MUSIC IN DIVYANAAMA KEERTHANAI

BY V.NAGARAJAN ASSISTANT PROFESSOR DEPT. OF MUSIC QUEEN MARYS 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. Introduction 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 Thyagarajas 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 Sangadhis 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 Gods 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 Keerthanais. 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 Thyagarajas 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. Thyagarajas Divya naama keerthanas by Smt. VidyaShankar. d. Thyagabrahmathin Divya naama keerthanaigal by Dr. S. Ramanadhan.