Mr. C. De S. Kulatilleke though relatively less known to the music lovers is one who has contributed much to the cultural heritage of Sri Lanka. With indepth research in the field of ethnomusicology he laid bare the roots of indigenous music of our own country. Kulatilleke is a trail blazer who deserves to be fondly remembered for ever.
Mr Kulatilleke was born to a family of four siblings at Polwatte, Ambalangoda on the 14th of December 1926. Their father was a building contractor named P. H. Sarolis de Silva.
C. De S. Kulatilleke had exposed his inborn talents in Arts from a very young age during his study at the Dharmashoka College, Ambalangoda. Veteran musician Ananda Samarakoon visited Dharmashoka College once a week to teach popular music of that era to the school choir. It was at Dharmashoka College that Kulatilleke got the rare chance of learning the National Anthem of Sri Lanka directly from its composer, at a time the song was not approved by the state.
He started his career as teacher in government schools and was teaching Music and Art.
Later he was educated at Vishwa Bharathee University, Shanthineketan in India, founded by Rabindranath Tagore the well-known poet in the world.
After returning to Sri Lanka he was appointed Lecturer at a teachers college and continued his career until he was appointed the Head of Music Research Unit at the C.B.C.
That was the period he outshined others in his mission as a Musicologist. Through his contributions to Sri Lanka folk Songs and to the world, he earned worldwide recognition. He was invited from several foreign countries for lectures and discussions on Musicology and to write for magazines on the same subject. Following are a few examples.
1. Samudragosha Metre and Seepada styles of singing in Sri Lanka for free university – Berlin for Mittulungen magazine.
2. Darsteller and Musik in Kolam Mastespiel-Sri Lanka – written in collaboration with Professor Kuckerts of Ethnomusiccology Unit at the Koln University – West Germany.
Mr. Kulatilleke was quite aware of his field and with keen intelligence committed to music research and this has resulted in a variety of L.P records and CDs on Folk Music of Sri Lanka and award winning books such as Lankave Sangeetha Sambhavaya which is a comprehensive study of the cultural history in our country so far that no one has endeavoured.
When referring of Sangeetha Sambhawaya, one can easily understand that he was an extensive reader. This book won him the presidential award in 1974.
Apart from all that he was a bilingual person who wrote in Sinhala and English Language. His versatility in English language paved him the way to international fame.
He once told me that his Sinhala publications were not popular because Sinhala readers were not interested in books on Music research, but on books with popular songs.
'That was why I started writing in English' because there was a big demand in European countries for our traditional music and for Ola scripts written in early ages.
Apart from Sangeetha Sambhawaya his magnum opus there are some other publications too. In Sinhala language which are: Theories in folk music and Eighteen Vannams of Kandyan Dance.
In English:
1. Metre, Melody, and Rhythm in Sinhala Music
2. A social background to Sinhala traditional music of Sri Lanka
3. Musical instruments of Sri Lankan history
4. Ethnomusicology and Ethno musical aspects in Sri Lanka.
His research was not limited to folk music only, but to various other fields such as Dance and Drama too. He has produced the following L.P. discs on Sri Lankan Dance.
1. Kohomba Kankariya (A Kandyan Dance Ritual)
2. Kapayakkariya (A low country dance ritual)
3. Sri Lankan traditional music
He was a close associate of Prof Kuckertz of Koln University of West Germany. It was under his tutelage that Mr. Kulatilleke ascertained the whole repertoire of Ethnomusicology. We must appreciate Mr. Kulatilleke's service as a pioneer to innovate a Sri Lankan music tradition. In that aspect his knowledge in Folk music and contemporary music is marvellous. He imparted his knowledge lavishly to his students and followers. With reference to Sinhala Vannams, I can still remember how he pointed out to me the Kandyan drum beat suited to Maha Thani Thitha 4/4 time, played on a different pulse suited to Medum Maha Dethitha suited to Naiyadi Wannama.
That was how he innovated irregular pulse beat.
He used to enlighten me on several facts regarding traditional drumming, in all our encounters whether it was at the C.B.C. or in a public transport.
According to Buddhist Teachings, Shasthra Dana is the highest of all Danas. He did it always in his life. So I wish him the supreme bliss of Nirvana at the end of his Samsaric journey.
Upali R. Gunawardena