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Pann

Pann (Tamil: பண், romanized: Paṇ) is a melodic mode used in ancient Tamil music, serving as the foundational raga system during the Sangam period (c. 3rd century BCE to 3rd century CE). Rooted in classical texts such as the ''Tolkāppiyam'' and ''Cilappatikāram'', it represents the early Tamil approach to musical scales and emotional expression.^[1]^[2] Originally based on pentatonic structures, the pann system evolved into a heptatonic (ēḻisai) framework with seven fundamental swaras, expanding over time to include 103 distinct panns through modal variations and sruti adjustments. These modes were closely associated with the five Sangam landscapes (tinai)—Kurinji, Mullai, Marutam, Neital, and Palai—each evoking specific moods and settings, influencing later developments in Carnatic music ragas.^[1]^[2]

Definition and Fundamentals

Etymology and Core Concept

The term paṇ (பண்) in ancient Tamil music derives from the Proto-South Dravidian root pā̆ṇ-, signifying "song" or "to sing," and evolved in Tamil to denote "melody," "tune," or a structured musical piece associated with praise and performance.^[3] This linguistic foundation reflects the deep integration of vocal and instrumental expression in early Dravidian culture, where paṇ encapsulated not just sound but also the emotional and poetic essence of composition.^[3] At its core, paṇ functions as a heptatonic melodic mode, known as ēḻisai (ஏழிசை), employing seven primary notes within an octave to create modal frameworks that prioritize raga-like variations over Western-style fixed harmonies.^[4] These modes originated from pentatonic systems but expanded to incorporate seven swaras, forming the bedrock of Tamil musical expression in both poetic recitation and live performances, where they evoked specific moods tied to natural and human themes.^[4] In practice, paṇ emphasized fluid modal shifts and tunings, allowing performers to rotate tonic notes and derive subsidiary modes from principal ones.^[4] The paṇ system, or paṇ isai, further distinguishes itself through the use of 22 srutis—microtonal intervals—as foundational pitch divisions, enabling nuanced variations beyond the seven swaras and accommodating four variants each for the five mutable notes (ri, ga, ma, dha, ni) plus fixed sa and pa.^[5] This granular approach to intonation supported the system's adaptability in ancient Tamil contexts, such as aligning melodies with the five tinais (landscape motifs) in Sangam poetry.^[4]

Role in Ancient Tamil Music

In ancient Tamil music, pans functioned as the foundational melodic frameworks for both vocal and instrumental performances, structuring compositions within the heptatonic system referred to as ēḻisai, which encompassed seven distinct notes: kural, tuttam, kaikkilai, uḻai, ili, vilari, and tāram.^[6] This system emphasized modal organization, where each pan defined a specific scale and mood, guiding singers and instrumentalists in creating harmonious expressions tied to emotional and thematic depth. Unlike many contemporaneous non-Tamil musical traditions that relied on pentatonic scales with five notes, ancient Tamils employed techniques like nertiram to derive heptatonic structures from pentatonic bases, thereby enriching melodic complexity and versatility.^[6] The yaḻ, a lute-like harp with multiple strings, was intimately associated with pans, tuned precisely to the notes of a chosen pan to accompany vocal music or perform solos that evoked particular sentiments, such as joy or longing.^[7]^[8] Complementary instruments included wind tools like the kuḻal (flute) for melodic support and percussion such as the parai drum for rhythmic foundation, forming ensembles that amplified the pan's modal essence in live settings.^[9] These instruments were not merely technical aids but cultural conduits, allowing musicians to interpret pans through nuanced string plucking or breath control to mirror natural and human experiences. Pans played a central role in diverse performance contexts, from sacred rituals where devotional songs invoked divine presence, to courtly assemblies in which professional paṇṇāṟs (male musicians) and paṇṇāṭiyāṟs (female performers) entertained and advised rulers using pan-based improvisations.^[7]^[9] In folk traditions, they featured in communal gatherings with spontaneous adaptations, such as women's vārippāṭṭu (improvised songs) that adhered to pan constraints while allowing creative elaboration to suit social or celebratory occasions.^[9] This improvisational approach, often involving sequential (seeriyal) and expansive (periyal) techniques, ensured that pans remained dynamic yet disciplined, fostering a deep integration of music into everyday Tamil life.^[9]

