was followed by Shakuntalai in which she played the lead, a glamorous role teaming her with G N Balasubramanian, the most attractive intellect of that time.

    http://www.rediff.com/news/2004/dec/11ms2.htm

     

    MS Subbulakshmi
    MS Subbulakshmi

    S Subbulakshmi – M S AMMA Live at un 23rd Oct 1966 Concert JagadO

    https://www.youtube.com/watch?v=R7YmhFD381k

     

  • PB Sreenivas,The Golden Voice Stilled.Tribute

    The mellifluous voice that enthralled the music lovers of Tamil,Kannada,and Telugu people is no more.

    A simple man who could sing effortlessly in all the  languages of India with perfect local accent and linguist  passed away in Chennai on 14 , the Tamil New Year‘s Day yesterday .

    I met him in Hotel Woodlands Drive in Restaurant, Chennai,which is his favorite haunt, when I was studying my Degree between 1967-70.

    He used to sit in the Drive in , with a cloth shoulder bag, about a dozen pens, and a thick ruled note book-with a plate of Rava Kitchdi in front of him.

    I approached him and started talking to him as if I knew him about his various songs.

    I asked him why he had so many pens with him(can you think of any thing more silly to ask of a legend? )

    He replied that he could write well in about 12 languages, including Sanskrit , pen poems and lyrics and used a different pen for each language.

    He added that he had written about one lakh poems, this he expressed as a matter of fact, no airs!

    He was so humble that he spent nearly 20 minutes with a green horn with out any airs.

    PBS would pronounce words as he is afraid that he might hurt the words.

    Effortless unique voice, totally of a different timbre, say like a Mukesh, his voice suited a vastly underrated actor of yore, who stood tall against the giants like Sivaji and MGR,Gemini Ganesan.

    Initially SP Balasubramanian‘s voice reminded one of PBS, though SPB‘s voice a little bit thick to the years.

    Later SPB has chartered a course for himself.

    Some of his songs in Tamil and Kannada are simply great and can never be matched.

    PB.Sreenivas.
    PB.Sreenivas.

    He was the voice was of the a Kannada legend Dr.Rajkumar, till he started singing himself.

    Rajkumar observed  PBS’s Voice suited him more than his own voice.

    ‘

    The late actor Rajkumar once described P.B. Sreenivas as his shaareera (voice) while he himself was a mere shareera (body), summing up how some of the best-known films of the thespian are unthinkable without the legendary singer lending his voice.

    Sreenivas, who passed away in Chennai on Sunday, ruled the Kannada film industry for over two decades as a playback singer and was the voice of many stars, including Rajkumar, Uday Kumar and Kalyan Kumar.

    Evergreen numbers

    Songs such as Aadisi nodu, Olave jeevana sakshatkara, Panchama veda premada nada, Vittala Vittala, Ivalu yaaru balleyanu, Aakashave beelali mele, Baare baare, Ravivarmana kunchada kaleand Maanava dehavu moole mamsada tadike are still loved by thousands of people in Karnataka. Songs he sang in praise of Kannada language, including the famous Naavaaduva nudiye Kannada nudifrom Gandhada Gudi, are among the most popular.

    http://www.thehindu.com/news/national/karnataka/pb-sreenivas-was-the-voice-of-rajkumar/article4617526.ece

  • Pancharatna Kirtana Tiruvaiyaru Sudha Video.

    The Pancharatna kritis are written in praise of the Hindu deity, Rama. They are set to Adi Tala and each raga represents the mood of the song and the meaning of its lyrics. All the kritis are set in the style of a Ragam Tanam Pallavi (RTP) with the charanas (stanzas) substituting for the kalpana swaras (improvisatory passages) in the pallavi section of the RTP.

    The Pancharatna Kritis are:

    1. Jagadananda Karaka – Ragam Naata
    2. Dudukugala – Ragam Goula
    3. Sadhinchane – Ragam Aarabhi
    4. Kanakana Ruchira – Ragam Varaali
    5. Endaro Mahanubhavulu – Sri Ragam

    The melodic forms of these compositions (Naata, Goula, Aarabhi, Varali, Sri) are the five Ghana ragas of Carnatic music also called the ghanapanchaka. These 5 ragas lend themselves for elaborate improvisations.[2] They are so called because they are suited to playing tanam on the veena. Naata and Varaali are the most ancient of the Carnatic ragas and date back to over a thousand years.

    A particularly difficult musical challenge has been taken up successfully by Tyagaraja in three of these compositions. The raga Naata has a particularly distinctive use of the dhaivatam note orswara (A in the C scale of western classic notes). Tyagaraja has avoided the ‘dhaivatam’ completely in the first pancharatna kriti without losing the swarupa, or tune, of the ragam. Similarlygandharam is an accidental note of some beauty in Goula (E in the C scale). Tyagaraja avoids this too, except in one instance, without losing the character of the ragam. Finally, he avoids the accidental dhaivatam in Sri ragam, again a note that is present in some very characteristic sancharas (phrases) of this ragam.(Wiki)

     

     

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