Browsing by Author "Kumara, C.R."

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    Positive Aspects of Indian Classical Music on Child Personality Development (Psychological Approach)
    (Faculty of Graduate Studies, University of Kelaniya, 2015) Kumara, C.R.
    The basis of this project is to identify how Indian music can be used in a positive way to develop personality of children of ages 10-13 years. Many researchers have generally examined why music is so important in child personality development. However, they have no fundamental ideologies about the different types of age groups of children neither do they identify significance musical styles. Apparently music can be a positive to improve force a mental health, calming, relaxing, and it is an intellectual stimulating source. The method of this project utilized is of the home environment depends and effect to focusing on the following musical aspects as such interest on music, listening to music, learning music, playing musical instruments, and singing etc. How music can make an impact to develop selfconfidence, improve expression, concentration and creative mind, knowledge and memory will be studied. The expected results will prove that the different aspects of Indian Classical music play an important role in developing various psychological factors mentioned above. Therefore the present studies focuses on identifying the various aspects and factors of North Indian Classical music in improving the personality of children of the ages between 10-13 in Sri Lanka.
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    Sri Lankan Buddhist chants (Paritta) and indigenous music
    (International Conference on the Humanities (ICH 2018/2019), Faculty of Humanities, University of Kelaniya, Sri Lanka, 2018) Kumara, C.R.
    The focus of this research is to identify the history and evolution of Sri Lankan Buddhist chants and its musical elements that forecasted the indigenous musical tradition in the country. Apparently, the Buddhist relgious chantings broadly consistent with the canonical texts in Theravada Buddhism called sutra. Pirit (derived from paritta="protection' in Pali) is a style of intoned recitation based on phonological properties of the Pali language as well as restricted melodic intonations of three tone scale. Such was performed necessarily reveals the nature of music in the country in its prolonged history for which we can find some live evidence from the paritta chantngs practiced in Sri Lankan Buddhist temples as well as in domestic practices in various occasions ie; house warming.wedding ceremonies etc., The Buddhist recitals of blessings (Jayamangala Gathā) is a remarkable sign of Budhdist religious musical practices in Sri Lankan, espcially performed at wedding ceremonies, also an evolved secular practice from the religious chantings pirith. It is evident that the chanting of verses or stanzas is performed with the metrical pattern. The stanzas of chant has been written in ―gi‖ metre which was generally used to write poetical verses in ancient literature. The Jayamangala Gathā is composed in vasantatilakā metre. The Ōse in sinhalese paddy songs is also recognisable with its melodic pattern that has followed the same metrical stye of Pirith chantings. This linear engagement of the applicatin of same metrical recitation technique from religious chantings (pirith) to the folk lore and various cultural events prove that the Sri Lankan Theravada chant tradition might have well afforded to the rich insights of indigenous Sri Lankan music principles and traditional music styles. The study will use the digital tuner system and audio records. A field survey, a survey of literature and scholarly studies will also involve in the methodology
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    රාවණහත්ථ වීණාව සහ රාජස්ථාන් ජන ජීවිතය
    (Faculty of Humanities, University of Kelaniya, Sri Lanka, 2016) Kumara, C.R.
    This paper examines the Historical background and the significance of the Ravanhattha veena and its hereditary players in Rajasthan, India. The persistence of this instrument is evident in different regions i.e. Gujarat, Haryana, Uttar Pradesh etc. The epic literature such as Ramayana, Pabuji (Rajasthan own epic) also refers to the instrument. It is invariably referenced in ancient Indian Musical texts since the 7th century, with various epithets. Ravanhattha is also associated with the mythological king Ravan from Sri Lanka, whose period of reign dates back to at least six thousand years, according to Ramayana. The study will involve both a literature and field survey that includes live discussions and communication with the particular community (Bhopa) who have inherited the so called ravanhattha veena by the candidate.
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