Historical Context

Pre-Sangam and Sangam Eras

The origins of the pann system in ancient Tamil music are inferred from oral traditions predating written records, reflecting early melodic practices integral to Tamil cultural expression from ancient oral traditions. While direct evidence remains scarce, these traditions suggest the use of simple chants and songs in communal and ritual contexts.^[10] The Sangam era, spanning approximately 300 BCE to 300 CE, represents the period of the first systematic documentation of pann as a structured musical element. The Tolkāppiyam, the earliest extant Tamil grammatical text dated to the early Sangam period (c. 3rd century BCE), classifies music within its framework of muttamizh (the three fine arts: iyal or literature, isai or music, and natakam or drama), explicitly referencing pann as melodic modes associated with poetic themes and landscapes. This text highlights pann's role in enhancing recitation and performance, marking its transition from informal oral use to a codified system.^[11]^[7] Further textual evidence appears in Sangam anthologies, where pann-based songs are described in narrative contexts. For instance, the Maturaikkañci from the Pattuppāṭṭu collection references the Marutha pann as a vibrant morning melody evoking joy and vitality (lines 655–658). Similarly, the Malaipaṭukaṭām alludes to the Kanji pann used to soothe warriors' wounds after battle (lines 302–304) and the Kurunji pann to convey fear and tension (lines 358–360). These mentions underscore pann's practical application in both heroic (puram) and domestic (akam) settings, performed by specialized artists known as paṉṉārs and paṉṉātiyars.^[9] Pann emerged as a distinct musical system during the three legendary Sangam assemblies convened in Madurai under Pandya patronage, where scholars, poets, and musicians gathered to refine Tamil arts. These assemblies, with the third (historical) one occurring between circa 100 BCE and 250 CE, fostered innovations linking pann to themes of heroism and love, integrating it with instruments like the yāḻ (lute) and kuḻal (flute) for courtly and festival performances.^[12]

Post-Sangam Developments

Following the Sangam era, the 3rd to 5th centuries CE witnessed notable expansions in pann theory and practice, transitioning from poetic allusions to more systematized integrations within epic literature and performance arts. The seminal text Cilappatikāram, composed around the 5th century CE by Ilango Adigal, represents a cornerstone of these developments, embedding detailed musical descriptions within its narrative framework. Set in the early Chola kingdom, the epic delineates pann as melodic modes central to theatrical expressions, drawing on a seven-note scale (sōlin, kūral, tuttam, illi, ul-lī, viḷari, and tāram) derived from 22 srutis, or microtonal intervals, to create layered auditory experiences.^[13] These 22 pans—including variants like sempalai, padumalaipālai, and sevvalippālai—were employed in dramatic contexts such as the kuravaikkūttu (a circular group dance) and kanalvari (seaside songs), where they synchronized with dance gestures and rhythms to advance the plot and heighten emotional intensity. Advancements in classification during this period introduced greater sophistication, particularly through elaborated pālai systems, building on the five primary tinai (regional eco-zones) with classifications including seven or more modes for performative versatility, incorporating temporal and seasonal modulations, with pālai modes classified into groups such as 14 (four lower, seven medium, three higher) in performative contexts. Rooted in the five primary tinai but elaborated for versatility, pālai modes evoked specific emotional landscapes: for instance, sevvalippālai conveyed arid desolation and longing in desert scenes, while arumpalai stirred valor in martial narratives. In dance-music sequences, such as Madhavi's tāṇḍava-style performance or the Kudagu maidens' kuravai songs, these classifications facilitated precise evocations, blending pann with instrumental accompaniment on the yāl (a 14-stringed lute) and flute to mirror characters' inner states—from romantic yearning in mullai modes to tragic resolve in pālai variants. This integration underscored pann's role in narrative theater, where modes shifted via tonic rotations to sustain dramatic tension across acts.^[13] These innovations profoundly shaped Chola-era court music from the 3rd century onward, establishing pann as a foundational element in royal assemblies and temple rituals, and paving the way for subsequent devotional incorporations by standardizing modal structures for collective and expressive performances. The epic's portrayal of music in Puhar (the Chola port city) highlights its patronage under early Chola rulers, influencing later imperial courts where pann-derived modes informed processional hymns and dramatic recitations.^[13]

