EVOLUTION OF TEMPLE

MUSIC IN KERALA
 CHAPTER. II EVOLUTION OF TEMPLE
MUSIC IN KERAI....A

Hindus believe that God created the Universe from 'Pranava'

or 'OM' the primordial sound. This association of God with
music (Nada brahmam) is not unique to Hindu religion alone, but
is universal to all religionsas a means to attain Salvation. Of
the various means to attain Moksha, music or sangeetha is
considered to be the predominant one.

Vedas, Upanishads and Puranasabound in glorious references

to musical traditions and the Trimurthis - Brahma, Vishnu and
Siva are associated with different musical instruments. Thus we
can see that evolution of music from the Vedic chanting of the
medieval period to its highly scientific and varied forms as seen
today is closely and distinctly interlinked with the religious
practices of the people, and the temples thus became not only
a place of worship but also a seat of learning.

In temples, devotees worship God by evolving appropriate

rituals and over the years music in its various forms have become
intricately associated with each and every aspect of temple
ritual

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 Scholars opine that temple music can be viewed in two
dimensions viz. the Static and Dynamic. The former comprising
the music depicted in temples through paintings and sculptures
ihe
(stone, wood, metal) and latter comprising the actual items
/..
of music played in temples for various occasions and rituals.

The development of Indian music in the begin· ing got

evolved in two different paths. Music sung for propitiation of
Gods and attaining bliss (devotional) and music sung for worldly
and sensual pleasures.(laukika),

The vedic music developed by rishis and saints which

orginally had only three swaras gradually developed into a scale
of seven swaras and came to be known as 'Sama Saptaka' and this
style of music was termed as 'Marga Sangeetha'. It is stated in
Valmiki Ramayana that Lava and Kusa at the request of Sreerama
sang songs in 'Margi' style. According to Sarangadeva the word
'Margi' got evolved from the base word 'Mrig' meaning 'to seek'.
We may interpret i t a s m usic sought b y Gods. Fr om time
immemorial 'Gita Govindam, Krishna Leela Tarangini' etc. are
traditionally being sung in Margi style.

In due course on account of the local preferences and

regional inf 1 uences,· smal 1 variations started creeping in the

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Margi style and distinctive local tunes crept in. These
subsequently developed as 'Desi style'.

Dese Dese Jananam Yadruchya hridaya ranjakam

Ganam cha Vadanam nrityam destiwadi dheeyata
(Sangeetha Ratnakara)

In Kerala the music system developed certain distinct

characteristic features due to the assimilation and interaction
of Vedic music, folk music, pastoral music and tribal music. The
peculiar Tala and rhythm structures were developed by progressive
use of highly specialised and localised Tala Vadyas. This
localised version of Kerala music which got evolved in temples
came to be called "Sopana Sangeetha".

HISTORICAL BACKGROUND OF KERALA MUSIC:-

The question is often asked whe ther Kerala has go t a

distinct musical tradition of its own. It is often lamented by
scholars tha t only after the advent of Maharaja Sri Swati
Tirunal, music in its scientific form emerged in Kerala.
However anybody who delves deep into the life and culture of
'
ancient pe ople of Kerala will soon re alise tha t this is a

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totally wrong concept. Even before the advent of Karnatic music,
Kerala had developed its own music in Sopana style. The chakyar
in the Koodiyattam had been using as many as 20 ragas like
'Mooddan', 'Srikandi', 'Thondar', 'Indal am', Vel adhool i etc.
which were distinctive of its style.1

