Tamilizai
Tamil isai-an introduction
Tamil isai
Karnatik music today revolves around the celebrated trinity, Tyagaraja, Dikshitar and Syamasastri. In Tamil Nadu, Tamil isai also has a phenomenal growth. Then one may question as to whether these two are different ones. If one does a deep research then one may come to the conclusion that these are one and the same.
It is generally said that music came from sama veda. Similarly in Tamil tradition, musical texts are available right from the first sangam period. Works which are meant for singing had the name “padal”. Lot of musical references are found in tamil poetic works like Tolkappiyam, Silappadikaram etc.
In Tolkappiyam we find the reference that land was divided into five namely, palai, kurinji, mullai, marudam and neidal. Each land had its own major scale and their names are Palaiyaz, Kurinji yaz, mullai yaz, maruda yaz and neidal yaz. Yaz was the term used for indicating both major scale as well as an instrument, which formed the basis for the present day vina. Palai yaz corresponds to Cempalai which may be taken as equivalent to the present day Harikambhoji scale. Kurinji is considered as Sankarabharanam. Mullaipperumpan corresponds to harikambhoji and mullaippan, mohanam. Maruda yaz corresponds to the present day kalyani scale. Neidal is considered to be tiran il yaz.
In “Paripadal”, we find that one person writes the lyrics and another person tunes the song, which may be compared to the present day practice in the cine field. Thus, if Kannaganar wrote the lyrics, it was tuned by Pettanaganar. We find pans like “Notiram” employed for tuning the song. “Pan” was the term used in Tamil books for the term “raga” used in musical parlance.
Panchamarabu, an ancient treatise on Tamil music gives a list of 103 pans. Of these 23 are found in Tevaram hymns. There are many musical references in Silappadikaram. It tells about the Ayappalai, vattappalai etc. The work gives details regarding the relationship between svaras. The relationships mentioned are inai, kilai, pagai and natpu. Inai corresponds to s-p samvadi. Kilai corresponds to s-m samvadi. Pagai refers to vivadi and natpu is anuvadi. Seven palais are mentioned in Silappadikaram. They are Cempalai, Padumalaippa;ai, Cevvazippalai, Arumpalai, Kodippalai, vilarippalai and merchempalai. Two types of kural tiribu are mentioned namely valamurai and idamurai. The term “Kural tiribu” refers to “modal shift of tonic”. Even in the present day music the vadi –samvadi relationships are very important, while singing the alapana or kalpana svara.
‘Alatti’ is the term which refers to alapana. In Tamil treatises the term ‘pani’ is used for denoting ‘talam”. Even the term “Talam”, is used. Panchamarabu says,
Tendral vadivum sivanar tiruvadivum
Mandral vadivum tuya madan vadivum
Kundra veyinisai vadivum veda vadivum kanil
Aya talam kanalam
The meaning of the verse is as follows:
If one can see the malayamarutam or the air, if one can see Lord Siva, if one can see the smell, if one can see the God of love, Manmatha, if one can see the music emanating from the flute and if one can see the form of veda, then one can certainly see all the talas. These verses tell us in no uncertain terms, how difficult our tala system is. The way of reckoning ‘pani’ is given as
“Kottum asaiyum tukkum alavum ottappunarppadu pani”
Silappadikaram gives a lot of information about music and dance. There are eleven types of dances mentioned in the chapter, Arangerru kadai, explaining the maiden performance of the danseuse Madhavi. In the same chapter the qualities that a yaz player, flute player and the drummer should possess are explained in detail under the headings, Yazacirian amaidi, Kuzalasirian amaidi and Tannumai asirian amaidi. The names of the seven svaras are mentioned as kural, tuttam, kaikkilai, uzai, ili, vilari and taram.
Many such references to music are found in Tamil treatises. But we are yet to find out as to how music was sung are played in those days. The earliest reference to this can be found in Tevarams. Thanks to the oduvar tradition, the tevarams are sung today as they were composed and sung by the Tevara trinity, viz., Tirugnanasambandar , Tirunavukkarasar and Sundaramurti nayanar. Gnanasambandar is the youngest composer in the world. He composed his first hymn at the age of three. His first song is “Todudaiya seviyan” in the Pan Nattapadai. This corresponds to the raga “Gambhiranattai”, according to the pan research done by the Tamil Isai Sangam, Chennai. M.Arunachalam in his book “Musical Tradition of Tamil Nadu” mentions that Karaikkal Ammai has composed her “Mutta tiruppadigam” in Nattapadai and Indalam which are still sung in those pans. Ammai’s padigams are sung in praise of the Lord of Tirualangadu.
