CHAPTER 1

HISTORY OF MUSIC OF K£ra©a

 HISTORY OF MUSIC OF K£ra©a 8

CHAPTER 1
HISTORY OF MUSIC OF K£ra©a
In this chapter, keeping in mind the historical perspective of music in K£ra©a
from pre-historic times, the evolution of Carnatic music from secular music in K£ra©a
over a period of time to its present day concert form has been enumerated and studied
in detail. The patronage offered to musicians in K£ra©a is studied too.
1.1 K£ra©a as a seat of music
The early music in K£ra©a was a blend of the Vedic chants, the songs of the
bhakti cult movement, and folk music. Early music comprised of devotional lyrics,
songs in ritualistic music and songs of the common folk. Its essential features were
born out of a happy blending of the Vedic chants, the folk and tribal music of the
region.

TEMPLE MUSIC
The music of K£ra©a temples, dominated by the Dravidian tradition of
religious music, dance and instrumental playing flourished till the 7 th century A.D. The
music system had rejuvenation when Gita Govidam was introduced to Kerala in the
local musical mould during the 14th-15th centuries A.D. It was a revival of the Paattu
school of music, Paattu, the word means song or music in Malayalam 1-which was
preserved in the devotional ty¡n§ s.
ty¡n§
The word ty¡n§ could be derived from the Sanskrit term dhyānam. ty¡n§
is also known as Taaivaani and Dhyaani.ty¡n§ s are sung as a part of koṭṭipāṭi
sēva2.ty¡n§ s are short songs sung standing on the Sopana –steps, leading to the
Sreekoil-Sanctum Sanctorum. ty¡n§ s are rendered to the accompaniment of
iṭaykka3.

1
The language Malayalam belongs to the south Indian language group- Dravidian,and is based on
proto-Tamil, with a significant influence of saṁskr̥ t
2
koṭṭipāṭi sēva – in Malayalam, sēva means an offering and koṭṭipāṭi means singing with koṭṭu -tap
and tempo
3
The (Malayalam: ഇടയ്ക്ക), also spelt edaykka, is an hourglass-shaped drum from Kerala in south
India. This handy percussion instrument is very similar to the pan-Indian damaru. While the damaru is
played by rattling knotted cords against the resonators, the idakka is played with a stick. Like the
damaru, the idakka's pitch may be bent by squeezing the lacing in the middle.
 HISTORY OF MUSIC OF K£ra©a 9

The idayka is considered to be a Devavadyam -a divine instrument unlike a

Sabha vadyam-concert instrument. It is customarily played as a solo instrument in the
form of an offering during the worship. At temples standalone performance of this
instrument as a custom, by the Ambalavasi community Marar or Poduval is seen even
today. Idakka is a kottu vadyam (band-based) as well as a geeta vadyam (music-
based). It acts as kottu vadyam in case of Panchavadyam or Idakka Thayambaka, and
as as a geeta vadyam during Mohiniyattam or fusion sessions

Ty¡n§ s are mainly in Malayalam4. Ty¡n§ s have been adapted from the
dhyāna Slokas –implying verses meant for medidating-which were in Sanskrit The
dhyāna Slokas in Sanskrit were used in accordance to the Tantric rituals.The Ty¡n§
is sung in the temple as an offering to the accompaniment of ritualistic
accompaniments.There are many dhyāna Slokas in Sanskrit . The songs composed
in the style of these dhyāna Slokas in Malayalam came to be called as Ty¡n§ s.
Ty¡n§ s are sung along with Ashtapadis. Ty¡n§ s usually don't employ language
other than Malayalam. Hence this unique form of p r a y e r f u l o f f e r i n g i n t h e
t e m p l e m u s i c g e n r e o f K e r a l a is called kottipadiseva.

T h e ty¡n§ is a versified form having eight lines or four couplets. They do not
have the sections like Pallavi, Anupallavi and Charana as in Carnatic compositions.
There are ty¡n§ s in praise of each and every important deity worshipped in the
temples of Kerala. From the lyrics of ty¡n§ s one can make out to which place d o e s
t h e t e m p l e b e l o n g . Also t h e r e are ty¡n§ s for d i f f e r e n t forms of same diety
viz, Vishnu, Padmanabha, and Krishna eventhough they are one. There are ty¡n§ s
based on the origin of the kshetra, the devata , the rituals, the power of prayer to

The idakka is slung over the left shoulder and the right side of the instrument is beaten with a stick. The
left hand is used for tightening and loosening the tape wound round the middle. Varying the tension of
the tape produces variations in tones. Simple melodies extending over one octave can be played in this
instrument.

4
The language Malayalam belongs to the south Indian language group- Dravidian,and is based on
proto-Tamil, with a significant influence of Sanskrit
 HISTORY OF MUSIC OF K£ra©a 10

the diety and also about the special significance of the presiding deity of the
temple.These are sung in specific ragas and talas according to the particular time
when the offering is made to the diety. The performer selects raga suited for that time.
Such ragas known as ‘samaya ragas’ because the time of conducting the ritual is the
deciding factor in using the raga for singing
The musician is inspired by the particular time associated to different dieties
and various shrines. Such ragas known as ‘samaya ragas because, time of the ritual
is the deciding factor in using the raga for singing The singing of ty¡n§ s takes its
roots from the music of the earliest singers of the land as mentioned in the text
Silappatikaram.
Some of the rare melodies specially conceived for embellishment of certain
emotions are Pati, Indisa, Puranir, and Kanakuranji. Certain ragas like Srikandi,
Desakshi, Nalantha and Samanta Malahari are used in old devotional songs. These
melodies have remarkable fascinating lilt and a tinge of folkish character. The
accompanying instruments include iṭaikka, maddaḷam, and ceṇḍa

In Kerala, several forms of music have grown associated with festivals and
ceremonies of temples.

Panchari melam and Pandi melam are two major ensemble performances
using chenda and accompanied by ilathalam (cymbals), kuzhal and Kombu.

Thayambaka is a form in which one or a few chenda players perform

improvised solos with a few more chenda and ilathalam players.

Along with these there are Kshetra vadyam and Sopanam which are music
accompanying rituals.

There is also Panchavadyam, an orchestra of five instruments

- Maddalam, Thimila, Kombu, Ilathalam and idaikka.

sµp¡na sa¯g§tam

sµp¡na sa¯g§ta¯, appears to have acquired its name from the 'Sopanam' which
means ‘Steps leading to the Sanctum Sanctorum' of the temple. Dravidian music can
be considered as the cluster of Tauryatrika which formed the foundation for Sopana
 HISTORY OF MUSIC OF K£ra©a 11

Sangeetham. Tauryatrika - union of three art forms - is a combination of the three

major art forms namely sangeetham, nrittham and vadhyam. Sopanam is a form
of Indian music developed in the temples of Kerala in the wake of the increasing
popularity of the Jayadeva's 'Gita Govinda' or 'Ashtapathi'. Sopanasangitham is sung
standing on the steps -Sopanam of Sreekoil, with the accompaniment of the drum
called ' idakka.'. The sopana sangitam in its traditional form is seen at its best among
the Marars and Poduvals, who were hereditary Ambalavasi Ardha Brahmanas -Semi
Brahmins engaged to do the same.

The characteristic features of this music are, simple structure, devotional

flavour 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.
Being bhava pradhana – giving importance to emotional expressions and with bhakti
or devotion being the ultimate purpose, the selection of ragas and talas for the music
are set by the traditional style called as Sopana Sailee. This Sopana Sailee is
charecteraised by Octave selection, Modulation of swaras, Tempo variations.Another
major distinction is the peculiar usage of two or more swaras in addition to the
accepted 12 n o t e s in Karnatic music. These two swaras are referred to as Kairali
Gandhara and Kairali Nishada5 which can be found in folk music of Kerala.
Sopanam music developed and became popular through the practice of singing
invocatory songs in front of the 'Kalam' or 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, Thirumandhamkunnu, Guruvayoor, and Ramamangalam. In
these temples, this music had been hereditarily practiced by temple singers. Neralattu
Rama Poduval of Thirumandhamkunnu bani, Janardhanan Nedungadi of Guruvayoor,
Damodara Marar belonging to the Mudiyettu bani of Pazhoor are some of the 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

5
Contribution of Travancore to Karnatik Music, by Dr.S.Bhagyalekshmi
 HISTORY OF MUSIC OF K£ra©a 12

mould of which was later adopted by Krishnanattam, devotional music in Kalam pattu
and dramatic music in Mudiyettu and Kathakali.
On the steps of the sanctum sanctorum the performer is a devotee offering
propitiation to the Deity it is addressed to; whereas a Kathakali or any stage artist
unfolds the deified form through the story line in the form of the music sung behind.
The audience or rasikas experience spiritual upliftment. It is an audio visual treat for
him
In spite of its ramified developments, it is different from concert music but the
Sopana Sangitam maintains and should maintain its purity in the temple tradition –
kshetra Sangitam
FOLK AND RITUAL MUSIC
Any language will have folk songs that breathe the local rustic characteristics
like the lifestyle, language, dialect, customs etc. They are inextricably blended with all
the facts of life. They are generally handed down orally with no written form. They
pass through verbal tradition and from generation to generation. Consequently, they
are subjected to vast changes as also to social, textual and attitudinal variability. Folk
songs are the true mirror of social life.
Malayalam too is rich with folk songs. Folk songs are imbued with the inner
glow of folk life and folk culture. Most of the folk songs of Malayalam have racial or
ethnical and or communal tradition. Besides songs, music and art reflect the ancestral
family vocation of many communities like the traditional songs of the Pana, Pulluva,
Mannan, Pulaya, Vela, Kaniyan, Ganaka, Malaya, Vannan, Paniya, Paraya, Kuruma,
Mappila, Vettuva, Thiyya, etc. The lyrics and the rustic melody announce the
communal traditions of folksongs of these people. This tradition is reflected in the
style of presentation of songs too. Similarly, the same song when sung by different
folks or castes has different styles.
The nadanpattu (nadan-native, pattu-songs) of Kerala - folk songs narrate
unrecorded tales of the land and people. These lyrical songs are evoked from the
emotions and simple wisdom of common folk, associated with the rural or rustic life.
Almost every aspect of life and occasions such as childbirth marriage, festivals, the
glee of the harvest season, weddings, war, the union of man and woman, mythology
 HISTORY OF MUSIC OF K£ra©a 13

and religion and death finds a place in Kerala folksongs. Mappilapattukal,

Pallipattukal, Onapattukal, Mappilapattu, Vilppattu and Vanchipattukal, are some of
these native songs of different castes and communities of Kerala.
Besides these, there are Anushtanapattu -Ritualistic song, Vinodapattu (Song
for games and entertainment) and Panipattu (Labour song).

Some of the rituals where the Folk Music & Dances of Kerala are predominant:

Theyyam -Theyyam are also called Thirayattam, because every thira or village
performed this ritualistic art at the village temple. This vibrant ritual performing folk
art form enacted in courtyards of "Kaavukal"-sacred groves and village shrine.
Musical accomaniments are chenda and veekuchenda (drums), elathalam and Kuzhal
(horn). This art form is mostly performed in Bhagavathy temples. Performances are on
between the month of October and May. Thira is the main subdivision of Theyyam
Kalampattu (kalamezhuthu pattu) is another folk art form that belongs to the
northern regions of Kerala. This art form which is over 600years old is performed by a
group of five to fifteen people in Bhadrakali and Ayyappa temples. The ritual is
performed around the kolam -an elaborate picture, usually of Bhadrakali, drawn on the
floor, using five colours. The singers are neatly dressed with women wearing their hair
on the side of the head. A series of songs (kalampattu) are sung to the accompaniment
of nanthuni and elathalam.

Kavadiyattam is a ritual dance offering in Subramanya temples. The group of

devotees wearing bright yellow or saffron costumes with ash smeared all over the
body, dance in a frenzy carrying Kavadis on their shoulders. Kavadis are colourful
bow shaped wooden structures rising six to ten feet high. The ambalakavadi is
structured and decorated like a temple. The Pookavadi has clusters of colourful paper,
cloth or plastic flowers arranged on them. The resounding beats of percussion
instruments like udukku and chenda and the nadaswaram are characteristic of the
Kavadi procession.
 HISTORY OF MUSIC OF K£ra©a 14

Cherumarkali is a harvest dance in which the dancers, both men and women move in
a swift rhythm, linked in a back lock or holding arms. The costumes are in striking red
and white

Kaalavela is a spectacular procession of huge gaudily decorated motifs of bulls -kaala

Kummattikali is the famous colorful mask-dance of South Malabar, performed
during the festival of Onam. It is a temple folk art and an awe inspiring mask dance.
Kettukazhcha is a spectacular pageant of colourfully decorated effigies of gods and
goddesses, and images of animals like the horse, bull etc.

Kolkali is a group dance form of the farming community in Kerala. Twelve to twenty
four dancers move rhythmically in a circle around the ceremonial lamp, tapping the
two feet long wooden sticks held in their hands.
Kumbhamkali / kumbhamthullal (pot dance) is a folk ritual dance of devotees
carrying pots on the head.

Kuthiottam is a ritual art exclusive to the Devi temples of south Kerala. A team of
artistes perform this song and dance ritual. The songs include those in praise of Durga
and other deities, Padapattu (war songs) and Kalaripattu (martial art songs).
Instrumental accompaniments are mainly percussions, ganjira, bells and chaplankatta.
Faces are painted and red curtains are used as partitions on the stage.
Pooram is the great elephant pageant of certain temples in Kerala. The pageant is
accompanied by the panchavadyam which gradually works up to a crescendo.

Mayilnritham/Mayilattom is a ritual art performed by artistes in peacock costume. It

is performed in Subramanya Temples in South Kerala.

Padayani (literally, a column of army) is a colourful ritual art which is symbolic of

the victory march of goddess Kali after she defeated the demon Daruka. The elaborate
costume of this art form bears slight resemblance to Theyyam of North Kerala. The
percussion instruments used in Padayani are Padayani tape, chenda, Para and
kumbham.--
 HISTORY OF MUSIC OF K£ra©a 15

Poothamkali (pootham) is a folk art more commonly performed in the Bhagavathy

temples of Malappuram. Pootham is the character who accompanied Durga in her
combat with Darika asura. The performers, usually three in number, undergo a week
of austerity before the presentation. Colourful and intricately designed masks carved
out of the pala and murukku trees are the highlights of the attire. The fifteen minute
performance starts slowly and works up to frenzy towards the end. The thudi provides
rhythm to the dance which is usually rendered at night.
Pulikali also known as kaduvakali is a common sight in Kerala during festive seasons.
Performers painted like tigers in bright yellow, red and black, dance to the loud beats
of percussion instruments like the udukku and thakil.
Pulluvan Pattu -Sarpa pattu (sarpam thullal) or snake dance is a ritual art performed
in shrines and temples devoted to Nagaraja the king of serpents.
Pulluvan Pattu is also known by other terms such as Sarpa Pattu, Sarpam Thullal,
Nagam Pattu,Sarpolsavam, Pambum Thullal or Pambum Kalam.Most art forms of the
Pulluvar community are ritualistic in nature, though songs are based on the Puranas
and agriculture.Pulluvan Pattu is accompanied by different musical instruments made
by the community - the one stringed violin known as the Pulluvan veena, the Pulluvan
kudam, an earthen pot with a string fastened to it, Pulluvan mizhavu and
kaimanicymbals. Out of these, the Pulluvan veena plays a major part during the
rituals.The veena is made out of a hollow bamboo stick, teak, coconut shell or wood
and is played with a bow made out of a piece of sharpened bamboo. This one-stringed
instrument, that resembles the violin, is also known as the veenakkunju. The string is
made from the Nagachitamrada plant and is known as the Theru. The string is
stretched over the round shaped resonator with a calf’s skin and passes through a
small bridge. The other end is connected to the wooden stem having the peg. At the
end of the bow, a couple of metal jingles are attached at times and wooden rods are
fastened to these metal jingles.The pulluvan and his team will play the veena, kudam
and sometimes the cymbals, during a performance. Valluvanad in Kerala is still
popular for Pulluvan pattu. Normally this form of song is accompanied by the veena
on occasions where there is a Nagaraja pradistai being done at a temple and where the
inmates of the house offer the Pullavan food and clothes.Some musical phrases are
 HISTORY OF MUSIC OF K£ra©a 16

played on the Pulluvan veena before a song begins and also during interludes. For
Sarpam pattu, the veena is used as a sruti and tala accompaniment. It is held like the
violin and sometimes tucked to the ankle of the right foot.During rituals, the songs of
the Pulluva community praise ‘holy serpents’ such as Ananthan, Manimudgaran,
Adiseshan and Mahapadman.For snake worship, usually a snake is drawn on the
ground after a purification ritual and necessary pujas.This ritual is known as Pambin
Kalam where snakes are invoked by the Pulluva community; it is generally an
elaborate one. The pullavars fast for 41 days to perform a Sarpam Pattu ritual.It is
performed by women too who belong to the Pulluvar caste, in a specially decorated
pandal, before the sarpakalam (snake designs on the floor). The women dance in a
frenzy to the rhythm of the sarpa pattu, until they fall down
exhausted. Thattumelkoothu is a devotional folk art.The dance is performed on a
special platform which is carried around the temple by devotees even as the
performance goes on.
Thidampu Nritham which is over 700 years old is a ritualistic art form of North
Kerala. The dancer moves to the rhythmic beats of the chenda carrying the thidampu
(the idol of the deity) on his head. Seven artists accompany him on percussion
instruments while two others hold aloft the ritualistic lamps. The artiste wears much
jewellery and a decorated turban.
Thiruvathirakali- kaikottikkali is a dance form which is a pointer to the old customs
followed in Nair tharawads (joint families) where the women of the house dance
elegantly around the ceremonial lamp or floral decoration on festive occasions to the
accompaniment of the Thiruvathira Pattu (song).

Thiruvathirappattu beginning “Gopala balakanae gopikakanda..." is an ancient song

with a devotional tone and describes the romantic tales of Lord Krishna.
Thiyyattu is a devotional offering to Bhadrakali and Sree Ayyappa. This ritual art is
performed in a specially decorated pandal, before the Kalam (five colour design on the
floor), the traditional lamp (nilavilaku), and peetam (stool). The performance usually
starts at dusk. The artists sing and dance to the rhythmic music of the chenda,
elathalam and chengila. The costumes bear resemblances to Ottanthullal and
 HISTORY OF MUSIC OF K£ra©a 17

Kathakali; the distinctive features are huge jingling anklets and face makeup with tiny
white dots.

Tholpavakoothu which is said to have originated in the 18th century is also known as
pavakoothu (puppet play) or nizhalattam (shadow play). This entertainment art is
performed on a special stage called koothumadam in the temple courtyard. Puppets
(pavakal), usually representing four characters from the Ramayana, are arranged
behind a long white screen, in front of bright wick lamps. The puppets made of deer
skin are made to dance to songs from the Kamba Ramayana (the Tamil version of the
epic). The performance starts late at night and continues up to daybreak.
Vadithallu is almost similar to Kolkali and is a folk dance in which artistes tap the
short sticks held in both hands.

Velakali is one of the most elaborate and spectacular martial folk arts of Kerala. This
ritual art form is usually presented within the temple premises and is called
Thirumumbil vela when performed before the deity and Kulathivela when performed
near the temple pond. Fifty or more performers in the traditional attire of soldiers,
bearing colourful shields and swords or long canes, dance with war like steps in
perfect orchestration with the resounding rhythm of the thakil, suddha maddlam,
elathalam, kuzhal and trumpets. A few fighting techniques of Kalaripayattu are also
displayed in the course of the performance. There are various performance genres
having the themes of Islam- or Christianity.

