സരളവും മധുരവുമായ രാഗവിന്യാസത്തിലൂടെ ഗാനത്തിന്റെ മധുവൂറുന്ന ഭാവത്തെ മലയാളികള്ക്ക് പരിചയപ്പെടുത്തി ഇരമ്പിയാര്ത്ത് മനസിലേക്ക് ഒഴുകി വരുന്ന ഗാനങ്ങള് ഒരുക്കിയ പ്രമുഖ സംഗീതജ്ഞന് എം എസ് വിശ്വനാഥന്റെ ജന്മദിനം
ജൂണ് ഇരുപത്തിനാല് 🌷🌷🌷🌷🌷🌷🌷🌷🌷🌷🌷
Music: എം എസ് വിശ്വനാഥൻ Lyricist: വയലാർ രാമവർമ്മ Singer: എസ് ജാനകി Film : ജീവിക്കാൻ മറന്നു പോയ സ്ത്രീ
വീണപൂവേ…വീണപൂവേ കുമാരനാശാന്റെ വീണപൂവേ വീണപൂവേ വിശ്വദര്ശനചക്രവാളത്തിലെ നക്ഷത്രമല്ലേ നീ – ഒരു ശുക്ര നക്ഷത്രമല്ലേ നീ വീണപൂവേ കുമാരനാശാന്റെ വീണപൂവേ – വീണപൂവേ
by Ajith Namboothiri on Friday, July 15, 2011 at 5:42pm
SANGEETHAGURUKULAM planning to prepare a directory of musicians of Kerala. All genres of music like classical,kathakali,film music, folk music can register their names. Entry will be free . Interested can send their detailed Bio data to firstname.lastname@example.org
I wanted to know more about the Musciacians of Kerala, my native state-”God’s Own Country”.
Pressed a google search and it came with an out put of more than About 180,000 results (0.28 seconds)
First in the lane came Wikipedia as usual, the exerpts from the content is given below
Then a lot of individual sites… I crammmed and pinched my cheeck, but I got every thing except What I wished for.
Fortunately, Shri Ajith Nambudiri, Senior Producer in Amrutha TV, amous for his SRUTHI LAYAM programmes have took an initiative to procure the Names of Music Stalwarts in finger tips.
Let us please help him in his bringing out his directory of Musicians at the earliest. !
Music of Kerala has a long and rich history. Kerala is a state which lies in Southern India. The music of Kerala not necessarily directly imply to poetry in Malayalam language, the official and most widely used language in the state, despite the fact that most of the music in Kerala is poetry driven. Kerala has a rich tradition in Carnatic music as well, though that branch of music was formed in Tamilnadu and uses Kannada, the language of Karnataka, both Tamilnadu and Karnataka being neighboring states of Kerala. Songs formed a major part of early Malayalam literature, which is believed to have started developing by 9th century CE. The significance of music in the culture of Kerala can be established just by the fact that in Malayalam language, musical poetry was developed long before prose. With the development of music in the region, different branches were formed out of it. The most basic branches are classical music which is primarily Carnatic music oriented, and popular music includes film songs and album songs. Then there is music like chenda melam , which despite its religious nature, enjoys status of classical music as well as popularity.
Kerala is musically known for Sopanam. Sopanam is religious in nature, and developed through singing invocatory songs at the Kalam of Kali, and later inside temples. Sopanam came to prominence in the wake of the increasing popularity of Jayadeva’s Gita Govinda or Ashtapadis. Sopana sangeetham (music), as the very name suggests, is sung by the side of the holy steps (sopanam) leading to the sanctum sanctorum of a shrine. It is sung, typically employing plain notes, to the accompaniment of the small, hourglass-shaped ethnic drum called idakka, besides the chengila or the handy metallic gong to sound the beats. Sopanam is traditionally sung by men of the Marar and Pothuval community, who are Ambalavasi (semi-Brahmin) castes engaged to do it as their hereditary profession. Some famous sopanam singers are Neralattu Rama Poduval, Janardhanan Nedungadi and Damodara Marar.
Kerala is also home of Carnatic music. Legends like Swati Tirunal, Shadkala Govinda Maarar, Chembai Vaidyanatha Bhagavatar, Yesudas( Jesudas), Palghat Mani Iyer, Vidwan Gopala Pillai, Chertala Gopalan Nair, M. D. Ramanathan, T. V. Gopalakrishnan,Sankaran Namboothiri and T. N. Krishnan are renowned musical exponents from Kerala. Among the younger generation, child prodigy violin wizard L.Athira Krishna and Carnatic vocalist P. Unnikrishnan have made their musical impact in the international arena, thus keeping the regal tradition of Carnatic music alive.
