Browsing by Author "Kumara, J.C.R."

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The Ethno-Musicological Aspects of Sri Lankan Music during the period of King Dutugemunu (161-137 BCE).
(19th Conference on Postgraduate Research, International Postgraduate Research Conference 2018, Faculty of Graduate Studies,University of Kelaniya, Sri Lanka, 2018) Kumara, J.C.R.
This research examines the historical background and the significance of Sri Lankan music during the period of King Dutugemunu (161-137 BCE). The literary evidence and the data analysed in the present study is significant because they reveal some important facts with regard to the origin and evolution of Sri Lankan music from the period of Anuradhapura. The evidence found from the particular period is diminished for a period, perhaps a century or more, and the causes of its disappearance can be evolved at various dimensions one of which is the diverse indological perspective of analysing and arguing the data, attempting to assum the Indian inspiration. 20th century Sri Lankan studies attempt to pursue the studies on Sri Lankan origin in which the present study scets the authentic characteristics of Sri Lankan music during the relevent period. The Impact of Buddhism on Sri Lankan Music during several phases of the selected period was necessarily discussed in this research to identify its foreign elements. It can be concluded that the evidence found from the particular period have provided some independent and indegenous characterestics of Sri Lankan music is resembles the ideological underlining of foreign inspiration with the passage of time and the need of the society.The present study involved both literature survey and the evidence and elements of the Sri Lankan music that were obtained from the primary source i.e. Mahavamsa, Chulavamsa and other texts, scholarly studies, and an examination of archeological information
The impact of Sanskrit Prabandha (compositions) on Hindustani Music (Based on Brihaddeshi and Sangitaratnakara)
(International Conference on Sanskrit and Eastern Studies, 2018 Department of Sanskrit and Eastern Studies, Faculty of Humanities, University of Kelaniya, Sri Lanka, 2018) Kumara, J.C.R.
The focus of this study is to identify the significance of Sanskrit Prabandha (compositions) and its impact on Hindustani Music during the period from 7th Century - 13th Centuries CE. The Musical edifice specified as Gāna (compositions), in Indian musicological parlance has two facets viz., Nibaddha (structural) and Anibaddha (unstructural). The Nibaddha which organized by dhatus (sections) and Angas (integral parts) is called 'Prabandha'. Sanskrit Prabandha (Pra + Bandh > well tied or well bound) is a type of musical composition set to words (pada), rhythmic patterns (tāla), metrical composition (chandas - vrtta) and governed by six elements (anga) viz., Svara, Viruda, Pada, Tena, Paata and Tāla and four sections( dhātu) viz.,Udgraha, Melapaka, Dhruva and Abhoga. The structures, internal divisions, the elements of meter (chandas), Rāga, Tālaand Rasa, as also the musical terms that are prevalent in Hindustani music also derived from Prabandha and its traditions. The Dhrupad tradition of the Hindustani music has been evolved from Sālagasūda Prabandha, which consists of five sections (dhātu) namely Udgraha, Melapaka, Dhruva, Antra and Abhoga. The Nom- Tom ālap system in the Dhrupad and the jor-Jhala tradition in the Sitar describe the significance of Tena or Tenaka (meaningless syllables or sound conveying a sense of auspiciousness). The Bandish (composition) in Hindustani music and Bol-Bant (the division of words synchronized with the beats and cross rhythms) are also improvised from the Prabandha. Thus, it is apparent that the Sanskrit Prabandha tradition has a significant influence on the musical principles of Hindustani music. The study involved a survey of literature and scholarly studies
The impact of social caste system on traditional drum players: A case study based on the Anuradhapura region
(Faculty of Humanities, University of Kelaniya, Sri Lanka, 2016) Kumara, J.C.R.
The present study focuses on identifying and analyzing the socio-cultural impact faced by the traditional drummers of the mainstream community in the region of Anuradhapura, Sri Lanka. It is apparent that the drummers (tom-tom beaters) played a vital role in Buddhist religious ceremonies and rituals in the central administrative region of Anuradhapura throughout the history. However, the society classifies them as ‘low caste’ people; namely the ‘Berava kula.’ Due to the distinctive identification and the social categorization, the younger generation of these drummer families hesitate to continue their hereditary art. The factual basis for their abandonment is the social caste system that has relatively made an impact on the regular life style. Thus, the present study aims to analyze the social stratification of traditional caste system that has influenced the traditional drummers in Anuradhapura region. The study involves both a literature and a field survey that include face to face discussions and communication with the community, carried out by the author.
Improvisation of Ethno-Musicological Aspects in Sri Lankan Film Music (Study based on Abā and Agnidāhaya Sinhala Movies
(International Postgraduate Research Conference 2019, Faculty of Graduate Studies, University of Kelaniya, Sri Lanka, 2019) Kumara, J.C.R.
The focus of this study is to identify the Ethno Musicological aspects and its improvisation in Sri Lankan film music industry. The origin of the term ‘ethnomusicology’ is attributed to the Dutch scholar Jaap Kunst (1950), who used it, in the subtitle of his book musicologia. It is the anthropology of music, the study of music in its cultural, historical, economic and linguistic context. In this paper, the question of how ethnomusicologist and scholars might treat music composed to accompany film is explored in a cultural context by analysing the music applied in the renowned Sri Lankan films Abā and Agnidāhaya directed by Jackson Anthony and Jayantha Chandrasiri respectively. In the particular context of film that often times utilizes and applies the technology and its subsidiary tools to innovate a unique cultural demonstration through its art work, nurtures its authenticity by various aspects; choreography, costume, make-up and obviously using music as a cultural tool. In the films Abā, and Agnidāhaya, this aspect has been demonstrated at a significant level. Thus, they portrayed certain characteristics that necessarily promoted and propagated the Sri Lankan culture among other pieces of art work. In an overall, observation, Abā and Agnidāhaya, and its film music can be identified as a prelude to the Sri Lankan film industry in terms representing the ethno-musicological aspects which presenting the cultural norms and values of the selected community. The materials used to examine this concept include the literary survey, audio-video records and characteristic phrases as well as field survey conducted by the candidate.
Music Iconography portrayed in South Asian Buddhist Arts (Based on Veena engravings in Pitalkhora Buddhist cave)
(2025) Kumara, J.C.R.; Prasad, B.S.
This study addresses the research question: "Does the seven-stringed Veena depicted in the Pitalkhora Buddhist caves resemble harps from ancient Mesopotamia, Egypt, Persia, and Greece-Rome, or is it influenced by Hindu practices?" To explore this question, a comprehensive literature review and archaeological examination were conducted. The literature survey included library research, map studies, and texts such as the Tripitaka and Jataka, alongside scholarly articles. The archaeological examination aimed to identify structural evidence regarding the characteristics of the Veena engraved in the Pitalkhora caves. Findings indicate that the Veena represented in the stone carvings closely resemble harps from Egypt, Persia, and Mesopotamia, as well as Greco-Roman forms. In contrast, there are no significant similarities between this Veena, and those depicted in Hindu religious customs and practices. Thus, it is evident that the Veena in the Pitalkhora caves is distinctly influenced by these ancient cultures, reflecting Buddhist customs and practices while diverging from the characteristics of the Hindu Veena.