Representation in Literature

Association with Sangam Landscapes

In the Sangam literary tradition, the concept of tinai refers to a system of five distinct ecological landscapes—kurinji (hilly or mountainous regions), mullai (forested or pastoral areas), marutam (agricultural plains), neytal (coastal or littoral zones), and palai (arid desert or wasteland)—each representing a specific environmental and thematic domain in ancient Tamil poetry.^[14] These tinai were systematically paired with corresponding pann, the melodic modes of ancient Tamil music, to align the auditory expression with the landscape's inherent mood and emotional resonance, as outlined in grammatical treatises like the Tolkappiyam.^[15] This pairing ensured that the music reinforced the poem's thematic depth, creating a multisensory harmony between sound, setting, and sentiment. Symbolically, each pann evoked the predominant emotions tied to its associated tinai, serving as an acoustic embodiment of human experiences within nature. For instance, the kurinji pann captured the exuberant union and passionate love of lovers in misty hills, mirroring the landscape's vibrant flora and seclusion.^[16] In contrast, the neytal pann conveyed the pathos of separation and anxious longing along seashores, where the restless waves and saline air amplified feelings of isolation and yearning.^[14] Similarly, mullai pann reflected patient expectation in verdant groves, marutam pann expressed quarrels and infidelity in fertile fields, and palai pann underscored desolation and hardship in barren expanses, thus using melody to intensify the emotional landscape of the poetry.^[16] These associations were not arbitrary but rooted in a perceptual framework where music mimicked the rhythms and tones of the environment, enhancing the evocative power of verse. This integration of pann with tinai held profound cultural significance in reinforcing the Tamil worldview, where nature, human emotion, and artistic expression formed an interconnected triad. By embedding musical modes within poetic landscapes, Sangam works fostered a holistic aesthetic that celebrated ecological harmony and psychological nuance, influencing subsequent Tamil literary and performative traditions.^[15] During the Sangam era, spanning roughly the 3rd century BCE to the 3rd century CE, this system underscored a worldview that viewed music as an extension of the natural world, promoting emotional catharsis through culturally resonant forms.^[14]

Specific References in Poems

In the Sangam anthology Maturaikkañci, the sevvaḻippaṇ is invoked by women during moments of distress associated with coastal life, such as laments for safe passage or childbirth near the sea, where its melancholic tones are said to summon divine mercy and soothe communal anxieties.^[17] Similarly, in Malaipaṭukaṭām, music is described as relieving the fatigue of travelers and enhancing the celebratory mood in the context of hill-dwelling communities praising chieftains.^[18] Other notable examples include the kuriñcippaṇ, which is associated with mountainous contexts in puram verses, such as those involving rituals honoring deities like Murugan, where its ascending scales amplify the fervor of worship and heroic invocations amid rugged terrains.^[7] These paṇs function as sonic devices in Sangam poetry, integrating musical structure with verse to deepen emotional resonance; in akam genres, they heighten personal sentiments like longing or joy, while in puram, they bolster public themes of valor and praise, often aligning with the five tinai landscapes to unify auditory and narrative elements.^[5]

Evolution of Musical Scales

Transition from Pentatonic to Heptatonic Systems

The early Pann system in ancient Tamil music was rooted in pentatonic modes, particularly those associated with the mullai (pastoral) and palai (arid/desert) landscapes of Sangam literature, which employed five-note structures to evoke specific emotional and environmental resonances. For instance, the Mullaippann mode utilized the notes sa, ri, ga, pa, da, forming an anhemitonic pentatonic scale that aligned with the serene, flute-like sounds of pastoral settings.^[19] Similarly, palai-based modes, such as early variants linked to themes of separation and longing, adhered to this five-note framework, as evidenced in the modal collections described in post-Sangam texts like the Cilappatikāram, where such scales provided a foundational simplicity for poetic recitation and instrumental accompaniment on the yāḻ (harp).^[4] These pentatonic origins, dating to the Sangam era (circa 300 BCE–300 CE), prioritized modal flexibility over chromatic complexity, allowing performers to cycle through limited tones to convey subtle rasa (emotional essences) without fixed tonal centers.^[20] The transition to heptatonic systems occurred during the post-Sangam period (third to fifth centuries CE), as Tamil music evolved toward greater expressive depth by incorporating two auxiliary notes, often termed viśesha swaras (special tones), into the existing pentatonic base. This process involved adding ma (madhyama) above the foundational notes and ni (nishada) to complete the octave, transforming modes like Mullaippann into expanded forms such as Sempālai, a seven-note scale corresponding to the modern Harikambhoji raga.^[19] The resulting ēḻisai (seven-tone music) system, derived from seven parent palai modes, enabled richer melodic contours while preserving ties to landscape-inspired aesthetics; for example, Sempālai's heptatonic structure (sa ri ga ma pa da ni) introduced harmonic stability suited to devotional and narrative contexts in texts like the Cilappatikāram.^[20] This addition was theoretically motivated by the need for nuanced gamaka (ornamentation) and intervallic variety, bridging the gap between rudimentary pentatonicism and the more sophisticated 12-svarasthāna (tone positions) framework that later influenced Carnatic music.^[4] A key mechanism in this evolution was the development of modal cycling, akin to ārohaṇa (ascent) and avarohaṇa (descent) patterns, which allowed performers to navigate the expanded scales without rigid key structures, fostering emotional variety through sequential note progressions and rotations across modes. In the Pann tradition, these patterns manifested as structured ascents and descents within each palai-derived mode, such as starting from the tonic sa in Sempālai and resolving through ni back to sa, enabling cyclic improvisation that mirrored the dynamic phases of love and nature in Sangam poetry.^[21] This approach, documented in analyses of early hymns and inscriptions like Kudimiyamalai (seventh century CE), emphasized varjya (omitted notes) and graha (starting notes) to differentiate modes, thus providing a theoretical basis for the heptatonic system's adaptability and preventing melodic monotony.^[20] By the post-Sangam era, such cycling had become integral to ēḻisai, laying the groundwork for the modal diversity seen in later Tamil musical forms.^[4]