Oppana, this is widely popular among Keralite Muslims and is native to

Malabar. Oppana incorporates group dance accompanied by the beat of rhythmic hand
clapping and ishal vocalization. Oppana is a Muslim bridal group dance.

Christian songs, Margam Kali is one of the ancient round group dances of Kerala
practiced by Saint Thomas Christians. Apart from this are Raamban Paattu, kalyana
pattukkal, vattakkali paatu, Antham char thu pattu, Penpattukkal and Mayilaanchi
paattukal.
 HISTORY OF MUSIC OF K£ra©a 18

Among all folk arts and ritualistic arts of Kerala, Music has been used as a
medium of expression of devotion, joy, ecstacy, strife, sorrow, and other human
emotions. It might be with or without the accompaniment of vocal music.
Any expression is complete with vocalisation. When it is done to the
accompaniment of a naturally occurring melody, it becomes music. In the music of the
folk or common people, we get to see folk lore, stories from Purana’s, scriptures,
handed over by hearsay-not technically written down. To add to the rhythm and
reduce the boredom, to lighten the strain of work, or to enhance the meter some
meaningless words called vaitharees are also used.
Vaitharees or chol kettus, like aelelum, ayylaesaa, thathadha, thaiyyam Thom,
dhimithom used in folk lyrics
“Kshetra paartha thava paadham agamae thonuvaan, dhika thatham Thai thai.
Cheerthulla tholla rogam akhilam, theertharulaenam swami”
Music plays a very important role in the daily lives of Malayali folk. Children
are put to sleep and also awakened with songs. These ritualistic and non-ritualistic folk
arts Devotional arts to propitiate a particular God or Goddess, Magical folk arts to win
general prosperity for a community or exorcise evil spirits or to beget children like
pambinthullal, pooppadathullal, kolamthullal, and malayankettu have an element of
music.
Refrain or tongal – extensions of certain lines -is another special feature of folk
music. Most folk songs are set in ragas that have given life and vigour to Karnatic
music. For instance, thottam songs carry elements
of kedararaga and thumbithullal songs have elements of saveri raga. Some folk songs
are so composed as to create the right atmosphere required for a ritual.
An array of musical instruments is used in the folk tradition.
The peculiarities of folk music are that it employs simple literature and easily
understandable rhythms, its range is limited to one or two notes at three or four points
in its rendition; most songs have a uniform pattern and they are more idea-oriented
than music-oriented.6

6
A. K.Ravidranath- Dakshinendyan sangeetham (Study).
 HISTORY OF MUSIC OF K£ra©a 19

Nothing much can be said about the folk style in the music of Kerala. Sopana-
sangeetham is the only form of music that is cited as unique to Kerala. But it stands
midway between folk music and Karnatic music. It can be said that a kind of primitive
music gave birth to folk music which subsequently brought forth classical music and
later modern music. Folk music may be a more refined form than its predecessor but it
does not have the scientifically organized form of classical music. Its authorship is
unknown.It could have been the powers of folk music to reach out to the common
people and inspire them profoundly that made Kunchan Nambiar adopt its tune and
rhythm for his thullal, although he has been exposed to such classical art forms
as koothu and koodiyattom.
Music in various spheres of art and culture of K£ra©a,
The Kerala music culture adopted the tauryartika concept of geetam, vadyam,nrittam,
music in dance and theatre
Cākyār kūtt- Oottanthullal , Koodiyattam
cākyār kūtt and Oottanthullal- these miming acts, are the branch of
performing art from Kerala.They are primarily a type of highly
refined monologue where the performer narrates episodes from Hindu epics and
stories from the Puranas, story is recited in a quasi-dramatic style with satire to the
rhythmic accompaniment of Mizhavu.
The name Koodiyattam, meaning playing or performing together, is thought to
refer to the presence or more actors on stage who act in consonance with the beats of
the mizhavu drummers. It refers to a common practice in Sanskrit drama where a
single actor who has performed solo for several nights is joined by
another.Koodiyattam and chakyar koothu were among the dramatized dance worship.
The Chaakkyars, who are attached to the temples, are the main actors. The
Nambiyaars are the drummers and help with the make-up, while the Nangyaars also
take part in the acting and accompany the performance by marking rhythm and
singing.
Traditionally, Koodiyattam- strictly a temple art has been performed by Chakyars7
and by Nangyaramma8.
7
a subcaste of Kerala Hindus
8
women of the Ambalavasi Nambiar caste.
 HISTORY OF MUSIC OF K£ra©a 20

Koodiyaattom performances are closely allied to the temple rituals. At the rear
of the stage, two huge copper pots called ‘mizhaavus’ are kept in wooden frames.
These are the main drums of the Koodiyattom orchestra and the Nambiyaars take their
place behind them. A white cloth, spread on the right hand side of the stage, provides
the seat for two Nangyaars who direct the rhythm with small cymbals and sing the
invocatory songs.
Kudiattam is the forerunner of all the classical performing arts of Kerala. Here,
hymns rendered in melodies like Veladhuli, Varali, Paurali, Tondi, Srikanthi, Tarakan,
Kaisiki, Indalam, for abhinaya, each considered suitable for evoking a specific mood.
Only four notes udhatam, anudhatam, swaritam and prachayam 9 are utilised in the
rendition of hymns. The music, which is more like recitation with tonal variety, is
referred to as swarikkal and not as carnatic classical ragas .Also, rhythmical setting is
different.
Much before codified music was known to mankind, Vedic recitations or
chanting otthuchollal 10 -were the only music found in the Indian subcontinent. This
unique style of Vedic chanting called 'Swarikkal' is the prototype of 'raga' and
'tala'. The Vedic chanting or Swarikkal had the characteristics of a typical raga
as well as prose reading..
In Kerala, Swarikkal-swaratthil cholluka-11 used in Kootiyattam is the forerunner of
Sopana Sangeetham, supposed to be the most ancient music of Kerala.
Music-modes in Kudiyattam
Kudiyattam employs various modes to sing the verses. Each emotion-Rasa has
a specific swarikkal associated with it. Given below are a few examples.

Indalam : for noble characters

9
Svaramanjari- Transliterated by : Avinash Sathaye http://sanskritdocuments.org
10
Routledge Handbook of Asian Theatre-edited by Siyuan Liu
11
Routledge Handbook of Asian Theatre-edited by Siyuan LiuRoutledge, 05-Feb-2016 - Performing
Arts - 602 pages https://books.google.co.in/books?isbn=1317278860
Siyuan Liu - 2016 -
 HISTORY OF MUSIC OF K£ra©a 21

Cetipancamam : for lower characters

Virapancamam : for extremely heroic occasions

Bhinnapancamam : for highly elated occasions

Muralindalam : for Sri Rama’s love

Antari : the Raga used by the storyteller

and not used by the character.

Swalpantari : for Varunan –Rain God

Veladhuli : for fear, anxiety and calling from a distance.

Sri Kamaram : for a sudden spurt of emotion

Artan : for srngara and rati

Paurali : for Srirama’s love-lorn state

Mudden : Rakshasa’a love Demon’s love

Kaisiki : for Hasya and Bibhatsa

Tarkan : for Krodha and Raudra

Viratarkan : for Vira rasa

Duhkhagandhari : for Soka and Karuna

Charrantari : for Bharatavaakya and for conveying

The death of a cruel character

Danam : Adbhuta (wonder), Bhayanaka (fearsome)

 HISTORY OF MUSIC OF K£ra©a 22

Tondu : Bhakthi (devotion), Santa (calm)

Puraniru : for description of rain, morning….

Srikanti : used at the end of a drama

The Ragas and their styles or rendition have no classical

backing. Ragas are not sung. Tambura and harmonium that keep up the sruti are not
employed. The ragas may be rendered differently by the different actors. Kutiyottam
places a low premium for the learning of classical music in its training routines. 12

‘Their rhythmic patterns as well as the means they use to remember the
rhythmic struct res are often more complex than the Carnatic genre’13 .

‘The importance of tala in Kutiyattom is equated with the Hindu God Siva and
his wife Parvathi….Rhythm in Koodiyattam is inherently connected to the emotional
mode of ascene or character.14

it can be said that the swarikkal or melodies in Kutiyattam place an emphasis on the
emotive effect rather than the mode of recital.

Koothambalam is the Special hall and Koothumadam Stage -in the temple premises
for ritual and classical art performances.

KRISHNANATTAM
Krishnanattam is based on kr̥ ṣṇa gīti (1654 AD) written by Manaveda, Zamorin of
Calicut. It is believed that the Zamorin had a vision of Krishna who gave the king

12
L.S Rajagopalan[1995] Music in Kutiyattam-sangeeta natak Academy pg 111-14 113-22
13
Music In Traditional Asian Theatre-Arya Madhavan-India-pg 132-133-
Routledge Handbook of Asian Theatre-edited by Siyuan Liu
Nambiar-Narayanan-(1995)Rhythm and Music:104
Siyuan Liu - 2016 -
14
Nambiar-Narayanan-(1995)Rhythm and Music:Sangeet Natak,111-14,101-12-
Routledge, 05-Feb-2016 - Performing Arts – https://books.google.co.in/books?isbn=1317278860
 HISTORY OF MUSIC OF K£ra©a 23

a peacock feather, which became the living symbol of this dance-drama.

Krishnanattam players wore a peacock feather commemorating this.