When we examine the literature of Kerala of those times, we

find that not only Vocal traditions but also in instrumental
music, the people of Kerala had attained great proficiency from
very ancient days. The music of 'Tevaram' and 'Tiruvachakam'
with rhythm and melody in their verses and chanting of · 'Nalayira
Prabandham' set a high musical standard in ancient Tamil regions
which includes present day Kerala. Scholars point out that the
early music of Kerala might have had a close resemblance to the
music described in 'Silappadikkaram' (IIIrd Canto). In this we
get several references about musical facts such as Sruti,
Swara, Raga, musical form, instruments etc. The swaras were
named as Kura!, Tuttam, Kaikilai, Uzhai, Ili, Villari, Taram
etc. It also saysabout 4 different kinds of 'Yal', - 5 types
a"'rid
of flutes - with seven holes for 7 Swaras ( mridangam which were
extensively in use. "A Tamil work 'Yappillakkar' is said to

1. Aimanam Krishna Kaimal - Keralathile Sangeetha Paramparyam,

Samskara Keralam, October - December 1989.

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have described 11,911 different kinds of ancient musical tunes
then prevalent in Kerala".1

Other than Silappadikaram and Manimekhala, its sequel,

there were many other prevalent works on music, as widely
described in 'Erayanarar Akaporul' of Ni 1 akantanar of Musuris
like 'Perichai', Isainunukkam 'Mutukuruku' and 'Chittishai'2.

The Vadya Samuchchaya was divided into 4 distinct types

even then viz. 'Tulakkuruvi; (Sushira Vadya), 'Narambukkuruvi'
(Tanti Vadya), Tholkuruvi (Charma Vadya) and Midakkuruvi (K anta
Vadya) - (Those played with help of throat).

Reference to rich musical traditions of Kerala both Vocal

and instrumental abounds in "Unnuneeli Sandesam", the f amous
poetic work of that time. It is also seen that a tradition of
classical rendering of music had already been evolved during
those timesas seen here.

1. S.Venkatasubrahrnania Iyer-article-Journal of Music Academy

Madras.
2. Pracheena Keralam - A.R.Balakrishna Warrier.

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 Ororo raga bhedam, Punarthiettitolum
Madura Samayam, Chindu padum - Kattakkar malkuzhalikalum
Venusree Manmadura Vajanavum Vanen Veena Madura ninadayum.
(Unnuneeli Sandesam)

According to Dr.S.Venkitasubrahmonia Iyer all the important

Sanskrit works on music written prior to 17th cent:- are
available in 'Malayalam lipi' in various 'Thaliyolagranthas'
(manuscripts ) found in abundance in Kerala like Sangitha Sudha
of Govinda Dikshitar, Sangitha Ratnakara of Sarangadeva,
Brihadesi of Matanga muni and Sangitha Samayasara of Parsvadeva
indicating the highly advanced musical tradition; of Kerala.
There are also some Malayalam treatises dealing with music but
the names of the authors are not avail able. eg:- Sangith�
Sasthra found in Thiruvananthapuram Manuscript library lists 120
ragas used in that period which includes presently less used
ragas like Saladvahini, Pradhama manjari,
Neelolpali, Gorochani
se
etc. In Sangitha Choodamani another tre a t i found in
Malayalam, 19 ragas are named and described in detail. It also
describes 'NADIS, DASA VAYUS, SWARAS. and SRUTHIS. This book
also describes 101 talas. Some of the other books available in
the Manuscript library in Trivandrum are Sangitha Maniari,
Saptaswara Sancharangal, Swarataladi Lakshanam, Talavidhikal
etc. According to Dr.S.Venkitasubrahmania Iyer, of these only

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Swaratalakshanam is based on V enkitamakhis' Chadurdandi
prakas ika whereas other bo oks are based on Bharat a's
Natyasastra, Matangamuni's Brihadesi and Sarangadevas' Sangitha
Ratnakara. The second mentioned treatises are widely prevalent
only in Kerala denoting the Sanskrit-Aryan influence in the
region.

Geetha Govinda of Jayadeva has formed the basis for many

prominent literary works in Kerala. For eg:- Krishna geethi
(Krishnanattam, the dance drama is evolved from this) of King
tne.
Manaveda is the story ofllOth Chapter of Bhagavatha written in 8
chapters, the poems being given in specific ragas and talas.
According to U 11or S. Parameswara Iyer "Geetharamam of Ramapani
vada in Sanskrit is also based on Geetha Govindam. Ramapurathu
Warrier author of Kuchelavri tham Va nchippattu, compo s e d
'Bhashashtapadi' translating all the 24 ashtapadi in Malayalam in
different ragas and talas. (Ist ashtapadi in Malava raga, Ata
tala - Second in Gurjari raga Atatala - and third in Vasanta raga
in Ata tala and so on).

Balarama Bharatam of Karthika Tirunal though mainly

describes dance also dwells at length on the musical traditions
of the period. Kunjan Nambiar the exponent of 'Tullal' also
gives vivid and detailed description of ragas and talas used by

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the people in those days. For eg:- in Rukmini Swayamvaram Ottam
Tullal, maddalam is described in detail as also many other
instruments. Common ragas used in those periods, Tedi, Kalyani,
Mukhari, Kamodari etc. are named. Many references to ragas
are also seen in 'Harinee Swayamvaram' Seethangan Thullal and
'Balyudbhavam' Sethangarr Tul 1 a 1 . Kunjan Nambiar also used many
Talas that are unique to Kerala and are not seen in Karnatic
music. For eg:- in Kiratham Ottam thullal the Arjuna's penance
is described in 7 talas (Lakshmi Tala, Kumbha tala, Marma tala,
Kundanachi thala, Champa tala, Panchari tala and Atanta tala).

We may now examine the music as it is being practised in

Kerala temples. It can be seen that Kerala temples have over the
course of centuries evolved distinct instrumer.tal and Vocal
traditions in music. A highly advanced musical structure for
different variety of dance forms, both folk and classical, with
dJst inct instruments w er e being used either a l o n e o r as
accompaniments for propitiation of Gods during Pooja time. Each
temple had specific rules regarding distinct instruments, music
and rituals and these practices are continued unchanged even to
this day.

The singing accompanied by instruments at the times of Pooja

is called 'Kottippadi Seva'. The accompani�n3instruments are

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purely of Kerala origin such as Chengila, Elathala, Edakka etc.
The most common and important instrument in Kerala temples is the
'Shanku A which gives the 'Omkara' (Pranava) sound. It is used
almost every time before the temple door opens and closes,
before and after Pooja, before and after the use of other
instruments etc. It is used in a peculiar musical pattern with
arohana and avarohana. When Sanctum Sanctorum is closed for the
Pooja the Singer stands on 'Sopana (steps) facing northwards to
the Lord and starts playing Edakka, first the Tristana (S,P,S).
Then the famous 'Ganapathikkai' (invocation) and then he starts
singing the 'Tyani' in specified ragas, with arohana and
avarohana. After the same he may sing Keerthanas or Ashtapati
depending upon time and ritual.

The word 'Thyani' evolved from Sanskrit word 'Dhyanam"

(meditation), is called 'Thiyani' in Tamil. They are four line
Slokas written in local language which are very similar to 4 line
slokas of Sanskrit, in praise of Gods and Goddesses of each
temple and it can be safely assumed that such innumerable Thyanis
were widely prevalent in various Kerala temples, many of which
have now become extinct. Depending upon the time and the type of
Pooja, different specified ragas are used for singing Thyanis.
Many of the ragas are distinctly of Kerala origin and not widely
prevalent outside, 1 ike 'Desakshi', Sreekanti, Bhoopali,

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Antari etc. Eg:- The time and type of Pooja and specific raga
and tala in which Thyanis are sung are given below:-

Time Pooja Raga in which Tala

Thyani is sung

!.Early morning Ushapooja Desakshi, Sreekanti Triputa

2.Later morning Pantheerati Malahari Roopaka
3.Noon Uchchapooja Ahiri, Bhoopali Triputa
4.Evening Deeparadhana Samantha Malahari Triputa
3
Athazhapooja
5.Pradosha
Sandhya Pradosha pooja Andhali Chempata

Though Thyani resembles Keerthanas it does not contain

Pallavi, anupallavi and charana and in its essence is only a
musical rendering of a Sloka.

After Tyani', if there is time the singer often sings

Keerthanas and ashtapadis in many ragas, and by tradition,
singing ends with a rendering in Madyamavathi raga. It can be
safely assumed that there is a connection between the advent of
Jayadeva's Githa Govinda and evolution of Sopana Sangitha in
Kerala templ�s, Once Githa iovinda became popular in Kerala, the

-24-
people of Kerala got an opportunity to sing and listen to songs
with many different talas and ragas. Thus the earlier Dravidian
ragas of the Thyani and the Aryan (N.INDIAN) ragas of Ashtapadi
got themselves so integrated in Kerala temple music that its
evolutionary progress through Ashtapati, to Kalampa.ttu (a form
of temple ritual) to Krishnageethi (Krishnanattam is based on
this) to the Kritis of Ramanattam, (forerunner of Kadhakali)
finally culminating in rich and diverse Kadhakali music of today
is a fascinating story by itself.

It has now been clearly established that Kerala has a

distinct musical tradition which is quite different in its raga
pattern, tala structure (rhythm structure) and highly evocative
expression of Bhava, and this musical style which was based on
the 'Tauryatrika' representing a harmonious blending of three art
form5viz. Vocal (geetha), instrumental (Vadya) and dance (Nritya)
has come to be known as 'Sopana Sangeetham'. The exact origin of
the Sopana system of music and how this system acquired the name
'Sopanam' has not been clearly established. However it is
believed that Sage Parasurama after reclaiming the land of Kerala
from the sea, established numerous Aryan temples with Aryan Gods
like Vishnu, Siva and Brahma (for which he brought N.Indian Aryan
brahmins) with its characteristic poojas and chanting of Sanskrit
s 1 okas whichco-existed along with the existing Dravidian 'Kavus'

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and 'Tharas' (Sarpa Kavu, Bhagavathy Kavu etc.) wherein Dravidian
style of worship like Kalampattu was practiced. The mantra
chanting of Aryan temple later developed into the Tyani singing
and the Kalampattu tradition (Bhadra Kali pittu, Sarpamp�ttu,
Gandharvan pattu etc.) of the Dravidian 'Kavus' and 'tharas',
which were prevalent even prior to the beginning of Christian
era, got intermixed in the religious and cultural lives of people
of Kerala.

From the 4th cent.A.D. onwards with the advent of Buddhism

and Jainism the temple festivals were eelebrated with pomp and
gaiety and music and dance, laying down solid foundation to a
well developed musical tradition for later days. The revival of
Bhakti cult in the middle of 5th cent. through Theva.ram ( Tami 1
Saivite songs) and Thiruviimozhi (songs of Saivite nayan �rs and
Vaishnavite al wars) which were composed in 103 puns (ragas) to
propitiate Gods 1 ike Vishnu, Durga, Ganapa thy etc. , through
0. <;
singing,� clearly delineated in Tamil epic Silappadikaram by
'Ilanko Adigal' establishe5' this homogeneous Aryan, Dravidian,
cultural confluence attained by the people of Kerala during that
Period. "The early Travancore music" may be said to be the same

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as pictured in the IIIrd Canto of 'Silappadikkaram'. 1

By the 14th and 15th Century, Kshetra Sangitha f 1 ourished

and reached its peak both in Tamilnadu and Kerala (there are
innumerable mentions of Tevaram singing troupes and temple
dancing girls in Tamil epics) by royal patronage but the
introduction of Jayadeva's Gita Govinda in 12th cent.A.D . was
epoch- making in that it paved the way for a separate and
distinct Kerala Sangitha as against the then prevalent South
Indian music tradition. Thus 'Kovilpattu' (singing by music
groups in the temples) which were sung in the 'Thirukkaikotty
Mantapam' in the temples, (those singing 'Thevaram' were called
'oduva�kal' and those singing 'Thiruvaimozhi' were called
,'1 "-"' A ,'<. S- -
) bec�me in Kerala 'KOTTIPPAD ISEVA', sung by �pecified
people cal 1 ed Marars on the door step of temple cal 1 ed Sopanam
and this music which got evolved through the Sanskrit chanting,
through Thyani, through the Tevaram and Thiruvaimozhi, Ashtapati
of Jayadeva, 1 eading to the Kot tippadi Seva of Marars·of the
templescame to be called as 'Sopana Sangeetha'.

In all Kerala temples, music, dance and instrumental music

1. Ilanko Adigal Chilappadikaram English Translation

Dr.Vasudeva Poduwal.
-27-
were a part of the ritualistic tradition of propitiation of Gods.
The Tantris (temple priests) used to end their pooja (offering)
with 'Geetham S amarpayami, Vadyam Samarpayami and Nritham
Samarpayami' and then the Oduvakkal used to sing the Thevarams,
Devadasis used to dance, and percussionists used to play their
instruments. This is the 'Oduvamura' which is not yet completely
extinct in Tamilnadu Temples. Historical records reveal that in
Kerala also these rituals were p r ac t iced and even in
'Kottippadiseva' there is an item called 'Natyam'. l

The word 'Sopanam' is interpreted differently by Scholars.

The literal meaning of word 'Sopanam' is steps or ladders.
According to some the word has derived from 'Saha' (together
with) & 'Upa' (Pooja poorvam'with respect') and 'Anam' (gamanam
to move) meaning steps to go and come respectfully. According to
'Sabda Taravali' 'Sopanam' is 'Sa + Upa + Anam' meaning the steps
to go up which can also mean the way to attain moksha' (divine
bliss).

According to another interpretation it is Saha + Upayanam

wherein 'Saha' means 'patiently' or 'peacefully' and Upayanam is

1. Dr. Leela Omchery - SopanasaiL;yude Sastravum Sangeeth�� Keli

Feb. March 1991. I..

-28-
the 'path or step' for going and corning. Musically 'Sopanarn' can
be interpreted as music sung by the Singer (Marar) standing on
the steps of the temple - Sopanam. It can also be interpreted
that Sopanarn is flight (steps) leading to Sanctum Sanctorurn
(Sreekovil or Garbhagriha).

As the Sopanam leads to the deity step by step, the music

structure is also such that it develops from a 'rhythm form' slow
to fast tempo comprising of six incremental stages of arithmetic
progression of tempo as against keeping of same tempo or increase
the timing in geometric progression of Karnatic music. This
aspect is particularly stressed in the rhythm ensembles of
Panchavadyam and Tayambaka of Kerala. The great Sopana
musician Govinda Marar - a Compatriot of Shri Swati Ti.runal
Maharaja had the prefix ' Shatkala' signifying his ability to
sing in six rhythm tempo which could be in arithmetic progression
of speed. 1

According to some others the word Sopana Sangeetharn got

evolved from the word 'Sobhanam' which means dance and the music

1. Kinetics of Sopanam music and Mohiniattarn-Kavalam Narayana

Pan.icker.

-29-
which was used in this dance was called 'Sopana Sangeetham' .1

Now 1 et us examine the main characteristic of 'Sopanam

Sangeetham' that distinguishes it from Karnatic music; As
succinantly put by Shri Attoor Krishna Pisharody, the doyen among
Sanskrit scholars and musicologists of Kerala 'Sopana Sangetham'
though 'Desi' in appearance has actual 1 y had its foundation in
the 'Margi style'. He points out that whereas in Karnatic music,
the individuality and fullness of raga is brought out by the
Singer by supplying appropriate embellishments (gamakas), in
Sopana Sangeetham the singer achieves the fullness of the Bhava
by emphasising simple and straight Jeeva swaras in combinations
(Sancharas).

Among Dasavidha (10 gamakas) Gamakas of Karnatic music it is

the 'Andolika Gamaka which predominates in 'Sopana Sangeetha',
eventhough the Sphuritha and Kampitha garnakas are occasional 1 y
seen. It may be pointed out here that in all the various types
of music prevalent in Kerala (folk songs as also vedic songs), it
is this quality that dominates. Thus whether it is the
'Thottampa.ttu of Theyyam', 'Pulluvan pattu'., 'Pananpattu' or

- -
1. Dr. S.Bhagyalakshrni-Mohiniyattathile Alapana Saily-Samskara
Keralam April-Sept. 1991.
-30-
Velanpattu of the nomads, Vanchipattu of folk variety, Bhagavathy
pattu and Sarpam pattu of the Dravidian kavus or the Krishnattam
and Kathakali music of the r o y a lty, this disti n guishing
characteristic of 'Andolika gamaka' stands out in prominence.
This may be due to common ancestry.

Another distinguishing feature of Sopana style is the

constant singing of 'Akaram' to different rhythm tempo (slow to
fast), which has no close parallel in Karnatic music� However it
is interesting to note that in the North Indian music there is a
system of 'Tabala' being played during 'alapana'. Thus it can be
stated that 'Sopanam music' is more rhythm bound. (It may be
pointed out here that of late this rhythm bound raga rendering is
being seen frequently used in Nagaswara recitals). Another
fascinating fact is that this rhythm structured raga rendering of
Sopanam music was taken to a still higher degree of
specialisation in the highly advanced tala ensembles of Kerala
_ a.ncl_
namely Pancha Vadya ( Tayambaka, wherein the rhythm changing is
:'

astonishingly accomplished by using Sushira Vadyas like Kombu and

Kuzhal at different stages. This is perhaps one of the unique
instances in the world of musi c wherein raga e l e m e n t i s
introduced at different intervals for rhythm changing.

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 The evolution of 'Sopana Sangeetham' from the hymn singing
of Thevaram to Thyani, then to Ashtapadi in course of time got
closely interlinked with the theatre tradition of local people
and f r om this con f 1 u enc e de v e 1 o p e d t h e high 1 y dram a t i c
Krishnageethi and Kathakali dance dramas. Thus Bhava became a

very prominant characteristic of Sopana Sangeetham which is at

times called 'Bhava Sangeetham'.

Sopana Sangeetham is also called 'Samaya Sangeetham' since

the time and mood of the musician has a bearing in its rendering.
Thus specific ragas are sung at specif�c times like 'Ushapooja'
(morning), 'Uccha pooja' (noon), 'Pantheerati pooja' (afternoon),
Deeparadhana (Pooja at dusk) and Athazha pooja (at night).

Sopana Sangeetha employs certain distinct ragas like Padi,

Desakshi, Goulipantu, Khandaram etc., and also uses many karnatic
ragas and North Indian ragas as well. But even those ragas when
used in Sopanam music with its distinct accompaniments like
Chenda, Maddalam, Edakka etc. achieve its own characteristics.

Though there is no apparent linkage between the present day

Kathakali music and ashtapadi, the lineology to temple music of
'Thyani and Ashtapadi singing is clearly discernible in the

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practice of Kathakali singing. Before the dance drama starts
there is an accepted practice wherein the percussionists exhibit
("-ef,· (c.otl:u)
their individual skill( and the vocalist sing a 'melapada' usually
a few lines of the ashtapati of Geetha Govinda "Manjutara
Kunjalatha Keli Sadanae".

Kottarakkara Tampuran who composed Ramanattam (the precursor

of Kathakali) has proficiently 1Jsed the Dravidian ·ragas of
'Thyanis and Thevarams' and also North Indian ragas of Ashtapadi.
This is evident from the predetermined ragas and talas of
Ramanattam. For eg:- Kedaragauda, (Kedaragaula), Pantuvaradi
(Pantuvarali), Nadanamakri (Nadanamakriya) Kamodari (Kamboji)
Erikkila Kamodari (Yadukulakamboji) are seen in it, as also ragas
like Bhairavi, Saurashtram, Madhyamavati etc. which are not
purely Kerala ragas. A variety of Talas are also used viz. Ekam,
Champa, Champata, Triputa, Dhruvam, Panchari, Muriatanta, Atanta
etc.

The Kathakali music evolved from Ramanattam to present day

form mainly through the works of Kottayathu Tampuran, Unnayi
Warrier, and 'Irayimman Thampi'. In Ramanattam Bhakti bhava
predominates but from the time of Kottayam Tampuran, ragas with
bhavas other than 'bhakti' like Sringara, Veera, Roudra etc. were

-3'.5-
also introduced, according to the different moods during the
course of stories. He also introduc ed various tempos like
'Edamattu' (medium) Eratti (double) and thus increased the
overall impact. This is evident from his pada 'KANDAL ADI MODAM
UNDAI VARUM' in Kamboji,raga (Kirmeera Vadha - Attakkatha) and in
the pada 'Panchala raja Thanay e' in Sankarabharana raga
(Kalyana Sougandhikam) where Eratti is used.

Another milestone in the history of Kathakali music is the

introduction of raga so as to aptly fit with the bhava or rasa
contained in the Sahitya. In this respect the 'Nalacharitham
Attakkatha' by 'Unnayi Warrier' is the most remarkable example.
Thus Kalyani and Sankarabharanam are used to denote Sringara,
'Kamodari' to denote Vera, Mukhari, Punnagavaradi for Saka rasa,
Thodi and Neelambari for Bhakti and Erikkila Kamodari f or
denoting 'Valsalya'. Thus it can be very safely established that
even fromkvery early period, Kerala had developed a system of
interpreting specific rasas through specific ragas which is being
continued in the music of Kathakali even today. So also on a
closer analysis we see that the various tempos Padhinjamattu,
Idamattu and Murikiyamattu with their parallels in Chowka Kala,
Madyamakala and Druta kala of Karnatic music also has been very
proficiently employed in music of Kathakali. The various talas

-34-
used in Kathakali like Atanta, Muriatanta, Champa and Panchari
resembles Khantajati Atatalam, Misra Chapu, Misra Jati jampa and
Roopaka tala of Karnatic music respectively.

Kathakali music abounds in various types of ragas; its own

distinct ragas, ragas common to it and Karnatic music, and also
ragas taken from North Indian music. Ragas like Indisa, Indalam,
Puraneeru, Padi etc. which are distinctive to Kathakali were
termed "Thiruvithamkoor ragangal" . Sri T. Lakshmana Pi11ai in
,,
his treatise "Travancore music and musicians has enunciated the
theory that the Kerala ragas are evolved from ancient Dravidian
music as seen in "Thevarakeerthanas" of Nambiyandar Nambi in the
IInd Cent. eg:- Indisa (Indisai), Puranira (Puranirai). Thus
even before the advent of Aryans there was a wel 1 developed
musical tradition of Dravidians. Lakshmanan Pillai suggests that
it is possible to theorise that these Dravidian ragas still
survive only in Kathakali music even while the Karnatic music is
an adaptation o f Arya n ragas for eg:- P a d i raga u s ed by
Muthuswamy Dikshitar in 'Sri Guruna' is considered as a janya of
15th mela - M ayamalavagau la. Another i s T h i r u v a tt iy oor
Thyagaraja's 'nannubrova' in raga 'Marvadanasi' which is a janya
of 22nd mela "Kharaharapriya".

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 From Sopana Sangeetha and Kathakali Sangitha, Kerala style
of music while travelling through the path of development led to
the emergence of a significant style of music combining the �ood
elements of both Sopana and Karnatic Sangeetha. Thus musical
importance in temples were also enriched. Temple rituals were
accompanied with one or other variety of music either on
instruments or vocal. In addition to singing of Ashtapadies in
specific ragas and talas specially composed kritis also were
included. Naturally this led to the emergence of concept of
Kshetra Kritis.

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