Kerala also has a significant presence of Hindustani music as well. The king of Travancore, Swathi Thirunal patronaged and contributed much to the Hindustani Music
Main article: Pulluvan Paattu
The pulluvar of Kerala are closely connected to the serpent worship. One group among these people consider the snake gods as their presiding deity and perform certain sacrifices and sing songs. This is called Pulluvan Pattu. This is performed in the houses of the lower castes as well as those of the higher castes, in addition to serpent temples.
The song conducted by the pulluvar in serpent temples and snake groves is called Sarppapaattu, Naagam Paattu, Sarpam Thullal, Sarppolsavam, Paambum Thullal or Paambum Kalam. The main aspects of this are Kalamezhuthu (Drawing of Kalam, a ritual art by itself), song and dance.
Main article: Kathakali Music
The language of the songs used for Kathakali is Manipravalam. Even though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
Main article: Ottamthullal
Ottamthullal songs are meant for the performance of the artform called Ottamthullal. The Ottamthullal artist has to sing and dance to his music. Unlike in the case of Kathakali, the language is not heavy sanskritized Malayalam and the lyrics are set to rhythms that range from simple to rare and complicated.
Main article: Mappila Songs
The Malabar region of the state, with a large Muslim population had developed a signature music stream based on the Hindustani style. The stream consists of a variety of forms like gazals and mappila pattu, and also music for authentic Muslim dance forms such as oppana and kol kali. The poetry forms a main part of this stream of music, which is primarily in Malayalam with the use of Arabic words in between which is known as arabimalayalam. Mappila songs have a charm of their own as their tunes sound a mix of the ethos and culture of Kerala as well as West Asia. They deal with diverse themes such as religion, love, satire and heroism.
Malayalam film music
Film music, which refers to playback singing in the context of Indian music, forms the most important canon of popular music in India. Film music of Kerala in particular is the most popular form of music in the state. Before Malayalam cinema and Malayalam film music developed, the Keralites eagerly followed Tamil and Hindi film songs and that habit has stayed with them till now. The history of Malayalam film songs begin with the 1948 film Nirmala. The film’s music director was P.S. Divakar and the songs were sung by P. Leela, T. K. Govinda Rao, Vasudeva Kurup, C. K. Raghavan, Sarojini Menon and Vimala B. Varma, who is credited as the first playback singer of Malayalam cinema.
The main trend in the early years was to use the tune of hit Hindi or Tamil songs in Malayalamsongs. This trend was changed in the early 1950s by the arrival of a number of poets and musicians to the Malayalam music scene. People who stormed into the Malayalam film music industry in the 1950s include musicians like V. Dakshinamurthy (1950), K. Raghavan (1954), G. Devarajan (1955) and M.S. Babu Raj (1957) and lyricists like P. Bhaskaran (1950), O.N.V. Kurup (1955) and Vayalar Rama Varma (1956). They are attributed with shaping Malayalam film music stream and giving it its own identity. Major playback singers of that time were Kamukara Purushothaman, K.P. Udayabhanu, A.M. Raja, P. Leela, Santha P. Nair, P. Susheela and S. Janaki. Many of these singers like A.M. Raja, P. Susheela and Janaki were not Malayalis and their pronunciation was not perfect. Despite that, these singers received high popularity throughout Kerala. In later years many non-Malayalis like Manna Dey, Talat Mehmood, Lata Mangeshkar, Asha Bhonsle and S.P. Balasubramaniam sang for Malayalam films. This trend was also found among music directors to an extent, with outside musicians like Naushad, Usha Khanna, Salil Chaudhary, Bombay Ravi and Ilaya Raja. This can be attributed to the fact that film music in South India had a parallel growth pattern with so many instances of cross-industry contributions.
K.J. Yesudas, who debuted in 1961, virtually revolutionised the Malayalam film music industry and became the most popular Malayalam singer ever. He became equally popular with classical music audience and people who patronised film music. He, along with P. Jayachandran, gave a major facelift to Malayalam playback singing in the 1960s and 1970s. Malayalam film music also received heavy contributions from musicians like Johnson, M. G. Radhakrishnan, Raveendran, S. P. Venkitesh and Ouseppachan, lyricists like Sreekumaran Thampy, Yusuf Ali Kechery, and Kaithaprom Damodaran Namboodiri, and singers like M. G. Sreekumar, G. Venugopal, K. S. Chithra and Sujatha Mohan. A notable aspect in the later years was the extensive of classical Carnatic music in many film songs of the later 1980s and early 1990s. Interestingly, that particular period is also considered the peak time of Malayalam cinema itself and is quite widely known as the Golden Age of Malayalam cinema, a period in which the difference between art films and popular films was least felt. Similarly, classical Carnatic music was heavily used in several popular film songs, most notably those in films like Chithram (1988), His Highness Abdullah (1990), Bharatham (1991), Sargam (1992) and Sopanam (1993).
