Chapter XIII CULTURE - Government of Karnataka

A Handbook of Karnataka 518
and solid. They also reveal familiarity with an astonishing number of these
instruments which were in vogue. Among the stringed instruments kinnari,
vellaki, vipanchi, ravanahasta, dandika, trisari, jantra, swaramandala and
parivadini find a mention. Shankha, shringa, tittira, kahale, vamsa, bambuli
are the wind instruments mentioned. Among the large number of percussion
instruments ottu, karadi, mridanga, dhakka, patha, dundubhi, panava, bheri,
dindima, traivali, nissala, dhamaru, chambaka, dande, dollu and ranja are
prominently mentioned. Some solid instruments used were ghanta, jayaghanta,
kinkini, jhallari, tala and kamsala. Palkuriki Somanatha mentions about 32
types of veenas and 18 types of flutes.
Khanda, Shukasarika, Tripadi, Chatushpadi, Shatpadi, Varna, Dhavala,
Suladi, Pada, Vachana, Kirtana, Tattva, Ugabhoga were the different types
of composition. Karnataka had a great number of reputed composers
whose compositions are popular and relevant even today. There were many
composers of the Veerasaiva faith like Sakalesha Madarasa, Basavanna,
Nijaguna Shivayogi, Muppina Shadakshari, Bala Leela Mahanta Shivayogi,
Nagabhushana Ghanamatarya, Madivalappa Kadakola, Nanjunda Shivayogi,
Karibasavaswamy and Sarpabhusana Shivayogi. The Haridasa Kuta is said
to have been founded by Narahari Teertha, the disciple of Madwacharya.
Sripadaraya was called Haridasa Pitamaha. The Haridasas composed songs
in Kannada in praise of Lord Vishnu. Vyasaraya, Vadiraja, Purandaradasa,
Kanakadasa and others composed Kirtanas. Mummadi Krishnaraja Wodeyar
was also an able composer.
Purandaradasa strode like a colossus in the musical history of Karnataka.
‘Pillari geetas’ composed by Purandarasa form the foundation for learning
Karnataka music even today. Purandaradasa is revered as the ‘Karnataka
Sangita Pitamaha’ and is credited to have given a new direction to Karnatak
music.
In the 19th and 20th centuries, there was a marked separation of the popular
and classical compositions. Mysore Sadashiva Rao adorned the royal court of
Mysore and was the guru of celebrities like Veena Subbanna, Sheshanna and
others. Mysore Sadashiva Rao, Subbanna, Sheshanna. Sambaiah, Muthaih
Bahgvathar, Mysore K. Vasudevacharya (composed in Kannada, Sanskrit
and Telugu), Devottama Jois, Karigiri Rao, Bidaram Krishnappa, Mysore T.
Chowdaiah, Jayachamaraja Wodeyar, Aliya Lingaraja, Veena Krishnacharya,
Rudrapattnam Venkataramanayya, Tiruppanandal Pattabhiramaiah, Kolar
Chandrashekara Sastry, Bellary Raja Rao and others have left behind a rich
tradition of their compositons. Among the lady musicians mention may be
made of Bangalore Nagarathamma who renovated the samadhi of Sri Tyagaraja
at Thiruvaiyar.
The reign of the Wodeyar of Mysore may be considered the golden age of music
in Karnataka. They extended patronage to local musicians and also musicians
of other regions. Veena Bhakshi Venkatasubbayya, Shivaramaiah, Pallavi
Ramalingaiah and Lakshminarayana were prominent among the musicians
of the state who received royal patronage. Other eminent vocalists who lived
elsewhere or graced the Mysore durbar were Sadashiva Rao, Lalgudi Ramayyar,