This is the first and original contribution of Manaveda to the art of dance - drama of
Kerala15.Opening sloka of Krishnanattam is-

जगति सुकृ तिलॊकै र्नन्दिताऽऽनन्दिताशा कलविरणितवंशी भासमानाऽसमाना।

पशुपयुवतिभॊग्या दॆवतादॆवतासा सजलजलदपालीमॆचका मॆ चकास्तु॥१॥

jagati sukritilokairnanditā:':'nanditāśā kalaviraṇitavaṁśī bhāsamānā:'samānā|

Paśupayuvatibhogyā devatādevatāsā sajalajaladapālīmecakā me cakāstu||1|| 16

Apart from such slokas it is also adorned by many padyageethams like that
of Gita Govinda of Jayadeva.Krishnagiti is a masterpiece work in Sanskrit. While the
music in both Koodiyattam and krishnagiti are in Sanskrit, there is a difference in
performance. In Koodiyattam, the actors themselves recite slokas, while the slokas in
Krishnattam are recited by expert musicians in the background. While there are Ragas
and Thalas in krishnagiti, there is no such thing in Koodiyattam. While the percussion
instrument in Koodiyattam is Mizhavu, there are two Maddalams in Krishnattam as
background percussion instruments. One is called Sudha Maddalam and the other
Thoppi Maddalam. While certain types of dances have been adopted in krishnattam
from Koodiyattam, the Zamorin had invented several other beautiful types of dances
in Krishnattam. In fact, in Krishnattam, much more importance is paid to the dances
than to the background music.17

Kr̥ ṣṇa gīti, as the name suggests is g§ti - song on Krishna-is a musical
composition which deserves special attention due to several reasons. There is no
information about the existence of musical compositions in Kerala prior to this,
in which the writer himself specified the raga -tune and tala -rhythm to the text.

15
Origin and Technique of Krishnanattam-V. Subramonia Iyer

16
Mānaveda, Sudha Gopalakrishnan- Kr̥ ṣṇgītih̤ Motilal Banarsidass Publ., 1997 - Krishna (Hindu deity) -

17
P.K.S. Raja - Zamorin of Calicut- September 2004 -On Krishnattam-
 HISTORY OF MUSIC OF K£ra©a 24

Krishnagiti was composed in A.D. 1654. This is before the period of Trinity of
Karnatic music. This is the time of Venkitamakhi, the creator of Melakartha
scheme. Hence Krishnagiti has a prominent place in Indian music
It is certain that the ragas and talas found in Krishnagiti were prevalent
in Kerala before t h r e e c e n t u r i e s .The ragas of the songs found in the palm
leaf manuscript are: Ahari, Indalam, Indisha, Kankkurunji, Kambodhi
(Kambodari, Gambodhi etc), Kedaragaudam, Kedarappanthu, Kurunji,
Ghandaram, Ghan- daramalavam, Dhanasi, Natta, Nadaramagri, Pantayi(ri)
(Panthu+Ahiri), Panthuvarali, Paati, Bhuplalam, Bhairavi, Malahari,
Madhyamavati, Malavagaudam, Mechilbauli, Mukhari, Ramagri, Varali,
Sankarabharanam, Samantamalahari, Saveri and Sourashtram.
Other than these, the ragas sung now are Dvijavanti,
Nattakkurunji, Anantabhairavi, Navarasam, Kalyani, Yadukulakamboji,
Bilahari, Todi, Devagandhari, Neelambari, Sarangam and Puranir.18
The talas s p e c i f i e d are only Ekam, C h e m p a , Panchari, Adantha,
Triputa and Chempata . There a r e no significant changes in this. Only some
minor practical conveniences such as ekam is sometimes used as Chempata19

Origin of r¡man¡¿¿a¯,-
Krishnattam became famous after it was staged by the then Zamorin Raja of Calicut
in 1657 AD. The story is King of Kottarakkara requested the Zamorin to send a troupe
of Krishnanattam to Kottarakkara to perform Krishnanattam there. But, the Zamorin
not only refused to send the Krishnanaattam troupe there but also replied that there are
no knowledgeable people in the South (Kottarakkara is South of Calicut) who can
appreciate the art form of Krishnanaattam which was in Sanskrit.
Slighted by this, Veera Kerala Varma (AD 1653-1694) alias Kottarakkara
Thampuran. Wrote eight stories known as Ramanattam based on the story of Rama.

18
Interview by the candidate with L.S.Rajagopalan at his residence Feb2006
19
-Songs in Krishnattam L. S. Rajagopalan-Translated from Malayalam to English by A.
Purushothaman
 HISTORY OF MUSIC OF K£ra©a 25

The story was penned by Kottarakkara Thampuran in Manipravalam style which is a

form of poetic composition in which words of Malayalam and Sanskrit are blended
indistinguishably. It is divided into eight poetic sections so that each of them can be
acted in one day.
The eight sections are: puthrakameshti, seetha swayamvaram,
vicchinnabhishekam, kharavadham, balivadham, thoranayudham, sethubandhanam
and yudham (war).
It is believed that Kathakali originated from Ramanattam
Similarities between Ramanattam and Kathakali
Kottayathu Thampuran, Raja of Kottayam refined Ramanattam into Kathakali. He
belonged to the first part of eighteenth century. He was a poet and a teacher of
dramatics who gave a scientific basis to Attakkatha as well as Kathakali literature.
The most important contribution of the King to Ramanattam was that he systematised
the scientific basis of its literature, music and acting.
In Ramanattam and Kathakali, importance is given to hand gestures and facial
expressions. Except make ups, both of these dances have similarities in costumes and
music etc. With time, these dances have been reformed and improved.

Kathaka©i
kathaka©i is considered to be a combination of five forms of fine art: Literature
(Sahithyam), Music (Sangeetham), Painting-makeup (Chutti), Acting (Natyam),
Dance (Nritham} . Kathaka©i is more of a dramatic art than a dance art. Histrionics or
Abhinaya predominates. It is not realistic art but belongs to the imaginative type
spoken of in Bharatha's Natya shastra20
Attakatha 21consist of third-person metrical verses (sloka) and dandakam: narrative
passages, usually composed in the thirdperson, which serve the same function as the
sloka but are set in different metrical pattern

20
L S Rajagopalan - interview by candidate.February 2006 at Trichur

21
Translation of Kalyanasaugandhikam (The Flower ofGood Fortune): A Kathakali Drama by
Kottayam Tampuran
Introduced by Phillip B. Zarrilli,Translated, with notes, by V R. Prabodhachandran Nayar,
M. P Sankaran Namboodiri, and Phillip B. Zarrilli
 HISTORY OF MUSIC OF K£ra©a 26

They are often composed completely in Sanskrit.They narrate what happens in the
subsequent dialogue portions of the text-and songs (padam) composed specifically as
dance music for interpretation by the actors in performance. Since padams are the
dialogue and soliloquy portions of the texts, they are usually written in the first person.
They are a mixture of Sanskrit and Malayalam (Manipravalam).
A padam usually has three parts: the pallavi (refrain), anupallavi (subrefrain), and
caranam (literally "foot"). While the anupallavi may be omitted from a padam, there
are usually several caranams. Both sloka and padam are set to specific musical modes
–ragas-appropriate to the mood and dramatic context. The padam also utilizes specific
rhythmic patterns (tala) and tempos (kala). Composers of attakatha indicate in their
texts the raga and tala appropriate for the performance of each scene, although these
have been subject to change over the years
Kathaka©I Sangeetham
Kathakali music has developed into a distinctive type of singing known as the sopana
style which is very slow tempo. There is neither raga alapana as such nor are there
elaborations like niraval and swaral singing. Avoiding elaboration of the ragas and
adhering meticulously to the talas the musicians sing the songs in such a manner as to
give the actors full scope for abhinaya. There are two vocal musicians in Kathakali of
whom the main one is known as ponnani and the minor partner as sinkidi. The
Kathakali songs couched in rich poetic diction are among the gems of Malayalam
literature.
The mudras (hand gestures) used as a substitute for spoken language. The stories for
¡¿¿akatha s (the verse text for a kathaka©i p iece) are selected from epics and
mythologies and are written in a highly Sanskritisied verse form in Malayalam. The
actor does not speak, but expresses himself through highly complicated and
scientifically ordained mudras and steps, closely following the text being sung from
the background of the stage.
Music is an important and essential element in Kathakali. The orchestra in it is
composed of two vocal musicians, one keeping time with a resounding gong called
chegala and the other with a pair of clanking cymbals called elethalam, a chenda
 HISTORY OF MUSIC OF K£ra©a 27

player and maddalam player. The chenda is a cylindrical drum with a loud but sweet
sound while the maddalam has the appearance of a big mridangam.
Kathakali's slow-spun music is also reffered to as Sopanam
Mµhini y¡¿¿a¯,
Mohini the temptress, is a recurring character in Hindhu mythology, Attam
means dance. It is seductive dance performed by women, sensuous in its appeal. In
technique Mohiniyattom lies somewhere between Kathakali and Bharathanatyam. The
symmetrical patterns of emotion flow in balanced nuances with smooth footwork,
somewhat quickened body movements and special music.
Parallel to the Barathanatyam of Tamil Nadu., solo Mohiniyattom dance is
performed only by women. The music is classical carnatic. Its origin is a matter of
speculation, but it retains a fusion of the corresponding streams of dance in the eastern
and western regions of South India. This form combines the formal grace and
sophistication of Bharathanatyam, with the earthy vigour and vitality of Kathakali. In
the rendering of this style there is enchantment, grace delicacy and passion.
The technical structure of Mohiniyattom is fairly similar to that of
Bharathanatyam. There are no abrupt jerks or leaps in Mohiniyattom nor is their any
inordinately hard stamping of the foot. The gesture language of Mohiniyattom is
largely similar to that of Bharathanatyam but it also incorporates elements from
Kathakali tradition. And again, like Bharathanatyam, Mohiniyattom too has items of
nritta, pure dance, as well as nritya, expressional dance.
mµhini y¡¿¿a¯ is mainly the Lasya dance performed strictly according to
scriptures of Natya Shastra. The repertory of Mohiniyattom as it is presented now
consists of Cholkettu, Varnam, Padam, Thillana, Kaikottikkali, Kummi and Swaram.
the Kaikottikkali and Kummi are later additions. Because of the special type of
instructions associated with it, the dance presence striking bodily poses and attitudes
and exquisitely graceful foot - work. In its gestures and also with regard to the
expression of the eye, mµhiniy¡¿¿a¯ is indebted to Kathakali.If in Bharathanatyam the
predominant moods are ¾¡nta¯ and v§ra¯, in mµhiniy¡¿¿a¯ it is ¾ring¡ra¯.
Talas of Kerala
 HISTORY OF MUSIC OF K£ra©a 28