At present, the major players in the scene are young talents like musicians M. Jayachandran, Deepak Dev, Alphonse, Jassie Gift, Biji Pal, Shyam Dharman and Shaan Rahman; lyricists late Gireesh Puthanchery, Vayalar Sarath and Anil Panachooran, and singers Madhu Balakrishnan, Afsal, Vidhu Pratap, Franco, Vineeth Sreenivasan, Manjari, Gayathri and Jyotsna, along with stalwarts in the field.
The national award winning music directors of Malayalam cinema are Johnson (1994, 1995) Bombay Ravi (1995)and Ouseppachan(2007). The 1995 National Award that Johnson received for film score of Sukrutham (1994) was the only instance in the history of the award in which the awardee composed the film soundtrack rather than songs. He shared that award with Bombay Ravi who received the award for composing songs for the same film. The lyricists who have won the national award are Vayalar Ramavarma (1973), O. N. V. Kurup (1989) and Yusuf Ali Kechery (2001). The male singers who got national award are K. J. Yesudas (1973, 1974, 1988, 1992, 1994), P. Jayachandran (1986) and M. G. Sreekumar (1991, 2000). Yesudas has won two more national awards for singing in Hindi (1977) and Telugu (1983) films, which makes him the person who has won the largest number of National Film Award for Best Male Playback Singer with 7 awards, closely trailed by S. P. Balasubramaniam with 6 awards. The female singers who have won the award are S. Janaki (1981) and K. S. Chithra (1987, 1989). Chitra had also won the award for Tamil (1986, 1997, 2005) and Hindi (1998) film songs, which makes her the person with the largest number of National Film Award for Best Female Playback Singer wins with 6 awards, closely trailed by P. Susheela with 5 awards.
1. ^ Sreedhara Menon, A.. Kerala Charithram. Kottayam, Kerala: D.C. Books. p. 494.
2. ^ Rolf, Killius (2006). Ritual Music and Hindu Rituals of Kerala. New Delhi: BR Rhythms. ISBN 81-88827-07-X.
3. ^ Rolf, Killius (2006). Ritual Music and Hindu Rituals of Kerala. New Delhi: BR Rhythms. ISBN 81-88827-07-X.
4. ^ “Music”. Keral.com. Archived from the original on 2 August 2008. http://web.archive.org/web/20080802081714/http://www.keral.com/movies/music.htm. Retrieved 2 January 2009.
5. ^ “Music”. Keral.com. Archived from the original on 2 August 2008. http://web.archive.org/web/20080802081714/http://www.keral.com/movies/music.htm. Retrieved 2 January 2009.
6. ^ K. Pradeep (25 April 2008). “Family affair”. The Hindu. http://www.hindu.com/fr/2008/04/25/stories/2008042550380400.htm. Retrieved 2 January 2009.
7. ^ Jason Kaitholil. “Cinema History”. AMMA (Malayalamcinema.com). http://malayalamcinema.com/Content-4/CinemaHistory.html. Retrieved 2 January 2009.
8. ^ Jason Kaitholil. “Cinema History”. AMMA (Malayalamcinema.com). http://malayalamcinema.com/Content-4/CinemaHistory.html. Retrieved 2 January 2009.
9. ^ “K.J. Yesudas”. Chennai Online. http://archives.chennaionline.com/musicseason99/profile/yesudas.html. Retrieved 2 January 2009.
10. ^ Jason Kaitholil. “Cinema History”. AMMA (Malayalamcinema.com). http://malayalamcinema.com/Content-4/CinemaHistory.html. Retrieved 2 January 2009.
11. ^ eastcoastvijayan.in
12. ^ malayaleethealbum.blogspot.com
13. ^ yuvathemusictrio.blogspot.com
14. ^ thehindu.com
Literatures will help. But more will be those heard and learned from the experienced.
So Once again, a” Musicians Directory” is our necessity.
and Let us all help by supplying any informations, any little bit, tit bits, that we have to share , with Shri ajith Nambudiri.
All the Best for this ardent Student of Pure Music….!