We certainly get authentic musical settings from Tevaram perio, viz, 7th to 8th century. This is possible due to the oduvar tradition, which is still prevalent. “Odudal”, in Tamil language means telling in the ear. Tevaram music is preserved because of teaching them and passing them on to the next generation. They were not notated and written. But it is a really rich legacy that is given to the generation that followed. Sarngadeva in his Sangita Ratnakara mentions the raga “Dakka vibhasha tevaravartani”.
Following are the pans used in tevaram and their equivalent ragas as decided by the Tamil isai Sangam, Chennai
Andali Kurinji-Sama
Indalam-Mayamalavagaula
Gandharam-Mohanam
Gandharapanchamam-Kedaralgaulai
Kurinji-Sankarabharanam
Kolli-Navaroj
Kollikauvanam-Navroj
Kausigam-Bhairavi
Sadari-Pantuvarali
Sikamaram-Nadanamakriya
Chevvazi-Harikambhoji
Takkaragam-Kambhoji
Takkesi-Kambhoji
Nattapadai-Gambhiranattai
Natta ragam-Pantuvarali
Panchamam-Ahiri
Pazanthakkaragam-suddhasaveri
Pazhampanchuram-Sankarabharanam
Piyandai Gandharam-Navaroj
Puranirmai-Bauli
Megaragakkurinji-Nilambalri
Yazhmuri-Atana
Viyazhakkurinji-Saurashtram
Apart from the above mentioned pans Sentururutti which is equivalent to amdhyamavati is found in the hymns of Sandaramurti svamigal. He has composed the song “mila adimai” in this pan.
The Tamil isai Sangam, Chennai has taken up the task of finding out the equivalent raga names for the pans mentioned in panchamarabu . Apart from the above 23 pans they have found out the equivalent ragas for 24 other pans mentioned in Panchamarabu. Malakari, Kurcari, Kedalikkurinji(Kedaram), Manral(Nattaikkurinji), Sigandi(Srigandi) are some of these pans.
From the time of tevarams, the music of Tamil nadu is recorded. Hence we may say that Tamil Music is the world’s first music.
In today’s kritis we have the pallavi lines which are repeated after singing the anupallvi and charanam. This format can be traced to Silappadikaram. In the “Arru vari” segment we find the lines
Nadanthai vazi kaveri
Arinden vazi kaveri
In the Tevaram hymns we find “Naladimel vaippu” which probably is the basis for this structure. In the Hymn “Idarinum talarinum” the naladimel vaippu comes as
Iduvo emmai alumarivadonremakkillaiye
Aduvoumadinnarul avadu turai arane
As far as the tala is concerned Tevarams have the “Kattalai”. It is mentioned as
Cennattapadaikkuppanettukattalai
Kattalai means the Chandakkuzhippu. The Tiruppugaz hymns of Arunagirinathar are famous for their rhythmic structure.
Then we have the Sirkazi muvar who have immensely contributed to the Kirtani format. Muttu Tandavar, Marimutta pillai and Arunachala kavi rayar form the Sirkazi trinity. It was Muttutandavar who introduced the madhyama kala format in the kritis. He was the one to introduce mudugu nadai in his son “Adikkondar” in the ragam Mayamalavagaula set to Adi talam. Following is the madhyama kala passage in that song:
Aranavamanimalaigalada
Adumaravampadamvirithada
Sirqanikondraimalartodaiyada
Cidambaratterada
Peranivediyar tillaimuvayiram
Pergalumpucittukkondada
Karanikaliyedirtunindrada
Kanakasabaitanile
Uttukadu Venkatasubbaiyar has composed many beautiful musical forms in Tamil. Among the Tiruvarur trinity, Syama Sastri has composed songs in chaste Tamil.
Tamil music is the present day music. This write up on Tamil music cannot be concluded as I have given only the basics of Tamil music.