Talas or rhythmic accompaniment used in the performing arts of Kathakali etc of

Kerala are not akin to the Talas we come across in Carnatic concerts 22.Though certain
Kerala talas are same as that of the talas used in Carnatic music t h e y vary in
Angas o r s e c t i o n s and k r i y a o r execution. Kerala talas are c o m p r i s e d
o f Shadangas viz. Anudruta, Druta, Laghu, Guru, Pluta and Kakapada. The
duration of these Angas are same as that of Carnatic music. A Matra has 4
aksharkalas.
Anudruta {Virama} has a value of 1/4of a Matra ie 1aksharakala;
Laghu has 1Matra ;(4 aksharas)
Guru is of 2 Matras (8 aksharas);
Pluta has 3 Matras (12 aksharas) and
Kakapada consists of 4 Matras (16 aksharas).
The value of Laghu is fixed in the Kerala system and do not have Jaati
bhedas as like Tisra, Chaturasra, Khanda, Misra and Sankirna as in
Carnatic music.
In Kerala Tala system importance is mainly given to Gatis which is
called Kooru. Three such Koorus which is commonly used in the percussion
ensembles of Kerala are:
Panchari Kooru-Tisrāgati,
Atanta kooru-misra gati and
chempa kooru- khanda gati.
Kerala talas also are reckoned with Sashabda Kriyas and Nishabda Kriyas as in
Carnatic music.
Anudrutam which is reckoned by a beat in Carnatic music is reckoned as Virama or
silence in Kerala system.
Kakapada also does not have any beats.
There is a principal beat for every Anga of a tala and there are many
other sounds to denote the basic pace between two Matras or Angas of chosen tala.

22
Dr. S. Venkitasubramania I y e r , Some rare talas in Kerala music.
Sangeetha Natak - pp7,8
 HISTORY OF MUSIC OF K£ra©a 29

In all ensembles there are many instruments for denoting the basic pace and the
process is called Matra Kaatal.-displaying the count –basic unit- matra.
Shatkalam or playing in 6 speeds is a common feature followed in Kerala
ensembles. The starting tempo of a Melom will be Pati Kalam-Ati Ati
Vilamba Kalam having duration of 32 Akshara Kalas. There are artists who can
easily play all the 6 Kalas. While performing a Tayampaka or Chenta Melom,
unlike the Carnatic system, the exact doubling of the tempo is not followed. It is not
Geometric progression. Here gradual progression of the tempo is followed. The
speed variations are done to show the skill of the players and to overcome the slow
paced singing and monotony.The famous musician Govinda Marar was an exponent
in singing Shatkalam that earned him the title Shatkala Govinda Marar.
In the present days, these theatre art forms continue in various temples in
Kerala ,they earlier flourished under Royal patronage- the rulers of Kerala have
contibuted to the heritage of Arts in a great manner.

Royal patronage,
(1705 – 7 July 1758) Marthanda Varma (Anizham Thirunal Marthanda Varma)
Raja Martanda Varma I is judged as one of the greatest and most able rulers of the
state., Extremely devout, he surrendered the realm to Sri Padmanabha , thereafter
ruling as a deputy or representative of the deity on earth .
Marthanda Varma, is credited with the title maker of the Kingdom of modern
Travancore
Karthika Thirunal Rama Varma- Dharma Rajah-(1733-1798) (ME 899-973)
his nephew and successor, encouraged poets and musicians and patronised the arts to
the end of his long, forty-year reign (1758–98). He succeeded his uncle. It was during
his time, in 1795 the capital was shifted from Padmanabhapuram to
Thiruvananthapuram. He attained proficiency in Sanskrit, Persian, Tamil, Portuguese
and Hindustani at an early age. He issued orders that high officials in his court must
 HISTORY OF MUSIC OF K£ra©a 30

learn Dutch language also. He also patronized eminent poets and artists by appointing
them as scholars in his court. Kunjan Nambiar, Unnayi Warrier,Kilimanoor
Thampuran, Puthiyikkal Thampan, Ittirarisa Menon, Sadasiva Dikshitar, Kalyana
Subramoniakavi, Idavathikkaatu Nambuthiri and Neelakanta Dikshitar were some of
the prominent figures in the court of Karthika Thirunal Ramavarma. He wrote
Balarama Bharatham, a commentary on Natyasastra and AbhinayaDarpana. This
work reveals his proficiency in the art of dancing and music.23
MullamÀ¿u Traditions
Traditions in music are many. Here we have the famous mullamÀ¿u tradition
which is n 175 years old. Only, a handful of mullamÀ¿u musicians remain
today.24Their ancestors, played a great role in popularizing the compositions of
Maharaja Swati Tirunal, and now they still maintain the rich age old tradition.These
musicians pay their musical offerings at the scheduled time on the days of
ulsavam(temple festival) and Navarathri at the Padmanabhaswamy Temple and
Navarathri Mandapam respectively.

The origin of mullamÀ¿u tradition is credited to Maharaja Swati Tirunal who

once happened to listen Palakakad Parameswara Bhagavathar at the
Padmanabhaswamy Temple. Enthralled, he made enquiries on the spot and appointed
him as the court musician. He provided him a house at mullamÀ¿u near the Palace.
Parameswara Bhagavatar was the first musician to represent this great tradition. He
later served the courts of Ayilyam Tirunal, Visakhom Tirunal and Sree Mulam
Tirunal.
Coimbatore Raghava Iyer, was his primary disciple. Aashramam Annaswami,
Attingal Sankaranarayanan, Elathur Hariharan, Karamana Venkiteswaran, Kalkulam
Subramanian, Parakkai Narayanan, Tanjavore Kathir Kama Dasan, Kadayam Kasi,
and Neelakanta Iyer were the few others to name. They assembled at the rustling
thickets intertwined with jasmine shrubs and rendered the Maharaja Swathi’s
compositions and hence the name Mullamudu Bhagavathar was assigned to them.This
23
Dr.V.S.Sharma, 'Balarama Bharatam' with commentary.

24
the hindu – with foto
 HISTORY OF MUSIC OF K£ra©a 31

was a land mark in the cultural arena of Kerala.Many Musicians, composers adorned
the courts of Swati and the later royal patrons...
Bhakti cult
Music has been a medium for expression of the various moods of the humans.
पशुर्वॆत्ति शिशुर्वॆत्ति वॆत्ति गान रसं फणिः

The bhakthi marga which has been in the blood line of ancient India, has found
expression through music.
The music of the saints of North and South India, who sang their devotion to
Almighty wandering in search of fulfillment influence the common folks as well as the
learned.Whatever the religion, caste, region, They sang to their favourite diety –used
music filled with words of the bhajans, of Surdas-,Kabir,Mirabai, sankeertanams of
Annamacharya, Bhadrachala Ramadas,Narayanateertha Tarangini and various others
The Hindus adapted from Puranas, epics, the Christains from the Bible, the
Muslims from the Khuran.The dialect, grammar, was not important to them. They
used simple music to convey, to pour out their joy anguish and other emotions to
realise the Ultimate without expecting any kind of monetary gain, patronage or
encouragement. Kerala had also inherited its musicial heritage from the Arya
Brahmins and Vaidikas who dominated the peninsular region.
The foreign invasions and the resultant political unrests, to escape which there
was migrations among the various Provinces resulted in the developemnt of Bhakti
cult and its spread in and around the Southern part of India. This was due to the
wandering minstrels, musicians and poets whose devotion took them on a voyage to
various shrines and temples across the country.
Story telling has been an integral part of ancient Indian socio-religious
gatherings. Religious festivals or social occasions such as weddings etc. were
considered simply incomplete without a story telling session. As each region
developed its unique style of story narration, South Indians developed the art to suit
their society and interest. Kathakalakshepa is the famous art form in South India in
which one single performer entertains an audience with tales and anecdotes from the
religious texts putting his musical, acting and story rendering skills to best use. The
themes were borrowed from the ever popular religious epics, the Puranas and Hindu
 HISTORY OF MUSIC OF K£ra©a 32

religious mythology. Musical accompanists supported the performer in dramatizing

the performance and keeping the interest of the audience piqued up. In Kerala, story
telling developed into three different art forms – Patanam, Harikatha and
Kathaprasangam. By the end of the nineteenth century, ‘Harikatha’ became very
popular and all music vidwāns used this medium to communicate to the masses. -----
While on the one hand we had Kerala Rulers patronising the fine Arts, the
Bakthi movement also resulted in the development of bhajan tradition, keertanans
which enhanced the music of Kerala.The themes for the theatre arts were more than
entertaiment, in that the story lines were drawn from the ancient Puranas Epics.
Parallel to the theatre arts like Kathakali there grew up a tradition of story telling
through music – Harikatha.
The songs of the saint composers reached the masses through musicians who
included these songs, in different forms, slokas, vruttams, dandakam, other folk poetic
metre, in their story line.
By that time Malayalam as a medium to translate the stories in Sanskrit had
become popular,enabling the common devout people to seek solace in listening to the
stories of Mahabharatha , Ramayana, and other Puranas through these Bhagavatas who
included simple songs, story poems along with interesting narrations of the highly
sophisticated Sanskrit in their local dialect. So what could not be understood from the
enactment and the slow prosodaic rendering of the singer in earlier dramatic
exhibitions, Kathakali, or the dance movements – lasya bhava of Mohiniattam, was
made very interesting in the people’s language- by the Bhagavatas in Tamizh,
Malayalam, Telugu, Kanarese in the south and by the keertankaars in Braj bhasha,
Maratha in the Northern region of India
CARNATIC MUSIC IN KERALA
That was the time when Carnatic Trinity - Tyagaraja, Muthuswami
Dikshita,and Syama Sastri were enriching with their contribution in Tanjavur, as well
as Muthutandavar, ArunachlaKavirayar,Gopalakrishnabharathi,Marimutha Pillai and
many others at Seerkazhi,
The migration of many among these to various Royal courts of South India
influenced the cultural perspective of South India, especially Kerala.
 HISTORY OF MUSIC OF K£ra©a 33

