Introduction
Purandara Dasa (1484-1564), revered as the "Father of Carnatic Music," was an influential composer, singer, and philosopher who revolutionized the South Indian musical landscape. With his prolific contributions and innovative teaching methods, he played a pivotal role in shaping the foundations of classical Carnatic music.
Early Life and Initiation
Born Srinivasa Nayaka to a wealthy family in Shimoga, Karnataka, Purandara Dasa initially pursued a career as a merchant. However, at the age of 32, he underwent a profound spiritual awakening while hearing a discourse by the saint Vyasatirtha. Inspired by this encounter, he abandoned his materialistic life and embraced the path of devotion.
Musical Innovations
Purandara Dasa is renowned for his revolutionary contributions to Carnatic music. He simplified its complex theory, making it accessible to the common man. He introduced a system of 72 melakartha ragas (melodic frameworks), which laid the groundwork for the organization and classification of ragas in Indian music.
Dasa Sahitya and Keertanas
Purandara Dasa composed an astonishing 475,000 keertanas (devotional songs) in Kannada, earning him the title "Karnataka Sangeetha Pitamaha" (Father of Karnataka Music). His songs, known as "Dasa Sahitya," are characterized by their simple melodies, catchy rhythms, and profound philosophical teachings.
Teaching Legacy
Purandara Dasa established a gurukula system of music education, where students lived with and learned from their teacher. He believed that music should not be confined to temples or courts but should reach the masses. Through his systematic approach to teaching, he trained countless disciples, including some of the greatest Carnatic musicians of his time.
Impact on Carnatic Music
Purandara Dasa's impact on Carnatic music is immeasurable. His compositions form the core repertoire of the genre, and his teaching methods continue to shape the education of musicians to this day. He is credited with popularizing the system of varnams (vocal exercises) and nurturing the development of lakshana sangeetha (theoretical music).
Devotional Philosophy
Purandara Dasa's music was deeply rooted in devotion to Lord Krishna. Through his keertanas, he preached the importance of bhakti (devotion), nada bhakti (devotion through music), and hari nama sankeertana (congregational singing of God's name). He emphasized the transformative power of music in uplifting the human soul.
Legacy and Honors
Purandara Dasa's legacy continues to inspire musicians and music lovers alike. He has been bestowed with numerous posthumous honors, including the Sangeet Natak Akademi Award (1964) and the Padma Vibhushan (1991). His birth anniversary is celebrated as "Purandara Dasa Aradhana" in Karnataka, coinciding with the Vasant Panchami festival.
Genesis and Significance
Purandara Dasa's most significant theoretical contribution was the development of the 72 melakartha ragas. This system organizes ragas into 12 groups based on their fundamental scale (mela). Each mela gives rise to six janya ragas (derived ragas), resulting in a total of 72 melakartha ragas.
Melakarthas in Practice
The melakartha system has been instrumental in the classification and study of ragas in Carnatic music. It provides a logical framework for understanding the relationships between different ragas and their melodic characteristics. The 72 melakartha ragas serve as the foundation for the exploration and improvisation of countless other ragas in the genre.
Melakarta Raga | Melakartha No. | Fundamental Scale |
---|---|---|
Kanakangi | 1 | Sa |
Ratnangi | 2 | Sa |
Ganamooorthi | 3 | Sa |
Vanaspati | 4 | Sa |
Manavathi | 5 | Sa |
Tanurupi | 6 | Sa |
Senavathy | 7 | Sa |
Hanumatodi | 8 | Sa |
Dheera Sankarabharanam | 9 | Sa |
Naganandhini | 10 | Sa |
Yakashree | 11 | Sa |
Rathnangi | 12 | Sa |
Gowri Manohari | 13 | Ma |
Varaali | 14 | Ma |
Mayamalavagowla | 15 | Ma |
Chakravakam | 16 | Ma |
Suryakantham | 17 | Ma |
Hatakambari | 18 | Ma |
Jyothiswaroopini | 19 | Ma |
Saveri | 20 | Ma |
Kharaharapriya | 21 | Ma |
Gayakapriya | 22 | Ma |
Vachaspathi | 23 | Ma |
Manirang | 24 | Ma |
Tanuki | 25 | Pa |
Senapathi | 26 | Pa |
Suddha Saveri | 27 | Pa |
Jhanjooti | 28 | Pa |
Natabhairavi | 29 | Pa |
Kokilapriya | 30 | Pa |
Rupavathi | 31 | Pa |
Gayathri | 32 | Pa |
Vasantha | 33 | Pa |
Bhavani | 34 | Pa |
Kalyani | 35 | Pa |
Salaga | 36 | Pa |
Saranga | 37 | Da |
Harikambhoji | 38 | Da |
Mukhari | 39 | Da |
Kurinji | 40 | Da |
Karaharapriya | 41 | Da |
Gouri Manohari | 42 | Da |
Varunapriya | 43 | Da |
Manorama | 44 | Da |
Natakuranji | 45 | Da |
Kanakangi | 46 | Da |
Ramapriya | 47 | Da |
Gamanashrama | 48 | Da |
Viswambhari | 49 | Ni |
Shahana | 50 | Ni |
Suddha Dhanyasi | 51 | Ni |
Suddha Rasikapriya | 52 | Ni |
Suddha Seemantham | 53 | Ni |
Suddha Malava | 54 | Ni |
Dhanyasi | 55 | Ni |
Senavathy | 56 | Ni |
Hanumatodi | 57 | Ni |
Latangi | 58 | Ni |
Suddha Dhavalambari | 59 | Ni |
Suddha Nata Bhairavi | 60 | Ni |
Revathi | 61 | Ga |
Punnagavarali | 62 | Ga |
Margi | 63 | Ga |
Chandrajyothi | 64 | Ga |
Salaga | 65 | Ga |
Jyothiswaroopini | 66 | Ga |
Nachiketanam | 67 | Ga |
Keeravani | 68 | Ga |
Kedaragowla | 69 | Ga |
Bhairavi | 70 | Ga |
Sreeragam | 71 | Ga |
Kanakangi | 72 | Ga |
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