Formation of Note Structures and Modes

The evolution of note structures in ancient Tamil Pann music progressed from a basic heptatonic framework to a more nuanced system incorporating 12 svarasthānas, or note positions, derived through divisions of śrutis, the microtonal intervals foundational to pitch variation. Building on the seven primary svaras—kural (sa), tuttam (ri), kaikilai (ga), uzhai (ma), ili (pa), vilari (da), and tāram (ni)—these 12 positions emerged by accounting for subtle variations such as komala (flat) and tīvra (sharp) forms, enabling greater melodic flexibility within an octave divided into 22 śrutis. This refinement, detailed in the Śilappatikāram (c. 5th century CE), allowed for the systematic placement of notes, with śruti allocations of 4 for kural, 3 for tuttam, 4 for uzhai, 3 for vilari, and 2 for tāram, facilitating the creation of diverse panns from the heptatonic base.^[20]^[22] By the 5th century CE, this śruti-based structure supported the expansion to 103 total panns, derived primarily from seven parent palai modes, as described in the Śilappatikāram and enumerated in later texts like the Pañca Marapu (10th century CE, drawing on earlier traditions). These palai served as mēḷa-like parent scales, from which janya (derived) modes were generated through processes such as tonic shifts and selective omission or addition of notes, akin to early melakarta classifications in subsequent Indian music theory. Modal formation emphasized distinct cycles for ascent (ārohaṇa) and descent (avarohaṇa), with panns categorized into jātis like audava (pentatonic, 5 notes), ṣaḍava (hexatonic, 6 notes), and sampūrṇa (heptatonic, 7 notes), allowing for transilient or varja patterns that varied the note sequence for expressive depth.^[20]^[23]^[22] A key innovation in these Tamil modes was the introduction of gamakas, oscillatory embellishments that added expressive bends and oscillations to notes, distinguishing Pann from more linear scalar systems. Evident in the Śilappatikāram's descriptions of yāḻ (harp-like instrument) techniques and elaborated in Adiyarkkuṉallār's 12th-century commentary, gamakas involved subtle finger movements to blend śrutis, infusing modes with emotional nuance unique to the tradition—such as kampita (shaking) or jarjara (rolling)—and laying groundwork for their prominence in later devotional compositions. This development, rooted in the post-Sangam era's instrumental practices, enhanced the 12 svarasthānas' potential for melodic elaboration without altering core pitches.^[22]^[23]

