MUSIC IN DIVYANAAMA KEERTHANAI

BY

V.NAGARAJAN

ASSISTANT PROFESSORDEPT. OF MUSIC

QUEEN MARY’S COLLEGE

Abstract

This paper presents a study on the Divya Naama Keerthanai, its structure

and the ragas used in the same. Divya naama keerthanai composed in Raagas

Shankarabharanam and Sahana are presented here with a brief study of its

characteristic.

In troduction

The word Divya means ‘Divine’ and Nama means the names of the Lords.

Divyanama means ‘Divine Names’. Keerthana means chanting the glories

of God. Music is viewed as a heavenly bliss by ancient sages and used as

vehicle for spiritual pursuit. “Bhagavathamulu Kumikoodi Pade

Keerthanamala” explains that Saints sang the songs in praise of God in

groups with strict adherance to tradition. Divyanama keerthanas are rich in

meaning and are easy to grasp and sing in chorus. They are composed in

simple language so that even the people who do not have the knowledge of

music are able to understand and sing with ease. It is one of the forms of

devotional music. Divyanama keerthanas of Sadguru Thyagaraja are in

Sanskrit and Telugu.

In Bhajana Samprathaya, devotees assemble in groups and sing the simple

lyrics set to music with Tambura, Chapla or cymbal. It is a form of mass

prayer seeking universal peace. The tunes are simple with easy rhythm.

Soulful rendition of these compositions gives great joy. The Sapthaswaras

are considered not only equal to “Manthra – Bijakasharas” but are also the

very abode of the Goddess and aid in the attainment of moksha.

Methodology

Sir Thyagaraja’s Divyanama keerthanas are very lucid in style expressed in

poetic media with appealing musical settings in popular ragas. Not a single

Vivadhi-Raga is handled except ‘Varali’, ancient raga. These songs are set

to simple rhythmic patterns with the natural under-current of Sarvalaghu, the

constant background of rhythmic beats. Hence these compositions are

ideally suited for group singing. By introduction of Sangadhi’s or melodic

variations in his krithis Sir Thyagaraja has emphasized that melody is more

important in a highly artistic form in which dhatu & mathu form a

consumable whole.

Sadguru Thyagaraja has composed Divyanama keerthanas in almost all

ragas. Yet Shankarabaranam, Saveri and Varali are extensively used. Some

of his compositions contain one charana and some contain more than one

charana.

The commencement of the compositions and the charana is placed just after

the first beat of the avardha (thala). This is an ingenious device for the

group to start simultaneously after hearing the nadha of the cymbals of the

leader of the group and render the devotional hymns with the harmonious

blend of bhava, raga and thala.

Discussion

Here we discuss about few characteristics of the Divya Naama Keerthana

sung in Sahana and Shankarabharanam ragas.

1. Raaga – Sahana

Pallavi: Vandanamo Raghunandhana sethu

Bandhana bhaktha chandana Raama

Charanam:

1 Srithama Naadho vaadhama ne

Bhedhama idhi modhama Raama

2 Sri Rama Hricharamaa barova

Bhaarama raayabha rama Raama

The above keerthana has 9 charanas. The song brings out the

characteristics of the Raaga and the melody is the same throughout the

song. It evokes Karuna rasa and is set to simple thala meter.

2. Raaga – Shankarabaranam

Pallavi: Sri Raghu varadha saradhe Raama

Sri Raghu varadha saradhe Raama

Charanam:

1 Vandhitha suramani brindha paraathpara

Mandhara dhara Sri sundhara Raama

2 Sri kara koti vibhaakara bhaasusu

Dhaakara vadhana karunakara Raama

The above Keerthanai consists of 11 charanas set to Adhi thala. and

“Varaleela Ghana lola sura

Balasuguna jhaala paridha neela gala hru

Dhaalaya sruthi moola sugaru Naalavaala

Paalayasuma”

Is set to thisra lagu and is apt for singing when dancing in a circle by

clapping the hands.

Deepa Pradhakshina means going around the lamp in which God is invoked

to merge in jyoti swaroopa and going round it singing his praise

reverentially with appropriate abhinayas. The Bhagavadas sing the heroic

qualities of the Lord with the lamp placed at the center of the Sanchu

savtorithu, their hands performing the abhinayas, the feet dancing to the

rhythm and the mind concentrated on the God’s omni-potent qualities

(Naama guna – gaana bhajana).

Devotion has been conceived of nine folds. i.e. Sravana, Kirtana, Smarana,

Padasevana, Archana, Vandana, Dasya, Sakhya & Atma nivedhana. Sincere

Devotion to the Lord is emphasized as the essence of Kerthana. Sir

Thyagaraja in his Sangita jnanamu Bhaktivina reiterates the importance of

Bhakti in music.

Divine compositions of the various Mahanubhavas like Bhadrachala

Ramadas, Purandara Dasa, Thulasi Dasa, Surdasa, Meerabai, Sadguru

Thyagaraja etc. comprises the “Dasa Keerthanai’s”. They have all enriched

the legacy of our spiritual lore. The different musical forma pertaining to the

Maratha system like Abhays of Nama Dev, Gnana Dev and Thukkaram are

also rendered with great enthusiasm. Each of them is the appropriate

namavallis in praise of Rama, Krishna, Siva, Anjaneya and other deities.

Conclusion

Music is “atmartha”, and soul enhancing. It is a path to attain the absolute

bliss and Sir Thyagaraja’s divya naama keerthanas are the proof for the

same. They are not mere repitition of names of the Lord but infuse various

forms of bhakthi.

Bibliography

a. Advanced theory paper VI II year BA unit 4 Forms belonging

to devotional music by Dr Kalakadu R Sitalakshmi.

b. The Spiritual heritage of Thyagaraja by C. Ramanujachari and

Dr. V.Raghavan.

c. St. Thyagaraja’s Divya naama keerthanas by Smt.

VidyaShankar.

d. Thyagabrahmathin Divya naama keerthanaigal by Dr. S.

Ramanadhan.