Contemporary Sinhalese art song and lyricism

By Ranga CHANDRARATHNE

Art song is one of our most vital and communicative musical genres – it flows and carries with it the language of our changing times.

- Composer Libby Larsen

A song can be defined as ‘a piece of music performed by voice, with or without instrumental accompaniment “or “a poem set to music”. Song is one of the oldest forms of music. Signing styles and the writing styles of lyrics differ among diverse cultures capturing social structures, level of literacy, language and system of values.

Art song

Before dealing with contemporary Sinhalese art song, it is pertinent, at least briefly, to examine the evolution of the modern art song.

Sunil Satath Perera

The birth of modern Art song marks a seminal trajectory in the evolution of song as a distinct art form. It primarily rejected two popular notions in mid 16th century polyphony, more than one melody is played or sung simultaneously. Firstly, it was believed that a given piece of vocal music could be played at different time in any number of alternative ways (Solo, ensemble or instrumental) and secondly the idea that lyric is subordinate to music.

It was in the mid-16th century that a greater attention began to pay on textual interpretation. Special rhythms were used to emphasise the emotionally significant texts in polyphonic compositions. Though the modern art song can be defined as “poet set to music”, it strives to blend music and literature. It is based on four elements: poet, composer, singer and accompanist. So the art song is the end result of the combined effort of the four elements.

The composer of music uses his or her skills to embellish the lyric, sometime, realising potential interpretations in the text. In a well crafted art song, the composer creates a duet between the accompanist and the vocalist to paint a picture that the lyricist has envisioned.

The performance of art song breathes life to the text through the complementary and well coordinated partnership among the four elements. The 17th century art song shows, among other things, the sensitivity of the composer to the individual words, to the prosody and the overall character of the text.

In 17th and 18th centuries, the singer, primarily, serves as the prime interpreter of the text. It was during the 19th century that art song reached its climax in expression, appreciation. Starting with Schubert, the leading Romantic songwriters learned to exploit the device of varying a strophic melody. The composer would use a basic musical framework for each stanza but change voice and accompaniment details to suit the progressing text. This concept eventually evolved into through-composed songs with music well integrated into the text.

Evolution of Sinhalese art song

Sri Lanka has a long and well developed history of art song. However, it was Munidasa Kumaratunga. The next phase of the evolution of art song was by the lyricists like Chandrarathne Manawasinghe, Madawala S Ratnayake, Ananda Samarakoon and Sunil Shantha.

The lyrics produced in the era were prominent for the diverse experiments that the poet or lyricist carried out in writing the songs. For instance, in Ananda Samarakoon’s songs such as Punchi Suda, Sumano..Sumano , the lyricist has used of dialogue form effectively. It was the Radio Ceylon or now SLBC which promoted art song through its popular programmes such as Maduvanthi and song’s drama such as Manohari. Mahagama Sekara’s programme ‘Maduvanthi “with W.D. Ameradeva was led to fruitful outcomes in the Sinhalese Arts Song.

In the programme, experiments both in music and the structure of song marked an important phase in the evolution of Sinhalese art song.

For instance, W.D Ameradeva did number of experiments with tune motifs from folk poem while Mahagamasekara experimented with the structure of the song.

It is obvious that a song will stand test of the time, only if it contains philosophical thoughts which are universal.

It is this property which has made some of the songs immortal and still popular. For instance, songs such as Irahada Payana Loke, Sannaliyane and Sandekaluvara Galahalenavita are still widely appreciated.

Use of Metaphor in song

Use of metaphor is one of the effective ways in which lyric is made meaningful and philosophical. Usually in Sinhalese songs metaphors are formed by fusing of nouns. However, Sunil Sarath Perera has formed metaphor by the fusion of noun. For example, in his song Sanda Kaluvara gala halenna vita , Sunil Sarath Perera has formed metaphors by the fusion of noun and verb. Sanda Kaluvara gala halenna vita (gathering darkness) and Senehasa Dalvunu Nivasa Soya Emi ( come in to the house lit up with warmth ) are potent metaphors.

Oba ma samaga
Atinata ganna davasa
Me mahakanda
Baluva hinda gama sirasa
Oba ma atara
Wena nuwaraka giya vigasa
Me maha kanda baluva horahin madesa

(The song is about a painful separation of lovers and the time is symbolised by the mountain. Time has devoured everything, its influence on the peoples' lives and sense of impermanency is brought out in an artistic manner)

The song Peradinayaka Ma Pemkala Youvatiya is one of the best lyrics by Sunil Sarath Perera. At a glance, though the song is sounded a mere reporting, the song explores the theme of impermanency and changes that will be brought out by time. Symbols such as sun, moon have been aptly used to indicate the change of time which has made the young girl the poet loved in his youth a middle aged woman. Sunil has used the metaphor ' Noka nobi duk vinda attitaya ' ( miserable past) ascribing that it was the past which suffered not the narrator. It is obvious from the lyrics by Sunil Sarath Perera that a budding lyricist should have a comprehensive understanding of the tradition which has been enriched by veteran lyricists.