The Catholicity of outlook among the Royal Kings, Princes of Travancore

encouraged the court muicians and other artists which enriched the classical music
arena of Kerala.
Hence till the advent of His Highness Swathi Thirunal Maharaja, what
p revailed i n T r a v a n c o r e s a m a s t h a n a m o f K e r a l a w a s m u s i c practised
mainly in temples and music used in theatrical Arts-Kathakali, Koodiyattom,
Koothu etc. Music was used occasionally in stage performances of Drama and
in Harikathas.
It was from the time of Swathi Thirunal Maharaja that Travancore began to
have a systematic style of Karnatic music, and t h e c o n c e r t p a d d h a t i
s t e m m e d and g a i n e d popularity. The temples which hitherto had organised
Kathakali, Mohiniyattom etc in the Koothambalams with the princely patronage
presented many musicians in festival and temple concerts and cultural interactions
among the poets and musicians.
So from the pastoral, folkish tongue to the steps of the temples, music in Kerala
travelled to the realm of classical music and found encouragement and enrinchment in
the royal courts.
1.2 Trendsetters of Music in Kerala
Before looking into the contributions of musicians and composers in Kerala of
the 19th century, a study of the works of the predecessors of E³³app¡¿a¯ VenÅki¿ar¡ma
Bh¡gavatar, is made.
This section is a brief study of the poetical, musical and literary works of the
various poets whose contribution is not well known outside Kerala. Among them are
listed the Royal composers also whose works in the field of music and poetry as also
their patronage to contemporary poets and musicians, contributed to the development
of music in the sphere of pure music, dance and drama, till the influence of the
classical music paddhati during the 17 th -18th century. Their works are an admixture of
Sanskrit, Malayalam and Tamizh.
(767-834 AD) – kula¾£khara ¡©v¡r devotional hymns and songs -including
mukunda m¡la -stotra. This poet wrote a set of ten exquisite poems in Tamil, and the
work is called "perum¡©Ä tirumoªi”
 HISTORY OF MUSIC OF K£ra©a 34

(1645-1696AD)-kµ¿¿aya¯Ä k£ra©a varÅma-wrote Valmiki Ramayana in

Malayalam
And k§rÅttana and r¡gam¡lika. Ragamalika comprising of about 32 ragas is a d£VI
p¡rvati stuti kalay£ g¡mÅbµdi rasan¡lay£-in ragas like Kambodi-ahiri-mukhari-
devagandhara-though the original tune is lost It is commonly sung in the ragas tuned
by the musician Shertala Gopalan Nair
Dhy¡y£mani¾a¯Ä ¾r§ padÅman¡bha¯Ä -ga¯Äbh§ran¡¿¿a –
Padastuti -vair¡gya candrµdaya¯Ä
(1682 -1759) u³³¡yi v¡riyar
a great Sanskrit scholar and writer who wrote ¡¿¿akatha s-story of dance performance
the generic name for the literary works specially written for kathakali performance
na©acarita¯, ¾r§ r¡ma panÅca ¾adi ,Girijakalyanam
(1703 -1753) r¡mapurattu v¡riyar is credited with
Ä vanÅcipp¡¿¿uka©Ä kuc£la vrutta¯Ä along the lines of the famous Boat songs,
usually sung by people during the boat races
amarakµ¾a¯Ä , airavanÄ vadha¯Ä tu©©alÄprabh¡ta k§rÅttana¯Ä
(1705-1770)-Ku²Åjan na¯Äbiy¡r- a Malayalam poet- known as father of ottanÄ
tu©©alÄ rāmapāṇi vādan- who lived in the last part of 17 th Century is believed to be
the same poet who wrote śivagīti.
The works of ku²Åjan na¯Äbiy¡r: is said to include 35 krÅti s and a ma~ga©a¯ in
one of the rare ragas “gumma k¡mÅbµji ".In kirāṭan tuḷḷal he is said to have
introduced a song in praise of Lord Siva-śrīkaṇḍa śrīkaṇḍa in seven sections –each
using a different tala-like lakṣmi, kumbha, marma, kontanāci, campa, pancāri, aḍanta.
While campa,pancāri, aḍanta are similar to jhampa,rūpaka, aṭa tāḷā s, of current
practise,lakṣmi,kumbha,marma,kontanāci are found only in Music treatises.
{1724-1798} mahārāja kārttika tirunāḷ- balarāma varma
The 17th Century saw one of best treatises “balarāma bhārataṃ- in music and dance by
Maharaja Karthika Tirunal Balarama Varma. He has composed nearly 150 musical
compositions.-for attakathas and also composed seven ¡¿¿akathas
rājasūyaṃ- subhadrāharaṇaṃ- bakavādaṃ- gandarva vijayaṃ- pān–cāli svayaṃ-
varaṃ- ,kalyāṇa saugakaṃ-,narakāsura vadhaṃ-
 HISTORY OF MUSIC OF K£ra©a 35

{1756-1794) a¾vati tirun¡© r¡ma va»ma,

k¡»ttika tirun¡©Ä’s nephew a¾vati tirun¡© r¡ma Va»ma is known as-i©aya
tamÅpur¡nÄ completed his uncle’s work
Attakathas-narak¡sura vadha¯ÄII -rukmi³i svaya¯Ävara¯Ä, pÀtana mµk½a¯Ä,
a¯Äbar§½a carita¯Ä, paunÅ¢ar§ka vadha¯Ä vanÅc§¾a stava¯Ä, k¡rÅtta v§rya
vijaya¯Ä, sant¡na gµp¡la¯Ä prabhanda rukmi³i pari³aya¯Ä
(1782-1856) irayimmanÄta¯Äpi,- was in the Palace service to Bala Rama
Varma, Rani Lakshmi Bai and also enjoyed the patornage of Maharaja Swathi and
Uttram Tirunal.
Kerala vilasam press has published his songs before his death in 1856. But sadly no
copy of it available- 25
Kerala Sangeeta Natak Academy has published irayimmanÄ ta¯Äpi’s compositions-
21 keerthanas, five Malayalam Keerthanas, five Varnas, and 22 Padams and one
lullaby.
He has also created musical works in Sanskrit and Manipravalam. Though he
excelled in Bhakthi and Sringara he has proved his eminence in all Bhavas through his
various works. He has composed Pada varnas in Aarabhi, Sankaraabharanam,
Neelambari, Bhairavi and Punnagavaraali ragas.
The language used is mixture of Sanskrit and Malayalam- Mani pravalam
The varnas are in praise of a diety is known as stava varnas, unlike the shringara pada
varnas of the composers in Telugu or Tamil.
His works include single verses, Keerthanas, Malayalam Padams, Varnas,
Murajapappana,
Irayamman Thampi was also enjoyed an esteemed position among the Kathakali
musicians of Kerala.

25
SIMAA vol iii Pg 55 Contribution of Kerala Composers to Karnatik Music-Leela
Omchery and Anand Varma K.
 HISTORY OF MUSIC OF K£ra©a 36

Subhadraharanam, Thiruvathirappattu, Navarathri Prabhandham, Attakkadhas like

Utharaswayamvaram, Keechakavadham, Dakshayaagam, and Kilipattu like
Rasakreeda and Vasishtam.
‘Omanathinkal Kidavo’ the lullaby composed by Thampi is a lyric hummed by
mothers all over Kerala for generations.
Sanskrit Keerthanas in rare ragas, like Indisa, Manchi and Kakubha deserve special
mention.
(1798-1841)-½a¢k¡la gµvinda m¡r¡r- One of the luminaries of Swati's court
was an exceptionally brilliant singer. Marar was the only one who could sing in six
tempos .Thrikkampuram Krishnankutty Marar (b.1936) who is believed to belong to
Shadkala Govinda Marar’s family who performs Panchavadyam, Sopanam,
Kottipadiseva, Kalamezhuthupattu and an exponent of Kudukkaveena, claims
Govinda Marar was uncle to his great grandmother. Krishnan Marar lists five
compositions of Govinda Marar

 Ksheerasagara vasa ramadhava – Kedaragoula - Muriyadantha

 Palayamam Parvatheesa – Aanandabhairavi - Aadihalam
 Thunga pinga jada kalapavum – Bhoopalam – Thriputa
 Balachandra vibhushanam – Aarabhi – Aadi
 Lokapalane – Mohanam – Aadi

(1809-1837). Ayilyam Thirunal rukmi³i b¡yi tampur¡¿¿i -eldest sister of His

Highness Swathi.
The Mukhari kirthana "Sri Kantesha Pahi"in praise of Sreekantesa of
Travancore is a gem with a pallavi, Anupallavi and five charanams. Sahitya
beautifully blends with the Bhakti rasa of the raga.
Her composition Sarasijanayane in raga Puraniru is unique for the Sahitya each part of
which begins with each of the Saptaswaras.
Here each line begins with the saptaswara
Symbols like Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, for each word. Hence
it is being referred as sapthaswara sankeertanam –
Sarasija, Rithika, Galatala, Manachude, Parichil, Dhaatriyal, Nidhi.
 HISTORY OF MUSIC OF K£ra©a 37

This kriti in praise of Bhagavathi is also decorated with swarakshara beauty.

