Antiquity of Tamil music

SILAPPADIKARATHIL ISAI SELVANGAL: Salem S. Jayalakshmi; International Institute of Tamil Studies, CPT Campus, Taramani, Chennai-600113. Rs. 80.

THE BOOK is an attempt to put before the readers the antiquity, primacy and sweetness of Tamil music based on references in the Silappadikaram. In her foreword, Salem Jayalakshmi acknowledges that through the treatise ``Karunaamrita Saaram'' of Thanjavur Abraham Pandithar she found links to the Silappadikaram that gave an insight into the roots of Tamil music. From her deep research she has brought out how all the nuances of classical music like gamakas, microtone, 22 srutis, the tala structures, musical instruments find a prominent place in the Silappadikaram and she concludes that lack of well-researched treatises is the cause of ignorance about the wealth of information in the Tamil epic.

The objective of the volume, in her words, is to clear several confusions prevailing regarding the origin, growth and development of classical Carnatic music.

She makes pointed reference to the grammar of music, dance along with the way of life of the people living during the period of Ilango, the author of the Silappadikaram.

She says how the several ancient commentators on the epic have truly reflected the milieu in which fine arts flourished. In this connection she stresses that hardly can one find a Sangam literature without reference to music and dance. She gives Tamil words found in the ancient works identical to many musical technical terms. Along with this are descriptions of yazh, flute, percussion instruments.

Tracing the unfortunate decline of interest in Tamil music she feels that many treatises in Sanskrit, Telugu, since the 15th century caused confusion. It is in this context she speaks of the contribution of Thanjavur Abraham Pandithar and Swami Vipulananda of Sri Lanka.

In the whirling of time many Tamil works on music had disappeared and if classical music is continuing it is due to transmission by the ear. So she feels that the roots of music and dance in India have to be traced deeper than what is contained in the non-Tamil treatises.

In support of her views she quotes many passages from the Silappadikaram from the basics of the musical system to development of alapanas, swaras etc. There is also detailed discussion on the 72 melakarta scheme. There is a chapter on the tradition of Thevaram. To many the Tamil terms she has mentioned may appear strange but they have the authenticity from their usage in the days of the Silappadikaram.

The author has painstakingly gone into the core of the Silappadikaram's contribution to Tamil music and her work would be of immense interest to musicologists to get a glimpse of the Tamil epic's sweep about which ignorance prevails.

SVK

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