Music in Silapadhikaaram

Music in Silapadhikaaram

Paripaatal, a 6^th Century BCE work is a part of the Ettu Thogai, where songs (long poems are composed on various Gods Vishnu, Krishna and Muruga, perhaps the only section in the 8 sections which is devotional in nature

 Silappatikaram, written around the fifth century CE, describes music based on logical, systematic and scientific calculations in the arrangements of the dancers on the stage to represent the notes and panns. silappatikaram contains several chapters dedicated to music and dance, of which the most famous is the kanal vari which is a duet between the hero Kovalan and his lady-love Madavi. Cilappatikaram contains musical terminology such as, azhaku and matthirai referring to the musical pitch and the smallest fraction of an audible sound distinguishable by the human ear. From these evolved the scales.

In the chapter Acchiyar Koravai, in the Madurai Canto of Silapadhikaram composed in 5^th or 6^th Century CE , Illango Adigal talks about the music of the Sangam period. 

1. The locals prayed to Krishna…the Lord of the land …..

• Thondrupadai Murai – traditional music with grammar – 

• He talks of Yaazhin Marai (Yaalin Marai ) a text book of the grammar of music, which existed even from the  times of Tholgappiyar.

• He talks about 7 major Paalais and 5 land based Paalai. Paalai is similar to Melakartha. 

• Sometimes Paalai, Pann, Yazh thiram, Suram are synonyms….

• 4 types of Paalai based on the shapes of the creation. 
  • Vatta Paalai – Circular 
  • Aaya Palai – Straight Line
  • Trigona Paalai -Triangular 
  • Chatura Paalai – Square.

• The Vatta Paalai or circle is divided into 12 equal parts which are named after the 12 star signs

Blank houses are called Antarams . The 

Among the 12 notes, the flats were called kuRai (குறை) and the sharps were called nirai (நிறை).

9. The base Melakartha scale for the early Sangam music was Harikambodhi (Sempaalai). Kambodi the most important during period, was derived form the word (Kambu – Flute ; Oodhi – blow) . The notes on the seven flute holes will sound the same scale of Harikambodhi or Harikamboji. 

10. The raagaas used by the forest and pastoral  tribes is Mohanam universally (Mullai Pann) . Mullai pann derived by cycle of Fifths Sa-Pa , Pa – Ri, Ri-Dha, Dha-Ga

Ili krama Marabu

Ilango Adigal mentions that new raagaas could be obtained by modal shift (shifting the Sa) in a clockwise and anticlockwise manner. Vala Murai Thiribu (clockwise turning) and Ida Murai Thiribu (anti Clockwise turning) Mentions 11,104 Panns (Raagaas) in existence. Talks of panns with seven swaras (Pann) , six swaras,(Panniyal) , five swaras (Thiram) and four swaras (Thirattiram). 

He mentions that there are 22 pitches or shrutis in music, which is unchanged to this day. 

1. Sa as Sa – Sempaalai -Harikamboji
2. Ni as Sa – Using Sempaalai if we use Ni as Sa and sing the seven notes we arrive at Kalyani. Padumalai Paalai. 
3. Dha becomes Sa – Sevvazhi Paalai – Thodi
4. Pa becomes Sa – Arum Paalai – Karaharapriya
5. Ma becomes Sa – Kodi Paalai – Shankarabharanam
6. Ri Becomes Sa – Merchem Paalai – Natabhairavi

Shankarbharanam modal shift 

1. From Ri – Karaharapriya
2. From Ga – 

There is a mention about yaazh in the ancient Tamil grammar Tholkappiyam and other Tamil Literature Land based Raagaas – 

1. Kurinji, 
2. Mullai, 
3. Marutham, 
4. Neithal 
5. Palai.