Here she makes a request to the Goddess to protect all those who sing this song
Sanskrit and Malayalam are used.26
Vasudeva mukunda-bilahari -in praise of Krishna
Also a ragamalika -Pallavi +16 charanas beginning with Malayalam alphabets
antaka bhīti- āśritanmār–kku-endiṭā nāyaka- īrēḷu lōka uttama puruśa ūhan–gal-
yennuṭe ̲yēthoru-aiyyō bhagavan- oṭṭoḻiyatuḷḷa- ōrōrō janma ̲aau vaḻi ̲am–bujalōcana-
Swati Tiurunal Tamburatti – hailed from vadakkan kottayam royal family –
proficient in poetry, drama and kirtanas 27 Kokila sandesa was composed by uddhanda
kavi, the poet belongs to Tamil Nadu became an honored poet in the court of the
zamorin of Calicut in early 15th ad.-Praised as Sangita paradevate, Sahitya rasa
marmmajne28.
(1812-1845) ki©i m¡nÀr r¡ja r¡ja varma kµyittampur¡n Kilimanoor Raja Raja
Varma Koithampuran-Vidwan Koithampuran is known to have authored two kirthanas
Kiratha Vimsathi (Sanskrit StothRa),, Ravana Vijayam (Attakatha)
and Santhana Gopalam, Sheethangan Tullal
(1813 -1847)-Swathi Thirunal Rama Varma –with him dawned the golden age
of Carnatic music in Kerala.
He wrote eight works, six of them in Sanskrit and two in Malayalam. They are
mostly hymns and commentaries. His greatest contribution was in music.
His musical compositions are supposed to number over five hundred.
Swati Tirunal's output encompasses all the important musical forms such as
Varnam, Kriti, Padam, Ragamalika, Swarajati, Tillana and Bhajans. Tirunal was a
multi-lingual composer who wrote his songs in Sanskrit, Malayalam, Manipravaalam,
Telugu, Kannada and Hindustani. Bhajan, Keerthanam Varnam Khayal Dhrupad
Padam Slokam Swarajathi Tappa Thillana Upaakhyanam Utsavaprabhandam
Syaanandoora prabhabhandam, Muhanapraasantha Praasa Vyavastha.His ambition
was to assimilate the best in all traditions- reutilize the native heritage.
26
Princess Rukmani Bai Woman Composer Of The Royal House Of Travancore- B.Pushpa- The
Journal Of Music Academy-Vol Lxiv-Pg 79- 82
27
referred by Uddanta sastrigal in his kavya kokila sandesam-- simma- leela pg 59
28
simma- leela ----pg 59
 HISTORY OF MUSIC OF K£ra©a 38

(1815-1892)-PalghatParameswara Bhagavathar 29First Among the mullamoodu

bhagavatar tradition, under Swatis patronage-, one among the Tamizh brhamin
musicians in Swathi Tirunal’s court.
VARNAMS AND KRTIS LIST appended.
His varnas are only found mostly in Sanskrit .They are stava varnas-,in ghana
ragas .They are suitable to render in concert and for tanam practise . Only lyrics for
kritis were available and obtained from NP Ramaswamy- his great grand son – This
candidate has set them to tune for propogation.
VARNAMS OF PALGHAT PARAMESWARA BHAGAVATAR
SNO. VARNAMS RAGA TALA

1 PADASARASA YADUKULA KAMBOJI ADI

2. SREE PADMANABHA BEGADA ADI

3. PANNAGENDRA GOWLA ADI

4. SADUJANA ARABHI ADI

5. SAMININNE KALYANI ADI

6. SAMBHO MAHADEVA KHAMAS ADI

7. SAM NEE TODI TODI ADI

8. ANADAVALLI BHAIRAVI ADI

9. STHANOONAATHAM SANKARABHARANAM ADI

10. SARASIJANABHA NATA ADI

KRTIS OF PALGHAT PARAMESWARA BHAGAVATAR

29
A detailed study was done by this candidate.
“ An analysis of the varnas and kritis of Palakkad Parameswara Bhagavatar” my

dissertation in M.Phil. . Dept.Of Music ,Mother Teresa University .July 2007

 HISTORY OF MUSIC OF K£ra©a 39

S.N KRITI RAGA TALA

O
1. SREE MAHAGANAPATIM NATA ADI
2. SARSWATIM ASRAYAMI KHAMAS ADI
3. SUBRAMANYAM ARABHI ADI
4. BHAVAYE VISWESWARAM SANKARABHARANAM ADI
5. HARA SIVA SAMBHO KAPI ADI
6. MAMAVA SIVA SAMBHO BEGADA ADI

Anantha padmanabha GOswamy uttiram tirunal? Ramapuratthu wariar, kulasekara,

kunjan nambiarCHK WITH TEACHER
{1820-1904}Kutti Kunju Thankachi-
Like her father, Irayimmam Tampi, she too excelled in music & literature. Her father
was her most influential guru and her bhakti towards him is revealed through a
number of her works. Her deep knowledge in Sanskrit and Malayalam is also seen in
her works. Her excellence in music and vastness of knowledge are revealed in the
works.
Literary-
Sivarathri Mahathmyam, Sithaswayamvaram, Narathamohanam
(Thiruvathirapattukal), Kiratham, Nalacharitham (Kurathipattukal)
Thiruvananthapuram, Sthalapuranam (Killippattukal), Parvathiswayamvaram,
Srimathiswayamvara , Mitherasahamoksham (Aattakathas), Gangasnanam Tullal and
the drama Anjnathavasom. - had created works of Sringara and Bhakti in pure Sanskrit
and Manipravalam.
 HISTORY OF MUSIC OF K£ra©a 40

Kritgal -compositions include

Karthyayani maam palaya sathatham (Kambhoji),
Samaja (Kalyaani),
Suryakodi samaprabhamakudei (Naatta),
Pahi Mohanakrithei (Khamas),
Sripavanapuresha (Surutty).
----------, are a few among the pre sv¡ti tirun¡© period.

(1813 -1847)The reign of sv¡ti tirun¡© r¡ma v¡rma and thereafter saw the
development of music in the classical tradition with multitude of composers like
p¡lakk¡¿ param£svara bh¡gavatar, ku¿¿i kunju tankacci, kaly¡³i ku¿¿i ammacci,

(1838-1909) Kalyanikutti Ammachi -Another women composer of Kerala She

was known as Nagercoil Ammachi and was the author of Rasa Krida, Satya
Panchakam, Pativrataya Panchakam, and Ambarishacharitram.

(1839-1900) n§laka³¿ha ¾ivan,

Sree Neelakanta Sivan composed more than 2,000 kirthana in Tamil. The majority of
his compositions are in praise of Lord Siva.
k£ra©a varma valiya kµyittampuran, m¡navikrama £¿¿an tampur¡n, vatsala
¾¡striy¡r ,r¡³i lak½mi b¡yi ,ko¿¿¡rattil ¾ankku³³i , ko¿ungalÀr kunjiku¿¿an tampur¡n
and ki©im¡nÀr m¡dhava v¡riyer , some of them who have musical as well as literary
works to their credit and others who composed in the Carnatic tradition alone.

(1845–1914), Kerala Varma Valiakoil Tampuran who spent a major part of his
life in Thiruvananthapuram, translated Kalidasa’s Abhijñānaśākuntalam into
Malayalam which won him the title of Kerala Kalidasa
(1845- 1915)Manavikrama ettan Tampuran of Kozhikkode - Krishna ashtapadi
and kiraata ashtapadi and other works in Malayalam and Sanskrit
 HISTORY OF MUSIC OF K£ra©a 41

(1847 – 1916)-Valsala shastriar Composer of Carnatic Music on Jesus Christ

compositions presented in “Gita Manjari- the garland of songs. Some of them have
“Chitta Swaras” attached to them;Like those in the compositions of Deekshithar and
Swathi Thirunal.Some seem to be composed for dance performances. ”Kaithukki
Parane” in Saveri-Rupakam, “Ananda Kirtaname” in Dhanyasi-Rupakam and
“Paadam Santhatham” in Shankarabharam –Rupakam

(1848-1901)Rani Lekshmi Bai another eminent composer of Royal family –

expert veena player and has composed kritis -jaya jagan mayee-suvarnaangi.-
Mahishasuramardhni stotram, Parvathy stotram, Gopika geeta, Virahini prlApam in
the model of maran pattu, VAthiltirapaattu,

(1855—1937)Kottarathil Sankunni.- is a well known author of Malayalam

literature, was born on 23 March,1855 . He made huge contributions in both poetry
and prose. His contributions in both prose and poetry, including Kathakali literature
and Tullal, earned him a place in Malayalam literature. Famous works include:Ithihya
Mala, a collection of legendary stories including those about Kadamuttathu Kathanar,
Kayamkulam Kochunni, etc ,Aassannamarana chintasathakam ,Sreerama
pattabhishekam (Kathakali) Adhyathmaramayanam (Translation)

(1860-1908)Kodungaloor Kunju kuttan Tampuran) also known as Kerala

Vyasa has composed a few kritis. His Sanskrit Mangalamekaneme –
Anandhabhairavi-Adi and Jagadambe-saraswathi-Rupaka30 find a place in concerts.
(1874-1934)Kilimanoor Madhava Warrier - a great musicologist and musician has left
a work- Tala Prakasam which still stands one of the unique works.

In the above section the works of royal and others are listed.Though kathakali
is a theatre art and mohiniattam a dance form, the music which accompanies it forms
an important part of the story line depicted by the artists. Therefore the composers of
attakathas as above have composed songs for those attakathas and those are set in

30
KCKPILLAI –THESIS
 HISTORY OF MUSIC OF K£ra©a 42

ancient ragas and rhythm cycles unique to Kerala music. These ragas and talas live
even today only in these art presentations. Study of these ragas and talas has shown a
lot of resemblance in melody and technique to those of the ragas and talas used in
classical Karnatik compositional forms which evolved later.
1.3 Contemporaries of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar. (1880-1961)

Classical music composers who composed in the Karnatik tradition and

belonged to or lived in K£ra©a during the lifetime of E³³app¡¿a¯ VenÅki¿ar¡ma
Bh¡gavatar, include
T. Lak½ma³a pi©©ai , K.C. k£¾ava pi©©ai , muttaiyya
bh¡gavatar ,mah¡kavi ku¿¿amattu ka³³iyÀr kunji kr ½³a kurup, p¡pan¡¾a¯ ¾ivan ,
pudukkµ¿ kr ½³a mÀrtti,
M.D. r¡man¡than, la©ita d¡sar.

