ROLE OF TEMPLES IN INDIAN MUSIC

Bharat (India) the word itself says how rich and spiritual heritage It carries of. The
spiritual lineage is so powerful that it drew the attention of the whole world towards her.
Spiritual thoughts along with cultural values and art forms all paved way to promote and
develop natural skills that were bound in each and every individual by giving birth to
institutions named as temples. Temples are like Social and cultural centers. A center to
celebrate rituals as a part of tradition. Ancient india was a place for the development of
intellectual and cultural faculties of humans in addition to worship of God. Even today in
southern part of india is considered as the seat of culture and knowledge. Temples played a
major role in preserving various arts and science and promting, propogating culture.
Hinduism is the only religion that’s mostly pervading all over India. The spiritual
masters, sages, acharyas promoted the idea of temple worship by laying rules for priests
regarding how to conduct rituals in temples.The creation of temple was the result of man’s
desire to present god in a known form. The materials that are used to build temple are
rocks,sand, stone. Sculptures, icons etc., plays the role of anatomical representation of the
known form i.e., Human form. Temples served the purpose of educational institutions was
supported by the inscriptions engraved on the walls of several temples. Most of the
information was engraved on the stones which fulfilled social and religious needs.
In India especially the southern part witnessed the bhakti movement in the early
medieval period. The origin of tevaram (consists of 796 Hymns) and Nalayira
DivyaPrabandham (4000 stanzas) through which a huge amount of philosophical thoughts
and spiritual pursuit were conveyed were kept as a mandatory as part of the rituals
performed in the temples.
During the pallava king Mahendra verma-I around 600 to 630CE Tirunavukkarasu
(appar) was relieved of his sufferings from a stomach ailment with his first Tevaram
“kootraayina vaaru vilakkahagiler” sung in the raga Navaroju. Gnanasambandar was
believed to be the youngest composer in the history of music at the age of 3yrs he sang his
first hymn in the ragam nattai. During early part of 9th century, sundaramoorthi nayanar
commenced his first pathiham in three words, “pithapirai soodee” in mayamalava goula. Of
63 saiva saints only these three have sung tevarams and aptly known as tevara
trinity.acording to Tirumurai Kandapuranam, Sambandar had sung 16000, appar had sung
49,000 & sundarar had sung 38,000 pathihams. Whenever they used to go on a piligrimage
tour they used to praise the God there with these. These were sung by musicians called
oduvars in saiva temples. The three saints used only twenty-four panns(among 103 panns),
mentioned in tamil music.at the end of each composition, these were mentioned
1.the theme of the song,
2.lyricist’s name,
3. Pann name &
 4. The composer’s name.
Pann is a mode which is used only for devotional music. The melody set for the
hymns are called as pann. The term raga is used for few panns as natta ragam etc.,
Nalayira divya prabandham is a collection of 4000 verses called as paasuras which
were composed by panniddar alwars(12 alwars). These were collected and compiled by
Nathamuni during 9th century. These were set to sing in every Vaishnava temple by
nathamuni himself. Alwars have sung these praising the God presenting in 108 divya
desham’s all over India.In southern part of india this is equivalent to vedas which is called as
the dravida vedam. Out of these 108 divya deshams(shrines) 106 can be visited. A Vaishnava
hopes to visit atleast once In their lifetime. The chanting of the paasurams have become a
routine in the vaishnavate houses along with them singing and miming in the
temples.Tirumangai alwar one among the twelve alwars of srivaishnava sampradaya used to
chant his own tirunedundaandagam at srirangam temple( which is the 1st divya desham) as
his humble offering to Him.Nathamuni he himself is well versed with yoga and music.
Nathamuni’s contribution was incredible as far as Vaishnavism is considered. These were
quoted In Guruparampra prabhandhams, acharya hrudayam and kovil vozhugu, temple
inscriptions are palm leaf records of srirangam temple.Along with the reciting of vedic
hymns, these were also sung as munnadi and pinnadi (first & later halves) of a pasuram.
This has influenced the musical aspect which resulted in the new style of singing in
temples. Music is one of the means of spiritual expression. Bhakti is a real and genuine
search after the lord. Varied musical forms are rendered in temples. The priest provides the
deity with the needs of daily life pleases him/her with upacahras and recitation of hymns
and arrange a calendar of festivals for the entire year.
Kings maintained courts, musicians and musical instruments. They engraved
inscriptions and sculptures of music on temple walls and on the hills of temples. Kings were
appreciated by donating lads, gold etc., to the musicians and dancers for the cultural
development of the temples. The idol in the temple is sanctified with all the offerings and
prayers that are performed inside it. The divine power helps in the well-being. These are
called utsavams.
Utsavams (rituals) are performed for the wellbeing of people. Ritual is a form or
system of rites to be observed in temples. Music is inherent in temple worship as temple is
adobe of God. Temples are an embodiment of the best of all fine arts in which music is the
finest among all. Temples are repositories of art, architecture, sculpture and culture.
Temples are constructed based on the agama shastras. Sri Vaishnava temples follow
paancharatra! While others follow saktyagama vaikhanasa aagama etc., all the prayers are
done following the Veda hymns which consist of Udaatta, anudaatha, swarita, deergha
swaritham. Vedic texts are rendered with the swaras. There are like nityotsava pakshotsava
masotsava ayanotsava samvatsarotsava etc., depending on the seasons other utsavams like
kalyanotsavams, brahmotsavams etc.,
 Many ragas, talas etc., gave raise due to the temple festivals. Most of the
compositions were composed usually in triputa, eka, khanda talas while singing. In different
parts of the country different vaaggeyakara compisitions were set mandatory as the service
offered to the lord. Like nalayira divya prabandham, Krishnamacharya vachanams were set
to sing in each and every temple. Music is given utmost importance by appointing some
permanent employees viz., nadaswaram, dolu(tavil) vidwans to perform while the rituals are
happening.
In every ritual music is involved in one way or the other. Right from the suprabhatam
where the theertha binde( a pot with water is taken to perform the snanaasana for the god)
is carried on an elephant, to perform the proceedings where ragas like bowli were sing or
played using shehnai (clarinet) & Dolu (Tavil). After that while harati time some Mangalakara
ragas were sung/played.
Music is a part and parcel of every ritual that is performed in the temple right from
1. Suprabhata waking up the GOD
2. Snapanam (neeraattam)
3. Harati
4. All the sevas
5. Sayanam (making the God sleep).
Music, the universal language is a gift. “sisruvetthi pasurvetthi vetthi gaana rasam
phanihi”. To sing praises and express devotion. Temples in south India played a great role in
the preservation and development of music. On the gopuras and prakaaras the art of music
and dance were illustrated. The richness of these reflects the devotion of that period for
both music and dance. The development of these fine arts as time progressed can be
observed by the sculptures on the temple.The ancient temples following the rituals for over
a 1000yrs have developed traditions and special offerings peculiar to each one of them. The
composers/vaaggeyakaras showed their devotion through the compostions.
Saiva/Vaishnava acharyas paved way to many Carnatic music compositions. These
compositions are the most important source of material when one studies various aspects
of temple and music.