An Observation of Sahitya (Texts and Contexts) In The Musical Compositions Of Karnataka Music
In music, however, the words and meaning are there to start with but get absorbed in music and do not appear on the surface. They are swallowed, so to say, by the melody. Before we discuss on the sahithya content of Musical compositions, let us get an introduction about the Musical compositions in Karnatak music system. Different kinds of musical forms are used in Karnataka music from Abhayasa gana to Sabha gana. In Abhyasa Gana compositions, Sarali, Janta, up to Alankara are meant for basic learning exercises these types of compositions contain only solfa syllables. There are special forms from devotional music tradition to suit various occasions such as dance, opera, folk music like, Tevaram, Tiruppugazh, Songs of Annamacharya, Sadasiva Brahmnedra, Marathi Abanga, Hindustani Bhajan songs of surdas, Mirabai, Tulasi das in which sahithya is of primary importance. Compositions of Tami Moovar namely, Muthu Thandavar, Marimutthapilllai, Arunachalakavi’s Ramanataka padalgal, Gopalakrishna Bharathi, Kavikunjara Bharathi, Ganam Krishna Iyer, Papanasan Sivan, Nilakanta Sivan are noteworthy. The earliest kiratanas in Telugu are composed by Tallapapakkam composers of 15th century. For the first time, we come across the divisions of Pallavi anupallavi and charanam in their works. The compositions of Tallapakkam composers are engraved in copper plates. Manipravala sahityas have existed from very early times in which more than one language are seen. Slokas with the first half in Sanskrit and the second half in Telugu have been written. Verses in Manipravalam and Malayalam exist.
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