Karnatik music today revolves around the celebrated trinity, Tyagaraja, Dikshitar and Syamasastri. In Tamil Nadu, Tamil isai also has a phenomenal growth. Then one may question as to whether these two are different ones. If one does a deep research then one may come to the conclusion that these are one and the same.
It is generally said that music came from sama veda. Similarly in Tamil tradition, musical texts are available right from the first sangam period. Works which are meant for singing had the name “padal”. Lot of musical references are found in tamil poetic works like Tolkappiyam, Silappadikaram etc.
In Tolkappiyam we find the reference that land was divided into five namely, palai, kurinji, mullai, marudam and neidal. Each land had its own major scale and their names are Palaiyaz, Kurinji yaz, mullai yaz, maruda yaz and neidal yaz. Yaz was the term used for indicating both major scale as well as an instrument, which formed the basis for the present day vina. Palai yaz corresponds to Cempalai which may be taken as equivalent to the present day Harikambhoji scale. Kurinji is considered as Sankarabharanam. Mullaipperumpan corresponds to harikambhoji and mullaippan, mohanam. Maruda yaz corresponds to the present day kalyani scale. Neidal is considered to be tiran il yaz.
In “Paripadal”, we find that one person writes the lyrics and another person tunes the song, which may be compared to the present day practice in the cine field. Thus, if Kannaganar wrote the lyrics, it was tuned by Pettanaganar. We find pans like “Notiram” employed for tuning the song. “Pan” was the term used in Tamil books for the term “raga” used in musical parlance.
Panchamarabu, an ancient treatise on Tamil music gives a list of 103 pans. Of these 23 are found in Tevaram hymns. There are many musical references in Silappadikaram. It tells about the Ayappalai, vattappalai etc. The work gives details regarding the relationship between svaras. The relationships mentioned are inai, kilai, pagai and natpu. Inai corresponds to s-p samvadi. Kilai corresponds to s-m samvadi. Pagai refers to vivadi and natpu is anuvadi. Seven palais are mentioned in Silappadikaram. They are Cempalai, Padumalaippa;ai, Cevvazippalai, Arumpalai, Kodippalai, vilarippalai and merchempalai. Two types of kural tiribu are mentioned namely valamurai and idamurai. The term “Kural tiribu” refers to “modal shift of tonic”. Even in the present day music the vadi –samvadi relationships are very important, while singing the alapana or kalpana svara.
‘Alatti’ is the term which refers to alapana. In Tamil treatises the term ‘pani’ is used for denoting ‘talam”. Even the term “Talam”, is used. Panchamarabu says,
Tendral vadivum sivanar tiruvadivum
Mandral vadivum tuya madan vadivum
Kundra veyinisai vadivum veda vadivum kanil
Aya talam kanalam
The meaning of the verse is as follows:
If one can see the malayamarutam or the air, if one can see Lord Siva, if one can see the smell, if one can see the God of love, Manmatha, if one can see the music emanating from the flute and if one can see the form of veda, then one can certainly see all the talas. These verses tell us in no uncertain terms, how difficult our tala system is. The way of reckoning ‘pani’ is given as
“Kottum asaiyum tukkum alavum ottappunarppadu pani”
Silappadikaram gives a lot of information about music and dance. There are eleven types of dances mentioned in the chapter, Arangerru kadai, explaining the maiden performance of the danseuse Madhavi. In the same chapter the qualities that a yaz player, flute player and the drummer should possess are explained in detail under the headings, Yazacirian amaidi, Kuzalasirian amaidi and Tannumai asirian amaidi. The names of the seven svaras are mentioned as kural, tuttam, kaikkilai, uzai, ili, vilari and taram.
Many such references to music are found in Tamil treatises. But we are yet to find out as to how music was sung are played in those days. The earliest reference to this can be found in Tevarams. Thanks to the oduvar tradition, the tevarams are sung today as they were composed and sung by the Tevara trinity, viz., Tirugnanasambandar , Tirunavukkarasar and Sundaramurti nayanar. Gnanasambandar is the youngest composer in the world. He composed his first hymn at the age of three. His first song is “Todudaiya seviyan” in the Pan Nattapadai. This corresponds to the raga “Gambhiranattai”, according to the pan research done by the Tamil Isai Sangam, Chennai. M.Arunachalam in his book “Musical Tradition of Tamil Nadu” mentions that Karaikkal Ammai has composed her “Mutta tiruppadigam” in Nattapadai and Indalam which are still sung in those pans. Ammai’s padigams are sung in praise of the Lord of Tirualangadu.
