Music from Tamil Nadu
From classical roots to contemporary radiance
Perhaps in no other state of India will you see this incredible sight except in Tamil Nadu. Here, in the buzzing Chennai metropolis, leave aside the interiors, travelers often have to take the longer route to their destination; the reason- a music program (Kacheri) being held on the arterial streets.
The love for music in Tamil Nadu distills down to reverence of artists and art. Flippant interest in music as a means of recreation is an aberration in the cornucopian musical culture of Tamil Nadu. It could be averred that every second home has a music student or enthusiasts that keep the musical art aglow.
The Kacheris see a gathering of a Vidhwan (Learned) audience. That their profound interest is in complete sync with their ability to absorb music around them and runs deeper than the average listener in the other parts of India makes them a truly special breed. Every musical nuance or embellishment is appreciated much to the joy of the performer who relishes the hearty response.
A Legacy Nonpareil
On a broader scale Tamil Music can be filtered down from the Sangam Era poetry to its modern avatar that has soaked in world influences and seeped into world music.
The oldest music emanating from Tamil Nadu can be traced back to 300-200 BCE- to 300 CE (Sangam Era). It was an era that displayed a strong intertwining between poetry, music and dance. This meant literary meets around Madurai teeming with sagacious admirers.
It wasn’t long before a proper grammatical format was envisioned in the post-Sangam epic Silappatikaram (5th–6th century CE). This included the drafting of (Pan) or music scales that remain robust even in contemporary Carnatic music. Adding the element of devotion to music also became the norm with Shaivate saints setting the trend. Thirugnanasambandhar, Appar (Thirunavukkarasar), and Manikkavasagar(6th–10th century CE) integrated devotion with melody. Temple rituals, Carnatic concerts, and folk religious gatherings continue to witness these works being rendered with fervor. The next level of complex rhythms was ushered in by Arunagirinathar’s Thiruppugazh (15th century CE). Purandar Dasa (1484-1564) is regarded as one of the most significant contributors with his structured methods adding layers to this line of thinking. His influence, to this day over Carnatic music is plain as day. Carnatic music is the proper heightened amalgamation of devotion and ancient Tamil poetry. Over time the Carnatic music listener has their music crucible brimming with unforgettable composers like Saint Thyagaraja, Muthuswamy Dikshitar and Shyama Shastri… the revered trinity. Adhering to the depth of the prevalent culture rooted in philosophy, devotion, mythology their creations have a legion of followers.
Kritis or Varnas, as they are referred to, these compositions are intricately woven in exquisite melodic structures and flavorful Talas or Rhythm patterns. 7 Rhythm cycles and 72 basic Ragas make the ground of Carnatic music a meshwork of immense variety and depth. The scientific approach in Carnatic music is also an indelible feature fortifying it to another level of appeal for the rigidly inclined listener base.
What begin mainly as a devotional pursuit for the seekers expounding the richness of the Raga through the deity was the performers focus. Given the rich spiritual element in the music temples after the royal courts were offered as regular venues for appreciative patrons. With minimum instrumentalization to embellish the act it took a while for the singer to attain his individual status as performer which became a reality after the venues also began to include concert halls. Madurai born, M.S Subbulakshmi, the first musician to receive the Bharat Ratna, epitomizes feminine grace, devotion and is widely considered to be the queen of Carnatic music.
Film music: Tamil Film music, a much later addition to the music scenario, managed to carve out a new chapter in the annals of Tamil Nadu music. Some of the most revered names in film music include singers like T.M. Soundararajan, P Susheela, S.P. Balasubramaniam, K.Chitra and Music Composers like M.S.Vishwanthan, K.V.Mahadevan, A.R. Rhaman & Illaiya Raja. It is a matter of great pride for Tamil Nadu and India that Illaiya Raja recently composed the English classical symphony, “Vantage”for a full Western orchestra and recorded with the Royal Scottish National Orchestra. The symphony fuses Indian and Western classical music into a uniquely elaborate work and has earned plaudits for its purity. The distilled result of decades of experience in studying and performing both the schools of music in their entirety has global audiences enchanted. Folk music of Tamil Nadu oozes from the hill inhabiting tribes like Pulayar. Their melodies “Thalam” are derived from birds like the Ganamayil and Ganakozhi. Saraswati Shankarabharanam, Shuddh Saveri, Andolika, are some of the Ragas in which these compositions are conjured. Instruments like the small sized Nadhaswaram, a pair of drums (Melam), Kaimani(cymbals), Vilikkhuzal(Flute) and Maththali( Long drum). Thanjavur is home to the Kulavai a form of music that encourages the work culture and welcomes visitors.
Tamil Nadu music verily proffers an abundance of creative freedom seldom witnessed across the music world. It is the eclectic mix of temple music, folk music, festival music, daring rhythmic patterns, coiled around the finest aesthetic values bestowing upon it a well-endowed, and a timeless fragrance.
Vibhav Rao