Although there are no specific set of rules as to how a novice should pen a song, it is imperative for a budding lyricist to conduct self-study on the existing body of lyrics and the linguistic and literary strategies employed by veteran lyricists such as Mahagama Sekara, Chandrarathne Manawasinghe and Madawala S Ratnayake.

In order to study the lyrics, an essential requirement is to have lyrics of art songs in print. However, it should be mentioned here that breaking down paragraphs into lines would not make songs. The basis of art song is literature. Therefore, it is essential that due recognition for such songs which enlighten the listeners apart from entertaining them be accorded by way of awards. Veteran lyricist Sunil Sarath Perera's latest contribution to the growing body of his lyrics in print is Sandagala Nuwara which contains author's hitherto unpublished lyrics on diverse themes.

A seminal publication

Sandagala Nuwara is a seminal publication in Sri Lankan literature on songs on many counts. Besides author's earlier publications such as Tunpath Rata, Padmatatakaya and Maha Kanda , Sandagala Nuwara offers nineteen Art songs by the author which are result of meticulous researched into art of lyric writing. The publication can be considered as a guide book and object lessons for both budding and experienced lyricists.

A significant aspect of the publication is that the lyrics presented in the book manifest, among other literary qualities and rich in philosophical thoughts, that the Sinhalese contemporary song is not merely intended for cheap entertainment but an important medium through which public taste can be uplifted. Sunil Sarath Perera is a lyricist who firmly believes that the song is not a medium of cheap entertainment and that philosophical thoughts can also be conveyed besides generating zest through Art song. For instance, he has pointed out the secret behind universal appreciation of songs by veteran lyricist such as Mahagama Sekara, Sri Chandrarathne Manawasinghe S Ratnayake is the deep philosophical thoughts that have gone into the lyrics.

The following song in Sandagala Nuwara exemplifies how a veteran lyricist with deep understanding of life could incorporate philosophical thoughts into an Art song.

Ra ra ra bombiye
Muvaveyan nangiye
Japan mandarin nadakara
Aurudu ayei handiye
Ujaruvata kiuvata lokate para kase
Dese hatiyata nomavey
Ena ena base
Sigiri katapath paure
Ata sangeete
Mihirata gamuko malliye
Seepada geethe
Auru aye handige
Muvaveyan malliyye
 

Kalen kaleta kiyavey
Nek nek baila
Desa basa rasa rakumata -nuwanin
Vada Karapalla

The underline message in seemingly reportage like popular song is the overarching foreign cultural influence on contemporary society. The lyricist has skilfully used a simple diction to highlight on adverse alien cultural influence. The New Year celebration which is one of the important cultural events has been taken as a site of change. Now, instead of traditional celebrations of the New Year heralds to the sound of Japanese music instruments and the celebration is at the junction.

The lyricist in simple diction conveys the message that the rich folk music tradition is concealed in the poetry on the mirror wall of Sigiriya rock fortress and that the young generation should take lead in preserving traditions, folk music and languages.

This extremely popular Sinhalese song shows in no uncertain terms that Art song can be used a conveyer of moral messages to the masses while providing meaningful entertainments. Some of Sunil Sarath's songs such as 'Mage Ratta Dalada Himi Saranai' is noted for arousing patriotic sentiment albeit the song is dedicated to the sacred tooth relic of the Buddha. Prominent characteristic of Sunil Sarath Perera's lyrics is that they can be appreciated for their rich literariness.

It is obvious that through his lasting contribution to the Sinhalese song, Sunil Sarath Perera has enriched the contemporary Sinhalese idiom. For instance, in the song ' Thavath Udasanak" (Yet another morning), Sunil has used metaphors such as ' Malak sema mitiyavata , pipi vane udasanama' ( In the morning the valley is blossomed and swaying like a flower).

In another way, what the poet says is that there is a valley full of blossomed flowers which sway in the wind as if the valley itself sways.

Encoding such beautiful scenery in a metaphor shows the innate ability on the part of the lyricist. The songs in Sandagala Nuwara is an example art song which will stand the test of time. The future of the Sinhalese art songs lies in the songs such as those by veteran lyricist like Sunil Sarath Perera.