Funeral music in Sri Lanka

by Amal Hewavissenti

Music is generally agreed to be a form of art which artistically represents man’s most infectious expressions of emotions. Almost every country possesses its own forms of classical and folk music that vividly reflects the culture of the particular country.

These music traditions, specially the folk music traditions are closely linked with and shaped into the culture, patterns and lifestyle of people who own it. These music traditions are characterised by a set grammar which has developed through centuries and brought music to what it is today.

Here our cardinal purpose is to examine the nature of Sri Lankan funeral music through an ethnommusicological perspective. In stark contrast to classical music this variety of folk music (funeral and ceremonial music) does not wholly centre on systematically and melodically arranged notes and rhythm.

It appears fair to conclude that notes not properly arranged can create certain form of music (perhaps unpleasant to the ear at times) and express human emotions quite successfully.

The perfect archetype of this branch of music are the funeral and ceremonial music employed in different occasions. However, much less ethnomusicological research has been carried out on Sri Lankan funeral music and ceremonial music which give free expression to cultural aspects associated with the particular events.

Thus, the funeral music associated with varying cultures of ethnic groups of Sri Lanka is remoulded to reflect their identity. For instance, we can observe the tradidion of blowing conches, playing Thappu and singing Oppari in Tamil funeral music.

In Sri Lanka Christian funeral music, singing of funeral hymns and playing bands make a substantial display of Christian spirit while chanting portions from Kuraan illuminates the major spirit in Muslim funeral music.

The long-standing practice of funeral drumming at funeral has given it a predominant place in Sinhala funeral music. In accordance with the Buddhist legends the origin of funeral drum (Malaberaya) dates back to a historic incident of a special funeral in which the ‘Mala beraya’ was played in condolence of a dead branch of Sri Maha Bodhiya.

Here the drum was played to announce the condolence of the death of a branch of the ‘Maha bo tree’. Later on this tradition developed to express and announce the condolence of the deaths of kings, queens and Buddhist monks. A customary practice of covering percussion in instruments such as Daula bera or Thamettama with a piece of white cloth is observed in drumming.

The popular belief that these instruments have been created by God Vishvakarma is deeply rooted in the minds of drummers and the white cloth is believed to protect the drums against evils and all forms of impurities.

Thus the funeral drum has been ascribed a certain form of divinity but musicologically a drum covered with a piece of cloth produces sounds of melancholy far too effectively. Generally the ‘mala beraya’ (funeral drumming) is played in slow tempo and its rhythms are attuned to certain concepts, beliefs and folklore.

$However, the rhythms and beats played in the funeral drumming are not at all played for the Hevisi drumming at Buddhist temples. At the same time drumming is considered a taboo when the funeral procession is marching near the temple because funeral drumming near temples is viewed as a direct insult on the religion.

The Daule bera occupies a significant position in the funeral drumming while Thammettama bera is highly influential in the up country.

Currently funeral drumming is essentially carried out on the final day of the funeral where funeral drumming occurs three times a day.

The drumming tradition dictates that funeral drumming should continue until the body is reduced to ashes after cremation. The most distinguishable aspect of funeral

Drumming is its clear capacity to evoke haunting melancholy among mourners. This obviously proves the symbolic relationship between music and communication.

Singing too plays a substantial role in the music associated with funeral ceremonies. For instance, elegiac songs and religious stanzas chanted in the practice of Pen Wedeema on the final day of the funeral fall under the category of singing in funeral music. Elegiac songs specially Wessantara Jataka Kavya are sung throughout the night to dispel the depressing and dismal atmosphere prevailing at a funeral.

These elegiac songs are well outlined by touching pathos and the singing style and notes employed suggest crying and sobbing. The flat notes and use of soprano voice heighten the spirit of the depressing situation.

In addition to this, certain funeral traditions involve singing elegiac son by a single person or by a chorus.

Moreover, extracts from Jataka stories and Pali Stanzas are observed to be chanted rhythmically and melodically in funerals and religious ceremonies. Even the passages of Pali language and stanzas uttered by Buddhist monks in rituals of funerals bear the features of music.

The Buddhist stanzas such as Yathavari Wahapura which are song in the process of Pen Vedeema are those which are employed in funerals alone.

The Pali Pirith Sajjayana on the seventh day almsgiving is perfectly archetypal of funeral music associated with Buddhism.

The Pirith chanted in chorus, carries a highly limited melody which spans from one to three or four musical notes. Yet the melody of Pirith Sajjayana produces a mysterious effect and its system of sounds tranquilies the mind of the listener.

In the past the funeral drummers were paid well and higher honours were conferred on them. The drummers who played drums at the cremation ceremony of the dead branch of Sri Maha Bodhi were called Wellee and their traditionally prescribed duty was drumming and marching with flags in the funeral processions.

On the other hand, ragas from North Indian music tradition are employed in funerals in Sri Lanka. Funerals, particularly of politicians employs classical ragas as an effective background to general mourning. During a state funeral sonorous melodies based on ragas such as Marva and Bhairavi are telecast or broadcast till the final day of the funeral.

However, the funeral music associated with North Indian ragas focus priority on instruments such as Esraj, Sitar, Shenai, Flute and Sarangi.

The instrumentals played heighten the spirit of mourning prevalent in the funeral.

The reason is that the sound produced by these instruments is perfectly in line with the general format of the funeral music.

A type of funeral music based on western instruments and system of notes is in broad use in the band of the Army. The most stricking characteristic of this trend is the difference of music and sounds which is largely determined by the hierarchy of the positions in the army.

The Army band players exploit western instruments such as Saxophone, Trombone, Clarinet and Trumpet.

However, this type of funeral music is thought to be originated with Christian influence and is accepted as an effective development in Sri Lankan funeral music.