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Kshetram vadyam is the ritual music of South India. This is the main traditional music of Kerala state. It is a percussion dominated music. ==Basis== Even in comparison to the classical carnatic music of South India, the hallmark of Kerala music lies in the dominance of percussion instruments, having its roots in the traditional kavu ritual music and the natural environment. Modern Kerala gives us hints of the sources from which these early musicians had created such a mighty and powerful music: the hammering sound of the woodpecker; the various sounds of falling rain on leaves or thatched roofs in the long rainy season; the croaking of the frogs after heavy rainfall; storm and wind moving the leaves of trees, bushes and grass. Or the man-made sounds: the regular noise of wood cutting and chopping; the washer women beating the dirty clothes onto the stones at the river or temple pond. The Malayalees only distinguish two forms of music kutuka (to drum) and pattu (to sing). It is interesting that the term pattu is also used for solo instrumental genres, with instruments like kuzhal (oboe) and kombu pattu (horn). Percussion domination means that the musical framework of the pieces is not determined by a melody or raga, but consists of a very sophisticated rhythmical structure and content. The ‘melody’ of a piece is formed through a prominent rhythmic sound. Depending on the ritual this rhythm melody is more or less elaborated, and more or fewer compositional or improvisational elements are employed. A melody or raga, where it is used, is usually subordinated to the rhythm (an exception of this rule is kuzhal pattu). The term percussion-dominated indicates that the main instruments are drums and cymbals and the rhythmic structure is the main feature of the music. The wind instruments have in this sense a subordinated role to play. Actually, the function and entry of kuzhal and kombu in the big orchestras is very much the same as a rhythm instrument. The wind instruments have to embellish and to prolong the beat of the drums, to give signs for taking up the kalasom (a kind of cadential phrase) and have to play some pattern on the given talam. Common to all percussion items is that each single music genre represents a unique musical piece. Therefore one of the bigger orchestral pieces, like the chenda melam (or melam), is always played with the same rhythmic structure. The beauty of every performance is the result of an intelligent and experienced combination of time and tempo. This combination is mainly responsible for whether the concert develops into a superior or merely an average performance. The main responsibility for this very difficult artistic task lies with the skill of the band leader, who is always a drum player and belongs to the Marar or Pooduval community. He is responsible for guiding the other musicians through the given time frame, to perform a chenda melam in one, two, three or even four hours. The position of the bandleader in melam is to be the most important solo musician, responsible for the pace and progress of the piece, rather than being a conductor guiding the orchestra from the front. The informal and relaxed atmosphere is enhanced by the band playing in front of the elephants, the audience pushing from all sides and punching the air with their fists. A point of confusion, especially in relationship to Karnatik music, are the terms and descriptions of the many talam (rhythm) cycles used in Kerala music. Though there are a certain distinctive number of talam cycles en vogue (i.e. with distinct numbers of beats and subdivisions) the terms vary by region, genre, and musician groups. We mention the talam cycles and subdivisions as we deal with each genre, using the name most commonly mentioned by the musicians of that genre. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Kshetram vadyam」の詳細全文を読む スポンサード リンク
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