Essay name: Musical Instruments in Sanskrit Literature
Author:
S. Karthick Raj KMoundinya
Affiliation: University of Madras / Department of Sanskrit
The essay studies the Musical Instruments in Sanskrit Literature and its relationship with the South Indian musical tradition. The study emphasizes the universal appeal of music and documents how it pervades various aspects of life, art, literature, painting, and sculpture.
Chapter 4 - A comparative study of the references to Musical Instruments
7 (of 39)
External source: Shodhganga (Repository of Indian theses)
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The Porunar were further divided in to 3 sects:
膾rk膩lam P膩峁璾v膩r: Those who entertained farmers and peasants
and were folk musicians.
P艒rkk膩lam P膩峁瑄v膩r: Those who accompanied kings to the
battlefield. They played on instruments and music appropriate to the
time of battle and also during recess so as to infuse courage in the hearts
of the warriors and also to soothe the pairs of wounded men. They
played on Tan峁璦ripparai.
Para峁噄: They displayed their musical talents in festivals. They
probably sang the valorous deeds of the kings in the battlefields. Once
the festival was over in one place, they moved to another. Para峁嚹� is also
said to be a type of K眉ttu or dance. Hence, these Porunar must have also
been adept in dancing and must have made their presentations in the
form of dance operas.
The P膩峁嘺r had the following groups:
Icaipp膩峁嘺r: Vocalists
Y膩lpp膩峁嘺r: Instrumentalists who were mainly the Yal players.
There were two subsections in the Y膩lpp膩峁嘺r. They were the Perum
p膩峁嘺r who played on the Peri Y膩l and the Cirupp膩峁嘺r who played on
the C墨ri Y膩l.
Montaipp膩峁嘺r: Those who sang with begging bowls.