Classification of Pans

Major Categories and Examples

The pann system in ancient Tamil music features seven principal mēḷa pans, or parent modes, from which a range of janya (derivative) pans are generated, totaling over 100 melodic frameworks as described in classical texts like the Cilappatikāram.^[20] These mēḷa pans include Sempalai, Padumalai Palai, Sevvazhi Palai, Arum Palai, Kodi Palai, Vilari Palai, and Merchem Palai, each serving as foundational structures for melodic elaboration.^[20] Prominent examples among the pans include Sadhari, Puranirmai, and Nattapadai, which illustrate the diversity of melodic patterns within the system.^[20] The system incorporates both pentatonic and heptatonic scales, reflecting an evolution from simpler five-note configurations to more complex seven-note ones, as evidenced in early Tamil musical treatises.^[4] A key pentatonic example is Mullaippaṇ, structured on the notes sa-ri-ga-pa-da, which aligns with the pastoral mullai landscape and evokes serenity and contentment in rural settings.^[24]^[20] In contrast, heptatonic pans like Sevvaḻi employ the full set of seven swaras—kural (sa), tuttam (ri), kaikilai (ga), uzhai (ma), ili (pa), vilari (dha), and taram (ni)—to create richer modal variations suitable for extended compositions.^[20] Pañcamam represents another significant example, characterized by its ascending scale progression that fosters a sense of elevation and devotion in performance.^[20] Kuriñci pann, tied to mountainous terrains, stirs emotions of anticipation and union through its dynamic note sequences.^[4] Similarly, Neytal pann, associated with coastal environments, conveys melancholic longing and introspection via subtle melodic undulations.^[4] These structures and evocations highlight the pann system's integration of musical form with cultural and emotional landscapes.^[4]

Characteristics and Emotional Associations

In ancient Tamil music, pans functioned as melodic modes that evoked specific rasas, or emotional essences, deeply intertwined with the aesthetic principles of Sangam literature. These modes were designed to induce psychological states aligned with human experiences, drawing from the natural landscapes known as tinais, which symbolized both inner (akam) sentiments like love and longing and outer (puram) themes such as heroism and valor. For instance, the Sevvazhi pann, associated with the neithal (coastal) tinai, induced soka rasa, or pathos, capturing the grief of separation among lovers awaiting reunion by the sea.^[25] Similarly, the Palai pann, linked to the arid wasteland tinai, evoked vīra rasa, or heroism, reflecting the endurance and bravery required in desert journeys or battles.^[26] A distinctive trait of pans was their incorporation of microtonal śrutis—subtle pitch variations within the 22 recognized intervals of the octave—which enabled nuanced mood shifts beyond the seven primary swaras (notes). This microtonal flexibility allowed performers to mirror the delicate emotional transitions in akam poetry, such as the shift from anticipation to fulfillment, while providing structural balance to puram narratives of conflict and resolution. By assigning specific śrutis to regional motifs, pans facilitated a cultural harmony between personal introspection and communal valor, as evidenced in Sangam texts where musical modes complemented poetic themes.^[25]^[7] The broader impact of pans extended to Tamil performing arts, particularly folk theater forms like koothu, where they enhanced emotional immersion through rhythmic and melodic interplay. In koothu performances, which dramatized epic tales and moral dilemmas, pans such as those evoking soka or vīra rasa drew audiences into heightened states of empathy, blending music with gesture and narrative to evoke collective catharsis. This integration underscored the pans' role in sustaining Tamil aesthetic traditions, influencing improvisational singing and dance sequences that mirrored life's dualities.^[7]

Integration with Devotional Traditions

Usage in Saivite Tevaram Hymns

The Tevaram constitutes a foundational corpus of 796 hymns, known as pathigams, composed by the three key Saivite Nayanars—Thirugnana Sambandar, Appar, and Sundarar—during the 7th to 9th centuries, each typically consisting of 11 stanzas (10 verses plus a signature stanza). These hymns, comprising around 8,284 stanzas, were designed primarily for liturgical recitation in Shiva temples to foster communal devotion. They integrate ancient Tamil musical modes known as pann, transforming poetic praise into performative rituals that emphasize Shiva's divine attributes and the devotee's emotional surrender. By setting the verses to pann, the Nayanars revived and adapted pre-existing melodic frameworks, ensuring accessibility for temple singers and congregations, with the collection later compiled into the first seven books of the Tirumurai under the panmurai arrangement.^[27]^[28] In compositional techniques, Tevaram hymns employ pann modes to structure verses in the viruttam form, which supports flexible melodic elaboration without strict metrical constraints, often accompanied by the yazh lute or hand-cymbals for rhythmic enhancement. Out of the 103 traditional pann scales, 23 are utilized across the corpus, categorized into daytime (pagal pann), nighttime (iravu pann), and versatile (podu pann) types, allowing hymns to align with temple rituals throughout the day. Antiphonal singing practices, where lead singers (oduvars) alternate with responses from the assembly, became prominent in Chola temples, amplifying the interactive and immersive quality of the performances. For instance, mulai paṇ is applied in Appar's Padigam V:10 at Vedaranyam, structuring rhythmic praises that build devotional intensity through ascending melodic phrases.^[29]^[27]^[28] The revival of ancient pann in this devotional context is exemplified by modes like sevvaḻi, which conveys pathos and longing in Appar's verses depicting Shiva's redemptive grace, such as those evoking the god's intervention in human suffering. This mode's descending contours heighten emotional resonance, mirroring the hymns' themes of surrender and divine compassion, and underscores how pann served as a bridge between secular Tamil musical traditions and Shaivite bhakti expression.^[27]