പയ്യന്നൂര്: പോത്താങ്കണ്ടം ആനന്ദഭവനം സ്വാമി കൃഷ്ണാനന്ദ ഭാരതിയുടെ സാന്നിധ്യത്തില് നടത്താറുള്ള തുരീയം സംഗീതോത്സവം ശനിയാഴ്ച പയ്യന്നൂര് അയോധ്യ ഓഡിറ്റോറിയത്തില് തുടങ്ങും. 5.30ന് മാസ്റ്റര് പി.പി. പവന് കുമാര് ഭദ്രദീപം കൊളുത്തും. ഒമ്പതു നാള് നീളുന്നതാണ് സംഗീത വിരുന്ന്. പി.അപ്പുക്കുട്ടന്റെ അധ്യക്ഷതയില് എം.പി.അബ്ദുസമദ് സമദാനി എം.എല്.എ. ഉദ്ഘാടനം ചെയ്യും. ചടങ്ങില് കൈതപ്രം ദാമോദരന് നമ്പൂതിരി മുഖ്യ പ്രഭാഷണം നടത്തും.
തുടര്ന്ന് ടി.വി.ശങ്കരനാരായണന് അവതരിപ്പിക്കുന്ന സംഗീത കച്ചേരി. ഞായറാഴ്ച ആറു മണിക്ക് സിത്താര്- ഷക്കീര് ഖാന്, ഹിന്ദുസ്ഥാനി സംഗീതം അവതരിപ്പിക്കും. താളയോഗി പണ്ഡിറ്റ് സുരേഷ് തള്വാല്ക്കര് താള് കീര്ത്തന് ആലപിക്കും. തിങ്കളാഴ്ച ഡോ. കദ്രി ഗോപാല് നാഥ് സാക്സഫോണ് കച്ചേരി അവതരിപ്പിക്കും. ചൊവ്വാഴ്ച നിത്യശ്രീ മഹാദേവന് കച്ചേരി നടത്തും. ബുധനാഴ്ച മദ്രാസ് പി. ഉണ്ണികൃഷ്ണന്റെ സംഗീതക്കച്ചേരി.
വെള്ളിയാഴ്ച യു .ശ്രീനിവാസന് മാന്ഡൊലിന് അവതരിപ്പിക്കും. ശനിയാഴ്ച ഹൈദരാബാദ് സഹോദരിമാരായ ലളിതയും ഹരിപ്രിയയും കച്ചേരി നടത്തും. സമാപനദിവസമായ 17ന് ഞായറാഴ്ച രാവിലെ 9.30ന് പരിപാടി തുടങ്ങം. സമാപനം കുറിച്ച് പണ്ഡിറ്റ് ഹരിപ്രസാദ് ചൗരസ്യ പുല്ലാങ്കുഴല് കച്ചേരി നടത്തും. തുടര്ന്ന് 28 പ്രമുഖ സംഗീതജ്ഞര് ചേര്ന്ന് നടത്തുന്ന പഞ്ചരത്ന കീര്ത്തനാലാപനം ഉണ്ടാകും. പ്രൊഫ. കുമാര കേരളവര്മയാണ് നേതൃത്വം.
The Legacy of ”Sanathana Dharma” (the so called ”Hinduism”) is infinitely rich. Rich with the treasures for every soul tredding on the path of Self Realization.
Sages of India, have a plethora of time proven techniques to offer which can help an aspirant to face any ordeal that he may confront in his path of Self actualization.
”Nadaanusandhana” is only one among the millions of such techniques, but a most important one.
”Nadanusandham’ means the meditation on ‘nadam’ – the ‘sound’.
Thus Music becomes a finer way of meditation. Classical Music of India, especially south Indian ‘Carnatic Music’ is specially defined and scientifically encoded on the platform of pure harmonics.Even a simple melody in a simple carnatic music has the immense capacity to lift our souls to ecstatic divine moods.
I use this blog platform to render a bunch of thanks to Shri.Ajith Nambudiri, who is a stalwart in studies on this finer aspects of ”Pure Music” of rich Indian Music tradition. Based at Trivandrum, Kerala, India, he is taking much pain in plunging into the depths of primeval ocean of ”Nadam”.
On the Platforum of ”Kairali TV” and Amrutha TV, renowned Malayalam TV channels, Shri Ajith Nambudiri has by now presented immense contributions, and is true to the word, he is appreciably dynamic,vibrant and young enthusiast capable of Anchoring a lot more surprises to Pure Music Lovers all over the world.
Please strike on his blog links to get connected with an electrifying experience of Music Meditation: