LS. RAJAGOPALAN was widely known as a treasure house of information on many art subjects like Katiyattam, Kathakali, Krspaffam, Veda chanting, etc. LSR, as he was known among his friends and admirers, has been a guru and guide to a large number of students and researchers in the field of performing arts of Kerala during the last fifty years. The present book is a collection of his articles published in different journals, covering a wide range of topics, connected with temple and folk musical instruments and the artistic legacies of Kerala.
Most of these articles were written as texts of lecture-- demonstrations of the musical instruments held at the annual conferences of the Madras Music Academy and published in its journal during 1967-77. Enriched by legends, tales and anecdotes, these writings give a wealth of information about Kerala's arts and provide an inspiring exposure to the musical culture of the region.
Right from the references from Natyasastra and Silappadikaram, the age-old authoritative texts dealing with Indian aesthetics, the author has enumerated all the divisions of ghanamh (solid or idiophone), avanaddhath (membrophonic); suşirah (aerophonic or wind); and tatarit (chordophonic or string) widyas of the region. While dealing with the rhythm instruments, he reflects on a very relevant fact about the dearth of melodic instruments in the Kerala musical tradition. The stringed musical tool of the folk variety known as pulfuron chia is the only one of its kind, with a single string made from a particular creeper, creating a peculiar muffled drone to accompany the ritualistic songs related to serpent worship. There are two other fata cadas (chordophonic variety), nantuni and pulluvan kufam, both belonging to the plucking type, which create a tonal and rhythmic support to vocal music.
We find only a very limited number of susira (acrophonic) radyas like kompu and kulal, both being used mostly to support the rhythm ensembles by giving a melodic flow.
Sankha (conch) stands unique as a susira vadya to produce an auditory effect of highly auspicious nature. It helps also to create a ritual thrust of dramatic dimension. In the article on kompu vadyam, the references to wind instruments in the Mahabharata and Bhatgauta are presented.
The place of rhythm instruments both ghanam (idiophone) as well as avanaddham (membrophone) is unique in the Kerala musical system and this fact is amply suggested by the author in the naming of his book as Temple Musical Instruments of Kerala. None of the string and wind varieties has transcended its folk limitations or nuances to develop into highly classical level of expression. However, the cardinal musical quality of the region demonstrates itself in the obviously interesting mixing of the subtle and gross sound patterns in an instrument like ifakka. The etymological details about the nomenclature and the mythical beliefs connected with this devavadya are dealt with at length which indeed would provide a treat for the reader.
**Contents and Sample Pages**
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