Contributions of Nayanar Saints

The Nayanar saints of the 7th to 9th centuries CE significantly advanced the integration of ancient Tamil pann modes into Shaivite devotional practices, transforming them into vehicles for bhakti expression through their Tevaram hymns. Among them, Thirugnanasambandar, a child prodigy who began composing at age three and attained liberation at sixteen, innovated by employing the kuriñci paṇ to evoke mystical themes of divine union and miraculous interventions, as seen in hymns like his composition at Tiruvarur (I:91). His works, comprising the first three books of the Tirumurai with 383 pathigams (4,181 stanzas), emphasized personal devotion and countered rival faiths like Jainism, setting a precedent for youthful, rhythmic bhakti poetry.^[27] Thirunavukkarasar, known as Appar, a 7th-century Brahmin who converted from Jainism after a miraculous cure, is traditionally attributed with over 4,900 hymns, of which 313 pathigams (3,130 stanzas) across Tirumurai volumes 4–6 survive. He utilized the mullaippaṇ to explore ethical and moral themes centered on surrender to Shiva and righteous living. His biographical journey, including pilgrimages to numerous temples and promotion of Saivism amid persecution, exemplified resilience and influenced later devotional narratives by highlighting ethical devotion through accessible musical forms. Appar's standardization of pann structures in hymns fostered communal singing, bridging ancient Sangam traditions with temple rituals.^[30]^[27] Sundarar, an 8th-century noble with a courtly lifestyle, contributed 100 pathigams (1,026 stanzas) in Tirumurai volume 7, adopting pann modes such as sevvazhi for a distinctive style blending personal supplications, friendship with the divine, and celebratory praises, as in his pleas for material aid from Shiva. His life story, marked by divine interruptions to worldly attachments and visits to 82 sacred sites, added a relational intimacy to bhakti music, portraying Shiva as an approachable companion. This approach expanded pann usage to include narrative and emotional versatility in devotional contexts.^[27]^[30] Collectively, these saints standardized pann employment in bhakti music by setting their 796 surviving pathigams to 23 classical modes, ensuring rhythmic and melodic consistency that influenced the broader legacy of the 63 Nayanars as detailed in the 12th-century Periya Puranam by Sekkizhar. Their innovations promoted enduring temple music traditions, where Oduvars (temple singers) continue to perform Tevaram in pann-based renditions. The hymns were systematically compiled into the Tevaram anthology under Chola patronage around 920 CE during the reign of Parantaka I, preserving them on palm-leaf manuscripts for ritual use in Shaivite worship.^[27]^[31]

Legacy in Carnatic Music

Mappings to Modern Ragas

The ancient Tamil musical system of pans has been mapped to modern Carnatic ragas through scholarly research, revealing evolutionary connections that trace the melodic structures from pre-medieval Tamil traditions to the formalized scales of Carnatic music. Key correspondences include Pañcamam aligning with the raga Ahiri, emphasizing compassion and pathos; Mullaippaṇ (Mullai pan) equating to Mohanam, a hexatonic scale celebrated for its enchanting and pleasing quality suitable for all times.^[32] These mappings illustrate how ancient pans influenced the development of janya ragas within the Carnatic framework. For instance, Shankarabharanam, the 29th melakarta raga with its full heptatonic scale, derives from Indīvara paṇ, preserving the balanced and majestic ascent-descent patterns described in classical Tamil texts like the Silappadhikaram. Similarly, Harikambhoji, the 28th melakarta, stems from Sevvaḻi paṇ, retaining modal ascents that highlight its robust and heroic rasa, as seen in its application to kritis by composers like Tyagaraja. Such derivations underscore the continuity of melodic idioms, where the gamakas and phraseology of pans informed the improvisational essence of ragas.^[32] The formalization of these influences occurred post-14th century through Venkatamakhin's melakarta system in his Chaturdandi Prakasika (circa 1630s), which classified 72 parent ragas and incorporated ancient pan-based structures into a systematic hierarchy, enabling the derivation of thousands of janya ragas while bridging Tamil musical heritage with broader South Indian traditions. This system, refined by later scholars, ensured that pan-derived elements like the emotional associations and note selections remained integral to Carnatic performance practice.^[20]

