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The instrument was one of the ancient native music instruments developed and used by the Tamil people. [2] [3] Parai is mentioned in Sangam literature and was used to make announcements, with the announcers termed as Paraiyar. [4] [5] Kuṟuntokai from the Sangam period mentions the usage of the parai instrument in auspicious occasions.
The ancient Tamil music is the historical predecessor of the Carnatic music during the Sangam period spanning from 500 BCE to 200 CE. [1] Many poems of the classical Sangam literature were set to music. There are various references to this ancient musical tradition found in the ancient Sangam books such as Ettuthokai and Pattupattu.
The Hindu music review called the album "A Major Event in the World of Music". [1] As of 15 July 2020, the album got into Amazon's Top#10 best seller list under International Music category. The album consists of seven songs, a collection of outstanding ancient Tamil Sangam literature poetry with music composed by Rajan Somasundaram and sung by ...
The early narrative poem Silappatikaram, belonging to the post-Sangam period also mentions various forms of music practiced by the Tamil people. Music was also utilised in the compositions of the Tamil Saiva saints such as Appar , Thirugnana Sambanthar and Manikkavasagar during the Hindu revival period between the sixth and the tenth centuries CE.
The oppari singer sings, wails and beats her chest and accompanied to the sounds of a beating drum she helps mourners bring their buried grief to the surface. [4] A sample theme of a daughter lamenting father's death is described below: Her body, wracked with grief, sways and her full-throated voice rises and falls as she talks to her father.
In the post-Sangam period, between the third and the fifth centuries CE, Tamil music evolved to a higher sophistication. Cilappatikāram , written around the fifth century CE, describes music based on logical, systematic and scientific calculations in the arrangements of the dancers on the stage to represent the notes and panns .
Hindōḷaṃ is a ragam in Carnatic music (musical scale of South Indian classical music). It is an audava rāgam (5 notes in arohana and avarohana) as it does not have all the seven swaras (musical notes). Hindolam is not the same as the Hindustani Hindol. The equivalent of Hindolam in Hindustani music is Malkauns [1] (or Malkosh [2]).
Sargam refers to singing the notes, mostly commonly used in Indian music, instead of the words of a composition, with use of various ornamentations such as meend, gamak, kan and khatka, as part of a khyal performance. This is generally done in medium-tempo as a bridge between the alap and taan portions.