(1864-1950)T. Lak½ma³a pi©©ai

A Tamil poet, scholar, Lakshmana Pillai composed many kritis in Tamil with ethical,
devotional and philosophic themes. He is the author of some literary works on various
subjects. He has published works.31

(1868-1913)-K.C. Kesava Pillai.32

In addition to the songs in Sadarama, Sri. K. C. Kesava Pillai composed about 200
Keerthanas in both Sanskrit and Manipravalam. In addition to kIrthanas of Hindu
deities, as per suggestion of Kamahi Varghese Mappila, he composed Iswara Stotras
which could be sung by people from various religions, since it refers to only an
abstract concept of god. He also published a book “Sangitha Maalika” in 1903. His

31
appendix-The candidate has presented his musical works kritis and poetic works in
international seminars ref appendix for Published articles
References:1.Lakshmana Pillai – A biography-M.S. Ramaswami Aiyar, Printed At The Sri
Vilas Press ,Trivandrum, 1942.2.Tamil Poetical Works Of T.Lakshmana Pillai.B.A., Printed
At The S.T.Reddiar And Sons, V.V. Press,Branch Trivandrum,1943.3.Published Notations Of
Tamil Musical Compositions From Kerala University Library.,Trivandrum .
4. Notations in Other Manuscripts.
32
-Dr.G.Sreelatha Ref thesis Kckpilla theses
 HISTORY OF MUSIC OF K£ra©a 43

compostions have been published as “Sthava Ratnavali “and “Sangitha Manjari”. His
composition in kaapi, “Maaya Gopa Baala” popular in concerts in Kerala.

1876-1964 –krishna pisharodi, khandathil vargese-?

Muthaiah Bhagavatar{1871-1945} –renowned performer of Harikatha-
musicologist- composer- of Varna,kritis,kirtana and ragamalika in Telugu ,
kannada,Sanskrit, Tamil-
At Mysore samsthana he composed in rare ragas 108 kritis in praise of Sri
Chamundeswari and 108 on siva ashtottarasata kritis which are discussed in this
theses in chapter 4 along with 108 sree krishna ashtottara sata nama krts of evrb–
He was samsthana Vidwan in Travancore-.Doctorate from Travancore University

(1880-1942)Mahakavi Kuttamath Kanniyoor Kunjikrishna Kurup)

Born in Cheruvathoor, in Kasargode District of Kerala in 1880, Mahakavi
Kuttamath’s father was Vandatt Udaya Varman Unnithiri and mother was Kuttamath
Devakiyamma. He composed many musical dramas: Devayani Charitham (1911)
Vidya Sankha Dhwani (1920) Baala Gopala (1923) Atbudha Paarana (1924),
Harichandran (1924) Dhroova Madhavam (1926) Nachikethas (1927) Draupadi
Keechakam, Rugmini Swayamvaram (1927). Mahakavi-in sangeetha cutcheri some
popular kritis-bhajanam seyvin-Bagesri, Pavanadharma chari-Dharmavati,
Kaliyamardhana-Hindola, pAlolumbhashini-Amrithavarshini, paramapavan-
HAmsanadam, Bhaktitanne –Mayamalavagaula

(1890 - 1973)Papanasam Sivan. – Musician -composer -who spent some years

in Trivandrum and came under the influence of Sri Neelakanta Sivan –(1899 and
1910, )Sivan’s early years were spent in the Travancore area of Kerala where the kings
partronised fine arts. Sivan’s real name was Ramiya. Because of his devotion to
God Shiva, he is better known by the name Papanasam Sivan.

Papanasam Sivan reminisces he “had the fortune of attending Nilakanta Sivan's

bhajans .during the years 1902 and 1903. Rama Navami was celebrated with much
 HISTORY OF MUSIC OF K£ra©a 44

enthusiasm in Trivandrum. In the mutt at Pazhavangadi Street, had listened to

Harikatha by ManamElkudi Venkatacala Bhagavatar a scholar but not with musical
proficiency. Such was his vidwat that Harikesanallur Muthiah Bhagavatar and
Ennapadam Venkatarama Bhagavatar stood behind him- {ManamElkudi Venkatacala
Bhagavatar} during the Harikatha and offered vocal support for the entire duration of
10 days. 33

A prolific composer, Papanasam Sivan has composed around 2,500 songs in a

variety of ragas. He composed for and performed in theatrical productions, both as
singer and actor. He has composed devotional songs with social themes. He also
composed songs on National Leaders.

[1923-1985} Pudukode Krishnamurthy-born at Pudukode in 1923 son of

Krishna Sastrigal And Parvati Ammal had initial training in vocal music under Sesha
BhagavatarAnd Krishna Bhagavatar had advanced training under palghat rama
bhagavatar foreight years, learnt the fundamentals of Hindustani music from the
Gandharya Mahavidyalaya new Delhi, received the Kerala Sangeeta Nataka
Academy award in 1974; served as professor of music at Chembai
memorial government music college, Palghat and at the Swathi tirunal
college of music, Trivandrum and served as professor of music at
Kalakshetra a veteran vocalist with strict adherence to sampradhaya.Musician- teacher
and composer of Varna, kriti, ragamalika, tillana, hindustani bhajans.

(1923-1984)- M.D.Ramanathan- musician and composer of kritis-.He was well

versed in Tamil, Malayalam, Telugu, Sanskrit and English. Apart from composing
more than 300 kritis-tillanas in Carnatic music, he also composed operas like "Varada
Bhaktha Vijayam", 'Sundara Ramayanam", and music for a Kalakshetra feature
presentation "Buddha Avataram".

33
Papanasam Sivan – Inspirations And Expressionsby V. N. Muthukumar and M. V. Ramana
First published on SAWF on October 29, 2001.M. V. Ramana is currently at the Program on Science
and Global Security, Princeton University.
 HISTORY OF MUSIC OF K£ra©a 45

(1945)- Rao Saheb.T.G.Krishna Iyer-adopted the name Lalita Dasar Kritis non
musician, only lyrics-. He had penned some 155 kritis in Telugu, Tamil and Sanskrit
under the mudra 'Lalita dasar' and requested Chembai Vaidhyanatha Bhagavatar to set
them to music and popularize them.

Sangitanataka -Musical Drama-is a specific genre of Malayalam theatre. This is also

the first for which original scripts began to be written in Malayalam. Earlier in drama,
mostly was translated from Sanskrit texts, generally meant for reading. Sangitanataka
was composed specifically for staging, inspired by the success of similar Tamil
Sangita Natakam, presented throughout Kerala by commercial troupes coming from
the East. It started after Kathakali. Music was its most essential component. Leading
actors were expected to sing classical music on specified occasions in the course of
performance. Their main qualification was their ability to sing. The necessary
accompanists sat on stage. Even though such passages meant a serious deviation from
the theme and structure of the play, they happened to be the most popular aspects of
Sangitanataka. Apart from music, introduction of jesters at regular intervals and
exaggerated expression of emotions became the common feature.

The first Sangitanataka can be mentioned as T. C. Achyuta Menon's Sangita

Naishadham i.e. "Musical on Naishadha" in 1892. This depicted the story of Nala and
Damayanti. It was followed by K. C. Kesava Pillai's Sadarama in 1903. This dealt
with the story of a Tamil drama bearing the same name. Both proved extremely
successful, and popularity prompted other poets to write and produce similar plays.
Thus the first theatre movement started in Kerala led by professional troupes
organized on commercial lines. Earlier, Sanskrit drama was adapted and later, plays
with social themes also were written and presented as Sangitanataka. But in course of
time, the formula‐based structure became a subject of severe criticism and, gradually,
Sangitanataka disappeared from the scene. Yet the songs and humorous episodes had
become so popular that those practices came to stay in the professional Malayalam
theatre.
 HISTORY OF MUSIC OF K£ra©a 46

HARI KATHA
The late 19th century and early 20th century saw the spectacular popularity of
Kathaprasangam. In Kathaprasangam, the performer or artist uses Malayalam literary
texts and pieces, high in satire and criticism to entertain the audience with the tales
and also to drive home a lesson or two in social reformation.
A few among them like Palakkad Anantharama Bhagavathar, Harikesanallur
Mutthaiah bhagavatar,were performing musicians of the Carnatic style who were
adept in Harikatha too . They were contemporaries of E³³app¡¿a¯ VenÅki¿ar¡ma
Bh¡gavatar. This following section attempts to study how their works have influenced
the style of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar.
As Mahakavi Ulloor commented,

"Kerala has a highly developed musical style as early as the people of this land".

The Karnatic classical music as is heard and understood today made its
presence known in Kerala, a little before Swati Tirunal, and had its efflorescence
during the time of Swathi when bulk of musicians from all over south India, started
flowing into the main stream of state musicians, at the court of the versatile royal
musician and composer. Further, the age saw innumerable compositions being
composed, practised and popularised all over Kerala and also outside the state. The
deterioration started during the post Swati period when all musicians fled and all
traditions, perished. When a remarkable revival of this music was started after the
first quarter of the present century by eminent musicians, scholars and patrons, what
one sadly finds is the loss of the original music of the Kerala composers which made
their compositions distinct from one another. In the absence of original tunes new
tunes were conceived for most of them by eminent gurus. But they have not been
well received by musicians in general and masters in particular, because of the fact,
that they do not speak the spirit of the composers and their moods. This fact has often
 HISTORY OF MUSIC OF K£ra©a 47

affected the popularity and proper recognition of the songs and created many
controversies. To re-discover the original tunes of these remarkable compositions an
attempt could still be thought of, by calling together, all those lingering parmparas
like the Mullamoodu Raghavayya, Kuttikunju Tankachi etc., and gather from them
the original music of these great composers who were gifted vaggeyakaras in the
strict sense of the term. If a series of such attempts could get the original music of
the songs, may it be crude, vague and elementary; they are good enough, because
improving a genuine piece of music is much better than foreign products however
marvellous the latter may be. The great task of restoring the
originalmusicalexcellenciesof the compositions of Swati Tirunal, Tampi, Thankachi,
K.C. Kesava Pillai and others and safeguarding a tradition that was solely Keralite,
now rests upon patrons music lovers and organized bodies.