Differences in Structure and Revival Efforts

The pann system of ancient Tamil music is structured around 22 śrutis, the microtonal divisions that enable subtle variations in pitch, with a particular emphasis on Tamil-specific microtones that allow for expressive nuances tied to regional melodic idioms. In contrast, Carnatic music, while theoretically acknowledging the same 22 śrutis, standardizes them into 12 swara sthanas for practical use in ragas, resulting in a more uniform approach to interval handling and less flexibility in microtonal exploration.^[1] This difference manifests in the pann system's greater reliance on fluid semitone treatments, as evidenced in ancient texts like the Silappathikaram, which prioritize melodic contours over rigid pitch standardization.^[22] A distinctive feature of the pann structure is its integration with the five tinais (landscapes) of Sangam literature—Kurinji (hills), Mullai (forests), Marutam (fields), Neithal (seashore), and Palai (desert)—where each landscape corresponds to a specific pann that evokes environmental and emotional moods, such as longing in Neithal or union in Marutam.^[1] This landscape-mood association, rooted in Tolkappiyam and elaborated in poetic treatises, adds a contextual layer to melody creation that is absent in Carnatic ragas, which focus on abstract emotional evocation without such geographic ties.^[1] Despite these variances, the pann and Carnatic systems share conceptual similarities in their hierarchical organization, with panns functioning as precursors to the janya-mēḷa (derived-parent) framework of ragas, where subsidiary modes branch from primary scales. However, panns maintain a more fluid character, emphasizing improvisational modal shifts without the fixed tempos (kalai) and rhythmic cycles (talas) that define Carnatic compositions, allowing for freer temporal expression in performance.^[1] Revival efforts in the 20th century focused on reconstructing pann structures through scholarly analysis and institutional initiatives, notably by the Tamil Isai Sangam, founded in 1943, which has hosted annual Pann research conferences since 1949 to map ancient modes onto modern practices and preserve them via performances.^[32] These endeavors, part of the broader Tamil Isai movement against Sanskrit-dominated repertoires, involved musicologists comparing panns from texts like Tevaram with contemporary ragas to revive authentic microtonal renditions. In the post-1950s period, such reconstructions influenced concerts featuring Tevaram recitals in pann modes.^[33]^[34]

