Sopanam is traditionally sung by men of the Marar and Pothuval castes of Ambalavasi semi-Brahmin community, engaged to do it as their hereditary profession. Ragas like Kedaragoula, Todi and kharaharapriya are used. They include ones being sung at south Kerala temples like Pazhoor and Ramamangalam on the banks of the river Moovattupuzha and the northern ones like Thirumandhamkunnu and Guruvayoor to name a few. This article needs additional citations for verification. Sometimes on rare occasions Sivasthuti is also rendered. The musical instrument used was yazh which had many strings.
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During this period musical offerings were offered in Saiva-vaishanav temples. It is sung, typically sopana sangeetham plain notes, to the accompaniment of the small, hourglass-shaped ethnic drum called ‘ edakka ‘ or idakkabesides the chengila or the handy metallic gong to sound the beats. Templates Portal Category WikiProject. The late Njeralattu Rama Poduval of Thirumandhamkunnu baniJanardhanan Nedungadi of Guruvayoor, Sri Jyothidas Guruvayoor, Damodara Mararsopana sangeetham practitioner of the sopana sangeetham art called Sangerthamfrom Pazhoor and Sadanam Divakara Mararmaster percussionist,  have been so;ana of the most authentic experts of Sopana sangeetham.
The rendition style of Sopanam, though basically a temple art, also extends to providing audio accompaniment to traditional Kerala dance-dramas like KathakaliKrishnanattam and Ashtapadiyattam besides as devotional music in Kalam pattu and dramatic music in Mudiyettu. Views Read Edit View history. We get a lot of information about the rules of music, musical instruments etc.
All the same, like in Carnatic, it has an introductory segment called alapanam alapanathough it is based on ‘akaaram’ or the sole use of the sound Aaa unlike ‘ta’, ‘ra’, ‘na’, ‘ha’ or ‘ri’ that are employed in Carnatic music.
However, unlike in Carnatic music, Sopanam follows a more uncomplicated plain-note profile a technique called Aantolika gamakamsopana sangeetham is canonically devoid of microtones.
The word Sopanam refers to the sacred steps of main shrine of a temple and Sangeetham refers to music. Sopana Sangeetham is a continuation of Dravidian music. That is later believed sopana sangeetham have adopted for rendition near the temple sanctum. Chenda Idakka Kombu instrument Mizhavu Timila.
Experts like Thrikkambaram Krishnankutty Marar and Ooramana Rajendra Marar have strived and succeeded in presenting it in the form of a solo concert also using the instrument called Kudukka Veena. Instruments like chenda, veekan chenda, chengila, ilatalam and sanku are used. It has its beginnings through the practice of singing invocatory songs in front of the ‘Kalam’ a stylised five-colour carpet drawing on the floor sopana sangeetham natural powders of Goddess Kali. Please help improve this article by adding citations to reliable sources.
It has it set of distinct ragas like Puraneera, Indalam, Kanakurinhi, Sreekanti, Ghantaram and Samantamalahari, but has also a lot of ragas sopana sangeetham are commonly used in the south Indian classical Carnatic music. Sopana sangeetham has its essential features born out of a happy blending of the Vedic, folk and tribal music of the region that is now called Kerala.
She possesses all the qualities of a music teacher. The music is used in folk-art forms like Mudiyettu, Arjuna nritham and classical arts like Kutiyattam, Krishnanattom and Kathakali.
The role of music here is to describe to sopana sangeetham audience the story and the characters. This page was last edited on 7 Juneat Department of Cultural Affairs, Government of Kerala.
Sopana sangeetham include ones being sung at south Kerala temples like Pazhoor and Ramamangalam on the banks of the river Moovattupuzha and the northern ones like Thirumandhamkunnu and Guruvayoor to name a few. Sometimes on rare occasions Sivasthuti is also rendered. Sopana sangeetham shares at least one similarity with the north Indian classical Hindustani music in the sense that both have ragas prescribed for rendition during particular time of the day.
There is another interpretation also. Sopana sangeetham musicas the very name suggests, is sung by the side of the holy steps sopanam leading to the sanctum sanctorum of a shrine. From Wikipedia, the free encyclopedia. The structure of the Sopanam music is believed to reflect the experience of the devotee in scaling the heights of sopana sangeetham.
Powered by Invis Multimedia. Ragas sopana sangeetham known by the names of native lands like Naital punn, Palai punn, Marutham punn, Kurinji punn, Mullai punn etc.
Sopana Sangeetham – Wikipedia
These temples have their own set of musicians hereditarily practising the art in their precincts. The music is based on the abhinaya. Retrieved from ” https: