KEERTHANAMS
7.2. With the steady decline of Prabandha and rise of regional languages, a range of musical compositions and rhythmic variations began to take place. Those with lighter and attractive musical content set in simpler words easy to understand gained popularity as Kirtana-s or Padas. And, those Prabandha-s composed in high literary style and loaded with religious themes passed into realm of religion.
7.3. As said; the Kirtana form of Music that began to flourish towards the end of fourteenth century was basically devotional Music aiming to invoke Bhakthi in the hearts of common folk. Its Sahitya (lyrics) clothed in simple music abounds in Bhakthi-bhava. It usually is a prayer or a Namavali (stringing together various names and epithets of the deity) or is a song ideally suited for group singing (Samuha-gana or Bhajana).
7.4. The Kirtanas do have musical sections such as Pallavi, Anu-pallavi and usually more than two Charanas. The entire Kirtana is usually set to one traditional and melodious Raga in simple Taala; and is rendered in Madhyama-kaala. In a Kirtana, Music per se is neither explored nor interpreted. Music, here, is but a charming, delightful vehicle to convey the devotional content of the song.
7.5. Among the Saint-poets and composers (Vak-geya-kara) who composed Kirtanas in soul-stirring music preaching devotion and submission to the Lord, the prominent were:
Sri Sripadaraya (1403-1502),
Tallapakkam Sri Annamacharya (1408 to 1503),
Sri Vyasaraya (1447-1539),
Sri Vadiraja (1480-1600) ,
Sri Purandaradasa (1484-1564) , Kshetrayya (or Kshetragna) (1600–1680), Bhadrachalam Ramadasu (1620-1688) and Sri Raghavendra Tirtha (1623- 1671) .
However, the original tunes of many of their songs are lost to us.