We certainly get authentic musical settings from Tevaram perio, viz, 7th to 8th century. This is possible due to the oduvar tradition, which is still prevalent. “Odudal”, in Tamil language means telling in the ear. Tevaram music is preserved because of teaching them and passing them on to the next generation. They were not notated and written. But it is a really rich legacy that is given to the generation that followed. Sarngadeva in his Sangita Ratnakara mentions the raga “Dakka vibhasha tevaravartani”.
Following are the pans used in tevaram and their equivalent ragas as decided by the Tamil isai Sangam, Chennai
Andali Kurinji-Sama
Indalam-Mayamalavagaula
Gandharam-Mohanam
Gandharapanchamam-Kedaralgaulai
Kurinji-Sankarabharanam
Kolli-Navaroj
Kollikauvanam-Navroj
Kausigam-Bhairavi
Sadari-Pantuvarali
Sikamaram-Nadanamakriya
Chevvazi-Harikambhoji
Takkaragam-Kambhoji
Takkesi-Kambhoji
Nattapadai-Gambhiranattai
Natta ragam-Pantuvarali
Panchamam-Ahiri
Pazanthakkaragam-suddhasaveri
Pazhampanchuram-Sankarabharanam
Piyandai Gandharam-Navaroj
Puranirmai-Bauli
Megaragakkurinji-Nilambalri
Yazhmuri-Atana
Viyazhakkurinji-Saurashtram
Apart from the above mentioned pans Sentururutti which is equivalent to amdhyamavati is found in the hymns of Sandaramurti svamigal. He has composed the song “mila adimai” in this pan.
The Tamil isai Sangam, Chennai has taken up the task of finding out the equivalent raga names for the pans mentioned in panchamarabu . Apart from the above 23 pans they have found out the equivalent ragas for 24 other pans mentioned in Panchamarabu. Malakari, Kurcari, Kedalikkurinji(Kedaram), Manral(Nattaikkurinji), Sigandi(Srigandi) are some of these pans.
From the time of tevarams, the music of Tamil nadu is recorded. Hence we may say that Tamil Music is the world’s first music.
In today’s kritis we have the pallavi lines which are repeated after singing the anupallvi and charanam. This format can be traced to Silappadikaram. In the “Arru vari” segment we find the lines
Nadanthai vazi kaveri
Arinden vazi kaveri
In the Tevaram hymns we find “Naladimel vaippu” which probably is the basis for this structure. In the Hymn “Idarinum talarinum” the naladimel vaippu comes as
Iduvo emmai alumarivadonremakkillaiye
Aduvoumadinnarul avadu turai arane
As far as the tala is concerned Tevarams have the “Kattalai”. It is mentioned as
Cennattapadaikkuppanettukattalai
Kattalai means the Chandakkuzhippu. The Tiruppugaz hymns of Arunagirinathar are famous for their rhythmic structure.
Then we have the Sirkazi muvar who have immensely contributed to the Kirtani format. Muttu Tandavar, Marimutta pillai and Arunachala kavi rayar form the Sirkazi trinity. It was Muttutandavar who introduced the madhyama kala format in the kritis. He was the one to introduce mudugu nadai in his son “Adikkondar” in the ragam Mayamalavagaula set to Adi talam. Following is the madhyama kala passage in that song:
Aranavamanimalaigalada
Adumaravampadamvirithada
Sirqanikondraimalartodaiyada
Cidambaratterada
Peranivediyar tillaimuvayiram
Pergalumpucittukkondada
Karanikaliyedirtunindrada
Kanakasabaitanile
Uttukadu Venkatasubbaiyar has composed many beautiful musical forms in Tamil. Among the Tiruvarur trinity, Syama Sastri has composed songs in chaste Tamil.
Tamil music is the present day music. This write up on Tamil music cannot be concluded as I have given only the basics of Tamil music.