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In olden times, Tamil music were called pan or paan. The words pan and paan meaning a piece of music ... The ancient Tamil music was the music of the old Tamil ...Missing: etymology | Show results with:etymology
[11]
Ancient stringed instruments—The Yazh
Jan 24, 2025 · The yazh is one of the most ancient instruments that were prevalent in Tamilnadu. It was used as a primary instrument and also as an accompaniment to vocal ...
[12]
[PDF] Music and Sangam Tamils - VVV College Journal
There were eleven types of 'pann' according to sangam literature. They are. (I). Ambal pann (This music came from flute). [4].Missing: ezhisai | Show results with:ezhisai
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Tamil Music
Raga, which defines the mood of the Indian classical music was described by the Pann. Specific panns were sung during worship and during religious and royal ...<|control11|><|separator|>
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TAMIL MUSIC - Carnatica
The ancient Tamil treatises like Tolkappiam and Silappadikaram mention 'Pannati', the equivalent of raga alapana. Instruments like Kuzhal (Flute), Yazh (Vina / ...Missing: ezhisai tone pentatonic scholarly
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[PDF] Sangam Period - Vision IAS
Feb 9, 2025 · According to Tamil legends, three Sangam assemblies were held under the patronage of the Pandya kings in Madurai: Sangam Assemblies (Muchchangam) ...Missing: Pann | Show results with:Pann
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[PDF] The Silappadikaram
The queen desired that a temple should be set up in hon- our of Kannaki. :^enguttuvan who had been thinking for a long time of leading a military expedition ...
[17]
[PDF] FINE ARTS IN TAMIL SANGAM AGE - IJSDR
This study mainly will give importance to the origin and development of the fine arts in the history of Sangam period. Sangam age to fine arts had its progress ...Missing: articles Pann
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‘Pann and raga go hand in hand’
### Summary: Association of Pann with Tinai Landscapes and Emotions
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[PDF] twining of landscape with emotions in sangam poetry - Literary Herald
This paper aims at portraying the intertwining of emotions in the five tinais and how poets used landscape as a means of expressing one‟s intense feelings.Missing: Pann | Show results with:Pann
[20]
PHASES OF INDIAN Music - International Journal of Research (IJR)
Jul 11, 2020 · Pann(Tamil: பண்) is the melodic mode used by the Tamil people in their music since the ancient times. ... Tamil Music is heptatonicand known as ...<|control11|><|separator|>
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[PDF] KOLOKIUM - IPGM
... Malaipatukatam merupakan puisi yang mengisahkan tentang kebesaran seorang ... Maruta pan. Sevvali pan. Pancura pan. Tuhan. Murugan. Tirumal. Ventan (Indran) ...<|separator|>
[22]
[PDF] Behaviour of Swarasin Mela Ragas Harikambhoji and ...
Harikambhoji was an ancient Indian music ragam. It was the fundamental scale for Tamil Music It evolved from the Mullaipan, a pentatonic scale , of five notes.
[23]
[PDF] mamud1.1 origin and evolution of music
In Silappathikaram, the concept of palai plays a crucial role in illustrating the ancient Tamil ... 6.4.1 PALAI PANN IN ANCIENT TAMIL MUSIC. The Pann system was ...
[24]
[PDF] PANNMURAI -.:: GEOCITIES.ws ::.
The ancient Tamils used a scale of 22 Shrutis and it is amazing how, with out the use of the any electronic equipment, they have recorded the frequencies of ...
[25]
[PDF] Tracing present Carnatic Music styles to ancient Tamil Music works.
The lyrics were composed during 7th and 8th centuries AD and anecdotes (Ref 4) ascribe 10-11th century AD for the 'Pan.s' (ப‌ண்‌- Tamizh term for Rāga or Rāgam) ...Missing: Pann heptatonic
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None
### Summary of Modal Formation in Ancient Tamil Pann from Silappathikaram
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[PDF] Mohanam - A Universal Pentatonic Scale - IJCRT.org
Jan 1, 2021 · In Ancient Tamil music, Mohanam was referred to as Mullai Pan. In Chilappadikaram of Ilango Adikal mentions this raga. The. Hymns of ...Missing: mullaippann | Show results with:mullaippann
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Tamil Music - Carnatica
Tamil Music. The music of the pre-Christian era, namely, the Sangam period is called Tamil music. This period ranges approximately between 300 BC and 3 AD.
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[PDF] Tinai Concept: Aesthetics Of Ancient Tamil Poetics Tolkappiyam
The Tamil poetic tradition is based on the foundation of the writings of the Cankam period and they still influence and inform the literary production of. Tamil ...<|control11|><|separator|>
[30]
[PDF] singing with saivite saints - Language in India
Nov 11, 2018 · Singing with Saivite Saints reviews the ancient Pann Systems, precursors to the South Indian raga system. Peruman highlights the importance of ...
[31]
Tēvāram: Tamil Śaivite Devotional Hymns | Sahapedia
### Summary of Musical Modes (Pann) in Tevaram Hymns
[32]
[PDF] karnATik Glossary
103, with 23 used in TEvaram. paNNiru nilam - ancient Tamil name for swarastaana. paNNiru veeDu - ancient Tamil name for swarastaana perfect fifth - see fifth.
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[PDF] South India's Bhakti Saints - Kauai's Hindu Monastery
Three of the most prominent Nayanars—Appar, Sambandar and. Sundarar (composers of Thevaram hymns)—along with Manik- kavasagar are called the Samayacharyas ...
[34]
The Recovery of the Devaram Hymns
Mar 17, 2022 · Nambi Andar Nambi, who is said to have recovered, at the request of the Chola king, Rajaraja Abhaya Kula-Sekhara, the Saivate canons of the three famous ...<|control11|><|separator|>
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Tamil Pann Research - Tamil Isai Sangam
Panns were researched during the conferences conducted so far and subsequently a conclusion was arrived at out of comparison of the Panns with the tunes of the ...
[36]
Tamil Music - Carnatica
The four different ways by which ancient Tamils derived and arranged their musical scales is given as Vattapalai, Chaturapalai, Trigonapalai and Ayapalai.<|control11|><|separator|>
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Recalling MS and Tamil Isai - Madras Musings
So MS found that opting for Tamil Isai also meant exploration and discovery. She had to develop a brand new repertoire of compositions with dignity in thought, ...
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Tamil Music (Thamizh Isai) - Shaivam
Tamil music (isai) is similar to Carnatic music, with ancient literature like SilappadhikAram referencing it. The yAz instrument was also used.Missing: indīvara | Show results with:indīvara<|control11|><|separator|>