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The style of music having its origin in Kerala as differentiated from the music of other parts of Thamizagom and North India, is termed as Sopana. This is the music of Kerala which is pristine and having its own individuality and uniqueness. As the name suggests, the music is related to Sopanam, or steps to the Sanctum sanctorum of Kerala temples.
The significance of the name given for this style of music is multi-faceted. The singers who are known as ‘Maaras ,’ used to sing Ashtapadi to the accompaniment of Edakka played by themselves. They stand in front of the Sopanam, or steps of the Srikovil or the sanctum sanctorum of the presiding deity. This is known as ‘Kottippaadi Seva’ (service by singing to the accompaniment of the percussion instrument) in the temples of Kerala. The style of singing is in slow tempo or vilambitha laya, just like the ascending and descending of the Sopana or steps, developing gradually, step by step. The style of modulation of tones can be compared to the rise and fall of sea waves in a rhythmic, beautiful manner. This style came to be known as ‘Sopanam’ style of music. There exists another opinion regarding the significance of the name. The term ‘Sopanam’ has its roots in the Sanskrit word ‘Sobhanam’ meaning dance or nrittham. The music used for nrittha was given the name as Sobhaana Sangeetham, gradually changing to ‘Sopaam Sangeetham’. This style was also termed as Bhava Sangeetha, Hridaya Sangeetha and Samaya Sangeetha. It is music full of bhava (mood) emanating from the heart and is time honoured. Sopana Sangeetham has influenced Desi Sangeetha and Karnatic music, to a great extent.
Sopana Sangeetham is evolved by codifying the essential and good elements of the music of the Vedas, folk as well as temple music. During the 14th and 15th centuries, when Ashtapadi singing was implemented in the temples of Kerala, they were rendered in the Sopana style of singing. But originally, Tyaani, also known as Taaivaani, and Dhyaani are sung along with Ashtapadis. Tyaaani is a form having 8 lines. These are also to be sung in specific ragas and talas.
Sopana Sangeetham is also believed to have some resemblance with the khyal singing of Hindusthani music wherein Vilambitha style of singing is followed. Further Karnatic music in Kerala is also believed to have developed on the footings of Sopana Sangeetham. However, in Sopana Sangeetham, devotion or Bhakthi is of prime importance. Hence lesser importance is given for swara sancharas, gamakas and detailed alapana or improvisation. Limited alapana will be accompanied by playing the Edakka. The Octave or tessitura of singing will be limited to one octave generally. Being sung in a swinging manner, priority will be given to Andolita Gamaka with swinging type in its ascent and descent. However, the fundamentals of Karnatic music such as sruthi, swara, raga and tala can also be found in Sopana Sangeethamm. Main difference is on the usage, style and prayoga (application). Ragas used mainly are Desakhi, Srrekandi, Nalatha, Malahari, Banli, Samantha, Malohosvi etc. Sopana Sangeetham can be considered as Kalpitha Sangeetha i.e., one set to specific norms whereas in Karnatic music, Manodharma is given importance.
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